Launched in 1999, Afterall is a journal of contemporary art that offers in-depth analysis of artists' work, along with essays that broaden the context in which to understand it. Its academic format differentiates it from popular review magazines. Volume 48 is Afterall's 21st anniversary issue, in which the editorial team reflects on the journal's past though a series of reprints of contextual essays and artist features, together with new commissions that inform the present and future vision of the journal.

In Richard Deacon's solo exhibition Some Time, a refabricated version of his sculpture Never Mind takes pride of place among more than twenty-five other works. Over time, the original sculpture, made in 1993, proved to be incompatible with the natural environment of an open-air museum. Now, after a period of critical reflection and discussion with the artist himself, what he calls a 'refabrication' has taken place. Follow the artist and the museum's quest for an innovative, sustainable solution to the renewal of (or variation on) a monumental sculpture that offers a potentially new line of approach for the future. This book not only represents the Some Time exhibition, but thanks to its diversity of material, ranging from original sketches and intimate correspondence to construction photos from the workshop and installation shots, it also gives a unique insight into Deacon's working process. At the same time, it provides a moment of critical reflection from the perspectives of the various authors who have contributed to it. Text in English and Dutch.

The project takes its name from the demand for the transfer of power and other things to the newly independent Indonesia in 1945. It travels through time, from European colonial occupation through the development of the republican state to the trans-national contemporary cultures of today. It looks at the various international exchanges that happened in the territories of contemporary Indonesia, through the images and ideas of artists. These exchanges were of different kinds: trade, culture, religion, ideology and war. They produced a variety of results: violence, oppression, racism, creativity, spiritual awakening, and other things. The ideologies and challenges of modernity are common ways in which Indonesia has been depicted by others and has defined itself over the period. As this modern period recedes into history, the project will seek ways to remember how it has influenced contemporary understanding and ask the current generation of artists to look back in order to rewrite the past and potentially create the conditions for a different future. The catalogue and the exhibition will follow a broad chronological narrative, allowing readers and visitors to learn more about how this huge archipelago has changed over the past two centuries and to observe how it has responded and adapted to influences originating from both inside and outside the islands. The influence of the imperial Dutch and Japanese occupations naturally form a significant element in the narrative of the exhibition as does the constant struggle for different forms of independence or equal treatment by the Javanese and other Indonesian cultures. The importance of Chinese and Arab influence on Indonesia's cultural history will also feature as the exhibition tries to look for alternative ways, alongside the post-colonial, for understanding the present. The presentations will include work made during the residencies as well as new commissions.

Launched in 1999, Afterall is a journal of contemporary art that offers in-depth analysis of artists' work, along with essays that broaden the context in which to understand it. Its academic format differentiates it from popular review magazines. In issue 47, featured artists are planned to include Gulsun Karamustafa, Armin Linke, Naeem Mohaiemen, and Araya Rasdjarmrearnsook, Thao-Nguyen Phan, and Anne-Mie Van Kerckhoven, among others.

The phenomenon of artists' platforms and artists' initiatives have been gaining in popularity and strength over recent years, in the Netherlands and beyond. Artists form groups and organize themselves in order to change something in the local, regional or national environment, or in order to create work together. "Shifting Map" asks to what extent these artists can play a role in a society in flux. "Shifting Map" contributes to the wide-ranging international debate about western and non-western art, social engagement, cultural identity and the dominant visual culture. The book does not simply focus on a purely theoretical discussion, but also provides anchoring points and pause for thought for artists, curators and policy makers. Besides texts and images by the artists' initiatives and artists' platforms themselves, the publication includes essays by philosopher Reinaldo Laddaga and art critic Charles Esche which examine the significance of artists' initiatives, the artistic debate and its significance in the worldwide field of art.
"Shifting Map" is a publication by the RAIN Artists' Initiatives Network, a network of artists' platforms and initiatives in Africa, Asia and Latin America that was set up by former residents at the Rijksakademie van Beeldende Kunsten in Amsterdam.