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Unbound accompanies Karel Martens’ first solo exhibition at the Stedelijk Museum Amsterdam, bringing together a wide-ranging body of work Karel made and collected over the entire span of his decades long career. Containing works from the show, collaged, overprinted and juxtaposed with elements found around his studio, the book balances between being an artist book and a catalog. “This publication, thoughtfully designed by Jordi de Vetten and Susu Lee in close collaboration with Martens himself, functions as a handbook to his work. But it’s an unconventional one: unstructured, non-hierarchical, playful, personal, and associative.” With texts by Thomas Castro, curator of the exhibition and Rein Wolfs, director of the Stedelijk Museum.
This catalogue for an exhibition of work by Marlene Dumas at the Museum of Cycladic Art in Athens features over 40 paintings and works on paper. It offers a cross-section of the artist’s challenging representations of the human body. The works were gathered from different phases of the artist’s life, in order to make combinations that would make sense to be shown together with works from the museum’s collection, and are grouped into four categories: the family portrait, erotic figure, fragmented body, and portraits of sculptures. In this way her artworks enter into an anachronistic dialogue with the abstracted human forms of Cycladic figurines crafted by unknown artists several millennia ago.
A tear-off calendar for 2026 by Dutch graphic designer Karel Martens. For each day of the year, Martens has created a unique arrangement, originally constructed using his signature method of printing letterpress monoprints from found metal forms, and then digitized to comprise 365 compositions in total. Every day is a new day!
Invited to exhibit on the Mauvoisin Dam in Switzerland, Camille Llobet created a photographic series capturing a glacial landscape in transition. Shot on and around the moraines of the Mer de Glace, the images reveal a layered world of rock, ice, and sediment - remnants of a largely vanished glacier. Through diptychs that often exclude the sky and horizon, Llobet invites viewers to re-experience the scale and materiality of this grey-toned terrain. The book also features an in-depth interview with Jean-Paul Felley, in which Llobet discusses her working process, collaboration with geomorphologists, and the choreography of mountain landscapes in flux.
A set of 12 postcards by Karel Martens, published to accompany the first major retrospective exhibition at Stedelijk Museum Amsterdam.
Jordi de Vetten describes his photographs as a visual testament to the mundane as found in the landscape. While moving past houses and photographing roads, he stumbles upon the most everyday but unusual scenery. From nondescript homes and shadows cast over empty fields to a crumpled electrical transmission tower, scattered jigsaw puzzle pieces, and a piano that seems to have been left behind in a park, the images kindle the observer’s curiosity despite their anonymous and unremarkable appearance.
This book, 'A Model', parallels an exhibition at Mudam Luxembourg – Musée d’Art Moderne Grand-Duc Jean. The museum’s director Bettina Steinbrügge conceived this exhibition as a conversation with the ever evolving contemporary art museum. This publication, with an essay about the roles museums can take, in theory, in practice, and in use, enacts how Steinbrügge engages the artists in the exhibition to sit with this shifting idea. Commissioning major works by Nina Beier & Bob Kil, Rayyane Tabet, Oscar Murillo, or Claire Fontaine and historical works by Alvar Aalto and Tomaso Binga the exhibition uses the format of prologue, body, and epilogue to overlap gestures in the museum space. Likewise, this book engages the designer Julie Peeters, photographer Adrianna Glaviano, and artist Jason Dodge as editor to stage a publication that makes a new exhibition, 'A Model', between these pages.
Artist and critic Stanley Wolukau-Wanambwa presents ‘INDEX 2025’, a book constituted by cuts, folds, citations, terms and images, all of which explore the resonance of its (im)proper name. The book may have begun in the summer of congressional Kente cloth, in the operation of summer camps, or in the imprecise materiality of social distance. Its origins are certainly multiple, multiply uncertain, as stable as any reflection given in space over time. Or, as fixed as any photograph.
The thirteenth volume of Irene Kopelman’s Notes on Representation series is connected to the exhibition ‘Una cuestión de encuadre’ at the Museum of Contemporary Art of Panama. It presents three series of works developed in collaboration with the Smithsonian Tropical Research Institute (STRI) in Panama in 2024. Featuring contributions by the artist and scientists, it offers a model for interdisciplinary practice rooted in long-term exchange. It also marks the occasion of Kopelman’s appointment as the first non-scientist to be named Research Associate at STRI – a formal recognition of her enduring engagement with the institute’s work and the Panamanian landscape.
A room full of colours! Renowned for his inventiveness, and his playful and experimental approach, Karel Martens is also resourceful, able to accomplish a lot with very little. Selected from 216 variations, this hand-picked unique set of twelve A4 sheets can be composed as wallpaper. A special edition release, the sets are released on the occasion of the exhibition ‘Karel Martens – Unbound’ at the Stedelijk Museum in Amsterdam, the first major retrospective of one of the most influential post-war graphic designers of the Netherlands.
Published on the occasion of a solo show by Willem Oorebeek at WIELS in Brussels, this richly illustrated book presents re-readings of fifty years’ work and the materiality of production. These are numbered according to recollection, organised under headings, and translated from Dutch to English. The translations are coloured by two years of conversation with editor/designer Will Holder –accounting for ambiguity, rabbit-holes, and an [un]conscious preference for “quasi-” “ofschoon...” “enzovoort.” Repetition, alliteration, and other material, musical and metric devices are placed on the page, quite intentionally, designed “an sich” to facilitate memory and recall.