JRP|Ringier Newspaper Issue 9

I have always been of the conviction that what already exists in our culture of standardized images has a greater capacity for the strange and the uncanny than anything I might conspire to produce.

—John Stezaker, 2015 This newspaper is published by JRP|Ringier and edited by Lionel Bovier. Issue 9, Winter 2015-2016. Printed in 10,000 copies by Ringier Print Adligenswil AG. Not for sale

John Stezaker, Line III (Lost Connection), 2008 (Unassisted Readymade)

When I started the company, more than 10 years ago, I first conceived of it as a project that would take me five years to build and a lifetime to play with.

Writing this editorial, I realize I was both right—the program and the structure took some years to form and offer a viable platform now and for years to come—and wrong, as I’ll be leaving the company at the end of the year.

Why I chose to move from art publishing to become a museum director (heading MAMCO, the contemporary art museum in Geneva from January 2016 on), remains a question that I will only be able to answer in a few years: the attraction of a new challenge, the drive to return to curating exhibitions, the perspective of having an entire building in which to crystalize a different contemporary art narrative—who knows?

What I do know is that it had nothing to do with the publishing activity itself, not even with the angst of digitalization: I have the same pleasure in doing my job as when I started, the same thrill in presenting the following program, the same pride in this season’s offering.

Starting with books stemming from long-term collaborations, such as John Stezaker’s project released with Codax; Resistance Performed (Aesthetic Strategies Under Repressive Regimes in Latin America), the latest in Migros Museum’s anthology series; Year 46, Art Basel’s third annual publication; and the new title on graphic design with ECAL; it continues with The Playground Project, published with Kunsthalle Zürich, and Xanti Schawinsky’s first Album publication, a limited-run artist’s book made with the Estate of the Bauhaus artist.

New releases in the Documents and Hapax series add to my pleasure in watching this program unfold.

What is next you might wonder?

Well, the company, that I will now watch from the Board level only, is in good hands, placed as it is under the supervision of Lukas Haller and Clément Dirié, supported by a team composed of Rahel Blättler, Eléonor de Pesters, Nicolas Eigenheer, Gilles Gavillet, Selina Grüter, Vera Kaspar, Clare Manchester, Karin Prätorius, Christophe Salaün, Markus Schmutz, and Van Hin Tran, as well as Ringier AG’s numerous collaborators, who provide us services and ressources.

Now I will have the pleasure of reading JRP | Ringier’s books … only once, when they arrive on my desk, finished and ready to be enjoyed!

—Lionel Bovier, Founding Publisher

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John Stezaker

Text by David Campany

Lost IV, 2007 (Unassisted Readymade)

My WORK IS ABOUT STILLING AND CREATING A CONTEMPLATIVE, SILENT RELATIONSHIP WITH SOMETHING THAT USUALLy SPEAKS AND IS LEGIBLE— A CONFRONTATION WITH OBSCURITy AS OPPOSED TO TRANSPARENCy. —John Stezaker

John Stezaker has been working with found images for over 40 years. While he has come to be regarded as a collagist, he has occupied his own outer limit of that idiom. He works with an economy of means to make precise, almost stringent interventions that are calculated to affect the viewer (and himself ) in ways that are wild, disturbing, and uncontainable.

Untitled, 1977 (Unassisted Readymade)

The source material is often quite clichéd, derived from the realms of popular culture from earlier moments of the twentieth century. The picture postcard and the movie publicity photo are two of the most conventionalized and formulaic image types, and Stezaker uses them frequently. Indeed the more prosaic the image the better, because no image is entirely prosaic and Stezaker is drawn to that very slim space between convention and idiosyncrasy, between the expected and the unexpected, between the familiar and agreeable and that which the image at first seems to conceal and keep out of sight, to paraphrase Sigmund Freud in “The Uncanny” (1919).

More to the point, as the writer Maurice Blanchot once noted, all images are essentially ambiguous. Even though we live in a visual culture that attempts to put images to work, to make them perform tame tasks—selling, presenting evidence, memorializing—those tasks are only ever provisional. Once the image had outlived them, once its job is done, it is set free. In this sense Stezaker’s approach is not so much a matter of using images for his own artistic purposes, as attending to and releasing their least predictable and hence truest qualities.

His is an art that returns seemingly banal imagery to its essential freedom.

True freedom (that is to say, freedom without conventions) is exciting but it is also disarming and anarchic, and therefore dangerous. Most of the time we do not really want it—for ourselves or for our images—and we may not know quite what to do with it when we get it, or glimpse it. But in working to set loose the most enchained of images, Stezaker’s work offers the viewer an occasion, at least, to experience what image freedom might feel like, what it might imply, and what it tells us about the fears that bind images and the desires that loosen them.

To this end Stezaker’s commitment has never been to collage as such but to this idea of release. Consider this sequence of procedures, each step more minimal than the last: One photograph selected, cut, and placed upon another.

One photograph selected and placed uncut upon another.

One photograph selected and cut.

One photograph selected.

The first two fall quite clearly within the familiar understanding of collage. The third is perhaps on the cusp, while the last would appear to fall outside. Much of Stezaker’s work has involved the first two but this book brings together a range of pieces made only by selecting and cutting, or simply selecting.

Excerpted from the introduction

3 Also available in the Codax series

Erik Steinbrecher HITS This artist’s book shows excerpts from the artist’s extensive photographic collection of images gathered over 30 years—books, newspaper and magazine photographs, archival footage, and montages. Here the artist has organized subjects thematically in associative sequences: landscapes, food, folklore, art, flora and fauna, people, and technology.

Through the playful decoration and transformation of the material, Steinbrecher has created relief-like collages.

[ISBN 978-3-03764-394-5]

Jules Spinatsch Snow Management – Complex

Line I (Lost Connection), 2007 (Unassisted Readymade)

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 science-fiction 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: John Stezaker - Unassisted Readymade Edited by Markus Bosshard, Lionel Bovier, Jürg Trösch Author David Campany English / German edition January 2016 ISBN 978-3-03764-449-2 Hardcover, 245 x 345 mm 144 pages Images 79 color CHF 68 / EUR 54 / GBP 42 / US 75

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“TRANSPARENCy” WAS PART OF THE EVERyDAy ROUTINE AND BECAME A VERy POSITIVE EXPERIENCE. —Xanti Schawinsky

Xanti Schawinsky

Text by Torsten Blume

Xanti Schawinsky was an artist and designer who spent his life working in different media and genres (graphics, painting, photography, stage design, performance, and exhibition design).

His work epitomizes the experimental and inventive perspectives of the Bauhaus and the search for new horizons of the 20th-century avant-garde.

The “Bauhäusler” albums were created exactly like any other family albums: from a pile of pictures, most of which remain stored for an indefinite period in boxes, cupboards, drawers, and folders. The album form imposed itself as the most appropriate to simultaneously preserve and present this abundance of photographic records. It is an oddly indecisive and hybrid medium: it is a form that recombines the characteristics of the book with those of the exhibition walls (and Memory game), as Schawinsky wrote [ … ] The hybrid, book-like form of the photo album proved to be, in the 1920s, an ideal one for graphic artists: its variable arrangements and time-open series echoed montage principles, while its

potential for organizing memories as associative anthologies was offering to supersede the old “archaic stillness” of the book and the contemplative immersion it demands, reprogramming it as a medium of communication [ … ] Xanti Schawinsky compiled his album after 1929, i.e., after his time at the Bauhaus, in the early 1930s or perhaps even after 1936, when he emigrated to the US. Like Josef Albers’ album, it is not a bound book, but a portfolio of cardboard sheets of the same format (perhaps Schawinsky first saw Albers’ album when he taught with him between 1936 and 1938 at Black Mountain College in North Carolina). Like Albers, he was not content with simply sticking in photographs

Excerpted from the introduction

Bauhaus was, throughout his life, more than just a school, but also a surrogate family.

For the present publication, 51 significant sheets of Schawinsky’s album have been selected, from a total of around 70 held in the Estate [ … ] This selection [ … ] gives us a personal and unique insight into the years when this multimedia artist set out for new horizons.

Schawinsky had understood more than anyone else how to put his own individual mark on the Bauhaus vision of dissolving boundaries between art and life: he was convinced and proved that, as a painter, he could take photographs, design posters and magazines, work as a theater director and performer just as much as he could organize and design exhibitions.

Also available

and documents: each sheet is an autonomous graphic composition[ … ]Some sheets are marked by a complex “heaping” of motifs, others are more minimalist in arrangement, and time and again there are drawn, glued, and typographic additions to the photographic material. The album juxtaposes portraits of his Bauhaus friends and colleagues with his parents and siblings, collages of festivities, trips, and holidays, references to works, and excerpts from his professional portfolio.

Hence this album acts as a printing template for illustrating his autobiography, still unpublished in its entirety. The album is, so to speak, an extraordinary representation of the life and work of an outstanding “Bauhäusler” of the first student generation, one for whom the

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Xanti Schawinsky 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. In his lifetime, Schawinsky was mainly known for his work in the theater department at the Bauhaus. In the 1930s, while teaching at Black Mountain College, Schawinsky developed his dramatic theory known as “Spectodrama.”

Involving multimedia productions that examine elementary phenomena such as space, motion, light, sound, or color from scientific, technical, and performance-based perspectives, it represents an early form of the “happening,” which would later be made famous by another affiliate of the same institution, John Cage.

Schawinsky’s work as a painter also addresses the dissolution of the medium’s boundaries and focuses on the process. Beyond the avantgarde utopias of the Bauhaus and his proto-happening art, Schawinsky’s work may also be seen as representative of the transatlantic exchange of artistic ideas that was induced by the political situation and had a lasting impact on art history.

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.

[ISBN 9783-03764-397-6]

The Book: Xanti Schawinsky - The Album Edited by Lionel Bovier, Daniel Schawinsky Author Torsten Blume English edition January 2016 ISBN 978-3-03764-451-5 Hardcover, 450 x 270 mm 88 pages Images 72 color CHF 98 / EUR 80 / GBP 60 / US 100

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The Playground Project

Text by Gabriela Burkhalter

Group Ludic Playground, 1970 Group Ludic Playground, 1972

WHy SHOULD A MUSEUM ORGANIZE AN EXHIBITION ABOUT PLAyGROUNDS? I AM CONVINCED THAT THE TWO CAN LEARN A GREAT DEAL FROM ONE TO ANOTHER AND ARE FUNDAMENTALLy SIMILAR IN NATURE. —Daniel Baumann

What at first seemed like an insignificant niche turned out to be a realm of public experimentation, a cause of conflict between innovative and established perspectives, and something for both adults and children to project their desires onto—in short, playgrounds are sites of subversive potential.

The playground is a byproduct of the industrialized city of the 20th century.

Even now, it continues to be both an ugly duckling and a coveted space. A focal point for ideas about education and childhood, urban planning and public space, architecture and art, creativity and control, the playground has repeatedly resisted institutional and ideological appropriation and grown in its own sometimes quite anarchic ways. The coexistence of contradictory expectations, moments of temporary progress, and radical developments makes playgrounds so exciting. Still, as hardly anyone sees playgrounds as part of their cultural heritage, much of their history has been forgotten or can barely be understood anymore. [ … ] There have been four paradigm shifts in the development of the playground over the course of the last 150 years.

First, at the beginning of the 20th century, social reformers took children off the

street and onto the playground. Then, at the beginning of the 1930s, the idea arose that children should play with natural materials rather than playground equipment. In the 1960s, the decade of autonomy and do-it-yourself, parents, children, and neighborhood groups began to take charge of playgrounds themselves.

Finally, in the 1980s, with the end of social and political utopias, a crisis in playground design began.

With a focus on playgrounds in public spaces, where they are subject to the most contradictions, the publication provides as complete a picture as possible of the multiple feedback loops and often parallel developments in the history of playgrounds, as well as the forces underlying them in a wide range of countries and the contributions of the most important individuals such as Marjory Allen, Richard Dattner, Group Ludic, Isamu Noguchi, and many more.

Images: courtesy of Xavier de la Salle

Die Kunsthalle Zürich wird zum Spielplatz! Wir installieren Spielskulpturen für Kinder, führen in Filmen und Fotografien durch über 100 Jahre Spielplatz und fragen, wo wir heute stehen. Auf über 1000 m2 zeigen wir im Frühjahr 2016, dass diese Nische ein subversiver Ort sein kann, ein Experimentierfeld im öffentlichen Raum für Kunst und Gesellschaft und eine Reibungsfläche für Erwachsene, Eltern und Kinder.

Der Spielplatz ist ein Nebenprodukt der industrialisierten Stadt des 20. Jahrhunderts. In ihm kondensieren sich wie kaum anderswo Vorstellungen zu Erziehung und Kindheit, zu Stadtplanung und öffentlicher Raum, zu Architektur und Kunst und zu Kreativität und Kontrolle. Dabei entzieht sich der Spielplatz immer wieder der institutionellen und ideologischen Vereinnahmung und treibt seine eigenen, zuweilen anarchischen Blüten. Dieses Nebeneinander von unterschiedlichen Erwartungen, momentanen Errungenschaften und abenteuerlichen Ideen macht den Spielplatz überhaupt erst aus.

The Playground Project ist kuratiert von Gabriela Burkhalter, Schweizer Politologin und Stadtplanerin, in Zusammenarbeit mit der Kunsthalle Zürich.

Zur Ausstellung erscheint ein umfangreicher, international vertriebener Katalog, welcher die vielfältige Geschichte anhand zahlreicher Illustrationen erstmals umfangreich nachzeichnet: The Playground Project, herausgegeben von Gabriela Burkhalter, mit Beiträgen von Michael Gotkin, Vincent Romagny, Sreejata Roy und Xavier de la Salle, deutsch / englisch, Kunsthalle Zürich / JRP|Ringier 2016 (deutsch/englisch).

Group Ludic Workshop, 1973

9 783863 355470

Die Kunsthalle Zürich wird zum Spielplatz! Wir installieren Spielskulpturen für Kinder, führen in Filmen und Fotografien durch über 100 Jahre Spielplatz und fragen, wo wir heute stehen. Auf über 1000 m2 zeigen wir im Frühjahr 2016, dass diese Nische ein subversiver Ort sein kann, ein Experimentierfeld im öffentlichen Raum für Kuns und Gesellschaft und eine Reibungsfläche für Erwachsene, Eltern und Kinder.

Der Spielplatz ist ein Nebenprodukt der industrialisierten Stadt des 20. Jahrhunderts In ihm kondensieren sich wie kaum anderswo Vo stellungen zu Erziehung und Kindheit, zu Stadtplanung und öffentlicher Raum, zu Architektur und Kunst und zu Kreativität und Kontrolle. Dabe entzieht sich der Spielplatz immer wieder der institutionellen und ideologischen Vereinnahmun und treibt seine eigenen, zuweilen anarchischen Blüten. Dieses Nebeneinander von unterschiedlichen Erwartungen, momentanen Errungenschaften und abenteuerlichen Ideen macht den Spielplatz überhaupt erst aus.

The Playground Project ist kuratiert von Gabriela Burkhalter, Schweizer Politologin un Stadtplanerin, in Zusammenarbeit mit der Kunsthalle Zürich.

Zur Ausstellung erscheint ein umfangreicher, international vertriebener Katalog, welcher die vielfältige Geschichte anhand zahlre cher Illustrationen erstmals umfangreich nachzeichnet: The Playground Project, herausgegebe von Gabriela Burkhalter, mit Beiträgen von Micha Gotkin, Vincent Romagny, Sreejata Roy und Xavi de la Salle, deutsch / englisch, Kunsthalle Zürich JRP|Ringier 2016 (deutsch/englisch).

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Group Ludic Adventure, 1973

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Group Ludic Playground, 1968

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Group Ludic Playground, 1969

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Group Ludic Playground, 1970

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Group Ludic Blijdorp Park, 1970

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7

The Book: The Playground Project

The Playground Project

st

Excerpted from the publication

The Playground Project

Edited by Gabriela Burkhalter Authors Gabriela Burkhalter , Xavier de la Salle, Vincent Romagny, Sreejata Roy English / German edition February 2016 ISBN: 978-3-03764-454-6 Softcover, 203 x 262 mm 240 pages Images 72 color / 127 b/w CHF 48 / EUR 40 / GBP 30 / US 49.95

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Resistance Performed

Migros Museum fuer Gegenwartskunst series

Luis Pazos, 1971/2012

This book focus on artistic languages of defiance in Latin America from the 1960s onward, mostly in Argentine, Brazil, Chile, Colombia, and Peru.

It aims, as Heike Munder states in her introduction, “to uncover positions that have fallen into oblivion or not received from art historians the attention they deserve, and to point up the significance of resistance as a survival strategy.”

THE LANGUAGE OF ART IS ONE TOOL ENABLING COMMUNITIES TO DEAL COLLECTIVELy WITH TRAUMATIC EXPERIENCES FOR WHICH INDIVIDUALS CAN HARDLy FIND WORDS. —Heike Munder

As repressive regimes curtailed citizens’ ability to communicate with each other, artists struggled to keep dialogue alive through their work, which in most cases took non-material forms. One medium in which they successfully empowered themselves to speak up were actions in which they often used their own bodies.

“Such practices, in Heike Munder’s words, sought to fend off the disruption and violation of personal integrity inflicted by the dictatorships’ arbitrary and massive violence and shield the individual’s dignity. In this sense, artists were active protagonists of the resistance against despotic rulers [ … ] In response to the daily terror, the negation of individuality, and the suppression of personal expression, which effectively aimed to efface subjectivity, the artists tried to offer something positive. Defying the regimes’ paternalism as well as targeted

efforts to silence them, they developed diverse strategies that allowed them to transcend parochial horizons and participate in a prolific exchange of ideas with like-minded people both in their own countries and abroad and even in Europe.”

One set of such communicative stratagems evolved under the label of Latin American mail art, while interventions in public settings—defying the virtually complete ban on public articulations of dissent—are another widespread artistic practice. “Public space, writes Munder, is the primary stage of totalitarian systems, which keep it under close surveillance and strict regulation. Artists stage actions to probe vestiges of the public sphere that may have withstood the triumph of ideology and remind others that a vital scene of genuine community life lies buried beneath the parade ground.”

Anna Maria Maiolino, Fotopoemação series, 1981

Sergio Zevallos, Martirios from the Suburbios series, 1893

Migros Museum fuer Gegenwartskunst series

9 New release

Art Handling Partituren der Logistik

Luis Pazos, Transformaciones de masas en vivo, 1973/2012 Anna Maria Maiolino, Fotopoemação series, 1981

The term “art handling” describes aspects of the (professional) art scene that often remain invisible: installation and de-installation, technical and conservation-related documentation, storage, transport, and legal issues. Discussions around materiality reveal that infrastructure and logistics are of constitutive significance to the production and presentation of artworks. Over the course of the professionalization of the global art scene, the requirements relating to installation-based, ephemeral, and performative artworks, and how these are handled by the institutions, have continually become stricter, and issues of documentation have accordingly become more complex. On the one hand, new work concepts or works are changing the requirements for the “infrastructure” of museums. On the other hand, such “infrastructures” that now exist in many places are also directly stimulating the emergence of certain art forms.

With contributions from Monika Domman, Peter Schneemann, Tobias Vogt, Beat Wyss, and others.

The reader “Art Handling” was initiated as a result of the symposium of the same name at the Migros Museum für Gegenwartskunst in 2014, and covers central aspects of this topic in essays and a roundtable discussion.

Published with Migros Museum für Gegenwartskunst, Zurich, and Hochschule Luzern – Design & Kunst, Lucerne.

[ISBN 978-3-03764-414-0]

The Book: Resistance Performed - An Anthology on Aesthetic Strategies under Repressive Regimes in Latin America Edited by Heike Munder Authors Rodrigo Alonso, Cornelia Huth, Miguel A. López, Heike Munder, Tobias Peper, Nelly Richard, Cristiana Tejo, Stefanie Wenger English / German edition Available ISBN 978-3-03764-446-1 Hardcover, 208 x 275 mm 220 pages Images 205 b/w CHF 58 / EUR 48 / GBP 37 / US 59.95

10 Basel

Art Basel year 46

Art Basel

Year 46 is the third iteration of Art Basel’s official annual publication. It captures and documents the 2015 shows in Hong Kong, Basel, and Miami Beach, and goes beyond them, featuring interviews, essays on contemporary art, and personal highlights from artists, curators, collectors, and museum directors.

“In entirely rethinking our approach to publishing, we shifted from a neutral stance to one in which great efforts and remarkable moments are spotlighted,” writes Art Basel Global Director Marc Spiegler. Designed by Gavillet & Rust (Geneva), the publication has an A-to-Z format that maps the world of Art Basel alongside profiles spotlighting each of the 500+ galleries participating across the three shows in 2015. It features works from all sectors of the different shows and highlights events and talks, offering vivid and varied perspectives on the global art world as seen through the eyes of Art Basel. Giving art world experts, curators, and collectors a platform for sharing their expertise, the publication provides an insightful and immersive art experience for the reader. Interviewees and contributors include Sheikha Hoor Al Qasimi, Harry Bellet, Monica Bonvicini, Suzanne Cotter, Michèle Didier, Cao Fei, Alexie Glass-Kantor, Jitish Kallat, Omar Kholeif, Max Hollein,

Matthias Mühling, Hans Ulrich Obrist, Seth Price, Patrizia Sandretto, Allan Schwartzman, Chris Sharp, Rirkrit Tiravanija, Danh Vo, Marc-Olivier Walher, Samson young, Li Zhenhua, and many others whose work contributed this year to the fairs on all three continents.

If you are wondering what happened in year 46 of Art Basel and which were the most talked about gallery stands or “Unlimited” participations; which “Feature” or “Kabinett” booth will soon lead to a museum survey; which young artists’ names from the “Nova” or “Discoveries” sectors are listed in the Top 10 of important art figures; if you are curious about Art Basel’s Kickstarter program or if you missed Cao Fei’s outstanding installation on Hong Kong Bay; if you want to know more about Samson young’s five-continent bells tour or what Art Basel looked like in the 1980s (thanks to the wonderful photographic archive of Kurt Wyss), then this book is what you need!

Hong Kong

Year 46

11 Rirkrit Tiravanija, Basel Emilio Vedova, Unlimited, Basel Art Basel in Hong Kong

Cao Fei, Hong Kong

Art Basel in Hong Kong

The Book: Art Basel | Year 46 H City population 7,313,557

H Population density 6 581.8 inhabitants per square kilometer

Fair founded in 2013 (predecessor, ART HK, founded in 2008)

Visitors in 2014 60’000 (on four show days)

Number of exhibitors in 2014 233

Number of artists exhibited in 2013 over 3,000

Available at the three Art Basel shows and distributed worldwide

by JRP|Ringier Edited by Lionel Bovier, Marc Spiegler

HONG KONG Exhibition Partners: Museums & Cultural Institutions 1a Space Mind the Platform Gap Asia Art Archive Excessive Enthusiasm: The Archive as Practice

by Ha Bik Chuen Asia Society Hong Kong Center Yoshitomo Nara: Life is Only One

Chinese University Art Museum Open Books: Artists and the Chinese Foldingbooks; Splendid Images: Chinese Paintings from the Eryi Caotang Collection School of Creative Media, City University of Hong Kong The Age of Experience Connecting Space Methods of Art Dr Sun Yat-sen Museum Dr Sun Yat-sen and Modern China; Hong Kong in Dr Sun Yat-sen’s Time

HONG KONG

Hong Kong Arts Centre Third Annual Collectors Contemporary Collaboration

Duddell’s ICA Off-Site: Hong Kongese; Mesmerized

by Ink: The Art of Two Hong Kong Masters– Paintings from the MK Lau Collection

Hong Kong Heritage Museum Dunhuang: Untold Tales, Untold Riches

Flagstaff House Museum of Tea Ware From Soya Bean Milk to Pu’er tea

Hong Kong History Museum Treasures from Tsarskoye Selo: Residence of the Russian Monarchs

Goethe-Institut Hongkong Statement 2: New Paintings from Germany

K11 Art Foundation Inside China Liang Yi Museum Great Minds Think Alike: 18th Century French and Chinese Furniture Design

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M+, West Kowloon Cultural District Mobile M+: Moving Images Macao Museum of Art 19th and 20th Century Portrait Oil Paintings: MAM Collection MadeIn Company Xu Zhen: Twenty Oi! Sparkle! I Wanna Eat! Yummy! Yummy!; Sparkle! Regarding Lightness: On Life’s Way Osage Art Foundation South by Southeast

Texts by Harry Bellet, Suzanne Cotter, Alexie Glass-Kantor, Seth Price, Marc-Olivier Wahler, etc.

Para Site A Hundred Years of Shame: Songs of Resistance and Scenarios for Chinese Nations SCAD Hong Kong SCAD Annual deFINE ART Exhibition Spring Workshop Stationary University Museum and Art Gallery, The University of Hong Kong Silent Poetry: Chinese Contemporary Ink Art; Desiring the Real: Contemporary Austrian Art Videotage Papay Gyro Nights 2015 Hong Kong 2

HONG KONG

English edition March 2016 ISBN 978-3-03764-448-5 Hardcover, 210 x 295 mm 784 pages Images 610 color / 550 b/w CHF 70 / EUR 57 / GBP 44 / US 80

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Matt Mullican

Monograph

One of Matt Mullican’s central and most consequential inventions, the so-called “Rubbings,” are a kind of frottages, a technique the artist uses to produce specific pictures.

HIS WORK, WHICH IS THE PRODUCT OF A DETAILED, NEAR-OBSESSIVE INTROSPECTION, IS DEVISED AS AN ELABORATE ATTEMPT TO DUPLICATE EXTERNALLy THE VAST COMPLEX OF INNER REPRESENTATIONS WHICH ADD UP TO HIS UNDERSTANDING OF THE WORLD HE LIVES IN. —Allan McCollum

From the beginning of his career, Mullican looked for pictures that would not be paintings; thus, he used banners, the traditional carriers of signs, posters, and, in 1984, he realized his first “Rubbing.” He used a cardboard plate on which the canvas was placed; by rubbing with an oil stick the cardboard reliefs, forms became visible on the canvas.

This way, Mullican was able to transfer complex representations onto canvas;

the result is a picture of something that is not present, it is a form of copy.

The cardboard plates may be used for other works and so the imagery can reappear in different configurations.

Each “Rubbing” is a single work and at the same time a reproduction, like a print, part of a sequence which contains picture elements from different sources.

Following the “Rubbings” from 1984 to recent times, it becomes visible that

Monograph

13

they represent the motives and themes the artist worked with over the years.

The sequence of the “Rubbings” appears therefore like a diary of Mullican’s work.

The forthcoming book presents a

catalogue of the “Rubbings” on canvas from 1984 to 2015. It comprises ca. 400 works, documented by images and catalogue entries. The book also contains an essay by Dieter Schwarz.

The Book: Matt Mullican - Rubbings. Catalogue 1984-2015

MATT MULLICAN

Edited by Dieter Schwarz

RUBBINGS

Author Dieter Schwarz

CATALOGUE 1984-2015

English / German edition May 2016 ISBN 978-3-03764-461-4 Hardcover, 175 x 235 mm 336 pages Images 300 color / 20 b/w CHF 60 / EUR 50 / GBP 38 / US 65

Title of rubbing, XXXX

Title of rubbing, XXXX

14 Jim Shaw, The Hole Zombie Stills, 2007

agnès b.

Since the beginning of the 1980s, fashion designer agnès b. has been one of the main cultural patrons in France, the US, and Asia, equally active in the visual arts, cinema, music, street art, and literature fields.

Reprinted after its first acclaimed publication in 2008, this book offers a unique view into her creative universe and artistic circle by bringing together major works from her collection and special contributions by personalities such as Kenneth Anger, Jonas Mekas, Jonone, Futura, Édouard Glissant, Harmony Korine, and Hans Ulrich Obrist.

Ultimately, this book proposes a portrait of a “special someone“ who dedicated her life to arts and artists, not only collecting art works but notably running an art gallery, a film production company and a music label.

If her collection revolved initially around modern photography and new photographic expressions, with major ensembles by Brassaï, Arbus, Levitt, and Weegee, as well as classic pieces by Atget, and Walker Evans, it soon developed into contemporary art—especially street art and contemporary African art— with works by Andy Warhol, Larry Clark, Basquiat, and Nan Goldin, as well as Seydou Keïta, Richard Billingham, Martin Parr, Jim Shaw, and Frédéric Bruly Bouabré, among others.

In the interview below, excerpted from the book, she is answering long-time friend Hans Ulrich Obrist’s questions.

THOSE IN THE KNOW SAy THAT AGNèS B. DIVINES, DRAWS AND GATHERS THE IMAGINATION OF OUR WORLDS TO MATCH THEM TOGETHER. —Édouard Glissant

Collection agnès b.

Jim Shaw, The Hole Zombie Stills, 2007

Hans Ulrich Obrist The book is a reflection of the people you have met. It is an act of witness. It’s not just your collection that is being published.

It’s a lot more than that.

That’s right, it’s very emotional.

They’re just things I love, and I love them all equally, whether it is a Lucien Hervé contact print, a monumental agnès b.

installation by Annette Messager, a city

by Kingelez, Céleste BoursierMougenot’s vacuum cleaners, or that absolutely stunning photograph where Marilyn shows what death looks like.

It’s a magnificent work although it’s tiny.

There’s also Warhol’s polaroid of Basquiat. I love them all and know them all inside out. I could list them all.

I have always been struck by your guiding principles. On the one hand, you support young artists like Robert Estermann and Ariane Michel, or McGinley, who you were the first to exhibit. On the other are great pioneers like Lucien Hervé, Bouabré and Mekas, like a stand against neglect and amnesia. your analysis is correct. I love to forge links between the generations. For example, Jonas Mekas and Harmony Korine met through me in Paris, although they’re both American. I believe that some art will never grow old, like Jonas’, Bouabré’s or Glissant’s. Those artists have the spirit of constant discovery and are always questioning themselves. Those are the ones who interest me, even though they are 75 or 80 years old. They have kept hold of their childhood like a precious treasure—the freshness of childhood, adolescence and freedom. Of course, Raymond Hains was one of those artists right up to the very end. I have many works on youth and the freedom of youth and adolescence. As for McGinley, I met him at a party in downtown New york, in a totally crazy apartment, in complete darkness, where we drank vodka.

The next day, he brought me some ten photographs. That’s how we got started.

Second edition

I have plenty—sky, love …

What gives you a buzz?

People, without a doubt. I love watching people. There are a lot of portraits and faces in the collection. I love settling down in Place de la République and watching the world go by.

What irritates you more than anything in the world?

Meetings.

What is the moment that we are all waiting for?

It must be death that will come to us all.

I don’t know what’ll happen but I’m not worried about the future. Nor am I nostalgic. I have a memory for feelings—a dynamic memory. Memory is for reliving things better the second time round.

NASA, Apollo Missions, 1969–1973

I’d like to conclude this third interview with Proust’s famous questionnaire, adapted by Pivot, and which James Lipton from the Actors’ Studio made fashionable again. What is your favourite word?

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What would have been your dream job?

I do so much already. Actually, I’ve banned the past conditional from my vocabulary. My mother used it constantly.

It was terrifying. So many should haves and would have been betters …

If God exists, what would you like Him to say to you at the Pearly Gates?

Welcome !

FOR AGNèS, WHOSE FAITH IN THE MOVING IMAGE–AND IN ME, AS AN ARTIST–HAS ENCOURAGED AND SUSTAINED ME. LOVE. —Kenneth Anger

Kenneth Anger, Cameron as the Scarlet Woman from Inauguration of The Pleasure Dome, 1954

The Book: collection agnès b.

Edited by agnès b.

Authors agnès b., Futura, Edouard Glissant, Felix Hoffmann, André Magnin, Hans Ulrich Obrist Second edition January 2016 ISBN 978-3-03764-437-9 (English) ISBN 978-3-03764-438-6 (French) Hardcover, 186 x 235 mm 352 pages Images 241 color / 63 b/w CHF 46 / EUR 38 / GBP 29 / US 49.95

Postcard of manipulated photograph titled “Snow ghosts in the forest.” Switzerland, 1931. Photo by Jason Mandella (Courtesy of the artist and LUMA Foundation)

RECENTLy PUBLISHED: THE ARCHIVES OF TOnY OURSLER. IMPOnDERABLE [ISBN 978-3-03764-426-3]

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THIS TEXT, LIKE ALL TEXTS, CONCEALS ITS COLLECTIVE NATURE. WHILE IT MAy BE WRITTEN IN A SINGULAR VOICE, IT IS AN AMALGAM OF MANy ENTITIES. THE VOICES OF EDITORS, DESIGNERS, PRINTERS, BINDERS, SHIPPERS, SHOP ASSISTANTS WHO SOLD IT TO yOU OR THE WEB PAGE yOU ORDERED IT FROM ARE ALL AT WORK IN THE TEXT, COVERED OVER By INKS AND VARNISHES, CELLOPHANE AND UPC CODES. ALL OF THESE TOGETHER CONSTITUTE THE MEANING OF THIS TEXT. —Walead Beshty

Walead Beshty

Text by George Baker

The essays by Walead Beshty gathered in this volume are too various, their origins and tasks too multiplicitous, to describe a singular project.

This may be part of their project. But clearly, they are not the kind of essays we normally associate with the position of the “artist-critic.”

There is little engagement with texts about how Beshty has made his own projects, the kind of essay where an artist writes like a critic, but in relation to his or her own work, explanatory parameters, project descriptions, though Beshty has written and published many such texts.

We are also not given a series of extrinsic histories of under-known cultural phenomena, Mike Kelley’s notion of “minor histories,” engaged for they are the ideas responded to in the artist’s work alone.

While there are relationships of course between Beshty’s practice and the writing collected here, the latter seems to have a semi-autonomy from that “artist-critic” function of buttressing and filling out primarily one’s own artistic practice.

And surely, these essays distance themselves from any of the evidently false promises for critical renewal that the “creative” or paraliterary position of the “artist-writer”—from Robert Smithson to Gregg Bordowitz—has periodically provided. That hope is not theirs.

Beshty has written “literary” and experimental texts, even poetic ones, though they are excluded for the most part here. Often such texts produced art works in their wake, rather than following and serving them, instrumentally, with, in a specific case, the writing simultaneously constructed from the digestion of the non-literary functional writing of other art critics, from the larger field of art criticism itself. This is a description of Beshty’s Press Release, 2008–, which seemed to inspire the series of artworks then entitled Selected Works, 1998/2008–,

where rejected older photographs were recycled and reused, shredded and mulched, to be subsequently transformed into a solid, wall-bound mass. In an interview with Bob Nickas, Beshty explains: If parts of past ideas were playing into the work, why not allow the failed pieces, the false starts, the dead ends, to materially comprise the recent works? I often do this with texts, repurposing old fragments in new essays. I published a text that started out as “White Cow in a Snowstorm” under several different titles and in different configurations.

Each version becomes an index of what was happening at the time— the editor or editors I’m working with, and the particular restrictions on the text. I’ve done this with interviews also, pasting in previous answers, previous ideas, snippets.

That was the idea behind the Press Release (2008–) I’ve been using, which is simply made up of quotes from reviews of my previous shows arranged in rhyming couplets. It’s actually a form of poetry from antiquity called “cento,” which means “patchwork” in Latin. I’m drawn to the anonymity of forms like this.

I think this is what I’m always left to do, piece things together, find some logic to connect things, and then excrete that logic, to do my part and then send it off, give it away to be digested again.

Excerpted from the anthology's introduction

resists the label “photographer,” and has simultaneously dedicated most of these essays to dismantling the notion of “photography” as a medium category.

And so we follow a series of almost traditional art critical essays—monographic explications, catalog texts, reviews of exhibitions, examinations of the rhetoric of contemporary projects like so-called “relational aesthetics”—from a writer who at times seems to have declared war on art criticism itself, on a rebuttal and annihilation of the claims of almost all of its major recent practitioners (from populist critics like Dave Hickey to figures like Miwon Kwon, Benjamin Buchloh, and myself).

Also available

As the workaday, desiccated art criticism was translated into rhyme and into collective poetry, so too the destroyed, dead-end photographs metamorphosed into other forms, appearing like excised architectural fragments or relief sculptures, or some new form of abstract, materialist painting. If such mobility can be linked to what I have described as the inherent “instability” of the artist-critic position, its embrace by Beshty could also be called a work not just of intense internal contradiction, but of possible transformation. And so we witness almost half the essays here circling around a critical historicization and theorization of photography, from an artist who

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Walead Beshty Natural Histories In-between time has always been central to Walead Beshty’s work, be it depopulated modernist housing developments that sit precariously between evacuation and demolition (“Excursionist views”), plants, weeds, and vegetation contained within isolated highway medians (“Island Flora”), or abandoned shopping malls (“American Passages”). More recently, this engagement with the in-between has grown into a means of production, making use of such mundance procedures as air travel or sending a package, activities that usually recede into the background of an artist’s productive life.

This reference monograph realized in close collaboration with the artist (*1976), presents a 10-year overview of Walead Beshty’s approach to photographic and sculptural representation. Alongside with new commissioned essays by Suzanne Hudson, Nicolas Bourriaud, as well as a conversation between Bob Nickas and Walead Beshty.

New expanded edition.

[ISBN 978-3-03764-353-2]

The Book: Walead Beshty - 33 Texts: 93,614 Words: 581,035 Characters Edited by Lionel Bovier Authors George Baker, Walead Beshty English edition January 2016 ISBN 978-3-03764-442-3 Softcover, 150 x 210 mm 336 pages Images 24 b/w CHF 25 / EUR 20 / GBP 16 / US 29.95

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Documents

Documents series

The Documents series, co-published with Les presses du réel, is dedicated to writings by critics and curators questioning the current state of artistic and curatorial practices.

With more than 20 titles in English and 10 in French, the series includes some bestsellers, regularly reprinted, like Hans Ulrich Obrist’s volumes A Brief History of Curating and A Brief History of new Music—the former existing now in more than seven languages and being in its sixth edition! Recently, we also started to release some titles in digital formats and to develop several “sub-series” or, rather, sequence of titles. So are the two recently published volumes on cinema edited by François Bovier and Adeena Mey (Cinema in the Expanded Field and Exhibiting the Moving Image), as well as Parachute Anthology’s fourth and last volume, edited

by Chantal Pontbriand and introduced

by Alexander Alberro and Nora Alter, entitled Painting, Sculpture, Installation, and Architecture. The Parachute Anthology is now a real portable library of recent art history, with volumes focusing on performance, photography and new media, museums, and now “traditional and academic” media, gathering together seminal essays by Thomas Crow, Thierry de Duve, Hal Foster, Reesa Greenberg, Serge Guilbault, among others, as well

as by artists such as Dan Graham and Jeff Wall.

Former titles such as the recent anthology Museum of the Future, edited by Cristina Bechtler and Dora Imhof, Clive Philpot’s Booktrek, Dorothea von Hantelmann’s How to Do Things with Art, as well as Maurizio Nannucci’s and Gabriele Detterer’s anthology on ArtistRun Spaces, found their place on the shelves of many interested readers as well as those of libraries and academic courses.

Within the series, directed by Lionel Bovier and Xavier Douroux, more titles in French are planned for release in 2016, notably the long-awaited collected writings of Nicolas Bourriaud and Olivier Zahm, as well as anthologies in English on artists Wade Guyton and Ed Ruscha.

Also in planning are a new collection of interviews by Hans Ulrich Obrist with Indian artists and anthologies on the recurrence of “white” forms in art (edited

by Julie Enckell Julliard) and the relations between dance and drawing (edited by Sarah Burkhalter and Laurence Schmidlin).

The Book: Chantal Pontbriand - Parachute: The Anthology (1975-2000) [Vol. IV] Edited by Chantal Pontbriand Authors Alexander Alberro, Nora M. Alter, Thierry de Duve, Tory Dent, Philip Fry, Dan Graham, Louis Marin, Philip Monk, Desa Philippi, Jeff Wall English edition January 2016 ISBN 978-3-03764-418-8 Softcover, 150 x 210 mm 224 pages Images 25 b/w CHF 25 / EUR 20 / GBP 16 / US 29.95

Documents series

21 Lectures maison rouge series

Hubert Damisch/ Jean Dubuffet Entrée en matière The sixth title of the « Lectures maison rouge » series, Entrée en matière is dedicated to the long-time friendship and erudite dialogue between French artist Jean Dubuffet (1901–1985), one of the main figures of Post-war art, and French art historian and philosopher Hubert Damisch (b. 1928) who edited the artist’s complete writings. The book gathers together all the texts written

by Damisch on Dubuffet as well as a selection of their correspondence: one is thus able to follow how the thinking on a living artist could be inspired by a close relationship with him, as well as by philosophy, human sciences, and other artists’ oeuvre; and how this thinking evolve once the dialogue is becoming a monologue, after the artist’s death.

Illustrated by Dubuffet’s works and facsimiles, the volume is introduced and edited by art historian and curator Sophie Berrebi. Published with La maison rouge, Paris.

[ISBN 978-3-03764-452-2]

The Book: François Bovier and Adeena Mey - Exhibiting the Moving Image

The Book: François Bovier and Adeena Mey - Cinema in the Expanded Field

Edited by François Bovier and Adeena Mey

Edited by François Bovier and Adeena Mey

Authors Erika Balsom, François Bovier, Giuliana Bruno, Maeve Connolly, Greg de Cuir, Jr., Kate Mondloch, Julie Reiss, Maxa Zoller

Authors Xavier Garcia Bardon, François Bovier, Erik Bullot, Eric de Bruyn, Stéphanie Jeanjean, Juan Carlos Kase, Lucy Reynolds

English edition January 2016 ISBN 978-3-03764-388-4 Softcover, 150 x 210 mm 160 pages Images 8 b/w CHF 25 / EUR 20 / GBP 16 / US 29.95

English edition January 2016 ISBN 978-3-03764-433-1 Softcover, 150 x 210 mm 184 pages Images 7 b/w CHF 25 / EUR 20 / GBP 16 / US 29.95

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ECAL Graphic Design

Text by François Rappo

A sourcebook of graphic design by one of the leading European art schools, the ECAL/ University of Art and Design Lausanne, headed

by Alexis Georgacopoulos. Designed and art directed by Gilles Gavillet, this volume aims to show the variety of productions dealing with publishing, digital interfaces, and interactive devices, as well as to highlight the wealth of typographic practices in the field of contemporary design.

As François Rappo writes in this volume, “our everyday experience of graphic spaces, to use a generic term, is constantly expanding; spaces, whether static or dynamic and interactive—architecture, interfaces, posters, pages, packaging, screens—now form a new, continuous, optical landscape ... Following the logocentric models inspired by semiotics, or drawing directly on the Conceptual art of the 1970s, today’s graphic design has seen renewed interest in the sensory dimension of the visual experience, in terms of its qualities, modalities, and potential for modelization [ … ]

The ECAL graphic design work showcased in the present publication—and today’s design agenda—reveals the search for a synthesis, or rather a remix, of a certain fascination for the experiential nature of media, foregrounded as an innovative exploratory quality that in itself justifies the project, together with a focus on the contextual reality of the message and its social implications. This is a synthetic vision that is still on a quest for its own explicit models and that may dream of abolishing the figure of the author, a hangover from the 2000s, in favor of a broadly conceived perceptual community.”

Excerpted from the publication

23 Also available

ECAL A Success Story in Art and Design The publication recounts and documents, somewhat in the style of a history book, the principle steps, achievements, and teaching principles which have led the Ecole cantonale d’art de Lausanne from the position of a regional school to that which it occupies today.

This success story is, of course, that of its director Pierre Keller, but also that of a team, the range and diversity of which we discover here, alongside that of their students, the work of some of whom is probably not unknown to the reader. First recognized in the domain of graphic design and photography, the ECAL is today renowned for its industrial design projects and the commissions that it frequently realizes in collaboration with museums, companies such as Swatch, Christofle, Swarovski, Nestlé, and Coca-Cola, or exhibitions and publications.

Published with ECAL, Lausanne.

[ISBN 978-3-905770-90-2]

The Book: ECAL Graphic Design 12

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ECAL Graphic Design

Edited by Angelo Benedetto, Lionel Bovier, Gilles Gavillet, Alexis Georgacopoulos Authors Angelo Benedetto, François Rappo, Alexis Georgacopoulos English/French edition March 2016 ISBN: 978-3-03764-455-3 Hardcover, 225 x 295 mm 160 pages Images 64 color CHF 48 / EUR 40 / GBP 30 / US 49.95

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Nestlé Art Collection

Text by Julie Enckell Julliard

The book offers a unique insight into the corporate collection of Nestlé, located in Vevey (Lake Geneva) and nested in the landmark building created by Jean Tschumi in the late 1950s.

THE AMPLE INDOOR AND OUTDOOR SPACES WILL ALLOW FOR THE ADDITION OF OTHER ARTWORKS, AND IT IS DESIRABLE THAT THE ARCHITECTURE BE ENHANCED IN THIS WAy. —Jean Tschumi, 1960

Published on the occasion of the 150 years anniversary of the company, it brings together more than 100 pieces—from Alberto Giacometti and Jasper Johns to Olivier Mosset and Henri Chopin—, a specially commissioned photo-reportage on in situ works, an archive portfolio documenting the production of Kelly, Kirkeby, LeWitt, Nauman, and Rückriem commissions, as well as interviews with Kasper König, Claudia Jolles, and Bernard Tschumi—three figures associated with the Collection. A substantial essay by Julie Enckell Julliard, the current curator, traces back the history of the building and the acquisition policy since 1960.

“As corporate art collections go, Nestlé’s Collection is notable for its solid link to the hometown of its founder.

Begun nearly 65 years ago in Vevey, the Collection today numbers some 300 works divided between the company headquarters at the entrance to Vevey and the Musée Jenisch (a municipal museum devoted to the graphic arts). The international scope of the Collection, along with

the great names it evokes—from Alexander Calder to Alighiero Boetti via Ferdinand Hodler and Jean Tinguely— must be viewed in the context of this local setting and in terms of the Collection’s visibility. This latter point, furthermore, is one of the very conditions of the acquisition of artworks by the multinational corporation. This powerful idea should be credited to Jean Tschumi (1904–1962), the architect of Nestlé’s head-office building, which opened in 1960. He envisaged the Nestlé headquarters as a total artwork, designing not only the architectural layout, but also the materials, furniture, and “decoration.”

Above all, the architect envisaged his building as an artwork in itself. Located on the site of the former Grand Hotel, between Gustave Eiffel’s private estate and Le Corbusier’s “small house,” the headquarters had to fit into a qualitatively rich architectural setting marked by half a century of revolution in architecture.

Its unusual shape made it one of the first “sculpture-buildings” in history [ … ]

Excerpted from the publication

25

commissioned site-specific works from certain artists like Ulrich Rückriem, Ellsworth Kelly, Fischli & Weiss or Luciano Fabro [ … ] Today the collection is an integral part of the identity of a multinational firm that has decided to remain steadfastly loyal to the site of its original home. Now representing one of the great cultural riches of the city of Vevey, the Collection embodies the unusual stance of cultivating local roots while reaching for international impact.”

Images of Nestlé Headquarter in Vevey by Christian Riis Ruggaber

New releases in the Hapax series

When the building was unveiled, Tschumi expressed the hope that it would become a haven for new artworks, installed both inside and out. A quarter of a century later this wish came true thanks to Paul R. Jolles (1919–2000) [ … ] As his chairmanship of Nestlé came to a close, Jolles set up an acquisitions committee with the backing of CEO Helmut Maucher. It included some of the best contemporary art specialists of the day: Jean-Christophe Ammann, Kasper König, Maurice Besset, and finally Franz Meyer [ … ] The committee also directly

Alfredo Aceto Alfredo Aceto (b. 1991) is an artist working in painting, sculpture, drawing, and sound. Aceto has a singular approach, mixing personal anecdotes and art historical references. His obsessional relationship with French artist Sophie Calle, for instance, ended with her signature tattooed on his arm. Such stories lay the groundwork for many of his projects that deal with obsession, time, memory, identity, and death.

This first book on his work is published with the Centre d’Art Contemporain, Geneva.

[ISBN: 978-3-03764-445-4]

John Armleder Out! (Out!) Louis Thomas Jérôme Auzoux (1797–1880), a French doctor and naturalist, invented anatomical (and botanical) papier-mâché models that were widely distributed in the 19th and 20th centuries. This book presents a series of works by John Armleder based on these models.

[ISBN 978-3-03764-439-3]

Scott King Anxiety & Depression

The Book: Nestlé Art Collection Edited by Julie Enckell Julliard Authors Julie Enckell Julliard, Claudia Jolles, Kasper König, Stéphanie Serra, Bernard Tschumi

Camille Graeser Summand Konstruction E, 1973

Elisabeth Glatz Untitled, undated 72

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English/French/German edition February 2016 ISBN: 978-3-03764-038-8 Hardcover, 240 x 320 mm 296 pages Images 150 color / 40 b/w CHF 74 / EUR 60 / GBP 48 / US 80

“I suggest you burn this copy of ‘Anxiety & Depression.’ I believe it is a dangerous and revelatory book, this fuck-you manual for the terminally deranged, that describes, in some unflinching detail, to many of us, the way we live now. you see those people, making their shameful early morning pilgrimages to the corner shop, rolling around in dog shit in the cemetery grass, or furtively jiggling the pub doors at ten thirty in the morning. These are their stories. They are lonely, depressed, and need a drink.

After reading about them, so do I. » —David L Hayles, author of “The Suicide Kit » [ISBN 978-3-905829-95-2]

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Mai-Thu Perret, Kilims & Commas, September 4–October 17, 2015

Paulina Olowska, Montana Ensemble, October 22–December 5, 2015

THE RULES OF THE SPACE WERE DEVELOPED ON SOME INTUITIONS: THE IDEA THAT PRINT IS A PARTICULARLy FERTILE SPACE FOR ARTISTIC PROJECTS; THE WISH TO BLITHELy MIX GENERATIONS, AESTHETICS, AND NATIONALITIES; TO EXHIBIT MAINLy THOSE WHO DON’T HAVE REPRESENTATION IN FRANCE OR FRENCH VISIBILITy; A PLEASURE PRINCIPLE WITHOUT WHICH NONE OF THESE PROJECTS WOULD HAVE EXISTED. —Lionel Bovier & Clément Dirié

8 rue Saint-Bon

Exhibitions

From October 2011 to December 2015, 8 rue Saint-Bon was an independant art space located in the center of Paris and 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 bdv/bureau des vidéos.

Programmed by Lionel Bovier and Clément Dirié, 8 rue Saint-Bon had a chameleon-like activity, being in turns a urban stage for performances, a den for archives and printed matter nerds, and an exhibition platform for foreign artists never-shown-before in Paris. A new book in the Hapax series documents this out-of-the-ordinary identity and brings together information and images about projects by and about, among others, John M Armleder, yto Barrada,

The Book: 8, rue Saint-Bon (Paris) Edited by Lionel Bovier, Clément Dirié Authors Lionel Bovier, Clément Dirié French edition Available ISBN 978-3-03764-450-8 Softcover, 105 x 165 mm 64 pages Images 24 color CHF 12 / EUR 10 GBP 7 / US 15

Gianfranco Baruchello, Ericka Beckman, Walead Beshty, Ronan & Erwan Bouroullec, Valentin Carron, Guy de Cointet, Sylvie Fleury and Charlotte Posenenske, Sheila Hicks, General Idea, Scott King, Lettrist artists, Lucy McKenzie & Beca Lipscombe (with Marc Camille Chaimowicz), David Noonan, and Katerina Seda—and, to conclude its program, Mai-Thu Perret and Paulina Olowska.

Kunstgriff Shop

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Now online, Kunstgriff’s webshop allows you to buy 24/7 from our constantly changing choice of books. We ship worldwide and we offer free shipping within Switzerland! We accept Visa, Mastercard, and Paypal.

Check out the full range of JRP | Ringier books and buy online from www.kunstgriff.ch

Jean-Luc Manz

Booklauch, As Time Goes by 1982 1988 1997 2014

by Barbara Davatz

Information

Francis Baudevin, Taschenmalerei, 2015

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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FILE

From our backlist

Among artists’ magazines and periodicals, FILE Megazine occupies a very unique position: between 1972 and 1989, the celebrated Canadian artists’ collaborative General Idea (active 1969– 1994) published 26 issues of this sophisticated, though self-published, magazine, which had a distribution extending far beyond its Toronto underground origins.

Its name and logo adapted those of the famous LIFE—whose heyday was in the 1950s and early 1960s—demonstrating an already very Pop strategy of appropriation. As it was retrospectively put by AA Bronson, one of the member of the collective, the magazine’s purpose has been the search of “an alternative to the Alternative Press,” a subversive concept of infiltration within mainstream media and culture. Thus the early issues’ manifestos, lists of addresses, and letters from friends, were rapidly replaced by General Idea’s scripts and projects as well as cultural issues (as in the famous “Glamour”

or “Punk” issues), while never loosing a cutting-edge attention to emerging practices on the art scene and experimental layouts.

The present six-volume reprint features all the issues, reproduced page by page, in a slightly modified format.

It provides the rare opportunity for an art, design, and culture-orientated audience to own these long out-of-print and much sought-after magazines in a complete box-set edition.

This publication is part of the Ringier Collection Artists’ series, edited

by Beatrix Ruf.

From our backlist

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The Book: FILE Megazine - General Idea Edited by Beatrix Ruf English edition Available ISBN: 978-3-905829-21-1 Hardcover, 230 x 320 mm Boxed, 5 volumes 2024 pages Images 2024 color CHF 280 / EUR 190 / GBP 125 / US 280

30 Prize/Event

Carl Andre

Carl Andre

5 Bookshops

Five bookshops we love

Since opening their first space in 2008, Donlon Books have built a strong reputation for stocking an idiosyncratic range of new and rare titles, with a focus on photography, art, critical theory, music, fashion, counterculture, erotica, and esoterica.

Poems

Poems

Donlon Books 75 Broadway Market UK–London E8 4PH T +44 (0)207 684 5698 E mail@donlonbooks.com

Carl Andre Poems

Mon–Fri/Sun 11–6pm Sat 10–6pm

Monograph Design: Nicolas Eigenheer & Vera Kaspar Production: Musumeci S.p.A., Quart (Aosta) ISBN: 978-3-03764-364-8

3 × 3 = 1296 Exhibition and workshop on Carl Andre’s book by Nicolas Eigenheer & Vera Kaspar at Four Boxes, in Skive (DK)

As one of the world’s largest publicly available sources for artists’ books, Printed Matter is an important voice in a vibrant and expanding field. Located in the Chelsea art district, the storefront offers a glimpse into the thriving state of contemporary artists’ publishing. They also host an array of programs and events.

ORAIBI + BECKBOOKS brings together two bookshops in one common space.

The selection of books—new and secondhand—covers cultural theory, art criticism, artists’ writings, monographs, exhibition catalogues, contemporary literature, and poetry. A project by Géraldine Beck, Tiphanie Blanc, and Ramaya Tegegne.

Printed Matter, Inc. 231 Eleventh Avenue New york, Ny 10001 T 212 925 0325 E info@printedmatter.org

ORAIBI + BECKBOOKS c/o Le Rameau d’Or (basement) 17 bvd Georges-Favon CH–1204 Genève lalibrairie@oraibibeckbooks.ch

Mon–Wed 11am–7pm Thu–Fri 11am–8pm Sat 11–7pm Sun Closed

Thu–Fri 12.30pm–6.30pm Sa 11.30 am–5.30 pm

© Stefan Altenburger Photography Zurich.

The Stacks is an independent bookstore focusing on visual and graphic arts, architecture, photography, music, and creative source material. Located within the Contemporary Arts Center it offers a space in New Orleans for a curated selection of new contemporary art books, as well as a wide range of international magazines.

The bookshop of the Fondation Vincent van Gogh Arles, situated beneath the stunning glazed rooftop installation by Raphaël Hefti, offers a selection of books and essays on contemporary art, limitededition prints, reproductions, handcrafted objects and accessories, as well as a children’s section.

The Stacks 900 Camp Street (within the Contemporary Arts Center) New Orleans, LA 70130 T 504 439 0846 E info@thestacks-books.org

Bookshop of the Fondation Vincent van Gogh Arles 35 ter, rue du Docteur Fanton FR–13200 Arles T +33 (0)4 88 65 82 86 E shop@fvvga.org

Mon–Fr 11am–7pm Sat–Sun 11am–5pm

April to September: Mon–Sun 11am–7pm October to March: Tue–Sun 11am–6pm

Collector’s Editions Information and orders at kunstgriff.ch

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Xanti Schawinsky, original works from the 1960s Lithographs, 65.5 × 45 cm, edition of 9 (3 motifs) Laura Owens Special edition of 100 copies, numbered.

As a development of the 2013 Ringier annual report, the cover of this special edition is enriched by an additional layer of ink. Published with Ringier AG, Zurich. CHF 50

Valentin Carron Special edition of 10 copies, artist’s book produced in 2013 on the occasion of the Venice Biennale. Printed in black and white, signed and numbered.

CHF 150

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Doug Aitken The Idea of the West

Michael Ringier Top 10

Top ten

John Armleder About nothing

A selection of titles from our backlist by reknowned collector and JRP | Ringier’s co-founder Louise Bourgeois Drawings

Urs Fischer Kir Royal

Peter Fischli & David Weiss Sonne, Mond und Sterne

Isa Genzken I Love new York, Crazy City

Rodney Graham The Rodney Graham Songbook

Sean Landers

Mark Morrisroe

(Photo: Keystone)

John Baldessari Parse

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 978-3-03764-456-0

© 2015, the authors, the artists, the photographers, and JRP | Ringier Kunstverlag Design Concept: Gavillet & Rust, Geneva Layout: Nicolas Eigenheer, Vera Kaspar Typefaces: Genath by François Rappo (www.optimo.ch), Nameit by Jeremy Schorderet

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

SWITZERLAND

GERMANy & AUSTRIA

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

Vice Versa Distribution, Immanuelkirchstrasse 12, D–10405 Berlin, info@vice-versa-distribution.com www.vice-versa-distribution.com

FRANCE

UK & OTHER EUROPEAN COUNTRIES

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

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

USA, CANADA, ASIA, & AUSTRALIA ARTBOOK | D.A.P., 155 Sixth Avenue, Ny 10013, orders@dapinc.com, www.artbook.com