It’s obvious that we make books about art and, essentially, about contemporary art, but I think our ambition is to also make them with art. —Lionel Bovier, 2004 This newspaper is published by JRP|Ringier. Issue 7, Winter 2014. Printed in 15 000 copies by Ringier Print Adligenswil AG. Not for sale
10 YEARS 16 hardworking people 632 books published 1,800 authors published 4,000 tons transported 15,000 PDFs generated 20,000 printing hours 300,000 working hours 600,000 emails exchanged Lionel Bovier at Villa Magica Records X-mas Party ( Jungle Bells), 2012 (Photograph: Gilles Gavillet)
1,000,000 books sold Highlights
Uri Aran Gianfranco Baruchello Thomas Houseago Tobias Madison Jean-Luc Manz Laura Owens Lygia Pape Carlo Scarpa Xanti Schawinsky Shirana Shahbazi Studio Wieki Somers Sturtevant
2 Renata, Vera, Nicolas, Eléonor
SPECIAL EVENTS 16.11.14–01.02.15 Gavillet & Rust and JRP | Ringier: Book Design, in the framework of L’art se livre, Musée des Beaux-Arts, Le Locle 26.11.14–26.12.14 JRP | Ringier Special Editions, in the framework of X-mas Jewels IV, 8 rue Saint-Bon, Paris
10 Years
10 Years
Looking back at the year’s program can be one of the most gratifying moments for a publisher. Looking back at 10 years undoubtedly becomes more self-reflexive.
Lionel with Allan McCollum
In ten years, with a small team of highly motivated collaborators, associate designers, and editors, thanks to collaborations with great artists, writers, international institutions, galleries, and curators, we have managed, through an ever-expanding network of specialized distributors and retailers, to establish JRP | Ringier as one of the leading voices in contemporary art publishing. With 630 published titles, 400 of them currently in active distribution, our trilingual approach to the field and our active efforts to look for high editorial quality in terms of conception, design, and production, have proved successful in positioning the company simultaneously as an independent producer and as a publishing partner for museums and private structures alike.
Gilles
Neither a micro-structure nor an outbuilding of a media group, JRP | Ringier has organized production according to defined typologies and series, while maintaining a flexible approach toward artists’ projects.
Presenting a generation of artists who emerged in the 1990s and the 2000s, as well as introducing the newest positions in today’s scene, our catalogue also demonstrates an interest in remapping the 1980s and in publishing significant texts and artists still overlooked today. Working with an international geography in mind and a desire to weigh in on the current cultural debates, we have built a network of associate editors based in different countries who continuously review, choose, and publish artists, writers, and curators whose works, we believe, will leave their mark on our culture. It is the efforts of each of these individuals, of our team, of our associate editors and designers, as well as of our producers and distributors, combined with the work of artists and writers, that make this program exist and circulate—and hopefully with a constantly renewed relevance. I can only feel indebted to them all. —Lionel Bovier, Publisher
Lionel, Walter Abrigo, Paolo Musumeci
John M Armleder, JRP | Ringier’s Christmas Card (Photograph: Sébastien Agnetti)
Ari Marcopoulos
10 Years
3 New titles in the Hapax series
Vern Blosum Lionel Bovier (ed.)
Vern Blosum The untold story of Vern Blosum, whose work was sold by Leo Castelli Gallery, included in seminal exhibitions and books on Pop art, but who did not exist. [ISBN 978-3-03764-379-2]
Raphael Hefti
Raphael Hefti New monograph on Raphael Hefti’s singular approach to experimentation with materials. [ISBN 978-3-03764-402-7]
(Curating) From
to
Jens Hoffmann
Jens Hoffmann (Curating) From A to Z
scott king illustrAtions by Will henry
Anish & Antony tAke AfghAnistAn
scott king
The astonishing power of public art has long been recognised by both governments and ‘big business’ alike in the West, with increasingly enormous public sculptures being deployed to ‘regenerate’ ailing post-industrial areas, or create the ‘wow factor’ on corporate HQ piazzas and at ever-expanding airports. But what if this strategy were employed in an attempt to turn around the fortunes of a whole country? This book proposes a scenario in which two giants of British public art are commissioned by the United Nations in a last ditch attempt to solve the social, financial and political problems of Afghanistan.
Anish & Antony tAke AfghAnistAn
Yto Barrada, proposal for JRP | Ringier’s poster (Photograph: Lola Reboud)
A Word or form THAT occUrs oNly oNce iN THe recorded corpUs of A giveN lANgUAge
This A–Z of curating offers a summary of the development of curatorial practice over the last two decades seen through the eyes of curator Jens Hoffmann. [ISBN 978-3-03764-372-3]
Scott King Anish and Antony Take Afghanistan This graphic novel is an unlikely scenario in which two giants of British public art are commissioned by the United Nations in a last ditch attempt to solve the social, financial, and political problems of Afghanistan. [ISBN 978-3-03764-380-8]
Sturtevant
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Comprehensive monograph
Research into Sturtevant’s graphic oeuvre reveals that her early drawings from the 1960s are key to understanding the artist’s radical conceptual work—especially her drawings from 1965 and 1966, the so-called “composite drawings.” Over the course of the past 50 years, Sturtevant has developed what is perhaps the most radical practice of her generation, determined by a rigorous and insistent conceptual approach.
IN THE 1960S, THERE WAS THE BIG BANG OF POP ART. BUT POP ONLY DEALT WITH THE SURFACE. I STARTED ASKING QUESTIONS ABOUT WHAT LAY BENEATH THE SURFACE. WHAT IS THE UNDERSTRUCTURE OF ART? WHAT IS THE SILENT POWER OF ART? —Sturtevant, 2008
Duchamp Rotary Disc (ESCARGOT), 1969
She was concerned with more than the mere reception of art; her aim was to change mental attitudes. She disconcerted and provoked the spectator and the art world in general to equal degrees by repeating original works by contemporary artists. Astonishingly quickly after the “originals” were made, she used them as source and catalyst, her intention being to “expand and develop our current notions of aesthetics, probe originality, and investigate the relation of origins to originality and open space for new thinking” (Sturtevant).
This publication accompanies the first survey devoted to Sturtevant’s drawing. The American artist (*1926 in Lakewood, Ohio, lived and worked in Paris until her death in 2014), was a figure of outstanding significance for the art history of the second half of the 20th century. She received the Golden Lion for Lifetime Achievement at the 54th Venice Biennale in 2011, and she was awarded with the prestigious Kurt-Schwitters-Prize in Hannover, Germany, in 2013. This monograph provides a focused look at the artist’s graphic work from 1964 to 2004.
Duchamp Rotary Disc (OEUF A LA COQUE), 1969 Johns Flag, 1991
Comprehensive monograph
5 Also available
Sturtevant The Razzle Dazzle of Thinking Edited by Anne Dressen on the occasion of the artist’s major survey at the Musée d’Art moderne de la Ville de Paris, this monograph, which was designed in close collaboration with the artist, offers a compilation of her writings—mainly unpublished—a selection of essays on her work and life, as well as a specific iconography. [ISBN 978-3-03764-090-6]
Sturtevant Image over Image
Lichtenstein Hot Dog Graphite Tire, 1966
This book, published on the occasion of Sturtevant’s exhibition at the Moderna Museet in Stockholm and the Kunsthalle Zürich, focuses on the production of recent years. Sturtevant had expanded her practice to include mass-media images and her own filmed material. This has shed new light on her career, and emphasizes how her artistic practice had continuously and effectively leveled harsh, rebellious, and intelligent critique at a society that consists increasingly of simulacra and the entertainment industry. [ISBN 978-3-03764-282-5]
Credits: Estate Sturtevant, Paris, courtesy Galerie Thaddaeus Ropac, Paris/Salzburg
The Book: Sturtevant—Drawing Double Reversal Authors Mario Kramer, Michael Lobel, Sturtevant English/German edition Available ISBN 978-3-03764-396-9 Hardcover, 165 x 225 mm 192 pages Images 100 color Published with MMK Museum für Moderne Kunst Frankfurt am Main; Albertina, Vienna; and Nationalgalerie, Staatliche Museen zu Berlin CHF 38 / EUR 29 / GPB 25 / US 39.95 64
Working Drawing Wesselmann Great American Nude Lichtenstein Hot Dog, 1966
Johns Graphite Flag Wesselmann Great American Nude, 1966
65
Lygia Pape
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Retrospective monograph
Lygia Pape (1927–2004) was a Brazilian artist whose work brings together formal rigor and daring experimentation. Pape was a founding member of the Neo-Concrete movement that was dedicated to the inclusion of art into everyday life. Her early work, like that of her contemporaries, evolved from an interest in European abstraction; however, Pape went beyond simply adopting the international style, and in the 1950s began to develop her own language imbued with her own locality, as did her fellow artists Hélio Oiticica and Lygia Clark.
ART IS MY WAY TO UNDERSTAND THE WORLD. —Lygia Pape
The Neo-Concrete movement is often seen as the beginning of contemporary art in Brazil, and the work of Lygia
Pape—at the junction of aesthetic, ethical, and political ideas—has formed a very important part of Brazil ‘s artistic identity. She became well known in Brazil and abroad with Ballet Neoconcreto I (1958) and Divisor (1967), as well as her woodcuts from the Concrete period. Critical recognition of her work has always existed, but much of her production is only now being revealed and better understood, several years after her death.
Courtesy Projeto Lygia Pape, Rio de Janeiro. All images by Paula Pape
Ballet Neoconcreto nº 1, 1958, exhibition view, Pinacoteca de São Paulo, 2011
Ttéia, exhibition view, Pinacoteca de São Paulo, 2011
,
jrp|ringier
Retrospective monograph
7 In preparation
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Liam Gillick Liam Gillick’s new monograph, From 199A to 199D, revisits the formative period of the artist’s production in Europe during the 1990s. This book offers a selected survey of Gillick’s seminal projects and installations that challenged the traditional presentation and reception of art and its methods and practices. It includes essays by Paul O’Neill, Jörn Schafaff, and students at the curatorial schools at Bard College and the Magasin in Grenoble, who co-publish this volume in English. A French edition will be available by Les presses du réel. [ISBN 978-3-03764-405-8]
Philippe Decrauzat
Magnetized Space, exhibition view, Serpentine Gallery, London 2012
Philippe Decrauzat’s work has been the subject of two previous books by JRP | Ringier (in 2003 and 2007). This upcoming reference monograph, which includes newly commissioned essays and a selection of works produced over the last ten years, will shed new light on his practice. Published with the Magasin, Grenoble. [ISBN 978-3-03764-406-5]
The Book: Lygia Pape—Magnetized Space Edited by Maria Luisa Blanco, Manuel J. Borja-Villel, Teresa Velásquez Authors Ivana Bentes, Guy Brett, Lauro Cavalcanti, Paulo Herkenhoff, Reynaldo Jardim, Luiz Camillo Osorio, Paula Pape, Lygia Pape, Teresa Velásquez, Paulo Venancio Filho
Divisor, 1968/2011 (detail). Museu de Arte Moderna, Rio de Janeiro, 1980s
Divisor, 1968/1990. Museu de Arte Moderna, Rio de Janeiro, 1990
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Second English edition February 2015 ISBN 978-3-03764-393-8 Softcover, 205 x 262 mm 420 pages Images 239 color / 108 b/w CHF 60 / EUR 40 / GBP 30 / US 55
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Carlo Scarpa
Lectures Maison Rouge series
Carlo Scarpa in the Galleria Il Cavallino, Venice, 1942
A pioneer in exhibition design, the Italian architect Carlo Scarpa (1906–1978) is recognized as one of the most inspiring and innovative museum and exhibition architects of the 20th century. During his prolific career he worked for numerous galleries and museums, such as L’Accademia in Venice, the Canova Museum in Possagno, the Castelvecchio Museum in Verona. His exhibition designs include acclaimed presentations of works by Mondrian, Fontana, Duchamp, Martini, and Klee. For many years he was an official architect of the Venice Biennial, in particular for the much praised first postwar edition in 1948.
I WOULD RATHER THINK ABOUT MUSEUMS THAN SKYSCRAPERS. —Carlo Scarpa, 1972
This never-before-published selection of Carlo Scarpa’s writings and illustrations (photographs, architectural plans, sketches) is an invaluable tool for understanding exhibition history. This publication is edited and introduced by Philippe Duboÿ, professor of architectural history, and an erudite specialist on Carlo Scarpa. It is published with La Maison Rouge (Paris).
Central Pavilion, Venice Biennale, Venice 1952
Window of the Canova Museum, Possagno, c. 1957
The Book: Carlo Scarpa—L'Art d'exposer Edited by Philippe Duboÿ
92
Carlo Scarpa
Authors Philippe Duboÿ, Patricia Falguières French edition January 2015 ISBN 978-3-03764-266-5 Softcover, 145 x 225 mm 240 pages Images 150 b/w Published with La Maison Rouge, Paris CHF 28 / EUR 19.50 GBP 17 / US 29.95
L’Art d’exposer
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L’exposition d’Arturo Martini, XXIIIe Biennale de Venise 19421
Salle Arturo Martini, XXIIIe Biennale de Venise, 1942
Au premier plan à gauche : L’Étreinte et Le Buveur ; dans l’angle gauche : Le Torse ; sur le mur du fond : La Mère et La Femme qui se peigne ; dans l’angle droit : Saint Jacques ; au centre : Femme qui nage sous l’eau
Pour son exposition personnelle à la XXIIIe Biennale de Venise, le sculpteur Arturo Martini (1889-1947), occupé à Carrare par la réalisation du Tite-Live pour l’université de Padoue, charge Carlo Scarpa et le peintre Mario Deluigi du choix et de l’installation des œuvres. Deluigi est l’assistant de Martini, nommé depuis février 1941 à l’Académie des Beaux-Arts de Venise où il le remplace. Carlo Scarpa, « l’un des premiers amis vénitiens » de Martini, fut l’architecte de son nouvel appartement. « Des hommes vivants » comme se plaît à les décrire dès 1932 Eduardo Persico, l’architecte rationnel et critique de la revue La Casa Bella : « Venise est l’une de ces cités italiennes qui s’imaginent à jamais pétrifiées dans leur antique splendeur, absorbées dans une vision de grandeur qui appartient désormais aux manuels d’histoire. [...] Et pourtant aussi longtemps que les villes, embaumées par les onguents des poètes et enveloppées dans les bandelettes des historiens, seront habitées par des hommes vivants, l’esprit de l’actualité soufflera toujours dans leurs murs ; comme un vent de nouvelles fortunes qui effleuraient San Marco et la Ca’ d’Oro »2. Pour Persico, « ces deux jeunes vénitiens », Scarpa et Deluigi, « métèques dans leur patrie », révèlent « un aspect secret et élégant de la Venise moderne ». Il poursuit : « Cela signifie que
l’importance du goût moderne a été comprise à Venise comme renouvellement pour la beauté de cette ville, pour en maintenir à travers le temps l’idée d’une élégance suprême. Un exemple pour tous ces ‹ faux antiquaires › qui décorent, non seulement leur propre maison, de faux XVIe ou de faux baroque ; et une incitation à tous les Vénitiens pour qu’ils donnent sans cesse des formes et des valeurs nouvelles à ces tendances qui, dans l’histoire, ont créé le faste merveilleux de la lagune. En Italie, le problème d’un goût moderne ne se situe pas, en effet, dans une création à partir du néant comme prétendent le croire les adversaires des choses nouvelles mais dans une sorte d’enrichissement et d’actualisation de ce qui constitue le patrimoine réel de notre race : l’amour de la beauté. Telle est l’idée qui, plus que d’autres, a guidé Deluigi et Scarpa dans leur tâche d’excellents décorateurs italiens ». Un vent d’Esprit Nouveau anime nos deux « commissaires » responsables dans leur collaboration amicale : un peintre et un architecte comme Ozenfant et Le Corbusier. Quelques jours avant l’inauguration, Martini fait part à Deluigi de ses dernières remarques sur leur sélection drastique des œuvres et avance ses dernières suggestions. Le ton de la lettre est amical, ironique même :
Museum of the Future Documents series
9
The question of which art is to be collected is also becoming a more openly discussed topic in a globalized art world. How do curators meet these challenges? What opinion do the artists have of their relationship to the museum? How do practitioners navigate between ideas, ideals, and realities? This publication, edited by Cristina Bechtler and Dora Imhof, gathers together interviews with international artists, architects, and curators of the contemporary art world—Kathryn Andrews, Nairy Baghramian, John Baldessari, Ute Meta Bauer, Daniel
Baumann, Klaus Biesenbach, Zoe Butt, Suzanne Cotter, Bice Curiger, Chris Dercon, Sjarel Ex, Nicoletta Fiorucci, Gary Garrels, Liam Gillick, Michael Govan, Jacques Herzog, Thomas Hirschhorn, Maja Hoffmann, Philipp Kaiser, Bartomeu Marí Ribas, John Miller, Ernesto Neto, Lars Nittve, Hans Ulrich Obrist, Thierry Raspail, Tobias Rehberger, François Roche, Beatrix Ruf, and Julia Stoschek. Their different answers bring visibility to the complexity of the topic, and to the profound pleasure and intellectual stimulation museums provide, as well as to their relevance to culture today.
Other new titles in the Documents series
Museums of contemporary art are expanding and in crisis. They attract ever-larger audiences, architects constantly redesign them, and the growing number of artists is producing more massively than ever; at the same time museum funds are dwindling in the economic crisis and an overheated art market.
Hans Ulrich Obrist The Czech Files
Hans Ulrich Obrist The Czech Files Hans Ulrich Obrist’s Czech Files were ten years in the making: bringing together interviews with Milan Grygar, Ivan Kafka, Stanislav Kolíbal, Jiří Kovanda, Martin Machovec, Karel Malich, Zdeněk Sýkora, and Jiří Valoch, it maps out the historical development of the Czech “second avant-garde” (or “neo-modernism”) in the 1960s and 1970s, and sheds light to many unknown stories and references from these eight artists born between the two World Wars. [ISBN 978-3-03764-387-7]
Chantal Pontbriand [ed.]
Photography, Film, Video, and New Media
Parachute: The Anthology [Vol. III] The third volume of Parachute: The Anthology is out: dedicated to photography, film, video, and new media, it gathers together 14 visionary essays by Guy Bellavance, Douglas Crimp, Georges DidiHuberman, Philippe Dubois, Anne-Marie Duguet, Larys Frogier, Peggy Gale, Jacinto Lageira, Jack Liang, Geert Lovink, Laura U. Marks, Jean-Charles Massera, Laura Mulvey, and David Tomas written between 1981 and 1999. [ISBN 978-3-03764-382-2]
The Book: Museum of the Future
Museum of the Future
64 – 65
Bice Curiger Bice Curiger is Artistic Director of the Fondation Vincent Van Gogh Arles, founded in 2014. She was Curator at the Kunsthaus Zürich and is co-founder of Parkett magazine. In 2011 she was the curator of the 54th Venice Biennale.
Which is your favorite museum (not necessarily contemporary) and why? I am tempted to say Thomas Hirschhorn’s temporary “Altars” or “Monuments” because of the exalted passion and emphasis, which is set in lively contrast to the idea of “the museum” as such. At the same time I just LOVE museums, ALL OF THEM , it’s always a joy to visit one, each is a universe of its own, and a neverending source of surprise. Which recent exhibition did you find most inspiring and why? Philippe Parreno at the Palais de Tokyo and Pierre Huyghe at the Centre Pompidou, which both happened to be on at the same time in Paris [2013–2014]. They brought a rare intensity into the spaces, a time-based experience of complex interplays based on the tension between the immaterial/material and still/moving images.
Edited by Cristina Bechtler and Dora Imhof English edition Available ISBN 978-3-03764-383-9 Softcover, 150 x 210 mm 240 pages Images 31 b/w CHF 27.50 / EUR 20 GBP 16 / US 29.95
René Berger L’art vidéo René Berger’s writings on video art are, for the first time, available in one volume (in French), edited by François Bovier and Adeena Mey, and published with ECAL, Lausanne. [ISBN 978-3-03764-389-1]
Gianfranco Baruchello
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DVDs by bdv
The history of the fertile but complex relationship between visual arts and cinema during the 20th century is punctuated by a number of landmarks: Verifica Incerta created in 1964 by Italian artist Gianfranco Baruchello, in collaboration with filmmaker Alberto Griffi, is one such example. Inspired by Marcel Duchamp and supported by John Cage, Verifica Incerta is the perfect offspring of the encounter between Cinecittà and avant-garde expression; it is also one of the classic examples of found footage cinema.
CONCEIVED AND REALIZED BEFORE ANY OF ANDY WARHOL’S EXPERIMENTAL FILMS, AND APPROVED BY ROSELLINI, VERIFICA INCERTA IS A FILM HAPPENING. —Alain Jouffroy
WHEN IN VERIFICA INCERTA THE DOOR OPENS BUT NO ONE COMES OUT, THEN IT OPENS AGAIN, THEN IT IS CLOSED, THEN YOU SEE PEOPLE ALREADY OUTSIDE, AND THEN THEY COME OUT AGAIN, YOU BREAK THE EXPECTATIONS OF THE AUDIENCE: THE VIEWERS ARE SUDDENLY IN A STATE OF CRISIS, THEY ARE IN SHOCK. —Umberto Eco Teeny and Marcel Duchamp with Baruchello, Paris 1965
Verifica Incerta is an assemblage of extracts taken from 450,000 feet of footage from the 1950s purchased by the artists before its destruction. The film was realized in 1964 during eight months of montage sessions, and shown in Paris a year later. It was then screened in 1966 in New York at the Solomon R. Guggenheim Museum and The Museum of Modern Art. Originally it was supposed to be cut again into the original clips, and redistributed to the audience, hence its subtitle “disperse exclamatory phase.” It is a schizophrenic and ironic kaleidoscope about mass cinema and B-movies. Without any script or plot, it is an encyclopedia of leftovers, a deconstructed attempt to rediscover Hollywood, a linguistic experiment in film and montage. As art and cinema critic Carla Subrizi wrote: “Verifica Incerta questions time and movement through images, creating a system that it is not internal to the single
shots, but rather external: it is the process of selecting, editing, discarding, recomposing that creates a new conception of time. Rhythm, duration, stopping and starting, distance: the images are used as readymades and placed in a different order through montage; they abandon their original meaning and gain a different and uncanny one.” The DVD comprises the 30-minute film La Verifica Incerta, a self-interview by Gianfranco Baruchello shot in the summer of 2014, as well as some very rare footage of Marcel Duchamp in 1964— the few minutes of which are included in the film. It is accompanied by a booklet containing texts by Gianfranco Baruchello and Carla Subrizi, as well as an anthology of texts and numerous documents (photographs, archives, press clippings) about the film, its production, context, and reception in and since 1964.
DVDs by bdv
11 Montage material for Verifica Incerta, c. 1963
Gianfranco Baruchello, 1967
The DVD: Gianfranco Baruchello—Verifica Incerta Edited by Clément Dirié Authors Gianfranco Baruchello, Carla Subrizi English/Italian edition January 2015 ISBN 978-3-03764-377-8 DVD, 135 x 190 mm 45 min., multizone DVD, with a 24 pages booklet Published with MDC-Massimo De Carlo, Milan/London CHF 38 / EUR 25 GBP 17 / US 35
Baruchello Fondazione, Rome 2014
Born in 1924, Gianfranco Baruchello lives and works in Rome, where he created the Agricola Cornelia in 1973, a countryside commune modeled on Joseph Beuys’ idea of “social sculpture.” His practice as an artist, poet, and experimental filmmaker is now being rediscovered thanks to a series of exhibitions, and his participation in Biennials and group exhibitions (such as the Venice Biennale, 2013; Kassel documenta, 2012). Baruchello was part of the European avant-garde movement of the 1960s; multidimensionality is the hallmark of work. Driven by his natural scientific inclinations, he searches for points of contact at the interface of art and man, life and matter.
VERIFICA INCERTA IS A PRECURSOR TO THE MANY OTHER WORKS THAT ALSO REEDIT FILMS. IT IS WORTH INVESTIGATING HOW SOMETHING NEW IS ABLE TO EMERGE FROM MATERIAL COMPILED IN SUCH A WAY, AS WELL AS HOW THE MATERIALS THEMSELVES ARE STILL ABLE TO RETAIN SOME SORT OF INTRINSIC VALUE. —Harun Farocki
12 Untitled (Spectodrama-Szene), ca. 1936
Xanti Schawinsky
Retrospective monograph
The work of the late Swiss artist “Xanti” (Alexander) Schawinsky (1904–1979) was until recently almost inaccessible. A long legal dispute and the fact that Schawinsky’s work as a teacher was so integral to his artistic praxis (rather than only presenting his work in galleries and exhibitions), explain why much of his oeuvre is to be found in just one location today.
IF ARCHITECTURE IS THE MOTHER OF ALL ARTS, AS EVERYONE HERE CLAIMS, THEN THEATER IS ITS MOTHER-IN-LAW. —Kurt Schmidt, 1924
Untitled, from the series Faces of War, 1942
“Schawinsky occupies a prominent position in the history of performance art. Early in his career, at the Bauhaus, he developed avant-garde ideas for a theatrical laboratory that would research universal questions of artistic creation. During his time at Black Mountain College— an art school that gave refuge to many European emigrants in the 1930s—he fleshed out his model of theatrical art, which he labeled Spectodrama, and emerged as a leading representative of an art form that effectively anticipated the Happening. Spectodrama developed a distinctive dramatic energy using the
elementary theatrical means of space, shape, color, light, movement, sound, language, and music, and also involved technological innovations like projection and film. In the 1940s Schawinsky developed a series of process-based paintings, a part of his oeuvre that has remained virtually unknown to wider audiences, though it illustrates how he envisioned the canvas as the scenic space of an unfolding process. In postwar New York, Schawinsky, like his colleagues Jackson Pollock and other pioneers of Abstract Expressionism, experimented with a wide variety of
Stepptänzer vs. Steppmaschine, 1924 Transition, 1960
Retrospective monograph
techniques, as in his Track Paintings, whose creation involved the use of a car.” (Excerpt from the text by Raphael Gygax in the publication that accompanies the artist’s retrospective at the Migros Museum für Gegenwartskunst.)
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This publication is conceived as an indispensable monograph on the artist—the most recent book, which focuses on the works from his time at the Bauhaus, came out almost three decades ago. This is the first survey of Schawinsky’s extraordinarily prolific output over the course of five decades.
I FELT AN INCREASING DRIVE TO DEVOTE ALL EFFORT TO PAINTING ONLY AND POSSIBLY TO INCORPORATE ALL PAST EXPERIENCE AND EXPERIMENTATION IN MY OWN FIELD OF VISUAL ENDEAVOR. —Xanti Schawinsky, 1960
Incontro III, 1968
All works: Courtesy of the Xanti Schawinsky Estate, Zurich, except for Stepptänzer vs. Steppmaschine, courtesy of the Norman Waitt Jr. Collection.
The Book: Xanti Schawinsky Edited by Raphael Gygax, Heike Munder Authors Torsten Blume, Eva Diaz, Raphael Gygax, Juliet Koss, Tobias Peper English/German edition February 2015 ISBN 978-3-03764-397-6 Softcover, 201 x 272 mm 176 pages Images 58 color / 31 b/w CHF 56 / EUR 45 GBP 37 / US 59.95
Wieki Somers THE AUTHOR DESIGNER
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Doubt about the authority of the author led not only to emancipation for the reader but also to the awareness that numerous factors play a role in the interpretation of a text. This development was attended by a growing awareness of the importance of the graphic designer, whose choice of typefaces, organisation of text and image, and other interventions, make a significant contribution to how a text is understood. Of course, graphic designers cannot claim to be ‘author designers’ in the strict sense, but can merely claim co-authorship. But it seems evident that their task is not simply to serve the text or the writer of the text.
Out of the Ordinary
In his famous essay of 1968, the French literary theorist and philosopher Roland Bar thes declared ‘The Death of the Author’. This idea was in tune with the zeitgeist. Like many other thinkers, Barthes believed that an author’s insights do not stem purely from his own genius but also draw upon those of other authors that preceded him. And then there are the readers, who, regardless of the writer’s intentions, can discover different meanings in the same text. After all, they read from different perspectives. Thus, in any one text there are a multitude of voices, to which no single person can stake a definitive claim. In the years that followed, this purported demise of authorship was subject to debate and refinement. Nonetheless, broadly speaking the question marks surrounding the intellectual owner-
THE AUTHOR IN PRODUCT DESIGN
Similar developments occurred within other disciplines, where the authority of the author had apparently gone unchallenged. For example, the autonomy of the visual artist—the preeminent author—has been subject to discussion and doubt for decades. He too takes inspiration from his predecessors, is embedded in a specific context, and his works are interpreted in a variety of ways by viewers who approach the work from different perspectives. The perception and judgement of art is based not so much on a work’s supposed inherent quality but on the context within which we understand something to be a work of art. What, then, are the meaning and significance of a work and who can claim to be its intellectual author?
Discussions about authorship in design raise two interesting questions: how is authorship compatible with the profession’s numerous constraints? And what distinguishes author designers from their colleagues who do not present themselves as authors? The author in design has similarities with both the author of texts and the visual artist. Both roles have always exuded an aura of genius
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“Dylan van den Berg and Wieki Somers began their design partnership in 2003. In the years since then, they have created dozens of designs that are vessels for extraordinary stories about the world that surrounds us, stories that are translated into objects with a great sensitivity for form and aesthetics [ … ] SWS facilitates an encounter between the object and the user, allowing a rediscovery of the beauty of the everyday: with a poetic association, a fleeting anecdote, or a gentle touch. The designs are remarkable not only for their narrative forms, but also for the way in which they are made. They combine playful storylines and technical ingenuity with a nuanced aesthetic and great attention to detailing and materials. It is this
THE STUDIO IS OUR LABORATORY, OUR PLAYGROUND— WHERE WE CAN THINK, DRAW, AND EXPERIMENT. —Wieki Somers
MITATE
concern for materials, form, and function that restores the presence that is lacking in mass-produced objects. In SWS’s hands, the objects are reanimated. In the exhibition Out of the Ordinary, the designers emphasize this by presenting their work in a display reminiscent of a Zen garden. The precise positioning of objects and varied references subtly create a unified and layered experience. Somers: ‘The viewer will be transported to another world where time stands still and the world will be briefly as we would like it to be seen.’” (Excerpt from the text by Annemartine van Kesteren, Design curator, Museum Boijmans Van Beuningen, Rotterdam.)
2012
INDEX
Chocolate Mill, 2012
2011
The messages and stories—implicit or explicit—in the designs of author designers may be ascribed primarily to the designers themselves. Is this really true? Isn’t the concept ‘author designer’ actually a contradiction in terms? Aren’t ‘author’ and ‘designer’ at odds with each other? After all, in origin, and perhaps in essence, the design profession serves the wishes of others. By contrast, an author answers only to his own intentions, giving authenticity and originality to his message. Curiously enough, the idea that designers are able to propagate original messages through their work gained popularity precisely in the period in which the author lost his position in literature.
Design
ship of a text and whose interpretation of it should be prioritised have remained in place.
Studio Wieki Somers celebrates its 10th anniversary with a retrospective at Museum Boijmans Van Beuningen (Rotterdam) and a comprehensive monograph entitled Out of the Ordinary, which elucidates its design philosophy. Studio Wieki Somers
Wieki Somers and Dylan van den Berg, 2005
Wieki Somers and Dylan van den Berg, 2005
The designs of Studio Wieki Somers suggest references and meanings that extend beyond their function. Spurred by a personal fascination for the everyday, designers Dylan van den Berg and Wieki Somers delve beneath the skin of ordinary objects in search of unexpected possibilities and hidden stories. Their findings are expressed in products that make use not only of the production and presentation methods inherent to their own professional field—design—but also those borrowed from other fields, such as the visual arts.
2013
Outbox, 2011
04 Studio Wieki Somers
Out of the Ordinary
042–1&2: CHOCOLATE MILL 2012
042–2
Out of the
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Working on the Mitate series, 2013
Studio Wieki Somers
042–1
043: MITATE 2013 (A FAMILY OF 7 LIGHT POLES)
Mitate debuted at Galerie Kreo in Paris It was both a lighting collection and an exhibition born from the experiences and research of Dylan van den Berg and Wieki Somers while travelling through Japan, years before.
Larger than the visitors, the seven floor lamps filled and protected the gallery space, acting as flamboyant samurais. In Japanese, ‘mitate’ signifies the
MITATE
Recently published
Studio Wieki Somers Out of the Ordinary
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Working on the Mitate series, 2013
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OUT OF THE
044
ORDI NARY Studio Wieki Somers
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Following the success of the publication The Complete Designers’ Lights—which became an essential publication to any design professional and amateur and sold out— this second volume constitutes a new expanded and revised edition, publishing more than 200 new lights. Edited by Clémence and Didier Krzentowski, the founders and directors of Galerie kreo (Paris/London), which is at the forefront of contemporary design, the book focuses particularly on Italian and French design, spanning creations from the 1950s to the 1990s. It includes large groups of works by Paulin, Guariche, Castiglioni, and the most comprehensive collection of Sarfatti, who, according to the Krzentowskis, is “the best of his category.” The Complete Designers’ Lights II 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. [ISBN 978-3-03764-356-3]
The Book: Studio Wieki Somers—Out of the ordinary
Out of the Ordinary
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The Complete Designers’ Lights II
Studio Wieki Somers
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MITATE
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Design
Edited by Mevis and Van Deursen, Wieki Somers and Dylan van den Berg, Noortje van den Elzen Authors Pierre Doze, Elspeth Diederix, Sjarel Ex, Anniina Koivu, Louise Schouwenberg, Annemartine van Kesteren, Elian Somers English edition Available ISBN 978-3-03764-398-3 Softcover, 210 x 280 mm 206 pages, Images 150 color CHF 60 / EUR 40 GBP 30 / US 55
Arto Lindsay, Paper Rain Parade, Art Basel in Hong Kong, 2013
RECENTLY PUBLISHED: ART BASEL: YEAR 44 [ISBN 978-3-03764-362-4]
18 Artist’s studio, Los Angeles 2013
Thomas Houseago
Comprehensive monograph
“At first blush the words one might use to describe Thomas Houseago’s large sculptures of massive faces, ambulatory and reclining human forms, and a recurring owl might seem obvious: monumental, figurative, expressionistic, male, anachronistic.
THOMAS HOUSEAGO TREATS ART HISTORICAL REFERENCES AS IF THEY WERE READYMADES. HE PICKS UP FRACTURED CUBISTIC FORMS FROM PICASSO, BORROWS HENRY MOORE’S ELEPHANTINE ELEGANCE, STEALS THE VISCOUS MELTING QUALITY OF FRANCIS BACON’S TORSOS, ALLUDES TO GIACOMETTI’S TORTURED AND PINCHED FIGURES, SUMMONS THE SUN-BLEACHED WHITENESS OF ANTIQUE ROMAN STATUES. —Helen Molesworth
“The only problem is that the list doesn’t hold up under any scrutiny. While the works operate on a monumental scale they defy monumentality through their use of ‘soft’ materials such as plaster and hemp, both of which result in a delicate surface full of incident and variation. Much of the work immediately summons the human form, although, ironically, none of it is drawn from life, which complicates the idea of the ‘figure’ per se. In actuality his figures are more like the idea of a figure. While the effect of the work is consummately gestural and physical, attributes typically associated with expressionism, the ‘authenticity’ of the artist’s ego associated with expressionism, historically guaranteed through demonstrative physical gestures that act as proof of the artist’s presence, cannot easily, or even truly, be found in Houseago’s work. His multi-layered process—working first in industrially scaled pugs of clay, followed by the creation of a waste mold to be filled with
a polymer-based plaster mixed with hemp and rebar—mitigates against any fantasy of the artist working alone with his outsized personality in a garret [ … ] In the age of relational aesthetics and Facebook, such massive objects, their very physical presence, can feel slightly antiquated. But the works are so suffused with art historical references that they bring to mind the logic of the radical interconnectivity that governs our current Internet age. There is a cut-and-paste logic undergirding the work that is utterly 21st century, even if the sculptures appear to have walked off the set of a silent film from the early 20th century. Yet his work is operating within a complicated space of reference and connectivity, and it is here that I want to try and begin, again, to make sense of a project that I suspect may offer an interesting account of our current conditions.” (Excerpt from the text by Helen Molesworth in the monograph.) Studio view, 2014 (Photo: Fredrik Nilsen)
Studio view, 2014 (Photo: Fredrik Nilsen)
Comprehensive monograph
19 Ross Chisholm
First monographs published with Hauser and Wirth
Christopher Orr
Christopher Orr The monograph offers a survey of Scottish painter’s most recent body of work. His intimately scaled canvases oscillate between reality and the uncanny, exploring the realms of the natural and supernatural, folklore and history, fiction and formalism, science and the sublime. With texts by Pat Fisher, Max Hollein and The Lonely Piper. [ISBN 978-3-03764-373-0]
Djordje Ozbolt
Yet to be titled (black masks on canvas), 2014 (Photo: Stefan Altenburger Photography Zurich)
Djordje Ozbolt The Belgrade-born artist (*1967, lives in London) is one of the best contemporary examples of an uninhibited approach to the venerable genre of painting. His prolific body of work, which also includes sculpture, could be defined by his witty take on representation and technique. It shows a vivid melting pot of styles, ranging from the classical genres of portraiture, still life, landscape, and historical painting, to Modernism and Surrealism. His extensive array of subjects spans religion, human relationships, exoticism—especially Africa—to travel experiences and cultural stereotypes. With texts by Caoimhín Mac Giolla Léith and Gregor Muir. [ISBN 978-3-03764-345-7]
The Book: Thomas Houseago Edited by Thomas Houseago Authors Helen Molesworth, Paul Schimmel, Jeremy Strick English edition March 2015 ISBN 978-3-03764-381-5 Hardcover, 250 x 335 mm 232 pages Images 150 color Published with Hauser and Wirth CHF 68 / EUR 54 GBP 42 / US 75
Jakub Julian Ziolkowski The first monograph on the Polish artist (*1980) whose paintings reflect an extremely individualistic, almost escapist position. With texts by Katya Garcia-Anton and Joanna Mytkowska. [ISBN 978-3-03764-050-0]
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Jean-Luc Manz
Artist's book
Jean-Luc Manz’s paintings, which he has been making since 1977, could be described as geometric abstractions. However, they share very little with the Swiss Concrete art tradition. They refer instead to the practices of John M Armleder and Helmut Federle. Their geometric vocabulary is infused with expressive stances and appropriation, as if they wanted to recreate, through the act of painting, a relationship with the world. Manz’s notebooks, published here for the first time in this 1,000-page volume, prove that his compositions are anchored in a system of correspondence with the art of the past—from Islamic decorative art to Egyptian memories, everyday encounters, and his personal life.
The Book: Jean-Luc Manz—Notebooks (1989—2014) Edited by Julie Enckell Julliard Author Julie Enckell Julliard English/French edition January 2015 ISBN 978-3-03764-404-1 Softcover, 205 x 292 mm 1048 pages Images 1000 color Published with Musée Jenisch, Vevey CHF 78 / EUR 60 GBP 40 / US 80
Jean-Luc Manz Notebooks 1989–2014
Laura Owens Artist's book
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Every year, Ringier AG publishes an annual report conceived by an artist. This year, Los Angeles artist Laura Owens (*1970, Euclid, OH) has deployed resources and methods drawn from art history and traditional printing craftsmanship. She has taken inspiration from the art magazine View, from the 1940s, when printing presses were still the pulse of every newspaper and publishing organization. She has created a very haptic cover in typographic print, as well as drawings that have been reproduced using silkscreens. Allowing the inclusion of up to nine colors, this methodology implies a realization by printing experts who still master the old book and screenprinting methods. A technical challenge made visual delight.
The Book: Laura Owens Edited by Beatrix Ruf English edition Available ISBN 978-3-03764-392-1 Softcover, 228 x 304 mm 24 pages 12 color images Limited edition of 300 copies Published with Ringier AG, Zurich CHF 27.50 / EUR 20 GBP 16 / US 29.95
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I CONSIDER A BALANCE BETWEEN DISTANCE AND PROXIMITY A GOOD POINT OF VIEW. —Shirana Shahbazi, 2005
Shirana Shahbazi
Photography
Shirana Shahbazi’s oeuvre reflects an ongoing interest in the relationship between images, their surfaces and their objecthood, as well as between the various artistic media and their apparent iconic qualities. Her pictures range from colorfield abstractions to volatile holiday snapshots. This publication showcases Shahbazi’s recent work, which has been taken to a compelling new level of abstraction, culminating in the free disposition of colors and geometric forms. Shahbazi stages these geometrical forms, not on a computer screen, but by arranging and staging real geometric bodies of color in her studio—as though for a still life—
and by then photographing them from different perspectives. Her production style is pivotal not only for the brilliance of color; it is evident in delicate details such as double exposures or intriguing effects of depth. Each composition allows for nuanced readings, oscillating between the two and three-dimensional, between representational and nonrepresentational.
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Photography
23 Published with Codax, Zurich
Erik Steinbrecher In this forthcoming book Erik Steinbrecher (*1963, Basel) restages his archive of found images and intervenes not only by grouping them, but by altering their materiality. An experiment in printed matter! [ISBN 978-3-03764-394-5]
Jules Spinatsch In Snow Management–Complex, Jules Spinatsch presents his photographic series documenting ski slopes being prepared at night. Under the glare of cold floodlights, machines noisily turn nature into a tourist experience, with snow cannons at full blast and bulldozers flattening the slopes. The photographs evoke the cold emptiness of stills from a sciencefiction film about a barren planet being made habitable. This oeuvre makes manifest the technology, staging, and mediatization that have become the basis of contemporary. life. [ISBN 978-3-03764-355-6]
The Book: Shirana Shahbazi—Monstera Edited by Anus Belkrem English edition Available ISBN 978-3-03764-400-3 Softcover, 165 x 220 mm 256 pages Images 256 color Published with the Kunsthalle Bern CHF 38 / EUR 30 GBP 24 / US 39.95
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Newsletter Kunsthalle Zürich <newsletter@kunsthallezurich.ch> Antwort an: admin_khzh_news@kunsthallezurich.ch (Kein Betreff)
1 Anhang, 79 KB
wednesday 20th 4PM & before & after Flavio Merlo, Emanuel Rossetti, Jan Vorisek & others
Tobias Madison (*1985, Switzerland) belongs to a generation of young artists who frequently open up the isolated process of artistic creation through the use of cooperative or collective strategies. The roles that he adopts are as wideranging as the media in which he works: sculpture, video, projection, computer-generated and assisted painting, audio, text, photography, and scanned images, all of which are process-driven, and full of references and descriptions of found symbols.
bring your own cup ramen
PREVIEW: P this saturday 23rd
Installation view, Kunsthalle Zürich 2013
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Photo: Stefan Altenburger
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19. Februar 2013 15:07
DIM SUM MIX
Opening E
Tobias Madison
First monograph
The Book: Tobias Madison—NO; NO; H E P Edited by Beatrix Ruf Authors 109 John Beeson, Bruce Hainley, Beatrix Ruf English/German edition January 2015 ISBN 978-3-03764-390-7 Hardcover, 205 x 257 mm 176 pages Images 45 color, 40 b/w CHF 38 / EUR 25 GBP 19 / US 35
This book is the first monograph dedicated to Tobias Madison’s work and is published in the Kunsthalle Zürich series. It includes a newly commissioned text by John Beeson, and two conversations with the artist, one with Beatrix Ruf and one with Bruce Hainley.
Uri Aran First monograph
Installation view, Kunsthalle Zürich, 2013 (Photo: Annik Wetter)
This is the first monograph on Uri Aran’s multifaceted work and provides a comprehensive overview of his artistic production through a detailed selection of his works, numerous installation views, newly commissioned texts by Fionn Meade and Liam Gillick, as well as an interview with Beatrix Ruf, Niels Olsen, and Fredi Fischli. The publication also contains a visual essay by the artist. The book is published in the Kunsthalle Zürich series in collaboration with the South London Gallery.
Installation view, Gavin Brown’s enterprise, 2012 (Photo: Thomas Mueller)
The themes found in the work of Uri Aran (*1977, Israel, lives and works in New York) include 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.
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The Book: Uri Aran—Book Edited by Margot Heller, Beatrix Ruf Authors Fredi Fischli, Liam Gillick, Fionn Meade, Niels Olsen, Beatrix Ruf English/German edition January 2015 ISBN 978-3-03764-384-6 Hardcover, 205 x 257 mm 152 pages Images 100 color CHF 38 / EUR 25 GBP 19 / US 35
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Anne Laura Sacriste, Orion aveugle, September 2014
Yto Barrada, A Modest Proposal, October 2014
Gianfranco Baruchello, Verifica Incerta—Documents & Souvenirs, October–November 2014
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 four partners: www.lespressesdureel.com www.annasandersfilms.com www.bureaudesvideos.com www.jrp-ringier.com
Subtly mixing generations, nationalities, media, and styles, 8 rue Saint-Bon’s program is founded on the belief that publishing books and limited editions generates the most interesting dialogues with artists. From May to November 2014, 8 rue Saint-Bon was animated by an eclectic series of projects: Yto Barrada, Gianfranco Baruchello, Sheila Hicks, Armand Jalut, Charles de Meaux, Anne Laure Sacriste, and Peter Wächtler, among others. Of course, we will wind up 2014 with our traditional Christmas Jewels show, mainly dedicated this year to celebrating JRP | Ringier’s 10th anniversary with a large selection of its limited editions. Sheila Hicks, Fiji Island–Fil, May–June 2014 (Photograph: Aurélien Mole)
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 partners sharing this location—the film producer Anna Sanders Films; the publishing houses Les presses du réel and JRP | Ringier; and the art video distribution and production company Art View/bureau des vidéos.
8 rue Saint-Bon, Paris
Exhibitions
Kunstgriff: The Wall Kunstgriff
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For two years, the back wall of Kunstgriff has hosted works by Kerstin Brätsch and Adele Röder (Das Institut), Valentin Carron, Marc Camille Chaimowicz, Isabelle Cornaro, Sylvie Fleury, General Idea, Liam Gillick, Wade Guyton, Scott King, Lucy McKenzie, David Noonan, Richard Prince, Allen Ruppersberg, Jim Shaw, Steven Shearer, Blair Thurman, etc. Lionel Bovier, the curator of these projects, has also invited producers of multiples and editions such as Circuit, Editions Castell Zuoz, and Hauser & Wirth Editions.
(Photograph: Annik Wetter)
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 E01 of the Löwenbräu building Contact: +41 43 311 27 50 www.jrp-ringier.com info@jrp-ringier.com
28 Beogram 4000, 2002
THE PROCESSES AND EFFECTS I USE TO MANIPULATE THE IMAGERY AND TO GENERATE THE SILKSCREENS IN PHOTOSHOP AND INDESIGN ARE STANDARD AND PRESET; THEY ARE THE PRIMARY TOOLS DESIGNERS USE IN LAYING OUT MAGAZINES AND OTHER PRINTED MATERIAL. —Kelley Walker, 2006
Kelley Walker
From our backlist
Untitled, 2007
Authorship and authenticity are primary concerns in Kelley Walker’s work. Taking material from the public domain, Walker further complicates everyday transactions with visual material, converting the banality of mass media into instances of trepidation, complexity, and instability. Using the potency of advertising strategies, Walker’s large-scale prints appropriate iconic cultural images, digitally altering them to highlight underlying issues of politics and consumerism. His computerized composites do not target specific institutions or causes, but rather expose the constant state of anxiety within contemporary culture. Humorously combining processes of analogue collage to reference abstract painting, Walker smears magazine covers with toothpaste or news photos with melted chocolate; scanned into his computer, their materiality is transformed into pure information. This politics of the mediatization of contents, combined with Walker’s acuity for the systemics of visual messages, give his photo-based works an unlikely quality of being neither post-Pop nor appropriation per se.
Kelley Walker
29 Andy Warhol and Sonny Liston fly on Braniff. (When you got it–flaunt it.), 2006
I AM THINKING OF PRINTED MATTER AS A RAW MATERIAL WITH TRACES OF HISTORY. —Kelley Walker, 2006
Untitled, 2003
The Book: Kelley Walker Edited by Yves Aupetitallot, Anne Pontégnie Authors Bob Nickas, Anne Pontégnie, Scott Rothkopf English/French edition Available ISBN 978-3-905770-68-1 Softcover, 237 x 286 mm 160 pages Images 80 color / 15 b/w Published with Le Magasin, Grenoble, and Wiels, Brussels. CHF 60 / EUR 40 / GBP 25 / US 49
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Hans Ulrich Obrist A Brief History of New Music
Top 5 Sellers 2014
TOP 5 SELLERS 2014
5 Bookshops
Five bookshops we love
The bookshop of art center Le Consortium presents a large selection of monographs, exhibition catalogues, artists’ writings, previously unpublished documents, and classic out-of-print contemporary art texts, as well as historical and literary texts from the 20th-century’s avant-gardes.
Hans Ulrich Obrist: A Brief History of New Music ISBN: 978-3-03764-190-3
Le Consortium 37, rue de Longvic F–21000 Dijon T +33 3 80 68 45 55 W www.leconsortium.fr
Wed/Thu/Sat/Sun 2–6pm Fri 2–8pm
Art Basel: Year 44 ISBN: 978-3-03764-362-4
Carl Andre
Poems
Carl Andre: Poems ISBN: 978-3-03764-364-8
DAN GRAHAM NUGGETS New and Old Writing on Art, Architecture, and Culture Edited by Kathy Slade JRP|RINGIER & LES PRESSES DU RÉEL
Inspired by the owner’s passion for books and his frustration with the lack of a neighborhood venue, Papercup opened in 2009 as a bookshop dedicated to art, architecture, design, photography, and fashion. One can also find a curated selection of magazines, children books, graphic novels, as well as a coffee shop and bespoke ordering service.
Alter Ego, nestled in Lucerne’s must-see old town, specializes in reference books in the fields of psychology, cultural history, natural sciences, philosophy, and sociology. The shop, run by experienced Heinz Gérard, also carries an important and unique selection of illustrated books from the fields of architecture, art, design, and photography.
Papercup Agopian Bldg, Pharaon St Mar Mikhael, Beirut Lebanon T +961 1 443 083 E info@papercupstore.com W www.papercupstore.com
Alter Ego Mariahilfgasse 3 CH-6004 Lucerne T +41 412 00 99 E info@alterego.ch W www.alterego.ch
Mon–Fri 10am–8pm Sat 10am–7pm
Tue/We/Fr 9am–6.30pm Thur 9am–8pm Sat 9am–4pm
Dan Graham: Nuggets ISBN: 978-3-03764-198-9
Richard Tuttle | Prints Christina von Rotenhan
Richard Tuttle: Prints ISBN: 978-3-03764-365-5
mzin is a bookstore and project space for visual culture in Leipzig, founded in 2008 by Philipp Neumann and Karen Laube. They offer a curated selection of international and local zines, mags, catalogues, books, etc. from all fields of the visual arts, as well as exhibitions with artists. mzin bookstore Kolonnadenstrasse 20 Leipzig 04109, Germany T +49 341 9911135 E mail@mzin.de W www.mzin.de
Tue–Sat 11am–7pm
Spoonbill & Sugartown, Booksellers a Brooklyn bookstore, specializes in used, rare, and new books on contemporary art, architecture, and various design fields, with an emphasis on imported or hardto-find books—but they also handpick thousands of good books every month for a voracious clientele. Go and check it out! Spoonbill & Sugartown, Booksellers 218 Bedford Avenue Brooklyn, NY 11211, USA T +1 718 387 7322 E sugar@spoonbillbooks.com www.spoonbillbooks.com
Daily 10am–10pm
Collectors’ Editions Information and orders at info@jrp-ringier.com
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Ai Weiwei, Of Bridges & Borders, 2014 The beautifully designed slipcase, which houses this two-volume publication, is made with a recycled fragment of Ai Weiwei’s 900m2 art piece To Pablo, created for the exhibition Of Bridges & Borders in Valparaiso (2013). The “pixel” you can acquire was part of a large-scale canvas showing the edge of the main island of the disputed Senkaku Islands in Asia. Limited edition of 500 copies, numbered and signed by the artist. 250 US$.
Hedi Slimane The 4-volume publication Anthology of a Decade has been gathered together in a special clamshell box designed by Hedi Slimane in an edition of 50. Each box is signed and numbered. 1,000 CHF
Valentin Carron Copies of the Kunsthalle Bern’s catalogue Do ré mi fa sol la si do (2014) have been personalized with color stamping. Each of the 50 copies is unique, signed, and numbered by the artist. 45 CHF
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The Best Surprise Is No Surprise
Gerard Byrne Gestalt Forms of Loch Ness
Marcel Duchamp and the Forestay Waterfall
Ryan Gander Catalogue Raisonnable Vol. 1
Dominique Gonzalez-Foerster Alphavilles?
Richard Hamilton Le Grand Déchiffreur
Yvonne Rainer Une femme qui... Écrits, entretiens, essais critiques
The Situationist International (1957–1972)
Heimo Zobernig ohne Titel (in Red)
A selection of 10 prefered titles from our backlist by London-born, New York-based artist Liam Gillick, who will soon add a second monograph to our list, in addition to Proxemics, a selection of his critical writings published in our Positions series.
Liam Gillick, 2014
Cooling Out– On the Paradox of Feminism
Liam Gillick Top 10
Contacts
Distributors
JRP | Ringier Limmatstrasse 270 | CH–8005 Zurich T +41 (0) 43 311 27 50 F +41 (0) 43 311 27 51
JRP | Ringier books are available internationally at selected bookstores and from the following distribution partners:
E info@jrp-ringier.com www.jrp-ringier.com ISBN 978-3-03764-403-4
© 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 JRP | Ringier directly at info@ jrp-ringier.com, or visit our homepage www.jrp-ringier.com for further information about our program.
SWITZERLAND
GERMANY & AUSTRIA
AVA Verlagsauslieferung AG, Centralweg 16, CH–8910 Affoltern a.A., verlagsservice@ava.ch, www.ava.ch
Vice Versa Distribution, Immanuelkirchstrasse 12, D–10405 Berlin, info@vice-versa-distribution.com www.vice-versa-distribution.com
FRANCE
UK & OTHER EUROPEAN COUNTRIES
Les presses du réel, 35 rue Colson, F–21000 Dijon, info@lespressesdureel.com, www.lespressesdureel.com
Cornerhouse Publications, 70 Oxford Street, UK–Manchester M1 5NH, publications@cornerhouse.org, www.cornerhouse.org/books
USA, CANADA, ASIA, & AUSTRALIA ARTBOOK | D.A.P., 155 Sixth Avenue, NY 10013, orders@dapinc.com, www.artbook.com