JRP|Ringier Newspaper Issue 4 by JRP|Editions

We believe that good art functions like a Trojan horse: it should be alluring enough, formally, to be let in, and subversive enough later. — Clegg & Guttmann, 1986 This newspaper is published biannually by JRP|Ringier. Issue 4, Winter 2012—2013. Printed in 15 000 copies by Ringier Print Adligenswil AG. Not for sale

WE MaKE BooKS WiTH aRT This new issue of our journal contains interviews with artists such as Clegg & Guttmann and Dan Graham, excerpts from texts by Lucy Lippard and Tacita Dean, images of future books by Ronan & Erwan Bouroullec and Valentin Carron, as well as information about our program, recent releases, and current projects. You will also find here news about our relocation in Zurich and the re-opening of the Kunstgriff bookstore, now part of JRP | Ringier, as well as about the recent exhibitions and activities of 8 rue Saint-Bon, and an editorial workshop at the Garage in Moscow. Entering a second year of European politics of austerity enforced on the cultural arena, we would like, through these reportages, previews, and books’ presentations, to reaffirm our commitment to weigh in on the contemporary art discussions through our editorial choices. if most of the publishing companies, like ours, are suffering under the current economic situation and the necessary adaptation to the digital horizon, this journal manifests our belief in good books and interesting contents. So, follow us on facebook, visit our website for an up-dated list of new titles, suscribe to our newsletter, visit us in Zurich or Paris — but most importantly: buy (our) books!

Highlights Clegg & Guttmann, Magister Ludi, version I, 1986; collaboration with Martin Kippenberger

Ronan & Erwan Bouroullec Valentin Carron Clegg & Guttmann Jef Cornelis Dan Graham Thomas Hirschhorn Roni Horn Friedl Kubelka vom Gröller Sol LeWitt Linder David Maljkovic Hannes Schmid Kathy Slade

2 Self-Portrait with a Still Life, 1987

Clegg & Guttmann

Interview by John Welchman

How did it come about that you took up photography at the end of the 1970s, and that you have concentrated on portraits? John Welchman

Clegg & Guttmann We started our collaboration by locating a body of images, that of executive annual report photography. it interested us because every formal element was immediately thematized in terms of power, hierarchy, etc. in our first piece, we actually re-photographed a group portrait of iBM senior officers. Later we started photographing individual portraits, then we pasted them together and rephotographed them … We are working with three modes of portraiture: the fictional, when we use actors and we are presented as the simulators of power relations between artists and patrons; commissions, where we subject ourselves to an actual confrontation with the powerful; and the collaborative, when each of the stylistic decisions is negotiated with the person we photograph.

THE iDEa oF PoSE HaS BEEN a CoNSTaNT PREoCCUPaTioN. BUT WE DoN’T HaVE a THEoRY oF PoSE, RaTHER oUR aSSUMPTioN iS THaT BY THE LaTE 20 TH CENTURY iT’S iMPoSSiBLE To iNVENT NEW PoSES.

Writing in The Photographic Message about the press photograph, roland Barthes established several modes of “connotative” reference operative in photography. These interferences with the “literal presence” of the image include trick effects, pose, the interpolation of symbolic objects, photogeny, and aestheticism— by which he appears to mean the textured and/ or pictorial effect. Are these connotations relevant to your work? When we began, we used what can loosely be termed “trick effects”: cutouts on a black background. our subsequent use of a photographed backdrop was a substitution of the cutouts. With the collages we masked the interferences so that they were scarcely visible, concentrating instead on the organization of several sites: the hands, faces (the physiognomies) and the modern male Curators of the Whitney Biannual, 1987

Negations of Strict Order. Anarchism, Cubism and Syncopated Music, 2002

Modalities of Portraiture Part I Portraits and Artworks Part II Collaborative Portraits

First published in "Flash Art," nr. 130, Milan, November—December 1986

The idea of pose has been a constant preoccupation. But we don’t have a theory of pose, rather our assumption is that by the late 20 th century it’s impossible to invent new poses. The variables of “quiet” poses are few, and virtually everything you come up with is saturated with prior meanings. This is an important point, because the notion of self-presentation is thus denied a “psychology,” so it is performed and received according to pre-existing parameters.

A Portrait of an Artist with His Head Turned, 1989, collaboration with David Robbins

torso (the “V” neck, collar, shirt, and tie). at that stage we were mimicking some of the problems of 17th-century Dutch portraiture, as in Frans Hals, where group portraits are often assembled from individual poses. We also used disparities and discontinuities—different lighting and angles of vision, etc. of course most control is achieved through lighting and processing. in the beginning we printed everything ourselves.

The Golden Ass, 1983

The Book: Clegg and Guttmann — Modalities of Portraiture

Clegg & Guttmann Clegg & Guttmann

Edited by Markus Bosshard, Jurg Trösch, Lionel Bovier

Modalities of Portraiture

Authors Tobia Bezzola, Michael Clegg, Martin Guttmann

Modalities of Portraiture

English/German edition January 2013 ISBN 978-3-03764-317-4 Hardcover, 245 x 345 mm 132 pages Published with Codax, Zurich CHF 68 / EUR 54 GBP 42 / US 75

The long-awaited translation of L’Entre-images has finally been released [iSBN 978-3-03764-144-6]: under the title Between-the-Images, this 424 pages volume brings together 20 illustrated essays written between 1981 and 1989 by one of the world’s most prominent film theorists. as he writes in his foreword to this English edition, “Between-the-Images, which was innovative yesterday, is now a kind of archeological corpus. That is one of its virtues. it recalls how the landscape of the moving image was constituted and historicizes the first creative passages between film, video, and photography.” Considering the works and the strategies of artists and filmmakers such as JeanLuc Godard, Chris Marker, ingmar Bergman, Michelangelo antonioni, Gary Hill, and Bill Viola, he examines the slow but inexorable change in moving images, putting his emphasis on three major areas of transformation: between stillness and movement, inside the photographic analogy, and between language and image. at once poetical and concisely argued, accompanied by numerous film stills, Bellour’s essays such as “The Pensive Spectator,” “Video Utopia,” “The Limits of Fiction,” and “The Phantom’s Due” are invaluable and still relevant analyses that contribute to an understanding of the issues of today’s creation.

Recently Published in the Documents Series

Raymond Bellour

Sol LeWitt

Comprehensive Monograph

Sol LeWitt’s serial and modular art is, like all important art that breaks with tradition, a more or less unconscious synthesis of the elements within it and those opposing it. Since his work is characterized by content and dynamic change rather than by perceptual stasis and neutralization, he has also subverted the canons of the “minimal” art with which it has been associated. integral to the systems that generate LeWitt’s art is the “idea,” which, he has implied, can be considered synonymous with intuition. He is far more concerned with what things are and how they come about than with how they look. His art is an objective activity, related to play in the most profound sense of fundamental creative discovery. The elusive “idea” that delivers his work from academic stagnation is transformation—

the catalytic agent that makes it art even when the artist plays down its visual powers. LeWitt’s relationship to the art he produces is actually that of a designer. Because he designs “useless” items, art has proved the most receptive context. He intuitively works out ideas for which science, mathematics, and philosophy have already provided more sophisticated frameworks, but as art the manipulative intricacy of his process can provide an emotive communication with the viewer impossible in other disciplines. LeWitt has never been a craftsman, and except for finished drawings on paper and the initial installation of a wall drawing, he

Dorothea von Hantelmann Wall Drawing #462, 1986, installation view Centre Pompidou-Metz, 2012

How to Do Things with Art. The Meaning of Art’s Performativity has been reprinted this Fall and is now available again. at the heart of How to Do Things with Art lies the question of art’s relevance to society. 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. [iSBN 978-3-03764-104-0].

Text by Lucy R. Lippard

he enjoys “drawing out” the evolution of simple ideas, which perhaps explains how his work has maintained its vitality year after year, unlike that of many of his contemporaries. Between the generative concept and the visible result lies the tension of synthesis—the relationship between the apparent inertia of the objects produced and the boundless creative energy that produces them, an energy transmitted not by the artist personally as self-expression, but by the concept, or medium, the artist has chosen.1

Buried Cube Containing an Object of Importance but Little Value, 1968

1 Excerpted from Lucy R. Lippard, “Sol LeWitt. The Structures, the Structures and the Wall Drawings, the Structures and the Wall Drawings and the Books,” in alicia Legg (ed.), Sol LeWitt, exhibition catalogue, New York, The Museum of Modern art, 1978, pp. 23–30 © Lucy R. Lippard/1978 The Museum of Modern art, New York The Book: Sol LeWitt Edited by Béatrice Gross Authors Mel Bochner, Dan Graham, Béatrice Gross, John Hogan, Rosalind Krauss, Sol LeWitt, Lucy Lippard, Andrea Miller-Keller, Susanna Singer, Robert Smithson English edition Available ISBN 978-3-03764-306-8 Hardcover, 256 x 287 mm 326 pages Images 181 color / 57 b/w CHF 50 / EUR 39 GBP 32 / US 55

New Releases in the Documents Series

has not constructed his own art for years now. He designs experiments, creates hypotheses, then hands them on to a mathematician friend, his “Japanese army” of assistants, a printmaker, a printer. He sits at the center of a web of activity thinking up tasks for others to perform and in the process he produces objects and ideas for others to ponder. While LeWitt does not discover by making—the traditional artist’s method— he still discovers by doing. all of his ideas, he emphasizes, are two-dimensional in origin. With his pen and notebooks

igor Zabel igor Zabel (1958–2005) was a Slovenian curator, writer, and cultural theorist. This important translation of his writings will enrich the international critical field through Zabel’s extraordinary analytical and emphatic thinking and writing. as well as texts dealing with international issues, his writings can serve as a methodology model for research into Eastern European art practices, which often share common stand points and problems. The selected texts are divided into four chapters: “East-West and Between” (dialogue and perception of the other in the context of the complex relations established after the fall of the Wall in 1989), “Strategies and Spaces of art” (strategies of representation and theories of display, the role of the curator, and the new understanding of the white cube), “ad Personam” (individual artists and art from Socialist Realism and conceptualism to postmodernism and contextual art, particularly in Slovenia and SouthEastern Europe), and “Extras” (selected columns on arts and culture). The volume is introduced by igor Spanjol [iSBN 978-3-03764-238-2].

Clive Phillpot Booktrek, the first anthology of Phillpot’s essays, will soon be available. a former librarian at Chelsea School of art in London, Clive Phillpot became the Director of the Library at MoMa in New York in 1977, and mapped out the field of artists’ books from an institutional point of view. Collaborating with Printed Matter and Franklin Furnace among other organizations dedicated to the medium of the book, he helped raise awareness to these objects, while giving them the necessary credentials to enter museums. This book will prove an invaluable reference for all those interested in the evolution of artists’ books and their perception in the art world. [iSBN 978-3-03764-207-8] (March 2013)

6 Portrait by Mieko Meguro, 2009

Dan Graham

over the years you have consistently produced works that are hybrid in nature. Could you describe this not only in relation to your recent pavilions but also in terms of the role text has played in your work, perhaps as in the early magazine works for example?

Kathy Slade

My earliest pieces for magazines are a hybrid form between “physical” pages as printed matter and art criticism. My page works were both “Pop” art and early “Conceptual” art. i wanted to make art that was mass reproducible and disposable, being available to the general public. in this sense i wanted my work to function like a pop music song. Homes for America evokes the common cliché at that time of the banality and sterility of the suburbs like The Kinks’ “Mr Pleasant” or The Beatles’ “Nowhere Man.” Side Effects/Common Drugs was influenced by the Rolling Stones’ song “Mother’s Little Helper.” When i had my gallery, John Daniels Gallery (in 1965), the idea of artists i showed there was to destroy art’s monetary value. Dan Flavin told me to return his fluorescent lights to the hardware store after our exhibition. Sol LeWitt asked me to recycle the wood used for his installation for firewood. Carl andre has the same idea in his use of bricks in his sculpture. Roy Lichtenstein mentioned in interviews that his original intent was to destroy the value of his

Dan Graham

i WaNTED MY WoRK To FUNCTioN LiKE a PoP MUSiC SoNG. HOMES FOr AMErICA EVoKES THE CoMMoN CLiCHé aT THaT TiME oF THE BaNaLiTY aND STERiLiTY oF THE SUBURBS LiKE THE KiNKS’ “MR PLEaSaNT” oR THE BEaTLES’ “NoWHERE MaN.”

Positions Series

Homes for America, 1966

paintings by using mass reproduced, cheap, printed matter as the painting’s content. in all these cases, the work quickly becomes valuable despite the original intent of the artist. My idea was to use the disposability of the magazine page as a context for de-valuing artworks. Side Effects Common Drugs was a reduction of both a Lichtenstein “Pop” painting and a Larry Poons “op” art painting, turning it into a printed matter page for a popular magazine like the Ladies Home Journal. as all magazines such as the art magazines were dependent economically on advertising, my works were often in the form of a magazine advertisement. Works like Figurative (a grocery receipt) or Detumescence had the goals of creating “black holes” in the magazine form. They were contextualized to other articles or to advertisements in a current issue. Noting that a gallery, to get a good review in an art magazine, would have to buy an advertisement, my idea was to short-circuit this process by placing my piece as both the artwork and as “critical context” directly in the magazine. Photo: Kathy Slade

Interview by Kathy Slade

I love the rock title you came up with for our new book Nuggets, which refers to the excellent compilation of 1960s psychedelic garage rock. Like the LP, the book is also a compilation, but of various texts that cover a range of topics such

as culture, art, and architecture from the 1960s to the present. Within the book there is an underlying theme that has to do with admiration and friendship. This is most obvious in your texts on Darcy Lange, who you refer to as a great friend in the title of the essay, but is also evident elsewhere within the book. Would you comment on this observation? i’m happy you love my title Nuggets. True, i wrote about artists who were both friends and needed my initial support. i also probably did homages to artists of previous generations whose work i also identified with—for example, Chamberlain, a fellow aries.

New Release in the Documents Series

Can you talk about being an artist and a writer and how the two forms (hybrid again!) inform your practice—as both? When i first began showing/doing art the artists who i was interested in, Flavin, andre, Smithson, and Judd, were equally involved in writing as well as making art. i also considered myself as an artist/writer.

Figurative, 1965

The Book: Dan Graham — Nuggets

Edited by Kathy Slade JRP|RINGIER & LES PRESSES DU RÉEL

Developed in collaboration with founders of exemplary artist-run spaces of the 1960s and 1970s, this volume is the first extensive research on this subject and introduces spaces such as art Metropole in Toronto, artpool in Budapest, Ecart in Geneva, Franklin Furnace in New York, MoCa in San Francisco, La Mamelle in San Francisco, Printed Matter in New York, Western Front in Vancouver, and Zona in Florence, whose founders include Carl andre, John armleder, aa Bronson, Sol LeWitt, Lucy Lippard, Tom Marioni, and Maurizio Nannucci. at a time of transition to new aesthetic approaches, these artists promoted community spirit and organizational skills, pioneering a revaluation of traditional art concepts. Edited by Gabriele Detterer and Maurizio Nannucci, it includes contributions by Julie ault, Fern Bayer, Lionel Bovier, aa Bronson, Christophe Cherix, Terry Fox, Peggy Gale, Julia Klaniczay, Lucy Lippard, Carl Loeffler, Tom Marioni, Toni Sant, Darlene Tong, Michael Turner, Keith Wallace, and Martha Wilson. Now available [iSBN 978-3-03764-191-0]!

Also Available: Gabriele Basilico, Dan Graham — Unidentified Modern City Edited by Kathy Slade

DAN GRAHAM NUGGETS New and Old Writings on Art, Architecture, and Culture

artist-Run Spaces

English edition March 2013 ISBN 978-3-03764-198-9 Softcover, 150 x 210 mm 240 pages CHF 20 / EUR 15 GBP 11 / US 24.95

Edited by Maurizio Bortolotti Lionel Bovier Massimo Minini Authors Gabriele Basilico Maurizio Bortolotti Dan Graham Massimo Minini English / Italian edition Available ISBN 978-3-03764-218-4 Softcover, 220 x 330 mm 80 pages Images 40 color / 3 b/w CHF 42 / EUR 30 GBP 24 / US 39.95

8 Such 1, 2012

Roni Horn

New Monograph

Roni has an active and pleasurable interior life. Her drawings are proof of it. i was so awed by the scale of the new works i’d seen in London that i asked her for another encounter. She set me up with Such 1 (2012) while i was in New York and i sat alone with it in the gallery storage, somewhat awkwardly. The drawing is immensely physical, about the body perhaps, or at least consuming, subsuming, and presuming upon it: mine as i look at it, and hers before, and then, of course, those others. Mine because i am dwarfed by it as i approach it, sidle along it, and withdraw from it. Hers because of her manual labor still present in the worked surface. and then those other bodies that are the elusive subject belonging to Roni’s private sensual archive. artists are inevitably curious about the methods of other artists and i first concern myself with how she has made this drawing. The marks on the surface tell a story of a repeated, methodical process. Something has been cut up to make something else. Pinholes suggest a seesaw movement of hinged paper, a pendulum to-ing and fro-ing of heavy arche sheets to find an exact placement, and then cutting again, fitting, and sticking. Pigment lines of red ochre make hexagonals, or reveal former hexagonals, like dysfunctional honeycomb where sometimes the pattern has been allowed to dropout and make holes. The forms are brain-like, febrile. Their circumferences don’t entirely complete

RoNi HoRN HaS CoMPaRED DRaWiNG To BREaTHiNG. THiS SUGGESTS NoT oNLY iS iT SoMETHiNG SHE HaS To Do, FoR iTSELF, FoR HERSELF—BUT THaT iT iS aN aCTiViTY WHiCH aLSo MaKES PoSSiBLE HER oTHER WoRK, MaDE iN a VaRiETY oF DiFFERENT MEDia WHiCH iS NoT DRaWiNG, iNCLUDiNG SCULPTURE, PHoToGRaPHS, iNSTaLLaTioNS, BooKS. — Briony Fer

but are broken away and open. The surface here looks lived in and marked but surrounding it, Roni has cut in clean paper that suddenly takes her shapes somewhere else. This new expanse of emptiness is what makes the drawing especially remarkable, enviable even: it is its transformation. and then in the two-latticed head-shaped forms, there is a point of contact: a place of touch. i would never dare say kiss. Figuration is implied but not described. The drawing is covered in words. Roni likes words, particular words, but not all words. She likes her words to be direct and unambiguous, and full enough to encompass the physical realm in a single syllable. She is not one for vagaries or froth but pith. Pith could be a Roni word. She likes pronouns and prepositions, denuded and cut adrift from the comfort of a phrase or a sentence: empowered with the potential of going it alone. Word games, homophones, and onomatopoeias: Roni will happily make a work for the sake of a homophone. in her drawings, her words act as markers, signifiers, and codes to their construction: word reunited with word across a cut, written or doubly written here in lead, lime green, or indigo crayon. is that what she’s doing? are her drawings a graphic form of lexicography? 1989 B, 1989

If 2, 2011

Text by Tacita Dean

9 Other Titles Published with Hauser and Wirth

Hans arp one of the most innovative and influential artists of the 20 th century, Hans arp juggled the dominant art currents of Cubism, Surrealism, and Constructivism, combining seemingly contradictory geometric and organic formal idioms with the artistic “-isms” of his epoch. in 1916, arp was invited by Hugo Ball to take part in the Cabaret Voltaire at Spiegelgasse 1 in Zurich. The now iconic event marked the birth of Dadaism and the beginnings of a long overdue breakthrough for arp. Ovi Bimba is a revelatory publication exploring these early years of arp’s practice, focusing on his time in Zurich during the birth of Dada through to his sculptures in the 1940s and 1950s [iSBN 978-3-03764-297-9].

Jason Rhoades This publication is devoted to the installation Perfect World (1999–2000), regarded by many as Rhoades’ most important project. The book includes many drawings from the artist’s XErOX-book, lavish illustrations, and numerous historical photographs, as well as of the complete version of the installation shown in its entirety for the first time in London in 2010 [iSBN 978-3-03764-226-9].

Brooklyn red, 1985

The Book: Roni Horn — 153 drawings Edited by Michaela Unterdörfer Authors Tacita Dean Briony Fer Dave Hickey English edition January 2013 ISBN 978-3-03764-305-1 Hardcover, 279 x 304 mm 328 pages Images 326 color CHF 76 / EUR 60 GBP 47 / US 80

Henry Moore This book is based on a project to shed new light on Henry Moore’s work by inviting Zaha Hadid to work on the display of the sculptures. it brings together documentation of the exhibition, alongside reproductions of sculptures and sketches by Moore, and accompanied by Mary Moore’s observations of their conception. it also includes an essay by Matthew Collings on the exhibition, and by ann Wagner on the works on paper. altogether, this publication provides a fresh perspective on the oeuvre of the modern master, whose “classic” modernism was seminal to the reception of modernity in England [iSBN 978-3-03764-073-9].

Paul Thek in Process evolved from the discovery of an unrealized publication project by the american artist Paul Thek (1933–1988), at the time of his first space-filling environment, Pyramid/A Work in Progress in 1971, and which was to have been released for documenta 5. For this project, around 800 images were taken capturing the progress of the installation, as well as the final form of this pivotal work of 1970s installation art. Written by Susanne Neubauer, this volume is now available [iSBN 978-3-03764-253-5].

ai Weiwei The long-awaited “documenta project reader” on Weiwei’s contribution to documenta 12 in Kassel, has finally been released. With texts by Daniel Birnbaum, Roger M. Buergel, Raphael Gygax, Christian Höller, and Catherine Wood, an interview realized by Fu Xiao-Dong, as well as documents, photographs, and questionnaires produced over the course of the project [iSBN 978-3-03764-210-8].

Recently Published in the Curatorial Research Series

Paul Thek

David Maljkovic Comprehensive Monograph

Sources in the Air accompanies David Maljkovic’s (b. 1973 Croatia) 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 is the artist’s most comprehensive survey to date. architecturally re-configured and re-staged differently at each of the three venues, Sources in the Air expands on Maljkovic’s recent interest in exhibition strategies and the semiotics of display. The publication, which includes a newly commissioned essay by anselm Franke alongside texts from the curators of each of the three venues, serves as the bind between each of the exhibition’s iterations. Richly illustrated, it examines the political, aesthetic, and scenographic threads deployed within Maljkovic’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.

Das Kunstfeld a study of contemporary art’s actors, this book, edited by Heike Munder and Ulf Wuggenig, is now available (German only, iSBN 978-3-03764-300-6).

Harald Szeemann our “classic” on Szeemann’s exhibitions and methodology is still available in English [iSBN 978-3-905829-09-9].

The Book: David Maljkovic — Sources in the Air Edited by Nick Aikens Authors Charles Esche, Annie Fletcher, Anselm Franke, Alessandro Rabottini, Daria Scaglia, Alessandro Vicentelli, Andrea Viliani, Godfrey Worsdale English edition Available ISBN 978-3-03764-307-5 Softcover, 205 x 270 mm 216 pages Images 86 color / 98 b/w CHF 48 / EUR 39 GBP 29 / US 49.95

Friedl Kubelka vom Gröller Comprehensive Monograph

The Book: Friedl Kubelka (vom Gröller) — Photography and Film Edited by Dietmar Schwärzler

Available Titles in the Maison Rouge Lectures Series

This publication offers a selective retrospective of the work of photographer and filmmaker Friedl Kubelka—known as a filmmaker under the name of Friedl vom Gröller. in addition to a selection of her fashion photographs, the book focuses on portraits of her friends and family, as well as series of images and films. among the artist’s portrait subjects are Franz West, Walter Pichler, Peter Kubelka, as well as central protagonists of the american independent Cinema such as Jack Smith, Bruce Conner, Hollis Frampton, Kenneth anger, Jonas Mekas, George and Mike Kuchar, and many more. Most of the images gathered together here are published for the first time in book form. The book is part of the series of artists’ projects edited by Christoph Keller and is published with index DVD Edition, Vienna.

Carla Lonzi The new volume of the series, dedicated to texts which interrogate simultaneously museology, exhibition making, and the work of artists themselves, is the first French translation of Lonzi’s “autobiographical” essay on the italian art scene of the 1960s [iSBN 978-3-03764-314-3].

White Cube The four essays that Brian o’Doherty published between 1976 and 1981 and which were gathered together under the collective title Inside the White Cube, makes up one of the most valuable “tool boxes” that critics, curators, and collectors have at their disposal today. This volume, the first translation into French, has just been reprinted [iSBN 978-303764-002-9].

Ed Ruscha This anthology of writings and interviews, edited by Jean-Pierre Criqui, offers a first opportunity to French readers to discover Ruscha’s comments on his own work, his beginnings, his evolution, the artistic developments of the period, and the relationship between art and society [iSBN 978-3-03764-089-0].

Authors Melanie Ohnemus, Andreá Picard, Dietmar Schwärzler English edition March 2013 ISBN 978-3-03764-320-4 Softcover, 225 x 285 mm 360 pages Images 100 b/w CHF 50 / EUR 40 GBP 30 / US 49.95

Richard Hamilton For more than half a century the British artist Richard Hamilton engaged in an extremely intense and incredibly erudite dialogue with the work of Marcel Duchamp [French, iSBN 978-3-03764-059-3].

Ronan & Erwan Bouroullec Drawing

Design

Ronan Bouroullec

For the first time, Ronan & Erwan Bouroullec (born 1971 & 1976), considered to be among the best representatives of the dynamism and creativity of current design, unveil a private and substantial part of their day-to-day studio work: drawing.

THE BoURoULLECS USE DRaWiNG aS a MEaNS To ESCaPE FRoM WHaT CaN aT TiMES BE a HYPER-RaTioNaL, RESULTS-BaSED iNDUSTRY. iN DRaWiNGS, THEY CaN EXPRESS THEiR FEaRS, HUMoR, aND DoUBTS, WHiCH oN THE PaGES oF THEiR NoTEBooKS TaKE THE FoRM oF FaNTaSTiCaL CREaTURES, DETaiLS FRoM NaTURE, aND PaGES aND PaGES FiLLED WiTH aBSTRaCT FoRMS. — Anniina Koivu

as art director Cornel Windlin states: “This book is not meant to be either an exhaustive inventory nor a privileged selection of the designers’ work. Put together from a volume of sketchbooks and drawings realized between 2004 and 2012, this book follows diverse criteria: that of reproducing a large number of personal drawings out of context of the designers’ body of work; that of their chronological organization; and that of the homogenization of their reproduction into the format of the book. These choices (or non-choices) should nullify the questions of hierarchy and significance: neither emblems nor monuments, the drawings take on a meaning and a quality that is brought to them by the viewer.”

Ronan & Erwan Bouroullec have worked together since 1998 for numerous manufacturers (Vitra, Cappellini, etc.), while maintaining an experimental limited edition activity with Galerie Kreo. among their iconic pieces are the “Disintegrated Kitchen” (1997), the “Spring Chair” (2000), and, more recently, the “Vegetal Chair” (2009). They have also worked with issey Miyake, Camper, and Kvadrat on the creation of architectural projects. Published on the occasion of several exhibitions of Ronan & Erwan Bouroullec’s designs, including their retrospective at the Musée des arts Décoratifs, Paris (april 24– September 1, 2013).

Cornel Windlin & Clément Dirié

Design

13 Recently Published in the First Monograph Series

Pierre Joseph With his fellow artists Philippe Parreno, Dominique GonzalezFoerster, and Bernard Joisten, Pierre Joseph (b. 1965, lives and works in Paris) contributes to the redefinition of the aesthetic of art since the 1990s. He is the author of groundbreaking exhibitions and works such as the Paradise Workshops, 1990, the pop culture “Characters to be reactivated” series, 1991–1997, or the collaborative projects of the 2000s that made him a seminal figure for the new generation of French artists. His approach successively deals with issues such as the permanence of things and the digital manipulation of reality, questions of knowledge and transmission, of how to produce forms, and how they evolve. First monograph in English [iSBN 978-3-03764-285-6].

Richard Hughes Drawing inspiration from the seemingly banal objects of daily life, the sculptural installations of Richard Hughes (b. 1974, Birmingham) reflect upon instances of the everyday with formal clarity and wit. often refashioning his subjects using materials such as fiberglass, cast resin, silicone, and polyurethane, Hughes engages us in a process of illusion and artifice. This new publication considers the artist’s work to date with a text by Joanne Tatham, and a conversation between the artist and Martin Clark, artistic Director of Tate St ives [iSBN 978-3-03764-239-9]. The Book: Ronan and Erwan Bouroullec — Drawing

862

Edited by Ronan and Erwan Bouroullec and Cornel Windlin English edition January 2013 ISBN 978-3-03764-319-8 Softcover, 210 x 297 mm 864 pages Images 800 color CHF 34 / EUR 25 GBP 20 / US 35

14 New Releases

Esther Shalev-Gerz Reference monograph on the work of Esther Shalev-Gerz (b. 1948 Vilnius, Lithuania, lives and works in Paris) from the past 20 years including her films, video-installations, photographs, and site-specific works [iSBN 978-3-03764-276-4].

Yvette Brackman First monograph on the oeuvre of Copenhagen-based, american artist Yvette Brackman, whose complex and evocative works take many forms such as installations, sculptures, performances, videos, and text [iSBN 978-3-03764-280-1].

Pamela Rosenkranz “No Core” is the first monograph on Pamela Rosenkranz (b. 1979, Sils-Maria, lives in Berlin). Beautifully designed by Yvonne Quirmbach, the book features an overview of the work that Rosenkranz developed in three recent institutional solo exhibitions in Geneva, New York, and Braunschweig, Germany [iSBN 978-3-03764-301-3].

L’internationale L’internationale is a trans-institutional network of five major European museums and artists’ archives (Moderna galerija Ljubljana; Július Koller Society Bratislava/Vienna; MaCBa Barcelona; Van abbemuseum Eindhoven; M HKa antwerp) [iSBN 978-3-03764-311-2].

JRP|Ringier in Moscow

Reportage

Garage, founded by Dasha Zhukova in 2008, is a major non-profit arts project based in Moscow, dedicated to exploring and developing contemporary culture. at the beginning of this year, Garage moved from its original home in the Bakhmetevsky Bus Garage to Gorky Park. Defined as a “platform for new thinking,” it hosts an ambitious cultural program addressed to both a national and international audience, and therefore acts as a pioneering position in Russia.

Reportage

and young professionals for a few days and participated in the forum of discussion of the Moscow Book Fair. This first contact will hopefully be developed in future years and provide JRP|Ringier’s books with a better circulation in this country and additional collaborations with ad Marginem Press and Garage. as Dasha Zhukova commented, “Russia is developing a new community of artists, curators, and contemporary art lovers, but there are virtually no books in Russian which comment on contemporary culture, so this is a chance to make a difference.”

To Be Published Soon

alongside exhibitions, the Garage develops a strong educational agenda with outputs as diverse as a publishing program and workshops. Garage also recently launched a joint publishing program with ad Marginem Press, a Russian publisher specializing in texts on contemporary culture, who just released the Russian edition of JRP|Ringier’s best-seller by Hans Ulrich obrist, A Brief History of Curating. invited by Garage for an editorial design workshop supported by Pro Helvetia, Lionel Bovier and Gilles Gavillet worked with selected students

Louise Hervé & Chloé Maillet inspired from the popular american “pulp” genre, this artist’s book by the French duo contains short stories and illustrations of their works [iSBN 978-3-03764-308-2].

1986 1986— 1988 1986— 1990 1987— 1988 1988 1988— 1989 1989— 1990 1990 1991— 1992 1992 1992 1992— 1993 1994— 1996 1996— 1997 1996— 2002

Lukáš Jasanský a Martin Polák žijí v Praze, kde spolu od roku 1986 tvoří fotografické cykly. Nejmenší z nich se skládá ze dvou fotografií, nejrozsáhlejší obsahuje 10 000 snímků. Do roku 2012 oba umělci dokončili celkem 27 fotografických cyklů. Tato publikace má podobnou funkci jako depozitář, kde jsou zastoupena všechna jejich díla, včetně několika raných či nedokončených souborů. Doplňují je základní technické informace a dvě vysvětlující eseje.

Lukáš Jasanský and Martin Polák live in Prague, where they have been making photographic series together since 1986. The shortest series consists of two photographs, the largest of 10,000. By 2012 the two artists had completed altogether 27 series of photographs. This publication operates like a depository where all their work is accessible, including several early and unfinished sets. It is accompanied by basic technical information and two elucidatory essays.

1997 1998 1998— 2000 1999 2000— 2002 2007 2009 2009 2010 1987— 2010 2011 2011 2012 1983 1985 2002

Lukas Jasansky & Martin Polak First comprehensive monograph on the Czech photographers. With numerous illustrations of their different bodies of work [iSBN 978-3-03764-312-9]. Imagination/ Idea 1971 The beginning of Hungarian Conceptual Art. The Laszlo Beke Collection 1971

imagination/idea 1971 The Laszlo Beke Collection can be said to mark the beginning of Hungarian Conceptual art. The comprehensive documentation of this project is now published as facsimiles for the first time [iSBN 978-3-03764-318-1].

KWIEKULIK

ZOFIA KULIK & PRZEMYSŁAW KWIEK

KwieKulik Retrospective monograph on the work of the Polish artists duo [iSBN 978-3-03764-299-3].

David Noonan, Two Moons, 2009â&#x20AC;&#x201C;2010

RECENTLY PUBLiSHED: DaViD NooNaN, Reference monograph [iSBN 978-3-03764-205-4]

18 atelier (E.B.) Sylvie Fleury Benjamin Valenza

Since 2011, 8 rue saint-Bon has established itself as an independent project space in Paris, dedicated to curatorial propositions stemming from the editorial programs of the five partners sharing this location— the film producer anna Sanders Films; the publishing houses Les presses du réel, Macula, and JRP | Ringier; and the art video distribution and production company art View/bureau des vidéos. Information

8 RUE SaiNT-BoN iS oPEN oN FRiDaYS aND SaTURDaYS aND BY aPPoiNTMENT Contact: +33 (0) 1 58 30 39 38 info@8ruesaintbon.fr & facebook For more information about the program of the five partners: www.lespressesdureel.com www.annasandersfilms.com www.editionsmacula.com www.bureaudesvideos.com www.jrp-ringier.com

8 rue Saint-Bon, Paris

Exhibitions

The last six months have been busy at 8 rue Saint-Bon. in July, it hosted Berlin-based gallerist Mehdi Chouakri for a special project showcasing two of his artists. Playing with Charlotte Posenenske’s iconic cardboard pieces, Sylvie Fleury proposed a visual and verbal performance about colors. in September, French artist Benjamin Valenza conceived Circa Circa, an exhibition centered on poetic readings and a large cast of a swordfish-like man. During FiaC 2012, 8 rue Saint-Bon, in collaboration with New Yorkbased Westreich/Wagner Publications, organized Atelier (Edinburgh-Bruxelles)–Work in Progress, Paris, a project by Lucy McKenzie & Beca Lipscombe aka atelier (E.B.). They exhibited their latest fashion collection as well as recent editions, including a fabric print edition produced by 8 rue Saint-Bon. among the numerous book launches organized were those of recent publications by Ryan Gander, Esther Shalev-Gerz, Raymond Bellour, and George Didi-Huberman. in December, Christmas Jewels II, the second Christmas market, closed the season, providing artworks, selected editions, and more to a growing audience.

JRP | Ringier at the Löwenbräu Relocation

During this fall, we moved our offices in the Löwenbräu, the hub for contemporary art in Zurich, which hosts the Kunsthalle Zürich, the Migros Museum für Gegenwartskunst, the new aRTUMa space, as well as galleries such as Hauser & Wirth, Bob van orsouw, Francesca Pia, Eva Presenhuber.

We welcomed in our first floor space the up-and-coming gallery Freymond-Guth & Co., which has developed an impressive program since its start. With a large exhibition space and an entrance shared with our offices, it now has the perfect location and spatial possibilities to present artists to the international audience regularly visiting the Löwenbräu. on the ground floor, at the main entrance of the building, is the new

Kunstgriff bookstore that we reopened this summer. Kunstgriff ’s display includes a wide range of reference monographs and artists’ books, as well as out-of-print and hard-to-find books, an eclectic selection of magazines, and special editions and multiples. it regularly hosts events and book launches and experienced Bookstore Manager Markus Schmutz will be happy to welcome you on your next visit.

Information

KUNSTGRiFF iS oPEN TUESDaY To FRiDaY FRoM 11aM To 6PM aND SaTURDaY FRoM 11aM To 5PM Kunstgriff Limmatstrasse 270 E0 of the Löwenbräu building Contact: +41 44 272 90 66 www.kunstgriff.ch info@kunstgriff.ch JRP | Ringier Limmatstrasse 270 E01 of the Löwenbräu building Contact: +41 43 311 27 50 www.jrp-ringier.com info@jrp-ringier.com

i aM iNTERESTED iN THE iDEa oF PRiMaRY iNFoRMaTioN, WHERE THE BooK iTSELF iS THE aRTWoRK. BECaUSE aRTiSTS’ BooKS CaN TRaVEL aND BE DiSTRiBUTED aT aN aFFoRDaBLE CoST, THESE aRTWoRKS aRE EXPERiENCED FiRST HaND iN BooKSToRES, LiBRaRiES, aT BooK FaiRS, oR iN BEDS.

Kathy Slade

Associate Editor

Kathy Slade is an artist and editor based in Vancouver. She collaborates with Brady Cranfield under the moniker Cranfield & Slade and as Co-Director of The Music appreciation Society. Together with Keith Higgins she runs Publication Studio Vancouver. Slade is the founding editor of Emily Carr University Press, associate Editor for JRP|Ringier, and directs REaD Books at the Charles H. Scott Gallery at Emily Carr University. Could you describe the role that printed matter plays in your practice, both as an artist and a curator, and how you understand it (as a site for projects, a technology, etc.)?

Lionel Bovier

My earliest artworks involved making images that were reinterpretations based on descriptions of art, objects or situations in novels and other texts. i do many different kinds of work but i continually return to this, or versions of it. For example, i am currently working on a video in which Ulises Carrión’s essay The New Art of Making Books forms the script. This work also comes out of being an editor of artists’ books and thinking through and reflecting on publication as a practice. So my work as an artist and work as a curator or editor often revolve around each other. i do vinyl records of cover songs that i consider publications. a few record stores carry them but mostly they exist in art bookstores. i like that they are both images and sound carriers but mostly i think of them as objects. You are meant to handle and read them and i almost don’t care if you listen to them. it took me a long time to put the recordings online because i thought it kind of missed the point. i am interested in the idea of primary information, where the book itself is the artwork. Because artists’ books can travel and be distributed at an affordable cost,

Kathy Slade

these artworks are experienced first hand in bookstores, libraries, at book fairs, or in beds. Networks of people form around them, interact with them and build libraries with them. of course, speaking of networks, there is the internet and digital publishing but obviously with these you lose the object and are interacting with documentation of a thing. The “Vancouver Special” series you are developing, initially in collaboration with Christoph Keller, stems from the particular relevance and diversity of the Vancouver art scene. Could you explain how, in a not entirely dissimilar way to Los Angeles, this scene has emerged and developed over the last few decades? i am not exactly sure how to compare Vancouver and La. Unlike La, Vancouver doesn’t have a strong market, so artists have had to be more self-reliant which has led to the development of a vital network of artist-run centers. in the 1970s and early 1980s Vancouver was split between playful Fluxus-based work epitomized by the artist-run Western Front, and the more serious conceptual projects of ian Wallace and Jeff Wall at the universities. i think La also had something like this with John Baldessari and Michael asher, and within the same institution no less. Since then it has all collapsed into an interesting blend of the two. in Vancouver there is a strong tradition of collaboration between artist and poets.

Interview by Lionel Bovier

Writers connected with the poetry collective, The Kootenay School of Writing, such as Jeff Derksen, Lisa Robertson, Peter Culley, and Kevin Davies, to name a few, have had a lasting influence on the work of many Vancouver artists, especially those associated with artspeak Gallery. in terms of artists’ books, La had a big impact on everyone with the work of Ed Ruscha and others, and indeed Vancouver is no exception. More recently Christoph Keller has proven influential on our publishing scene. Not only because of Revolver or the work he does with JRP|Ringier, but also for his “Kiosk” project. Bringing “Kiosk” to Vancouver helped to situate what many of us here are doing within an international context and it actually kick-started the Emily Carr University Press. aa Bronson is another key figure obviously for his General idea/

art Metropole past but even more so today for creating the New York art Book Fair and the new La art Book Fair. What are the current and next projects you are working on for the series? For “Vancouver Special” i am working on a book with Karin Bubaš, a young Vancouver artist who is primarily known as a photographer, but our book centers on her candid drawings of characters from reality television programs such as The Hills and The real Housewives of Vancouver. i am also continuing to work on publishing a live recording of the UJ3RK5 (a punk/new wave band that included Rodney Graham, Jeff Wall, and ian Wallace among its members) on vinyl. The recording is from 1980 when they opened for Gang of Four at the Commodore Ballroom in Vancouver and it totally rocks!

Euan Macdonald — We Already See So Much Edited by Willem Henri Lucas Euan Macdonald Authors Euan Macdonald Robert Walser English/German edition February 2013 ISBN 978-3-03764-313-6 Hardcover, 165 x 216 mm 280 pages Images 107 b/w CHF 38 / EUR 29 GBP 24 / US 34.95

Kota Ezawa — Odessa Staircase Redux

Euan Macdonald — Selected Standards Edited by Kathy Slade English edition Available ISBN 978-3-905770-80-3 Softcover, 228 x 304 mm 176 pages Images 176 b/w CHF 38 / EUR 25 GBP 17 / US 30

Andrew Dadson — Visible Heavens 1850—2008 Edited by Kathy Slade

Edited by Kathy Slade

English edition Available ISBN 978-3-03764-083-8 Softcover, 190 x 142 mm 156 pages Images 170 b/w CHF 38 / EUR 25 GBP 17 / US 35

English edition Available ISBN 978-3-905829-68-6 Hardcover, 190 x 285 mm 168 pages Images 100 b/w CHF 45 / EUR 30 GBP 20 / US 35

documenta 4 Held in Kassel in 1968, documenta 4—the last to be directed by documenta founder arnold Bode— was plagued by controversy and debate: artistic and political and generational and aesthetic conflicts, as well as tensions between European and american art were some of the issues that affected this edition, echoing the social and political upheavals that were taking place elsewhere at the same time. The film reflects this effervescence, giving voice to the artists, curators, and audience, but also offers a unique approach to an exhibition in progress. We can watch Sol LeWitt’s constructing Three Part Variation, Joseph Beuys installing his raumplastik, Martial Raysse talking about the place of the artist at Kassel, Harald Szeemann defending the concept of the museum, Edward Kienholz explaining his work from inside his roxy installation, and more [iSBN 978-3-03764-257-3].

Archives DVD Series

The “archives” collection is dedicated to landmark exhibitions and curatorial practices, providing sources and moving images to a growing field of research—curatorial studies and exhibition history. The first two DVDs constitute a unique yet subjective testimony on the famous documenta 4 (1968) and documenta 5 (1972).

Thomas Hirschhorn

For Thomas Hirschhorn (b. 1957, Bern), one of today’s most talked-about artists, video has always been a favored medium of expression. Since the early 1990s, he has created stand-alone video works, or used the medium to record performances and complete three-dimensional installations (with his so-called “integrated videos”). His video work demonstrates the economy of means, the formal energy, and direct strength, as well as the political and aesthetical conscience he has shown for 25 years in his oeuvre. This unique anthology brings together 13 video works made between 1995 and 1997—such as Les Monstres, Lust For Live, and robert Walser Video. it is edited and introduced by the French art critic and curator Stéphanie Moisdon, cofounder of bdv (bureau des vidéos) and one of his first supporters.

The DVD: Thomas Hirschhorn — Early Video Works 1995—1997 Edited by Stéphanie Moisdon Author Thomas Hirschhorn English edition February 2013 ISBN 978-3-03764-302-0 DVD, 135 x 190 mm, 80' Booklet, 4 pages CHF 38 / EUR 25 GBP 17 / US 35

DVDs by BDV Series

Thomas Hirschhorn — � Early Video Works 1995–1997

a Summer of art 1966 DVDs by BDV Series

Archives DVD Series

documenta 5 Held in Kassel between June and october 1972, documenta 5 was curated by “master-curator” Harald Szeemann and remains one of the most important international exhibitions of the past few decades. Entitled Interrogation of reality— Picture Worlds Today, it brought together works by Marcel Broodthaers, Christian Boltanski, arnulf Rainer, Claes oldenburg, Gerhard Richter, and Ed Ruscha, and could be called the first exhibition as a spectacle. introducing the different sections (“artist’s Museum,” “individual Mythologies,” etc.) and protagonists, the film is both a report on trends and pacesetters of the time, as well as an approach to the phenomenon of documenta, questioning the definitions of exhibition maker, artist, exhibition, contemporary art [iSBN 978-3-03764-258-0].

Jef Cornelis (Photo: Harry Gruyaert)

The 1966 Venice Biennial was one of the first exhibitions that Jef Cornelis filmed. He laid there the foundations of his method: to depict the exhibition as the closed space of a community preoccupied with the issues and conflicts that concerned its members, rather than to make films about art itself. He filmed some of the major players of the time, whether they belonged to the american or the European scene within which French artists and critics demonstrated a strong posture. on his way back to Belgium, he stopped at the second Salon international des galeries-pilotes (Lausanne), an experimental manifestation that influenced the Basel art Fair, created in 1970. To fully understand the stakes of the 1966 Venice Biennial, the DVD also includes a short film by François Morellet about the Groupe de Recherche d’art Visuel (GRaV) whose member Julio Le Parc won the Golden Lion, raising a problematic of collective and singular authorship.

Jef Cornelis Jef Cornelis has mainly worked for VRT, Belgian national television in Flemish. He has realized more than 200 films, especially on architecture, literature, and the arts.

The DVD: Summer of 1966 — 33e Biennale di Venezia and 2e Salon des galeries-pilotes de Lausanne — Documentary

Jef Cornelis

Documentary

Edited by Yves Aupetitallot Authors Jef Cornelis François Morellet