Edition Patrick Frey Catalog 2024/2025 (2)-BAT by Patrick Frey

Patrick Frey: Forty Years of Making

Forty Years of Making Books with Artists

Dear Reader,

First, a question: Have you noticed how pleasantly cool this wonderfully handy new complete catalog of Edition Patrick Frey books feels in your hands ? I will tell you why that is and what it has to do with the philosophy of our publishing house in a moment. But rst I would like to tell you about a certain ambivalence in my relationship to books.

It’s not just that I don’t love all the books I own, but that I can’t dispose of the unloved ones—for example, the poorly designed catalogs, the ugly gift books, and the novels that I know I will never nish reading—even though I now see them as spaceconsuming, soulless objects made of cardboard and paper: as a metaphorical and physical burden.

It’s also about the highly ambivalent mixture of feelings that regularly overcomes me when I enter a large bookstore, as a buyer, as a reader—but even more so as a publisher. It is the feeling of joyful anticipation and at the same time of immense futility in the face of the sheer volume of publications. I know that this is a rather banal feeling, but unfortunately it becomes stronger and stronger the older I get. The reader in me knows that he will never be

able to read the majority of these books in his lifetime. The publisher in me knows that he is part of this problem. The publisher in me knows also that bestsellers are the absolute exception, especially when it comes to books like the ones we publish, and that our publishing house has also sometimes had to pulp books—because we haven’t sold a single copy for years, because the storage costs are high. And that there is a certain pain associated with this pulping and entropic reconversion into an amorphous raw material, because there is a fundamental contradiction to my reluctance to destroy books.

And yet we continue. Despite all the ambivalent feelings and the pressing question of whether it still makes sense to waste energy and resources on the physical printing of books on paper, I look forward to every new project, when an artist I have never met before comes to us with her or his very first book project and wants to embark on the exhausting and nerve-racking—but wonderful— journey with us. And when everything has been accomplished, still I feel this joy of completion, together with the authors, the designers, the printers, the employees of the publishing house, and all the others who have contributed to the project. It is a great moment when the rst sheets come off the printing press, and it is a euphoric one when an artist holds the rst printed copy of his or her book in their hands.

The catalog you are holding in your hands has also given me such a feeling of happiness. It is a very special object for three reasons. First, it marks an

Frey: Forty Years of Making

anniversary that we at Edition Patrick Frey can all be proud of: Over forty years, we have published 382 titles, artist’s books, art books, photo books, catalogues of works, biographies, hybrid non- ction books that explore the diverse mental and formal spaces between art and society, art and politics, art and science, art and nature. Second, it once again beautifully illustrates the catalog concept of Andreas Koller, Marietta Eugster, and the Maximage team, which aims to make even this purely functional, informative print product as innovative and aesthetically attractive as possible. This time, the focus is on the material: The cover and contents are printed on stone paper, a printing substrate that consists of 80%-by-volume calcium carbonate and 20%-by-volume biological polyethylene resin. Stone paper is water-resistant and washable, anti-static, flame-retardant, tearresistant, and, surprisingly, even more environmentally friendly and sustainable than recycled paper. When it is burned, only limestone powder remains. Its extremely smooth surface, which is similar to the surface of coated paper, is ideal for offset printing and is very pleasant to the touch, with a feel similar to that of silk paper. Stone paper is, one could say, a revolutionary blend of nature and art. The third point concerns the format: Our fortieth-anniversary catalog is small and compact. Its format corresponds to our EPF Essays series, which we have been publishing for two years, and it is easily carried in your pocket.

And there’s more: To celebrate forty years of « Making Books with Artists, » we have also upgraded

Patrick

our backlist in terms of information provided, and given a brief summary of each title published since 1984.

You may be wondering why I am going into such detail about the materiality and format of this catalog. I do so because such criteria are of crucial importance for the books we publish, and not simply for aesthetic reasons. The size and weight of a book have become economically existential factors due to the constantly rising costs of logistics— currently an average of around 50% of the retail price! We are paying more and more attention to designing books to be as small and as light as possible. These efforts repeatedly lead to astonishing results. For example, ‹ My Commedia dell’Arte , › the English edition of Jacqueline Burckhardt’s autoand work biography, which we designed to be almost a third smaller than the German original, leading to an aesthetic densi cation without any loss of quality. Not only in terms of format, but also in terms of our output. Before the pandemic, we were publishing up to twenty- ve titles a year; we have been working hard to reduce this for some time. Not entirely voluntarily, of course, but also for very real reasons to do with nancial capacity. But here too, the ambivalence mentioned at the beginning plays an important role in the face of the ood of new publications: Less is more. Slower production processes increase the quality of the results. With fewer titles, we can devote more attention to the individual books, which is an advantage given our limited capacity and the extremely diverse nature of our international program.

And now let me take you through our great new releases from the last few months. The magical surreal images of a winter-driving ritual in the Ukrainian village of Crasna (Krasnoilsk in Ukrainian): ‹ Malanka › by Yelena Yemchuk. The immortal theme of the couple: ‹ Paare/Couples › by Ivan Schumacher and Peter Pfrunder. The subtlety with which a young Yemeni-Egyptian photographer approaches the tattoos that cover her great-grandmother’s body: ‹ Aisha › by Yumna Al-Arashi. A synthesis of body painting, photography, and performance from the 1970s and 80s, at once irritating and spectacular:‹ The Seen and the Unseen › by Vera Lehndorff and Holger Trülzsch.

And let yourself be seduced by what is coming your way in the coming months. By a visually powerful work on the para-religious function of football, especially in Naples with its iconic football god Maradona: ‹ ICONS › by David Diehl. By the comprehensive inventory of the legendary Black Ark Studios in Kingston, Jamaica, a primal site of dub reggae, where Lee « Scratch » Perry, who died in 2021, produced music from 1973 to 1979, when the studio was partly destroyed by re, and at the same time created a pictorial sculptural Gesamtkunstwerk: ‹ Black Ark › by Lee « Scratch » Perry. By the almost unknown work of the artist Max Wiederkehr, who created a unique connection between two Zürich schools, the seemingly rational constructions of the Die Zürcher Konkreten and the psychedelic worlds of the fantastic: ‹ Max Wiederkehr: Konkret on Acid ,› edited by Sandro Fischli and Peter Preissle.

Finally: Edition Patrick Frey is no longer just a publishing house, but also an extensive cultural and historical archive of the last 40 years. In the EPF long-form podcast project ‹ Über Bücher › (available on all the usual platforms), I talk to authors and changing guests about a relevant topic that can be identi ed from individual publications. We proceed chronologically, from book no. 0—‹ Allüren › by Klaudia Schifferle from 1984—to our most recent publication.

Enjoy!

Patrick Frey, Publisher

Klaudia Schifferle: ‹ Allüren›

In her novel-like debut, Schifferle blends Dada and surreal elements with a punk attitude. « Ungefähr zur gleichen Zeit stand Fred splitternackt im Geländer und kicherte, was er meistens tat, wenn er eben so rumstand und auf Allüres Maniküre warten musste. » — Klaudia Schifferle

Texts: Klaudia Schifferle Nachbar der Welt Verlag (Elisabeth Kaufmann, Patrick Frey)

Walter Pfeiffer: ‹ Das Auge, die Gedanken, unentwegt wandernd ›

Walter Pfeiffer’s faces are naïve: Lewd, innocent, and brutal, yearning, greedy, and shy, these are faces that breathe desire, prescience, and eloquence. As embodiments of an adolescent vision that possesses the irresistible power of pure seduction, they x and hold viewers spellbound.

Texts: Jean-Christophe Ammann, Patrick Frey

Kleenex / LiLiPUT: ‹ Das Tagebuch der Gitarristin

Marlene Marder ›

« It doesn’t matter what’s being played before or after Kleenex / LiLiPUT, whether it’s Little Richard or Frank Sinatra: The band smashes whatever context you might make for it. Right from the beginning, an all-female punk group that worked as if they’d walked into a wall and grinned. » — Greil Marcus

Züst (ed.) | Texts: David Weiss

Andreas Züst: ‹ Bekannte Bekannte ›

‹ Bekannte Bekannte › are 561 snapshots or carefully arranged tableaux with sharp-tongued, detailed captions— a collective book of mementos, a photographic register of over 600 personalities who have graced the social scenes of Zürich, Cologne, and Hamburg.

Andreas

Rudolph Jula: ‹ Conquest ›

A mysterious atmosphere between day and dream, light and dark envelops the lives of the characters in these stories by author and lm director Rudolph Jula. They are impenetrable gems, closer to dream than reality. Trapped within their desires, entangled by yearning.

Design: Peter Fischli/David Weiss

Peter Fischli / David Weiss: ‹ Photographs ›

‹ Photographs › is an overview of Fischli / Weiss’s photographic work, outlining the scope of the development of their artistic strategies. It features their dramatic views of Swiss mountains, their photographs of global tourist hallmarks, and a selection of their airport photographs.

‹ Airports › are 40 seemingly conventional views of airplanes’ heavy, inert, metallic bodies at rest on the ground. But mostly, we see the space around them, the vastness and emptiness of the runways, which becomes the essence of the place itself.

Fischli / David Weiss:

Design: Marcel Biefer/Beat Zgraggen Softcover | 82 pages | 17 images | 14.8 × 10.8 cm

Texts: Marcel Biefer/Beat Zgraggen

Biefer / Zgraggen enumerate future doom in 105 numbered prophecies. In its disguise as a religious tract, their book is a conscious ction aimed at the present. Photographs of objects excavated after a future catastrophe reflect the deeply catastrophic nature of archeological gestures.

Brunner: ‹ Maschinenpark Fahrzeuge Orchester ›

‹ Maschinenpark Fahrzeuge Orchester › is an artist’s book documenting fragile objects made from cardboard, newsprint, and wire mesh. Titles like ‹ Lawn Mower › and ‹ Crashed Car › paradoxically suggest and suspend engine power, turning them into reminders of human bodily vulnerability.

Hannes

Design: Peter Fischli/David Weiss Hardcover | 104 pages | 97 images | 19.5 × 25 cm

Peter Fischli / David Weiss: ‹ Bilder, Ansichten ›

‹ Bilder, Ansichten › outlines Fischli / Weiss’s later motifs. It is a photographic expedition exploring (usually beautiful) views and vistas of the visible world that have become functional, overused, and popular icons, seemingly beyond the autonomous artist’s grasp.

In this absurd comedy, Biefer / Zgraggen present their bodies to an imaginary anthropological gaze as objects for a study of post-catastrophic white savages. Their book critiques Western culture’s pseudo-objective, colonizing gaze and the underlying fantasies of the primitive and the other.

Design: Peter Fischli/David Weiss

Peter Fischli / David Weiss: ‹ Siedlungen, Agglomerationen ›

Always looking through the camera at eye level, Fischli / Weiss create conventional views without distortions of the most real of all living environments between city and countryside—suburbia. The changing seasons seem to cast the spell upon them of an eerily heightened everyday.

Ian Anüll: ‹ Aquarelle ›

With the watercolors painted between 1987 and 1993 in his sketchpad, Ian Anüll created a weightless and oblique artist’s book in which « mundane things become precious, and the last things lose their pathos. » — ‹ NZZ ›

‹ Black Sea Diary › covers travels across Hungary, Bulgaria, and Romania to the Black Sea. In 1993, the authors constantly faxed diary entries, photos, drawings, texts, and found imagery to the Venice Biennial’s Electronic Café. Unedited, ‹ Black Sea Diary › embraces transmission and digital errors.

Felix Stephan Huber / Philip Pocock: ‹ Black Sea Diary ›

Grob / Ledermann / Pente / Remondino / Rösli / Truniger: ‹ Wohlgroth ›

1991: 50 squatters occupied Wohlgroth, a former Zürich factory, starting a major squatting movement in Switzerland that ended with demolition two and a half years later.

1993: Four photographers documented Wohlgroth, this alternative cultural center, in atmospheric still lifes.

Islands, waterfalls, clouds, and Cécile Wick’s face, overlaid with rocks and plants, become strange apparitions in her pinhole-camera photos. These images depict an expanding time-space continuum with blurred outlines and chiaroscuro, rather than frozen moments.

Some of Anna Meyer’s oil sketches and paintings show interiors of public places, but most depict views of Viennese suburbs, Büsingen, Sicily, and Slovenia. She focuses on suburban industrial areas and cluttered living spaces, revealing them seductively in a painterly play with guration.

Anna Meyer: ‹ Fernwärme ›

Andreas Züst: ‹ Bekannte Bekannte 2 ›

In ‹ Bekannte Bekannte 2, › Andreas Züst (1947–2000) continues his social register from 1987 to 1996 with 40 guest photographers: 1,400 individuals in 1,600 photos, mostly from the art world, listed in an index with illuminating often biting captions.

Andreas Züst (ed.)

Karen Kilimnik: ‹ Drawings ›

« Karen Kilimnik dissects rituals of second-hand yearnings and media worship, with glamorous seduction, innocence, ingenuity, and voodoo-like humor. A world where supermodels and the super-rich converge, offset by obsessions with pedigree dogs, horses, and the Pink Panther. » — ‹ The Face ›

Design: Karen Kilimnik, Hanna Williamson-Koller

Dieter Hall: ‹ So unverwandt betrachtet ›

Poems on the body of love and on the lascivious pink lips of inebriation by Konstantinos Kava s, the important modern Greek poet, congenially illustrated with intricate linoleum-cut miniatures by painter Dieter Hall. A delightful book on the pleasures and vicissitudes of love.

Softcover | 382 pages | 20.7 × 14.3 cm

Rudolph Jula: ‹ Giulios Schlaf ›

« ‹ Plant or animal? Perhaps they think. Secretly. › It’s a species of papilionaceae wanted in a crossword puzzle that Giulio wonders about, but it might as well be applied to himself and his Roman friends. It’s what makes this novel both exciting and disturbing. » — ‹ NZZ ›

Design: Hanna Williamson-Koller

Texts: Rudolph Jula

Design: Nicole Barbieri

Texts: Steff Fischer, Philipp Klaus,

26.5 × 22 cm |

Kari-Anne Mey, Miriam Schlachter, Ruth Schweikert, et al.

Barbieri / Broger / Klaus / Steffen / Weber: ‹ Zentralstrasse › ISBN: 978-3-905509-19-9

« Photographs and other reports from within an unusual house. The lyrical stands next to the anecdotal, complemented by contributions on urban development, house plants, body chemistry, space exploration, love, music, and other miracles. » — Peter Weber

Monica Beurer: ‹ Carole: Aus der Norm / Carole: hors norme ›

For ve years, photographer Monica Beurer followed the life of Carole Piguet, a sufferer since birth of Lobstein’s disease (brittle bones). Beurer’s photographs are not concerned with a problem, but celebrate a woman full of grace and the joy of living.

Kurt Caviezel: ‹ Red Light ›

In summer 1997, Caviezel photographed car interiors at a red light outside his Zürich apartment. Using a 1000mm telephoto lens, he shot scenes through a double-glazed window, creating atmospheric distortions. ‹ Red Light › blends intimacy and public view in a ballet of gestures.

Uklanski: ‹ The Nazis ›

‹ The Nazis › is about the power of costumes and the glamour of evil, the glistening shine of fake medals made of fake gold. It’s not about Nazis, but Hollywood Nazis and their evil poses. It’s about media representations that have shaped and distorted our idea of historic evil.

Piotr

Design: Stefan Banz

Christoph Doswald (ed.)

Stefan Banz: ‹ I Built This Garden for Us › ISBN: 978-3-905509-23-6

Banz (1961–2021) documented his seemingly ordinary family life through photos and videos, capturing his children, wife, and their petty-bourgeois environment. Reality’s mysteries in the everyday. His images blend voyeurism and intimacy, hinting at an abyss lurking in the family garden’s idyll.

Cécile Wick: ‹ America ›

‹ America › features digitally reworked color prints of vast landscapes. Wick traveled by train, photographing passing vistas from an unchanging angle: plains, horizons, and mountain ranges, interspersed with traces of human civilization, all with an entrancingly intense luminosity.

Design: Hanna Williamson-Koller Hardcover | 116 pages | 51 images | 33.6 × 24 cm

Texts: Sigrid Pallmert

Barbara Davatz: ‹ As Time Goes By: Portraits

In 1982, Barbara Davatz photographed twelve young couples in an anonymous studio. She revisited them in 1988 and 1997 and documented their evolving relationships. Davatz: « Every picture is the record of a relationship—the sum of the pictures is a record of time. »

Philipp Tingler: ‹ Hübsche Versuche ›

In his rst book, Philipp Tingler describes his Zürich student life with serene irony. Sometimes a curmudgeonly dandy, occasionally a tearful hypochondriac, he mocks everyday banalities, commenting on shopping, partying, TV, coffee at Sprüngli’s, his relationship, and his friends.

Texts: Philipp Tingler

ISBN: 978-3-905509-27-4

Hardcover | 216 pages | 94 images | 17 × 24.8 cm

‹ Bar › moves from Milan, Florence, and Rome to Bari and Palermo. It focuses on exteriors, capturing the architectural surfaces of bars: doorways, beaded curtains, and the BAR sign—elegant in a northern metropolis, home-made in a southern village, sometimes crumbling and abandoned.

Monika Kiss Horváth: ‹ Bar ›

Design: Monika Kiss Horváth, Anna Müller

Texts: Viana Conti, Zsuzsanna Gahse

Design: Stefan Banz Hardcover | 168 pages | 72 images | 16.5 × 12 cm Christoph Doswald (ed.) | Texts: Christoph Doswald

Stefan Banz: ‹ A shot away some owers ›

Banz’s more than 150 videos explore his family’s everyday life, featuring his children, himself, or his rabid neighbor. Banz explores the uncanny within the familiar. His video stills capture uncanny, playful, and humorous glimpses of everyday fairy tales.

ISBN: 978-3-905509-28-1

‹ Tage Buch › is a photographic diary capturing Zürich’s everyday reality in the last year of the millennium. Ten photographers and twenty writers contribute 365 photos and texts, re ecting diverse viewpoints. It reveals the city’s mundane, everyday scenes and uncommon blind spots.

Morphing Systems KLINIK: ‹ Morphing ›

In 1999, Morphing Systems hosted the KLINIK, a year-long exhibition in an abandoned Zürich hospital. Featuring 105 international artists, the project focused on mutation and morphing, allowing artists to alter the building and each other’s works, challenging traditional authorship.

Tatjana Gerhard: ‹ Herzklopfen ›

Tatjana Gerhard used her diaries from age 12–15 (1968–1969) to create this book, re-editing them and adding new drawings and magazine materials to represent girls’ experiences universally.

Walter Pfeiffer: ‹ Welcome Aboard ›

‹ Welcome Aboard › by Walter Pfeiffer is a monograph and artist’s book. It spans suburban bliss, Ascot races, beaches and mountains, portraits of beautiful boys and mischievous women, celebrating beauty and glamour with sophistication, irony, and wit.

Karen Kilimnik: ‹ Paintings ›

‹ Paintings › features 70 delicate miniatures of Romantic English manors, enchanted castles, and empathetic portrayals of cats, butter ies, and exotic ducks reminiscent of Géricault. It explores fame’s price through Princess Diana, Leonardo DiCaprio’s smile, and Kate Moss’s gestures.

Gründler: ‹ Stars of Suburbia ›

‹ Stars of Suburbia › tells of two women who become close friends, sharing their lives through letters, gifts, and secrets. Gründler questions traditional approaches and explores the limits of portraiture, creating an intimate account that celebrates friendship’s emotional richness.

Gabriela

Eric Bachmann: ‹ Leutschenbach Karambuli ›

Eric Bachmann, a staff photographer for Swiss state-run TV for over 30 years, offers glimpses of Swiss pop culture with ‹ Leutschenbach Karambuli. › The book features portraits of talk-show hosts, news anchors, TV show sets, and a backstage look at Switzerland’s only dream factory.

Geholten Stühle: ‹ The Stools Walk the Earth ›

Zürich comedy duo’s Geholten Stühle’s ‹ The Stools Walk the Earth › shows photos of a ctional world trip. Always in the same suits, they visit industrial wastelands, swamps, garages, glaciers, markets, and prairies, posing in surreal, eerie scenes in a strangely displaced world.

Design: Simone Eggstein

Hardcover | 160 pages | 19 × 12.5 cm

Texts: Bruno Steiger

Bruno Steiger: ‹ Der Billardtisch ›

ISBN: 978-3-905509-37-3

Bruno Steiger, a language virtuoso, crafts ‹ Der Billardtisch › around a journalist in Zürich struggling with fatherhood. His three-year-old son Leo drives him to typical nuclear family insanity. The story’s disaster is realistic, trivial, grotesque, and far from tragic.

Gerold Kunz: ‹ Waldhütten ›

Log cabins symbolize our ght against nature and our pioneer past. ‹ Waldhütten › is an of cial communal archive of empty cabins, temporarily tagged with numbers. These romantic, picturesque scenes are depicted with a sober, almost anthropological gaze.

Gerold Kunz, Hilar Stadler (eds)

Jean-Frédéric Schnyder: ‹ Zugerstrasse / Baarerstrasse 1999–2000 ›

‹ Zugerstrasse / Baarerstrasse 1999–2000 › shows a panoramic view of suburban architecture on the main road between Zug and Baar. Schnyder shot each building every ten meters, digitally creating a 280-inch inkjet print featuring seasonal changes and beautifully surreal perspectives.

Teresa Chen: ‹ Welcome to Polkamotion with Ma and Pa Chen ›

Artist Teresa Chen explores her parents’ polka dancing obsession. In retirement, they travel across the USA for festivals, documenting everything. Chen arranges their photos, clippings, and programs, highlighting the blend of tradition, imagination, homesickness—and absurdity.

Design: Teresa Chen, Hanna Williamson-Koller

Texts: Martin Jaeggi

Design: François Canellas

Softcover | 672 pages | 196 images | 24 × 17 cm

Roman Keller, Barbara Wiskemann: ‹ EXPOMAT ›

ISBN: 978-3-905509-41-0

In 1997, the Swiss public submitted over 3,000 ideas for the Swiss Expo 2001, though few were implemented. ‹ EXPOMAT › showcases the full range of visions of 1,341 projects in text, pictures, essays, and interviews across 670 pages, virtually becoming the Expo’s printed twin.

Barbara Wiskemann (ed.)

Ingo Giezendanner: ‹ GRR8: Zürich ›

‹ GRR8: Zürich, › feltpen on paper, starts on the green outskirts and reveals civilization: squats, construction sites, trash, tramway doorknobs, a defaced ad poster. Familiar views become precise, naturalist black-and-white drawings: strangely alien, sometimes ironic, never cute.

Dobler blends pop music, psychedelia, and surrealism: empty hotel rooms, sci- landscapes, video game streets, and prison-like buildings. The paintings re ect societal desires, fears, and future visions, shown in work reproductions, along with source material and studio views.

Andreas Dobler: ‹ Argovian Sun ›

Texts: Nadia Schneider

Erik Steinbrecher: ‹ Gras ›

People resting and sleeping in city parks. Steinbrecher ambivalently depicts vulnerable public intimacy and calm urban landscapes where the human body seems close to nature. « The sleeper is pure … It transports itself across its own space, its own time. » — John Miller

Design: Simone Eggstein

Texts: Philipp Tingler

Philipp Tingler: ‹ Ich bin ein Pro ›

‹ Ich bin ein Pro › follows a narrator through Berlin, the Ingeborg Bachmann Awards, and life in Zürich. It captures shopping, parties, and work, with characters from his debut novel. Ironic observations on society and self blend humor and re ection, accompanied by photos.

The radical artist’s book ‹ NON › consists of 100 letter-sized drawings. With fragile lines, Annelise Coste comments on the ways of the world. On a single sheet of letter paper, she can t the whole world, a part of the solar system, and a little bit of politics.

Design: Simone Eggstein

Hardcover | 128 pages | 95 images | 16 × 25 cm

Texts: Plinio Bachmann

Andreas Züst: ‹ Roundabouts / Kreisel › ISBN: 978-3-905509-47-2

Photographs of roundabouts in Europe, America, and Asia: advertisements, historical allegories, artworks, craft, monuments. ‹ Roundabouts › highlights the absurdity and cultural signi cance of these spaces, re ecting on societal differences and humans’ need to ll voids.

Portraits of cultural and business celebrities with closed eyes, transforming the observer’s view as it wanders freely across the face, freed from professional posing. An unexpected intimacy lies on the skin and seeps out of the pores, revelations lurking behind closed eyelids.

Christian Lanz: ‹ Strahlende Lider ›

Ruedi Widmer

Texts: Gerold Kunz

Schwager: ‹ Falsche Chalets ›

‹ Falsche Chalets › emerges from the Swiss Army’s delusional bunker world of total forti cation from the post-war years to the 1970s. It explores disguise and deception with crude to striking fake architectures, unintended irony, and sloppy copies of already disastrous Alpine styles.

Christian

Design:

Anoushka Matus: ‹ The Light on Your Face Warms My Heart ›

Like a visual column on media inundation and everyday life, Matus captures moments from fashion shows, TV, or tram rides. Her sketchbook-like work of drawings, commentary, and text fragments blends humor and sensuality, dream and reality, what should be and what is.

Design: Jens Müller

Texts: Peter Stamm

Pencil drawings no larger than 6 × 9 cm—Gähler presents detailed works based on his own photographs. Crime sites, non-places, dawn, twilight: Surpassing the original blackand-white photos, the ambiguous context of the sites is enhanced by his obsessive use of the drawing medium.

Andreas Züst: ‹ Roundabouts › (English edn) CHF 22.00 | € 22.00

ISBN: 978-3-905509-52-6

Design:

Texts: Plinio Bachmann

× 19 cm

Flurina Rothenberger: ‹ I Don’t Know Where I’m Going, but I’m on the Way › ISBN: 978-3-905509-53-3

‹ I Don’t Know Where I’m Going, but I’m on the Way › presents portraits of the West African community in Zürich. It shows people with diverse backgrounds who have established livelihoods in Zürich, showing how home is a condition and identity a choice.

Design: Sereina Rothenberger

Design: Kathrin Jachmann, Gerit Lippert

Hardcover | 104 pages | 84 images | 20 × 20 cm

Eggelhöfer/Monica Lutz (eds) | Texts: Hans Schill

Tea Rooms der Schweiz ›

A guide to Switzerland’s almost forgotten tea rooms, showing 27 interiors from the 1960s and 1970s. Mostly frequented by older folk, they have been largely replaced by modern cafés, and their cozy atmospheres could pass as the bourgeois precursors to today’s omnipresent lounges.

Fabienne Eggelhöfer / Monica Lutz: ‹ Die schönsten

Fabienne

Design: Max Küng, Emanuel Tschumi

Hardcover | 608 pages | 608 images | 22 × 16 cm

Texts: Max Küng

Max Küng: ‹ Einfälle kennen keine Tageszeit › ISBN: 978-3-905509-55-7

This book contains Max Küng’s best reporting from ‹ Das Magazin › and other publications: a seven-day world trip, collected columns, notes, pictures, poetry, portraits, 100 favorite songs, DJ name suggestions, interviews, a homage to Concorde, an old Juergen Teller photo, and more.

In 1977, Pietro Mattioli took portraits in Zürich’s rst punk and new wave nightclub, using a simple formula: sitters shot with a ashlight against a neutral background. These are juxtaposed with views of modernist housing, hinting at the postmodern shifts of the late 1970s.

Pietro Mattioli: ‹ 1977 ›

Andro Wekua: ‹ That Would Have Been Wonderful ›

Wekua’s hometown, Sukhumi, was once a resort for Soviet of cials but is now an empty zone lled with memories, communist propaganda, and political turmoil, traces used in his paintings, collages, and sculptures—a blend of East and West, past and present, nightmare and nostalgia.

In these paint and airbrush experiments, text and writing become central as visual codes and carriers of meaning, addressing existential questions and challenging authority with text images using quotes, keywords, and Coste’s own poetic inventions.

Design: Annie Wu

‹ Kirschgarten ›

‹ Kirschgarten › is an extravagant artist’s book for an exhibition at Haus zum Kirschgarten in Basel, a museum of 18th-century domestic culture. Kilimnik’s postcard album, with its taffeta-moiré cover and tied with ribbons, features her favorite objects and paintings from the museum.

Karen Kilimnik:

Holger Salach: ‹ Alles kann, nichts muss ›

Interiors, window views, highways—Salach shoots people at sex parties at private homes or in clubs, capturing voyeuristic, exhibitionist, and tender moments. ‹ Alles kann, nichts muss › shows the swinger scene through photographs and email correspondence with his subjects.

Grand (ed.) | Texts: Rudolph

Dietrich, Bob Fischer, Silvano Cerutti, Sandro Sursock, et al.

Lurker Grand: ‹ Hot Love: Swiss Punk & Wave 1976–1980 › (German/French edn)

‹ Hot Love: Swiss Punk & Wave 1976–1980 › tells the story of the Swiss punk scene from its beginnings in Zürich and Geneva in 1976 to the turn of the next decade. It details the music, people, and events, showcasing posters and covers as the ones by Peter Fischli for bands Kleenex and Hertz.

‹ My Lovely Bosnia › explores disrupted landscapes in Bosnia. The rst part shows wild forests on unfarmed, mined land. The second part covers war gravesites. Interspersed Bosnian poetry links—usually metaphorically—the landscapes to love, oppression, and longing for death.

Christian Schwager: ‹ My Lovely Bosnia ›

Design: Elektrosmog

Hardcover | 160 pages | 60 images | 16.5 × 25 cm

Peter Weber, Mara Züst (eds) | Texts: Peter Weber

ISBN: 978-3-905509-64-9

Andreas Züst: ‹ Fluoreszierende Nebelmeere /

Fluorescent Seas of Fog ›

‹ Fluorescent Seas of Fog › shows Züst’s (1947–2014) photographs of fog illuminated from below by civilization’s lights, creating a uorescent effect. Taken atop Bachtel in Zürich in 1999–2000, the photographs belong to his ‹ Sky › cycle. This book is part of Züst’s series of monothematic works.

Biasio / Margrit Sprecher: ‹ Die Mitte des Volkes ›

‹ Die Mitte des Volkes › reveals the people behind the Swiss right-wing populist party. Biasio / Sprecher visited farmers, teachers, carpenters, chauffeurs, and businesspeople, discovering Swiss people of every class who, when faced with powerlessness and frustration, joined the SVP.

Fabian

Design: Prill Vieceli Cremers Softcover

Design: Hanna Williamson-Koller Hardcover |

Texts: Michelle Nicol

Walter Pfeiffer: ‹ Cherchez la femme! ›

Pfeiffer presents us with more than 100 portraits of women —some of whom are men—in his ‹ Cherchez la femme! › Most never before published, they show a new facet to Pfeiffer’s rich oeuvre.

Max Küng: ‹ Buch N° 2 ›

Design: Max Küng, Emanuel Tschumi

Softcover | 1000 pages | 1000 images | 22 × 15 cm

Texts: Max Küng

Collaged and revised reports, features, and columns from ‹ Das Magazin. › Charming and playful as ever, Kueng presents not only the simple exploitation of journalistic material, but a lovingly contemplated hodgepodge of pictures and texts, an enjoyable book for many, many hours.

ISBN: 978-3-905509-67-0

Design: Prill Vieceli Cremers | Softcover | 324 pages

250 images | 35 × 25 cm | Lurker Grand (ed.)

Texts: Rudolph Dietrich, Bob Fischer, Silvano Cerutti, et al.

ISBN: 978-3-905509-68-7

Lurker Grand: ‹ Hot Love: Swiss Punk & Wave 1976-1980 › (English edn)

Design: Gabriela Gründler Softcover | 144 pages | 102 images | 24 × 19 cm

Texts: Max Küng

Gabriela Gründler: ‹ My Things ›

« Moving made me realize how much I own … How much do others own? How do I feel about my belongings? This book emerged from documenting my 2,600 personal items over two years. » — Gabriela

Gründler

ISBN: 978-3-905509-69-4

Markus Bucher

Regli has invented his own kind of art of anonymous intervention in public spaces. Like a hacker in the network, Regli breaks into selected existing spaces to challenge the perception. ‹ Reality Hacking › features all of his interventions made around the world during the last eleven years.

Design:

Texts: Jacqueline Burckhardt

Hänsli paints his way through 166 slices of a whole cut mortadella, each piece from front and back. 332 paintings, an almost hypnotic universe between meditative mortadella mandalas in slow-changing tender-pink constellations. An ontological approach to the being of a sausage.

Christoph Hänsli: ‹ Mortadella ›

Design: Trix Wetter

Texts: Martin Jaeggi

Mueller: ‹ The Proper Ornaments ›

‹ The Proper Ornaments › combines Mueller’s clever body images and observations of the ubiquitous beauty of the allegedly mundane, creating a Dionysian shadowy world beyond reason and norm. Mueller’s subtle and beautiful drawings are published in this volume as well.

Marianne

In these large-format drawings, Coste oscillates between text and image. Her paintbrush glides with urgency and rawness, capturing diary notes, thoughts, and feelings with heroic exactness. The works resonate with both grafti and calligraphy.

Design: Melanie da Sousa, Amanda Klett-Francis

RothStauffenberg: ‹ Based on a True Story ›

RothStauffenberg created real lmsets visible only through a window, morphing light, sound, and music— lms without actors or plot. They discuss the latter, authenticity, dictators, sex, disappearance, and ction as language with North Korean-born director Shin Jun-Chul.

Jussi Puikkonen: ‹ On Vacation ›

‹ On Vacation › is a poetic photographic journey through popular Finnish summer holiday spots such as Hanko and Naantali over nine winter months.While Finns hibernate and prefer to stay home, these holiday places make holidays on their own.

Design: Franziska Kolb, André Meier

Softcover | 520 pages | 514 images | 18.4 × 14.4 cm

Texts: Tarcisius Schelberg

Christoph Fischer: ‹ Teufelskreisel Kreuzstutz ›

ISBN: 978-3-905509-76-2

Years of observation: Sketches, witty comments, and paintings of people waiting at Kreuzstutz. Fischer’s Lucerne studio, situated between two noisy main streets near a railway embankment and a bus stop on a roundabout, offers insight into the motoring abyss of urban society.

« Kegeln » is a Northern European form of bowling, featuring smaller alleys, and it is on the brink of extinction in Switzerland. ‹ Gut Holz › documents these venues with frontal views from a central perspective, devoid of humans, drawing the viewer into the scene.

Design: Judith Rüegger, Pol

Hardcover | 160 pages | 60 images | 26 × 20 cm

ISBN: 978-3-905509-77-9

Fabienne Eggelhöfer / Monica Lutz: ‹ Gut Holz ›

Fabienne Eggelhöfer/Monica Lutz (eds)

Texts: Pedro Lenz

Design: Daniela Comani

Daniela Comani: ‹ Neuerscheinungen, hrsg. von Daniela Comani ›

This book revisits Dostoevsky, Cervantes, Flaubert, Hemingway, Saint-Exupéry, and Musil, with a twist: ‹ The Sisters Karamazov, › ‹ Doña Quixote, › ‹ Monsieur Bovary, › ‹ The Old Woman and the Sea. › Comani transforms male protagonists, subtly challenging our notions of literary roles and gender.

In 1984, Olivia Heussler traveled to Nicaragua to document the aftermath of the Sandinista revolution. Living in Managua during the Contra civil war, she captured nearly 25 years of Nicaragua’s evolution. This book presents her entire collection of photographs for the rst time.

Design: Trix Wetter

Hardcover | 96 pages | 20.5 × 15 cm

Texts: Klaudia Schifferle

Klaudia Schifferle: ‹ Eingeblaut ›

ISBN: 978-3-905509-80-9

‹ Eingeblaut › is a collection of short poems written over 18 years, offering tender, eeting compositions that evoke the miraculous in everyday life with subtle charm and humor. These exquisitely woven pieces re ect life’s paradoxes and serve as a musical remedy for moments of gloom.

Over years, Patrick Graf crafted a 3,000-page saga about the ctive Ypsilonic age. Through drawings and correspondence, he depicts a parallel universe with the robot Smoke and its creator, Dr. Y, offering an enjoyable and eccentric journey on both narrative and formal levels.

Patrick Graf: ‹ Episoden aus dem Ypsilon’schen Zeitalter ›

Design: Patrick Graf, Daniela Trunk Softcover

Taiyo Onorato & Nico Krebs: ‹ The Great Unreal › (1 edn)

Over three years, Taiyo Onorato and Nico Krebs traveled through the United States to create with exclusively analog means the photo series ‹ The Great Unreal, › using America’s geography as a backdrop for a visual re ection on reality and its fabrication.

Hannes Schmid: ‹ Rockstars ›

‹ Rockstars › showcases the best of Schmid’s previously unpublished archive of 70,000 photographs from the 1970s and early 1980s, and features intimate backstage views of rock legends like Queen, Motörhead, Kiss, AC / DC, ABBA, Blondie, Kraftwerk, and Depeche Mode.

In 2007 / 2008, Kupper and Macor collaborated to create an eight-page monthly program zine for the Zürich club Zukunft (« Future »). Macor’s photographs show brief encounters with people and landscapes, fragments of the visible world, in the only moment photography knows: the present.

PierLuigi Macor: ‹ Zukunft ›

Elmar Mauch: ‹ Die Bewohner ›

Elmar Mauch’s ‹ Die Bewohner › (« The Residents ») uses found private photos to create new pictorial and thought spaces. By examining and sequencing these orphaned images, Mauch revives visual memories, transforming anonymous snapshots into a lyrical photo essay.

Design: A.C. Kupper, Stella Giger

Softcover | 150 pages | 105 images | 31 × 25 × 1 cm

Rohr, Stefan Tamò (eds)

Lily’s Stomach Supply: ‹ I Grew Up on the Back of a Water Ox ›

‹ I Grew Up on the Back of a Water Ox › blends advertising with an immigrant’s oral history and private photography. Lee, the face of Lily’s Stomach Supply for over ten years, emigrated from Thailand in the 1970s. Directed by A.C. Kupper, she embodies the restaurant’s unique campaign.

Cello

In the mid-1980s, Zachmann portrayed Basel’s subculture. Her staged and spontaneous photos focus on self-expression through clothing and body language. Zachmann documents this shift from punk to post-punk with intimacy, aesthetic sensibility, and lightness, without nostalgia.

Nicole Zachmann: ‹ Fish of Hope ›

Design: Prill Vieceli Cremers

Softcover | 120 pages | 104 images | 36 × 26 cm

Texts: Stefan Zweifel

Olivia Heussler: ‹ Zürich, Sommer 1980 › ISBN: 978-3-905509-89-2

‹ Zürich, Sommer 1980 › depicts barriers, barricades, riot police, demonstrators, rubber bullets, water cannons, and tear gas. In the summer of 1980, Zürich’s streets were almost at war, with violent clashes between the establishment and the alternative scene.

Thomas Kern: ‹ A Drug Free Land ›

Kern’s laconic black-and-white photos offer an authentic view of present-day America, 70 years after Evans and 50 years after Frank’s ‹ The Americans. › As a silent observer, he shows the unspectacular everyday life, creating images that seem familiar yet resist rapid consumption.

Texts: Gerhard Waldherr

Design: Marie Lusa

Softcover | 49 pages | 45 images | 37 × 27 cm

Texts: Sibylle Berg

Dawn Mellor: ‹ The Conspirators ›

In ‹ The Conspirators, › Mellor’s pastel portraits are inspired by Berg’s seven biting ctional monologues about selfdestructive women named Judith. These grotesque, tabloid-style celebrity portraits re ect stalkers’ and ex-lovers’ obsessions, evoking absurd comic horror.

A.C. Kupper’s ‹ Revolutionäre Mittelklasse › merges found imagery and his own photographs to depict identity-less, genderless individuals with dis gured and eerily funny faces, critiquing a society obsessed with ef ciency and presenting a bleak, dehumanized world.

Design: Elektrosmog

Hardcover | 436 pages | 440 images | 27 × 20 cm

Hans-Ulrich Schlumpf: ‹ Armand Schulthess: Rekonstruktion eines Universums ›

This book reveals Armand Schulthess’s obsessive universe: an 18,000 sq. m. wood and garden in Ticino with over 1,000 inscribed panels. Schlumpf documented it from 1963 to 1972, saving a few of Schulthess’s 70 self-made books before the rest, along with the garden, were destroyed.

Hans-Ulrich Schlumpf (ed.)

Staub: ‹ Meine Grosseltern / My Grandparents ›

Memories of grandparents are childhood memories of old people, but what do we know of their youth? How did they live and love back then? What remains from a life? Staub explores these questions in interviews with grandchildren, creating an evolving archive of histories and photos.

Design: Rokfor, Urs Hofer, Rafael Koch

Softcover | 548 pages | 29.7 × 21 cm

Robert A. Fischer: ‹ Ich / Buchstabendrescher etc. › ISBN:

Robert A. Fischer, known as Bob, was a desktop rock star, art critic, author, media artist, and anthropologist. Typing 3,000 to 4,000 characters daily under various pseudonyms, he left behind 20,000 digital text les on music, technology, and the zeitgeist, 239 of which make up this book.

Hecke: ‹ Irene ›

Hecke’s photo book ‹ Liebes Leben › about Zürich artistmuse and prostitute Irene aka Lady Shiva, published in 1978, became a classic. ‹ Irene › includes previously unpublished photos, showing a powerful portrait of a con dent, beautiful woman of unrivaled eroticism and elegance.

Roswitha

images | 26.6 × 20 cm

Design: Florian Jakober Softcover |

Texts: Martin Jaeggi

ISBN: 978-3-905509-97-7

Rico Scagliola & Michael Meier: ‹ Neue Menschen ›

Over the years, Scagliola and Meier documented teenagers. ‹ Neue Menschen › captures the rst post-digital generation, integrating Myspace and Facebook self-presentations into its imagery, showing the intertwined nature of youth, sex, longing, and reality in the digital age.

Design: Jean Angelats, Simon Haenni, David Keshavjee

Hardcover | 134 pages | 118 images | 23 × 16.5 cm

Texts: FUZI UV TPK

FUZI UV TPK: ‹ Ma Ligne ›

The Paris Saint-Lazare–Mantes-la-Jolie train line was FUZI and his group UV’s backdrop for fteen years: dripping tags, slashed leather on benches, and smashed windows. This archive of vandalism (1996–2001) is accompanied by the artist’s poems and texts.

ISBN: 978-3-905509-98-4

Design: Studio Letzi

Perrottet (1949–2018) photographs Zürich from his taxi, offering a kaleidoscopic portrait of the city. Taken from the driver’s seat, the images show city views, rush-hour scenes, lonely nights, and intimate snapshots across all weather and seasons, often with traces of the car visible.

Oliver Perrottet: ‹ TAXI ›

Andreas Züst: ‹ Himmel ›

Hindermann, Madeleine Stahel, Maike Hamacher

Design: Valentin

Hardcover | 352 pages | 248 images | 29.5 × 20.5 cm

In the 1970s, Züst (1947–2000) photographed visual and meteorological phenomena like lightning, twilight, halos, and the northern lights. ‹ Himmel › compiles 150 of these photos, accompanied by reference books and texts, each addressing a speci c aspect of the sky in Züst’s universe.

ISBN: 978-3-905929-00-3

Peter Weber, Mara Züst (eds)

Texts: Michel Mettler, Peter Weber

Georg Diez / Christopher Roth: ‹ What Happened? (Vol. 1) ›

Interviews with philosopher Slavoj Žižek, lmmaker Eric Mitchell, and artist Robert Longo. Žižek values surface over depth, Mitchell sought NY fame with a bold look, and Longo recounts 80s sex and coke debauchery at NY’s Odeon.

Georg Diez / Christopher Roth: ‹ California über alles (Vol. 2) ›

Politician Abol Hassan Bani-Sadr re ects on the Iranian Revolution’s power struggle. Director Paul Schrader discusses ‹ American Gigolo ›’s cool classicism. Producer Giorgio Moroder recalls his Mercedes SL and suits being too « Eurotrash » for Americans.

Design:

Interview with writer Don DeLillo. DeLillo re ects on leaving America during Carter and returning with Reagan, discusses the turmoil of the Iranian Revolution and the Lebanese war, and explains his new approach for ‹ The Names › (1982), focusing on writing one paragraph per page.

Interview with dissident Swiss-Russian chess champion Viktor Kortschnoi. Kortschnoi believes the then-Soviet chess master Karpov had psychic abilities and could sense his plans, saying he felt parapsychologically manipulated by him.

Georg Diez / Christopher Roth: ‹ Travelogue / Atrocity & Grace (Vol. 5 / 6) › ISBN: 978-3-905929-05-8

Interviews with psychoanalyst Christopher Bollas, virologist Francoise Barré-Sinoussi, and filmmaker Jean-Jacques Beineix. Bollas criticizes globalization and avoids ying for aesthetics. Barré-Sinoussi learned of AIDS in 1982. Beineix notes cinema’s commodi cation during ‹ Diva. › 2010

Interviews with Fast Records founder Bob Last and an essay on the 1980 Bologna bombing. Last critiques the Paris Warhol retrospective and discusses pop’s essence. Psychologists de Vito, Cubelli, and Della Sala’s essay examines the Bologna bombing’s impact and commemoration.

Design: Christopher Roth, Petra Langhammer

Design: Christopher Roth, Petra Langhammer

Softcover | 160 pages | 24 × 17 cm

Georg Diez / Christopher Roth: ‹ Superburg (Vol. 8) ›

Interviews with postcolonial thinkers Sarah Nuttall and Achille Mbembe and art pop gures Michaela Melián and Thomas Meinecke. Nuttall and Mbembe talk about time’s uidity and imagined spaces, Mandela and the World Cup. Melián and Meinecke recall their band’s then controversial slogans.

Georg Diez / Christopher Roth: ‹ Far from Home (Vol. 9) ›

Interviews with French philosopher Michel Serres and Munich barman Charles Schumann. Serres on democracy versus republics, favoring modern fragile structures, and proposing legal status for natural elements. Schumann on Bonn’s nightlife, living elsewhere, and the ritual of drinking.

Design: Georg Diez, Christopher Roth Softcover | 128 pages | 24 × 18.3 cm

Georg Diez / Christopher Roth: ‹ When We Were Good (Vol. 10) › ISBN:

Interviews with Colin MacCabe and Oliviero Toscani. MacCabe recounts meeting Godard, who offered full access after establishing his book project was substantial. Toscani recalls the 1980s as being the color green, in uenced by the Benetton logo and the Green Party.

Georg Diez / Christopher Roth: ‹ The Eleventh Circle (Vol. 11) ›

Interviews with tennis writer Steve Tignor and physicist Thomas Herzog. Tignor re ects on the epic 1980 Wimbledon nal and Borg’s burnout after losing to McEnroe in 1981. Herzog discusses history’s reliance on the observer and the chance of alternate historical outcomes.

ISBN: 978-3-905929-12-6

Softcover and hardcover | 11 80*81 volumes in 10 books

1000 pages | 50 × 30 cm

80*81, a research project by Diez and Roth examining the transformative years of 1980 and 1981, was funded by the German Federal Cultural Foundation and partnered with institutes, theaters, galleries, magazines, and companies.

Cars have dominated landscapes for a century. There are now 600–800 million vehicles. Salo’s ‹ Carscapes › is social landscape photography and shows how cities and rural areas look with cars and change them, even when parked.

Merja Salo: ‹ Carscapes ›

‹ Universen, › an artist’s book and catalog, chronologically displays Huber’s collages and ink drawings (2005–2011). Up to four reproductions from various works are interwoven into new compositions. The work explores civilization’s themes and its ambivalence with nature through biting irony and wit.

Lutz&Guggisberg: ‹ Loch im Spiegel ›

‹ Loch im Spiegel › (« Hole in the Mirror ») eats through civilization’s layers at various sites like a worm, exploring passageways, windows, and re ections. From nearly 1,000 photos taken over two years, 70 were selected for this fantastical archaeology of the present.

The book documents Gill’s portrait photo studio at the Balika Mela, a fair for girls, in Lunkaransar, rural Rajasthan. In 2003 and 2010, Gill collaborated with her subjects to stage portraits, conducting photography workshops before exhibiting the resultant works.

Rudolph Jula: ‹ Slow Travelling: Auf dem Weg nach Damaskus ›

The book comprises eight stories of travels to the centers of the Islamic world: Damascus, Tehran, Lebanon, Jordan, Cairo, and Turkey. Themes of identity, equality, and self-discovery emerge through real encounters and imaginative storytelling, accompanied by Jula’s travel photos.

Texts: Caroline Kesser

Andrea Heller: ‹ Die Wurzeln sind die Bäume der Kartoffeln ›

This artist’s book is inspired by a 70s childhood and everyday curiosities, drawing from sources like Swiss customs and hippie DIY guides, which are also themes in Heller’s drawings, objects, and installations. This title shows how materials transform in various contexts.

In ‹ Miss, › Guggisberg depicts beauty contest participants backstage and on stage, and shows the experts, jury, and onlookers. Taken between 2006 and 2011, these photographs document the Swiss Miss cult and its iconography at their zenith, revealing unexpected grace and elegance.

Martin Guggisberg: ‹ Miss ›

Lurker Grand / André Tschan: ‹ heute und danach ›

This musical history of 1980s Switzerland covers music styles, societal changes, and youth culture, revealing the transformative post-punk era. Renowned experts provide an excellent overview of this fragmentarily chronicled Swiss music, design, and subculture history.

Lurker Grand/André Tschan (eds)

‹ Buchs › refers to four Swiss cities named Buchs. 4 Books for 4 Buchs blur reality and ction with distinct yet similar stories inspired by Doreen Massey’s concept of space, focusing on a young woman’s ambiguous identity and daily non-events.

Carolina E. Santo, Véronique Hoegger: ‹ Buchs ›

This book blends ornithological knowledge with an artistic approach through drawings, illustrations, and photography. It examines humans’ relationship with nature and the decline of Swiss bird species, using birds to wittily and critically re ect on our lifestyle and its impact.

Marcel Gähler: ‹ Nie ist die Nacht so dunkel wie in der Kindheit ›

« Gähler projects small-format black-and-white photos and draws penciled miniatures. Scenes become remote and magical, dramatized by the hazy pencil-gray of distant memory. Black and white is not colorless. It is the medium of light, a concentration on essentials. » — Peter Stamm.

Texts: Martin Jaeggi

Martin Jaeggi (ed.) |

Walter Pfeiffer: ‹ Scrapbooks 1969–1985 › ISBN: 978-3-905929-25-6

‹ Scrapbooks 1969–1982 › is a unique Wunderkammer. Pfeiffer’s polaroids and photos mix with clippings, postcards, and tickets to form a large collage. They act as a visual diary and creative foundation, showing his view of Eros, the 70s and 80s zeitgeist, pop, humor, and the mundane.

Jon Naiman: ‹ Familiar Territory ›

In ‹ Familiar Territory, › farm animals are intimately portrayed with their owners in living spaces, highlighting and questioning our emotional bonds. It blends portrait and documentary photography, re ecting on culture, habitat, family, and our relationship with animals.

Design: Teo Schifferli

23.4 × 17.2 cm | STUDIOLO/Edition Patrick Frey (eds)

Texts: Liam Gillick, Karl Holmqvist, Gabrielle Schaad

Trix + Robert (1931–2021) Haussmann helped displace Swiss modernism with 650 norm-defying projects, including Zürich’s Da-Capo-Bar and main train station. This book, with illustrations, essays, artist contributions, and an interview, explores their creative and theoretical work.

A dystopian 2081 where memory, men, drama, and democracy are banned. Women and their clones discover lost knowledge and gather in cities like Berlin and Johannesburg to uncover the past through talks, music, and performances, seeking to escape a stagnant present and nd a future.

Georg Diez, Christopher Roth: ‹ 2081 ›

Design: Christopher Roth, Holger Friese

Georg Diez, Christopher Roth (eds)

This photographic documentation of the Swiss Midlands shows a landscape oscillating between nature and urbanity, merging city and countryside, nature and development, public and private spaces. Are the Midlands merely a large housing settlement?

Michael Günzburger: ‹ Plots ›

‹ Plots › blends various materials. Its point of departure: a hundred drawing books. It encompasses valleys, sculptures, construction sites, prints, and dialogues, weaving diverse narratives into a thematic sequence illustrating a search for visual strategy.

Design: Krispin Heé, Anna Haas

Michael

Texts: Irene Odotei

Lisa Meier: ‹ Funeral Fashion in Ghana ›

In Ghana, multi-day funeral ceremonies are vital cultural events and social exchanges. On weekends, funeral attire, blending traditional and contemporary styles, dominates.

Costume designer Meier photographed these ceremonies, revealing Ghanaian society through its mourning clothes.

The city’s debt enforcement registry issues certi ed reports on real estate, including structural damage assessments. Küenzi’s initially functional documentation evolved into a photo book, recalling abstract paintings and highlighting Swiss culture’s obsessive orderliness. David Küenzi: ‹ Zustandsaufnahme ›

Design:

Texts: Patrick Schrag

Design: Sebastian Heeb, Petra Hurschler

It appears to be a series of black-and-white photos of gently rolling hills. But the shadows reveal themselves as those cast by planes. This isn’t about airports or air traf c but rather the visual con ict between landscape, airplanes, and shadows—open to various interpretations.

Sebastian Heeb: ‹ Zulu Romeo Hotel ›

Küng: ‹ Pensive Racing Drivers ›

The image of jubilant race drivers raising oversized champagne bottles is familiar. This book shows the struggles of a driver’s life: losses, technical defects, accidents, disquali cations, and unknown problems. Like life in general, it is dif cult. And that is what this book is about.

Max

Design: Prill Vieceli Cremers

Softcover | 400 pages | 380 images | 24 × 17 cm

Maurer/Riboni (eds) | Texts: Maurer/Riboni

Maurer / Riboni: ‹ How pictures nd houses and the house comes into the picture ›

This book examines key visual aspects of drawings and paintings—often called doodles or children’s drawings— of houses. Trusting the power of the pictures, it uses observation to answer fundamental questions about the picture, the house, and the human.

‹ KCBR

This is a radical contemporary document about the most active graf ti crew in Zürich, KCBR, who tirelessly put their names on nearly every corner of the city: building facades, rooftops, delivery trucks, trams, bus stops, and SBB trains.

LIVE LIFE LIKE ›

Design: Teo Schifferli

Fredi Fischli, Niels Olsen (eds)

Keiichi Tanaami: ‹ NO MORE WAR ›

‹ NO MORE WAR › presents 1980 woodcut sculptures by Japanese pop artist Tanaami (1936–2024). Resembling toys, they blend American ad aesthetics with WWII memories, evoking video game creatures, architectural models, postmodern design—and link to traditional Japanese crafts.

Renggli’s collages, from fashion and porn magazines, art catalogues, and found photos, blend opposites. Made quickly, they rst appear familiar but reveal surreal absurdity and ambivalence. ‹ 25% Painting › includes 500 collages, re-arranged during printing, making each book unique.

David Renggli: ‹ 25% Painting ›

Martin Schaer, Nicola Carpi: ‹ I Like Nsima and Fish ›

‹ I Like Nsima and Fish › brings together self-portraits by 20 Malawian teenagers who, in 2001, documented their lives with an analog camera. Eight years later, Carpi and Schaer revisited them, combining new photographs with texts in which they discuss their lives and future hopes.

In 1979, Ceresole (1956–2023) moved to New York, immersing herself in the underground music scene. Catherine photographed musicians at concerts, capturing New York’s punk, no-wave, and avant-garde scenes, including Sonic Youth, Lydia Lunch, and the Beastie Boys.

Catherine Ceresole: ‹ Beauty Lies in the Eye ›

Marc Elsener: ‹ Bärte aus dem Jenseits ›

They grew full beards to modernize and populate new lands. Discovered during European expansion, they were exploited and later assimilated, mainly in Switzerland. This book documents these beards from beyond with photos from 1880 to 1980, ending with their last known image.

Giger (1940–2014) worked at Shepperton Studios in 1978, creating gures and sets for the lm ‹ Alien. › Giger describes his lm work and the industry with sketches, unpublished photos, and brutal honesty, offering a detailed look at the making of the classic through his eyes.

Design:

Texts:

H. R. Giger

‹ Fabricants couleurs › arose from visits to a color manufacturer in France and China. Angeletti collaborated with employees to create art on-site, engaging with connections between the sites. The book blends the art, questioning authorship and the relationship between image and carrier.

Marie Angeletti: ‹ Fabricants couleurs ›

‹ Private / Used › compiles photos of private sellers posing with used clothes from Internet sales portals. It blends self-portraits and orchestrates found photography, exploring fetishistic themes. The images challenge conventional photography and our notions of photographic intimacy.

Luciano Rigolini:

David Weiss: ‹ Nine Books 1973–1979 ›

David Weiss (1946–2012) exhibited his early drawings from 1975–1977, originating from small-format drawing books he considered independent works. Traces of these can be found in Fischli / Weiss’s sculptures. ‹ Nine Books › includes original sketchbooks in a limited facsimile edition.

Bischof began publishing zines in 2005, sharing his drawings, collages, and texts, and expanded to sculpture, painting, and installations. He reworks everyday items and images from fashion magazines or LP covers. ‹ Psychobuch › is both an oeuvre survey and an exhuberant artist’s book.

Beni Bischof: ‹ Psychobuch ›

Robert-Durrer

Robert & Käti

Design: Jean

Softcover | 280 pages | 510 images | 29.7 × 21 cm

Giorgio Wolfensberger (ed.) | Texts: Giorgio Wolfensberger

Giorgio Wolfensberger: ‹ Suzanne Perrottet: Bewegungen / Movements ›

Perrottet collected over 10,000 pictures of movements, creating a unique visual archive. She studied rhythmics with Jaques-Dalcroze, taught dancer Mary Wigman, and met Rudolf von Laban in 1912, moved to Monte Verità, then Zürich, performed at Dada soirées, and opened a school.

Steinbrecher collects moon pictures and rephotographs them with a nger on the lens, transforming them into obscure crescents. This artist’s book subtly and wittily contributes to the discourse on photographic imagery and the reading and interpretation of images in general.

Erik Steinbrecher:

‹ A Happy Marriage › portrays both man and woman in a modern marriage where gender roles supposedly don’t matter. However, expressions, gestures, and clothing reveal otherwise, subtly making viewers question who plays which role.

Anicka Yi, Jordan Lord, Lise Soskolne, Carissa Rodriguez: ‹ The Politics of Friendship ›

In 2013, ‹ The New Inquiry › published « Further Materials toward a Theory of the Man-Child » by Mal Ahern and Moira Weigel. Addressing sexism in academia and art, the viral essay inspired Yi’s Zürich solo show to evolve into a collaborative project, inviting responses to it for this book.

Softcover | 40 pages | 16 images | 29.7 × 21.2 cm

Anicka Yi, Jordan Lord, Lise Soskolne, Carissa Rodriguez (eds)

Regula Bochsler, Tom Simonite, Bernd Stiegler

Regula Bochsler/Philipp Sarasin (eds)

Regula Bochsler / Philipp Sarasin: ‹ The Rendering Eye: Urban America Revisited ›

This book shows Apple Maps views of urban America, revealing warped, deserted scenes. Streets, buildings, and plants appear twisted, with cars, boats, and trees as blurred shadows. Originally missile software, Apple Maps struggles with reality, creating eerie, abstract cityscapes.

Olaf Breuning, Stefan Burger, Fischli / Weiss, San Keller, Naomi Leshem, Lutz / Guggisberg, Juso Maeder, et al.:

‹ Das Fremde ist nur in der Fremde fremd ›

Questions about local versus global production, cultural identity shifts, and understanding foreign cultures are debated worldwide but often ignored by ethnological museums. The 2014 Gastspiel exhibition at Museum Rietberg relfects on these themes with 21 art installations.

Rochat’s symbolically laden analog and digital works probe the depths of the photographic plane. She reworks portraits of friends and shots of landscapes to create radically associative compositions that relentlessly undermine visual clichés and notions of beauty.

Painter Luciano Castelli began posing for the camera in the early 1970s, adopting a variety of roles and acting out every conceivable facet of himself. Disregarding gender distinctions, he transformed himself into an androgynous mythical creature and a glam rock diva.

Luciano Castelli: ‹ SELF-PORTRAIT 1973–1986 ›

Kilimnik photographs with the same gesture with which she paints: an unerring sense of the glut of shiny surface beauty, under which lurk the shades of monstrous things unseen and unspoken. She adores kitsch, but she knows how phony it is—and how much this phoniness makes it irresistible.

Karen Kilimnik:

Micciché accompanied his father, who had dementia, on his habitual postprandial hundred steps, capturing these moments in tender, unsentimental photographs. ‹ Cento passi › is an intimate father–son and immigration story, set against the vanishing industrial landscape of Winterthur.

Giuseppe Micciché: ‹ Cento passi ›

Design: Giuseppe Micciché, Daniela Trunk

Leavitt: ‹ THE PARTICLES (of White Naugahyde) ›

This play by conceptual art pioneer Leavitt, framed as a sitcom, follows a family auditioning for a NASA space colony. The demanding process places them in a securityfree desert community, leading to anxiety and antisocial behavior.

Fredi Fischli, Niels Olsen (eds)

Kaplan/Shahar Carmel

This graphic novel by Israeli artists Kaplan and Carmel follows Lev Afor, a cat living with her human parents in Tel Aviv. It explores teen culture and military service in Israel, interweaving student experiences with the artists’ observations.

Adi Kaplan / Shahar Carmel: ‹ The Diary of Lev Afor ›

Texts: Ellie Armon, Yonatan Vinitsky

Susanne Meyer: ‹ Are you kidding ›

This artist’s book features Meyer’s photos, letters, and more, documenting her 1990s love affair with Amund, who took his life in 1994. The images evoke their meetings and travels, inviting readers to turn a personal story into a universal tale of youth, love, and death.

‹ Où suis-je › revisits Coste’s childhood through abstracted drawings of hospitals where she was treated for asthma. The drawings re ect memory’s paradoxical precision and blur, offering autobiographical insights on loss, longing, and place.

Design: Dominik Bachmann

Hardcover | 392 pages | 194 images | 29 × 20 cm

78.00 | €

Texts: Peter Hartmann, Eugen Sorg 2014

ISBN: 978-3-905929-64-5

Eric Bachmann: ‹ Muhammad Ali, Zürich, 26.12.1971 › (English edn)

This book captures Ali’s prize ght against Jürgen Blin in Zürich in image and text. Bachmann photographed Ali’s ten-day stay, including training and the ght, which Ali won by knockout. It is intimately and rhythmically edited, richly illustrated with boxing programs and clippings.

Eric Bachmann: ‹ Muhammad Ali, Zürich, 26.12.1971 › (German edn)

Design: Dominik Bachmann

Hardcover | 392 pages | 194 images | 29 × 20 cm

ISBN: 978-3-905929-65-2

Texts: Peter Hartmann, Eugen Sorg

‹ STAIRS ETC › is an archive of photographs taken at home and on trips. Grouped by chairs, tables, fountains, and pools, it gives a pseudo-encyclopedic view of ordinary objects. Mueller’s nonchalant style is both comical and poetic, revealing overlooked details of the built world.

Marianne Mueller: ‹ STAIRS ETC ›

The name « Susie » served as a trademark for Bickerton’s (1959–2022) work, shown in 1980s New York before he moved to Bali. His intriguing paintings and sculptures draw from commodity aesthetics, marketing language, and corporate culture.

‹ Ashley Bickerton: Susie ›

Niels Olsen

Ashley Bickerton, Fredi Fischli, Bob Nickas, et al.

ISBN: 978-3-905929-68-3

Texts: Jürg Halter 2014

Jürg Halter, huber.huber: ‹ Hoffentlich verliebe ich mich nicht in dich ›

Artist duo huber.huber and poet Jürg Halter have set their sights on uncovering unusual sides of ordinary goings-on in public space. huber.huber took pictures at regular intervals, which poet Jürg Halter then worked into poetic and absurdly humorous vignettes.

Bieke Depoorter: ‹ I Am About to Call It a Day ›

Depoorter traveled across the US, staying with strangers. Her photos show people seemingly unaware of her presence. We are immersed in obscurity, with surreal, cinematic images that t perfectly within the frame. Far away, so close.

This book includes 82 series of David Weiss’s graphic metamorphoses (1975–1979). Starting with simple shapes, his drawings become surreal scenes. First published in 1976 in 17 series, he continued until 1978, creating 84 drawings on 400 sheets, shifting from ballpoint pen to ink.

David Weiss: ‹ DIE WANDLUNGEN ›

Weinberg & Co: ‹ Haussmann für Weinberg ›

The collaboration between Weinberg and Trix + Robert (1931–2021) Haussmann shaped Zürich’s Weinberg fashion stores and concept stores for Lanvin and Courrèges. The book details six projects over 20 years with plans, drawings, photos, and an illustrated interview.

ISBN: 978-3-905929-71-3

Weinberg, Gabrielle Schaad

Design: Franziska Burkhardt

Softcover | 236 pages | 219 images | 25.3 × 19.1 cm

The Weststrasse in Zürich, once a major transit route, is now a 30 km / h neighborhood street. The western bypass made it pedestrian and cyclist-friendly. Flühmann has documented this change since 2007, depicting Zürich’s social demographics, diverse residents, and gentri cation.

Corina Flühmann: ‹ Weststrasse ›

Texts: Charles Lewinsky, Melinda Nadj Abonji, Caspar Schärer

Flurina Rothenberger: ‹ I love to dress like I am coming from somewhere and I have a place to go ›

This picture book offers a small window into the vast world of everyday life, style, and fashion across the African continent, often missing from Western media coverage. Having grown up in Africa, Rothenberger is aware of the continent’s ambiguities, mores, and complexities.

Each Halloween, American suburban homes become eerie stages with graveyards and skeletons. Since 1984, Jamie has photographed them in daylight in Los Angeles, showing how suburban exteriors become theatrical expressions of violence and death, mixing social themes with Hollywood horror.

Cameron Jamie: ‹ Front Lawn Funerals and Cemeteries ›

Feyrer: ‹ 27 dicke Bilder und iegende Sätze ›

This book features sculptural portraits of 26 artists, writers, and gallerists. It began with a clay sculpture of a friend. The rst part uses text to brie y illuminate each gure. The second part reveals Feyrer’s observations and interpretations on their work.

Gundi

This cultural history of Swiss rock music visualizes subcultures through album covers, posters, yers, fanzines, comics, and photos by artists, designers, musicians, and photographers. It includes essays on rock and design history.

Sam Mumenthaler, Roland Fischbacher, Robert Lzicar

J.P. Maurer, R. Müller: ‹ Morgan Is Sad Today ›

A 1968 photo series, with Ettore Sottsass’s text, published unchanged. Titled after a 1966 Free Cinema lm, it adopts the mantra that no lm is too personal and perfection isn’t the aim. It echoes comic books and captures the 60s with beat bands in suits, skinny ties, and Flamenco boots.

Design:

Texts: Ettore Sottsass, Sandro Fischli

Design: Hanna Williamson-Koller

Hardcover | 168 pages | 89 images | 33 × 27 cm

Texts: Martin Jaeggi, Patrick Frey

Barbara Davatz: ‹ As Time Goes By 1982 1988 1997 2014 ›

ISBN: 978-3-905929-79-9

‹ As Time Goes By: Portraits 1982, 1988, 1997 › is a classic. In 2014, Davatz resumed the project with the same sitters. Starting with a dozen couples, it now spans three generations, showing changes in relationships, self-presentation, and urban life over time.

Radel nger: ‹ Falsche Fährten ›

Radel nger obsessively collects texts and images from print and online media: poems, diagrams, formulas, pajama ads, and pictures of apes. ‹ Falsche Fährten › categorizes and makes them accessible, revealing a world of both relevant and absurd items through the artist’s eyes.

Peter

Rigolini scans car grills from 1955–1962 American cars. Without the rest of the vehicle, he creates an alienating effect, presenting the fronts as peculiar, comical, menacing, gorgeous, or ridiculous objects—symbols of a bygone golden era.

Luciano Rigolini: ‹ MASK ›

‹ Texte › is pure text in a paperback format, Bischof’s personal portrayal of his collection of emails, headlines, slogans, and jokes. He de-glamorizes the noble appearance of purported exclusivity and draws a picture of society, characterized by his unfathomable sense of humor.

Beni Bischof: ‹ Texte ›

Design:

Taiyo Onorato & Nico Krebs: ‹ The Great Unreal › (3rd edn)

Over three years, Taiyo Onorato and Nico Krebs traveled through the United States to create the photo series ‹ The Great Unreal, › using America’s geography as the backdrop to a visual re ection on reality and its fabrication.

‹ Shipbreak › chronicles an American merchant vessel’s nal voyage and dismantling in 1990s Bangladesh, connecting American builders and seamen to Bangladeshi shipbreakers. It re ects on shared humanity and livelihoods, and meditates on life, loss, and rebirth.

Claudio Cambon: ‹ Shipbreak ›

Design: Elektrosmog Hardcover | 256 pages | 205 images | 28 × 20.5 cm

| Texts: Olivier Suter

Olivier Suter: ‹ Jean Tinguely: Torpedo Institut › (German edn) ISBN: 978-3-905929-85-0

In 1988, Tinguely turned an abandoned factory into the Torpedo Institut, a 3,000 sq. m. anti-museum with unpredictable opening hours containing his works. After his death, it was closed and forgotten. This book restores its space and place in his oeuvre, questioning artistic legacies.

Olivier Suter (ed.)

Olivier Suter: ‹ Jean Tinguely: Torpedo Institut › (French edn)

ISBN: 978-3-905929-86-7

Olivier Suter (ed.)

Texts: Olivier Suter

632 pages

Design: Naima Schalcher | Softcover |

400 images | 30 × 22.8 cm | Gina Bucher (ed.) | Texts:

Gina Bucher, Elisabeth Bronfen, Katharine Tietze, et al.

ISBN: 978-3-905929-87-4

Gina Bucher: ‹ Female Chic: Thema Selection— Geschichte eines Modelabels › (German edn)

Thema Selection, a Zürich fashion label, gained fame in the 1970s for its unique style and shows, creating androgynous women’s work clothes from men’s fabrics. Known for avant-garde fashion and celebrity clients, this book captures its story and essence.

Hilar Stadler, Martin Stollenwerk: ‹ Gasoline and Magic ›

Baby-blue Porsche 917, Chevy Camaro, striped overalls, boys with mustaches, women with eyeliner, bell-bottoms, crocheted bikinis—motor sports in the 60s, 70s, and 80s.

These photos evoke nostalgia for old racing cars, races on ordinary roads, and approachable Grand Prix stars.

ISBN: 978-3-905929-88-1

Stadler, Martin Stollenwerk (eds) | Texts: Anthony Carter, Max Küng

Design: Pilar Rojo

34.00 | € 34.00

Paweł Szypulski: ‹ Greetings from Auschwitz › ISBN: 978-3-905929-89-8

« Everything is ne, all I miss is you and the sun » shows the camp. « Warm greetings from Auschwitz » depicts death block 11. Still sold today, such postcards and their messages show the transformative nature of tourism and the failure of words and images to address Holocaust trauma.

Paweł Szypulski (ed.)

Texts: Iwona Kurz

‹ ORIGINALE ›

Müllenbach turns exhibition invitations into watercolor paintings, covering styles from Dürer to Van Gogh. His semi-originals, described as handmade appropriation, record local contemporary art exhibition and production. Each book cover is uniquely designed by Müllenbach.

Thomas Müllenbach:

Design: Prill Vieceli Cremers

Hardcover | 256 pages | 300 images | 33 × 24 cm

Prill Vieceli Cremers (ed.)

This is a book about the pictures on banknotes: pictures of political subject matter, historical milestones, distinguished personages, status symbols, and landscapes. Banknotes are mini-posters proclaiming an idealized world.

Prill Vieceli Cremers: ‹ Money ›

‹ Salon Moderne ›

Hair Affair, Haircore, Jennyf’hair: Hair salons are unique worlds. Their names and window displays vie for attention. The Swiss salons in ‹ Salon Moderne › are gems. Their survival in the age of professional branding justi es a whole book on this phenomenon.

Fabienne Eggelhöfer / Monica Lutz:

Fabienne Eggelhöfer/Monica Lutz (eds)

Andreas Züst: ‹ Menschen Tiere Abenteuer ›

Züst’s (1947–2014) black-and-white photos and notes from 1978–1983 are the basis of this book. His observations, from Zürich’s Bahnhofstrasse and ice patterns to family portraits, are presented chronologically. This book is revealing and the most personal on his work.

Flint Jamison: ‹ Cascades ›

The handmade artist’s book ‹ Cascades, › produced in Jamison’s print studio, explores materiality, physicality, and the author–machine exchange. Jamison’s work examines material textures, information distribution, production tools, and their interfaces

Aaron

Design: Aaron Flint Jamison

Design: Teo Schifferli

Hardcover | 128 pages | 90 images | 32 × 24 cm

Patrick Frey (eds)

STUDIOLO/Edition

Albert Oehlen: ‹ In der Wohnung ›

‹ In der Wohnung › explores the tradition of depicting domestic interiors. It begins with Oehlen’s works referencing artists like Arnolds, Artschwager, Kelley, Kippenberger, and Lichtenstein, then transitions to a building and its rooms, ending in a tour of Oehlen’s show « In der Wohnung. »

‹ 69 / 96 › documents a 2014 Swiss show with two exhibits: 1969 works curated by Nickas and 1996 works curated by Fischli / Olsen. The book confronts Nickas’s 1991 Xerox catalog and the 2014 exhibit. Artists include Artschwager, Clark, Kawara, Nauman, Oehlen, Oppenheim, Polke, and Warhol.

Bob Nickas: ‹ 69 / 96 ›

Design:

Bob Nickas, STUDIOLO, Edition Patrick Frey (eds)

Enter Kabalagala: Kampala’s Tijuana on acid. After decades of colonial rule, dictatorship, and civil war until 1986, the city, once an AIDS epicenter, now blends fallen angels, expats, brazen youth, askaris with bows and arrows, military juntas, and poolside parties with bleach-blond hair.

Michele Sibiloni: ‹ Fuck It ›

Texts: David Cecil

Made for Bad Bonn’s 25th anniversary, this songbook features sheet music, lyrics, photos, and drawings from two and a half years of performances. Since ‘91, around 2,500 bands, including My Bloody Valentine, Cat Power, and Queens of the Stone Age, have played this iconic Fribourg venue.

528 pages | 264 images | 29.7 × 21 cm |

Patrick Boschung, Daniel Fontana, Stefanie Mauron, Adeline Mollard, Katharina Reidy: ‹ Bad Bonn Song Book ›

Design: Adeline Mollard, Katharina Reidy | Softcover

Patrick Boschung, Daniel Fontana, Stefanie Mauron, Adeline Mollard, et al. (eds)

Design: Teo Schifferli

Erik Davis, Paul J. Ennis

Texts:

This book explores Marti’s visual realms, blending cosmic black with subtle colors from photogram processes and scanned objects like mushrooms, stones, and hands. It’s about altered states of consciousness, mystical experiences, spiritual views—and their negation.

Rahmanian: ‹ Her Majesty? ›

Taschen’s XL coffee table book for Queen Elizabeth II’s 60th anniversary is satirically transformed in ‹ Her Majesty? › The Queen is shown as a drag queen and the royal house as Animal Farm, questioning the Queen’s desire for freedom. Each of the 600 unique copies has a handmade cover.

Ramin Haerizadeh, Rokni Haerizadeh, Hesam

Design: Huber/Sterzinger | Softcover | 296 pages

200 images | 26 × 19.2 cm |

Texts: Daniel Morgenthaler, Jim Drobnick, Georg Kohler, Chus Martínez, et al. 2016

Elodie Pong: ‹ Paradise Paradoxe › (English edn) ISBN: 978-3-906803-01-2

Breathing is smelling. Olfactory signals affect us directly. Pong examines how smells in uence culture and act as invisible communication, crossing the boundaries of marketing, identity politics, and science.

Marie-Isabel Vogel, Alain Rappaport:

Stejskal: Folklig idrott ›

Maximilian Stejskal (1906–1991), ethnologist and gymnastics teacher, studied folk athletics among Finland’s Swedish-speaking rural men. From 1929 to 1937 and again in 1948, he documented traditional games. This book features a selection of his 433 photographs and research.

| 120 pages | 74 images | 35 × 25.5 cm

Design: Prill Vieceli Cremers

Hardcover

Marie-Isabel Vogel, Alain Rappaport (eds)

Marietta Eugster

Billy Sullivan: ‹ Still, Looking. Works 1969–2016 ›

Sullivan has chronicled NY’s underground, art, and fashion scenes. His photos serve as templates for oil paintings and pastel drawings. He depicts friends, family, and muses in clubs, studios, hotels, and beach houses. This book shows the dialogue between his photography and painting.

Design:

Texts: William J. Simmons, Linda Yablonsky

Design: Brian Paul Lamotte | Softcover | 220 pages

38 images | 25 × 17.6 cm | Rachel Valinsky (eds)

Texts: Matthew Brannon, Corina Copp, Jill Gasparina, et al.

Alan Reid: ‹ Warm Equations › CHF 52.00 | € 52.00

‹ Warm Equations › is a monograph on Alan Reid’s paintings, emphasizing multiple voices. These voices, set among Reid’s images, create a fragmented chorus with unique rhythms and metaphors.

ISBN: 978-3-906803-04-3

Design: Roland Hörmann

Hardcover | 250 pages | 120 images | 22 × 28 cm

| Texts:

Klaus Pichler: ‹ Golden Days before They End › (German edn)

Pichler and Marschall document Vienna’s Branntweiner, small bars where time stands still. Despite occasional violence, these spots foster surrogate families for older drinkers. The only signs of time’s passing are the patrons’ deaths. This book is a swan song for these fading refuges.

Clemens Marschall,

Clemens Marschall, Klaus Pichler (eds)

Clemens Marschall

Marschall, Klaus Pichler: ‹ Golden Days before They End › (English edn)

| 250 pages | 120 images | 22 × 28 cm

Clemens

Design: Roland Hörmann

Hardcover

Clemens Marschall, Klaus Pichler (eds)

Texts: Clemens Marschall

Guillaume

Texts: Toni Hildebrandt, Adam Jasper

Andreas Tschersich: ‹ peripher ›

« Peripher » are in-between places that defy classi cation, devoid of people, in Charleroi, Liverpool, New York, and Tokyo. Tschersich uses digital montage to combine medium-format negatives into larger images, closely rendering the human gaze.

Peter Radel nger: ‹ So wohl als ob ›

Covering drawing, performing, image work, and research, this book collects Radel nger’s artistic teaching methods at Zürich University of the Arts. Radel nger combines his idiosyncratic artistic approach with his pedagogical and didactic know-how.

Design: Kevin Casado, Jonas Vögeli, Sandro Wettstein

Softcover | 680 pages | 2000 images | 24 × 17 cm

Texts: Peter Radelﬁnger

ISBN: 978-3-906803-08-1

For 22 years, Zürich duo Minimetal has fused music and visual art in underground venues and galleries. Their sound sculptures mix guitar, drums, vocals, and images, creating hypnotic experiences. This book chronicles their journey, with QR codes for 13 hours of audio and video.

Emch, Laurent Goei: ‹ MINIMETAL 11 MANTRAS ›

Gina Bucher: ‹ Female Chic: Thema Selection—Story of a Fashion Label › (English edn)

Design: Naima Schalcher | Softcover | 624 pages

400 images | 30 × 22.8 cm | Gina Bucher (ed.)

Texts: Gina Bucher, Elisabeth Bronfen, Katharine Tietze, et al.

312 pages

Design: Huber/Sterzinger | Softcover |

200 images | 26 × 19.2 cm

Texts: Daniel Morgenthaler, Jim Drobnick, Georg Kohler, Chus Martínez, Andreas Keller, et al.

Elodie Pong: ‹ Paradise Paradoxe › (German edn)

Breathing is smelling. Olfactory signals affect us directly. Pong explores how smells in uence culture and act as invisible communication, crossing the boundaries of marketing, identity politics, and science.

‹ Texte 2 › is another pictureless book by Beni Bischof, printed in standard pocket size. It presents his collection of headlines, slogans, emails, jokes, absurd comments, and off-the-wall remarks. Bischof’s text archives are a rich trove of inspiration for his pictures and titles.

Beni Bischof: ‹ Texte 2 ›

Brandlhuber, Christopher Roth (eds)

Design: Teo Schifferli

18.5 × 11.8 cm

Brandlhuber, Marc Angélil, Adam Caruso, et al.

Texts: Arno

Arno Brandlhuber, Christopher Roth, Antonia Steger: ‹ Legislating Architecture Schweiz › ISBN: 978-3-906803-14-2

‹ Legislating Architecture Schweiz › investigates the Swiss building code, the most important book of all for architects, and the relationship between building regulations and architecture. How do laws determine architectural possibilities? How can architects, in turn, shape those laws?

Deserts replaced by sprawling cities linked by 16-lane highways. In the UAE, life revolves around cars—symbols of freedom, status, and seduction. ‹ Fully Fueled › re ects this ornate blend of tradition and modernity in a landscape that exists somewhere between desert dust and Gotham City.

Basile Mookherjee: ‹ Fully Fueled ›

26.5 × 20 cm

Pierre Leguillon, Barbara Fédier: ‹ Oracles: Artists’ Calling Cards ›

This book presents 123 calling cards of artists (painters, sculptors, and photographers) from the 18th century to the present. The facsimile cards are inserted like bookmarks into a text by various authors on their history, social context, and narratives—both historical and ctional.

Pierre Leguillon, Barbara Fédier (eds)

Texts: Samuel Adams, Damarice Amao, Daniel Baumann, et al.

‹ Sunsets › explores media perception through photos of switched-off TV sets. Lifeless and cold, these sets become surfaces for projecting fantasies and fears. Comani’s ash transforms these screens, creating new images, photographing them as if they are gazing out—at us.

Daniela Comani: ‹ Sunsets ›

In ‹ Culs de ferme › Cramatte portrays forms of accumulation in a globalized landscape that is often touted as clean and orderly. An obsessive collector of pictures, both his own and found, he has been compiling a photographic inventory for decades.

Jean-Luc Cramatte: ‹ Culs de ferme ›

Bernstein uses the phallus as a metaphor for feminism and male posturing. Fascinated by graf ti in men’s bathrooms, she drew inspiration from its raw humor. Aggression and political satire connect in her charcoal works, which merge anti-war themes, feminism, and sexuality.

Judith Bernstein: ‹ Dicks of Death ›

Design: Hi, Megi Zumstein, Claudio Barandun

Taiyo Onorato & Nico Krebs: ‹ Continental Drift ›

Journeying from Switzerland to Ulan Bator, the duo crossed Eurasia, Central Asia, the Himalayas, and Siberia. This photographic travelogue blends fact and ction, exploring regions in upheaval, balancing tradition, post-communist history, geopolitics, and global capitalism.

Hentz ranks among the pioneers of new media art. ‹ Works 7 › is an overview of his work: snapshots from all over the world, paintings, collages, graphic and ornamental works, and various collected artifacts, which include everything from old magazines to fabric patterns.

Mike Hentz: ‹ WORKS 7 ›

Design: Teo Schifferli

Before switching to lm, Schumacher took photos in ‘72. From 3,000 photos, he chose 120. Amid strikes and power cuts in post-swinging London, he depicts high-rise tenements, a ragpicker, a mailman, a mother, Hitchcock, a sleeping couple, and friends in a long-gone Switzerland.

Iwan Schumacher: ‹ 1972: At Home and on the Way ›

Texts: Martin Jaeggi

Heé photographed waterfalls near Mont Bachtel that her friends recalled from childhood. She documented them over several months, often in twilight, evoking ghost-like apparitions which required ideal conditions: cold wind, light rays, rain, and ice-cold water.

Barbara Heé: ‹ Waters ›

A brand like a friend: Keller uses his ctional company to in ltrate and critique economic contexts, planning a friendly takeover of Switzerland’s largest department store chain. The book intertwines interviews with employees and Keller’s art, presenting two interconnected stories.

Georg Keller: ‹ Georg Keller × Manor › (German edn)

Eric Bachmann: ‹ Casa Verdi ›

Design: Dominik Bachmann | Softcover | 153 pages 92 images | 25 × 17.5 cm | Texts: Christian Kämmerling, Andreas Koller, Biancamaria Longoni

In 1981, before Schmid’s well-known lm ‹ Il bacio di Tosca › (1984), Bachmann documented Verdi’s old-age home for musicians, to which he bequeathed the rights to all his operas. His photos, published with texts reconstructing residents’ biographies, re ects Verdi’s nest work.

Georg Keller: ‹ Georg Keller × Manor › (English edn)

Claudia Comte: ‹ 40×40 ›

This artist’s book uses a Cartesian co-ordinate system to explore Comte’s sculptures and patterns through translation, rotation, and re ection. Shapes evolve into unique sculptures within a larger pattern. The book can be read from all four sides.

ISBN: 978-3-906803-27-2

Patrick Frey (eds)

Design: Teo Schifferli

38 × 28.5 cm

Texts: Niels Olsen, Fredi Fischli, Oliver Payne, Keiichi Tanaami

ISBN: 978-3-906803-28-9

Keiichi Tanaami, Oliver Payne: ‹ Perfect Cherry Blossom ›

‹ Perfect Cherry Blossom › is a collaboration between British artist Payne and Japanese pop artist Tanaami (1936–2024). Payne reworked Tanaami’s original drawings, adding stickers with intricate patterns from the self-enclosed world of Japanese « bullet hell » games.

Mélanie Veuillet: ‹ Tools of Disobedience ›

‹ Tools of Disobedience › presents 185 photographs shot in 2014 at prisons in Romandy, the French-speaking part of Switzerland. They show inventive items which the inmates made secretly in their cells using the crudest of tools and materials—and which were subsequently con scated.

ISBN: 978-3-906803-29-6

Texts: Didier Fassin

Design: Marietta Eugster

Texts: Michel Mettler

Demons are mutable, their existence tied to context. Similarly, Bruhin’s series of 170 images depends on the viewer’s perception. They spark the imagination and rely on preexisting mental images, playing on patterns and archetypes inherent to the human mind.

‹ SKUTER › (Indonesian for « scooter ») depicts motorized life on Sumatra. Shot through a car window, these images show people on motor scooters, often carrying whole families.

Billy Bühler, Dominique Frey: ‹ SKUTER ›

In the wake of the digital TV revolution, teletext headlines were scrambled and recombined. Schenardi photographed these glitches daily, transcribing them into notebooks. A selection of these uncanny truths and absurdities is released with this book into a world of fake news.

Luca Schenardi: ‹ Meyer spricht von Gratiskaffee ›

Hanimann: ‹ Trapped ›

Triggered by animal movements, these unintended sel es of domestic and exotic animals, mostly taken at night by automatic camera traps, were shot for scienti c purposes. This book re-examines them for their formal aesthetic potential, focusing on lighting, cropping, and texture.

Alex

Design:

Texts: Hans Rudolf Reust, Patrick Frey

Pareidolia is the phenomenon of perceiving non-existent things in inanimate objects, such as human faces in rocks. Willi has photographed rocks that seem to have faces, questioning what we actually see versus what we consciously or unconsciously interpret as familiar forms.

Krempke:

Thomas Krempke began taking pictures every day, printing them, and pasting them into notebooks, correlating them, and writing about them. His montage of pictures and texts is a log of his perceptions, a photographic diary, and a cartography of what he sees.

Thomas

‹ Das Flüstern der Dinge ›

Texts: Thomas Krempke

images | 25.7 × 19.2 cm | Miriam Wiesel, Urs Stahel (eds)

Texts: Theres Abbt, Bice Curiger, Regina Decoppet, et al.

Keller (1953–2014) was an art publisher (Scalo), motivator, magazine maker (‹ Der Alltag ›), founder (‹ Parkett ,› Fotomuseum Winterthur), networker, a cherished friend and inspiring companion. This book conveys how and why he turned his surroundings into exhibits in his unique world’s fair.

‹ Josef Maria Schröder ›

Design: Hi, Megi Zumstein, Claudio Barandun

Hardcover | 152 pages | 153 images | 24 × 17 cm

The long-forgotten and never-before extensively published oeuvre of German painter Josef Maria Schröder (1886–1965) includes portraits, landscapes, and abstract pieces. Starting in 1950, he developed a ballpoint pen technique, merging various early 20th-century styles.

Christoph Kappeler:

Texts: Christoph Kappeler, Ulrich Kinder, Michael T. Richter

Design: Laurence Rasti, Neo Neo

Hardcover | 156 pages | 53 images | 25 × 19 cm

Texts: Laurence Rasti

Laurence Rasti: ‹ There Are No Homosexuals in Iran ›

ISBN: 978-3-906803-38-8

While most Western nations accept homosexuality, Iran punishes it by death. Hundreds of gay Iranians in Turkey await new lives in host countries. Rasti’s portraits explore identity and gender, blending light, festive elements with their serious plight.

The Internet is like an iceberg: The surface web is visible, while the deep web, 90% of it, is hidden and encrypted, a hub for illicit activities. ‹ The Iceberg › features surreal, low-quality photos from dark web drug ads, visible only under UV light, revealing this secret space.

Giorgio di Noto: ‹ The Iceberg ›

Texts: Rico Scagliola & Michael Meier

The duo photographed people in public spaces, revealing how new media blur public and private lines. People seek unique identities but are swallowed by mainstream culture and uniform architecture. Spoken-word and online fragments immerse the reader in a stream of consciousness.

Rico Scagliola & Michael Meier: ‹ years later … ›

Benedikt Reichenbach: ‹ Pasolini’s Bodies and Places:

Edited by Michele Mancini and Giuseppe Perrella ›

This facsimile English edition of lm critics Mancini and Perrella’s 600-page 1981 book of black-and-white images features around 2,000 Pasolini lm stills categorized as bodies and places. Quotation is used here as a form of appropriation and practical use of an archive.

Design: Benedikt Reichenbach | Hardcover | 640 pages 1734 images | 21 × 22 cm | Benedikt Reichenbach (ed.)

Texts: Michele Mancini, Giuseppe Perrella, et al.

ISBN: 978-3-906803-41-8

Emil Michael Klein: ‹ Paintings ›

‹ Paintings › presents oil canvases (2013–2016) transformed through the medium, format, and reduced size of a book with 30 selected prints, including various perspectives on the canvases and stand-alone works by Klein, exploring the contrasting processes between printing and painting.

Mark Thomas Gibson: ‹ Early Retirement ›

‹ Early Retirement, › narrated by a shadowy gure, follows Mr. Wolfson, a NYC werewolf street prophet, and The Drummer, one of the heralds of the Apocalypse. Gibson uses the high and low visual languages of painting and comics to explore American culture and depict our fabricated destruction.

Musée Jenisch (ed.)

Enckell Julliard, Joana Neves, Stéphanie Serra

Texts: Julie

Advertising slogans, neon signs, and logos create Landry’s ctional, commercial Hollywood idyll where « tout va bien. » It’s a Warholian alphabet on A3 paper using techniques ranging from gouache, ink, glaze, and synthetic varnish to Tipp-Ex.

‹ 25 Memoranden › consists of 25 poetic notes on love. Silva’s poetry is serious, though not humorless—sexy, maybe, mischievous, probably. She weaves through English, German, and Spanish to explore an ambivalent soul in the throes of courting, conquest, and consummation.

Francisca Silva: ‹ 25 Memoranden ›

Kelly Beeman: ‹ Window Shopping ›

Illustrator Kelly Beeman’s elegant, long-limbed gures lead dreamlike lives in exotic gardens, swimming pools, parties, and intimate home moments. They inhabit a fantasy world inspired by Oklahoman childhood memories, with nods to design, architecture, music, and literature.

Design: Prill Vieceli Cremers

Softcover | 124 pages | 23 images | 27 × 18 cm

This exploration of aquarium history intersects with art, science, and religion, capturing the aesthetics of Swiss zoos and high-end aquariums. The Willens’ photos make the sh appear suspended, emphasizing the virtuality of aquariums, which are nothing short of precursors to TV sets.

Tania Willen, David Willen: ‹ Appetite for the Magni cent › (German edn)

Tania Willen, David Willen (eds)

Texts: Jörg Scheller

Design: Prill Vieceli Cremers

Softcover | 128 pages | 23 images | 27 × 18 cm

Willen, David Willen (eds) | Texts: Jörg Scheller

Tania Willen, David Willen: ‹ Appetite for the Magni cent › (English edn)

Tania

Walter Pfeiffer: ‹ Bildrausch: Drawings 1966–2018 ›

In the 70s, Pfeiffer’s hyper-realistic pencil drawings and photos inspired each other, leading to iconic posters. From the 80s on, he focused on ink, colored pencils, and watercolors, emphasizing elegant lines and colors in portraits of friends, boys, and ornate still lifes.

Texts: Martin Jaeggi

Minder (ed.) | Texts: Beat

Frischknecht, Ariane von Graffenried, Claudia Honegger, et al.

Veronika Minder: ‹ Art Décor ›

Steffen, a amboyant Bern window dresser, rose from humble origins as a hustler and nude model to create exuberant sets for furs, fabrics, and lingerie. ‹ Art Décor ›

lavishly explores his life, reviving the lost art of window dressing and the masquerade balls of the 1950s and 60s.

Susi Wyss: ‹ Guess Who Is the Happiest Girl in Town ›

Susi, seemingly an angel in satin, reveals a different story in her memoir of sensually slapstick tales about her life as an it-girl, call girl, and madam. From humble Zürich origins, she joined the jet set, becoming a feminist icon immortalized by Newton, Mapplethorpe, and Manon.

Frank Hyde-Antwi, Katarina Lang

Hardcover | 840 pages | 203 images | 23 × 15 cm

Design:

Texts:

Susi Wyss

Piotr Uklanski: ‹ Real Nazis ›

‹ Real Nazis › juxtaposes Hollywood actors playing Nazis with real-life gures. It pairs staged imagery with actual Nazi bigwigs, war heroes, and war criminals, blurring lines between fact and ction, and commenting on today’s overlapping of populist and fascistic politics.

This artist’s book interweaves Photoshop drawings with printed graphics created by means of used industrial metal templates. Eisenring scratches and etches digitally generated psychedelic gurative motifs from art, literature, and pop culture directly onto the metal templates.

Cédric Eisenring: ‹ Eisenring ›

Gianni Jetzer (ed.)

Texts: Gianni Jetzer, Olivier Mosset, Vincent Szarek, Philip Ursprung, et al.

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

WHEELS

Olivier Mosset: ‹ WHEELS ›

Mosset bought his rst Harley in Paris in the late 1960s. His studio was a hub for radical painting and Europe’s rst Marxist-in uenced motorcycle club. Cars and bikes shaped his life and work, also serving as readymades. ‹ WHEELS › chronicles his career through motor vehicles.

Pierre Keller: ‹ My Colorful Life ›

Keller’s Polaroid journal, shot in the pulsating New York of the 1970s, on trips, and in his native region of Lavaux, features brown skin, milky-white asses, red dicks, dildos, sassy statements, the neon-green secrecy of the bathhouses, and blue moments of contemplative poetry.

Design: Nicolas Pages & Gilles Gavillet

Hardcover | 396 pages | 369 images | 29 × 29 cm

ISBN: 978-3-906803-55-5

Texts: Pierre Keller, Stéphanie Moisdon, Hans Ulrich Obrist

Design: Hanna Williamson-Koller | Hardcover | 448 pages

800 images | 33 × 22 cm | Barbara Stauss (ed.)

Texts: Zora del Buono, Hans-Michael Koetzle, Barbara Stauss

Over the past 60 years, Niklaus Stauss has photographed over 50,000 people from the elds of art, music, theater, opera, literature, lm, and dance. This book showcases his work and provides a personal record of the Swiss and European arts scene.

Niklaus Stauss: ‹ Foto: Niklaus Stauss ›

‹ Bowie, Texas › is composed of photos from ve road trips (2011–2016) across Montana, Texas, Colorado, and beyond. Landscapes, roads, houses, and the people Macor portrays need no names to tell their story. Unstaged and atmospheric, even elegiac, it forms a visual novel of American life.

PierLuigi Macor: ‹ Bowie, Texas ›

His lyrics in Swiss German, German, and English span love, longing, teenage angst, a suburban train station. Jurczok 1001 still uses paper scripts for his spoken-word performances. ‹ Spoken Beats › includes facsimiles of his typed scripts, from early raps to concrete poetry pieces.

Jurczok 1001: ‹ Spoken Beats ›

Michael Günzburger: ‹ Contact ›

This book features eleven wild animals, including a fox, a beaver, and a polar bear. Artist Günzburger and printer Wolfensberger developed a method to render an animal’s impression on a lithograph, making every hair visible with uncanny immediacy.

Design: Vinzenz

Softcover | 176 pages | 80 images | 28.6 × 30 cm

Texts: Elise Lammer

Galiciadis: ‹ An Acrylic Glass Pyramid and Three Pendulums Attached to a Triangle on a Table ›

This book contains color reproductions on graph paper of gures, spirals, patterns, and a self-portrait inspired by Emma Kunz, a Swiss artist known for her geometric drawings. Galiciadis created new drawings based on Kunz’s approach, drawing us into her perception of the world.

Athene

Schmieren/Kleben

Aus dem Archiv der Stadtpolizei Zürich 1976–1989

Philipp Anz, Jules Spinatsch, Viola Zimmermann: ‹ Schmieren / Kleben: Aus dem Archiv KKIII der Stadtpolizei Zürich 1976–1989 ›

In 1976, Zürich police created the Schmieren / Kleben le, documenting political slogans, illegal happenings, and sprayed murals in the urban space. ‹ Schmieren / Kleben › includes 700 photos, index cards, and a glossary explaining connections between slogans, symbols, and people.

ISBN: 978-3-906803-61-6

Philipp Anz, Jules Spinatsch, Viola Zimmermann (Hg)

Degorce: ‹ Fridge Food Soul ›

French photographer Olivier Degorce documented the 1990s Paris rave scene and how food is stored in fridges in this subculture. ‹ Fridge Food Soul › features spontaneous photos from 1993 to 2017, highlighting diverse eating habits and Degorce’s obsessive approach.

Photo sequences show a desert landscape with minimal shifts in Cartesian grids. Rigolini transforms NASA’s Apollo 15 and 16 photos into artworks on the moon’s mythological and symbolic dimensions. ‹ AS 15-16 › alludes to land art and minimal music, emphasizing patterns and variations.

Luciano Rigolini: ‹ AS 15-16 ›

‹ Altar › documents the human urge to elevate secular items to ritual objects and form private altars. These objects, whether knickknacks, souvenirs, or revered items, all tell a peculiar story—not in words, but in things—about whoever built the altar.

Rosa Schamal, Peter Schneider, Manuel Süess: ‹ Altar ›

Rosa Schamal, Peter Schneider, Manuel Süess

‹ Still (Noon) › documents Swiss life in Carona, Gais, Rüderswil, Saignelégier, Saint-Saphorin, Sainte-Croix, Schwyz, Stammheim, Vicosoprano, Visperterminen, Wil, and Zuoz, following Theo Frey’s 1939 path. The book juxtaposes old and new, creating a unique portrait of Switzerland.

Shane Lavalette: ‹ Still (Noon) ›

Brickwork clothes, makeup-brush feet, a dog’s or bird’s head, monster eyes and hands, doughnut lips, ippers, and accessories like fuel trucks and muf ns: Schifferle’s paper dolls are composed of magazine cutouts collaged on A4 paper, created from 2011–2016.

Klaudia Schifferle: ‹ 152 Paperdolls ›

‹ Texte 3 › is another pictureless book by Beni Bischof, printed in standard pocket size. It presents his collection of headlines, slogans, emails, jokes, absurd comments, and off-the-wall remarks. Bischof’s text archives are a rich trove of inspiration for his pictures and titles.

Beni Bischof: ‹ Texte 3 ›

This artist’s book questions the purpose of an exhibition catalogue. Burgener argues that photos fail to capture ambient space. This book, using awed and textured white UV ink over four-color offset, offers only glimpses of the exhibition as a metaphor for its illegibility.

Manuel Burgener: ‹ Summary ›

Press photos show people pointing at elds, cars, or bullet holes. Captions: A man pointing at a window where a pensioner red shots or a river where he saved a woman.

Minger’s 124-photo collection creates a portrait of Switzerland through disasters, incidents, nds, and investigations.

Beatrice Minger: ‹ « Hier sass er. » ›

Beatrice Minger

Texts: Janina Audick,

Design: Michi Schnaus, Janina Audick

220 pages | 320 images | 27 × 21 cm

Volker Bärenklau, Andreas Beck, Sacha Benedetti, et al.

Janina Audick: ‹ TALENT ›

Janina Audick’s set designs are not background, but part of the performance. ‹ TALENT › explores Audick’s rich oeuvre. It goes far beyond mere display to intimately juxtapose drafts and executed designs, elucidate developments, and make thoughts and working processes visible.

Marcel Jäggi, Charlotte Malterre-Barthes: ‹ Some Haunted Spaces in Singapore ›

‹ Some Haunted Spaces in Singapore › examines the paradox of modern urban planning and spiritual beliefs in the Southeast Asian nation. An investigation of the collective imagination, this book examines elements of the built environment believed to be occupied by spirits: haunted spaces.

Marcel Jäggi, Charlotte Malterre-Barthes (eds)

Texts: Lilian Chee, Charles Goh, Marcel Jäggi, Denise L., et al.

Christoph Kappeler

Sammlung

Christoph Kappeler: ‹ Sammlung ›

Abstract chickens, a sh facing a fanged monster, oral still lifes, caricatures. Oil on canvas, Pavatex, gouache, pencil, print. Art collector Kappeler’s book is a different kind of catalog, avoiding preconceived notions by foregoing the need for completeness and categorization.

Texts: Tomáš Bambušek, Martina Caluori, André Grab, et al.

Gustav Mesmer: ‹ Ikarus vom Lautertal genannt ›

Mesmer, diagnosed with schizophrenia, was con ned to a mental hospital. In 1932, he became obsessed with human-powered ying bicycles. He spent his life building them, creating countless drawings, diagrams, poetry, and prose—all collected in this publication.

Design: Stefan Hartmaier | Hardcover | 550 pages

400 images | 28 × 22 cm | Stefan Hartmaier (ed.)

Texts: Franz-Xaver Ott, Lucienne Peiry, Juliane Stiegele

83.00 | € 83.00

ISBN: 978-3-906803-73-9

Edition

Patrick Frey

Jesús León: ‹ Vida ›

José de Jesús Chucho León Hernández is a part of Mexico City’s nightlife. For over twenty years he has been documenting the city’s vibrant music scene, the carryings-on at underground venues and gay clubs, the newcomers and leavers, rising stars and departing legends.

Thomas Haemmerli (ed.)

Hansjörg Sahli: ‹ RHONEGLETSCHER ›

Northeast of Tsan euron lies the Rhône Glacier, source of the Rhône River. Since 2008, Obergoms citizens have covered it with UV-resistant blankets each spring to protect it from melting. ‹ RHONEGLETSCHER › documents this practice as land art in contrasting, underexposed photographs.

Design: Hansjörg Sahli, Christian Jaberg Softcover

‹ W › shows photographs from 2000 to 2018, blending snapshots, self-portraits, nature, buildings, people, and fashion. It forms loose, non-chronological narratives, capturing atmospheric traces, a pictorial language of memory, and moments from Wassmann’s unique photographic archive.

Lukas Wassmann: ‹ W ›

Piotr Uklaŉski: ‹ Pornalikes ›

‹ Pornalikes › is a portrait book with a difference, drawn from a 2002–2018 archive of porn actors resembling celebrities. Using images from ‹ Hustler, › ‹ Loaded, › and online memes, Uklaŉski explores sexual identity, exploitation, and the commodi cation of the human body.

Design: Marietta Eugster

Texts: Stefan Zweifel

‹ Luftbad › showcases this artist trio’s collaborative works on paper, created by mailing and repeatedly overpainting images, blending art history, comics, and pop culture in uences. Each book cover is uniquely designed.

Margarete Berg, Urs Stahel: ‹ Giorgio Wolfensberger: Foto Povera ›

Wolfensberger (1945–2016) was an industrial photographer and lmmaker with a keen eye for everyday peculiarities. This book showcases his work, from early blackand-white documentaries in Italy to colorful, humorous photo povera, celebrating the beauty in ordinary objects.

Softcover | 240 pages | 170 images | 25.5 × 21 cm

Design: Moiré, Marc Kappeler

Margarete Berg, Urs Stahel (eds)

Texts: Urs Stahel

Design: Bogislav Ziemer

Azari explores her childhood as a refugee from Iran in Germany in these stories. She addresses emotional ordeals, such as being a stranger in a strange land or losing a loved one, from a child’s perspective and through text and delicate, poetic drawings.

Shirin Azari: ‹ Stories of Little and Big Blossoms ›

Texts: Shirin Azari

Olivier G. Fatton: ‹ Coco ›

Coco (1969–1998) was a performance artist and transsexual anarchist, and a target of the Swiss tabloids. Her short life and love affair with Fatton, who documented her sex change surgery, are captured in intimate portraits and fashion shots, haunted by her large, melancholy eyes.

Softcover | 264 pages | 134 images | 25 × 19 cm

ISBN: 978-3-906803-81-4

Design: Studio–Rubic (Ann Grifﬁn, Nicolas Jeanmairet)

Texts: Dunia Miralles

Design: Marie Lusa |

27.4 × 19.4 cm |

Chetwynd’s performances, featuring handmade costumes and props with friends and family as actors, blend folk theater, science, and pop. Despite challenges in documenting live events, this book captures them in printed form through photos and fanzines, detailing inspirations and cast lists.

Texts: Denise Ackert, Jack Brennan, Neil Mulholland, Jess Ramm, Guillaume Vandale, Natalie Wearden

This publication presents Gaechter’s photographs, informed by Neue Sachlichkeit, of hairstyles for the exclusive Zürich hairdresser Elsässer Pour Dames. Taken from the 1970s to the 1990s, these images track the changes and revivals of hairstyles in late 20th-century Switzerland.

GAECHTER+CLAHSEN: ‹ Fünf Finger Föhn Frisur ›

Design: Vinzenz

Benedetti, Rolf

Texts: Lorenzo

Ulrich Obrist, Ludwig Seyfarth

Hans

Hengesbach,

Hanimann undermines syntactic logic and conventions, stripping found imagery of context and recontextualizing it in this book of 3,000 images in a chronological but disjointed order. The mosaic layout creates a exible structure, enlivened by random blank spaces.

Alex Hanimann: ‹ Etwas fehlt ›

Thomas Krempke: ‹ The Whispering of Things ›

Texts: Thomas Krempke

Design: Chan-Young Ramert

Hardcover | 550 pages | 722 images | 28.5 × 22.4 cm

Texts: Dominique Auerbach, Richard Milazzo, Jörg Scheller

70.00 | €

ISBN: 978-3-906803-86-9

Vera Lehndorff, Holger Trülzsch: ‹ The Seen and the Unseen ›

Lehndorff & Trülzsch’s innovative staged pictures of body paintings blend painting, photography, and performance, exploring gender identities and the female body in art. In this book, they interweave their works from the 1970s to the 1980s, facsimile publications, and essays.

2023

Aldo Schmid: ‹ Notebooks 2005–2018 ›

‹ Notebooks 2005–2018 › is a collection of ten facsimile Moleskine notebooks exploring abandoned factories, grotesque of cials, postcard idylls, codes of modernity, memory, and evocative press photos. Each one has its own style, using felt pens, pencils, markers, and watercolors.

Cary Loren: ‹ Polaroids ›

Loren’s ‹ Polaroids › interweaves 1970s Detroit snapshots with collage assemblages. Manipulating emulsion, he creates painterly pictures blending personal, mythological, and pop elements. Loren reinterprets Dante’s Inferno with a backdrop of cupcakes and hearts—altars of memento mori.

Cameron Jamie (ed.)

Macao is the new gambling capital where money, luxury, and smooth eclectic surfaces reign. This former Portuguese colony became a Chinese special economic zone, booming after ending its gambling monopoly. Lutz’s photos scan this sanitized casino simulacrum, revealing its rst cracks.

Christian Lutz: ‹ The Pearl River ›

Nicolas Frey: ‹ Monsters in Suits ›

It stares with bloodshot eyes, tentacles juddering. Another’s thin membrane shows its brain bulging. Reptilian faces, canine heads, beaks, or teeth sticking out. Warts, cyclops eyes, and impish grins abound. ‹ Monsters in Suits › caricatures leaders as grotesque monsters in suits.

Von Wolff (1893–1974) grew up in Lucerne, plagued by epilepsy and tuberculosis. Photography integrated her into her family. Her photos reveal her surroundings, tenderness, and compositional eye. Her great-grandniece, Mimi von Moos, selected 1,500 photos and wrote about them. Mimi von Moos: ‹ Die Verwandte: Aus dem fotogra schen Nachlass der Anne-Marie von Wolff ›

Design: Krispin

Mimi von Moos (ed.)

Mimi von Moos, Tine Melzer

Design: DIY (Philippe Cuendet & Ivan Liechti)

Softcover | 210 pages | 100 images | 30.5 × 24.4cm

Since 2008, Dudouit has been documenting sociopolitical changes in the Sahelo-Saharan region. He shows nomads struggling in unsafe areas, worsened by abductions. Though blamed on terrorism, the realpolitik issues are underdevelopment, poverty, and state failure.

Philippe Dudouit: ‹ The Dynamics of Dust › (English edn)

Texts: Philippe Dudouit, Muriel Jost

‹ Re-visions ›

In 1975, Resnick had a car accident in Manhattan, which inspired her 1978 book, ‹ Re-visions ›: staged photos and text about female adolescence, praised by Warhol and Ginsberg.

Lydia Lunch on this second edition: « A sweet twist predicting the delicious perversion of a budding adolescence. »

Marcia Resnick:

Design: Conny Purtill, Stéphane De Groef | Hardcover

Texts: Sophie Dars &

244 pages | 162 images | 26 × 19 cm |

Menon, Patricia Falguières, Morad Montazami, Carrie Pilto

Pierre Leguillon: ‹ The Museum of Mistakes ›

This book features works from the Musée des Erreurs, including postcards, posters, fabric, ceramics, and drawings. These low- artifacts defy authority in shared visual culture, subverting conventional interpretations and humorously challenging museum norms.

Carlo

To accidentally fall on a blade thirteen times is a sardonic way of saying: to get stabbed. Barabancea portrays the resilience of the Roma: beggars, crooks, and buskers in Romania and Moldova. He interacts with his subjects, depicting moments of raw poignancy without exploiting them.

Mihai Barabancea: ‹ Falling on Blades ›

Manon writes: « A documentary and biography were planned but called off. » Her 2005 notes, now ‹ Federn, › offer a diary-like narrative of her life and art. With humor and re ection, she explores daily life, artistic self-portrayals, and poetic observations on aging and transience.

‹ Texte 4 › is another pictureless book by Beni Bischof, printed in standard pocket size. It presents his collection of headlines, slogans, emails, jokes, absurd comments, and off-the-wall remarks. Bischof’s text archives are a rich trove of inspiration for his pictures and titles.

Beni Bischof: ‹ Texte 4 ›

Design: DIY (Philippe Cuendet & Ivan Liechti)

Philippe Dudouit: ‹ The Dynamics of Dust › (French edn)

Texts: Philippe Dudouit, Muriel Jost

‹ Children › shows future writers, geniuses, and infamous people from different eras. As we leaf through, we start recognizing familiar faces: a sleepy Jimi Hendrix, a young Angela Merkel, or a dapper Pope Francis. These faces remind us that destiny isn’t written on a child’s face. Olivier Suter: ‹ Children ›

Design: Giliane Cachin

Texts: Roger Eberhard, Henk van Houtum

Roger Eberhard: ‹ Human Territoriality ›

Borders separate sides, de ning here and there, providing a sense of safety. Despite their changeability, people take pride in them. ‹ Human Territoriality › features Eberhard’s photos of former borders, showing how they shift or vanish over time, revealing their instability.

About 7,500 years ago, Central Europeans began metabolizing milk as adults, leading to dairy farming. ‹ Via Lactea › documents Alpine farmers and cattle from 2015 to 2019, capturing the animal–human relationship amidst the technological shifts in modern agriculture.

Al o Tommasini: ‹ Via Lactea ›

This artist’s book features huber.huber’s photographs in double-page spreads. The compositions form ascending and descending series, creating a tapestry of visual dissonance.

Brief texts in seven languages provide clues, and a comprehensive index encapsulates the artists’ visual cosmos.

Mirjam Fischer (ed.)

‹ Everybody’s Atatürk › is a visual journey through contemporary Turkey. Dal traveled widely, capturing Atatürk’s presence in everyday life. Her photos depict Atatürk’s inuence in shops, schools, and public spaces, re ecting his lasting impact and Turkey’s modern, cosmopolitan spirit. Mine Dal: ‹ Everybody’s Atatürk ›

Bonbon Softcover | 652 pages | 364 images | 26 × 19.5 cm

Design:

Texts: Altan Öymen, Zülfü Livaneli

Brian Paul Lamotte

The book’s title reveals its protagonist: Kathleen McCain Engman has posed for her son Charlie since 2009. ‹ MOM › shows a familiar face we never fully know. What started casually became an intense collaboration, raising questions about familiarity, roles, vulnerability, control, and the act of seeing.

Charlie Engman: ‹ MOM ›

Design:

Texts: Rachel Cusk, Miranda

Bice Curiger, Stefan Zweifel: ‹ Ausbruch & Rausch: Frauen Kunst Punk 1975–1980 ›

Seminal shows at Zürich’s Strauhof: ‹ Frauen sehen Frauen › in 1975 featured a feminist collective, while ‹ Saus & Braus › in 1980 was on art and punk. Both drew crowds, sparked controversy, and launched Curiger’s career. This book on both shows includes photos, interviews, and essays.

Design: Studio Marie Lusa | Hardcover | 360 pages 160 images | 29.7 × 21 cm | Bice Curiger, Stefan Zweifel (eds)

Texts: Ronnie Amsler, Silvio R. Baviera, et al.

Design: Studio Krispin Heé

Texts: Jimena

344 images | 33 × 24 cm | Mara Züst (ed.) |

Verena Kuni, Peter Mettler, Sarina Scheidegger

Andreas Züst: ‹ Pursuit of Wonders ›

Züst (1947–2000) noted the weather daily as a child and later studied glaciology in Greenland. His photos show ice in many forms, from icescapes and snow crystals to polar bears and research camps. This book tells the story of ice and Züst’s life, tied by a surreal journey.

Croceri,

Veli & Amos: ‹ This Is Not a Commercial: Billboard /

Billding ›

« You pay the bill, we paint the board. » Veli & Amos painted ads for a fee and placed a commercial billboard (2011–2015) on an artist’s space. Business was good. It became a « billding, » living off and behind a billboard. The book documents and updates their billboard project with ads.

Design: Teo Schifferli

Texts: Esther Eppstein

Christian Marclay Index

Marclay’s compilation of high-contrast black-and-white Xeroxes resembles notebook scribblings, the rst stages of experimentation. This book gathers the source material informing Marclay’s practice in recent years.

This book is a tribute to Binz’s work, a selection from a great many paintings, especially portraits, and from his sketchbooks. It contains startling, bizarre, sublime works interspersed with literary and biographical texts that engage in an ongoing conversation with the paintings.

‹ Jörg Binz: Zeichner, Maler ›

Manon: ‹ Feathers › (English edn)

Manon writes: « A documentary and biography were planned but called off. » Her 2005 notes, now ‹ Feathers, › offer a diary-like narrative of her life and art. With humor and re ection, she explores daily life, artistic self-portrayals, and poetic observations on aging and transience.

Fredy Meier: ‹ Zürcher Bewegung, Band 32 ›

In 1980, Zürich approved CHF 60 million to renovate its opera house, ignoring youth center funding. On May 30, protestors rioted, sparking a city-wide movement. This reprint of ‹ Zürcher Bewegung, Band 32 › (1981) documents the Opera House Riots with photos and news clippings.

Fredy Meier (ed.) | Artists: Olivia Heussler, Malou Muralt,

Dieter Oswald, Daniel Schäublin, Andi Zai

Pablo

Lutz’s series ‹ Citizens › documents right-wing populists and movements across Europe. Unlike polarized media coverage, his multi-layered photos convey despair through candid portraits of leaders and followers, and scenes from rallies, post-industrial landscapes, and bars.

Christian Lutz: ‹ Citizens ›

« Nsenene, » or bush crickets, are a Ugandan delicacy and a source of income. Ugandans catch them at night in an eerie atmosphere, as captured by Sibilioni. Their protein is seen as a potential solution to hunger, but deforestation and climate change threaten their existence.

Michele Sibiloni: ‹ Nsenene ›

Taiyo Onorato & Nico Krebs: ‹ FUTURE MEMORIES ›

‹ FUTURE › is a two-part publication. The rst part, ‹ FUTURE MEMORIES, › explores changing views of the future and their impact on our perception and how we face changes. Using analog photography and digital laser technology, the artists create a sci- visual world.

‹ PRIMAL › features over 120 close-ups of Zürich advertising posters by Anna Stüdeli. Stüdeli re ects on the surfaces of Western advertising and its visual tropes through an exploration of the ways images are produced, reproduced, and distributed.

Anna Stüdeli: ‹ PRIMAL ›

Design: Andreas Schneider

Texts: Makoto Fujiwara

Fujiwara: ‹ Stone and Makoto ›

Makoto Fujiwara, a Japanese sculptor, worked in Europe, far from his origins in a Japanese temple. This posthumous book documents his stonemasonry and quest to understand the world through stone. It includes stories and insights, revealing his iterative process and collaborations.

Makoto

Dan Mitchell: ‹ Pocket Guide: Dan Mitchell Posters ›

This book brings together Dan Mitchell’s complete posters and yers. 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 ascerbic commentary on everyday occurrences.

| €

Design: Studio Krispin

Yana Wernicke, Jonas Feige (eds)

164 images | 26.6 × 18.5 cm

Texts: Jonas Feige, Yana Wernicke, Georg August Zenker, et al.

In 1889, botanist Zenker led the Jaunde station in Kamerun. Dismissed for polygamy, he returned to Bipindi, settling with his family. He collected specimens for German museums while opposing some colonial practices. Wernicke and Feige documented his life and descendants in Cameroon.

Yana Wernicke, Jonas Feige: ‹ Zenker ›

Lois Hechenblaikner, Andrea Kühbacher, Rolf Zollinger: ‹ Keine Ostergrüsse mehr! Die geheime Gästekartei des Grand Hotel Waldhaus in Vulpera ›

« No more Easter greetings! » read some le cards on guests at the Grand Hotel Waldhaus in Vulpera, where staff noted their wealthy patrons’ behavior. Despite its Swiss Alpine setting, the hotel wasn’t immune to WWII tensions. The hotel burned down in 1989, but 20,000 guest cards were salvaged.

Die geheime Gästekartei des Grand Hotel Waldhaus in Vulpera

Die Gästekartei des

Design: Claudio Barandun

H. R. Giger: ‹ 5—Poltergeist II: Drawings 1983–1985 ›

Giger (1940–2014), known for ‹ Alien, › designed all the ghosts for ‹ Poltergeist II. › Due to misunderstandings and budget issues, his intricate sketches became cheap-looking monsters on lm. This book is a facsimile of Giger’s sketchbook with 135 drawings and letters to director Brian Gibson.

Design: Marietta Eugster | Hardcover | 200 pages

174 images | 26 × 20.5 cm | Texts:

Andreas Dobler: ‹ ST. ELSEWHERE › CHF 68.00 | € 68.00

‹ ST. ELSEWHERE, › Andreas Dobler’s third artist’s book, shows his diverse universe: visual poems, paintings, drawings, collages, texts and objets d’art. It reveals his creative process and playful narratives inspired by an imagined Academy of Happiness.

ISBN: 978-3-907236-21-5

Andreas Dobler, Birgit Kempker, Kevin Muster, Olivier Petignat, Oliver Ross, et al.

Pathé’O, Flurina Rothenberger, Hammer, Catherine Morand (eds) | Texts: Anne Grosﬁlley et al.

Pathé’O, Flurina Rothenberger, Hammer, Catherine Morand: ‹ Pathé’O › (English edn) ISBN: 978-3-907236-23-9

Pathé’O, from Burkina Faso, is an African fashion icon. Known beyond Côte d’Ivoire, his designs and sustainability focus have in uenced fashion for 30 years and led to a Dior collaboration. Inspired by Sankara and dressing Mandela, he promotes local pride. This book traces his journey.

Pathé’O, Flurina Rothenberger, Hammer, Catherine Morand: ‹ Pathé’O › (French edn)

Design: Hammer | Softcover | 474 pages | 360 images 28 × 21 cm |

Pathé’O, Flurina Rothenberger, Hammer, Catherine Morand (eds) | Texts: Anne Grosﬁlley et al.

ISBN: 978-3-907236-24-6

Alleyne paints jazz musicians, family, and icons like Félix Trinidad, Gertrude Morgan, and The Notorious B.I.G. His collages use everyday items, re ecting his belief in music’s power. This book collects his portraits, series on homelessness and loss, and snapshots and anecdotes.

Armando Alleyne: ‹ A Few of My Favorites ›

Philipp Mueller: ‹ 120 bpm ›

120 is the average beats per minute of a club track. This book chronicles techno’s rise in Switzerland, impacting nightlife, clubs, and electronic dance music. Mueller shot Zürich’s 1990s raves and parties. The photos are interleaved with rave magazine clippings and ravers’ accounts.

In each painting stands a gure, eerily still, sometimes menacing. ‹ Heroes and Ghosts › is a series of oil-on-canvas paintings by Gasser. These gures, from pop culture to esoterica, are removed from their contexts and frozen in mid-action, re ecting societal fears and tensions. Mathis Gasser: ‹ Heroes and Ghosts ›

Kübler left her conservative milieu to study acting and toured with Circus Knie. In 1969, she and her husband ran Galerie Maeght in Zürich. After his death, she ran it alone, marking the city’s cultural life. This book includes essays, interviews, and photos from her maverick life.

Elisabeth Kübler: ‹ Vom Leben einer Unangepassten ›

« Art is my oxygen, » says Jacqueline Burckhardt. She has been an art restorer, historian, curator, and lecturer. This book features a conversation with Juri Steiner, exploring her diverse roles in art. It includes essays and artist's inserts by artists including Laurie Anderson and Pipilotti Rist.

Jacqueline Burckhardt: ‹ La mia commedia dell’arte ›

Theres Abbt, Mirjam Fischer (eds)

Texts: Jacqueline Burckhardt, Juri Steiner

Nocturnal rituals, feathered buttplugs, queer zines, tartan paintings—Bronson’s recent work is uni ed in this book. After his General Idea partners’ deaths, he forged a new identity. Covering exhibitions from 2013–2018, it includes essays, interviews, and artist contributions.

AA Bronson: ‹ AA Bronson’s House of Shame ›

31.4 × 24.5 cm

Texts: Conversation between Kathleen Bühler, Jacqueline Burckhardt, Finn Canonica, Klodin Erb, et al.

Klodin Erb: ‹ Orlando › ISBN: 978-3-907236-32-1

Erb’s ‹ Orlando › series, inspired by Virginia Woolf, features nearly 200 portraits. The book showcases this study in portraiture and includes a conversation on identity, gender, and role models recorded at a performance-art dinner, which runs through the book and ties it all together.

Won Rhee: ‹ Solitudes of Human Places ›

The human subjects of Jong Won Rhee’s photographs are, for the most part, turning away or turned in upon themselves. Rhee’s photos reveal eeting emotions and depict South Korea’s fringes, focusing on solitude and the confrontation of loneliness.

Jong

Sierra’s nine-month painting of jumbo jets re ects his patience and dedication to his subjects. He also creates smaller works, ranging from the seemingly mundane to the fantastical. Sierra’s exploration of contemporary gurative painting blends precision, humor, and the surreal. Francisco Sierra: ‹ Lunar Invasion ›

Boris Blank / Dieter Meier: ‹ Oh Yeah / Yello 40 ›

Yello began making music history over 40 years ago, from NYC’s The Roxy to hits like « Oh Yeah » and « The Race. » ‹ Oh Yeah / Yello 40 › celebrates their journey with Polaroids, posters, fanzines, and sketches, re ecting the playful postpunk zeitgeist and Dada’s legacy.

Design: Teo Schifferli

Softcover | 168 pages | 72 images | 18 × 14 cm

Marc Jancou (ed.) | Texts: Dieter Schwarz

ISBN: 978-3-907236-38-3

Trix + Robert Haussmann: ‹ Ein Leben mit Kunst und Künstler:innen / A Life with Art and Artists ›

Trix + Robert (1931–2021) Haussmann, renowned since the 60s for their design and interiors, showcase their evolving spaces lled with art and objects. This book highlights their active role in the Swiss art scene and explores their unique art collection and playful use of mirrors.

Josef Herzog: ‹ Untitled, 1964–1998 ›

Josef Herzog (1939–1998) started his work in 1964 with surreal watercolors and complex ink drawings. From 1975, he focused on pure linear design across various mediums. This monograph, tied to the 2022 Kunstmuseum Lucerne retrospective, provides a current look at this 1970s work.

Design: A.C. Kupper Softcover | 300 pages | 250 images | 32 × 23.5 cm

Texts: Fanni Fetzer, Beni Muhl, Linda Schädler, Beat Wismer

Design: Teo Schifferli

Texts: Sadie Plant, Andreas Selg

In the 80s, Groebel built a three-axis painting machine from electronic waste and used dish antennas to capture distant signals. His machine paintings of TV stills explore technoculture and mass media. This book offers the rst comprehensive look at these 1989–2001 paintings.

Matthias Groebel: ‹ Painted Faces ›

Koehli: ‹ WHY

Mad Dog Vachon, Tarzan Tyler, and Rusher Kimura were AWA legends whose bouts thrilled crowds. In 1969, nineyear-old Darius Koehli, newly arrived in Omaha, photographed their wrestling spectacle with a Kodak Instamatic. This book shows his snapshots of early pro wrestling.

Brunner: ‹ Magni cent Obsessions Saved My Life ›

Film curator and artist Brunner’s visual autobiography intertwines personal history with Hollywood classics, art, and literature, featuring his writing, lm stills, and art reproductions. The book explores love, loss, and art’s impact on life. With an afterword by John Waters.

Matthias

Texts: Matthias Brunner

As a child, summer vacations began with arancini on the ferry to Sicily. Captivated by the unrealized bridge project since Mussolini’s era, Micciché photographed the coastline in 2005. ‹ NO PONTE › re ects on the region’s anticipation and daily lives, exploring how absence affects us.

Giuseppe Micciché: ‹ NO PONTE ›

Texts: Giuseppe Micciché

Design: Manu Beffa

Softcover | 303 pages | 1300 images | 33 × 24 cm

Matthias Uhlmann (ed.) |

Texts: Matthias Uhlmann 2022

ISBN: 978-3-907236-44-4

Matthias Uhlmann: ‹ Sonne, Meer und nackte Menschen. Die Nudisten lme des Schweizers Werner Kunz ›

Werner Kunz’s 1950s naturist lms portrayed nudists in daily life, pushing boundaries. Banned in some places but acclaimed elsewhere, his work even had a NY run. Matthias Uhlmann’s book explores Kunz’s lms, with summaries, stills, and interviews.

Julia Schallberger, André Grab, Christoph Kappeler: ‹ Walter Grab (1927–1989). Werkkatalog ›

Known for his surreal scenes and stage-like settings, Grab, in uenced by the Parisian Surrealists, gained acclaim in Switzerland and Germany, and represented Switzerland at the 1965 São Paulo Biennial. This catalogue provides a comprehensive overview of his work.

Design: Akila Seshasayee, David Keshavjee, Maximage

Softcover | 188 pages | 126 images | 30.5 × 20.5 cm

62.00 | € 62.00

Texts: Gauri Gill, Yuvraj Bhagvan Kadu 2022

Gauri Gill: ‹ Acts of Appearance ›

ISBN: 978-3-907236-46-8

‹ Acts of Appearance › documents Adivasi papier-mâché artists from Palghar, Maharashtra, known for their Bohada masks. Since 2015, Gill’s collaborator-subjects have created new masks for daily and dreamlike scenarios, capturing both symbolic and everyday moments in their community.

Design: David Keshavjee, Maximage

Hardcover | 372 pages | 302 images | 29 × 21 cm

Texts: Gauri Gill, Rajesh Chaitya Vangad

‹ Fields of Sight, › a collaboration between Gill and Warli artist Rajesh Vangad, started in 2013 in Ganjad, Maharashtra. Gill’s photos, combined with Vangad’s drawings, create a new visual language that challenges conventional perceptions, merging photography with mythical narratives.

ISBN: 978-3-907236-47-5

Gauri Gill, Rajesh Chaitya Vangad: ‹ Fields of Sight ›

Texts: Emanuel Halpern

Emanuel Halpern: ‹ Paradoxer Schattenboxer ›

Halpern’s graphic novel ‹ Paradoxer Schattenboxer › blends dystopian and utopian retro-sci- in a Swiss-inspired lm noir. With a colorful cast, including gangsters and corrupt of cials, it combines genres and themes, exploring big questions with a whimsical, comic approach.

Claudia Comte: ‹ After Nature. Cacti, Corals and Leaves ›

The book showcases Comte’s exploration of nature through marble cacti, coral sketches, and leaf renderings, alongside neon sculptures and urgent climate warnings in newspapers. It examines our environmental impact and the endangered state of biomes like coral reefs.

ISBN: 978-3-907236-53-6

Design:

25 × 19 cm | David Jacob Kramer (ed.)

Texts: Rembert Browne , Melania Gazzotti 2023

David Jacob Kramer: ‹ Heads Together: Weed and the Underground Press Syndicate 1965–1973 ›

The youth uprising known as The Sixties was fueled by a publishing boom. The Underground Press Syndicate (UPS) grew from 5 to 500 papers worldwide, with weed as a symbol and focus. ‹ Heads Together › features its weed art and contraband grow guides, re ecting the era’s activism.

Design: Jonas Voegeli/Kerstin Landis | Hardcover

344 pages | 404 images | 24 × 17 cm | Thomas Haemmerli (ed.) | Texts: Yvonne Eisenring, Dominique Feusi, André,

The Olé Olé Bar in Zürich, a 1966 landmark, caters to the thirsty, lonely, and festive. Regulars share stories, and the Barbie Book diary details nightly events. Die Olé Olé Bar is richly illustrated, documenting Zürich’s nightlife and its urban transformation.

Thomas Haemmerli: ‹ Die Olé Olé Bar ›

Design: Claudio Barandun

Softcover | 96 pages | 64 images | 28 × 22 cm

Texts: Ingo Niermann

Taiyo Onorato & Nico Krebs: ‹ WATER COLUMN › ISBN: 978-3-907236-56-7

‹ FUTURE › is a two-part publication. The second book, ‹ WATER COLUMN, › uses cutting-edge photographic tools and inventions to explore a realm that directly surrounds us yet is as distant and alien as only the vastness of space could be: the world beneath the water’s surface.

2023

Faure: ‹ The Order of Things ›

‹ The Order of Things › features around a hundred analog photos of gardens in Valais and Romandy. Faure examines privacy and control through images of plants and fences, reflecting Swiss suburban changes and homeowners’ meticulous desire to shape their surroundings.

Nicolas

Karen Kilimnik: ‹ Early Drawings 1976–1998 ›

Kilimnik’s ‹ Early Drawings 1976–1998, › a prequel to ‹ Drawings › (1997), presents 130 unpublished works. These pastel and ink drawings, in uenced by Romanticism, explore mythology, femininity, history, and ction, drawing on sources from popular culture to fairy tales.

What’s exciting about the unknown or covered-up things? In our digital age, we yearn for mysteries to spark re ection. KCBR reinvents graf ti books with wit. Their ephemeral pieces, shot before being covered up, are stowed on a secret hard disk and now appear in this book for the rst time.

‹ KCBR ›

Texts: Tim Frey, Paxslim 2023

‹ Noyan 2015–2022 › is Zürich-based Noah Noyan Wenzinger’s debut photo book, capturing his coming of age with a pointand-shoot camera. Featuring personal snapshots and nightlife, it’s in uenced by cinema, music, and photographers like Nan Goldin. Includes 16 drawings by Noah Stark.

Noah Noyan Wenzinger, Noah Stark aka Clutterstew:

Walter Pfeiffer: ‹ Chez Walti ›

Design: Marietta Eugster

Hardcover | 418 pages | 322 images | 30 × 23 cm

‹ Chez Walti › revisits Walter Pfeiffer’s evolution from his 1980–2022 work featured in ‹ Welcome Aboard › (2001). It tracks Pfeiffer’s transformation from an artist’s artist to a global icon, capturing his distinctive blend of beauty and wit in fashion, still lifes, and landscapes.

ISBN: 978-3-907236-63-5

Texts: Martin Jaeggi

Black Ark Studios, a cradle of dub music, revealed Lee Scratch Perry’s visual art—evolving murals and eclectic assemblages of records, objects, books, and clippings. This book documents Perry’s legacy with thematic essays, archival footage, and photos taken before the studio’s recent sale.

Scratch Perry: Black Ark ›

Yelena Yemchuk: ‹ Malanka ›

Yemchuk’s photo book ‹ Malanka › explores a pre-Christian Ukrainian New Year’s ritual through surreal, feminine imagery. Documented in Crasna and accompanied by a short lm and essay, the book blends ction with reality and mythology with modernity.

Yumna Al-Arashi’s debut artist’s book ‹ Aisha › is a tribute to her great-grandmother and the rich heritage of MENA women. Through powerful, detailed photos and re ective writing, Al-Arashi explores matriarchal traditions, transnational identity, and the beauty of Northern African women.

Yumna Al-Arashi: ‹ Aisha ›

Texts:

Yumna Al-Arashi

Filmmaker Iwan Schumacher collects candid photos of couples unaware of the camera. Partnering with Peter Pfrunder of the Swiss Foundation for Photography, they created ‹ Paare / Couples, › a book of evocative images showcasing diverse couples and sparking imaginative narratives.

Iwan Schumacher, Peter Pfrunder: ‹ Paare / Couples ›

Iwan Schumacher, Peter Pfrunder (eds)

Texts: Iwan

Schumacher, Peter Pfrunder

Design: Studio Krispin Heé

Hardcover | 281 pages | 80 images | 17 × 12 cm

Texts: Asif Kapadia, Andrés Montenegro, Mämä Sykora 2024

David Diehl: ‹ ICONS ›

ISBN: 978-3-907236-70-3

David Diehl’s ‹ ICONS › (2013–2020) explores pop culture’s para-religious role through over 70 haloed portraits of football legends. In a twist of reality, Diehl’s depiction of Diego Maradona, once tongue-in-cheek, has become a revered icon in Naples.

Jacqueline Burckhardt: ‹ My Commedia dell’Arte › (English edn)

« Art is my oxygen, » says Jacqueline Burckhardt. This expanded English edition, published in a handy paperback format, explores her roles as a restorer, art historian, and curator. It includes a conversation, essays and artist’s inserts by Laurie Anderson and Pipilotti Rist.

Design: Martina Brassel | Softcover | 416 pages

333 images | 19 × 14 cm | Theres

Abbt, Mirjam Fischer (eds)

Texts: Jacqueline Burckhardt, Juri Steiner

27 × 20 cm

Curiger, Sandro Fischli, Emanuel Halpern, Peter Preissle

Max Wiederkehr: ‹ Konkret on Acid ›

Wiederkehr’s art, shaped by Zürich’s concrete and pop elements, blends highbrow with low. Shunning the mainstream, he embraced subculture, merging Zürich’s fantastical and concrete schools. Recent discoveries highlight his psychedelically unique and twisted modernist approach.

Anton Bruhin: ‹ Dem Neuen treu. Neujahrshefte / True to the New. New Year’s Zines 2007–2025 ›

Bruhin has enjoyed creating A6 zines since childhood. « Health, happiness, and money in the New Year » were Bruhin’s 2007 wishes in his rst New Year’s greetings.

Spanning 24 to 32 pages, they showcase his work through a playful mix of linguistic and visual motifs and tropes.

Design: Marietta Eugster

Design: Stefan Alsen

220 pages | 24 × 31 cm

Texts: Pier Geering

Pier Geering: ‹ El Presidente: Confessions d’un artiste B ›

ISBN: 978-3-907236-75-8

Geering, raised in Barcelona and São Paulo, blends formal aesthetics with bizarre symbolism, shaped by his roles as butler, bouncer, talent scout, lifeguard, manager, and artist.

Since the 1990s, Lutz, as Dr. Lüdi, has made « black sheets »— white-on-black drawings blending whimsy and irony, spanning doodles, caricatures, dreamscapes, and psychedelic scenes.

Andres Lutz: ‹ Dr. Lüdis schwarze Blätter ›

Design: Latoya Haguinatha Breu, Kim Coussée | 248 pages

ISBN: 978-3-907236-77-2

141 images | 20 × 30 cm |

Texts: Jean-Vincent Simonet, Hanne Lippard, Marc Asekhame, Roman Selim Khereddine, et al.

Merlin Modulaw: ‹ Times Ahead (Were Once an Optimistic Place) ›

In a connected world, technology reshapes life, blending global unity with a longing for past local identity and ties. ‹ Times Ahead › features twelve artists re ecting on this shift.

2025

Texts: Maï Lucas

Maï Lucas: ‹ All Eyes on Me ›

‹ All Eyes on Me › by Paris photographer Maï Lucas documents 1990–2013 hip-hop street culture in Afro-American and Hispanic New York, as young people of color rejected prescribed codes.

Design: Martin Steiner

Hardcover | 200 pages | 90 images | 22 × 30 cm

Texts: Michael Hagner, Jörg Christian Tonn

ISBN: 978-3-907236-79-6

Michael Tummings: ‹ Human Insights ›

Tummings offers new perspectives on medicine and our nature—an intimate look at us « under repair. » It’s a visual study of our bodies in an era of implants and arti cial organs.

‹ fei zeig › is archival material from record dealer Stauffer, featuring performances, family photos with his pioneering artist and educator parents, diary entries, and unpublished works. Veit Stauffer: ‹ feifi zeig ›

Design: Alain Kupper | Softcover | 350 pages

ISBN: 978-3-907236-81-9

226 images | 22 × 29.5 cm |

Texts: Gabriel Katzenstein, Allen Frame, Arianna Gellini, Linda Jensen, Raphael Tandler

Dieter Hall: ‹ A Naked Chair ›

Hall has painted for over forty years: friends, chairs, landscapes, and still lifes. He focuses on existence and people’s primary actions—no conceptual art, critique, or theory.

EPF ESSAYS

Design: Marietta Eugster

Softcover | 200 pages | 15 × 9.2 cm

Peter Schneider (ed.) | Texts: Gil Eyal

EPF ESSAYS Band 1

Gil Eyal: ‹ Die Krise der Expertise ›

Der Begriff « Expert:in » erlebte einen Wandel von Wert- zu Geringschätzung, begleitet von Misstrauen im Rahmen von Brexit, Klimawandel und Impfungen. Eyal untersucht das Paradoxon aus Abhängigkeit und Skepsis sowie die Politisierung der Wissenschaft und den Vertrauensverlust.

EPF ESSAYS Band 2

Elizabeth A. Wilson: ‹ Eingeweide, Pillen, Feminismus ›

In diesem Band fordert Wilson Feminst:innen auf, ihre Ablehnung gegenüber biologischen und pharmazeutischen Daten zu überdenken. Sie untersucht, wie solche Daten der feministischen Theorie nutzen können und betont die zentrale Rolle von Aggression in der feministischen Politik.

Softcover | 451 pages | 15 × 9.2 cm

Design: Marietta Eugster

Peter Schneider (ed.) |

Texts: Elizabeth A. Wilson

Design: Marietta Eugster

Softcover | 240 pages | 18 images | 15 × 9.2 cm

Peter Schneider (ed.) | Texts: Alexandra Papadopoulos

EPF ESSAYS Band 3

Alexandra Papadopoulos: ‹ Die Verzauberung des Werts—Blockchain und die Folgen ›

Dieser Band ist eine zugängliche « Brief History » zum Krypto-Boom und dem, was dahinter steckt. Ohne Kryptogra e wäre das Internet ein kleines, offenes Spielfeld ohne Sicherheit. Sie ermöglicht sichere Transaktionen, die für E-Commerce und Kryptowährungen entscheidend sind.

EPF ESSAYS Band 4

Rogers Brubaker: ‹ Trans: Gender und « Race » in einer Zeit unsicherer Identitäten ›

2015, nach Caitlyn Jenners Coming-out als Transgender, wurde Rachel Dolezal, die sich als POC identi zierte, als weiss « geoutet ». Das löste eine Debatte über die Fluidität von Gender und Rasse aus. Brubaker untersucht, wie sich Identitäten von festen zu exiblen Konzepten wandelten.

Design: Marietta Eugster Softcover | 328 pages | 70 images | 15 × 9.2

Texts: Rogers Brubaker

Peter Schneider (ed.) |

ISBN: 978-3-907236-51-2

× 9.2 cm

Texts: Elizabeth A. Wilson

Peter Schneider (ed.) |

Elizabeth A. Wilson: ‹ Psychosomatik ›

Wie tragen naturwissenschaftliche Theorien, zum Verständnis der Verleiblichung in Geistes- und Sozialwissenschaften bei? Wilson zeigt, dass neurologische Theorien nützlich für feministische Körpertheorien sind und Potenzial zur Transformation haben. 2023

EPF ESSAYS Band 6

Ian Hacking: ‹ Die Zähmung des Zufalls ›

Ian Hackings ‹ Die Zähmung des Zufalls › zeigt, wie statistische Muster unser Verständnis von Zufall und Kontrolle prägten. Das Buch verknüpft Philosophie, Naturwissenschaften und soziale Institutionen und wurde als eines der 100 wichtigsten Sachbücher des 20. Jahrhunderts ausgezeichnet.

15 × 9.2 cm | Dana Mahr, Alexandra Papadopoulos, Peter Schneider (eds) | Texts: Agnieszka Graff, Elżbieta Korolczuk

EPF ESSAYS Band 7

Agnieszka Graff, Elżbieta Korolczuk: ‹ Anti-Gender Politik im populistischen Zeitgeist ›

Der Band kartographiert globale Kämpfe um Geschlechtergleichheit und die Mobilisierung gegen die « GenderIdeologie ». Sie zeigt, dass Anti-Gender-Kampagnen seit 2010 Teil des Rechtspopulismus sind, der neoliberale Ängste nutzt, um die liberale Demokratie zu untergraben.

2024

K 10

K 30

GERMANY / AUSTRIA

Edition Patrick Frey

Catalog 2024 / 2025

Concept : Marietta Eugster, David Keshavjee, Andreas Koller

Design: Marietta Eugster, Maximage, Orlando Brunner

Typefaces: LL Home (Lineto)

MX Teletext (Maxitype)

Coordination: Gloria Wismer

Text editing: Andreas Koller

Translation: Eric Rosenkrantz

Proofreading: Jacob Blandy

Print: Graﬁche Veneziane (IT)

Algae Press TM , printed on Armen

Paper with offset Algae ink.

CHF/€ 10.00, free with any order.