I’m interested in the vitality of the image, in the way an idea, an artifact, leaks into a biological or mineral reality. It is a set of auto-generating operations exposing a raw witness to an unreasonable growth. — Pierre Huyghe, 2013 This newspaper is published by JRP|Ringier and edited by Lionel Bovier. Issue 6, Summer 2014. Printed in 20 000 copies by Ringier Print Adligenswil AG. Not for sale
We make Books WIth art the sixth issue of our journal focuses on new collaborations with art Basel and the LUma Foundation, as well as on three women artists—Phyllida Barlow, Dorothy Iannone, and Lutz Bacher—whose renewed presence on the art scene testifies to an historical redefinition in the visual arts of the second part of the 20th century. this issue also highlights the poems of Carl andre, the prints of richard tuttle, the films of Jef Cornelis, as well as the works of ed atkins, Dias & riedweg, and designer Pierre Charpin. In addition it features information on new titles, and sums up the most recent releases in our series, together with news about our two locations, as well as a selection of bookshops and special editions. I wish you will enjoy reading it! —Lionel Bovier, Publisher
Highlights
Pierre huyghe, Colony Collapse, 2012 (Photograph: Lionel roux)
Carl andre art Basel | Year 44 ed atkins Lutz Bacher Phyllida Barlow Pierre Charpin Jef Cornelis Dias & riedweg Isa Genzken Dorothy Iannone LUma Foundation richard tuttle
2 Lawrence Weiner, hans Ulrich obrist Philippe Parreno, Lawrence Weiner
YoU Can see that there’s somethInG stILL aLIve or stILL oPeratInG In To THe Moon via THe BeaCH … there Is some kInD oF aUtomatIC PrInCIPLe that We seem to Be trYInG to DeFIne, LIke a MaCHine CéliBaTaire … there Is a sPIrIt oF aUtomatIon, WhICh I sTill FInD FasCInatInG … — Philippe Parreno
To the Moon via the Beach was a three-day exhibition in the amphitheatre in arles. Using tons of sand specially shipped there, the iconic arena was transformed into a beach and, during a process of non-stop activity co-ordinated by Willem stijger, slowly mutated into a moonscape. It created a backdrop for a series of interventions by 20 artists in and around the arena—Uri aran, Daniel Buren, elvire Bonduelle, Lili reynaud-Dewar, Loretta Fahrenholz, Fischli & Weiss, Jef Geys, Dominique Gonzalez-Foerster/ ari Benjamin meyers/tristan Bera, Douglas Gordon, Pierre huyghe, klara Lidén, renata Lucas, Benoît maire, oscar murillo, anri sala, Pilvi takala, rirkrit tiravanija, tris vonna-michell, and Lawrence Weiner.
Pierre huyghe, Colony Collapse, 2012
Photo Credits: LUma Foundation, Lionel roux, hervé hôte, robert Leslie
to the moon via the Beach
LUMA Foundation
this book offers a complete record of the event, and presents chronological photographic documentation, allowing the event to be reconstructed and understood as a whole for the first time. an extensive discussion between Liam Gillick, Philippe Parreno, and hans Ulrich obrist sheds light on the event’s historical context and its experimental potential.
LUMA Foundation
3 E-Books
e-Books In addition to the e-book of hans Ulrich obrist’s a Brief History of Curating (IsBn 978-3-0764-264-1 for i-tunes, Barnes & noble, and kobo; 978-3-03764-292-4 for kindle), two new releases are planned this summer: the digital versions of Dorothea von hantelman’s How to Do Things with art and mike kelley’s interviews, Conversations, and Chit-Chat (1986– 2004). Follow us on Facebook, twitter, or Instagram to be the first to know when they will be available!
so manY exhIBItIons noW are aBoUt somethInG; “to the moon” was somethInG. It seems to Be a FaIrLY sImPLe Yet PhILosoPhICaL DIFFerenCe. the same Is trUe oF the DIFFerenCe BetWeen aUDIenCe anD PUBLIC. — liam Gillick The Book: To the Moon via the Beach Authors Liam Gillick, Maja Hoffmann, Hans Ulrich Obrist, Philippe Parreno English edition Summer 2014 ISBN 978-3-03764-371-6 Softcover, 200 x 250 mm 368 pages Images 1800 color Published with LUMA Foundation CHF 60 / EUR 40 / GPB 30 / US 55
4 Basel (Photo: Julien Gremaud)
art Basel Year 44
Art Basel
art Basel is recognized today as the world’s leading contemporary art fair. Created in 1970, it offers one of the most sought-after platforms for galleries to showcase their programs, meet with collectors and curators, and exchange ideas with colleagues. Including curated sectors, talks programs, and extensive partnerships with institutions in the cities in which the fair takes place, art Basel is a key interface for anyone in the art world interested in modern and contemporary art. It is to address this dimension, as well as to celebrate art Basel’s 44th year—the first to include three exhibitions on three continents— that this book has been conceived.
WhY thIs neW eDItorIaL DIreCtIon? BeCaUse What DeFInes art BaseL Is PeoPLe. the art WorLD WIthIn WhICh art BaseL exIsts Is ConstantLY CataLYZeD BY these PersonaLItIes Whose LIves are DrIven ForWarD BY art. — Marc spiegler, art Basel Director
arto Lindsay, Paper rain Parade, 2013 (Photo: Gabriele heidcker)
art Basel | Year 44, designed by Gavillet & rust (Geneva), has an a-to-Z format that maps the world of art Basel with a comprehensive overview of the shows of 2013 that represent the dynamic experience of the Basel, miami Beach, and hong kong fairs. this elegant, hardcover publication offers the widening audience of art lovers a compilation of portfolios, interviews, and essays on contemporary art, and lists all the exhibitors who participated in the three exhibitions. It depicts works from the different shows’ sectors, highlights events and talks, and gives art world experts, curators, and collectors a platform for sharing their expertise, providing an immersive art experience for the reader. among the authors and artists featured are John m armleder, nicholas Baume, harry Bellet, Dara Birnbaum, maurizio Cattelan, Chris Dercon, Florence Derieux, harald Falckenberg,
herzog & de meuron, Gianni Jetzer, David Juda, tadashi kawamata, hicham khalidi, arto Lindsay, Christine macel, massimo minini, elaine ng, hans Ulrich obrist, adam szymczyk, Franklin sirmans, mickalene thomas, adrian Wong, and David Zwirner, as well as many others whose work contributed to the exhibitions on all three continents. If you are wondering what happened in Year 44 of art Basel or if you cannot remember which where the most discussed gallery stands or “Unlimited” participations in Basel; which “Feature” booth will soon become a museum survey; why the architecture of the new Pérez art museum miami is a must-see; how art Basel in hong kong is changing the artistic landscape in the asia-Pacific region; which young galleries are the most looked to by global collectors; which young artists’ names are listed
Year 44
5
in the top 10 of important art figures; and who among former Gutai artists, Latin-american neo-Concretists, and middle-eastern emerging voices are shaping the art world’s conversations— this book is what you need! an extensive
survey, a path of discovery, an indispensable piece of memorabilia—the first edition of the art Basel yearbook will no doubt be a favorite addition to the library of essential art books for the expanding global art world community.
keith haring, Untitled (Car), 1986 (Photo: mathieu Lavanchy)
neugerriemschneider, Jorge Pardo, miami Beach (Photo: mCh)
hong kong (Photo: Gabriele heidecker)
matt mullican, Untitled (Two into one Becomes Thre), 2011; Unlimited, Basel (Photo: Julien Gremaud)
The Book: Art Basel | Year 44 English edition Available at the three Art Basel shows, and distributed worldwide by JRP|Ringier ISBN 978-3-03764-362-4 Hardcover, 210 x 295 mm 784 pages images 612 color / 543 b/w CHF 70 / EUR 57 GBP 44 / US 80 / HKD 600
6 white, 1960
Carl andre
Retrospective monograph
as Gavin Delahunty writes in this book, “Carl andre has also made an art of words.” on the occasion of andre’s exhibition at the museum zu allerheiligen in switzerland, JrP|ringier published the first retrospective monograph dedicated to the artist’s poems. In mY Poems I’ve attemPteD to treat WorDs as eqUIvaLent anD InDePenDent eLements as mUCh as PossIBLe. that’s ImPossIBLe WIthIn LanGUaGe, I knoW, BUt I’ve trIeD to Create non-GrammatICaL seqUenCes oF WorDs, BeLIevInG WIth BenJamIn Lee WhorF that the CrYPtostrUCtUres oF LanGUaGe CarrY as mUCh oF the messaGe as the semantICs. — Carl andre
Carl andre lays words on paper just as he lays pieces of metal or bricks on the floor. Formed by letters piled up in blocks of words assembled together, these poems, which he has written since the 1960s, arise as “sculptural configurations.” In the tradition of concrete poetry, words become adjustable entities moved around and placed within the limits of the space of the sheet of paper in order to create new configurations and patterns, and eventually new works of art.
KinG PHiliP’s war PriMer, 1965
andre’s work shows no inclination toward romanticism, and has nothing pastoral about it, and his materialistic ideology is opposed to any exaltation of the spiritual; a passion for ‘the common, the familiar, the lowly’ comparable to that professed by emerson and thoreau can be discerned. andre does indeed seem to be the heir to an essentialism that constituted the origins of american culture, and it would therefore be impossible to reduce his work to late artistic modernism, pushing formal purism to its “even freed of syntax, and poetic or limits. It would be wrong, likewise, to narrative codes, the words carry a history,” see in his poetry only a brilliant activity writes valérie mavridorakis. “and just parallel and mechanically homothetic as he plays with the form and the clasticity to his sculpture. […] to get to know of words, andre works with their history. Carl andre’s sculpture and Carl andre If we consider his work in its entirety, himself, we should look at his poetry.” as a single artistic project, it has to be admitted that his poetry and sculpture the publication includes essays by art obey the same creative principles. historians Gavin Delahunty and valérie Both are part of the hylotheism leading mavridorakis, as well as curator Lynn the artist to scrutinize the composite kost, and situates Carl andre’s written material available to him, crude or works within their original context in refined—standardized materials prothe 1960s at a time when minimalism duced by industry, words that come was being defined. from a founding literary heritage.
Retrospective monograph
7 Reprints
sterling ruby the multitude of media and techniques used by sterling ruby (*1972) in his work—ranging from sculpture to collage, installation to painting, ceramics to video and printing— reflect the issues he tackles: the conflict between individual impulses and mechanisms of social control, the coercive function of architectonic space, art as the domain of irrationality, the sphere of dysfunctional behavior, minimalism and art Brut, graffiti art, urban violence, desire, and pleasure. It is an art of expression and accumulation, of the overproduction of information and of the delirium of the senses, of neurosis and paranoia, in which the gigantism of the shapes and their proliferation appear like a corrupt manifestation of desire, consumption, anxiety, and the need for control that characterizes contemporary occidental culture. second edition [IsBn 978-3-03764-375-4].
Walead Beshty
/, 1963
this reference monograph realized in close collaboration with the artist (*1976), presents a 12-year overview of his approach to photographic and sculptural representation. alongside commissioned essays by suzanne hudson and nicolas Bourriaud, as well as a conversation between Bob nickas and Walead Beshty, it reproduces a large selection of his works and exhibitions. It had been released this year in a second, expanded edition [IsBn 978-3-03764-353-2].
The Book: Carl Andre - Poems
Carl Andre
Edited by Lynn Kost
Poems No.1
No.5
No.3
No.2
No.7 No.6
Author(s) Gavin Delahunty, Lynn Kost, Valérie Mavridorakis English/German edition Available ISBN 978-3-03764-364-8 Hardcover, 280 x 272 mm 144 pages Images 100 color / 10 b/w Published with the Museum zu Allerheiligen, Schaffhausen CHF 78 / EUR 60 /GBP 48 / US 80
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richard tuttle
Retrospective Monograph
Zurich, 2014
since the 1970s, in collaboration with renowned printers and publishers, richard tuttle has created a diverse printed oeuvre. In sensitively exploiting the possibilities of printmaking to make process, materials, and actions visible, he explores the complexity of printmaking processes. Prints, published with the Bowdoin College museum, is the first monograph on tuttle’s printmaking. edited by Christina von rotenhan, this publication introduces not only the artist’s approach to printmaking with scholarly essays and catalogue entries for selected prints between 1973 and 2013, but also reveals tuttle’s deep interest in the collaborative nature of printmaking.
these PrInts are CostUmes. the WrIter CLothes the mInD. the PrInter CLothes the PaPer. there Is a theater oF the sUrFaCe. on the BoDY, CostUmes anD CLothes are DIFFerent. I am thankFUL We have Use For CostUme. — richard Tuttle
step by step, 2002
think of prints as performative objects, in such a way that the print becomes what he calls ‘a lively’ thing: an object whose indexical qualities refer to its making, but which is expanded by ‘performative’ agents through the making process into a socially interactive present and future temporality.” the timing of the publication is important as richard tuttle has also been invited to realize an installation in tate modern’s turbine hall, which will provide a powerful counterpoint to the more intimate works from his printed oeuvre. Bowdoin College Museum of Art
“Printmaking offers a vital field for tuttle’s explorations of performative materiality,” writes Chris Dercon, “in many ways his prints can be thought of as ‘expanded prints.’ his desire from his earliest career to expose the traditional printing techniques using intaglio and pressure to include experiments with and layerings of materials as diverse as cloth, clay, and copper benefits from the (deliberate) allusion to ‘expanded cinema,’ a term coined by critic Gene Youngblood in 1970 to accentuate the performative aspect of experimental cinema and video. tuttle likes to ‘perform’ printmaking and to
renaissance Unframes, 1995
Retrospective Monograph
9 Cloth, 2002–2005 Censorship, 2003
The Book: Richard Tuttle - Prints Edited by Christina von Rotenhan Richard Tuttle | Prints
No.1
No.5
No.3
Christina von Rotenhan
No.2
No.7 No.6
Authors James Cuno, Chris Dercon, Joachim Homann, Armin Kunz, Christina von Rotenhan, Susan Tallman, Richard Tuttle English edition Available ISBN 978-3-03764-365-5 Hardcover, 275 x 265 mm 144 pages Images 172 color / 8 b/w Published with Bowdoin College Museum of Art, Brunswick CHF 78 / EUR 60 GBP 48 / US 80
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Phyllida Barlow
Retrospective Monograph
untitled, 1967–70s
reproducing over 200 works on paper from the past 50 years, this publication presents a crucial part of the British sculptor’s artistic practice. a never-before-published interview between the artist and hans Ulrich obrist provides insight into drawings that are not preparations but, rather, daily exercises done before, during, and after the creation of her sculptures. While the works on paper range in style, they demonstrate a consistency in color and form in their exploration of ideas related to structures, architectural interiors, and urban surroundings. Unlike sculptures from her early career that have not been preserved, Barlow’s works on paper stretch back to the early 1960s when she was a student at Chelsea College of art. this new publication, thus, charts a career-long commitment to artistic inquiry at the vanguard of contemporary art.
all images: Courtesy of the artist and hauser & Wirth
I thInk that, For me, the ProBLem WIth sCULPtUre Is Its reLatIonshIP to ImaGe. BUt the DraWInGs, oDDLY enoUGh, are Both a WaY oF trYInG to Form an ImaGe, anD to GIve some IDea oF hoW to ProCeeD WIth the makInG ProCess, anD then there’s a kInD oF anarChY aGaInst that. — Phyllida Barlow
exCerPt oF the IntervIeW WIth PhYLLIDa BarLoW BY hans ULrICh oBrIst
untitled, 1965–1966 untitled, early 1970s
that no one had talked about them really, or about what was happening in the states. that was like a closely guarded secret. When I began to realize that there PB If I think of the sixties, and I think was this thing . . . Well, it didn’t even have of new British sculpture, and I think of a name then, I don’t think—arte Pop art and abstract expressionism and Povera—but there were things happening the rise of Duchamp, I see these drawings in europe and america that were so starwithin that context. tling compared to what was the still very traditional sculptural language of the hUo When Julia Peyton-Jones and I did new Generation. It was like a complete the interview with you for the show at the epiphany. serpentine Gallery we spoke about this hUo these are sculptural drawings. moment at art school when a generation of english sculptors was very dominant, PB absolutely. like anthony Caro, Phillip king, and William tucker. […] PB Yes, I think also that I was getting hUo the colours are very Pop, and it was very angry with my art school education, the moment of english Pop art.
Retrospective Monograph
In our previous conversation, you said about your beginnings that you felt like not a lot had changed. hUo
I didn’t think it had, and it was a realization when I then looked at these drawings. I remember putting them away, hUo It wasn’t about looking at one’s own almost in disgust, because what I then history that much? began to see was this idea of fracture and breaking up. I was actually looking at PB no, I think that actually came much things like frames, and unraveling sculplater. I remember feeling really antagonis- tural language, or attempting to. I never tic towards henry moore and Barbara feel like I managed to; I think I’ve got hepworth, and having just been to the a love-hate relationship with it. hepworth museum and seen those hUo so everything is already in these first hepworths, they are just fantastic. But, works? I think, at that time, it was about saying ‘I don’t want to belong to this British PB absolutely, and that constant questradition, which seems so moral … ’ tion about where the argument is, and hUo so it marked a rupture of some sort? the breaking up of space. It’s all in here, a longing to escape from sculpture. In PB Yes, but I don’t think I succeeded. the sixties, I had been looking at a lot of I think I’m utterly entrenched in the american anti-Form, eva hesse as well. sculptural … […] PB
In Preparation with Hauser and Wirth
Yes, which came from america. everything either came from america or europe. I always think of the english artistic era of the sixties and seventies as being a kind of hybrid, looking across the atlantic or looking across the Channel!
PB
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thomas houseago a comprehensive monograph on the British sculptor, based in Los angeles, who has come to prominence in recent years with his monumental, figurative sculptures that are charged with remarkable energy and vitality. houseago’s sculptures possess a daring urgency, a tactility and brute physicality that expose the process of their own making. Published with hauser & Wirth. [IsBn 978-3-03764-381-5]
Christopher Orr
Christopher orr to be published in the fall, this first monograph includes an essay by max hollein, as well as a text by Colin r. martin, aka the Lonely Piper, and an introduction by Pat Fisher, curator of Christopher orr’s exhibition at the talbot rice Gallery of the University of edinburgh in november. [IsBn 978-3-03764-373-0]
untitled, 2001
The Book: Phyllida Barlow - Fifty Years of Drawings Edited by Sara Harrison Authors Sara Harrison, Hans Ulrich Obrist English edition Available ISBN 978-3-03764-366-2 Hardcover, 260 x 332 mm 244 pages Images 206 color Published with Hauser and Wirth, Zurich/London/New York CHF 75 / EUR 60 GBP 49 / US 80
12 Jef Cornelis (Photo: harry Gruyaert/magnum Photos)
For me, DoCUmenta 5 Was a CrUCIaL moment. It Was the FIrst assaULt BY “marketInG” anD art as sPeCtaCLe. — Jef Cornelis
Jef Cornelis
DVDs by BDv | Archives Series
the “archives” DvD series focuses on landmark exhibitions that have shaped curatorial history in the second half of the 20th century, when it became possible to document such events on film and subsequently to analyze and discuss them. alongside the usual tools of art history and art criticism, which have developed mostly on the written page, film has the added advantage of restituting a visual, active description of events. Its very construction adds an important element of discursive staging.
Pierre restany, documenta 4, 1968 sol LeWitt, documenta 4, 1968
the series includes a large selection of Jef Cornelis’ films. Cornelis was born in antwerp in 1941 and was educated, alongside director Paul verhoeven, at the netherland’s Film academy in amsterdam. his early films were influenced by the nouvelle vague, notably by the films of alexandre astruc. after shooting his first film on contemporary art in 1966, he went on to create over 200 films on art, architecture, and culture for the artistic and educational Programs department of the Belgian broadcasting company Brt during his 30-year career. very early on he deliberately eschewed the tenets of the documentary genre. rather than making films about art itself, he chose to depict the art world as an enclosed space, embodied by large, collective international exhibitions such as the venice Biennale and the kassel documenta. he planted his camera in front of the protagonists and recorded their statements, creating a narrative through the organization of these segments. the self-conscious characters he created, who are seen actively analyzing their assigned roles, reveal the hidden face of the art world.
the series makes available an exceptional cinematographic archive, at a time when the question of curating has become an academic discipline in which graduate programs in Curatorial Practices abound, and the subject of an expanding literature focusing on the heroic figure of the curator. these major players, pioneers of the genre, are now the creators of a catalogue of “curatorial masterworks,” which are studied, and occasionally recreated, through their archives. Within this context of the unfolding history of the exhibition and its protagonists, the “archives” series intends to contribute to this international study and research effort, while also offering amateurs and enthusiasts an opportunity to discover a contemporary examination of the events discussed. Yves aupetitallot, art historian and director of Le magasin (Grenoble), is the “archives” series editor. this text is printed with the kind authorization of the Pinault Collection magazine, in which it was published in Issue #2, spring–summer 2014. the “archives” DvD collection is a coproduction by bdv (bureau des vidéos), Paris; Le magasin, Grenoble; argos-Centre for art and media, Brussels; and JrP|ringier, Zurich.
13
Text by Yves Aupetitallot
Georges adé and marcel Broodthaers, documenta 5, 1972
Leo Castelli, documenta 5, 1972
Georges adé and Ben, documenta 5, 1972
Panamarenko, documenta 5, 1972
Johannes Cladders and Georges adé in marcel Broodthaers’ room, documenta 5, 1972
Joseph Beuys, documenta 5, 1972
entrance to the 13th Biennale de Paris, Paris, 1985
David hockney, 13th Biennale de Paris, Paris, 1985
Lawrence Weiner, 13th Biennale de Paris, Paris, 1985
JeF CorneLIs has aLWaYs Been hostILe to the statUs oF DoCUmentarIan oF thIs FIeLD oF knoWLeDGe, WhICh some PeoPLe assIGn to hIm. It WoULD CertaInLY Be more PrUDent to ConJUre UP a sCenarIo that “FICtIonaLIZes” PeoPLe Who have BeCome PersonaLItIes. — Yves aupetitallot
Presentation Films
documenta 4, 1968
documenta 5, 1972
While Paris echoed with the protests of may 1968, Documenta 4 drew criticism from the european art world hostile to the proportion of american artists included.
For the first time, all decisions—from the choice of artists to the organization of their works—were the responsibility of a single curator, harald szeemann, who gathered together the most important artists and curators of his generation.
Documenta 4, DvD multizone, 53’, with a 24-page booklet [IsBn 978-3-03764-257-3]
Documenta 5, DvD multizone, 53’, with a 32-page booklet [IsBn 978-3-03764-258-0]
alberto viani in interview with karel Geirlandt in his room, 33rd International venice art Biennale, venice, June 1966
roy Lichtenstein in his room, 33rd International venice art Biennale, venice, June 1966
venice Biennale 1966
13th Biennale de Paris, 1985
still fraught with the tensions created during the previous Biennale, when the american scene was celebrated to the detriment of the ecole de Paris, the 1966 Biennale attempted to reestablish a balance and end a number of controversies. summer of 1966 includes two films—about the 1966 venice Biennale and the 2nd salon international des galeries-pilotes of Lausanne—as well as a bonus film by François morellet about the Biennale de Paris 1963.
to be a powerful act of cultural policy, to provide a complete panorama of the international art scene, and to aim to rank Paris once again as a global capital of art—these were the challenges to which the 13th Biennale de Paris wished to rise in 1985. this was not quite the result achieved, as the 13th Biennale de Paris was in fact the last …
summer of 1966, DvD multizone, 48’, with a 24-page booklet [IsBn 978-3-03764-323-5]
13th Biennale de Paris, DvD multizone, 67’, with a 24-page booklet [IsBn 978-3-03764-360-0]
Lucio Fontana in his room, 33rd International venice art Biennale, venice, June 1966
14 First Thought Best Thought, 1968
Courtesy air de Paris, Paris.
since the early 1960s, Dorothy Iannone (b. 1933 in Boston, lives and works in Berlin) has occupied herself with the attempt to represent ecstatic love: “the union of gender, feeling and pleasure,” as she herself describes it.
It has aLWaYs Been mY PLeasUre to InCLUDe In mY InnoCent (aren’t theY InnoCent?) DePICtIons oF PeoPLe the GenItaLs— a PLeasUre For WhICh I have haD, amaZInGLY BUt WILLInGLY, to PaY DearLY. — Dorothy iannone
let Me squeeze Your Fat Cunt, 1970/71
sammlung migros museum für Gegenwartskunst The statue of liberty, 1977
Courtesy the artist, air de Paris, Paris, and Peres Projects, Berlin
Dorothy Iannone
Artist's Book
today, her oeuvre encompasses paintings, drawings, collages, video sculptures, objects, and publications. a narrative element, fed with personal mythologies, experiences, feelings, and relationships, runs through all of her works. Particularly in her late figurative painting, which almost appears to dissolve into the ornamental, she creates scenarios in symbolic settings, in which she also consistently celebrates a playful handling of the subject matter. since the 1960s, this visual self-empowerment has been read as a contribution to the liberalization of female sexuality. on the other hand, Iannone, who takes a spiritual, existential approach, has never seen herself as part of a feminist movement. however, in bringing her works to the public, she inevitably manifests a self-understanding through her handling of controversial subject matter. this publication sheds light on Iannone’s work in relation to censorship, based on her artist’s book The story of Bern. In spring 1969, the artist was confronted with the confiscation of her works in the exhibition Freunde (Friends) at kunsthalle Bern, under the directorship of harald szeemann. Iannone responded to this boycott by producing a book, in which she made her perspective public and thus reclaimed self-determination over the contentrelated and formal aspects of her work, which had been labeled controversial.
exCerPt From “CensorshIP anD the IrrePressIBLe DrIve toWarD Love anD DIvInItY” BY DorothY Iannone When I first came to Germany in 1967, hansjörg mayer gave me an exhibition at his gallery in stuttgart. In those days I had been making small wooden cutout figures of everyone I could think of, from all the world, from all times and places and ways of life. It has always been my pleasure to include in my innocent (aren’t they innocent?) depictions of people the genitals—a pleasure for which I have had, amazingly but willingly, to pay dearly. the first day after the opening, the police came and confiscated the entire exhibition which, in addition to the cutout figures, also included highly detailed oil paintings in which one would have had to search indeed for an erotic element. the police then quietly invited several professors and critics of art to determine whether or not the work was pornographic. I learned later that all of the art judges, without exception, had declared that my work was not pornographic and that it belonged to an ancient tradition of art. and so, on the last day of the exhibition, the show was returned to hansjörg mayer and he, energetically and touchingly, put everything back on the walls for one more afternoon in stuttgart. he told me later that some of the judiciary officials were among the visitors to the gallery that last day.
Artist's Book
15
lawyer and convince them that these pieces were not pornographic. they did return my clothes shortly after the seizure, but they kept one or two of my cutout figures, a letter from George Brecht talking about my figures and amusingly illustrating ideas inspired by them, and a postcard from the kunstmuseum Basel of a sixteenth-century work that depicted death as a skeleton putting his hand under the skirt of a woman. I engaged a lawyer and through, I am told, the old-boy system, we convinced the english government that these three or four pieces could, without damage to the world, be returned to me. the english, concerned, nevertheless, about the corruption of their own people, returned the cutouts, the letter, and the postcard only after I had, some months later, passed through customs on my way out of the country. […]
Recently Published in the Migros Museum of Contemporary Art Series
had the work been found pornographic, it would have been put into underground vaults for one hundred years, after which period it would have been returned to me. […] Dieter roth had an appointment to teach for a season in London in 1968, and I joined him there. We were temporarily staying at richard hamilton’s house until I could find a place of our own. I had shipped, via american express, my suitcases, which contained mostly my clothes but also a little of my work. one evening, the phone rang and a man who would not identify himself asked to speak with me. Conspiratorially and with great relish (exulting in being so close to a pornographer, perhaps), he told me that my cases had been seized by customs. In time, I was officially informed by the english government that the pieces that they considered pornographic would, in some weeks, be burned if I did not secure a
Laura Lima the works of Laura Lima (*1971, lives in rio de Janeiro) are informed by her fascination for the complexity of social relations and forms of human behavior. In her works, which employ media such as drawing, performance, and installation art, the Brazilian artist explores the boundaries of perception in dreams and fiction, in everyday reality and the absurd. the publication offers an overview on her oeuvre. With contributions by heike munder, victoria noorthoorn, and Jochen volz. Published with migros museum of Contemporary art, Zurich, and, Bonniers konsthall, stockholm. [IsBn 978-3-03764-344-0]
sacré 101
The next Great Moment in History is ours, 1970
Courtesy the artist, air de Paris, Paris, and Peres Projects, Berlin
The Book: Dorothy Iannone — Censorship and The Irrepressible Drive Toward Love and Divinity Edited by Heike Munder Authors Maria Elena Buszek, Dorothy Iannone, Heike Munder
Dor othy Iannone
English/German edition Summer 2014 ISBN 978-3-03764-339-6 Softcover, 201 x 272 mm 180 pages Published with Migros Museum of Contemporary Art CHF 56 / EUR 45 GBP 37 / US 59.95
this publication investigates the interplay between dance and the visual arts in relation to one of the key works of the 20th century, le sacre du printemps (The rite of spring). With its revolutionary music and choreography, the piece can be seen as one of modernism’s groundbreaking moments. the ballet (in which a virgin sacrifices herself for the god of spring and dances herself to death) still fascinates visual artists today and is the most choreographed ballet ever. exploring the ballet, its context, and its history in a wide variety of ways, this anthology also includes a rare selection of le sacre dance documentation, texts by Gabriele Brandstetter, Lynn Garafola, nicola Gess, sigrid Weigel, and raphael Gygax, as well as contributions by eleanor antin, marc Bauer, Dara Friedman, millicent hodson/kenneth archer, karen kilimnik, xavier Le roy, marko Lulić, royston maldoom, sara masüger, vaslav nijinsky, silke otto-knapp, Christodoulos Panayiotou, Yvonne rainer/Babette mangolte, Lucy stein, alexis marguerite teplin, Julie verhoeven, and mary Wigman, among others. Published with migros museum of Contemporary art, Zurich, in collaboration with the Center for movement research (Zf B) at Freie Universität Berlin/Gabriele Brandstetter. [IsBn 978-3-03764-368-6]
ronan & erwan Bouroullec
reCentLY PUBLIsheD: ronan & erWan BoUroULLeC, DrawinG [IsBn 978-3-03764-319-8]
Lutz Bacher
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It maY WeLL Be that, at a moment When DIsParate CUrrents In ContemPorarY PhILosoPhY, soCIoLoGY, anD PoLItICs are GraPPLInG WIth raDICaLLY exPanDeD ConCePtIons oF aGenCY In orDer to enComPass, aLonGsIDe hUman BeInGs, other kInDs oF BeInGs, netWorks, oBJeCts, thInGs [...] that the Perverse PresCIenCe oF LUtZ BaCher’s Work over the Past 40 Years WILL reCeIve the FULL aCknoWLeDGment anD aPPreCIatIon that Is sUreLY Its DUe. — Caoimhín Mac Giolla léith
Artist's Book
ever since her career began in the 1970s, Bay area artist Lutz Bacher has drawn upon fragmentary information from popular culture and her own life to produce works that play with the instability of identity and the all-around trickiness of images. In artist’s books, installations, sculptures, videos, photographs, paintings, and screen prints, Bacher uses images and objects in a physical, almost visceral manner. Bacher’s mixture of bodies and ideas, both Pop and personal, while always remaining somehow elusive, feels entirely relevant to problems in art and life today. In this publication she has compiled her work from 1975 to 2013 into a hefty volume of digital files from an inventory. It is accompanied by a new essay by Caoimhín mac Giolla Léith.
a sonG oF iCe anD Fire, 2013 nosTalGia, 1982
Artist's Book
19 Recently Published
hot spot Istanbul
CHina BeaCH, 2008–2009
since the first Istanbul Biennial in 1987, art has been an essential driver of cultural and civil dynamics in Istanbul. this book is the first comprehensive publication featuring a new generation of artists, dealing equally with local roots and global artistic questions. Hot spot istanbul makes one thing very clear: this megalopolis is a bridge, not a border. Based on an exhibition in Zurich which gathered together 21 artists (Can altay, adnan Coker, nejat melih Devrim, Burhan Dogançay, serhat kiraz, renée Levi, ahmet oktem, ahmet orhan, mübin orhon, abdurrahman oztoprak, seckin Pirim, sarkis, nejat sati, arslan sükan, erdem tasdelen, Canan tolon, seyhun topuz, omer Uluç, ebru Uygun, ekrem Yalçindag, Fahrelnissa Zeid, with photographs by Pari Dukovic), the volume is published with stiftung für konstruktive, konkrete und konzeptuelle kunst and museum haus konstruktiv, Zurich. [IsBn 978-3-03764-351-8]
engadin art talks reFleX Yellow, 2008
BiG BoY, 1992
The Book: Lutz Bacher - SNOW Edited by Gregor Muir, Sophie von Olfers, Beatrix Ruf Authors Caoimhìn Mac Giolla Léith English/German edition Available ISBN 978-3-03764-347-1 Softcover, 229 x 305 mm 352 pages Images 299 color / 32 b/w Published with Kunsthalle Zurich, Portikus, Frankfurt am Main, and the Institute of Contemporary Arts, London CHF 45 / EUR 35 GBP 28 / US 45
the engadin region in switzerland has always attracted artists, writers, filmmakers, and thinkers. In this unique historico-cultural context, Cristina Bechtler, Beatrix ruf, and hans Ulrich obrist have initiated the engadin art talks/e.a.t., which take place each august in Zuoz. this book brings together the presentations (or excerpts) by most of the participants who discussed The Crystal Chain by Bruno taut, “mapping the alps,” and “visions for the alps.” It is a compilation of previously unpublished thoughts and dialogues, ideas and projects from well-known artists, architects, designers, filmmakers, and researchers. With contributions by vito acconci, Doug aitken, ron arad, nairy Baghramian, hans Danuser, Cerith Wyn evans, simone Forti, hamish Fulton, Dominique Gonzalez-Foerster, Jefferson hack, helen marten, sarah morris, mai-thu Perret, Philippe rahm, raqs media Collective, tobias rehberger, François roche, Lawrence Weiner, annalisa Zumthor, Peter Zumthor and Philip Ursprung, among others. [IsBn 978-3-03764-350-1]
20 Us Dead Talk love, 2012
I thInk that DesPIte the aLmost totaL UBIqUItY oF DIGItaL ImaGerY, there Is a ConsPICUoUs Contrast BetWeen the sPeeD at WhICh the DIGItaL has ChanGeD DIstrIBUtIon, anD the WaY In WhICh It has FaILeD to ChanGe ImaGes anD theIr Content—WhICh are stILL so reCoGnIZaBLe, InteLLIGIBLe aCCorDInG to some PrIor orDer. — ed atkins
ed atkins
Kunsthalle Zurich series
In his work, which includes video installations, texts, and drawings, British artist ed atkins (born in 1982, lives and works in London) explores the material quality of our contemporary visual world and its existential resonance. he records his videos in high-definition with powerful surround sound; these new options for technical creation and presentation have the paradoxical capacity of reproducing life-like materiality and bodies using immaterial means. this paradox is also a theme in atkins’ work, which revolves around the cadaver, disease, and death motifs that raise awareness of the viewers’ own corporeality. atkins’ digital compositions use saturated colors and precise editing rhythms, and show archive material of forests, beaches, fruit, and clips from zombie films, as well as computergenerated animations. they are accompanied by sound, which ranges from guitar crescendos, horror film melodies, and dialogue, to the murmurs of the artist himself behind the camera. this is the first major publication on ed atkins’ work and it provides a comprehensive overview of his artistic production through a detailed selection of his video works, numerous installation views, a newly commissioned text by Joe Luna, an essay by ed atkins, and a conversation between the the artist and Beatrix ruf.
Kunsthalle Zurich series
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Untitled (8, 9), 2013; warm, warm, warm spring Mouths, 2013; Untitled (1), 2013
Forthcoming Releases in the Kunsthalle Zurich series
Uri aran the work of Uri aran (born in Israel in 1977 and lives in new York) is pervaded by the interrogation and redefinition of structures and models of communication, the material world, and interpersonal relationships. his visually idiosyncratic and disconcerting videos, drawings, assemblages, texts, and sculptures hover on the boundary between the familiar and the strange. a first monograph, with texts by Liam Gillick, Fionn meade, and an interview with Beatrix ruf, Fredi Fischli and niels olsen, is planned for the fall. [IsBn 978-3-03764-384-6]
tobias madison
warm, warm, warm spring Mouths, 2013
The Book: Ed Atkins Edited by Beatrix Ruf, Julia Stoschek, Thomas D. Trummer Authors Ed Atkins, Joe Luna, Beatrix Ruf English/German edition Available ISBN 978-3-03764-359-4 Hardcover, 205 x 257 mm 160 pages Images 68 color / 2 b/w Published in the Kunsthalle Zurich series, with the Julia Stoschek Collection, Dusseldorf, and the Kunsthalle Mainz CHF 38 / EUR 25 GBP 19 / US 35
the swiss artist tobias madison (born in Basel in 1985) belongs to a generation of artists who frequently open up the process of artistic creation through the adoption of cooperative or collective strategies, and often assume the role of the curator, client, and originator in the process. the roles that tobias madison adopts are as wide-ranging as the media in which he works: these include sculpture, video, projection, computer-generated and assisted painting, audio pieces, texts, photographs, and scans. his works, which are processual in nature, are full of references and descriptions of found symbols, and break through the boundaries and categorizations of the art system with playful ease. In preparation for the fall is a first monograph designed by the artist. [IsBn 978-3-03764-390-7]
Wade Guyton the american artist is no newcomer in JrP|ringier’s program and was shown at kunsthalle Zßrich for the first time in 2006. In 2013, he decided rather to accompany his personal exhibition there with several independent publications than a classic catalog. to be released this fall: a set of three LPs in a limited edition; also forthcoming is an anthology of critical texts on his work. For more information on schedule and availability: info@jrp-ringier.com or facebook. com/jrp.
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Dias & riedweg
Reference Monograph
© Dias & riedweg
mauricio Dias (b. 1964 rio de Janeiro, Brazil) and Walter riedweg (b. 1955 Lucerne, switzerland) have worked together since 1993. While developing collaborative and socially engaged projects through an array of interdisciplinary means (video, performance, installations) they explore issues such as human subjectivity and otherness. along with texts by Fanni Fetzer (Director, kunstmuseum Luzern), Dieter roelstraete (Chief Curator, museum of Contemporary art Chicago), and Chantal Pontbriand (curator and critic, Paris), this monograph offers a complete overview of Dias & riedweg’s diverse and sprawling work for the very first time. the monograph includes an illustrated chronology of their works, including personal notes written by the artists, allowing the reader to trace the path of their investigations over the last two decades.
DIas & rIeDWeG are storY FInDers, not storYteLLers. theY FInD theIr storIes everYWhere, BUt most oF aLL From other PeoPLe. — Fanni Fetzer
48th venice Biennale, 1999 sambing Camera, 2014 The Mirror and the Dust, 20014
kunstmuseum Luzern, 2014
Reference Monograph
23 New Releases
the swiss Institute experience
Funk staden, 2007
the book summarizes seven years of exhibitions, performances, concerts, talks, and readings at the swiss Institute new York. the book aims to recreate the program structure as well as the cutting-edge profile of one of the most successful nonprofit organizations in new York between 2006 and 2013. It includes printed matter as well as five conversations between some of the most prolific artists of our time. With contributions by John armleder, andrew Blake, michael Bracewell, tom Burr, antoine Catala, Florence Derieux, Dan Graham, anthony huberman, harmony korine, Piper marshall, malcolm mclaren, John miller, Bob nickas, Walter Pfeiffer, haim steinbach, and Lawrence Weiner. [IsBn 978-3-03764-352-5]
Fri-son 1983–2013
Funk staden, 2007
The Book: Dias and Riedweg Edited by Fanni Fetzer Authors Mauricio Dias, Fanni Fetzer, Chantal Pontbriand, Walter Riedweg, Dieter Roelstraete English/German edition Available ISBN 978-3-03764-358-7 Softcover, 237 x 286 mm 160 pages Images 192 color / 19 b/w Published with the Kunstmuseum Luzern CHF 60 / EUR 40 GBP 30 / US 55
to many, Fri-son is one of the best and most innovative swiss music venues. the club was born in remote and traditionally conservative Fribourg in 1983, solely as a result of the energy of a few music enthusiasts. originally a pocket-sized and notoriously shabby boutique for avant-garde punk and jazz music, it has quickly grown into a large, internationally-renowned and well respected venue for any brand of innovative music, from rock, electronic, metal, through hip-hop. over the years it has hosted groundbreaking, upcoming or established artists such as the Gun Club, nirvana, nico, the Beastie Boys, Cat Power, Phoenix, and Grizzly Bear. the essence of three decades of musical history and the evolution of independent music as reflected in Fri-son’s gigantic archive is assembled in a well-researched essays written by matthieu Chavaz and Daniel Prélaz (et al.). numerous testimonies from insiders and artists, a large portfolio of original photographs and many posters, offer the reader a lively, faithful, and intimate immersion into some of the seminal club’s most startling nights. [IsBn 978-3-03764-349-5]
24 Pierre Charpin’s studio, Paris, 2014
I am InteresteD In the oBJeCt as PresenCe. PresenCe Is PerhaPs the thInG that LIes BeYonD meanInG, BeYonD the reqUIrement For JUstIFICatIon. — Pierre Charpin
I oFten have the FeeLInG I am DesIGnInG thInGs rather than oBJeCts. a thInG esCaPes the narroWness anD PermanenCe oF a DeFInItIon. — Pierre Charpin
Pierre Charpin
Design
French designer Pierre Charpin (b. 1962, lives in Paris) holds a singular position within his field. articulated with a strong and liberated use of colors and materials, his sharp creations— objects, furniture, limited editions, and exhibition designs—deal with the notions of landscape and autonomy, humor and surprise, poetic presence and minimalism. he speaks of them as “receptors” rather than “emitters,” envisaging “objects primarily as forms and only on a second level having functional purposes, triggering a process of projection and empathy.”
Flowerpot, all’aperto Collection, 2007
at first sight, something rather obvious occurs to us when looking at Pierre Charpin’s objects. Formally concise and elementary, his visual language is striking for its concern to get things “right,” its strictness with regard to the form adopted, and an absence of any artifice, doctoring, or wooing strategy. nevertheless, we are far removed from any demonstrative rationalism or dogmatic austerity. on the contrary, he uninhibited use of color, the unexpectedness of certain forms and proportions, and the freedom with which they are assembled create something like a recurrent interplay between full and empty, a pleasantly changing landscape more welcoming than intimidating.
this obviousness, then, does not relate only to the clarity and distinctness of the works on offer, subtended moreover by a complex process of reducing the object: it also expresses a certain way of being, of taking up room in space. the almost natural simplicity with which his objects fit into the landscape, let themselves be seen, touched, used, is proof of the remarkable nature of his creations, and of design that immediately expresses itself as an understanding of balance, a sharing of sensitivity, and a search for harmony. rather than obsessively seeking the new, Pierre Charpin concentrates on what already exists. rather than investing in creating a form that has to be original, he devotes himself
Coffee table, all’aperto Collection, 2007
Excerpted from the essay "A Design of Presence" by Alessandra Fanari
to letting us see what is there. through new configurations, new arrangements, his design renews the experience of looking, suggesting different attitudes, hinting at other possible ways of living in this world. an approach that brings to mind that of alessandro mendini: “the wellbeing of people is not directly linked to innovation, but to things following their proper course [ … ]” revealing the poetry of things means refocusing attention on ordinary objects or creating objects that appeal to our curiosity, our imagination. Pierre Charpin keeps this poetic approach by making things “appear.” It is in this sense that
25 From our Associate Design Editor Series
his design is art [ … ] Creating is also letting what is already there come out, bringing it to visibility. We are always arriving at a space and at a time that precede us and will survive us. the poetry of Pierre Charpin’s objects has to do with that intuition. his design of presence comes back to signal a simple yet rarely mentioned truth: beauty is not expressed in the spectacular, but in the developing truth of what is. It is not possible to control that movement, it can be neither explained nor justified, it can only be accompanied. By knowing how to find our place. By knowing how to abandon it.
the Complete Designers’ Lights II (1950–1990)
Parabole, 8 1/2 Collection, 2009
stump, 2009
Clémence and Didier krzentowski— the founders and directors of the leading contemporary design gallery kreo—have been collecting lights for 30 years. Focusing particularly on Italian and French design, their collection is the most important of its kind today, spanning creations from the 1950s to the 1990s with special attention to the 1950s, 1960s, and 1970s. It includes large groups of works by Paulin, Guariche, Castiglioni, and the biggest collection of sarfatti, who, according to the krzentowskis, is “the best of his category, because he was a longlasting researcher of forms and techniques. as soon as a new bulb was created, he was making a new lamp that was completely minimal.” The Complete Designers’ lights ii (1950–1990) is the second and revised edition, corrected and augmented with many new lamps. It provides priceless documentation and a visual guide for those interested in light design and furniture history, offering a detailed insight into this particular and fascinating field. Conceived as a catalogue raisonné of nearly 500 lights, this book also includes a discussion between Didier krzentowski, the design historian and Director of the Bordeaux musée des arts décoratifs et du Design, Constance rubini, and the journalist and design critic Pierre Doze, as well as an essay by the design and art critic alex Coles focusing on the relationship between light design and light art, mainly through a parallel study of Gino sarfatti’s and Dan Flavin’s works. [IsBn 978-3-03764-356-3]
The Book: Pierre Charpin Edited by Lionel Bovier and Clément Dirié Authors Alessandra Fanari, Françoise Guichon, Marco Romanelli English/French edition Available ISBN 978-3-03764-244-3 Hardcover, 265 x 200 mm 160 pages Images 257 color Published with the support of Alessi, Eau de Paris, ECAL, Galerie kreo, and Grand-Hornu Images CHF 50 / EUR 40 GBP 31 / US 55
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David noonan, le vendeur fou, exhibition view, april 2014
Walead Beshty, Unmasking, exhibition view, october 2013
Jérôme Leuba, battlefield #54/lovers, living sculpture, exhibition view, February 2014
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 programs 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
an exciting eclecticism has continued to inspire the program of 8 rue saint-Bon over the last few months. In just six months we hosted swiss artist Jérôme Leuba with an exhibition of his battlefields; we welcomed poetry legend Bernard heidsieck; we organized our annual Christmas Jewels market (for which we invited la serre fanzine collective to exhibit artists’ book from all over France); and we showed Zero Jigen, a subversive and radical avant-garde Japanese collective, with a neverbefore-seen archive and films. two shows were devoted to artists who number among the most talented of their generation: in october 2013 Walead Beshty presented his recent body of work dealing with masks, pop culture, and americana; while in march 2014 David noonan offered us a large in situ painting, luring the bystander in and offering a kind of exotic ritual … Last but not least, 8 rue saint-Bon has published its first calendar on the occasion of an exhibition by katerina seda, held in april 2014: a very special and humorous limited-edition available on demand. to conclude, this spring we are hosting sheila hicks and her project Fiji island–Fil, an incredibly colorful in situ installation by the acclaimed american artist, who has been based in Paris since the 1970s.
kunstgriff @ I never read, Kunstgriff at Art Book Fair Basel
27 Previous editions, Basel
this year, besides its regular location on the ground floor of the Löwenbräu building in Zurich, you will find a selection of titles by kunstgriff at i never read, art Book Fair Basel. i never read, art Book Fair Basel is an art publishing fair taking place in June during the art Basel week. the fair aims at offering a platform for all kinds of arts and artists’ publications while gathering together national and international publishers as well as book lovers.
i never read, art Book Fair Basel volkshaus Basel rebgasse 12-14 Ch–4058 Basel June 18–21, 2014 opening: Wednesday, 6–10pm opening hours: thursday trough saturday, 4–10pm admission to the fair is free. For more information: www.ineverread.com
Information
kUnstGrIFF Is oPen tUesDaY to FrIDaY From 11am to 6Pm anD satUrDaY–sUnDaY 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 e1 of the Löwenbräu building Contact: +41 43 311 27 50 www.jrp-ringier.com info@jrp-ringier.com
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I Was tWentY-one When I FIrst Went to neW York, anD I Was so FasCInateD BY the arChIteCtUre anD GLaD that somethInG LIke that exIsteD, that I Was aBLe to have thIs vIsUaL exPerIenCe. I thoUGht to mYseLF, thIs Is Where I Want to LIve. to me, neW York haD a DIreCt LInk WIth sCULPtUre … — isa Genzken
Isa Genzken
From Our Backlist
a student at the dynamic Düsseldorf academy during the 1960s, Genzken has since consistently challenged modernist imperatives in her explorations of the relationships between public and private space, artistic autonomy, and collective experience. the artist’s oeuvre, which can be subsumed under the term “sculptural,” is characterized by extreme contrasts between the individual stages of development. however, the characterization of Isa Genzken as a traditional sculptor, along with the usual remarks concerning the heterogeneity of her methods (photography, video, film, collages, and collage books), veils a stronger internal logic. While the work demonstrates a continuous examination of the classic themes of sculpture (the ordering of mass and volume; the relation between construction, surface design, and materials; the conception of and relation between objects, space, and the viewer), what the “traditional sculptor” label cannot quite capture is Genzken’s remarkable ruthlessness: the manner in which her work underlines the rejection of traditional understandings of sculpture and space while reflecting on and disclosing the specific circumstances of their production and reception. as this printed project demonstrates, by publishing for the first time the three collage books she realized in 1995–1996 in new York, her work is concerned with what surrounds us
Isa Genzken
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and shapes our everyday existence, from design, advertising, and the media, to her most enduring subject, architecture and the urban environment. this publication demonstrates to what extent the artist is interested in the ways in which aesthetic styles embody and enforce political and social ideologies.
Isa Genzken - I Love New York, Crazy City Edited by Beatrix Ruf English edition Available ISBN 978-3-905701-09-8 Hardcover, 295 x 385 mm 460 pages Images 460 color Published in the Ringier Collection Artists' Books series CHF 135 / EUR 90 / GBP 58 / US 100
30 Book Prizes in 2013
5 Bookshops
Five Bookshops We Love
World Food Books is a specialty bookshop and mailorder service dedicated to presenting a thoughtful selection of contemporary art and design books, journals, artists’ editions, ephemera, and rare/ out-of-print titles from all over the world. World Food Books the nicholas Building no. 19, Level 3 37 swanston street melbourne 3000, australia e info@worldfoodbooks.com W www.worldfoodbooks.com
Pierrette Bloch
Pierrette Bloch
By appointment
monograph Design: Gavillet & rust/Piguet, Geneva Production: musumeci s.p.a., quart (aosta) IsBn: 978-3-03764-329-7
robby müller: Cinematography artist’s book Design: mevis & van Deursen Production: robstolk, amsterdam
Livraria de serralves at serralves museum is specializes in contemporary art and architecture along with other related subjects, such as art history, performing arts, photography, cinema, design, landscape, and cultural tourism. managed in partnership with Inc. – Books and editions of author. Livraria de serralves rua D. João de Castro, 210 4150-417 Porto, Portugal t +351 22 615 5195 e livraria@serralves.pt W www.serralves.pt
tue–sun: 10am–7pm
Founded in 2010 in tangier’s city center, Les Insolites is a gathering place for book and art lovers. organizing talks, events, and exhibitions—especially on contemporary photography—as well as being a salon de thé, Les Insolites is an indispensable place for cultural life in tangier. Les Insolites mon–sat: 11 am–8 pm 28, rue khalid Ibn oualid (ex-velazquez) 9000 tanger, morocco t +212 534 592983 e lesinsolites.tanger@gmail.com W www.lesinsolitestanger.com
IsBn: 978-3-03764-341-9
Books for artists, books for theorists, books for radicals, books for independence ... aye-aye Books 350 sauchiehall street Glasgow G2 3JD scotland t +44 7946 643757 e martin@aye-ayebooks.com W www.aye-ayebooks.com
mon–sat: 11am–6pm
true to the new museum’s forwardlooking mission, the store procures and produces the most engaging and thought-provoking contemporary books, gifts, and artist editions. new museum store 235 Bowery nY 10002 new York, Usa t +1 212 343 0460 e store@newmuseum.org W www.newmuseumstore.org
mon–tue: closed Wed, Fri–sun: 11am–6pm thu: 11am–9pm
Collectors’ editions Information and Orders at info@jrp-ringier.com
Yto Barrada, a Modest Proposal, 2014
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walead beshty Make-ready Book 2 (Walead BesHty. Natural Histories, JrP | riNgier, ZuricH, JaNuary 11tH-15tH, 2011), 2011 speCial edition
a special edition accompanying the artist’s reference monograph (published in 2013) and combining 13 offset posters (56.5 × 42 cm) in a silkscreened box. Produced in tangier, conceived in collaboration with nadja Zimmermann. 30 copies numbered and stamped by the artist. Walead Beshty
Copies of the book Natural Histories made of blotting papers overprinted several times and bound following the sequenCe of the signatures of the trade edition. printed by musumeCi (aosta). initialed and numbered by the artist in an edition of 50 (+ 10 ap).
Make-ready 2 and Make-ready 3
eaCh Copy is different. priCe: 600 us$
Copies of the book natural Histories made of blotting papers overprinted several times and bound following the sequence of the signatures of the trade edition; initialed and numbered by the artist in an edition of 50. each copy is different 600 ChF
erik steinbrecher The return of the Green-Horn, 2012 signed and numbered edition of 100 silkscreened folded posters designed by norm 50 ChF
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Peter saville estate
tony Cragg Formations & Forms
Pierre Charpin
eCal. a success story in art and Design
Pierre keller
nicolas trembley (ed.) sgrafo vs Fat lava
raymond Pettibon whuytuyp
Luigi Ghirri Project Prints
The Complete Designers’ lights (1950–1990)
a selection of 10 favorite titles from our complete catalogue by French designer ronan Bouroullec, whose drawings, together with those of his brother erwan, have recently been gathered in a beautiful volume titled Drawing.
© Linus ricard
Wolfgang tillmans
ronan Bouroullec top 10
Contact
Distributors
JrP | ringier Limmatstrasse 270 | Ch–8005 Zurich t +41 (0) 43 311 27 50 F +41 (0) 43 311 27 51
JrP | ringier books are available internationally at selected bookstores and from the following distribution partners:
e info@jrp-ringier.com www.jrp-ringier.com IsBn 978-3-03764-376-1
© 2014, the authors, the artists, the photographers, and JrP | ringier kunstverlag Design Concept: Gavillet & rust, Geneva Layout: nicolas eigenheer typefaces: Genath by François rappo (www.optimo.ch), nameit by Jeremy schorderet
Top Ten
For a list of our partner bookshops or for any general questions, please contact us at info@jrp-ringier.com, or visit our homepage for further information about our program.
sWItZerLanD
GermanY & aUstrIa
ava verlagsauslieferung aG Centralweg 16 Ch–8910 affoltern a.a. verlagsservice@ava.ch www.ava.ch
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