Alison Katz

Published to accompany the artist's retrospective at the Kunstmuseum St. Gallen (September 2025–March 2026), this comprehensive monograph offers a detailed overview of the work of Dutch artist Jacqueline de Jong. Designed by Sabo Day and edited by Melanie Bühler, curator of the exhibition, this publication spans De Jong's entire artistic journey of from her editorial activities and bold figurative paintings of the 1960s to her "Billiards" series in the 1970s, and her latest series of the 2020s that reflect the current state of the world. 

It features new essays by Karen Kurczynski (Professor of History of Art and Architecture at the University of Massachusetts Amherst), Emily LaBarge (writer and critic), Tiana Reid (Assistant Professor of English at York University), Paul Bernard (Director of Kunsthaus Biel), as well as an as-yet-unpublished conversation with the artist and McKenzie Wark (writer and theoretician). 

Organized through six sections entitled "Disobedience," "Publishing," "Chaos," "Pop," "Play," and "Politics," all lavishly illustrated, it underlines the challenging approach to art and life developed by De Jong formally, visually, and conceptually from the early 1960s until 2024.

Edited by Melanie Bühler
Texts by Emily LaBarge, Gianni Jetzer, Jacqueline de Jong, Karen Kurczynski, McKenzie Wark, Melanie Bühler, Paul Bernard, Tiana Reid.

Le Chauffage (french for “The Heater”) is an artist-run publication based in Brussels and Vancouver. It is conceived as a cross-continental, community oriented platform. Le Chauffage brings together the work and writing of artists / friends from different cities with the  intent to spark discussion and fuel casual forms of critical discourse.

The second issue of Le Chauffage contains photographs and texts, photographs of text, photographs as text and vice versa. Loosely thinking through the format of The Photo Essay celebrated by John Szarkowski in an eponymously titled exhibition at MoMA in 1965, this issue considers some of the artistic possibilities that can be found in such an archaic and historically male-dominated form. 

Many of the contributions that make up this second issue are not photo essays per se. But each one of them considers the printed page as a space in its own right. The magazine becomes an interior where words and images entertain a malleable and distinctly porous relationship. At times, it is also a space where artists and writers from different cities were invited to meet and collaborate. And since interest in other people is also an interest in yourself, it is always unclear who is really transforming who?

Contributions by: Bob Cain & Linda Miller, Moyra Davey, Laurie Kang, Niklas Taleb, Madeleine Paré & Diane Severin Nguyen, Josephine Pryde, Slow Reading Club, Ken Lum, Isaac Thomas, Vijai Maia Patchineelam, Artun Alaska Arasli & Graeme Wahn, Stephen Waddell, Maya Beaudry & Chloe Chignell, Lisa Robertson, groana melendez, Victoria Antoinette Megens and Will Holder.

Editors: Emile Rubino and Felix Rapp
Co-Editor: Francesca Percival
Design: Francesca Percival and Felix Rapp
Cover Design: Francesca Percival
Printed by: Cassochrome, Belgium
Edition of 350

The Men explores a territory between the poet and a lyric lineage among men. Following a tradition that includes Petrarch's Sonnets, Dante's work on the vernacular, Montaigne, and even Kant, Robertson is compelled towards the construction of the textual subjectivity these authors convey-a subjectivity that honors all the ambivalence, doubt and tenderness of the human. Yet she remains angered by the structure of gender these works advance, and it is this troubled texture of identity that she examines in The Men.

Organs, hormones, toxins, lesions: what is a body? In 3 Summers, Lisa Robertson takes up her earlier concerns with form and literary precedent, and turns toward the timeliness of embodiment. What is form's time? Here the form of life called a poem speaks with the body's mortality, its thickness, its play. The ten poem-sequences in 3 Summers inflect a history of textual voices – Lucretius, Marx, Aby Warburg, Deleuze, the Sogdian Sutras – in a lyricism that insists on analysis and revolt, as well as the pleasures of description. The poet explores the mysterious oddness of the body, its languor and persistence, to test how it shapes the materiality of thinking, which includes rivers and forests. But in these poems' landscapes, the time of nature is inherently political. Now only time is wild, and only time – embodied here in Lisa Robertson’s forceful cadences – can tell.

‘Robertson makes intellect seductive; only her poetry could turn swooning into a critical gesture.' —The Village Voice

Contributors to Starship № 20:

Rosa Aiello, Terry Atkinson, Tenzing Barshee, Gerry Bibby, Mercedes Bunz, David Bussel, Jay Chung, Eric D. Clark, Caleb Considine, Hans-Christian Dany, Albert Dichy, Nikola Dietrich, Martin Ebner, Ruth Angel Edwards, Stephanie Fezer, Jean Genet, Simone Gilges, Julian Göthe, Michèle Graf, Selina Grüter, Ulrich Heinke, Toni Hildebrandt, Beatrice Hilke, Karl Holmqvist, Stephan Janitzky, G. Peter Jemison, Charlotte Johannesson, Julia Jost, Julia Jung, Jakob Kolding, Nina Könnemann, Lars Bang Larsen, Anita Leisz, Norman Lewis, Elisa R. Linn, Sebastian Lütgert, Vera Lutz, Chloée Maugile, Robert McKenzie, Ariane Müller, Christopher Müller, Robert M. Ochshorn, Henrik Olesen, Kari Rittenbach, Nina Rhode, Ulla Rossek, Cameron Rowland, Mark von Schlegell, Ryan Siegan Smith, Philipp Simon, Valerie Stahl Stromberg, Josef Strau, Vera Tollmann, Eleanor Ivory Weber, Camilla Wills, Amelie von Wulffen and Florian Zeyfang.

"This is the 20th issue of Starship and we are proud and very happy to present it, and mainly want to thank all the artists, the contributors, the columnists, and the people who helped us gather images of exhibitions past, and gave us texts from books not yet published. Starship never starts with a clear concept about its future content, or what could be called a theme, but always with a sort of attentive interest. The theme may develop through its columnists—we now think it is easy to distinguish lines of thoughts, images, and texts answering each other. But it surely does so out of this editorial interest that wanders, and finds, and collects, is enthusiastic about artworks, and texts, and people, and then, well, brings this all together in a magazine. This was our working mode during the past year, and the responsiveness of those who regularly write for Starship (the columnists) has shown us that out there others are involved in thoughts that run very much in parallel. It is a strange form, a magazine like this, not getting funded, appearing irregularly, but still following a sort of conventional form that shows its consistency. It is at its core an excess of producing something that might prove itself valuable and liberating in the future."
—Ariane Müller, Henrik Olesen

Contributions by: Nicole-Antonia Spagnola, Georgia Sagri, John Kelsey, Matthew Pang, Cathy Wilkes, Sarah Rapson, Nick Irvin, Gene Beery, Anne Dressen, Anne Pontégnie, Jacqueline Mesmaeker, Sara Deraedt, Anne Rorimer, Kari Rittenbach, Olga Balema, Maria Nordman, Louise Lawler, Julie Ault, Martin Beck, Adrian Morris, Matt Browning, John Miller, Envers Hadzijaj, Enzo Shalom, Bedros Yeretzian, Morag Keil, Helmut Draxler, Gianna Surangkanjanajai, Steve Cannon, Rae Armentrout, Zoe Hitzig, Pierre Guyotat, Lola Sinreich, Fanny Howe, Hélène Fauquet, Marie Angeletti, Richard Hawkins, Andy Robert, Alexander García Düttmann, Daniel Horn, El Hadji Sy, Henrik Olesen, Aurélien Potier, Richard John Jones, Stéphane Barbier Bouvet, Nora Schultz, Peter Fend, Megan Francis Sullivan, Jill Johnston, Sturtevant, Tonio Kröner, Bernard Bazile, Pierre Bal-Blanc, Jérome Pantalacci, Gérard Traquandi, Gladys Clover, Maria Wutz, Jimmie Durham, Richard Sides, Camilla Wills, Michael Callies, Steven Warwick, Matthew Langan-Peck, Dan Graham, Nina Könnemann, Hans Christian Dany, Valérie Knoll, Win McCarthy, Eleanor Ivory Weber, Anna Rubin, Heji Shin, Michèle Graf & Selina Grüter, Inka Meißner, Simone Forti, Morgan O’Hara, Angharad Williams, Ye Xe, Lily Van Der Stokker, Yuki Kimura, Peter Wächtler, Eva Steinmetz, Michael Van den Abeele, Marc Kokopeli, Bradley Kronz, Robert Grosvenor, Samuel Jeffery, Charlotte Houette, Adam Martin, Wade Guyton, Chloe Truong-Jones.

Edited by Marie Angeletti with Gianmaria Andreetta and Camilla Wills.

Printed in December 2022.
416 pages, Edition of 840.
© 2022 Claude Balls Int. / the author(s).

"These sentences—they—will begin having already been sentences somewhere else, and this will mark their afterlife, and this will be their debut." So begins Renee Gladman’s latest interdisciplinary project, Plans for Sentences. A tour de force of dizzying brilliance, Gladman’s book blurs the distinctions between text and image, recognizing that drawing can be a form of writing, and vice versa: a generative act in which the two practices not only inform each other but propel each other into futures. In this radical way, drawing and writing become part of a limitless loop of energy, unearthing fertile possibilities for the ways we think about poetry. 

If Gladman ascribes to any particular type of poetics, here in Plans for Sentences, we are sure to find that it is robustly grounded in a poetics of infinite language.

Written in response to three “physical” photographs, ‘Broken Villas’ contains and considers how a vessel might clasp tightly to known volumetric identities, but also loom with a set of accentuated clues towards otherness: the excavated seams in the earth and what we fill those holes with, imaginary or otherwise; the glacial erraticism of the boulder; the queer crimping of a hotel pillowcase; the modes via which objects are housed as display, but also packaged away, with sorrow, with fear, with erotism etc.