Jan-Pieter Karper

Entropic Records, 17 × 23,5 cm, 208.p., 2025. Exhibition catalogue for Pauline Hafsia M'barek as part of the exhibition Entropic Records at the Ludwig Museum, Cologne DE. Published by Walther König.

Colour Combinations, 2024, Around Publishing, Shanghai. A series of 28 colour combinations made with 8 different colours of round label sticker sheets.

Re:Re:Re:, 2024, E.SCAPE Gallery, Shanghai. A workshop investigating the theme of reproduction through the making of individual printed publications. This workshop functioned as a continuation of the exhibition Re:Re:Re: in 2021 at AG, Utrecht. The backside of the publications reads: “This publication is made during the workshop Re:Re:Re: at E.SCAPE Gallery in Shanghai (CN) as part of the exhibition Around Publishing. This is one of twelve personal copies that deals with the theme of reproduction. Pages 2–3, 14–15, 30–31, depict murals from THE SAME SONG SUNG BY A DIFFERENT TONGUE by Annabelle Binnerts made for the exhibition Re:Re:Re: at gallery AG in Utrecht (NL) in 2021. Pages 19–23 are excerpts from Against Interpretation and Other Essays by Susan Sontag (1966). Page 42 contains a quote from the BBC series Ways of Seeing by John Berger. Further content derived from conversations and exercises loosely based by works and methodologies by Batia Suter, Hans Gremmen, Helmut Smits, John Berger, John Smith, Marijn van Kreij, Micheal Snow and more.”

Mosaic Flowers, 2024, E.SCAPE gallery, Shanghai CN

For Every Atom, 12 × 17 cm, 212.p., 2024. Exhibition catalogue for Semâ Bekirović as part of her solo exhibition For Every Atom at Fries Museum, Leeuwarden. The publications are firstly used as a guide for visitors throughout the exhibition. After that they are powdered with forensic silver powder revealing fingerprints and traces of usage. The book functions as the last work of the exhibition (nr. 21) and are sold after usage.

Portraits of Prepress, 2024, Museum für Druckkunst, Leipzig. A series of five prints of 107 × 82 cm portraying hands performing pre-press labour. The images came from an old manual on preparing layouts for reproduction found in the museum. The resolution of the images were reduced into 10 × 8 pixels and ten colours per image, making them printable for the letterpress technique. They were then printed on a large format letterpress with the use of wooden blocks of 10 × 10 cm in ten different print runs (colours) per image.

Two Sides of an Open Hand, 2024, LIMBO, Geneva CH

GUEST, 21 × 29,7 cm, 72.p., 2023. Publication for Annabelle Binnerts as part of the presentation A room with the word ghost inside at De Ateliers, Amsterdam. The publication is a Japanese bound with the ‘echoing words’ printed in mirror on the inside of the paper, making them shimmer through.

Cyan, Magenta and Yellow in Red, Green and Blue, Het HEM, Zaandam. Installation made with three different paper patterns of 50 × 50 cm screenprinted with fluorescent inks. They resemble a digital composition of the primary colours cyan, magenta and yellow in a horizontal and a vertical series of gradients.

Instructional napkin, 2022, Table of Futile Evening, ISO, Amsterdam. Emotional napkin, 2023, graduation ceremony for Werkplaats Typografie.

Canopy in fluorescent red and green, 2022 at New York Art Book Fair, New York City / Canopies in fluorescent red and fluorescent green, and fluorescent green and blue, 2023, at P-A-G-E-S Print and Art Book Fair, Geneva.

Solar Echoes, 42 × 59,4 cm, with Semâ Bekirović, 2022, Kunstenfestival Aardenburg, Aardenburg NL / 2024, For Every Atom, Fries Museum, Leeuwarden NL. A series of three posters each depicting a different image of the sun. The posters were printed with white ink on white paper making the images barely visible to the naked eye. Once the posters got exposed to sunlight (UV-Light) the paper slowly turned yellow making an image of the sun appear. Visitors were asked to take a poster home and hang them in front of their window to make their own exposure.

An image of a glass opposite an image of a lemon, 2022, Werkplaats Typografie, Arnhem. Installation of two large RGB-prints in fluorescent red, fluorescent green and blue.

the passenger, 21 × 29,7 cm, 16 p., 2022, Omstand, Arnhem. Publication and promotion for several showings of the video work the passenger of Kaixin Chen.

Blinds in fluorescent red and green, 2022, Agnietenplaats 2, Arnhem.

Re:Re:Re:, 2021, AG, Utrecht. Curated exhibition investigating the notion of reproduction as a method of working. With: Semâ Bekirović, Annabelle Binnerts, Esmée Bruins, Indigo Deijmann, Timo Demollin, Uta Eisenreich, Marijn van Kreij, Jaya Pelupessy, Helmut Smits and Batia Suter. “At a time when the distribution of images is lightning-fast and virtually infinite, and the distinction between original and copy often seems irrelevant, the artists in Re:Re:Re: dissect and illuminate various aspects of the image, reinterpreting its meaning. Using different reproduction techniques and methods of appropriation, they reflect on the origin and status of the image, its inner structure, economic value, legibility and the relationship to language. Re:Re:Re: presents the image as ‘unfinished business’: not as a static representation or visual end product, but as an eternal intermediate form within a lively network of connections to countless other images and contexts.” (Excerpt from exhibition text written by Peter van Dijk)

Letterhead Stichting Doubleyoutee, 2021, Werkplaats Typografie.

Fly curtain in fluorescent red and fluorescent green, 2021, for group exhibition A Quiet Manifestation, Het HEM, Zaandam. The curtain marked the entrance of the exhibition which mainly existed of digital works. The fluorescent red- and green together form an optical yellow similar to how digital screens construct the colour yellow. As if the entrance was a digital portal to the exhibition behind it.

Sontag, s., (2009), Against Interpretation and Other Essays, London, England: Penguin Books – Sontag, S., (2019), Tegen Interpretatie essays, Amsterdam, The Netherlands: de Arbeiderspers, 21 × 29,7 cm, 40 p., 2021. Publication for Mary Shelley Facsimile Library. A juxtaposition of the original essay Against Interpretation by Susan Sontag, and a Dutch translation.

Industry as Culture as Industry, Laurens Otto and Timo Demollin, 22 × 28 cm, 16 p., 2021.

The Random Factory, Eilander, single 18,5 × 18,5 cm, 2021.

Visit (1883–2020). Notes on Museumplein's exhibitionary complex across coloniality and modernity, Timo Demollin, 22 × 28 cm, 120 p., 2020. Selected for The Best Dutch Book Designs 2020.

Errant Journal, 17 × 24 cm, 2020 – ongoing. Issue #1: When Are We?, 128 p., 2020 Issue #2: Slow Violence, 128 p., 2021 Issue #3: Discomfort, 136 p., 2022 Issue #4: States of Statelessness, 128 p., 2022 Issue #5: Learning from Ancestors – Epistemic Restitution and Rematriation, 144 p., 2023 Issue #6: Debt, 144 p., 2023 Issue #7: Embodying Resistance, 144 p., 2024