Marjanne van Helvert (ed.)
art • theory • critique • desig eorie • kritiek • design • stads
Valiz spring/summer 2019
reciprocal movements • tran rity • expanding practices Trading Between Architecture and Art ISBN ISBN978-94-92095-67-1 978-94-92095-67-1
Strategies and Practices of Exchange ‘Everything is architecture’ — Hans Hollein ‘There’s only art’ — Victor Burgin
Since the 1960s, art and architecture have experienced a series of radical and reciprocal trades. While artists have simulated ‘architectural’ means like plans and models, built structures and pavilions outside art institutions, or intervened in urban and public spaces, architects have employed ‘artistic’ strategies inside art institutions, in exhibitions, biennales and art events. At the same time, art galleries and museums have combined both activities in an interdisciplinary, hybrid field, playing with the conditional differences between inside and outside the institution.
Bolles+Wilson, The Biwako Otsu Folly at ‘The International Garden and Greenery Exposition,’ 1990, Osaka, Japan. Photo: Hélène Binet.
Daniel Buren, Plan contre-plan, 1982, installation view, Museum Haus Esters, Krefeld. Photo: Volker Döhne.
9 789492 095671
nspositions • interdisciplinar Expanding one’s practice, however, was not only a matter of repudiating or transgressing disciplinary limits—it was also a question of choosing and evaluating instruments. Trading Between Architecture and Art zooms in on specific examples or ‘cases’ of these two-way transactions: artists adopting architectural means on the one hand, and architects adopting artistic strategies on the other. In particular, it presents in-depth studies of both historical and contemporary examples of the transposition of means and strategies from architecture to art, and vice versa, up to the point that established understandings of institutional categories, disciplinary concepts, and concrete practices become interestingly opaque, and meanings provocatively uncertain.
Wouter Davidts, Susan Holden, Ashley Paine TEXT ESSAYS
Angelique Campens, Guy Châtel, Wouter Davidts, Mark Dorrian, Susan Holden, Maarten Liefooghe, Mark Linder, John Macarthur, Ashley Paine, Léa-Catherine Szacka, Annalise Varghese, Stefaan Vervoort, Stephen Walker, Rosemary Willink VISUAL ESSAYS
John Körmeling, Philip Metten, Sarah Oppenheimer PARTNERS
Ghent University, The Australian Research Council, The University of Queensland PROJECT’S FINANCIAL SUPPORT
Discovery Grant (DP160101569) of the Australian Research Council (ARC) and the ATCH Research Centre, School of Architecture, The University of Queensland DESIGN
Sam de Groot, samdegroot.nl INFO
Pb, c. 270 pp, 23.4 x 16.5 cm (h x w), English, June 2019, ISBN 978-94-92095-67-1, € 25,00
Ludger Gerdes, Bau-Bild Krefeld, Gartenfragment, 1984, detail (styrofoam 'use & mention'). Courtesy by Stiftung Kunstfonds.
Massimo Scolari, Gateway for a Maritime City, 1979, oil on canvas.
Michael Asher, Untitled, 1982, installation view, Museum Haus Lange, Krefeld. Photo: Volker Döhne.
learning from and through art • art’s didactics In the Shadow of the Art-Based Learning in Practice Art Work Jeroen Lutters Art is a form of thinking and dialoguing; it is an unusual source of knowledge. In this publication the reader is introduced to Art-Based Learning, a method that enables the spectator to explore these dialogues, and ‘converse’ with art works. Art-Based Learning can refer both to learning about art as a source and learning about art as a means, e.g. the way art can generate insight into the significance of learning itself. The method offers the possibility to seek fresh correlations in a dialogue with the art work. The author uses three triptychs to demonstrate, step by step, how relevant questions can produce a different perception and understanding, and how works of art, as ‘speaking objects’, can produce new experiences or new knowledge.
ISBN ISBN978-94-92095-66-4 978-94-92095-66-4
In the Shadow of the Art Work is intended for students and teachers of art, art history, drama and cinema, literature, philosophy, anthropology, theology and interdisciplinary studies. The developed method is also highly suited to Artistic Research at academies of art, music, film and dance. JEROEN LUTTERS
is an art and culture analyst and educational designer. His critical educational theory concentrates on the central role of the arts and humanities in the contemporary curriculum, the need for artist educators as wandering teachers, the theory and practice of art-based learning, and the development of twenty-first-century educational landscapes. PARTNER
ArtEZ University of the Arts, Arnhem-Zwolle-Enschede DESIGN
Sam de Groot INFO
Pb, c. 240 pp, 23.4 x 16.5 cm (h x w), English, June 2019, ISBN 978-94-92095-66-4, € 25,00
Triptych Hazekamp – Ray – Jarmusch, from mentioned book
art history • curating • creat tive writing vis-à-vis SERIES
The vis-à-vis series provides a platform to stimulating and relevant subjects in recent and emerging visual arts, architecture and design. The authors relate to history and art history, to other authors, to recent topics and to the reader. Most are academic researchers. What binds them is a visual way of thinking, an undaunted treatment of the subject matter and a skilful, creative style of writing. Series design by Sam de Groot, www.samdegroot.nl.
Indigenous Art, Curation and Criticism ‘I am confident that echoes of Sovereign Words will assist in strengthening existing collaborations and lead to new and groundbreaking connections where mutual respect and learning will become the norm when exchanging with First Nations ways of life.’ — Brook Andrew, Artist and Artistic Director of the 22nd Biennale of Sydney, 2020 Artists and cultural practitioners from Indigenous communities around the world are increasingly in the international spotlight. This publication draws upon the challenges faced today by cultural workers, Indigenous and non-Indigenous, to engage meaningfully and ethically with the histories, presents and futures of Indigenous cultural practices and world-views.
Sixteen Indigenous voices (from Norway, Sweden, Canada, New Zealand, Australia, Bangladesh, India, Samoa, Thailand) convene to consider some of the most burning questions surrounding this field. How will novel methodologies of word/ voice-crafting be constituted to empower the Indigenous discourses of the future? Is it sufficient to expand the Modernist art-historical canon through the politics of inclusion? Is this expansion a new form of colonization, or does it foster the cosmopolitan thought that Indigenous communities have always inhabited? How does this discourse relate to today’s ecocidal, genocidal and existential crises?
ISBN ISBN978-94-92095-62-6 978-94-92095-62-6
indigenous art • cultural pra abularies Sovereign Words
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actices • pluralism • new voca A first of its kind reader of Indigenous voices, Sovereign Words charts perspectives across art and film, ethics and history, theory and the museological field. With the canonical power systems of the international art world increasingly under fire today, the book makes a strong bid for knowledge building and intellectual alliances that will inform the cultural and artistic processes of Indigenous and non-Indigenous futures.
Daniel Browning, Kabita Chakma, Megan Cope, Santosh Kumar Das, Hannah Donnelly, Léuli Māzyār Luna’i Eshrāghi, David Garneau, Biung Ismahasan, Kimberley Moulton, Máret Ánne Sara, Venkat Raman Singh Shyam, Irene Snarby, Ánde Somby, Megan Tamati-Quennell, Prashanta Tripura, Sontosh Bikash Tripura, en of the OCA-team: Liv Brissach, Katya García-Antón, Drew Snyder, Nikhil Vettukattil EDITOR
Katya García-Antón PARTNER
OCA / Office for Contemporary Art Norway (OCA), oca.no DESIGN
Hans Gremmen, hansgremmen.nl INFO
Pb, 288 pp, 24 x 17 cm (h x w), English, released end of 2018, ISBN 978-94-92095-62-6, € 22,50
NEW ART AND SOCIETY
Migrant Perspectives and the Public Sphere Lost in Media: Migrant Perspectives and the Public Sphere gathers critical responses to the representations of migrants in the media in Europe through nine essays by prominent writers, artists and journalists. The starting point is the assertion that migrants have entered European countries, but they haven’t entered the public sphere. When they do, it is as characters in other people’s stories as something other. They are spoken about, but rarely asked. Pointed at, but rarely heard. Decided for, but rarely involved. We hardly ever hear from young migrants as legitimate voices. If migrants and refugees are to become fully recognized citizens of Europe, we believe they need to be participants in— rather than subjects of—the public debate.* * Lost in Media: Migrant Perspectives and the Public Sphere is conceived from the Displaced in Media project and is created in cooperation with the European Cultural Foundation.
Mulham Mohamed Hidel, It’s Not Hard (2018)
ISBN ISBN978-94-92095-68-8 978-94-92095-68-8
migrants and media • refuge ee’s perspectives • inclusion Lost in Media Ismail Einashe, Thomas Roueché TEXT ESSAYS
Tania Bruguera, Moha Gerehou, Aleksandar Hemon, Lubaina Himid, Dawid Krawczyk, Antonija Letinić, Nesrine Malik, Nadifa Mohamed, Ece Temelkuran, Daniel Trilling, Menno Weijs, André Wilkens VISUAL ESSAYS
Roda Abdalle, Tania Bruguera, Banu Cennetoğlu, Jillian Edelstein, Moha Gerehou, Lubaina Himid, Jade Jackman, Dawid Krawczyk, Jacob Lawrence, Antonija Letinić PARTNER
European Cultural Foundation, culturalfoundation.eu DESIGN
The World as Flatland, Gerlinde Schuller, theworldasflatland.net INFO
Pb, c. 200 pp, 21 x 15 cm (h x w), English, June 2019, ISBN 978-94-92095-68-8, € 19,90 Moha Gerehou, The most racist advertisements in history (2018)
9 789492 095688
NEW • CASCO ART INSTITUTE, WORKING FOR THE COMMONS
Visual art is conceived as a practice, able to generate encounters, ways of life, and historical narratives. This book seeks to trace a genealogy of trans-local practices, with histories and methods that link to networks of friendship and solidarity, and of the visual arts as participating in a longer history of contact between individuals motivated by shared interests and struggles.
ISBN ISBN978-94-92095-61-9 978-94-92095-61-9
e new utopias • art as testing ground • fair dialogues Friendship, Practising Art Solidarity, and Ethics Internationally EDITORS
Binna Choi, Lisa Rosendahl, and Grant Watson with Andrea Phillips CONTRIBUTORS
Sara Ahmed, Rustom Bharucha, Binna Choi, Alice Creischer and Andreas Siekmann with Matthijs de Bruijne, Kodwo Eshun and Anjalika Sagar (The Otolith Group), Leela Gandhi, Johanna Gustavsson, Christian Nyampeta, Park Chan-kyong, Andrea Phillips, Lisa Rosendahl, Grant Watson PARTNERS
Casco Art Institute: Working for the Commons, Utrecht, www.casco.art; Iaspis – the Swedish Arts Grants Committee’s International Programme for Visual and Applied Artists, Stockholm, www.konstnarsnamnden.se; Institute of International Visual Art (Iniva), London, www.iniva.org DESIGN
David Bennewith, colophon.info INFO
NEW • CASCO ART INSTITUTE, WORKING FOR THE COMMONS
Unlearning Excercises Art Organizations as Sites for Unlearning Learning is the accumulation of knowledge, skills, and behavior; it is often progressoriented and institutionally driven. In contrast, unlearning is directed towards embodied forms of knowledge and the (un)conscious operation of ways of thinking and doing, in order to actively, critically investigate normative structures and practices. This book shares a set of ‘unlearning exercises’ as propositions to be useful for and adapted within other specific (institutional) contexts in and beyond the arts.
ISBN ISBN 978-94-92095-53-4 978-94-92095-53-4
Pb, c. 192 pp, c. 27 x 21 cm (h x w), Eng, June 2019, ISBN 978-94-92095-61-9, € 25,00
Binna Choi, Annette Krauss, Yolande van der Heide CONTRIBUTORS
Liz Allan, Yollotl Alvarado, Antariksa, Jacob Apostol, Binna Choi, Joy Melanie Escani, Andrés García, Brigitta Isabella, Faisol Iskandor, Ismiatun, Nancy Jouwe, Annette Krauss, Emily Pethick, Andrea Phillips, Kerstin Stakemeier, Sakiko Sugawa, Syafiatudina, Ferdiansyah Thajib, Marina Vishmidt, Yolande van der Heide, Erminah Zaenah, and the shifting team at Casco Art Institute: Working for the Commons DESIGN
Rosie Eveleigh, rlle.co.uk INFO
Pb, 232 pp, 22 x 16.5 cm (h x w), English, just released / November 2018, ISBN 978-94-92095-53-4, € 19,90
arts and politics • change ag n • ecologies Antennae–Arts in Society SERIES
The Antennae-Arts in Society Series maps the interaction between changes in society and cultural practices. It looks upon the arts as ‘antennae’, feelers for the cultural interpretation and articulation of topical political, economic, social, technological or environmental issues. It is a peer-reviewed book series that validates artistic, critical, speculative and essayistic writing as an academic publishing method. Publications in the Antennae series contain essays, theoretical explanations, socio-cultural explorations, activist calls, practice-based research, and artist’s contributions.
Metahaven, metahaven.net INFO
Pb, 21.5 x 13 cm (h x w), English, € 19,90–€ 22,50
ISBN ISBN978-94-92095-46-6 978-94-92095-46-6
gents • mobility • globalization ANTENNAE – ARTS IN SOCIETY
Contemporary Artist Residencies Reclaiming Time and Space Artist residencies provide space, time, and concentration for making art, doing research and for reflection. Residencies are crucial nodes in international circulation and career development, but also invaluable infrastructures for critical thinking and artistic experimentation, cross-cultural collaboration, interdisciplinary knowledge production, and site-specific research. With a range of critical insights from the field of residencies, this book asks what the present role of artist residencies is in relation to artists and the art ecosystem amid transformations in society.
capital, weave cultural fabrics, and expand resources for present and future use. The foundation’s cornerstone is sustainable development through four main principles embodied in all of Arquetopia’s programmes and activities: social awareness, shared responsibility, innovation, and local networks development. This has entailed a process of continuous revision of its model and the implementation of dynamic language in all procedures, activities, and discussions. This constant revision is also aimed at revealing the historical systems of exploitation as a legacy of modernity,2 allowing the renegotiation of terms of interactions between participants, especially in the process of face-to-face encounters, and the content in the forms of communication, which directly impact the production of art. As a result, and after almost ten years in the residency field, Arquetopia has become a space where many realities and complexities converge. Every year, Arquetopia’s artist-in-residence programmes offer professional opportunities for emerging and established artists, both national and foreign. Arquetopia’s mission has been inclusive right from the beginning, and its residency has become a culturally diverse space with a multiplicity of perspectives, by hosting every year artists, scholars, researchers, and professionals of the arts, from different ages, gender identities, and very diverse cultures, from more than 75 countries spanning all regions of the world. Its aim is to encourage the critical dialogue about North/South agendas, challenge global curatorial biases, and address contradictions between market forces and artistic independence. This implies bringing a high level of complexity and worldwide social tensions, as well as preconceptions about Mexico and Peru—many of them, in fact, rooted in art and art history—into a limited and specific physical space, which reflects on the relationships that artists-in-residence establish with each other and the local communities. As Donald Preziosi states, art history is deeply invested in the continuous fabrication of modernity, making the very idea of ‘art’ seem natural and an innate ‘universal’ phenomenon. From a Eurocentric point of view, art history appears to be a universal science, systematically discovering and explicating specimens of a seemingly universal human phenomenon—‘art’—the ‘art’ of all peoples, all arranged relative to
Contemporary Artist Residencies
Taru Elfving, Irmeli Kokko, Pascal Gielen CONTRIBUTORS
Livia Alexander, Nathalie Anglès, Helmut Batista, Taru Elfving, Pascal Gielen, Francisco Guevara, Maria Hirvi-Ijäs, Jean-Baptiste Joly, Patricia Jozef, Irmeli Kokko, Donna Lynas, Antti Majava, Vytautas Michelkevičius, Marita Muukkonen, Nina Möntmann, Jenni Nurmenniemi, Bojana Panevska, Alan Quireyns, Florian Schneider, Ivor Stodolsky PARTNERS
Frame, Helsinki; University of the Arts Helsinki INFO
Pb, 272 pp, English, released February 2019, ISBN 978-94-92095-46-6, € 22,50
each other as at a universal exposition, with each allotted its proper historical and geographical space: representatives in a congress of equals (Preziosi 1999). Nevertheless, the construction of the visual history of Latin America is much more complex. Since the first encounters between Europeans and the inhabitants of the Americas, the production of images about Mesoamerica3 and the Andes, up to modern day Mexico and Peru (as well as many other regions in the Global South4) were the result of descriptions through the imperial European gaze. For instance, the first narration of the encounter with Moctezuma II was made by Spaniards, which then was translated into other European languages in the form of text, and later became images through engravings. Most of the illustrators and artists who produced images about the Americas never set foot on either continent; however, many of their images were sent to the Viceroyalties of the New Spain (Mexico) and Peru, to teach and train local artists. Subsequently these images were used to create paintings, the artistic expression of imperial power par excellence. Such gazes and forms of interpretation continue to be the visual references for all of Latin America, establishing the parameters of a visual culture that would linger for over 500 years. Even now, one of the beer labels in Mexico carrying the name of Moctezuma continues to be visually rooted in the historical descriptions, categorizations, and gaze that Europeans exercised in the process of the invasion of the Americas. This is especially relevant as we learn that we have very limited agency over the visual culture surrounding us, and that this has been articulated with the goal of categorizing and the intention of dominating through visual control (Preziosi 1999). These methods permeate all forms of visual representation of nature, the objects around us as well as people, establishing gender roles, social classes, racial categories, and forms of social and cultural organization. The visual culture of the Americas through religious images, colonial portraits, still life, and landscape, as well as maps, engravings, and book illustrations generated a complex visual tradition that paradoxically contributed to the development of Mexico as a nation and also coined the perception of an exotic paradise, very different and very far away from the European ‘order’ (Katzew 2004). This is how a paradigm was created, a historical system of exploitation that observes, imagines, and describes the culture and inhabitants of all
Challenging the Sense of Time and Space
publiek debat • ruimtelijke v verandering • longreads e STADSESSAYS — alleen in het Nederlands / x trancity valiz only in Dutch TRANCITY x VALIZ
Anderhalf jaar geleden zijn we een nieuwe publicatieserie bij trancityxvaliz gestart: stadsessays. Deze compacte, vaak uitdagende, polemische teksten dragen bij aan het publiek debat over ruimtelijke en sociaaleconomische thema’s. Er is volop discussie over stad en regio. Woningmarkt, gentrification, segregatie, sociale cohesie, tweedeling, wijkontwikkeling, stadmaken, publiek domein, zorgvoorzieningen, circulariteit, energietransitie; onderwerpen genoeg. En allemaal hebben ze ruimtelijke gevolgen of worden ze juist door verdeling en inrichting van de ruimte opgeroepen. Wordt de stad gedreven door economische of sociaalculturele waarden? www.trancity.nl Ontwerp: Janna & Hilde Meeus, meeusontwerpt.nl
Stadsessays geven een podium aan analyse, verdieping en reflectie, maar ook aan stellingname en discussie over de stad. Ze zijn beknopt, goed te lezen in een enkele avond of treinreis, in druk of digitaal. Via onze websites kunt u kiezen: gratis een pdf om zelf te printen of de e-pub om digitaal te lezen. De liefhebber van papier kan tegen betaling een gedrukt exemplaar via onze webwinkel bestellen. Annemarie Kok Herinnering aan de rechtsstaat Pleidooi voor serieus openbaar bestuur ISBN 978-94-92095-65-7, € 14,50 (of gratis PDF/e-pub) Simon Franke & Wouter Veldhuis Verkenning van de rechtvaardige stad Stedenbouw en de economisering van de ruimte ISBN 978-94-92095-59-6, € 14,50 (of gratis PDF/e-pub) Annemarie Kok Binding genoeg De stad en het geheim van aangenaam samenleven ISBN 978-94-92095-34-3, € 14,50 (of gratis PDF/e-pub)
v civil activism • public space e • urban urgencies ISBN 978-94-92095-38-1, € 25,50 ISBN 978-94-92095-39-8, € 19,90
ISBN 978-94-92095-41-1, € 22,50
ISBN 978-94-92095-02-2, € 19,90
ISBN 978-94-92095-51-0, € 19,90
editorial • programmes • fai distribution 15 Years Valiz, Looking Back and Looking Ahead At the beginning of 2019, we celebrated 15 years of Valiz (2003–2018)! In these 15 years — 156 books have been developed and produced; — 703 events, presentations, symposia, debates, and fairs were organized or attended; — 7 years of collaborating with Trancity, Simon Franke; — many other inspiring collaborations have unfolded, for instance with Pascal Gielen (Arts in Society), Jeroen Boomgaard (LAPS, Rietveld Academie), Thijs Lijster, Joke Robaard, Wouter Davidts, Camiel van Winkel, the Institute of Network Cultures, Stroom Den Haag, and many, many others.
Astrid Vorstermans, Pia Pol, Sarah van Binsbergen
ISBN 978-94-92095-43-5, € 39,50
ISBN 978-94-92095-17-6, € 35,00
One example of this sharing and exchanging is a new ‘ambassador system’ to involve a young and upcoming generation of artists, designers, writers, historians and art historians even more closely with Valiz’
We wish to thank everyone who contributed to and co-defined Valiz over the past 15 years and look forward to a next phase with imaginative, urgent content and great, critical collaborative efforts.
ISBN 978-94-92095-40-4, € 19,90
What lies ahead? Of course, this anniversary is not just an occasion for looking back, it is also an opportunity to tentatively formulate where we want to go from here. Over the years, we have increasingly thought of Valiz as a vehicle to address urgent questions about developments in art, culture, and society. And while we are still very much committed to making books, we are also exploring other ways for Valiz to be a space for debate and reflection. In addition, since we believe that theory and practice inform each other, we are actively searching for alternative models for organizing our work and for how we collaborate and exchange with others. Valiz will adopt a different structure and legal form in which the three of us will be co-owners and co-directors. More news on this to follow at a later date. In this search for a more tailored organizational format, one urgent question is how we can involve Valiz’ network—both authors/makers and the public—more actively in both input and results. Inspiring ideas about this are most welcome.
content, publicity, and organization. A first step in this regard is that we have looked for, and have found, ‘BookMarks’ in the Netherlands: Willemijn Bunskoek, Dinnis van Dijken, Niek van Sleeuwen, Simone Wegman, Fenna Wenselaar, and Zeynep Yavuz. These BookMarks or ambassadors will be the ‘connectors’ between Valiz and our existing and potential public in their own region and/or field of interest. The BookMarks will visit bookshops, exhibitions, museums, and art institutes, look for links with the projects and content of Valiz, and provide mutual feedback. Some of them will develop related initiatives, such as blogs, podcasts about specific books or content, videos featuring authors, or organize a VaMiBo (Valiz-afternoondrinks), and so on. We know that all these things are still in an early stage, but we are already very pleased with the contagious energy, feedback, and potential they generate. To be continued!
irs • lectures • bookmarks • 8 MARCH 2019
AICA Award 2018 for Sandra Kisters De Ateliers, Amsterdam (NL), aicanederland.org 14–17 MARCH 2019
Melbourne Art Book Fair National Gallery of Victoria, Melbourne (AU), ngv.vic.gov.au
MID JUNE 2019 (DATE TBC)
Conference ‘Trading Between Architecture and Art’ With John Macarthur, Ashley Paine and many others University of Queensland, Brisbane (AU), uq.edu.au, arc.gov.au JUNE 2019 (DATE TBC)
23 MARCH 2019
Book programme ‘In the Shadow of the Art Work’ With Jeroen Lutters De Groen, Arnhem (NL), collectiedegroen.nl
23 MARCH 2019
Book programme ‘Archive Species’ With Joke Robaard and Camiel van Winkel Salon für Kunstbuch, Vienna (AT), salon-fuer-kunstbuch.at
Lecture ‘Conceptual Art in a Curatorial Perspective’ With Nathalie Zonnenberg Open Universiteit Utrecht (NL), ou.nl It’s a Book, Independent Publishing Fair Hochschule für Grafik und Buchkunst Leipzig (DE), itsabook.de 11–14 APRIL 2019
LA Art Book Fair The Geffen Contemporary at MOCA, Los Angeles (USA), laartbookfair.net 12–13 APRIL (DATE TBC)
Book programme ‘Conceptual Art in a Curatorial Perspective’ With Nathalie Zonnenberg KASK, Ghent (BE), schoolofartsgent.be 26–28 APRIL 2019
Libros Mutantes, Madrid Art Book Fair La Casa Encendida, Madrid (ES), librosmutantes.cm 11–12 MAY 2019
Ghent Art Book Fair Kunsthal Gent (BE), ghentartbookfair.org 16–18 MAY 2019
Offprint Art Book Fair Turbine Hall, Tate Modern, London (UK), offprint.org 24 MAY 2019
Book programme ‘Contemporary Artist Residencies’ Witte Rook, Breda (NL), witterook.nu 29 MAY 2019
Book programme ‘Contemporary Artist Residencies’ AIR Antwerpen, Antwerp (BE), airantwerpen.be
JULY 2019 (DATE TBC)
DISTRIBUTION AND REPRESENTATION
• NL/BE/LU Centraal Boekhuis, www.centraal.boekhuis.nl • GB/IE Anagram Books, www.anagrambooks.com, Adeline Mannarini • USA/CA/LATIN AMERICA D.A.P., www.artbook.com • EUROPE/ASIA/AUSTRALIA Idea Books, www.ideabooks.nl Representatives or distribution partners Idea Books • Australia and New Zealand: Perimeter Distribution, Justine Ellis & Dan Rule, www.perimeterbooks.com • China and Hong Kong: consult Idea Books • France, Switzerland and Walloon Belgium: Sébastien Richard, www.macadam-diffusion.fr • Germany and Austria: consult Idea Books • Japan and Asia: Julie Onishi, email@example.com • Scandinavia: Anna Eriksson, firstname.lastname@example.org • Southern Europe: Bookport Associates, email@example.com INDIVIDUAL ORDERS
www.valiz.nl, firstname.lastname@example.org © Valiz, Amsterdam / Trancity, Haarlem, artists, authors, designers, 2019, All rights reserved. All contents and prices can be subject to change! Design folder: Zuzana Kostelanská, Amsterdam, zuzana.xyz Typeface: Mercator (Dick Dooijes, 1958 / digitized by Laurenz Brunner, 2008) Paper: Munken Print White 15, 80 g/m² Printing: Bariet Ten Brink, Meppel
ISBN 978-94-92095-19-0, € 19,90
16 MARCH 2019, 11 AM
Panel discussion ‘What Is Critical About Critical Publishing’ With Astrid Vorstermans National Gallery of Victoria, Melbourne (AU), ngv.vic.gov.au
12–15 JUNE 2019
I Never Read, Art Book Fair Basel Kaserne Basel (CH), ineverread.com
ISBN 978-94-92095-60-2, € 19,90
7–8 JUNE 2019
Meeting ‘Making Public and Publics: Art Publishing in Context’ Lugemik, Tallinn (EE), lugemik.ee
Valiz Het Sieraad, Studio K34-K36 Postjesweg 1 NL–1057 DT Amsterdam, www.valiz.nl
Sarah van Binsbergen Till Hormann Pia Pol Astrid Vorstermans
trancityxvaliz: Simon Franke, Pia Pol, www.trancity.nl BookMarks NL: Willemijn Bunskoek, Dinnis van Dijken, Niek van Sleeuwen, Simone Wegman, Fenna Wenselaar, Zeynep Yavuz
Herinnering aan de recHtsstaat
VERKENNING VAN DE RECHTVAARDIG
C H T
A A A
sss ttt AAA Herinnering aan de recHtsstaat
gn • urban culture • kunst • the scultuur
C H T
C H T
T VA A R
Stedenbouw en d van de ruimte
Valiz voorjaar/zomer 2019 Pleidooi voor serieus openbaar bestuur x