I`m interested in the vitality of the image, in the way an

I’m interested in the vitality of the image,
in the way an idea, an artifact, leaks into
a biological or mineral reality. It is a set of
auto-generating operations exposing a raw
witness to an unreasonable growth.
— Pierre Huyghe, 2013
This newspaper is published by JRP|Ringier and edited by Lionel Bovier. Issue 6, Summer 2014. Printed in 20 000 copies by Ringier Print Adligenswil AG. Not for sale
We make Books
With Art
The sixth issue of our journal focuses
on new collaborations with Art Basel
and the LUMA Foundation, as well as
on three women artists—Phyllida
Barlow, Dorothy Iannone, and Lutz
Bacher—whose renewed presence on
the art scene testifies to an historical
redefinition in the visual arts of the
second part of the 20th century.
This issue also highlights the poems of
Carl Andre, the prints of Richard Tuttle,
the films of Jef Cornelis, as well as
the works of Ed Atkins, Dias & Riedweg,
and designer Pierre Charpin.
In addition it features information on
new titles, and sums up the most recent
releases in our series, together with
news about our two locations, as well
as a selection of bookshops and special
editions.
I wish you will enjoy reading it!
—Lionel Bovier, Publisher
Highlights
Pierre Huyghe, Colony Collapse, 2012 (Photograph: Lionel Roux)
Carl Andre
Art Basel | Year 44
Ed Atkins
Lutz Bacher
Phyllida Barlow
Pierre Charpin
Jef Cornelis
Dias & Riedweg
Isa Genzken
Dorothy Iannone
LUMA Foundation
Richard Tuttle
2
Philippe Parreno, Lawrence Weiner
To the Moon via the Beach was a three-day exhibition
in the Amphitheatre in Arles. Using tons of sand
specially shipped there, the iconic arena was
transformed into a beach and, during a process
of non-stop activity co-ordinated by Willem
Stijger, slowly mutated into a moonscape.
It created a backdrop for a series of
interventions by 20 artists in and around
the arena—Uri Aran, Daniel Buren,
Elvire Bonduelle, Lili Reynaud-Dewar,
Loretta Fahrenholz, Fischli & Weiss,
Jef Geys, Dominique Gonzalez-Foerster/
Ari Benjamin Meyers/Tristan Bera,
Douglas Gordon, Pierre Huyghe, Klara
Lidén, Renata Lucas, Benoît Maire,
Oscar Murillo, Anri Sala, Pilvi Takala,
Rirkrit Tiravanija, Tris Vonna-Michell,
and Lawrence Weiner.
Pierre Huyghe, Colony Collapse, 2012
Photo Credits:
LUMA Foundation, Lionel Roux, Hervé Hôte,
Robert Leslie
LUMA Foundation
3
E-Books
Lawrence Weiner, Hans Ulrich Obrist
You can see that
there’s
something still
alive or still
operating in
To the Moon via
the Beach … There
is some kind
of automatic
principle that we
seem to be trying
to define,
like a machine
célibataire …
There is a spirit
of automation,
which I still find
fascinating …
— Philippe Parreno
To the Moon
via the Beach
LUMA Foundation
E-Books
In addition to the e-book of Hans
Ulrich Obrist’s A Brief History of
Curating (ISBN 978-3-0764-264-1
for i-Tunes, Barnes & Noble,
and Kobo; 978-3-03764-292-4 for
Kindle), two new releases are
planned this summer: the digital
versions of Dorothea von
Hantelman’s How to Do Things with
Art and Mike Kelley’s Interviews,
Conversations, and Chit-Chat (1986–
2004). Follow us on Facebook,
Twitter, or Instagram to be the first
to know when they will be available!
This book offers a complete record of
the event, and presents chronological
photographic documentation, allowing
the event to be reconstructed and
understood as a whole for the first time.
An extensive discussion between Liam
Gillick, Philippe Parreno, and Hans
Ulrich Obrist sheds light on the event’s
historical context and its experimental
potential.
So many
exhibitions
now are about
something;
“To the Moon”
was something.
It seems to be a
fairly simple yet
philosophical
difference. The
same is true of
the difference
between
audience and
public.
— Liam Gillick
The Book: To the Moon via the Beach
Authors
Liam Gillick, Maja Hoffmann,
Hans Ulrich Obrist, Philippe
Parreno
English edition
Summer 2014
ISBN 978-3-03764-371-6
Softcover, 200 x 250 mm
368 pages
Images 1800 color
Published with LUMA Foundation
CHF 60 / EUR 40 / GPB 30 /
US 55
4
Basel (Photo: Julien Gremaud)
Year 44
in the Top 10 of important art figures;
and who among former Gutai artists,
Latin-American Neo-Concretists, and
Middle-Eastern emerging voices are
shaping the art world’s conversations—
this book is what you need! An extensive
Hong Kong (Photo: Gabriele Heidecker)
Herzog & de Meuron, Gianni Jetzer,
David Juda, Tadashi Kawamata, Hicham
Khalidi, Arto Lindsay, Christine Macel,
Massimo Minini, Elaine Ng, Hans Ulrich
Obrist, Adam Szymczyk, Franklin Sirmans,
Mickalene Thomas, Adrian Wong, and
David Zwirner, as well as many others
whose work contributed to the exhibitions on all three continents.
If you are wondering what happened
in Year 44 of Art Basel or if you cannot
remember which where the most discussed gallery stands or “Unlimited”
participations in Basel; which “Feature”
booth will soon become a museum
survey; why the architecture of the new
Pérez Art Museum Miami is a must-see;
how Art Basel in Hong Kong is changing
the artistic landscape in the Asia-Pacific
region; which young galleries are the
most looked to by global collectors;
which young artists’ names are listed
Matt Mullican, Untitled (Two Into One Becomes Thre), 2011; Unlimited, Basel (Photo: Julien Gremaud)
Arto Lindsay, Paper Rain Parade, 2013 (Photo: Gabriele Heidcker)
Art Basel | Year 44, designed by Gavillet &
Rust (Geneva), has an A-to-Z format that
maps the world of Art Basel with a comprehensive overview of the shows of 2013
that represent the dynamic experience of
the Basel, Miami Beach, and Hong Kong
fairs. This elegant, hardcover publication
offers the widening audience of art lovers
a compilation of portfolios, interviews,
and essays on contemporary art, and lists
all the exhibitors who participated in the
three exhibitions. It depicts works from
the different shows’ sectors, highlights
events and talks, and gives art world
experts, curators, and collectors a platform for sharing their expertise, providing an immersive art experience for the
reader. Among the authors and artists
featured are John M Armleder, Nicholas
Baume, Harry Bellet, Dara Birnbaum,
Maurizio Cattelan, Chris Dercon,
Florence Derieux, Harald Falckenberg,
survey, a path of discovery, an indispensable piece of memorabilia—the first
edition of the Art Basel yearbook will no
doubt be a favorite addition to the library
of essential art books for the expanding
global art world community.
Keith Haring, Untitled (Car), 1986 (Photo: Mathieu Lavanchy)
Art Basel is recognized today as the world’s
leading contemporary art fair. Created in 1970,
it offers one of the most sought-after platforms
for galleries to showcase their programs, meet
with collectors and curators, and exchange ideas
with colleagues. Including curated sectors,
talks programs, and extensive partnerships with
institutions in the cities in which the fair takes
place, Art Basel is a key interface for anyone in
the art world interested in modern and contemporary art. It is to address this dimension, as well
as to celebrate Art Basel’s 44th year—the first to
include three exhibitions on three continents—
that this book has been conceived.
Why this new
editorial
direction?
Because what
defines Art Basel
is people. The art
world within
which Art Basel
exists is
constantly
catalyzed by
these
personalities
whose lives are
driven forward
by art.
— Marc Spiegler,
Art Basel Director
5
neugerriemschneider, Jorge Pardo, Miami Beach (Photo: MCH)
Art Basel
Year 44
Art Basel
The Book: Art Basel | Year 44
English edition
Available at the three Art Basel
shows, and distributed
worldwide by JRP|Ringier
ISBN 978-3-03764-362-4
Hardcover, 210 x 295 mm
784 pages
images 612 color / 543 b/w
CHF 70 / EUR 57
GBP 44 / US 80 / HKD 600
6
Retrospective monograph
7
Reprints
White, 1960
Carl Andre
Retrospective monograph
As Gavin Delahunty writes in this book,
“Carl Andre has also made an art of words.”
On the occasion of Andre’s exhibition at the
Museum zu Allerheiligen in Switzerland,
JRP|Ringier published the first retrospective
monograph dedicated to the artist’s poems.
In my poems I’ve
attempted to
treat words as
equivalent
and independent
elements as much
as possible.
That’s impossible
within language,
I know, but I’ve
tried to create
non-grammatical
sequences of
words, believing
with Benjamin Lee
Whorf that
the cryptostructures of
language carry
as much of
the message as
the semantics.
— Carl Andre
Sterling Ruby
The multitude of media and techniques used by Sterling Ruby (*1972)
in his work—ranging from sculpture
to collage, installation to painting,
ceramics to video and printing—
reflect the issues he tackles: the
conflict between individual impulses
and mechanisms of social control,
the coercive function of architectonic space, art as the domain of
irrationality, the sphere of dysfunctional behavior, Minimalism and
Art Brut, graffiti art, urban violence,
desire, and pleasure. It is an art of
expression and accumulation, of the
overproduction of information and
of the delirium of the senses, of
neurosis and paranoia, in which the
gigantism of the shapes and their
proliferation appear like a corrupt
manifestation of desire, consumption, anxiety, and the need for control
that characterizes contemporary
occidental culture. Second edition
[ISBN 978-3-03764-375-4].
Carl Andre lays words on paper just as he
lays pieces of metal or bricks on the floor.
Formed by letters piled up in blocks of
words assembled together, these poems,
which he has written since the 1960s,
arise as “sculptural configurations.” In
the tradition of concrete poetry, words
become adjustable entities moved around
and placed within the limits of the space
of the sheet of paper in order to create
new configurations and patterns, and
eventually new works of art.
Walead Beshty
/, 1963
KING PHILIP’S WAR PRIMER, 1965
Andre’s work shows no inclination
toward romanticism, and has nothing
pastoral about it, and his materialistic
ideology is opposed to any exaltation of
the spiritual; a passion for ‘the common,
the familiar, the lowly’ comparable to
that professed by Emerson and Thoreau
can be discerned. Andre does indeed
seem to be the heir to an essentialism
that constituted the origins of American
culture, and it would therefore be impossible to reduce his work to late artistic
modernism, pushing formal purism to its
“Even freed of syntax, and poetic or
limits. It would be wrong, likewise, to
narrative codes, the words carry a history,” see in his poetry only a brilliant activity
writes Valérie Mavridorakis. “And just
parallel and mechanically homothetic
as he plays with the form and the clasticity to his sculpture. […] To get to know
of words, Andre works with their history. Carl Andre’s sculpture and Carl Andre
If we consider his work in its entirety,
himself, we should look at his poetry.”
as a single artistic project, it has to be
admitted that his poetry and sculpture
The publication includes essays by art
obey the same creative principles.
historians Gavin Delahunty and Valérie
Both are part of the hylotheism leading
Mavridorakis, as well as curator Lynn
the artist to scrutinize the composite
Kost, and situates Carl Andre’s written
material available to him, crude or
works within their original context in
refined—standardized materials prothe 1960s at a time when Minimalism
duced by industry, words that come
was being defined.
from a founding literary heritage.
This reference monograph realized
in close collaboration with the artist
(*1976), presents a 12-year overview
of his approach to photographic and
sculptural representation. Alongside
commissioned essays by Suzanne
Hudson and Nicolas Bourriaud, as
well as a conversation between Bob
Nickas and Walead Beshty, it reproduces a large selection of his works
and exhibitions. It had been released
this year in a second, expanded
edition [ISBN 978-3-03764-353-2].
The Book: Carl Andre - Poems
Carl Andre
Edited by
Lynn Kost
Poems
No.1
No.5
No.3
No.2
No.7
No.6
Author(s)
Gavin Delahunty, Lynn Kost,
Valérie Mavridorakis
English/German edition
Available
ISBN 978-3-03764-364-8
Hardcover, 280 x 272 mm
144 pages
Images 100 color / 10 b/w
Published with the Museum
zu Allerheiligen, Schaffhausen
CHF 78 / EUR 60 /GBP 48 /
US 80
8
Richard Tuttle
Retrospective Monograph
Retrospective Monograph
9
Cloth, 2002–2005
Zurich, 2014
Since the 1970s, in collaboration with renowned
printers and publishers, Richard Tuttle has
created a diverse printed oeuvre. In sensitively
exploiting the possibilities of printmaking to
make process, materials, and actions visible, he
explores the complexity of printmaking processes.
Prints, published with the Bowdoin College
Museum, is the first monograph on Tuttle’s
printmaking. Edited by Christina von Rotenhan,
this publication introduces not only the artist’s
approach to printmaking with scholarly essays and
catalogue entries for selected prints between 1973
and 2013, but also reveals Tuttle’s deep interest
in the collaborative nature of printmaking.
These prints are
costumes. The
writer clothes
the mind. The
printer clothes
the paper. There
is a theater
of the surface.
On the body,
costumes and
clothes are
different. I am
thankful we have
use for costume.
— Richard Tuttle
think of prints as performative objects,
in such a way that the print becomes what
he calls ‘a lively’ thing: an object whose
indexical qualities refer to its making,
but which is expanded by ‘performative’
agents through the making process into
a socially interactive present and future
temporality.”
The Book: Richard Tuttle - Prints
Edited by
Christina von Rotenhan
Richard Tuttle | Prints
Christina von Rotenhan
Bowdoin College Museum of Art
The timing of the publication is important
as Richard Tuttle has also been invited to
realize an installation in Tate Modern’s
Turbine Hall, which will provide a powerful counterpoint to the more intimate
works from his printed oeuvre.
Censorship, 2003
Step by Step, 2002
“Printmaking offers a vital field for Tuttle’s
explorations of performative materiality,”
writes Chris Dercon, “in many ways his
prints can be thought of as ‘expanded
prints.’ His desire from his earliest career
to expose the traditional printing techniques using intaglio and pressure to
include experiments with and layerings
of materials as diverse as cloth, clay,
and copper benefits from the (deliberate)
allusion to ‘expanded cinema,’ a term
coined by critic Gene Youngblood in 1970
to accentuate the performative aspect
of experimental cinema and video. Tuttle
likes to ‘perform’ printmaking and to
No.1
No.5
No.3
No.2
No.7
No.6
Authors
James Cuno, Chris Dercon,
Joachim Homann, Armin Kunz,
Christina von Rotenhan, Susan
Tallman, Richard Tuttle
Renaissance Unframes, 1995
English edition
Available
ISBN 978-3-03764-365-5
Hardcover, 275 x 265 mm
144 pages
Images 172 color / 8 b/w
Published with Bowdoin College
Museum of Art, Brunswick
CHF 78 / EUR 60
GBP 48 / US 80
10
untitled, 1967–70s
Reproducing over 200 works on paper from the
past 50 years, this publication presents a crucial
part of the British sculptor’s artistic practice.
A never-before-published interview between the
artist and Hans Ulrich Obrist provides insight
into drawings that are not preparations but,
rather, daily exercises done before, during, and
after the creation of her sculptures. While the
works on paper range in style, they demonstrate a
consistency in color and form in their exploration
of ideas related to structures, architectural interiors, and urban surroundings. Unlike sculptures
from her early career that have not been preserved, Barlow’s works on paper stretch back to
the early 1960s when she was a student at Chelsea
College of Art. This new publication, thus, charts
a career-long commitment to artistic inquiry
at the vanguard of contemporary art.
All images: Courtesy of the artist and Hauser & Wirth
I think that, for
me, the problem
with sculpture
is its relationship
to image. But the
drawings, oddly
enough, are both
a way of trying
to form an image,
and to give some
idea of how to
proceed with the
making process,
and then there’s
a kind of anarchy
against that.
— Phyllida Barlow
Retrospective Monograph
Yes, which came from America.
Everything either came from America or
Europe. I always think of the English
artistic era of the sixties and seventies as
being a kind of hybrid, looking across the
Atlantic or looking across the Channel!
PB
In our previous conversation, you
said about your beginnings that you felt
like not a lot had changed.
HUO
I didn’t think it had, and it was a
realization when I then looked at these
drawings. I remember putting them away,
HUO It wasn’t about looking at one’s own
almost in disgust, because what I then
history that much?
began to see was this idea of fracture and
breaking up. I was actually looking at
PB No, I think that actually came much
things like frames, and unraveling sculplater. I remember feeling really antagonis- tural language, or attempting to. I never
tic towards Henry Moore and Barbara
feel like I managed to; I think I’ve got
Hepworth, and having just been to the
a love-hate relationship with it.
Hepworth Museum and seen those
HUO So everything is already in these first
Hepworths, they are just fantastic. But,
works?
I think, at that time, it was about saying
‘I don’t want to belong to this British
PB Absolutely, and that constant questradition, which seems so moral … ’
tion about where the argument is, and
HUO So it marked a rupture of some sort?
the breaking up of space. It’s all in here,
a longing to escape from sculpture. In
PB Yes, but I don’t think I succeeded.
the sixties, I had been looking at a lot of
I think I’m utterly entrenched in the
American Anti-Form, Eva Hesse as well.
sculptural …
[…]
PB
Thomas Houseago
A comprehensive monograph
on the British sculptor, based in
Los Angeles, who has come to
prominence in recent years with his
monumental, figurative sculptures
that are charged with remarkable
energy and vitality. Houseago’s
sculptures possess a daring urgency,
a tactility and brute physicality that
expose the process of their own
making. Published with Hauser &
Wirth.
[ISBN 978-3-03764-381-5]
Christopher Orr
Christopher Orr
To be published in the fall, this
first monograph includes an essay
by Max Hollein, as well as a text
by Colin R. Martin, aka the Lonely
Piper, and an introduction by Pat
Fisher, curator of Christopher Orr’s
exhibition at the Talbot Rice Gallery
of the University of Edinburgh in
November.
[ISBN 978-3-03764-373-0]
untitled, 1965–1966
untitled, 2001
Excerpt of the interview
with Phyllida Barlow by
Hans Ulrich Obrist
untitled, early 1970s
that no one had talked about them really,
or about what was happening in the
States. That was like a closely guarded
secret. When I began to realize that there
PB If I think of the sixties, and I think
was this thing . . . Well, it didn’t even have
of New British Sculpture, and I think of
a name then, I don’t think—Arte
Pop Art and Abstract Expressionism and
Povera—but there were things happening
the rise of Duchamp, I see these drawings in Europe and America that were so starwithin that context.
tling compared to what was the still very
traditional sculptural language of the
HUO When Julia Peyton-Jones and I did
New Generation. It was like a complete
the interview with you for the show at the epiphany.
Serpentine Gallery we spoke about this
HUO These are sculptural drawings.
moment at art school when a generation
of English sculptors was very dominant,
PB Absolutely.
like Anthony Caro, Phillip King, and
William Tucker.
[…]
PB Yes, I think also that I was getting
HUO The colours are very Pop, and it was
very angry with my art school education,
the moment of English Pop Art.
11
In Preparation with Hauser and Wirth
Phyllida Barlow
Retrospective Monograph
The Book: Phyllida Barlow - Fifty Years of Drawings
Edited by
Sara Harrison
Authors
Sara Harrison, Hans Ulrich Obrist
English edition
Available
ISBN 978-3-03764-366-2
Hardcover, 260 x 332 mm
244 pages
Images 206 color
Published with Hauser and
Wirth, Zurich/London/New York
CHF 75 / EUR 60
GBP 49 / US 80
12
Jef Cornelis (Photo: Harry Gruyaert/Magnum Photos)
For me,
Documenta 5 was
a crucial moment.
It was the first
assault by
“marketing” and
art as spectacle.
— Jef Cornelis
Jef Cornelis
DVDs by BDv | Archives Series
13
Text
by Yves Aupetitallot
13
The “Archives” DVD series focuses on landmark
exhibitions that have shaped curatorial history
in the second half of the 20th century, when it
became possible to document such events on film
and subsequently to analyze and discuss them.
Alongside the usual tools of art history and art
criticism, which have developed mostly on the
written page, film has the added advantage of
restituting a visual, active description of events.
Its very construction adds an important element
of discursive staging.
Jef Cornelis has
always been
hostile to the
status of
documentarian of
this field of
knowledge, which
some people
assign to him. It
would certainly
be more prudent
to conjure up
a scenario that
“fictionalizes”
people who have
become
personalities.
— Yves Aupetitallot
Pierre Restany, documenta 4, 1968
Sol LeWitt, documenta 4, 1968
The series includes a large selection
of Jef Cornelis’ films. Cornelis was born
in Antwerp in 1941 and was educated,
alongside director Paul Verhoeven, at
the Netherland’s Film Academy in
Amsterdam. His early films were influenced by the Nouvelle Vague, notably
by the films of Alexandre Astruc. After
shooting his first film on contemporary
art in 1966, he went on to create over
200 films on art, architecture, and culture
for the Artistic and Educational Programs
department of the Belgian broadcasting
company BRT during his 30-year career.
Very early on he deliberately eschewed
the tenets of the documentary genre.
Rather than making films about art itself,
he chose to depict the art world as an
enclosed space, embodied by large,
collective international exhibitions such
as the Venice Biennale and the Kassel
documenta. He planted his camera in
front of the protagonists and recorded
their statements, creating a narrative
through the organization of these segments. The self-conscious characters he
created, who are seen actively analyzing
their assigned roles, reveal the hidden
face of the art world.
The series makes available an exceptional
cinematographic archive, at a time when
the question of curating has become an
academic discipline in which graduate
programs in Curatorial Practices abound,
and the subject of an expanding literature
focusing on the heroic figure of the curator. These major players, pioneers of the
genre, are now the creators of a catalogue
of “curatorial masterworks,” which are
studied, and occasionally recreated,
through their archives.
Within this context of the unfolding
history of the exhibition and its protagonists, the “Archives” series intends
to contribute to this international study
and research effort, while also offering
amateurs and enthusiasts an opportunity
to discover a contemporary examination
of the events discussed.
Yves Aupetitallot, art historian and director of Le Magasin
(Grenoble), is the “Archives” series editor. This text is printed
with the kind authorization of the Pinault Collection magazine,
in which it was published in Issue #2, Spring–Summer 2014.
The “Archives” DVD collection is a coproduction by bdv
(bureau des vidéos), Paris; Le Magasin, Grenoble; Argos-Centre
for Art and Media, Brussels; and JRP|Ringier, Zurich.
Georges Adé and Marcel Broodthaers, documenta 5, 1972
Leo Castelli, documenta 5, 1972
Georges Adé and Ben, documenta 5, 1972
Panamarenko, documenta 5, 1972
Johannes Cladders and Georges Adé in Marcel
Broodthaers’ room, documenta 5, 1972
Joseph Beuys, documenta 5, 1972
Entrance to the 13th Biennale de Paris, Paris, 1985
David Hockney, 13th Biennale de Paris, Paris, 1985
Lawrence Weiner, 13th Biennale de Paris, Paris, 1985
Presentation Films
documenta 4, 1968
documenta 5, 1972
While Paris echoed with the protests of May 1968, Documenta
4 drew criticism from the European art world hostile to the
proportion of American artists included.
For the first time, all decisions—from the choice of artists to the
organization of their works—were the responsibility of a single
curator, Harald Szeemann, who gathered together the most
important artists and curators of his generation.
Documenta 4, DVD multizone, 53’, with a 24-page booklet
[ISBN 978-3-03764-257-3]
Documenta 5, DVD multizone, 53’, with a 32-page booklet
[ISBN 978-3-03764-258-0]
Alberto Viani in interview with Karel Geirlandt in his
room, 33rd International Venice Art Biennale, Venice,
June 1966
Roy Lichtenstein in his room, 33rd International
Venice Art Biennale, Venice, June 1966
Venice Biennale 1966
13th Biennale de Paris, 1985
Still fraught with the tensions created during the previous
Biennale, when the American scene was celebrated to the
detriment of the Ecole de Paris, the 1966 Biennale attempted to
reestablish a balance and end a number of controversies.
Summer of 1966 includes two films—about the 1966 Venice
Biennale and the 2nd Salon international des galeries-pilotes of
Lausanne—as well as a bonus film by François Morellet about
the Biennale de Paris 1963.
To be a powerful act of cultural policy, to provide a complete
panorama of the international art scene, and to aim to rank Paris
once again as a global capital of art—these were the challenges
to which the 13th Biennale de Paris wished to rise in 1985.
This was not quite the result achieved, as the 13th Biennale
de Paris was in fact the last …
Summer of 1966, DVD multizone, 48’, with a 24-page booklet
[ISBN 978-3-03764-323-5]
13th Biennale de Paris, DVD multizone, 67’, with a 24-page
booklet
[ISBN 978-3-03764-360-0]
Lucio Fontana in his room, 33rd International Venice
Art Biennale, Venice, June 1966
14
Since the early 1960s, Dorothy Iannone (b. 1933
in Boston, lives and works in Berlin) has occupied
herself with the attempt to represent ecstatic
love: “the union of gender, feeling and pleasure,”
as she herself describes it.
It has always been
my pleasure
to include in my
innocent (aren’t
they innocent?)
depictions
of people the
genitals—
a pleasure for
which I have had,
amazingly but
willingly, to pay
dearly.
— Dorothy Iannone
The Statue Of Liberty, 1977
Courtesy the artist, Air de Paris, Paris, and Peres
Projects, Berlin
Excerpt from “Censorship
and The Irrepressible Drive
Toward Love and Divinity”
by Dorothy Iannone
When I first came to Germany in 1967,
Hansjörg Mayer gave me an exhibition at
his gallery in Stuttgart. In those days
I had been making small wooden cutout
figures of everyone I could think of, from
all the world, from all times and places
and ways of life. It has always been my
pleasure to include in my innocent (aren’t
they innocent?) depictions of people
the genitals—a pleasure for which I have
had, amazingly but willingly, to pay dearly.
The first day after the opening, the
police came and confiscated the entire
exhibition which, in addition to the cutout
figures, also included highly detailed oil
paintings in which one would have had
to search indeed for an erotic element.
The police then quietly invited several
professors and critics of art to determine
whether or not the work was pornographic.
I learned later that all of the art
judges, without exception, had declared
that my work was not pornographic and
that it belonged to an ancient tradition
of art. And so, on the last day of the
exhibition, the show was returned to
Hansjörg Mayer and he, energetically
and touchingly, put everything back
on the walls for one more afternoon in
Stuttgart. He told me later that some
of the judiciary officials were among the
visitors to the gallery that last day.
15
Had the work been found pornographic, it would have been put into
underground vaults for one hundred
years, after which period it would have
been returned to me. […]
Dieter Roth had an appointment to
teach for a season in London in 1968, and
I joined him there. We were temporarily
staying at Richard Hamilton’s house until
I could find a place of our own. I had
shipped, via American Express, my suitcases, which contained mostly my clothes
but also a little of my work. One evening,
the phone rang and a man who would not
identify himself asked to speak with me.
Conspiratorially and with great relish
(exulting in being so close to a pornographer, perhaps), he told me that my cases
had been seized by customs. In time,
I was officially informed by the English
government that the pieces that they
considered pornographic would, in some
weeks, be burned if I did not secure a
lawyer and convince them that these
pieces were not pornographic. They did
return my clothes shortly after the seizure, but they kept one or two of my cutout figures, a letter from George Brecht
talking about my figures and amusingly
illustrating ideas inspired by them, and
a postcard from the Kunstmuseum Basel
of a sixteenth-century work that depicted
death as a skeleton putting his hand
under the skirt of a woman.
I engaged a lawyer and through, I am
told, the old-boy system, we convinced
the English government that these three
or four pieces could, without damage
to the world, be returned to me. The
English, concerned, nevertheless, about
the corruption of their own people,
returned the cutouts, the letter, and the
postcard only after I had, some months
later, passed through customs on my way
out of the country. […]
Laura Lima
The works of Laura Lima (*1971,
lives in Rio de Janeiro) are informed
by her fascination for the complexity
of social relations and forms of
human behavior. In her works,
which employ media such as drawing,
performance, and installation art,
the Brazilian artist explores the
boundaries of perception in dreams
and fiction, in everyday reality and
the absurd. The publication offers
an overview on her oeuvre. With
contributions by Heike Munder,
Victoria Noorthoorn, and Jochen
Volz. Published with Migros
Museum of Contemporary Art,
Zurich, and, Bonniers Konsthall,
Stockholm.
[ISBN 978-3-03764-344-0]
Sacré 101
The Next Great Moment In History Is Ours, 1970
Let Me Squeeze Your Fat Cunt, 1970/71
Sammlung Migros Museum für Gegenwartskunst
Today, her oeuvre encompasses paintings,
drawings, collages, video sculptures,
objects, and publications. A narrative
element, fed with personal mythologies,
experiences, feelings, and relationships,
runs through all of her works. Particularly
in her late figurative painting, which
almost appears to dissolve into the ornamental, she creates scenarios in symbolic
settings, in which she also consistently
celebrates a playful handling of the
subject matter. Since the 1960s, this
visual self-empowerment has been read
as a contribution to the liberalization of
female sexuality. On the other hand,
Iannone, who takes a spiritual, existential
approach, has never seen herself as part
of a feminist movement. However, in
bringing her works to the public, she
inevitably manifests a self-understanding
through her handling of controversial
subject matter. This publication sheds
light on Iannone’s work in relation to
censorship, based on her artist’s book
The Story of Bern. In spring 1969, the artist
was confronted with the confiscation of
her works in the exhibition Freunde
(Friends) at Kunsthalle Bern, under the
directorship of Harald Szeemann.
Iannone responded to this boycott by
producing a book, in which she made
her perspective public and thus reclaimed
self-determination over the contentrelated and formal aspects of her work,
which had been labeled controversial.
Artist's Book Recently Published in the Migros Museum of Contemporary Art Series
First Thought Best Thought, 1968
Courtesy Air de Paris, Paris.
Dorothy
Iannone
Artist's Book
Courtesy the artist, Air de Paris, Paris, and Peres Projects, Berlin
The Book: Dorothy Iannone — Censorship and The Irrepressible Drive Toward Love and Divinity
Edited by
Heike Munder
Authors
Maria Elena Buszek, Dorothy
Iannone, Heike Munder
Dor othy Iannone
English/German edition
Summer 2014
ISBN 978-3-03764-339-6
Softcover, 201 x 272 mm
180 pages
Published with Migros Museum
of Contemporary Art
CHF 56 / EUR 45
GBP 37 / US 59.95
This publication investigates the
interplay between dance and the
visual arts in relation to one of the
key works of the 20th century, Le
Sacre du printemps (The Rite of Spring).
With its revolutionary music and
choreography, the piece can be seen
as one of modernism’s groundbreaking moments. The ballet (in which
a virgin sacrifices herself for the god
of spring and dances herself to
death) still fascinates visual artists
today and is the most choreographed
ballet ever. Exploring the ballet,
its context, and its history in a wide
variety of ways, this anthology also
includes a rare selection of Le Sacre
dance documentation, texts by
Gabriele Brandstetter, Lynn
Garafola, Nicola Gess, Sigrid Weigel,
and Raphael Gygax, as well as
contributions by Eleanor Antin,
Marc Bauer, Dara Friedman,
Millicent Hodson/Kenneth Archer,
Karen Kilimnik, Xavier Le Roy,
Marko Lulić, Royston Maldoom,
Sara Masüger, Vaslav Nijinsky,
Silke Otto-Knapp, Christodoulos
Panayiotou, Yvonne Rainer/Babette
Mangolte, Lucy Stein, Alexis
Marguerite Teplin, Julie Verhoeven,
and Mary Wigman, among others.
Published with Migros Museum of
Contemporary Art, Zurich, in
collaboration with the Center for
Movement Research (Zf B) at
Freie Universität Berlin/Gabriele
Brandstetter.
[ISBN 978-3-03764-368-6]
Ronan & Erwan Bouroullec
Recently published: Ronan & Erwan Bouroullec, Drawing [ISBN 978-3-03764-319-8]
It may well be
that, at a moment
when disparate
currents in
contemporary
philosophy,
sociology, and
politics are
grappling with
radically
expanded
conceptions of
agency in order
to encompass,
alongside human
beings, other
kinds of beings,
networks,
objects, things [...]
that the perverse
prescience
of Lutz Bacher’s
work over the
past 40 years will
receive the full
acknowledgment
and appreciation
that is surely
its due.
— Caoimhín Mac Giolla
Léith
Artist's Book
Artist's Book 19
Recently Published
Lutz Bacher
18
Ever since her career began in the 1970s, Bay Area
artist Lutz Bacher has drawn upon fragmentary
information from popular culture and her own
life to produce works that play with the instability
of identity and the all-around trickiness of images.
In artist’s books, installations, sculptures, videos,
photographs, paintings, and screen prints,
Bacher uses images and objects in a physical,
almost visceral manner. Bacher’s mixture of
bodies and ideas, both Pop and personal, while
always remaining somehow elusive, feels entirely
relevant to problems in art and life today. In this
publication she has compiled her work from
1975 to 2013 into a hefty volume of digital files
from an inventory. It is accompanied by a new
essay by Caoimhín Mac Giolla Léith.
Hot Spot Istanbul
CHINA BEACH, 2008–2009
Since the first Istanbul Biennial in
1987, art has been an essential driver
of cultural and civil dynamics in
Istanbul. This book is the first comprehensive publication featuring
a new generation of artists, dealing
equally with local roots and global
artistic questions. Hot Spot Istanbul
makes one thing very clear: this
megalopolis is a bridge, not a border.
Based on an exhibition in Zurich
which gathered together 21 artists
(Can Altay, Adnan Coker, Nejat Melih
Devrim, Burhan Dogançay, Serhat
Kiraz, Renée Levi, Ahmet Oktem,
Ahmet Orhan, Mübin Orhon,
Abdurrahman Oztoprak, Seckin
Pirim, Sarkis, Nejat Sati, Arslan
Sükan, Erdem Tasdelen, Canan
Tolon, Seyhun Topuz, Omer Uluç,
Ebru Uygun, Ekrem Yalçindag,
Fahrelnissa Zeid, with photographs
by Pari Dukovic), the volume is published with Stiftung für konstruktive,
konkrete und konzeptuelle Kunst
and Museum Haus Konstruktiv,
Zurich. [ISBN 978-3-03764-351-8]
Engadin Art Talks
REFLEX YELLOW, 2008
BIG BOY, 1992
A SONG OF ICE AND FIRE, 2013
The Book: Lutz Bacher - SNOW
Edited by
Gregor Muir, Sophie von Olfers,
Beatrix Ruf
Authors
Caoimhìn Mac Giolla Léith
NOSTALGIA, 1982
English/German edition
Available
ISBN 978-3-03764-347-1
Softcover, 229 x 305 mm
352 pages
Images 299 color / 32 b/w
Published with Kunsthalle
Zurich, Portikus, Frankfurt
am Main, and the Institute
of Contemporary Arts, London
CHF 45 / EUR 35
GBP 28 / US 45
The Engadin region in Switzerland
has always attracted artists, writers,
filmmakers, and thinkers. In this
unique historico-cultural context,
Cristina Bechtler, Beatrix Ruf, and
Hans Ulrich Obrist have initiated
the Engadin Art Talks/E.A.T., which
take place each August in Zuoz.
This book brings together the
presentations (or excerpts) by most
of the participants who discussed
The Crystal Chain by Bruno Taut,
“Mapping the Alps,” and “Visions
for the Alps.” It is a compilation
of previously unpublished thoughts
and dialogues, ideas and projects
from well-known artists, architects,
designers, filmmakers, and researchers. With contributions by Vito
Acconci, Doug Aitken, Ron Arad,
Nairy Baghramian, Hans Danuser,
Cerith Wyn Evans, Simone Forti,
Hamish Fulton, Dominique
Gonzalez-Foerster, Jefferson Hack,
Helen Marten, Sarah Morris,
Mai-Thu Perret, Philippe Rahm,
Raqs Media Collective, Tobias
Rehberger, François Roche,
Lawrence Weiner, Annalisa
Zumthor, Peter Zumthor and
Philip Ursprung, among others.
[ISBN 978-3-03764-350-1]
20
21
Untitled (8, 9), 2013; Warm, Warm, Warm Spring Mouths, 2013; Untitled (1), 2013
Uri Aran
The work of Uri Aran (born in Israel
in 1977 and lives in New York) is
pervaded by the interrogation and
redefinition of structures and models
of communication, the material
world, and interpersonal relationships. His visually idiosyncratic and
disconcerting videos, drawings,
assemblages, texts, and sculptures
hover on the boundary between
the familiar and the strange. A first
monograph, with texts by Liam
Gillick, Fionn Meade, and an interview with Beatrix Ruf, Fredi Fischli
and Niels Olsen, is planned for
the fall.
[ISBN 978-3-03764-384-6]
Tobias Madison
Warm, Warm, Warm Spring Mouths, 2013
In his work, which includes video installations,
texts, and drawings, British artist Ed Atkins
(born in 1982, lives and works in London) explores
the material quality of our contemporary visual
world and its existential resonance. He records
his videos in high-definition with powerful
surround sound; these new options for technical
creation and presentation have the paradoxical
capacity of reproducing life-like materiality and
bodies using immaterial means. This paradox
is also a theme in Atkins’ work, which revolves
around the cadaver, disease, and death motifs
that raise awareness of the viewers’ own corporeality. Atkins’ digital compositions use saturated
colors and precise editing rhythms, and show
archive material of forests, beaches, fruit, and
clips from zombie films, as well as computergenerated animations. They are accompanied
by sound, which ranges from guitar crescendos,
horror film melodies, and dialogue, to the
murmurs of the artist himself behind the camera.
This is the first major publication on Ed
Atkins’ work and it provides a comprehensive
overview of his artistic production through a
detailed selection of his video works, numerous
installation views, a newly commissioned text by
Joe Luna, an essay by Ed Atkins, and a conversation between the the artist and Beatrix Ruf.
Kunsthalle Zurich series
Forthcoming Releases in the Kunsthalle Zurich series
Us Dead Talk Love, 2012
I think that
despite the
almost total
ubiquity of
digital imagery,
there is a
conspicuous
contrast between
the speed at
which the digital
has changed
distribution, and
the way in which
it has failed
to change images
and their
content—which
are still so
recognizable,
intelligible
according to
some prior order.
— Ed Atkins
Ed Atkins
Kunsthalle Zurich series
The Book: Ed Atkins
Edited by
Beatrix Ruf, Julia Stoschek,
Thomas D. Trummer
Authors
Ed Atkins, Joe Luna, Beatrix Ruf
English/German edition
Available
ISBN 978-3-03764-359-4
Hardcover, 205 x 257 mm
160 pages
Images 68 color / 2 b/w
Published in the Kunsthalle
Zurich series, with the Julia
Stoschek Collection, Dusseldorf,
and the Kunsthalle Mainz
CHF 38 / EUR 25
GBP 19 / US 35
The Swiss artist Tobias Madison
(born in Basel in 1985) belongs to a
generation of artists who frequently
open up the process of artistic creation through the adoption of cooperative or collective strategies, and
often assume the role of the curator,
client, and originator in the process.
The roles that Tobias Madison
adopts are as wide-ranging as the
media in which he works: these
include sculpture, video, projection,
computer-generated and assisted
painting, audio pieces, texts, photographs, and scans. His works, which
are processual in nature, are full of
references and descriptions of found
symbols, and break through the
boundaries and categorizations of
the art system with playful ease.
In preparation for the fall is a first
monograph designed by the artist.
[ISBN 978-3-03764-390-7]
Wade Guyton
The American artist is no newcomer
in JRP|Ringier’s program and was
shown at Kunsthalle Zürich for the
first time in 2006. In 2013, he
decided rather to accompany his
personal exhibition there with
several independent publications
than a classic catalog. To be released
this fall: a set of three LPs in a
limited edition; also forthcoming is
an anthology of critical texts on
his work. For more information
on schedule and availability:
[email protected] or facebook.
com/jrp.
22
Dias & Riedweg
Reference Monograph
Reference Monograph
23
New Releases
© Dias & Riedweg
Mauricio Dias (b. 1964 Rio de Janeiro, Brazil) and
Walter Riedweg (b. 1955 Lucerne, Switzerland)
have worked together since 1993. While developing
collaborative and socially engaged projects
through an array of interdisciplinary means
(video, performance, installations) they explore
issues such as human subjectivity and otherness.
Along with texts by Fanni Fetzer (Director,
Kunstmuseum Luzern), Dieter Roelstraete (Chief
Curator, Museum of Contemporary Art Chicago),
and Chantal Pontbriand (curator and critic, Paris),
this monograph offers a complete overview of
Dias & Riedweg’s diverse and sprawling work for
the very first time. The monograph includes an
illustrated chronology of their works, including
personal notes written by the artists, allowing
the reader to trace the path of their investigations
over the last two decades.
Funk Staden, 2007
Dias & Riedweg
are story finders,
not storytellers.
They find
their stories
everywhere, but
most of all from
other people.
— Fanni Fetzer
The Swiss Institute
Experience
The book summarizes seven years of
exhibitions, performances, concerts,
talks, and readings at the Swiss
Institute New York. The book aims
to recreate the program structure
as well as the cutting-edge profile
of one of the most successful nonprofit organizations in New York
between 2006 and 2013. It includes
printed matter as well as five conversations between some of the
most prolific artists of our time.
With contributions by John Armleder,
Andrew Blake, Michael Bracewell,
Tom Burr, Antoine Catala, Florence
Derieux, Dan Graham, Anthony
Huberman, Harmony Korine,
Piper Marshall, Malcolm Mclaren,
John Miller, Bob Nickas, Walter
Pfeiffer, Haim Steinbach, and
Lawrence Weiner.
[ISBN 978-3-03764-352-5]
Fri-Son 1983–2013
Funk Staden, 2007
48th Venice Biennale, 1999
The Book: Dias and Riedweg
Sambing Camera, 2014
Edited by
Fanni Fetzer
Authors
Mauricio Dias, Fanni Fetzer,
Chantal Pontbriand, Walter
Riedweg, Dieter Roelstraete
The Mirror and the Dust, 20014
Kunstmuseum Luzern, 2014
English/German edition
Available
ISBN 978-3-03764-358-7
Softcover, 237 x 286 mm
160 pages
Images 192 color / 19 b/w
Published with the
Kunstmuseum Luzern
CHF 60 / EUR 40
GBP 30 / US 55
To many, Fri-Son is one of the best
and most innovative Swiss music
venues. The club was born in remote
and traditionally conservative
Fribourg in 1983, solely as a result
of the energy of a few music enthusiasts. Originally a pocket-sized and
notoriously shabby boutique for
avant-garde punk and jazz music,
it has quickly grown into a large,
internationally-renowned and well
respected venue for any brand of
innovative music, from rock, electronic, metal, through hip-hop.
Over the years it has hosted groundbreaking, upcoming or established
artists such as The Gun Club,
Nirvana, Nico, The Beastie Boys,
Cat Power, Phoenix, and Grizzly
Bear. The essence of three decades
of musical history and the evolution
of independent music as reflected
in Fri-Son’s gigantic archive is
assembled in a well-researched
essays written by Matthieu Chavaz
and Daniel Prélaz (et al.). Numerous
testimonies from insiders and
artists, a large portfolio of original
photographs and many posters,
offer the reader a lively, faithful,
and intimate immersion into some
of the seminal club’s most startling
nights.
[ISBN 978-3-03764-349-5]
Pierre Charpin’s studio, Paris, 2014
I am interested
in the object
as presence.
Presence is
perhaps the thing
that lies beyond
meaning, beyond
the requirement
for justification.
— Pierre Charpin
This obviousness, then, does not
relate only to the clarity and distinctness
of the works on offer, subtended moreover by a complex process of reducing
the object: it also expresses a certain
way of being, of taking up room in space.
The almost natural simplicity with which
his objects fit into the landscape, let
themselves be seen, touched, used, is
proof of the remarkable nature of his
creations, and of design that immediately
expresses itself as an understanding of
balance, a sharing of sensitivity, and a
search for harmony. Rather than obsessively seeking the new, Pierre Charpin
concentrates on what already exists.
Rather than investing in creating a form
that has to be original, he devotes himself
his design is art [ … ] Creating is also
letting what is already there come out,
bringing it to visibility. We are always
arriving at a space and at a time that
precede us and will survive us. The poetry
of Pierre Charpin’s objects has to do with
that intuition. His design of presence
comes back to signal a simple yet rarely
mentioned truth: beauty is not expressed
in the spectacular, but in the developing
truth of what is. It is not possible to
control that movement, it can be neither
explained nor justified, it can only be
accompanied. By knowing how to find
our place. By knowing how to abandon it.
Stump, 2009
Flowerpot, All’Aperto Collection, 2007
At first sight, something rather obvious
occurs to us when looking at Pierre
Charpin’s objects. Formally concise and
elementary, his visual language is striking
for its concern to get things “right,”
its strictness with regard to the form
adopted, and an absence of any artifice,
doctoring, or wooing strategy.
Nevertheless, we are far removed
from any demonstrative rationalism or
dogmatic austerity. On the contrary, he
uninhibited use of color, the unexpectedness of certain forms and proportions,
and the freedom with which they are
assembled create something like a recurrent interplay between full and empty,
a pleasantly changing landscape more
welcoming than intimidating.
to letting us see what is there. Through
new configurations, new arrangements,
his design renews the experience of looking, suggesting different attitudes, hinting
at other possible ways of living in this
world. An approach that brings to mind
that of Alessandro Mendini: “The wellbeing of people is not directly linked to
innovation, but to things following their
proper course [ … ]”
Revealing the poetry of things means
refocusing attention on ordinary objects
or creating objects that appeal to our
curiosity, our imagination. Pierre Charpin
keeps this poetic approach by making
things “appear.” It is in this sense that
25
Parabole, 8 1/2 Collection, 2009
I often have the
feeling I am
designing things
rather than
objects. A thing
escapes the
narrowness and
permanence
of a definition.
— Pierre Charpin
French designer Pierre Charpin (b. 1962, lives
in Paris) holds a singular position within his field.
Articulated with a strong and liberated use of
colors and materials, his sharp creations—
objects, furniture, limited editions, and exhibition designs—deal with the notions of landscape
and autonomy, humor and surprise, poetic presence and minimalism. He speaks of them as
“receptors” rather than “emitters,” envisaging
“objects primarily as forms and only on a second
level having functional purposes, triggering a
process of projection and empathy.”
Excerpted from the essay "A Design of Presence" by Alessandra Fanari From our Associate Design Editor Series
Pierre Charpin
24Design
The Complete
Designers’ Lights II
(1950–1990)
Clémence and Didier Krzentowski—
the founders and directors of the
leading contemporary design gallery
kreo—have been collecting lights
for 30 years. Focusing particularly
on Italian and French design, their
collection is the most important
of its kind today, spanning creations
from the 1950s to the 1990s with
special attention to the 1950s, 1960s,
and 1970s. It includes large groups
of works by Paulin, Guariche,
Castiglioni, and the biggest collection of Sarfatti, who, according to
the Krzentowskis, is “the best of
his category, because he was a longlasting researcher of forms and
techniques. As soon as a new bulb
was created, he was making a new
lamp that was completely minimal.”
The Complete Designers’ Lights II
(1950–1990) is the second and
revised edition, corrected and
augmented with many new lamps.
It provides priceless documentation
and a visual guide for those interested in light design and furniture
history, offering a detailed insight
into this particular and fascinating
field. Conceived as a catalogue
raisonné of nearly 500 lights, this
book also includes a discussion
between Didier Krzentowski, the
design historian and Director of the
Bordeaux Musée des Arts décoratifs
et du Design, Constance Rubini,
and the journalist and design critic
Pierre Doze, as well as an essay by
the design and art critic Alex Coles
focusing on the relationship
between light design and light art,
mainly through a parallel study
of Gino Sarfatti’s and Dan Flavin’s
works.
[ISBN 978-3-03764-356-3]
The Book: Pierre Charpin
Edited by
Lionel Bovier and Clément Dirié
Authors
Alessandra Fanari, Françoise
Guichon, Marco Romanelli
Coffee Table, All’Aperto Collection, 2007
English/French edition
Available
ISBN 978-3-03764-244-3
Hardcover, 265 x 200 mm
160 pages
Images 257 color
Published with the support of
Alessi, Eau de Paris, ECAL,
Galerie kreo, and Grand-Hornu
Images
CHF 50 / EUR 40
GBP 31 / US 55
8 rue Saint-Bon, Kunstgriff @
I Never Read,
Paris
26Exhibitions
Walead Beshty, Unmasking, exhibition view, October
2013
Jérôme Leuba, battlefield #54/lovers, living sculpture,
exhibition view, February 2014
Since 2011, 8 rue saint-Bon has
established itself as an independent
project space in Paris, dedicated
to curatorial propositions stemming
from the editorial programs of the
five partners sharing this location—
the film producer Anna Sanders
Films; the publishing houses
Les presses du réel, Macula, and
JRP | Ringier; and the art video
distribution and production company Art View/bureau des vidéos.
Information
8 rue Saint-Bon
is open on
Fridays and
Saturdays and
by appointment
Contact: +33 (0) 1 58 30 39 38
[email protected] & facebook
For more information about
the programs of the five partners:
www.lespressesdureel.com
www.annasandersfilms.com
www.editionsmacula.com
www.bureaudesvideos.com
www.jrp-ringier.com
An exciting eclecticism has continued to inspire
the program of 8 rue Saint-Bon over the last few
months. In just six months we hosted Swiss artist
Jérôme Leuba with an exhibition of his battlefields;
we welcomed poetry legend Bernard Heidsieck;
we organized our annual Christmas Jewels market
(for which we invited La Serre fanzine collective
to exhibit artists’ book from all over France); and
we showed Zero Jigen, a subversive and radical
avant-garde Japanese collective, with a neverbefore-seen archive and films. Two shows were
devoted to artists who number among the most
talented of their generation: in October 2013
Walead Beshty presented his recent body of work
dealing with masks, pop culture, and Americana;
while in March 2014 David Noonan offered us a
large in situ painting, luring the bystander in and
offering a kind of exotic ritual …
Last but not least, 8 rue Saint-Bon has published its first calendar on the occasion of an
exhibition by Katerina Seda, held in April 2014:
a very special and humorous limited-edition
available on demand. To conclude, this spring
we are hosting Sheila Hicks and her project
Fiji Island–Fil, an incredibly colorful in situ
installation by the acclaimed American artist,
who has been based in Paris since the 1970s.
27
Previous Editions, Basel
David Noonan, Le Vendeur fou, exhibition view, April
2014
Kunstgriff at Art Book Fair Basel
This year, besides its regular location on the
ground floor of the Löwenbräu building in Zurich,
you will find a selection of titles by Kunstgriff
at I Never Read, Art Book Fair Basel.
I Never Read, Art Book Fair Basel is an art publishing fair taking place in June during the Art
Basel week. The fair aims at offering a platform
for all kinds of arts and artists’ publications while
gathering together national and international
publishers as well as book lovers.
I Never Read,
Art Book Fair Basel
Volkshaus Basel
Rebgasse 12-14
CH–4058 Basel
June 18–21, 2014
Opening:
Wednesday, 6–10pm
Opening hours:
Thursday trough Saturday, 4–10pm
Admission to the fair is free.
For more information:
www.ineverread.com
Information
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
I was twenty-one
when I first went
to New York,
and I was so
fascinated by the
architecture and
glad that
something like
that existed,
that I was able to
have this visual
experience.
I thought to
myself, this
is where I want to
live. To me, New
York had a direct
link with
sculpture …
— Isa Genzken
Isa Genzken
From Our Backlist
A student at the dynamic Düsseldorf Academy
during the 1960s, Genzken has since consistently
challenged Modernist imperatives in her explorations of the relationships between public and
private space, artistic autonomy, and collective
experience. The artist’s oeuvre, which can be
subsumed under the term “sculptural,” is characterized by extreme contrasts between the individual stages of development. However, the
characterization of Isa Genzken as a traditional
sculptor, along with the usual remarks concerning
the heterogeneity of her methods (photography,
video, film, collages, and collage books), veils
a stronger internal logic. While the work demonstrates a continuous examination of the classic
themes of sculpture (the ordering of mass and
volume; the relation between construction,
surface design, and materials; the conception
of and relation between objects, space, and the
viewer), what the “traditional sculptor” label
cannot quite capture is Genzken’s remarkable
ruthlessness: the manner in which her work
underlines the rejection of traditional understandings of sculpture and space while reflecting
on and disclosing the specific circumstances
of their production and reception.
As this printed project demonstrates,
by publishing for the first time the three collage
books she realized in 1995–1996 in New York,
her work is concerned with what surrounds us
Isa Genzken
29
and shapes our everyday existence, from design,
advertising, and the media, to her most enduring
subject, architecture and the urban environment.
This publication demonstrates to what extent
the artist is interested in the ways in which
aesthetic styles embody and enforce political
and social ideologies.
Isa Genzken - I Love New York, Crazy City
Edited by
Beatrix Ruf
English edition
Available
ISBN 978-3-905701-09-8
Hardcover, 295 x 385 mm
460 pages
Images 460 color
Published in the Ringier Collection
Artists' Books series
CHF 135 / EUR 90 /
GBP 58 / US 100
30
Book Prizes in 2013
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World Food Books is a specialty bookshop
and mailorder service dedicated to presenting a thoughtful selection of contemporary art and design books, journals,
artists’ editions, ephemera, and rare/
out-of-print titles from all over the world. World Food Books
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Pierrette
Bloch
Pierrette Bloch
By appointment
Monograph
Design: Gavillet & Rust/Piguet,
Geneva
Production: Musumeci S.p.A.,
Quart (Aosta)
ISBN: 978-3-03764-329-7
Robby Müller:
Cinematography
Artist’s book
Design: Mevis & van Deursen
Production: Robstolk, Amsterdam
Livraria de Serralves at Serralves Museum
is specializes in contemporary art and
architecture along with other related
subjects, such as art history, performing
arts, photography, cinema, design,
landscape, and cultural tourism. Managed
in partnership with Inc. – Books and
Editions of Author.
Livraria de Serralves
Rua D. João de Castro, 210
4150-417 Porto, Portugal
T +351 22 615 5195
E [email protected]
W www.serralves.pt
Tue–Sun: 10am–7pm
Founded in 2010 in Tangier’s city center,
Les Insolites is a gathering place for book
and art lovers. Organizing talks, events,
and exhibitions—especially on contemporary photography—as well as being a
salon de thé, Les Insolites is an indispensable place for cultural life in Tangier.
Les Insolites
Mon–Sat: 11 am–8 pm
28, rue Khalid Ibn Oualid
(ex-Velazquez)
9000 Tanger, Morocco
T +212 534 592983
E [email protected]
W www.lesinsolitestanger.com
Collectors’
Editions
Information and Orders at [email protected]
Yto Barrada, A Modest Proposal, 2014
31
walead beshty
Make-ready Book 2 (Walead BesHty. Natural Histories,
JrP | riNgier, ZuricH, JaNuary 11tH-15tH, 2011), 2011
speCial edition
A special edition accompanying the artist’s
reference monograph (published in 2013) and
combining 13 offset posters (56.5 × 42 cm) in a
silkscreened box. Produced in Tangier, conceived
in collaboration with Nadja Zimmermann.
30 copies numbered and stamped by the artist.
Walead Beshty
Copies of the book Natural Histories made of blotting papers
overprinted several times and bound following the sequenCe of
the signatures of the trade edition. printed by musumeCi (aosta).
initialed and numbered by the artist in an edition of 50 (+ 10 ap).
Make-Ready 2 and Make-Ready 3
eaCh Copy is different. priCe: 600 us$
Copies of the book Natural Histories
made of blotting papers overprinted
several times and bound following
the sequence of the signatures of the
trade edition; initialed and numbered
by the artist in an edition of 50.
Each copy is different
600 CHF
ISBN: 978-3-03764-341-9
Books for artists, books for theorists,
books for radicals, books for
independence ... Aye-Aye Books
350 Sauchiehall Street
Glasgow G2 3JD Scotland
T +44 7946 643757
E [email protected]
W www.aye-ayebooks.com
Mon–Sat: 11am–6pm
True to the New Museum’s forwardlooking mission, the Store procures
and produces the most engaging and
thought-provoking contemporary books,
gifts, and artist editions.
New Museum Store
235 Bowery
NY 10002 New York, USA
T +1 212 343 0460
E [email protected]
W www.newmuseumstore.org
Mon–Tue: closed
Wed, Fri–Sun: 11am–6pm
Thu: 11am–9pm
Erik Steinbrecher
The Return of the Green-Horn, 2012
Signed and numbered edition of
100 silkscreened folded posters
designed by Norm
50 CHF
32
Peter Saville
Estate
Tony Cragg
Formations
& Forms
Pierre Charpin
ECAL. A Success
Story in Art and
Design
Pierre Keller
Nicolas Trembley
(ed.)
Sgrafo vs Fat Lava
Raymond
Pettibon
Whuytuyp
Luigi Ghirri
Project Prints
The Complete
Designers’ Lights
(1950–1990)
A selection of 10 favorite titles from our complete
catalogue by French designer Ronan Bouroullec,
whose drawings, together with those of his
brother Erwan, have recently been gathered in a
beautiful volume titled Drawing.
© Linus Ricard
Wolfgang
Tillmans
Ronan
Bouroullec
Top 10
Contact
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 978-3-03764-376-1
© 2014, the authors, the artists, the photographers,
and JRP | Ringier Kunstverlag
Design Concept: Gavillet & Rust, Geneva
Layout: Nicolas Eigenheer
Typefaces: Genath by François Rappo (www.optimo.ch),
Nameit by Jeremy Schorderet
Top Ten
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