Page Not Found and the Master Experimental Publishing (XPUB) at the Piet Zwart Institute, Willem de Kooning Academy, are delighted to invite you to the launch of their Special Issue #14, entitled “I Don’t Know Where We’re Going, But — A Local Network City Quest”.

The Situationist Times was a magazine edited and published by the Dutch artist Jacqueline de Jong in the sixties. With only six issues, the Times became one of the most exciting and playful magazines of that decade, thanks to its multilingual, transdisciplinary, and cross-cultural exuberance. The never-realised seventh issue, destined to explore the game of Pinball and its female player, is the starting point of our collaboration with XPUB and artist Lídia Pereira. During the course of this semester, the first year Master students were tasked with imagining what the seventh issue could be if it were produced today, under the guidance of Lídia and the XPUB staff. You can discover their works by finding the hotspots they installed throughout The Hague. You are invited to start your psychogeographical exploration of this distributed publication at Page Not Found, on Friday 2 April, from 12:00.

This Special Issue was created by Kendal Beynon, Martin Foucaut, Camilo García A., Clara Gradel, Nami Kim, Euna Lee, Jacopo Lega, Federico Poni, Louisa Teichmann, and Floor van Meeuwen.

We wholeheartedly thank Jacqueline de Jong for her kind interest and support in this collaboration.

Time slots of 15 minutes are available for the start of the quest at Page Not Found, after which you can continue to roam through The Hague for as long as you like until 18:00. Register for your slot here.

This is a free event.

We are delighted to unveil Paul Maheke’s work ‘The Year I Stopped Making Art’, installed in our front window for the duration of a month. 

Paul Maheke’s short essay ‘The year I stopped making art. Why the art world should assist artists beyond representation; in solidarity.’, published on the 18th of March 2020, is an outcry for solidarity in the art world during the pandemic and beyond. In the essay Maheke channels voices of urgency from precarious figures who practice their art without structural support, ranging from the witch to the single parent to those struggling with mental health issues.

Paul Maheke (1985, Brive-la-Gaillarde, France) is an artist and performer based in London, whose work explores tensions between hyper-visibility and invisibility and between presence and absence. He is interested in the ways in which history, memory and identity are formed and stored in the body as an archive, and develops new and ‘personal’ understandings of the present and the past. 

Paul Maheke’s short essay inspired our upcoming open call project ‘Open Letters’, which we will be launching soon. Messages of urgency and vulnerability will be published through Open Letters, occupying our storefront window in vinyl lettering. Open Letters gives artists room to publicly reflect on current times, despite widespread covid restrictions and the lockdown of art spaces. 

To view Paul Maheke’s work no reservation is needed, as it is visible from the street – pass by whenever you want!

Page Not Found, together with The Balcony, is delighted to invite you to an online artist talk by artist and photographer Tatjana Erpen.

This event marks the third instalment of our Tangible Photography program, which started at the beginning of 2020 and was postponed due to the pandemic. The dematerialization of the image created for some artists with a photographic practice a desire for tangibility, that is: for a materiality accessible by touch. Publishing appears in this context as a natural strategy to answer this desire and to reinstate the photographic image in its materiality. This program presents a large selection of publishing practices to show the diversity of their approaches.

Upon the finissage of the “Days of our Lives” exhibition curated by artist-run space The Balcony, we are excited to invite Tatjana Erpen to introduce her practice and to expand on her unique approach to publishing.

Tatjana Erpen (1980) lives and works in Lucerne, CH. Erpen’s practice is based on in-depth research at the interface between history, documentation and memory. In doing so, she dares to look at the supposedly unspectacular in order to create sublime content-related complexity with simple means. Her recent publication “Empty fire in my phone” (2019) assembles images, which are characterised by a magical ambivalence, caught in limbo between present and memory. Through pictorial-poetic condensations Erpen succeeds in awakening associations. Photographically captured objects and spaces are alienated and reinterpreted by means of manual screen printing. 

The Balcony is an artist-initiative based in The Hague run by Arthur Cordier and Valentino Russo. The duo organizes exhibitions in two locations, a vitrine space and a project space.

Starts at 18:00. Reserve your free ticket here.

Page Not Found celebrates the beautiful theses from the twelve Master Artistic Research graduates by awarding this year a prize for excellence in publishing.

Congratulations to Annemarie Wadlow for winning the first Page Not Found Thesis Award with “Women Looking at Women Looking at Women.”

Our award celebrates the thesis which integrates most strongly its own dissemination. The jury pays attention to how the analog or digital publication echoes the thesis’ original research, how its text is embodied, and the related design decisions.
The jury was impressed by how Annemarie’s publication supports the core intent of her thesis: reinstate female artists that misogynistic art history left behind, and advocate collective work. Publishing, that is: making public, is a form most suited to bringing back what was censored, and turns Annemarie’s publication into a gesture well beyond academic requirements. Her intent is strengthened by the decision that almost every aspect of her publication, texts, type fonts and paper, be produced and designed by women, and their contributions, acknowledged on the very first pages. The see-through quality of pages pointedly reminds us that works never exists alone, but in community — a sisterhood that Annemarie brilliantly celebrates!