Edition Patrick Frey Catalogue 2017

Edition Patrick Frey

Catalog 2017

ALEX HANIMAN

trapped

WINDOW SHOPPING

KELLY BEEMAN

ART DECOR

NR. 150 • E DITION PATRICK FREY • 2017 • Z ÜRICH

ALFRED JOHNATHAN ‹BOB› STEFFEN

´ Piotr UklaNski

real Nazis

ORACLES — ARTISTS’ CALLING CARDS — PIERRE LEGUILLON, BARBARA FÉDIER Pierre Leguillon, Barbara Fédier (Hg./ eds.)

Oracles — Artists’ Calling Cards

ISBN: 978-3-906803-16-6 EUR 150 | CHF 150 With texts by 72 authors in English Softcover, 320 pages, 123 color images 20 × 26.5 cm / 7 × 10 in.

Design : Clovis Duran

30

Nº 216

ORACLES — ARTISTS’ CALLING CARDS — PIERRE LEGUILLON, BARBARA FÉDIER

31

ORACLES — ARTISTS’ CALLING CARDS — PIERRE LEGUILLON, BARBARA FÉDIER

32

ORACLES — ARTISTS’ CALLING CARDS — PIERRE LEGUILLON, BARBARA FÉDIER

33

CONTINENTAL DRIFT — TAIYO ONORATO / NICO KREBS Taiyo Onorato / Nico Krebs Continental Drift

ISBN: 978-3-906803-20-3 EUR 78 | CHF 78 Softcover, 214 pages 130 color images 24 × 33 cm / 9 ½ × 11 ¾ in.

Design : Hi, Megi Zumstein, Claudio Barandun

34

Nº 220

Taiyo Onorato & Nico Krebs

E

U

R

A

S

I

A

eurAsIA: IN cONversAtION wIth tAIyO ONOrAtO & NIcO Krebs Interview by Aaron Schuman Aaron Schuman (AS): Firstly, how did the project, EURAsIA, begin — what inspired you to go east?

Taiyo Onorato (TO): Several years ago we did The Great Unreal, a project which centered on road trips we took through the United States between 2005 and 2009. After that, we stayed closer to home for a while — mostly in Berlin — doing various still-life projects and working around the city. Then, in 2013, we felt like it was time to go on another long trip, but this time to head in the opposite direction.

Nico Krebs (NK): We were curious about what it would be like to drive for thousands of kilometers in one direction. We sensed that it would be challenging, and maybe more fulfilling than flying from A to B, and just looking down from above.

TO: Our first eastern-bound trip took four months, and the biggest challenge was simply to get all the way to Mongolia. It was all about moving forward, getting the right visas, overcoming problems with the car. And during this time we worked in a “documentary” style — really, we were just wandering around, collecting images, and trying to gain more understanding.

In a sense, we’re very lucky in photography today, because we can quote so many things. Depending on how you photograph, and what materials and technologies you use, you can quote other photographers or other photographic genres and cultures — you can make references to “American Landscape,” or “Japanese Street,” or “Contemporary Conceptual.” There are so many photographic keys and languages, and part of the challenge today is to play with those.

But Eurasia as a region is very challenging in this regard, because it’s completely opposite to the United States. In the States, there’s so much imagery and iconography to play with, but Eurasia doesn’t really have familiar iconography or an established visual language within our culture. In terms of imagery and references, the East was more like a black hole for us, so we had to take an entirely different approach.

AS: How many trips did you take during this project?

TO: In 2013, we took the first trip together, driving from Switzerland to Mongolia. We returned to Mongolia together in 2014, and made two more trips individually. After a few months, you start to feel like you want to stop gathering material and start looking at it— and then go back later and create more.

NK: Four months on the road is a long and intense experience, and sometimes it’s good to rest for a little while — wash your clothes, shave, sleep in a proper bed, and so on.

AS: There’s an interesting contrast between the past and the present, and maybe the future, in EURAsIA. Many of the photographs seem specifically focused on recently built environments — new buildings, new roads, new infrastructures and monuments, and so on — as well as on older, more traditional objects and structures. Did you feel as though you were, in some sense, traveling through time as well as space?

NK: As soon as we left the “West,” so to speak — let’s say, from the east of Vienna onwards — we started to notice that everything was in an extreme state of flux. Many of the former Soviet republics are in a period of rapid transition, and there’s a different pace, as well as an enormous will to go forward.

This is especially true in urban environments — with new roads, architecture, and mostly consumer-oriented infrastructures — whereas many of the rural regions remain static, or are even going backwards. The shift becomes surreal, and increasingly difficult to process.

In some places you can travel just fifteen minutes and go from seeing shepherds on horseback living in tents to Prada shops and Porsche SVUs. TO: This project is a lot about time. In Mongolia, if you stay on the new roads, it’s similar to a Western experience — the streets and gas stations seem pretty familiar. But as soon as you drive on the back roads, it feels as though for every hundred kilometers you travel, you go back a decade in time. I like to

[ This interview was first published by Fotomuseum Winterthur, Eurasia (Exhibition Catalogue), 2015. ]

Date: 26 March 2013 11:34:50 CET subject: re:

look at an imag time it’s from, you gradually g you go further a NK: And th across, you enc cities are bein desert, full of s gation systems TO: Cities Astana, in Kaz symbols like the Eiffel Tower. Th tity very quickly free about this. takings require discussion befo But there, they j capitalism, a c need to make a

AS: In some wa “documentary but it also see ences and idea feeling of pass eign and unfam that you’re con ing quick glimp but not necessa derstanding.

TO: That’s like this is that the surface — or and the landsc changes. It rem things, and wh imagery is that but you can also together. It’s al In Eurasia, I the people use t find other uses ond life. For ex been used to tr put to other isolate pipes, o flower planters with imagery in

AS: During the n turies, it was ass raphers or ethn such as these, it and present an a “true” or “co place. But with comfortable w

ebs NG

ake during this look at an image and not be able to tell what time it’s from, and I like the thought that as gether a training you program for the st trip together, gradually get away from Europe, it seems he basics ofWe off-road driving with Mongolia. you go further and further back in time. ountainous terrain and r in 2014, and NK:fords/ And then all of a sudden, half-way esponse lly. Aftertoathe fewtraining, across,this youcould encounter the future. New megasecuring problem ou want tothe stopvehicle citiesinare being built in the middle of the alooking stuck vehicle, howfull to of surveillance cameras and irriat it— and desert, of day two, although that is a lot to ate more. gation systems.

TO: Cities like Baku, in Azerbaijan, or ad is a long and times it’s good Astana, in Kazakhstan, are trying to build ofclothes, gravity, itsymbols is important to Sydney Opera House and the like the hnter your thesoAltai in They want to define their idenEiffel and Tower. nd on. Mountains at an angle. Also, it very is extremely tity quickly, and are really outspoken and situations when free you are traveling about this. In Europe, such epic underntrast between ture.

Inthe 2010 drove through require a long process, with years of maybe fu-wetakings 0 and our Unimog. discussion before something ever happens. e photographs recently built But there, they just build it. This mix of turbort-notice, I wouldcapitalism, ask you to a craving for identity, and the gs, new roads, R A Sand A need forward toI being ableto tomake help you uments, so a statement is very interesting. traditional obate to me. AS: In some ways, EURAsIA is a very loose, feel ascall though veling through “documentary” project about this region, but it also seems to represent the experie “West,” so to ences and ideas of traveling itself, and the t of Vienna on- feeling of passing quickly through very forhat everything eign and unfamiliar places. There’s a sense x. Many of the that you’re constantly on the move, gatherin a period of ing quick glimpses and interesting insights, different but not necessarily an in-depth unake duringpace, this look at an image andgaining not be able to tell what to go forward. time derstanding. it’s from, and I like the thought that as That’sget true.

The thing about a trip stenvironments trip together, youTO: gradually away from Europe, it seems re, and mostly like go thisfurther is thatand you’re always just Mongolia.

We you further back inscratching time. tures — wheresurface — or driving the surface — r in 2014, and the NK: And then all of across a sudden, half-way main static, or across, and theyou landscape around you New constantly lly. After a few encounter the future. megashift becomes changes. remains personal at ou want to stop cities are Itbeing builta very in the middle look of the cult to process. things, full andof what I like about working looking at it— desert, surveillance cameras andwith irriel just fifteen gation imagery is that you can tell the truth with it, ate more. systems. you can alsolike lie with it, and mix everything shepherds on but TO: Cities Baku, in Azerbaijan, or ad is a long and ada shops and Astana, together.inIt’s always yourare owntrying construction.

Kazakhstan, to build times it’s good In Eurasia, really impressed by how like theI was Sydney Opera House and the h your clothes, symbols about time. In Eiffel the people use things andtothen recycle Tower.

They want define theirthem, idennd so on. findvery other uses for them, and give them a secnew roads, it’s tity quickly, and are really outspoken and ce — the streets free ond about life. For example, tires:such after they have this.

In Europe, epic underntrast between been used to travel on process, the road,with they’re then amiliar.

Butfuas takings require a long years of maybe the put to other purposes — they’re used to it feels discussion before something ever happens. eroads, photographs isolate pipes, door hinges, or kilometers you But recently built there, theyor justmade buildinto it. This mix of turboflower planters at gas stations.

You can n time. like to capitalism, a craving for identity, andwork the gs, newI roads, with imagery a very similar way. uments, and so need to make ainstatement is very interesting. traditional obnineteenth andistwentieth cenfeel as though AS: During In somethe ways, EURAsIA a very loose, turies, it was assumed thatabout if Western veling through “documentary” project this photogregion, raphers or ethnographers went into but it also seems to represent the regions experisuch asand these, it was role to bothand capture “West,” so to ences ideas of their traveling itself, the and present an authoritative — and a sense, of passing quickly throughinvery forof Vienna on- feeling a “true” “complete”— description the and or unfamiliar places. There’s a of sense hat everything eign place.

But within your on work, seem very you’re constantly the you move, gatherx. Many of the that comfortable with things being incomplete. in a period of ing quick glimpses and interesting insights, Even technically, thegaining work itself has a kind of different pace, but not necessarily an in-depth unraw quality; there are “flaws” and “mistakes” to go forward. derstanding. terms of the prints, so environments — inTO: That’s true.

The exposures, thing aboutand a trip on — which you you’re seem to embrace. re, and mostly like this is that always just scratching The artistic imagination can, and tures — where- the NK: surface — or driving across the surface — should, itself toaround be selective incommain static, or and theallow landscape you and constantly plete — otherwise we’d be personal scientists, and shift becomes changes.

It remains a very look at would be forced sacrifice individual cult to process. things, and what to I like aboutour working with perspective for you the can saketell of objectivity.

It’sit,a el just fifteen imagery is that the truth with freedom that should be mix aware of, and you can alsowe lie with it, and everything shepherds on but

ebs

a “true” or “complete”— description of the place. But within your work, you seem very comfortable with things being incomplete.

Even technically, the work itself has a kind of raw quality; there are “flaws” and “mistakes” — in terms of the prints, exposures, and so on — which you seem to embrace.

Thehad artistic imagination can, NK: We a rough idea of which wayand we should,drive, allowbut itself be selective and incomwould weto made many detours along plete — otherwise be scientists, and the way.

We could we’d have taken a more direct wouldbut be we forced to sacrifice individual route, wanted to avoid our the rather moperspective for the sake objectivity. a notonous landscapes.

Toofnavigate, weIt’s had freedom maps, that we should aware and foldable as well as abe GPS withof, digital should use to our advantage.

Besides that, I versions of old Russian military maps, which believe out thattomost of what’s regarded as “auturned be very useful.

That said, in a thoritative” “complete” is really a farce. country like or Mongolia you have to navigate Our world is far too complex and your infinitely more by people’s descriptions own interesting ever a holistic undergut feeling, to since theclaim dirt roads are also nostanding of this it. is rapidly changing — a new madic.

But TO: Losing control network of tarmac roadsisisreally beinghelpful. built asI’m we very skeptical about keeping everything unspeak. der TO: control. driving into unknown AfterIt’s twolike months of traveling it beterritory — you could take the left road or the came like a habit to be constantly driving in right road, and if you takein the left one you’ll the same direction.

Once, Kazakhstan, we see fascinating things, but you won’t see what had to drive two hundred kilometers west in lies along other one; you always order to getthe over a mountain pass, and itmiss felt something. weird, as8 if we were going in the completely NK:direction, It’s also fun to making imagine aallmistake. of the things wrong like that you missed along the other road. For too long, beenmuch labeled as pho“obAS: Asphotography we discussedhas earlier, of the jective;” people get used to on thearchiidea tographic work inshould EURAsIA focuses that there are other ways of comprehending it. tecture, the built environment, and the material world, yet the films centre more on people, AS: On yourhuman initial journey together 2013, portraiture, relationships andin human did you use maps, or did you just aim the front interactions. of the car TO: Ineast the every past, day? we never really photographed people; always hadofmixed NK: We had aIrough idea whichfeelings way we about the portrait, because it’sdetours always along just a would drive, but we made many veryway. limited or interpretation of the the We glimpse could have taken a more direct real person. whento weavoid started the route, but weBut wanted thefilming, rather mofirst thing we aimed theTo camera at were notonous landscapes. navigate, we peohad ple. I don’t know befoldable maps, as why — it well as awas GPSprobably with digital cause when youRussian film somebody for fifteen or versions of old military maps, which twenty out seconds, you already have said, so much turned to be very useful. That in a more information thanyou in a have photograph, and country like Mongolia to navigate get soby many moredescriptions impressions.and your own more people’s Maybe in the couldn’t handle gut NK: feeling, since thepast dirt we roads are also nothe stillness of the portrait — there had to be madic.

But this is rapidly changing — a new movement associated with it, even if itaswas network of tarmac roads is being built we only the nostrils flaring or the eyes blinking. speak.

Movement is the that these people it exist, TO: After twoproof months of traveling beand breathe.

We needed twenty-four frames came like a habit to be constantly driving in per same second to approach our species. we the direction.

Once, inown Kazakhstan, had to drive two hundred kilometers west in AS: I to also that many of and the itfilms order getnoticed over a mountain pass, felt center on groups ongoing very physicompletely weird,ofasmen, if weand were in the cal, collective male activity.

Doa you think that wrong direction, like making mistake. this is something that is particularly representative the region, or is itmuch moreof representAS: As weof discussed earlier, the phoative of your own interests? focuses on architographic work in EURAsIA NK: the With the two of us being a matesmall tecture, built environment, and the “group” ofyet men, naturally attracted other rial world, thewe films centre more on people, groups of men.

Usually they justand wanted to portraiture, human relationships human chat with us, and maybe have a look at our interactions. car’s engine.

TO: In the past, we never really photoTO: We triedIto film women as well, but graphed people; always had mixed feelings in some turned to bejust very about thecountries portrait, this because it’sout always a difficult — the womenorwouldn’t agree of tothe be very limited glimpse interpretation filmed by themselves, and would call their real person.

But when we started filming, the husbands or fathers to ask if it at was okay.

It first thing we aimed the camera were peowas Ia don’t bit complicated. ple. know why — it was probably beNK: In most of the regionsfor wefifteen visited, cause when you film somebody or men stood in theyou foreground whilesowomen twenty seconds, already have much 36 remained in the background, which is actumore information than in a photograph, and allyso pretty typical — not only in Central Asia, get many more impressions.

groups of men. Usually they just wanted to chat with us, and maybe have a look at our car’s engine.

TO: We tried to film women as well, but in some countries this turned out to be very difficult — the women wouldn’t agree to be filmed by themselves, and would call their husbands or fathers ask if itancestors, was okay.and It manhood. T abouttohonour, was a bit complicated. teams work out their strategies for mont NK: In mostand of the visited, thenregions there’swe this one weekend wh men stood in the foreground women everybody getswhile pretty drunk, they play remained in thegame, background, which is actuand then continue to talk it over ally pretty typical — not in Central Asia, months only afterwards. but in most parts ofEarlier the world. easily foryou We asked about how we deal w get that. incompleteness — or a lack of in-depth u TO: In termsderstanding — while of collective male activity, we’re traveling. Tha we were particularly interested twois events, partly what thisin work about. In the film, y both of which blur thesee boundaries between never the ball, and as an onlooker, y play and violence.

Firstly, wres- on. can’t figureMongolian out what’s going tling, which is very important to Mongolian culture and identity, andthe represents an imporAS: In film of the Mongolian men wr tant part of their ancient traditions.

Alongtling, I noticed that you captured their ini side horse-riding and Genghis Khan, wresface-off and embrace, but mostly cut aw tling is often referred as one of the pillars beforetoeither wrestler became dominant of Mongol society. a way, it also seemed like a self-portrait — NK: And then wetwo also the “Lelo”— the offilmed you — in terms of working togeth Taiyo Onorato & Nic a traditional event unclear origin, which andof producing this project. happens every Easter intrue — our Shukhuti,collaboration a TO:Sunday Yes, it’s c small Georgian village. year, they stitch of sorts and y be seenEach as a constant struggle up a big leather ball, fill ittraces with soil and wine, can find of it everywhere if you lo have it blessed by local and then forthe them.

It’spriest, great when a piece becomes hundreds of thedependent village men — who di- ways of read and allowsare many vided into two teams — jump and try to it. You see iton asit, our self-portrait, a spor bring it into their turf. It’s might a verynotice confusing enthusiast the grip techniqu and ritualistic sight; both teams play in honof the wrestlers, while a sociologist wo our of a recently deceased person,developing so it’s look at the rapidly city in background. about honour, ancestors, and manhood. T teams work out their strategies for mont AS: How the collaboration between and thendoes there’s this one weekend wh two of you function? everybody gets pretty drunk, they play TO:and We’ve working together game, thenbeen continue to talk it over more than ten years. In the beginning, months afterwards. were working Earlier you very askedclosely — everything about how we deal ww basically made together — but incompleteness — or a lack of recently, in-depth tu has begun to change.we’re In the last few Tha yea derstanding — while traveling. we’ve what tried to open it is upabout. a bit, so we hy partly this work In that the film, space to ourselves. never seework the by ball, and as an onlooker, y can’t figure out what’s going on.

AS: Surely there must be instances of d agreement or conflict — maybe wh AS: In the film of the Mongoliantimes men wr one ofI noticed you makes but theini ot tling, thatsomething, you captured their person doesn’t feel that but it should go cut intoaw y face-off and embrace, mostly common bodywrestler of work?became dominant before either NK:itItalso would be odd if we were to say t a way, seemed like a self-portrait — there were never any conflicts.

We’re two the two of you — in terms of working togeth dividuals, withthis twoproject. different opinions, so and producing course aretrue — our going to becollaboration disagreemenc TO:there Yes, it’s TO: asAnd sometimes what happen be seen a constant struggle of sorts and y which is traces even more difficult to resolve — can find of it everywhere if you lo thatthem. you make something that you yours for It’s great when a piece becomes don’t find particularly interesting, but dependent and allows many ways of read other really good. aThere it.

Youperson see itthinks as ourit’s self-portrait, spor constant discussion about images, w enthusiast might notice thethe grip techniqu they and ahow to put them of thecommunicate, wrestlers, while sociologist wou gether, is something that city I really look at and thethis rapidly developing in l about working in a duo. For me, making t background. work is a lot about communicating, and i duoHow you can and test it between to see if AS: doesdiscuss the collaboration working; it’s communicating, or not. Th two of youif function? always first step.

TO:the We’ve been working together more than ten years. In the beginning, AS: So now, when working indepw were working very you’re closely — everything dently, are you making work for each ott basically made together — but recently, first begun and foremost? has to change. In the last few yea TO: To to beopen honest, I photograp we’ve tried it upwhen a bit, so that we ha

as though AS: In some ways, EURAsIA is a very loose, g through “documentary” project about this region, AS: As we discussed earlier, much of the phobut it also seems to represent the experi- tographic work in EURAsIA focuses on archiest,” so to ences and ideas of traveling itself, and the tecture, the built environment, and the mateienna on- feeling of passing quickly through very for- rial world, yet the films centre more on people, verything eign and unfamiliar places. There’s a sense portraiture, human relationships and human any of the that you’re constantly on the move, gather- interactions. period of ing quick glimpses interesting insights, TO: idea In the past, we at an image and not be able to and tell what NK: We had a rough of which waynever we really photorent but Inot gaining in-depth unI always had mixed feelings drive, butgraphed we madepeople; many detours along it’s pace, from, and likenecessarily the thought that asanwould forward.get derstanding. about thetaken portrait, because gradually away from Europe, it seems the way. We could have a more directit’s always just a ronments TO: That’s The thingroute, aboutbut a we tripwanted very limited or interpretation of the go further and further backtrue. in time. to avoidglimpse the rather mond mostly likeall this that you’re always just scratching real person.

But whenwe wehad started filming, the NK: And then of is a sudden, half-way notonous landscapes.

To navigate, — w herefirst thing weGPS aimed camera at were peothe surface — or acrossfoldable the surface — ss, you encounter the future.driving New megamaps, as well as a withthe digital nsstatic, or and thein landscape constantly ple. I don’t know why — it was probably beare being built the middlearound of the you versions of old Russian military maps, which becomes you filmsaid, somebody changes. It cameras remains and a very at because rt, full of surveillance irri-personal turnedlook out to very when useful.

That in a for fifteen or o process. twenty you seconds, younavigate already have so much workinglike withMongolia have to on systems. things, and what I like about country st fifteen imagery is in that you can tellorthemore truthby with it, more information a photograph, and TO: Cities like Baku, Azerbaijan, people’s descriptions andthan yourin own but you can also lie with and mix herds getthe so dirt many moreare impressions. na, in on Kazakhstan, are trying to it, build gut everything feeling, since roads also nohopslike and It’s always own construction.

NK: Maybe in the pastnew we couldn’t handle bols thetogether.

Sydney Opera Houseyour and the madic. But this is rapidly changing — a the roads stillness of thebuilt portrait — there had to be In Eurasia, I was really impressed byof how l Tower. They want to define their idennetwork tarmac is being as we tery time.

In the useoutspoken things andand thenspeak. recycle them, movement associated with it, even if it was quickly, andpeople are really other uses forepic them, and give them a sec-two only the nostrils flaringitorbethe eyes blinking. roads, about it’s this. find In Europe, such underTO: After months of traveling he streets life.

For example, tires: they Movement is the proof that these people exist, ngs require ond a long process, with years of after came likehave a habit to be constantly driving in used to travel on the road, they’re and Once, breathe.

We needed twenty-four frames ar. Butbefore as been ussion something ever happens. the same then direction. in Kazakhstan, we putbuild to other secondkilometers to approach ourinown species. ds, it feels here, they just it. Thispurposes — they’re mix of turbo- had toused driveto twoper hundred west isolate for pipes, or made hinges, eters you talism, a craving identity, andinto thedoor order to get or over a mountain pass, and it felt flower planters gas stations.completely You can work AS:asI ifalso noticed that toa statement de.toI like make is veryatinteresting. weird, we were going in many the of the films on groups of men, and on very physiwith imagery in a very similar way. wrong direction,center like making a mistake. cal, collective male activity. Do you think that n some ways, EURAsIA is a very loose, this earlier, is something that particularly repreDuring the nineteenth and twentieth umentary”AS: project about this region, AS: As we cendiscussed much of theisphoof the region, is it more representturies, it was assumed that if Western photogtographic work insentative EURAsIA focuses onor archiit also seems to represent the experior ethnographers wenttecture, into regions of your own the builtative environment, andinterests? the mates and ideasraphers of traveling itself, and the such as these, it was very their forrole torial both capture NK:centre Withmore the on two of us being a small ng of passing quickly through world, yet the films people, and present authoritative — and in a sense, “group” of men, we naturally and unfamiliar places.an There’s a sense portraiture, human relationships and human attracted other a “true” “complete”— description of the groups of men. Usually they just wanted to you’re constantly onorthe move, gather- interactions. place. within your work, you TO: seemInvery chat with us, and maybe have a look at our quick glimpses andBut interesting insights, the past, we never really photocomfortable with things unbeinggraphed incomplete. engine. not necessarily gaining an in-depth people;car’s I always had mixed feelings has athe kind of TO: We tried to filmjust women as well, but tanding. Even technically, the work itself about portrait, because it’s always a raw quality; thereabout are “flaws” “mistakes” in some countries this of turned TO: That’s true.

The thing a trip and very limited glimpse or interpretation the out to be very — in terms of just the scratching prints, exposures, and so women wouldn’t agree to be this is that you’re always real person.

Butdifficult — the when we started filming, the you the seem to embrace. filmed themselves, first thing we aimed theby camera at wereand peo-would call their urface — oron — which driving across surface — The you artistic imagination husbands fathers to ask the landscapeNK: around constantly ple. Ican, don’tand know why — it or was probably be-if it was okay. It should, allow itself to be selective andwhen incombit complicated. youwas filmasomebody for fifteen or nges. It remains a very personal look at cause plete — otherwise we’d with be scientists, and you NK: In most of so themuch regions we visited, twenty seconds, already have gs, and what I like about working would forced to sacrifice individual men stood the foreground gery is that you canbe tell the truth with it, our more information than in a in photograph, and while women perspective for theeverything sake of objectivity.

It’s more a remained in the background, which is actuou can also lie with it, and mix get so many impressions. freedom we should be aware and in ally typical — not only in Central Asia, ther. It’s always your that own construction.

NK:of, Maybe thepretty past we couldn’t handle useimpressed to our advantage. that,of I the butportrait — there in most parts ofhad the to world. the stillness be We easily forn Eurasia, I should was really by how Besides believe that most of what’s as “auget that.with it, even if it was movement associated people use things and then recycle them,regarded thoritative” “complete” a farce.

TO: In terms ofblinking. collective male activity, other uses for them, and or give them a sec-is really only the nostrils flaring or the eyes were particularly interested Our world is after far too complex and infinitely life. For example, tires: they have Movement is thewe proof that these people exist, in two events, of which blur the boundaries between interesting to ever claim a holistic under-Weboth n used to travel on the road, they’re then and breathe. needed twenty-four frames standing of it. play andour violence.

Firstly, Mongolian wresto other purposes — they’re used to per second to approach own species.

TO: into Losing control is really helpful. I’m tling, which is very important to Mongolian te pipes, or made door hinges, or very keeping culture identity, andfilms represents an imporer planters at gasskeptical stations.about You can work everything AS: I also unnoticed thatand many of the control. like driving into unknown tant part of their ancient traditions. Alongcenter on groups of men, and on very physiimagery inder a very similarIt’s way. territory — you could take the left or themale sideactivity. horse-riding Genghis cal,road collective Do youand think that Khan, wresis often referred to as one of the pillars right road,and andtwentieth if you take the this left one you’ll tling is something that is particularly repreDuring the nineteenth cenof Mongol see fascinating things,photogbut you won’t see what sentative of the region, or issociety. it more represents, it was assumed that if Western lies along went the other one; youative always miss NK: And then we also filmed the “Lelo”— ers or ethnographers into regions of your own interests? something. a traditional as these, it was their role to both capture NK: With the two of us event beingofa unclear small origin, which everyattracted Easter Sunday NK: It’s also funin toaimagine of the things present an authoritative — and sense, all “group” of men,happens we naturally other in Shukhuti, a Georgian village.

Each that you missed along the othergroups road. For too small ue” or “complete”— description of the of men.

Usually they just wanted to year, they stitch long, has been as “obupmaybe a big leather fillatitour with soil and wine, e. But within yourphotography work, you seem very labeled chat with us, and have aball, look jective;” should get used to engine. the idea have it blessed by the local priest, and then fortable with thingspeople being incomplete. car’s that other of comprehending of the as village men — who are din technically, thethere workare itself hasways a kind of TO: We it. triedhundreds to film women well, but vided two out teams — jump quality; there are “flaws” and “mistakes” in some countries thisinto turned to be very on it, and try to AS:prints, On your initial journey in 2013, women bring itwouldn’t into theiragree turf. to It’sbe a very confusing terms of the exposures, and sotogether difficult — the did you maps, or did you justfilmed aim the and ritualistic sight;call both teams play in hon which you seem touse embrace. byfront themselves, and would their of the imagination car east everycan, day?and husbands or fathers our of recently deceased NK: The artistic to aask if it was okay. It person, so it’s ld, allow itself to be selective and incom- was a bit complicated. e — otherwise we’d be scientists, and NK: In most of the regions we visited, ld be forced to sacrifice our individual men stood in the foreground while women 37 pective for the sake of objectivity. It’s a remained in the background, which is actudom that we should be aware of, and ally pretty typical — not only in Central Asia,

be seen as a constant struggle of sorts and you can find traces of it everywhere if you look for them. It’s great when a piece becomes independent and allows many ways of reading it. You see it as our self-portrait, a sportsenthusiast might notice the grip techniques of the wrestlers, while a sociologist would look at the developing city about honour, ancestors, andrapidly manhood.

The NK:in At the the s teams work outbackground. their strategies for months, mous restriction and then there’s this one weekend when ical material, it How does the collaboration between theyo everybody getsAS: pretty drunk, they play the media gives of you to function? game, and thentwo continue talk it over for ness — the only l together for months afterwards.TO: We’ve been workingthe size of your moreabout than how ten years.

Inwith the beginning, Earlier you asked we deal use 16mm, we you h were working closely — everything wasthe incompleteness — or a lack ofvery in-depth un- of film, and basically made together — but recently, thisfo a small derstanding — while we’re traveling.

That’s costs has begun to In change.

In you the last years, a partly what this work is about. the film, our few awareness we’ve tried to open it up ayou bit, so that never see the ball, and as an onlooker, ing, inwe thehave best c space to workon. by ourselves. can’t figure out what’s going TO: And pho aspect of the ana AS:the Surely there must be instances AS: In the film of Mongolian men wresportantoftodisus. B agreement or conflict — maybe times when tling, I noticed that you captured their initial and-white work one of you butend the up other face-off and embrace, but makes mostlysomething, cut away we spen personbecame doesn’t feel that it should go into youran before either wrestler dominant.

In photographs, common of work? a way, it also seemed likebody a self-portrait — of mately. The slo NK: Itofwould be odd if we were to say that the two of you — in terms working together, a more thoroug there were never any conflicts.itself.

We’re two inand producing this project. two different TO: Yes, it’s dividuals, true — our with collaboration can opinions, so of course there are going to you be disagreements. be seen as a constant struggle of sorts and AS: I would ima And sometimes what happens — can find traces of itTO: everywhere if you look turned from the which is aeven difficult resolve — is for them. It’s great when piecemore becomes in- to still very fresh, b that you make something thatgraphs you yourself dependent and allows many ways of reading and film find particularly interesting, but thecer it. You see it asdon’t our self-portrait, a sportshaps replace other person thinks it’s really good.

There’s a enthusiast might notice the grip techniques memories faded constant the images, what of the wrestlers, while adiscussion sociologistabout would NK: There’s they communicate, and put them Manytome look at the rapidly developing city in how the totion.

I really background. gether, and this is something that mostly thelike one about working in a duo. For me, making this that remain stro work is a lot about communicating, and in so atha AS: How does the collaboration between the this time, duo you can discuss and test it to see if it’s we’ve seen. two of you function? if it’s communicating, TO: We’ve working; been working together for or not.

TO: That’s And of c alwaysIn thethe first step. more than ten years. beginning, we see our show, the were working very closely — everything was ories — their exp So now, when you’rethis working indepenbasically made AS: together — but recently, the works that dently,In arethe you making work for each other When I start to f has begun to change. last few years, firstitand we’ve tried to open up aforemost? bit, so that we have starts to becom TO: To be honest, when I films, photograph space to work by ourselves. how weI ed don’t really think a lot. We stillgether. work in anaI becom logue formats and this of is one things AS: Surely there must be instances dis-of the the nice author — and about working intimes this way — I agreement or conflict — maybe when just see something, I push thebut button, and then thinkschuman about one of you makes something, the other Aaron it much later. person doesn’t feel that it should go into your critic and lecture common body of work?

Whyifdo work NK: It wouldAS: be odd weyou wereonly to say thatin analogue forthere were nevermats? any conflicts. We’re two inThere’s a nice quote dividuals, with twoTO: different opinions, so offrom a manifesto Johnto Cage: “Don’t try to create and analyse course there areby going be disagreements. at the samewhat time.”

For me, analogue mediTO: And sometimes happens — ums really helptome to work like this, because which is even more difficult resolve — is there’s a distance between that you make something that you yourselfthe creation and the analysis of the material. don’t find particularly interesting, but theThis is true photographically, but also in terms of our films. other person thinks it’s really good.

There’s a We shoot onthe 16mm film, what and it’s great because constant discussion about images, during daytoI can something, and then they communicate, andthe how put film them tothe evening I can’t look gether, and this in is something that I really likeat the footage. I simply havemaking the option. about working in a duo.don’t For me, thisSo instead, I just think about it — I think about work is a lot about communicating, and in a what I’ve done, imagine duo you can discuss andhow testititmight to seelook, if it’sconsider what I could do better — and this gives me a lot a working; if it’s communicating, or not. That’s freedom. It slows down the process. always the first step.

AS: So now, when you’re working independently, are you making work for each other first and foremost?

TO: To be honest, when I photograph I

re, and mostly tures — wheremain static, or shift becomes cult to process. el just fifteen shepherds on ada shops and

about time. In new roads, it’s ce — the streets amiliar. But as roads, it feels kilometers you n time. I like to

ble to tell what hought that as urope, it seems k in time. den, half-way re. New megamiddle of the meras and irri-

Azerbaijan, or rying to build House and the fine their idenoutspoken and ch epic under, with years of ever happens. s mix of turbontity, and the ry interesting.

like thisand is that alwaysthat justIscratching gether, this you’re is something really like about working indriving a duo. For me,the making this the surface — or across surface — and the around you constantly work is a landscape lot about communicating, and in a duo you can discuss aand test it to seelook if it’s changes.

It remains very personal at working; if it’s communicating, or not. That’s things, and what I like about working with imagery is first that step. you can tell the truth with it, always the but you can also lie with it, and mix everything together.

It’swhen alwaysyou’re your own construction.

AS: So now, working independently, are youI making work for eachbyother In Eurasia, was really impressed how first and foremost? the people use things and then recycle them, findTO: other for them, and give them a sec-I Touses be honest, when I photograph ond life.

Forthink example, after they don’t really a lot. tires: We still work in have anabeen used to travel onisthe they’re then logue formats and this oneroad, of the nice things put toworking other in purposes — they’re used to about this way — I just see someisolateI push pipes,the orbutton, made into doorthink hinges, or thing, and then about flower it muchplanters later. at gas stations. You can work with imagery in a very similar way.

AS: Why do you only work in analogue formats?

AS: During the nineteenth and twentieth cenTO:itThere’s a nice quote a manifesto turies, was assumed that iffrom Western photographers or ethnographers went into regions by John Cage: “Don’t try to create and analyse such these,time.” it wasFor their roleanalogue to both capture at theassame me, mediand present an authoritative — and inbecause a sense, ums really help me to work like this, a “true” or “complete”— description ofand the there’s a distance between the creation 8 work, place.

But within youisseem very the analysis of the your material.

This true phocomfortable with things being of incomplete. tographically, but also in terms our films.

Even technically, work has abecause kind of We shoot on 16mmthe film, anditself it’s great raw quality; there are “flaws” and “mistakes” during the day I can film something, and then — in of the prints, exposures, and soI in theterms evening I can’t look at the footage. on — which seem to embrace. simply don’tyou have the option.

So instead, I just NK: Theit — I artistic can,done, and think about thinkimagination about what I’ve should, allow to be selective and incomimagine how itself it might look, consider what I plete —do otherwise we’dthis begives scientists, and could better — and me a lot a freedom. slows to down the process. would beItforced sacrifice our individual NK: We had rough of which way wea perspective for athe sakeidea of objectivity.

It’s would drive, butwe weshould made many detours freedom that be aware of,along and the way.use Wetocould have takenBesides a more that, directI should our advantage. route, wemost wanted to avoid the rather mobelievebut that of what’s regarded as “aunotonous landscapes.

To navigate, had thoritative” or “complete” is really we a farce. foldable maps, well as a GPS with digital Our world is farastoo complex and infinitely versions of old military maps,underwhich interesting to Russian ever claim a holistic turned out standing ofto it.be very useful. That said, in a country like Mongolia have helpful. to navigate TO: Losing control you is really I’m more by people’s descriptions and your own very skeptical about keeping everything ungut the driving dirt roads areunknown also noder feeling, control.since It’s like into madic.

But thiscould is rapidly changing — a territory — you take the left road ornew the network of and tarmac roads being we right road, if you takeisthe leftbuilt one as you’ll speak. see fascinating things, but you won’t see what After months traveling beliesTO: along thetwo other one; of you alwaysitmiss came 8 like a habit to be constantly driving in something. the same direction.

Once, in Kazakhstan, we NK: It’s also fun to imagine all of the things had drive twoalong hundred in that to you missed the kilometers other road. west For too order to get over a mountain and felt long, photography has been pass, labeled asit“obcompletely weird, as if we the jective;” people should getwere usedgoing to theinidea wrong direction, like making a mistake. it. that there are other ways of comprehending

s a very loose, t this region, AS: discussed earlier, much of the phoAS: As Onwe your initial journey together in 2013, work in EURAsIA focuses nt the experi- tographic did you use maps, or did you just aim on thearchifront theeast built environment, and the mateitself, and the tecture, of the car every day? oughNK: very world, yetofthe filmsway centre Weforhad arial rough idea which we more on people, here’s a sense human relationships and human would drive, but portraiture, we made many detours along move, gatherinteractions. the way.

We could have taken a more direct sting TO: In thethe past, we monever really photoroute,insights, but we wanted to avoid rather nnotonous in-depth landscapes. un- graphedTo people; I always had mixed feelings navigate, we had about because foldable maps, as wellthe as aportrait, GPS with digitalit’s always just a gversions about aoftrip very limited glimpse interpretation of the old Russian military maps,orwhich ust scratching person. when wein started filming, the turned out to bereal very useful.But That said, a first thing aimed the camera at were peothe surface — scountry like Mongolia youwe have to navigate ou constantly ple.

I don’t know was probably bemore by people’s descriptions andwhy — it your own cause when you film somebody rsonal look at gut feeling, since the dirt roads are also no- for fifteen or seconds, you already working with madic.

But this twenty is rapidly changing — a new have so much enetwork truth with it, more information thanas inwe a photograph, and of tarmac roads is being built mix everything get so many more impressions. speak. construction.

NK: Maybe in the past we couldn’t handle TO: After two months of traveling it bethe of the driving portrait — there had to be ressedlike by how came a habit tostillness be constantly in

real person. But when we started filming, the two of you function?

From: first thing we aimed the camera at were peoTO:YAHOO We’ve been working together ANSWERS ple. I don’t know why — it was probably bemore than ten years. In the beginning, https://answers.yahoo.com/questi cause when you film somebody for fifteen or were working very closely — everything w twenty seconds, you already have so much basically made together — but recently, t more information than in a photograph, and has begun to change. In the last few yea we’ve tried to open it up a bit, so that we ha get so many more impressions.

NK: Maybe in the past we couldn’t handle space to work by ourselves. the stillness of the portrait — there had to be movement associated with it, even if it was AS: Surely there must be instances of d only the nostrils flaring or the eyes blinking. agreement or conflict — maybe times wh Movement is the proof that these people exist, one of you makes something, but the ot and breathe. We needed twenty-four frames person doesn’t feel that it should go into yo common body of work? in per second to approach[…] ourThe owntraveller species.of old was one who went search of knowledge and whom the indigènes NK: It would be odd if we were to say t AS: I also noticed that many of to the films with their local interwere proud entertain there were never any conflicts. We’re two center on groups of men, and very physiests.

In on Europe this attitude of reciprocal apdividuals, with two different opinions, so cal, collective male activity.

Do youhas think that preciation long evaporated. But there at there are going to be disagreemen course this is something that least is particularly repreTO: And sometimes what happen the “tourist” is no longer a phenomenon. sentative of the region, or moreofrepresentHeisisitpart the landscape, and in nine cases which is even more difficult to resolve — ative of your own interests? out of ten has little money to spend beyond that you make something that you yours NK: With the two what of ushebeing a small had paid for his tour. Here, he isdon’t still find particularly interesting, but “group” of men, we naturally attractedIfother other person thinks it’s really good. There an aberration. you can come from London groups of men. Usuallytothey wanted toyou must be rich. Ifconstant discussion about the images, w Syriajust on business, you Taiyo & Nico Krebs chat with us, and maybe a look our Onorato they canhave come so farat without business, you mustcommunicate, and how to put them car’s engine. gether, and this is something that I really l be very rich. No one cares if you like the place, about TO: We tried to film well, You but are simply a tourist, orwomen hate it, as or why. as working in a duo. For me, making t skunkout is a to skunk, a parasitic variation of the is a lot about communicating, and i work in some countries this aturned be very difficult — the women wouldn’t agree which to be exists to be tappedduo human species, likeyou can discuss and test it to see if working; if it’s communicating, or not. Tha milch cow call or a their gum tree. […] filmed by themselves, aand would always the first step. husbands or fathers to ask if it was okay. It was a bit complicated. From: NK: In most of theRobert regions we visited, AS: So now, when you’re working indep Byron, The Road to Oxiana, New York, dently, are you making work for each ot Oxford while University Press 1982, p. 42. men stood in the foreground women honour, which ancestors, and manhood. The firstNK: the same time, it’s also an en remained in theabout background, is actuandAt foremost? teams work their strategies for months, mous restriction.

Because we work with ph ally pretty typical — not only out in Central Asia, TO: To be honest, when I photograp and then there’s this one material, it’s physically limited. don’t really think a lot. We still work Digi in a but in most parts of the world.

We easily for-weekend when ical everybody gets pretty drunk, they play the media gives you a false sense infini logue formats and this is one of theof nice thin get that.

— working the only limitations are battery a and then continue to talk it over for ness TO: In termsgame, of collective male activity, about in this way — I just seelife som months afterwards. the size of your card.

Butthink when we were particularly interested in two events, thing, I push thememory button, and then aby you askedbetween about how we deal with use 16mm, you have to deal with running o both of which blur Earlier the boundaries it much later. incompleteness — or lack of in-depth un- of film, and the sad fact that every minu play and violence.

Firstly, Mongoliana wresmin a small fortune.

It probably heighte derstanding — while we’re traveling. That’s costs tling, which is very important to Mongolian AS: Why do you only work in analogue f partly what this work about. In the film, you our awareness and concentration while wo culture and identity, and represents anisimpormats? never see traditions. the ball, and as an onlooker, you ing,TO: in the best cases least.from a manife tant part of their ancient AlongThere’s a niceat quote can’t out what’s TO: And photographically, there’s

by John Cage: “Don’t try to create andanoth anal side horse-riding andfigure Genghis Khan, going wres- on. aspect of the analogue that’s very tling is often referred to as one of the pillars at the same time.” Forprocess me, analogue mei AS: In the film of the Mongolian men wres- portant to help us. Because welike print thebecau bla ums really me to work this, of Mongol society. tling, I noticed captured their initial and-white work ourselves, the darkrooa NK: And then we also filmedthat theyou “Lelo”— there’s a distance betweenin the creation face-off and Onorato embrace, but mostly up spending a lot ofThis time with o Taiyo Nico Krebs cut away we E is U true R ph A a traditional event of unclear origin,&which the end analysis of the material. beforeSunday either wrestler became in happens every Easter in Shukhuti, a dominant. In photographs, tographically,and but get alsotoinknow termsthe of work our film a way, itEach also year, seemed a self-portrait — of mately.

The slowness ofand theit’s process crea small Georgian village. theylike stitch We shoot on 16mm film, great beca the two you — in of working together, aduring more the thorough relationship with the up a big leather ball, fill of it with soilterms and wine, day I can film something, andwo th andthe producing this project. itself. have it blessed by local priest, and then in the evening I can’t look at the footag TO: Yes, it’s true — our collaboration can simply don’t have the option. So instead, I j hundreds of the village men — who are dibe seen as a constant struggle I would imagine that, when you first vided into two teams — jump on it, and try to of sorts and you AS: think about it — I think about what I’ve do canturf. findIt’s traces of confusing it everywhere if you look turned from trips,look, your consider memorieswh w bring it into their a very imagine howthese it might for them. great when a piece becomes in- still very but thatthis overgives time the and ritualistic sight; both It’s teams play in honcould dofresh, better — and me pho a lo dependent and allows so many and our of a recently deceased person, it’sways of reading graphs freedom.

It films slowsbegan down to theovertake process.and p it. You see it manhood. as our self-portrait, a sportshaps replace memories, whilst oth about honour, ancestors, and The NK: At the same time, it’scertain also an enormightfor notice the grip techniques faded. teams work outenthusiast their strategies months, mous restriction.memories Because we work with physof this the wrestlers, whilewhen a sociologist wouldit’s physically NK: There’s always this period of tran and then there’s one weekend ical material, limited.

Digital tion.

Many memories fade away, and atdrunk, the rapidly developing city gives in theyou everybody gets look pretty they play the media a false sense of infinitemostly theare ones connected battery life and to the pictu game, and thenbackground. continue to talk it over for ness — the only limitations remain strong.

I think months afterwards. the size of your that memory card.

But when youour work nee this time, thatrunning we can out fully process wh AS: How does the between w Earlier you asked about how wecollaboration deal with use 16mm,the you have to dealsowith seen. two ofayou incompleteness — or lackfunction? of in-depth un- of film, and thewe’ve sad fact that every minute We’ve been working together forfortune.

TO:ItAnd of course, if someone comes a small probably heightens derstanding — whileTO: we’re traveling.

That’s costs seeconcentration our show, theywhile don’tworkhave any of our me moreisthan ten In you the beginning, we and partly what this work about.

Inyears. the film, our awareness were working very closely — everything ories — their never see the ball, and as an onlooker, you ing, in the was best cases at least.experience is based purely basically made this the works that they another can see in the galle can’t figure out what’s going on.together — but recently, TO: And photographically, there’s When Iprocess start tothat’s forget, that’s has begun to change. In the last fewofyears, aspect the analogue very im-when the proj we’ve tried to openmen it upwresa bit, so that weto have starts to we become the photographs, t AS: In the film of the Mongolian portant us. Because printabout the black38 space tocaptured work by ourselves. how we editdarkroom, them and put them all tling, I noticed that you their initial and-white workfilms, ourselves, in the gether.a Ilot become face-off and embrace, but mostly cut away we end up spending of timemore withlike ourthe viewer th

Robert Byron the rOAD tO OxIANA

sions of ofthat old we Russian military maps,of, which edom should be aware and sions old Russian military maps, which ned useful. said, in uld out use to to be ourvery advantage.

Besides that, ned out to be very useful. That That said, in a aI ntry like Mongolia you to eve that of what’s regarded as “auntry like most Mongolia you have have to navigate navigate re by people’s people’s descriptions and your your own ritative” or “complete” is really a farce. re by descriptions and own the dirt are also rfeeling, world issince far too feeling, since thecomplex dirt roads roadsand areinfinitely also nonodic. is new eresting to ever claim changing — a a holistic underdic. But But this this is rapidly rapidly changing — a new work of tarmac roads is being built as nding oftarmac it. work of roads is being built as we we ak.

TO: Losing control is really helpful. I’m ak.

After months of it yTO: skeptical about keeping everything unTO: After two two months of traveling traveling it bebeme like to constantly in It’s like into driving unknown mecontrol. like a a habit habit to be bedriving constantly driving in same direction.

Once, in Kazakhstan, we itory — you couldOnce, take the left road or the same direction. in Kazakhstan, we toroad, driveand twoifhundred hundred kilometers west in htto you takekilometers the left onewest you’ll drive two in er to a felt fascinating things, but youpass, won’tand seeit er to get get over over a mountain mountain pass, and itwhat felt mpletely weird, as we going the along the other you always mpletely weird, as if ifone; we were were going in inmiss the ng direction, direction, like like8making making a a mistake. mistake. mething. ng

NK: It’s also fun to imagine all of the things we discussed earlier, much of photAs you along the other road.

For too As wemissed discussed earlier, much of the the phoaphic work g, photography has beenfocuses labeledon “obaphic work in in EURAsIA EURAsIA focuses onasarchiarchiure, the built environment, environment, andtothe the mateive;”the people should get used themateidea ure, built and yet the centre more tworld, there are ways of comprehending it. world, yet other the films films centre more on on people, people, traiture, traiture, human human relationships relationships and and human human ractions.

On your initial journey together in 2013, ractions.

TO: In the the past, we you never really photoyou use maps, or did justreally aim the front TO: In past, we never photophed II always he carpeople; east every day?had phed people; always had mixed mixed feelings feelings ut because always just a NK: Weportrait, had a rough ideait’s of which ut the the portrait, because it’s alwaysway justwe a y glimpse or the uld drive, but we made many detoursof along y limited limited glimpse or interpretation interpretation of the person.

But when wetaken started filming, the way.

WeBut could have a more direct person. when we started filming, the thing camera at were te, but we wantedthe to avoid the mothing we aimed aimed the camera atrather were peopeoII don’t know was beonous To navigate, we had don’tlandscapes. know why — it why — it was probably probably bese when when youas film somebody for fifteen or dable maps, well as a GPSfor with digital se you film somebody fifteen or nty you have so much sions of old Russian military maps, nty seconds, seconds, you already already have so which much re than in ned out to be very That said, and in a re information information thanuseful. in a a photograph, photograph, and so many impressions. ntry likemore Mongolia you have to navigate so many more impressions.

NK: Maybe in the the past we we couldn’t couldn’t handle re byMaybe people’s descriptions and your own NK: in past handle stillness of portrait — there be feeling, since dirt roads arehad alsoto stillness of the thethe portrait — there had tonobe vement with it, was dic. But associated this is rapidly vement associated withchanging — a it, even even if if it it new was y the nostrils flaring or the eyes blinking. of tarmac roadsoristhe being as we ywork the nostrils flaring eyesbuilt blinking. vement is the the proof proof that that these these people people exist, exist, ak. vement is breathe. twenty-four frames TO: AfterWe twoneeded months of traveling it bebreathe.

We needed twenty-four frames second approach our me like ato habit to be constantly driving in second to approach our own own species. species.

same direction. Once, in Kazakhstan, we also noticed that many many of the thewest films to drivenoticed two hundred kilometers in II also that of films ter on groups men, on er over aof andphysiit felt terto onget groups ofmountain men, and andpass, on very very physicollective male activity.

Do think mpletely weird, if we were going inthat the collective male as activity.

Do you you think that is something something thatmaking is particularly particularly repreng direction, like a mistake. is that is repretative tative of of the the region, region, or or is is it it more more representrepresente of your own discussed earlier, much of the phoeAs ofwe your own interests? interests?

NK: With the two of us being a raphic workthe in EURAsIA archiNK: With two of usfocuses being on a small small oup” of men, men, we naturally attracted attracted other ure, the built we environment, and the mateoup” of naturally other ups of men. they just to world, theUsually films centre on people, ups of yet men.

Usually theymore just wanted wanted to tttraiture, with and have look at relationships with us, us,human and maybe maybe have a a and lookhuman at our our s engine. eractions. s engine.

TO: We We tried to film film womenreally as well, well, but In the past, we never photoTO: tried to women as but ome this out be phed people; I always had mixed ome countries countries this turned turned out to to feelings be very very fficult — the women wouldn’t agree to ut the portrait, because it’s always fficult — the women wouldn’t agree just to be bea med by would their y limited glimpse orand interpretation the med by themselves, themselves, and would call callof their bands orBut fathers towe ask if it it was was okay.the It person. whento started filming, bands or fathers ask if okay.

It bit ta we aimed the camera at were peoathing bit complicated. complicated.

NK: In the we I don’t knowof why — it was probably beNK: In most most of the regions regions we visited, visited, nsestood stood in the foreground while women whenin you film somebodywhile for fifteen or n the foreground women mained in actunty seconds, you already which have sois mained in the the background, background, which is much actupretty typical — not only in re information than in a photograph, and pretty typical — not only in Central Central Asia, Asia, in the so manyparts moreof in most most parts ofimpressions. the world. world. We We easily easily forforthat.

NK: Maybe in the past we couldn’t handle that.

TO: In of collective activity, stillness of the to be TO: In terms terms ofportrait — there collective male malehad activity, were particularly interested two vement associated with it, in even it was were particularly interested in twoifevents, events, h of which blur the boundaries between y the nostrils flaring or the eyes blinking. h of which blur the boundaries between yvement and violence. violence.

Firstly, Mongolian wresis the proof that these peoplewresexist, y and Firstly, Mongolian g, which very important to needed twenty-four frames g,breathe. which is isWe very important to Mongolian Mongolian ure and and represents an second to approach own species. ure and identity, identity, and our represents an imporimporpart of of their their ancient ancient traditions. traditions. AlongAlongtt part e Genghis also noticedand that many Khan, of the wresfilms e Ihorse-riding horse-riding and Genghis Khan, wresg is often referred to one of the groups of men, physigter is on often referred to as asand oneon ofvery the pillars pillars Mongol society. collective male activity. Do you think that Mongol society.

NK: And then then we we also filmed the “Lelo”— “Lelo”— is something that is filmed particularly repreNK: And also the aditional event of unclear origin, which

Earlier you asked about how we we deal deal with with ally pretty typical — not only inasked Central Asia, Earlier you about how incompleteness — or a but in most parts of the world. We easily for-of incompleteness — or a lack lack of in-depth in-depth ununderstanding — while get that. derstanding — while we’re we’re traveling. traveling. That’s That’s partly what this thismale workactivity, is about. about. In In the the film, film, you you TO: In termspartly of collective what work is never see and as we were particularly interested in two events, never see the the ball, ball, and as an an onlooker, onlooker, you you can’t figure out going both of which blur boundaries between can’tthe figure out what’s what’s going on. on.

use TO: 16mm, you have to to deal deal with running out outI To you be honest, when I photograph use 16mm, have with running of film, and the fact that don’t really a lot.

We stillevery workminute in anaof film, andthink the sad sad fact that every minute costs small It probably heightens logue a and this is of the nice things costs aformats small fortune. fortune.

Itone probably heightens our awareness and concentration while workabout workingand in this way — I justwhile see someour awareness concentration working, in best at thing, push thecases button, and then think about ing, in Ithe the best cases at least. least.

TO: photographically, it much later.

TO: And And photographically, there’s there’s another another aspect aspect of of the the analogue analogue process process that’s that’s very very imimportant todous. us.

Because we in print the blackblackAS: Whyto you only work analogue forportant Because we print the and-white work mats? and-white work ourselves, ourselves, in in the the darkroom, darkroom, we up a time with TO: There’s a nice quote from a manifesto we end end up spending spending a lot lot of of time with our our photographs, and get to know the work intiby John Cage: “Don’t create analyse photographs, and gettry to to know theand work intimately.

The slowness slowness ofme, theanalogue process creates creates at the same time.” Forof medimately.

The the process a more thorough relationship work really help me to work likewith this,the because aums more thorough relationship with the work itself. there’s a distance between the creation and itself.

play and violence. Firstly, Mongolian wresAS: In In the film film to of Mongolian the Mongolian Mongolian men men wreswrestling, which is very important AS: the of the tling, II noticed that you captured culture and identity, and represents importling, noticed thatan you captured their their initial initial face-off embrace, but tant part of their ancientand traditions. face-off and embrace,Alongbut mostly mostly cut cut away away before either side horse-riding and Genghis Khan, became wres- dominant. before either wrestler wrestler became dominant. In In a way, way, to it also also seemed like a self-portrait — of self-portrait — of tling is often referred as one of the like pillars a it seemed a the of Mongol society. the two two of of you — in you — in terms terms of of working working together, together, and NK: And then weproducing also filmedthis theproject.

“Lelo”— and producing this project.

TO: Yes, it’s it’sorigin, true — our collaboration canKrebs Taiyo Onorato & Nico a traditional event TO: of unclear which the analysis of the material. This is true pho- E U R A S Yes, true — our collaboration can be as struggle II would that, when you first rehappens every Easter in Shukhuti, a of tographically, but also in terms our films. be seen seenSunday as a a constant constant struggle of sorts sorts and and you you AS: AS: would imagine imagine that, when of you first recan traces of it if from these your memories were small Georgian village. year, stitch We shoot on 16mm film, and great because can find findEach traces of they it everywhere everywhere if you you look look turned turned from these trips, trips, yourit’s memories were for them.

It’s great when a piece becomes instill very fresh, but that over time the photoup a big leather ball, fill it It’s withgreat soil and wine, during the day Ibut canthat filmover something, and then for them. when a piece becomes in- still very fresh, time the photodependent and allows many ways of of reading reading graphs graphs and films filmsI can’t beganlook to overtake overtake and perper-I have it blessed by the localand priest, andmany then ways in the evening at the footage. dependent allows and began to and You it a replace certain whilst hundreds of theit. men — who are disimply don’t have thememories, option. So instead, I just it.village You see see it as as our our self-portrait, self-portrait, a sportssports- haps haps replace certain memories, whilst other other enthusiast the vided into two teams — jump on it,notice and try togrip think aboutfaded. it — I think about what I’ve done, enthusiast might might notice the grip techniques techniques memories memories faded. of the a NK: always this of bring it into their It’s a verywhile confusing how it might consider what I of turf. the wrestlers, wrestlers, while a sociologist sociologist would would imagine NK: There’s There’s alwayslook, this period period of transitransition.

Many memories this fadegives away, and it’sa look both at the the rapidly developing city in in the the tion. and ritualistic sight; teams play developing in honcouldMany do better — and meand a lot memories fade away, it’s look at rapidly city background. mostly the to our of a recently deceased person, so it’s freedom.

It ones slowsconnected down the process. background. mostly the ones connected to the the pictures pictures remain strong. think our work about honour, ancestors, and manhood. The that At the sameIItime, anneeds enorthatNK: remain strong. thinkit’s ouralso work needs time, so we process what AS: How does the collaboration the teams work out strategies between for months, mous restriction. we work with physthis time, so that thatBecause we can can fully fully process what AS: How does thetheir collaboration between the this we’ve seen. it’s physically limited. Digital two of you there’s function? and of then this one weekend when we’ve ical material, seen. two you function?

TO: together for TO: And course, if to everybody gets been prettyworking drunk, they play the you a false sense ofcomes infiniteTO: We’ve We’ve been working together for media TO: gives And of of course, if someone someone comes to our they don’t of memmore In beginning, ness — tshow, he only limitations areany battery and game,than and ten thenyears. continue to talk it over we for see see our show, they don’t have have any of our ourlife memmore than ten years.

In the the beginning, we were working very closely — everything closely — everything was was ories — their ories — their experience is based purely on months afterwards. the size of your memory is card.

But purely when you were working very experience based on basically together — but this works they can see in the Earliermade you asked about howrecently, we deal with use 16mm, you have deal with out basically made together — but recently, this the the works that that they to can see in running the gallery. gallery.

II start forget, that’s when the project has begun the few incompleteness — or lack in-depth un- When of film, and to the sad fact that every When start to forget, that’s when the minute project has begun to to change. change.aIn In theoflast last few years, years, we’ve tried a so have become about photographs, the costs ato fortune. probably heightens derstanding — while we’re traveling. we’ve tried to to open open it it up up a bit, bit, so that that we weThat’s have starts starts tosmall become aboutItthe the photographs, the space to work bywork ourselves. films, how we we edit edit them and put put them them all topartly to what this is about. In the film, you films, our awareness and them concentration whileall workspace work by ourselves. how and toII become more like never see the ball, and as an onlooker, you gether. ing, in the best cases at least. gether. become more like the the viewer viewer than than AS: must be of author — and this can’tSurely figure there out what’s on.

And photographically, AS: Surely there mustgoing be instances instances of disdis- the the TO: author — and this is is good. good. there’s another agreement agreement or or conflict — maybe conflict — maybe times times when when aspect of the analogue process that’s very imone of the youfilm makes something, butmen the wresother Aaron Aaron schuman is a a photographer, photographer, curator, AS: In of the Mongolian portantschuman to us. Because we print thecurator, blackone of you makes something, but the other is person doesn’t should into your and at Brighton. tling, I noticed thatthat you it captured their and-white work ourselves, in theof person doesn’t feel feel that it should go go intoinitial your critic critic and lecturer lecturer at the the University University ofdarkroom, Brighton. common body of face-off and embrace, common body of work? work?but mostly cut away we end up spending a lot of time with our NK: It be if to before wrestler dominant.

In photographs, and get to know the work intiNK:either It would would be odd oddbecame if we we were were to say say that that there were never any conflicts. conflicts.

We’re two two inin- mately. The slowness of the process creates a way,were it also seemed like a self-portrait — of there never any We’re dividuals, with different opinions, so the two of you — in of working together, dividuals, with two twoterms different opinions, so of of a more thorough relationship with the work course there going to and producing project. course there are arethis going to be be disagreements. disagreements. itself.

TO: Yes, Andit’s sometimes what happens — happens — true — our collaboration can TO: And sometimes what which more difficult resolve — is be seenis a constant and you AS: I would imagine that, when you first rewhich isaseven even more struggle difficultofto tosorts resolve — is that you that yourself can find traces something of it everywhere if you look turned from these trips, your memories were that you make make something that you you yourself don’t find particularly but for them. great wheninteresting, a piece becomes in- still very fresh, but that over time the photodon’t findIt’s particularly interesting, but the the other person thinks it’smany reallyways good.ofThere’s There’s a graphs and films began to overtake and perdependent and allows reading other person thinks it’s really good. a constant discussion the what it. You see it as ourabout self-portrait, a sportsconstant discussion about the images, images, what haps replace certain memories, whilst other they communicate, and to them enthusiast might notice the grip techniques they communicate, and how how to put put them toto- memories faded. gether, and that like of the wrestlers, while a sociologist would NK: There’s always this period of transigether, and this this is is something something that II really really like about working in a a duo. duo.

For me, me, making making this look at the rapidly developing city in this the tion. Many memories fade away, and it’s about working in For work is background. work is a a lot lot about about communicating, communicating, and and in in a a mostly the ones connected to the pictures duo duo you you can can discuss discuss and and test test it it to to see see if if it’s it’s that remain strong. I think our work needs working; if it’s communicating, or not.

That’s AS: How if does the collaborationor between the this time, so that we can fully process what working; it’s communicating, not. That’s always the function? first step. step. we’ve seen. two of you always the first TO: We’ve been working together for AS: So now, when you’re working indepenmore years.

In the beginning, we AS: Sothan now,ten when you’re working independently, are you youvery making work for for each each other other were working closely — everything was dently, are making work first and basically made together — but recently, this first and foremost? foremost?

To be honest, when photograph hasTO: begun the IIlast few years,II TO: To to be change. honest, In when photograph don’t think still in anawe’vereally tried to opena upWe a bit, so work that we don’t really think a itlot. lot.

We still work in have analogue formats and this is is one one of of the the nice nice things things spaceformats to workand by ourselves. logue this about about working working in in this this way — I way — I just just see see somesomething, II push the and then AS: Surely must be disthing, pushthere the button, button, andinstances then think thinkofabout about it much later. agreement or conflict — maybe times when it much later.

one of you makes something, but the other AS: Why do only work in forperson doesn’t feel that it should go into your AS: Why do you you only work in analogue analogue formats? common body of work? mats?

TO: There’s abe nice quote from a manifesto manifesto NK: There’s It woulda odd if wefrom werea to say that TO: nice quote by John Cage: “Don’t to and there were never anytry conflicts.

We’re two inby John Cage: “Don’t try to create create and analyse analyse at the time.” me, dividuals, with two For different opinions,mediso of at the same same time.”

For me, analogue analogue medi39 ums really help to this, course there areme going to belike disagreements. ums really help me to work work like this, because because there’s a And distance between what the creation creation and TO:a sometimes happens — there’s distance between the and the analysis of the material. This is true pho-

TO: And of course, if someone comes to see our show, they don’t have any of our memories — their experience is based purely on the works that they can see in the gallery.

When I start to forget, that’s when the project starts to become about the photographs, the films, how we edit them and put them all toThe of gether. I become more[…] like thetraveller viewer than […]

The traveller of old old was was one one who who w w the author — and this issearch good. of search of knowledge knowledge and and whom whom the the ind ind were proud to entertain with their loca were proud to entertain with their loca ests. In In Europe Europe this attitude attitude of of reciproc reciproc Aaron schuman is a photographer, curator, ests. this preciation long critic and lecturer at the University Brighton. preciationofhas has long evaporated. evaporated. But But th th least least the the “tourist” “tourist” is is no no longer longer a a phenom phenom He is is part part of of the the landscape, landscape, and and in in nine nine He out out of of ten ten has has little little money money to to spend spend b b what what he he had had paid paid for for his his tour. tour. Here, Here, he he an aberration.

If you can come from L an aberration. If you can come from L to Syria Syria on on business, business, you you must must be be rich. rich. to can come so far without business, you

Robert Robert Byron Byron the rOAD tO the rOAD tO OxIANA OxIANA

40 × 40 — CLAUDIA COMTE Claudia Comte 40 × 40

ISBN 978-3-906803-27-2 EUR 83 | CHF 83 With a text by Chris Sharp in English Softcover, 416 pages 1000 color images 20 × 40 cm / 7 ¾ × 15 ¾ in.

Design : Adeline Mollard, Elektrosmog

40

Nº 227

40 × 40 — CLAUDIA COMTE

41

PERFECT CHERRY BLOSSOM — KEIICHI TANAAMI & OLIVER PAYNE Keiichi Tanaami & Oliver Payne Perfect Cherry Blossom

ISBN 978-3-906803-28-9 EUR 48 | CHF 48 Editors : STUDIOLO / Edition Patrick Frey Softcover, 80 pages 29 color images 28.5 × 38 cm / 11 ¼ × 15 in.

Design : Teo Schifferli

42

Nº 228

PERFECT CHERRY BLOSSOM — KEIICHI TANAAMI & OLIVER PAYNE N F

Niels Olsen Fredi Fischli

O P

Oliver Payne

K T

Keiichi Tanaami

N F To start the conversation we would like to go back to our first meeting. We remember it very well — I think it was one of our first ever exhibition projects. When we first met the gallerist Shinji Nanzuka about six years ago he introduced us to the work of Keiichi Tanaami.

The surprising moment for us was when he mentioned your interest in Tanaami’s work — basically that you’re a fan of his! Of course we were already huge fans of your practice and also of your collaboration with Nick Relph. That was such an important influence and reference point for artists of our generation. So then we were curious to call you and ask about your interest in Tanaami.

How did you learn about his work and what made him a hero for you? It all started as this bizarre fan-fan-hero-hero relationship …

O P I don’t exactly recall when I saw the work for the first time. I suppose I was familiar with things like The Monkees and Jefferson Airplane cover art without really acknowledging that they were by him. I worked at MoWax records with Toby Feltwell for a time. During that period I was being introduced to all sorts of absolutely extraordinary art and music from Japan. So I think it was through looking at Japanese books and magazines and listening to loads of Boredoms that I got into Tanaami. A little later I visited Tokyo for the first time and a friend took me to Nanzuka Underground. There I got to meet Shinji Nanzuka and see some Tanaami work up close and get my hands on books of his that were hard to find back home. Seeing all this work blew my mind and basically I became a mega fan.

N F This idea of being a “fan” of very specific sources is something that I think is very characteristic of your practice. Aspects of your work could be described as “Take Care” or almost as worship. This is very unusual. Since you often produce series that deal with specific themes, your work has a documentary approach to it. But it never seems distant to its subject — not the “artist analysing and observing the obscure”, but rather a way of worshipping themes you fully believe in. Perhaps the same could also be said of your series of Japanese Bullet Hell Game collages.

O P Yes, I’m really into all the stuff I talk about in my work. Video games are something that I’m particularly drawn to, not simply because I love them and play them all the time, but because they are very useful for providing a framework with which to discuss things like space, freedom, identity, labour, play, history, art … all sorts of things.

Bullet hell games [1], a sub-genre of shoot-em up games, are particularly interesting to me because not only are they incredibly beautiful, chaotic and psychedelic, they also represent a very niche area of hardcore arcade gaming and could be considered to be pure video games. Unlike most popular game genres that borrow from cinema and general current pop-culture, bullet hell games are only concerned with themselves and their own, often very complicated, sets of systems and rules. Really, the driving force of these games is “pattern” — the patterns of the waves of bullets, memorizing the patterns of movement through a level, recognizing patterns in the behaviour of the enemy boss. And, of course, patterns can be both very pretty and very complicated. So these original works using pages from books of Greek and Roman sculpture are about trying to make something beautiful because of its complexity whilst still maintaining an inherent logic within the interplay between the bullets and the image on the page [2]. I don’t think I could authentically do this without first really liking bullet hell games.

43

N 7 F Keiichi, when you met with Oliver in Tokyo a few years ago you gave him right away forty original drawings to initiate the collaboration.

These drawings are defined by black outlines showing very distinct, surreal figures. We wonder what sources and references inspired them? Are they part of your on-going Dream Diary series, that are persistent documents of your dreams?

K T Each of the forty drawings is not independent; it could be said that it is the same as the drawings made for my recent paintings, consisting of combinations of more than a hundred individual drawings, i.e., the materials are to be adopted for different themes. Moreover, the drawings made separately for each theme explore different subjects. Thus, I can hardly explain the forty drawings individually.

Currently, I am working on the book of my Dream Diary, which I have recorded for over 40 years, but the collaboration work with Oliver does not involve records of my dreams. However, dream and recollection are the most important sources of my creation, thereby not totally irrelevant to this collaboration project.

The forty drawings instantly selected by Oliver were actually my favourites as well, so I was very happy about that.

N F It is interesting how you describe your painterly procedure: you collect hundreds of motifs, create an archive and later on apply them as collages in your paintings. One could argue that the collage is really a core methodology of yours. I’m also thinking about your early collages from the 1960s, where you gather and re-combine found images from magazines and advertisements. It’s interesting that Oliver and you found a collaboration in the medium of the collage.

For both of you it’s very important as a strategy, but you each apply it totally different. Oliver is very specific about a source — in this case the bullet hell game elements — and only works with this “one” vocabulary. With a limited vocabulary he then creates rich varieties.

You on the other hand use the collage as a way of taking notes, of collecting either inspiration from given materials, but also as a way of collecting and documenting your fictional dreams. This very different and paradoxical understanding of the collage within your collaboration creates a great tension.

To come back to your early collages — did they come from graphic design, or how did you start producing them?

K T To this question Keiichi Tanaami answered with the following essay: The Brightly Patterned Kimono and the Scent of Kogiku Hanayagi I was tidying up at a warehouse in Setagaya one chilly day in 2012 during a heavy rain when I came upon a large stack of paper wrapped in old newspaper.

I had no memory of these dusty old newspapers. When I peeled them open, there appeared more than 100 brightly coloured collages. I had no idea as to how, when, or for what reason this group of works had been made, and though these were unmistakably works of my own, for a moment I could not even fathom why they would have lain dormant here, abandoned in a dark warehouse. I took them back with me to my work studio and, leaving a hurried manuscript, set to work repairing(1) the dried up flakes of glue and otherwise damaged sections. I carefully scrutinized and verified the stack of collages piled atop my desk, and as I did so distant, blurry memories came back to me, resurrected in vivid colours and stirring up strange emotions.

As I looked at several of the photographs glued onto the background of one collage, a range of scenes I had completely forgotten about emerged.

There is a photo of a local woman in ethnic attire placing a garland of flowers around the neck of a Japanese soldier stationed in Burma during the war: this was most certainly an artificially manipulated photo used as part of a media strategy to cover up the acts of brutality committed by the Japanese army during their invasion of Asia. I had used dozens of these artificially coloured photographs as collage material.

A secret pastime of my youth was to quietly look through the enormous, breathing collection of magazines and picture post-

(2)

PERFECT CHERRY BLOSSOM — KEIICHI TANAAMI & OLIVER PAYNE

Oliver Payne, Cherry Blossom, Edition Patrick Frey, 2017.

Keichii Tanaami, NO MORE WAR, Edition Patrick Frey, 2013.

44

PERFECT CHERRY BLOSSOM — KEIICHI TANAAMI & OLIVER PAYNE 8

N F Keiichi, when you met with Oliver in Tokyo a few years ago you gave him right away forty original drawings to initiate the collaboration.

These drawings are defined by black outlines showing very distinct, surreal figures. We wonder what sources and references inspired them? Are they part of your on-going Dream Diary series, that are persistent documents of your dreams?

K T Each of the forty drawings is not independent; it could be said that it is the same as the drawings made for my recent paintings, consisting of combinations of more than a hundred individual drawings, i.e., the materials are to be adopted for different themes. Moreover, the drawings made separately for each theme explore different subjects. Thus, I can hardly explain the forty drawings individually.

Currently, I am working on the book of my Dream Diary, which I have recorded for over 40 years, but the collaboration work with Oliver does not involve records of my dreams. However, dream and recollection are the most important sources of my creation, thereby not totally irrelevant to this collaboration project.

The forty drawings instantly selected by Oliver were actually my favourites as well, so I was very happy about that.

N F It is interesting how you describe your painterly procedure: you collect hundreds of motifs, create an archive and later on apply them as collages in your paintings. One could argue that the collage is really a core methodology of yours. I’m also thinking about your early collages from the 1960s, where you gather and re-combine found images from magazines and advertisements. It’s interesting that Oliver and you found a collaboration in the medium of the collage.

For both of you it’s very important as a strategy, but you each apply it totally different. Oliver is very specific about a source — in this case the bullet hell game elements — and only works with this “one” vocabulary. With a limited vocabulary he then creates rich varieties.

You on the other hand use the collage as a way of taking notes, of collecting either inspiration from given materials, but also as a way of collecting and documenting your fictional dreams. This very different and paradoxical understanding of the collage within your collaboration creates a great tension.

To come back to your early collages — did they come from graphic design, or how did you start producing them?

K T To this question Keiichi Tanaami answered with the following essay: The Brightly Patterned Kimono and the Scent of Kogiku Hanayagi I was tidying up at a warehouse in Setagaya one chilly day in 2012 during a heavy rain when I came upon a large stack of paper wrapped in old newspaper.

I had no memory of these dusty old newspapers. When I peeled them open, there appeared more than 100 brightly coloured collages. I had no idea as to how, when, or for what reason this group of works had been made, and though these were unmistakably works of my own, for a moment I could not even fathom why they would have lain dormant here, abandoned in a dark warehouse. I took them back with me to my work studio and, leaving a hurried manuscript, set to work repairing the dried up flakes of glue and otherwise damaged sections. I carefully scrutinized and verified the stack of collages piled atop my desk, and as I did so distant, blurry memories came back to me, resurrected in vivid colours and stirring up strange emotions.

As I looked at several of the photographs glued onto the background of one collage, a range of scenes I had completely forgotten about emerged.

There is a photo of a local woman in ethnic attire placing a garland of flowers around the neck of a Japanese soldier stationed in Burma during the war: this was most certainly an artificially manipulated photo used as part of a media strategy to cover up the acts of brutality committed by the Japanese army during their invasion of Asia. I had used dozens of these artificially coloured photographs as collage material.

A secret pastime of my youth was to quietly look through the enormous, breathing collection of magazines and picture post-

The collages contain, for me, a multiplicity of meanings and memories, and today they also seem to present me with a number of questions.

The vast amount of printed material left behind by my uncle was one of the catalysts that triggered me to immerse myself in creating such a large number of collages, and then I remembered another: the cut-outs of tropical landscapes and swimsuit photos of foreign women pasted in the college notebooks that my uncle had left behind. These tiny photos, glued on ever so carefully, looked incredible pasted there in the blank margins of pages crammed full of writing.

N F Another aspect I’m very curious about how you see “time” as an element in your collaboration. The collages imply a sense of preservation or even archaeology. Of course the antique figures imply the historic, but also the bullet hell game icons speak of passed time, referring back to the 90s, the beginning of video games. You also explained how difficult it was to collect the stickers and that you even had to reproduce some of them. So in a way the process of producing the collages was almost like archaeology. And now seeing the works today they bring the viewer back to this forgotten time of when video games weren’t yet commercialized, but a culture for a small scene.

O P Time was a major factor in these works. (And not just the time it took to have the stickers re-made). Specifically, the time I would spend on each one to ensure they looked like genuine moments of game play. I wanted them to look as if they are moments from games frozen in time, like screen grabs of a bullet hell game in progress rather than an arrangement of stickers for composition’s sake. When I put down each bullet sticker, it’s not about where that bullet is now, it’s about knowing where the bullet will be in three seconds time.

Also, having a deeply comprehensive understanding of how these games look was essential and required copious hours of playtime.

N F The readymade and the “almost untouched found object” could describe many of your works. In your practice you very rarely use craft or production as a tool to create an artwork. At the same time your works have a very strong formal language. How do you decide on the formulation of an artwork?

O P This is quite often decided for me, since I tend to work with rulebased systems. So basic parameters and limitations put on a work will sort of tell me “where the pieces go”. That’s certainly the case for the Portal Paintings, Candy Crush Collages and the Weed Container sculptures, for example.

And yes, I mainly work with bought and found objects — weed containers, video game consoles, stickers, arcade cabinet parts, pages of old books. And when craft is required in my work, it’s almost always outsourced to persons far more qualified than myself. Also, it’s worth noting that whilst I absolutely love bullet hell games, I am terrible at them.

45

TOOLS OF DISOBEDIENCE — MÉLANIE VEUILLET Mélanie Veuillet Tools of Disobedience

ISBN 978-3-906803-29-6 EUR 38 | CHF 38 With a text by Didier Fassin in English and French Softcover, 116 pages 186 color images 22.5 × 30 cm / 10 × 13 in.

Design : Teo Schifferli

April

46

Nº 229

TOOLS OF DISOBEDIENCE — MÉLANIE VEUILLET Of Things and Men Didier Fassin

In the first lines of The House of the Dead, Dostoyevsky, attempting to convey to the reader in the most faithful manner his carceral experience in Siberia, minutely describes the fortress where he was locked up during four years: its impassable rampart, the towering palisade of wooden stakes held together by laths encircling the yard, the solid and constantly locked gate that separates the space within from the free world, the long barracks where the inmates are divided by category. Today, as was then the case, those who discover the penitentiary universe — prisoners, officers, or simple visitors — feel first and foremost its oppressive infrastructure. Walls, watchtowers, armored doors, heavy grids, the thick bars of grated windows, the concertina wire fences, the nettings installed above the prison yard, the checkpoints controlling passageways, the networks of cameras continuously exploring so-called sensitive areas, and, in the special housing units, the metal furniture fixed to the floor and the walls: prison is a harrowing environment of concrete, steel, acrylic glass, and complex technology.

In fact, over the decades, the specter of evasion, the fear of disorders, and the prevention of trafficking have led to uninterrupted additions of security apparatuses, to the gradual opacification of those rare apertures to the outside, and to the obstruction of all circulations — at the risk of producing the very opposite effect to that supposedly sought, the rigor of the institution only increasing the violence of the inmates toward others and themselves.

However, the material dimension of the correctional universe is not limited to this daunting infrastructure.

A few pages after his description of the house of the dead, Dostoyevsky writes of things “which it would never occur to anyone outside the walls of the prison to buy or sell, or, indeed, to consider as things at all.”

Prison is a world of objects, sometimes commonplace, sometimes unusual, that, in the confined and constrained space of the cell, take on an importance and meaning they would not have in an ordinary context.

Objects imported on the occasion of spouses, relatives, and friends visiting, sometimes found in parcels thrown over the compound’s enclosure, or even introduced with the help of prison employees. Objects purchased from the prison canteen with accumulated savings, or sold, exchanged, perhaps provided as a gift in the continuous transactions between inmates.

Objects crafted from makeshift reclaimed and repurposed materials — objects of which no one would even

109

conceive, outside the carceral world, as objects. Among those objects produced from the inventiveness and skill of the prisoners, certain are prohibited for the danger they seem to represent in the eyes of the administration. Upon discovery, they are confiscated and their owners often punished. It is these forbidden objects that Mélanie Veuillet made the subjects of the photographic investigation she conducted in Swiss prisons. These strange accessories whose clandestine existence was suddenly interrupted by the negligence of their owners, an unexpected cell search, or the indiscretion of a companion, would have been definitely condemned to oblivion by the institution had the lens of a camera not saved them, archived them, and made them visible.

There is in this work a “parti pris des choses,” that is, “taking the side of things,” as the poet Francis Ponge put it. The artist gives the objects the same consideration and respect one would sharpened flints of the Paleolithic, Medieval craft tools, or African agricultural instruments. Paradoxically, by capturing them against the immaculate white of a background that decontextualizes them, she gives them new life. Elevated to the rank of museum pieces by the virginal setting, they now evoke the labor of those who imagined and created them. Some are rudimentary, such as the bongs or water pipes, consisting of simple tubes stuck in a plastic bottle or an aluminum can; others are sophisticated, such as the fan mounted on the cardboard cylinder of a potato chip container or the earphones built from yogurt cups. Some are utilitarian, notably the heaters, of which the multiplicity of models is a tribute to the ingenuity of their designers; others have an aesthetic dimension, for example the tattooing machines. Some make use of technological tricks, like the periscope probably intended for spying on the movements of staff; others tell of camouflage efforts, especially the radio sets concealed in improbable casings. The very meaning of these objects is more or less determined. One can, with a rope, surreptitiously pass products to another cell, or hang oneself. If the bladed weapons suggest belligerent or perhaps defensive intentions, the mock pistols and grenades have a more uncertain status, reminiscent of pastiche. If the key moldings and ladders imply projects of escape, such unlikely plans seem rather to belong to the prison imaginary. One can even discern in a number of these objects an ironic diversion of the original: the sock becomes a yo-yo used to pass substances to a fellow inmate; a cross-shaped pendant turns into a dagger once removed from its sheath; the toothbrush is armed with a dangerous razorblade. So many testimonies of what the political scientist James Scott

47

TOOLS OF DISOBEDIENCE — MÉLANIE VEUILLET

called the “arts of resistance,” testimonies we must nonetheless be wary of over-interpreting given the multiplicity of levels at which these objects, simultaneously derisory and precious, rough and clever, mundane and fearsome, may be read. Perhaps this is the ultimate resistance that prisoners can use to oppose their condition: preventing an unequivocal understanding of the meaning and function of the objects they create, craft, and dissimulate. By suspending her commentary, or rather by limiting it to a simple inventory, the artist affords them this margin of freedom. Taking the side of things, she is also taking the side of humanity.

Looking at these portraits of singular objects, and going through the list that sparingly names them, one discerns, if not the intent of their creators, some hints at their life in captivity. If heaters are necessary, it is because the cells are not equipped with hot plates that would allow the inmates to prepare their meals, or simply make tea or coffee. If their telephones are concealed, it is because the institution deprives them of the means to communicate with their loved ones, their children, their spouses. If a fork is a potential weapon, it is because the risk of aggression is real.

The destitution, the solitude, and the violence of the prison are revealed by each of these utensils. However, the interpretation of these objects can go beyond revealing carceral hardship. Their very existence shows that the inmates escape the allegedly panoptical surveillance of the institution, if only partially, and lead an underground existence where all kinds of objects may be produced. Incidentally, the creation of these objects is not solely dictated by necessity. It obeys different rationalities, where power relations do not exclude relationships of solidarity, where the pleasure of transgression outweighs the risk of punishment, where performance is an essential component of interactions within detention. The blades of varied shapes, taken from used razors or a pair of scissors stuck in a piece of wood or the sole of a shoe, have a dissuasive effect because of the very fact they may appear out of a pocket or a sleeve. This threat extends even to staff members who know that they are themselves at the mercy of revenge on the part of a resentful inmate. The yo-yos, swinging from one window to the next, like the so-called mice that are slipped under doors at the end of a string, signal the intensity of the circulation of goods within the context of detention, despite the obstacles put in place by the administration. The tattooing machines remind us of the importance of the exterior signs of a masculinity exulted by the practice of intensive body-building and the absorption of protein supplements, as a sort of response

to the physical degradation of locked-up individuals.

In the words of Indian anthropologist Arjun Appadurai, one can effectively speak of a “social life of things,” a social life that escapes the influence the correctional institution tries to exert over the inmates. For each object discovered, dozens are known to escape the administration’s scrutiny. Even systematic cell searches are of no avail.

But perhaps these modest objects, which simultaneously express the idleness of the inmates and their creativity, invite us to reflect in broader terms on the meaning of the sentence and the function of punishment. For a majority of convicts, but also inmates, detention is above all defined by extreme vacuity: a sterile duration with no other reason than imprisonment itself. No possibility to work, for lack of jobs; no real educational prospects, for lack of teachers and spaces; no access to rehabilitation and reinsertion programs to allow for a progressive transition to the outside world, for lack of social workers. Often confined for twenty-two or twenty-three hours a day in cells where carceral overpopulation can make cohabitation difficult and sometimes dangerous, the inmates only go out for a brief and noisy moment outside, which for many consists in roaming around the yard as would large felines in the cage of a zoo. Some do not even allow themselves these brief moments of fresh air, either fearing violence from aggressive prisoners or preferring the respite offered by the absence of their cellmates.

Essentially, life in prison consists in passing time, busying oneself with doing nothing, taking upon oneself in the face of daily frustrations, attempting to overcome anxiety and sometimes guilt with the help of cannabis, alcohol, or psychotropic drugs, which Swiss correctional services do not seem eager to document: in the assembled collection, a few bars of hashish and a makeshift alembic hint at the existence of such artificial paradises, which may help to forget, or at least attenuate, the torments of carceral life. A study conducted by psychiatrists in French correctional facilities showed that two-thirds of prisoners display mental disorders and psychological suffering, half of which are in severe forms, either as a result of a pre-existing pathology or as a result of incarceration.

European studies indicate that, depending on the country, there are four to ten times as many suicides among inmates when compared with the general population of the same age; that those on remand, theoretically presumed innocent, are twice as likely to commit suicide as those convicted; that entrance into detention is the most sensitive moment in terms of

48 111

TOOLS OF DISOBEDIENCE — MÉLANIE VEUILLET

suicide; and, finally, that disciplinary confinement multiplies by ten the risk of suicide.

This is because prison is always in excess of what it should be, namely a simple deprivation of liberty. The inmate is deprived of all the things that make up ordinary life: intimacy, as not being able to relieve oneself out of the sight of a cellmate is a daily source of embarrassment; sexuality, as rare physical contact with a spouse in the visiting areas depends on the benevolent discretion of the staff; autonomy, as taking a shower after physical activity is subject to the arbitrary decision of the guard; the display of affects, as a moody gesture or the expression of anger leads to sanction, of which the most common is solitary confinement; the normality of social relations, as mistrust, duplicity, and dissimulation become necessary to the safety of the time spent incarcerated. They lack only freedom, one often hears correctional officers say.

There is no better illustration of their denial of reality, their refusal to see what is before their eyes every day: the loss of dignity inflicted on the inmate by the carceral condition. Such denial is probably widely shared beyond the walls of prisons.

punishment does not serve to reduce or repress “illegalisms,” but to differentiate between them. The crude tools of disobedience are here to remind the visitor to this imaginary museum of resistance to the carceral condition. These poor objects are objects of the poor.

Exhumed from the oblivion to which they were destined thanks to the artist’s work, they surrender their ultimate truth about the contemporary world.

Didier Fassin is Professor of Social Sciences at the Institute for Advanced Study in Princeton. In 2016 he published Prison Worlds: An Ethnography of the Carceral Condition (Polity), the result of four years of study in a French correctional facility, and in 2017 Punir. Une passion contemporaine (Seuil) a reflection on the question of punishment.

The “tools of disobedience” that have been given a life beyond their confiscation and a respectability beyond their relegation by Mélanie Veuillet’s photographs speak to us as much of the inmates who imagined, created, and used them as of the contemporary societies that incarcerate to punish. Prison is a recent invention, little more than two centuries old. For a long time, it was tempting to believe that it reflected what the German sociologist Norbert Elias called the “the civilizing process,” in other words, a softening of punishment. Offenses would no longer be punished by executions carried out in public, sometimes after prolonged torture; instead, offenses would now be punished by imprisonment of varying length in order to reform the convict and protect society. These complacent justifications have had their time. Executions were actually rare in the past, while mass imprisonment is a fact of present times. Incarceration’s true mission was never reinsertion. On the contrary, it has been proven to increase the rate of recidivism. Moreover, the punishment of the offense is real but selective. Only those whom society considers as punishable beforehand are punished: if petty theft and the sale of cannabis are criminalized while tax evasion and embezzlement are tolerated, it is because the perpetrators of the lesser offenses often belong to popular classes or ethno-racial minorities, while the perpetrators of so-called economic crimes are part of the privileged class. As Michel Foucault had understood,

49 113

DÄMONEN — ANTON BRUHIN

May

50

DÄMONEN — ANTON BRUHIN Anton Bruhin Dämonen

ISBN 978-3-906803-30-2 EUR 52 | CHF 52 With a text by Michel Mettler in German and English Hardcover, 368 pages 171 color images 18 × 22.5 cm / 7 × 9 in.

Design : Marietta Eugster

May

51

Nº 230

DÄMONEN —ANTON BRUHIN

‘IN THE BEGINNING WAS THE FOREWORD’ Extracts from a conversation between Hans-Ulrich Obrist (HUO) and Anton Bruhin (AB) in 2014.

HUO How did your first works come about ? It’s interesting when an artist finishes their studies and then at some point their work starts. There is always the question of what is the first entry in their catalogue raisonné. On the way to Zürich I was contemplating whether to begin with this question : At what point did your studies end, and what would you consider to be your first work if someone were to draw up a complete catalogue ?

AB The transition from a child at play to an adolescent at play and so on was smooth and seamless. The conscious step of saying ‘I want to be a painter too’ came when I touched a painting with my fingertip. I expect my motive as a child was to do the same as that painter, in the way that monkeys do. A child always wants to have another child’s toys too.

HUO

Imitation then ?

AB I’d call it a desire. A ‘me too’ desire — not to copy something, but to ‘be too’. When and where was the precise moment when I said to myself ‘Now it’s serious and everything before this was just schoolboy stuff’ ? I can’t remember such a point. The feeling that I was doing something seriously — producing art — came very early on, definitely by the time I was at art school.

52

DÄMONEN — ANTON BRUHIN

HUO

So for you there’s no work that you could pinpoint as number one in your catalogue.

AB I’ve still got the drawings I did as a child and the works I produced at school. I had to hunt out the first lot, but my school artworks were lying around. I don’t think there’s anything particularly great amongst them. But now, going back to the F+F (School for Art and Media Design Zürich), Serge Stauffer and the primacy of pop art, I have to say that we were taught Duchamp too. Seeing as I wanted to paint, I was annoyed that we weren’t supposed to paint any more. I came back from the summer holidays with two or three plein-air landscapes and could predict the reaction of my fellow students. ‘Oh, look who’s back with his stuff …’ Not that I wasn’t interested in popart too. The greatest taboo was using a brush — at most you were allowed to spray or lacquer — but anything that could be identified as craftsmanship was frowned upon. We were supposed to strive for an ‘industrial’ surface. Anything that smelled of turpentine was proscribed. At the time this engaged me intensely on a philosophical level. I soon realised that every generation thinks it has discovered ‘it’, and yet there were advanced civilisations in Africa creating photorealistic bronze heads centuries ago. I can’t remember what the civilisation was called, there was an exhibition in the Kunsthaus in Zürich, ‘The Art of Black Africa’ (1970 – 71), extremely modern.

With Malevich’s black square and Duchamp’s bottle rack a point of no return had been reached. After that the world is divided into a time before and a time after. But it must also be said that if someone was still painting Pop-Art in 1965, that was painting too.

My contemporaries didn’t seem to notice this contradiction.

HUO The question of the first work in your catalogue raisonné is also the question of the point at which these first discoveries begin.

53

DÄMONEN — ANTON BRUHIN

An early series I’m familiar with are your calligraphic all-over drawings from 1977 that were exhibited at the Galerie Kornfeld. This was a discovery and the moment when you found an idiom.

AB Yes, that was a discovery. In these calligraphic, or all-over drawings I adhered to Michaux, to the beautiful pieces of paper in roughly 50 × 70 cm format.

HUO

Was Michaux the inspiration for these drawings ?

AB I meant that more figuratively. Michaux is more concerned with text, whereas I’m more interested in textures. As a child I encountered the essentialism of writing and of the letters of the alphabet. Later I embarked on a typesetting apprenticeship, and so I spent a long while dealing with typography. The calligraphies come from signs and drawing. Although I painted a few pictures at school, which I then put aside, I didn’t become a painter until the 1980s. Actually I’d wanted to save painting until I was older.

HUO

[Laughs] Then all of a sudden everyone was painting ?

AB When the Neue Wilden came on the scene, just for once I wasn’t anticyclical. ‘Now I’m not going to be bothered by the others ; I’m going to be doing it too.’ Normally I like taking an oblique stance to something, but not everything I do is only relative to my environment and other people. There’s an autonomous need and drive.

HUO Let’s return to the relationship to writing, typography and the typewriter, and then to Michaux, écriture automatique and your calligraphies. Earlier I saw the first draft, which you said was from your student days. How did these books come about ?

54

DÄMONEN — ANTON BRUHIN

AB The April Verlag stuff ? This came from the same material too. I don’t know if I made a fanzine when I was a boy … back then they were still analogue stories … but I was always interested in making little books. External influences on these books ? I wanted to play at being an editor.

HUO

Could you say something about the content of your first book ?

AB The first book was Gott lebt (God is Alive). It was anecdotes, I spent a winter in Ticino with Giovanni Blumer, an homme de lettres … With Blumer I began the game that went : ‘God was sitting outside a restaurant, drinking Pernod …’ or ‘In the cinema God watched the film The Bible and said, “The book was better”.’ Was that my reckoning with faith ? [Laughs.] I don’t know.

Strictly speaking, however, Rosengarten und Regenbogen (Rose Garden and Rainbow) is the very first book. With mirrors in the binding and a marbled jacket that was based on the classic design of Insel Verlag. It was set straight from the type case without a manuscript. It wasn’t first thought out, written, then typeset and printed, but thought out as it was being typeset : one letter followed the next, words and lines were stacked up at the side etc. To my mind the content of Rosengarten und Regenbogen was absolutely vacuous.

The texts are right, but actually they mean nothing. It was more about making a book, the text itself was filler. In Dieter Roth’s Selten gehörte Musik (Rarely Heard Music) the track ends when the record is full. ‘Time must go, go, go, go, go …’ The material is just filler, the content is meaningless and in fact it doesn’t exist. So actually I feel caught out when you ask me about the content, because there isn’t any.

55

DÄMONEN — ANTON BRUHIN

HUO The idea that you effectively produce literature, you produce books, you produce art, drawings and paintings, that all this always happens in parallel : was this already the case at the beginning, or did it happen gradually ? I’m struck by the fact that when someone talks about you, when I mention your name to some people in the experimental music scene, they say, ‘A music guru’. When I mention you to Kenneth Goldsmith, he says, ‘A poetry guru’, and when I talk to artists they call you ‘An art guru’. It’s very rare for someone to be active in all these fields. Was it like this at the beginning ?

AB Yes, absolutely. Drawing and painting, making music and writing texts. I don’t mix disciplines ; in that way I’m conventional when it comes to different art forms. The whole thing is part of my disposition. In the past I suffered from this, people said I did a little in every discipline, but nothing clever. I couldn’t change, I just stayed as I was. At some point I almost internalised the feeling that I hadn’t figured it out yet, but I couldn’t change to satisfy a social expectation.

In 1975 the NZZ (Neue Zürcher Zeitung) saw me as a ‘Proteus type’ who needed to adapt to the prevailing circumstances. In Zelig, Woody Allen gave us a vivid example of such a woeful chameleon. But I have a simple analogy for myself. Agriculturally speaking I don’t farm a monoculture, but produce wood, pork, vegetables etc.

HUO How have computers changed your work ? They seem to have played a role in the past few years, how did this begin ?

AB Copy and paste, drag and drop, and functions like this.

You draw a pixel figure just once and then you can multiply and mirror it.

56

DÄMONEN — ANTON BRUHIN

HUO

But that’s the next stage, the pixels come before that.

How did it start with the pixels ?

AB That was before computers. I was interested in music boxes and fairground organs that are played using book music.

Digital control was used long before the advent of electronic computers. Either ‘on’ or ‘off’ — pneumatic or mechanical, later optical too. Automatic looms also existed long before. Even the first computers still needed punch cards for converting graphics.

HUO

Is the digital and pre-digital important for you ?

AB Cross-stitching is at least as important as digital pixels. For me it’s about the reduction of information. How many pixels are necessary for a recognisable figure ? This sort of thing has been around for millennia, archaic textile patterns (Central America, Africa, Slav peoples), ceramics, mosaics …

Born in 1968 in Weinfelden, Hans-Ulrich Obrist is the co-director of the Serpentine Gallery in London. Prior to that he was curator at the Musée d’Art Moderne de la Ville de Paris. Since his first exhibition, The Kitchen Show (World Soup) in 1991 in St Gallen, he has worked as curator on more than 250 exhibitions and been involved in more than 200 book projects. His most recent publications include A Brief History of Curating (2011) ; Project Japan : Metabolism Talks (with Rem Koolhaas, 2011) ; Ai Weiwei Speaks (2011) ; as well as two volumes with selected interviews (2003 and 2010). In 2011 Obrist won the Bard College Award for Curatorial Excellent and the Swiss Institute Honoree Award.

57

SKUTER — BILLY BÜHLER, DOMINIQUE FREY Billy Bühler, Dominique Frey SKUTER Softcover, 348 pages 340 color images 15 × 20 cm / 6 × 7 ¾ in.

Design : Teo Schifferli

58

MEYER SPRICHT VON GRATISKAFFEE — LUCA SCHENARDI

Vorschau Frühling

April 2017

www.editionpatrickfrey.com

60

MEYER SPRICHT VON GRATISKAFFEE — LUCA SCHENARDI

Luca Schenardi Meyer spricht von Gratiskaffee

ISBN 978-3-906803-32-6 EUR 36 | CHF 36

Nº 232

Softcover, 208 pages 170 B / W images 15 × 21 cm / 5 ¾ × 8 ¼ in.

Design : Hi, Megi Zumstein, Claudio Barandun

D

E

Nach der endgültigen Umstellung des analogen auf das digitale Fernsehen vor knapp drei Jahren, fielen Luca Schenardi bei der Benutzung des Teletexts – einem von ihm sehr geschätzten Medium – rätselhafte Satzkombinationen auf. Viele Teletext-Headlines diverser Fernsehsender waren nach diesem technischen Umbruch durcheinandergemischt und senderübergreifend, scheinbar zufällig neu zusammengesetzt worden.

Anfang 2015 stiess er bei der Lektüre auf folgende Meldung : «In Dresden haben am Abend erneut Anhänger des ‹Pegida-Bündnisses› demonstriert. Nach Polizeiangaben waren etwa 17’000 Pegida-Aktivisten zur Semperoper gekommen. Meyer spricht von Gratiskaffee.» Das schien Schenardi definitiv dokumentierungswürdig und er begann, den Teletext diverser Kanäle täglich zu durchzuforsten und zu fotografieren.

Von rauschhafter Sammelwut getrieben, transkribierte er die fehlerhaften Zeilen mit schwarzem Filzstift und Tusche in selbst gebastelte Hefte der Grösse A5 und versah sie mit skizzenhaften Illustrationen. Bis zum heutigen Zeitpunkt sind zwanzig Hefte mit ungefähr achthundert Seiten entstanden.

Die naturgemäss ans Tagesgeschehen geknüpften Transkriptionen scheinen manchmal verblüffende Wahrheiten zu vermitteln, verstricken sich jedoch abermals in vollkommene Absurdität, so als versuchten sie, das von Krieg und Elend geprägte Weltgeschehen, getarnt als Newstickerphrasen, neu zu erzählen. Die Nähe zu den nicht minder absurden, jedoch ernst gemeinten, den Alltag überflutenden Zeitungsschlagzeilen – ob nun online oder analog – ist verblüffend. In Meyer spricht von Gratiskaffee lässt Schenardi die gezeichneten Worte wie als Wespen getarnte Schwebfliegen – die grossen Meister der Mimikry – in den Infotainment-Dschungel hinaus. Das Buch zeigt eine Auswahl aus diesem Werk.

After the definitive switchover from analog to digital television about three years ago, Luca Schenardi noticed some puzzling non sequiturs one day while viewing teletext – one of his preferred media. In the wake of the digital TV revolution, teletext headlines on a number of channels were scrambled and apparently randomly recombined. In early 2015, for example, Schenardi happened upon the following item : “Pegida Alliance supporters held another rally in Dresden last night. According to the police, roughly 17,000 Pegida activists turned out at the Semperoper [Dresden opera house]. Meyer calls it free coffee.” This gem of a non sequitur was clearly worth saving, whereupon Schenardi began perusing and photographing teletexts on various channels every day. Seized with a mania for collecting suchlike glitches, he transcribed them in black marker and tusche into self-made A5-size notebooks and illustrated his finds with sketches. To date he has filled twenty such notebooks, roughly eight hundred pages, with this peculiar collection.

Naturally bound up with daily news coverage, the transcriptions sometimes seem to convey uncanny truths, then get tangled up in utter absurdities, as though attempting a novel approach to relating news of war and calamity around the world in the guise of news ticker headlines. They bear an uncanny resemblance to the serious – though no less absurd – news headlines inundating our daily lives, whether online or in print. In Meyer spricht von Gratiskaffee (“Meyer calls it free coffee”), Schenardi releases a selection of these illustrated teletext quotations, rather like hoverflies – those masters of mimicry – disguised as wasps, into the infotainment jungle.

Luca Schenardi (*1978), Diplom an der Hochschule Luzern HGKL im Fachbereich Illustration (2002). Lebt in Altdorf und arbeitet als freischaffender Illustrator und Künstler in Luzern. 2012 erschien in der Edition Patrick Frey Schenardis Künstlerbuch An Vogelhäusern mangelt es jedoch nicht.

Spring Preview

April 2017

Luca Schenardi (b. 1978) studied illustration at the HGKL (Luzern School of Art and Design). Now based in Altdorf, he works in Luzern as a freelance illustrator and artist. His previous artist’s book, An Vogelhäusern mangelt es jedoch nicht, was published in 2012 by Edition Patrick Frey.

www.editionpatrickfrey.com

61

MEYER SPRICHT VON GRATISKAFFEE — LUCA SCHENARDI

Supporters of the ‘PEGIDA’ movement have demonstrated again in Dresden this evening. According to police estimates, 17,000 ‘PEGIDA’ activists came to the Semperoper. Meyer is talking of free coffee. …

62

MEYER SPRICHT VON GRATISKAFFEE — LUCA SCHENARDI

Indian kills 14 relatives : Artisans benefit.

In India a 35-year-old man has killed 14 members of his own family. Are German artisans benefiting? Investigators are still puzzled by the killer’s motive. The man had no known financial problems or disputes, according to a statement by the police, who are seeking to achieve their climate goals.

63

MEYER SPRICHT VON GRATISKAFFEE — LUCA SCHENARDI

Plans for a new constitution?

In the Swiss National Council Roger Köppel has demanded an Islamic constitution from the speaker of the Turkish parliament, Kahraman. According to the Anadolu agency, he said provocatively for Croatia, ‘We are an Islamic country. Because of this we must have an Islamic constitution.’ Secularism, the separation of state and religion, must no longer have a role in the new constitution, he added.

64

MEYER SPRICHT VON GRATISKAFFEE — LUCA SCHENARDI

Another Israeli has been killed in a knife attack. The event was arranged by an organisation called ‘Swiss Agri Militant’, which was founded only last August. Before the rally on Bundesplatz, farmers had marched from the Bear Pit to the Federal Palace, accompanied by the pealing of bells. Apparently they thought an Eritrean man was an attacker. He was lynched.

65

TRAPPED — ALEX HANIMANN Alex Hanimann Trapped

ISBN 978-3-906803-33-3 EUR 60 | CHF 60 With texts by Hans Rudolf Reust, Patrick Frey in German and English Softcover, 350 pages 550 color images 21 × 28 cm / 8 ¼ × 11 in.

Design : Jonas Vögeli und Kurt Eckert

August

66

Nº 233

TRAPPED — ALEX HANIMANN

‘Amazingly enough, camera-trap photographs have yet to be taken up and publicized in the field of art.

I am currently addressing this photographic genre in a wide-ranging study, putting together pictorial material and laying down criteria for a wide-ranging collection. In an extensive publication, I am going to bring to light the pictorial qualities to be found in many of these photographs.

My investigation does not focus on scientific, biological or ethnographic issues. Rather, the object is to point out the specifically artistic peculiarities of these photos. Concepts like light, cropping, composition and materiality are of particular interest.

Although primarily concentrating on formal parameters, the selection of pictures will seek to show a wide variety of animals as well, so narrative qualities will loom large in a number of the individual shots.

Whenever possible, pictures taken in diverse habitats and climates will be shown. I expect this to make for a wide range of expressive possibilities in terms of the beauty and consistency of the photographs.’

— Alex Hanimann

67

68

69

70

From Camera Trap Manual (2012) by Paul Meek, Guy Ballard and Peter Fleming. http://www.pestsmart.org.au/wp-content/uploads/2012/09/CameraTrapManual_2012.pdf

71

STEINGESICHTER — JEAN WILLI Jean Willi Steingesichter

ISBN 978-3-906803-34-0 EUR 43 | CHF 43 With a text by Martin Suter in German and English Softcover, 208 pages 98 color images 22 × 14 cm / 8 ½ × 5 ¾ in.

Design : Marietta Eugster

March

72

Nº 234

STEINGESICHTER — JEAN WILLI

STONE FACES Jean Willi

Amongst the stone faces in this book are some that aren’t just anonymous faces, but remind me of people I know or have known. One example is the Konrad Adenauer with his Slavic features at the front of the book, as Martin Suter noted. Or the figures from comic books such as Tintin. There is a Tintin whose left eye is formed by the shadow of a tiny flower [ p. 13 ], and further on is either Thomson or Thompson in profile. I was quite shocked to see the face of my dead father in one of the photographs.

Demis Roussos 73

Brigitte Bardot

74

STEINGESICHTER — JEAN WILLI

Other dead people turn up too. Gottfried Benn is easily recognisable, as is Demis Roussos. With a bit of imagination you can see the face of Pablo Picasso on the jacket. A face half covered by twigs — or hair — reminds Karl May readers of Marah Durimeh. There’s also a smiley, Peter von Matt, Charlton Heston as Moses, Brigitte Bardot and Genghis Khan.

Genghis Khan

75

STEINGESICHTER — JEAN WILLI

One of the pictures shows Tom Selleck with a Robin Hood cap. You can find Grock, the Swiss clown, an Inca priest in a headdress and another former German chancellor, Helmut Kohl, as well as a profile of the Marquis de Sade. The decision to do without captions in the book gives the reader the opportunity to identify their own faces, both familiar and unfamiliar.

Marquis de Sade

76

STEINGESICHTER — JEAN WILLI

Most people see faces in the book straightaway. Making out two eyes is a starting point. Some readers might see a face, but not the one I’ve been thinking of, or they’ll discover other faces and gnomes in the background. But what does another person see ?

What experiences and images contribute to their way of seeing ?

How I can assume that they’re seeing the same things as me, even when they, too, recognise a face in a particular stone ? All of that is a complete mystery to me.

I shouldn’t wish to judge the extent to which my fixation with seeing faces in stones has become an obsession. At times it does disturb me that I can make out a hundred faces on an hour-long walk. Then I’ll gaze at the horizon or the pines at the side of the path and feel relieved that I can’t see a mythical creature in a gnarled old branch.

It’s a nice feeling not to have to look for stone faces when I’m on a walk ; I know that they’re there. Whenever I want to see one, I can casually look in any direction and I’ll spot it.

Occasionally I’ll flip a stone over with my stick because I refuse to admit that it won’t show me its face, and there it is on the other side. Those moments have something magical about them, as if the stones were toying with me or their faces just waiting for me to find them. It’s tempting to get drawn into esoteric mind games, because as humans we seek explanations, especially for phenomena — which in a certain sense these sightings are.

Occasionally I’ll pick up a stone face and take it back home.

There I’ll try to hold the stone in the light so it reveals its face to me again. This rarely works. In the place where I originally came across it originally the light, the angle of incidence was right ; the pine needles and pebbles surrounding the stone were all part of a dramatisation that led to the face’s discovery. All rather naturally and without effort. The secret is to let them find me.

77

DAS FLÜSTERN DER DINGE — THOMAS KREMPKE Thomas Krempke Das Flüstern der Dinge

ISBN 978-3-906803-35-7 EUR 60 | CHF 60 With texts by Thomas Krempke in German Hardcover, 628 pages 600 color images 16.5 × 22 cm / 8 ¼ × 11 ½ in.

Design : Marietta Eugster

78

Nº 235

DAS FLÜSTERN DER DINGE — THOMAS KREMPKE

During the few days I spent in Appenzell I was finally able to photograph people. It’s still much more difficult than I’d imagined. * Facsimilate pages from Thomas Krempke’s original diaries.

79

DAS FLÜSTERN DER DINGE — THOMAS KREMPKE

Chartres, 16 July 2011

They don’t build cathedrals these days, hardly ever.

These days other things point the way forward.

And all of us follow — like good people !

It’s really confusing sometimes !

80

The many arrows.

DAS FLÜSTERN DER DINGE — THOMAS KREMPKE

Images !

Words !

Visualise.

Narrate.

Be in the picture.

Etc.

81

DAS FLÜSTERN DER DINGE — THOMAS KREMPKE

82

DAS FLÜSTERN DER DINGE — THOMAS KREMPKE

7 October 2011 An interview with JL Goddard in Die Zeit : ‘In the great battle between the eyes and speech, the gaze has the greater analytical power.’

‘When two images clash, a third emerges. Another way of seeing.’

‘Montage is the best means of analysis because it can break through the linearity of history, the linearity of thought and the linearity of writing.’

IN THE GREAT BATTLE BETWEEN THE EYES AND SPEECH, THE GAZE HAS THE GREATER ANALYTICAL POWER (J L GODARD)

So much for M. saying that my pictures of San Sebastian are dismal. They are dismal, but …

A day is a very disperse thing ; it’s not that it just begins and ends and is in constant evolution, from morning to evening.

No, it proceeds in leaps and bounds, goes around in circles, there are repetitions and skips, omissions and ellipses.

A day can be a chaotic jumble of times and moments.

83

JOSEF MARIA SCHRÖDER — CHRISTOPH KAPPELER Christoph Kappeler Josef Maria Schröder

ISBN 978-3-906803-37-1 EUR 43 | CHF 43 With texts by Christoph Kappeler, Ulrich Kinder, Michael T. Ricker in English and German Hardcover, 152 pages 153 color images 17 × 24 cm / 6 ½ × 9 ½ in.

Design : Hi, Megi Zumstein, Claudio Barandun

84

Nº 237

JOSEF MARIA SCHRÖDER — CHRISTOPH KAPPELER

INTRODUCTION TO INVENTORY Christoph Kappeler

A few unremarkable crates, one already broken — a surprisingly small collection. I’d been expecting more from the much-trumpeted legacy of Josef Maria Schröder, a painter I’d never heard of until recently.

After quite a lot of back-and-forth, Christoph Kappeler obtained the bequest from an antiques and art dealer somewhere in northern central Germany.

But even a cursory peek into these ‘little boxes’ revealed that we’d stumbled upon a goldmine, which had to be explored down to the tiniest detail (even if for the publication — more pictures than text — only the 25,000-character version of his biography was called for). One crate contained pictures that may have served as templates for never-painted landscapes, during a summer holiday in Resia, northern Italy. None of the people depicted are identifiable except for the painter with his mane of snow-white hair. Then family photos, holidays in Capri in the 1920s, a Neapolitan cancer clinic. Later, the painter, still with snow-white hair, hunched over two sticks somewhere in the mountains on the northern edge of the Alps. Here were things to be excavated, a fate in the two remaining crates.

85

JOSEF MARIA SCHRÖDER — CHRISTOPH KAPPELER

86

JOSEF MARIA SCHRÖDER — CHRISTOPH KAPPELER

One of these contained letters. Hundreds of letters. In German, French, Italian and English, from over six decades. The content of most of them was anodyne ; these were soon discarded. The rest, together with the second crate, full of documents, produced a history that only assumed its real drama with the non-biographical material.

A handful of sketchbooks, filled from cover to cover (including the covers) with drawings, sometimes one on top of the other : still lifes, dark visions, puzzling groups of people, rugged landscapes and faces, faces, faces. These melancholic men and women sketched in notebooks, on bills and envelopes. Who was this Josef Maria Schröder, who lacked all knowledge of art history, about whom there were and still are only snippets of incorrect information on the internet ? A man just as unknown, then and now, in Rottach in Allgäu as in his home city of Düsseldorf ?

A meticulous examination of all — and I do mean all — the letters, documents, sketchbooks, philosophical reflections, medical diagnoses, artistic visions and all those melancholic faces gazing at a world closed to me, those sorrowful mothers, rigidly suffering redeemers, those silently gazing women and girls, filled with their secret sorrow, has resulted in an unusual life story, a devastatingly sad, materially impoverished life, but one brightened by illuminating visions which we would never have imagined possible from this painter we first met through his drawings and oil paintings, and which we now held in our hands as a completely unexpected treasure.

87

THERE ARE NO HOMOSEXUALS IN IRAN — LAURENCE RASTI Laurence Rasti There Are No Homosexuals in Iran

ISBN 978-3-906803-38-8 EUR 52 | CHF 52 With texts in English and Farsi Hardcover, approx. 136 pages Approx. 50 images 15 × 25 cm / 6 × 10 in.

Design : Laurence Rasti & Neo Neo

88

Nº 238

THERE ARE NO HOMOSEXUALS IN IRAN — LAURENCE RASTI

I have always been afraid of everything.

Accustomed to swimming against a flow that eventually fell off a ledge.

I still don’t know the reason for my being here.

Have I escaped from something, or am I here to embrace something else ?

God knows how hard it is to change …

I guess that’s why he never does and leaves it all to us, regardless of godly concerns.

I don’t want to wait any longer. I fear my life will be wasted away in waiting.

I want to let go of fear and trust the course of life.

I don’t say this when my belly and pockets are full.

I’m saying this now, after losing everything that I had.

Life doesn’t always give us what we want.

I am here, today, not in the yesterdays of old or the unknown tomorrows.

I am here, right now, getting to know its walls and trees and sky and loving it.

I sit and daydream of the house I will have and how easy my life will be, with busy weeks and fun weekends.

These days, I walk with my feet on the ground and my gaze up towards the sky.

I think more seriously about the sky, its pure turquoise blue and clean white clouds.

Here, I am never late and never early. Nobody is expecting me anywhere in this land.

— Ahoura

89

THE ICEBERG — GIORGIO DI NOTO Giorgio di Noto The Iceberg

ISBN 978-3-906803-39-5 EUR 70 | CHF 70 Hardcover, 128 pages 76 color images 16.5 × 24 cm / 6 ½ × 9 ½ in.

Design : Nicolas Polli

90

Nº 239

THE ICEBERG — GIORGIO DI NOTO

THE ICEBERG Paola Paleari ‘These days you look at the surface Web, all that yakking, all the goods for sale, the spammers and spielers and idle fingers, all in the same desperate scramble they like to call an economy.

Meantime, down here, sooner or later someplace deep, there has to be a horizon between coded and codeless. An abyss.’

— Thomas Pynchon, Bleeding Edge, 2013 The World Wide Web is the familiar face of the Internet, that virtual place where we all go each day, looking for information, interactions, commitments, business, answers, gratification and entertainment. The navigable space shared among the various browsers today totals almost 4.5 billion pages, 1 yet the space that we can actually freely explore is limited to a surface characterized by the fact that the documents and all other resources made available to us there are identified by a set alphanumeric sequence, i.e., an address that defines its electronic location.

This zone that has emerged is part of a larger whole that could be compared to the tip of an iceberg. Beneath lies something ten times bigger, the Deep Web, the part of the network that has not yet been indexed by search engines : new sites under construction, private company archives, web pages with dynamic content, and so on. If we descend to even greater depths, we reach the Dark Web, a place accessible only via highly specialized programs that connect anonymously to dedicated networks known as the Darknet. Once we enter the furthest and paradoxically vastest space of the Web, we theoretically become invisible.

This is where many illicit activities are carried out, far from the [1] Data correct as of March 10, 2017. Source: http://www.worldwidewebsize.com

91

THE ICEBERG — GIORGIO DI NOTO

light of day : industrial espionage, political conspiracy, drug trafficking and illegal weapons sales. Thousands of images can be found here and nowhere else in our apparently hyperillustrated, watched and connected world.

This tortuous, downward spiral (the Deep Web has also been compared to Dante’s Inferno) is the path that Giorgio Di Noto takes viewers along in The Iceberg, a project that appropriates and reworks photographs downloaded from drug trafficking sites on the Dark Web. The Iceberg opens a window onto a darker, or perhaps invisible space of online imagery.

The first input comes from the title itself : the most commonly used metaphor to describe the structure of the Deep Web. Interestingly, in an ever more virtual society where images have been almost completely stripped of their material quotient, our knowledge of the world is increasingly filtered through the formulation of figures of speech endowed with a strong sense of physicality. Humans have always resorted to analogies and comparisons better to understand their reality, but digital culture has spread this process of transferring meaning to an unprecedented extent. Metaphors tied to our 92

THE ICEBERG — GIORGIO DI NOTO

natural, anthropological and social environments are used to facilitate our interpretation of the intangible phenomena of the technological and digital revolutions everywhere. Consider the bodily, almost primitive suggestion in the expression ‘global village’ coined by Canadian philosopher Marshall McLuhan in 1964, or the original meaning of the word ‘Facebook’ and the implications of the object it derives its structure from (namely, a yearly photo address book distributed at many boarding schools in the US, a big part of the students’ social experience and culture).

This is where Di Noto begins his study of the representation of imagery and the translation of its characteristics as a phenomenon, even before considering the images themselves — an interest that has guided his previous projects as well. The game of smoke and mirrors that shrouds the Dark Web’s complex texture has been transferred to the exhibition, both in terms of the individual prints and the installation as a whole. The project is interactive and labyrinthine : a reflection of the unstable, laborious, disparate nature of the Deep Web and the images it contains.

In this way, we can look at The Iceberg as a 93

THE ICEBERG — GIORGIO DI NOTO

94

THE ICEBERG — GIORGIO DI NOTO

kind of tangible Doppelgänger of an intangible, encrypted netherworld. We walk amidst images of illicit substances sold in this submerged e-commerce space, appearing to us one by one in the dark, lit by the same UV light that drug enforcement agencies use in the course of their investigations to hunt for traces of certain narcotics. And we are constantly denied a view of the whole, especially in moments of direct illumination, where the invisible images disappear and we only see black-and-white photographs : these are pictures that can be found both above and below the Web’s surface, representing the point of intersection of these two worlds.

As we explore The Iceberg, the term archontic, used by Jacques Derrida in Archive Fever to define continuously expanding archives that never fully close, comes to mind. In our screen-addicted universe, where each individual element appears to be numbered, we instead face a reality of free-floating indeterminacy that defies any sort of definitive calculation. Literature has already grappled with this phenomenon extensively, and now art, especially photography, has begun to translate it into new aesthetic, narrative forms. [ This essay was first published on the occasion of the exhibition The Iceberg by Giorgio Di Noto, curated by Paola Paleari at Fotografia Europea, Reggio Emilia (Italy) in 2017. ]

95

YEARS LATER … — RICO SCAGLIOLA & MICHAEL MEIER

96

YEARS LATER … — RICO SCAGLIOLA & MICHAEL MEIER Rico Scagliola & Michael Meier years later …

ISBN 978-3-906803-40-1 EUR 60 | CHF 60

Nº 240

Softcover, 232 pages 160 color images 22 × 32 cm / 8 ½ × 12 ½ in.

Design : Afrika — Florian Jakober & Michael Zehnder

97

when people you don't know say that. But like when someone you know constantly digs at your hair, cause they don't like it or whatever, it hurts! And now it's like I feel so LATER … — RICO SCAGLIOLA & MICHAEL self-consciousYEARS about me and my hair. You know I was really excitedMEIER about it. Like I knew I don‘t wanna keep it forever but I was just excited. And I know it's like such a superficial thing to feel ugly, but I think everybody feels ugly at some point. We all have 2.

Everybody feels ugly these days. I'm just a firm believer that if you don't like something then don't say And I feel You so ugly right now and I know it'sbought a silly thing to cry or over. it's like,you youdon’t anything. know I feel like if someone something did But something know, when you do something new with your hair and you spent a lot of money on your like you shouldn't be snide. Just keep it to yourself. Like say: "Yeah it's nice!“. Don‘t just hair dwell or likeon anit.outfit or something someone takes my digsappearance at you. Andbecause it like hurts like Changes are hardand for me.

I hate just changing I like when youway don't know sayAnd that.I need But like when someone know constantly digs to lookpeople a certain you know. to remember theseyou times because it‘s like I at your hair, cause they don't like it or whatever, it hurts!

And now it's like I feel so need to work on something in me more. Because sometimes I can really be confident. self-conscious about me and my hair. You know I was really excited about it. Like I knew I don‘t wannaLoneliness keep it forever but I was just excited. And I know it's like such a 3.

Party Melancholy/ So why didthing I go to I waseverybody so sad? Of course went there not We to feel sad superficial to this feel party ugly, when but I think feels uglyI at some point. all have anymore.

Because I needed distraction, fun and drinks. couldn‘t be these days.

I'm just Iathought firm believer thatthe if you don't likesome something then don'tI say at home anymore. at home!

How I bought hate to something be at home. want to meet people anything.

You knowLonely I feel like if someone orI did something you don’t who are shouldn't good for me.

And then meet someone get lonely againDon‘t so fast. like you be snide.

Justwhen keep Iitfinally to yourself.

Like say: I"Yeah it's nice!“. just these situations are so strange.

Like when people you randomly meet look at you so It‘s a constant cravingare forhard people fillchanging me up with and emotions again like like dwell on it. Changes for who me. Ican hate myideas appearance because I like eagerly. they this expression fullItoended ofremember expectations their faces because and again.

It‘s really hard to feel lonely.

So up at these this on party and I laughed to look a When certain wayhave you know.

And I need times because it‘sand like I they want tofelt make contact, getmore. know you by better.

They‘re standing before talked I still lonely and Itowent home myself andI can felt lonely. needjust tobut work on something in then me Because sometimes really right be confident. you waiting for your reaction, something like „Hey, it‘s you! How are you! So nice to see you!“. they want you to be interested in their lives like on a really profound level, 4. for reaction 3. Waiting PartyAnd Melancholy/ Loneliness ISo can always remember veryjust clearly when where I metThey somebody fornot thetofirst why did I go to this party when soand sad?

Of course I went there feeltime, sad even though you‘re actually in Iawas small-talksituation. somehow just seem so even if we only met once or twice.

You know on that score I‘ve got such a good anymore.

Because I thought Iisneeded the distraction, and drinks. alien to you.

This expression so strange somehow, itsome reallyfun moves me. I couldn‘t be memory.

I exactly remember the place howtolong it‘shome. been Iand what we did at this at home anymore.

Lonely at home!

Howand I hate be at want to meet people 5.

Dead father place.

And when tell And someone whereI Ifinally knowmeet him or her fromI they are always who are good for Ime. then when someone get lonely again so so fast.

Lately many things are coming up inside anyway.

Ivery keep thinking of person. things I Every lost and amazed I still remember I guess I‘m just eye-minded It‘s likeso athat constant craving forthem. people who can fill mea up with ideas and emotions again that I'm now missing.

Like why did my father have to die so early?

He was the kindest human contact is so important tolonely. me. SoSo once this girl if we met before, and again.

It‘s really hard to feel I ended up asked at this me party andhad I laughed and human being.

We went along so well, I could tellby him everything.

Even when I was 18 I like: „Do you still know me?“. ofI went course I knew we hadand metfelt before, but I deliberately talked but I still felt lonely andAnd then home myself lonely. would sit ifonwe hishad lap.never It wasseen the most thing. Because He playedshe thejust piano when I was little acted as each natural other before. kept wondering and and I would dance to could it. He have was so happy with was whatsoheinterested had that Itocan‘t understand why 4.

Waiting for reaction wondering where we met and she know more about Ime. can always remember very clearlybut when andknow whereyou I met somebody for the firstShe time, a man like this die so „Sorry painfully.

He had throat cancer.

Just ateseen him up from the And then I had just to told her: I don‘t at all.

Never you.“ evenso if He we onlythere met once orbed twice.

You onsothat score such abecause good inside. lied on his andwhy he Iknow looked miserable andgot inMaybe the end his skin Iwas was disappointed.

I don‘t know did that, why I saidI‘ve that... was memory.

I exactly remember the place and how long it‘s been and what we did at this all yellow.

But there‘s no meaning in death, isn‘t there?

It would be so consoling to have kind of pissed that I can always remember everybody but not everybody remembers place.

And I tell someone where I know him her from are alwaysFor so me a reason for him dying.

It‘sher just not fair.because me.

I kind ofwhen felt sorry for anyhow sheorseemed sothey disappointed. amazed that I still remember them. I guess I‘m just a very eye-minded person. Every 6.

No reason to wake human contact is soup important to me. So once this girl asked me if we had met before, Ilike: hate„Do to disappoint others, because keep getting myself but all the time, like: you still know me?“.

And of Icourse I knew disappointed we had met before, I deliberately by life!as Making the right is so hard to do.Because Becauseshe I‘m just really afraid of failingand it‘s acted if we had neverdecisions seen each other before. kept wondering hard to do anything at all sometimes.

Just to get up in the morning like for a real reason. wondering where we could have met and she was so interested to know more about What if there no fucking Maybe that‘s why I‘matstaying in bed foryou.“ so long me. And thenisI just told her:reason? „Sorry but I don‘t know you all. Never seen Shein the I just gotIno motivation whatsoever. wasmorning. so disappointed. don‘t know why I did that, why I said that... Maybe because I was kind of pissed that I can always remember everybody but not everybody remembers 7. Supposed callsorry me for her anyhow because she seemed so disappointed. For me me.

I kind oftofelt And I also am so disappointed she hasn‘t called me for a whole month now. I decided not to text her or anything because I really wanted her to call me. She never calls me when I need her most. She is my friend, she is supposed to know when I need her! You know, to me, she is reality. All the time I keep imagining how my life should be. Stuck in 98 my imagination. But she is certain, she's real. I really need her cause right now I'm

honestly must tell think my life right now really great.I‘m I don‘t a 9oftofailing 5- jobit‘s by life! Making theyou: rightI decisions is so hard to is do.

Because reallyhave afraid anymore like I had before I moved to London.

And I really enjoy that tremendously.

But hard to do anything at all sometimes. Just to get up in the morning like for a real reason. still it wouldn‘t hurt to have just a little more to do.why I justI‘m realized LATER … — RICO SCAGLIOLA & MICHAEL What if there isYEARS no fucking reason?

Maybe that‘s stayingabout inMEIER bedmyself for sothat longI just in gotta go out into the world you know.

Like live at different places, meet different people. the morning. I just got no motivation whatsoever.

With my job it‘s really important to go out, like also to parties. Just to go places and socialize andtoget know new people. Like that the jobs will follow, I‘m sure. The other 7. Supposed callto me day example was at this birthday partycalled of a friend I already And for I also am soI disappointed she hasn‘t me forofa mine wholethat month now. knew I decided before I moved here.

And there I met two new customers that now are really interested not to text her or anything because I really wanted her to call me. She never calls me in my work. some of friend, these people at work aretoso exhausting - the her! You when I needBut herhonestly most. She is my she is supposed know when I need gratuitous bullshit they‘re justimagining like: "Thehow problems people know, to me, she is reality.talking All theabout. time II‘m keep my lifeyou should be. have, Stuck in seriously?!"

- I mean I‘d actually rather work placeneed where canright reallynow be I'm fully my imagination.

But she is certain, she's real.atI areally heryou cause involved a project. Like build up whole concept.

ButI you gotta go the scared ofineverything.

I‘m scared ofawhat I saw, of what did, just of who I am.

Andhard mostway of first I guess be an feeling assistant then it‘s alllife about connections.

It‘sI‘m justwith so her. all I‘m scaredand of never thefirst restand of my whole the way I feel when goddamn boring to assist! You know if you achieved a certain standard like I did - like at 10.Bar Fatigue-crisis/ Money problems 8. and do, Exhibition hostworked what you what you for most time of your life - then it‘s really annoying to go Lately I‘m really tired all the time.

I‘m just Igoing through major fatigueThe lasta So since a few months every other week organize this a bar at itmy apartment. such back and like do an apprenticeship again.

At least that‘s what feels likecrisis. whenIt's I‘m only months they but not inwith a good way.like Soall many happening good thing towere do if just you so feelbusy, like mingling people, kindsthings of people with at the assisting. same time but like no motivation to dosoanything.

It‘sbecause weird. I had nobecame time to different backgrounds.

For me it was refreshing I feltabsolutely my work-life relax.

No timeproblems, for myself.

I really 14.

Consumer new shoesplanned on spending less money but in this city You know, to me there‘s always only one wayit fits it doesn‘t.

Like I've everything‘s so expensive! I‘m almost broke, it‘seither terrible.

If Iorhad some money leftseen I could these shoestime thatout areand so fine.

I gotta get them.

They my style, they are so buy ​me​. take some just go somewhere else withjust mymatch girlfriend.

Or I could finally I‘m buy them the money gotvacation for my birthday. boyfriend saidimportant I should to thisgonna bike I wanted forwith so long and goIon with her.My I think it‘s really save moneyfrom for my singing classes andnew thathorizons.

I’d already have need so many shoes.

But go onthe vacation time to time.

It opens I totally to get my shit anyway don‘tstraighten care. He‘s annoying now. You know ​not​ sensitive togetherI and upso my finances.right Especially now withhe‘s our so marriage coming up. I sometimes. doesn‘t reallya listen to My me girlfriend and evenisgoes to parties withoutlike me.she Also last mean that's He gonna be quite project. so good with money, new year‘s he just leftclothes me home out by himself.

Justabecause was doesn‘t careeve about fancy andalone stuff. and And went she only goes out once week. It Imust sick. had family this hardcore in my mouth wisdom It took the run inI her I guess.infection Like she‘s drawing upbecause budgetsof formy things like teeth. this new guitar 16.

New sweater dentists one She fucking yearknows to find exactly out my how gumsmuch weremoney full of abscesses. she just like bought. always she can afford to spend.

I am all over the place right now, I have so much in my head. So after my dentist's thing which didn’t take Mayonnaise too long I went to the mall because I decided to get some stuff. Just to 15.

11. Anal WGtroubles/ shoot me up a little bitdid more because of good stuff thatother happened recently calmed And the other this day agreement we anal but we he would went intext too fast.

You know theythat do that: just we have that each if we when have some friends over me I guess.

I bought this black crop sweater that says "heart and love".

Surely cute and shoving it in.

That shit really hurts.

You gotta go easy first.

I was so pissed I pushed him for dinner or whatever. Just to like coordinate things. But if his girlfriend is at home with ifhim I was skinnier I’dhim look prettier but itAnyway. stillI fits me well.other I love tops like that Ithese alsocook got away and just jerk off, whatever. mean so cute but lately he and has things canlet get really annoying.

So he‘s the day I texted him I would another one that’s like black and red with some square prints on it.

And I also bought phases when he‘s insensitive. mean join. generally he's ok doing great lately, for my friends and really he texted back heI would So it was for me and I toldhe's him I two jeans, super comfortable. making realboth progress.

Business-wise I mean also he‘s so good to me. could only make something simple like bakedand potatoes because I was short on money.

Then he texted me again to tell me that he‘s fine with potatoes but that I couldn‘t use his

17.

Monitoring Because yourself it‘s some kind of special, fucking expensive, Japanese mayonnaise.

You know I‘mIalways monitoring myself. the time. How I look,And howwhen I dress, I mayonnaise! didn‘t even know they hadAll mayonnaise in Japan. he how finally walk, what I say and the way I say it.

And it‘s not just in my mind.

It‘s also in my body. came home, the first thing he did was removing the mayonnaise to his shelf in the fridge Like my body‘s always under self-monitoring, tight. mean on of a strictly so nobody would take it.

And so I‘mmuch sure he probably wasso dying toIput some this gay rational level I know that‘s bullshit people tell me I‘m good-looking and I work out. But I mayonnaise on his potato but he couldn‘t in front of me. like don‘t believe them, my body doesn‘t feel it. It‘s as if my body and my heart are constantly screwing meher over. Like when I‘m walking on the streets I'd turn to see if 12. I don’t even care for there‘s someone walking behind and if there don‘t actually is care someone, myThere body never instantly The other day I suddenly realizedme that I actually even for her. goes pay between attentionus to to your walking, up!randomly Someone's looking at you!“ reallylike: was„Hey, anything begin with. Istraighten just met her and for a time I -or something like that. felt pity for her because I felt how bad she needed a friend. So I went along - but to be honest I soon realized I just don‘t care for her period. She doesn‘t interest me. There‘s

18.

Gay confession, nothing about her Ifamily couldrejection connect to other than the fact we once met and she somehow 99

Life in general haslife been rough lately.

Relations family and Itoare wanted me in her andpretty we had some pointless fun. Iwith justmy don‘t respond herreally

other hand they’re saying: "We love you, we care about you, we wanna see you friends to come visitlike himaindouble Paris. standard.

Even though we talked this over and Iagreed we my will succeed...".

It‘s just It makes me so sad cause can't trust be seeing us that same week.

It‘s so annoying!

I mean what‘s the point in this calendar YEARS LATER … — RICO SCAGLIOLA & MICHAEL family anymore, like the people who raised me, who are supposed MEIER to love me. But I get then?

We agreed to do this together because he‘s kind of sloppy in organizing stuff through it and get over it. anyway. And what really pisses me off is that I could only once stay at his apartment in Paris.

He doesn‘t like me to stay there because he‘s living with this older gay guy who‘s 19. Building momentum probably into him anyway.

Buthave he can there cheap so getting my boyfriend‘s kind of and So really this past few weeks justlive been about kinda my shit together dependent of him and he‘s also hoping this guy cantohelp himBuilding get goodmomentum jobs. The I setting the groundwork for bigger and better things come. problem is could that this guy reallyone hates to I've havebeen any thinking women in the house.

So he doesn‘t I guess you say.

That’s thing about a lot lately: momentum. want meiftoyou stay there. feel like have momentum it doesn't really matter so much if you don't have really 23. Alcoholism

When we‘re together we booze every day. And I started drinking beer. Actually it's ginger beer but with alcohol. I don‘t know, it‘s just so nice to open a bottle of wine now and then and then. He really likes to drink you know. I mean he really drinks a lot. Not a heavy drinker, he can still handle it, but he‘s drinking a lot of beer and stuff. I really just like to drink alcohol. I'm just like getting more and more into it. Now and then I really love to make my own Bloody Mary‘s you know. It‘s kind of a delicacy- thing for me.

24. Thigh gap, body trouble

And honestly, my legs used to have no thigh gap at all. The inside of my thighs touched and I sweat like a pig down there. But now when I put on my yoga pants there‘s clearly a gap! I think it‘s so awesome. I just have to take care now that the gap doesn‘t get smaller again.

You know it‘sIalmost likesorry. that gap is kindI of fat-mean barometer.

When theI flaws.

And if I really do that, am really Because doanot to do that.

And gap‘s want getting biggertomy hips are getting tighter.than me when they see me. never anyone feel that they are lesser 25. Ayahuasca, Current nail life situation 29. change

Onefor of my she has thelife most beautiful nail art. she has so these And the friends, last 7 years of my I thought I wanted to Right be annow actor.

I was sure I almond-shaped And she‘s done them I‘ve always wanted wanted to be an nails actorlike andkiller.

I’ve been pursuing it for theherself. last 5 years.

I thought I justthese go for nails but I didn't know you could do them yourself, professionally. italmond-shaped and took classes.

I spent so much money for headshots and now like I’ll change.

Like I’mI alwayschange do this right thin layer gel on and then over it.absolutely Because my nails gonna now. of I can’t bemy an nails actor.first And now thispaint will sound crazy are Ialways paint.

My current with nail- asituation but have tosogobrittle to theI can‘t jungleuse andgel have to apprentice shaman.is Iquite havedifficult to learn anyway because Iand hadI some of teach my nails doneabout in New there. about Ayahuasca have to people it. IYork havebecause to. Like they this isbroke something Andhas thenbeen I hadbugging some ofme thesince others doneback over from here.Ecuador.

So now unfortunately theyfor all 18 look that I came I was in Ecuador totallyand different. days stayed with this native family in the jungle for 5 days. Did two Ayahuasca ceremonies and ever since I’ve just been so unsure about acting. And now like today I 26. Downward funeral, headache have found outspiral, that Itire, have to move out in 3 weeks. So I’m finally coming to terms of the Anyway I am having a really badass sure it’s and due live to my fromand work, fact that I have to do this. Like I have headache. to go back I‘m to Ecuador in stress the jungle mythis. life, Ilack ofstay sleep, notand drinking water, eating unhealthy.

Now am fully starting think do can’t here pretend being an actor one day.

I’mI not in itto you know. that I am gonna have migraines.

I know I am super-hypochondriac.

And also the tires on I’m freaking out right now. Like this is 7 years of my life kinda like gone out of the my car have beenI‘m going really badnew for the fewhealthier months path and the dayexpected there was window and now on this whole andpast much thatother I never to be on. It's so weird. I never felt so strongly about anything before in my life.

30. Sexual molestation

But it's getting more and more difficult for me to even trust anyone. Like profoundly. It makes me really sad because I know I actually have so much love inside me. But so many things have been destroyed. Like it's really so bad. I've been molested sexually multiple times in my life. It's long ago and it was like in a time 100when I was experimenting a lot you know. When I always felt this urge. And I really really regret that. Because it all

where she‘s going. She’s got style, really nice hair, soft skin. I feel like strong and confident when I'm with her. And she‘s really crazy sometimes you know. Once she SCAGLIOLA & MICHAEL MEIER bought a thongYEARS for me LATER … — RICO and she was so turned on when I wore it. And sometimes she know.

And this dancer-asshole flat-out spread these things around like everywhere, until tells me that she dreams of having sex with women.

I had to hear it again from some random guy I know. I feel so betrayed. I know at some point I probably should have cleared things up and tell her how I feel about her. But I 33.

Enjoying single life, sex hunger know her. Ineed just don’t why II can’t her out ofwant my heart and I knowI could exactlynever whathave I actually of all know the things want.get Like I don't a my body. I mean I just ok. want her towant have best possible means her having relationship and that's I don't tothe have thelife feeling thatwhich I belong to someone or a boyfriend.

But Ielse still kind wantofher so much. I want herIt's likeallthe best You friend shesomebody, is but I alsoyou give someone a possessive feeling. about: meet want to satisfy her like sexually.

Just be fuck buddies I guess.

But it's not possible. spend some time together and then when it starts to get complicated or even hurtfulShe you could getIt's thisallkind of satisfaction outsince of me. that.

So I'm alone my can letnever him go. about letting go and I'mI know so clear about this, I canwith finally feelings for lose her and nowinI someone somehowelse. haveIttofeels learnsohow to to transform these So feelings into completely myself good lose yourself. right now someone I'm like soelse. sexed up. You know when you have sex with someone and you can see the lust in their faces. Really just completely out of control and then they are orgasming 36.

New Tank Top because of you.

It‘s so empowering. I mean like when you are so turned on by someone Iyou gotjust these celebrity-print tank up, topslike foralmost you. I saw picture-potential in it. I thought they want to eat that body for real. were woman sizes but they turned out to be men sizes. So they are gonna be huge.

34.

Fucked-up drug story Berlin They are really cute.

And I thought you could just take pictures of it with you wearing it.

And got my drug usethese under control. of With all thepeople. shit that A guyI finally from New York does drawings famous Hehappened is workingrecently for this I'm really over it.

After I went through therapy I didn't take any drugs for a really long company called “seeks-peaks” or something. I forgot the name, I got the addresstime. at It just wasn't that fun anymore.

So this the other to Berlin to see my best friend home whatever.

And they make shit toweek order.I went So they have New York and I thought like:that "Fuck gotta go party in of Berlin."

I could just as welldoes artists/illustrators do it, allyou these different kind things.I thought Like each illustrator/artist take some drugs.

So me and my friend we really were dropping everything: Special K, like five different designs and then they print it on mugs or tank tops or like do a “Golden MDMA,cover Ecstasy, Speed - likeand anything, mixed up.And Thethey thingdon’t was:do She on this Girls”for your phone all that all kind of shit. all was celebrities, club’s guest list because she knew this douchebagDJ which we were hanging out with they choose the one’s they like. And then when I saw it, I got one extra large because I the whole night.

And he on the other hand was friends withyou thecut resident dealer. my thought they were girl-sizes.

What I was thinking of is that it on the sidesSo and friend just that had fabric to tell off thisand DJ lace whatever she wanted andcut heitgot for her. like then take it up. drug And then you could likeityou wantItit.was It takes the night you're so shitfaced can't even dance talk straight anymore. You like kinda two minutes.

I would have doneyou it but I wasn’t sure if or you wanted that.

37. Art Collector, career help Next week is this dinner party at this collector’s house which I’m invited to. You know he is the big, super diva here, right? I was always like I gotta get you and him together and so on, you know. And now he lets me into his core. It’s major. Every city got a few of these major persons. I mean he is such a diva, he is a flower, he is beautiful. For real.

He got that way without being bitchy. And I am really sure, once he gets you, he will make sure that the doors will open just like that. So I wrote this message to apologize, and I knew that you wouldn’t be mad about it. I explained your piece. What you did in the way I interpreted it. It helped him and everybody to kinda get the “aha” of your message, to understand you more. Because sometimes you overestimate the sophistication of your audience. You were right to do what you do, it was great. But a lot of people didn’t get you. And when I said that he wrote to me: “It’s good that you said that because some people didn’t get it.” When he said that, I realized that he didn’t

101

PASOLINI’S BODIES AND PLACES — BENEDIKT REICHENBACH Benedikt Reichenbach (Hg. / ed.)

Pasolini’s Bodies and Places.

Edited by Michele Mancini and Giuseppe Perrella

ISBN 978-3-906803-41-8 EUR 78 | CHF 78 Hardcover, 640 pages 1500 color images 22 × 21 cm / 8 ½ × 8 ½ in.

Design : Benedikt Reichenbach

102

Nº 241

PASOLINI’S BODIES AND PLACES — BENEDIKT REICHENBACH

VOICES FROM THE SET An extract from the transcript of the French television program Cinéastes de notre temps on Pier Paolo Pasolini, edited by Jean-André Fieschi (1966).

[ …]

3. ROME. Via Eufrate. Terrace — daytime. July 1966.

PASOLINI [Speaking French] People’s first language is their acts, in real life. I represent myself to you. You represent yourself to me. Can one put it like that? It’s a Neapolitan expression. Film is the reproduction of the natural language of reality. It is the written language of the natural language of human action. Lenin wrote a great epic poem of action, and expressed himself through this poem. Men, humble men — how do you say ‘humble’ in French? — make little poems of action. And all these poems slightly modify reality. This is man’s first language.

I am at this moment speaking to you, representing myself through an audiovisual technology. There happens to exist a machine that reproduces … can you say ‘reproduces’ ? … my representation.

But it’s the same thing. If the movie camera weren’t here, I would speak to you … in my language and … even in my French, my bad French … and with my physiognomy, my personality … in the same way. And so if film is simply the written language of reality, when one makes a semiology of cinematic language, one must at the same time make a semiology of reality.

103

‘In his cinematographic work PPP brings out a sort of implicit and unconscious code through which we negotiate our everyday relation to the world. He makes visible a complex series of aphasic and hidden practices, a “primitive” realm normally off limits to our “enlightened” societies.’ [ Pasolini’s Bodies and Places, Introduction by Mancini and Perrella, p. XIX. ]

104

PAINTINGS — EMIL MICHAEL KLEIN

106

PAINTINGS — EMIL MICHAEL KLEIN Emil Michael Klein Paintings

ISBN 978-3-906803-42-5 EUR 48 | CHF 48 Hardcover, 72 pages 30 color images 25.5 × 35 cm /10 × 13 ¾ in.

Design : Teo Schifferli

107

Nº 242

EARLY RETIREMENT — MARK THOMAS GIBSON Mark Thomas Gibson Early Retirement

ISBN 978-3-906803-43-2 EUR 60 | CHF 60 Softcover, approx. 240 pages Approx. 220 images 23 × 34.5 cm / 9 × 13 ½ in.

Design : Teo Schifferli

110

Nº 243

EARLY RETIREMENT — MARK THOMAS GIBSON

111

EARLY RETIREMENT — MARK THOMAS GIBSON

112

EARLY RETIREMENT — MARK THOMAS GIBSON

[ Extract from http://www.huffingtonpost.com/ridley-howard/some-monsters-loom-large-_b_9706150.html, 04/18/2016. ]

113

STÉPHAN LANDRY : TOUT VA BIEN — MUSÉE JENISCH Musée Jenisch Stéphan Landry : Tout va bien

ISBN 978-3-906803-44-9 EUR 52 | CHF 52 Softcover, 288 pages 200 color images 18 × 25.5 cm / 7 × 9 ¾ in.

Design : Adeline Mollard, Elektrosmog

114

Nº 244

STÉPHAN LANDRY : TOUT VA BIEN — MUSÉE JENISCH

115

116

25 MEMORANDEN — FRANCISCA SILVA Francisca Silva 25 Memoranden

ISBN 978-3-906803-45-6 EUR 36 | CHF 36 Softcover, 52 pages 25 B / W images 21 × 11 cm / 8 ½ × 4 ½ in.

Design : Teo Schifferli

118

Nº 245

25 MEMORANDEN — FRANCISCA SILVA

119

WINDOW SHOPPING — KELLY BEEMAN Kelly Beeman Window Shopping

ISBN 978-3-906803-46-3 EUR 52 | CHF 52 With a text by J. W. Anderson in English Hardcover, 124 pages 55 color images 24 × 32 cm / 9 ½ × 12 ½ in.

Design : Krispin Heé

120

Nº 246

PORTRAIT OF KATE MOSS (in Matthew Williamson SS 1998)

WOMAN UNDER A LAMP (Loewe AW 16)

GIRLS UNDER UMBRELLA WITH RED FLOWERS (in Dior SS 16)

APPETITE FOR THE MAGNIFICENT — TANIA WILLEN AND DAVID WILLEN, JÖRG SCHELLER

124

APPETITE FOR THE MAGNIFICENT — TANIA WILLEN AND DAVID WILLEN, JÖRG SCHELLER ISBN 978-3-906803-47-0 (DE) Tania Willen and David Willen, Jörg Scheller ISBN 978-3-906803-48-7 (EN) EUR 43 | CHF 43 Appetite for the Magnificent Softcover, 128 pages 23 color images 18 × 27 cm / 7 × 10 ½ in.

Design : Prill Vieceli Cremers

125

Nº 247 Nº 248

APPETITE FOR THE MAGNIFICENT — TANIA WILLEN AND DAVID WILLEN, JÖRG SCHELLER

126

APPETITE FOR THE MAGNIFICENT — TANIA WILLEN AND DAVID WILLEN, JÖRG SCHELLER

127

APPETITE FOR THE MAGNIFICENT — TANIA WILLEN AND DAVID WILLEN, JÖRG SCHELLER

128

APPETITE FOR THE MAGNIFICENT — TANIA WILLEN AND DAVID WILLEN, JÖRG SCHELLER

129

DRAWINGS — WALTER PFEIFFER

130

DRAWINGS — WALTER PFEIFFER Walter Pfeiffer Drawings

ISBN 978-3-906803-49-4 EUR 78 | CHF 78 With a text by Martin Jaeggi in English Softcover, 200 pages 300 color images 25 × 32 cm / 9 ¾ × 12 ½ in.

Design : Walter Pfeiffer with Marlon Ilg, Marietta Eugster

131

Nº 249

Walter Pfeiffer in front of his huge portrait at his studio in Freigutstrasse — The Zürich painter Walter Pfeiffer, twice winner of a Swiss Art Scholarship and a hypersensitive artist whose photographs will be exhibited at the next Bienniale de Paris in September, is looking forward to finishing what — at least in its sheer scale — is his magnum opus. On a canvas measuring six metres by three, the artist, owner of a cat called ‘Nüssli’, has painted the portrait of a Zürich family in acrylic and coloured pencil. The seven lifelike figures, the family of a Zürich interior designer, smile against the backdrop of a beautiful landscape. Pfeiffer, who has been working on this huge portrait for five months, has urged people not to reveal the name of his art-loving client. [ Published on the front page of the Züri Leu newspaper, on Friday, 30 May 1975. Photo : Reto Zellweger ]

132

ART DECOR — VERONIKA MINDER Veronika Minder (Hg. / ed.) ISBN 978-3-906803-50-0 EUR 60 | CHF 60 Art Decor With texts and interviews in German Softcover, 250 pages 300 color images 26 × 36 cm /10 ½ × 14 in.

Design : Krispin Heé

134

Nº 250

ART DECOR — VERONIKA MINDER

BOB LE FLÂNEUR The incredibly diverse productions of Bob Steffen Claudia Honegger

Perhaps the most astonishing thing about the life of Fredi Steffen, who was born in 1928, is the fact that, taking his career as a nude model as a starting point, he was able to extend the logic of staging himself to his social life and work. Now everything was staged : his body, nightlife, love life, product line. Having grown up in modest circumstances, he was discovered as a handsome young man at the age of fifteen and made to pose in countless photographs of lakes and mountains. He managed to turn these experiences into a life’s project and carve a career out of them. He successfully completed an apprenticeship as a window dresser at EPA (Einheitspreis AG), the Swiss department store that opened in 1930 and focused on cheap goods. He would soon leave.

What were the circumstances that made possible, or at least favoured, such an astonishing life ? The war didn’t come to Switzerland. Bern wasn’t an occupied city. But the mood was sombre here too. Everyday life in the age of ‘spiritual national defence’ was characterised by fear, mistrust and making sure you didn’t stand out or step out of line. There was huge pressure to conform, but this also gave rise to a counter-movement. Subcultural milieus evolved which existed pretty much out in the open and which experimented with alternative ways of living and thinking. The psychology of Carl Jung, the Eranos conferences in Ascona, memories of the experiments on Monte Verità, as well as anarchism, surrealism and existentialism promised new directions.

135

ART DECOR — VERONIKA MINDER

For the generation that had grown up during the war, 1945 represented a caesura and an assurance that from now on life could be celebrated. The war had also undermined the traditional model of gender roles. The archetype of the warrior was badly damaged, thus sparking the hope of finding new paradigms of masculinity and living accordingly. New ways emerged of forming communities and of interpreting the world — No such transformation was possible in the morally discredited and devastated Germany, where men such as Jürgen Habermas (b. 1929) or Günter Grass (b. 1927), who would later be described as the Flakhelfer-Generation (‘child soldier generation’), set about reprocessing the German catastrophe. In Germany there was barely any opportunity to explore the more frivolous side of being young.

Paris became the centre of this new attitude towards life. Here, beginning with the Liberation in August 1944 and coontinuing once the war was over, subversive groups emerged, exchanging unconventional thinking, aesthetic modes of expression and styles of behaviour. Saint-Germain-des-Prés thus became a Mecca for nonconformists from near and far. Besides the already long-established coffee houses such as Café de Flore (with its illustrious regulars Jean-Paul Sartre and Simone de Beauvoir) or Les Deux Magots, many small, even tiny cellar bars opened, where people talked, sang, recited, danced, drank — and smoked a great deal. Le Tabou, for example, a ‘centre de folie organisée’ (Boris Vian) which opened on the corner of rue Dauphine and rue Christine in 1947, hosted poets and chansonniers, even famous singers such as Juliette Gréco (b.

1927) or the Jewish Barbara (b. 1930). Cabaret L’Ecluse, the famous spot on the Quai des Grands-Augustins, the stage (including piano) was 3.5 by 2 metres, and there was space for a maximum audience of 80 amidst the thick cigarette smoke. From 1945 to around 1965 a colourful mixture of anarchistic dreams and non-conformist lifestyles 136

ART DECOR — VERONIKA MINDER

emerged in Saint-Germain-des-Prés, an overlapping of existentialism, chanson, bebop, jazz and most notably an anti-bourgeois self-styling by the noctambules and rats-de-cave.

‘Nous étions étourdis comme après une longue maladie’ (‘We were numb, as after a long illness’) was how a contemporary described the attitude towards life immediately after the end of the war. This somehow frivolous mood was not confined to Paris. It was the mindset of the Bern scene in the lower Old Town too. In basement bars — also tiny, also filled with smoke — , a lively developed that was lived and performed literally underground, in twisty vaults beneath the old grey houses. Night owls and ‘cellar rats’ met here too, for discussions, readings, parties, theatre evenings and masked balls.

The Masks of Desire and the Metamorphoses of Sensuality.

This title — of a book on the history of sexuality in the West — could just as well sum up the milieu in which Fredi from Liebefeld developed into Bob, the artful stylist of his own image. The former object in front of the homophile amateur photographer’s camera became a subject, staging himself. A scoundrel and a charmer, who always dressed and moved like a dandy, who loved men and sometimes women too. Who was extravagant, dead smart and bisexual, like his role model Jean Cocteau. And who, like Cocteau, loved luxury. Even in grey Bern, dreams of luxury thrived, which seemed to hint at the possibility of their coming true. Just like his window displays, Bob’s idiosyncratic attire promised a luxury that most people couldn’t afford : even in Switzerland the economic miracle didn’t benefit the wider population until the 1960s.

Werner Bandi’s photographs adhered to a more classical aesthetic, a style also visible in Karl Geiser’s groups of figures in front of Kirchenfeld School in Bern. The young window dresser, on the other hand, often used radically surrealist motifs when draping 137

ART DECOR — VERONIKA MINDER

clothes and materials in the displays of fashion houses. In his opulent window displays he developed a high level of artistry to capture the attention of the passers-by. He wanted them to stop, he wanted to force them to look. To arouse their curiosity, as in the cinema. In the endless series of photographs where he appears as a nude model, he often looks like a mannequin who, although attracting the viewer’s attention as an object of desire, leaves them with an impression of ennui. His gaze roams indecisively into the distance, vaguely indifferent, merely obeying the instruction of the man behind the camera, who makes him turn his head, sometimes this way, sometimes that. As a window dresser he won back the right to his own gaze and perfected the techniques of exhibiting objects. This can be seen both in his window displays created for the various fashion boutiques in Bern and in his huge tapestries for the Swiss textile industry at the Pavillon Création at the MUBA trade fair in Basel, which gave him the opportunity to realise his aesthetic ideas on a large scale.

Opposite, at 52 Kramgasse, lived the philosopher Jean Gebser, who in his 1949 first volume of The Ever-Present Origin (subtitled The Foundations of the Aperspectival World. A Contribution to the History of the Awakening of Consciousness) held out the prospect of the development of a new, integral consciousness. The idea was also to sow chaos in the hope of reaping order. And in his immediate environment, at least, he seems to have been rather successful at this. Also from Jean Gebser, who lived in Bern Old Town from 1955 to 1969, comes the following aphorism, which could have been written about Bob Steffen : ‘With every question, we are asking about ourselves ; and everything viewed is an answer.’ It should be added, however, that not everything is viewed. For something to be viewed, it must be stylised and presented in a striking way. Seeing and being seen, viewing and being viewed. A masquerade that Bob raised to a living art.

138

ART DECOR — VERONIKA MINDER

It is a wonderfully bizarre footnote of art history that the former nude model Meret Oppenheim (b. 1913) and Bob Steffen lived, worked, loved, partied and reinvented themselves as artistic subjects together in Bern Old Town. Late in life she became an icon of twentieth-century century art and her flame still burns bright. His incredibly diverse mousseline dreams, however, have disappeared.

Bob le Flâneur 139

GUESS WHO IS THE HAPPIEST GIRL IN TOWN — SUSI WYSS Susi Wyss Guess Who Is the Happiest Girl in Town

ISBN 978-3-906803-51-7 EUR 52 | CHF 52 Text by Susi Wyss in English Hardcover, 800 pages 1000 color images 15 × 23 cm / 6 × 9 in.

Design : Frank Hyde-Antwi and Katarina Lang

140

Nº 251

GUESS WHO IS THE HAPPIEST GIRL IN TOWN — SUSI WYSS

THE HAPPIEST GIRL The first few happy moments of Susi’s life Susi Wyss

On Sundays Papi drove three or four times to the Katzensee lake and back, ferrying his family one by one to the site of our weekly picnic with its Wiener schnitzels and potato salad in a jar, and after a few hours of leisure and pleasure he repeated the same routine to get us all home again. But when he took me on a real outing on my own I was THE HAPPIEST GIRL in town and out.

141

GUESS WHO IS THE HAPPIEST GIRL IN TOWN — SUSI WYSS

One year, my father made me the loveliest doll’s house, with little electric lights and perfect little furniture. Guess who was THE HAPPIEST GIRL in town !

I sewed a lot of love into that hem, and thousands of best wishes for her happiness. I was in heaven. And then I held the pincushion for the fittings of Bambi-eyed, sweet, frail Audrey Hepburn. She told me I looked like Leslie Caron, and she thought me very pretty. A week later I had the immense pleasure of holding the pincushion again, this time to fit the dress of Leslie Caron in person. Guess who was THE HAPPIEST GIRL in town ?

Just before he turned away, he whispered, ‘You’re the nicest thing that’s happened to me in years.’ Then he put his soft lips on mine, just brushing them, and vanished in the crowd.

I was in a state of shock. Grinning from ear to ear, I clung blindly to Heinz’s arm and let him guide me home.

‘Oh, Heinz, I’m so happy. I think I’m THE HAPPIEST GIRL in town !’

Thank heavens I had told him about that visiting girl touching my pussy all night, and he said, ‘It must have been that oversexed South African sow who gave it to you with her hand, and then I caught it from you the next day’.

I promptly agreed.

But I knew for certain that the three minutes with Nando’s naughty instrument had to be the real source of the disease. Even with gonorrhoea, I was once more THE HAPPIEST GIRL in town.

142

GUESS WHO IS THE HAPPIEST GIRL IN TOWN — SUSI WYSS

And now Lucy told me that she had seen my drawing framed in Brigitte Bardot’s bedroom. Next to my signature I had made my logo, which is a little caricature of my face. She told Brigitte she knew the artist, whereupon Brigitte begged to meet me. So we were invited to Günther Sachs’s apartment for dinner sometime around the beginning of November.

The same afternoon I went to see my doctor, who confirmed that I was pregnant. It may have been a rainy grey day for everybody else in Paris, but for me it was the brightest day of the year. Guess who was THE HAPPIEST GIRL in town !

I could feel his hard prick through his clothes and my whole body was melting and I can’t say how long we stood like that, but suddenly 143

GUESS WHO IS THE HAPPIEST GIRL IN TOWN — SUSI WYSS

I came, I had an orgasm as if his cock had penetrated me for real.

‘I’m coming … oh, Rick, I’m coming …’

‘I know... me too …’ and then I could feel with my hand that he was telling the truth, his pants were soaked — and guess who was THE HAPPIEST GIRL in town ?

To celebrate our double triumph, I invited my sweet and serviceable lawyer for lunch, which he insisted on paying for, and we laughed about the lawyer defending me rather than his client. No adversary in his experience had ever spoken in his client’s favour, nor had any insurance company accepted so large a settlement without any haggling. On top of that he’d never had as much fun with any client as he’d had with me, and for that reason he refused to accept any fee.

Guess who was THE HAPPIEST GIRL in town !

He used to be a theatre director in New York and was famous for having slept with the most beautiful women, even though he was basically gay. He was a cover boy too and was the darling of the international jet set. He was very bright and witty with a razor sharp tongue — and the brochet à l’aneth he served us for lunch was unforgettable.

It was a perfect day for a déjeuner sur l’herbe. With all those handsome people sitting around, guess who was THE HAPPIEST GIRL in town ?

I pinched myself again and it really hurt and I knew I’d have two tiny bruises next day to remind me of Rick’s visit. My wish had come true, my lover somewhere on the far side of the world had paid me an astral visit. His body was travelling in another country, yet his soul had flown to me. Guess who was THE HAPPIEST GIRL in Paris that night ?

144

GUESS WHO IS THE HAPPIEST GIRL IN TOWN — SUSI WYSS

Adam was a gifted lover and very much a Leo. He was built like an athlete and seemed eager to try everything and live and live … He was a healthy young man and when I praised the act of love between two boys he got so horny that we did it all over again. He loved Orientals ; it occurred to me that at last I had a present for Barney, who had spoiled me for years and who had given me quite a lot of lovers. Adam wasn’t really my type, but was so handsome that I couldn’t possibly refuse him. Guess who was THE HAPPIEST GIRL in town !

It was like the two of us were fucking her together, like we were just one person giving it to Vera. Never had I felt such complicity with Rick before. Vera was just our object, it could have been anyone.

When it was over, to our mutual satisfaction, we laughed and freed ourselves and lay exhausted in the bed. Guess who was THE HAPPIEST GIRL in town ?

The gorgeous couple turned out to be David Bowie and his wife Angie. Keith and Anita recognised me from far away and invited me to their table and introduced me to everybody there. Stunning Bianca ignored me, like she ignored most women, but I thought she was great. Guess who was THE HAPPIEST GIRL in London ?

It wasn’t the most comfortable fuck I ever had, but one of the most unusual and exciting ones. My young man, a well-brought-up English boy, pressed my back to the tree ; if only he’d produced a rope to tie me up to it, one of my greatest fantasies would have come true.

After a week of abstention my horny pussy was hungry and guess who was THE HAPPIEST GIRL in the whole of Guadeloupe when my stranger penetrated me with the kind of hard ivory prick possessed by redheads alone, a whiter shade of pale …

145

REAL NAZIS — PIOTR UKLANSKI Piotr Uklański Real Nazis

ISBN 978-3-906803-52-4 EUR 52 | CHF 52 Hardcover, 260 pages 250 color images 25.3 × 18.8 cm / 9 ¾ × 7 in.

Design : Hanna Williamson-Koller

146

Nº 252

[ Scalo Catalog (1999) ]

REAL NAZIS — PIOTR UKLANSKI

‘REAL’ NAZIS Piotr Uklański The notorious Nazi Hanns Johst once said that whenever he heard the word ‘culture’, he reached for his gun. Every time I hear the word ‘Nazi’, I think of Stefan Grzelak, imprisoned in SSArbeitslager Friedrichshafen. He was my grandfather.

We are Not Reconciled. We cannot change our grandfathers. We must not block out the memory of our enemies. Amnesia relegates images of evil into the land of fantasy. We might not be able to recognize the evil once it arrives. Since my first book The Nazis was published in 1999, a new form of ‘democratic fascism’ has reared its ugly head in elections throughout the world, dangerously propelling us towards autocracy in Poland, Hungary, Turkey and the US. Fascism persists across the decades and generations.

‘The existing narration presented the crimes committed by the Nazis en masse. How about the new narrative that extends to the fate of the individual and the individual dimension of the crime ?’ This question was recently posed by Piotr M A Cywiński, director of the Auschwitz-Birkenau 148

REAL NAZIS — PIOTR UKLANSKI

150

REAL NAZIS — PIOTR UKLANSKI

Memorial and Museum. The dominant institutional prohibition against showing individual images of the perpetrators — exacerbated by the demographic change among those visiting the camps, now that most witnesses are deceased — results in hardly anyone knowing what real Nazis looked like. The contemporary viewing of images of Nazi perpetrators is disquieting, as our perception of these historical documents is haunted by fictional representations. We inexorably conflate cinematic phantasms with the images of real Nazis. In 1936 Agfa, a German company that exploited female slave laborers in a KZ Dachau satellite work camp, brought to market ‘a triumph of German chemistry’ : color slide film. It was subsidized by the state to make it affordable for average consumers. Color was intended for the people. Color was seen as a more accurate portrayal of reality; it offered an alternative to the stylized, often abstracted black-and-white images of Heinrich Hoffmann or Leni Riefenstahl. Finally, color photography was put to use

by Hitler, who commissioned Walter Frentz to make thousands of glamorous studio portraits of Third Reich leaders and celebrated soldiers. These photographs were deployed to communicate that the Third Reich’s leaders were ‘normal’ people, made of flesh and blood. When Adolf Eichmann entered the courtroom in Jerusalem for the very first time in 1961, people were shocked. He had a blush of color on his face and seemed ‘terribly and terrifyingly normal.’ The incarnation of ultimate evil was in drag, portraying himself as an ordinary man, a nobody.

There is no truth in representation.

151

Pierre Leguillon, Barbara Fédier Oracles — Artists’ Calling Cards

Nº 216

With texts by 72 authors in English Softcover, 320 pages 123 color images 20 × 26.5 cm / 7 × 10 in.

Design : Clovis Duran ISBN: 978-3-906803-16-6 EUR 150 | CHF 150

Taiyo Onorato / Nico Krebs Continental Drift

Nº 220

Softcover, 214 pages 130 color images 24 × 33 cm / 9 ½ × 11 ¾ in.

Design : Hi, Megi Zumstein, Claudio Barandun ISBN: 978-3-906803-20-3 EUR 78 | CHF 78

Claudia Comte 40 × 40

Nº 227

Softcover, 416 pages 1000 color images 20 × 40 cm / 7 ¾ × 15 ¾ in.

With a text by Chris Sharp in English Design : Adeline Mollard, Elektrosmog ISBN 978-3-906803-27-2 EUR 83 | CHF 83

Keiichi Tanaami & Oliver Payne Perfect Cherry Blossom

Nº 228

Softcover, 80 pages 29 color images 28.5 × 38 cm / 11 ¼ × 15 in.

Editors : STUDIOLO / Edition Patrick Frey Design : Teo Schifferli ISBN 978-3-906803-28-9 EUR 48 | CHF 48

Mélanie Veuillet Tools of Disobedience

Nº 229

Softcover, 116 pages 186 color images 22.5 × 30 cm / 10 × 13 in.

With a text by Didier Fassin in English and French Design : Teo Schifferli ISBN 978-3-906803-29-6 EUR 38 | CHF 38

Anton Bruhin Dämonen Hardcover, 368 pages 171 color images 18 × 22.5 cm / 7 × 9 in.

With a text by Michel Mettler in German and English Design : Marietta Eugster ISBN 978-3-906803-30-2 EUR 52 | CHF 52

Nº 230

Billy Bühler, Dominique Frey SKUTER

Nº 231

Softcover, 348 pages 340 color images 15 × 20 cm / 6 × 7 ¾ in.

Design : Teo Schifferli ISBN 978-3-906803-31-9 EUR 43 | CHF 43

Luca Schenardi Meyer spricht von Gratiskaffee

Nº 232

Softcover, 208 pages 170 B / W images 15 × 21 cm / 5 ¾ × 8 ¼ in.

Design : Hi, Megi Zumstein, Claudio Barandun ISBN 978-3-906803-32-6 EUR 36 | CHF 36

Alex Hanimann Trapped

Nº 233

Softcover, 350 pages 550 color images 21 × 28 cm / 8 ¼ × 11 in.

With texts by Hans Rudolf Reust, Patrick Frey in German and English Design : Jonas Vögeli und Kurt Eckert ISBN 978-3-906803-33-3 EUR 60 | CHF 60

Jean Willi Steingesichter Softcover, 208 pages 98 color images 22 × 14 cm / 8 ½ × 5 ¾ in.

With a text by Martin Suter in German and English Design : Marietta Eugster ISBN 978-3-906803-34-0 EUR 43 | CHF 43

Nº 234

ALEX HANIMAN

trapped

Thomas Krempke Das Flüstern der Dinge

Nº 235

Hardcover, 628 pages 600 color images 16.5 × 22 cm / 8 ¼ × 11 ½ in.

With texts by Thomas Krempke in German Design : Marietta Eugster ISBN 978-3-906803-35-7 EUR 60 | CHF 60

Christoph Kappeler Josef Maria Schröder

Nº 237

Hardcover, 152 pages 153 color images 17 × 24 cm / 6 ½ × 9 ½ in.

With texts by Christoph Kappeler, Ulrich Kinder, Michael T. Ricker in English and German Design : Hi, Megi Zumstein, Claudio Barandun ISBN 978-3-906803-37-1 EUR 43 | CHF 43

Laurence Rasti There Are No Homosexuals in Iran

Nº 238

Hardcover, approx. 136 pages Approx. 50 images 15 × 25 cm / 6 × 10 in.

With texts in English and Farsi Design : Laurence Rasti & Neo Neo ISBN 978-3-906803-38-8 EUR 52 | CHF 52

Giorgio di Noto The Iceberg Hardcover, 128 pages 76 color images 16.5 × 24 cm / 6 ½ × 9 ½ in.

Design : Nicolas Polli ISBN 978-3-906803-39-5 EUR 70 | CHF 70

Nº 239

Rico Scagliola & Michael Meier years later …

Nº 240

Softcover, 232 pages 160 color images 22 × 32 cm / 8 ½ × 12 ½ in.

Design : Afrika — Florian Jakober & Michael Zehnder ISBN 978-3-906803-40-1 EUR 60 | CHF 60

Benedikt Reichenbach (Hg. / ed.)

Pasolini’s Bodies and Places.

Edited by Michele Mancini and Giuseppe Perrella Hardcover, 640 pages 1500 color images 22 × 21 cm / 8 ½ × 8 ½ in.

Design : Benedikt Reichenbach ISBN 978-3-906803-41-8 EUR 78 | CHF 78

Nº 241

Emil Michael Klein Paintings

Nº 242

Hardcover, 72 pages 30 color images 25.5 × 35 cm /10 × 13 ¾ in.

Design : Teo Schifferli ISBN 978-3-906803-42-5 EUR 48 | CHF 48

Mark Thomas Gibson Early Retirement Softcover, approx. 240 pages Approx. 220 images 23 × 34.5 cm / 9 × 13 ½ in.

With a text by Mark Thomas Gibson in English Design : Teo Schifferli ISBN 978-3-906803-43-2 EUR 60 | CHF 60

Nº 243

Musée Jenisch Stéphan Landry : Tout va bien

Nº 244

Softcover, 288 pages 200 color images 18 × 25.5 cm / 7 × 9 ¾ in.

Design : Adeline Mollard, Elektrosmog ISBN 978-3-906803-44-9 EUR 52 | CHF 52

Francisca Silva 25 Memoranden Softcover, 52 pages 25 B / W images 21 × 11 cm / 8 ½ × 4 ½ in.

Design : Teo Schifferli ISBN 978-3-906803-45-6 EUR 36 | CHF 36

Nº 245

Kelly Beeman Window Shopping

Nº 246

With a text by J. W. Anderson in English Hardcover, 124 pages 55 color images 24 × 32 cm / 9 ½ × 12 ½ in.

WINDOW SHOPPING

Design : Krispin Heé ISBN 978-3-906803-46-3 EUR 52 | CHF 52

KELLY BEEMAN

Tania Willen and David Willen, Jörg Scheller Appetite for the Magnificent Softcover, 128 pages 23 color images 18 × 27 cm / 7 × 10 ½ in.

Design : Prill Vieceli Cremers ISBN 978-3-906803-47-0 (DE) ISBN 978-3-906803-48-7 (EN) EUR 43 | CHF 43

Nº 247

Walter Pfeiffer Drawings

Nº 249

Softcover, 200 pages 300 color images 25 × 32 cm / 9 ¾ × 12 ½ in.

With a text by Martin Jaeggi in English Design : Walter Pfeiffer with Marlon Ilg, Marietta Eugster ISBN 978-3-906803-49-4 EUR 78 | CHF 78

Veronika Minder (Hg. / ed.)

Art Decor

ART DECOR

NR. 150 • E DITION PATRICK FREY • 2017 • Z ÜRICH

With texts and interviews in German Editor : Veronika Minder Softcover, 250 pages 300 color images 26 × 36 cm /10 ½ × 14 in.

Design : Krispin Heé ISBN 978-3-906803-50-0 EUR 60 | CHF 60

ALFRED JOHNATHAN ‹BOB› STEFFEN

Nº 250

Susi Wyss Guess Who Is the Happiest Girl in Town

Nº 251

Hardcover, 800 pages 1000 color images 15 × 23 cm / 6 × 9 in.

Text by Susi Wyss in English Design: Frank Hyde-Antwi and Katarina Lang ISBN 978-3-906803-51-7 EUR 52 | CHF 52

Piotr Uklanski Real Nazis

Nº 252

Hardcover, 260 pages 250 color images 25.3 × 18.8 cm / 9 ¾ × 7 in.

Design : Hanna Williamson-Koller ISBN 978-3-906803-52-4 EUR 52 | CHF 52

´ Piotr UklaNski

real Nazis

DISTRIBUTION Switzerland : AVA Verlagsauslieferung Centralweg 16 CH - 8910 Affoltern am Albis T +41 (0)44 762 42 60 F +41 (0)44 762 42 10 avainfo@ava.ch Ravasio GmbH Verlagsvertretungen Giovanni Ravasio Heliosstrasse 18 CH - 8032 Zürich T +41 (0)44 260 61 31 F +41 (0)44 260 61 32 Germany / Austria : GVA Gemeinsame Verlagsauslieferung Göttingen GmbH & Co. KG Postfach 2021 D - 37010 Göttingen T +49 (0)551 384200-0 F +49 (0)551 384200-10 bestellung@gva-verlage.de Representative: Hans Frieden c/o G.V.V. Groner Str. 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 / Belgium / Luxembourg : 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

Japan :

PUBLISHER

twelvebooks #401 4-24-5 YOYOGI, SHIBUYA TOKYO 1510053 JAPAN www.twelve-books.com contact@twelve-books.com

Edition Patrick Frey Limmatstrasse 268 CH - 8005 Zürich

United Kingdom : Antenne Books Limited Unit 55 Hackney Downs Studios 17 Amhurst Terrace GB - London E82BT T +44(0)2035828257 bryony@antennebooks.com USA : RAM publications + distribution, inc.

2525 Michigan Avenue, Bldg. #A2 US - Santa Monica, CA 90404 T +001 310 453 0043 orders@rampub.com Australia : Perimeter Distribution 748 High Street, Thornbury, Melbourne AU - Victoria, Australia 3071 T +61 3 9484 8101 hello@perimeterdistribution. com Other countries : Edition Patrick Frey Limmatstrasse 268 CH - 8005 Zürich T +41 (0)44 381 51 02 wismer@editionpatrickfrey.ch

T +41 (0)44 381 51 02 mail@editionpatrickfrey.ch www.editionpatrickfrey.com CATALOG 2017 Concept : Marietta Eugster, Andreas Koller and Maximage Design : Marietta Eugster and Maximage Assistance : Thomas Petit Coordination : Gloria Wismer Translation : Jamie Bulloch, Claudio Cambon Proofreading : Jacob Blandy Color separation: Color Library Print : Musumeci Spa – Quart

The demonji StickerApp coincides with the release of Anton Bruhin’s book Dämonen, Edition Patrick Frey N o 230 (–> p. 50)

Edition Patrick Frey

Edition Patrick Frey

Edition Patrick Frey

Catalog 2017

www.editionpatrickfrey.com

Catalog 2017

Catalog 2017