The Westmorland County Agricultural Society ‘WCAS’ was established in 1799, and for over 200 years has survived world wars, recessions and the Great British weather to establish itself as one of Britain’s oldest livestock agricultural events. Located on the fringes of the Lake District, Westmorland County Show has showcased rural life to the masses. The project aims to highlight the contrasts found at an event where farming communities, tourists, competitors, VIPs and shoppers explore the land in their unique ways. Through grainy black and white 35mm film, the intention was to blur the suggested timeframe by playing with the unusual sights, outfits and activities found when livestock and different communities interact in a field.

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A Kassen is a Danish art collective whose work encompasses photography, installation, and sculpture. Recalling the process-over-product mantra of 1960s action painters and Pop artists, their practice hinges on central questions of authorship and explores the relationship between form and content. Beginning with an everyday object—a material such as bronze, or something more ephemeral, like a puddle or a reflection—A Kassen task themselves with acts of construction and deconstruction, reinterpretation and recontextualization, all the while challenging preconceived notions of what the phenomenon in question is. Through these manipulations, they create works meant to be seen explicitly through the context of art and aesthetics, where the spectator’s role becomes central—indeed, an integral part of the work. Bystanders become interpreters, creating layers of meaning and understanding while rewriting the narratives at hand.

Dimensions Variable includes essays by Irene Campolmi, Adam Carr, and Jonatan Habib Engqvist, and an illustrated chronology of A Kassen’s works.

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Lo Yuen Yi is an artist that is hard to define. She specialises in using text to document artists and their creative endeavours and using drawing to deconstruct and reconstruct both words and concepts. Traces is divided into two parts—words and drawings—but the same questions underlie the two: who am I? What is art? What is the essence of memories? Each question is independent yet intertwined. 



The drawings are a collection of pencil sketches, including portraits of a hand, mad women speaks featuring frames, work in progress which records the making of a hardbound book, cosmos-shells unearthed in my garden collecting shells from soil, tools Dad remade with tools as the subject etc. From defining oneself, to symbols of doubt, to capturing the broken traces left by memories. 



The words are made up of seven essays which start with a discussion about the space for creativity and end at fixation on cities. As everything disappears, Lo asks: what are memories? Are there any left? In response, she replies:



The meaning of memory is within each person’s experience

It has its own language

Your memories are not mine

My memories are not bigger than his or hers


Pages: 2 books, 170 pages in total with 4 postcards

Binding: Pamphlet binding & Saddle-stitching

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A journey of escape
The closer he gets to the border
The more he feels
What is truly disappearing
Press the shutter
Compress your thoughts
Through the aperture
Hidden in photographs
Becoming the shadow of light
On the barren snowfield
Perhaps you’ll begin to miss home 

“We are all dust.” – Philip Pecker

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“At first; mountains are mountains and rivers are rivers; while you are studying, mountains are no longer mountains and rivers are no longer rivers; but once you have had enlightenment, mountains are once again mountains and rivers again rivers.” — “Transmission of the Lamp” (Song Dynasty) 



Artist Yan Kallen studied and lived overseas for many years, participating in many museum and gallery exhibitions abroad. However, Yan always regarded Hong Kong as home. Upon his return from Kyoto, Yan captured his own understanding and sentiments of Hong Kong using traditional Chinese painting style in combination with epiphany derived from Zen school of thought originating from Song Dynasty.

In this city, old houses are demolished every day and construction in process is found everywhere — around any corner, you can find a new high-rise building that seemingly came from nowhere. Revisiting places that were etched into his memory before he left Hong Kong as a child, this book starts from the home of Yan’s grandfather in Pak Hung House in Choi Wan Estate, Ngau Chi Wan. In this easily forgotten place surrounded by high cement walls, how can one gently set down one’s memories?

Perhaps this is a question that every one of us need to answer for ourselves.

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The Aforementioned examines the dynamic relationship between object and human usage. It’s a collection of images that document the objects we encounter in daily life, in a personal yet archival manner.

This collection provides a soulful / geometric interpretation of the linkage between the object and the user. Some object stands oddly intruding from its environment, some sits quietly hidden from any attention, whether artificial or natural, object serves a purpose to someone or something at one point in time. From a cut opened steel fence to mystery hands at an intersection, they are seemingly unrelated yet deeply connected. The sequence reflects on the randomness of a daily encounter giving each occurrence a voice of its own.

Designed by Louis Kang
Introduction by Valarie Frost
Printed with Sensations Print in Taipei

Edition of 100

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Stefan Marx (*1979) is a Hamburg based artist. His T-shirt label The Lousy Livincompany is a platform for his drawings published on T-shirts. He has worked for numerous skateboard and T-shirt labels worldwide. His artist books are published by Nieves, Rollo-Press, and Christoph Keller Editions/JRP Ringier – beside these releases he publishes regulary by himself. All Smallville Records releases are visually defined by Marx’ drawings. Smallville Records is also the label of his band The Dead Sea. He has lectured widely in Germany and taught Drawing at the Bauhaus University in Weimar.

Die Aufstellung thematisiert die Weitergabe von Traumata des 2. Weltkriegs im Wohnhaus meiner Familie. Ausgangspunkt ist ein Archiv von 500 Metallobjekten, die mein Großvater, ein ehemaliger Wehrmachtssoldat, über mehrere Jahrzehnte im Keller unseres gemeinsamen Wohnhauses fertigte. Die Objekte werden in der handwerklichen Routine zu Trägern des Traumas. Um den Einfluss der unausgesprochenen Kriegserlebnisse auf den Familienalltag zu zeigen, setze ich die Metallgegenstände sowohl mit Kriegsfotografien als auch Familienfotos ins Verhältnis, die Ausschnitte aus dem Alltag meiner Familie bis in die frühen 2000er Jahre zeigen.

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A diary of liberated gestures in clay.
Throwing Mud is a collection of photographs that document Luca and Lily reconnecting with play in their creative process through freedom of form and gesture.

“Lily Pearmain and Luca Anzalone spent a week playing with their respective materials in each other’s company. Lily with clay, and Luca with film. The whole project was an experiment in playing naively with materials that both authors had become accustomed to using. The resulting photographs have been collated here in a book, which the authors hope will act as a guide to play and childlike exploration of common materials.”

Limited edition of 300.  
Cover screen printed in terracotta clay

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