What does it mean to make, read, and hold onto print today? This month Everything but the Exhibition brings together three perspectives on the practices and possibilities of publishing from within IMPRINT.

In Manuals on Novelty, Kim Reynolds and Luyanda Zindela of (B)andWi(d)th reflect on the intricacies of experiencing something for the first time, exploring collectivism as an ever-shifting practice shaped by the possibilities of being and making with others. Their conversation marks the beginning of their residency at Zeitz MOCAA, the first of three publishing collectives to inhabit the Koyo Kouoh Atelier as part of the 18-month IMPRINT programme. In Paper Cuts: Pondering Print, Emme Pretorius considers the supposed death of print, asking how paper’s materiality continues to sustain it. She writes about certainties and realities that print can translate into the hand, the body, the eye, the mind and memory. In Listening to Kleptotexts, Bulelwa Kunene takes readers into the African Art Resource Centre (AARC) collection, offering a glimpse into books within the library through a curated reading list made as a researcher working closely with its contents.

Together, the three point to a broader question on collaboration, between reader, maker, material, and resource.

BROWSE ‘EVERYTHING BUT THE EXHIBITION’

Issue 1

Sep 17, 2026

As an extension of IMPRINT, Zeitz MOCAA’s publishing-focused Atelier, Everything but the Exhibition is an online publication that engages a public-facing approach to publishing. With publishing practices as its initial focus, it seeks to interrogate curatorial hierarchies through the multiplicity of experimental visual and auditory matter, conversation, and the rigour of critical discourse.

As both a concept and a title, Everything but the Exhibition delves into the curatorial beyond the exhibition: a thought experiment on publishing practices that tend to be perceived as peripheral. Here, publishing extends past traditional ideation, reaching across disciplines as an act of public proclamation and expression. From the context of a museum of art, it asks what ‘everything’ might include when exhibition is not positioned as the ultimate act. Rather, it ruminates on everything before, everything within, and everything after—the nuances in the making, reading, and afterlife. It shifts our attention to process, research, knowledge production, and layered investigations that typically live in the shadows of the exhibitionary experience, centring public acts that are seldomly seen.