Violence in war and peace Guy Schraenen curator Reina Sofia


Spring 2018

Museo Nacional Centro de Arte Reina Sofía, Madrid

Curatorship: Guy Schraenen

Comics Revisited in Reina Sofia by Guy Schraenen
Alvaro de Sa, Processo, detail, 1976

Violence in war and peace Guy Schraenen curator Reina Sofia


Autumn 2017

Museo Nacional Centro de Arte Reina Sofía, Madrid

Curatorship: Guy Schraenen

Violence in War and Peace in Reina Sofia by Guy Schraenen
Emmett Williams, n.t., detail, 1970


Lecture by Guy Schraenen on occasion of the Wiels Art Book Fair 2017, Brussels

09.09.2017, 16:00

WIELS Auditorium

Exhibition "Guy Schraenen éditeur" at Ulises Carrion’s "Other Books and So", Amsterdam, 1977
Exhibition "Guy Schraenen éditeur" at Ulises Carrion’s "Other Books and So", Amsterdam, 1977

Guy Schraenen, curator of the exhibition Ulises Carrión. Dear reader. Don’t read at Museo Nacional Centro de Arte Reina Sofía and Museo Jumex wil speak from his own experience and his experience of collaborating with Ulises Carrión. Schraenen will address the complexity of such a versatile body of work that comprises literature, video, film, theoretical production, the opening of a bookstore and gallery space, curatorial and public projects, among others. He will also delve into Carrion’s concept of poetry against the classic academic approach.

Additional information: Guy Schraenen, Wiels


10 August - 16 October 2017

Museo Malba, Museo de Arte Latinoamericano de Buenos Aires

Guy Schraenen and Mirtha Dermisache
Mirtha Dermisache in the workshop of Guy Schraenen éditeur

This retrospective revolves around the work of Argentine artist Mirtha Dermisache (Buenos Aires, 1940-2012), from her first book produced in 1967 to her final pieces produced in the 2000s. Dermisache’s body of calligraphic works entailed what Roland Barthes called “illegible writing”; starting in 1971, that French critic took great interest in Dermisache’s art, pointing out her ability to get at “the essence of writing.”

In the exhibition catalogue will be published a text titled "A transatlantic affair" by Guy Schraenen, friend and publisher of Mirtha Dermisache since 1974.

Additional information: Mirtha Dermisache Retrospective




PHOTOstructuralism. The Composition of the Page as a Concept

15 June 2017-10 September 2017

Museu Serralves, Porto

Curatorship: Guy Schraenen

The exhibition PHOTOstructuralism reveals a broad diversity of conceptual investigations to the use of photos as formal elements in artists' publications. It explores a very specific aspect for the first time: the photo as constitutive element of an overarching structure. Contrary to the traditional photo montage or photo collage, where an assembling of photo elements compose a singular image, the purpose is to place emphasis on the structured space of grouped photos which at the same time have a significant value in their own right. Regardless of whether the photos are taken by the artists or found, whether they are arranged on one autonomous sheet, one or several pages or the entire body of a book, and regardless too, whether it consist of a serial, sequential or randomly scattered ensemble, of a saturation or only of one photo. The core question is not only how the structure exposes and organises the photos but also how it sets them in motion. A motion to which the beholder can respond in his own way when he lets the eyes wander between the photos and their interspaces, up and down, left and right, back and forth. By associating formal or thematic affinities within the configurations such as repetitions, reiterations, differences, oppositions, conflicts, juxtapositions, contacts and separations, the narration starts to migrate and a space for thinking, reading, seeing, interpreting and discovering comes to life. In particular the spaces in between the images open up a "common space for thought", as Aby Warburg (1866–1929) called it. 

Additional information: PHOTOstructuralism. The composition of the page as a concept


Guy Schraenen on Michael Gibbs


Text by Guy Schraenen in: Gerrit Jan de Rook; Andrew Wilson: Michael Gibbs. All or nothing, Uniformbooks, Devon; Boekie Woekie, Amsterdam, 2017

Guy Schraenen on Michael Gibbs
Michael Gibbs in Galerie Kontakt, Antwerp, 12 June 1976

Michael Gibbs wasn’t only the “unsung hero of concrete poetry”, as B.E. Mitchel calls him, but also evidence that an artist who could be considered as a destructor of language is in fact—as so many artists of his time—an essential component which makes the machine function. The quotation in his essay All or nothing of the often dispraised French poet Jean Cocteau: “All texts are only alphabets in disorder” points towards the purpose of his subversive attitude. By creating unexpected images and meanings, Michael Gibbs questions the alphabet as a tool of the power system. His cracks appear to create disorder, but in fact he puts everything in a new place, and forces us to look beyond the limits of our conventional language. 

Still today, the work and engagement of Michael Gibbs offers discoveries. It proposes a way beyond the ossified and conformist art world which attempts to dictate our behaviour and functionality. If he and his fellow campaigners are considered marginal, their actions are the seed in the darkness of the soil which emerge to bear fruit.

Additional information: Michael Gibbs. All or nothing 



Museo Nacional Centro de Arte Reina Sofía, Madrid

Curatorship: Guy Schraenen


The trilogy provides an overview of the main investigative fields within the universe of artists’ books. While part one dealt with the tautological notion of the artist’s book, and part two reflected on the artist’s book as an artwork in its own right, equivalent to a painting or a sculpture, part three focuses on works that exist at the interface between a book and an object.






September 23, 2014 - April 2015

Museo Reina Sofia Trilogy by Guy Schraenen
Robert Filliou, Livre etalon/Standard Book, 1982

It is not new, it is a book, a quotation by Jacques Louis Nyst, is the title of the first in a series of exhibitions to be presented in the Library and Documentation Centre of the Reina Sofía Museum. The aim of this series is to present every aspect of the artists’ book. Both individual and thematic exhibitions are programmed.

Artists’ books emerged in the early sixties when artists of all tendencies were exploring the book as a creative space. They no longer considered the book as a container for information but as an artwork with its own significance. The artist’s book created a new genre of art in a period where conceptual art and intermedia art forms were very influential. Most books have an essentially conceptual character; if not in terms of their style then in terms of the perception of the space of the book and the consideration of how the book can be made into one coherent artwork.

The books selected for this exhibition are pertinent examples that illustrate the book in the most lapidary way. Conceptual analysis runs like a threat through the ensemble. Developing from page to page, they become pure reflections on the concept of the book itself. They convey no images, texts or stories, or only in such a way as reduces the subject to itself. They are books in the strictest sense of the term because the object represents only itself. Most of these books can therefore be considered as tautological works.

The works in this first exhibition represent attempts to perceive and to analyse an object that has existed for centuries. Although the book itself was not new, the idea of an artwork in the shape of a book was new. These works of art can only exist as books. In times of digitalisation they celebrate and give new life to the book. 

Additional information: It is not new, it is a Book







18 May - 23 September, 2015

GuySchraenen Reina Sofia Exhibition
Jean François Bory. Post-scriptum. Paris, Eric Losfeld éditeur, 1970

The exhibition I call them simply books, devoted to the «book as book», is part two of the previous one, called It is not new, it is a book, that it was a purely conceptual approach to the book. The title is a quotation by Peter Downsbrough, an American artist who has published numerous «books» since 1972.

Artists’ books are a new and revolutionary way of dealing with the space of the book, it is not considered any more as a mere container of information, but as a creative space. These books are generally of average format, of traditional appearance and the materials and printing techniques are unexceptional; but while the conventional books and their content can be diffused by other media, the artists' books of this exhibition can only exist as books. They are, even published in several hundreds of copies, original art works. The various drawings, photographs, etc., used to be reproduced in these works should not be considered as originals, but the books themselves, the book as a work of art. Thus we call them "books" in the same way we call a painting "painting".

The key work of this exhibition, curated by Guy Schraenen, is Stéphane Mallarmé's Un coup de dés jamais n'abolira le hasard (1897). Mallarmé liberated the text from the traditional page layout for the first time in history. Sixty years later, artists were taking over the space of the book in a wide variety of ways to avenge themselves from the dictate of the word and its power-system. Through the multiplicity of focuses, theses artists’ books oblige the reader-viewer to call into question his own approach to the book. The concept takes priority over the matter. As the content unfolds, the reader-viewer can follow the logic of the art work step by step.

Appearing in the ideological context of the 1960s, these artists' books were the democratic artistic product par excellence. Thanks to the simple form and modest price of these publications, artists aimed to give the widest audience possible the opportunity to encounter and become familiar with contemporary art.

The artists' books conquer their place in museums as «books», and in libraries as «works of art»

Additional information: I call them simply books







21 September 2016 – 22 May 2017

Museo Reina Sofia Guy Schraenen Trilogy Exhibition
Daniel Buren, Les Écrits (1965-1990), 1991

I Am Also Not A Book is the title of the last part of a trilogy of exhibitions which includes It is not new, it is a book (from September, 2014 to May, 2015) and I call them simply books (from May to October, 2015). On this occasion, the title refers to the 1973 work by John M. Belis, I Am Also not a Book, which consists of a card with the sentence “Attach this card to any book-type object and it will become a genuine John M. Belis,” and which can indeed be affixed to any book-shaped object.

In the past, artists and writers had already created book works that escaped from the traditional form, material, and concept of a book. For these chosen books, the appearance, content, or aim of the conventional book is used as a model for a transformation into a new representation, similar to, for example, when a body is taken as the model for a painting or a sculpture. Sometimes the model is recognizable, sometimes it is subverted. The possibilities of mutating the book range from a single page by Jiří Valoch to a large concrete block by Wolf Vostell. Les Écrits (1965-1990) by Daniel Buren seems to be a banal publication of collected writings. But by packing the three volumes into a banderole that carries his “visual tools,” the vertical stripes, the work becomes an example of the extended language of this visual artist who entangles his intellectual ideas and his visual language to the point of indistinguishability.

In all the exhibited books or objects, the use of understandable language is abandoned in favor of the visual form. By destroying the ordinary aspect of the book, the artists do not destroy the idea of the book; rather they draw attention to the myths about the author and the book as a tool of the powers that be.

Additional information: I am also not a Book



17 June 2016 to 7 August 2016

M_hka - Museum of Contemporary Art, Antwerpen

Guy Schraenen's Archive for Small Press & Communication in "The Eighties. A Decade of Extremes" in the M_hka

On occasion of the exhibition The Eighties – A Decade of Extremes in the M_hka - Museum of Contemporary Art in Antwerpen, Club Moral presents In Vitro rvstd with contriutions by Guy Schraenen Archive.

Additional information: Club Moral 



12 August 2016

Studio Montespeccio di Jan van der Donk, Montespecchio, Italy

AXE Film Festival, Guy Schraenen éditeur


Presented are films by Brion Gysin, Degottex and François Dufrêne, produced by Guy Schraenen éditeur and flms by Guy Schraenen, after works by Eduard Bal, Françoise Janicot, Bernhard Heidsieck, Ulises Carrión.



15 March 2016 - 3 October, 2016

Museo Nacional Centro de Arte Reina Sofía, Madrid

Curatorship: Guy Schraenen
Exhibition Tour: Museo JUMEX, Mexico D.F. (February - May, 2017)
Guy Schraenen Ulises Carrión retrospective "Dear Reader. Don't Read", Museo Reina Sofia Madrid 2016
Ulises Carrión retrospective "Dear Reader. Don't Read", Museo Reina Sofia Madrid 2016

A key figure in Mexican conceptual art, Ulises Carrión (1941, San Andrés Tuxtla, Mexico – 1989, Amsterdam) was an artist, editor, curator, and theorist of the post-1960s international artistic avant-garde.

This retrospective focusing on Ulises Carrión’s personal and groundbreaking approach seeks to illustrate all aspects of his artistic and intellectual work. The exhibition spans from his early career as a young, successful writer in Mexico, to his college years as a postgraduate student exploring language and linguistics in France, Germany, and Britain, to his numerous activities in Amsterdam, where Carrión established himself in 1972 and lived until his untimely death at the age of forty-nine.

The exhibition is composed of nearly 350 pieces that include books, magazines, videos, films, sound pieces, mail art, public projects, and performances, along with Carrión’s initiatives as curator, editor, distributor, lecturer, archivist, art theorist, and writer. It is a significant body of original work structured so as to place a spotlight on every facet of his production.

Without losing sight of the unclassifiable nature of his oeuvre, this exhibition emphasizes Ulises Carrión’s constant search for new cultural strategies and the extent to which his projects were determined by two fundamental themes: structure and language, representing artistic guidelines that, influenced by a literary education, are pervasive in his work even if he always fought against it. This duality corresponds to the exhibition title "Dear reader. Don’t read"—taken from his diptych of the same name—which illustrates his ambiguous relation to literature, a recurring theme in his work.

Additional information: Ulises Carrión retrospective at Museo Reina Sofia








including an audio CD with sound works by Ulises Carrión

Museo Reina Sofia, Madrid, 2016

Available in English and Spanish

The exhibition catalogue provides different perspectives on the personal and professional life of Ulises Carrión, his experimentation with literature, language and linguistics, as well as some of the reasons that led him to develop his many creative facets outside of Mexico. The publication, edited by Guy Schraenen, contains a series of photographic and archive images which illustrate themes and practices that Ulises Carrión made: art mail, cinema, collaborations, conferences, exhibitions, performances, video, ephemera, among others. 

Authors: Maike Aden, Felipe Ehrenberg, João Fernandes, Javier Maderuelo, Guy Schraenen, Jan Voss and Heriberto Yépez.

The book is accompanied by a CD with the sound work The Poet's Tongue (1977)

Order: Alga Marghen /// Boekie Woekie /// Museo Reina Sofia







Conference, 21 September 2016, 11 a.m.

Museo Nacional Centro de Arte Reina Sofía, Madrid, Auditorium Sabatini Building

Guy Schraenen and Tereza Velaskes mounting "Dear Reader. Don't read.", the Ulises Carrion Retrospective  in Museo Reina Sofia Madrid

Contributors: Luigi Amara, Mario Bellatin, Felipe Ehrenberg, Javier Maderuelo, Raúl Marroquín, Heriberto Yépez.

Introducing talk by Guy Schraenen: The Tongue of the Poets. His topics: Making an exhibition of a highly multifaceted body of work / Collaboration with Ulises Carrión / Poets versus academics.

Additional information: A day for Ulises Carrión







9 February 09 - 30 April, 2017

Museo Jumex, Mexico-City

Guy Schraenen current projects
Sound Space in the Ulises Carrión retrospective in Mexico-City

After being shown in Museo Reina Sofía Madrid, the Ulises Carrión retrospective "Dear reader. Don't read" opens its doors in the Fundación Jumex in Mexico, the country where Ulises Carrión (1941-1989) was born and where he started his early career as a writer. 

Additional information: Ulises Carrion, Dear reader. Don't read, Museo Jumex Mexico







Opening Lecture by Guy Schraenen, 13 February 2017, 1 p.m.

Museo Jumex, Mexico-City

Guy Schraenen will discuss the organization and arrangements of the exhibition. Speaking from his experience collaborating with the artist, he will address the complexity of such a versatile body of work that comprises literature, video, film, theoretical production, the opening of a bookstore and gallery space, curatorial and public projects, among others. He also will delve into the antonomies between the tongue of the poets and academic approaches.

Additional information: Opening lecture Museo Jumex



12 March to 4 April, 2016

Centre des livres d'artistes (cdla), Saint-Yrieix-la-Perche, France

REVUE AXE Guy Schraenen éditeur cdla saint yrieux la perche

On occasion of the exhibition type de support : livre d'artiste etc. the REVUE AXE, published by Guy Schraenen éditeur, is presented at the cdla

Additional information: Broshure 



The Catalogue Cassettes of the Museum Abteiberg Mönchengladbach

15 October 2015 - 16 April, 2016

Museo Nacional Centro de Arte Reina Sofía, Madrid

Curatorship: Guy Schraenen
Guy Schraenen curator More than a Catalogue Marcel Broodthaers Reina Sofia
Marcel Broodthaers: Fig 1. Städtisches Museum Abteiberg Mönchengladbach, 1971

This exhibition, curated by Guy Schraenen, is devoted to the outstanding originality of this series of grey cardboard boxes, with which Johannes Cladders provided an unconventional and pertinent overview of the international vanguard art of the period, including seminal movements such as Conceptual Art, Fluxus, Arte Povera, Pop Art, etc. Made between 1967 and 1978 in limited and numbered editions, these boxes are unique in their conception. Their design was entire responsibility of each of the invited artists, and results of their complicity with the museum. All of them have similar sizes (ca. 21 x 17 x 3 cm), but each one is different in content and form. Some of them include posters, booklets, documentation and texts, while others comprise multiples: for example, the plastic rose by Jasper Johns, a series of four boxes by Marcel Broodthaers, a ca. 15 meter long parcel string by Panamarenko, and a huge, black, crumpled silk paper with gold print by James Lee Byars, enclosed in a golden box. Further boxes include original pieces such as the felt piece cut by Joseph Beuys, and the hand-painted inside of the box by Gerhard Richter.

These few examples give an overview of the richness of this collection of 33 different pieces (the 34th box, by stanley brouwn, exists only as a concept), which nowadays are considered rarities, and occupy a prominent place in international collections, among them the Library and Documentation Center of the Museum Reina Sofía.

Additional information: More than a catalogue



From 26 September 2015 to 03 January 2016

Museum Serralves, Porto

Curatorship: Guy Schraenen

Guy Schraenen curator of Déjà Vu Repetition Difference Serralves Porto
George Maciunas: U.S.A. Surpasses All the Genocide Records!, 1968

This exhibition will reveal an until now untreated theme in the field of artists' publications: the fascinating conjunctions between the phenomenons of trivial products of the everyday life and art works. In the confrontation of mass-media publications with artists' publications, the exhibition will create an open stage on which formal coincidences are shown as inspiration resources and on which meanings and effects are made by the context in which the respective publications are presented and perceived. A limited section will show the revers side of the theme. It will point out how designers, advertisers, and aesthetic advisors plagiarize and transform, reedit and remix the aesthetics of historical and contemporary art works into new scenarios of their publications in the culture of visual marketing.Both parts of the exhibition will reveal the accordingly correspondences by presenting each document with its original parallel.

The spill of the exhibition will be a recently rediscovered, rare exemplar of the second volume of the Japanese architecture book Ginza Haccho (1954) by Yoshikazu Suzuki, presented alongside with an ikon of artists' books, Every Building on the Sunset Strip (1965) by Ed Ruscha, published 12 years later. Side by side the two accordion foldout formats present astonishing similarity in their concept. Coincidence or inspiration? 

Additional information: Déja-Vu 



June 20 - September 20, 2015

La Maison Rouge, Paris

My Buenos Aires, exhibition catalogue, Paris 2015
My Buenos Aires, exhibition catalogue, Paris 2015

A selection of works by Mirtha Dermisache, published by Guy Schraenen éditeur is presented in the context of the exhibition My Buenos Aires at La Maison Rouge in Paris. 

Additional information: My Buenos Aires, La Maison Rouge, Paris



10 May - 21 June, 2015

Tabacalera Promocion del Arte, Madrid

Guy Schraenen text on Concha Jerez José Igez

On the occasion of the exhibition Media_Mutaciones, Concha Jerez y José Iges, a catalogue is published with the letter-essay Dear Concha, dear José by Guy Schraenen. 

Additional information: media_mutationes



November  21 - December 28, 2014

The Liberated Page, Le Commun, 28 rue des Bains, Geneva

The biennale will highlight the work of several contemporary artists concerned with the page, in conversation with historic examples as books from artists Dieter Roth, Ed Ruscha, and Seth Siegelaub, bookworks from publishing houses Something Else Press and Ecart, an anthology by Guy Schraenen, the Mèla post card book from Maurizio Nannucci, as well as the Franklin Furnace archive. 

Additional information: The liberated page



13 - 16 November 2014
Paris Photo. Art fair for works in the photographic medium, Grand Palais, Paris
Film on Encocconage at Paris Photo.mp4
MP4 Video/Audio File 12.1 MB

For the exhibition Open Book. Artists' Books and Photography at Paris Photo in the Grand Palais Paris, the photo book Encoconnage photographed, designed and edited by Guy Schraenen in 1974 was selected. The book includes 92 photos by Guy Schraenen of Françoise Janicot's performance on Passe-Partout n° 9 by Bernard Heidsieck. It contains also a 30 cm record with the version 1 and 3 of Encoconnage Passe-Partout n° 9. 

Additional information: Paris Photo 2014


Guy Schraenen éditeur Mirtha Dermisache Diario Museum for Modern Art MoMA


September 25, 2013–January 6, 2014

Museum of Modern Art Library

Mirtha Dermisache, Diario, Guy Schraenen éditeur, Antwerp 1972
Mirtha Dermisache, Diario No. 1

For the exhibition Reading List. Artists' Selections from the MoMA Library Collection, the artists' book Diario No. 1 by Mirtha Dermisache published by Guy Schraenen éditeur in 1975 is selected.


Interview excerpt: 

MoMA: "What is your favorite item in the MoMA Library Collection? Why?"

Martha Wilson: "Mirtha Dermisache, Diario No. 1: ano 1 was published in Argentina in 1972, during the years when people were being “disappeared” by the government. It is a tabloid publication which appears to be covered with meaningless gibberish, or perhaps graffiti or calligraphy practice. It made it past the censors because they did not understand that Mirtha was drawing a portrait of the nonsense that passed for news in government-controlled newspapers. Consequently, this work stands as a visual protest of Argentina’s oppressive political regime." 

Additional information:

Further references:



publishing / collecting / preserving / writing / diffusing

Lecture by Guy Schraenen

8 October, 2014,

Zentralinstitut für Kunstgeschichte, München

Guy Schraenen lecture Another approach of art history ZI München Derrick

The lecture will focus on the activities of the Archive for Small Press & Communication (A.S.P.C.) founded in 1974. Its aim was to collect, preserve and present the patrimony built up by people, active from inside and not from outside the art scene, to be the witness and memory of actions independent of all powers. Artists' publications were a unique medium in this period of cultural and social evolution. Still they are the most radical way to approach art. 

Additional information: Guy Schraenen, ZI München



Exhibition catalogue on occasion of the exhibition in the Kunsthaus Zug and the Hamburger Bahnhof Berlin, edited by Edizioni Periferia Luzern, 2014

Guy Schraenen Dieter Roth and the music and away with the minutes text on Dieter Roth
Dieter Roth. Discography, Luzern 2014

«Als sehr guter Pianist wehrte er sich beständig gegen jede Virtuosität, und gerade deshalb wurde er zum Virtuosen der klanglichen Freiheit und schuf eine Musik, die die Grenzen des Erträglichen erreichte.»  Guy Schraenen

On the occasion of the exhibition AND AWAY WITH THE MINUTES. DIETER ROTH AND MUSIC a catalogue is published with the essay by Guy Schraenen: "An attempt to write a text about Dieter Roth's record covers... and several additional thoughts."

Additional information: Discography 



July 05, 2014 - November 01, 2014

Museum Serralves, Porto

Curatorship: Guy Schraenen

Guy Schraenen curator ARTchitecture Serralves
Luc Deleu: 2 petits arcs de triomphe, 1983 / Golden Gate, 1983
The relationships between art and architecture can be the object of infinite declensions: the experiments carried out by Soviet constructivists and suprematists and, later on, by minimalist and conceptual artists, are but two examples of the constant transfusions between the two disciplines that have shaped twentieth-century art. ‘ARTchitecture’ features some of the ways of approaching this theme. Through collage, photomontage, photographs, films, drawings, plans, maps, objects and sound pieces, the artists in this exhibition propose a series of utopian projects that are particularly critical of current architectural and urban planning practices.
The exhibition brings together works from the Collections of Artists’ Books and Publications of the Serralves Foundation and the Bremen Museum and is articulated around the work of Belgian Luc Deleu and American Peter Downsbrough, both of whom authored a body of visual work profoundly anchored in their academic architectural training and subsequent studio practice. ‘ARTchitecture’ features works by these artists - more specifically, the recordings of their intervention in the public space - as well as of others who have contributed to a critical reflection on the contaminations between art, architecture and urban planning and who have alerted us to the grandeur and misery of the architectural world that surrounds us: Bernd & Hilla Becher, Daniel Buren, Concha Jerez, Sol LeWitt, Edmund Kuppel, Gordon Matta-Clark, Elisabeth Neudörfl, Ed Ruscha, Richard Serra, Jessica Stockholder and Antonio Vigo, among others. 

Additional information: ARTchitecture


Guy Schraenen at the School of Fine Arts, University of Porto


06 June 2014

Lecture by Guy Shraenen

Organized by the School of Fine Arts, University of Porto

Guy Schraenen lecture It is over but you don't know it yet Porto university


GAC Centennial and other projects

June 28, 2014 - August 31, 2014,

Museum Weserburg /Centre for Artists' Publications, Bremen

Curatorship: Guy Schraenen

Guy Schraenen curator Guglielmo Achille Cavellini and mail art projects
Guglielmo Achille Cavellini

The Italian artist Guglielmo Achille Cavellini (GAC, 1914-1990) cultivated a lively exchange with numerous artists. In the frame of his “self-historification” he published artist’s books, documents, postcards and postage stamps in very large editions. On a widespread sticker in the Italian colours he announced his centennial exhibition in Venice. In Cavellini’s honour, the Centre for Artists’ Publications presents a choice of GAC’s works from the Archive for Small Press & Communication. The exhibition is curated by Guy Schraenen. It includes further projects based on international artistic communication via mail.

Cavellini followed a clear artistic strategy: “Generally, the gifted artist is recognized and appreciated as such only after his death. From that moment onwards, the interest for his work and his personality becomes general. Researches are made among the papers and photographs of his existence. I don’t want this to occur for me and my work. I myself am therefore collecting and presenting all that concerns me.” 

Additional informationNemo propheta in patria



March 14 - April 6, 2014

Exhibition organized by Didier Lecointre et Dominique Drouet, Paris


Du 14 mars au 6 avril la librairie expose les livres d’artistes, revues, catalogues, cartes postales, multiples, disques de l’éditeur Guy Schraenen.

Cette exposition présente l’essentiel de son travail à travers les ouvrages qu’il a conçus et réalisés dans les années 70 avec, entre autres, Roy Adzak, Eduard Bal, Antoine du Bary, Gianni Bertini, Alexandre Bonnier, Ulises Carrión, Lourdes Castro, Henri Chopin, Degottex, Mirtha Dermisache, Peter Downsbrough, François Dufrêne, Bill Gaglione, Brion Gysin, Bernard Heidsieck, Françoise Janicot, Jiri Kollar, Françoise Mairey, Marie Orensanz, Bernard Villers.

Elle présente également, les publications de l’Archive for Small Press & Communication (A.S.P.C.) et les catalogues des expositions qu’il a organisées.




Catalogue Guy Schraenen éditeur
Download the exhibition catalogue: click on image


Essays, Statements, Interviews 1974-2013

Edited by Bettina Brach and Maike Aden

Published by the Centre for Artists' Publications, Bremen, 2013

Available as digital version (DC) and as print version (2 volumes)

The publication of Guy Schraenen’s “Collected Writings”, available as print version and as digitalized deition on CD, gives access to all the texts he published over four decades, from the 1970s up until the very recent past. They document Guy Schraenen's abiding interest in the history and the significance of the international networks underlying artists’ publications and initiatives in the 1960s and 1970s. He reflects upon the socio-political and cultural strategies of the artist-initiated art scene, which remained independent of the official art establishment. Beside this, many texts for catalogues of thematical and individual exhibitions are documented in this publication.

The writings are presented in the form of facsimiles of the original publications. Most texts are in French and English, several also in other languages. 

Additional information / Order: Print version and Digital edition (CD)



July 6, 2013 - November 3, 2013

Exhibition, organized by: Museum Serralves, Porto

Curatorship: Guy Schraenen

Guy Schraenen Serralves Journey to the end of colour exhibition
Lourdes Castro: Furrows, 1974

In the history of art making, colour has traditionally been used to accentuate the representation of subjects. The present exhibition, ‘Journey to the End of Colour’, reveals the role of colour in the service of an idea. The visual perception of a colour having many options, even without any figurative image, colour as such can create a large spectrum of evocations; likewise, word compositions printed in black can produce the mental image of a specific colour.The aim of this exhibition is to guide the viewer through a colourful labyrinthine universe and to instigate his/her own interpretations. On display will be artists’ publications dating mostly from the 1960s and 1970s, a period when conceptual art and visual and concrete poetry were taking central stage in the global art scene. They range from all white, all black, or monochrome to polychrome pieces; from the arbitrarily coloured, to pieces whose specific colours denote a precise notion.

The presented examples illustrate that the use of colour and the inventive reconfiguration of the conventional format of publications are as infinite as the painter's palette... 

Additional information: Journey to the end of colour



Presentation organized by Boekie Woekie, Amsterdam

Opening: 14 September 2013

Guy Schraenen and Jan Voss at Boekie Woekie
Guy Schraenen and Jan Voss at the opening at Boekie Woekie

Guy Schraenen presents his publications and catalogues at



For previous projects see:

Guy Schraenen: Out of Print, exhibition catalogue, Museum Weserburg, Bremen, 2005