Anthony Auerbach’s Aerial Reconnaissance Berlin documents a series of investigations for the International Necronautical Society (INS) Inspectorate.

With the book Lapon d’une Renne, Voyages into the Arctic Regions former researcher Fine Art Stijn Verhoeff investigated the current phenomenon of digitising libraries. Books all over the globe are scanned for preservation and communication purposes, but this archiving process is not without its consequences: images fade, unexpected colours appear, folded pages are not unfolded while being scanned, personal notes become part of the original. These books, and arguably knowledge and history, are reshaped and deformed. Lapon d’une Renne, Voyages into the Arctic Regions explores the archives of the World Wide Web, and examines the history of Arctic exploration. It can be read as a critique on the digitisation of knowledge, but at the same time the book is also a celebration of the illegible outcomes of these digital processes.

© 1999 by Cristina Delle Giustina, Franziska Lesák and the artists.

In his project Let Me Be Your Dictionary Saliou Traoré (researcher Fine Art 2004–2005) examines contingent, simple relations of objects and events. Part of his strategy is to concentrate not on single, catastrophic events, but to focus on precise examples such as traffic jams and linguistic phenomena.

Olivier Foulon, researcher Fine Art 2002–2003, made a two-part artist’s book.

After the Berlin wall came down in 1989 certain aesthetic characteristics of former socialist countries are still visible in the streets and day-to-day life of Eastern Europe, such as decorative figures in architecture, geometric patterns on fabrics and rhythmic motives on paper objects.

Moment’s notice by Kasper Andreasen (researcher Design 2003–2005) is about recording lived space and thinking space, about rooting and routing and finding ‘enspacement’ through writing.

Plants and soil – The visual development of a structure is an artist’s book that contains a series of photographs edited from Hempel's collection of images of a representation of a peacock.

This reader drew its inspiration from encounters and conversations with activists, artists, critical thinkers, curators, militant researchers and writers.

The first part of this two-volume publication juxtaposes two institutes: the Jan van Eyck Akademie and the KSA:K Center for Contemporary art, in Moldova.

Citygraphy #01 and the research project of the same name is investigating the representation of modern urbanity, in close collaboration with academics, essayists and photographers.

With the global pervasiveness of social deracination, cultural decimation, environmental destruction and the impoverishment of ever greater segments of the population, neo-liberal market liberalization has left an indelible mark on our social, political and economic world.

Diagonal. Essays on contemporary Cuban art deals with certain Cuban avant-garde artistic practices, especially in the eighties and nineties.

–/–/– is about memory, fragmented memory and the use or misuse of images in a society flooded by images.

Frans Vos: As graphic artist and photographer he helped artists and designers produce posters, invitations, (artist’s) books and autonomous works.

Ubiscribe is a book on on-line and off-line publishing. The first issue of this experimentally composed and edited book contains essays, project descriptions, links, practice instances and anecdotes on personal publishing through the Internet and new media.

Leafing through the artist’s book by Doris Lasch and Ursula Ponn (Fine Art researchers 2003 – 2004), we move from neat and messy artists’ studios, through old-fashioned interiors, to museum rooms and back again.

Wie immer man die heutige Kultur insgesamt deuten mag - sei es als post-postmodern, als zweite Moderne, als Globalisierung -, fest steht, dass wir noch immer mit den durch Renaissance und Aufklärung geprägten Tiefenstrukturen zu tun haben.

The famous theory magazine by Jan van Eyck

Hurts so good is the catalogue of the exhibition of the same name which was held in the Contemporary Art Centre, Vilnius, Lithuania, from 21 March to 4 May 2003.

Of an obscure disaster / Mracni raspad, realised by former Theory researcher Ozren Pupovac and co-published by Jan van Eyck Academie and Bastard Editions, is the Serbo-Croatian/English translation of an essay by Alain Badiou.

'If you really want it: don’t buy it, turn it into lines'. That must have been one of the motives for Fine Art researcher Alevtina Kakhidze (Ukraine, 1973) to make several black and white drawings of luxury commodities and their prices, as Norman Bryson clearly points out in his essay I don’t need it/I want it.

A group of Jan van Eyck researchers investigated the public spheres of Brazzaville and Kinshasa, two neighbouring capitals separated by the Congo river. The group subscribed to ‘visualizing the visible’ as a research approach and regarded Brazzaville and Kinshasa as one city: Brakin.

Puzzle Box is based on observations of a group of western lowland gorillas living in a zoo in Germany. Studies in the form of photographs, videos and drawings were conducted over a period of five years.

"What we are dealing with here is the radical import of strangeness into our language."

Proceeding #1. Dakar 5-19/05/2002 comes up with a series of articles, interviews and images through which runs a loose and contingent network of different themes in which the city of Dakar stands central.

Die Hunterklasse - Praxistipps für Reiter, Trainer und Veranstalter grew out of Megan Sullivan's research project at the Jan van Eyck Academie, which explored the delineation of artistic practise and performative identity.

Ines Lechleitner's Pièce de Cinéma comprises images, sound and text which follow Isabelle Oglivie, a young mentally handicapped woman who is engaged in making a film. Lechleitner, as Isabelle's assistant as well as her chronicler, accompanies Isabelle as she discusses her film project with filmmakers, artists and philosophers, and documents her approaches to image-making and language.

Fine artist Mariana Castillo Deball (researcher Fine Art 2002-2003) did research in Berlin, New York and Paris into the way the public uses libraries and their books. She documented the behaviour of the public in these reading and study places in a photo report.

The Miraculous Life of Claire C reveals a public secret, based on a human existence which cannot be traced in history books, because identity is a living thing, both effervescent, elusive and in continual transformation.

The Last Book, written by Sabine Hillen (former researcher Theory), edited by Jacqueline Schoemaker (former researcher Design) and designed by Eva Moulaert (former researcher Design) and Marie Sledsens, tells the story of an object – a ‘book’ – that is passed on from one character to the next and succeeds in bringing characters together.

Lieven De Boeck (researcher Fine Art 2002–2003) and John Murphy (advising researcher Fine Art) put together a publication on the history of the Bonnefantenmuseum in the period when it was housed in the Entre Deux building in the centre of Maastricht.

Lieven De Boeck, researcher Fine Art 2002–2003, put together a publication in which housing is considered as storage space for personal belongings, as a kind of camouflage of the inhabitant vis-a-vis his environment, and as a domicile.

This publication contains the proceedings of the conference Museum in ¿Motion?, which took place on 12 & 13 November 2004 at Museum Het Domein in Sittard and at the Jan van Eyck Academie in Maastricht - the event having been jointly organised by the Jan van Eyck Academie, Museum Het Domein and the Department of Architecture & Urban Planning of the University of Ghent (UGent); subsidized by the Mondriaan Foundation and the Province of Limburg.

Essays on Rod Dickinson's re-enactment of Stanley Milgram’s obedience to authority experiment

A READER represents a realm of desire dealing with the development of strategies to denaturalise normative concepts of identity, bodies, sex and gender.

Traces of Autism is about an understanding of public space, which is seen as a confrontation with insecurity, as exposure, as vulnerability, and which rejects the use of the term ‘public’ for spaces that are actually more and more privatized and protected.