Janice McNab - Galaxy Ballroom - A Dance with Hilma af Klint

Jap Sam 2024 ISBN 9789493329218 Acqn 36304

Pb 20x25cm 104pp col ills £26.50

In Galaxy Ballroom, Scottish/ Dutch artist and writer Janice McNab traces the influence of the
imaginary kurbits flower in The Ten Largest (1907), a breakthrough work of early Modernism by
Swedish artist Hilma af Klint. These paintings were barely known until recently and as she
rummages rural archives for more information, McNab is also thinking about her own past.
Moving between now and then, she responds to af Klint with a new set of paintings and an
exploration of the way the climate emergency is producing new insights into the art of the past.

The stitched flowers that she sees repeated in af Klint's work came out of the Swedish
countryside and pre-modern ideas of connection with land. They originally held a code handed
down from mother to daughter. Suffragettes provided af Klint with the keys to its painterly
transformation, making farmers and militants as essential to the artist's breakthrough as her more
famous Spiritualist collaborators. McNab's own textile archive amounted to a single silk scarf that
had belonged to her mother. The ten paintings of Our Spectral Gardens turn its 1950s design into
distorted land-scapes full of cuts and holes. They were made as the artist was losing her mother
to dementia. Repeatedly painting the scarf had become their last remaining tie. The loss of mind
at the heart of Our Spectral Gardens is not her mother's however, it is environmental destruction
and our shared bewilderment in the face of it.

McNab's archival work advances the research on a woman artist who was ignored for most of the
twentieth century, but this book traces a wider inheritance. It is part of a growing focus on past
ecological visions lost in our rush towards progress.

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The Space of Technicity
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Pb 17x24cm 268pp col ills £34.50

Desperate times demand optimistic transdisciplinary measures. This volume unites a select group
of thinkers who courageously traverse disciplinary boundaries. What brings them together is the
least stratified 'component': a shared problem. It is a widely recognised that a problem gets the
solution it merits. However, only a few acknowledge that a problem seldom neatly fits within a
single discipline, nor does it conform to the principle of general equivalence. Handling its
irreducibility and non-entailment is a skill possessed by very few. Even fewer take the quasi-
causal capacity of what we term the 'space of technicity' seriously.

The space of technicity, the shared problem of this volume, is a consequence of immanence.
Each configuration of surfaces comprising the built environment produces an intangible effect,
acting as a quasi-cause. It can be referred to as downward causation or the timely rediscovery of
(neo)finalism.

In this volume it approached it from the perspective of axiology. The space of technicity allows us
to evade techno-determinism without adopting an anything-goes attitude. That which has become
manifest could have individuated differently. However, the potential of a body cannot be
discerned before intervening in the causal fabric of agential reality to extract the singular points
that make certain outcomes more likely than others, surpassing mere probability.

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Remy Jungerman - Tracing the Lines - Patterns from the African Diaspora
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Pb 17x24cm 128pp col ills £24.50

This enlightening look inside the work of celebrated artist Remy Jungerman traces how the
patterns and shapes seen in twentieth-century Maroon shoulder capes from Suriname as well as
the quilts of Gee's Bend, Alabama, have influenced his recent body of work. A journey through
time, memory and culture, Tracing the Lines also tells the larger story of how geometric patterns
from West Africa made their way across the ocean to the Americas during the transatlantic slave
trade.

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Jacqueline Peeters - Paintings dedicated to her muse
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Hb 24x32cm 16pp col ills £22

Addressing the multiple identities that people have, Jacqueline Peeters adopts titles of works by
renowned artists: La Multresse (after Matisse), Waiting woman (after George Minne) or Anglaise
(after Courbet). A recent series of paintings, Lenders Leihgeber Preteurs, contains long lists of
names of art collectors. They are a homage to the art of painting, to admired artists such as
Fontana and Kippenberger, and to pioneering art collectors.

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Tirzo Martha - Chronic Monochrome
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Pb 16x23cm 208pp col ills £25.50

The works were created after the artist was admitted to hospitals in Colombia and Curacao in
2018 following a heart infection, and also mark a turning point in Martha's oeuvre. A selection
from this series is also on display in the Netherlands for the first time in the Intensive Care
exhibition at museum van Bommel van Dam.

Authors Adi Martis and Rob Perree elaborate on the themes in this series and its position within
Martha's oeuvre in their contributions in the book. In an intimate interview, curator Sjors Bindels
talks to Tirzo Martha about his position as an artist in the Netherlands and Curacao.

This second monograph on the work of artist Tirzo Martha (Willemstad, Curacao 1965) offers a
compelling compilation of his newest art works, mixed media performances and installations.

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Marc Bijl - The Works 1984-2084
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Pb 19x29cm 272pp col ills £26.50

In Marc Bijls' catalogue for a fictional survey exhibition in the year 2084, time comes to us from
the future. Bijl considers himself an observer of society, of everyday conditions and contemporary
culture. In a society structured by narratives and fictions, by immaterial scripts that insinuate
themselves into lifestyles, institutions, and ideology, he turns his attention to concealed myths,
codes and structures that order everyday life. He leads us into the year 2084 and from there,
back to the aesthetics of the 1980s. In a body of work that forms a critically purposeful montage
of observations, Bijl playfully combines methods of appropriation and deconstruction, drawing
from counter-cultural traditions and the real-time iconography of "high" and "low" culture alike.
The works that result from the appropriated and manipulated sources (in media including
painting, installation, sculpture, video, posters, stickers and legally marginal interventions in public
space) are unfailingly inventive within the artist's unique stylistic idiom, which bears the influence
of pop, punk and goth culture.

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Home Made Energy - Bastienne Kramer
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Pb 21x30cm 224pp col ills £34.50

Dutch artist Bastienne Kramer (1961) is based in Amsterdam. During and after her studies at the
St Joost School of Art & Design, Breda, and the Rijksakademie van beeldende kunsten,
Amsterdam, travelling became a great source of inspiration for her. She has participated in
several residencies including at the Ku_nstlerhaus Bethanien in Berlin, Sanskriti Kendra in New
Delhi, and Atelier Holsboer in the Cit. internationale des arts in Paris, and spent several working
periods at the European Ceramic Work Centre in 's-Hertogenbosch and Oisterwijk. Her work is
shown nationally and internationally and is included in several collections. In addition to various
positions in art education, she was head of the Ceramics Department at the Gerrit Rietveld
Academy, Amsterdam. Her work has been featured in exhibitions worldwide at venues such as
Gemeentemuseum Den Haag, Museum het Princessehof, Museum Beelden aan Zee, Salone
Internationale del Mobile, Milano (IT), Kunstlerhaus Bethanien, Berlin (DE) and National Gallery
of Modern Art New Delhi (IN). Her work is also represented in numerous collections including
Rijksmuseum voor Oudheden in Leiden, Ministry of Foreign Affairs/The Hague, Nationaal Glas
Museum/ Leerdam and Guangdong Shivan Ceramic Museum, Foshan (CN).

Kramer's work is in the fields of sculpture and installation. She combines familiar and unfamiliar
objects in unorthodox ways that lead to completely contrary and sometimes even usable objects.
While her works are highly distinctive in form and figuration, all the interventions comment on
cultural and political phenomena within societies. In 2019, Kramer had a solo exhibition at the
Kunstvereniging Diepenheim, Diepenheim. This exhibition provided the impetus for a survey of
her work in the form of a book. As the first wave of the pandemic ruled out physical encounters
for an indeterminate period of time, the idea of 'a book as an exhibition' developed into HOME
MADE ENERGY.

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Caja Boogers - As far as I know
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Hb 23x30cm 128pp col ills £39.50

Caja Boogers' paintings generally focus on altering viewers' perceptions. To do so, he uses
painting conventions such as the usage of perspective, diptychs and repetition, and forces a
connection between these formal elements and the painted subject. He believes that all of these
elements are inextricably connected to the viewers experience. His work is often characterised by
layers and scratches, as well as little imperfections on the surface, and can vary from
photorealistic paintings to monochrome abstractions.

Because of his uniform way of presenting, Boogers ultimately creates a connection between the
work and the space. This spatial quality takes the emphasis off the singular image, and forces
you as a viewer to look at the work as a whole. His craftsmanship enables him to present the
image in a manner that prompts viewers to question what they are seeing- if it's even a painting-
reminiscent of trompe l'oeil techniques.

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Club Solo 2014-2024 - Everything all together in one space at one time
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Pb 24x30cm 128pp col ills £17.50

This publication is a three-part summary of the past ten years. The first part contains an overview
of ten years of Club Solo, along with two personal essays in which artist and writer Frits Dijcks
examines this period. His essays are followed by a programme timeline and a visual collage of
events that have taken place at Club Solo. Each volume is accompanied by two randomly
selected publications by artists whose work has been shown at Club Solo.

SOLO's: It Is Part Of An Ensemble, Peggy Franck, Christiaan Bastiaans, Peter Morrens, Dick
Verdult, Wineke Gartz, Marcel Pinas, Caroline Coolen, Ansuya Blom, Jean Bernard Koeman,
Aaron van Erp, Kees Goudzwaard, Marjolijn Dijkman, Cecile Verwaaijen, Wafae Ahalouch,
Michele Matyn, Merijn Bolink, Stijn Ank, Julika Rudelius, Joke Robaard, Karel Doing, Stijn
Peeters, Keiko Sato, George Korsmit, Hester Oerlemans, Klaar van der Lippe & Bart Stuart,
Gerald van der Kaap, QS Serafijn, Karin Arink, Ine Lamers, Gert-Jan Prins, Ton Boelhouwer, Iris
Kensmil, Peter Otto, Voebe De Gruyter, Erik Wesselo, Wesley Meuris, and Antonietta Peeters.

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Footprint 33 - Situating More-Than-Human Ecologies of Extended Urbanisation
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Pb 19x26cm 136pp col ills £21.50

Footprint 33 explores techno-natural spatialities and materialities found across operational

landscapes of primary production. To the extent that these landscapes are increasingly
automated and digitised, production and circulation practices are becoming more capital intensive
and even less labour-intensive. While amplifying the precarity of human labour, this process relies
on appropriating the work of more-than-human assemblages of machines, plants, animals and
microorganisms. Central to the focus of this issue is understanding the way these processes are
grounded in specific architectural and landscape configurations. In this way, we also aim to
complement the debates on past issues of Footprint, offering an investigation of the impact of
technological transformations beyond the concentrated landscapes of human inhabitation.

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