bare beauty girl maghreb picture

When you say all you see is light patterns,
you remove all subject matter. There is
no difference between me looking at you
and me looking at a ladder. They are the
same because everything is simply abstract.
—Matt Mullican, 2011
This newspaper is published by JRP | Ringier and edited by Clément Dirié. Issue 10, Summer 2016. Printed in 10,000 copies by Ringier Print Adligenswil AG. Not for sale
MADE IN ZURICH,
TO BE READ
EVERYWHERE
Every summer, art amateurs have to
make choices: to find a quiet hideaway
in which to rest after a hectic year
of discoveries, travel, and visual frenzy,
somewhere to read all the exciting
books that were bought to enjoy during
the next period of recuperation—which
hopefully include one (or more) of
the 40 titles JRP | Ringier has published
since summer 2015. Or they can religiously model their summer itinerary
on the season’s exhibitions, visiting
the usual biennials and the major notto-miss retrospectives, trying to find
a connecting flight to avoid going back
home before heading to the next stop.
This year, Zurich is the city to visit.
Maybe you are even reading these lines at
the Löwenbräu, the art complex hosting
a large part of Manifesta 11. 100 years
after the Dada explosion, Zurich will
once again offer an art-filled summer.
This 10th issue of our newspaper is
intended for both kinds of art amateurs—
and for all others too. Inside you will
find publications linked to Swiss exhibitions happening this summer (notably
in Zurich), from Mullican’s catalogue of
Rubbings accompanying his show at the
Kunstmuseum Winterthur to a selection
of books recently published with artists
shown in Manifesta. For those who have
chosen tranquility, you will discover
our distinctive range of volumes: monographs dedicated to young voices as well
as art masters (from David Hominal
to Franz West); text books (in particular
the one dedicated to dance and drawing
since 1962); and artists’ books such as
those by Shirana Shahbazi and David
Maljković. Once again, you will have to
make a choice: to decide which one you
want to read first.
—Clément Dirié, Program Director
Including
Matt Mullican, Untitled (Behind That Person), 2011
Guillaume Bijl
Ian Cheng
Eva Kotátková
David Maljković
Dance & Drawing
Richard Tuttle
Shirana Shahbazi
Franz West
Matt Mullican
2Monograph
Matt Mullican
This substantial volume presents a
catalogue of the “Rubbings” realized by
Mullican from 1984 to 2016. It comprises
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.
From the beginning of his career,
Mullican (b. 1951) 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.
In this way, Mullican was able to transfer
complex representations onto canvas;
the result is a picture of something that
ca. 600 works, documented by images
and catalogue entries. The book is
introduced by Dieter Schwarz, curator
of the exhibition Matt Mullican: Nothing
Should Exist at the Kunstmuseum
Winterthur ( June–October 2016).
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 evident that
they represent the motives and themes
the artist worked with over the years.
Untitled (History over Opera House Surrounded by Signs and Flags), 1987
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
Untitled (Steamship Cutaway), 1984
Untitled (Subject), 2014
The sequence of the “Rubbings” appears
therefore like a diary of Mullican’s work.
3
FOR MULLICAN THE
RUBBING MEDIUM IS
A COMBINATORY
INSTRUMENT THAT
FACILITATES BOTH
REPRODUCTION AND
HARMONIZATION:
IN OTHER WORDS,
“MODULAR MIX AND
MATCH.”
—Dieter Schwarz
The Book: Matt Mullican - Rubbings. Catalogue 1984-2016
mullican
Untitled (Yellow Generator Room), 1986
Untitled (Subject over Element), 2015
rubbings
caTalOguE
1984–2016
Edited by
Dieter Schwarz
Author
Dieter Schwarz
English / German edition
June 2016
ISBN 978-3-03764-461-4
Hardcover, 175 x 235 mm
440 pages
Images 620 color
Published with Kunstmuseum
Winterthur
CHF 60 / EUR 50 /
GBP 38 / US 65
Eva Kotátková
4
Artist's Book
Eva Kotatkova
5
The 12th volume in our “Tranzit” series focusing
on Central and Eastern European artists, this
artist’s book by Eva Kotátková (b. 1982) is her
most ambitious publication to date, reflecting
her obsession with reshaping and hijacking
pre-existing photographic images. The title
makes this very clear: Pictorial Atlas of a Girl Who
Cut a Library into Pieces.
All images: Collages made between 2013 and 2015
The Book: Eva Kotatkova - Pictorial Atlas of a Girl Who Cut a Library into Pieces
Eva Koťátková
Obrazový atlas dívky, která
rozřezala knihovnu na části
Pictorial Atlas of a Girl Who
Cut a Library into Pieces
Obrazový atlas dívky, která
rozřezala knihovnu na části je
kniha, která není určena ke čtení,
poněvadž obsahuje jen nemnoho
slov. Autorka vede promluvu jako
pitvu vytěsněných i nalezených
obrazů, aniž by mluvila či užívala
jazyk. Rozparcelovává tělo, odděluje
údy, jež se kříží s domy nebo
ptačími křídly. Kostry podřízené
vnitřnímu řádu institucí, předloktí
pokračující jako podzemní labyrint,
ocelový plot vytěsňuje formu žeber.
Žádný celek není jednotný, drží
ho jen prozatímní a rozporné síly.
Různorodost obrazů je znakem
konfliktu forem i těl. Konfliktu
mezi pouhým životem a normami
společnosti či jejími disciplinárními
institucemi.
Rozpomnění se na traumatický
okamžik dětství. Příběhy či projevy
duševní jinakosti. Rituály a znaky
kulturní alterity. Kostry podřízené
vnitřnímu řádu institucí, odcizující
fetiše, solidarita mezi zvířaty, snová
práce, zrcadla, pravdivá promluva.
Recollections of the traumatic time of
childhood. Stories and manifestations
of spiritual otherness. Rituals and symbols
of cultural alterity. Skeletons subject to
the internal regulations of institutions,
alienating fetishes, solidarity among
animals, dreamwork, mirrors, truthful
discourse.
SKELETONS SUBJECT
TO THE INTERNAL
REGULATIONS
OF INSTITUTIONS
Pictorial Atlas of a Girl Who Cut a Library
into Pieces is a book that is not intended
to be read and contains but few words.
The artist does not speak or use language.
Instead, her discourse is like an autopsy
of displaced and discovered images. She
dissects the body and separates limbs that
intersect with buildings or birds’ wings.
Skeletons subordinate to the internal
regulations of institutions, forearms
stretching out like a subterranean
labyrinth, a steel fence describing the
form of ribs. No whole is unified but all
is held together simply by temporary and
contradictory forces. The heterogeneity
of the images is a sign of conflict between
forms and bodies, a conflict between life
at its most basic, and the norms of society
and its disciplinary institutions.
RITUALS AND
SYMBOLS OF
CULTURAL ALTERITY
Holub. Interspersed among the collages
are installation photographs and related
documentation.
The second volume, the textual part
of the publication, is the outcome of
three years of archive research: 22 sets
of regulations issued by public institutions
in Communist Czechoslovakia gathered
together under the title Institutional,
Operational, and Organisational Rules and
Regulations. 1961–1989. These sources
reflect the politics of the authoritarian
regime and raise educational and social
issues. The anthology includes the internal regulations of a zoological garden,
a psychiatric hospital, special-needs
schools, house rules, cemeteries, orphanages, and the post office, as well as many
ordinances, such as the Ordinance on
the Reporting of Persons Who Remain Abroad
Illegally from 1970.
267 koláží Evy Koťátkové v této
publikaci vznikalo mezi lety
2013 a 2015 paralelně s antologií
textů Institucionální, provozní
a organizační řády a vyhlášky
z let 1961–1989, která obsahuje
mimo jiné interní řád dětského
domova, zoologické zahrady,
hřbitova, nemocnice, pošty a řadu
vyhlášek, jako např. Vyhlášku
o hlášení osob, které se zdržují
v cizině nezákonně, z roku 1970.
STORIES AND
MANIFESTATIONS
OF SPIRITUAL
OTHERNESS
Divided in two volumes, it deals with
her interest in childhood, spiritual and
cultural otherness, the lives of animals,
and manifestations of conduct and
behavior, which she confronts with
the norms of disciplinary organizations.
The first volume of this publication
presents 370 recent drawings and collages,
a new body of work that has been compiled from an imaginary schoolbook from
the 1980s (when the artist was growing
up under the totalitarian Communist
regime). The images—which often feature
drawn embellishments by the artist—
largely consist of children playing games
or interacting with various other collaged
components, such as anatomical parts, or
being manipulated as puppets. Kotátková
thus dramatizes relationships between
people, ideas, and objects in elaborate
psychophysical dramas redolent of
the writings of Franz Kafka or Miroslav
The 267 collages by Eva Koťátková in this
publication were created between 2013
and 2015 in parallel with the anthology
of texts entitled Institutional, Operational
and Organisational Rules and Regulations
1961–1989. The anthology includes the
internal regulations of a children’s home,
zoological garden, cemetery, hospital and
post office, as well as many ordinances, such
as the Ordinance on the Reporting of Persons
Who Remain Abroad Illegally from 1970.
RECOLLECTIONS
OF THE TRAUMA OF
CHILDHOOD
KOTÁTKOVÁ’S
DISCOURSE IS AN
AUTOPSY OF
DISPLACED AND
DISCOVERED IMAGES.
SHE DISSECTS THE
BODY AND SEPARATES
LIMBS THAT
INTERSECT WITH
BUILDINGS OR BIRDS’
WINGS. THE
HETEROGENEITY OF
THE IMAGES IS
A SIGN OF CONFLICT
BETWEEN BODIES
AND FORMS: A
CONFLICT BETWEEN
BARE LIFE AND
THE NORMS OF
SOCIETY AND ITS
DISCIPLINARY
INSTITUTIONS.
—Vít Havránek
Edited by
Vît Havránek, Eva Kotatkova
Author
Eva Kotatkova
English / Czech edition
Available
ISBN 978-3-03764-361-7
Softcover, 170 x 240 mm
704 pages
Images 433 color
CHF 42 / EUR 35 /
GBP 28 / US 49.95
6
Sarah Burkhalter and Laurence Schmidlin (eds.)
Dance and drawing are intimately linked
to the gesture that performs them.
The dancing body creates a figure in space
and leaves an impact on site, while the
action of the artist sets a point into
motion and captures an ephemeral event,
which is then reproduced in graphic or
visual form. Throughout the 20th century,
the performing and visual arts have
converged on many occasions. As artists
investigated the embodied and energetic
value of form, dancers and choreographers experimented with the interfaces
between sign and action, annotation
and improvisation, a spatial sense of self,
and an architectural configuration of
movement. The hybridization of dance
and drawing accelerated from the middle
of the century onward, as performance
art introduced innovative practices,
and boundaries between disciplines
were worn thin, causing interdisciplinary
forms to emerge.
This new volume in our “Documents” series
examines the fruitful dialogue between dance
and drawing since the early 1960s. Edited by
Sarah Burkhalter and Laurence Schmidlin,
it includes texts by, among others, Catherine
Quéloz, Gabriele Brandstetter, Catherine Wood,
and Mark Franko, essays on Trisha Brown,
the Judson Dance Theater, Channa Horwitz, and
Anne Teresa De Keersmaeker, as well as exclusive
interviews with Yvonne Rainer, Robin Rhode,
Cindy Van Acker, and Robert Morris.
The body of the artist—whether a dancer
or a visual artist—is thus shared by these
practices and has become the instrument
of their simultaneous realization.
Drawing has indeed collided with dance
in opening up three-dimensional space,
and integrating surfaces (floor, ceiling,
walls) as well as volumes into its process.
These encounters are the focus of
this volume, a collection of original essays
and interviews in which the accounts of
theoreticians and practitioners echo each
other. It aims to evaluate and discuss
the specific interaction of the two media
and how their practices have diversified
since 1962, namely since the first public
performance of the Judson Dance Group
in New York.
The book follows I Love Thinking on my
Feet. Dance and Drawing Since 1962,
an international symposium held at the
University of Geneva in 2012.
Laetitia Legros, Entre un œil et l’autre, 2008
I TREATED THE
BODY AS A CHARGED
PSYCHOLOGICAL
IDENTITY THAT WAS
DIFFERENT IN THE
DIFFERENT WORKS.
THE DANCES
OFFERED THE
POSSIBILITY OF
EXPLORING IMAGERY
AND/AS IDENTITIES
NOT AVAILABLE
IN THE SCULPTURE.
—Robert Morris
7
The Book: Spacescapes - Dance and Drawing since 1962
Bill T. Jones, Paul Kaiser, and Shelley Eshkar, Ghostcatching, 1999
Partition by Auguste Frederick Ferrère, 1782
Sarah
Burkhalter
& Laurence
Schmidlin
[eds.]
Spacescapes:
Dance &
Drawing
Edited by
Sarah Burkhalter and Laurence
Schmidlin
Authors
Gabriele Brandstetter, Julie Enckell
Julliard, Mark Franko, Magali
Le Mens, Nadia Perucic, Catherine
Quéloz, Catherine Wood
October 2016
ISBN 978-3-03764-469-0 (English)
ISBN 978-3-03764-470-6 (French)
Softcover, 150 x 210 mm
256 pages
Images 30 b/w
CHF 27.50 / EUR 20 /
GBP 15 / US 29.95
Also available in the Documents series
Helena Almeida, Inhabited Drawing, 1975 (Courtesy of Leal Rios Foundation)
Dance &
Drawing
since 1962
Documents Series
Parachute: The Anthology
(1975–2000) [Vol. IV]
This fourth title of the Parachute
anthology focuses on so-called
“traditional and academic media.”
They are approached from several
perspectives: from new theories
of aesthetic production, especially
painting, to the expansion of the art
world into other artistic territories
during the 1980s and 1990s, from the
“lessons” of postmodernism to the
definition and exhibition challenges
caused by the proliferation of
installation art. The essays discuss
works by artists such as Lothar
Baumgarten, Mona Hatoum,
Guillermo Kuitca, Louise Lawler,
Reinhard Mucha, Jackson Pollock,
Robert Ryman, Michael Snow,
Sots Art artists, and include two
particularly seminal artist’s essays:
Dan Graham on Gordon MattaClark, and Jeff Wall on Édouard
Manet. Published with Les presses
du réel.
[ISBN 978-3-03764-418-8]
Exhibiting the Moving
Image & Cinema in the
Expanded Field
Published simultaneously, both
volumes offer case studies of
“exhibitions,” understood as events
whose singularities emerge through
the problematics they raise around
the formation and redefinition
of larger “exhibitionary complexes”:
the intention is to sketch alternative
archaeologies of film exhibitions,
and enrich their histories. In order
to define what constitutes a “film
exhibition,” Exhibiting the Moving
Image investigates the relationships
between the “white cube” and
the “black box,” focusing mainly on
the 1970s, a decade in which film
practices and moving images were
integrated into museums and art
spaces. Cinema in the Expanded Field
extends the inquiry into the history,
theory and practice of exhibiting
artists’ cinema, video, installation,
and advertising films by focusing
on the domains of performance and
of the “expanded arts.” Published
with Les presses du réel and ECAL,
Lausanne.
[ISBN 978-3-03764-388-4]
[ISBN 978-3-03764-433-1]
8
Excerpt from the publication
9
Sammler-Passstück, ca. 1979 (Courtesy Galerie Eva Presenhuber)
Franz West (Courtesy Franz West Privatstiftung, Wien)
A tribute to the long collaboration between
Franz West and Galerie Eva Presenhuber,
this volume offers a comprehensive overview
of the artist’s oeuvre, assembling extensive
documentation and rare archive material
on the numerous exhibitions they organized
together from 1995 until his death in 2012.
It is introduced by art theoretician and friend
of the artist, Max Wechsler.
Konsens, 1995 (Courtesy Galerie Eva Presenhuber)
at its core and was, accordingly, highpriestly in its manifestation. As a lover
and master of wit and irony, this really
was not Franz West’s ‘thing’ [ … ] From
the late 1980s, international success and
personal artistic development melded.
Each extended or newly developed form
of expression fitted self-evidently into
the previously developed idiom and was
integrated into the ongoing process.
Spaces and cabinets were created within
exhibitions, in which the works presented
themselves as installations or exhibitions
within the exhibition and commented
on each other. What Franz West undertook with his exhibitions, something that
could almost be defined as interactive,
was akin to a deconstruction of the world
in the form of the examination of its
physical perception while taking the
aspect of its psychological implications
into account.”
—Max Wechsler
The Book: Franz West - Galerie Eva Presenhuber, 95-15
Edited by
Eva Presenhuber
Authors
Max Wechsler
Ohne Titel, 2010 (Courtesy Galerie Eva Presenhuber)
Plakatentwurf (Salammbo), 2001 (Courtesy Franz West Privatstiftung, Wien)
“Without doubt, he was an odd bird, a
gifted idler, a Vienna man sui generis, and
eccentric par excellence. Franz West was
surrounded by the art world from an early
age. As a schoolboy he hung around the
main Viennese cafés and bars frequented
by artists, poets, men of letters, and
theater people. He was everywhere that
mattered, studied the major exhibitions
of new art, and, of course, attended
the legendary first actions of Viennese
Actionism. Although he was impressed
by the radical orgiastic stagings of these
alternative mystery plays, which usually
ended in tumult and chaos, being a mere
youth at the time he tended more than
anything to be disillusioned by them.
Despite the anarchic motivations behind
the performances of the artists working
with Otto Mühl and Hermann Nitsch,
the work appeared suspect to him as,
contrary to its vulgar appearance, the
ritualized spectacle had a messianic force
Ohne Titel, 2003 (Courtesy Galerie Eva Presenhuber)
I AM AGEING, I AM
LAZIER THAN I WAS,
AND CONSTANTLY
AWARE OF MORE AND
MORE MONSTROUS
NEWS THROUGH
THE MEDIA. I AM
SLOWLY BECOMING
INDIFFERENT
TOWARD IT AND
AM TRYING TO
MATERIALIZE THE
FORETASTE OF
THE ELYSIUM THAT
AWAITS ME IN
MY ART.
—Franz West, 2009
Franz West
Max Wechsler
English / German edition
June 2016
ISBN: 978-3-03764-427-0
Hardcover, 200 x 300 mm
224 pages
Images 135 color / 9 b/w
Published with Galerie
Eva Presenhuber
CHF 50 / EUR 40 /
GBP 30 / US 55
118
119
10
Excerpt from the publication
of contexts) and appropriation (of sensations, of intensities), from which bare
forms arise [ ... ] When David Hominal
continues, in his own way, various traditions—that of the Romantic landscape
of Caspar David Friedrich, the fantastic
expressionism of James Ensor, when
he thinks of Willem de Kooning and his
still lifes—it is essentially in terms
of their experimental aspects. Although
he ventures into different areas such as
Published on the occasion of his exhibition at the
Musée Jenisch Vevey, this first monograph on
David Hominal (b. 1976) offers an overview of his
practice, underlining his engagement with representation, expression of the Self, and the traditions
of art and art history.
David Hominal has been one of the most
original and vigorous voices of the contemporary art scene. Working primarily
with painting—principally in series—
he also explores sculpture, drawing, film,
printmaking, performance, and installation. His multifaceted work is the offspring
of an exceptionally intense relationship
with the world. It is a place where images
drawn from both personal and everyday
sources interact; where disciplines
such as dance, music, and the visual
arts converge.
11
the history of art, Sufi poetry, slam,
dance, and automatic writing, it is always
for good and bad reasons. He uses them,
some against and with others, like so
many viewpoints, vanishing points on
the world, never as specific value systems.
Far from claiming a single heritage
or education of one kind or another,
Hominal’s approach is above all physical
and chemical.”
—Stéphanie Moisdon
Ni le soleil ni la mort…, 2011 (Photo: Fabrice Seixas)
Untitled, 2014 (Photograph: Julien Gremaud)
“Hominal’s oeuvre stands firm in the
middle of the contemporary tumult;
it neither reveals nor conceals any hidden
part. It stands there, in the entire coarseness of its appearance. No tongue-incheek humor, no false flooring, illusion,
or trickery. His painting expresses only
what it shows, diverting the endeavors,
as tiring as they are many, to clarify
and reveal [ ... ]. In his work there is a
constant oscillation between homage and
dismantling, between too much and too
little, between elimination (of sources,
Exhibition view, kamel mennour, Paris, 2015 (Photo: Fabrice Seixas)
FOR DAVID HOMINAL
AND THOSE WHO
ACCOMPANY HIM
ON THIS ADVENTURE
WHICH IS AS
BEAUTIFUL AS IT IS
DISGUSTING,
THERE WILL BE
NO GOLDEN AGE,
NOR A GREAT
EVENING, BUT
A HOLE IN WHICH
ALL EXCESSES
ARE ALLOWED,
INCLUDING THOSE
OF REGRESSION.
—Stéphanie Moisdon
David Hominal
Stéphanie Moisdon
DAVID HOMINAL
IS FIRST AND FOREMOST A PAINTER.
HE DEVOTES
HIMSELF TO IT
UNRESERVEDLY. HIS
OEUVRE IS MARKED
BY A CYCLICAL
ECONOMY, FROM
REPETITION
TO MULTIPLICATION,
FROM REPRODUCTION TO CROSSREFERENCING
BETWEEN MEDIA.
—Laurence Schmidlin
The Book: David Hominal
Edited by
Laurence Schmidlin
Authors
Stéphanie Moisdon
Laurence Schmidlin
Sunflowers 4, 2010 (Photograph: Charles Duprat)
Available
ISBN 978-3-03764-463-8 (English)
ISBN 978-3-03764-464-5 (French)
Hardcover, 205 x 286 mm
64 pages
Images 50 color
Published with Musée Jenisch,
Vevey
CHF 32 / EUR 25 /
GBP 19 / US 35
UNTITLED , 2015
L’ALMANACH 14 , Le Consortium, Dijon, 2014
UNTITLED , 2015
40
41
->
12
Text by Reinhard Braun
Shirana Shahbazi
Monstera
Shirana Shahbazi’s oeuvre reflects
an ongoing interest in the relationship between images, their surfaces,
and their objecthood, as well as
between the various artistic media
and their apparently iconic qualities.
Her pictures range from color field
abstractions to ephemeral holiday
snapshots. This publication showcases Shahbazi’s recent work, which
has been taken to a compelling new
level of abstraction, culminating
in the free disposition of colors and
geometric forms. Shahbazi stages
these geometrical forms, not on
a computer screen, but by arranging
and staging real geometric bodies
of color in her studio—as though
for a still life—and by then photographing them from different
perspectives. Her production style
is pivotal not only for the brilliance
of color; it is evident in delicate
details such as double exposures
or intriguing effects of depth.
Each composition allows for nuanced
readings, oscillating between the
two and three-dimensional, between
representation and abstraction.
Published in collaboration with
the Kunsthalle Bern.
[ISBN 978-3-03764-400-3]
Shirana Shahbazi’s latest photo-book project from
October 2015 is a subjective road movie captured
from a car driving through the Iranian capital
at night. Tehran North offers a black and white
kaleidoscopic vision of Tehran’s urban landscape
by a Tehran native born in 1974, who arrived in
Europe at the age of 11.
SHIRANA SHAHBAZI’S
WORK CANNOT BE
PINNED DOWN
TO ANY SPECIFIC
VISUAL CONTEXT,
GENRE, TECHNIQUE,
OR AESTHETICS.
HER PATH FROM
DOCUMENTARY TO
SEEMINGLY
ABSTRACT IMAGES
AND STUDIO
PHOTOGRAPHY
REVOLVES AROUND
A COHERENT
ENGAGEMENT WITH
WHAT MIGHT
BE CALLED
AN EQUALITY OF
APPEARANCE.
—Reinhard Braun
“Tehran North is a veritable film noir,
a road movie at night; it traverses a
megacity that, although introduced by
the title of the publication as remote and
unknown, especially as it locates itself
in a particular area of the Iranian capital
city, seems to be as common as others.
Suburbs, illuminated shops, highways,
street signs, shrubbery, facades, luminous
billboards wiped of information vanish,
either into darkness or into bright light,
slipping away from any decisive representation. These are fragile encounters,
perception shaped by uncertainty, uncanny
encounters that clash with everyday
banality. All exoticism is suppressed,
as any sense of mystery is undermined.
Both an inventory and a construction,
at once highly artificial and generic,
Tehran North ends with almost unidentifiable forms and almost slides into darkness. But this is not a statement about
an end; it is an introduction to all the
other possible images to follow, perhaps
seemingly inappropriate, but nonetheless
coherent in refusing the impropriety
of any image to join in.
All images: Tehran North, 2005
Shirana Shahbazi’s work cannot be pinned
down to any specific visual context, genre,
technique, or aesthetics. Her path from
documentary to seemingly abstract
images and studio photography revolves
around a coherent engagement with
what might be called an equality of
appearance. Within her body of work she
demonstrates exemplarily how it is possible to bridge apparent contradictions,
leaps, and fissures within ostensibly
disparate regimes of photography thanks
to a montage that constellates photographs that might otherwise not be
associated because such a combination
might not seem appropriate. Avoiding
an understanding of photography driven
by separating one image in contrast to
another Shirana Shahbazi seems instead
to constantly track one picture within
another, inscribing the one image into the
other, exploring the gaps in the one
in relation to the presence of the other.”
—Reinhard Braun, Camera Austria editor
13
Also available
Shirana
Shahbazi
Artist's Book
The Book: Shirana Shahbazi - Tehran North
Edited by
Manuel Krebs, Shirana Shahbazi
English edition
Available
ISBN: 978-3-03764-467-6
Hardcover, 199 x 300 mm
96 pages
Images 96 b/w
CHF 32 / EUR 25 /
GBP 19 / US 35
14
Sources in the Air was published on
the occasion of David Maljković’s
three-part exhibition at the Van
Abbemusem, Eindhoven; BALTIC
Centre for Contemporary Art,
Gateshead; and GAMeC, Bergamo.
Including films, sculpture, collage,
and installations from the past ten
years, Sources in the Air was the
artist’s most comprehensive survey
exhibition to date. Architecturally
reconfigured and restaged at each
of the three venues, Sources in the Air
expanded on Maljković’s recent
interest in exhibition strategies and
the semiotics of display.
The publication, which includes
a commissioned essay by Anselm
Franke alongside texts from the
curators of each of the three venues,
serves as the link between each of
the exhibition’s iterations. Lavishly
illustrated, it examines the political,
aesthetic, and scenographic threads
deployed within Maljković’s practice, assessing the move from a finely
balanced projection of the varying
legacies of international modernism,
to a series of encounters staged
between viewer, artwork, artist, and
institution.
[ISBN 978-3-03764-307-5]
This new artist’s book by David Maljković
(b. 1973) constitutes an emblematic case study
of his practice and obsessions.
In Low Resolution is centered on his landmark work Out of Projection (2009–2015),
which unfolds through related projects,
archives, documentation, and film stills.
For the past 15 years David Maljković
has been fascinated with the French car
company Peugeot and its futuristic
“concept cars” conceived in the 1980s
to modelize what the car industry would
look like in the 2000s—now evidence
of a long outdated belief in progress
and technology. In his film, shot at the
Peugeot headquarters and research
campus in Sochaux (eastern France),
automobile prototypes accompanied
by now-retired former employees unfurl
before us, serving as symbolic links
between past and future, and giving us
an insight into our complex contemporary relationship with past forms, time,
and space. Maljković’s work, which
includes films, sculpture, collage, and
installations, develops a critical enquiry
into the legacies of modernism, in
particular through the architectural
symbols and sculptural forms of former
socialist Yugoslavia and Eastern Europe.
He investigates these remnants from
the past in relation to the present, but
also in terms of their potential—real
or fictional—in an imminent or distant
future, at the crossroads between
science fiction and a documentary film.
The artist is also particularly interested
in exhibition strategies and the semiotics
of display.
Reference Monograph
First published in 2011, this monograph was the
first book available on Guy de Cointet (American,
b. France, 1934–1983) revealing his unique position within the visual art world of the 1970s and
1980s. It is newly available in a revised edition.
Pr
int
Ch
Ch
Ch
Ch
Co
af
Bio
Guy de Cointet, 1980
Guy de Cointet was fascinated with
language, which he explored primarily
through performance and drawing.
His practice involved collecting random
phrases, words, and even single letters
from popular culture and literary
sources—he often cited Raymond
Roussel’s novel Impressions of Africa as a
major influence—and inserting these
elements into non-linear narratives,
later presented as plays to an audience.
He is recognized as one of the most
important, if overlooked, figures of
the 1970s Conceptual art in California,
having strongly influenced a number
of prominent artists associated with the
Los Angeles artistic scene, including
Paul McCarthy and Mike Kelley, for whom
both drawing and performance weigh
significantly in their practices. This reference monograph gathers together a large
number of works, performance photographs, and documents, and includes
a retrospective essay by art historian and
critic Marie de Brugerolle, as well as
a preface by Larry Bell, a friend of the
artist, and an afterword by psychoanalyst
Gérard Wajcman.
Going To The Market, Cirrus Gallery, Los Angeles, 1975
The Book: David Maljkovic - In Low Resolution
15
Guy de Cointet, 1980
Also available
David Maljković
Sources in the Air
David Maljković Guy de Cointet
Artist's book
A SHAPED PAINTING
WITH COLORFUL
EDGES, AND A PLAIN
WHITE BACKGROUND
COVERED AT
RANDOM WITH
BLACK LETTERS.
AT RANDOM? MAYBE
NOT. DEFINITELY
NOT … THE
PERFORMER, IN JUST
A FEW MINUTES,
WILL UNRAVEL THE
WHOLE STORY
CONTAINED IN THE
PIECE. THE
PAINTING HANGS ON
THE WALL.
—Stage directions for
Going To The Market, 1975
The Book: Guy de Cointet
Edited by
David Maljkovic
Edited by
Clément Dirié
Authors
Julien Fronsacq, François Piron
Authors
Marie de Brugerolle, Larry Bell,
Gérard Wajcman
English / French edition
September 2016
ISBN 978-3-03764-472-0
Softcover, 200 x 295 mm
80 pages
Images 90 color
Published with the Festival
d'Automne a Paris
CHF 32 / EUR 25 /
GBP 19 / US 35
Second edition (revised)
September 2016
ISBN: 978-03764-477-5 (English)
ISBN: 978-03764-478-2 (French)
Hardcover, 170 x 240 mm
160 pages
Images 74 color /26 b/w
Published with the Guy de Cointet
Society
CHF 39 / EUR 32 /
GBP 26 / US 45
My husband left me, circa 1978
Graphite and colored pencil on arches paper, 65 × 101.7 cm
Ericka Beckman, Switch Center, 2002, 16 mm film, 12’
(Courtesy of the artist)
JUST PUBLISHED: ERICKA BECKMAN. THE RETROSPECTIVE MONOGRAPH [ISBN 978-3-03764-421-8]
18
Guillaume Bijl
Reference Monograph
Essay by John C. Welchman
Born in 1946 in Antwerp (Belgium),
self-taught artist Guillaume Bijl is mostly
recognized for his alternative take on
conceptual art, his desire to directly
engage the viewer, and his Transformation
Installations started in the late 1970s.
In these works he realizes meticulous
imitations of everyday realities in galleries and museums, mainly focusing on
trade and exchange locations—whether
in commodities, information, or skills.
One of his most famous pieces is his
groundbreaking Lustrerie Média installation shown at Art Basel in June 1984 for
IN MY
INSTALLATIONS
THE AUDIENCE
BECOMES A SORT OF
THEATER ACTOR,
WITHOUT KNOWING
IT EXPLICITLY.
I CREATE A TROMPEL’OEIL SITUATION.
I WORK IN THE
FIELD OF FICTION
AND REALITY.
—Guillaume Bijl
Also available in the Reference Monograph series
Guillaume Bijl
This new reference monograph is the offspring of
the encounter between Belgian artist Guillaume
Bijl and American art historian John C. Welchman.
Welchman’s comprehensive essay offers a unique
study of Bijl’s work, exploring almost four decades
of a stimulating reflection on and synthesis of our
current times.
Compositions Trouvées, and Sorry bodies
of work. Precisely described and analyzed, Bijl’s practice is also studied in
the global contemporary art context and
compared to those of a wide range of
American and international artists.
Grounded in and marked by a number of
economic, social, and cultural conditions,
his works are a stimulating reflection
and synthesis of our current times.
As John C. Welchman writes: “Bijl’s work
made important contributions to many
of the issues addressed by the Western
neo-avant-garde art world from the 1970s
to now—questions about performativity
and spectacle; elitism and ‘lowness’;
19
simulation and ‘commodity art’; lifescaled corporeality and the uncanny;
appropriation, archives and the postmodern readymade; negotiations with selfhood and artifice; and the tension between
work situated in art institutional and
public spaces.”
Guillaume Bijl has been active as
an artist since the mid-1970s. He has
exhibited worldwide since the 1980s and
has participated, among other shows,
in the Venice Biennial in 1988 and 2009,
documenta IX (Kassel) in 1992, the
Istanbul Biennial in 2013, and Münster
Skulptur Projekte in 2007. He is participating in Manifesta 11 in Zurich in
summer 2016.
which he transformed the entire booth of
his gallery into a light shop.
Bijl’s practice is however much richer and
more diverse and largely goes beyond this
landmark series. This reference monograph thus reveals the scope of his thinking and art over the last four decades.
Built around a comprehensive essay by
John C. Welchman entitled “Jumps of the
Cat: Guillaume Bijl’s Simulation Therapy,”
the book spans the early Treatments
(1975–1978), the on-going Transformation
Installations, Situation Installations,
Kader Attia
This monograph gives a comprehensive overview of the variety and
scope of the research carried out
by Kader Attia (b. 1970) over the past
15 years, using media as varied as
installation, video, photography,
and collage. It highlights the unique
and powerful ways in which Attia
addresses the global entanglement
of culture, politics, and identity.
His artistic research is informed by
his own experience of moving back
and forth as a child between France
and Algeria, between the Christian
Occident and the Islamic Maghreb,
and later by his years spent in
Venezuela and the Congo. His work
tackles, in a very explicit yet poetic
way, the entangled relationship
between Western thought and
non-Western cultures, particularly
through architecture, the human
body, history, culture, and religion.
Essays by Noémie Étienne, Kobena
Mercer, and extensive interview
with the artist by Monique JeudyBallini and Brigitte Derlon.
Published with MCBA, Lausanne.
[ISBN 978-3-03764-412-6]
Sylvie Fleury
Autorijschool Z, Antwerp, 1979
The Book: Guillaume Bijl
Guillaume
Bijl
Edited by
Clément Dirié
Author
John C. Welchman
Lustrerie Média, Art Basel, 1984
Archaeological Site (Münster Skulptur Projekte), 2007
English edition
August 2016
ISBN 978-3-03764-468-3
Hardcover, 237 x 286 mm
160 pages
Images 200 color
CHF 50 / EUR 40 /
GBP 30 / US 55
John C.
Welchman
Known in the 1990s for her misesen-scènes of glamour and luxury
products, Sylvie Fleury (b. 1961)
demonstrates a detailed knowledge
of Pop and Minimal aesthetics.
An affirmation of consumer society
and its superficial values, the work
simultaneously offers a different
reading: by blurring codes and
organizing the contamination of
one sphere by another (the masculine
world by the feminine, fashion
by art or advertising), it also appears
provocative and political. In that
sense, her work reflects and anticipates her epoch just as it participates
in it. From her early “shopping bag”
installations to her exploration of
car culture, she has developed a
formal idiom far more complex and
disconcerting than many of her
contemporaries. In her attempt to
come to terms with the fetishistic
attachment to material goods,
Fleury turned to magic light phenomena. These works from the
2000s are presented together for
the first time with her classic pieces
from the 1990s. Published with the
Société des arts, Geneva.
[ISBN 978-3-03764-428-7]
20
Richard Tuttle
From our backlist
21
Cloth, 2002–2005
Richard Tuttle at JRP | Ringier’s office, Zurich
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
Richard Tuttle
Since the 1970s, in collaboration with renowned
printers and publishers, Richard Tuttle (b. 1941)
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 procedures. Prints, published with the Bowdoin College
Museum, is the first monograph on Tuttle’s
printmaking. Edited by Christina von Rotenhan,
this volume introduces not only the artist’s
approach to printmaking with scholarly essays and
catalogue entries for selected prints between 1973
and the 2010s, but also reveals Tuttle’s deep interest in the collaborative nature of printmaking.
to accentuate the performative aspect
of experimental cinema and video. Tuttle
likes to ‘perform’ printmaking and to
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.”
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
The Book: Richard Tuttle - Prints
Edited by
Christina von Rotenhan
Richard Tuttle | Prints
Christina von Rotenhan
Bowdoin College Museum of Art
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
22
Ian Cheng
Migros Museum für Gegenwartskunst series
Ian Cheng (b. 1984) explores the nature
of mutation and people’s capacity to relate
to change. Drawing on principles of
video game design, improvisation, and
Darwinian brutality, Cheng has developed so-called “live simulations,” virtual
living ecosystems that begin with basic
programmed properties, but that are left
to evolve without authorial control or aim.
His simulations model the dynamics of
often-imaginary organisms and ecologies,
but do so with the unforgiving causality
found in nature itself. Cheng, who studied
Liz Magor (b. 1948) is one of the most
important Canadian artists of her generation, and certainly its most influential
sculptor of the past 30 years. This publication offers an in-depth exploration
of the sculpture and installations she has
produced over the course of 40 years.
It emphasizes the thematic and emotional
range of her practice. From the mental
and physical contexts of retail consumerism to the spaces of the museum to the
private, interior worlds of addiction and
desire, Magor’s oeuvre has consistently
cognitive science at the University of
California, Berkeley, describes his simulations as akin to a “neurological gym”:
a format for viewers to deliberately exercise the feelings of confusion, anxiety,
and cognitive dissonance that accompany
the experience of unrelenting change.
The publication offers a complete
visual overview of the Migros exhibition
as well as texts by Raphael Gygax, Ian
Cheng, and Franziska Bigger, and an
anthology of texts on human consciousness selected by the artist.
combined a high level of conceptual and
procedural rigor with the intense investigation of materials, ranging from twigs
and textiles to rubber and polymerized
gypsum. The book focuses on the richly
layered nature of Magor’s practice—
extraordinary in its tendency to meld
multiple references to cultures of display,
compulsion, and consumption, making
the case that this visual and emotional
richness is one of the reasons why Magor
is one of the most intriguing conceptual
artists of her generation.
Toys Redux—An Anthology on Play as Critical Action
Migros Museum für Gegenwartskunst
Toys
Redux
An Anthology
on Play as
Critical Action
Toys Redux
Gathering together works by Cory
Arcangel, Alex Bag & Patterson
Beckwith, Judith Bernstein, Vittorio
Brodmann, Marvin Gaye Chetwynd,
Simon Denny, Harun Farocki, Tabor
Robak, and many others, this publication brings together artists who
use formats and imagery from popular culture usually addressed to children or teenagers. The adoption of
such motifs disseminated in specific
entertainment formats should not
be seen merely as a reference to
(or appropriation of) popular culture:
it becomes an implicit (or explicit)
critique of a kind of capitalist production of consumer worlds that
have also infiltrated the field of art
for quite some time. Published with
Migros Museum für Gegenwartskunst,
Zurich. [ISBN 978-3-03764-424-9]
Ragnar Kjartansson
Being This, 2012
English edition
June 2016
ISBN 978-3-03764-471-3
Hardcover, 173 x 235 mm
140 pages
Images 64 color
Published with the Migros Museum
für Gegenwartskunst, Zurich
CHF 48 / EUR 40 /
GBP 30 / US 49.95
With essays by Raphael Gygax &
Judith Welter, Esther Buss, Hans Ulrich
Reck, Alexander R. Galloway
This monographic publication accompanies
the Liz Magor retrospective exhibition organized
by the Musée d’art contemporain in Montreal,
the Migros Museum für Gegenwartskunst
in Zurich, and the Kunstverein in Hamburg.
Emissary Forks For You, 2016
Authors
Franziska Bigger, Ian Cheng,
Raphael Gygax
Cory Arcangel, Alex Bag & Patterson
Beckwith, Judith Bernstein, Vittorio
Brodmann, Marvin Gaye Chetwynd,
Simon Denny, Harun Farocki, Jan Peter
Hammer, Nic Hess, Danny McDonald,
Dawn Mellor, Claus Richter, Tabor Robak,
Timur Si-Qin, Michael Smith, Lily van
der Stokker, Julia Wachtel, Hannah
Weinberger
Stemming from his recent exhibition at the
Migros Museum für Gegenwartskunst, this
monographic publication delivers an exploration
of Ian Cheng’s recent “live simulations,” and the
state of human consciousness in the digital era.
The Book: Ian Cheng - Forking at Perfection
Edited by
Raphael Gygax
23
Also available
Emissary Forks at Perfection, 2015–2016
CHENG IS LESS
INTERESTED IN
TECHNOLOGY
PER SE, OR IN THE
PERSPECTIVE OF
INFORMATION
TECHNOLOGY OR
PROGRAMMING,
AND MORE IN HOW
SUCH TECHNOLOGY
CAN BE USED
TO EXPLORE
ANTHROPOLOGICAL
QUESTIONS
AND ISSUES OF
COGNITIVE SCIENCE.
—Raphael Gygax
Liz Magor
Migros Museum für Gegenwartskunst series
In his performances the Icelandic
artist explores not only his own
physical and psychological limits
and the essence of early performance
art, but also the artist’s status and
the different images of his role.
This book unites for the first time
all of Kjartansson’s works related to
music made between 2001 and 2012.
With contributions by Philip
Auslander, Heike Munder, Markús
þór Andrésson, and a conversation
between Edek Bartz and Ragnar
Kjartansson. Published with the
Migros Museum für Gegenwartskunst,
Zurich. Second edition.
[ISBN 978-3-03764-423-2]
The Book: Liz Magor
Edited by
Dan Adler, Lesley Johnstone,
Heike Munder, Bettina Steinbrügge
Authors
The editors, Liz Magor, Géraldine
Gourbe, Ian Carr-Harris, Corin
Sworn, Chris Sharp, Isabelle
Pauwels, Trevor Mahovsky
English / German edition
Fall 2016
ISBN 978-3-03764-474-4
Hardcover, 208 x 275 mm
256 pages
Images 150 color
Published with the Migros Museum
für Gegenwartskunst, Zurich
CHF 58 / EUR 53 /
GBP 37 / US 59.95
24
Heimo Zobernig has been viewed as
a key figure of the Austrian art scene
since the early 1980s. His oeuvre
explores themes of minimalism, the
historical loading of the opposition
of figuration and abstraction, and
the problem as to what art is or can
be—its outward form and function.
Published on the occasion of the
exhibition program held by the
Kunsthalle Zurich at the Museum
Bärengasse (where it was temporarily located in 2011–2012), this
publication attempts to transform
Zobernig’s exhibition, treated as a
retrospective—it showed a crosssection of Zobernig’s artistic oeuvre
from 1985 to the present—into
book form. In keeping with the
rooms of the Museum Bärengasse,
built in 1670, the works selected for
presentation focused on the themes
of furnishing and light, and played
with the domestic interior of the
formerly residential buildings.
Closing the window shutters of the
two early Baroque houses, Zobernig
submerged the exhibition spaces
in the red light of his work ohne Titel
(1994). In so doing, concepts such
as “display,” “installation,” “setup,”
and “representation,” as well as
“site-specificity” in relation to the
idiosyncratic context of the spaces,
were opened up to discussion
and confronted with a traditional
understanding of the installation.
Edited by Beatrix Ruf, the publication includes an essay by Gregor
Stemmrich that not only reflects the
exhibition ohne Titel (in Red), but
also provides an insight into Heimo
Zobernig’s practice and his concerns
in general. Published in collaboration
with the Kunsthalle Zurich.
[ISBN 978-3-03764-235-1]
Here is a selection of books published with artists
exhibited in Manifesta and elsewhere in Zurich,
as well as our KiöR series, which is closely linked
to the city of Zurich.
25
E RÄUME
MIT KUNST URBAN UCH
HANDB
GESTALTEN – EIN
Löwenbräu, Zurich
Also available
Heimo Zobernig
ohne Titel (in Red)
100 years after the first Dada experiments at the
Cabaret Voltaire, Zurich will once again be filled
with art in the Summer of 2016 thanks to
Manifesta 11, the European touring biennial held
all around the city from June 11 to September 18,
2016. Entitled What People Do for Money–Some Joint
Ventures, one of its main venues is the Löwenbräu,
where most of the new commissions and The
Historical Exhibition: Sites Under Construction are
presented.
Publications to accompany Manifesta and other events in Zurich
Also available
Courtesy LUMA Foundation (Photo: S. Altenburger)
Events
schwarzescafé @
LUMA Westbau
by Heimo Zobernig
Manifesta 11 &
Art in Zurich
From our backlist
At Manifesta (Löwenbräu)
Yto Barrada
Paulina Olowska
Jean-François Chevrier, Juan Goytisolo,
Marie Muracciole, Sina Najafi
Softcover, 237 × 286 mm, 160 pages
[ISBN 978-3-03764-202-3]
Adam Szymczyk, Jan Verwoert
Softcover, 237 × 286 mm, 160 pages
[ISBN 978-3-03764-287-0]
Susan Hiller
The Provisional Texture of Reality.
Selected Talks and Texts, 1977–2007
Ed Ruscha
Huit textes. Vingt-trois entretiens.
1965–2009
Softcover, 150 × 210 mm, 256 pages
[ISBN 978-3-905829-56-3]
Softcover, 145 × 225 mm, 240 pages
[ISBN 978-3-03764-089-0]
In Zurich
KiöR series
4 volumes
Since the turn of the millennium,
Zurich has been undergoing a
radical urban transformation: former
industrial areas have been converted
into residential neighborhoods in
order to accommodate the growing
population. In 2006 Zurich’s City
Council founded a strategic committee to establish a public art program related to the city’s development. The Arbeitsgruppe für Kunst
im öffentlichen Raum (Working
Group for Public Art) has established
many projects and initiatives including, in 2011, a research project
launched to discuss the different
forms that public art can take.
Also started in 2011, the KiöR series
offer an extensive overview of the
ideas and outcomes from projects
and symposia focusing on the field
of public art in Switzerland as well
as abroad. The four volumes raise
a compendium of questions that
are worth fundamental consideration
when thinking about art in public
spaces. What is society’s responsibility toward art in public? How do
the changes in the context of art
production also modify the relationship between site and art, art and
audience? How do city marketing
and art relate to each other? Why
do we need unused spaces and a
participatory platform for discussing the use of public spaces?
Thanks to numerous examples
and case studies, the books serve
as handbooks, propose guidelines
for good practice, and provide food
for thought to all those who wish
to engage with this topic, whether as
artists or curators, private sponsors,
city officials, or citizens.
Vol. 1: Wohin mit der Skulptur?
Fallbeispiel Fanfare
[ISBN: 978-3-03764-182-8]
Vol. 2: Ruhestörung – Ein Symposium
[ISBN: 978-3-03764-183-5]
Hans Arp
Ovi Bimba
Walead Beshty
33 Texts: 93,614 Words: 581,035 Characters
Selected Writings (2003–2015)
Schwitters, Arp, Miro, Hauser & Wirth,
June 12–September 18, 2016
Hardcover, 238 × 306 mm, 104 pages
[ISBN 978-3-03764-297-9]
Walead Beshty, Galerie Eva Presenhuber,
June 12–August 27, 2016
Softcover, 150 × 210 mm, 336 pages
[ISBN 978-3-03764-442-3]
Armin Linke
Il Corpo dello Stato
Jiří Skála
One Family of Objects
Giorgio Agamben
Softcover, 210 × 255 mm, 128 pages
[ISBN 978-3-03764-080-7]
Adam Szymczyk, Jan Verwoert
Softcover, 160 × 235 mm, 120 pages
[ISBN 978-3-03764-113-2]
Vol. 3: KUNST + STADT
[ISBN: 978-3-03764-340-2]
Vol. 4: Stadt auf Achse.
Mit Kunst urbane Räume gestalten
[ISBN: 978-3-03764-453-9]
All published with the City of
Zurich.
26
Also available
Jef Cornelis
documenta 4, 1968
[ISBN 978-3-03764-257-3]
Jef Cornelis
documenta 5, 1972
[ISBN 978-3-03764-258-0]
Jef Cornelis
Summer of 1966, 1966
[ISBN 978-3-03764-323-5]
Jef Cornelis
13th Biennale de Paris,
1985
Sonsbeek
(1971, 1986)
Expanding its mapping of landmark exhibitions
and curatorial history from the 1960s to today,
the “Archives” series dedicates its fifth DVD
to Sonsbeek, an art manifestation held in 1971
and 1986 in and around Arnhem (Netherlands).
Mainly showcasing large installations
and sculptures in natural surroundings,
these two events are crucial to the history
of outdoor exhibitions, shifting the
boundaries of traditional sculpture.
Held six years before the first Sculpture
Projects Münster (1977), “Sonsbeek 1971,”
curated by Wim Beeren, questioned
the traditional concept of sculpture and
exhibition, introducing film and video,
and environmental art—notably through
the now canonical examples of Robert
Smithson, Panamarenko, and Claes
Oldenburg. Fifteen years later, “Sonsbeek
1986,” curated by Saskia Bos, proposed
another rethinking of the exhibition
by offering the visitor a “scattered experience.” The artworks were exhibited
in specially designed glass pavilions
throughout Sonsbeek park. Presenting
the actuality of “new sculpture,” the show
brought together works by Katharina
Fritsch, Michael Asher, Luciano Fabro,
Ettore Spalletti, Thomas Schütte,
Jan Vercruysse, Reinhard Mucha, Mario
Merz, and James Casebere.
Filmed by Jef Cornelis with his habitually
acute sense of dramaturgy and his
provocative mise-en-scène of theoretical
conflicts, “Sonsbeek Buiten de Perken”
(1971) and “Spaziergaenger mit Hund–
Sonsbeek” (1986) constitute a unique
moving image documentation of those
pioneering art events that renewed
the exhibition format.
[ISBN 978-3-03764-360-0]
The DVD: Sonsbeek (1971, 1986) - A New Standard for Outdoor Exhibitions
Making Jef Cornelis’ exceptional
cinematographic archive available,
the “Archives” DVD series focuses
on landmark exhibitions that have
shaped curatorial history
in the
second half of the 20th century.
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 mainly worked for VRT,
the Flemish Belgian national
television. He realized more than
200 films, especially on architecture,
literature, and the arts.
Jef Cornelis
Edited by
Clément Dirié
Authors
Yves Aupetitallot, Jef Cornelis
English / French edition
September 2016
ISBN 978-03764-447-8
DVD Multizone, 70',
with a 24-page booklet
Published with Argos-Centre
for Art and Media, Brussels
CHF 38 / EUR 25 /
GBP 17 / US 35
Kunstgriff
Shop27
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28
Tony Oursler
The Archives of Tony Oursler
Artist Tony Oursler has amassed a vast
personal archive of objects and ephemera
relating to magic, the paranormal, film,
television, phantasmagoria, pseudoscience,
and technology.
Tony Oursler
Works 1997–2007
While Oursler’s position as a forerunner of video art is well established, his two-dimensional works
have always been an essential part
of his creative process. He describes
his drawings and works on paper
as a series of perceptions, scenes,
delusions, and diagrams that are a
free association of ideas and themes
informing his work in video. A diary
of his conceptualization process,
this volume elucidates how Oursler
uses drawing, painting, and collage
as a means of remembering, associating, or layering thoughts. The
studies, sketches, and panels
explore the supernatural, methods
of mass communication, the history
and development of media technology, and their effect on the human
psyche. This book, edited by Lionel
Bovier and published with Lehmann
Maupin Gallery (New York/Hong
Kong), offers a chronology of
Oursler’s two-dimensional work
over the past ten years, showcasing
his early paintings, painting on
sculpture, painting with collage,
and the combination of video with
the painted panel.
[ISBN 978-3-905829-25-9]
manuscripts, rare books, letters, and
objects. Additional topics include stage
magic, thought photography, demonology, cryptozoology, optics, mesmerism,
automatic writing, hypnotism, fairies,
cults, the occult, color theory, and UFOs.
Linking these wide-ranging materials
is Oursler’s underlying interest in belief
systems and human nature—the suspension of disbelief, or perhaps just our
propensity to believe. The material in
Oursler’s collection broadens recent
explorations of technology and mystical
cultural production, investigating the
relationships between science, pseudoscience, religion, and the occult with
visual and archival documents that demonstrate the power of images to carry
and challenge our most cherished beliefs.
Poster, ca. 1920s (photo: Jason Mandella)
For Oursler, the archive functions as an
open visual resource, historical inquiry,
and—most intriguingly—a family
history. One of the collection’s many
digressions is the friendship between
the artist’s grandfather Charles Fulton
Oursler—a famous early 20th-century
author and publisher—and magician and
escapologist Harry Houdini, their joint
campaign against fraudulent mediums,
and a historic interaction with Arthur
Conan Doyle, who, beyond his Sherlock
Holmes series, was an important advocate
for spiritualism and the paranormal.
This publication, released in
conjunction with a major exhibition of
Oursler’s archive at the LUMA Foundation
in Arles, features up to 2,500 objects
including photographs, prints, historic
Tony Oursler, born in New York in 1957,
works in video, sculpture, installation,
performance, and painting. His work
has been exhibited worldwide at
documenta VIII and IX, Kassel,
Germany; The Museum of Modern Art,
New York; Whitney Museum of American
Art, New York; Centre Georges
Pompidou, Paris; Carnegie Museum
of Art, Pittsburgh; Skulptur Projekte
Münster; Museum Ludwig, Cologne;
Hirschhorn Museum, Washington,
DC; and Tate Liverpool. The artist lives
and works in New York City.
EXHIBITIONS 2016
Tony Oursler: Imponderable, The Museum
of Modern Art, New York, June 18,
2016–January 1, 2017
Dr. R. L. Noran, ca. 1978 (photo: Jason Mandella)
Hypnottist entrances young men on stage, mid-20th century (photo: Elisabeth Bernstein)
Imponderable: The Archives of Tony Oursler,
Center for Curatorial Studies at Bard
College, Annandale-on-Hudson,
New York, June 24–October 30, 2016
29
Also available
Book cover, 1930 (photo: Jason Mandella)
BIOGRAPHY
New edition
The Book: The Archives of Tony Oursler - Imponderable
Edited by
Tom Eccles, Maja Hoffmann,
Beatrix Ruf
Authors
Jordan Bear, Karen Beckman,
Noam Elcott, Tom Gunning,
Branden W. Joseph, Peter Lamont,
Fred Nadis, Stephanie O'Rourke,
Pascal Rousseau, Jim Steinmeyer,
Christopher Turner
New edition
English edition
June 2016
ISBN 978-3-03764-475-1
Softcover, 210 x 280 mm, 520 p.
Published with LUMA Foundation
CHF 60 / EUR 50 /
GBP 38 / US 65
30
The 2016 Turner Prize nominees
have been recently announced.
The selected artists are Helen
Marten, Michael Dean, Anthea
Hamilton, and Josephine Pryde.
JRP | Ringier recently published
books on two of them.
Also available
TURNER PRIZE
2016
5 Bookshops
ARTBOOK @ MoMA PS1 has New York’s
widest selection of contemporary art
books, including MoMA PS1 exhibitionrelated publications, books relating to
current New York shows, and a large
stock of monographs, theory, photography,
performance, music, and new media.
It also offers the most sophisticated
selection of international magazines.
Helen Marten
British artist Helen Marten (*1985)
pokes humorously at questions
of ownership and dishonesty in
materials, the relationship of object
to artifact, and package to product.
Interested in the grammatical
approximations made in workmanship, Marten’s oeuvre weaves constant conversations between counterfeit and camouflage. Image is
continually tripped up by language,
with a deliberateness of error that
postures with all the concrete
certainty of cultural recognizability.
This publication is the first to fully
document Marten’s extraordinary
and extensive recent artistic output.
English/German edition
[ISBN: 978-3-03764-346-4]
Josephine Pryde
The Enjoyment of
Photography
This comprehensive publication
presents a broad selection of
Josephine Pryde’s work from 1990
to 2014. In photographic works that
encompass the full range of the
medium’s historical and current
genres, styles, and techniques, but
also through sculpture and writing,
the artist (*1967) offers incisive,
often ironic, and provocative commentary on the values, hierarchies,
and economies subtending the field
of contemporary art against the
backdrop of larger societal shifts.
Estranging the familiar or conversely
expressing the common in a radically
unforeseen manner, Pryde’s ingenuous choice of subject matter, unusual
formal solutions and surprising
juxtapositions continue to capture
international exhibition audiences.
English edition
[ISBN: 978-3-03764-411-9]
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It has published various books with a
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Calendar May 2016–April 2017
Edition of 150 copies
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32
Ragnar
Kjartansson
To Music
Helen Marten
lectures
maison
rouge
Carlo Scarpa
L’art d’exposer
Carlo Scarpa
L’Art d’exposer
Yto Barrada
Tim Rollins &
K.O.S.
An Index
Roni Horn
153 Drawings
Sturtevant
Drawing Double
Reversal
Jay DeFeo
Chiaroscuro
Bice Curiger
Top 10
Top ten
A selection of titles from our backlist by Bice
Curiger, founder and editor-in-chief of Parkett,
and Fondation Van Gogh (Arles) Director. In 2006
she edited the prize-winning bestseller Peter Fischli/
David Weiss. Fragen & Blumen for JRP | Ringier.
Raphael Hefti
(Photo: Tom Huber)
Raphael Hefti
Chantal
Pontbriand
Parachute:
The Anthology
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ISBN 978-3-03764-476-8
© 2016, the authors, the artists, the photographers,
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