JRP|Ringier Newspaper Issue 11 by JRP|Editions

There is a question in photography and in art that is easy to overlook, how reproductions extend the life of the objects they depict. The work of art extends through its reproduction, it occupies its reproduction, flows through it. —Walead Beshty, 2017 This newspaper is published by JRP | Ringier and edited by Clément Dirié. Issue 11, Fall 2017. Printed in 10,000 copies by Ringier Print Adligenswil AG. Not for sale

BASED IN ZURICH, SHIPPING WORLDWIDE As everyone knows very well, contemporary culture is now as diverse and self-generated as ever. We are all creating our own cultural feasts, composed of common references and idiosyncratic interests, through words, images, sounds, moving images, ideas, and emotions. All as tasty as the manifold relief of our own bookshelves, which offers to our hands, eyes, and brain so many tempting spines (hard, soft, colored, graphic, thick, worn, or as pristine as if never read … ). If JRP | Ringier were a human body, no doubt its cultural identity would be defined by a profound knowledge of contemporary arts, thank to the hundreds of books it would have read over the past years, and the dozens currently in the making. In this new issue of our newspaper, you will find information on the books published in 2017 or those to be printed in the coming months. Typically, our editorial program combines promising young artists with established ones, textbooks on art history, aesthetics, and the ecosystem of the visual arts, artists’ books, and scholarly publications. The 33 spines of the publications featured in these pages map the tangible production of JRP | Ringier. We hope we will share many of them, because you are discovering, learning more, or remembering, and that some spines will soon dwell on your bookshelves-turned-cultural-portrait. Including Walead Beshty, FedEx Courier, Los Angeles, California, September 12, 2008, 2008

Yael Bartana Jimmie Durham Rodney Graham Wade Guyton Peter Halley Sheila Hicks Thomas Hirschhorn Wyatt Kahn Elisabeth Lebovici Liz Magor Magali Reus Ugo Rondinone John Stezaker

Artist's Book Walead Beshty in his studio, Los Angeles, 2013

Walead Beshty

Encompassing all his Industrial Portraits taken between 2008 and 2012, this artist’s book by Walead Beshty (*1976) forms a nonhierarchical, kaleidoscopic, yet very detailed “facebook” of the art world. Still ongoing, he realizes this series wherever he goes, asking everyone he works with to pose in their working environment and working clothes. “I always think it is interesting how portrait photography happens. Although the digital age has seen an increase in the quantity of images, photographers still retain a certain individual trait and methodology in those moments of exchange with the subject. Walead Beshty took my portrait photograph in July 2016 while we were installing the exhibition Systematically Open? New Forms for Contemporary Image Production at the LUMA Foundation, Arles [ ... ] During the installation of his

I’M ENDLESSLY CURIOUS ABOUT HOW A MEDIUM LIKE PHOTOGRAPHY, WHICH IS AN INDUSTRIAL MEDIUM, ORGANIZES SOCIAL LIFE, HOW IT RELATES TO INDUSTRY AS AN ORGANIZATION OF WORK, AND HOW IT CREATES AN AESTHETIC ANALOGUE TO THE NOTION OF FORDIST PRODUCTION AND ORGANIZATIONAL SPACE. —Walead Beshty

section, Walead approached me with his portrait request, to which I agreed. Taking me aside, he shot just two rolls of film in two different settings. Thirty-six frames per scene, a few a bit closer, a few a bit further away ... and then it was over. Enough time to start relaxing in front of the camera, yet brief enough to give the impression that he did not wish to ask too much of his subject. I later discovered that the roll of film is in fact a defining factor in all of Walead’s photographic

Nonprofit Associate Curator, Moscow, Russia, May 22, 2009, 2009

Architect, Los Angeles, California, October 24, 2009, 2009

Text by Hans Ulrich Obrist

shoots. The roll is used as a finite unit of duration for the moment, acting as a kind of social contract for the parties involved. It is not invasive, yet a silent agreement is made that allows the moment to step outside the continuum of time, transforming it into a discrete

entity. Duration is measured and agreed upon, not in a continuous scale of minutes, seconds, milliseconds, but instead in frames, 36 of them to be precise; no more no less.” [Excerpted from “Ever Industrial Portraits,” essay by Hans Ulrich Obrist published in this volume.]

ALTHOUGH THE RULES OF PRODUCTION ARE DEFINED AND SET, WHAT HAPPENS IN THE INDUSTRIAL PORTRAITS IS LEFT TO CHANCE. WALEAD BESHTY DEFINES THE SYSTEM, BUT ALLOWS THE IMAGE TO EMERGE FREELY AND AUTONOMOUSLY. —Hans Ulrich Obrist

Designer, Los Angeles, California, November 5, 2010, 2010

The Book: Walead Beshty – Industrial Portraits. Volume One (2008-2012) Edited by Walead Beshty Clément Dirié Bryne Rasmussen-Smith

WALEAD BESHTY INDUSTRIAL PORTRAITS

Author Hans Ulrich Obrist English edition Available ISBN: 978-3-03764-485-0 Softcover, 106 x 165 mm 568 pages Images 128 color / 350 b/w CHF 25 / EUR 20 / GBP 16 / US 29.95

VOLUME ONE 2008–2012

Retrospective Monograph Peter Halley by Armin Linke, c. 1985

Peter Halley A landmark publication for all those interested in contemporary painting, this catalogue raisonné of Peter Halley’s paintings from the 1980s gathers together the complete body of 186 works realized between 1980 and 1989 and fully documents them for the first time. Peter Halley (*1953) is a prominent figure in contemporary art. A member of the New York dynamic art scene of the 1980s, he gained recognition as one of the main champions of the Neo-Geo movement with his geometric paintings rendered in intense fluorescent Day-Glo acrylic paint and Roll-a-Tex texture additive. Showing the evolution of his work during the 1980s, this important publication makes clear how Halley built his own geometric and chromatic vocabulary to challenge the then prevailing ideas about the nature and history of abstract painting, and how elements such as the cell, the prison, the conduit, and the brick wall came

WHEN I CAME TO NEW YORK, THE PARAMOUNT ISSUE IN MY WORK BECAME THE EFFORT TO COME TO TERMS WITH THE ALIENATION, THE ISOLATION, BUT ALSO THE STIMULATION ENGENDERED BY THIS HUGE URBAN ENVIRONMENT. —Peter Halley

into existence, in parallel with his own thinking—inspired in part by French Structuralist theory about modern life (urban design, media, new mass digital technologies) and the increasing geometrization of social space. Introduced by art historian Cara Jordan, editor of this extensive research-based publication, the book also includes an essay by Paul Pieroni, which is a detailed exploration of Peter Halley’s painting as it emerged during the 1980s, drawing on Halley’s theoretical writing and taking into account the critical reception of his work during this decade.

Rectangular Cell with Conduit, 1983

Prison with Underground Conduit, 1983

Peter Halley

5 Blue Cell with Triple Conduit, 1986 Yellow Prison with Underground Conduit, 1985

PETER HALLEY’S 1980s WORK— CERTAINLY OBSESSIVE AND INCANTATORY IN ITS REDUCTIVISM AND SERIALITY— THUS ACTIVELY UNDERMINES RATIONALITY AND CRITICAL CERTITUDE. —Paul Pieroni

The Book: Peter Halley – Paintings of the 1980s. A Catalogue Raisonné White Cell with Conduit

1985 Two attached panels Acrylic, fluorescent acrylic, Flashe, and Roll-a-Tex on canvas 63 x 63 in./ 160 x 160 cm.

1985

(International with Monument, New York) Christopher Weir and Sharon Ellis, California

Acrylic, fluorescent acrylic, Flashe, and Roll-a-Tex on canvas 64 x 64 in./163 x 163 cm. Jeanne Siegel, New York Dr. Stephen M. Weitzman, New York

Edited by Clément Dirié Cara Jordan

Cell with Smokestack and Underground Conduit

A second version of this work was painted by Peter Halley in 1991.

Authors Peter Halley Cara Jordan Paul Pieroni

– Peter Halley, International with Monument, New York, 4–28 Apr 1985 – Political Geometries, curated by Maurice Berger, Hunter College Art Gallery, New York, 15 May–20 Jun 1986 (exhibition catalogue, not ill.) – Europa/Amerika, Museum Ludwig, Cologne, Germany, 6 Sep–30 Nov 1986

– Thomas Lawson, Peter Nagy, David Robbins, Infotainment, exhibition catalogue, Rhona Hoffman Gallery, Chicago, IL, Texas Gallery, Houston, TX (New York: J. Berg Press, 1985), 36, ill. (b/w). – Tricia Collins and Richard Milazzo,“Tropical Codes,” Kunstforum International (Mar–May 1986): 322, ill. (color). – Europa/Amerika: die Geschichte einer künstlerischen Faszination seit 1940, exhibition catalogue (Cologne, Germany: Museum Ludwig, 1986), 365, ill. (color). – Markus Bruderlin, “Postmoderne Seele und Geometrie,” Kunstforum International, n. 86 (Dec 1986): 85, ill. (color).

– Jeanne Siegel, Art Talk: The Early 80s (New York: Da Capo Press, 1988), 240, ill. (b/w). – Mitologie e Archetipi: Mirko, Afro, Halley, Cingolani, Fermariello, exhibition catalogue (Como, Italy: San Pietro in Atrio, 1996), 109, ill. (b/w). – Sigrid Nebelung, “In the Net of Lines and Cables,” Art Das Kunstmagazin (Dec 1998): 88, ill. (color). – Gerhard Finckh, Peter Halley: Bilder der 90er Jahre, exhibition catalogue (Essen, Germany: Museum Folkwang, 1999), 15, ill. (b/w). – Cory Reynolds, ed., Peter Halley: Maintain Speed (New York: Distributed Art Publishers, 2000), 197, 198, 200, ills. (color).

English edition Fall 2017 ISBN: 978-3-03764-481-2 Hardcover, 280 x 272 mm 144 pages Images 215 color / 35 b/w CHF 74 / EUR 60 / GBP 48 / US 80

Reference Monograph Yael Bartana, Berlin, 2012

Yael Bartana This reference monograph dedicated to the work of Yael Bartana (*1970) gives a comprehensive overview of the artist’s films, installations, perfor mative projects, photographs, and sound works of the past 15 years. Recently I learned about a concept called the Overton window. It’s a concept that describes what is thinkable or acceptable in mainstream political discourse at any given moment. Watching True Finn (2014) and And Europe Will Be Stunned (2007–2011), it seems that partly what these works are doing is asking us to leap out of this window. They are about establishing a new frame for thinking about political possibility. Erika Balsom

BARTANA’S WILLINGNESS TO EXPLORE RISKIER MODES OF ARTISTIC RE-IMAGINATION REQUIRES OF US TO LET GO OF THE VERY HIERARCHIES AND CLEAR DIFFERENTIATIONS BY WHICH WE TEND TO EVALUATE ART AS POLITICAL OR NOT: REALITY AND FICTION, DOCUMENTATION AND IMAGINATION, SINCERITY, AND IRONY, JUSTICE AND INJUSTICE, POLITICS AND POETICS. —Gil Z. Hochberg

There’s never been a viable alternative. There isn’t. What other forms can we imagine that somehow also protect human rights? People who are stateless don’t have rights. The nation-state replaced God and what will replace the nation-state? Capitalism?

Your works respond to a pervasive failure of the imagination. We’ve lost the ability to think Yael Bartana I’m interested in going back to that things could be otherwise, or to step outside history in order to think about the future, the established terms of discourse, which are and in thinking about what kind of future often very restrictive and work to preserve the we want to imagine. It’s about the pos status quo. You push back against this. There sibility of seeing the present through is a sense of excitement and hope for real change different eyes. Poland is used so much by in the trilogy and in True Finn. But on the Israeli politicians to explain why we need other hand, in Zamach (2011) and in Inferno to be soldiers, why we need to protect (2013), we see that this utopian gesture is folour land. It’s very much about the politics lowed by death and destruction. of memory and the hegemony of the nation-state. That’s perhaps why I’m not I know, it’s terrible! It’s very pessimistic. able to go beyond this frame of reference. But we live in a very dystopian time.

Inferno, 2013

The First International Congress of the JRMiP, Berlin, 2012

Interview with Yael Bartana

7 CLAUDIA COMTE

It’s all about how destruction and construction are in the DNA of Jewish history. It’s part of what I experienced growing up in a situation of war. It’s very much about death, mourning, loss, grief, and pain. It’s a loop of conditions. It’s very curious to me how people still find the passion and need for the nation. It’s something very strong. Only a small number of people are challenging the system. There is still so much power in this mechanism that I don’t understand. Why do people want to die for their country? Why don’t you want to live for your country?

In a very spectacular way!

[Excerpted from “Embrace Weakness,” a conversation between Yael Bartana and Erika Balsom published in this reference monograph.]

Also available in the Reference Monograph series

The doomsday clock is ticking. Look how many more new dystopian novels are out there to read. In Inferno, one of my intentions was to somehow symbolically destroy the institution of religion. It was about destroying something that I feel is very manipulative. Especially looking at the number of new religions and churches—even within Judaism—I feel disturbed. The intention of the film was to create a very surreal situation. Viewers don’t necessarily see that the film is set in São Paulo. It’s just a place where a number of people have come to inaugurate something that then falls apart.

Claudia Comte Swiss artist Claudia Comte (*1983) is best known for her site-specific installations, hovering between painting, sculpture, and installation, and referencing with playfulness to popular culture, nature, and art historical movements (notably Pop and Op art). A reference monograph, this volume also documents her first retrospective survey held in 2017 at the Kunstmuseum Luzern. [ISBN 978-3-03764-491-1]

Guillaume Bijl

John C. Welchman

Guillaume Bijl

And Europe Will Be Stuned: Mur i wieża (Wall and Tower), 2009

Self-taught Belgian artist Guillaume Bijl (*1946) 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. Built around a comprehensive essay by John C. Welchman, this reference monograph thus reveals the scope of his thinking and art over the last four decades. [ISBN 978-3-03764-468-3]

The Book: Yael Bartana Yael Bartana

Edited by Nicole Schweizer Authors Emmanuel Alloa, Nora M. Alter, Erika Balsom, Yael Bartana, Juli Carson, Gil Z. Hochberg, Nicole Schweizer English / French edition Available ISBN: 978-3-03764-492-8 Softcover, 237 x 286 mm 160 pages Images 120 color / 0 b/w Published with Musée cantonal des Beaux-Arts, Lausanne CHF 50 / EUR 40 / GBP 30 / US 55

8 Anthologies Marvin Gaye Chetwynd, The Fall of Man, A Puppet Extravaganza, 2006

THE MUSEUM TODAY IS A HYPERCONTROLLED, THEATRICAL SPACE, A CONTEMPORARY IMAGE OF PUBLIC SPACE WHERE PEOPLE PERFORM FOR EACH OTHER, AND BROADCAST THAT PERFORMANCE THROUGH SOCIAL MEDIA. —Beatriz Colomina

Now–Tomorrow –Flux This academic publication takes into consideration the concept of the contemporary and its meaning for the format of the museum. From different theoretical viewpoints on the diverse functions and roles of the museum in the present society and art system, questions regarding the art production and collection as well as conversation and education are discussed. Museums of contemporary art—as they have been defined, activated, and understood over the past 30 years—are in need of a reassessment to rethink the traditional notion of the “museum.” With its traditional core tasks of collection and conservation, this historic category stands in contrast to the term “contemporary.” This volume takes a variety of complementary perspectives on today’s museology as it reflects upon the paradoxes underlying the very concept of the museum of contemporary art. Composed of three chapters—“Now,” “Tomorrow,” and “Flux”—and gathering together original essays, extensive conversations, as well as canonical texts, this anthology addresses questions regarding the roles

The Book: Now-Tomorrow-Flux. An Anthology on the Museum of Contemporary Art Edited by Beatrice von Bismarck, Heike Munder, Peter J. Schneemann Authors Claire Bishop, Martha Buskirk, Beatriz Colomina, Bettina Funcke, Christian Kravagna, Oliver Marchart, Donald Preziosi, et al. English edition Available ISBN: 978-3-03764-367-9 Softcover, 160 x 230 mm 280 pages Images 28 color / 23 b/w Published with Migros Museum für Gegenwartkunst, Zurich CHF 38 / EUR 32 / GBP 24 / US 39.95

Now–Tomorrow–Flux An Anthology on the Museum of Contemporary Art Beatrice von Bismarck / Heike Munder / Peter J. Schneemann [Eds.]

and tasks of the contemporary art museum. It discusses its double character as a site of both production and conservation, and emphasizes its relation to different public spheres. It also explores ways of dealing with the standards, norms, and regulations that emerge from the practices of collecting, organizing, and educating. Can the contemporary moment be preserved? And what does the present encompass? What were the aspirations that defined a contemporary art institution at the time of its founding, and what are its ambitions today? If we examine the development of many such museums founded since the 1950s, tracing their evolution from scenes of progressive ventures to established institutions, the question arises what the future after this process of institutionalization looks like: Does art even need the fixed venues that museums provide, or do they in the long run become a burden?

The Museum Today

9 Also available

MAMCO From Martin Kippenberger’s retrospective in 1997 to John M. Armleder’s extravagant Amor vacui, horror vacui show in 2007, by way of the exhibitions by Marcia Hafif, Franz Erhard Walther, Tatiana Trouvé, and Steven Parrino, this book looks back at the history and uniqueness of the MAMCO, Geneva, since its inception in 1994. It offers a diachronic path through the institution’s first 22 years of existence, and presents some one hundred exhibitions via illustrations, as well as a brief introductory text describing the characteristics and formats of the shows, and some of traces they have left in the collection. The reader can thus discover hundreds of images published here for

the first time, documenting this specific museum, a “factory of exhibitional situations.” Furthermore, an article by architect Erwin Oberwiler, who supervised the renovation of the disused factory housing the museum, provides details about the building decisions and aesthetic choices that have contributed to the institution’s identity.

Art Handling Partituren der Logistik Lucie Kolb, Christoph Lang, Wolfgang Ullrich, Judith Welter [Hg.]

Art Handling A handbook for museums, this volume—published in German— underlines how infrastructure, conservation, legal issues, and logistics are of constitutive significance to the production and presentation of artworks today. [ISBN 978-3-03764-414-0]

Anticipations A manifesto for artistic and interdisciplinary production, this publication revisits the moments leading up to the opening of the experimental Lafayette Anticipations – Fondation d’entreprise Galeries Lafayette, but also anticipates the stakes of artistic production and social and cultural change in the 21st century. [ISBN 978-3-03764-462-1 (English)] [ISBN 978-3-03764-484-3 (French)]

Museum of the Future Olivier Mosset, exhibition view, MAMCO, 1996

Museum of the Future 29 international practitioners (artists, architects, collectors, curators) answer a questionnaire related to museums of contemporary art and their future, thus mapping the current issues of the field. [ISBN 978-3-03764-383-9]

The Book: MAMCO Genève Edited by Lionel Bovier David Lemaire Authors Lionel Bovier Erwin Oberwiler English edition Available ISBN: 978-3-03764-496-6 Softcover, 183 x 243 mm 352 pages Images 253 color Published with MAMCO, Geneva CHF 39 / EUR 32 / GBP 25 / US 45

Documents series Untitled, 2006

Wade Guyton

Edited and introduced by Tim Griffin, Writings on Wade Guyton takes stock of critical perspectives on Guyton’s work over the course of his career, assembling both scholarly essays and concise assessments by an international array of authors. Few artists have had an impact as important on our understanding of artistic production after the turn of the millennium as Wade Guyton (*1972, Hammond, Indiana), whose practice has widely prompted reconsiderations of longstanding models of medium specificity, appropriation, and critical engagement— and, perhaps more provocatively, performativity and readymade gesture—in art. Offering an invaluable reference for any reader coming to terms with his unique practice, this volume also holds up a mirror to the rapidly changing context for Guyton’s work, which in a few short years shifted from discussions of the widespread use of modernist motifs in art during the early 2000s to others revolving

GUYTON’S PAINTINGS SPEAK TO AN EVERYDAY SCREEN CULTURE OF SCANNERS AND SCROLL BARS, LAYERED WINDOWS THAT SLIP IN AND OUT OF VIEW, THRESHOLDS OF INFORMATION THAT ONLY REVEAL THEMSELVES WHEN THE JPEG LOSES FOCUS, THE PRINTER FALTERS, OR THE “X” GETS A JAGGED EDGE. —Scott Rothkopf

around artwork anticipating its own continuous circulation as digital media became ubiquitous in art and culture alike. In her commissioned essay for this book, Bettina Funcke writes: “Guyton has always had a talent for engaging questions of space in his work, although this aspect of his practice has been largely overlooked due to the excitement generated by his painting. For example, much of his early, spatially-aware work was produced for specific, local, physical contexts: his precisely reassembled pile of found scrap wood placed upside down under a bridge in Brewster, New York (2002), or the room-filling platform produced as his Master’s thesis work at Hunter College, which effectively

Installation view, OS, Whitney Museum of American Art, New York, 2012

Untitled Action Sculpture (Chair), 2001

Wade Guyton

11 Also available in the Documents series

presented viewers with a figure of participation cast as an alienating obstacle [ ... ] Guyton then moved to what would become his signature working style, which revolved around autonomous objects that were not tied to a specific locale: digitally printed canvases and printer drawings, as well as ‘U’ and chair sculptures. All these objects could circulate with ease, having been made to be owned; yet very quickly, and as important, Guyton underscored how they were to be moved and put into context. To explain the latter point, even as his pieces were being widely collected

(or better, in response to that growing dynamic), the artist began once more to anchor the work in given spaces—placing sofas and chairs in relation to his paintings and displaying groups of his drawings in room-filling arrays of vitrines. He started importing the black, plywood floor of his studio into his exhibitions, claiming the very ground under viewers’ feet for painting. These works could no longer be focused on as self-contained objects; they instead had to be considered as sets of works and gestures set in relationship with one another. Gradually, Guyton was forcing another sort of reception.”

BY JRP | RINGIER & LES PRESSES DU RÉÉL

How to Do Things with Art How does art become politically or socially significant? This book attempts to answer this question on a theoretical level, and to indicate, through the analysis of works by James Coleman, Daniel Buren, Jeff Koons, and Tino Sehgal, how artists can create and shape social relevance; in other words, to provide what could be called a pragmatic understanding of art’s societal impact. [ISBN 978-3-03764-104-0]

Sarah Burkhalter & Laurence Schmidlin [eds.]

Spacescapes Dance & Drawing

Spacescapes. Dance & Drawing since 1962

Installation view, Wade Guyton, La Salle de bains, Lyon, 2006

This volume brings together original essays, case studies, and interviews about the relationship between dance and drawing since the experimental public performances at the Judson Dance Theater. International academics, artists, dancers, and choreographers explore the interactions of the two disciplines in an approach that is both historical and contemporary. This book thus contributes to the fruitful dialogue about the creative body in the visual and performing arts. [ISBN 978-3-03764-469-0 (English)] [ISBN 978-3-03764-470-6 (French)]

The Book: Writings on Wade Guyton

Writings on Wade Guyton

116 – 117

Idylls of a Chosen XXXXXX Boško Blagojević and Sam Pullitzer Originally published in Yilmaz Dziewior (ed.), Wade Guyton Guyton\Walker Kelley Walker, exh. cat., Kunsthaus, Bregenz, Walther König, Cologne 2012, p. 95–99.

Untitled (cat. 11 cat. 12), 2008 Epson DURABrite inkjet on book page, 24.8 × 19.1 cm

Carcass U What is it like to live in the carcass of a leviathan? To dwell among the canopies of its skin, buttressed by bone, to make a carnival of the flesh and gore of its brethren behemoth? Does one look above to see the palaces of heaven stone-like with the colors of soot and ash in this time to come, as the messiah indulges now in this terrestrial feast of complete ends and zilch means? Forfeiting their ostensible abstraction it is easy to mistake a number of Wade Guyton’s canvas works for an image that depicts the destruction of the World Trade Towers—two stark columns consumed with flame with a cascade of “U”s falling victim to gravity and rendered with the poetry of a bad fax. This is of course a stupid thing to do, identifying pictures in matterof-fact patches of pigment. And it is even more idiotic to think of the now absent towers as a leviathan

Edited by Tim Griffin Author(s) Daniel Baumann, Johanna Burton, Bettina Funcke, John Kelsey, Vincent Pécoil, Scott Rothkopf, et al. English edition Fall 2017 ISBN: 978-3-03764-473-7 Softcover, 150 x 210 mm 240 pages Published with Kunsthalle Zurich CHF 25 / EUR 20 / GBP 16 / US 29.95

12 Monograph Leaves (Geneva, November), 2015

REUS’S PRACTICE DEMONSTRATES AN ATTENTION TO PRODUCTION RATHER THAN CONSUMPTION. HER WORK IS ROOTED IN AN UNDERSTANDING THAT AN ATTENTION TO ART’S MODE OF PRODUCTION MIGHT BE A WAY TO REACH ON THE VERGE OF REPRESENTATION AND MATERIALITY, AND ARE THEREFORE EXEMPLARY OF OUR TIME, POTENTIALS, AND LIMITATIONS. —Liam Gillick

Magali Reus Born in 1981 in The Hague, London-based artist Magali Reus is one of the most acclaimed new voices in contemporary sculpture. Published on the occasion of her exhibitions at the Stedelijk Museum Amsterdam and the Kunstmuseum St. Gallen (2016–2017), this first monograph dedicated to her work provides a comprehensive overview of her practice. Renowned for her interest in the relation ship between mass-produced articles and the human body in the context of today’s digital society, Magali Reus draws on a vast range of formal influences and references, from the domestic to the industrial, the functional to decorative, creating pieces that evolve as an accumulation and layering of sculptural details. Taking everyday objects as starting points, her work operates on a visual register as a formal configuration, but also as a choreography of emotional and physical experience. For her, objects like fridges, padlocks, seating, and street curbs

(the “Parking,” “Lukes,” “Dregs,” “In Place Of,” and “Leaves” series) are not seen only as facilitators of our everyday actions, but also as physical receptacles for our bodies. She is thus interested in positioning them not only as shells or providers, but as objects imbued with their own sense of personality. Detached from their surroundings and translated into immaculate, abstract forms they become uncanny and perplexing, acquiring a very different life, which is almost theatrical. Colliding the macro logic of daily architecture with the more metaphorical projections of a body inhabiting

Parking (Legs At Eye Level), 2014

Magali Reus

space, Magali Reus’ practice focuses on the physical and psychic space of objecthood, as it is explicit in this excerpt of the conversation between her and Andrew Bonacina published in the book: Magali Reus: “Without doubt, objects are capable of construing emotive feelings. The ontological question of whether or not non-cognitive things are capable of anything besides being is impossible for me to answer, but I love the idea that we are able to mirror feeling or tone in material choices. When certain abstractions such as color or form merge in

constellation with one another, they are somehow afforded the magical capacity to communicate content. More often than not, this content is affected as a result of our relationship with pre-existing frameworks within culture and the world at large. I like the possibility that we are able to tweak and manipulate these frameworks in a way that allows different resonances of meaning to surface or to be deliberately pushed to the side. I think objects become personified or caricatured precisely because they co-exist in the spaces and time frame through which we accelerate.”

IN REUS’ WORKS, THERE IS A SEAMLESS CONTINUITY BETWEEN THE VARIOUS ASSEMBLED OBJECTS, ALMOST ALL OF WHICH HAVE BEEN PRODUCED BY THE ARTIST, REGARDLESS OF THEIR FIELD OF REFERENCE. HERS IS THEREFORE NOT THE THEATER OF THE READYMADE, BUT RATHER A HOUSE OF SYNTHETIC PLAYERS, END-PRODUCTS OF A THOROUGH PROCESS OF ANALYSIS, DIGESTION, AND RECREATION. —Kristy Bell

Harlequin Darts, 2016

The Book: Magali Reus

Magali Reus

Edited by Leontine Coelewij, Clément Dirié, Magali Reus

07 Sycamore, 2016 Sprayed plywood, blackened socket bolts, fiberglass, cast polyester resin, pigments, charcoal powder, airbrushed laser-cut steel, laser-cut, phosphated and powder-coated steel and aluminum, textured foil, polyester rope 2 parts 150 × 110 × 9.2 cm 8.5 × 22 × 2.5 cm

Author(s) Kirsty Bell, Andrew Bonacina, Leontine Coelewij, Andrew Durbin, Liam Gillick, Beatrix Ruf

English edition Available ISBN: 978-3-03764-482-9 Hardcover, 205 x 250 mm 144 pages Images 140 color Published with Stedelijk Museum Amsterdam and Kunstmuseum St. Gallen CHF 39 / EUR 32 / GBP 26 / US 39.95

Reference Monographs sechzehnterjulineunzehnhundertzweiundneunzig, 1992

Ugo Rondinone A new series of three publications by Ugo Rondinone extensively documents three of his most renowned series: the Landscapes Paintings, the Circle Paintings, and the Horizon Paintings. Born in 1964, New York-based Swiss artist Ugo Rondinone is one of the leading voices in the contemporary visual arts. Using photography, video, painting, drawing, sculpture, sound, and text in turn, he is a virtuoso of forms and techniques. Rondinone particularly enjoys destabilizing the viewers’ perceptions and unsettling their certainties by developing surprising sensorial environments. Rearranging content and formal elements through a personal poetic filter while drawing directly on the outside world, he envelops the audience in a synesthetic experience. The artist has developed very precise and repetitive series—clown sculptures and videos, target acrylic paintings on linen, rubber masks, aluminum face sculptures, oversized wax lightbulbs, striped paintings on polyester, stone sculptures, landscape ink painting, bronze still-life objects, video and sound installations— through which he explores themes of

IT HAS NEVER BEEN POSSIBLE TO PREDICT WHERE UGO RONDINONE WILL VENTURE NEXT WITH THE PRODUCTS OF HIS MIND, AND IT REMAINS SO, AS THESE HORIZON PAINTINGS METAPHORICALLY SUGGEST: A SUSTAINED EVENTHORIZON OR POINT OF NO RETURN, WHERE ONE CAN NEVER APPREHEND THE END OF THE LINE. —Bob Nickas

fantasy and desire, branching out into literature and poetry, contemporary cinema, and the visual arts. This book trilogy offers the reader a deep insight into three of his most renowned series: the Landscapes Paintings, the Circle Paintings, and the Horizon Paintings. In the first volume dedicated to the Circle Paintings (1992–2015), critic and art historian Lionel Bovier offers a visual and perceptual analysis, while Morgan Falconer examines the main charac teristics of this series in relation to Rondinone’s work and biography, stating that, “If the circles do have a connection to Rondinone’s biography, it is allegorical. A motif in his work links to a moment of life experience just as a part does to a whole, or as a link in a chain sits next to its partners: we see only the link that Rondinone chooses to illuminate, the rest is in darkness.”

achterjanuarzweitausendundfünf, 2005

sechzehnternovemberneunzehnhundertfünfundneunzig, 1995

Ugo Rondinone

achtzehnteraugustneunzehnhundertneunzig, 1990

In the second volume dedicated to the Horizon Paintings (1999–2011), artist and writer Phong Bui retraces the genealogy of stripe paintings from Barnett Newman to Rondinone, while art critic Bob Nickas thoroughly examines the making and meaning of painting in Rondinone's work. He states: “While it is true that Rondinone has followed many paths over time, he has found ways for them to converge and align, to overlay abstraction and representation, reality and the unreal, artifice and the sublime. It has never been possible to predict where he will venture next with the products of his mind, and it remains so, as these stripe paintings metaphorically suggest: a sustained eventhorizon or point of no return, where one can never apprehend the end of the line.”

In the third volume dedicated to the Landscapes Paintings (1989–2011), critic and curator Bice Curiger proposes an historical and poetical reading of this body of work, while Kunsthalle Bremen Curator of Prints Anne Buschhoff offers an iconographic perspective on them. She concludes, “With his forest pieces, Rondinone has developed a private iconography of landscape—a pictorial reality, which plays with the purportedly real, and heightens it to the point of the surreal. In doing so, he opens spaces of imagination in the viewer. But above all, in doing so, he places nature entirely at his own disposal, turning it into the biographical. The forest is a psychological space—the forest is Rondinone.”

RONDINONE’S UNINHABITED WOODLANDS LINK US TO TIMES PRIOR TO OUR OWN EXISTENCE. FROM THE PERSPECTIVE OF HUMAN HISTORY, WE COME FROM THE WOODS. EVERYTHING HERE APPEARS LIFE-SIZED, WHILE BEING MADE MORE REMOTE THROUGH THE BLACK AND WHITE OF THE RENDERING. —Bice Curiger

The Books: Ugo Rondinone – Pure Sunshine / New Horizon / Kiss Now Kill Later Authors Lionel Bovier, Morgan Falconer / Phong Bui, Bob Nickas / Bice Curiger, Anne Buschhoff English edition Fall 2017 ISBN: 978-3-03764-505-5 / 978-3-03764-506-2 / 978-3-03764-507-9 Hardcover, 240 x 310 mm 320 pages / 232 pages / 316 pages Images 262 color / 150 color / 124 color CHF 48 / EUR 38 / GBP 29 / US 49.95 each

Sheila Hicks, Apprentissages (Broderies), installation view, MusÃ©e Carnavalet, Paris, 2017 Photo: Cristobal Zanartu

JUST PUBLISHED: SHEILA HICKS: APPRENTISSAGES [ISBN 978-3-03764-483-6] (English) [ISBN 978-3-03764-487-4] (French)

Lectures maison rouge series Elisabeth Lebovici, 1996

Elisabeth Lebovici The seventh volume in the Lectures maison rouge series, this book is a milestone in the historiography of the relation between art and activism. Written by Elisabeth Lebovici, it offers a profound analysis of the so-called “AIDS years.” Restoring the voices of the friends of the fight against AIDS; articulating the “I” and the “we” of then and today; examining facts and affects little known to the French and European public; analyzing the epidemic of consequential representation which followed the emergence of AIDS: such is the agenda of this book, conceived by art critic Elisabeth Lebovici as a “discourse of method” in which the personal is always political, and public and private spheres are closely intertwined. Engaged alongside French and American AIDS activists, Elisabeth Lebovici was a privileged observer, as an art historian and journalist, of the debates and issues of the 1980s and 1990s. In this book, Lebovici analyzes the relationships between art and activism at this pivotal moment, which she revisits from her memory as witness and survivor.

IN THE TIME OF AIDS WE ALL LIVE AND DIE “IN AIDS” WHETHER OR NOT WE DIE “OF AIDS.”

Monographic essays, new interviews, and thematic texts compose this volume, written in the first person—the only one possible. It thus proposes, in a constant to-and-fro movement between the United States and France, an elective cosmology: ACT UP, Alain Buffard, Douglas Crimp, General Idea, Nan Goldin, Félix GonzálezTorres, Gran Fury, Roni Horn, Zoe Leonard, Mark Morrisroe, Lionel Soukaz, Philippe Thomas, David Wojnarowicz, Dana Wyse, and many more. Illustrated with numerous archive documents and ephemera emphasizing the importance of graphic design in the fight against AIDS, “Ce que le sida m’a fait” (What AIDS has done to me) is an essential book to understand the “AIDS years,” this period of artistic creativity and activism born of the urgency to live, and the struggle for the recognition of all.

General Idea, AIDS Posters, San Francisco, 1988

Queer Action Figures, c. 1992

Elisabeth Lebovici

19 Also available in the Lectures maison rouge series

lectures maison rouge

Carlo Scarpa L’art d’exposer

Carlo Scarpa L’Art d’exposer Edited by Philippe Duboÿ, this volume is an invaluable tool for understanding why Italian architect Carlo Scarpa (1906–1978) is today recognized as one of the most inspiring and innovative museum and exhibition architects of the 20th century. [ISBN 978-3-03764-266-5]

lectures maison rouge

Carla Lonzi Autoportrait Carla Accardi, Getulio Alviani, Enrico Castellani, Pietro Consagra, Luciano Fabro, Lucio Fontana, Jannis Kounellis, Mario Nigro, Giulio Paolini, Pino Pascali, Mimmo Rotella, Salvatore Scarpitta, Giulio Turcato, Cy Twombly

Carla Lonzi Autoportrait Inseparable from the postwar cultural history of Italy, Carla Lonzi (1931– 1982) occupies a singular position, which today merits reevaluation. A polyphonic self-portrait, Autoportrait is a “love letter” to artists and to creation. Edited by Giovanna Zapperi. [ISBN 978-3-03764-314-3]

lectures maison rouge

White Cube L’espace de la galerie et son idéologie Brian O’Doherty

Alain Buffard, good boy, 1998

Brian O’Doherty White Cube The French translation of the seminal essays published by Brian O’Doherty between 1976 and 1981. Edited by Patricia Falguières. [ISBN 978-3-03764-002-9]

The Book: Elisabeth Lebovici – Ce que le sida m'a fait LECTURES MAISON ROUGE

Elisabeth Lebovici

Ce que le sida m’a fait

Elisabeth Lebovici Ce que le sida m’a fait Art et activisme à la fin du XXe siècle

Edited by Clément Dirié Patricia Falguières Author Elisabeth Lebovici French Available ISBN: 978-3-03764-499-7 Softcover, 145 x 225 mm 320 pages Images 0 color / 80 b/w Published with La maison rouge, Paris CHF 22 / EUR 19.5 / GBP 17 / US 29

20 Monograph Thomas Hirschhorn by Romain Lopez

Thomas Hirschhorn Bringing together 15 Maps realized between 2003 and 2016 by Swiss artist Thomas Hirschhorn (*1957), this book focuses on this particular aspect of his practice that could be seen as a matrix to understand his unique position within the art world and visual culture.

WITH MY MAPS, I WANT TO MAKE UNDERSTOOD I HAVE A GOAL, THAT I AM ALSO A MAKER, AND NOT ONLY A THINKER, A THEORETICIAN. I WANT MY MAPS TO BE STATEMENTS AND ALSO COMMITMENTS TOWARD MYSELF, FIRST AND FOREMOST. —Thomas Hirschhorn

Edited and introduced by Julie Enckell Julliard, Director of the Musée Jenisch Vevey, the publication reproduces each Map in details showing their combination of printed matter, texts fragments, artist’s comments, and collaged images found in the press. They are both an archive of Hirschhorn’s projects and inspirational figures, such as Foucault, Arendt, and Nietzsche, and manifestoes about topics such as “Friendship Between Art and Philosophy.” Also included are an interview with the artist, an essay by German philosopher and Hirschhorn’s friend Marcus Steinweg, as well as many texts reproduced in the Maps, like the one below.

About Headlessness: “‘Headlessness’ is an important term to me and acting in headlessness does count for me. As an artist the notion of Headlessness—which is an absolutely positive notion—guides me and drives my work, from the start. The term ‘Headless’ is shared by Art and Philosophy. Headless does not mean stupid, silly or without intelligence, Headless does not mean being ignorant: I am not an ignorant artist—because as an artist, better not be ignorant! I am and want to be a Headless artist. I want to act in Headlessness—always. I want to make Art in Headlessness, work in a rush and

The Map of Headlessness, 2011 Collection Musée Jenisch Vevey

Form- and Forcefield, 2014

Text by Thomas Hirschhorn

self-transgression, precipitation, energy (Energy = Yes! Quality = No!). And at the opposite terms such as: anxiety, naivety, harmony, capitalization, analysis, provocativeness, security, quiet, correctness, obedience, consumption, are to me absolutely negative notions today. To stay disobedient, non-resigned, and non-reconciled means to act with passion and Headlessness. To agree is an enlightment, it’s a gift, it’s a tool, it’s a weapon. To agree means trying to act in the reality and trying to fight reality in order to change it. In all of my works I want to give form to Headlessness. I also want written clarifications about my work to follow this notion. Nothing is more boring than something definite, something sure, something safe because it just isn’t the truth. The truth can only be touched—in Art—with Headless, hazardous, contradictory and hidden encounters.” —Thomas Hirschhorn

4 Philosophers, 2014

with precipitation. I never want to economize myself and I know that—as the artist—I often look stupid facing my own work, but I have to stand out for this ridiculousness. If I want to give a new form, I have to do it in Headlessness and to produce in Headlessness means to be ridiculous and even to be ‘the stupid one.’ I want to rush through the wall, head first, I want to make a breakthrough, I want to cut a hole or a window into the reality of today. I think that in today’s complex, cruel, incomprehensible but also graceful, beautiful, and hopeful world, to be static, to ‘keep the level,’ to be for security, for tradition, for identity will definitely lead to loss. I am for movement, for intensity, for exaggeration, I am for Headlessness, for decision, for insistence, for the offensive, for the dream. “Other terms for Headlessness are: blindness, restlessness, acceleration, excess, stupidity, generosity, non-economization, expenditure, exaggeration,

Timeline: Work in Public Space, 2012 Installation view, DIA:Chelsea, New York, 2012. Photo: Ronald Amstutz

HIRSCHHORN’S MAPS ARE SIMULTANEOUSLY TOOLS TO CLARIFY HIS THINKING, MEMORIALS TO FOUCAULT, SPINOZA, ARENDT, NIETZSCHE, MANIFESTOES, AND A WAY TO RESIST. —Julie Enckell Julliard

The Book: Thomas Hirschhorn – Maps Edited by Clément Dirié Julie Enckell Julliard Authors Julie Enckell Julliard Thomas Hirschhorn Marcus Steinweg English edition Winter 2017 ISBN: 978-3-03764-490-4 Softcover, 300 x 230 mm 140 pages Images 100 color / 20 b/w Published with Musée Jenisch, Vevey CHF 39 / EUR 32 / GBP 26 / US 39.95

Migros Museum f ür Gegenwartskunst series Red Deer, 2017

Jimmie Durham Taking mankind’s anthropocentric viewpoint as a starting point, this book reflects Durham’s examination of our relationship to animals. It accompanies the exhibition God’s Children, God’s Poems at the Migros Museum für Gegenwartskunst and contextualizes it within the larger body of Durham’s artistic practice, which is a continuous examination of issues such as the representation of civilizing values, historicity, and social identity.

THESE MIXEDMEDIA PROSTHESES— BESIDES METAL, THE ARTIST HAS USED WOOD, FABRIC, AND OTHER MATERIALS— MATCH THE REAL DIMENSIONS OF THE ANIMALS’ BODIES. AT THE SAME TIME, SOME OF THE SCULPTURAL ASSEMBLAGES HAVE AN AIR OF MECHANICAL CONTRAPTIONS, AS THOUGH TO EXORCISE NATURE FROM THE CREATURES. —Heike Munder

“In what we call the ‘natural sciences’— biology, botany, chemistry, geology, etc.—the differentiation between humans and animals is still the law, even though most biologists will now say ‘other animals.’ This means that when we study intelligence, we use every ridiculous way to continually say that human, ‘our,’ intelligence is the standard. I must say that that does not seem very intelligent. Certainly our intelligence might be the proper standard for studying the

intelligence of non-arboreal upright bipedal primates. But if we mean ‘rationality,’ or ‘logic,’ when we observe our behavior and how it has affected the world, we surely must see that our idea of our own intelligence must also be much more complex. “It does not matter if another type of animal is not like us in the areas of speech, reasoning, or such criteria, and everyone who has had a pet or friend animal of another species knows this.

Musk Ox, 2017

Text by Jimmie Durham

23 Also available in the Migros Museum f ür Gegenwartskunst series

Maja Bajevic Since the mid-1990s, FrenchBosnian artist Maja Bajevic (*1967) has explored issues of globalization, migration, inclusion/exclusion, and neoliberalism through photographs, videos, and performances. Her work investigates her own identity and the meaning of “home”, dealing with social and educational issues to shake up social consciousness. This volume stands as a reference monograph and focuses on her most recent bodies of work. [ISBN 978-3-03764-497-3]

Wild Boar, 2017

It is not anthropomorphistic. It is anthropocentric to imagine that we are the standard, that we are angelic, unearthly, or ‘higher’ beings. “But we do constantly act anthropomorphically with our pets when we imagine them to be like us in the ways that are simian, if they are not simian. An adult dog is often called boy, or girl. Most animals become nervous at direct eye contact, but especially cats. When people who are not fond of cats look away from one, the cat takes it as a sign of friendliness and tries to reciprocate. This often makes the person describe the cat as cunning and manipulative.

“But here is a truly strange and heavy phenomenon: any kind of land animal and many sea mammals will become a pet in the right circumstances. Doesn’t it seem impossible and impossibly hard to bear that any animal will respond to human love and kindness? As though some god had given us, not dominion over other animals, but special responsibilities. “The title of this show of animal spirits was suggested by Koen van Synghel, a Belgian friend who read that the old Greek term for animals is ‘God’s children’ or ‘God’s poems’; that is, the beloved works of God.” —Jimmie Durham

Liz Magor Liz Magor (*1948) is one of the most important Canadian artists of her generation, and certainly its most influential sculptor. She has consistently combined a high level of conceptual and procedural rigor with the intense investigation of materials. Delivering an in-depth exploration of her sculpture and installations produced over the course of 40 years, this publication emphasizes the visual and emotional range of her practice. [ISBN: 978-3-03764-474-4]

The Book: Jimmie Durham Edited by Heike Munder Authors Jimmie Durham Heike Munder Richard William Hill English/German edition Available ISBN: 978-3-03764-498-0 Softcover, 208 x 275 mm 104 pages Images 43 color Published with Migros Museum für Gegenwartskunst CHF 38 / EUR 32 / GBP 26 / US 39.95

Art History Richard Hamilton, Reaper (o), 1949

Hamilton/ Giedion: Reaper The theoretical core of this publication is the conceptual encounter between English Pop artist Richard Hamilton (1922–2011) and Swiss historian and architecture critic Sigfried Giedion (1888– 1968), famous for his landmark book Space, Time, and Architecture, an influential history of modern architecture published in 1941.

IN HIS CRITICAL HISTORY OF TECHNOLOGY, WITH ITS NUMEROUS DRAWINGS, PRINTS, AND ADVERTISING IMAGES, GIEDION FREELY AVAILED HIMSELF OF THESE ARTISTIC PRINCIPLES TO QUESTION EXISTING SOCIAL ATTITUDES AND TO EXPLORE THE MEANING OF COLLECTIVE CONSCIOUSNESS. —Filine Wagner

In 1949 Richard Hamilton—then a member of the London-based Independent Group—realized the “Reaper” print series as a reaction to Giedion’s 1948 book Mechanization Takes Command, in which he describes the mechanization of everyday life. Reproducing Hamilton’s complete “Reaper” series juxtaposed with selected examples of illustrations created

by Giedion alongside many related illustrations, this publication brings together seven essays by renowned international scholars, all of whom question the relationships between the visual arts, technology, science, and architecture. Among the many topics discussed are Hamilton’s early works and exhibition installation practice, postwar British biotechnology

Richard Hamilton, Reaper (n), 1949

Mechanic's Magazine, 1823, from the Sigfried Giedion Archive

Richard Hamilton and Sigfried Giedion Between 1950 and 1980, the playground was a creative laboratory. In the cities of industrialized nations, innovative, eccentric, interesting, and exciting projects were created: landscape architects, artists, activists, and citizens sought to provide children with the best possible places to play in, and to rethink the community and the city. The Playground Project brings back the wealth of ideas of that time to inspire us today, through numerous previously unpublished pictures. This publication explains the varied history of the playground between education, architecture, art, and politics. In-depth texts pay tribute to the most important figures, many of whom have since been forgotten. With texts about Marjory Allen (Lady Allen of Hurtwood), Joseph Brown, Riccardo Dalisi, Richard Dattner, Aldo van Eyck, M. Paul Friedberg, Alfred Ledermann, Alfred Trachsel, Group Ludic, Egon Møller-Nielsen, Palle Nielsen, Isamu Noguchi, Josef Schagerl, Mitsuru (Man) Senda, and Carl Theodor Sørensen. The Playground Project is edited by Gabriela Burkhalter, with texts by Daniel Baumann, Gabriela Burkhalter, Vincent Romagny, Sreejata Roy, and Xavier de la Salle.

The Playground Project

Bringing together the complete “Reaper” series with numerous documents from the Giedion Estate in the gta archives, the publication enlarges the “imagined conversation” between the unlikely pair Richard Hamilton and Sigfried Giedion suggested by the exhibition, and facilitates an understanding of their positions

Zwischen 1950 und 1980 war der Spielplatz ein kreatives Labor. In den Städten der Industrienationen entstanden innovative, verrückte, interessante und aufregende Projekte: Landschaftsarchitekten, Künstler, Aktivisten und Bürger wollten Kindern den besten Spielort zur Verfügung stellen und zugleich Gemeinschaft und Stadt neu denken. In zahlreichen bisher unveröffentlichten Bildern bringt The Playground Project den damaligen Ideenreichtum zurück – damit wir uns heute davon inspirieren lassen können. Die Publikation erklärt die wechselvolle Geschichte des Spielplatzes zwischen Erziehung, Architektur, Kunst und Politik. Vertiefende Texte würdigen die wichtigsten Akteure, von denen heute viele vergessen sind. Mit Beiträgen zu Marjory Allen (Lady Allen of Hurtwood), Joseph Brown, Riccardo Dalisi, Richard Dattner, Aldo van Eyck, M. Paul Friedberg, Alfred Ledermann, Alfred Trachsel, Group Ludic, Egon Møller-Nielsen, Palle Nielsen, Isamu Noguchi, Josef Schagerl, Mitsuru (Man) Senda und Carl Theodor Sørensen. The Playground Project, herausgegeben von Gabriela Burkhalter, mit Beiträgen von Daniel Baumann, Gabriela Burkhalter, Vincent Romagny, Sreejata Roy und Xavier de la Salle.

on art and architecture in the respective historical context. The comprehensive essays shed light on modernism and postmodernism, movements that Hamilton and Giedion, respectively, represent, as well on the relation between the theoretical and artistic approaches of both. The book suggests an ecological model, not in the sense of a closed system, but as a set of fertile interconnections between codependent parts.

Also available

and architecture, “Hippie Modernism,” and the visual strategy of Giedion’s books.

25 The Playground Project

ISBN 978-3- 0376 4-4 54- 6

9 78 3 037 6 4 4 5 4 6

The Playground Project Until the 1980s—and in rare cases until today—playgrounds were places for social experiments, risky projects, and spectacular sculptures. Architects, urban planners, artists, parents, and children were invited to leave their comfort zone and to venture into something new. The Playground Project brings many of these exemplary, but nowadays forgotten, initiatives, pioneering acts, and adventures back. Examples from Europe, the USA, Japan, and India are discussed in depth and illustrated with numerous images. This is the first comprehensive overview of this kind and addresses laymen as well as experts who want to do more than just seesaw and swing. The publication includes works by artists, architects, and landscape architects, such as Marjory Allen, Joseph Brown, Riccardo Dalisi, Richard Dattner, Aldo van Eyck, M. Paul Friedberg, Group Ludic, Alfred Ledermann and Alfred Trachsel, Palle Nielsen, Egon Møller-Nielsen, Isamu Noguchi, Joseph Schagerl, Mitsuru Senda, and Carl Theodor Sørensen. It brings together an introduction by Daniel Baumann, a comprehensive text on the historical development of the playground and its most important designers by the urban planner Gabriela Burkhalter, and essays by French sociologist and artist Xavier de la Salle; Indian artist Sreejata Roy; and French philosopher and curator Vincent Romagny. Richard Hamilton, Reaper (e), 1949

Published with the Kunsthalle Zürich. [ISBN 978-3-03764-454-6]

The Book: Sigfried Giedion and Richard Hamilton – Reaper

RICHARD HAMILTON

Edited by Carson Chan, Fredi Fischli, Niels Olsen, Linda Schädler, Filine Wagner Authors Carson Chan, Esther Choi, Kevin Lotery, Spyros Papapetros, Fanny Singer, Hadas Steiner, Filine Wagner

SIGFRIED GIEDION

REAPER

English / German edition Available ISBN: 978-3-03764-504-8 Softcover, 170 x 230 mm 292 pages Images 78 color / 30 b/w Published with Graphische Sammlung ETH, Zurich CHF 45 / EUR 38 / GBP 28 / US 49.95

26 Monographs Photo: Barney Kulok

Wyatt Khan This monograph on American artist Wyatt Kahn (*1983) encompasses his painting production from 2011 to 2017, and introduces his recent exploration of photography, showing the originality of his approach to two- and three-dimensional questions in the visual arts.

I WOULD LIKE THE VIEWER TO EXPERIENCE THE ERRORS IN THE PROCESS THAT REVEAL MY HAND, AND A VERY HUMAN EXPERIENCE OF IMPERFECTION. —Wyatt Kahn

Trained as a sculptor, Wyatt Kahn works with assemblages of raw canvas, individual panels in various sizes, shapes, and geometric forms. By juxtaposing them, he plays with the flatness and the illusion of depth and alters the viewer’s perception of dimensionality. Rather than tracing the lines and shapes directly onto the canvas itself, he turns them into physical components of the artwork. His works constantly oscillate between painting and sculpture, drawing inspiration from the body, urban architecture, and the natural world. In his essay, Terry R. Myers puts the emphasis on the reuse of the past in Kahn’s work. As the artist says, “I lean back on history not to reference artists, but rather specific time periods, referencing that period as to where we are now.” Wyatt Kahn’s monochrome multipanel “paintings” are informed by a

desire to explore non-illusory forms of representation. Kahn’s works have a striking aesthetic simplicity, which allows raw interactions between the forms, following and referencing the tradition of minimalist abstraction. As Myers comments: “Kahn’s output from the past few years convinced me that he has absorbed the terms and conditions of that emerging articulation of a particular type of hybrid work from the 1960s and realized that it could be put to innovative use in our contemporary moment that still wrestles with boundaries and categorization.” Interested in a painting’s potential to function as the very embodiment of the object it depicts, Kahn has also developed works in which the shaped stretchers combine to create the form of an actual object, while a synthesis of hand-drawn motifs and words distills its essential qualities.

The Book: Wyatt Kahn Author Terry R. Myers English edition Available ISBN: 978-3-03764-511-6 Hardcover, 216 x 254 mm 104 pages Images 80 color CHF 42 / EUR 35 / GBP 28 / US 45

Untitled, 2016, oil stick and graphite on paper, 24 x 18 inches; Untitled, 2016, watercolor and wax pencil on paper, 24 x 18 inches

Drifter, 2011, canvas, rabbit-skin glue, and rust on panel, 73 x 60 inches

This monograph on acclaimed Canadian artist Rodney Graham (*1949) gathers together works made between 1994 and 2017, emphasizing in particular his musical production thanks to Robert Linsley’s essay, which retraces Graham’s career as a musician and articulates the connections between his songs and his visual production.

Franz West

Franz West A tribute to the long collaboration between Franz West and Galerie Eva Presenhuber, this volume offers a comprehensive yet singular overview of the artist’s oeuvre. Bringing together extensive documentation and rare archive material on the numerous exhibitions they have organized together since 1995, the book is introduced by art theoretician and friend of the artist Max Wechsler. [ISBN 978-3-03764-427-0]

KELLEY WALKER DIRECT DRIVE

mise-en-scènes, and that operate selfreflexively to speculate on the very mechanics of the image, so it is impossible to keep all the allusions in check. There is something enigmatic that we can never entirely satisfactorily trace back to the numerous sources that may or may not be at stake. The more Graham elaborates the plotlines for his pictures, the more insistent the sense that there is something moot or irreducible at work in the image. Every hypothetical injunction to ‘suppose’ tends to lead to another possible conjecture.” Through his visual production, Rodney Graham questions the fundamental perception of the image and invites the public to participate in shaping its meaning.

KELLEY WALKER DIRECT DRIVE

CONTEMPORARY ART MUSEUM ST. LOUIS / USLIP

The figure of the artist remains a central subject of investigation for Rodney Graham, known for straddling many areas simultaneously—painter, photographer, writer, philosopher, actor, psychologist, scientist, and musician. Contradicting the title “That’s Not Me,” the lightboxes series focuses on the use of the self- portrait. Graham shows himself starring in various fictional scenarios at different times. According to curator Alessandro Vincentelli, Graham likes to look back at history and repeat it through his work, by “stirring up art history with multiple and varied cultural references, so that the signals are subtly altered for the viewer.” Briony Fer suggests that, “as much as Graham makes pictures that cohere as

Also available

Rodney Graham

Franz West Galerie Eva Presenhuber 95–15

Galerie Eva Presenhuber

Monographs 27

Kelley Walker Since the early 2000s, New Yorkbased artist Kelley Walker (*1969) has developed a body of work that uses the potency of advertising strategies to interrogate the ways a single image can migrate into several cultural contexts and how everything and everyone is subject to reinvention. Often using such technologies as 3-D modeling and laser cutting, he works in photography, painting, printmaking, collage and sculpture, to draw attention to popular culture’s perpetual consumption. Comprehensive monograph. [ISBN 978-3-03764-495-9]

The Book: Rodney Graham - That's Not Me Edited by Alessandro Vincentelli Authors Patrik Andersson, Briony Fer, Rodney Graham, Robert Linsley, Sarah Munro, Harry Pearson, Alessandro Vincentelli English edition Available ISBN: 978-3-03764-512-3 Softcover, 235 x 290 mm 192 pages Images 150 color Published with BALTIC Centre for Contemporary Art, Gateshead CHF 40 / EUR 32 / GBP 24.95 / US 45

Rodney Graham book 6 April from Dave repro FINAL pp1-181.indd 46

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Rodney Graham book 6 April from Dave repro FINAL pp1-181.indd 47

06/04/2017 14:20

From the backlist Damage I, 2007 (Unassisted Readymade)

John Stezaker

Unassisted Readymade proposes an exploration of the universe of English artist and master of composition John Stezaker (*1949). Primarily celebrated as a collagist, this artist’s book shows a lesser-known facet of his investigation of found images, his core material for over 40 years. John Stezaker’s work reexamines the various relationships to the photographic image: as documentation of truth, purveyor of memory, and symbol of modern culture. In his collages, Stezaker appropriates images found in books, magazines, and postcards, and uses them as “readymades.” Through his elegant juxtapositions, Stezaker adopts the content and contexts of the original images to convey his own witty and poignant meanings. In this book, he started with found images—resorting stylistically to

CUTTING A PHOTOGRAPH CAN FEEL LIKE CUTTING THROUGH FLESH. —John Stezaker

Hollywood’s golden era—which find a new life on these pages, as much as a new meaning, if not aura. As photography critic and curator David Campany writes in his essay: “His is an art that returns seemingly banal imagery to its essential freedom … in working to set loose the most enchained of images, Stezaker’s work offers the viewer an occasion, at least, to experience what image freedom might feel like, what it might imply, and what it tells us about the fears that bind images and the desires that loosen them.”

Untitled, 2010 (Assisted Readymade)

Damage III, 2007 (Unassisted Readymade)

John Stezaker

29 Also available in the Codx Publishers Series

Raffael Waldner

Salon

Raffael Waldner

Untitled, 1977 (Assisted Readymade)

Swiss-based artist Raffael Waldner (*1972) is obsessed by car culture, its mythology and phantasms, its contradictions, and the way it mirrors the evolution of the modern Western world. Since the late 1990s he has been carrying out research into the world of sports and luxury cars. Here Waldner focuses on motor shows, the places where new cars are presented to the public for the first time, gathering together 100 photographs from the Salon series realized in Paris, Frankfurt, and Geneva between 2011 and 2016. Called a “salon” in French, the motor show is a world of its own, a particularly glossy, glamorous miseen-scène with an erotic undertone created by hundreds of models acting as car-company ambassadors. Waldner photographs the models in the same way that he shows the cars: with objective coolness, isolated from any context. As Jürgen Haüsler writes in his essay: “Waldner’s photographs are illuminating: they show the before and after of the mise-enscène at the motor show. Viewed from this angle, one is oppressed by the emotional emptiness of the exhibition halls, the coldness and unapproachability of the exhibits themselves, and the degrading uniformity that has been imposed on the workforce … Waldner is capturing a moment in the biography of the automobile myth which transcends the concrete world of the motor show; a moment that with hindsight might one day be interpreted as the phase in which the end of the myth was announced—if only one’s powers of observation had been sharp enough.” [ISBN 978-3-03764-486-7]

The Book: John Stezaker – Unassisted Readymade Edited by Markus Bosshard, Jürg Trösch Author David Campany English / German edition Available ISBN: 978-3-03764-449-2 Hardcover, 245 x 345 mm 144 pages Images 68 color Published with Codax Publishers, Zurich CHF 68 / EUR 54 / GBP 42 / US 75

Three bookshops we love Also available

mullican rubbings caTalOguE 1984–2016

3 Bookshops Spoonbill Studio, Spoonbill & Sugartown Booksellers’ second location, is a hybrid bookshop/event space/gallery. Floor display furniture is mounted on wheels to allow for easy clearance, thus enabling the space to be opened up. The bookshop is focused on building a vibrant schedule of workshops, book-signings, lectures, slide-shows, and other space-activating events.

Matt Mullican Awarded by The Most Beautiful Swiss Books Prize, Matt Mullican’s Rubbing. Catalogue (1984–2016) centered on one of the artist’s central and most consequential inventions, the so-called “Rubbings”—a kind of “frottage,” a technique the artist uses to produce specific pictures. From the beginning of his career, Mullican 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 the cardboard reliefs with an oil stick, 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 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 visible that they represent the motives and themes the artist worked with over the years. Edited and introduced by Dieter Schwarz, the book presents a catalogue of the “Rubbings” on canvas from 1984 to 2016, comprising 600 works. [ISBN 978-3-03764-461-4]

The Playground Project

tween 1950 and 1980, the playground was a ative laboratory. In the cities of industrialized ions, innovative, eccentric, interesting, and citing projects were created: landscape archits, artists, activists, and citizens sought to vide children with the best possible places to y in, and to rethink the community and the city. The Playground Project brings back wealth of ideas of that time to inspire us today, ough numerous previously unpublished pictures. s publication explains the varied history of the yground between education, architecture, art, d politics. In-depth texts pay tribute to the most portant figures, many of whom have since been gotten. With texts about Marjory Allen (Lady en of Hurtwood), Joseph Brown, Riccardo Dalisi, hard Dattner, Aldo van Eyck, M. Paul Friedberg, red Ledermann, Alfred Trachsel, Group Ludic, on Møller-Nielsen, Palle Nielsen, Isamu Noguchi, ef Schagerl, Mitsuru (Man) Senda, and Carl eodor Sørensen. The Playground Project is edited by briela Burkhalter, with texts by Daniel Baumann, briela Burkhalter, Vincent Romagny, Sreejata y, and Xavier de la Salle.

The Playground Project

The Playground Project Also awarded. See page 25.

Spoonbill Studio 99 Montrose Avenue Brooklyn, New York 11206 United States of America www.spoonbillbooks.com

Open daily from 12pm–6pm

Beirut Art Center’s bookshop houses and sells resources that reflect and complement the exhibitions. Its wide collection includes many artists’ books, catalogues, anthologies, and theory books from international and local publishing houses. It constitutes the first bookshop in Lebanon that is exclusively dedicated to contemporary art.

Jisr El Wati - Off Corniche an Nahr Building 13, Street 97, Zone 66 Adlieh Beirut, Lebanon www.beirutartcenter.org

Tue, Thu, and Fri 12pm–8pm Wed 12pm–10pm Sat–Sun 11am–6pm

Located within the Centre Pompidou, the Flammarion Centre bookshop specializes in modern and contemporary art. The wide selection reflects current national as well as international art related topics and features more than 10,000 titles from French and foreign publishers.

Librairie Flammarion Centre Centre Pompidou 19, rue Beaubourg 75004 Paris, France www.librairieflammarion.fr

Mon 11am–10pm Tue closed Wed 11am–10pm Thu 11am–11pm Fri–Sat–Sun 11am–10pm

Shop 31

Kunstgriff

THE WALL

Kunstgriff has established itself as the reference when it comes to contemporary art books with an ever-expanding selection of titles. Next to our finest selection of books and special editions, you will find DVDs, postcards, and art related records.

Clare Goodwin is a British-born artist living in Zurich. She presents a new large-scale site-specific wall painting expanding the back wall of Kunstgriff. www.clare-goodwin.ch On view until the end of September 2017

Enjoy our picks while sipping a coffee (or a beer) and discovering our current exhibition at The Wall before exploring the surrounding art institutions at the Löwenbräu. Visit our online shop at www.kunstgriff.ch and stay tuned for our upcoming events.

Upcoming Exhibition: Lena Amuat and Zoé Meyer www.lenaamuat-zoemeyer.com On view from October to December 2017 Information

KUNSTGRIFF IS OPEN TUESDAY TO FRIDAY FROM 11AM TO 6PM AND SATURDAY AND SUNDAY FROM 11AM TO 5PM Kunstgriff Limmatstrasse 270 E0 of the Löwenbräu building CH–8005 Zurich Clare Goodwin

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

Top Ten

Sarah Burkhalter & Laurence Schmidlin [eds.]

Spacescapes Dance & Drawing

Sarah Burkhalter & Laurence Schmidlin Spacescapes Dance & Drawing since 1962

Come On In My Kitchen The Robert Johnson Book

lectures maison rouge

Carla Lonzi Autoportrait

Lygia Pape Magnetized Space

Dorothy Iannone Censorship and The Irrepressible Drive Toward Love and Divinity

Clegg & Guttmann Modalities of Portraiture

Vern Blosum

Liz Magor

Elisabeth Lebovici Top10

A selection of titles from our backlist by Elisabeth Lebovici, who contributed to our books on General Idea, Mark Morrisroe, and Mai-Thu Perret, and recently published Ce que le sida m’a fait on art and activism during the “AIDS years.”

(Photo: Henry Roy)

Pierrette Bloch Friedl Kubelka vom Gröller Contacts

Distributors

JRP | Ringier Limmatstrasse 270 | CH–8005 Zurich T +41 (0) 43 311 27 50 F +41 (0) 43 311 27 51 E info@jrp-ringier.com www.jrp-ringier.com

JRP | Ringier books are available internationally at selected bookstores and from the following distribution partners:

SWITZERLAND

GERMANY & AUSTRIA

FRANCE

AVA Verlagsauslieferung AG Centralweg 16 CH–8910 Affoltern a.A. avainfo@ava.ch www.ava.ch

Vice Versa Distribution GmbH Potsdamer Str. 93 D–10785 Berlin info@viceversaartbooks.com www.viceversaartbooks.com

Les presses du réel 35 rue Colson F–21000 Dijon info@lespressesdureel.com www.lespressesdureel.com

USA, CANADA, ASIA, & AUSTRALIA

UK AND OTHER EUROPEAN COUNTRIES

ARTBOOK | D.A.P. 75 Broad Street, Suite 630 US–New York, NY 10004 orders@dapinc.com www.artbook.com

Cornerhouse Publications, HOME 2 Tony Wilson Place UK–Manchester M15 4FN publications@cornerhouse.org www.cornerhousepublications.org

ISBN 978-3-03764-523-9 © 2017, the authors, the artists, the photographers, and JRP | Ringier Kunstverlag Design Concept: Gavillet & Rust, Geneva Layout: Nicolas Eigenheer, Nicolas Leuba Editorial Coordination: Barbara Biedermann, Jessica Bourgoz, Margaux Honegger Typefaces: Genath by François Rappo (www.optimo.ch), Dasher by Jeremy Schorderet

For a list of our partner bookshops or for any general questions, contact JRP | Ringier directly at info@jrp-ringier.com, or visit our homepage www.jrp-ringier.com for further information about our program.