When you say all you see is light patterns, you remove all subject matter. There is no difference between me looking at you and me looking at a ladder. They are the same because everything is simply abstract. —Matt Mullican, 2011 This newspaper is published by JRP|Ringier and edited by Clément Dirié. Issue 10, Summer 2016. Printed in 10,000 copies by Ringier Print Adligenswil AG. Not for sale
MADE IN ZURICH, TO BE READ EVERYWHERE Every summer, art amateurs have to make choices: to find a quiet hideaway in which to rest after a hectic year of discoveries, travel, and visual frenzy, somewhere to read all the exciting books that were bought to enjoy during the next period of recuperation—which hopefully include one (or more) of the 40 titles JRP | Ringier has published since summer 2015. Or they can religiously model their summer itinerary on the season’s exhibitions, visiting the usual biennials and the major notto-miss retrospectives, trying to find a connecting flight to avoid going back home before heading to the next stop. This year, Zurich is the city to visit. Maybe you are even reading these lines at the Löwenbräu, the art complex hosting a large part of Manifesta 11. 100 years after the Dada explosion, Zurich will once again offer an art-filled summer. This 10th issue of our newspaper is intended for both kinds of art amateurs— and for all others too. Inside you will find publications linked to Swiss exhibitions happening this summer (notably in Zurich), from Mullican’s catalogue of Rubbings accompanying his show at the Kunstmuseum Winterthur to a selection of books recently published with artists shown in Manifesta. For those who have chosen tranquility, you will discover our distinctive range of volumes: monographs dedicated to young voices as well as art masters (from David Hominal to Franz West); text books (in particular the one dedicated to dance and drawing since 1962); and artists’ books such as those by Shirana Shahbazi and David Maljković. Once again, you will have to make a choice: to decide which one you want to read first. —Clément Dirié, Program Director Including Matt Mullican, Untitled (Behind That Person), 2011
Guillaume Bijl Ian Cheng Eva Kotátková David Maljković Dance & Drawing Richard Tuttle Shirana Shahbazi Franz West
2 Untitled (Subject), 2014
Matt Mullican
Monograph
One of Matt Mullican’s central and most consequential inventions, the so-called “Rubbings,” are a kind of frottages, a technique the artist uses to produce specific pictures. From the beginning of his career, Mullican (b. 1951) looked for pictures that would not be paintings; thus, he used banners, the traditional carriers of signs, posters, and, in 1984, he realized his first “Rubbing.” He used a cardboard plate on which the canvas was placed; by rubbing with an oil stick the cardboard reliefs, forms became visible on the canvas. In this way, Mullican was able to transfer complex representations onto canvas; the result is a picture of something that
HIS WORK, WHICH IS THE PRODUCT OF A DETAILED, NEAR-OBSESSIVE INTROSPECTION, IS DEVISED AS AN ELABORATE ATTEMPT TO DUPLICATE EXTERNALLY THE VAST COMPLEX OF INNER REPRESENTATIONS WHICH ADD UP TO HIS UNDERSTANDING OF THE WORLD HE LIVES IN. —Allan McCollum
is not present, it is a form of copy. The cardboard plates may be used for other works and so the imagery can reappear in different configurations. Each “Rubbing” is a single work and at the same time a reproduction, like a print, part of a sequence which contains picture elements from different sources. Following the “Rubbings” from 1984 to recent times, it becomes evident that they represent the motives and themes the artist worked with over the years.
Untitled (Yellow Generator Room), 1986
Untitled (Subject over Element), 2015
Matt Mullican
This substantial volume presents a catalogue of the “Rubbings” realized by Mullican from 1984 to 2016. It comprises
Untitled (Steamship Cutaway), 1984
The sequence of the “Rubbings” appears therefore like a diary of Mullican’s work.
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ca. 600 works, documented by images and catalogue entries. The book is introduced by Dieter Schwarz, curator of the exhibition Matt Mullican: Nothing Should Exist at the Kunstmuseum Winterthur ( June–October 2016).
Untitled (History over Opera House Surrounded by Signs and Flags), 1987
FOR MULLICAN THE RUBBING MEDIUM IS A COMBINATORY INSTRUMENT THAT FACILITATES BOTH REPRODUCTION AND HARMONIZATION: IN OTHER WORDS, “MODULAR MIX AND MATCH.” —Dieter Schwarz
The Book: Matt Mullican - Rubbings. Catalogue 1984-2016
mullican rubbings caTalOguE 1984–2016
Edited by Dieter Schwarz Author Dieter Schwarz English / German edition June 2016 ISBN 978-3-03764-461-4 Hardcover, 175 x 235 mm 440 pages Images 620 color Published with Kunstmuseum Winterthur CHF 60 / EUR 50 / GBP 38 / US 65
Rozpomnění se na traumatický okamžik dětství. Příběhy či projevy duševní jinakosti. Rituály a znaky kulturní alterity. Kostry podřízené vnitřnímu řádu institucí, odcizující fetiše, solidarita mezi zvířaty, snová práce, zrcadla, pravdivá promluva. Obrazový atlas dívky, která rozřezala knihovnu na části je kniha, která není určena ke čtení, poněvadž obsahuje jen nemnoho slov. Autorka vede promluvu jako pitvu vytěsněných i nalezených obrazů, aniž by mluvila či užívala jazyk. Rozparcelovává tělo, odděluje údy, jež se kříží s domy nebo ptačími křídly. Kostry podřízené vnitřnímu řádu institucí, předloktí pokračující jako podzemní labyrint, ocelový plot vytěsňuje formu žeber. Žádný celek není jednotný, drží ho jen prozatímní a rozporné síly. Různorodost obrazů je znakem konfliktu forem i těl. Konfliktu mezi pouhým životem a normami společnosti či jejími disciplinárními institucemi. 267 koláží Evy Koťátkové v této publikaci vznikalo mezi lety 2013 a 2015 paralelně s antologií textů Institucionální, provozní a organizační řády a vyhlášky z let 1961–1989, která obsahuje mimo jiné interní řád dětského domova, zoologické zahrady, hřbitova, nemocnice, pošty a řadu vyhlášek, jako např. Vyhlášku o hlášení osob, které se zdržují v cizině nezákonně, z roku 1970.
Recollections of the traumatic time of childhood. Stories and manifestations of spiritual otherness. Rituals and symbols of cultural alterity. Skeletons subject to the internal regulations of institutions, alienating fetishes, solidarity among animals, dreamwork, mirrors, truthful discourse. Pictorial Atlas of a Girl Who Cut a Library into Pieces is a book that is not intended to be read and contains but few words. The artist does not speak or use language. Instead, her discourse is like an autopsy of displaced and discovered images. She dissects the body and separates limbs that intersect with buildings or birds’ wings. Skeletons subordinate to the internal regulations of institutions, forearms stretching out like a subterranean labyrinth, a steel fence describing the form of ribs. No whole is unified but all is held together simply by temporary and contradictory forces. The heterogeneity of the images is a sign of conflict between forms and bodies, a conflict between life at its most basic, and the norms of society and its disciplinary institutions.
Divided in two volumes, it deals with her interest in childhood, spiritual and cultural otherness, the lives of animals, and manifestations of conduct and behavior, which she confronts with the norms of disciplinary organizations. The first volume of this publication presents 370 recent drawings and collages, a new body of work that has been compiled from an imaginary schoolbook from the 1980s (when the artist was growing up under the totalitarian Communist regime). The images—which often feature drawn embellishments by the artist— largely consist of children playing games or interacting with various other collaged components, such as anatomical parts, or being manipulated as puppets. Kotátková thus dramatizes relationships between people, ideas, and objects in elaborate psychophysical dramas redolent of the writings of Franz Kafka or Miroslav
The 267 collages by Eva Koťátková in this publication were created between 2013 and 2015 in parallel with the anthology of texts entitled Institutional, Operational and Organisational Rules and Regulations 1961–1989. The anthology includes the internal regulations of a children’s home, zoological garden, cemetery, hospital and post office, as well as many ordinances, such as the Ordinance on the Reporting of Persons Who Remain Abroad Illegally from 1970.
SKELETONS SUBJECT TO THE INTERNAL REGULATIONS OF INSTITUTIONS RITUALS AND SYMBOLS OF CULTURAL ALTERITY STORIES AND MANIFESTATIONS OF SPIRITUAL OTHERNESS RECOLLECTIONS OF THE TRAUMA OF CHILDHOOD
Holub. Interspersed among the collages are installation photographs and related documentation. The second volume, the textual part of the publication, is the outcome of three years of archive research: 22 sets of regulations issued by public institutions in Communist Czechoslovakia gathered together under the title Institutional, Operational, and Organisational Rules and Regulations. 1961–1989. These sources reflect the politics of the authoritarian regime and raise educational and social issues. The anthology includes the internal regulations of a zoological garden, a psychiatric hospital, special-needs schools, house rules, cemeteries, orphanages, and the post office, as well as many ordinances, such as the Ordinance on the Reporting of Persons Who Remain Abroad Illegally from 1970.
The 12th volume in our “Tranzit” series focusing on Central and Eastern European artists, this artist’s book by Eva Kotátková (b. 1982) is her most ambitious publication to date, reflecting her obsession with reshaping and hijacking pre-existing photographic images. The title makes this very clear: Pictorial Atlas of a Girl Who Cut a Library into Pieces.
Eva Kotátková
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Artist's Book
Eva Kotatkova
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KOTÁTKOVÁ’S DISCOURSE IS AN AUTOPSY OF DISPLACED AND DISCOVERED IMAGES. SHE DISSECTS THE BODY AND SEPARATES LIMBS THAT INTERSECT WITH BUILDINGS OR BIRDS’ WINGS. THE HETEROGENEITY OF THE IMAGES IS A SIGN OF CONFLICT BETWEEN BODIES AND FORMS: A CONFLICT BETWEEN BARE LIFE AND THE NORMS OF SOCIETY AND ITS DISCIPLINARY INSTITUTIONS. —Vít Havránek All images: Collages made between 2013 and 2015
The Book: Eva Kotatkova - Pictorial Atlas of a Girl Who Cut a Library into Pieces
Eva Koťátková Pictorial Atlas of a Girl Who Cut a Library into Pieces Obrazový atlas dívky, která rozřezala knihovnu na části
Edited by Vît Havránek, Eva Kotatkova Author Eva Kotatkova English / Czech edition Available ISBN 978-3-03764-361-7 Softcover, 170 x 240 mm 704 pages Images 433 color CHF 42 / EUR 35 / GBP 28 / US 49.95
6 Helena Almeida, Inhabited Drawing, 1975 (Courtesy of Leal Rios Foundation)
Dance & Drawing since 1962
Documents Series
This new volume in our “Documents” series examines the fruitful dialogue between dance and drawing since the early 1960s. Edited by Sarah Burkhalter and Laurence Schmidlin, it includes texts by, among others, Catherine Quéloz, Gabriele Brandstetter, Catherine Wood, and Mark Franko, essays on Trisha Brown, the Judson Dance Theater, Channa Horwitz, and Anne Teresa De Keersmaeker, as well as exclusive interviews with Yvonne Rainer, Robin Rhode, Cindy Van Acker, and Robert Morris.
I TREATED THE BODY AS A CHARGED PSYCHOLOGICAL IDENTITY THAT WAS DIFFERENT IN THE DIFFERENT WORKS. THE DANCES OFFERED THE POSSIBILITY OF EXPLORING IMAGERY AND/AS IDENTITIES NOT AVAILABLE IN THE SCULPTURE. —Robert Morris
Bill T. Jones, Paul Kaiser, and Shelley Eshkar, Ghostcatching, 1999
Partition by Auguste Frederick Ferrère, 1782
Sarah Burkhalter and Laurence Schmidlin (eds.)
The body of the artist—whether a dancer or a visual artist—is thus shared by these practices and has become the instrument of their simultaneous realization. Drawing has indeed collided with dance in opening up three-dimensional space, and integrating surfaces (floor, ceiling, walls) as well as volumes into its process. These encounters are the focus of this volume, a collection of original essays and interviews in which the accounts of theoreticians and practitioners echo each other. It aims to evaluate and discuss the specific interaction of the two media and how their practices have diversified since 1962, namely since the first public performance of the Judson Dance Group in New York. The book follows I Love Thinking on my Feet. Dance and Drawing Since 1962, an international symposium held at the University of Geneva in 2012.
Laetitia Legros, Entre un œil et l’autre, 2008
The Book: Spacescapes - Dance and Drawing since 1962
Sarah Burkhalter & Laurence Schmidlin [eds.]
Spacescapes: Dance & Drawing
Edited by Sarah Burkhalter and Laurence Schmidlin Authors Gabriele Brandstetter, Julie Enckell Julliard, Mark Franko, Magali Le Mens, Nadia Perucic, Catherine Quéloz, Catherine Wood October 2016 ISBN 978-3-03764-469-0 (English) ISBN 978-3-03764-470-6 (French) Softcover, 150 x 210 mm 256 pages Images 30 b/w CHF 27.50 / EUR 20 / GBP 15 / US 29.95
Also available in the Documents series
Dance and drawing are intimately linked to the gesture that performs them. The dancing body creates a figure in space and leaves an impact on site, while the action of the artist sets a point into motion and captures an ephemeral event, which is then reproduced in graphic or visual form. Throughout the 20th century, the performing and visual arts have converged on many occasions. As artists investigated the embodied and energetic value of form, dancers and choreographers experimented with the interfaces between sign and action, annotation and improvisation, a spatial sense of self, and an architectural configuration of movement. The hybridization of dance and drawing accelerated from the middle of the century onward, as performance art introduced innovative practices, and boundaries between disciplines were worn thin, causing interdisciplinary forms to emerge.
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Parachute: The Anthology (1975–2000) [Vol. IV] This fourth title of the Parachute anthology focuses on so-called “traditional and academic media.” They are approached from several perspectives: from new theories of aesthetic production, especially painting, to the expansion of the art world into other artistic territories during the 1980s and 1990s, from the “lessons” of postmodernism to the definition and exhibition challenges caused by the proliferation of installation art. The essays discuss works by artists such as Lothar Baumgarten, Mona Hatoum, Guillermo Kuitca, Louise Lawler, Reinhard Mucha, Jackson Pollock, Robert Ryman, Michael Snow, Sots Art artists, and include two particularly seminal artist’s essays: Dan Graham on Gordon MattaClark, and Jeff Wall on Édouard Manet. Published with Les presses du réel. [ISBN 978-3-03764-418-8]
Exhibiting the Moving Image & Cinema in the Expanded Field Published simultaneously, both volumes offer case studies of “exhibitions,” understood as events whose singularities emerge through the problematics they raise around the formation and redefinition of larger “exhibitionary complexes”: the intention is to sketch alternative archaeologies of film exhibitions, and enrich their histories. In order to define what constitutes a “film exhibition,” Exhibiting the Moving Image investigates the relationships between the “white cube” and the “black box,” focusing mainly on the 1970s, a decade in which film practices and moving images were integrated into museums and art spaces. Cinema in the Expanded Field extends the inquiry into the history, theory and practice of exhibiting artists’ cinema, video, installation, and advertising films by focusing on the domains of performance and of the “expanded arts.” Published with Les presses du réel and ECAL, Lausanne. [ISBN 978-3-03764-388-4] [ISBN 978-3-03764-433-1]
8 Franz West (Courtesy Franz West Privatstiftung, Wien)
I AM AGEING, I AM LAZIER THAN I WAS, AND CONSTANTLY AWARE OF MORE AND MORE MONSTROUS NEWS THROUGH THE MEDIA. I AM SLOWLY BECOMING INDIFFERENT TOWARD IT AND AM TRYING TO MATERIALIZE THE FORETASTE OF THE ELYSIUM THAT AWAITS ME IN MY ART. —Franz West, 2009
Franz West
Max Wechsler
A tribute to the long collaboration between Franz West and Galerie Eva Presenhuber, this volume offers a comprehensive overview of the artist’s oeuvre, assembling extensive documentation and rare archive material on the numerous exhibitions they organized together from 1995 until his death in 2012. It is introduced by art theoretician and friend of the artist, Max Wechsler. at its core and was, accordingly, highpriestly in its manifestation. As a lover and master of wit and irony, this really was not Franz West’s ‘thing’ [ … ] From the late 1980s, international success and personal artistic development melded. Each extended or newly developed form of expression fitted self-evidently into the previously developed idiom and was integrated into the ongoing process. Spaces and cabinets were created within exhibitions, in which the works presented themselves as installations or exhibitions within the exhibition and commented on each other. What Franz West undertook with his exhibitions, something that could almost be defined as interactive, was akin to a deconstruction of the world in the form of the examination of its physical perception while taking the aspect of its psychological implications into account.” —Max Wechsler
Ohne Titel, 2010 (Courtesy Galerie Eva Presenhuber)
Plakatentwurf (Salammbo), 2001 (Courtesy Franz West Privatstiftung, Wien)
“Without doubt, he was an odd bird, a gifted idler, a Vienna man sui generis, and eccentric par excellence. Franz West was surrounded by the art world from an early age. As a schoolboy he hung around the main Viennese cafés and bars frequented by artists, poets, men of letters, and theater people. He was everywhere that mattered, studied the major exhibitions of new art, and, of course, attended the legendary first actions of Viennese Actionism. Although he was impressed by the radical orgiastic stagings of these alternative mystery plays, which usually ended in tumult and chaos, being a mere youth at the time he tended more than anything to be disillusioned by them. Despite the anarchic motivations behind the performances of the artists working with Otto Mühl and Hermann Nitsch, the work appeared suspect to him as, contrary to its vulgar appearance, the ritualized spectacle had a messianic force
Excerpt from the publication
9 Sammler-PassstĂźck, ca. 1979 (Courtesy Galerie Eva Presenhuber) Konsens, 1995 (Courtesy Galerie Eva Presenhuber)
Ohne Titel, 2003 (Courtesy Galerie Eva Presenhuber)
The Book: Franz West - Galerie Eva Presenhuber, 95-15 Edited by Eva Presenhuber Authors Max Wechsler English / German edition June 2016 ISBN: 978-3-03764-427-0 Hardcover, 200 x 300 mm 224 pages Images 135 color / 9 b/w Published with Galerie Eva Presenhuber CHF 50 / EUR 40 / GBP 30 / US 55
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10 Untitled, 2014 (Photograph: Julien Gremaud)
FOR DAVID HOMINAL AND THOSE WHO ACCOMPANY HIM ON THIS ADVENTURE WHICH IS AS BEAUTIFUL AS IT IS DISGUSTING, THERE WILL BE NO GOLDEN AGE, NOR A GREAT EVENING, BUT A HOLE IN WHICH ALL EXCESSES ARE ALLOWED, INCLUDING THOSE OF REGRESSION. —Stéphanie Moisdon
David Hominal
Stéphanie Moisdon
Published on the occasion of his exhibition at the Musée Jenisch Vevey, this first monograph on David Hominal (b. 1976) offers an overview of his practice, underlining his engagement with representation, expression of the Self, and the traditions of art and art history. David Hominal has been one of the most original and vigorous voices of the contemporary art scene. Working primarily with painting—principally in series— he also explores sculpture, drawing, film, printmaking, performance, and installation. His multifaceted work is the offspring of an exceptionally intense relationship with the world. It is a place where images drawn from both personal and everyday sources interact; where disciplines such as dance, music, and the visual arts converge.
“Hominal’s oeuvre stands firm in the middle of the contemporary tumult; it neither reveals nor conceals any hidden part. It stands there, in the entire coarseness of its appearance. No tongue-incheek humor, no false flooring, illusion, or trickery. His painting expresses only what it shows, diverting the endeavors, as tiring as they are many, to clarify and reveal [ ... ]. In his work there is a constant oscillation between homage and dismantling, between too much and too little, between elimination (of sources,
Sunflowers 4, 2010 (Photograph: Charles Duprat)
Excerpt from the publication
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the history of art, Sufi poetry, slam, dance, and automatic writing, it is always for good and bad reasons. He uses them, some against and with others, like so many viewpoints, vanishing points on the world, never as specific value systems. Far from claiming a single heritage or education of one kind or another, Hominal’s approach is above all physical and chemical.” —Stéphanie Moisdon
Ni le soleil ni la mort…, 2011 (Photo: Fabrice Seixas)
of contexts) and appropriation (of sensations, of intensities), from which bare forms arise [ ... ] When David Hominal continues, in his own way, various traditions—that of the Romantic landscape of Caspar David Friedrich, the fantastic expressionism of James Ensor, when he thinks of Willem de Kooning and his still lifes—it is essentially in terms of their experimental aspects. Although he ventures into different areas such as
Exhibition view, kamel mennour, Paris, 2015 (Photo: Fabrice Seixas)
DAVID HOMINAL IS FIRST AND FOREMOST A PAINTER. HE DEVOTES HIMSELF TO IT UNRESERVEDLY. HIS OEUVRE IS MARKED BY A CYCLICAL ECONOMY, FROM REPETITION TO MULTIPLICATION, FROM REPRODUCTION TO CROSSREFERENCING BETWEEN MEDIA. —Laurence Schmidlin
The Book: David Hominal Edited by Laurence Schmidlin Authors Stéphanie Moisdon Laurence Schmidlin Available ISBN 978-3-03764-463-8 (English) ISBN 978-3-03764-464-5 (French) Hardcover, 205 x 286 mm 64 pages Images 50 color Published with Musée Jenisch, Vevey CHF 32 / EUR 25 / GBP 19 / US 35 UNTITLED , 2015 L’ALMANACH 14 , Le Consortium, Dijon, 2014 UNTITLED , 2015
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Shirana Shahbazi
Artist's Book
Shirana Shahbazi’s latest photo-book project from October 2015 is a subjective road movie captured from a car driving through the Iranian capital at night. Tehran North offers a black and white kaleidoscopic vision of Tehran’s urban landscape by a Tehran native born in 1974, who arrived in Europe at the age of 11. SHIRANA SHAHBAZI’S WORK CANNOT BE PINNED DOWN TO ANY SPECIFIC VISUAL CONTEXT, GENRE, TECHNIQUE, OR AESTHETICS. HER PATH FROM DOCUMENTARY TO SEEMINGLY ABSTRACT IMAGES AND STUDIO PHOTOGRAPHY REVOLVES AROUND A COHERENT ENGAGEMENT WITH WHAT MIGHT BE CALLED AN EQUALITY OF APPEARANCE. —Reinhard Braun
“Tehran North is a veritable film noir, a road movie at night; it traverses a megacity that, although introduced by the title of the publication as remote and unknown, especially as it locates itself in a particular area of the Iranian capital city, seems to be as common as others. Suburbs, illuminated shops, highways, street signs, shrubbery, facades, luminous billboards wiped of information vanish, either into darkness or into bright light, slipping away from any decisive representation. These are fragile encounters, perception shaped by uncertainty, uncanny encounters that clash with everyday banality. All exoticism is suppressed, as any sense of mystery is undermined. Both an inventory and a construction, at once highly artificial and generic, Tehran North ends with almost unidentifiable forms and almost slides into darkness. But this is not a statement about an end; it is an introduction to all the other possible images to follow, perhaps seemingly inappropriate, but nonetheless coherent in refusing the impropriety of any image to join in.
All images: Tehran North, 2005
Shirana Shahbazi’s work cannot be pinned down to any specific visual context, genre, technique, or aesthetics. Her path from documentary to seemingly abstract images and studio photography revolves around a coherent engagement with what might be called an equality of appearance. Within her body of work she demonstrates exemplarily how it is possible to bridge apparent contradictions, leaps, and fissures within ostensibly disparate regimes of photography thanks to a montage that constellates photographs that might otherwise not be associated because such a combination might not seem appropriate. Avoiding an understanding of photography driven by separating one image in contrast to another Shirana Shahbazi seems instead to constantly track one picture within another, inscribing the one image into the other, exploring the gaps in the one in relation to the presence of the other.” —Reinhard Braun, Camera Austria editor
Text by Reinhard Braun
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Shirana Shahbazi Monstera Shirana Shahbazi’s oeuvre reflects an ongoing interest in the relationship between images, their surfaces, and their objecthood, as well as between the various artistic media and their apparently iconic qualities. Her pictures range from color field abstractions to ephemeral holiday snapshots. This publication showcases Shahbazi’s recent work, which has been taken to a compelling new level of abstraction, culminating in the free disposition of colors and geometric forms. Shahbazi stages these geometrical forms, not on a computer screen, but by arranging and staging real geometric bodies of color in her studio—as though for a still life—and by then photographing them from different perspectives. Her production style is pivotal not only for the brilliance of color; it is evident in delicate details such as double exposures or intriguing effects of depth. Each composition allows for nuanced readings, oscillating between the two and three-dimensional, between representation and abstraction. Published in collaboration with the Kunsthalle Bern. [ISBN 978-3-03764-400-3]
The Book: Shirana Shahbazi - Tehran North Edited by Manuel Krebs, Shirana Shahbazi English edition Available ISBN: 978-3-03764-467-6 Hardcover, 199 x 300 mm 96 pages Images 96 b/w CHF 32 / EUR 25 / GBP 19 / US 35
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David Maljković Sources in the Air Sources in the Air was published on the occasion of David Maljković’s three-part exhibition at the Van Abbemusem, Eindhoven; BALTIC Centre for Contemporary Art, Gateshead; and GAMeC, Bergamo. Including films, sculpture, collage, and installations from the past ten years, Sources in the Air was the artist’s most comprehensive survey exhibition to date. Architecturally reconfigured and restaged at each of the three venues, Sources in the Air expanded on Maljković’s recent interest in exhibition strategies and the semiotics of display. The publication, which includes a commissioned essay by Anselm Franke alongside texts from the curators of each of the three venues, serves as the link between each of the exhibition’s iterations. Lavishly illustrated, it examines the political, aesthetic, and scenographic threads deployed within Maljković’s practice, assessing the move from a finely balanced projection of the varying legacies of international modernism, to a series of encounters staged between viewer, artwork, artist, and institution. [ISBN 978-3-03764-307-5]
David Maljković
Artist's book
This new artist’s book by David Maljković (b. 1973) constitutes an emblematic case study of his practice and obsessions. In Low Resolution is centered on his landmark work Out of Projection (2009–2015), which unfolds through related projects, archives, documentation, and film stills. For the past 15 years David Maljković has been fascinated with the French car company Peugeot and its futuristic “concept cars” conceived in the 1980s to modelize what the car industry would look like in the 2000s—now evidence of a long outdated belief in progress and technology. In his film, shot at the Peugeot headquarters and research campus in Sochaux (eastern France), automobile prototypes accompanied by now-retired former employees unfurl before us, serving as symbolic links between past and future, and giving us
The Book: David Maljkovic - In Low Resolution Edited by David Maljkovic Authors Julien Fronsacq, François Piron English / French edition September 2016 ISBN 978-3-03764-472-0 Softcover, 200 x 295 mm 80 pages Images 90 color Published with the Festival d'Automne a Paris CHF 32 / EUR 25 / GBP 19 / US 35
an insight into our complex contemporary relationship with past forms, time, and space. Maljković’s work, which includes films, sculpture, collage, and installations, develops a critical enquiry into the legacies of modernism, in particular through the architectural symbols and sculptural forms of former socialist Yugoslavia and Eastern Europe. He investigates these remnants from the past in relation to the present, but also in terms of their potential—real or fictional—in an imminent or distant future, at the crossroads between science fiction and a documentary film. The artist is also particularly interested in exhibition strategies and the semiotics of display.
Guy de Cointet Reference Monograph
15 Guy de Cointet, 1980
First published in 2011, this monograph was the first book available on Guy de Cointet (American, b. France, 1934–1983) revealing his unique position within the visual art world of the 1970s and 1980s. It is newly available in a revised edition.
Pr int Ch Ch Ch Ch Co af Bio
Guy de Cointet, 1980
Guy de Cointet was fascinated with language, which he explored primarily through performance and drawing. His practice involved collecting random phrases, words, and even single letters from popular culture and literary sources—he often cited Raymond Roussel’s novel Impressions of Africa as a major influence—and inserting these elements into non-linear narratives, later presented as plays to an audience. He is recognized as one of the most important, if overlooked, figures of the 1970s Conceptual art in California,
having strongly influenced a number of prominent artists associated with the Los Angeles artistic scene, including Paul McCarthy and Mike Kelley, for whom both drawing and performance weigh significantly in their practices. This reference monograph gathers together a large number of works, performance photographs, and documents, and includes a retrospective essay by art historian and critic Marie de Brugerolle, as well as a preface by Larry Bell, a friend of the artist, and an afterword by psychoanalyst Gérard Wajcman.
Going To The Market, Cirrus Gallery, Los Angeles, 1975
A SHAPED PAINTING WITH COLORFUL EDGES, AND A PLAIN WHITE BACKGROUND COVERED AT RANDOM WITH BLACK LETTERS. AT RANDOM? MAYBE NOT. DEFINITELY NOT … THE PERFORMER, IN JUST A FEW MINUTES, WILL UNRAVEL THE WHOLE STORY CONTAINED IN THE PIECE. THE PAINTING HANGS ON THE WALL. —Stage directions for Going To The Market, 1975
The Book: Guy de Cointet Edited by Clément Dirié Authors Marie de Brugerolle, Larry Bell, Gérard Wajcman Second edition (revised) September 2016 ISBN: 978-03764-477-5 (English) ISBN: 978-03764-478-2 (French) Hardcover, 170 x 240 mm 160 pages Images 74 color /26 b/w Published with the Guy de Cointet Society CHF 39 / EUR 32 / GBP 26 / US 45 My husband left me, circa 1978 Graphite and colored pencil on arches paper, 65 × 101.7 cm
Ericka Beckman, Switch Center, 2002, 16 mm film, 12’ (Courtesy of the artist)
JUST PUBLISHED: ERICKA BECKMAN. THE RETROSPECTIVE MONOGRAPH [ISBN 978-3-03764-421-8]
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Guillaume Bijl
Reference Monograph
Guillaume Bijl
This new reference monograph is the offspring of the encounter between Belgian artist Guillaume Bijl and American art historian John C. Welchman. Welchman’s comprehensive essay offers a unique study of Bijl’s work, exploring almost four decades of a stimulating reflection on and synthesis of our current times. Born in 1946 in Antwerp (Belgium), self-taught artist Guillaume Bijl is mostly recognized for his alternative take on conceptual art, his desire to directly engage the viewer, and his Transformation Installations started in the late 1970s. In these works he realizes meticulous imitations of everyday realities in galleries and museums, mainly focusing on trade and exchange locations—whether in commodities, information, or skills. One of his most famous pieces is his groundbreaking Lustrerie Média installation shown at Art Basel in June 1984 for
IN MY INSTALLATIONS THE AUDIENCE BECOMES A SORT OF THEATER ACTOR, WITHOUT KNOWING IT EXPLICITLY. I CREATE A TROMPEL’OEIL SITUATION. I WORK IN THE FIELD OF FICTION AND REALITY. —Guillaume Bijl
which he transformed the entire booth of his gallery into a light shop. Bijl’s practice is however much richer and more diverse and largely goes beyond this landmark series. This reference monograph thus reveals the scope of his thinking and art over the last four decades. Built around a comprehensive essay by John C. Welchman entitled “Jumps of the Cat: Guillaume Bijl’s Simulation Therapy,” the book spans the early Treatments (1975–1978), the on-going Transformation Installations, Situation Installations,
Lustrerie Média, Art Basel, 1984
Archaeological Site (Münster Skulptur Projekte), 2007
Essay by John C. Welchman Also available in the Reference Monograph series
Compositions Trouvées, and Sorry bodies of work. Precisely described and analyzed, Bijl’s practice is also studied in the global contemporary art context and compared to those of a wide range of American and international artists. Grounded in and marked by a number of economic, social, and cultural conditions, his works are a stimulating reflection and synthesis of our current times. As John C. Welchman writes: “Bijl’s work made important contributions to many of the issues addressed by the Western neo-avant-garde art world from the 1970s to now—questions about performativity and spectacle; elitism and ‘lowness’;
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simulation and ‘commodity art’; lifescaled corporeality and the uncanny; appropriation, archives and the postmodern readymade; negotiations with selfhood and artifice; and the tension between work situated in art institutional and public spaces.” Guillaume Bijl has been active as an artist since the mid-1970s. He has exhibited worldwide since the 1980s and has participated, among other shows, in the Venice Biennial in 1988 and 2009, documenta IX (Kassel) in 1992, the Istanbul Biennial in 2013, and Münster Skulptur Projekte in 2007. He is participating in Manifesta 11 in Zurich in summer 2016.
Kader Attia This monograph gives a comprehensive overview of the variety and scope of the research carried out by Kader Attia (b. 1970) over the past 15 years, using media as varied as installation, video, photography, and collage. It highlights the unique and powerful ways in which Attia addresses the global entanglement of culture, politics, and identity. His artistic research is informed by his own experience of moving back and forth as a child between France and Algeria, between the Christian Occident and the Islamic Maghreb, and later by his years spent in Venezuela and the Congo. His work tackles, in a very explicit yet poetic way, the entangled relationship between Western thought and non-Western cultures, particularly through architecture, the human body, history, culture, and religion. Essays by Noémie Étienne, Kobena Mercer, and extensive interview with the artist by Monique JeudyBallini and Brigitte Derlon. Published with MCBA, Lausanne. [ISBN 978-3-03764-412-6]
Sylvie Fleury Autorijschool Z, Antwerp, 1979
The Book: Guillaume Bijl
Guillaume Bijl
Edited by Clément Dirié Author John C. Welchman English edition August 2016 ISBN 978-3-03764-468-3 Hardcover, 237 x 286 mm 160 pages Images 200 color CHF 50 / EUR 40 / GBP 30 / US 55
John C. Welchman
Known in the 1990s for her misesen-scènes of glamour and luxury products, Sylvie Fleury (b. 1961) demonstrates a detailed knowledge of Pop and Minimal aesthetics. An affirmation of consumer society and its superficial values, the work simultaneously offers a different reading: by blurring codes and organizing the contamination of one sphere by another (the masculine world by the feminine, fashion by art or advertising), it also appears provocative and political. In that sense, her work reflects and anticipates her epoch just as it participates in it. From her early “shopping bag” installations to her exploration of car culture, she has developed a formal idiom far more complex and disconcerting than many of her contemporaries. In her attempt to come to terms with the fetishistic attachment to material goods, Fleury turned to magic light phenomena. These works from the 2000s are presented together for the first time with her classic pieces from the 1990s. Published with the Société des arts, Geneva. [ISBN 978-3-03764-428-7]
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Richard Tuttle
From our backlist
Richard Tuttle at JRP | Ringier’s office, Zurich
THESE PRINTS ARE COSTUMES. THE WRITER CLOTHES THE MIND. THE PRINTER CLOTHES THE PAPER. THERE IS A THEATER OF THE SURFACE. ON THE BODY, COSTUMES AND CLOTHES ARE DIFFERENT. I AM THANKFUL WE HAVE USE FOR COSTUME. — Richard Tuttle
Since the 1970s, in collaboration with renowned printers and publishers, Richard Tuttle (b. 1941) has created a diverse printed oeuvre. In sensitively exploiting the possibilities of printmaking to make process, materials, and actions visible, he explores the complexity of printmaking procedures. Prints, published with the Bowdoin College Museum, is the first monograph on Tuttle’s printmaking. Edited by Christina von Rotenhan, this volume introduces not only the artist’s approach to printmaking with scholarly essays and catalogue entries for selected prints between 1973 and the 2010s, but also reveals Tuttle’s deep interest in the collaborative nature of printmaking.
Step by Step, 2002
“Printmaking offers a vital field for Tuttle’s explorations of performative materiality,” writes Chris Dercon, “in many ways his prints can be thought of as ‘expanded prints.’ His desire from his earliest career to expose the traditional printing techniques using intaglio and pressure to include experiments with and layerings of materials as diverse as cloth, clay, and copper benefits from the (deliberate) allusion to ‘expanded cinema,’ a term coined by critic Gene Youngblood in 1970
to accentuate the performative aspect of experimental cinema and video. Tuttle likes to ‘perform’ printmaking and to think of prints as performative objects, in such a way that the print becomes what he calls ‘a lively’ thing: an object whose indexical qualities refer to its making, but which is expanded by ‘performative’ agents through the making process into a socially interactive present and future temporality.”
Bowdoin College Museum of Art
Renaissance Unframes, 1995
Richard Tuttle
21 Cloth, 2002–2005 Censorship, 2003
The Book: Richard Tuttle - Prints Edited by Christina von Rotenhan Richard Tuttle | Prints
No.1
No.5
No.3
Christina von Rotenhan
No.2
No.7 No.6
Authors James Cuno, Chris Dercon, Joachim Homann, Armin Kunz, Christina von Rotenhan, Susan Tallman, Richard Tuttle English edition Available ISBN 978-3-03764-365-5 Hardcover, 275 x 265 mm 144 pages Images 172 color / 8 b/w Published with Bowdoin College Museum of Art, Brunswick CHF 78 / EUR 60 GBP 48 / US 80
22 Emissary Forks at Perfection, 2015–2016
CHENG IS LESS INTERESTED IN TECHNOLOGY PER SE, OR IN THE PERSPECTIVE OF INFORMATION TECHNOLOGY OR PROGRAMMING, AND MORE IN HOW SUCH TECHNOLOGY CAN BE USED TO EXPLORE ANTHROPOLOGICAL QUESTIONS AND ISSUES OF COGNITIVE SCIENCE. —Raphael Gygax
Ian Cheng
Migros Museum für Gegenwartskunst series
Stemming from his recent exhibition at the Migros Museum für Gegenwartskunst, this monographic publication delivers an exploration of Ian Cheng’s recent “live simulations,” and the state of human consciousness in the digital era. Ian Cheng (b. 1984) explores the nature of mutation and people’s capacity to relate to change. Drawing on principles of video game design, improvisation, and Darwinian brutality, Cheng has developed so-called “live simulations,” virtual living ecosystems that begin with basic programmed properties, but that are left to evolve without authorial control or aim. His simulations model the dynamics of often-imaginary organisms and ecologies, but do so with the unforgiving causality found in nature itself. Cheng, who studied
cognitive science at the University of California, Berkeley, describes his simulations as akin to a “neurological gym”: a format for viewers to deliberately exercise the feelings of confusion, anxiety, and cognitive dissonance that accompany the experience of unrelenting change. The publication offers a complete visual overview of the Migros exhibition as well as texts by Raphael Gygax, Ian Cheng, and Franziska Bigger, and an anthology of texts on human consciousness selected by the artist.
Emissary Forks For You, 2016
The Book: Ian Cheng - Forking at Perfection Edited by Raphael Gygax Authors Franziska Bigger, Ian Cheng, Raphael Gygax English edition June 2016 ISBN 978-3-03764-471-3 Hardcover, 173 x 235 mm 140 pages Images 64 color Published with the Migros Museum für Gegenwartskunst, Zurich CHF 48 / EUR 40 / GBP 30 / US 49.95
Liz Magor Migros Museum für Gegenwartskunst series
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With essays by Raphael Gygax & Judith Welter, Esther Buss, Hans Ulrich Reck, Alexander R. Galloway
Migros Museum für Gegenwartskunst
This monographic publication accompanies the Liz Magor retrospective exhibition organized by the Musée d’art contemporain in Montreal, the Migros Museum für Gegenwartskunst in Zurich, and the Kunstverein in Hamburg. Liz Magor (b. 1948) is one of the most important Canadian artists of her generation, and certainly its most influential sculptor of the past 30 years. This publication offers an in-depth exploration of the sculpture and installations she has produced over the course of 40 years. It emphasizes the thematic and emotional range of her practice. From the mental and physical contexts of retail consumerism to the spaces of the museum to the private, interior worlds of addiction and desire, Magor’s oeuvre has consistently
combined a high level of conceptual and procedural rigor with the intense investigation of materials, ranging from twigs and textiles to rubber and polymerized gypsum. The book focuses on the richly layered nature of Magor’s practice— extraordinary in its tendency to meld multiple references to cultures of display, compulsion, and consumption, making the case that this visual and emotional richness is one of the reasons why Magor is one of the most intriguing conceptual artists of her generation.
Toys Redux—An Anthology on Play as Critical Action
Also available
Cory Arcangel, Alex Bag & Patterson Beckwith, Judith Bernstein, Vittorio Brodmann, Marvin Gaye Chetwynd, Simon Denny, Harun Farocki, Jan Peter Hammer, Nic Hess, Danny McDonald, Dawn Mellor, Claus Richter, Tabor Robak, Timur Si-Qin, Michael Smith, Lily van der Stokker, Julia Wachtel, Hannah Weinberger
Toys Redux
An Anthology on Play as Critical Action
Toys Redux Gathering together works by Cory Arcangel, Alex Bag & Patterson Beckwith, Judith Bernstein, Vittorio Brodmann, Marvin Gaye Chetwynd, Simon Denny, Harun Farocki, Tabor Robak, and many others, this publication brings together artists who use formats and imagery from popular culture usually addressed to children or teenagers. The adoption of such motifs disseminated in specific entertainment formats should not be seen merely as a reference to (or appropriation of) popular culture: it becomes an implicit (or explicit) critique of a kind of capitalist production of consumer worlds that have also infiltrated the field of art for quite some time. Published with Migros Museum für Gegenwartskunst, Zurich. [ISBN 978-3-03764-424-9]
Ragnar Kjartansson
Being This, 2012
In his performances the Icelandic artist explores not only his own physical and psychological limits and the essence of early performance art, but also the artist’s status and the different images of his role. This book unites for the first time all of Kjartansson’s works related to music made between 2001 and 2012. With contributions by Philip Auslander, Heike Munder, Markús þór Andrésson, and a conversation between Edek Bartz and Ragnar Kjartansson. Published with the Migros Museum für Gegenwartskunst, Zurich. Second edition. [ISBN 978-3-03764-423-2]
The Book: Liz Magor Edited by Dan Adler, Lesley Johnstone, Heike Munder, Bettina Steinbrügge Authors The editors, Liz Magor, Géraldine Gourbe, Ian Carr-Harris, Corin Sworn, Chris Sharp, Isabelle Pauwels, Trevor Mahovsky English / German edition Fall 2016 ISBN 978-3-03764-474-4 Hardcover, 208 x 275 mm 256 pages Images 150 color Published with the Migros Museum für Gegenwartskunst, Zurich CHF 58 / EUR 53 / GBP 37 / US 59.95
24 Courtesy LUMA Foundation (Photo: S. Altenburger)
Events
schwarzescafé @ LUMA Westbau by Heimo Zobernig
Also available
Heimo Zobernig ohne Titel (in Red) Heimo Zobernig has been viewed as a key figure of the Austrian art scene since the early 1980s. His oeuvre explores themes of minimalism, the historical loading of the opposition of figuration and abstraction, and the problem as to what art is or can be—its outward form and function. Published on the occasion of the exhibition program held by the Kunsthalle Zurich at the Museum Bärengasse (where it was temporarily located in 2011–2012), this publication attempts to transform Zobernig’s exhibition, treated as a retrospective—it showed a crosssection of Zobernig’s artistic oeuvre from 1985 to the present—into book form. In keeping with the rooms of the Museum Bärengasse, built in 1670, the works selected for presentation focused on the themes of furnishing and light, and played with the domestic interior of the formerly residential buildings. Closing the window shutters of the two early Baroque houses, Zobernig submerged the exhibition spaces in the red light of his work ohne Titel (1994). In so doing, concepts such as “display,” “installation,” “setup,” and “representation,” as well as “site-specificity” in relation to the idiosyncratic context of the spaces, were opened up to discussion and confronted with a traditional understanding of the installation. Edited by Beatrix Ruf, the publication includes an essay by Gregor Stemmrich that not only reflects the exhibition ohne Titel (in Red), but also provides an insight into Heimo Zobernig’s practice and his concerns in general. Published in collaboration with the Kunsthalle Zurich. [ISBN 978-3-03764-235-1]
Manifesta 11 & Art in Zurich
From our backlist
100 years after the first Dada experiments at the Cabaret Voltaire, Zurich will once again be filled with art in the Summer of 2016 thanks to Manifesta 11, the European touring biennial held all around the city from June 11 to September 18, 2016. Entitled What People Do for Money–Some Joint Ventures, one of its main venues is the Löwenbräu, where most of the new commissions and The Historical Exhibition: Sites Under Construction are presented. Here is a selection of books published with artists exhibited in Manifesta and elsewhere in Zurich, as well as our KiöR series, which is closely linked to the city of Zurich.
In Zurich
Hans Arp Ovi Bimba
Walead Beshty 33 Texts: 93,614 Words: 581,035 Characters Selected Writings (2003–2015)
Schwitters, Arp, Miro, Hauser & Wirth, June 12–September 18, 2016 Hardcover, 238 × 306 mm, 104 pages [ISBN 978-3-03764-297-9]
Walead Beshty, Galerie Eva Presenhuber, June 12–August 27, 2016 Softcover, 150 × 210 mm, 336 pages [ISBN 978-3-03764-442-3]
Publications to accompany Manifesta and other events in Zurich
25 Also available E RÄUME MIT KUNST URBAN UCH HANDB GESTALTEN – EIN
Löwenbräu, Zurich
At Manifesta (Löwenbräu)
Yto Barrada
Paulina Olowska
Jean-François Chevrier, Juan Goytisolo, Marie Muracciole, Sina Najafi Softcover, 237 × 286 mm, 160 pages [ISBN 978-3-03764-202-3]
Adam Szymczyk, Jan Verwoert Softcover, 237 × 286 mm, 160 pages [ISBN 978-3-03764-287-0]
Susan Hiller The Provisional Texture of Reality. Selected Talks and Texts, 1977–2007
Ed Ruscha Huit textes. Vingt-trois entretiens. 1965–2009
Softcover, 150 × 210 mm, 256 pages [ISBN 978-3-905829-56-3]
Softcover, 145 × 225 mm, 240 pages [ISBN 978-3-03764-089-0]
KiöR series 4 volumes Since the turn of the millennium, Zurich has been undergoing a radical urban transformation: former industrial areas have been converted into residential neighborhoods in order to accommodate the growing population. In 2006 Zurich’s City Council founded a strategic committee to establish a public art program related to the city’s development. The Arbeitsgruppe für Kunst im öffentlichen Raum (Working Group for Public Art) has established many projects and initiatives including, in 2011, a research project launched to discuss the different forms that public art can take. Also started in 2011, the KiöR series offer an extensive overview of the ideas and outcomes from projects and symposia focusing on the field of public art in Switzerland as well as abroad. The four volumes raise a compendium of questions that are worth fundamental consideration when thinking about art in public spaces. What is society’s responsibility toward art in public? How do the changes in the context of art production also modify the relationship between site and art, art and audience? How do city marketing and art relate to each other? Why do we need unused spaces and a participatory platform for discussing the use of public spaces? Thanks to numerous examples and case studies, the books serve as handbooks, propose guidelines for good practice, and provide food for thought to all those who wish to engage with this topic, whether as artists or curators, private sponsors, city officials, or citizens. Vol. 1: Wohin mit der Skulptur? Fallbeispiel Fanfare [ISBN: 978-3-03764-182-8] Vol. 2: Ruhestörung – Ein Symposium [ISBN: 978-3-03764-183-5]
Armin Linke Il Corpo dello Stato
Jiří Skála One Family of Objects
Giorgio Agamben Softcover, 210 × 255 mm, 128 pages [ISBN 978-3-03764-080-7]
Adam Szymczyk, Jan Verwoert Softcover, 160 × 235 mm, 120 pages [ISBN 978-3-03764-113-2]
Vol. 3: KUNST + STADT [ISBN: 978-3-03764-340-2] Vol. 4: Stadt auf Achse. Mit Kunst urbane Räume gestalten [ISBN: 978-3-03764-453-9] All published with the City of Zurich.
26 Also available
Jef Cornelis documenta 4, 1968 [ISBN 978-3-03764-257-3]
Jef Cornelis documenta 5, 1972 [ISBN 978-3-03764-258-0]
Jef Cornelis Summer of 1966, 1966 [ISBN 978-3-03764-323-5]
Jef Cornelis 13th Biennale de Paris, 1985
Sonsbeek (1971, 1986)
Expanding its mapping of landmark exhibitions and curatorial history from the 1960s to today, the “Archives” series dedicates its fifth DVD to Sonsbeek, an art manifestation held in 1971 and 1986 in and around Arnhem (Netherlands). Mainly showcasing large installations and sculptures in natural surroundings, these two events are crucial to the history of outdoor exhibitions, shifting the boundaries of traditional sculpture. Held six years before the first Sculpture Projects Münster (1977), “Sonsbeek 1971,” curated by Wim Beeren, questioned the traditional concept of sculpture and exhibition, introducing film and video, and environmental art—notably through the now canonical examples of Robert Smithson, Panamarenko, and Claes Oldenburg. Fifteen years later, “Sonsbeek 1986,” curated by Saskia Bos, proposed another rethinking of the exhibition by offering the visitor a “scattered experience.” The artworks were exhibited
in specially designed glass pavilions throughout Sonsbeek park. Presenting the actuality of “new sculpture,” the show brought together works by Katharina Fritsch, Michael Asher, Luciano Fabro, Ettore Spalletti, Thomas Schütte, Jan Vercruysse, Reinhard Mucha, Mario Merz, and James Casebere. Filmed by Jef Cornelis with his habitually acute sense of dramaturgy and his provocative mise-en-scène of theoretical conflicts, “Sonsbeek Buiten de Perken” (1971) and “Spaziergaenger mit Hund– Sonsbeek” (1986) constitute a unique moving image documentation of those pioneering art events that renewed the exhibition format.
[ISBN 978-3-03764-360-0]
The DVD: Sonsbeek (1971, 1986) - A New Standard for Outdoor Exhibitions
Making Jef Cornelis’ exceptional cinematographic archive available, the “Archives” DVD series focuses on landmark exhibitions that have shaped curatorial history in the second half of the 20th century. Alongside the usual tools of art history and art criticism, which have developed mostly on the written page, film has the added advantage of restituting a visual, active description of events. Its very construction adds an important element of discursive staging. Jef Cornelis mainly worked for VRT, the Flemish Belgian national television. He realized more than 200 films, especially on architecture, literature, and the arts.
Jef Cornelis
Edited by Clément Dirié Authors Yves Aupetitallot, Jef Cornelis English / French edition September 2016 ISBN 978-03764-447-8 DVD Multizone, 70', with a 24-page booklet Published with Argos-Centre for Art and Media, Brussels CHF 38 / EUR 25 / GBP 17 / US 35
Kunstgriff Shop
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From Linck, General Idea, Adolf Wölfli, and Karel Appel to Scott King, find a changing selection of multiples, editions and art related records at Kunstgriff. Online, www.kunstgriff.ch allows you to discover and buy 24/7 from our ever-expanding choice of books. We ship worldwide and we offer free shipping within Switzerland. We accept Visa, Mastercard, and Paypal.
Information
KUNSTGRIFF IS OPEN TUESDAY TO FRIDAY FROM 11AM TO 6PM AND SATURDAY–SUNDAY FROM 11AM TO 5PM EXTENDED HOURS DURING MANIFESTA 11 ( JUNE 11–SEPTEMBER 18): EVERY DAY FROM 11AM TO 8PM AND THURSDAYS UNTIL 10PM Kunstgriff Limmatstrasse 270 E0 of the Löwenbräu building Contact: + 41 44 272 90 66 www.kunstgriff.ch info@kunstgriff.ch JRP | Ringier Limmatstrasse 270 E1 of the Löwenbräu building Contact: + 41 43 311 27 50 www.jrp-ringier.com info@jrp-ringier.com
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Tony Oursler
The Archives of Tony Oursler
Book cover, 1930 (photo: Jason Mandella)
BIOGRAPHY
Artist Tony Oursler has amassed a vast personal archive of objects and ephemera relating to magic, the paranormal, film, television, phantasmagoria, pseudoscience, and technology. For Oursler, the archive functions as an open visual resource, historical inquiry, and—most intriguingly—a family history. One of the collection’s many digressions is the friendship between the artist’s grandfather Charles Fulton Oursler—a famous early 20th-century author and publisher—and magician and escapologist Harry Houdini, their joint campaign against fraudulent mediums, and a historic interaction with Arthur Conan Doyle, who, beyond his Sherlock Holmes series, was an important advocate for spiritualism and the paranormal. This publication, released in conjunction with a major exhibition of Oursler’s archive at the LUMA Foundation in Arles, features up to 2,500 objects including photographs, prints, historic
Tony Oursler, born in New York in 1957, works in video, sculpture, installation, performance, and painting. His work has been exhibited worldwide at documenta VIII and IX, Kassel, Germany; The Museum of Modern Art, New York; Whitney Museum of American Art, New York; Centre Georges Pompidou, Paris; Carnegie Museum of Art, Pittsburgh; Skulptur Projekte Münster; Museum Ludwig, Cologne; Hirschhorn Museum, Washington, DC; and Tate Liverpool. The artist lives and works in New York City.
manuscripts, rare books, letters, and objects. Additional topics include stage magic, thought photography, demonology, cryptozoology, optics, mesmerism, automatic writing, hypnotism, fairies, cults, the occult, color theory, and UFOs. Linking these wide-ranging materials is Oursler’s underlying interest in belief systems and human nature—the suspension of disbelief, or perhaps just our propensity to believe. The material in Oursler’s collection broadens recent explorations of technology and mystical cultural production, investigating the relationships between science, pseudoscience, religion, and the occult with visual and archival documents that demonstrate the power of images to carry and challenge our most cherished beliefs.
EXHIBITIONS 2016 Tony Oursler: Imponderable, The Museum of Modern Art, New York, June 18, 2016–January 1, 2017
Dr. R. L. Noran, ca. 1978 (photo: Jason Mandella)
Hypnottist entrances young men on stage, mid-20th century (photo: Elisabeth Bernstein)
Imponderable: The Archives of Tony Oursler, Center for Curatorial Studies at Bard College, Annandale-on-Hudson, New York, June 24–October 30, 2016
New edition
29 Also available
Tony Oursler Works 1997–2007 While Oursler’s position as a forerunner of video art is well established, his two-dimensional works have always been an essential part of his creative process. He describes his drawings and works on paper as a series of perceptions, scenes, delusions, and diagrams that are a free association of ideas and themes informing his work in video. A diary of his conceptualization process, this volume elucidates how Oursler uses drawing, painting, and collage as a means of remembering, associating, or layering thoughts. The studies, sketches, and panels explore the supernatural, methods of mass communication, the history and development of media technology, and their effect on the human psyche. This book, edited by Lionel Bovier and published with Lehmann Maupin Gallery (New York/Hong Kong), offers a chronology of Oursler’s two-dimensional work over the past ten years, showcasing his early paintings, painting on sculpture, painting with collage, and the combination of video with the painted panel. [ISBN 978-3-905829-25-9]
Poster, ca. 1920s (photo: Jason Mandella)
The Book: The Archives of Tony Oursler - Imponderable Edited by Tom Eccles, Maja Hoffmann, Beatrix Ruf Authors Jordan Bear, Karen Beckman, Noam Elcott, Tom Gunning, Branden W. Joseph, Peter Lamont, Fred Nadis, Stephanie O'Rourke, Pascal Rousseau, Jim Steinmeyer, Christopher Turner New edition English edition June 2016 ISBN 978-3-03764-475-1 Softcover, 210 x 280 mm, 520 p. Published with LUMA Foundation CHF 60 / EUR 50 / GBP 38 / US 65
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The 2016 Turner Prize nominees have been recently announced. The selected artists are Helen Marten, Michael Dean, Anthea Hamilton, and Josephine Pryde. JRP | Ringier recently published books on two of them.
Also available
TURNER PRIZE 2016
5 Bookshops
ARTBOOK @ MoMA PS1 has New York’s widest selection of contemporary art books, including MoMA PS1 exhibitionrelated publications, books relating to current New York shows, and a large stock of monographs, theory, photography, performance, music, and new media. It also offers the most sophisticated selection of international magazines.
Helen Marten British artist Helen Marten (*1985) pokes humorously at questions of ownership and dishonesty in materials, the relationship of object to artifact, and package to product. Interested in the grammatical approximations made in workmanship, Marten’s oeuvre weaves constant conversations between counterfeit and camouflage. Image is continually tripped up by language, with a deliberateness of error that postures with all the concrete certainty of cultural recognizability. This publication is the first to fully document Marten’s extraordinary and extensive recent artistic output. English/German edition [ISBN: 978-3-03764-346-4]
Josephine Pryde The Enjoyment of Photography This comprehensive publication presents a broad selection of Josephine Pryde’s work from 1990 to 2014. In photographic works that encompass the full range of the medium’s historical and current genres, styles, and techniques, but also through sculpture and writing, the artist (*1967) offers incisive, often ironic, and provocative commentary on the values, hierarchies, and economies subtending the field of contemporary art against the backdrop of larger societal shifts. Estranging the familiar or conversely expressing the common in a radically unforeseen manner, Pryde’s ingenuous choice of subject matter, unusual formal solutions and surprising juxtapositions continue to capture international exhibition audiences. English edition [ISBN: 978-3-03764-411-9]
Five bookshops we love
ARTBOOK @ MoMA PS1 Thu–Mon 12am–6pm 22-25 Jackson Ave USA–Long Island City, NY 11101 T +001 (718) 433 1088 E booksmomaps1@artbook.com
Located in Seoul, The Book Society is a bookstore, cultural space, and platform for publishing. Founded in 2010, it plays an important role in the culture of independent art, design, and publishing. It has published various books with a focus on contemporary art, critical theory, and design, as well as artists’ books.
Petite Égypte is an independent and bookstore in Paris. It presents a wide range of reference publications, and a selection of new releases in arts, literature, and the humanities, youth culture and comics, as well as globes and games. It organizes signatures and screenings: it is a place of hospitality, an observatory.
The Book Society 2F, 22, Jahamun-ro 10-gil Korea–Jongno-gu, Seoul 03044 T +0082 (0)70 8621 5676 E helen.ku@gmail.com
Petite Égypte 35, rue des Petits Carreaux France–75002 Paris T +0033 (0)1 47 03 34 30 E contact@petite-egypte.fr
Mon–Fri 1–8pm Sat–Sun 1–7pm
Tue–Fri 12am–8pm Sat 11am–8pm; Sun 11am–2pm
The book section, ARTBOOK @ Walker, of the Walker Shop features the Midwest’s most up-to-date and provocative selection of monographs, exhibition catalogues, artists’ books, children’s titles, and gift for the culturally inclined. The selection is inspired by the world-renowned programs of the Walker Art Center.
The Rencontres d’Arles pop-up bookshop offer books for curious people and photography enthusiasts. One can find volumes related to the program, a selection of new photography books, general publications, limited editions, a youth section, and magazines. More than 350 references are waiting for you!
Walker Shop 1750 Hennepin Avenue USA–Minneapolis, MN 55403 T +001 612 375 7633 E shop@walkerart.org
Rencontres d’Arles bookshop Mon–Sun 10am–7.30pm Avenue Victor Hugo (From July 4 to September 25, France–13200 Arles 2016) T +0033 (0)4 88 65 83 40 E librairie@rencontres-arles.com
Tue–Wed 11am–5.30pm Thu 11am–9pm Fri–Sun 11am–5.30pm
Collector’s Editions Information and orders at kunstgriff.ch
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Wade Guyton, Kunsthalle Zürich
Xanti Schawinsky 4 × LP 12” (Blondes, James Campbell, I.U.D.)
Original works from the 1970s Lithographs, 65.5 × 45 cm
Ronan & Erwan Bouroullec
Bruce McLean Calendar May 2016–April 2017 Edition of 150 copies
Set of 4 black enameled ceramic vases, edition of 30. Last ones!
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Ragnar Kjartansson To Music
Helen Marten
lectures maison rouge
Carlo Scarpa L’art d’exposer
Carlo Scarpa L’Art d’exposer
Yto Barrada
Tim Rollins & K.O.S. An Index
Roni Horn 153 Drawings
Sturtevant Drawing Double Reversal
Jay DeFeo Chiaroscuro
Bice Curiger Top 10
Top ten
A selection of titles from our backlist by Bice Curiger, founder and editor-in-chief of Parkett, and Fondation Van Gogh (Arles) Director. In 2006 she edited the prize-winning bestseller Peter Fischli/ David Weiss. Fragen & Blumen for JRP | Ringier.
Raphael Hefti
(Photo: Tom Huber)
Raphael Hefti
Chantal Pontbriand Parachute: The Anthology
Contacts
Distributors
JRP | Ringier Limmatstrasse 270 | CH–8005 Zurich T +41 (0) 43 311 27 50 F +41 (0) 43 311 27 51
JRP | Ringier books are available internationally at selected bookstores and from the following distribution partners:
E info@jrp-ringier.com www.jrp-ringier.com ISBN 978-3-03764-476-8
© 2016, the authors, the artists, the photographers, and JRP | Ringier Kunstverlag Design Concept: Gavillet & Rust, Geneva Layout: Nicolas Eigenheer, Jeremy Schorderet Typefaces: Genath by François Rappo (www.optimo.ch), Nameit by Jeremy Schorderet
For a list of our partner bookshops or for any general questions, please contact JRP | Ringier directly at info@ jrp-ringier.com, or visit our homepage www.jrp-ringier.com for further information about our program.
SWITZERLAND
GERMANY & AUSTRIA
AVA Verlagsauslieferung AG, Centralweg 16, CH–8910 Affoltern a.A., verlagsservice@ava.ch, www.ava.ch
Vice Versa Distribution, Immanuelkirchstrasse 12, D–10405 Berlin, info@vice-versa-distribution.com www.vice-versa-distribution.com
FRANCE
UK & OTHER EUROPEAN COUNTRIES
Les presses du réel, 35 rue Colson, F–21000 Dijon, info@lespressesdureel.com, www.lespressesdureel.com
Cornerhouse Publications, HOME, 2 Tony Wilson Place, UK–Manchester M15 4FN, publications@cornerhouse.org, www.cornerhousepublications.org
USA, CANADA, ASIA, & AUSTRALIA ARTBOOK | D.A.P., 155 Sixth Avenue, NY 10013, orders@dapinc.com, www.artbook.com