Being at once a school and at the same time not a school, a workspace, the WT tends to want to comment on its own distinctive form of academic pursuit (by way of, amongst other outlets, these School Journals). And during this sometimes faltering, sometimes successful quest, I’ve often thought about Jacques Rancière’s Ignorant Schoolmaster. Five Lessons in Intellectual Emancipation, not least because it outlines an “intellectual adventure” whereby any hierarchy amongst the students and between them and their tutor dissolves.—Maxine Kopsa, ‘Editorial Considerations’ (excerpt)

Including the work of Guy de Cointet, Ian Hamilton Finlay, Scott Ponik, David Lieske, Stephen Willats, Na Kim, Morgan Fisher, Karl Nawrot, Boy Vereecken, Cecilia Costa, Joris Kritis, Julie Peeters.

First issue of an annual magazine of photographic stories, edited and designed by Julie Peeters. Twelve contributors present new or previously unpublished work. BILL prioritizes visual reading without distraction, the images that appear in the magazine are printed without any accompanying text. Contributors to the first issue are: Jochen Lempert, Ketuta Alexi-Meskhishvili, Katja Mater, Elena Narbutaite, Rosalind Nashashibi & Vivian Suter, Arthur Ou, Scott Ponik, Adam Putnam, Johannes Schwartz, Algirdas Šeškus, Linda van Deursen, and Stand Up Comedy.

Published on the occasion of Mechanisms, a group exhibition at CCA Wattis Institute (October 12, 2017 to February 24, 2018). It includes an essay by curator Anthony Huberman as well as contributions from artists Zarouhie Abdalian, Terry Atkinson, Lutz Bacher, Eva Barto, Neil Beloufa, Patricia L. Boyd, Jay DeFeo, Harun Farocki, Richard Hamilton, Aaron Flint Jamison, Jacob Kassay, Garry Neill Kennedy, Louise Lawler, Park McArthur, Jean-Luc Moulène, William Pope.L, Charlotte Posensenke, Cameron Rowland, and Danh Vo. Trisha Donnelly designed the cover.

Instead of documenting the exhibition, the catalogue reflects and expands on some of its core ideas. Designed by Scott Ponik and Julie Peeters, the book’s fabrication makes use of different printing techniques and “machines,” including an offset printer, a letterpress, and thermography, as well as a wide range of natural and synthetic paper stocks. Contributions by each of the exhibiting artists range from photo essays, theoretical essays, video transcripts and stills, interviews, and works designed especially for the page.