How does an artist work? How do ideas, emotions, and transcendental daydreams make their way from the mind to a physical format?

This book includes previously – published and newly – written texts about A K Dolven’s oeuvre. The texts vary greatly in form and content. Some examine the artist’s notebooks and the way they have influenced Dolven’s treatment of nature and geographical locations such as London, Berlin, and the Lofoten archipelago, while others explore Dolven’s relationship with other artistic eras and symbols, such as the baroque period or the figure of the Virgin Mary, as well as her ongoing dialogue with artists such as Edvard Munch and Helene Schjerfbeck. Other important themes addressed are concepts such as time and space, and how they have influenced Dolven’s art. In addition to presenting all of the retrospective’s featured works from the exhibition amazone at the National Museum of Oslo, the book is also richly illustrated with photographs and other materials culled from Dolven’s archive, providing unique insight into her artistic processes and documenting her decades-long career.

Food is more than just nutrition – it is culture, identity and history. The new Nordic cuisine movement has challenged our ideas about Nordic food culture and forged a new understanding of what it means to eat in harmony with nature. With its ideals of sustainability, seasonal ingredients and modern culinary innovation, the movement has had a deep impact on both the restaurant sector and the world of everyday food. This book has been compiled on the occasion of the exhibition New Nordic. Cuisine, Aesthetics and Place at The National Museum of Art, Architecture and Design, which explores the interaction between the evolution of new Nordic cuisine and trends in other forms of contemporary culture. Architecture, contemporary art, design and studio crafts are woven together to provide a broader understanding of the movement’s aesthetic characteristics. How did materials, people and landscape interact to produce a distinctly Nordic culinary identity?

Text in English and Norwegian.

This paperback presents a compelling new body of work by London-based artist Susie Hamilton, created on the London Underground between 2023 and 2025. Comprising 89 drawings, the book captures the shifting, solitary figures of Tube passengers. The artwork ranges from monochrome pen-and-pencil sketches in sketchbooks to colorful mixed-media works on paper, cardboard, and torn canvas scraps.

The book includes a foreword by Eleanor Pinfield, Head of Art on the Underground, situating Hamilton’s work within the Tube’s long history of working with – and inspiring – artists. An in-depth interview with writer Amah-Rose Abrams explores Hamilton’s making process, from site-responsive sketchbook works, to pieces later developed in her studio, while an extended essay by Dr Matthew Holman delves into the literary, poetic, and theological influences on her practice. A new text by the artist presents the Underground as a metaphor and place of metamorphosis in psychology, myth, poetry, and religion.

The highly anticipated monograph of acclaimed artist Refik Anadol

Refik Anadol is one of the most influential digital artists of our time—the painter of post‑digital life. From his Refik Anadol Studio in Los Angeles, he creates new artistic forms at the intersection of data, artificial intelligence, and human imagination. His hypnotic data sculptures, AI‑generated visuals, and immersive installations make the invisible visible: the rhythms of cities, the flows of information, and the poetry of a world in motion.

For Anadol, artificial intelligence is not just a tool but a creative partner. Working with massive datasets and live data streams, he builds dynamic works that are constantly evolving. In the tension between digital and physical space, his art invites us to experience data as image, memory, and imagination.

With contributions by Michel Dewilde, Paul Robbrecht & Olivier Salens, and Refik Anadol.

This publication accompanies the exhibition Refik Anadol – Latent City, from 8 May to 8 November 2026 at BRUSK in Bruges.

Few names in fashion embody elegance quite like Giorgio Armani. For more than four decades, the Armani universe has shaped the way the world perceives luxury — not as excess, but as effortless perfection. The Essence of Armani Unfolded invites readers into this world of refined simplicity, unveiling the codes that define the House: precision tailoring, sculptural silhouettes, neutral tones, and the unmistakable whisper of sophistication. From the runways of Milan to the luminous world of Armani Beauty and Fragrances, this book explores the designer’s creative vision across fashion, fragrance, architecture, and design. Through stunning photography and insightful storytelling, it celebrates the designers, models, muses, and artisans who have helped craft an empire built on purity of line and emotion. With every turn of the page, Armani’s world unfolds — from the minimalist allure of the Giorgio Armani suit to the sensual poetry of Acqua di Giò.

Few marques command the same reverence as Ferrari — a symbol of Italian artistry, innovation, and unrelenting pursuit of excellence. Since Enzo Ferrari founded the brand in 1947, the Prancing Horse has stood not just for performance, but for a way of life defined by style, emotion, and craftsmanship. The Essence of Ferrari Unfolded celebrates this spirit in all its forms — from the sculpted curves of the 250 GTO and LaFerrari to the precision engineering that turns mechanical movement into poetry. Through breathtaking photography and insightful storytelling, the book explores the DNA of Ferrari: design, speed, sound, and the people who live for them. It delves into the creative worlds of designers, drivers, engineers, and dreamers, capturing how Ferrari continues to merge technology and beauty in perfect harmony. Beyond the racetrack, the book unfolds Ferrari’s cultural impact — from haute couture collaborations and architectural icons to its influence on film, art, and design.

Published on the occasion of Karin Kneffel’s exhibition Haymatlos at Dirimart (13 November 2020–17 January 2021), this trilingual catalogue explores themes of memory, displacement, and belonging. The 19 paintings on view establish a dialogue between Germany and Turkey through the notion of heimatlos—statelessness—probing how the past is recalled, altered, or transformed, leaving ambiguous traces in the present. Kneffel engages with the legacies of three exiled figures who lived in Istanbul: architect Bruno Taut, sculptor Rudolf Belling, and designer Margarete Schütte-Lihotzky. Their iconic works—the Bosphorus house designed by Taut, Belling’s İnönü sculpture and Skulptur 49, and Schütte-Lihotzky’s pioneering Frankfurter Küche—reappear under Kneffel’s painterly veil of drops, bubbles, and brushstrokes, questioning whether the world is ever truly familiar. Enriched with an essay by Julia Voss, along with studio and installation views, the catalogue situates Haymatlos within Kneffel’s broader practice and her celebrated retrospective STILL in Germany.

Text in English and Turkish and German.

Since 2020, Gilles & Boissier have affirmed their status as a lifestyle brand. Formed by Patrick Gilles, a devotee of noble materials, and Dorothée Boissier, passionate about art and scenography, the duo creates a dialogue of opposites that fuels their creativity. They design prestigious hotels—The Lana in Dubai for the Dorchester Collection—and have ongoing projects for Mandarin Oriental in Rome and Four Seasons in Majorca. Faithful partners of Moncler, they reinvent the brand’s boutiques in London, Rome and St. Moritz: metallic arches, checkerboard marble and curated paths with artworks offer immersive experiences. At the same time, they produce collections of furniture and objects that combine blown glass, braided ropes and raw stones, reflecting their focus on craftsmanship. This book will trace their recent evolution and complete universe, balancing contemporary luxury with artisanal poetry.

Text in English and French.

Madame de by Louise de Vilmorin is the fourth title in the Dédale series. First released in 1951, it is arguably the French author’s most celebrated work. The novel unfolds in a timeless atmosphere, where seemingly insignificant events gradually form a sophisticated yet relentless plot that ensnares both characters and readers. The story centers on a pair of diamonds secretly sold by Madame de…, the elegant yet frivolous heroine, in order to settle her debts—thus setting the chain of events in motion. Around them, a handful of characters are portrayed with delicacy, defined through only a few precise strokes.

This new edition features original drawings by Laurent de Commines. Louise de Vilmorin’s work is introduced by a preface by Patrick Mauriès, followed by an essay by Emmanuelle Amiot, which explores the role of the diamond in Western culture and thought. Together, they broaden the reflection on the deeper meaning of jewelry and its significance in society across the centuries.

Traces of Time – Crafting the Authentic Home continues the spirit of The Authentic Home (2021). This new volume reveals thirty remarkable private residences from across the globe, each shaped by a profound respect for traditional craftsmanship and the quiet poetry of natural materials.
Within these pages, stone worn by generations, timber mellowed by light, and objects carrying the patina of life come together to form interiors with genuine presence. Every home reflects an intimate dialog between past and present, where ancestral techniques are not revived as nostalgia, but embraced as living, enduring values. The architects and designers featured here share a devotion to creating spaces with true soul—homes that move beyond fashion, resist the fleeting, and honor the beauty of what is real. Their work celebrates imperfection, authenticity, and the subtle traces left by time itself. Traces of Time invites readers into environments that feel grounded, warm, and deeply human—timeless refuges crafted with care, memory, and meaning.

What if colours could sing? What if you could not only see them, but hear them too?

A Red that Sings transports the reader to the epicentre of Belgian modernism, where colour is more than just colour: it brings spectacle, vibrates and resonates. In the paintings of James Ensor, Rik Wouters and Jules Schmalzigaug, pigments are not silent elements but musical forces: vermilion cries out, blue clatters, yellow jangles and green blares.

This book offers a compelling cultural history of colour as sound. Drawing on artists’ letters as well as art criticism, poetry, music and philosophy, it illustrates how modern artists and thinkers from Charles Baudelaire and Vincent van Gogh to Wassily Kandinsky, Alexander Scriabin and the Futurists sought synaesthetic connections between seeing and hearing. The ‘red that sings’ – a metaphor coined by Schmalzigaug – runs like a thread through a broader reflection on expression, emotion and modernity that takes in old acquaintances and modern masters, including Peter Paul Rubens and Henri De Braekeleer, as well as Adolphe Monticelli, Willem Paerels and Jean Brusselmans.

Featuring seminal sculptures, installations, photographs, LEGO works, and conceptual projects, this richly illustrated book highlights Ai Weiwei’s ongoing engagement with history, cultural heritage, and political freedom

The catalogue contains original essays that offer a fresh perspective on this influential contemporary artist. Texts by Lee Ambrozy, Thomas Crow, Edouard Derom, Rik Hemmerijckx, Didier Ottinger, John Tancock, and Lieven Van Den Abeele examine the intellectual, artistic, and social dimensions of Ai Weiwei’s work, placing it within both a global contemporary context and a broader historical framework.

London embraces all walks of life, reflected in its eclectic literature. Whether you want to ramble across Hampstead Heath like Keats, stroll between the landmarks of Virginia Woolf’s Bloomsbury or delve into the Golden Age of crime fiction in the historic alleyways of Soho, this is your opinionated guide to the capital’s storied streets. Wodehouse fan or Wyndham enthusiast, London is littered with literary gems, so get your nose out of your book and hit the pavement.

The Bargue-Gérôme Drawing Course is a complete reprint of a famous, late nineteenth century drawing course. It contains a set of almost two hundred masterful lithographs of subjects for copying by drawing students before they attempt drawing from life or nature. Consequently it is a book that will interest artists, art students, art historians, and lovers and collectors of drawings. It also introduces us to the work and life of a hitherto neglected master: Charles Bargue.

The Drawing Course consists of three sections. The first consists of plates drawn after casts, usually of antique examples. Different parts of the body are studied in order of difficulty, until full figures are presented. The second section pays homage to the western school of painting with lithographs after exemplary drawings by Renaissance and modern masters. The third part contains almost sixty académies or drawings after nude male models, all original inventions by Bargue, the lithographer. With great care, the student is introduced to continually more difficult problems in the close observing and recording of nature.

Practiced professional artists will see at once the problems of representation that are approached by Bargue, and they will delight in his solutions. Figure painters will copy the plates to keep in tune; so to speak, much as pianists practice the exercises of Czerny before performing Beethoven. Art students will find it a practical and progressive introduction to realistic figure drawing. Art historians can learn by studying these drawings just what was prized in late nineteenth century figure painting. They will recognize the reliance upon tradition by the use of antique sculptures as models in the first part: Antiquity is here used, not to impose a classical style, but as an aid in seeing the structure of the human body with clarity and intelligence. The result is a convergence of Classicism and Realism. There are no numerical proportional charts, perspective boxes or geometrical schemata to memorize. All the techniques and schemata are developed out of and for the object or person in view.

The drawings are splendid; beautiful; not simply products of assiduity, but of careful observation and the wish to transcribe and communicate the beauty of nature and light, as well as the manifold appearances of the human body. These are objectives that will touch and move any careful reader of drawings, and the figurative arts.

Text in French.
The Bargue-Gérôme Drawing Course is a complete reprint of a famous, late nineteenth century drawing course. It contains a set of almost two hundred masterful lithographs of subjects for copying by drawing students before they attempt drawing from life or nature. Consequently it is a book that will interest artists, art students, art historians, and lovers and collectors of drawings. It also introduces us to the work and life of a hitherto neglected master: Charles Bargue. The Drawing Course consists of three sections. The first consists of plates drawn after casts, usually of antique examples. Different parts of the body are studied in order of difficulty, until full figures are presented. The second section pays homage to the western school of painting with lithographs after exemplary drawings by Renaissance and modern masters. The third part contains almost sixty académies or drawings after nude male models, all original inventions by Bargue, the lithographer. With great care, the student is introduced to continually more difficult problems in the close observing and recording of nature. Practiced professional artists will see at once the problems of representation that are approached by Bargue, and they will delight in his solutions. Figure painters will copy the plates to keep in tune; so to speak, much as pianists practice the exercises of Czerny before performing Beethoven. Art students will find it a practical and progressive introduction to realistic figure drawing. Art historians can learn by studying these drawings just what was prized in late nineteenth century figure painting. They will recognize the reliance upon tradition by the use of antique sculptures as models in the first part: Antiquity is here used, not to impose a classical style, but as an aid in seeing the structure of the human body with clarity and intelligence. The result is a convergence of Classicism and Realism. There are no numerical proportional charts, perspective boxes or geometrical schemata to memorize. All the techniques and schemata are developed out of and for the object or person in view. The drawings are splendid; beautiful; not simply products of assiduity, but of careful observation and the wish to transcribe and communicate the beauty of nature and light, as well as the manifold appearances of the human body. These are objectives that will touch and move any careful reader of drawings, and the figurative arts. Text in French.

Without adornment or applications, plates, bowls, jugs and pots radiate through honey-yellow, green or dark brown glazes. These glazes have a lively iridescence which accentuates the objects’ most important attribute: their form. Everyday objects that obtain artistic merit through reduction alone boast an extraordinary assuredness in their design. That good everyday ceramic occupies a justified and valued place alongside artistic ceramic is advocated with conviction by Lotte Reimers. As a longstanding companion and associate of the ceramic exponent Jakob Wilhelm Hinders, she discovered her passion for the beauty in simple things. Ever since then she has promoted the preservation of unpretentious everyday crockery as an important cultural artifact for the future. Originated in the Renner Pottery in Thurnau in the 1950s and 1960s, 124 earthenware vessels form a representative inventory of ‘golden pots’ whose austerity still enthrals to this day. Today the collection is housed in the GRASSI Museum of Applied Arts Leipzig.

Text in English and German.

Kokon is the term Doerthe Fuchs uses to define a group of pieces of jewelry which are complete in themselves yet surprisingly draw the viewer’s eye inwards. Exquisitely subtle and delicate, they nonetheless achieve holistic stability. The “cocoon” form is constantly present and recognizable. With her project Kokon Doerthe Fuchs succeeds in uniting opposite extremes. The outcome is amazement. Even the materials she uses effortlessly overcome all sources of potential friction: coarse stone is linked with fine configurations of silver; mundane objects are veiled in the elegance of gold. This seeming incongruence is not unattractive, however; on the contrary, it is the linking factor of the “cocoon”. It encloses what otherwise would not belong together to create a new unity. A text by Frenec Jádi introduces the book, capturing in words the astonishing events taking place when these objects are seen. Numerous color illustrations showcase this group of works in all its beauty.

Text in English & German.

At the beginning of the twentieth century, at a time of turmoil when art was undergoing unprecedented upheaval, the West, and especially France, began to turn its eyes towards distant cultures until then largely neglected. Artists were in the throes of questioning all canons and were seduced by the freshness they found in the art of these cultures. The outcome is what we know today as ‘Primitivism’. But at the same time, through a sort of aesthetic empathy, art lovers, critics, poets, and dealers developed a passion for the intrinsic beauty of these objects, which began to arrive in Europe in large numbers, brought home by colonial administrators, missionaries, or officers on overseas postings. The extraordinary expressiveness and at the same time great harmoniousness of the best of these works enchanted them. Guillaume Apollinaire was not afraid to talk of ‘the very principles of great art’ when discussing African art. This book acknowledges this art’s role in world art and looks at the way beauty was perceived through the ‘eye’ of great art lovers. Some of these are mentioned in this publication, which discusses the works they painstakingly amassed. Many of these works are now famous and indeed have come to be regarded as ‘icons’. Others of the greatest artistic importance collected by these aficionados are reproduced here, highlighting the particular genius of peoples, the existence of which is testified only through their sculpture. Many of these have never, or in some cases only very seldom, been published. The art of Africa, Oceania, America, and Southeast Asia are all represented, revealing the extraordinary variety of artistic forms developed in these four regions of the world. Certain cultures were discovered and appreciated in the West in the early twentieth century, while others were brought to the attention of the international community in the 1950s. This book tells the story of how discoverers, collectors, and dealers brought tribal art to France over a period of some eighty years. This is the first time a full survey has been attempted, especially as regards the post-war period, and many of the protagonists in this enthralling adventure are virtually forgotten. One of this book’s great strengths is its double focus on art collecting, explored from both an aesthetic and a historical standpoint.

A remarkable combination of superb artistry, sophisticated design, and a lengthy history of continuous usage sets the masks of the Noh theater of Japan apart from all others. That so little is known outside of Japan about their great beauty and brilliant craftsmanship prompted the author to undertake the two decades of study, research, and writing that has culminated in this work. The result is nearly 800 pages of text and images published in a two-volume boxed edition limited to 1200 copies. Volume 1 consists of an extended treatise on the history of Noh and the evolution of its masks, including mask forms and functions, types and roles, nomenclature and taxonomy, mask carvers and their lineages, signatures, and other markings. It includes plot and character synopses of the plays most often staged as well as others rarely performed, with particulars about the masks used by various troupes for the principal roles. Volume 2 is an album showcasing in full color over 140 of the finest masks of Noh, both ancient and more recent, with detailed information on their creation, character, and significance, as well as photos of their backs showing inscriptions and artists’ signatures. An extensive bibliography, glossary, and index round out this presentation of an exquisite, centuries-old art form. No existing publication on the subject, in either English or in Japanese, remotely compares in scope and depth to the present work.

Swiss photographer Samuel Zeller reveals the quietness and serenity found in some of Europe’s greenest, manmade corners. Starting his project in Geneva’s botanical gardens, Zeller shoots plants through translucent glass, exploring how the shapes and refractions create a blurred beauty reminiscent of impressionist paintings. Using the same technique across Paris, Amsterdam, Brussels and beyond, the photographer draws on classical botanical illustrations from the 19th century to illustrate nature in a contemporary and unusual way.

For the nature and adventure enthusiast: Roaming America is a visually stunning, ultimately practical guide to visiting the US National Parks.
Combining breathtaking imagery, useful planning information for each national park, suggested itineraries, best-of recommendations, and more Roaming America will give you all the inspiration you could need to plan your next national park road trip! Featured inside: