posture editions

NEW:
The Attraction of the Mountains
NICOLÁS LAMAS
text by Alejandro Alonso Díaz

€ 35
192 pages — 21 × 30 cm
ISBN 978 94 9126 225 8

BUY ONLINE:
copyright or riot

In his work, Nicolás Lamas deals with notions of chaos and order as entangled forms of organisation that widely cross disciplines, cultures and sensibilities. In order to show these associations, the book aims to synthesise the complex universe that the artist has been composing in the recent years. This composition is being made out of ran­dom encounters, pictures taken by the artist, materials from his personal archives, quotes, online images and documentation of his work, thus adopting an expansive strategy as its method.

Recently launched at P/////AKT Amsterdam
Exhibition 18 Nov-17 Dec 2017

NEW:
Not to be Fed, but to be Famous
SOPHIE NYS
text by Sarah Demeuse

€ 20
200 pages — 21 × 30 cm
ISBN 978 94 9126 226 5

The book Not to be Fed, but to be Famous is inspired by Laurence Sterne’s The Life and Opinions of Tristram Shandy, Gentleman
includes 75 drawings by LUCA students, based on Curating the Library (deSingel 2003-2009)

Launched Fri 15 Dec at deSingel, Antwerp

In 2003, the Antwerp art centre deSingel, starts the project Curating the Library, initiated by Moritz Küng. A variety of individuals — writers, archi­tects, choreographers, artists, philos­o­phers, scientists — present their favourite books. These books are part of a steadily growing archive: Curating the Library, a mobile, mirroring sculpture designed by Richard Venlet. In 2009 Curating the Library ends. In the course of six years, 110 guest speakers have presented 1,557 books to the public.

In 2016-17, at the request of Wim Lambrecht (LUCA School of Arts) and Jan de Vylder (KU Leuven, Faculty of Architecture), the book collection and the reflective sculp­ture move to Sint-Lucas Ghent. From January to June 2017 they become the backdrop of bustling events and lectures under the heading Reading Curating the Library.

Posture Editions is invited to respond to the library and asks artist Sophie Nys to make a book to­gether. Sophie is intrigued by ‘The Life and Opinions of Tristram Shandy, Gentle­man’ by Laurence Sterne, a novel that was selected by as many as four lecturers. Sophie and Posture address a call to the students of Sint-Lucas Ghent and 75 students take part in a drawing session.
The result, ‘Not to Be Fed, But to Be Famous’: a book including 75 drawings, mirrored opposite the original cover of the book chosen, with the name of the speaker who originally introduced the book in deSingel.
This anthology is followed by a text from curator Sarah Demeuse in which she tries to find out how we can read Tristram Shandy today.

In an attempt to reconstruct the complete story of Curating the Library, the book contains the registration of all lecturers and the books they chose, a facsimile edition of the original deSingel folder.
The book ends with a survey of all lectures and performances for Reading Curating the Library.
They bear witness to the variety of events that took place in Sint-Lucas Ghent.

Neither in deSingel, nor in Sint-Lucas Ghent there was a librarian in the library. This strange fact inspired Sophie Nys to add an extra to Not to Be Fed.

In cooperation with the Faculty of Architecture KU Leuven
and LUCA School of Arts
campus Sint-Lucas Ghent

recently published:
Mon seul désir
CAROLE VANDERLINDEN
text by Hans Theys

€ 30
72 pages — 21 × 30 cm
ISBN 978 94 9126 224 1

Launched at Galerie Zwart Huis, Brussels

The best introduction to Carole Vanderlinden’s work is explaining how it was created. It’s probably easier to read her work if you know how it came to life. Many artists take inspiration from existing works of art they’ve generally come into contact with when growing up, often in books or magazines, sometimes in museums and galleries. Carole Vanderlinden loves to read and to leaf through books, but her main interest is visiting museums of ancient or ethnographic art. In general, she looks for any event, drawing, object, pattern, colour and rhythm that speaks to her. Joining her on two of these trips of discovery, once in Brussels and once in Paris, she can be fascinated by the most diverse objects, such as a zigzag Navajo carpet, Egyptian alabaster Canopic jars dating back to 1500 BC, 18th-century glazed biscuit from Tournai or a herbarium. These objects and their colours and rhythms are copied in notebooks, often with an accompanying text. Later she might re-paint them on paper creating new combinations or compositions. These works on paper usually remain quite light, with a lot of cut-outs, like minimalist collages.
In parallel Vanderlinden works on her paintings without any preconceived idea. Layer after layer the paintings try to avoid being controlled or supervised in any way. Sometimes we see patterns emerge that are familiar from her works on paper. These patterns are used as ways of countering a painting, destabilising it, recreating a balance or finishing it. During this practice, the patterns become more compact and dense. Slowly they merge with the stubborn texture of the painting.
The book ‘Mon seul désir’ is a follow-up to ‘Nocturne’ (2013). It contains reproductions of works on paper by Carole Vanderlinden and an oniric essay of Hans Theys, inspired by Carole’s works on paper and the medieval tapestry ‘La dame à la licorne’.