Edition Patrick Frey
Catalog 2014
RARE & OUT OF PRINT BOOKS NOW available online!
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Eric Bachmann
Muhammad Ali, Zurich, 26.12.1971
→ p. 70
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Edition Patrick Frey
Catalog 2014
Beni Bischoff Psychobuch → p. 6
William Leavitt THE PARTICLES (of White Naugahyde) → p. 58
Giorgio Wolfensberger (ed.) Suzanne Perrottet — Bewegungen / Movements → p. 12
Adi Kaplan / Shahar Carmel The Diary of Lev Afor → p. 62
Erik Steinbrecher Mondfotografie → p. 18 Daniela Comani A Happy Marriage → p. 22 Regula Bochsler / Philipp Sarasin (eds.) The Rendering Eye: Urban America Revisited → p. 26 Museum Rietberg / Damian Christinger (eds.) Das Fremde ist nur in der Fremde fremd → p. 32 Maya Rochat Crystal Clear → p. 36 Luciano Castelli Self-Portrait 1973 – 1986 → p. 42 Karen Kilimnik Photographs → p. 48 Giuseppe Micciché Cento Passi → p. 54
Susanne Meyer Are you kidding → p. 68 Anne Lise Coste Où suis-je → p. 72 Eric Bachmann Muhammad Ali, Zurich, 26.12.1971 → p. 76 Marianne Mueller Actual Likeness → S. 86 Fredi Fischli / Niels Olsen (eds.) Ashley Bickerton — Susie → p. 92 Jürg Halter / huber.huber Hoffentlich verliebe ich mich nicht in dich → p. 98 Bieke Depoorter I Am About To Call It a Day → p. 102 David Weiss DIE WANDLUNGEN → p. 106 Backlist → p. 115 5
Beni Bischof Psychobuch Texts in German and English Design: Maison Standard No 149 Softcover, 640 pages 1714 b/w and color images 23 × 31 cm | 9 × 12¼ in.
It all started when Beni Bischof began publishing laser-copied artist’s magazines in 2005 as an independent means of distributing his drawings, collages, and texts. The speed of production suited his impetuous, prolific output. It was not long before he found an additional, threedimensional outlet for his obsessions by adding sculpture, painting, and installations to his repertoire. Often using everyday objects, Bischof creates bizarre objects whose coherence he reinforces with plaster and paint. He applies similar techniques of combining, reassembling, and reworking to images appropriated from fashion magazines, trivial literature, LP covers, and the like, overpainting them and modifying them digitally or even mechanically. Psychobuch presents an extensive and unusual survey of Beni Bischof’s oeuvre. It is a wildly rampant, multimedia conglomerate, held together by a dense network of recurring themes and motifs. The elaborate book is both an overview of Beni Bischof’s output to date and an artist’s book in its own right.
Beni Bischof (b. 1976, St. Gallen) lives and works as an artist in St. Gallen. www.benibischof.ch
ISBN 978-3-905929-49-2
EUR 70 | CHF 88
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Beni Bischof
Psychobuch
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Psychobuch
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Psychobuch
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Giorgio Wolfensberger (ed.)
bewegungen / movements
Giorgio Wolfensberger (ed.) Suzanne Perrottet — Bewegungen / Movements With a text by Giorgio Wolfensberger in German and English Design: Jean Robert and Käthi Robert-Durrer No 150 Softcover, 280 pages 483 b/w and color images 21 × 29.7 cm | 8¼ × 11½ in.
Edition Patrick Frey N°150
Suzanne Perrottet (1889 – 1983) grew up in Geneva, studied rhythmics with Émile Jaques-Dalcroze and taught in Hellerau, where Mary Wigman was one of her pupils. In 1912, she met the dancer, choreographer, and theorist Rudolf von Laban, moved with him to the Monte Verità artists’ colony near Ascona and later to Zurich, where she performed at the Dada soirées. The summer of 1913 was a great turning point on Monte Verità! Along with Laban, Wigman, and others, Perrottet discovered the expressive power of natural movements and gestures, of sounds and words. It was the birth of modern dance. Everyone was to benefit from the spirit of natural movement; the goal was to liberate body and mind. In 1920 Perrottet founded a school in Zurich. There she not only taught dancers, actors, children, and adults, including the physically and mentally impaired, but also devoted herself to intense, ongoing research. To compensate the lack of literature available in this new field, she started cutting pictures of movements, gestures, and physical expressions out of magazines.
In the course of 60 years, she amassed an archive of over 10,000 pictures, which she classified by categories. Suzanne Perrottet continued working until she was 89 years old. After she died, her banana boxes of clippings were forgotten. Rediscovered in this book, they give an insight into a unique collection — a visual archive of movement.
ISBN 978-3-905929-50-8
EUR 70 | CHF 88
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Giorgio Wolfensberger (ed.)
Suzanne Perrottet — Bewegungen / Movements
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Suzanne Perrottet — Bewegungen / Movements
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Giorgio Wolfensberger (ed.)
Suzanne Perrottet — Bewegungen / Movements
Erik Steinbrecher MONDFOTOGRAFIE Design: Stephan Müller, Erik Steinbrecher No 151 Softcover, 46 pages 48 b/w images 24.5 × 27 cm I 9½ × 10½ in.
Mondfotografie_P.Frey_Druck.indd 1
01.09.13 11:13
Pictures of the moon, the ultimate topos in photography, have been given a new twist in Erik Steinbrecher’s MONDFOTOGRAFIE. The Swiss artist collects pictures of the moon and rephotographs them, placing a finger on the lens. In this way, images of the full moon are transformed into obscure crescents. MONDFOTOGRAFIE is a dark and witty artist’s book that takes a subtle, yet illuminating approach not only to the discourse on the photographic image but also to the interpretation and reading of images in general.
Erik Steinbrecher (b. 1963, Basel) lives and works as an artist in Berlin.
ISBN 978-3-905929-51-5
EUR 24 I CHF 30
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Erik Steinbrecher
MONDFOTOGRAFIE
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Edition Patrick Frey
No 151
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Erik Steinbrecher
MONDFOTOGRAFIE
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Daniela Comani A Happy Marriage Texts by Frank Wagner, David Wagner, Elena Zanichelli Design: Hi — Megi Zumsteg and Claudio Barandun No 152 Hardcover, 69 pages 56 b/w and 16 color images 16.5 × 23 cm I 6½ × 9 in.
Daniela Comani has been working on her photographic project, A Happy Marriage, since 2003. In her multifaceted photo series, she is her own model, playing man and woman at the same time in a modern intellectual marriage where the assignment of gender supposedly no longer plays a role. However, this is belied by the facial expressions, gestures, poses, and clothing of the subjects. The status of man / woman, relying entirely on the convention of the heterosexual couple, is so disconcerting, so subtle and subversive, that we find ourselves wondering who is who or who is playing which role.
Daniela Comani, artist, born in Bologna, based in Berlin since 1989. www.danielacomani.net
ISBN 978-3-905929-52-2
CHF 48 I EUR 38
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Daniela Comani
A Happy Marriage
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No 152
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Daniela Comani
A Happy Marriage
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Regula Bochsler / Philipp Sarasin (eds.) The Rendering Eye: Urban America Revisited With texts by Regula Bochsler, Bernd Stiegler, Tom Simonite in German and English Design: Marietta Eugster No 154 Hardcover with dust jacket, 288 pages 9 b/w and 131 color images 21.6 × 33 cm | 8½ × 13 in.
The Rendering Eye shows 3D-screenshots of the urban United States as they appear in Apple Maps: deserted streets, buildings and industrial plants that look almost post-apocalyptic. Cars and boats turn into ephemeral shadows, trees are cocooned into sculptures, containers melt, machinery is deformed, and streets are warped. Although the algorithms trace the contours of the world with astonishingly mimetic precision, the spooky universe of Apple Maps is utterly baffled by “reality.” The software, originally developed for seeker missiles, was declassified a few years ago. The images it now produces conjure such references as the dystopian metropolises of Blade Runner, the Expressionist sea of buildings in The Cabinet of Dr. Caligari, the futuristic buildings in SimCity, or Camille Pissarro’s boulevards, flooded with light. The cityscapes captured by Regula Bochsler for this publication are abstract, machine generated, and cold. And yet they are, at times, bathed in exuberant, almost poetically tender colors.
Thanks to their “mistakes,” their blurred outlines, their distortions and reflections, they look handmade, which ultimately lends them an obscure painterly beauty. Regula Bochsler and Philipp Sarasin explore the implications of these algorithmically generated cityscapes, with a particular emphasis on the impact made by this technologically advanced rendering of our “new world” on photography and the media sciences. Three essays accompany the virtual flyover expedition: Regula Bochsler describes the beginnings of classic aerial photography; theorist Bernd Stiegler elaborates on the historical, photographic context; and MIT Technology Review’s editor Tom Simonite addresses the military origins of Apple’s technology. www.renderingeye.net
ISBN 978-3-905929-54-6
EUR 54 | CHF 68
Regula Bochsler (b. 1958, Zurich) is a historian and publicist. Philipp Sarasin (b. 1956, Basel) is a historian and photographer. 26
Regula Bochsler / Philipp Sarasin (eds.)
The Rendering Eye
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No 154
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Regula Bochsler / Philipp Sarasin (eds.)
The Rendering Eye
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No 154
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Regula Bochsler / Philipp Sarasin (eds.)
The Rendering Eye
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Museum Rietberg / Damian Christinger (eds.) Das Fremde ist nur in der Fremde fremd Texts by Lukas Bärfuss and Peter Weber among others Design: Krispin Heé No 155 Softcover, approx. 136 pages Approx. 100 color images Approx. 31 × 23 cm | 12 × 9 in.
Questions about local versus global production and reception, about paradigm changes in cultural identity and about the possibilities of understanding foreign cultures are subjects of discourse and debate at universities, art museums and biennials the world over. Surprisingly, however, these issues have yet to find much resonance within the very institutions which — in some cases willy-nilly — led the discussion in the 19th and 20th centuries: namely, ethnological museums and large institutional collections of what was widely known up to the 1970s as “world art.” Although it has now become customary practice to juxtapose historical collections with contemporary art, curators have hitherto by and large sidestepped the issue of how “foreign culture” has been received down through history. But the very relevance of an historical collection hinges on this very question. The July 2014 exhibition Gastspiel (“guest appearance”) at the Museum Rietberg seeks to probe these possibilities. How do we “natives” react to what is tem-
porally and geographically foreign? And what other questions do our reactions raise? 21 contemporary artistic positions, in the form of site-specific installations and performative actions, sound out the museum as an institution, its collection and the ideas underlying it. Edition Patrick Frey’s eponymous Das Fremde ist nur in der Fremde fremd presents various interpretations of these artistic interventions as well as photographic documentation of the show, rounded out by literary contributions from Peter Weber and Lukas Bärfuss. Damian Christinger
ISBN 978-3-905929-55-3
EUR 38 | CHF 48
Damian Christinger (b. 1975) studied East Asian Art History in Zurich. Following extended sojourns in Bolivia, Japan, and China, he is now a gallerist and freelance exhibition organizer, currently serving as visiting curator at the Museum Rietberg in Zurich.
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Museum Rietberg / Damian Christinger (eds.)
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No 155
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Museum Rietberg / Damian Christinger (eds.)
Das Fremde ist nur in der Fremde fremd 35
Maya Rochat Crystal Clear Design: Maya Rochat, Niels Wehrspann No 156 Softcover, 128 pages 80 color images 30.2 × 23 cm | 11¾ × 9 in.
The symbolically laden, analog and digital works of the young Swiss artist Maya Rochat probe the depths of the photographic plane. Using her own writing and fragments of found images, she modifies her photographs to create radically associative compositions. She sources her own immediate surroundings, weaving portraits of friends and shots of landscapes into a dense, intimate visual fabric that is scratched, dissected, and reassembled with almost militant surgical intervention. The bitter, beautiful universe that surfaces in Crystal Clear patently eludes conventional codes of interpretation, relentlessly undermining the usual visual clichés and notions of beauty propagated by the media.
Maya Rochat (b. 1985) works with photography, collage, and video. Originally from Germany, she lives and works in Lausanne and Geneva. www.mayarochat.com
ISBN 978-3-905929-56-0
EUR 32 | CHF 40
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Maya Rochat
Crystal Clear
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No 156
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Crystal Clear
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Maya Rochat
Crystal Clear
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Luciano Castelli Self-Portrait 1973 – 1986 Edited by Beda Achermann Texts by Martin Jaeggi Design: Studio Achermann No 157 Hardcover, 168 pages 36 b/w and 63 color images 26.5 × 35 cm | 10½ × 13¾ in.
When the painter Luciano Castelli began posing for the camera in the early 1970s, he adopted a variety of roles, acting out every conceivable facet of himself. In utter disregard of gender distinctions, he variously transformed himself into an androgynous mythical creature and a glam rock diva. His virtuoso, surreal self-portraits, so far published only in limited form, are of an undiminished vibrancy in their playful eroticism and darkly narrative thrust. They reveal a hitherto underrated aspect of Castelli’s oeuvre, which now, several decades later, could well be seen in an entirely new light. What the French psychoanalyst and art critic Jean-Michel Ribettes already noted in 2001 has become even more relevant today: “The masks of the transformer are countered by the thousand and one masks of censorship. Convulsions, tensions, humiliations, condemnations. These days, the power and arrogance of puritanism have never been so powerful and so fragile. Castelli’s expressive theatricality is there to protest at the confusion of a gregarious, prudish, vilely mercantile period.”
Luciano Castelli (b. 1951, Lucerne) is as Swiss painter, graphic designer, photographer, and sculptor. He lives and works in Zurich, Paris, and Sevilla.
ISBN 978-3-905929-57-7
EUR 70 | CHF 88
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Luciano Castelli
Self-Portrait 1973 – 1986
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Luciano Castelli
Self-Portrait 1973 – 1986
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Luciano Castelli
Self-Portrait 1973 – 1986
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Karen Kilimnik Photographs Design: Hanna Williamson-Koller
Karen
Kilimnik Photographs
ISBN 978-3-905929-58-4
No 158 Hardcover, approx. 250 pages Approx. 250 color images Approx. 20.7 × 18.5 cm | 8 × 7¼ in.
EUR 54 | CHF 68
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After Drawings (1997), Paintings (2001) and Kirschgarten (2005), Photographs is the fourth artist’s book by the Philadelphiaborn and based Karen Kilimnik (b.1955) to be published by Edition Patrick Frey. It brings together the sporadically exhibited and by and large unknown photographic works of the artist, who gained fame in the 1980s with her “scatter art” installations and later with her paintings. Karen Kilimnik takes pictures with the same gesture she paints with: an unerring sense of the glut of shiny surface beauty, under which lurk the shades of monstrous things unseen and unspoken. She takes pictures with a shrewd, informed eye. She adores kitsch, but she knows how phony it is and how much this phoniness makes it irresistible. She is a wise old soul but she’s absolutely determined to preserve the innocence and vulnerability of a young and restless mind. In Bourdieu’s words, her photography strikes a perfect balance between the “ritual” and the “artistic.” Kilimnik takes pictures of what she unconditionally loves, and this love is eclectic and deeply darkly romantic. She photographs idylls ad nauseam: the rolling hills of the Cotswolds in south central England, so leafy they almost seem unreal; a ladies’ bicycle, hedge-lined streets, sheep in the shadow of a tree, cows in the morning mist, a squirrel that seems to be nibbling on a flower, sitting ducks on the banks of a stream. Kilimnik views profane reality through the mercilessly wide-open eyes of her camera lens, transforming it in her photographs into a stage for her fabulously dreamy / nightmarish fairytale figurations and arrangements. When reality does not suffice, she embellishes it, trimming the trees in the garden, for example, with glass Christmas ornaments or with fairy lights. Running through Kilimnik’s photographic work are several motifs we know from her painting. And the two come together in her obsession with photographing details from her own paintings over and Karen Kilimnik
over again, such as the magnificent palace walls she has painted, as though beseeching us to agree that her painted fictions are no less real than so-called reality. She arranges precious vials, bone china, silverware, costume jewelry and roses on shiny silk fabrics, and captures them as though in a slight mist of the fragrance “Elizabethan Rose” — officially described by its manufacturer, the English perfume house of Penhaligon’s, as “deliciously intoxicating rather than sweet, capturing the scent of high summer.” Kilimnik has a knack for taking magical snap-shots — a tiny pile of snow on the grass takes the shape of a little rabbit. And she knows that the white fog of light in an overexposed picture can make a house look haunted. She sometimes has a roving eye, with a terrific feel for the allure and for the metamorphic power of soft focus, and then becomes targeted and sharply focused again. She strays through her world taking pictures of what appeals to her: flowers — they never cease to amaze her, the eye of the camera strolls through meadows and seems to be immersed in bouquets and blossoms — ; a basket of fresh vegetables like something out of a Cecelia Ahern novel; ballet scenes, among which her own scenery for Psyché at the Paris Opera; food photography ranging from delicate to dégoutant; a lane lined with old lowslung brick buildings in Philadelphia, where she grew up, photos of a TV screen showing children’s faces in a film about the Holocaust, veritable orgies of chandeliers, fuzzy airport lights glittering like sequins, storm-tossed treetops shrouded in mist, a dead bird, the Venetian Lagoon, winter landscapes with snowflakes falling like little lights, Central Park with a horse-drawn carriage in the snow, or a slightly blurred shot of the Flatiron Building behind leafless trees, like a famous vintage print we’re sure we’ve seen somewhere before. Patrick Frey
Photographs
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Karen Kilimnik
Photographs
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No 158
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Karen Kilimnik
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Giuseppe Micciché Cento Passi Design: Giuseppe Micciché with Daniela Trunk No 159 Softcover, approx. 128 pages Approx. 10 b/w and 77 color images 20 × 28 cm | 7 ¾ × 11 in.
Two or three times a week Giuseppe Micciché would accompany his father, who was suffering from dementia, on his cento passi, his habitual postprandial stroll of a “hundred steps” or so. The son captured these fleeting moments with his father in photographs, whose documentary precision is tempered with a soft tenderness that nonetheless never lapses into sentimentality. Their radius of movement was confined to the neighborhood in which his father lived and worked after moving to Winterthur from Sicily: where once stood the Swiss Locomotive and Machine Works, for which the father had worked for over 30 years, is now a gaping post-industrial wasteland. Where the father used to live now stands a gas station, and where he once tended his cherished garden plot is now a McDonald’s drive-thru. The photographer projects memories of his father onto this changing neighborhood, whose landmarks are vanishing one by one along with the industrial estates in this Swiss town. Cento passi is an intimate father-son and immigration story embedded in a slow farewell
to a beloved family member — and to industrial Winterthur, at whose blind spots old and new stories alike are taking shape.
ISBN 978-3-905929-59-1
EUR 46 | CHF 58
“It gradually dawned on me that this was an attempt to stop time, to pit something against forgetting and to record a moment that would never come again.” Giuseppe Micciché Giuseppe Micciché (b. 1971, Winterthur) is an Italian / Swiss photographer. He lives and works in Zurich.
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Giuseppe MiccichĂŠ
Cento Passi
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No 159
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Giuseppe MiccichĂŠ
Cento Passi
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William Leavitt THE PARTICLES (of White Naugahyde) Design: Teo Schifferli No 160 Softcover, 64 pages 18 b/w images 14 × 21 cm | 5½ × 8¼ in. Published in the series STUDIOLO / Edition Patrick Frey
(of White Naugahyde)
William Leavitt
(EDGAR peers down the hallway.
THE PARTICLES (of White Naugahyde) is the first publication of a play by William Leavitt (b. 1941). Framed as a sitcom setting, the narrative of THE PARTICLES (of White Naugahyde) tells the story of a family auditioning for a NASA program, which sends them to a newly planned space colony. The demanding admission process makes them live in a security-free community in the desert together with other applicants. These two weeks in the desert result in anxiety and anti-social behavior among the participants.
Leavitt is one of the pioneers of conceptual art in Los Angeles, helping significantly to establish the genre in the late 1960s and the 1970s. His works make use of narrative elements drawn from LA architecture and popular culture as well as from the movie and television industries. The artist works in various media, including sculpture, painting, drawing, photography, and theatre.
ISBN 978-3-905929-60-7
EUR 12 | CHF 15
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CHARACTERS
A V
Or, even better, we could get them kicked off the project.
How we going to do that? They’re such damn nice people, like their beds are always made.
N T
NINA ALEXANDER wife and interior designer
TOM ALEXANDER husband and inventor
R
RICK their teenage kid
S
SUSAN their teenage kid
J
A
JACKIE MACIAS weekend visitor and structural reflex counselor
Boy, you know everything about them, don’t you.
.)
E V
Yeah, I’d like to know more about that Susan.
Yeah, we’re supposed to know about each other in the group. It’s part of the program.
A
Z
ZONTAL GRABOWITZ electronics tycoon
A V
ANGIE VAN HORN the neighbor
VINCENT VAN HORN the neighbor
E
EDGAR VAN HORN the neighbor
Oh yeah, you mean to hell with privacy? And, what about that hanki-panki out in the lab with the electric lounger? 49
William Leavitt
3
THE PARTICLES (of White Naugahyde)
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R
J
Will there be lawns in outer space? (NINA glares at him.) Right away, mom sir. (He salutes her, and then stomps off down the hallway.)
N
Sixteen. He’s still a baby.
N
J
Well, he seems very m Do you feel that you power, Nina? I mean
N
I don’t know. I never really thought about it. W been so busy lately trying to live right here in our bubble.
Now, Rick is almost eighteen, isn’t he?
J
(aside) He doesn’t look like a baby to me.
J
But, what is there to
N
Just prove that Tom has some scientific ability and peaceable with others in the compound. We coul in the first group that goes up in the space colon
Gee, it’s great to see you here. You must not get a chance to go out much with all your discussion groups?
J
Oh yes, I’m very busy, and its quote, unquote very satisfying, but now I find what I really want … (RICK, shirtless, crosses the patio pushing a lawn mower.) … action. Rick must have many girlfriends.
J
Don’t you miss drivi
N
We have a space flight simulator, which is pretty
J
Don’t they check up
N
Well, if we were really in outer space they cou do much, could they? We have to report into co once a day.
J
N
What are those boxe to your ankles?
No, not really. He always seems to be working on some project of his or Tom’s. 18
N T N T N T
Wait, it’s more like I feel it in my head. A vibration exactly a sound.
It’s not a sound? It’s five a.m., why woul using their Barcalounger at five a.m.?
Oh, they use it all the time. And, they’ve probably that poor Vlasic girl strapped into it.
I’m sure that Vlasic girl can take care of h
How can you be so sure?
Edition Patrick Frey
No 160
60
I saw her out in the common area lifting w
ed. We Rick’s over an
N T
I don’t want t the Van Horns
No, tha of you (He ch
N T N
No, it certainly to rub my fee
I’m too
Well OK, go t
( TOM leaves. she almost sli sound grows TOM reappea
T N T
Hey! S now th
I don’t care ab on it.
What d
8
n not
ld they be
y got
herself.
weights?
William Leavitt
THE PARTICLES (of White Naugahyde)
61
Adi Kaplan / Shahar Carmel The Diary of Lev Afor Texts by Ellie Armon Azoulay and Yonatan Vinitsky Design: Adi Kaplan, Shahar Carmel No 161 Hardcover, approx. 200 pages Approx. 190 b/w and color images 15 × 21 cm | 5¾ × 8¼ in.
Adi Kaplan (b. 1967, Ein Hahoresh Kibbutz, Israel) and Shahar Carmel (b. 1958, Tel Aviv, Israel) live together in Tel Aviv and regularly exhibit their work in Israel. They both studied painting at Tel Aviv’s Kalisher Art Academy from 1992 to 1996. Their works are held in several private collections in Israel and abroad. The Diary of Lev Afor is the third graphic novel in the Lev Afor trilogy by the Israeli couple Adi Kaplan and Shahar Leon Carmel. Lev Afor (i.e. “Gray Heart”) is a cat who lives with her biological parents, who happen to be a young human couple, in an average apartment on the south side of Tel Aviv — where the artists themselves reside with their pet cat. Following up on the tall tale of the kitty’s surreal birth in Lev Afor (2010), The Parents of Lev Afor (2006) told the story of her childhood marked by the financial woes of her penurious parents. In The Diary of Lev Afor, published by Edition Patrick Frey, the now 16-year-old protagonist touchingly recounts her coming of age in a series of immersive double-page drawings, executed in oil crayon and graphite pencil, traversed by laconic lines of text. Through their teen feline heroine, Kaplan and Carmel reflect on ambivalences, tensions, media images and teen culture in the Middle East. The artist duo recurrently take on pseudo-identities themselves in their picture stories, succinctly or portentously playing out the
The Diary of Lev Afor is based on a study of students from an Israeli girls’ school, who were asked about their experiences during the three years before their mandatory military service. Kaplan and Carmel interweave the girls’ personal accounts with their own intimate observations of everyday life to paint a macroscopic portrait of present-day Israeli society. From one picture to the next, from one line of the story to the next, they immerse us in the peculiarly convoluted — often violent and sometimes tender — world of this teenage girl-cat growing up in modern Israel.
ISBN 978-3-905929-61-4
EUR 38 | CHF 48
trials and tribulations that make up the dayto-day life of a couple. It’s summer vacation, Lev Afor and her friends are on the beach in Tel Aviv looking out at the vast horizon over the sea, where the wide world seems to lie at their feet. But a shadow falls on this idyllic seaside scene when Lev Afor receives her marching orders from the army: Will she be able to cope with the grueling ordeal of Israeli military service?
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Adi Kaplan / Shahar Carmel
The Diary of Lev Afor
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No 161
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Adi Kaplan / Shahar Carmel
The Diary of Lev Afor
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Adi Kaplan / Shahar Carmel
The Diary of Lev Afor
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Susanne Meyer Are you kidding Design: Krispin Heé No 162 Softcover with dust jacket, 96 pages 92 color images 16 × 25 cm | 6¼ × 9¾ in.
Are you kidding is an artist’s book about a love affair in the 1990s. It comprises a collection of the artist’s photographs, letters, postcards, album covers, landscapes, and sundry other material documenting the course of the relationship between the young Susanne Meyer and a Norwegian named Amund, who took his own life in 1994. Are you kidding retraces this love affair discreetly and yet poignantly. Meyer’s carefully conceived juxtaposition of her own photos and outside material subtly evokes the meetings, travels and interests of the two young lovers, leaving it up to us, however, to fill in the blanks with our own memories and images. This fragmentary narrative approach transposes a deeply personal love story into a general archetypal tale of youth, love and death.
German artist Susanne Meyer (b. 1971 in Bremen) lives and works in Zurich. She studied New Media Art at the Zurich University of the Arts (ZHdK). Are you kidding is her first artist’s book.
ISBN 978-3-905929-62-1
EUR 38 | CHF 48
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Susanne Meyer
Are you kidding
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Susanne Meyer
Are you kidding
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s AnNe—Li E Coste Où
Anne Lise Coste Où suis-je Texts by Serena Qiu Design: Studio Marie Lusa
suis—j
No 163 Hardcover, 172 pages 106 color images 24 × 32 cm | 9½ × 12½ in.
e
je je je
2014
Anne-Lise Coste’s fourth artist’s book, Où suis-je, is a collection of penetrating glimpses into the architectural landscapes of her childhood as they have morphed and reassembled in her mind over time. However filtered and abstracted by memory, these drawings revisit the actual hospitals and infirmaries in which Coste resided as a child during in-patient treatment for an asthmatic condition. They reflect the paradoxically exact and yet imprecise way in which memory replicates details, and the persistence of certain images that remain engraved in our minds. Où suis-je is a key to comprehending Coste’s work, not only for its autobiographical insights, but also for its demonstration of the expansive way in which Coste uses line and text to meditate on loss, longing, and location.
ISBN 978-3-905929-63-8
Anne-Lise Coste (b. 1973 in Marseille) studied in Marseille and Zürich and is currently based in New York. This French artist’s drawings possess the energy, immediacy and gestural drive of ur-graffiti, while her Dadaesque texts fuse subjective moods with scathing political criticism.
EUR 46 | CHF 58
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Anne Lise Coste
O첫 suis-je
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Edition Patrick Frey
No 163
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Anne Lise Coste
O첫 suis-je
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Eric Bachmann Muhammad Ali, Zurich, 26.12.1971 With an introduction and an excerpt from the previously unpublished biography of Zurich boxing promoter Hans-Ruedi Jaggi written by renowned Swiss journalist Eugen Sorg Design: Dominik Bachmann No 164 / No 165 (in English and German) Hardcover with dust jacket, 404 pages Approx. 356 color images 20.2 × 29.4 cm | 7¾ × 11½ in. Eric Bachmann (b. 1940) is a Swiss press photographer. Bachmann was also one of the official photographers for Swiss television for over 30 years. His first book, Leutschenbach Karambuli (2001), likewise published by Edition Patrick Frey, was about his long stint at the Helvetian dream factory. Eric Bachmann lives and works in Kaiserstuhl and Zurich. Muhammad Ali, Zurich, 26.12.1971 shows the iconic American smooth-talking rhymester-boxer before and during his prize fight in Zurich against German heavyweight Jürgen Blin on December 26, 1971. Hans-Ruedi Jaggi, a Swiss hustler and promoter, succeeded in bringing the champ to Zurich for the fight. At Zurich’s Playboy Bar, Jaggi made a bet with Jack Starck, a society reporter for the Swiss tabloid Blick, for a bottle of Ballantine’s that, after having already got Jimi Hendrix and the Rolling Stones to give concerts in Zurich, he would now lure the mighty Muhammad Ali to town for a fight. He subsequently flew to the States three times but couldn’t get an “in” with Ali. Eventually he made it through to Ali’s Black Muslims. When asked by the clan’s spiritual leader Herbert Muhammad, “What’s with the dough?” he pulled $10,000 — pretty much all the money he had at the time — out of his silver ankle-boots and a preliminary deal was promptly signed and sealed on a sheet of hotel stationery.
Zurich photographer Eric Bachmann accompanied Ali during his ten-day stay, on his winter jog through Zurich’s woods or buying shoes in a working-class neighborhood, going through his training drills and, finally, during the big fight, which rapidly climaxed in the seventh round when he knocked out the blond German giant Jürgen Blin. Muhammad Ali, Zurich, 26.12.1971 documents the events in brisk chronological order, as befits a boxer who “floats like a butterfly, stings like a bee,” in a rapid-fire succession of impressively intimate and humorous shots against the placid urban backdrop of mid-’70s Zurich. A hitherto unpublished excerpt from the biography of Hans-Ruedi Jaggi provides some background in the form of a wonderfully inventive yarn about how the fight came about. Hans-Ruedi Jaggi. Entrepreneur, in which Eugen Sorg does a remarkable job of capturing the promoter’s wit and wiliness and his amusing storytelling style, is richly illustrated with a great many facsimiled boxing match program pages and newspaper clippings.
ISBN 978-3-905929-64-5 (EN) / 978-3-905929-65-2 (GER)
EUR 70 | CHF 88
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Marianne Mueller Actual Likeness No 166 Softcover, approx. 380 pages Approx. 1000 color images 24.5 × 35.5 cm I 9½ × 14 in.
Over the years Marianne Mueller has accumulated an archive of photographs taken both at home and on extended journeys. Completely nonhierarchical, the pictures capture whatever strikes the artist’s fancy. In Actual Likeness, her archive has supplied the copious images of the designed and built world around us. Laid out in double-page blocks and organized by the simplest of categories (from chairs and tables to fountains and pools), the photographs emulate a pseudo-encyclopedic overview of ordinary objects captured with eloquent nonchalance and a discriminating eye for what we tend to write off as irrelevant and insignificant. Mueller invites us on a journey as absurdly comical as it is poetic, where we find ourselves meandering through the miracles and madness of a universe that is chock-full of things.
Swiss artist Marianne Mueller (b. 1966, Zurich) lives and works in Zurich. www.mariannemueller.com
ISBN 978-3-905929-66-9
EUR 59 I CHF 68
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Actual Likeness
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No 166
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Actual Likeness
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No 166
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Fredi Fischli / Niels Olsen (eds.) Ashley Bickerton — Susie Texts by Fredi Fischli, Thomas Lawson, Bob Nickas, Niels Olsen, Lauren O’Neill-Butler, Abigail Solomon-Godeau and John C. Welchman. Design: Teo Schifferli Nº 167 Softcover, approx. 192 pages Approx. 130 images 21 × 28 cm I 8¼ × 11 in. Published in the series STUDIOLO / Edition Patrick Frey
Ashley Bickerton used the name Susie as the “logo” for his work back in 1980s New York before he moved to Bali. His intriguing painterly and sculptural assemblages derive from commodity aesthetics, adspeak and corporate culture. At the time they were exhibited alongside productions by the seminal Neo-Geo group, including Peter Halley, Jeff Koons, and Meyer Vaisman, at the Sonnabend Gallery.
ISBN 978-3-905929-67-6
Ashley Bickerton — Susie is the first monograph on Bickerton’s influential early work. Fredi Fischli, Thomas Lawson, Bob Nickas, Niels Olsen, Lauren O’Neill-Butler, Abigail Solomon-Godeau and John C. Welchman. offer a wide range of close readings and critical assessments of early Bickerton.
EUR 38 | CHF 48
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Ashley Bickerton, Susie
Fredi Fischli / Niels Olsen (eds.)
Ashley Bickerton — Susie
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No 167
94
Not everyone loses their mind. Not everyone gets it back. Some people were half crazy to begin with. Some were full-on crazy, but got a pass. Part of the reason why the art world is such a haven for misfits is because it can be very forgiving of its talent. At least that part of the talent pool in which ideas that are floated will giddily rise to, and remain buoyant upon, its glittering surface. There are often sharks nosing around the pool, but most of them get a pass as well. The wealthier you are, the crazier you can be. Even if we all know this, it’s worth being reminded from time to time. Of course the rich aren’t referred to as crazy. They’re eccentric, just as we want our artists to be. In a sense they may have all been typecast, and we, the audience, should be thankful that they faithfully play the parts to which they have been assigned, and that they won’t willfully play against type. A true misfit refuses to conform to the shifting contours of the world, to its expectations. Me, I’m just the pool boy. Sometimes I feel as if I’m floating face down on the surface while everyone else splashes around and glides by. At least I’m not just another forgotten castaway, lost at sea. Sometimes when Ashley Bickerton crosses my mind, especially when I’m confronted with his more ritualistic objects, I think of Marlon Brando, not really of Gaugin, and certainly not about the One-Eyed Jack, as revered as he’s become. There is often guilt, and never its opposite, by association. I think of Brando riding his own Triumph Thunderbird in The Wild One (1953). A dozen years later he’s seen leaning seductively against the motorcycle in Andy Warhol’s painting, having been passed through that screen, objectified, eroticized and young once again. Brando’s iconic image is thus re-immortalized, and remains evermore. Or Brando in Mutiny On the Bounty (1962), which came to be known as Mutiny On the Brando, both fairly and unfairly. On location in Tahiti he takes over direction, re-writes scenes and improvises his lines. Brando marries the Tahitian woman who played his wife in the film, and they have two children. Over the course of his life he fathers a total of 12 children by three wives, his housekeeper, and four unidentified women. Nominated for his performance in The Godfather (1972), Brando does not attend the Academy awards ceremony but instead sends a young Native American, in traditional Apache dress. He wins the Oscar and she refuses it on his behalf, protesting the treatment of Indians by the Hollywood system. Brando appears in Neil Young’s mid-’70s song, “Pocahontas,” in which the singer warps time and space, ending up at the Astrodome with the refrain, “Pocahontas, Marlon Brando and me.” And then there’s Brando as the cross-dressing old West psycho in the Missouri Breaks (1976) his accent shifting as unexpectedly as his gender. Brando in Apocalypse Now (1979) and in the film-about-the-film, Hearts Of Darkness, where
Fredi Fischli / Niels Olsen (eds.)
the production and its protagonists are laid bare. Brando delivers a mesmerizing monologue on bloodlust, and just as he speaks of “men who can think but can’t act,” he winces as he inadvertently swallows a bug, and the scene must be cut. Overweight, his breathing labored, Brando visits Michael Jackson’s fantasy ranch, Neverland and they drive around in a golf cart. In The Island of Dr. Moreau (1996) Brando wears an ice bucket on his head in some scenes, and is made up in whiteface. He plays the piano accompanied by his gnarly, shrunken double, seated at his own toy piano. Demented music, you might say, for two and four hands. Art Imitates Life, or Is It the Other Way Around? The first time I met Ashley, if memory serves, as my mind comes hazily into focus, he smiled broadly, a toothy devil-may-care grin, and shook my hand. It was a real handshake, the flesh pressed and fingers grasping as if actually wanting to take hold, to connect, his eyes bright and alive, perfectly in sync. There was nothing reserved about him. The other artists of the moment, Peter Halley and Jeff Koons, were totally opposite, seemingly programmed a la The Stepford Wives, explaining their work with a calm, measured delivery. Like the consummate politician, Jeff could address a question without offering any plausible reply, while Peter adopted more the stance of a Warholian “machine,” and neither faltered from the robotic talking points. Ashley, on the other hand, though just as articulate, always appeared jaunty and cavalier, and was forthcoming in his own cockeyed way. As naturally suspicious as I was of people who were overly friendly, and to some extent remain, I sensed there might be something devious behind Ashley’s jovial demeanor. The exchange startled me, since it was so completely different from those that were common to that time and place, New York in 1985. I was used to a more awkward interaction, and to the men who kept their cards close to their vest even if they were not yet in the game. So profound was the contrast that when I met Ashley, having quickly disarmed me and left me defenseless, I thought I had been introduced to a modern day pirate. It came as a surprise when I later found out that he had been born in Barbados. Ashley’s work also contrasted with the sort of piracy that had been going on in New York, with appropriation and the readymade, as practiced and re-imagined by Mike Bidlo, Sherrie Levine, Richard Prince, and Haim Steinbach. Bickerton’s work back then was lumped in with the so-called Neo-Geo artists, with Halley, Koons, and Meyer Vaisman. As shorthand for the new geometry, the term was only ever relevant to Halley, with his architectural cells and conduits, and to how his paintings related
Ashley Bickerton — Susie
95
Edition Patrick Frey
No 167
96
Fredi Fischli / Niels Olsen (eds.)
Ashley Bickerton — Susie
97
Hoffentlich verliebe Jürg Halter Huber.Huber
nicht in
ich mich
Jürg Halter / huber.huber Hoffentlich verliebe ich mich nicht in dich With texts by Jürg Halter in German Design: Simone Koller No 168 Softcover with dust jacket Approx. 144 pages Approx. 40 color images 12 × 19.5 cm | 4¾ × 7½ in.
dich
Hoffentlich verliebe ich mich nicht in dich (“I hope I don’t fall in love with you”) is a project by the Zurich artist duo huber. huber — i.e. twin brothers Markus and Reto Huber — and Bern poet Jürg Halter. The two artists and the author have set their sights on uncovering unusual sides of ordinary goings-on in public space. Artists huber.huber took pictures at regular intervals, which poet Jürg Halter then worked into poetic and absurdly humorous vignettes about the photographs. Hoffentlich verliebe ich mich nicht in dich originally appeared as a blog on the web, from which several posts have been reworked, along with new ones specially created, for this publication. The photographic and literary components are interwoven into a delightful dialogue in which the whole is far greater than the sum of its parts.
Markus and Reto Huber (b. 1975 in Münsterlingen, Switzlerland) have been working together under the pseudonym huber.huber since graduating from the Zurich School of Art and Design (HGK) in 2005. In recent years their collages and drawings in particular, but also sculptural works and installations, have attracted widespread notice. huber.huber’s multilayered conceptual works have been featured in a great many solo and group exhibits in Switzerland and abroad. www.huberhuber.com Jürg Halter (b. 1980 in Bern) studied at the Bern Academy of Arts (HKB) and now lives and works in Bern as a poet, author, and performer. He also raps as Kutti MC and has released several albums under that alias. Halter’s first book of poetry, Ich habe die Welt berührt, came out in 2005. It was followed in 2008 by Nichts, das mich hält and in 2012 by a collaborative poem Sprechendes Wasser with Shuntaro Tanikawa. His latest volume of poetry is entitled Wir fürchten das Ende der Musik. www.juerghalter.ch
ISBN 978-3-905929-68-3
EUR 26 | CHF 32
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Ich hoffe, ich verliebe mich nicht in dich
Jürg Halter / huber.huber
Du, ich lebe immer am Ufer und unter dem Blütenfall des Sees. – Solltest du eines Tages nicht mehr hier sein, ich werde bleiben. Dir doch immer folgen, entlang der Narbe in meiner Hand. Die Narbe, die ich seit dem Spaziergang trage, den ich als kleiner Junge mit meiner Grossmutter auf der St. Petersinsel gemacht habe; wollte ihr zeigen, wie ich die Wurst fürs Feuer zu präparieren weiss. Ich war ohne Angst, als ich so vor mich hinblutete und meiner Grossmuter stolz zugrinste. Du, wo bist du jetzt? Über dem Tal auf der Schatzalp? – Als du noch hier warst, las ich deine Narbe und dachte: Ich hoffe, ich verliebe mich nicht in dich. Wir sassen an einer Bar und der Typ, der uns bediente, meinte, er heisse Tom Waits. Wir glaubten ihm kein Wort. Heute weiss ich, das an jenem Abend alles stimmte. Seit jenem Abend haben wir uns nicht mehr gesehen. Keine Ahnung, wo du jetzt bist. Und der Typ, der heute in der Bar arbeitet, singt nach Feierabend keine Lieder, die mich an dich erinnern. – Bitte, steige wieder aus dem Taxi aus, in dem du damals wegfahren bist. Es war weit nach Mitternacht. Augenblicke davor, wir noch weit über den Sternen. Weisst du noch? – Zu wem rede ich eigentlich hier? – Ja, bitte, noch ein Bier.
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Neue Zürcher Oper
Mit ihren annähernd 85 000 Sitzplätzen ist die Neue Zürcher Oper (NZO) das mit Abstand grösste Konzerthaus für Neue Musik der Welt. Apropos «Welt»: Weltstararchitektin Zadidi Zadidi hat sich hier einmal mehr selbst überanmasst und ihre Kritiker beeindruckend eines Imposanteren belehrt. Raumgreifende Extravaganz, die sich aufs unbekümmertste in die Altstadt Zürichs einwurstelt. Die fünf himmeldarbenden Kuppeln korrespondieren aufs frigideste mit den zwei so genannt hängenden Sälen, die vor allem für private Empfänge an KMU’s vermietet werden und je bis zu 8000 Menschliches fassen können. Jetzt aber das Aufregendste: Der grösste Teil der NZO ist unterirdisch tageslichtbefreit. In 18 Millionen Arbeitsstunden wurde die im Volksmund bereits lieblich getaufte «Brutstätte der Neuen Musik» von Hand aus einem einzigen Stück Muranofelsen geschlagen. 18 000 österreichische Leiharbeiter durften dafür ihr Leben lassen. Apropos «lassen»: Die Resultat kann sicht mehr als sehnen lachen! Hut gefressen vor solch erbarmungslosem Gigantismus! – Und hier ist sie, live in meiner Sendung, willkommen Superfrau Zadidi Zadidi! Erste Frage: Leni Riefenfall oder Mutter Terrassa?
Edition Patrick Frey
No 168
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Die 300 Besten trafen sich wie jedes Jahr bei H. in der Wohnung, um all jenen, die nicht eingeladen waren, erleichtert zu gedenken. Der Erfolg dieser Aktion gab H. recht. So eröffnete er mit seiner Frau auch dieses Jahr dynamisch ein reichhaltiges Buffet.
Die 300 Besten
Später am Abend blickte H. lange in den Badezimmerspiegel; übermannt von einer nicht gekannten Schwere. H. versuchte sich seines alten Gesichtes zu erinnern: «Wohin ist es verschwunden? – Oh ... egal! Vollkommen egal! Ja! Vollkommen egal!» Mittlerweile war es weit nach fünf vor zwölf, die Party im vollen Gange. «Wann hältst du deine berühmte Jahreskonklusion, H.?» fragte S. H. sah ihm kühl in die Augen: «Wie lange wollen wir uns eigentlich noch beweisen?» Sie fielen sich laut lachend in die Arme. «Was für eine schöne Weihnachtsgeschichte!» trillerte ein Mädchen mit weit aufgerissenen Augen und stürzte rücklings ins Buffet. Weitere folgten ihr. Konklusion der Sinne. Überall. Immerzu.
Jürg Halter / huber.huber
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Bieke Depoorter I Am About To Call It a Day Co-Published with Hannibal Publishing, Veurne Texts by Maarten Dings Design: Armand Mevis No 169 Hardcover, 80 pages Approx. 42 color images Approx. 28 × 42 cm | 11 × 16½ in.
Bieke Depoorter, a young Belgian photographer, traveled across America asking perfect strangers whether she could spend a night in their homes taking pictures of them. These intimate and unusual situations gave rise to portraits of individuals, couples and families, a series that forms a touching panorama of America by night, as most of the nation slows down and “calls it a day” after the hustle and bustle of workaday life. The pictures are atmospherically charged, some melancholy, some comical, some subtly menacing. Depoorter intersperses them with landscapes that situate the portraits amid the vast expanse of the American heartland. This book invites us to discover a keenly observant young photographer and her multilayered tableaux of domestic life in America.
Bieke Depoorter (b. 1986) took her Master’s degree in Photography at the Royal Academy of Fine Arts in Ghent, Belgium, in 2009, then worked mainly on her own projects. For her latest project she traveled through Russia, the U.S. and Egypt, spending nights in the homes of strangers, people she met by chance in the street, taking fleeting and yet poignant snapshots of moments of family intimacy. Following Ou Menya published by Lannoo in 2011, I Am About To Call It a Day, co-published by Edition Patrick Frey and Hannibal, is Depoorter’s second artist’s book to date. Depoorter has won a number of awards, including the Magnum Expression Award in 2009, and regularly exhibits in Belgium and abroad.
ISBN 978-3-905929-69-0
EUR 46 | CHF 58
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David Weiss DIE WANDLUNGEN Design: Teo Schifferli Nº 170 Hardcover, cloth-bound Approx. 420 pages Facsimile reproductions of over 400 original pages, each with up to 12 monochrome drawings 21 × 29.2 cm | 8¼ × 11½ in. Published by Edition Patrick Frey and Edition Weiss on the occasion of the David Weiss show at the Swiss Institute in New York, December 2014. First complete edition of important early drawings (1975 – 79) by David Weiss (1946 – 2012)
Following up on Nine Books 1973 – 1979, Edition Patrick Frey and Edition Weiss now proudly present an exclusive new publication of another important body of work by the internationally acclaimed late Swiss artist David Weiss (1946 – 2012). DIE WANDLUNGEN (“The Metamorphoses”) for the first time reproduces all 82 series of graphic metamorphoses dating from 1975 to 1979 in Marrakesh, Carona (Switzerland), and Zurich. “The first series of Wandlungen dates from 1975 when, deeply upset because his girlfriend Carmen has started seeing Guy Barrier, a Zurich ‘revolutionary,’ David goes abroad. His travels take him via Yorkshire in England to Morocco, where he spends quite some time in Marrakesh. Without knowing in advance what he wants to draw, he begins each time at the upper left-hand corner of the sheet of paper, for example with a scribble, a dart, or a cube. The cube turns into a matchbox with a picture of a lion on it and a small deer inside it, which turns into a bone. The bone turns into a ISBN 978-3-905929-70-6
little man who pushes with all his might against the sides of the matchbox until the box collapses. The little man gets scared and, flat on his stomach, looks down over the edge of the cardboard base. The series of images ends with an ear of corn in which every grain has a face with a long nose. Pictures of those faces continue over several pages — each page showing between 6 and 8 single drawings — until a new series begins.” Iwan Schumacher, Chur, 2014 In 1976, Edition Stähli published Wandlungen, a selection of 17 series of metamorphoses covering 73 pages, in a print run of 200 copies, each of which was numbered and signed by the artist. In the years that followed, Weiss continued his metamorphoses, switching from ballpoint pen on graph paper to china ink on plain white paper. By 1978 he had produced 84 drawings covering over 400 (8¼ × 11½ in.) sheets of paper. The series vary from 1 to 37 pages in length. EUR 78 | CHF 98
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Edition Patrick Frey
Backlist
115
Michael Blaser Mittelland ISBN 978-3-905929-30-0 EUR 56 | CHF 68
Marie Angeletti Fabricants Couleurs ISBN 978-3-905929-46-1 EUR 54 | CHF 68 Mittelland
Michael Blaser
Ian Anüll Aquarelle ISBN 978-3-905509-10-6 EUR 46 | CHF 58
Hannes Brunner Maschinenpark Fahrzeuge Orchester ISBN 978-3-905509-06-9 EUR 64 | CHF 80
Eric Bachmann Leutschenbach Karambuli ISBN 978-3-905509-35-9 EUR 46 | CHF 58
Nicola Carpi / Martin Schaer I Like Nsima and Fish ISBN 978-3-905929-42-3 EUR 62 | CHF 78
Stefan Banz I Built This Garden for Us ISBN 978-3-905509-23-6 EUR 12 | CHF 15
Kurt Caviezel Red Light ISBN 978-3-905509-21-2 EUR 24 | CHF 30
Stefan Banz A Shot Away Some Flowers ISBN 978-3-905509-28-1 EUR 12 | CHF 15
Catherine Ceresole Beauty Lies in the Eye 1982 – 2001 ISBN 978-3-905929-43-0 EUR 62 | CHF 78
Barbieri / Broger /Klaus / Steffen / Weber (eds.) Zentralstrasse ISBN 978-3-905509-19-9 SOLD OUT
Teresa Chen Welcome to Polkamotion with Ma and Pa Chen ISBN 978-3-905509-40-3 EUR 30 | CHF 38
Monica Beurer Carole aus der Norm / Carole hors norme ISBN 978-3-905509-20-5 EUR 20 | CHF 25
Daniela Comani Neuerscheinungen hrsg. von Daniela Comani ISBN 978-3-905509-78-6 EUR 28 | CHF 35
Fabian Biasio / Margrit Sprecher Die Mitte des Volkes ISBN 978-3-905509-65-6 EUR 16 | CHF 20
Annelise Coste NON ISBN 978-3-905509-46-5 EUR 64 | CHF 80
Marcel Biefer / Beat Zgraggen Der Beuteträger ISBN 978-3-905509-08-3 EUR 64 | CHF 80
Annelise Coste Poemabout ISBN 978-3-905509-59-5 EUR 46 | CHF 58
Marcel Biefer / Beat Zgraggen Prophezeiungen ISBN 978-3-905509-05-2 EUR 32 | CHF 40
Annelise Coste Remember ISBN 978-3-905509-73-1 EUR 20 | CHF 25
Edition Patrick Frey
A – C
Georg Diez / Christopher Roth The Eleventh Circle (Vol. 11) ISBN 978-3-905929-11-9 EUR 18 | CHF 27
Georg Diez / Christopher Roth What happened ? (Vol. 1) ISBN 978-3-90550-01-4 EUR 18 | CHF 27
Georg Diez / Christopher Roth The Complete 80*81 Book Collection ISBN 978-3-905929-12-6 EUR 200 | CHF 250
Georg Diez / Christopher Roth California über alles (Vol. 2) ISBN 978-3-905929-02-7 EUR 12 | CHF 18
Georg Diez / Christopher Roth 2081 ISBN 978-3-905929-28-7 EUR 18 | CHF 27
Georg Diez / Christopher Roth Mao III (Vol. 3) ISBN 978-3-905929-03-4 EUR 12 | CHF 18
Andreas Dobler Argovian Sun ISBN 978-3-905509-43-4 EUR 64 | CHF 80
Georg Diez / Christopher Roth u²4u+8=0 (Vol. 4) ISBN 978-3-905929-04-1 EUR 12 | CHF 18
Fabienne Eggelhöfer / Monica Lutz (eds.) Gut Holz. Kegelbahnen in der Schweiz ISBN 978-3-905509-77-9 EUR 16 | CHF 20
Georg Diez / Christopher Roth Travelogue / Atrocity & Grace (Vol. 5 / 6) ISBN 978-3-905929-05-8 EUR 18 | CHF 27
Fabienne Eggelhöfer / Monica Lutz (eds.) Die schönsten Tea Rooms der Schweiz ISBN 978-3-905509-54-0 EUR 32 | CHF 40
Georg Diez / Christopher Roth I Love My Time (Vol. 7) ISBN 978-3-905929-07-2 EUR 18 | CHF 27
Marc Elsener Bärte aus dem Jenseits ISBN 978-3-905929-44-7 EUR 38 | CHF 48
MARC ELSENER
Barbara Davatz As Time Goes By — Portraits 1982 / 1988 / 1997 ISBN 978-3-905509-25-0 EUR 20 | CHF 25
BÄRTE AUS DEM JENSEITS 144
And, strange to relate, the beard, of a much darker hue, fell in a great tangled mass and lay along the ground at his feet Ambrose Bierce ‘Das Gefecht bei Coulter‘s Notch‘
Bärte aus dem Jenseits
EDITION PATRICK FREY
Backlist
Georg Diez / Christopher Roth Superburg (Vol. 8) ISBN 978-3-905929-08-9 EUR 18 | CHF 27
Christoph Fischer Teufelskreisel Kreuzstutz ISBN 978-3-905509-76-2 EUR 16 | CHF 20
Georg Diez / Christopher Roth Far From Home (Vol. 9) ISBN 978-3-905929-09-6 EUR 12 | CHF 18
Robert A. Fischer Ich / Buchstabendrescher etc. ISBN 978-3-905509-95-3 EUR 46 | CHF 58
Georg Diez / Christopher Roth When We Were Good (Vol. 10) ISBN 978-3-905929-10-2 EUR 18 | CHF 27
Peter Fischli / David Weiss Airports ISBN 978-3-905509-04-5 SOLD OUT
D – F
H.R. Giger Alien Diaries 7/8 ISBN 978-3-905929-45-4 EUR 100 | CHF 120
Peter Fischli / David Weiss Photographs ISBN 978-3-905509-03-8 EUR 150 | CHF 180
Grob, Ledermann, Remondino, Rösli (eds.) Wohlgroth ISBN 978-3-905509-12-0 SOLD OUT
Peter Fischli / David Weiss Siedlungen, Agglomerationen ISBN 978-3-905509-09-0 SOLD OUT
Gabriela Gründler Stars of Suburbia ISBN 978-3-905509-34-2 EUR 32 | CHF 40
Fredi Fischli / Niels Olsen (eds.) Trix + Robert Haussmann ISBN 978-3-905929-27-0 EUR 32 | CHF 40
Gabriela Gründler My Things ISBN 978-3-905509-69-4 EUR 32 | CHF 40
FUZI UV TPK Ma Ligne ISBN 978-3-905509-98-4 EUR 38 | CHF 48
Martin Guggisberg Miss ISBN 978-3-905929-20-1 EUR 42 | CHF 52
M
IS
S
Peter Fischli / David Weiss Bilder, Ansichten ISBN 978-3-905509-07-6 EUR 150 | CHF 180
Martin Guggisberg
Marcel Gähler Bleistift auf Papier / Pencil on Paper ISBN 978-3-905509-51-9 EUR 64 | CHF 80
MICHAEL GÜNZBURGER
PLOTS
Michael Günzburger Plots ISBN 978-3-905929-32-4 EUR 62 | CHF 78
Marcel Gähler Nie ist die Nacht so dunkel wie in der Kindheit ISBN 978-3-905929-24-9 EUR 38 | CHF 48
Gauri Gill Balika Mela ISBN 978-3-905929-16-4 EUR 54 | CHF 68
Geholten Stühle The Stools Walk the Earth ISBN 978-3-905509-36-6 EUR 16 | CHF 20
Patrick Graf Episoden aus dem Ypsilon’schen Zeitalter ISBN 978-3-905509-81-6 EUR 62 | CHF 78
Tatjana Gerhard Herzklopfen ISBN 978-3-905509-31-1 EUR 16 | CHF 20
Lurker Grand (eds.) Hot Love – Swiss Punk & Wave 1976 –1980 (German / French) ISBN 978-3-905509-62-5 EUR 120 | CHF 150
Ingo Giezendanner GRR8 : Zürich ISBN 978-3-905509-42-7 SOLD OUT
Lurker Grand (eds.) Hot Love – Swiss Punk & Wave 1976 –1980 (German / English) ISBN 978-3-905509-68-7 EUR 54 | CHF 68
Edition Patrick Frey
F – G
s eba st i a n H e e b
e d i t i o n pAt r i c k f r e y
d i e W u R z e l n s i n d d i e B äu m e d e R K a RTo f f e l n
The Roots are the Pota to e s’ Tr e e s
AndreA Heller
Zulu Romeo Hot e l
AndreA Heller
Die Wu r ze l n sind die Bäume der Ka r t o f f e l n
Lurker Grand / André Tschan (eds.) heute und danach ISBN 978-3-905929-21-8 SOLD OUT
Rudolph Jula Conquest ISBN 978-3-905509-02-1 EUR 15 | CHF 19
Dieter Hall / Konstantinos Kavafis So unverwandt betrachtet ISBN 978-3-905509-17-5 EUR 65 | CHF 80
Rudolph Jula Giulios Schlaf ISBN 978-3-905509-18-2 EUR 16 | CHF 20
Christoph Hänsli Mortadella ISBN 978-3-905509-71-7 EUR 62 | CHF 78
Rudolph Jula Slow Travelling – Auf dem Weg nach Damaskus ISBN 978-3-905929-17-1 EUR 30 | CHF 38
Roswitha Hecke Irene ISBN 978-3-905929-16-0 EUR 54 | CHF 68
KCBR Live Life Like ISBN 978-3-905929-39-3 EUR 54 | CHF 68
Sebastian Heeb Zulu Romeo Hotel ISBN 978-3-905929-36-2 EUR 38 | CHF 48
Roman Keller / Barbara Wiskemann (eds.) Expomat ISBN 978-3-905509-41-0 EUR 20 | CHF 25
Andrea Heller Die Wurzeln sind die Bäume der Kartoffeln ISBN 978-3-905929-19-5 EUR 42 | CHF 52
Thomas Kern A Drug Free Land ISBN 978-3-905509-90-8 EUR 46 | CHF 58
Olivia Heussler Der Traum von Solentiname / The Dream of Solentiname ISBN 978-3-905509-79-3 EUR 24 | CHF 30
Karen Kilimnik Drawings ISBN 978-3-905509-16-8 EUR 62 | CHF 78
Olivia Heussler Zürich, Sommer 1980 ISBN 978-3-905509-89-2 EUR 54 | CHF 68
Karen Kilimnik Paintings ISBN 978-3-905509-33-5 EUR 120 | CHF 150
Felix Stephan Huber / Philip Pocock Black Sea Diary ISBN 978-3-905509-11-3 EUR 64 I CHF 80
Karen Kilimnik Kirschgarten ISBN 978-3-905509-60-1 EUR 120 | CHF 150
huber.huber Universen ISBN 978-3-905929-14-0 EUR 62 | CHF 78
Monika Kiss Horváth Bar ISBN 978-3-905509-27-4 EUR 20 | CHF 25
119
Backlist
G – K
PENSIVE RACING DRIVERS
Kleenex / LiliPUT Das Tagebuch der Gitarristin Marlene Mader ISBN 3-907500-05-9 EUR 80 | CHF 100
PierLuigi Macor Zukunft ISBN 978-3-905509-85-4 EUR 54 | CHF 68
David Küenzi Zustandsaufnahme ISBN 978-3-905929-35-5 EUR 62 | CHF 78
Anna Meyer Fernwärme ISBN 978-3-905509-14-4 EUR 38 | CHF 48
Max Küng Einfälle kennen keine Tageszeit ISBN 978-3-905509-55-7 EUR 38 | CHF 48
Morphing Systems / Klinik (eds.) Morphing ISBN 978-3-905509-30-4 EUR 20 | CHF 25
Max Küng Buch Nº 2 ISBN 978-3-905509-67-0 EUR 38 | CHF 48
Marianne Mueller The Proper Ornaments ISBN 978-3-905509-72-4 EUR 24 | CHF 30
Max Küng Pensive Racing Drivers ISBN 978-3-905929-37-9 EUR 38 | CHF 48
Jon Naiman Familiar Territory ISBN 978-3-905929-26-3 EUR 54 | CHF 68
Gerold Kunz / Hilar Stadler (eds.) Waldhütten ISBN 978-3-905509-38-0 EUR 38 | CHF 48
Pietro Mattioli 1977 ISBN 978-3-905509-56-4 EUR 46 | CHF 58
A.C. Kupper Revolutionäre Mittelklasse ISBN 978-3-905509-92-2 EUR 54 | CHF 68
Anoushka Matus The Light on Your Face Warms My Heart ISBN 978-3-905509-50-2 EUR 48 | CHF 60
Christian Lanz Strahlende Lider ISBN 978-3-905509-48-9 EUR 38 | CHF 48
Elmar Mauch Die Bewohner ISBN 978-3-905509-86-1 EUR 24 | CHF 30
Lily’s Stomach Supply (ed.) I Grew up on the Back of a Water Ox ISBN 978-3-905509-87-8 EUR 46 | CHF 58
Dieter Maurer / Claudia Riboni Wie die Bilder zu den Häusern finden und das Haus ins Bild kommt ISBN 978-3-905929-38-6 EUR 46 | CHF 58
Lutz & Guggisberg Loch im Spiegel ISBN 978-3-905929-15-7 EUR 46 | CHF 58
Lisa Meier Funeral Fashion in Ghana ISBN 978-3-905929-34-8 EUR 62 | CHF 78
Edition Patrick Frey
K – M
Backlist
Dawn Mellor The Conspirators ISBN 978-3-905509-91-5 EUR 54 | CHF 68
David Renggli 25% Painting ISBN 978-3-905929-41-6 EUR 70 | CHF 88
Taiyo Onorato / Nico Krebs The Great Unreal ISBN 978-3-905509-83-0 EUR 120 | CHF 150
Luciano Rigolini Private / Used ISBN 978-3-905929-47-8 EUR 54 | CHF 68
Taiyo Onorato / Nico Krebs The Great Unreal ISBN 978-3-905929-18-8 EUR 56 | CHF 68
Flurina Rothenberger I Don’t Know Where I’m Going, but I’m on the Way ISBN 978-3-905509-53-3 EUR 32 | CHF 40
Oliver Perrottet TAXI ISBN 978-3-905509-99-1 EUR 32 | CHF 48
RothStauffenberg Based on a True Story ISBN 978-3-905509-74-8 EUR 24 | CHF 30
Walter Pfeiffer Das Auge, die Gedanken, unentwegt wandernd ISBN 3-907500-04-0 SOLD OUT
Holger Salach Alles kann, nichts muss ISBN 978-3-905509-61-8 EUR 16 | CHF 20
Walter Pfeiffer Welcome Aboard ISBN 978-3-905509-32-8 EUR 62 | CHF 78
Merja Salo Carscapes ISBN 978-3-905929-13-3 EUR 38 | CHF 48
Walter Pfeiffer Cherchez la femme ! ISBN 978-3-905509-66-3 EUR 62 | CHF 78
Carolina E. Santo / Véronique Hoegger Buchs ISBN 978-3-905929-22-5 EUR 48 | CHF 48
Walter Pfeiffer Scrapbooks 1969 –1985 ISBN 978-3-905929-25-6 EUR 82 | CHF 98
Rico Scagliola / Michael Meier Neue Menschen ISBN 978-3-905929-97-7 EUR 62 | CHF 78
Jussi Puikkonen On Vacation ISBN 978-3-905509-75-5 EUR 32 | CHF 40
Luca Schenardi An Vogelhäusern mangelt es jedoch nicht ISBN 978-3-905929-23-2 EUR 56 | CHF 68
Peter Regli Reality Hacking 256 — 001 ISBN 978-3-905509-70-0 EUR 38 | CHF 48
Klaudia Schifferle Allüren ISBN 3-907500-02-4 EUR 47 | CHF 60
M – S
Klaudia Schifferle Eingeblaut ISBN 978-3-905509-80-9 EUR 38 | CHF 48
Philipp Tingler Hübsche Versuche ISBN 978-3-905509-26-7 EUR 30 | CHF 38
Hans-Ulrich Schlumpf Armand Schulthess. Rekonstruktion eines Universums ISBN 978-3-905509-93-9 EUR 127 | CHF 160
Philipp Tingler Ich bin ein Profi ISBN 978-3-905509-45-8 SOLD OUT
Hannes Schmid Rockstars ISBN 978-3-905509-84-7 EUR 119 | CHF 150
Piotr Uklanski The Nazis ISBN 978-3-905509-22-9 SOLD OUT
Jean-Frédéric Schnyder Zugerstrasse / Baarerstrasse 1999 –2000 ISBN 978-3-905509-39-7 EUR 160 | CHF 200
Claudio Walser / Philipp Funk (eds.) Tage Buch ISBN 978-3-905509-29-8 SOLD OUT
Christian Schwager Falsche Chalets ISBN 978-3-905509-49-6 EUR 46 | CHF 58
David Weiss Nine Books ISBN 978-3-905929-48-5 EUR 320 | CHF 380
Christian Schwager My Lovely Bosnia ISBN 978-3-905509-63-2 EUR 20 | CHF 25
Andro Wekua That Would Have Been Wonderful ISBN 978-3-905509-58-8 EUR 46 | CHF 58
Mats Staub Meine Grosseltern / My Grandparents ISBN 978-3-905509-94-6 EUR 38 | CHF 48
Cécile Wick KopfFall ISBN 978-3-905509-13-7 EUR 38 | CHF 48
Bruno Steiger Der Billardtisch ISBN 978-3-905509-37-3 EUR 23 | CHF 29
Cécile Wick America ISBN 978-3-905509-24-3 EUR 24 | CHF 30
Erik Steinbrecher Gras ISBN 978-3-905509-44-1 EUR 31 | CHF 39
Anicka Yi, Jordan Lord, Lise Soskolne, Carissa Rodriguez (eds.) Politics of Friendship ISBN 978-3-905929-53-9 CHF 25 I EUR 20
Keiichi Tanaami No More War ISBN 978-3-905929-40-9 EUR 32 | CHF 40
Nicole Zachmann Fish of Hope ISBN 978-3-905509-88-5 EUR 54 | CHF 68
Edition Patrick Frey
S – Z
Andreas Züst Bekannte Bekannte ISBN 978-3-905509-01-4 SOLD OUT
Andreas Züst Bekannte Bekannte 2 ISBN 978-3-905509-15-1 EUR 160 | CHF 200
Andreas Züst Fluoreszierende Nebelmeere. Fluorescent Seas of Fog ISBN 978-3-905509-64-9 EUR 16 | CHF 20 Andreas Züst Himmel ISBN 978-3-905929-00-3 EUR 120 | CHF 150
Andreas Züst Roundabouts (Deutsch) ISBN 978-3-905509-47-2 SOLD OUT
Andreas Züst Roundabouts (Englisch) ISBN 978-3-905509-52-6 EUR 16 | CHF 20
Z – Z
Publisher
Distribution
Edition Patrick Frey Limmatstrasse 268 CH - 8005 Zürich
Switzerland
T +41 (0)44 381 51 02 mail@editionpatrickfrey.ch www.editionpatrickfrey.com Catalog 2014 Cover: Reproduction of Muhammad Ali’s fight card, Hallenstadion Zürich, 1971 Insert: Reprint of poster No 680 Clay-Frazier and No 730 Bangkok-Girl, boxing match program Jürgen Blin — Muhammad Ali, Hallenstadion Zürich, 1971 Concept: Andreas Koller, Maximage and Marietta Eugster Design: Maximage and Marietta Eugster Translation: Eric Rosencrantz, Catherine Schelbert Copy editing and proofreading: Miriam Wiesel Coordination: Gloria Wismer, Edition Patrick Frey Directed and produced by: Andreas Koller, Edition Patrick Frey Print: DZA Druckerei zu Altenburg GmbH
AVA Verlagsauslieferung Centralweg 16 CH-8910 Affoltern am Albis T +41 (0)44 762 42 60 F +41 (0)44 762 42 10 verlagsservice@ava.ch Sales representative: Ravasio GmbH Giovanni Ravasio Klosbachstrasse 33 Ch-8032 Zürich T +41 (0)44 260 61 31 F +41 (0)44 260 61 32 g.ravasio@hispeed.ch Germany & Austria GVA Gemeinsame Verlagsauslieferung Göttingen GmbH & Co. KG Postfach 2021 D-37010 Göttingen T +49 (0)551 487 177 F +49 (0)551 413 92 bestellung@gva-verlage.de Sales representative: Hans Frieden c/o G.V.V. Groner Strasse 20 D-37073 Göttingen T +49 (0)551 797 73 90 F +49 (0)551 797 73 91 g.v.v@t-online.de France, Luxembourg, Belgium Les presses du réel 35 rue Colson F-21000 Dijon T +33 (0)3 80 30 75 23 F +33 (0)3 80 30 59 74 info@lespressesdureel.com United Kingdom Antenne Books Unit 119/120 Panther House 38 Mount Pleasant GB-London WC1X 0AN T +44 (0) 203 582 82 57 bryony@antennebooks.com Rest of the world Edition Patrick Frey Limmatstrasse 268 CH-8005 Zürich T +41 (0)44 381 51 02 beck@editionpatrickfrey.ch
Edition Patrick Frey
Catalog 2014
124
RARE & OUT OF PRINT BOOKS NOW available online for reading and reprinting!
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