Today, known for its black and white portraits covering entire buildings, Hendrik Beikirch today presents the Siberia project, a project in the continuity of Tracing Morocco started in 2014. The intensity of these powerful foreign faces recalls a familiarity that can be experienced anywhere in the world. Beikirch takes these studies of humanity with him on his travels and permeates them as traces of personified life in new contexts. The project is the result of Beikirch's meeting with this distant immensity that is Siberia. From this project was born the book Siberia, which gives an overview of all the works created, paintings, and 10 murals carried out all over the world. Text in English, French and Russian.

A mind-blowing genre crossing deep purple velvet adventure (formerly known as "BOOK"). This publication concerns a multimedia project consisting of visual arts, micro stories and music, with a history on Instagram.

Beatrice undergoes her daily train commute to work. Day after day on the platform she notices a red tote bag seemingly unclaimed. Could that speck of colour amongst the morning rut be waiting for her? One day Beatrice's curiosity takes over and she walks out of the station with the red tote in hand, on the verge of an unexpected new world... Unfold Beatrice's journey in this beautifully illustrated graphic novel.

Juliaan Lampens 1950-1991 is the reissue of the catalogue published by the deSingel Arts Centre in 1991. The hand of the master is present in every facet of this publication, which makes this a unique reference work. In both a literal and figurative sense, Lampens helped shape the book: he selected the texts and images, wrote specifically for the publication and collaborated with the designer. Publications about Juliaan Lampens are scarce and highly sought after. Interest in the architect's oeuvre has only increased in recent years, including internationally, as demonstrated by the special edition of the renowned Japanese architecture magazine a+u that was devoted to Lampens. With this reissue, supplemented by an updated biography, the Flanders Architecture Institute is responding to an ever-growing demand. Previously untranslated texts are now provided in both French and English, thereby offering the reader three equivalent language editions in one volume. Text in English, French and Dutch.

Plantin travelled a lot, to Paris, where he had a bookstore and lace trade, to Leiden where he had a second business, to Frankfurt for the buchmesse, ... He was on his way almost half of the year. He was an experienced traveller. How did people travel in a time without motorways, GPS, smartphone or trip advisor? Plantin had tables available that calculated how long the trajectories lasted. Unfortunately, he did not keep track of where he slept, ate, and how much he spent. Fortunately, there are other contemporaries, such as Durer and Montaigne who did take extensive notes during their travels. In the wake of Plantin, we send young photographers on different journeys with various means of transport. How do travel distances and travel times differ from journeys in the 16th century?

Camiel Van Breedam ( DegreesBoom 29/06/1936) made his first artworks in 1956: reliefs and small zinc sculptures. Later followed by assemblages, collages, objects, sculptures, environments - exhibited in many places in Belgium and abroad. Influences and inspiration come among others from: his father's plumber workshop, the region of the river Rupel and the brickyards, Paul Klee, ethnic art, Indians, Joseph Cornell, the Russian avant-garde, Chaim Soutine, Oskar Schlemmer, Bauhaus, De Stijl, dreams, nightmares and RED. His social involvement provides the red thread and the binding element.

Indonesia and its more than 17,000 islands are spread out over a surface area equivalent to that of the European Union. As an area of confluences and encounters, the Indonesian archipelago has always been one of the most important crossroads of world trade, where Austronesian ships, Arab dhows, Chinese junks, Iberian caravels, and other ships of the East India Companies berthed long before the container ships and oil tankers of today. The history of this archipelago is that of a multitude of links and connections, where the near and the far intermingle, forced to compete in a ubiquitous maritime world. The sea brings together more than she separates, and the monsoon winds have made this intersection a mandatory stop for merchants, clerics, and foreign diplomats, whose presence has left traces in the myths, monuments, arts, and traditions of contemporary Indonesia. Overlapped, blended, reinterpreted by rich and complex societies, these inflows have forged multiple worlds that the relationship with the sea has finely coloured and chiselled. Archipel invites us to discover this world, with the sea as the common thread, and an exceptional collection of major artworks as markers of a history to be discovered and admired.

A stunningly presented portfolio containing a sumptuous selection of the most spectacular full-colour splash pages from Brecht Evens' illustration, commercial and graphic novel oeuvre. Not bound, beautifully printed on a perfectly frameable format (30cm x 40cm).

Antwerp artist Eugeen Van Mieghem (1875-1930) documents the pulsating life around the port of Antwerp at the turn of the twentieth century. Dockers, sack sewers, passengers, local communities and general labourers are the subjects of his lifelong fascination with Antwerp port. His affinity with his subjects makes his work direct and sincere and is unique in the genre of social realism. The port is one of the great gateways to the city, facilitating the constant movement of goods and people - migrations that are essential for the economy as well as for the evolution of people and society. Ports also are scenes of human tragedy, witnessing the forced emigration of families and communities fleeing persecution and poverty, as immortalised in the paintings and drawings of Eugeen Van Mieghem. Antwerp does have strong associations with Irish artists in the late nineteenth century, many of whom, attracted by the pioneering developments in art practice on the Continent, travelled to Antwerp to study at the Royal Academy of Fine Arts artists, including Roderic O'Conor, Walter Osborne and Norman Garstin. The result was light-filled fleeting images painted out of doors, en plein air, a radical departure from the official teachings of the established art academies. It is not known if Van Mieghem and any of those Irish artists ever came in contact with each other, but this exhibition shows for the first time Van Mieghem's oeuvre alongside that of his Irish peers, proving yet again how vital are ongoing migrations of culture and people in illuminating and understanding our contemporary society.

Visual artist Laura de Coninck expresses in images what her father - the unforgettable poet Herman de Coninck - captured in words. That is no mean feat, because both seek to convey a feeling, want to say the unsayable. You don't have to stay silent about things you can't say. You can and you must talk about them, and Laura de Coninck does that with verve. Saudade is the untranslatable Portuguese word for a feeling of longing, which has Passion as its brother, Sorrow as its sister and Nostalgia as a parent. Laura loves words in general and this word in particular. We all have a rich emotional life, we all often feel emotions keenly and we are all familiar with a hopeless inability to put those emotions into words. Laura expresses herself in images, in pictures that tell stories about power and powerlessness, about strength and about the fragility of love. The emotional worlds her father could evoke with the right words, expressed in his own unique way, are evoked by Laura with equal authenticity in a sober interplay of line, image, ink and paper.

This is an EXACT reproduction of a book published before 1923. This IS NOT an OCR'd book with strange characters, introduced typographical errors, and jumbled words. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book.