Edition Patrick Frey Catalog AW2020 / SS2021 by Patrick Frey

Edition Patrick Frey Catalog AW20/SS21

Edition Patrick Frey Catalog AW 20 / SS 21

www.editionpatrickfrey.com

Books AW 20 / SS 21

ISBN 978-3-907236-21-5 Nº 321

Andreas Dobler ST. ELSEWHERE Andreas Dobler’s third artist’s book to date showcases the diversity of his artistic œuvre, which includes visual poems, paintings, drawings, collages and objets d’art. Its suggestive title, ST. ELSEWHERE, opens up the range of possibilities to embrace far-flung and other-worldly artistic assertions, and the book opens a window on the artist’s intense working process. Dobler’s visual productions are accompanied by textual offshoots, which he reworks into speculative poetry and, in turn, generate new pictorial discoveries. Some of his writings trace the origins of the featured works back to an “Academy of Happiness”, a makebelieve school that looms large in

ST. ELSEWHERE and around which Dobler weaves narrative strands. Tutorials and technical considerations of craftsmanship, literary descriptions of the school grounds and facilities, the reveries of teachers and students and various other associated elements add up to a playful and ironic take on the utopia of an ideal place of development.

Andreas Dobler (b. 1963) is a Swiss painter based in Zürich. His first book, Argovian Sun (2002), was also published by Edition Patrick Frey.

ISBN 978-3-907236-20-8 Nº 320

H. R. Giger 5 — Poltergeist II: Drawings 1983–1985 Thanks to his work on the iconic creature for the film Alien (Ridley Scott, 1979) — a detailed account of which is given in his Alien Diaries (2013, first edition, Edition Patrick Frey) — H. R. Giger was firmly established in Hollywood’s supernatural horror and science fiction genres. Giger went on to design all the ghosts for Poltergeist II: The Other Side (Brian Gibson, 1986). Unlike his work on Alien on the set at Shepperton Studios in England, Giger collaborated on the movie remotely from Zürich, basing his creatures on Michael Grais and Mark Victor’s screenplay and airmailing the airbrushed designs to Los Angeles. Due to his absence as well

as misunderstandings with the director and the studio and a meager production budget, the dark inscrutability and amorphous plasticity of Giger’s initial shape-shifting sketches ended up falling flat on celluloid, coming to resemble cheap-looking monsters in a campy B-movie. Giger’s in some cases psychedelic sketches were designed as sequences showing the metamorphosis of a worm-like ghost into a grotesque dwarf that ultimately morphs into a soul-devouring Gorgon-like monster called “The Great Beast”. 5 — Poltergeist II — Skizzen 1983–1985 is a facsimile edition of Giger’s original sketchbook, containing 135 of his remarkable drawings as well as drafts of letters expressing doubts and suggestions to director Brian Gibson.

H. R. Giger (1940–2014) was a Swiss painter, sculptor and designer.

Die geheime Gästekartei des Grand Hotel Waldhaus in Vulpera

Lois Hechenblaikner · Andrea Kühbacher · Rolf Zollinger (Hg.) Mit einer Novelle von Martin Suter 391

ISBN 978-3-907236-19-2 Nº 319

Edition Patrick Frey

Lois Hechenblaikner, Andrea Kühbacher, Rolf Zollinger (eds.) Keine Ostergrüsse mehr! Die geheime Gästekartei des Grand Hotel Waldhaus in Vulpera “No more Easter greetings!” it says on some of the file cards that were kept on guests at the Grand Hotel Waldhaus in Vulpera: apparently, the hotel didn’t want every guest to come back. Its concierge and receptionists stoically put up with the rude behavior of some of their illustrious and moneyed patrons, but noted these irksome experiences on individual file cards. In fact, the hotel staff discreetly watched their guests, listened in on their phone calls and kept notes on their various improprieties and unseemly behavior.

Although tucked away in a Swiss alpine idyl, this grand Belle Époque hotel was not impervious to the tensions and upheavals that rocked European society between the wars and especially during World War II. So what did the receptionists say as they watched guests depart by the dozen in the wake of the 1932 bank crisis? Or when Easter greetings sent to Jewish guests came back marked “RETURN TO SENDER”, “NO LONGER AT THIS ADDRESS” or simply “UNDELIVERABLE”? How did they treat high-ranking Nazi guests during the war, or Jewish Holocaust survivors who came back to the hotel after the war? The Hotel Waldhaus burned down in 1989: it was arson, but the case has never been solved. Some 20,000 file

cards on the hotel’s guests, however, were among the items salvaged from the remains. This rare resource provides an interesting look not only at the hotel’s erstwhile guests, but also at the staff who kept the files. Lois Hechenblaikner (b. 1958) is an Austrian photographer. Working together with cultural scientist Andrea Kühbacher and Rolf Zollinger, the last Hotel Waldhaus manager, he has now reconstructed the social ambiance at the grand hotel using the extant file cards.

ISBN 978-3-907236-18-5 Nº 318

Yana Wernicke and Jonas Feige Zenker In 1889, Georg August Zenker, a gardener and botanist from Leipzig, took charge of the Jaunde (presentday Yaoundé) research station in the German colony of Kamerun. After six years’ tenure, Zenker was summarily relieved of his duties. He was said to be leading a polygamous life at the station with several African women, some of whom had borne him children. Zenker left the country, only to return soon afterwards as a private citizen. He settled with his family (a woman from Dahomé and five children) in Bipindi, deep in the Kamerun jungle, where he built Bipindihof, a German colonial-style house and vast cocoa, rubber and banana plantations. The mainstay of

his livelihood, however, consisted in collecting copious botanical and zoological specimens as well as ethnographic objects for German museums. Zenkerâ&#x20AC;&#x2122;s thought and actions were, to be sure, heavily influenced by the colonial mindset. But on a number of occasions he clearly opposed the colonialist and militaristic practices of his superiors and other German countrymen. He died in 1922 and was buried on the grounds of his Bipindihof. Zenkerâ&#x20AC;&#x2122;s descendants live widely dispersed in Cameroon and Europe today, but most of them still regard the now crumbling Bipindihof as the cradle of the family. Yana Wernicke and Jonas Feige traveled to the present-day Republic of Cameroon several times for this photographic essay in order to

retrace Zenker’s life there and portray his descendants. Berlin-based photographers Yana Wernicke (b. 1990) and Jonas Feige (b. 1988) both studied at Berlin’s Ostkreuzschule of Photography. Their work, which combines an artistic and documentary approach, has been exhibited and garnered awards in Germany and abroad.

DAN MITCHELL POSTERS FLYERS

ISBN 978-3-907236-17-8 Nº 317

Dan Mitchell Posters Flyers This is the first book to bring together Dan Mitchell’s complete posters and flyers. The British artist designs subversive, socially critical and humorous posters to promote his own shows as well as those of fellow artists, and to serve as critical commentary on everyday occurrences. Whilst carrying on the age-old tradition of poster art, he explores contemporary approaches involving various print sizes and even digital posters. “The Age of LOLZ is Over. Long Live DEATH LOLZ” proclaims Mitchell in a satirical commentary on a serious state of affairs: the age of “laughing out loud” is over.

The book is rounded out with an interview of the artist by Swiss curators Fredi Fischli and Niels Olsen.

Dan Mitchell (b. 1966, Great Britain) is a London-based artist who has exhibited widely outside of mainstream galleries. He is a founding member of Poster Studio (1994–1997) and the publisher of the magazine Hard Mag.

ISBN 978-3-907236-16-1 Nº 316

Makoto Fujiwara Stone and Makoto Makoto Fujiwara is a Japanese sculptor who has worked for most of his life in Europe, far from the land of his origin, a small temple deep in the Japanese mountains. This book has evolved over the past four years, a document of his work as a stonemason and a very personal account of his unceasing playful curiosity and authentic tenacity in seeking to understand the world; following the vocation of his given name — Makoto, ‘truthfully’ — his engagement with a seemingly most impenetrable material: stone. This collection of stories, streams of observations, happenings, and insights, scrawled by the artist on large sheets of paper, draws us into complicity as we become witness

to countless iterations — chiselling and polishing — that progress over extended intervals of time; the preparatory work of scouting, recognizing, heaving, and moving; the aftermath of landscaping and setting in place; the many social interactions along the way as he invites colleagues to collaborate, and shares the labors of friends. The world that unfolds inspires appreciation of the unconditional and non-arbitrary in us who regard the ‘un-do’ as an always available option. After Makoto’s passing, we are left to finish this book in good faith, sadly missing his final seal of approval. Andreas Schneider Born 1938 in the family’s Jodo Shinshu temple in central Japan, Makoto Fujiwara enrolled at Kyoto

City University of Fine Arts to study sculpture. After studies in Paris and Vienna, where he befriended Karl Prantl, Fujiwara settled in Berlin in 1972 and became master of the stone sculpture studio at the Berlin University of the Arts. From 1988 until his retirement in 2003, he was professor at the University of Applied Sciences and Arts in Hanover. Since 1985, he worked as resident sculptor at the Lundh Stålaker quarry in Larvik, Norway. Makoto passed away in the Stålaker quarry early June 2019.

ISBN 978-3-907236-15-4 Nº 315

Anna Stüdeli PRIMAL PRIMAL is a series of over 1200 close-ups of advertising posters in Zürich photographed by Anna Stüdeli. Roughly 120 of them have been selected for this first glimpse into the artist’s copious archive. In PRIMAL, Stüdeli reflects on the surfaces of Western advertising aesthetics through an exploration of the ways in which images are produced, reproduced and distributed. In rehashing the same visual tropes over and over again, the advertising industry reveals the dumbing down of our consumer society, a society steeped in clichés, sexual stereotypes, the objectification of the (usually female) body and the commodified sexualization of

food. The artist’s macro shots expose details that undercut the conventions of commercial enticement and generate an interplay between the deconstruction and redefinition of normative patriarchal concepts. On closer scrutiny, however, the hyperrealism of the original posters gives rise to an unsuspected physicality — and an associated morbidity. In a manner similar to the empty claims of marketing, the high-resolution details seem to anticipate and document the incipient decay of the bodies portrayed. It’s as though we were watching the gradual demise of these bodies in the pixel depths and grid depths of their wrinkles, folds and bulges. Disgust and desire conflate in this field of tension. According to the artist, PRIMAL is a “tribute to desire”

that seeks to articulate a holistic and open-ended conception of desire — stripped of classifications and hierarchies. This series thus becomes a photographic appropriation of advertising posters as an act of re-framing, over which looms a nagging question: What role should photography play now, amid the seemingly endless glut of images in the wake of ever-increasing digitization? Anna Stüdeli (b. 1990) completed her art studies in Zürich in 2018 and is currently studying sculpture in Hamburg.

ISBN 978-3-907236-13-0 Nº 313

Michele Sibiloni Nsenene Nsenene are a delicacy and an important source of income in Uganda. Technically bush crickets but generally referred to as â&#x20AC;&#x153;grasshoppersâ&#x20AC;?, nsenene migrate en masse twice a year, right after the two rainy seasons. Huge swarms fill the sky shortly before sunrise. So, night after night during cricket season, many Ugandans stay up till dawn to catch the critters. The omnipresence of the lustrous greenish insects amid the nocturnal mist and the smoke of bonfires submerges the whole country in an otherworldly atmosphere, an eerie effect compounded by all the bizarre paraphernalia involved, especially the fancifully contrived tools and traps. Flurries of hectic activity

alternate with long periods of waiting around and killing time. Given their high protein content, they remain a promising source of food for the future, according to the UN Food and Agriculture Organization (FAO), which points out that if more people were to add edible insects to their diet, that could reduce world hunger and improve food security. However, deforestation has decimated migratory insect populations in recent years and some cricket species are now critically endangered. To make matters worse, the rains in Africa are becoming less and less predictable due to climate change, and cricket-harvesting depends entirely on timing. Italian photographer Michele Sibiloni has captured the Ugandan cricket-harvest, an activity that straddles the very fine line be-

tween past and future, tradition and modernization, in his highly atmospheric visual idiom. His straightforward portraits and cinematographic sequences speak volumes not only about how Ugandans see themselves, but also about the future prospects for our planet as a whole. Michele Sibiloni (b. 1981) is an Italian photographer and videographer, living in Italy and Uganda. He’s lurid shots of nightlife in the Ugandan capital, Kampala, culminated in the photo book Fuck It (Edition Patrick Frey, 2016). With texts by Robert Kyagulanyi Ssentamu (H. E. Bobi Wine), Katende Kamadi, Francis Sengendo | in English | Hardcover, approx. 144 pages | approx. 70 images | 23 × 31 cm | Design: Nicolas Polli | EUR 52 | CHF 52

ISBN 978-3-907236-12-3 Nº 312

Christian Lutz Citizens In the wake of the financial and refugee crisis, economic and social insecurity, Brexit, the current coronavirus pandemic and its attendant economic and social upheavals, identitarian movements are gaining ground worldwide. Touting visions of impending doom and gloom, including overpopulation and social decline, they fan fears and peddle purportedly “common sense” solutions and promises that breed exclusion and intolerance. All of Europe is witnessing the political ascent of right-wing populist parties: UKIP in the UK, Dansk Folkeparti (DF) in Denmark, FPÖ in Austria, AfD in Germany, Vox in Spain and SVP in Switzerland, to name just a few.

Swiss photographer Christian Lutz has documented right-wing populist people, movements and hot spots all over Europe for his latest series, Citizens. A far cry from the usual polarized coverage in the mass media, Lutzâ&#x20AC;&#x2122;s multi-layered photographic approach involves noiseless pictorial expressions of deep-seated despair in the form of candid portraits of party leaders and followers alike and shots of their rallies, post-industrial landscapes, bars and hangouts.

Swiss photographer Christian Lutz (b. 1973) precisely observes social issues and dynamics in his work, focusing on the social manifestation of political, economic and religious power. His work has won a number of awards and is regularly shown in Switzerland and abroad. Lutz has been based in Geneva since 1996.

ISBN 978-3-907236-11-6 Nº 311

Fredy Meier Zürcher Bewegung, Band 32 On May 30, 1980, protestors held a demonstration in front of Zürich's opera house that turned into a street riot and eventually a city-wide protest movement spearheaded and fueled by autonomous groups. Over the course of the following weeks, the protests turned uglier, and so did the police’s aggressive attempts to quell the commotion. For decades, young people tried to get the city to fund an autonomous youth center. All their proposals were stonewalled. Then, in 1980, a CHF 60 million loan was approved to renovate the opera house: a bundle was to be forked out for “serious” bourgeois culture and zilch for the

city’s youth. That was the last straw. Zürcher Bewegung, Band 32 (Zürich Movement, Vol. 32), published by Verlag ohne Zukunft in 1981, is an illustrated timeline of the “Opera House Riots” that wreaked havoc in Zürich back in 1980. The photo book opens with the violent climax of the protests, the demo in front of the opera house, and closes on December 31 of that year with a stink bomb attack during the New Year’s Eve performance of a play at Zürich’s Schauspielhaus. Zürcher Bewegung, Band 32 combines raw candid black-and-white photos with facsimiled news clippings of tabloid headlines as well as quotes from Swiss politicos and police officers, forming a sort of fragmentary running commentary on the

documentary photographic material. Olivia Heussler, Malou Muralt, Dieter Oswald, Daniel Schäublin, Andi Zai et al. shot the pictures and edited the book. They wrote: “The book: not souvenirs to dull our own recollections, but raw photos of a battered city. Today, thanks to beautiful chaos, we’re in a state of emergency.” Now, to mark the 40th anniversary of the 1980 Opera House Riots, Edition Patrick Frey has taken up an idea floated by Fredy Meier to print a facsimile of this very first book about the Zürcher Bewegung. It’s available for the same price it sold for then: 12 Swiss francs. Pictures: Olivia Heussler, Malou Muralt, Dieter Oswald, Daniel Schäublin, et al. | Edited by Fredy Meier | in German | Softcover, 120 pages | 158 images | 21 × 29.7 cm | EUR 12 | CHF 12

ISBN 978-3-907236-10-9 Nº 310

Manon Feathers “A documentary film that was supposed to be made for the cinema is mentioned in my notes, as is a biography that a journalist was planning to write,” writes Manon. “ I ended up calling off both, along with plenty of other stuff.” But the Swiss artist’s “notes” for the planned documentary in 2005, diary-like entries “about the passage of time, and about the passage of my times,” as she puts it, remained, and are published here for the first time. In light of the multitude of details they provide, it seems a bit of an understatement to call them “notes”. Feathers actually takes the shape of a diary, and turns out to be

a multi-layered narrative providing a succinct and yet feather-light look back on Manon’s life, art, men and day-to-day concerns. In a mix of timidly restrained, resolute and at times drily humorous prose, the artist cautiously but confidently attempts to put into words the balancing act between her everyday life and her artistic career of highly-stylized self-portrayals. Feathers interweaves memories and the present with comments on apparently minor matters. In contrast to her elaborate mises-en-scène, what interests the author of these notes is not pageantry and sensationalism, but minute mood swings, poetic observations of her urban and natural surroundings, the trials and tribulations of the heart, and reflections on aging and transience.

Manon is a Swiss artist. She studied art and acting in Zürich. In 1974, she created Salmon-Colored Boudoir, the first of many environments and mises-en scène of extras or of the artist herself. In late 1970s Paris, she turned to staged photography, which led to various black-and-white series including La dame au crâne rasé (“The Woman with the Shaved Head”). Shown in galleries in Germany and abroad and featured in various museum collections, to this day her works revolve around the themes of identity, eroticism and transience. Manon was awarded the Prix Meret Oppenheim in 2008. She is currently based in Zürich. Text: Manon | in English | Softcover, 217 pages | 1 image | 12 × 19.5 cm | Design: Marietta Eugster | EUR 38 | CHF 38

ISBN 978-3-907236-09-3 Nº 309

Jörg Binz Jörg Binz, Zeichner, Maler “I was sick and tired of school again. I wanted to draw and paint without my teachers’ incessant comments. My absenteeism was swelling like a spring flood. So Director Werner Andermatt [head of Lucerne’s School of Design] called me into his office. That boded ill and I saw myself flunk ing out of the school. In my distress, I gathered together everything I thought was any good and, in hopes of clemency, stuck it in a portfolio. On execution day I walked into Andermatt’s office. He motioned for me to take a seat facing him across his gigantic desk. My heart was pounding, my self-confidence had hit rock-bottom, as had my posture —

which Andermatt completely misinterpreted and he snarled at me, ‘Show some respect and sit up straight in your chair, you lousy punk, you!” I fell into a state of shock. Then he wanted to know why I’d absented myself from school. I told him I’d been painting for myself and wanted some peace and quiet. He grabbed my portfolio. And leafed through it, page by page, forwards and back again, took a deep breath and harrumphed, ‘That’s really very good what you’re doing there, outstanding, sensational. Keep up the good work! But now you come back to school.’ And with that, he let me go.” (Excerpt) This book is a moving tribute to Jörg Binz’s work, a selection from a great many paintings, especially portraits, and from his secret sketchbooks.

It contains startling, bizarre, sublime works interspersed with literary and biographical texts that engage in an ongoing conversation with the paintings. Jörg Binz (b. 1943, Olten) is a Swiss painter, drawing instructor and graphic artist who paints chiefly portraits, figurative compositions and land scapes. In 1987 he began teaching figurative and nude painting, at the Lucerne School of Design.

Christian Marclay Index ISBN 978-3-907236-08-6 Nº 308

Christian Marclay Index Maybe it’s because I’m not a very good draftsman, collage feels like a more natural approach to sketching and developing ideas. I cut and paste and use my photocopier as a quick way to experiment and develop ideas. My work is all about finding, sampling, appropriating images and sounds, and transforming them. The found image is usually what triggers a thought process — formulating ideas or simply reaffirming latent thoughts. It’s a way to instantly mediate an image and get a little distance from it. Often the accident is also revealing. Like the camera, or any video editing software, the photocopier is just another tool. Christian Marclay

Marclay’s compilation of hundreds of high-contrast black-and-white Xeroxes photocopies are like scribblings in a notebook, the first stages of experimentation towards more finished works, a glimpse into the artist’s creative process. This book brings therefor together the source material, that has informed Marclay’s practice of the last few years. It is designed in collaboration with Laurent Benner, a graphic designer who has often worked with Marclay on various books and record covers. Christian Marclay (b. 1955) is well known for his work in a wide range of media, including sculpture, video, photography, collage, and performance. For more than 30 years, he has been exploring the connections

between the visual and the audible, creating works in which these two distinct sensibilities enrich and challenge each other. As a pioneering turntablist, performing and recording music since 1979, his work made a significant impact on the new music scene.

Softcover, approx. 1200 pages | approx. 600 images | 21 × 29.7 cm | Design: Laurent Benner | EUR 68 | CHF 68

ISBN 978-3-907236-07-9 Nº 307

Veli & Amos This is not a commercial. Billboard / Billding On Zürich’s Langstrasse everyone has to do their thing, make money — and we had to earn our daily bread too. “You pay the bill, we paint the board”: Billboard. We painted ads of all kinds — for a fee. We placed a commercial Billboard (2011–2015) on the roof deck of Esther Eppstein’s message salon, a former artist’s space. What used to be the PerlaMode building now houses a chain restaurant for vegetarians. It took a while for the concept to catch on: people were skeptical. But then business picked up, and we — and others — painted everything from love letters and breakup notes, political statements, gossip and

rumors to graffiti and street art and even tobacco ads. Business was good, so we expanded. The sculpture became a “billding”. Living off — and behind — a billboard. This is not a commercial addresses questions of economic models and strategies for artists to survive in today’s neoliberal market structure. As painters, we procured work for ourselves through this participatory sculpture. We don’t paint BMWs in Veli & Amos style: the brand is part and parcel of our sculpture, our postcards, our paintings and now our book. The point of the book is not only to document our billboard project, but also to keep it as up-to-date as possible — with ads. Veli & Amos

Veli Silver (b. 1983, Banja Luka) studied art in Ljubljana, Porto and Zürich. Amos Angeles (b. 1986, Zürich) studied architecture and art in Zürich. The duo have been working together since 2008.

ISBN 978-3-907236-06-2 Nº 306

Andreas Züst Pursuit of Wonders Andreas Züst (1947–2000) was fascinated by natural phenomena his whole life. Even as a child he would stoically take note of the weather conditions three times a day. Later on, as a student of glaciology, he spent whole months at Thule in Greenland drilling ice cores — and shooting countless slides of his research work there. The resulting corpus of photographic material explores ice in a multitude of different forms and escapes determination, ranging from endless icescapes, freshly blown bright white snow, and ice crystals on a window to a glowing blue, a polar bear peering into the camera on an ice-covered beach, and an ice-bound research

base camp under the light of the full moon. The opaque blue glow of ice (best viewed as originally presented in a slide show) epitomizes the otherworldly aura of these evocative images. The story of ice and that of a glaciologist’s life and work are told separately in Pursuit of Wonders, but tied together by the prevailing atmosphere of a surreal journey through a world of ice, rounded out by contributions by the film maker Peter Mettler, who was a friend of Züst’s, cultural studies scholar Verena Kuni as well as artists Jimena Croceri and Sarina Scheidegger.

Andreas Züst (1947–2000) was a Swiss natural scientist, photographer, publisher and a patron of the arts. The Andreas Züst archives are being stored at the Prints and Drawings Department of the Swiss National Library.

ISBN 978-3-907236-05-5 Nº 305

Bice Curiger, Stefan Zweifel Ausbruch & Rausch. Frauen Kunst Punk 1975–1980 During the tumultuous mid-1970s in Zürich, two highly provocative exhi bitions at the Städtische Galerie zum Strauhof served as groundbreaking cultural experiments. In 1975, declared International Women’s Year by the UN, professional and amateur women artists expressed themselves in a 35-member “creative-feminist” collective. The show Frauen sehen Frauen (“Women See Women”) was anarchic and rebellious in form, a motley mix of theatrical installation, “cabinet of intimacy” and educational circuit. The object was to provoke a critical examination of the everyday lives of women and prevailing gender roles. In the spring of 1980,

the young art and punk music scene presented the fruits of a brand-new self-conception to an astonished cultural establishment. Fueled by the experiences of new urban pop culture, the show Saus & Braus, Stadtkunst (“Living It Up, Urban Art”) sought to confront staid Swiss society with modern conceptions of culture. Both shows drew huge crowds and sparked widespread controversy in the press — and they launched the career of curator Bice Curiger. Ausbruch & Rausch is an extended retrospective of those two iconic shows, including copious photographic and printed documentation, interview transcripts and essays, published in connection with the Strauhof’s exhibition Ausbruch und Rausch — Frauen, Kunst und Punk.

Bice Curiger (b. 1948, Zürich) is an art historian, co-founder and editorin-chief of the art magazine Parkett, curator at the Kunsthaus Zürich (1992–2013) and of the 54th Venice Biennale (2011). She is the current artistic director of the Fondation Vincent van Gogh Arles. Stefan Zweifel (b. 1967, Zürich) is a Swiss author, philosopher, translator and former host of the Swiss TV talk show Literaturclub. He has translated Boris Vian, Raymond Roussel, Rousseau, Proust and de Sade into German.

ISBN 978-3-907236-04-8 Nº 304

Charlie Engman MOM The bookâ&#x20AC;&#x2122;s title reveals the identity of its protagonist: Kathleen McCain Engman has been posing for her son Charlie since 2009. And yet MOM shows us a face we never really get to know: while we soon become acquainted with her freckled complexion and intense gaze, her position in the images becomes increasingly unclear. Engman first began shooting his mother because she was available, ever-willing to meet the demands of one of her children. But what began as a casual, organic process evolved into an intense collaboration. The result is neither a family album nor a filial tribute but a much deeper and far more complex interaction: one that raises questions about the limits

of familiarity, the rules and boundaries of roles and representation, vulnerability and control, and what it means to look and to be seen. Charlie Engman (b. 1987), originally from Chicago, started taking pictures while studying Japanese and Korean studies at the University of Oxford. Intertwining with his art practice, he now stages, styles and photographs people and objects for notable fashion magazines and brands, garnering accolades like “captivating” and “daring” for his photo series, campaigns and compositions. His extraordinary visual sensibility consistently carries conviction and pushes the boundaries of fashion photography. Charlie Engman’s work has appeared in AnOther Magazine, Dazed, T: The New York Times Style

Magazine, Vogue, The New Yorker et al. and in campaigns for Prada, Marni, Hermès, Sonia Rykiel, Stella McCartney or Vivienne Westwood. MOM was exhibited in solo shows at the Scrap Metal Gallery in Toronto in 2018 and in the Lishui Biennial in China in 2019. He is based in Brooklyn, New York.

ISBN 978-3-907236-03-1 Nº 303

Mine Dal Everybody’s Atatürk Everbody’s Atatürk is a visual journey through everyday life in contempo rary Turkey. For this long-term project, Mine Dal, a photographer born in Istanbul and now based in Switzerland, travelled widely in Turkey, looking for traces of the protean presence of Mustafa Kemal Atatürk (1881–1938), the founder of the Republic of Turkey. The upshot is a multi-faceted portrait of Turkish society, for the symbolic figure of Atatürk permeates virtually every area of present-day social and public life there: at the tailor’s, butcher’s or greengrocer’s shop, at restaurants and schools, at the hairdresser’s and the shoe store — just about anywhere you look, you’ll find Atatürk. Even more than eighty years

after the death of the founder of the modern state, his memory is still alive and widely revered. Atatürk undertook far-reaching social, legal and economic reforms to modernize and fundamentally redefine Turkey based on Western models. Mine Dal’s photographs show not only “every body’s Atatürk”, but also day-to-day life in big cities as well as in Anatolian villages and coastal and mountain regions. This painstaking wide-ranging compilation of unique documentary material also reflects the Turkish people’s allegiance to an open-minded, cosmopolitan Turkey.

Mine Dal (b. 1960, Istanbul) is a Turkish-Swiss photographer, schoolteacher and specialist in translation studies. She has been based in Zürich since 1999.

ISBN 978-3-907236-02-4 Nº 302

huber.huber Widersprüchliche Bewegungsreize Widersprüchliche Bewegungsreize picks up where the artists’ previous book, Universen (Edition Patrick Frey, 2011), left off and gives visible, palpable form to their artistic work over the past ten years, transporting the reader once again into a teeming pictorial cosmos. In contrast to Universen, however, this artist’s book features huber.huber’s photographs rather than collages and ink drawings. Presented in two-page spreads, the pictorial compositions form ascending and descending series of various lengths in which other images using other techniques are embedded. The upshot is a dazzling tapestry of images, producing a sort of visual dissonance which, in extreme cases,

is liable to cause the same symptoms as motion sickness. Brief texts (translated into a total of seven different languages), ranging from succinct descriptions to associative sensory impressions, provide clues to some of the compositions and sequencing whilst also serving as agreeable interludes. A remarkably comprehensive index of nouns (e.g. “apple”, “petri dish”, “salt lake”) and adjectives (e.g. “moist”, “geometric”, “eerie”) helps to render the artists’ enigmatic visual cosmos readable. This new artist’s book goes far beyond the mere reproduction of photographs and once again masterfully reflects huber.huber’s artistic practices in the special medium of the book. Mirjam Fischer

Markus and Reto Huber (b. 1975 in Münsterlingen, Switzerland) have been working together under the pseudonym huber.huber since graduating from the Zürich School of Art and Design (HGKZ) in 2005. In recent years their collages and drawings in particular, but also sculptural works and installations, have attracted widespread notice. huber.huber’s multilayered conceptual works have been featured in a great many solo and group exhibitions in Switzerland and abroad.

Texts in English, German, Greek, Hindi, Japanese, Russian, Spanish, Thai | Hardcover, 321 pages | 224 images | 21 × 30 cm | Design: Elektrosmog | EUR 68 | CHF 68

ISBN 978-3-907236-01-7 Nº 301

Alfio Tommasini Via Lactea It was only around 7500 years ago that Central European adults began to retain the enzyme necessary to metabolize milk after infancy. Dairy farming in the modern sense began in the early agricultural settlements, where nature gradually became culture and eventually what we call â&#x20AC;&#x153;civilizationâ&#x20AC;?. No longer wholly dependent on harvests and food reserves, cattle farmers were able to survive even under the harsh climatic conditions of less fertile, often cold and snow-covered mountain regions. Those regions and their inhabitants are the subject of Via Lactea by Swiss photographer Alfio Tommasini. During the long winter months in particular, when man and beast live in

close symbiosis under the same roof, he visited mostly smallholders and cattle breeders in the Alps and alpine foothills as well as large-scale milk and insemination laboratories in Switzerland. Tommasini undertakes a visual study of the relationship between humans, animals and topography in the context of a an increasingly mechanized agriculture and dairy industry. For behind the scenes of our modern-day urban lives lies a vast infrasÂtructure of people and things that a city needs to survive, including highly organized and digitized agro-industries, gigantic warehouses and data centers (Rem Koolhaas). These non urban realms are now, once again, undergoing a sea change. Via Lactea provides a glimpse of one such pe-

ripheral microcosm. Tommasini’s painterly photographs are anything but folkloristic or romanticizing, for the details of the clothing, tools and machinery portrayed bear subtle but telltale signs of ineluctable coevolutionary upheavals. Alfio Tommasini (b. 1979) is a Swiss photographer. He studied photography in Madrid and is now based in Ticino. His award-winning work has been exhibited and published in Switzerland and internationally. He is also the co-founder and director of the Verzasca Foto Festival.

ISBN 978-3-907236-00-0 Nº 300

Roger Eberhard Human Territoriality Borders are a means of separation. They separate two sides, defining a here and a there. But they also delineate what lies within the boundaries, instilling a sense of safety and security. Although they implicitly stake a claim to permanence, nothing is as changeable as boundary lines. So it is ironic that people and entire nations should develop so much pride and protectionism on the basis of existing borders, while knowing full well that these are artificial constructs that are constantly changing and sometimes disappearing altogether.â&#x20AC;¨ Roger Eberhard

Human Territoriality is a selection of Roger Eberhard’s photographs of former border regions around the globe and down through the course of human history. Some of these borders have shifted over time, by only a few hundred meters or much more, due to climate change or manmade changes in the landscape, others have vanished with the fall of mighty empires on either side. Eberhard’s photographs, supplemen ted by in-depth captions, help us to grasp the protean puzzle of the world’s cartography. In a time of mass migration, border walls and spreading nationalism, they reveal the inherent instability of these man-made demarcations.

Roger Eberhard (b. 1984, Zürich) studied photography at the Brooks Institute of Photography in Santa Barbara, California, and at the Zürich University of the Arts.

CHILDREN

ISBN 978-3-906803-99-9 Nº 299

Olivier Suter Children The photographs in Children date from different eras, as can be seen from the different kinds and styles of portraiture. Looking at these children, some of them accompanied by a mother or father, siblings or friends, we wonder at first why they were picked for this collection. Leafing through the pages, it gradually dawns on us that these are the soft fresh faces of future writers, mathematical geniuses and other famous or infamous people — including some future dictators. And then we begin puzzling over the features and expressions on their faces: Could this sleepylooking kid be — or rather have become Jimi Hendrix? What about this ill-humored youngster amid his

classmates: Arthur Rimbaud in the making? Is this here a wee Angela Merkel? And over here Al Capone as an unwashed rascal? Is that dapper lad there really a pint-sized Pope Francis? And that cheerful child Osama Bin Laden?!? We’re in for some big surprises indeed! Pseudosciences like physiognomy à la Charles le Brun, who in the 17th century believed he could tell people’s characters and mental traits from their facial features, and phrenology, employed by the Belgian colonial rulers in the 1930s who divided their Rwandan subjects into Hutus and Tutsi based on measurements of their skulls — these are things of the past, and enlightened minds flatly reject racial profiling, too. Looking at the faces in Children, it’s clear to us

that a person’s destiny is not written on their face, whether as a child or as an adult. So all we can do is gaze at a few dozen young faces that Olivier Suter presents to us and delight in or marvel at what became of these kids, who looked so very much like so many other kids in the world. Olivier Suter (b. 1959) is an art teacher and artist. He directed the Festival Belluard Bollwerk International in Freiburg and La Bâtie Festival de Genève in Geneva.

In English | Hardcover, 288 pages | 142 images | 12.4 × 16.7 cm | Design: Adeline Mollard | EUR 52 | CHF 52

ISBN 978-3-906803-97-5 Nº 297

Beni Bischof Texte 4 Texte 4 is another pictureless book by Beni Bischof in his series, printed in standard pocket size. It is Bischof’s personal presentation of his rich collection of catchy headlines and slogans, absurd comments and off-the-wall remarks. His text archives are a trove of inspiration for his pictures and titles. Beni Bischof (b. 1976, St. Gallen) lives and works as an artist in St. Gallen.

In English and German | Softcover, 1024 pages | 10.8 × 17.7 cm | Design: Samuel Bänziger | EUR 18 | CHF 18

ISBN 978-3-906803-95-1 Nº 295

Mihai Barabancea Falling on Blades To “accidentally fall on a blade thirteen times” is a sardonic — and rather poetic — way of saying to get stabbed. “It doesn’t always kill you, but it always hurts. And still you’ve got to “roll with the punches” and keep going. I find this ability to roll with the punches, to “take the pain” and adapt to circumstances, in my subjects: gypsies, beggars, crooks, vagabonds, underdogs, conmen, buskers and various shady characters in Romania and Moldova. My object is not to exploit problemridden post-communist Romania for voyeuristic purposes. I’m not an indifferent observer, but one who tries hard to give these people the freedom they need to portray

themselves on camera — and to bring about necessary changes for themselves in the social stereotypes still assigned to them.” Mihai Barabancea Barabancea uses the camera as a tool to interact with his subjects. But instead of staging picturesque portraits, he zeroes in on moments of ruthless rawness and keen poignancy.

Mihai Barabancea (b. 1983, Bucharest) is a Bucharest-based photographer. Barabancea made quite a splash in Romania back in the late 1990s when he appeared on TV as a member of a graffiti gang. In 2018 he won the Gomma Prix Award for his series Overriding Sequence. He lives and works in Bucharest.

ISBN 978-3-906803-94-4 Nº 294

Pierre Leguillon The Museum of Mistakes This is the first book to present a wide selection of works from the Musée des Erreurs, or Museum of Mistakes. Founded in Brussels in 2013 by Pierre Leguillon, the Musée des Erreurs is a traveling exhibition that encamps in the halls of brick-and-mortar museums — like a traveling circus that comes to town — and then moves on. The rest of the time, the collection is stored in the artist’s studio apartment, mainly in his kitchen cupboards. Most of the items are serially manufactured and of negligible material value: postcards, record sleeves, posters large and small, pieces of fabric, ceramics, folk art, children’s drawings, and other miscellany. This book also includes items deemed too

small, fragile or insignificant to take on tour in the past, as well as the artist’s own photographs of everyday street scenes that shed some light on various facets of the collection. Whether signed or anonymous, these artefacts defy any claims of authoritativeness in an age in which visual culture is shared on social media and all over the web, without distinctions as to substantive or aesthetic value, often with no captions and, all too frequently, with erroneous attributions. For Leguillon, the constant sorting and reshuffling of the collection helps us to revisit conventional interpretations and subvert, with an ample dose of humor, the sort of cultural “prêt-à-porter” so many museums serve us up nowadays. Essays by Patricia Falguières and Morad Montazami situate the

Musée des Erreurs in the tradition of art museums and the phenomenon of cultural appropriation. And Carrie Pilto contributes freestyle captions commenting on the featured items. Pierre Leguillon (b. 1969) is a Frenchborn artist based in Brussels, exhibiting widely in Europe and North America. Leguillon co-edited with Barbara Fédier Oracles: Artists’ Calling Cards, also published by Edition Patrick Frey (2017, now out of print).

ISBN 978-3-906803-80-7 Nº 280

Shirin Azari Stories of Litte and Big Blossoms Stories of Little and Big Blossoms is about emotional ordeals like being a stranger in a strange land or losing a loved one, told from the perspective of children. Elham, for instance, a little girl from Iran, has to start over again in Germany, where everything — starting with the streets, buildings and playgrounds of her new city — is alien to her. And at school she feels insecure and excluded, and has a hard time making friends. Shirin Azari processes her own childhood experiences in these stories. One night in 1996, her family had to flee Iran — there wasn’t even time to say goodbye to relatives and friends. Over the years that followed,

she attended no fewer than eleven different schools in Germany and sufÂ fered from never staying in one place for very long. Azariâ&#x20AC;&#x2122;s own story is the message she seeks to put across, for she learned her lesson the hard way: to struggle, to assert herself and to never to give up. The tribulations of Elham, Jonathan, Aylin and her other hapless protagonists, illustrated with Azariâ&#x20AC;&#x2122;s delicate, poetic drawings, reflect her own uprooted childhood and youth, and the need for the most innocent victims of all, namely the children, to be courageous, assertive and open-minded.

Shirin Azari (b. 1981 in Bukan) is a Berlin-based Iranian illustrator, author, fashion designer and actress. She studied fashion design at Berlin’s Lette-Verein and acting at the Film-Schauspielschule in Berlin and the Lee Strasberg Institute in Los Angeles. Since 2002 she has been Swiss photographer Walter Pfeiffer’s muse and model.

Backlist 2020â&#x20AC;&#x201C;1986

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«Hier sass er.»

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Schmieren/Kleben Aus dem Archiv der Stadtpolizei Zürich 1976–1989

Philipp Anz, Jules Spinatsch, Viola Zimmermann (Hg)

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I made a sculpture of a motorcycle, which was a nice motorcycle but in the biker world it’s nothing special. Vincent said he could paint motorcycles so I thought it would be interesting for him to customize a real one. It actually also ended up being in a real motorcycle show as well so it brought my two worlds together. I’ve had motorcycles forever but before it was always a separate world now everything is mixed up. – Olivier Mosset

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Cover images : Ausbruch & Rausch. Frauen Kunst Punk 1975–1980, p. 52 or p. 90, p. 29 (back cover) Image on this page: Saus und Braus–Stadtkunst, edited by Bice Curiger, Zürich 1980, p. 2

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