the mind is the body

The artist book Amanda is greatly inspired by “Tradeswomen” quarterly magazine for women in blue-collar work, published in the 1980’s and 1990’s in the United States. Amanda is similarly thought as a periodical dealing with the subjects of technology and industry from a feminist (not solely female) angle. The first issue contains fiction stories of an emancipatory character, citing trade associations, oil industry in Iran and ghosts of the printer feeders.

The publication is made in the framework of The Building Institute, an experimental organisation aiming to strengthen the position of femmes builders in the domain of technical construction work. Amanda brings together literary texts by Maria Toumazou, Samantha McCulloch, Sepideh Karami and Madeleine Morley, combining fiction stories with visual artwork. 

Olga Micińska is a visual artist currently living in Amsterdam. Graduated from the MA Art Praxis program at the Dutch Art Institute and holds an MFA in Sculpture from the Academy of Fine Arts in Warsaw. Also trained as a woodworker, collaborates with craft studios of various domains. Recently she has initiated The Building Institute.

The Building Institute (TBI) is an experimental platform aiming to emancipate the undermined knowledges dwelling in the craft domains, and to unpack diverse questions related to technology and the means of production. TBI combines art’s speculative competences with the grounded practice of manual labor, manifesting its objectives through educational activities, exhibitions, and publications.

Featuring coloured pencil, watercolour, ink, airbrush, acrylic and graphite, alongside other more unusual media like sand, silicone or olive oil, this book is a sumptuous, visual document of Marten's drawing and painting practice on paper. Designed as an unruly "artist's book", Treatise of a Coat has multiple physical and linguistic folds. The title is a forcing of the homonymic similarities of coat: the literal jacket that is unfurled to expose the naked and unruly shame of human forms; the fur or hair of an animal; the verb-function of to coat, with its intentional building up of visual desire - the acts of lacquering, spreading, enclosing, flooding, directing, or husking that line and colour expedite when creating an image. The constituent materiality of this book is designed with the physicality of making a work on paper in mind.

A veritable panorama of Art Brut at an international level, through 180 works selected from Bruno Decharme's collection.

Art brut has never ceased to shake up the history of art and nourish minds resistant to norms as it questions classic notions of art and creation as well as those relating to the normal and the pathological. But who are they, these artists of a special kind, witnesses to another world, strangers to stylistic trends and influences? They stay—or are kept—away from the culture of fine art as well as the codes and places that constitute it such as schools, academies, museums, art fairs, etc.

Featuring A.C.M., Noviadi Angkasapura, Anselme Boix-Vives, Marie Bodson, Giovanni Bosco, Gustavo Enrique Buongermini, Aloïse Corbaz, Fleury-Joseph Crépin, Egidio Cuniberti, Henry Darger, Fernand Desmoulin, Janko Domsic, Dong-Hyun Kim, Jaime Fernandes, Eugen Gabritschevsky, Pietro Ghizzardi, Madge Gill, Paul Goesch, Jorge Alberto Hernández Cadi, Paul Humphrey, Zdeněk Košek, Joseph Lambert, Gustave Pierre Marie Le Goarant de Tromelin, Augustin Lesage, Pascal Leyder, Alexander Pavlovitch Lobanov, Ramon Losa, Dwight Mackintosh, Lázaro Antonio Martínez Durán, Mettraux, Edmund Monsiel, John Bunion Murray, Iwona Mysera, Koji Nishioka, Masao Obata, Jean Perdrizet, M. Pierron, Photographies Spirites, Miloslava Ratzingerová, Marco Raugel, Achilles G. Rizzoli, Leopold Strobl, Harald Stoffers, Mose Tolliver, Melvin Way, Scottie Wilson, Adolf Wölfli, Anna Zemánková, Carlo Zinelli, Unica Zürn.

CSV Edition + CSV Edition (Extended Version)

Inspired initially by Jerome Rothenberg’s translation Flower World Variations, which Cecilia Vicuña first encountered in 1985, Deer Book brings together nearly forty years of the artist’s poetry, “poethical” translations, and drawings related to cosmologies and mythologies surrounding the deer, and sacrificial dance in cultures around the world.

Woven like one of her quipu installations, Vicuña’s texts—which include original compositions in Spanish as well as English translations by Daniel Borzutzky—become meditations on translation, not just of the sacred nature of this animal but on how our understandings of ceremony and ritual are transformed, by this ongoing process. Taken as inspiration rather than conundrum, the impossibility of translation opens up poetic possibilities for Vicuña as she continues her lifelong exploration into the nature of communication across eras and distant lands, languages and shared symbols within Indigenous spiritualities.

Wind & De Wilgen (English/Dutch) was designed by Lawrence Weiner and published on the occasion of the execution of his work Wind & The Willows in the Openluchtmuseum voor beeldhouwkunst Middelheim, Antwerp.

Lawrence Weiner was an American artist and one of the central figures in the formation of conceptual art in de 60s. His work was strongly language-based and often took form in typographic texts, also visible in this artist book. 

Edition of 1000 copies