album brazil photo ubbi

I have always been of the conviction that
what already exists in our culture of
standardized images has a greater capacity
for the strange and the uncanny than
anything I might conspire to produce.
—John Stezaker, 2015
This newspaper is published by JRP | Ringier and edited by Lionel Bovier. Issue 9, Winter 2015-2016. Printed in 10,000 copies by Ringier Print Adligenswil AG. Not for sale
John Stezaker, Line III (Lost Connection), 2008 (Unassisted Readymade)
When I started the company, more than
10 years ago, I first conceived of it as
a project that would take me five years
to build and a lifetime to play with.
Writing this editorial, I realize I was
both right—the program and the structure took some years to form and offer
a viable platform now and for years
to come—and wrong, as I’ll be leaving
the company at the end of the year.
Why I chose to move from art publishing
to become a museum director (heading
MAMCO, the contemporary art museum
in Geneva from January 2016 on),
remains a question that I will only be
able to answer in a few years: the attraction of a new challenge, the drive to
return to curating exhibitions, the perspective of having an entire building in
which to crystalize a different contemporary art narrative—who knows?
What I do know is that it had nothing
to do with the publishing activity itself,
not even with the angst of digitalization:
I have the same pleasure in doing my
job as when I started, the same thrill
in presenting the following program,
the same pride in this season’s offering.
Starting with books stemming from
long-term collaborations, such as John
Stezaker’s project released with Codax;
Resistance Performed (Aesthetic Strategies
Under Repressive Regimes in Latin America),
the latest in Migros Museum’s anthology series; Year 46, Art Basel’s third
annual publication; and the new title on
graphic design with ECAL; it continues
with The Playground Project, published
with Kunsthalle Zürich, and Xanti
Schawinsky’s first Album publication,
a limited-run artist’s book made
with the Estate of the Bauhaus artist.
New releases in the Documents
and Hapax series add to my pleasure
in watching this program unfold.
What is next you might wonder?
Well, the company, that I will now
watch from the Board level only, is in
good hands, placed as it is under the
supervision of Lukas Haller and
Clément Dirié, supported by a team
composed of Rahel Blättler, Eléonor
de Pesters, Nicolas Eigenheer, Gilles
Gavillet, Selina Grüter, Vera Kaspar,
Clare Manchester, Karin Prätorius,
Christophe Salaün, Markus Schmutz,
and Van Hin Tran, as well as Ringier
AG’s numerous collaborators, who
provide us services and ressources.
Now I will have the pleasure of
reading JRP | Ringier’s books … only
once, when they arrive on my desk,
finished and ready to be enjoyed!
—Lionel Bovier, Founding Publisher
2
Lost IV, 2007 (Unassisted Readymade)
3
John Stezaker has been working with found
images for over 40 years. While he has come to
be regarded as a collagist, he has occupied his
own outer limit of that idiom. He works with an
economy of means to make precise, almost
stringent interventions that are calculated to
affect the viewer (and himself ) in ways that are
wild, disturbing, and uncontainable.
Untitled, 1977 (Unassisted Readymade)
The source material is often quite clichéd,
derived from the realms of popular
culture from earlier moments of the
twentieth century. The picture postcard
and the movie publicity photo are two of
the most conventionalized and formulaic
image types, and Stezaker uses them
frequently. Indeed the more prosaic the
image the better, because no image is
entirely prosaic and Stezaker is drawn to
that very slim space between convention
and idiosyncrasy, between the expected
and the unexpected, between the familiar
and agreeable and that which the image
at first seems to conceal and keep out of
sight, to paraphrase Sigmund Freud in
“The Uncanny” (1919).
More to the point, as the writer
Maurice Blanchot once noted, all images
are essentially ambiguous. Even though
we live in a visual culture that attempts
to put images to work, to make them
perform tame tasks—selling, presenting
evidence, memorializing—those tasks
are only ever provisional. Once the image
had outlived them, once its job is done,
it is set free. In this sense Stezaker’s
approach is not so much a matter of
using images for his own artistic purposes,
as attending to and releasing their least
predictable and hence truest qualities.
His is an art that returns seemingly banal
imagery to its essential freedom.
True freedom (that is to say, freedom
without conventions) is exciting but it is
also disarming and anarchic, and therefore dangerous. Most of the time we do
not really want it—for ourselves or for
our images—and we may not know quite
what to do with it when we get it, or
glimpse it. But in working to set loose
the most enchained of images, Stezaker’s
work offers the viewer an occasion, at
least, to experience what image freedom
might feel like, what it might imply, and
what it tells us about the fears that bind
images and the desires that loosen them.
To this end Stezaker’s commitment
has never been to collage as such but to
this idea of release. Consider this
sequence of procedures, each step more
minimal than the last:
One photograph selected, cut,
and placed upon another.
One photograph selected and
placed uncut upon another.
One photograph selected and cut.
One photograph selected.
The first two fall quite clearly within the
familiar understanding of collage. The
third is perhaps on the cusp, while the
last would appear to fall outside. Much of
Stezaker’s work has involved the first
two but this book brings together a range
of pieces made only by selecting and
cutting, or simply selecting.
Erik Steinbrecher
HITS
This artist’s book shows excerpts
from the artist’s extensive photographic collection of images gathered
over 30 years—books, newspaper
and magazine photographs, archival
footage, and montages. Here the
artist has organized subjects thematically in associative sequences:
landscapes, food, folklore, art, flora
and fauna, people, and technology.
Through the playful decoration
and transformation of the material,
Steinbrecher has created relief-like
collages.
[ISBN 978-3-03764-394-5]
Jules Spinatsch
Snow Management
– Complex
Line I (Lost Connection), 2007 (Unassisted Readymade)
My work is about
stilling and
creating a
contemplative,
silent
relationship with
something that
usually speaks
and is legible—
a confrontation
with obscurity
as opposed to
transparency.
—John Stezaker
Excerpted from the introduction
Also available in the Codax series
John Stezaker
Text by David Campany
In Snow Management – Complex, Jules
Spinatsch presents his photographic
series documenting ski slopes being
prepared at night. Under the glare
of cold floodlights, machines noisily
turn nature into
a tourist experience, with snow
cannons at full blast and bulldozers
flattening the slopes. The photographs evoke the cold emptiness
of stills from a science-fiction film
about a barren planet being made
habitable. This oeuvre makes manifest the technology, staging, and
mediatization that have become the
basis of contemporary life.
[ISBN 978-3-03764-355-6]
The Book: John Stezaker - Unassisted Readymade
Edited by
Markus Bosshard, Lionel Bovier,
Jürg Trösch
Author
David Campany
English / German edition
January 2016
ISBN 978-3-03764-449-2
Hardcover, 245 x 345 mm
144 pages
Images 79 color
CHF 68 / EUR 54 /
GBP 42 / US 75
4
Xanti Schawinsky was an artist and designer who
spent his life working in different media and
genres (graphics, painting, photography, stage
design, performance, and exhibition design).
His work epitomizes the experimental and inventive perspectives of the Bauhaus and the search
for new horizons of the 20th-century avant-garde.
The “Bauhäusler” albums were created
exactly like any other family albums: from
a pile of pictures, most of which remain
stored for an indefinite period in boxes,
cupboards, drawers, and folders. The
album form imposed itself as the most
appropriate to simultaneously preserve
and present this abundance of photographic records. It is an oddly indecisive
and hybrid medium: it is a form that
recombines the characteristics of the
book with those of the exhibition walls
(and Memory game), as Schawinsky wrote
[ … ] The hybrid, book-like form of the
photo album proved to be, in the 1920s,
an ideal one for graphic artists: its variable arrangements and time-open series
echoed montage principles, while its
Excerpted from the introduction
and documents: each sheet is an autonomous graphic composition[ … ]Some
sheets are marked by a complex “heaping”
of motifs, others are more minimalist in
arrangement, and time and again there
are drawn, glued, and typographic additions to the photographic material. The
album juxtaposes portraits of his Bauhaus
friends and colleagues with his parents
and siblings, collages of festivities, trips,
and holidays, references to works, and
excerpts from his professional portfolio.
Hence this album acts as a printing template for illustrating his autobiography,
still unpublished in its entirety. The
album is, so to speak, an extraordinary
representation of the life and work of
an outstanding “Bauhäusler” of the first
student generation, one for whom the
potential for organizing memories as
associative anthologies was offering
to supersede the old “archaic stillness”
of the book and the contemplative
immersion it demands, reprogramming
it as a medium of communication [ … ]
Xanti Schawinsky compiled his
album after 1929, i.e., after his time at the
Bauhaus, in the early 1930s or perhaps
even after 1936, when he emigrated to the
US. Like Josef Albers’ album, it is not a
bound book, but a portfolio of cardboard
sheets of the same format (perhaps
Schawinsky first saw Albers’ album when
he taught with him between 1936 and 1938
at Black Mountain College in North
Carolina). Like Albers, he was not content with simply sticking in photographs
5
Bauhaus was, throughout his life, more
than just a school, but also a surrogate
family.
For the present publication, 51
significant sheets of Schawinsky’s album
have been selected, from a total of around
70 held in the Estate [ … ] This selection
[ … ] gives us a personal and unique
insight into the years when this multimedia artist set out for new horizons.
Schawinsky had understood more than
anyone else how to put his own individual
mark on the Bauhaus vision of dissolving
boundaries between art and life: he was
convinced and proved that, as a painter,
he could take photographs, design posters
and magazines, work as a theater director
and performer just as much as he could
organize and design exhibitions.
Also available
“Transparency”
was part of the
everyday routine
and became
a very positive
experience.
—Xanti Schawinsky
Xanti
Schawinsky
Text by Torsten Blume
Xanti Schawinsky
The work of the late Swiss artist
“Xanti” (Alexander) Schawinsky
(1904–1979) was until recently almost
inaccessible. A long legal dispute
and the fact that Schawinsky’s work
as a teacher was so integral to his
artistic praxis (rather than only
presenting his work in galleries and
exhibitions), explain why much of
his oeuvre is to be found in just
one location today. In his lifetime,
Schawinsky was mainly known for
his work in the theater department
at the Bauhaus. In the 1930s, while
teaching at Black Mountain College,
Schawinsky developed his dramatic
theory known as “Spectodrama.”
Involving multimedia productions
that examine elementary phenomena such as space, motion, light,
sound, or color from scientific,
technical, and performance-based
perspectives, it represents an early
form of the “happening,” which
would later be made famous by
another affiliate of the same institution, John Cage.
Schawinsky’s work as a painter
also addresses the dissolution of the
medium’s boundaries and focuses
on the process. Beyond the avantgarde utopias of the Bauhaus and his
proto-happening art, Schawinsky’s
work may also be seen as representative of the transatlantic exchange
of artistic ideas that was induced
by the political situation and had a
lasting impact on art history.
This publication is conceived as
an indispensable monograph on the
artist—the most recent book, which
focuses on the works from his time
at the Bauhaus, came out almost
three decades ago. This is the first
survey of Schawinsky’s extraordinarily prolific output over the course
of five decades.
[ISBN 9783-03764-397-6]
The Book: Xanti Schawinsky - The Album
Edited by
Lionel Bovier, Daniel Schawinsky
Author
Torsten Blume
English edition
January 2016
ISBN 978-3-03764-451-5
Hardcover, 450 x 270 mm
88 pages
Images 72 color
CHF 98 / EUR 80 / GBP 60 /
US 100
6
The Playground
Project
Text by Gabriela Burkhalter
7
Group Ludic Blijdorp Park, 1970
Group Ludic Playground, 1970
Group Ludic Playground, 1970
Group Ludic Playground, 1972
What at first seemed like an insignificant niche
turned out to be a realm of public experimentation, a cause of conflict between innovative
and established perspectives, and something
for both adults and children to project their
desires onto—in short, playgrounds are sites
of subversive potential.
Group Ludic Workshop, 1973
9 783863 355470
Die Kunsthalle Zürich wird zum Spielplatz! Wir
installieren Spielskulpturen für Kinder, führen
in Filmen und Fotografien durch über 100 Jahre
Spielplatz und fragen, wo wir heute stehen. Auf
über 1000 m2 zeigen wir im Frühjahr 2016, dass
diese Nische ein subversiver Ort sein kann, ein
Experimentierfeld im öffentlichen Raum für Kunst
und Gesellschaft und eine Reibungsfläche für
Erwachsene, Eltern und Kinder.
Der Spielplatz ist ein Nebenprodukt
der industrialisierten Stadt des 20. Jahrhunderts.
In ihm kondensieren sich wie kaum anderswo Vorstellungen zu Erziehung und Kindheit, zu Stadtplanung und öffentlicher Raum, zu Architektur
und Kunst und zu Kreativität und Kontrolle. Dabei
entzieht sich der Spielplatz immer wieder der
institutionellen und ideologischen Vereinnahmung
und treibt seine eigenen, zuweilen anarchischen
Blüten. Dieses Nebeneinander von unterschiedlichen Erwartungen, momentanen Errungenschaften und abenteuerlichen Ideen macht den Spielplatz überhaupt erst aus.
The Playground Project ist kuratiert
von Gabriela Burkhalter, Schweizer Politologin und
Stadtplanerin, in Zusammenarbeit mit der Kunsthalle Zürich.
Zur Ausstellung erscheint ein umfangreicher, international vertriebener Katalog,
welcher die vielfältige Geschichte anhand zahlreicher Illustrationen erstmals umfangreich nachzeichnet: The Playground Project, herausgegeben
von Gabriela Burkhalter, mit Beiträgen von Michael
Gotkin, Vincent Romagny, Sreejata Roy und Xavier
de la Salle, deutsch / englisch, Kunsthalle Zürich /
JRP|Ringier 2016 (deutsch/englisch).
Group Ludic Adventure, 1973
Images: courtesy of Xavier de la Salle
Die Kunsthalle Zürich wird zum Spielplatz! Wir installieren
Spielskulpturen für Kinder, führen in Filmen und Fotografien
durch über 100 Jahre Spielplatz und fragen, wo wir heute stehen. Auf über 1000 m2 zeigen wir im Frühjahr 2016, dass diese
Nische ein subversiver Ort sein kann, ein Experimentierfeld im
öffentlichen Raum für Kunst und Gesellschaft und eine Reibungsfläche für Erwachsene, Eltern und Kinder.
Der Spielplatz ist ein Nebenprodukt der industrialisierten Stadt des 20. Jahrhunderts. In ihm kondensieren sich
wie kaum anderswo Vorstellungen zu Erziehung und Kindheit,
zu Stadtplanung und öffentlicher Raum, zu Architektur und
Kunst und zu Kreativität und Kontrolle. Dabei entzieht sich der
Spielplatz immer wieder der institutionellen und ideologischen
Vereinnahmung und treibt seine eigenen, zuweilen anarchischen Blüten. Dieses Nebeneinander von unterschiedlichen
Erwartungen, momentanen Errungenschaften und abenteuerlichen Ideen macht den Spielplatz überhaupt erst aus.
The Playground Project ist kuratiert von Gabriela
Burkhalter, Schweizer Politologin und Stadtplanerin, in Zusammenarbeit mit der Kunsthalle Zürich.
Zur Ausstellung erscheint ein umfangreicher,
international vertriebener Katalog, welcher die vielfältige
Geschichte anhand zahlreicher Illustrationen erstmals umfangreich nachzeichnet: The Playground Project, herausgegeben
von Gabriela Burkhalter, mit Beiträgen von Michael Gotkin,
Vincent Romagny, Sreejata Roy und Xavier de la Salle, deutsch
/ englisch, Kunsthalle Zürich / JRP|Ringier 2016 (deutsch/englisch).
Group Ludic Playground, 1968
street and onto the playground. Then,
at the beginning of the 1930s, the idea
arose that children should play with
natural materials rather than playground
equipment. In the 1960s, the decade of
autonomy and do-it-yourself, parents,
children, and neighborhood groups began
to take charge of playgrounds themselves.
Finally, in the 1980s, with the end of
social and political utopias, a crisis in
playground design began.
With a focus on playgrounds in public spaces, where they are subject to the
most contradictions, the publication
provides as complete a picture as possible
of the multiple feedback loops and often
parallel developments in the history of
playgrounds, as well as the forces underlying them in a wide range of countries
and the contributions of the most important individuals such as Marjory Allen,
Richard Dattner, Group Ludic, Isamu
Noguchi, and many more.
The Book: The Playground Project
The Playground Project
The playground is a byproduct of the
industrialized city of the 20th century.
Even now, it continues to be both an ugly
duckling and a coveted space. A focal
point for ideas about education and childhood, urban planning and public space,
architecture and art, creativity and
control, the playground has repeatedly
resisted institutional and ideological
appropriation and grown in its own
sometimes quite anarchic ways. The
coexistence of contradictory expectations,
moments of temporary progress, and
radical developments makes playgrounds
so exciting. Still, as hardly anyone sees
playgrounds as part of their cultural
heritage, much of their history has been
forgotten or can barely be understood
anymore. [ … ]
There have been four paradigm shifts
in the development of the playground
over the course of the last 150 years.
First, at the beginning of the 20th century,
social reformers took children off the
Group Ludic Playground, 1969
why should
a museum
organize an
exhibition about
playgrounds?
i am convinced
that the two can
learn a great
deal from one to
another and are
fundamentally
similar in nature.
—Daniel Baumann
Excerpted from the publication
The Playground
Project
Edited by
Gabriela Burkhalter
Authors
Gabriela Burkhalter , Xavier de la
Salle, Vincent Romagny,
Sreejata Roy
English / German edition
February 2016
ISBN: 978-3-03764-454-6
Softcover, 203 x 262 mm
240 pages
Images 72 color / 127 b/w
CHF 48 / EUR 40 / GBP 30 /
US 49.95
8
Resistance
Performed
Migros Museum fuer Gegenwartskunst series
Migros Museum fuer Gegenwartskunst series
New release
Luis Pazos, 1971/2012
Art Handling
Partituren der Logistik
efforts to silence them, they developed
diverse strategies that allowed them to
transcend parochial horizons and participate in a prolific exchange of ideas with
like-minded people both in their own
countries and abroad and even in Europe.”
One set of such communicative
stratagems evolved under the label of
Latin American mail art, while interventions in public settings—defying the
virtually complete ban on public articulations of dissent—are another widespread
artistic practice. “Public space, writes
Munder, is the primary stage of totalitarian systems, which keep it under close
surveillance and strict regulation. Artists
stage actions to probe vestiges of the
public sphere that may have withstood
the triumph of ideology and remind
others that a vital scene of genuine
community life lies buried beneath the
parade ground.”
Anna Maria Maiolino, Fotopoemação series, 1981
As repressive regimes curtailed citizens’
ability to communicate with each other,
artists struggled to keep dialogue alive
through their work, which in most cases
took non-material forms. One medium
in which they successfully empowered
themselves to speak up were actions in
which they often used their own bodies.
“Such practices, in Heike Munder’s
words, sought to fend off the disruption
and violation of personal integrity
inflicted by the dictatorships’ arbitrary
and massive violence and shield the
individual’s dignity. In this sense, artists
were active protagonists of the resistance
against despotic rulers [ … ] In response
to the daily terror, the negation of individuality, and the suppression of personal
expression, which effectively aimed to
efface subjectivity, the artists tried to
offer something positive. Defying the
regimes’ paternalism as well as targeted
Luis Pazos, Transformaciones de masas en vivo, 1973/2012
This book focus on artistic languages of defiance
in Latin America from the 1960s onward, mostly
in Argentine, Brazil, Chile, Colombia, and Peru.
It aims, as Heike Munder states in her introduction, “to uncover positions that have fallen
into oblivion or not received from art historians
the attention they deserve, and to point up the
significance of resistance as a survival strategy.”
the language of
art is one tool
enabling
communities to
deal collectively
with traumatic
experiences for
which individuals
can hardly
find words.
—Heike Munder
9
The term “art handling” describes
aspects of the (professional) art
scene that often remain invisible:
installation and de-installation,
technical and conservation-related
documentation, storage, transport,
and legal issues. Discussions around
materiality reveal that infrastructure
and logistics are of constitutive
significance to the production and
presentation of artworks. Over the
course of the professionalization
of the global art scene, the requirements relating to installation-based,
ephemeral, and performative artworks, and how these are handled by
the institutions, have continually
become stricter, and issues of documentation have accordingly become
more complex. On the one hand,
new work concepts or works are
changing the requirements for the
“infrastructure” of museums. On
the other hand, such “infrastructures” that now exist in many places
are also directly stimulating the
emergence of certain art forms.
With contributions from Monika
Domman, Peter Schneemann,
Tobias Vogt, Beat Wyss, and others.
The reader “Art Handling” was initiated as a result of the symposium
of the same name at the Migros
Museum für Gegenwartskunst in
2014, and covers central aspects
of this topic in essays and a roundtable discussion.
Published with Migros Museum
für Gegenwartskunst, Zurich, and
Hochschule Luzern – Design &
Kunst, Lucerne.
[ISBN 978-3-03764-414-0]
The Book: Resistance Performed - An Anthology on Aesthetic Strategies under Repressive Regimes in Latin America
Edited by
Heike Munder
Anna Maria Maiolino, Fotopoemação series, 1981
Sergio Zevallos, Martirios from the Suburbios series, 1893
Authors
Rodrigo Alonso, Cornelia Huth,
Miguel A. López, Heike Munder,
Tobias Peper, Nelly Richard,
Cristiana Tejo, Stefanie Wenger
English / German edition
Available
ISBN 978-3-03764-446-1
Hardcover, 208 x 275 mm
220 pages
Images 205 b/w
CHF 58 / EUR 48 / GBP 37 /
US 59.95
10
Year 46
11
Rirkrit Tiravanija, Basel
Basel
Art Basel
Year 46
Art Basel
Art Basel in Hong Kong
Art Basel in Hong Kong
Matthias Mühling, Hans Ulrich Obrist,
Seth Price, Patrizia Sandretto, Allan
Schwartzman, Chris Sharp, Rirkrit
Tiravanija, Danh Vo, Marc-Olivier
Walher, Samson Young, Li Zhenhua, and
many others whose work contributed this
year to the fairs on all three continents.
If you are wondering what happened
in Year 46 of Art Basel and which were
the most talked about gallery stands or
“Unlimited” participations; which
“Feature” or “Kabinett” booth will soon
lead to a museum survey; which young
artists’ names from the “Nova” or
“Discoveries” sectors are listed in the
Top 10 of important art figures; if you
are curious about Art Basel’s Kickstarter
program or if you missed Cao Fei’s
outstanding installation on Hong Kong
Bay; if you want to know more about
Samson Young’s five-continent bells tour
or what Art Basel looked like in the 1980s
(thanks to the wonderful photographic
archive of Kurt Wyss), then this book is
what you need!
Cao Fei, Hong Kong
“In entirely rethinking our approach to
publishing, we shifted from a neutral
stance to one in which great efforts and
remarkable moments are spotlighted,”
writes Art Basel Global Director Marc
Spiegler. Designed by Gavillet & Rust
(Geneva), the publication has an A-to-Z
format that maps the world of Art Basel
alongside profiles spotlighting each of
the 500+ galleries participating across
the three shows in 2015. It features works
from all sectors of the different shows
and highlights events and talks, offering
vivid and varied perspectives on the
global art world as seen through the eyes
of Art Basel. Giving art world experts,
curators, and collectors a platform for
sharing their expertise, the publication
provides an insightful and immersive art
experience for the reader. Interviewees
and contributors include Sheikha
Hoor Al Qasimi, Harry Bellet, Monica
Bonvicini, Suzanne Cotter, Michèle
Didier, Cao Fei, Alexie Glass-Kantor,
Jitish Kallat, Omar Kholeif, Max Hollein,
Emilio Vedova, Unlimited, Basel
Year 46 is the third iteration of Art Basel’s official
annual publication. It captures and documents
the 2015 shows in Hong Kong, Basel, and Miami
Beach, and goes beyond them, featuring interviews, essays on contemporary art, and personal
highlights from artists, curators, collectors,
and museum directors.
The Book: Art Basel | Year 46
H
City population
7,313,557
H
Population density
6 581.8 inhabitants per
square kilometer
Fair founded in
2013 (predecessor, ART
HK, founded in 2008)
Visitors in 2014
60’000
(on four show days)
Number of exhibitors
in 2014
233
Number of artists
exhibited in 2013
over 3,000
Available at the three Art Basel
shows and distributed worldwide
by JRP|Ringier
Edited by
Lionel Bovier, Marc Spiegler
HONG
KONG
Exhibition Partners:
Museums &
Cultural Institutions
1a Space
Mind the Platform Gap
Asia Art Archive
Excessive Enthusiasm:
The Archive as Practice
by Ha Bik Chuen
Asia Society Hong
Kong Center
Yoshitomo Nara: Life is
Only One
Chinese University
Art Museum
Open Books: Artists and
the Chinese Foldingbooks; Splendid
Images: Chinese
Paintings from the Eryi
Caotang Collection
School of Creative
Media, City University
of Hong Kong
The Age of Experience
Connecting Space
Methods of Art
Hong Kong
Dr Sun Yat-sen
Museum
Dr Sun Yat-sen and
Modern China;
Hong Kong in Dr Sun
Yat-sen’s Time
HONG KONG
Hong Kong
Arts Centre
Third Annual Collectors
Contemporary
Collaboration
Duddell’s
ICA Off-Site: Hong
Kongese; Mesmerized
by Ink: The Art of Two
Hong Kong Masters–
Paintings from the MK
Lau Collection
Hong Kong Heritage
Museum
Dunhuang: Untold
Tales, Untold Riches
Flagstaff House
Museum of Tea Ware
From Soya Bean Milk
to Pu’er tea
Hong Kong
History Museum
Treasures from
Tsarskoye Selo:
Residence of the
Russian Monarchs
Goethe-Institut
Hongkong
Statement 2: New
Paintings from Germany
K11 Art Foundation
Inside China
Liang Yi Museum
Great Minds Think Alike:
18th Century French
and Chinese Furniture
Design
1
M+, West Kowloon
Cultural District
Mobile M+:
Moving Images
Macao Museum of Art
19th and 20th Century
Portrait Oil Paintings:
MAM Collection
MadeIn Company
Xu Zhen: Twenty
Oi!
Sparkle! I Wanna Eat!
Yummy! Yummy!;
Sparkle! Regarding
Lightness: On Life’s Way
Osage Art Foundation
South by Southeast
Texts by
Harry Bellet, Suzanne Cotter,
Alexie Glass-Kantor, Seth Price,
Marc-Olivier Wahler, etc.
Para Site
A Hundred Years
of Shame: Songs of
Resistance and
Scenarios for Chinese
Nations
SCAD Hong Kong
SCAD Annual deFINE
ART Exhibition
Spring Workshop
Stationary
University Museum
and Art Gallery,
The University of
Hong Kong
Silent Poetry: Chinese
Contemporary Ink Art;
Desiring the Real:
Contemporary Austrian
Art
Videotage
Papay Gyro Nights 2015
Hong Kong
2
HONG KONG
English edition
March 2016
ISBN 978-3-03764-448-5
Hardcover, 210 x 295 mm
784 pages
Images 610 color / 550 b/w
CHF 70 / EUR 57 / GBP 44 / US 80
Matt Mullican
12Monograph
Monograph13
they represent the motives and themes
the artist worked with over the years.
The sequence of the “Rubbings” appears
therefore like a diary of Mullican’s work.
The forthcoming book presents a
One of Matt Mullican’s central and most consequential inventions, the so-called “Rubbings,”
are a kind of frottages, a technique the artist uses
to produce specific pictures.
His work, which
is the product
of a detailed,
near-obsessive
introspection,
is devised as
an elaborate
attempt to
duplicate
externally the
vast complex
of inner
representations
which add up
to his
understanding
of the world
he lives in.
—Allan McCollum
From the beginning of his career,
Mullican looked for pictures that would
not be paintings; thus, he used banners,
the traditional carriers of signs, posters,
and, in 1984, he realized his first
“Rubbing.” He used a cardboard plate on
which the canvas was placed; by rubbing
with an oil stick the cardboard reliefs,
forms became visible on the canvas.
This way, Mullican was able to transfer
complex representations onto canvas;
catalogue of the “Rubbings” on canvas
from 1984 to 2015. It comprises ca. 400
works, documented by images and
catalogue entries. The book also contains
an essay by Dieter Schwarz.
the result is a picture of something that
is not present, it is a form of copy.
The cardboard plates may be used for
other works and so the imagery can
reappear in different configurations.
Each “Rubbing” is a single work and at
the same time a reproduction, like a
print, part of a sequence which contains
picture elements from different sources.
Following the “Rubbings” from 1984
to recent times, it becomes visible that
The Book: Matt Mullican - Rubbings. Catalogue 1984-2015
MATT MULLICAN
Edited by
Dieter Schwarz
RUBBINGS
Author
Dieter Schwarz
CATALOGUE 1984-2015
English / German edition
May 2016
ISBN 978-3-03764-461-4
Hardcover, 175 x 235 mm
336 pages
Images 300 color / 20 b/w
CHF 60 / EUR 50 /
GBP 38 / US 65
Title of rubbing, XXXX
Title of rubbing, XXXX
14
Since the beginning of the 1980s, fashion designer
agnès b. has been one of the main cultural patrons
in France, the US, and Asia, equally active in
the visual arts, cinema, music, street art, and
literature fields.
Those in the know
say that agnès b.
divines, draws
and gathers
the imagination
of our worlds
to match them
together.
—Édouard Glissant
Jim Shaw, The Hole Zombie Stills, 2007
Hans Ulrich Obrist The book is a reflection of the
people you have met. It is an act of witness. It’s
not just your collection that is being published.
It’s a lot more than that.
That’s right, it’s very emotional.
They’re just things I love, and I love
them all equally, whether it is a Lucien
Hervé contact print, a monumental
agnès b.
installation by Annette Messager, a city
by Kingelez, Céleste BoursierMougenot’s vacuum cleaners, or that
absolutely stunning photograph where
Marilyn shows what death looks like.
It’s a magnificent work although it’s tiny.
There’s also Warhol’s polaroid of
Basquiat. I love them all and know them
all inside out. I could list them all.
I’d like to conclude this third interview with
Proust’s famous questionnaire, adapted by
Pivot, and which James Lipton from the Actors’
Studio made fashionable again. What is your
favourite word?
I have plenty—sky, love …
What gives you a buzz?
People, without a doubt. I love watching
people. There are a lot of portraits and
faces in the collection. I love settling
down in Place de la République and
watching the world go by.
What irritates you more than anything in the
world?
Meetings.
I have always been struck by your guiding
principles. On the one hand, you support young
artists like Robert Estermann and Ariane
Michel, or McGinley, who you were the first to
exhibit. On the other are great pioneers like
Lucien Hervé, Bouabré and Mekas, like a stand
against neglect and amnesia.
Your analysis is correct. I love to forge
links between the generations. For example, Jonas Mekas and Harmony Korine
met through me in Paris, although they’re
both American. I believe that some art
will never grow old, like Jonas’, Bouabré’s
or Glissant’s. Those artists have the spirit
of constant discovery and are always
questioning themselves. Those are the
ones who interest me, even though they
are 75 or 80 years old. They have kept
hold of their childhood like a precious
treasure—the freshness of childhood,
adolescence and freedom. Of course,
Raymond Hains was one of those artists
right up to the very end. I have many
works on youth and the freedom of youth
and adolescence. As for McGinley, I met
him at a party in downtown New York,
in a totally crazy apartment, in complete
darkness, where we drank vodka.
The next day, he brought me some
ten photographs. That’s how we got
started.
15
What is the moment that we are all waiting for?
It must be death that will come to us all.
I don’t know what’ll happen but I’m not
worried about the future. Nor am I nostalgic. I have a memory for feelings—a
dynamic memory. Memory is for reliving
things better the second time round.
What would have been your dream job?
I do so much already. Actually, I’ve
banned the past conditional from my
vocabulary. My mother used it constantly.
It was terrifying. So many should haves
and would have been betters …
If God exists, what would you like Him to say
to you at the Pearly Gates?
Welcome !
For Agnès, whose
faith in the
moving image–and
in me, as an
artist–has
encouraged and
sustained me.
Love.
—Kenneth Anger
Kenneth Anger, Cameron as the Scarlet Woman from Inauguration of The Pleasure Dome, 1954
Reprinted after its first acclaimed publication in 2008, this book offers a unique
view into her creative universe and
artistic circle by bringing together major
works from her collection and special
contributions by personalities such
as Kenneth Anger, Jonas Mekas, Jonone,
Futura, Édouard Glissant, Harmony
Korine, and Hans Ulrich Obrist.
Ultimately, this book proposes a portrait
of a “special someone“ who dedicated her
life to arts and artists, not only collecting
art works but notably running an art
gallery, a film production company and
a music label.
If her collection revolved initially
around modern photography and new
photographic expressions, with major
ensembles by Brassaï, Arbus, Levitt, and
Weegee, as well as classic pieces by Atget,
and Walker Evans, it soon developed
into contemporary art—especially street
art and contemporary African art—
with works by Andy Warhol, Larry Clark,
Basquiat, and Nan Goldin, as well as
Seydou Keïta, Richard Billingham,
Martin Parr, Jim Shaw, and Frédéric
Bruly Bouabré, among others.
In the interview below, excerpted
from the book, she is answering
long-time friend Hans Ulrich Obrist’s
questions.
Second edition
NASA, Apollo Missions, 1969–1973
Jim Shaw, The Hole Zombie Stills, 2007
agnès b.
Collection agnès b.
The Book: collection agnès b.
Edited by
agnès b.
Authors
agnès b., Futura, Edouard Glissant,
Felix Hoffmann, André Magnin,
Hans Ulrich Obrist
Second edition
January 2016
ISBN 978-3-03764-437-9 (English)
ISBN 978-3-03764-438-6 (French)
Hardcover, 186 x 235 mm
352 pages
Images 241 color / 63 b/w
CHF 46 / EUR 38 /
GBP 29 / US 49.95
Postcard of manipulated photograph titled “Snow ghosts in the forest.” Switzerland, 1931. Photo by Jason Mandella
(Courtesy of the artist and LUMA Foundation)
RECENTLY PUBLISHED: The Archives of Tony Oursler. Imponderable [ISBN 978-3-03764-426-3]
18
The essays by Walead Beshty gathered in this
volume are too various, their origins and tasks
too multiplicitous, to describe a singular project.
This may be part of their project. But clearly,
they are not the kind of essays we normally
associate with the position of the “artist-critic.”
There is little engagement with texts
about how Beshty has made his own
projects, the kind of essay where an artist
writes like a critic, but in relation to his
or her own work, explanatory parameters,
project descriptions, though Beshty has
written and published many such texts.
We are also not given a series of extrinsic
histories of under-known cultural phenomena, Mike Kelley’s notion of “minor
histories,” engaged for they are the ideas
responded to in the artist’s work alone.
While there are relationships of course
between Beshty’s practice and the writing
collected here, the latter seems to have
a semi-autonomy from that “artist-critic”
function of buttressing and filling out
primarily one’s own artistic practice.
And surely, these essays distance themselves from any of the evidently false
promises for critical renewal that the
“creative” or paraliterary position of the
“artist-writer”—from Robert Smithson
to Gregg Bordowitz—has periodically
provided. That hope is not theirs.
Beshty has written “literary” and
experimental texts, even poetic ones,
though they are excluded for the most
part here. Often such texts produced art
works in their wake, rather than following
and serving them, instrumentally, with,
in a specific case, the writing simultaneously constructed from the digestion of
the non-literary functional writing of
other art critics, from the larger field of
art criticism itself. This is a description
of Beshty’s Press Release, 2008–, which
seemed to inspire the series of artworks
then entitled Selected Works, 1998/2008–,
where rejected older photographs were
recycled and reused, shredded and
mulched, to be subsequently transformed
into a solid, wall-bound mass. In an
interview with Bob Nickas, Beshty
explains:
If parts of past ideas were playing
into the work, why not allow the
failed pieces, the false starts, the
dead ends, to materially comprise
the recent works? I often do this
with texts, repurposing old fragments
in new essays. I published a text that
started out as “White Cow in a
Snowstorm” under several different
titles and in different configurations.
Each version becomes an index of
what was happening at the time—
the editor or editors I’m working
with, and the particular restrictions
on the text. I’ve done this with
interviews also, pasting in previous
answers, previous ideas, snippets.
That was the idea behind the Press
Release (2008–) I’ve been using,
which is simply made up of quotes
from reviews of my previous shows
arranged in rhyming couplets. It’s
actually a form of poetry from antiquity called “cento,” which means
“patchwork” in Latin. I’m drawn to
the anonymity of forms like this.
I think this is what I’m always left
to do, piece things together, find
some logic to connect things, and
then excrete that logic, to do my part
and then send it off, give it away to
be digested again.
Excerpted from the anthology's introduction
As the workaday, desiccated art criticism was translated into rhyme and into
collective poetry, so too the destroyed,
dead-end photographs metamorphosed
into other forms, appearing like excised
architectural fragments or relief sculptures, or some new form of abstract,
materialist painting. If such mobility can
be linked to what I have described as the
inherent “instability” of the artist-critic
position, its embrace by Beshty could
also be called a work not just of intense
internal contradiction, but of possible
transformation. And so we witness almost
half the essays here circling around a
critical historicization and theorization
of photography, from an artist who
19
resists the label “photographer,” and has
simultaneously dedicated most of these
essays to dismantling the notion of
“photography” as a medium category.
And so we follow a series of almost traditional art critical essays—monographic
explications, catalog texts, reviews of
exhibitions, examinations of the rhetoric
of contemporary projects like so-called
“relational aesthetics”—from a writer
who at times seems to have declared
war on art criticism itself, on a rebuttal
and annihilation of the claims of almost
all of its major recent practitioners
(from populist critics like Dave Hickey
to figures like Miwon Kwon, Benjamin
Buchloh, and myself ).
Also available
This text, like all
texts, conceals
its collective
nature. While
it may be written
in a singular
voice, it is an
amalgam of many
entities. The
voices of editors,
designers,
printers, binders,
shippers, shop
assistants who
sold it to you or
the web page you
ordered it from
are all at work in
the text, covered
over by inks and
varnishes,
cellophane and
UPC codes. All of
these together
constitute
the meaning of
this text.
—Walead Beshty
Walead Beshty
Text by George Baker
Walead Beshty
Natural Histories
In-between time has always been
central to Walead Beshty’s work,
be it depopulated modernist housing
developments that sit precariously
between evacuation and demolition
(“Excursionist views”), plants, weeds,
and vegetation contained within
isolated highway medians (“Island
Flora”), or abandoned shopping
malls (“American Passages”). More
recently, this engagement with the
in-between has grown into a means
of production, making use of such
mundance procedures as air travel
or sending a package, activities that
usually recede into the background
of an artist’s productive life.
This reference monograph
realized in close collaboration with
the artist (*1976), presents a 10-year
overview of Walead Beshty’s
approach to photographic and
sculptural representation. Alongside
with new commissioned essays by
Suzanne Hudson, Nicolas Bourriaud,
as well as a conversation between
Bob Nickas and Walead Beshty.
New expanded edition.
[ISBN 978-3-03764-353-2]
The Book: Walead Beshty - 33 Texts: 93,614 Words: 581,035 Characters
Edited by
Lionel Bovier
Authors
George Baker, Walead Beshty
English edition
January 2016
ISBN 978-3-03764-442-3
Softcover, 150 x 210 mm
336 pages
Images 24 b/w
CHF 25 / EUR 20 / GBP 16 /
US 29.95
20
Documents series
21
Lectures maison rouge series
Documents
Documents series
The Documents series, co-published with
Les presses du réel, is dedicated to writings by
critics and curators questioning the current
state of artistic and curatorial practices.
With more than 20 titles in English and
10 in French, the series includes some
bestsellers, regularly reprinted, like Hans
Ulrich Obrist’s volumes A Brief History of
Curating and A Brief History of New
Music—the former existing now in more
than seven languages and being in its
sixth edition! Recently, we also started to
release some titles in digital formats and
to develop several “sub-series” or, rather,
sequence of titles. So are the two recently
published volumes on cinema edited by
François Bovier and Adeena Mey (Cinema
in the Expanded Field and Exhibiting the
Moving Image), as well as Parachute
Anthology’s fourth and last volume, edited
by Chantal Pontbriand and introduced
by Alexander Alberro and Nora Alter,
entitled Painting, Sculpture, Installation,
and Architecture. The Parachute Anthology
is now a real portable library of recent art
history, with volumes focusing on performance, photography and new media,
museums, and now “traditional and
academic” media, gathering together
seminal essays by Thomas Crow, Thierry
de Duve, Hal Foster, Reesa Greenberg,
Serge Guilbault, among others, as well
The sixth title of the « Lectures
maison rouge » series, Entrée en
matière is dedicated to the long-time
friendship and erudite dialogue
between French artist Jean Dubuffet
(1901–1985), one of the main figures
of Post-war art, and French art
historian and philosopher Hubert
Damisch (b. 1928) who edited the
artist’s complete writings. The book
gathers together all the texts written
by Damisch on Dubuffet as well as
a selection of their correspondence:
one is thus able to follow how the
thinking on a living artist could be
inspired by a close relationship
with him, as well as by philosophy,
human sciences, and other artists’
oeuvre; and how this thinking evolve
once the dialogue is becoming a
monologue, after the artist’s death.
Illustrated by Dubuffet’s works and
facsimiles, the volume is introduced
and edited by art historian and
curator Sophie Berrebi. Published
with La maison rouge, Paris.
[ISBN 978-3-03764-452-2]
as by artists such as Dan Graham and
Jeff Wall.
Former titles such as the recent
anthology Museum of the Future, edited by
Cristina Bechtler and Dora Imhof,
Clive Philpot’s Booktrek, Dorothea von
Hantelmann’s How to Do Things with Art,
as well as Maurizio Nannucci’s and
Gabriele Detterer’s anthology on ArtistRun Spaces, found their place on the
shelves of many interested readers as well
as those of libraries and academic
courses.
Within the series, directed by Lionel
Bovier and Xavier Douroux, more titles
in French are planned for release in 2016,
notably the long-awaited collected writings of Nicolas Bourriaud and Olivier
Zahm, as well as anthologies in English
on artists Wade Guyton and Ed Ruscha.
Also in planning are a new collection
of interviews by Hans Ulrich Obrist with
Indian artists and anthologies on the
recurrence of “white” forms in art (edited
by Julie Enckell Julliard) and the relations
between dance and drawing (edited by
Sarah Burkhalter and Laurence
Schmidlin).
The Book: Chantal Pontbriand - Parachute: The Anthology (1975-2000) [Vol. IV]
Hubert Damisch/
Jean Dubuffet
Entrée en matière
The Book: François Bovier and Adeena Mey - Exhibiting the Moving Image
The Book: François Bovier and Adeena Mey - Cinema in the Expanded Field
Edited by
Chantal Pontbriand
Edited by
François Bovier and Adeena Mey
Edited by
François Bovier and Adeena Mey
Authors
Alexander Alberro, Nora M. Alter,
Thierry de Duve, Tory Dent, Philip
Fry, Dan Graham, Louis Marin,
Philip Monk, Desa Philippi, Jeff Wall
Authors
Erika Balsom, François Bovier,
Giuliana Bruno, Maeve Connolly,
Greg de Cuir, Jr., Kate Mondloch,
Julie Reiss, Maxa Zoller
Authors
Xavier Garcia Bardon, François
Bovier, Erik Bullot, Eric de Bruyn,
Stéphanie Jeanjean, Juan Carlos
Kase, Lucy Reynolds
English edition
January 2016
ISBN 978-3-03764-418-8
Softcover, 150 x 210 mm
224 pages
Images 25 b/w
CHF 25 / EUR 20 / GBP 16 /
US 29.95
English edition
January 2016
ISBN 978-3-03764-388-4
Softcover, 150 x 210 mm
160 pages
Images 8 b/w
CHF 25 / EUR 20 / GBP 16 /
US 29.95
English edition
January 2016
ISBN 978-3-03764-433-1
Softcover, 150 x 210 mm
184 pages
Images 7 b/w
CHF 25 / EUR 20 / GBP 16 /
US 29.95
22
ECAL
Graphic Design
Text by François Rappo
Excerpted from the publication
23
Also available
ECAL
A Success Story in Art
and Design
The publication recounts and
documents, somewhat in the style
of a history book, the principle
steps, achievements, and teaching
principles which have led the Ecole
cantonale d’art de Lausanne from
the position of a regional school
to that which it occupies today.
This success story is, of course,
that of its director Pierre Keller, but
also that of a team, the range and
diversity of which we discover here,
alongside that of their students, the
work of some of whom is probably
not unknown to the reader. First
recognized in the domain of graphic
design and photography, the ECAL
is today renowned for its industrial
design projects and the commissions
that it frequently realizes in collaboration with museums, companies
such as Swatch, Christofle,
Swarovski, Nestlé, and Coca-Cola,
or exhibitions and publications.
Published with ECAL, Lausanne.
[ISBN 978-3-905770-90-2]
A sourcebook of graphic design by one of the
leading European art schools, the ECAL/
University of Art and Design Lausanne, headed
by Alexis Georgacopoulos. Designed and art
directed by Gilles Gavillet, this volume aims to
show the variety of productions dealing with publishing, digital interfaces, and interactive devices,
as well as to highlight the wealth of typographic
practices in the field of contemporary design.
As François Rappo writes in this volume,
“our everyday experience of graphic
spaces, to use a generic term, is constantly expanding; spaces, whether static
or dynamic and interactive—architecture,
interfaces, posters, pages, packaging,
screens—now form a new, continuous,
optical landscape ... Following the logocentric models inspired by semiotics,
or drawing directly on the Conceptual art
of the 1970s, today’s graphic design has
seen renewed interest in the sensory
dimension of the visual experience, in
terms of its qualities, modalities, and
potential for modelization [ … ]
The ECAL graphic design work showcased in the present publication—and
today’s design agenda—reveals the search
for a synthesis, or rather a remix, of a
certain fascination for the experiential
nature of media, foregrounded as an innovative exploratory quality that in itself
justifies the project, together with a focus
on the contextual reality of the message
and its social implications. This is a synthetic vision that is still on a quest for its
own explicit models and that may dream
of abolishing the figure of the author,
a hangover from the 2000s, in favor of a
broadly conceived perceptual community.”
The Book: ECAL Graphic Design
12
13
ECAL Graphic Design
Edited by
Angelo Benedetto, Lionel Bovier,
Gilles Gavillet, Alexis
Georgacopoulos
Authors
Angelo Benedetto, François Rappo,
Alexis Georgacopoulos
English/French edition
March 2016
ISBN: 978-3-03764-455-3
Hardcover, 225 x 295 mm
160 pages
Images 64 color
CHF 48 / EUR 40 / GBP 30 /
US 49.95
24
The book offers a unique insight into the corporate collection of Nestlé, located in Vevey
(Lake Geneva) and nested in the landmark building created by Jean Tschumi in the late 1950s.
The ample indoor
and outdoor
spaces will allow
for the addition
of other
artworks, and it
is desirable that
the architecture
be enhanced
in this way.
—Jean Tschumi, 1960
Published on the occasion of the 150 years
anniversary of the company, it brings
together more than 100 pieces—from
Alberto Giacometti and Jasper Johns to
Olivier Mosset and Henri Chopin—, a
specially commissioned photo-reportage
on in situ works, an archive portfolio
documenting the production of Kelly,
Kirkeby, LeWitt, Nauman, and Rückriem
commissions, as well as interviews with
Kasper König, Claudia Jolles, and Bernard
Tschumi—three figures associated with
the Collection. A substantial essay by
Julie Enckell Julliard, the current curator,
traces back the history of the building
and the acquisition policy since 1960.
“As corporate art collections go,
Nestlé’s Collection is notable for its solid
link to the hometown of its founder.
Begun nearly 65 years ago in Vevey, the
Collection today numbers some 300
works divided between the company
headquarters at the entrance to Vevey and
the Musée Jenisch (a municipal museum
devoted to the graphic arts). The international scope of the Collection, along with
the great names it evokes—from
Alexander Calder to Alighiero Boetti via
Ferdinand Hodler and Jean Tinguely—
must be viewed in the context of this
local setting and in terms of the
Collection’s visibility. This latter point,
furthermore, is one of the very conditions
of the acquisition of artworks by the
multinational corporation. This powerful
idea should be credited to Jean Tschumi
(1904–1962), the architect of Nestlé’s
head-office building, which opened in
1960. He envisaged the Nestlé headquarters as a total artwork, designing not
only the architectural layout, but also the
materials, furniture, and “decoration.”
Above all, the architect envisaged his
building as an artwork in itself. Located
on the site of the former Grand Hotel,
between Gustave Eiffel’s private estate
and Le Corbusier’s “small house,” the
headquarters had to fit into a qualitatively
rich architectural setting marked by half
a century of revolution in architecture.
Its unusual shape made it one of the first
“sculpture-buildings” in history [ … ]
Excerpted from the publication
25
When the building was unveiled,
Tschumi expressed the hope that it would
become a haven for new artworks,
installed both inside and out. A quarter of
a century later this wish came true thanks
to Paul R. Jolles (1919–2000) [ … ] As his
chairmanship of Nestlé came to a close,
Jolles set up an acquisitions committee
with the backing of CEO Helmut
Maucher. It included some of the best
contemporary art specialists of the day:
Jean-Christophe Ammann, Kasper König,
Maurice Besset, and finally Franz Meyer
[ … ] The committee also directly
commissioned site-specific works from
certain artists like Ulrich Rückriem,
Ellsworth Kelly, Fischli & Weiss or
Luciano Fabro [ … ]
Today the collection is an integral
part of the identity of a multinational
firm that has decided to remain steadfastly loyal to the site of its original
home. Now representing one of the great
cultural riches of the city of Vevey, the
Collection embodies the unusual stance
of cultivating local roots while reaching
for international impact.”
Images of Nestlé Headquarter in Vevey by Christian Riis Ruggaber
New releases in the Hapax series
Nestlé Art
Collection
Text by Julie Enckell Julliard
Alfredo Aceto
Alfredo Aceto (b. 1991) is an artist
working in painting, sculpture,
drawing, and sound. Aceto has a
singular approach, mixing personal
anecdotes and art historical references. His obsessional relationship
with French artist Sophie Calle, for
instance, ended with her signature
tattooed on his arm. Such stories
lay the groundwork for many of his
projects that deal with obsession,
time, memory, identity, and death.
This first book on his work is
published with the Centre d’Art
Contemporain, Geneva.
[ISBN: 978-3-03764-445-4]
John Armleder
Out! (Out!)
Louis Thomas Jérôme Auzoux
(1797–1880), a French doctor and
naturalist, invented anatomical (and
botanical) papier-mâché models
that were widely distributed in the
19th and 20th centuries. This book
presents a series of works by John
Armleder based on these models.
[ISBN 978-3-03764-439-3]
Scott King
Anxiety & Depression
The Book: Nestlé Art Collection
Edited by
Julie Enckell Julliard
Authors
Julie Enckell Julliard, Claudia
Jolles, Kasper König, Stéphanie
Serra, Bernard Tschumi
Camille Graeser
Summand Konstruction E, 1973
Elisabeth Glatz
Untitled, undated
72
73
English/French/German edition
February 2016
ISBN: 978-3-03764-038-8
Hardcover, 240 x 320 mm
296 pages
Images 150 color / 40 b/w
CHF 74 / EUR 60 / GBP 48 /
US 80
“I suggest you burn this copy of
‘Anxiety & Depression.’ I believe it
is a dangerous and revelatory book,
this fuck-you manual for the terminally deranged, that describes, in
some unflinching detail, to many of
us, the way we live now. You see
those people, making their shameful
early morning pilgrimages to the
corner shop, rolling around in dog
shit in the cemetery grass, or furtively jiggling the pub doors at ten
thirty in the morning. These are
their stories. They are lonely,
depressed, and need a drink.
After reading about them, so do I. »
—David L Hayles, author of
“The Suicide Kit »
[ISBN 978-3-905829-95-2]
8 rue Saint-Bon
26Exhibitions
Mai-Thu Perret, Kilims & Commas,
September 4–October 17, 2015
Paulina Olowska, Montana Ensemble,
October 22–December 5, 2015
The rules of the
space were
developed on
some intuitions:
the idea that
print is a
particularly
fertile space for
artistic projects;
the wish to
blithely mix
generations,
aesthetics, and
nationalities;
to exhibit mainly
those who
don’t have
representation in
France or French
visibility;
a pleasure
principle without
which none of
these projects
would have
existed.
—Lionel Bovier
& Clément Dirié
From October 2011 to December 2015, 8 rue
Saint-Bon was an independant art space located
in the center of Paris and dedicated to curatorial
propositions stemming from the editorial programs of the partners sharing this location: the
film producer Anna Sanders Films; the publishing
houses Les presses du réel and JRP | Ringier;
and the art video distribution and production
company bdv/bureau des vidéos.
Programmed by Lionel Bovier and
Clément Dirié, 8 rue Saint-Bon had a
chameleon-like activity, being in turns a
urban stage for performances, a den for
archives and printed matter nerds, and an
exhibition platform for foreign artists
never-shown-before in Paris. A new book
in the Hapax series documents this
out-of-the-ordinary identity and brings
together information and images about
projects by and about, among others,
John M Armleder, Yto Barrada,
Kunstgriff
Shop27
Now online, Kunstgriff’s webshop allows you
to buy 24/7 from our constantly changing choice
of books. We ship worldwide and we offer free
shipping within Switzerland! We accept Visa,
Mastercard, and Paypal.
Check out the full range of JRP | Ringier books
and buy online from www.kunstgriff.ch
Gianfranco Baruchello, Ericka Beckman,
Walead Beshty, Ronan & Erwan
Bouroullec, Valentin Carron, Guy de
Cointet, Sylvie Fleury and Charlotte
Posenenske, Sheila Hicks, General Idea,
Scott King, Lettrist artists, Lucy
McKenzie & Beca Lipscombe (with Marc
Camille Chaimowicz), David Noonan,
and Katerina Seda—and, to conclude
its program, Mai-Thu Perret and Paulina
Olowska.
Jean-Luc Manz
Booklauch, As Time Goes by 1982 1988 1997 2014
by Barbara Davatz
Information
The Book: 8, rue Saint-Bon (Paris)
Edited by
Lionel Bovier, Clément Dirié
Authors
Lionel Bovier, Clément Dirié
French edition
Available
ISBN 978-3-03764-450-8
Softcover, 105 x 165 mm
64 pages
Images 24 color
CHF 12 / EUR 10
GBP 7 / US 15
Francis Baudevin, Taschenmalerei, 2015
Kunstgriff is
open Tuesday to
Friday from 11am
to 6pm and
Saturday–Sunday
from 11am to 5pm
Kunstgriff
Limmatstrasse 270
E0 of the Löwenbräu building
Contact: +41 44 272 90 66
www.kunstgriff.ch
[email protected]
JRP | Ringier
Limmatstrasse 270
E1 of the Löwenbräu building
Contact: +41 43 311 27 50
www.jrp-ringier.com
[email protected]
28
FILE
From our backlist
From our backlist
29
Among artists’ magazines and periodicals,
FILE Megazine occupies a very unique position:
between 1972 and 1989, the celebrated Canadian
artists’ collaborative General Idea (active 1969–
1994) published 26 issues of this sophisticated,
though self-published, magazine, which had
a distribution extending far beyond its Toronto
underground origins.
Its name and logo adapted those of the
famous LIFE—whose heyday was in the
1950s and early 1960s—demonstrating an
already very Pop strategy of appropriation. As it was retrospectively put by
AA Bronson, one of the member of the
collective, the magazine’s purpose has
been the search of “an alternative to the
Alternative Press,” a subversive concept
of infiltration within mainstream media
and culture. Thus the early issues’ manifestos, lists of addresses, and letters from
friends, were rapidly replaced by General
Idea’s scripts and projects as well as cultural issues (as in the famous “Glamour”
or “Punk” issues), while never loosing a
cutting-edge attention to emerging practices on the art scene and experimental
layouts.
The present six-volume reprint
features all the issues, reproduced page
by page, in a slightly modified format.
It provides the rare opportunity for an
art, design, and culture-orientated
audience to own these long out-of-print
and much sought-after magazines in
a complete box-set edition.
This publication is part of the
Ringier Collection Artists’ series, edited
by Beatrix Ruf.
The Book: FILE Megazine - General Idea
Edited by
Beatrix Ruf
English edition
Available
ISBN: 978-3-905829-21-1
Hardcover, 230 x 320 mm
Boxed, 5 volumes
2024 pages
Images 2024 color
CHF 280 / EUR 190 /
GBP 125 / US 280
30
Prize/Event
Carl Andre
Carl Andre
5 Bookshops
Five bookshops we love
Since opening their first space in 2008,
Donlon Books have built a strong
reputation for stocking an idiosyncratic
range of new and rare titles, with a focus
on photography, art, critical theory,
music, fashion, counterculture, erotica,
and esoterica.
Poems
Poems
Donlon Books
75 Broadway Market
UK–London E8 4PH
T +44 (0)207 684 5698
E [email protected]
Carl Andre
Poems
Mon–Fri/Sun 11–6pm
Sat 10–6pm
Collector’s
Editions
Information and orders at kunstgriff.ch
31
Xanti Schawinsky, original works from the 1960s
Lithographs, 65.5 × 45 cm, edition of 9 (3 motifs)
Laura Owens
Special edition of 100 copies, numbered.
As a development of the 2013 Ringier
annual report, the cover of this special
edition is enriched by an additional
layer of ink. Published with Ringier AG,
Zurich. CHF 50
Monograph
Design: Nicolas Eigenheer &
Vera Kaspar
Production: Musumeci S.p.A.,
Quart (Aosta)
ISBN: 978-3-03764-364-8
3 × 3 = 1296
Exhibition and workshop
on Carl Andre’s book by Nicolas
Eigenheer & Vera Kaspar at Four
Boxes, in Skive (DK)
As one of the world’s largest publicly
available sources for artists’ books,
Printed Matter is an important voice in
a vibrant and expanding field. Located
in the Chelsea art district, the storefront
offers a glimpse into the thriving state
of contemporary artists’ publishing. They
also host an array of programs and events.
ORAIBI + BECKBOOKS brings together
two bookshops in one common space.
The selection of books—new and secondhand—covers cultural theory, art criticism,
artists’ writings, monographs, exhibition
catalogues, contemporary literature,
and poetry. A project by Géraldine Beck,
Tiphanie Blanc, and Ramaya Tegegne.
Printed Matter, Inc.
231 Eleventh Avenue
New York, NY 10001
T 212 925 0325
E [email protected]
ORAIBI + BECKBOOKS
c/o Le Rameau d’Or (basement)
17 bvd Georges-Favon
CH–1204 Genève
[email protected]
Mon–Wed 11am–7pm
Thu–Fri 11am–8pm
Sat 11–7pm
Sun Closed
Thu–Fri 12.30pm–6.30pm
Sa 11.30 am–5.30 pm
© Stefan Altenburger
Photography Zurich.
The Stacks is an independent bookstore
focusing on visual and graphic arts, architecture, photography, music, and creative
source material. Located within the
Contemporary Arts Center it offers a space
in New Orleans for a curated selection of
new contemporary art books, as well as
a wide range of international magazines.
The bookshop of the Fondation Vincent
van Gogh Arles, situated beneath the
stunning glazed rooftop installation by
Raphaël Hefti, offers a selection of books
and essays on contemporary art, limitededition prints, reproductions, handcrafted
objects and accessories, as well as a
children’s section.
The Stacks
900 Camp Street
(within the Contemporary
Arts Center)
New Orleans, LA 70130
T 504 439 0846
E [email protected]
Bookshop of the Fondation
Vincent van Gogh Arles
35 ter, rue du Docteur Fanton
FR–13200 Arles
T +33 (0)4 88 65 82 86
E [email protected]
Mon–Fr 11am–7pm
Sat–Sun 11am–5pm
April to September:
Mon–Sun 11am–7pm
October to March:
Tue–Sun 11am–6pm
Valentin Carron
Special edition of 10 copies, artist’s
book produced in 2013 on the occasion
of the Venice Biennale. Printed in
black and white, signed and numbered.
CHF 150
32
Doug Aitken
The Idea of the West
Michael Ringier
Top 10
Top ten
John Armleder
About Nothing
A selection of titles from our backlist by
reknowned collector and JRP | Ringier’s co-founder
Louise Bourgeois
Drawings
Urs Fischer
Kir Royal
Peter Fischli &
David Weiss
Sonne, Mond und
Sterne
Isa Genzken
I Love New York,
Crazy City
Rodney Graham
The Rodney Graham
Songbook
Sean Landers
Mark Morrisroe
(Photo: Keystone)
John Baldessari
Parse
Contacts
Distributors
JRP | Ringier
Limmatstrasse 270 | CH–8005 Zurich
T +41 (0) 43 311 27 50
F +41 (0) 43 311 27 51
JRP | Ringier books are available internationally at selected
bookstores and from the following distribution partners:
E [email protected]
www.jrp-ringier.com
ISBN 978-3-03764-456-0
© 2015, the authors, the artists, the photographers,
and JRP | Ringier Kunstverlag
Design Concept: Gavillet & Rust, Geneva
Layout: Nicolas Eigenheer, Vera Kaspar
Typefaces: Genath by François Rappo (www.optimo.ch),
Nameit by Jeremy Schorderet
For a list of our partner
bookshops or for any general
questions, please contact
JRP | Ringier directly at info@
jrp-ringier.com, or visit our
homepage www.jrp-ringier.com
for further information about
our program.
Switzerland
Germany & Austria
AVA Verlagsauslieferung AG,
Centralweg 16,
CH–8910 Affoltern a.A.,
[email protected],
www.ava.ch
Vice Versa Distribution,
Immanuelkirchstrasse 12,
D–10405 Berlin,
[email protected]
www.vice-versa-distribution.com
France
UK & other European
countries
Les presses du réel,
35 rue Colson,
F–21000 Dijon,
[email protected],
www.lespressesdureel.com
Cornerhouse Publications,
HOME, 2 Tony Wilson Place,
UK–Manchester M15 4FN,
[email protected],
www.cornerhousepublications.org
USA, Canada, Asia,
& Australia
ARTBOOK | D.A.P.,
155 Sixth Avenue, NY 10013,
[email protected],
www.artbook.com