garadinervi : repertori – bulletin : weekly recap

June 14-20, 2025

Jun 22, 2025

Edmund Fry, Typography (i), Visual Writing (i)

Letterform Archive, San Francisco, CA; Internet Archive: Pantographia; containing accurate copies of all the known alphabets in the world..., Cooper and Wilson, London, 1799, pp. 230-231; (2); (3); (4); (5); (6).

Edmund Fry, Pantographia; containing accurate copies of all the known alphabets in the world…, Cooper and Wilson, London, 1799, pp. 4-5 [Letterform Archive, San Francisco, CA] — *Pantographia; containing accurate copies of all the known alphabets in the world…* (pp. 4-5)

Edmund Fry, Pantographia; containing accurate copies of all the known alphabets in the world…, Cooper and Wilson, London, 1799, pp. 12-13 [Letterform Archive, San Francisco, CA] — *Pantographia; containing accurate copies of all the known alphabets in the world…* (pp. 12-13)

Edmund Fry, Pantographia; containing accurate copies of all the known alphabets in the world…, Cooper and Wilson, London, 1799, pp. 82-83 [Letterform Archive, San Francisco, CA] — *Pantographia; containing accurate copies of all the known alphabets in the world…* (pp. 82-83)

Edmund Fry, Pantographia; containing accurate copies of all the known alphabets in the world…, Cooper and Wilson, London, 1799, pp. 156-157 [Letterform Archive, San Francisco, CA] — *Pantographia; containing accurate copies of all the known alphabets in the world…* (pp. 156-157)

Edmund Fry, Pantographia; containing accurate copies of all the known alphabets in the world…, Cooper and Wilson, London, 1799, pp. 228-229 [Letterform Archive, San Francisco, CA] — *Pantographia; containing accurate copies of all the known alphabets in the world…* (pp. 228-229)

Edmund Fry, Pantographia; containing accurate copies of all the known alphabets in the world…, Cooper and Wilson, London, 1799, pp. 230-231 [Letterform Archive, San Francisco, CA] — *Pantographia; containing accurate copies of all the known alphabets in the world…* (pp. 230-231)

Sabiha Basrai, Typography (ii), Visual Writing (ii), Design Education

Type History Toolkit, Part 2: De-Centering the Latin Letter in Design Education, Letterform Archive, San Francisco, CA, September 12, 2023.

Letterform Archive, San Francisco, CA: The Book of Typefaces and Printers' Auxiliaries, Gujarati Type Foundry, ca. 1937.

↗ Sabiha Basrai

Calligraphy (i), Visual Writing (iii), Manuscript

Letterform Archive, San Francisco, CA: Manuscript Fragment from Antiphonal, 1675.

Manuscript Fragment from Antiphonal, 1675 [Letterform Archive, San Francisco, CA]

Calligraphy (ii), Visual Writing (iv)

Letterform Archive, San Francisco, CA: Horae BMV Illuminated Manuscript Book of Hours, ca. 1470; (2); (3); (4).

From: Horae BMV Illuminated Manuscript Book of Hours, ca. 1470 [Letterform Archive, San Francisco, CA]

Morisawa Type Foundry

Letterform Archive, San Francisco, CA: Morisawa glass font, (glass font for phototypesetting machine; glass plate), Morisawa Type Foundry, Osaka, 1977; (2).

AGF

works for Sergiu Matis, (Digital album), 2025.

«These compositions are derived from collaborations with choreographer Sergiu Matis in beetween 2018-2024, they include audio for his stage pieces: Extinction Room, Hopeless, warpscapes, earthworks, Drang and Unruhe. The compositions are rearranged for this record release. Track 1 matteReality features Sergiu Matis drawing with metal on concrete for earthworks 2024. Some works include textures from previous AGF records, mainly Source Voice and SOLIDCITY»

↗ AGF
↗ Sergiu Matis

Alexandre Koyré, History of Science

Dal mondo chiuso all'universo infinito, (1957), Translation by Luca Cafiero, «Filosofie», Mimesis Edizioni, Sesto San Giovanni (MI), 2025; Cover Art: A Flammarion wood engraving by an unknown artist that first appeared in Camille Flammarion’s L'atmosphere meteorologie populaire, 1888, p. 163; «Un missionnaire du moyen àge raconte qu'il avait trouvé le point où le ciel et la Terre se touchent…».

Alexandre Koyré, (1957), Dal mondo chiuso all'universo infinito, Translation by Luca Cafiero, «Filosofie», Mimesis Edizioni, Sesto San Giovanni (MI), 2025 — *Dal mondo chiuso all'universo infinito* (2025, cover)

Dal mondo chiuso all'universo infinito, (1957), Translation by Luca Cafiero, «Storia della scienza», Feltrinelli, Milano, 1984.

Alexandre Koyré, (1957), Dal mondo chiuso all'universo infinito, Translation by Luca Cafiero, «Storia della scienza», Feltrinelli, Milano, 1984 — *Dal mondo chiuso all'universo infinito* (1984, cover)

Dal mondo chiuso all'universo infinito, (1957), Translation by Luca Cafiero, «Storia della scienza», Feltrinelli, Milano, 1981.

Alexandre Koyré, (1957), Dal mondo chiuso all'universo infinito, Translation by Luca Cafiero, «Storia della scienza», Feltrinelli, Milano, 1981 — *Dal mondo chiuso all'universo infinito* (1981, cover)

Dal mondo chiuso all'universo infinito, (1957), Translation by Luca Cafiero, «Storia della scienza», Feltrinelli, Milano, 1970.

*Dal mondo chiuso all'universo infinito* (1970, cover)

Ken Isaacs

Saint-Martin Bookshop, Bruxelles-Brussel; Les presses du réel, Dijon; Internet Archive: How to Build Your Own Living Structures, (1974), Edited by Pierre Hourquet and Christophe Daviet-Thery, Design by Pierre Hourquet, Text by Susan Snodgrass, Christophe Daviet-Thery, Paris, 2025.

Knowledge Box, (exterior view), 1962; in Ken Isaacs, the Matrix and the Establishment of the Quintessentially Modern, Interview with Susan Snodgrass by Maria Kruglyak / maat, MAAT – Museu de Arte, Arquitetura e Tecnologia, Lisboa, August 17, 2022.

Ken Isaacs, Knowledge Box, (exterior view), 1962 [MAAT – Museu de Arte, Arquitetura e Tecnologia, Lisboa. Courtesy the University Archives and Special Collections, Paul V. Galvin Library, Illinois Institute of Technology, Chicago, IL] — [Courtesy the University Archives and Special Collections, Paul V. Galvin Library, Illinois Institute of Technology, Chicago, IL]

MAAT – Museu de Arte, Arquitetura e Tecnologia, Lisboa: Chicago Living Structure, ca. 1961.

Ken Isaacs, Chicago Living Structure, ca. 1961 [MAAT – Museu de Arte, Arquitetura e Tecnologia, Lisboa. © Joshua Isaacs. Courtesy the Cranbrook Archives, Cranbrook Center for Collections and Research, Bloomfield Hills, MI] — [© Joshua Isaacs. Courtesy the Cranbrook Archives, Cranbrook Center for Collections and Research, Bloomfield Hills, MI]

Walker Art Center, Minneapolis, MN: Ken and Barbara Isaacs, Micro Dorm, ca. 1967; in Enter the Matrix: An Interview with Ken Isaacs, by Susan Snodgrass, republished from the exhibition catalogue Hippie Modernism: The Struggle for Utopia, Edited by Andrew Blauvelt, Walker Art Center, Minneapolis, MN, 2015; Exhibition: October 24, 2015 – February 28, 2016.

Ken and Barbara Isaacs, Micro Dorm, ca. 1967 [Walker Art Center, Minneapolis, MN. Photo courtesy the artist] — [Photo courtesy of the artist]

Walker Art Center, Minneapolis, MN: Ken Isaacs demonstrates the reclining function of Superchair, 1967.

Ken Isaacs demonstrates the reclining function of Superchair, 1967 [Walker Art Center, Minneapolis, MN. © Estate of Ken Isaacs] — [© Estate of Ken Isaacs]

Susan Snodgrass, Inside the Matrix: The Radical Designs of Ken Isaacs, Half Letter Press, Chicago, IL, 2019.

«Inside the Matrix: The Radical Designs of Ken Isaacs surveys the highly individual practice of American architect and designer Ken Isaacs (1927-2016), whose populist, DIY designs created from the 1950s to the 1970s challenged conventional architectural concepts in housing, as well as mainstream definitions of modernism. His flexible, accessible plans provided alternative solutions to the spatial and environmental challenges of midcentury modern life, while influencing subsequent generations of architects and designers interested in nomadic architecture, sustainability, and DIY practices.» ― (from the back cover)

James Joyce, Bloomsday 2025

Patrick Hastings, The Guide to James Joyce's Ulysses, Johns Hopkins University Press, Baltimore, MD, 2022, pp. 41-42; pp. 72-73; pp. 83-84.

Patrick Hastings, The Guide to James Joyce’s Ulysses, Johns Hopkins University Press, Baltimore, MD, 2022, pp. 72-73 — *The Guide to James Joyce’s Ulysses* (pp. 72-73)

Patrick Hastings, The Guide to James Joyce’s Ulysses, Johns Hopkins University Press, Baltimore, MD, 2022, pp. 83-84 — *The Guide to James Joyce’s Ulysses* (pp. 72-73)

Fonts In Use: Ulysses, (1922), Complete and unabridged with marginal page numbers to the 1934 First American Edition, Modern Library, New York, NY, 1961.

James Joyce, (1922), Ulysses, Complete and unabridged with marginal page numbers to the 1934 First American Edition, Modern Library, New York, NY, 1961 [Fonts In Use] — *Ulysses* (1961, cover)

The Morgan Library & Museum, New York, NY; Leabharlann Náisiúnta na hÉireann / National Library of Ireland, Baile Átha Cliath; «James Joyce Quarterly», The University of Tulsa, Tulsa, OK: Gas From A Burner, (broadsheet), Flushing [Vlissingen railway station], September 1912 (text).

James Joyce, Gas from a Burner, (broadsheet), Flushing [Vlissingen railway station], September 1912 [The Morgan Library & Museum, New York, NY. Leabharlann Náisiúnta na hÉireann / National Library of Ireland, Baile Átha Cliath. «James Joyce Quarterly», The University of Tulsa, Tulsa, OK. © The Estate of James Joyce] — [© The Estate of James Joyce]

The Salvage Press, Baile an Alabhóidigh: Gas from a Burner, (1912), Designed, illustrated and letterpress printed by Jamie Murphy and Mary Plunkett at Distillers Press, NCAD (Coláiste Náisiúnta Ealaíne is Deartha / National College of Art and Design), Baile Átha Cliath, 2012, Edition of 100, Bound in cloth and board by Tom Duffy.

James Joyce, (1912), Gas from a Burner, Designed, illustrated and letterpress printed by Jamie Murphy and Mary Plunkett at Distillers Press, NCAD (Coláiste Náisiúnta Ealaíne is Deartha / Nationaly College of Art and Design), Baile Átha Cliath, 2012, Edition of 100, Bound in cloth and board by Tom Duffy [The Salvage Press, Baile an Alabhóidigh]

«This edition of Gas from a Burner has been designed, illustrated and letterpress printed by Jamie Murphy and Mary Plunkett at Distillers Press, NCAD, Dublin. The illustrations that accompany the text in the book have been printed from the original linoleum blocks. The cover image of the guillotine is based on an illustration found within Stephenson Blake's type specimen book 'Point Line Type', published in 1921.
The edition is limited to 100 copies and has been printed in 18 and 14 point Eason, designed by Randy Jones, on Zerkall 225gsm mould made paper. Although some have been corrected, several quirks in the punctuation remain from the original broadside. The edition has been bound in cloth and board by Tom Duffy at his studio at Dublin's Five Lamps.
Printed in September 2012 to celebrate the centenary of the original publishing in September 1912.»

Between the Covers, Gloucester City, NJ: «James Joyce Quarterly», Vol. 29, No. 3, Spring 1992, The University of Tulsa, Tulsa, OK.

«James Joyce Quarterly», Vol. 29, No. 3, Spring 1992, The University of Tulsa, Tulsa, OK [Between the Covers, Gloucester City, NJ] — «James Joyce Quarterly», Vol. 29, No. 3, Spring 1992 (cover)

Willem de Kooning

Willem de Kooning: Drawings and Sculpture, Essay by Peter Schjeldahl, Co-published by Mitchell-Innes & Nash and Matthew Marks Gallery, New York, NY, 1998; Exhibition: October 31 – December 19, 1998.

Art Books & Ephemera: Willem de Kooning: Drawings and Sculpture, (adv. in «Artforum» magazine), Mitchell-Innes & Nash and Matthew Marks Gallery, New York, NY, October 31 – December 19, 1998; Catalogue: Willem de Kooning: Drawings and Sculpture, Essay by Peter Schjeldahl, Co-published by Mitchell-Innes & Nash and Matthew Marks Gallery, New York, NY, 1998.

Willem de Kooning: Drawings and Sculpture, (adv. in «Artforum» magazine), Mitchell-Innes & Nash and Matthew Marks Gallery, New York, NY, October 31 – December 19, 1998 [Art Books & Ephemera. Art: © The Willem de Kooning Foundation / ARS, New York] — [Art: © The Willem de Kooning Foundation / ARS, New York]

Joan Mitchell

Art Books & Ephemera: Joan Mitchell: "… my black paintings…" 1964, (adv. in «Artforum» magazine), Robert Miller Gallery, New York, NY, October 1994.

Gallery 98: Joan Mitchell: "… my black paintings…" 1964, (folded announcement card), Robert Miller Gallery, October 1994.

↗ Joan Mitchell Foundation

Poetry

Il loro grido è la mia voce. Poesie da Gaza, Edited by Antonio Bocchinfuso, Mario Soldaini, and Leonardo Tosti, Foreword by Ilan Pappé, Texts by Susan Abulhawa and Chris Hedges, Translation from the Arabic by Nabil Bey Salameh, Translation from the English by Ginevra Bompiani and Enrico Terrinoni, Fazi Editore, Roma, 2025.

Marina Camargo

Galeria Superfície, São Paulo: Notas sobre a história universal, (painting on book pages), 2018; Solo exhibition: Onde a Terra dobra, Text by Taisa Palhares, Galeria Superfície, São Paulo, February 9 – March 15, 2023.

Marina Camargo, Notas sobre a história universal, (detail), (painting on book pages), 2018 [Galeria Superfície, São Paulo. © Marina Camargo] — *Notas sobre a história universal* (detail) [© Marina Camargo]

Solo exhibition: Onde a Terra dobra, Text by Taisa Palhares, Galeria Superfície, São Paulo, February 9 – March 15, 2023 — [© Marina Camargo]

The Sheltering Sky, (paper and adhesive on the wall and floor), 2008; Marina Camargo, The Sheltering Sky, (paper and adhesive on the wall and floor), 2008; Group exhibition: Mar de Tubarão, Galeria Jaqueline Martins, São Paulo, 2012; Solo exhibition: Palavra Perdida, Galeria Virgílio, São Paulo, October 14 – November 6, 2008.

Marina Camargo, The Sheltering Sky, (paper and adhesive on the wall and floor), 2008 [© Marina Camargo]; Group exhibition: Mar de Tubarão, Galeria Jaqueline Martins, São Paulo, 2012 — Group exhibition: *Mar de Tubarão*, Galeria Jaqueline Martins, São Paulo, 2012 [© Marina Camargo]

Marina Camargo, The Sheltering Sky, (paper and adhesive on the wall and floor), 2008 [© Marina Camargo]; Solo exhibition: Palavra Perdida, Galeria Virgílio, São Paulo, October 14 – November 6, 2008 — Solo exhibition: Palavra Perdida, Galeria Virgílio, São Paulo, October 14 – November 6, 2008 [© Marina Camargo]

Galeria Superfície, São Paulo: Untitled [Letras na parede], (acrylic), 2009; (2); (3).

Marina Camargo, Untitled [Letras na parede], (acrylic), 2009 [Galeria Superfície, São Paulo. © Marina Camargo] — [© Marina Camargo]

Galeria Superfície, São Paulo: Ao sul (abaixo da linha do Equador), (installation with maps), 2015.

Marina Camargo, Ao sul (abaixo da linha do Equador), (installation with maps), 2015 [Galeria Superfície, São Paulo. © Marina Camargo] — [© Marina Camargo]

Galeria Superfície, São Paulo: Brazil. Extrativismo, (video, 10'14"; still), 2017; (2).

Marina Camargo, Brazil. Extrativismo, (video, 10'14"; still), 2017 [Galeria Superfície, São Paulo. © Marina Camargo] — [© Marina Camargo]

«Brazil: Extrativismo (2017) was filmed as a continuous record of the action that lasted 10 minutes. The streets' sounds and the panting breath captured in the video blend into the image of the map being erased. The slow disappearance of the map refers to other erasures as a kind of simulation of the continued extractive activity.»

Galeria Superfície, São Paulo: Brazil. Extrativismo, (photograph ), 2022.

Marina Camargo, Brazil. Extrativismo, (photograph ), 2022 [Galeria Superfície, São Paulo. © Marina Camargo] — [© Marina Camargo]

«The photograph Brazil. Extractivism (2022) is related to the video of the same name. The video Brazil. Extractivism (2017) records the action of erasing a map of Brazil in which regions, where extraction activities are predominant are highlighted. The photograph is a record of the image resulting from this erasure.»

↗ Marina Camargo

M.C. Richards, John Wood

Black Mountain College Museum + Arts Center (BMCM+AC), Asheville, NC: Untitled (M.C. Richards and John Wood Haystack Collaboration), (mixed media), 1980; (2); (3).

Sarah Grilo, b. June 19, 1917 / 2025

Maisterravalbuena, Madrid: Cartel, (oil on canvas), 1975.

Sarah Grilo, Cartel, (oil on canvas), 1975 [Maisterravalbuena, Madrid. © The Estate of Sarah Grilo, Madrid] — [© The Estate of Sarah Grilo, Madrid]

Sarah Grilo, Cartel, (detail), (oil on canvas), 1975 [Maisterravalbuena, Madrid. © The Estate of Sarah Grilo, Madrid] — (detail) [© The Estate of Sarah Grilo, Madrid]

Maisterravalbuena, Madrid: What the world needs now, (oil on canvas), 1966.

Sarah Grilo, What the world needs now, (oil on canvas), 1966 [Maisterravalbuena, Madrid. © The Estate of Sarah Grilo, Madrid] — [© The Estate of Sarah Grilo, Madrid]

Sarah Grilo, What the world needs now, (detail), (oil on canvas), 1966 [Maisterravalbuena, Madrid. © The Estate of Sarah Grilo, Madrid] — (detail) [© The Estate of Sarah Grilo, Madrid]

Maisterravalbuena, Madrid: Black Wall, (oil on canvas), 1967.

Sarah Grilo, Black Wall, (oil on canvas), 1967 [Maisterravalbuena, Madrid. © The Estate of Sarah Grilo, Madrid] — [© The Estate of Sarah Grilo, Madrid]

Sarah Grilo, Black Wall, (detail), (oil on canvas), 1967 [Maisterravalbuena, Madrid. © The Estate of Sarah Grilo, Madrid] — (detail) [© The Estate of Sarah Grilo, Madrid]

Maisterravalbuena, Madrid: Para 3000 personas, (oil on canvas), 1970.

↗ Sarah Grilo

Francis Offman

P420, Bologna: Untitled, (acrylic, ink, 100% cotton, coffee grounds, Bolognese plaster on linen), 2022-2023.

P420, Bologna: Untitled, (ink, acrylic, paper, 100% cotton, coffee grounds, Bolognese plaster on jute), 2022-2023.

Francis Offman, Untitled, (ink, acrylic, paper, 100% cotton, coffee grounds, Bolognese plaster on jute), 2022-2023 [P420, Bologna. © Francis Offman] — [© Francis Offman]

P420, Bologna: Untitled, (ink, acrylic, 100% cotton, coffee grounds, Bolognese plaster on linen), 2022-2023.

Francis Offman, Untitled, (ink, acrylic, 100% cotton, coffee grounds, Bolognese plaster on linen), 2022-2023 [P420, Bologna. © Francis Offman] — [© Francis Offman]

Hirsch Library (i)

Facts and Fantasy: Illustrations of the Natural World, Hirsch Library, Museum of Fine Arts, Houston, TX, April 23 – August 23, 2025.

David Landsborough and Walter Hood Fitch, A Popular History of British Sea-weeds, Reeve, Benham and Reeve, London, 1849 [Hirsch Library, Museum of Fine Arts, Houston, TX] — David Landsborough and Walter Hood Fitch, *A Popular History of British Sea-weeds*, Reeve, Benham and Reeve, London, 1849 [Hirsch Library, Museum of Fine Arts, Houston, TX]

Lygia Clark, Hirsch Library (ii)

Lygia Clark at Signals London: 27th May to 3rd July, in «Signals» – Newsbulletin of the Centre for the Advanced Creative Study, Vol. 1, No. 7, April-May 1965, London; Exhibition: Everyday Encounters: Erasing the Divide between Art and Life, Hirsch Library, Museum of Fine Arts, Houston, TX, December 18, 2018 – April 6, 2019.

Textile, Weaving, Hirsch Library (iii)

From India to the World: Textiles from the Parpia Collection, Museum of Fine Arts, Houston, TX, June 22 – September 14, 2025.

Phulkari Head Cover (Bagh), Punjab, Pakistan, 19th century, cotton embroidered with floss silk threads [Museum of Fine Arts, Houston, the Banoo and Jeevak Parpia Collection, gift of Banoo and Jeevak Parpia] — *Phulkari Head Cover (Bagh)*, Punjab, Pakistan, 19th century, cotton embroidered with floss silk threads [Museum of Fine Arts, Houston, the Banoo and Jeevak Parpia Collection, gift of Banoo and Jeevak Parpia]

Max Bill

MoMA, New York, NY: Homage to Picasso (Hommage à Picasso) from Homage to Picasso (Hommage à Picasso), (lithograph from a portfolio of thirty-one lithographs, twenty-two screenprints, eleven etchings, three aquatints, and two woodcuts), Propyläen-Verlag, Berlin, 1972, published 1973, Printed by Erker-Presse, St. Gallen, Edition of 30.

typoswiss: Max Bill, (invitation card), Marlborough Galerie AG, June 7 – July 6, 1974.

Max Bill, (invitation card), Marlborough Galerie AG, June 7 – July 6, 1974 [typoswiss. Art: © Estate of Max Bill / ProLitteris, Zürich]

The Art Institute of Chicago, Chicago, IL: Composition, (color screenprint on Japanese paper), 1964, Edition of 44.

Max Bill, Composition, (color screenprint on Japanese paper), 1964, Edition of 44 [The Art Institute of Chicago, Chicago, IL. © Estate of Max Bill / ARS, New York / ProLitteris, Zürich] — [© Estate of Max Bill / ARS, New York / ProLitteris, Zürich]

The Art Institute of Chicago, Chicago, IL: Untitled, (color screenprint on white wove paper), 1970, Edition of 100.

Max Bill, Untitled, (color screenprint on white wove paper), 1970, Edition of 100 [The Art Institute of Chicago, Chicago, IL. © Estate of Max Bill / ARS, New York / ProLitteris, Zürich] — [© Estate of Max Bill / ARS, New York / ProLitteris, Zürich]

The Art Institute of Chicago, Chicago, IL: Untitled, (color screenprint on paper), 1970, Edition of 100.

Max Bill, Untitled, (color screenprint on paper), 1970, Edition of 100 [The Art Institute of Chicago, Chicago, IL. © Estate of Max Bill / ARS, New York / ProLitteris, Zürich] — [© Estate of Max Bill / ARS, New York / ProLitteris, Zürich]

Centre Pompidou, Paris: Acht Liniengruppen um Weiss, (oil on canvas), 1969-1970.

Max Bill, Acht Liniengruppen um Weiss, (oil on canvas), 1969-1970 [Centre Pompidou, Paris. © Estate of Max Bill / Adagp, Paris / ProLitteris, Zürich. Photo: Service de la documentation photographique du MNAM / Dist. GrandPalaisRmn] — [© Estate of Max Bill / Adagp, Paris / ProLitteris, Zürich. Photo: Service de la documentation photographique du MNAM / Dist. GrandPalaisRmn]

The Art Institute of Chicago, Chicago, IL: Construction With and Within a Cube, (gilded bronze), 1945.

Max Bill, Construction With and Within a Cube, (gilded bronze), 1945 [The Art Institute of Chicago, Chicago, IL. © Estate of Max Bill / ARS, New York / ProLitteris, Zürich] — [© Estate of Max Bill / ARS, New York / ProLitteris, Zürich]

Centre Pompidou, Paris: Unendliche Schleife, version IV, (Wassen grey granite), 1960-1961.

Max Bill, Unendliche Schleife, version IV, (Wassen grey granite), 1960-1961 [Centre Pompidou, Paris. © Estate of Max Bill / Adagp, Paris / ProLitteris, Zürich. Photo: Jacqueline Hyde / Centre Pompidou / Dist. GrandPalaisRmn] — [© Estate of Max Bill / Adagp, Paris / ProLitteris, Zürich. Photo: Jacqueline Hyde / Centre Pompidou / Dist. GrandPalaisRmn]

Note: Regarding the journal, “how” has priority over “what” in both synchronic and diachronic processes, and following the chains of posts is the best way to “read” and "de-scribe" it. In the bulletin, for summary reasons, the posts are aggregated by name and source.

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