Diary of Dreams

Time has fallen asleep in the afternoon sunshine Appendix #3 Orality includes contributions by Simon Asencio, Bruno De Wachter, Peter Szendy, Clara Amaral, Itziar Okariz, Jude Joseph, Léa Poiré and Mette Edvardsen.

Time has The Appendixes #1–4 is an editorial series by Mette Edvardsen, Léa Poiré and Victoria Pérez Royo that developed out of the project Time has fallen asleep in the afternoon sunshine. For a two-year residency at Les Laboratoires d’Aubervilliers* (2022–23), they came together as a small work group, shaping the work process, hosting presentation formats and making this publication series on paper as four cahiers.

The cahiers comprise a collection of commissioned texts and contributions created for this context, selected documents and traces from work sessions and encounters organized during their residency, texts read together and republished for this occasion, a collection of references, notes in progress, unfinished thoughts and loose fragments – on paper, between pages.

The Appendixes are organized around four themes: (1) The gesture of writing, (2) How to organize a library, (3) Orality and (4) Translation. In addition to being published on paper, the editorial series also consisted of other formats of presentations, exchanges and meetings organized as workshops, fieldwork, performances, conferences, collective readings and oral publications, taking place during their residency at Les Laboratoires d’Aubervilliers and in the vicinity.

The Appendixes is the work that continues, material that adds on, some of it perhaps too long or too detailed, unfit or unfinished. The four themes that their research is formulated around originate in specific experiences and questions from the practices of Time has fallen asleep in the afternoon sunshine (2010 – ongoing), and also the large publication on the project ‘A book on reading, writing, memory and forgetting in a library of living books’ (2019). The research was both a means of exploring these themes in greater depth and also of bringing them into contact with other artists and researchers working on similar or related subjects. The Appendixes offered them both the contexts and the pretexts for things to happen (in time, in space, on paper).

The Appendixes #1–4, published in these cahiers, do not present an overview or a summary of all of the activities and presentations that took place during the two years at Les Laboratoires d’Aubervilliers. What these cahiers offer is a space in which to hold some thoughts together and to share them in this form. It is one more step along the way, extending the research and work already begun and that will now continue.

A comprehensive retrospective of the Spanish artist's work, covering his major exhibitions (Manifesta, Reina Sofia, MACBA, Raven Row, etc.) and including all of his texts published as fanzines over a period of twenty years, a new critical essay by Kim West, and a wide-ranging conversation.

Conceived as a compilation of works and writings of the last two decades, this book is structured as an alternating succession of four different registers: four recurrent modes. A long-form interview, a series of questions from different collaborators, documentation of a selection of projects, and a compilation of the facsimilia of the brochures published by the author since 2008. The aim of this concatenation of recurring sections is to delay the linear progression suggested by the narrative of a compilation, by the apparent causal string of decisions, ideas, references and works displayed as an accumulative "biography" of the artist's practice. However, this being a bound book, the suggestion of an interwoven relation between all the works, regardless of when, where or how they were made, must submit to the order locked by the sewn spine of its signatures, the folder of bound pages that forms each section of a book.

Designed by Filiep Tacq, the book includes an essay by Kim West and a long-form interview by Beatriz Herráez, punctuated by questions from Filiep Tacq, Lisa Tan, Jon Mikel Euba, Antonio Menchen, Alex Valijani, Johanna Gustafsson Fürst, Itziar Okariz, Olatz Otalora, Antonia Majaca, Pablo Lafuente and Koenraad Dedobbeleer.

Sophie T. Lvoff revient avec « The Prime Times, Volume 2 » à l'occasion de la fin de sa résidence aux ateliers de la ville de Marseille, bye, bye! Au travers de poèmes en haïku, de gros titres et de photographies de son atelier traversé par la lumière du jour au milieu de l’après-midi, le journal chronique la torpeur des longues journées de travail mêlées d’attente, de glimpses et de glances. En attendant the prime time, Sophie lit les nouvelles sur son téléphone, parcourt paresseusement sa bibliothèque, écrit des emails à des amix éloigné·es et parfois à elle-même. Elle note des blagues et des poèmes dans son cahier, mange des snacks, doute d’elle-même, fume, jette des regards autour d’elle, jusqu’au moment précis où la photo doit être prise.

Sophie T. Lvoff is back with « The Prime Times, Volume 2 »! Through haiku poems, headlines, doodles and photographs of her studio pierced by mid-afternoon daylight, the journal chronicles the torpor of long workdays mixed with waiting, glimpses, and glances. While waiting for the prime time, Sophie reads the news on her phone and lazily reads her collection of books, writes emails to far-away friends and sometimes to herself. She notes things in notebooks and writes jokes and poems, stretches, eats snacks, doubts herself, smokes, glances around, until the precise moment when the picture has to be taken.

Hardcover, offset printing, 508 p., 31.8 x 25 cm.  Printed by Cultura, Gent
Edition of 265 copies. A deluxe edition, accompanied by an original work numbered n/508  (oil pastel on paper A3), has been produced in 35 copies signed and numbered by the artist .

Contributions by: Nicole-Antonia Spagnola, Georgia Sagri, John Kelsey, Matthew Pang, Cathy Wilkes, Sarah Rapson, Nick Irvin, Gene Beery, Anne Dressen, Anne Pontégnie, Jacqueline Mesmaeker, Sara Deraedt, Anne Rorimer, Kari Rittenbach, Olga Balema, Maria Nordman, Louise Lawler, Julie Ault, Martin Beck, Adrian Morris, Matt Browning, John Miller, Envers Hadzijaj, Enzo Shalom, Bedros Yeretzian, Morag Keil, Helmut Draxler, Gianna Surangkanjanajai, Steve Cannon, Rae Armentrout, Zoe Hitzig, Pierre Guyotat, Lola Sinreich, Fanny Howe, Hélène Fauquet, Marie Angeletti, Richard Hawkins, Andy Robert, Alexander García Düttmann, Daniel Horn, El Hadji Sy, Henrik Olesen, Aurélien Potier, Richard John Jones, Stéphane Barbier Bouvet, Nora Schultz, Peter Fend, Megan Francis Sullivan, Jill Johnston, Sturtevant, Tonio Kröner, Bernard Bazile, Pierre Bal-Blanc, Jérome Pantalacci, Gérard Traquandi, Gladys Clover, Maria Wutz, Jimmie Durham, Richard Sides, Camilla Wills, Michael Callies, Steven Warwick, Matthew Langan-Peck, Dan Graham, Nina Könnemann, Hans Christian Dany, Valérie Knoll, Win McCarthy, Eleanor Ivory Weber, Anna Rubin, Heji Shin, Michèle Graf & Selina Grüter, Inka Meißner, Simone Forti, Morgan O’Hara, Angharad Williams, Ye Xe, Lily van der Stokker, Yuki Kimura, Peter Wächtler, Eva Steinmetz, Michael Van den Abeele, Marc Kokopeli, Bradley Kronz, Robert Grosvenor, Samuel Jeffery, Charlotte Houette, Adam Martin, Wade Guyton, Chloe Truong-Jones.

Edited by Marie Angeletti with Gianmaria Andreetta and Camilla Wills.

Printed in December 2022.
416 pages, Edition of 840.
© 2022 Claude Balls Int. / the author(s).

Catalog is a serial publication about cataloging, written by Lieven Lahaye and designed by Ott Metusala. This is Catalog issue 17, ‘Introduction’, it’s part of a sub-series, researching the life, work and near invisibility of writer Duncan Smith (1954–1991).

Exclusive works designed by Laure Prouvost for her carte blanche at the Mucem in Marseille, a series of immersive and poetic installations in the heart of Fort Saint-Jean, photographed by Raphaël Massart for this cut-out book, between an artist's book and an exhibition catalogue, accompanied by drawings and critical texts.

For the Mucem, Laure Prouvost has created a series of immersive installations in the heart of Fort Saint-Jean. Repurposed everyday objects, glass sculptures, sound mirages, and underwater videos shot in the depths of the calanques and around Frioul compose a sensitive and poetic universe. Between fiction and reality, the artist invites visitors on a sensory journey where everything is transformed: forms, narratives, and life itself.
The book was conceived as a visual journey leading from the Old Port of Marseille to Fort Saint-Jean and into the very heart of each work. To recreate this encounter between artist Laure Prouvost and the Mucem, there is a constant dialogue between the exterior—the sea, the stone of the fort—and the interior—the intimacy of the installations that unfold in the air, in the bowels of the earth, and underwater... Designed in close collaboration with the artist, the book captures this moment through photographic work carried out especially by Raphaël Massart and an evocative form designed by the artist: like a book that also floats in the Mediterranean. To accompany this visual unfolding, a booklet embedded in the heart of the book contains texts by Hélia Paukner, curator of the exhibition, and Mathilde Roman, art historian.

Published on the occasion of the eponymous exhibition at the Mucem, Marseille, in 2025.