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How To: Untitled Runway Show is an artist’s book that presents K8 Hardy’s performance Untitled Runway Show, created for the 2012 Whitney Biennal. For this work, Hardy orchestrated a live fashion show performance on the fourth floor of the Breuer building that rivaled the presentations made during a Paris or New York fashion week.

How To: Untitled Runway Show follows the apparatus of professional fashion and is organized around three sections: The Show (lookbook), Backstage, and The Campaign. For each of these sections, Hardy specifically created a new series of images for the book. As well, five texts were specially written for this publication, many of whom were involved themselves in the original performance. John Kelsey contributes an important critical text that gives context to this performance in the bigger picture of Hardy’s entire practice. The variety of the writing in this book and perspectives on the piece bring a crucial understanding and richness to Hardy’s incredible performance and unconventional work in general.

K8 Hardy (USA, *1977) is a New-York-based artist, one of the founders of the queer feminist art collective LTTR and creator of the cult zine fashionfashion. In her work Hardy often uses fashion as a material to sculpt, photograph, and produce performances interchangeably and simultaneously, creating a new genderqueer vision.

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This stencil font, which consists of 43 characters, including numerals and several punctuation marks, was inspired by the lettering on old Danish police cars. A 3D effect is achieved by incorporating drop shadows into the type design. Each character is approximately 6 cm tall, ideal for posters and sign painting, and can be transferred to a surface by using marker, pen, or spray paint.

Stencil typeface, Amsterdam, 2003
Laser-cut steel, 32.5 x 19.3 x 2 cm, 4 plates, ed: 30

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7’’ single, 3’12’’, 45 rpm
numbered edition of 300 copies

collector’s edition :
digital print on Maco Mat, 150 gr., 118,8 x 168 cm.
after Untitled, Gaillard&Claude 2015 plaster and speaker stand
transparent plastic sleeve attached to the print
calligraphy by Caroline Mandale
signed and numbered edition of 12 (+3 A.P.)

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Biannual magazine on architecture
Issue 2 and 3, September 2015

Issue 3: special issue published as a contribution to The Corner Show, Extra Ctiy, Antwerp, 12 September – 6 December 2015, curated by Wouter Davidts in collaboration with Philip Metten and Mihnea Mircan. Co-produced by Extra City. Intended both as an autonomous object and a continuation of Accattone #2.

Graphic design:
Ismaël Bennani, Orfée Grandhomme — Überknackig

€25.00

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What you are holding in your hands is the printed manifestation of Alfred Palestra. At first, it took shape as a workshop with a group of high school students from Lycée Émile Zola in Rennes, designed as a method to comprehend plural narratives. The workshop aimed to develop skills to interpret a very particular historical constellation: The school was the place where Alfred Jarry almost met Alfred Dreyfus. It served as the location for the second Dreyfus trial in 1898, held just after Jarry had graduated from there. The Lycée thus became the cradle of the avant-garde during the cataclysm of the republic.

GAGARIN
the Artists in their Own Words
Issue 30/2015

with original texts by Ana Torfs, Hiwak, Amalia Pica, Nora Schultz, Zdenek Kosek, Ai wei wei, Dan Perjovschi

Concept & coordination: Wilfried Huet
Graphical concept: Simon Casier & Petra Fieuws

€17.00

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What would it mean for choreography to perform as an exhibition? This question is the point of departure for Work/Travail/Arbeid.

The exhibition took place at WIELS over a duration of 9 weeks from March 20 to May 17, 2015, featuring the original and most extensive version of the project. All subsequent versions are conceived to be exhibited for a duration of 9 days, with an exhibition choreography specifically devised and composed for the concrete spaces of other museum venues.

Volume #1:
Anne Teresa de Keersmaeker
Work/Travail/Arbeid
Rosas & Ictus

Volume #2
Vortex Temporum
Anne Teresa de Keersmaeker / Rosas / Ictus

Volume #3
Essays
Bojana Cvejic, André Lepecki, Brian Dillon, Catherine Wood, Douglas Crimp

Volume #4
Anne van Aerschot, Babette Mangolte, Herman Sorgeloos

€50.00

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Elisa Storelli and Constantin Engelmann @ Motto Berlin 15.9.2015
from 19.00

Time Piece (additive synthesis bell)

This installation changes the time at Motto. Its bell strikes the hours according to the sci-fi time “System Sin 1.0” (developed by the artists). In place of the regular hours in UTC time, the hours in “System Sin 1.0” are spread along a sinusoidal curve, so that their duration varies throughout the day.

In “System Sin 1.0 time”, as in ancient Rome, day and night are fixed by sunrise and sunset. Between these solar events, sin hours shorten towards noon and midnight. As the duration of daylight increases or decreases slightly every day, the duration of sin hours varies accordingly.