garadinervi : repertori – bulletin : weekly recap

(November 23-29, 2024)

Dec 02, 2024

Cleveland Museum of Art, Cleveland, OH: No title, (gouache, watercolor, silver, and bronze paint on paper), 1969 [Exhibitions: Blanton Museum of Art, The University of Texas at Austin, Austin, TX, February 23, 2014 – May 18, 2014; Cleveland Museum of Art, Cleveland, OH, April 3 – July 31, 2016].

Eva Hesse, No title, (gouache, watercolor, silver, and bronze paint on paper), 1969 [Cleveland Museum of Art, Cleveland, OH. Agnes Gund Collection, New York, NY. © The Estate of Eva Hesse. Courtesy Hauser & Wirth] — Eva Hesse, *No title*, (gouache, watercolor, silver, and bronze paint on paper), 1969 [Cleveland Museum of Art, Cleveland, OH. Agnes Gund Collection, New York, NY. © The Estate of Eva Hesse. Courtesy Hauser & Wirth]

Sol LeWitt

The Art Institute of Chicago, Chicago, IL: Untitled, (creased pale-green laid paper), 1971; Plate #01 / Plate #02 / Plate #03 / Plate 04 / Plate #05 / Plate #06 / Cover Sheet, from Lines In Color on Color From Corners Sides and Centers to Specific Points on a Grid, (color screenprints on white wove paper), Multiples, Inc., New York, NY, 1978; All "Ands" Connected with Red Lines / All "Thes" Connected with Blue Lines, (blue and red ballpoint pen on printed, highly calendered, tan wove paper), 1972; Nine-part Modular Cube, (baked enamel on aluminum), 1977; (2); Wall Drawing #63, (black pencil), 1971.

Sol LeWitt, All “Ands” Connected with Red Lines / All “Thes” Connected with Blue Lines, (blue and red ballpoint pen on printed, highly calendered, tan wove paper), 1972 [The Art Institute of Chicago, Chicago, IL. © The Estate of Sol LeWitt] — Sol LeWitt, *All “Ands” Connected with Red Lines / All “Thes” Connected with Blue Lines*, (blue and red ballpoint pen on printed, highly calendered, tan wove paper), 1972 [The Art Institute of Chicago, Chicago, IL. © The Estate of Sol LeWitt]

Centre Pompidou, Paris [Photos: Georges Meguerditchian]: Form derived from a cube, (graphite lead on cream paper glued onto cardboard), 1981; Form derived from a cube, (graphite lead on cream paper glued onto cardboard), 1981; Form derived from a cube, (graphite lead on cream paper glued onto cardboard), 1981; Cube, (graphite lead on cream paper glued onto cardboard), 1981.

Sol LeWitt, Form derived from a cube, (graphite lead on cream paper glued onto cardboard), 1981 [Centre Pompidou, Paris. The Estate of Sol LeWitt / © Adagp, Paris. Photo: Georges Meguerditchian/Centre Pompidou] — Sol LeWitt, *Form derived from a cube*, (graphite lead on cream paper glued onto cardboard), 1981 [Centre Pompidou, Paris. The Estate of Sol LeWitt / © Adagp, Paris. Photo: Georges Meguerditchian/Centre Pompidou]

Sol LeWitt, Nine-part Modular Cube, (baked enamel on aluminum), 1977 [The Art Institute of Chicago, Chicago, IL. © The Estate of Sol LeWitt]

MoMA, New York, NY: Wall Drawing #1187, Scribbles: Curves, (pencil on wall), 2005.

«Guidelines reported in the Marescalchi archive (1987 formulations).», in Adele Ferretti, Ilaria Degano, Marta Filomena, Jacopo La Nasa, Beatrice Campanella, Stefano Legnaioli, Sara Penoni, Renata Pintus , Cristiana Todaro, and Francesca Modugno, Wall Drawing #736: Revealing Sol LeWitt’s Ink Mural Technique Using a Multi-Analytical Approach, «Heritage», Volume 7, Issue 8, 2024, pp. 4265–4281, MDPI, Basel (pdf) [CC BY 4.0].

Wall Drawing #736 Rectangles of Color, Executed by Anthony Sansotta and Andrea Marescalchi, Centro per l'arte contemporanea Luigi Pecci, Prato, [November] 1993.

Whirls and Twirls 1, (during the execution of the wall drawing), Biblioteca Panizzi, Reggio Emilia, 2004.

Whirls and Twirls 1, Biblioteca Panizzi, Reggio Emilia, 2004.

Whirls and Twirls 1, Biblioteca Panizzi, Reggio Emilia, 2004 [Photo: Claudio Cigarini, Biblioteca Panizzi].

Sol LeWitt, Whirls and Twirls 1, (during the execution of the wall drawing), Biblioteca Panizzi, Reggio Emilia, 2004 [© The Estate of Sol LeWitt] — Sol LeWitt, *Whirls and Twirls 1*, (during the execution of the wall drawing), Biblioteca Panizzi, Reggio Emilia, 2004 [© The Estate of Sol LeWitt]

Sol LeWitt, Whirls and Twirls 1, Biblioteca Panizzi, Reggio Emilia, 2004 [© The Estate of Sol LeWitt. Photo: Claudio Cigarini, Biblioteca Panizzi] — Sol LeWitt, *Whirls and Twirls 1*, Biblioteca Panizzi, Reggio Emilia, 2004 [© The Estate of Sol LeWitt. Photo: Claudio Cigarini, Biblioteca Panizzi]

Beth Gibbons

Radio France: Passengers: Beth Gibbons, ARTE Concert, Bibliothèque nationale de France, Paris, July 8, 2024. Beth Gibbons / James Ellis Ford: drums, harmonium, tenor recorder, backing vocals, musical director / Eoin Rooney: guitar, marching snare, backing vocals / Howard Jacobs: contrabass clarinet, vibraphone, timpani, baritone sax, flute, bombo, percussions, metal and gongs, recorder, hammered guitar, backing vocals / Emma Smith: violin, clarinet, guitar, backing vocals / Jason Hazeley-Smith: keyboard, ondes / Tom Herbert: bass guitar, Fender VI, backing vocals) / Richard Jones: viola, guitar, backing vocals.

Charlotte Perriand

Centre Pompidou, Paris: Bibliothèque de la Maison du Mexique, (lacquered steel, aluminum, and wood), Ateliers Jean Prouvé, Nancy, 1952 [Photo: Jean-Claude Planchet]; Bibliothèque de la Maison de Tunisie, (lacquered steel, aluminum, and pine), Ateliers Jean Prouvé, Nancy, 1952 [Photo: Audrey Laurans].

MoMA, New York, NY: Maison de la Tunisie Bench-Bookshelf, (lacquered steel, aluminum, and pine), Ateliers Jean Prouvé, Nancy, 1952.

Charlotte Perriand, Bibliothèque de la Maison du Mexique, (lacquered steel, aluminum, and wood), Ateliers Jean Prouvé, Nancy, 1952 [Centre Pompidou, Paris. © Adagp, Paris. Photo: Jean-Claude Planchet/Centre Pompidou] — Charlotte Perriand, *Bibliothèque de la Maison du Mexique*, (lacquered steel, aluminum, and wood), Ateliers Jean Prouvé, Nancy, 1952 [Centre Pompidou, Paris. © Adagp, Paris. Photo: Jean-Claude Planchet/Centre Pompidou]

Charlotte Perriand, Maison de la Tunisie Bench-Bookshelf, (lacquered steel, aluminum, and pine), Ateliers Jean Prouvé, Nancy, 1952 [MoMA, New York, NY] — Charlotte Perriand, *Maison de la Tunisie Bench-Bookshelf*, (lacquered steel, aluminum, and pine), Ateliers Jean Prouvé, Nancy, 1952 [MoMA, New York, NY]

Thomas Eckersley

MoMA, New York, NY: Urgent Please Return That Overdue Library Book, ca. 1975, Printed at the London College of Printing.

Gianpaolo Pagni

Matematica Double Flash 004, (ink pen, ballpoint pen, graphite, rubber stamps on mathematics handwritten sheets), 2024; (2); UFO, (acrylic on adhesive paper, 'UFO S.H.A.D.O.' (1976) album, Panini), 2024; LETTURE STENOGRAFICHE, (rubber stamps on printed material (Stenografia oggi, Casa editrice Poseidonia, Prima edizione 1980)), 2024.

Dan Flavin

Studio Bruno Tonini, Gussago (BS): Dan Flavin, Galerie Heiner Friedrich, München, May 9 – June 5, 1968.

Mary Miss

National Academy of Design, New York, NY: Perimeters/Pavilions/Decoys, Nassau County Museum, Roslyn, NY, 1978.

MoMA, New York, NY: Study for Tower in Perimeters/Pavilions/Decoys, (pencil, colored pencil, and correction fluid on paper), 1977.

Mary Miss, Perimeters/Pavilions/Decoys, Nassau County Museum, Roslyn, NY, 1978 [National Academy of Design, New York, NY. © Mary Miss] — Mary Miss, *Perimeters/Pavilions/Decoys*, Nassau County Museum, Roslyn, NY, 1978 [National Academy of Design, New York, NY. © Mary Miss]

Spiritualized

Covet The Cover: Hey Jane, (7" Single), DS053, Double Six Records, 2012; Design and Art Direction by J Spaceman and Farrow Design.

Armin Hofmann

typoswiss: Stadt-Theater Basel: Saison 1958/59, Stadt-Theater Basel, 1958.

Joe Gilmore

[thinking is form], 2024.

Ilke Gers

Desire Lines, NDSM-Werf, Amsterdam, 2020 [Photos: Luuk Kramer]; (2); (3); (4).

Ilke Gers, Desire Lines, NDSM-Werf, Amsterdam, 2020 [© Ilke Gers. Photos: © Luuk Kramer]

Lilia Fijałkowska

Stare Dobre: Zbigniew Osiński, Teoria Drgań, Cover design by Lilia Fijałkowska, Państwowe Wydawnictwo Naukowe, Warszawa, 1978.

Hans-Jürg Hunziker

Centre Pompidou, Paris [Photos: Georges Meguerditchian, Philippe Migeat]: le guillemet ', (Indian ink and gouache on double-sided matte polyester), 1974-1994; le tiret _, (Indian ink and gouache on double-sided matte polyester), 1974-1994; le signe *, (black felt-tip pen on tracing paper), 1974-1994; l'accent °, (black felt-tip pen on tracing paper), 1974-1994; la virgule, (Indian ink and gouache on double-sided matte polyester), 1974-1994; les guillemets ", (Indian ink and gouache on double-sided matte polyester), 1974-1994; le point-virgule, (Indian ink and gouache on double-sided matte polyester), 1974-1994; le tilde, (Indian ink and gouache on double-sided matte polyester), 1974-1994; le signe /, (Indian ink and gouache on double-sided matte polyester), 1974-1994; "ß" bas-de-casse, (Indian ink and gouache on double-sided matte polyester), 1974-1994; "a" bas-de-casse, (black felt-tip pen and graphite pencil on tracing paper), 1974-1994; "A" capitale, (Indian ink and gouache on double-sided matte polyester), 1974-1994.

Hans-Jürg Hunziker, le point-virgule, (Indian ink and gouache on double-sided matte polyester), 1974-1994 [Centre Pompidou, Paris. © Hans-Jürg Hunziker. Photo: Philippe Migeat/Centre Pompidou] — Hans-Jürg Hunziker, *le point-virgule*, (Indian ink and gouache on double-sided matte polyester), 1974-1994 [Centre Pompidou, Paris. © Hans-Jürg Hunziker. Photo: Philippe Migeat/Centre Pompidou]

Hans-Jürg Hunziker, “A” capitale, (Indian ink and gouache on double-sided matte polyester), 1974-1994 [Centre Pompidou, Paris. © Hans-Jürg Hunziker. Photo: Philippe Migeat/Centre Pompidou] — Hans-Jürg Hunziker, *“A” capitale*, (Indian ink and gouache on double-sided matte polyester), 1974-1994 [Centre Pompidou, Paris. © Hans-Jürg Hunziker. Photo: Philippe Migeat/Centre Pompidou]

Philippe Blanc

Draw Down, New Haven, CT, and Boston, MA: Avant la lettre. An unknown, early smile ahead of fancy typography, Fontegrâce, Paris, 2023, Edition of 180.

Maurice Tabard

Centre Pompidou, Paris [Photo: Cecilia Laulanne]: Typographie Deberny et Peignot, (gelatin silver print), 1931.

Alberto Blanco, Nacho Gallardo Larrea ("El Nacho")

Books On Books [Photos: Books On Books Collection]: Book of Equis, Monotypes by Nacho Gallardo Larrea ("El Nacho"), Intagrafia, San José del Cabo, 2012, Letterpress printed with Bembo Roman and Bembo Roman Italic types, Printed on Rives BFK paper, Edition of 50 plus 15 artists' proofs (P.A. 1-15); (2); (3); (4); (5).

Alberto Blanco, Book of Equis, Monotypes by Nacho Gallardo Larrea (“El Nacho”), Intagrafia, San José del Cabo, 2012, Letterpress printed with Bembo Roman and Bembo Roman Italic types, Printed on Rives BFK paper, Edition of 50 plus 15 artists’ proofs (P.A. 1-15) [Photo: Books On Books Collection. © Alberto Blanco and Nacho Gallardo Larrea (“El Nacho”)] — Alberto Blanco, *Book of Equis*, Monotypes by Nacho Gallardo Larrea (“El Nacho”), Intagrafia, San José del Cabo, 2012, Letterpress printed with Bembo Roman and Bembo Roman Italic types, Printed on Rives BFK paper, Edition of 50 plus 15 artists’ proofs (P.A. 1-15) [Photo: Books On Books Collection. © Alberto Blanco and Nacho Gallardo Larrea (“El Nacho”)]

Alberto Blanco, Book of Equis, Monotypes by Nacho Gallardo Larrea (“El Nacho”), Intagrafia, San José del Cabo, 2012, Letterpress printed with Bembo Roman and Bembo Roman Italic types, Printed on Rives BFK paper, Edition of 50 plus 15 artists’ proofs (P.A. 1-15) [Photo: Books On Books Collection. © Alberto Blanco and Nacho Gallardo Larrea (“El Nacho”)]

Marc Nagtzaam

BOOKS at, Amsterdam: Marc Nagtzaam: 'Regular Features', Design by Marc Nagtzaam, Roger Willems, Roma Publication 356, Roma Publications, Amsterdam, 2019; (2); (3).

Mark Manders

BOOKS at, Amsterdam: The Absence Of Mark Manders, Bonnefanten, Introduction by Stijn Huijts, Essay by Douglas Fogle, Design by Roger Willems, Roma Publication 384, Roma Publications, Amsterdam, 2020, in collaboration with Bonnefanten, Maastricht [Exhibition: Bonnefanten, Maastricht, February 4 – August 23, 2020].

John Wood, Paul Harrison

a book, obviously, Edited by Sebastian Cremers, John Wood and Paul Harrison, Concept and design by Sebastian Cremers, everyedition, Zürich, 2022; how to write a book, Edited by John Wood, Paul Harrison and Sebastian Cremers, everyedition, Zürich, 2024, Limited to 50 unique pieces, individually written, numbered and signed by the artists.

John Wood and Paul Harrison, a book, obviously, Edited by Sebastian Cremers, John Wood and Paul Harrison, Concept and design by Sebastian Cremers, everyedition, Zürich, 2022 [© John Wood, Paul Harrison] — John Wood and Paul Harrison, *a book, obviously*, Edited by Sebastian Cremers, John Wood and Paul Harrison, Concept and design by Sebastian Cremers, everyedition, Zürich, 2022 [© John Wood, Paul Harrison]

John Wood and Paul Harrison, how to write a book, Edited by John Wood, Paul Harrison and Sebastian Cremers, everyedition, Zürich, 2024, Limited to 50 unique pieces, individually written, numbered and signed by the artists [© John Wood, Paul Harrison] — John Wood and Paul Harrison, *how to write a book*, Edited by John Wood, Paul Harrison and Sebastian Cremers, everyedition, Zürich, 2024, Limited to 50 unique pieces, individually written, numbered and signed by the artists [© John Wood, Paul Harrison]

Georg Rutishauser, Matthias Kuhn

typoswiss: Sprache und Ordnung, Edition Agathe Nisple, St. Gallen, 1993.

Mode d'emploi. Suivre les instructions de l'artiste, Musée d'Art Moderne et Contemporain de Strasbourg (MAMCS), Strasbourg, 2024. Exhibition: October 6, 2024 – February 16, 2025. Authors: Philippe Bettinelli, Clémentine Hébrard, Béatrice Josse, Sara Martinetti, Anna Millers, Hans Ulrich Obrist. Graphic Design: E+K – Élise Gay & Kévin Donnot. Artists: Kader Attia, Alice Aycock, Ismaïl Bahri, Robert Barry, Taysir Batniji, Cathy Berberian, Samuel Bernier, Andreas Bhend, Michel Blazy, George Brecht, Marc Buchy, Daniel Buren, John Cage, Cornelius Cardew, Claire Fontaine, Claude Closky, Grégoire d’Ablon, Latifa Echakhch, Morton Feldman, Esther Ferrer, Alicia Framis, Yona Friedman, Dora García, Felix Gonzalez-Torres, Hans Haacke, Mona Hatoum, James Hennessey, Dick Higgins, Carsten Höller, Fabrice Hyber, IKHÉA©SERVICES, Florence Jung, Kapwani Kiwanga, Alison Knowles, Takehisa Kosugi, Jean-Noël Lafargue, Tarek Lakhrissi, Larva Labs, Joshua Leon, La Monte Young, Louise Lawler, Sol LeWitt, Annea Lockwood, Christian Marclay, Marianne Mispelaëre, Vera Molnár, Claire Morel, Bruce Nauman, Roman Ondák, Pauline Oliveros, Yoko Ono, Nam June Paik, Victor Papanek, Pratchaya Phinthong, Benoît Piéron, Terry Riley, Claude Rutault, Matthieu Saladin, James Saunders, Scratch Orchestra, Mieko Shiomi, Wadada Leo Smith, James Tenney, Rirkrit Tiravanija, Endre Tót, Capucine Vandebrouck, Lawrence Weiner, Ian Wilson, Erwin Wurm.

«La conception graphique, assurée par le studio E+K — Élise Gay & Kévin Donnot, utilise des programmes informatiques pour générer chaque exemplaire du livre, rendant chaque copie unique : les graphistes ont en effet programmé une série d’instructions pour chaque œuvre, créant des schémas abstraits permettant d’imaginer une « activation » de chaque œuvre, différente pour chacun des 800 exemplaires imprimés. Chaque copie du livre devient donc une activation du protocole du livre, offrant 800 variations uniques de schémas pour les 50 œuvres présentées.»

Nigel Hall

Art Books & Ephemera: Nigel Hall: Recent Sculpture and Drawings, Text by the artist, Annely Juda Fine Art, London, 1991 [Exhibition: May 17 – June 22, 1991].

Germano Celant, Lynda Morris

Saint-Martin Bookshop, Bruxelles-Brussel: Germano Celant, Book as Artwork 1960/1972, with a bibliography compiled by Lynda Morris, Nigel Greenwood Gallery, London, 1972.

Germano Celant, Book as Artwork 1960/1972, with a bibliography compiled by Lynda Morris, Nigel Greenwood Gallery, London, 1972 [Saint-Martin Bookshop, Bruxelles-Brussel] — Germano Celant, *Book as Artwork 1960/1972*, with a bibliography compiled by Lynda Morris, Nigel Greenwood Gallery, London, 1972 [Saint-Martin Bookshop, Bruxelles-Brussel]

Astrid Fieuws

Saint-Martin Bookshop Notebooks, Handmade by Astrid Fieuws, Saint-Martin Bookshop, Bruxelles-Brussel, 2024.

Walter Nikkels, Rudi Fuchs, Irma Boom

Walter Nikkels: Denkwerk, Texts by Rudi Fuchs, and Irma Boom, EENWERK, Amsterdam, 2024, Edition of 300; (2); (3); (4); (5).

Bookm-ark.fi, Bookmarchitecture Oy, Helsinki; typoswiss: Construire une exposition / Eine Ausstellung Bauen / Building an Exhibition, Edited by Alberto Camenzind, Librairie Marguerat S. A., Lausanne, 1964.

Construire une exposition / Eine Ausstellung Bauen / Building an Exhibition, Edited by Alberto Camenzind, Librairie Marguerat S. A., Lausanne, 1964 [Bookm-ark.fi, Bookmarchitecture Oy, Helsinki. typoswiss] — *Construire une exposition / Eine Ausstellung Bauen / Building an Exhibition*, Edited by Alberto Camenzind, Librairie Marguerat S. A., Lausanne, 1964 [Bookm-ark.fi, Bookmarchitecture Oy, Helsinki. typoswiss]

Jasia Reichardt

baseline_: The Computer in Art, Studio Vista, London, 1971.

Niele Toroni

MoMA, New York, NY: Imprints of a No. 50 Paintbrush Repeated at Regular Intervals of 30 cm, (synthetic polymer paint on coated fabric), 1971; Imprints of a No. 50 Paintbrush Repeated at Regular Intervals of 30 cm, (alkyd on vinyl-impregnated fabric), 1969; Empreintes de pinceau n°50 répétées à intervalles réguliers de 30 cm, (oil on paper), 1973; Abdrücke eines Pinsels Nr. 50, wierderholt in regelmässigen Abst änden, (acrylic on seventy sheets of paper), 1978; Empreintes de pinceau n°50 répétées à intervalles réguliers de 30 cm, (gouache on paper), 1971; Empreintes de pinceau n°50 répétées à intervalles réguliers de 30 cm, (gouache on paper), 1971.

Niele Toroni, A arte Invernizzi, Milano, December 4, 2024 – February 12, 2025.

A arte Invernizzi, Milano: Impronte di pennello n. 50 a intervalli di 30 cm, (acrylic on poliplat), 1993.

Niele Toroni at A arte Invernizzi, Milano, 2011.

Collection Museum Dhondt-Dhaenens, Sint-Martens-Latem: Empreintes de pinceau n°50 répétées à intervalles réguliers de 30 cm – Encore une histoire de portes, (acrylic paint on panels), 2007.

Niele Toroni, Empreintes de pinceau n°50 répétées à intervalles réguliers de 30 cm – Encore une histoire de portes, (acrylic paint on panels), 2007 [Collection Museum Dhondt-Dhaenens, Sint-Martens-Latem. © Niele Toroni] — Niele Toroni, *Empreintes de pinceau n°50 répétées à intervalles réguliers de 30 cm – Encore une histoire de portes*, (acrylic paint on panels), 2007 [Collection Museum Dhondt-Dhaenens, Sint-Martens-Latem. © Niele Toroni]

Saint-Martin Bookshop, Bruxelles-Brussel: Niele Toroni, Designed by Inge Ketelers, Concept of the catalogue in dialogue with the artist, Museum Dhondt-Dhaenens, Sint-Martens-Latem, 2000 [Exhibition: May 14 – July 2, 2000].

Niele Toroni, Graphic design by Inge Ketelers, Concept of the catalogue in dialogue with the artist, Museum Dhondt-Dhaenens, Sint-Martens-Latem, 2000 [Saint-Martin Bookshop, Bruxelles-Brussel. Art: © Niele Toroni] — *Niele Toroni*, Graphic design by Inge Ketelers, Concept of the catalogue in dialogue with the artist, Museum Dhondt-Dhaenens, Sint-Martens-Latem, 2000 [Saint-Martin Bookshop, Bruxelles-Brussel. Art: © Niele Toroni]

Niele Toroni, (invitation card), Graphic design by Inge Ketelers, Concept of the catalogue in dialogue with the artist, Museum Dhondt-Dhaenens, Sint-Martens-Latem, 2000 [Saint-Martin Bookshop, Bruxelles-Brussel. Art: © Niele Toroni] — Invitation card: *Niele Toroni*, Graphic design by Inge Ketelers, Concept of the catalogue in dialogue with the artist, Museum Dhondt-Dhaenens, Sint-Martens-Latem, 2000 [Saint-Martin Bookshop, Bruxelles-Brussel. Art: © Niele Toroni]

From the exhibition Niele Toroni: Position Affichée, Yvon Lambert, Paris, January 9 – February 7, 2010 [Photos: Didier Barroso]; (2); (3).

From: Niele Toroni: Position Affichée, Yvon Lambert, Paris, January 9 – February 7, 2010 [Image courtesy of the artist, Yvon Lambert, Paris. Photo: Didier Barroso] — From: *Niele Toroni: Position Affichée*, Yvon Lambert, Paris, January 9 – February 7, 2010 [Image courtesy of the artist, Yvon Lambert, Paris. Photo: Didier Barroso]

Michel Seuphor

Whitford Fine Art, London: Castellum, (Dessin à lacunes, felt pen and collage), 1991; Intermède, (Dessin à lacunes, china ink and collage), 1959; Untitled, (Dessin à lacunes, felt pen and collage), 1954.

Museum Dhondt-Dhaenens, Sint-Martens-Latem: Axiale oefening, (ink on paper), 1971; Construire le monde – Gradius, (ink on paper), 1992; Il y a toujours plus dans moins, (ink on paper), 1978.

Michel Seuphor, Axiale oefening, (ink on paper), 1971 [Collectie Museum Dhondt-Dhaenens, Sint-Martens-Latem. © Michel Seuphor] — Michel Seuphor, *Axiale oefening*, (ink on paper), 1971 [Collectie Museum Dhondt-Dhaenens, Sint-Martens-Latem. © Michel Seuphor]

Hendrik Nicolaas Werkman

Universitaire Bibliotheken Leiden; Kunstmuseum Den Haag: Charles d'Orléans, (15th century), Gebed om vrede, Translation by Martinus Nijhoff, Designed, illustrated, and printed by Hendrik Nicolaas Werkman, De Blauwe Schuit, May 1943.

Publishers for Palestine

And Still We Write, Recent work by Palestinian poets & actions you can take to stop genocide now, Publishers for Palestine, 2024 (pdf). Contributors: Batool Abu Akleen, Samer Abu Hawwash, Heba Al-Agha, Mahmoud Alshaer, Julia Choucair Vizoso, Asmaa Dwaima, Basman Eldirawi, Huda Fakhreddine, Esam Hajjaj, Omar Ibrahim, Doha Kahlout, Mariam Mohammed Al Khateeb, Husam Maarouf, Nasser Rabah, Nour Nemer, Wiam El-Tamami, Mohammad al-Zaqzouq.

«These poems and reflections do not exist separately from their authors, nor from the place and time in which they were composed. They are not here for passive reading. And so, at the end of this collection, we leave you with suggested actions. As poet Rasha Abdulhadi has written:
"Wherever you are, whatever sand you can throw on the gears of genocide, do it now."»
― From the Introduction

Sarona Abuaker

From Why so few women on the street at night, the87press, Sutton, 2021: what they say when they colonize us, pp. 29-30; My Mother’s Third Imprisonment, p. 31; The Hours, pp. 32-33.

Extra: Readings

Free Palestine Reading List for November 29 – December 5, 2024, Publishers for Palestine, 2024.

Kamal Boullata (I, II, III) and Adila Laïdi-Hanieh (IV), Palestinian Visual Arts (I). Beginners (1795-1955) / Palestinian Visual Arts (II). Pathfinders (1955-1965) / Palestinian Visual Arts (III). Explorers (1965-1995) / Palestinian Visual Arts (IV). Present Tense: New Directions (1995-2016), Encyclopedia of the Palestine Question, The Institute for Palestine Studies (IPS) Beirut, Ramallah, and Washington, D.C. + The Palestinian Museum, Birzeit.

Haico Beukers, Dutch Graphic Roots, November 15, 2024.

Extra: Support ⌘

Books Not Bars for the Holidays, Haymarket Books, Chicago, IL, 2024.

«Haymarket Books is committed to making our books available for free to people who are incarcerated.»

Addameer – Prisoner Support and Human Rights Association.

The Nakba Memorial Foundation.

Note: about the journal, “how” has priority over “what” in a synchronic and diachronic process, 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 names and sources.

State bene.

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