Waters' Witness #02

Ladies wear the blue is a collection of watercolour drawings by the hand of Melissa Mabesoone and Oshin Albrecht. The blue watercolours portray women from different moments in time. The adjacent texts describe these women's existence, roles, desires or ideosyncrasies deriving from the 'blue' in their lives. From the first female police officers and Alices all around, to Courtney Love's blue baby dolls and the girl with the blue tattoo Olive Oatman, this publication is an ode to women venturing into the world, and a way to continue telling their herstories.

The 24h Book is a series of artist collaborations in book form. Each book is developed and produced according to a rigid schedule and with a clear set of rules and limitations.

Each artist is placed in a space with Studio The Future for 24 hours, during which time all content (including narrative, images, graphic design etc.) is conceived, produced, and printed.

Fugue is published on the occasion of the eponymous duo exhibition by artists Aaron Amar Bhamra and Céline Mathieu, presented at Jester in Genk, Belgium. The title, derived from the Latin fuga (flight), evokes both its musical and psychological meanings: a contrapuntal compositional technique and a state of dissociation. These dual connotations—aural and mental—resonate throughout the exhibition and this accompanying publication.

Céline Mathieu's work moves between the sensory and the conceptual, integrating multiple media to explore the circulation of thoughts and materials in relation to specific sites. Aaron Amar Bhamra's practice draws on recurring forms and materials to construct evolving personal and social archives, often reactivating exhibition spaces by engaging with their historical contexts.

In addition to documenting the exhibition, the publication features an introduction by Jester's artistic director Koi Persyn, a visual score of a sound composition by Charlie Usher, written contributions by Céline Mathieu, curator Eloise Sweetman, and researcher Johanna Schindler, as well as a series of analog photographs by Aaron Amar Bhamra.

Contributions by Koi Persyn, Céline Mathieu, Charlie Usher, Eloise Sweetman, Johanna Schindler, Aaron Amar Bhamra.

Austrian artist Aaron Amar Bhamra (born 1992) often procures exhibition spaces that subtly expose their systematics and physical experience by incorporating imprints reminiscent of other spaces or past exhibitions. He occasionally uses recurring forms and materials, weaving a site of shifting personal and social archives.

Céline Mathieu (born 1989) is a Belgian artist and writer. Her practice is often site and condition specific, using sound, scent, sculpture, performance, text and different materials in performative installations. The work is both sensory and conceptual. Her work looks into the circulation of thoughts and materials. Material and economic cycles merge with hyper-personal items, resulting in fluid work that cannot quite be pinned down.

The Chroma Series lists elements of reality and systematically changes their color to evoke monochrome universes. The resulting poems may be conceived as mental films where quick-change art coexists with nonsense and politics.

Conceived as a visual résumé, Installation Views provides both a comprehensive overview of Charlotte Posenenske's solo exhibitions and a record of her numerous group shows.

In her Manifesto, Charlotte Posenenske stated: "I find it difficult to come to terms with the fact that art can contribute nothing to the solution of pressing social problems."
Developing her artistic practice throughout the 1960s, Posenenske produced a body of work that uniquely combined several strands of the art of the period: conceptualism, minimalism, and socially engaged participatory art. Her Manifesto, published in Art International in May 1968, lays out the social demands on art as well as the impossibility of fulfilling those demands. Shortly after its publication, Posenenske left the art world behind to pursue her studies in sociology, undertaking a new career in that field.

Conceived as a visual résumé, Installation Views provides both a comprehensive overview of Charlotte Posenenske's solo exhibitions and a record of her numerous group shows. The book features an essay written by curator Erlend Hammer on the role of documentary photographs in the circulation of works of art. 

The book was published in conjunction with the eponymous show at the Haugar Art Museum in Tønsberg, Norway—the first full-scale presentation of the artist's oeuvre in Scandinavia. The exhibition showcased works from all the artist's major series of modular sculpture. Consisting of works made over the course of less than 12 months, between 1967 and 1968, preceding the abrupt end to Posenenske's career as an artist, the exhibition had the character of a snapshot. We are left wondering whether her withdrawal from the art world was a logical or necessary consequence of the development of the series. What are we to do with Posenenske's assertion that art is powerless to effectively change society for the better?