Produced on the occasion of the exhibition held at Couvent des Minimes, Quai du Wault, Lille, 28 June–30 August, 1987, including the artists Jef Geys, Bernd Lohaus, Guy Mees, Philippe Van Snick. Curated by Pierre Mercier, Bruno Baelde, Christophe Boulanger, Claude Dhondt et Christophe Picavet. Designed by Philippe Robert.

*Please note this publication is secondhand and has some traces of previous ownership.

Riffing off the title, this volume includes an interview with Carolyn Lazard—an artist whose conceptual and often spare videos, sculptures, installations, and performances explore the full amplitude of relation—by Catherine Damman, plus a feature on New York-based contemporary artist Tishan Hsu, whose practice examines the “embodiment of technology”, and contributions by time-based media artist Silvia Kolbowski, for whom political resistance, the unconscious, and structures of spectatorship are a central concern of all her projects; choreographer and dancer Yvonne Rainer; and science fiction author Octavia Butler. Edited with Kathrin Bentele, Anna Gritz, and Ghislaine Leung. Including the work of Lutz Bacher, stanley brouwn, Jay Chung & Q Takeki Maeda, Hanne Darboven, Jef Geys, Tishan Hsu, Pope L., Louise Lawler, Carolyn Lazard, Ghislaine Leung, Lee Lozano, Henrik Olesen, Sarah Rapson, Margaret Raspé, Ketty La Rocca, Sturtevant, Martin Wong and Octavia E. Butler.

Produced on the occasion of the exhibition Jef Geys: Painting Clouds at Micheline Szwajcer, Brussels, 11 December, 2015–23 January, 2016

Since the early 1960s, in addition to his interlocking artistic and pedagogical work, Geys was also involved in the production and distribution of a local newspaper, the Kempisch Reklaamblad, on whose pages he began to publish various textual and pictorial material among the advertisements placed therein. After it was discontinued, Geys took over the paper and continued it under his own direction as Kempens Informatieblad.

Functioning as an alternative to the conventional artist catalog, the issues, over 50 in total, were mostly published in connection with his exhibitions. As an information system directed by the artist, it successively developed into a kind of meta-medium within his practice, through which he himself organized his representation and mediation—beyond the exhibition context.

Since the early 1960s, in addition to his interlocking artistic and pedagogical work, Jef Geys was also involved in the production and distribution of a local newspaper, the Kempisch Reklaamblad, on whose pages he began to publish various textual and pictorial material among the advertisements placed therein. After it was discontinued, Geys took over the paper and continued it under his own direction as Kempens Informatieblad.

Functioning as an alternative to the conventional artist catalog, the issues, over 50 in total, were mostly published in connection with his exhibitions. As an information system directed by the artist, it successively developed into a kind of meta-medium within his practice, through which he himself organized his representation and mediation—beyond the exhibition context.

In 2015, the Frans Masereel Centre started a collaboration with Geys to publish parts of his archive. The first archive publication, Archief 1 and Archief 2, consists of two thick volumes in A4 format with more than 800 scanned archive documents, and appeared on the occasion of Geys’s solo exhibition in the SMAK in 2015. The material was presented as it was, without any explanation or hierarchy. Archief 6 and 7 (2022) are the final two volumes in the series. Edited by Sofie Dederen.

In 2015, the Frans Masereel Centre started a collaboration with Geys to publish parts of his archive. The first archive publication, Archief 1 and Archief 2, consists of two thick volumes in A4 format with more than 800 scanned archive documents, and appeared on the occasion of Geys’s solo exhibition in the SMAK in 2015. The material was presented as it was, without any explanation or hierarchy. Archief 6 and 7 (2022) are the final two volumes in the series. Edited by Sofie Dederen.