JRP|Ringier Newspaper Issue 1

We wanted to be famous, glamorous, and rich … We knew that if we were famous and glamorous we could say we were artists and we would be. We did and we are.

We are famous, glamorous artists.

— General Idea, 1975 This newspaper is published annually by JRP | Ringier. Editor: Lionel Bovier. Printed in 20 000 copies by Ringier Print Adligenswil AG. Not for sale

We make Books With Art This is the first edition of JRP | Ringier’s journal. To be published every year around February, its aim is to inform readers, booksellers, and art world profes­sionals about our program, recent releases, and current projects. Here you will not only see finished books, but enter into a space where projects are defined, will evolve, and finally be completed.

With book sales crumbling and head­ lines announcing the end of print, the insolvency of once-dreaded chains, and the extinction of independent book­ stores, what can the future of publishing hold? Is it “post-medium,” wood-free, electronic, or cloud-publishing—to name just a few of the eclectic denominations flourishing in today’s literature? And at exactly the same time that new digital solutions are emerging for self- or com­ mercial publishing, including business perspectives like micro-payments and paid-for digital contents, editorialists are banging more nails in the book’s coffin …

It might be plain unconsciousness or simply the usual state of crisis known to every publisher for decades, but we have not dedicated too much energy to crying over the book’s disappearance or learning how to kneel religiously before the iPad … We rather continue to pursue our ambition: to weigh in on the current cultural debates by publishing the art­ ists, writers, and curators whose works, we believe, will leave their mark on our culture.

To remain updated on our program visit us at www.jrp-ringier.com, subscribe to our newsletter, or follow us on facebook.

Highlights

“Nazi Milk” by General Idea

Walead Beshty Guy de Cointet Wade Guyton Thomas Hirschhorn General Idea Scott King Didier Krzentowski Mark Morrisroe Jim Shaw Hedi Slimane

2 aa Bronson, Los angeles, November 2010

miss GeNeraL iDea PLayeD the Part oF the art oBJeCt PLayiNG the Part oF the artist.

We FitteD her CUtoUt iNto the PiCtUre aND CaLLeD it CoLLaGe. Showcard 2-006, at home, 1975

General idea

Text by Lionel Bovier

Certain works produce an immediate echo through their presence, while others induce a more complex resonance: we come to hear them with extra clarity through a more gradual and repetitive absorption. the works of General idea, the Canadian collective founded in the late 1960s and active until the early 1990s, belong in both categories.

Projects like FILE Megazine, seen within the counterculture of the 1970s, and AIDS, within the socio­political context of the 1980s, immedi­ ately provoked interest, discussion, reaction, and interpretation.

But “miss General idea,” their pseudo­ mythological muse, teacher, and guardian angel, around whom so many works revolve; their pseudo­archaeological nar­ ratives, peculiar to the 1970s, describing an improbable “Pavillion” set in the year 1984; or their constant tripling of image and language as a collective identity— all these take on new significance as the decades go by. thus, since the end of the 1980s, we have related the work of General idea to artistic activism (Group material, Gran Fury, etc.); we have noted the subtlety of the group’s identity­based appropriation and authorship’s delegation strategies (echoing the appropriation of sherrie Levine or the self­representations of Jeff koons, for example); and measured the impact of General idea’s invention of exhi­ bition devices and formats (explicit traces can be found in both Philippe Parreno and Liam Gillick, to mention only two).

Does this mean that General idea was ahead of its time while also being at the heart of the preoccupations of its day?

Can its practices be unraveled in so many different ways, and in so many new contexts, that under each level of meaning we find only another level, and beneath that another, and so on? yes, all that and much more. multiple interpretations jostle for dominance in this publication: in General idea’s work we find a model derived from the 1970s, centered on performance, printed matter (or multiples), and exchange; the work uses the appropriation of motifs and logos in order to inject images, as viruses, into the mainstream culture; elisabeth Lebovici discovers General idea’s “trouple,” transported into the genre of artistic utterance; and of course we must include General idea’s symbiotic relationship to the mass media, and particularly press and television. it is a safe bet that this analysis will prompt subsequent interpreters to have another look at the major stages of an aesthetic project, which we can already anticipate will give rise to future retrospec­ tives in 2020, 2030, or 2050 …

Exhibitions: Musée d'Art moderne de la Ville de Paris, until April 30, 2011; Art Gallery of Ontario, Toronto, Fall 2011

3 Recently published

Ed Ruscha The third volume in the series “Lectures Maison Rouge,” Ed Ruscha’s writings and interviews translated into French was released earlier this year [ISBN 978-3-03764-089-0]. It follows the successful “White Cube”

by Brian O’Doherty and the book on Marcel Duchamp by Richard Hamilton.

Adel Abdessemed Adel Abdessemed’s reference monograph “The Power to Act” by Larys Frogier [ISBN 978-3-03764-108-8 for the English edition and ISBN 978-3-03764109-5 for the French], previously announced in our Fall 2010 program, is now available.

Valérie Belin The new book in the Codax series is

by Valérie Belin. Beautifully produced, “Black Eyed Susan” introduces an entirely new body of works by the celebrated French photographer [ISBN 978-3-03764-184-2].

The Book: General Idea — A Retrospective Edited by Frédéric Bonnet Authors Jean-Christophe Ammann, Frédéric Bonnet, AA Bronson, Louise Dompierre, Elisabeth Lebovici, David Moos English edition January 2011 ISBN: 978-3-03764-162-0 Hardcover, 174 x 238 mm 224 pages Images 151 color / 81 b/w CHF 49 / EUR 35 / GBP 26 / US 39.95

Jim shaw

4 Recently published

“my mirage” is a major body of work (1986 –1991)

by Jim shaw, an artist from Los angeles who started exhibiting in the late 1970s.

Bart Julius Peters Bart Julius Peters’ photography book is now available: printed with high­ density black ink on an uncoated paper, “hunt” is a superbly designed large­format album, with a binding that mixes Japanese and european techniques [isBN 978­3­03764­092­0].

Leo Fabrizio’s photographic account of the architectural and urban devel­ opments in thailand takes the shape of a sophisticated asian­inspired softcover with dustjacket publication [isBN 978­3­03764­151­4].

FaCe FACE is a partnership between five european foundations for contem­ porary art; from their first collective exhibition stem six publications: a catalogue and five titles in the hapax series, with a different writer from italy, Greece, Portugal, France, and sweden for each volume.

hapax series other titles recently published are: Rive gauche/Rive droite, a project with 27 artists edited by marc Jancou [english edition: isBN 978­3­03764­ 154­5; French: 978­3­03764­155­2]; Sgrafo vs. Fat Lava, an introduction to postwar German ceramics by Nicolas trembley [isBN 978­3­03764­163­7]; and the reprints of two successes, Malcom McLaren’s “musical Paintings” [isBN 978­3­03764­058­6] and Andrea Bellini’s “everything you always Wanted to know … ,” a series of interviews with gallerists [isBN 978­3­03764­087­6].

Jim shaw, Los angeles, october 2010

Leo Fabrizio

My Mirage

“my miraGe” has BeeN CoNstrUCteD With the iDea oF the Book as the moDeL.

Text by Lionel Bovier and Fabrice Stroun

creating a quasi-encyclo­pedic compendium of American vernacular iconography (which includes a page from a high-school yearbook, a thrift store painting, count­ less grass-root, counter-culture graphic designs, as well as late 1970s neo-Christian propaganda), “My Mirage” thus provides a social and cultural image of an individual in the 1960s and 1970s and, moreover, produces a sharp analysis of the evolution of the subject through the cultural and social history of that era.

From the onset of the series, “My Mirage” has been constructed with the idea of the book as model. Not only does the overarching narrative takes the form of a coming of age novel, but many of the indi­ vi­dual pieces make direct reference to a book format. Created in close collabora­ tion with Jim Shaw, the book presents itself as the culmination of the artist’s original project. “My Mirage—The Book” will thus allow Jim Shaw’s ever-growing audience to look at the whole of Billy’s story for the first time. Furthermore, its format and content should appeal to a wide read­ ership, beyond contemporary art, which inclu­des anyone interested in the history of the counter-culture of the 1960s and 1970s, American graphic design, and popular illustration.

The Book Edited by Lionel Bovier and Fabrice Stroun English edition June 2011 ISBN 978-3-03764-187-3 Softcover, 210 x 260 mm 240 pages CHF 56 / EUR 40 / GBP 32 / US 55

Recently published

Composed of nearly 170 pieces—each one drawn, silk-screened, photographed, sculpted, filmed, or painted in a different style—“My Mirage” recounts the wandering of Billy, a white, middle-class American sucked into the whirlwind of the 1960s and 1970s. His is a story of unceasing failure. After an anxious childhood, Billy later withdraws from the guilt-wracked spasms of adolescence in order to lose himself in a psychedelic utopia, which soon becomes a nightmare. In the depth of psychotic hallucinations, he follows a woman whom he worships into a pagan sect, before finally returning to the religion of his youth, “reborn” as a fundamentalist Christian. Each piece appropriates an image taken from an extremely broad icono­ graphic field ranging from children’s book to contemporary art and including comics, religious literature, and psychedelic posters.

As a narrative, “My Mirage” is structured like a “Bildungsroman,” with successive chapters structuring the various, gradual mutations of Billy. This narrative appears and disappears, like a mirage, according to the distance of the observer, depending on whether one considers Shaw’s image to be aggregate of hetero­geneous source, moments of a personal history, or fragments of a collective cultural history. Hence, while

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Olaf Breuning About 70 recent drawings by Olaf Breuning are gathered together in “Queen Mary II,” the sequel to the witty and popular artist’s book we published in 2006. A softcover book, entirely drawn by the artist, it comes in A4 format for only EUR 20/ US 29.95 [ISBN 978-3-03764-160-6].

Ruedi Bechtler Ruedi Bechtler’s first artist’s book is a refined object, conceived with graphic designer Marie Lusa [ISBN 978-303764-179-8]. Between art, science, and philosophy, Ruedi Bechtler might have found if not more answers, at least better questions than many scientists …

Richard Prince A new book by Richard Prince is always an occasion to admire the artist’s mastery in mixing art, studio’s snapshots, and subcultural icons.

This one [ISBN 978-3-03764-213-9], published with Salon 94, is dedicated to his T-Shirt paintings and offered at only US 24.95! Limited stocks!

Also available: Jim Shaw — Distorted Faces and Portraits 1978—2007 Edited by Marc Blondeau, Lionel Bovier, Philippe Davet Author Alison Gingeras English edition ISBN: 978-3-905701-13-5 Softcover, 300 x 400 mm 96 pages Images 96 color CHF 48 / EUR 32 / GBP 20 / US 39.99 Published with BFAS, Blondeau Fine Art Services, Geneva

Guy de Cointet

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De Cointet's Art of Making The Paintings Speak

Recently published

Guy de Cointet (American, b. France, 1934 –1983) was fascinated with language, which he explored primarily through performance and drawing.

“Fanfare” “Fanfare” [ISBN 978-3-03764-182-8] is the first volume of a series of books co-published with Zurich’s think-tank KIOER (Art in Public Sapce). Edited

by Christoph Doswald, these books will question the relationships of art and the context of a city. German edition.

His practice involved collecting random phrases, words, and even single letters from popular culture and literary sources— he often cited Raymond Roussel’s novel “Impressions of Africa” as a major influence—and inserting these elements into non-linear narratives, later presented as plays to an audience.

He is recognized as one of the most important, if overlooked, figures of 1970s Conceptual art in California, having strongly influenced a number of promi­ nent artists working in Los Angeles today, including Paul McCarthy and Mike Kelley, for whom both drawing and performance weigh significantly in their practices.

Switzerlart / Switzerlarch

Going To the Market, 1975, duration: 8’

The Book: Guy de Cointet Authors Marie de Brugerolle (Essay), Larry Bell (Foreword), Gérard Wacjman (Postscript) Hardcover, 170 x 240 mm 160 pages Images 100 color CHF 48 / EUR 32 / GBP 26 / US 45 English edition ISBN 978-3-03764-069-2 French edition ISBN 978-3-03764-068-5 Published with the Guy de Cointet Estate and Galerie Air de Paris

Stage directions for Going To the Market, 1975

© 2011, Guy de Cointet Estate / Air de Paris

For some time now, we have been fol­lowing the contemporary art program of the BSI (Banca della Svizzera Italiana). Under the supervision of Luca Cerizza, several volumes on artists such as Liam Gillick, Daniel Buren, and John Armleder have been pub­ lished over the years. Two new books are dedicated to the collection of Swiss art (“Switzerlart,” ISBN 978-303764-164-4) and to Mario Botta, the architect of one of the bank’s key buildings (“Switzerlarch,” ISBN 9783-03764-165-1). Available in the affordable, small, hardcover format that has been the success of this series.

A shaped painting with colorful edges, and a plain white background covered at random with black letters.

At random? Maybe not.

Definitely not …

The performer, taking only a few minutes, will unravel the whole story contained within the piece.

The painting hangs on the wall.

At Sunrise A Cry Was Heard, 1976

Elad Lassry First monograph

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His photographic works, which do not usually exceed the format of a magazine or printed material, comprise either col­ lages of acquired printed matter or newlycomposed photographs. Lassry’s photo­ graphs make use of the attractiveness of the familiarity of these images. However, they are almost too intensely colored, too abstract, too staged. In addition to this process of visual emphasis, they are pre­ sented in matching colored frames, which, on yet another level, critically the­ maticize the relationship between the image and the “picture” as a utilitarian object, and refer to the history of the pre­ sentation of objects as art and the aes­ theticization of perception. They prompt distortions and, therefore, ruptures in the stereotype and the customary—in both temporal and interpretational terms— process of our perception of images.

From our Associate Editors Series

Elad Lassry’s photographs—everyday and design objects, fruit and vegetable still lifes, human and animal portraits, landscapes and cityscapes— allude to visual features and image constructions that have been used in photography, advertising, magazines and illustrated books, and in films.

In the Kunsthalle Zürich series, after the recent monograph on Elad Lassry, one on Nicole Eisenman’s work is to follow this Spring [English/German edition, ISBN 978-3-905770-78-0], with contributions by Nicola Tyson and Laurie Weeks, and an interview with the artist by Lynne Tillman. Tris VonnaMichell artist’s book is almost com­ pleted [ISBN 978-3-03764-170-5]: a continuation of his performative practice through printed matter, the book, behind the seemingly “same” organization of its bound signatures, includes different inserts which are developed through improvisations on the first version of texts. Beatrix Ruf is also working on artists’ books with Heimo Zobernig and Kerstin Brätsch (in the Christoph Keller Editions series), and is planning a publication with Lucy McKenzie this Fall.

The Tranzit series has been awarded prizes in book competitions for its latest title Atlas of Transformation [ISBN 978-3-03764-147-7], a reward to be credited to the work of series’ editor Vit Havranek, who is currently preparing a Stano Filko monograph.

With the support of Erste Stiftung, our partner for this series, several other projects are underway: mono­­­ gra­phs on celebrated avant-garde Czech artist Julius Koller and KwieKulik, the duo Zofia Kulik and Przemysław Kwiek, one of the most important artistic phenomena of postwar Polish art (both under the supervision of Georg Schöllhammer); as well as the English publication of Igor Zabel’s writings in the Documents series.

The Book: Elad Lassry Edited by Beatrix Ruf Authors Bettina Funcke, Liz Kotz, Fionn Meade, Beatrix Ruf English / German edition ISBN: 978-3-03764-152-1 Hardcover, 205 x 258 mm 112 pages Images 64 color / 11 b/w CHF 38 / EUR 25 / GBP 17 / US 35 Published in the Kunsthalle Zurich series

The Migros Museum, under the direction of Heike Munder, has recently released Displaced Fractures, a sumptuous volume dedicated to the relationship between contemporary art and architecture [German/English edition, ISBN 978-3-03764-177-4].

A monograph dedicated to American video artist Alex Bag should be released in June, and this Fall It’s Not a Garden Table. Design and Art in the Expanded Field, an anthology on contemporary art and design.

Kathy Slade, the editor of the Vancouver Special series, is working on two books to be included, respecti­ vely, in the Positions and Documents series: a selection of texts and inter­ views by Dan Graham, and a collection of essays by Jeff Derksen.

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Walead Beshty

Interview by Lionel Bovier

Walead Beshty, Los Angeles, October 2010

The context of production of your works is somehow always included in the work itself.

Producing a monograph on your work can be considered as part of the work’s context, so how or why did you integrate this experience into your practice?

Lionel Bovier

I try to be sensitive to all the ways the work is distributed, whether this is in the case of an exhibition, or in this instance in the frame of the monograph.

For me, the context of production, or the preexisting systems within which art is produced and distributed allows an access to the broader implication of aesthetics, i.e. art’s connection to the vicissitudes of daily life through readymade systems of Walead Beshty

I felt like it was important to point to the instability of explanations of practice that claimed a materialist purity.

production. I approached the monograph in the same way as most of my work, fol­ lowing the process of production, and try­ ing to understand as much about its oper­ ation and broader uses as possible in order to see where the points of intersec­ tion between my work and the external circumstances of distribution might take hold. This happe­ned in the form of the make-ready, the sheets that are used to

Photographs by Walead Beshty

prime the press and often consist of dis­ carded remnants from previous printing jobs. I was initially intrigued both by the literal interpenetration of images of my work with the other jobs the press was doing, and the term itself (which comes from the printing process), a seren­ dipitous and punning inversion of Duchamp’s readymade, was particularly attractive. So I simply collected these sheets and had them bound in the same manner as the book. I also photographed the different aspects of the process of printing the books, which is part of an ongoing series of works called “Industrial Portraits.” There was an element that occurred within, and was wholly specific to the printing (i.e. the make-ready work), and an element that preexisted it, that was a continuation of a body of work that was initiated outside of that experience.

The play between the two was particularly informative to me, as they constituted two points of comparison within which I could understand the relationship of this new circumstance to my work as a whole.

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The question of the reproduction lies at the heart of many of your works: not so much in the sense of the multiplication per se, but because it is central to photography, and because it is a form of production that is based on repetition, process, etc. How did you rely specifically on this aspect while working on a monograph about your work?

I think it is easy, perhaps, to assume that my work is simply about materialism, or about process, in the sense of the early 20th-century largely ideological arguments made about aesthetics. I don’t think of my work in such positivist terms, and so, within the book, I felt like it was impor­ tant to point to the instability of explana­ tions of practice that claimed a materialist purity. So within the book there are opti­ cal or imagistic moments where the pro­ cess or activity of making and reading the book are pointed to, but are obviously false. On some of the pages a small hair, an eyelash, eraser marks, are dropped into the design. Hopefully this creates a moment like I had looking through the proofs, attempting to brush aside these printed remnants. It was a way to point to the artificiality of any frame, no matter how much it claims trans­parency. So the hair, for example, was a depiction of the use of the object, one a reader might for a moment see as a real hair, and then, real­ izing it is printed, wonder if it was a mis­ take, which, if they look in the back of the book, they will find listed as a work, complete with media, dimensions, and date. I think it was a way to call attention to the book, without staging it as a simu­ lation, or as a material fact, but to allow these two perspectives to be intertwined.

The Book: Walead Beshty — Natural Histories Edited by Walead Beshty Authors Nicolas Bourriaud, Suzanne Hudson, Bob Nickas English edition February 2011 ISBN: 978-3-03764-188-0 Softcover, 237 x 286 mm 160 pages Images 97 color / 97 b/w CHF 60 / EUR 40 / GBP 25 / US 55 Published with Malmö Konsthall, Sweden, and CA2M Centro de Arte Dos de Mayo in Mostoles, Spain

10 © Romain Lopez Thomas Hirschhorn in his studio, Aubervilliers, 2007

Thomas Hirschhorn is the author of a large body of work (site-specific installations, films, drawings, etc), immediately recognizable for its political conscience and its formal vocabulary.

In preparation by the same artist

The Bijlmer-Spinoza Festival Archive The Bijlmer-Spinoza Festival Archive, an artist’s book gathering together the complete documentation on the project that took place between May 2 and June 28, 2009, in the neighborhood of Bijlmer, south-east of Amsterdam. The festival included a Spinoza library, the Bijlmer Documentation Center, and a bar/restaurant where festival goers could interact with residents. Including a newly commissioned interview with Thomas Hirschhorn by Krist Gruijthuijsen.

Published with Straat van Sculpturen, Amsterdam.

Thomas Hirschhorn

Theory and Practice in Thomas Hirschhorn's Work

This is a “textbook,” a dense, charged, and mean­ ingful book with texts to think about: different texts on different topics, about my work in gener­ al, a specific part of my work, or about issues that extend beyond my work. These texts constitute the center, the “hardcore” of the book, with pic­ tures of my work to “illustrate” them. Establishing a Critical Corpus is a “textbook” with a critical and a sovereign approach to art, to an artwork of today and—in this case—to my artworks. This book wants to assert and give form to one of my goals: establishing a critical corpus with my work.

I invited six authors—Claire Bishop, Professor of Art History at CUNY Graduate Center, New York; Sebastian Egenhofer, Professor of Art History at the University of Basel; Hal Foster, Professor of Art History and Archaeology at Princeton University; Manuel Joseph, poet, Paris; Yasmil Raymond, Curator at Dia Art Foundation, New York; and Marcus Steinweg, philosopher, Berlin—to contribute, because (beside friend­ ship) we have established a critical relationship throughout my work. I love what they are doing and I hold in great esteem their work and their integrity as authors.

— Thomas Hirschhorn, February 2011

Establishing a Critical Corpus

11 © anna kowalska thomas hirschhorn at the Bijlmer spinoza­Festival, amsterdam, 2009

establishing a Critical Corpus

© atelier thomas hirschhorn

Establishing a Critical Corpus is the first theoretical book to extensively examine the practice and artworks of thomas hirschhorn, one of today’s leading inter­ national artists. Born in switzerland in 1957, and living and working in Paris since 1984, thomas hirschhorn is the author of a large body of work (site­ specific installations, films, drawings, etc), immediately recognizable for its politi­ cal conscience and its formal vocabulary. his work elicits debate, analysis, and a profound discussion of artistic and social issues. this publication gives a remarkable insight into the uncompro­ mising art and aesthetics that thomas hirschhorn has been building consis­ tently for 25 years.

Schéma: Crystal of Resistance, Venice Biennial Project, 2011 The Book: Thomas Hirschhorn — Establishing a Critical Corpus Authors Claire Bishop, Sebastian Egenhofer, Hal Foster, Manuel Joseph, Yasmil Raymond, Marcus Steinweg

a.

c.

d.

English edition June 2011 Hardcover, 190 x 275 mm 368 pages Images 180 color CHF 45 / EUR 32 / GBP 23 / US 44.95 ISBN 978-3-03764-185-9

b.

a. b. c.

Excerpt from the publication Les plaintifs, les Bêtes, les Politiques, 1995 Excerpt from the publication Les plaintifs, les Bêtes, les Politiques, 1995 Excerpt from the publication Les plaintifs, les Bêtes, les Politiques, 1995

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d. e.

Excerpt from the publication Les plaintifs, les Bêtes, les Politiques, 1995 Excerpt from the publication Les plaintifs, les Bêtes, les Politiques, 1995

e.

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Published with the Swiss Federal Office for Culture, on the occasion of the Swiss participation at the 54th Venice Biennale 2011

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Yto Barrada Valentin Carron Latifah Echakch David Noonan Mai-Thu Perret Beat Streuli In June two new reference monographs should be released on artists with whom we have been working since the begin­ning of their careers: Valentin Carron, whose work has been shown in the last few years at the Kunsthalle Zürich, the Palais de Tokyo in Paris, and the Conservera in Murcia [ISBN 978-3-03764-204-7]; and Mai-Thu Perret, who is having exhibitions this year at UMMA in Ann Harbor, the Kunsthaus in Aarau, the Mamco in Geneva, the Haus Konstruktiv in Zürich, and the Magasin in Grenoble [ISBN 978-3-03764-201-6].

For this Fall, we are working on a Latifah Echakch monograph, following a brilliant series of exhibitions at FRAC Champagne-Ardenne in Reims, MACBA in Barcelona, GAMEC in Bergamo, as well as at Tate Modern and Kunsthaus Zürich [ISBN 978-303764-200-9]; and on one on David Noonan, in collaboration with the Contemporary Art Museum Saint Louis [ISBN 978-3-03764-205-4].

This Winter we should release a first reference monograph on Yto Barrada’s work, after her show at the Deutsche Guggenheim Berlin [English edition: ISBN 978-3-03764202-3; French edition: ISBN 978-303764-203-0]; and on Beat Streuli’s public works, in collaboration with the Ikon Gallery in Birmingham [ISBN 978-3-03764-206-1].

First Monographs

Isabelle Cornaro David Hominal Djordje Ozbolt Ry Rocklen Among the artists with whom we are in discussion about the publication of a first monograph are Isabelle Cornaro (Paris), David Hominal (Amsterdam/ Zurich), Djordje Ozbolt (London), and Ry Rocklen (Los Angeles).

Retrospective Monographs

Allan McCollum John Stezaker Our next books in this series dedi­ cated to artists whose recognition and career are already well established but still overlooked, are Allan McCollum, edited by Rhea Anastasas [ISBN 9783-03764-193-4], and John Stezaker.

To be published

Reference Monographs

Wade Guyton

Interview with Wade Guyton

The book “Black Paintings” is the result of a quite complex printing process: once the book was designed, it was entirely printed on the same ink-jet printers you are using for your works on canvases and the result was scanned; what we are currently printing by offset is then as much the reproduction of the works, the technique of the works’ production, and the printing accidents of a digital process … Would you say that this concept comes out rather as a technical experimentation or as a reflection on questions of reproduction, original, source, etc.?

Lionel Bovier

Wade Guyton Maybe both: the book is intended to document three exhibitions of black paintings and floors—at Friedrich Petzel in New York, Chantal Crousel in Paris, and Portikus in Frankfurt—as well as all the paintings made during that time period. I knew that these works—like most black artworks— would be difficult to reproduce and I didn’t want to deal with a fussy catalogue that tried to faithfully represent each painting. That seemed boring to me, and it seemed maybe more interesting to continue the life of the paintings through the book in some way. These works aren’t exactly paintings anyway, they could just as easily be called photographs or sculp­ tures, so the book did not need to

pretend they were paintings or even respect them as such. To me the book started acting more like a moving picture.

I came upon the real visual effect of the book by accident—by trying to print the designed pages on newsprint because I knew the book would be big, so I was looking for thin paper. But the newsprint jammed my laser printer and the toner didn’t fuse with the paper, so each page ended up being like a charcoal drawing.

So the book was designed as a normal book would be, then every page was printed and jammed in the laser printer, some pages printed several times. After making a couple thousand prints, I edited it down to 400. Then these were scanned and then printed by offset.

Interview by Lionel Bovier

13 To be published

Positions Series John Miller’s “The Ruin of Exchange: The Collected Writings” will be the next volume in the series [ISBN 978-3-03764-194-1]. Edited by Alexander Alberro, this collection of texts spans a 20-year period, 1989 to 2009, and is divided into four sections: monographs, cultural essays, theory, and artist’s statements. Throughout, Miller aims to question artistic and curatorial theories and practices from the singular position of an artistwriter. This makes the production/ reception issue an inherent dialectic in his work.

Documents Series The series is developing at a fast pace, with many new titles planed this year.

First, an anthology of texts published in the magazine Parachute between the 1970s and the 2000s, edited by Chantal Pontbriand in collaboration with Alexander Alberro [ISBN 978-303764-196-5]. Then Artist-Run Spaces, an anthology on nonprofit collective organizations of the 1960s and 1970s, edited by Gabriele Detterer [ISBN 978-3-03764-191-0]. We will also publish Raymond Bellour’s “BetweenThe-Images,” the famous collection of essays on the emergence of a new status, in the 1980s, for moving images between art, cinema, and video [ISBN 978-3-03764-144-6].

Joshua Decter’s first collection of texts will also appear in the series [ISBN 978-3-03764-195-8], as well as Igor Zabel’s writings.

In preparation: Nicolas Bourriaud’s critical texts post-“Relational Aesthetic” (in two volumes); “A Brief History of New Music,” by Hans Ulrich Obrist, modeled on our bestselling “A Brief History of Curating”; John Baldessari’s personal, critical, and pedagogical texts, edited by Meg Cranston and Hans Ulrich Obrist; Clive Philpot’s account of the history of artists’ books; Jean-Charles Massera’s texts on art; Chantal Pontbriand’s essays; etc.

The book: Wade Guyton — Black Paintings English/French/German edition May 2011 with an essay by John Kelsey Softcover (cloth), 230 x 304 mm 800 pages CHF 90/EUR 60/ GBP 48/US 90 ISBN 978-3-03764-166-8 Published with Portikus, Frankfurt, as well as with the support of Galerie Chantal Crousel, Paris, and Petzel Gallery, New York

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Didier Krzentowski

Interview by Clément Dirié

© 2011, Galerie kreo/Elisabeth Toll

© 2011, Galerie kreo/Fabrice Gousset

Didier Krzentowski

In the 1980s I collected contemporary art or rather contemporary photography, as that was what I could afford then. You know, a collector always wants the best, whatever category of objects he might collect.

Gino Sarfatti, Light “593,” 1962

Gino Sarfatti, Lights “539,” “600 C,” “600 G,” “600 P,” 1960s

© 2011, Galerie kreo/Fabrice Gousset

About Design and Collecting Lamps

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realized that it would be a never-ending project and that Vitra already had a major collection. So, I decided to go for lights, a magical and fascinating topic. Back then, nobody was interested in lights. According to me, today, after 30 years of acquisition, our light collection is complete. That’s why we are making this book. A collection is like a puzzle: it’s good to know that you’ve finished it at some point.

The Book: Didier Krzentowski — The Complete Designers Lights (1940—1990) Authors Didier Krzentowski, Pierre Doze, Constance Rubini, et al.

English edition Hardcover, 210 x 260 mm 240 pages Images 200 color CHF 90 / EUR 60 / GBP 40 / US 75 ISBN 978-3-03764-069-2 Published with Galerie kreo, Paris

Gino Sarfatti, Light “534/3,” 1950

© 2011, Galerie kreo/Fabrice Gousset

One of the main bodies of work in this collection is a very important set of Gino Sarfatti’s lamps.

Why is he such a crucial designer in the history of light design?

In our collection—that encompasses light design from the 1940s to the 1990s— a lot of design families are represented, and often by their best products: the Garrices, all the Paulins, the French designers of the 1950s, etc. But I quickly realized that the genius of light is Sarfatti, In 2010, we co-published an extensive monograph together with his company Arteluce. on Martin Szekely’s work and a smaller book What is unbelievable is that, from 1945 to on new pieces by the Bouroullec brothers [ISBN 1954, Sarfatti was learning, looking at 978-3-03764-150-7]. This Fall we will release everything that was already created, while a book on the Clémence & Didier Krzentowski designing lights close to the 1950s aes­ Light Collection. Could you tell us how this thetic. And then, in 1954, he changed collection started? radically and did something incredibly new: To collect is a neurotic impulse, and as soon as a new bulb existed, he made a I think I’m completely neurotic! I have new lamp that was both radically experi­ always collected, ever since I was four mental and totally minimal-looking. If years old: blotters, key rings, watches, etc. you think that Minimal art appeared In the 1980s I collected contemporary art around 1962, you can only be struck by the or rather contemporary photography, as forward-looking quality of his first neon, that was what I could afford then. You made in 1954, or by the fact that he made know, a collector always wants the best, the first halogen lamps right after that. whatever category of objects he might col­ What makes him the best of his category lect. Regarding design, my first desire was is that he was a long-term researcher into to collect chairs, the basis of design. But I forms and techniques.

© 2011, Galerie kreo/Fabrice Gousset

How would you define kreo gallery’s identity in the contemporary design landscape?

We really are a laboratory dedicated to “use design,” as opposed to “designart,” a recent trend that we dislike and do not participate in, as it is neither design nor art … Hopefully, this trend will fade as time goes by.

We work with a kind of family of designers. Usually we start to work with a designer on a singular piece if we think that this piece could bring something to design history. We then produce this piece and ask the designer to think about an exhibition.

Sometimes, this exhibition comes, some­ times—I should rather say very often—not.

One of our next exhibitions, for instance, is a project by Konstantin Grcic: he said yes five years ago! In the meantime, we produced some pieces together and we are now ready for the exhibition.

Alessandro Mendini & Alessandro Guerriero, Table light, “Olio” Collection, 1988

Also Available: Martin Szekely Edited by Martin Szekely Authors Elisabeth Lebovici, Martin Szekely English / French edition ISBN: 978-3-03764-098-2 Hardcover, 300 x 302 mm 252 pages Images 171 color / 13 b/w CHF 90 / EUR 60 / GBP 45 / US 90

To be published soon

Hedi Slimane Anthology of a Decade Boxset edition 4 volumes of 232 Ă— 290 mm, 800 pages total Printed in three-color process Limited edition of 1500 ISBN 978-3-03764-115-6 CHF 300 / EUR 250 / GBP 190 / US 295

Christoph Keller

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Interview by Max Andrews

I came across an article the other day refer­ ring to a printed version of a news article as the “dead tree edition,” which I thought was quite an amusing and frank indication of the shifts taking place in publishing in the age of the Internet and digital media … Could you describe why and how the printed book remains such a viable thing, and how you understand it as a technology?

We have to be aware that the book is one of the oldest technologies still in use. It has been thousands of years since rolls of papyrus were given up in favor of binding together single paperlike-sheets to form a permanent block of pages.

Almost everybody in the world knows how to use a book. You open the cover, you flip the pages from left to right (or right to left in Arabic and Hebrew), you read, look and feel, you close the book, then—and this is as important, it is not over yet—you put it on a shelf. This is the tech­ nology of the book. No other medium can rely on such a universal thing.

As we know, a book is always “on.” No switch, no plug, no installation—a handsome and comparably cheap object to take with you wherever you go.

It can also travel without you—relying on good old distribution systems—and it travels very, very slowly (by mail, by boat, by train, by plane). But it will get wherever it is needed.

Max Andrews

Christoph Keller

Books Make Friends

Excerpt from an interview published in "Uovo" magazine n. 14, Milan, summer 2007

A book determines the speed of consum­ p­tion (as a consequence of “linear reading”): you can’t really alter this speed, it is almost “embedded.” While in use, the book is only talking to you, the reader. Yet you can pass a book on, share it, discuss it—other essen­ tial features of the printed multiplication.

The production of a book is still a quite complicated, expensive, specialized, heavy thing to operate. It is not open to everybody. Books are the insignia of cultu­ral feudalism. And compared to the un-edited and un-controlled digital com­ munication space I am glad it is like this.

To say something within the medium of a book is a privilege, as you need knowledge, money, and technical skills—and you have to find many people to support you.

In that sense it functions to a degree as a proof of quality, and this is one of the most important roles the book has been playing for centuries.

From my point of view, the main issue regarding the technology of the book is its social function. In many respects, the book works as an (almost) eternal dating agency: “looking for a reader, looking for a friend.” For all the books I have published (written, edited, designed, etc.) the print run never played an essential role. I believe in the “finding” qualities of a book—meaning that it will find the one reader, a proper home, for which it was published. When people speak about the limitless possibilities of digital commu­ nica­tion in a global world, who do they really want to address? I assume they mainly want to speak to themselves, to their peers. I guess nobody wants to blog to some tribes in the rainforest, right?

So, if one is referring to the printed books as the “dead tree version,” one should always keep in mind where those trees are growing …

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Christoph Keller (*1969) founded and directed the celebrated Frankfurt-based art publishing house REVOLVER – Archiv für aktuelle Kunst for ten years.

He was Professor for Artistic Publishing and Typography at Hamburg Art Academy and is a regular lecturer at many inter­ national art schools. He has curated a number of exhibitions and organized a traveling archive about independent art publishing called “Kiosk.” Keller has edited and designed hundreds of artists’ books and published numerous texts on the subject in various international media. He is an Advisory Board member for publishing ventures in Canada, New Zealand, Germany, and Switzerland.

He retreated from REVOLVER in 2005 and moved with his family to an old farm near Lake Constance, in southern Germany, where he now raises rare-breed livestock, distills award-winning eau-devie (www.staehlemuehle.de), and works as a freelance designer and editor on a new series of artist’ books published by JRP | Ringier, entitled Christoph Keller Editions.

He recently released in his series an impressive “Catalogue Raisonnable” of Ryan Gander’s work [English edition, ISBN 978-3-03764-146-0]; a first mono­ graph on German photographer Philipp Lachenmann [English/German edition, ISBN 978-3-03764-131-6]; a set of five short stories commissioned by Hinrich Sachs to accompany a new body of works [including writers such as Hans-Christian Dany, Ruth Buchanan, and Mark von Schlegell, English/German edition, ISBN 978-3-03764-133-0]; an artist’s book by Stefan Marx [ISBN 9783-03764-132-3]; a novel by Matthew Licht edited by Rita McBride [English edition, ISBN 978-3-03764-135-4]; and a new volume on Jakob Kolding [English edition, ISBN 978-3-03764-168-2]. He is currently working on a large-format artist’s book by Mischa Kuball [ISBN 978-3-03764-138-5], as well as on the complimentary reader for the project entitled “New Pott” [ISBN 978-3-03764189-7]. He is also finishing a 500-page book on the “Mae West” public sculpture

by Rita McBride [ISBN 978-3-03764134-7], while Activity [ISBN 978-303764-161-3], a “participatory anthology,” and “Molla Nasreddin” by Slavs and Tatars [ISBN: 978-3-03764-212-2] are coming off the press this spring. Among his forthcoming projects, we are looking forward to new artists’ books

by Kerstin Brätsch, Michael Stevenson, and Kasper Akhoj.

20 Scott King, Chexbres, Summer 2010

Scott King

Art Works

If your trajectory seems to illustrate the problematic of the “design in an expanded field,” your work is, at the same time, completely remote from what has been recently coinned “designart” … … Most of the work I’ve seen that has been deemed “designart” seems to be unapologetically kitsch. It’s an interesting area—the interface of utility and art—but the examples cited to illus­ trate the term are usually just bad comedy …

It seems to me that you’re taking graphic design for what it does best (communicate, give a shape to an idea), but that you apply these means to a series of cultural statements that are extremely personal and often contradictory to the advertising system—as if you hijacked an ad agency to serve a critical and singular agenda.

Lionel Bovier

Scott King

I’m clearly not a painter. Often what I do, it seems, is hijack the tools of information or graphic design for my own ends.

Lionel Bovier

I think that’s the point—that’s my point. By rendering myself “clientless” but by continuing to use elements of graphic design—typography, printing, paper—I’m left only with myself and my ideas. It’s tempting to say “like a painter but using the tools of mass communication”—but that’s not strictly true—by “using the tools of mass communication” I’m clearly not a painter. Often what I do, it seems, is hijack the tools of information or graphic design for my own ends. So for example, with the pie charts, bar charts, “dot maps” etc—they’re really only a fraction away from the charts, maps and tables that we see in newspapers everyday—in the news­ papers these things are completely reduc­ tive, they’re completely void of emotion; illustrating how many Coalition troops

Scott King

have been killed in Iraq, how many people voted Conservative or how much global warming has increased since 2003. I simply project myself on to these existing struc­ tures or formulas …

Though the charts and diagrams seem to be a staple of what I do—they are only one element—I’ve used them to convey information or opinion on things like historic gigs—in the series from 1998—where these monumental concerts are reduced to a semi-mathematical, Op-art looking formulas—and I’ve used them almost as decoration …

So, although there is strong pop (music) influence in what I do, it’s getting less and less as I get older, and the work I’m doing now is genuinely personal and almost all of it is in THE NOW.

Interview by Lionel Bovier

21 Scott King, Stéphane Daflon’s triumph, Lavaux, Summer 2010 Lionel Bovier and Scott King, Préverenges Summer 2010

The Book: Scott King — Art Works Edited by Lionel Bovier Author Jon Savage English edition ISBN: 978-3-03764-118-7 Softcover, 225 x 300 mm 232 pages Images 273 color / 20 b/w CHF 48 / EUR 32 / GBP 24 / US 55

Doug Aitken

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Fun.

Joy/Finance Nisha/Sales Shantice/10th grade Vivianne/Student Johnny/Manager Reitzer/Manager Karen/Accountant Delores/Staff at UCLA Marcel/Unemployed Edwin/Skateboarder Olivier/Sales

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35

8

9

Civilization.

James Joyce.

Nothingness.

10

11

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The Book: Doug Aitken — The Idea of the West Edited by Doug Aitken, David Jacob Kramer, Kristine McKenna Authors Doug Aitken, Dirk Dobke, Bettina Korek English edition January 2011 ISBN: 978-3-03764-180-4 Hardcover, 280 x 218 mm 160 pages Images 126 color / 69 b/w CHF 58 / EUR 42 / GBP 37 / US 55

The Idea of the West

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Bianca/Student Nathan/Writer Brenda/Student

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The Idea of theWest

Even the buffaloes are headed west.

Jeff/JSD, PhD, History

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25

Family.

Unkleman/Artist

Doug Aitken

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29

Collage Culture Exploring the 21st Century Identity Crisis

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To be published soon

I have gathered a garland of other men’s flowers, the French philosopher Montaigne famously wrote, “and nothing is mine but the cord that binds them.” The first decade of the 21st century appears to belong to the collagist, for whom the creative act is not creation sui generis, but rather the collecting, cutting, and pasting of the already extant.

Collage, which began as an art meant to confound the brain with its disparate components, has jumped the flat surface, so that almost all musicians, designers, writers and bloggers might today be described as collage artists. “Collage Culture” contains two essays, buttressed by artworks and vividly typeset by Brian Roettinger.

The first essay, by Mandy Kahn, chronicles collage’s original forays into the realms of music, fashion, design, literature, and architecture, with special attention paid to the birth and rise of sampling and mash-up in music. It will postulate why collage has become the itexpression of the new century, with an exploration of how the previous five decades in particular were, culturally, each a reaction against what preceeded

them. The second, by Aaron Rose, exam­ ines how our current subcultural aesthetic is an amalgamation of those from move­ ments of the 20th century, incorporating visual aspects from punk, new wave, the beats, and the hippie movement, but only externally— so that meaning, politics, and message have been neutered out.

What we’re left with is a collage of visual references without the guts they once had, and a generation of kids wearing clothes that express their common dis­ sent, but without knowledge of what they are against—or, more importantly, what they are for.

An additional section of 16 color pages will include original works of art created especially for the book by visual artists who imagine what might come after our current obsession with collage.

What we’re left with is a collage of visual references without the guts they once had, and a generation of kids wearing clothes that express their common dissent, but without knowledge of what they are against.

The Book: Collage Culture Edited by Aaron Rose and Mandy Kahn Designed by Brian Roettinger English edition ISBN 978-3-03764-119-4 Softcover, 152 x 229 mm 96 pages CHF 29 / EUR 19 / GBP 15 / US 29

24 © 2011, Rebecca Fanuele © 2011, Rebecca Fanuele © 2011, Rebecca Fanuele General Idea: New Editions & Books, exhibition view, February 2011

Information © 2011, Rebecca Fanuele

8, rue Saint-Bon is open on Fridays and Saturdays and by appointment Contact: +33 (0) 1 58 30 39 39 marie@catherinebastide.com & facebook For more information about the program of the six partners: www.lespressesdureel.com www.catherinebastide.com www.annasandersfilms.com www.editionsmacula.com www.bureaudesvideos.com www.jrp-ringier.com

8, rue Saint-Bon, Paris

New Location

Opened in October 2010 during FIAC, 8, rue Saint-Bon has already exhibited artworks by Lynda Benglis, Valerie Snobeck, Charles de Meaux, and General Idea. The presence and the spirit of AA Bronson, Claude Monet, Adel Abdessemed, Barnett Newman, and Ed Ruscha, among others, have already inhabited or haunted this 10-metersquare location in the heart of Paris, at walking distance from the Centre Pompidou and the contemporary art gallery area of Le Marais.

One might say that this program is unbelievable, odd, or eclectic. We rather think that 8, rue SaintBon—a location is a name is a location—is a new kind of space. Operated by Catherine Bastide, its program is linked to the activities of five structures dedicated to art, film, theory, and literature: in fact the space gathers the energies and influences of JRP | Ringier, Les Presses du réel, Anna Sanders Films, Galerie Catherine Bastide, Macula, and bdv (bureau des vidéos). Together, they organize exhibitions, book launches, and events, contribut­ ing to the current effervescence of the Parisian art scene. Pay us a visit during your next stay!

Marcel Duchamp New Books

To be published soon

In August 1946, Marcel Duchamp spent five weeks in Switzerland, including five days at the Hotel Bellevue (today, Le Baron Tavernier) near Chexbres, on Lake Geneva.

During his stay he discovered the Forestay waterfall. No research was ever done as to why the artist chose this waterfall and not another to become the starting point for, and ultimately the landscape of, his famous final masterpiece, “Étant donnés: 1° la chute d'eau, 2° le gaz d'éclairage” (Given: 1. The Waterfall, 2. The Illuminating Gas).

A multidisciplinary event that took place in May 2010 in Cully, on Lake Geneva, near the Forestay waterfall, attemp­ ted to provide answers to this and many other questions about Duchamp's work.

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With texts and essays by Caroline Bachmann, Stefan Banz, Etienne Barilier, Lars Blunck, Paul B. Franklin, Antje von Graevenitz, Dalia Judovitz, Michael Lüthy, Bernard Marcadé, Herbert Molderings, Adeena Mey, Stanislaus von Moos, Francis M. Naumann, Mark Nelson, Molly Nesbit, Dominique Radrizzani, Michael R. Taylor, Hans Maria de Wolf, and Philip Ursprung.

The Book Edited by Stefan Banz English edition ISBN: 978-3-03764-156-9 Hardcover, 176 x 246 mm 408 pages Images 42 color / 282 b/w CHF 48 / EUR 32 / GBP 24 / US 39.95

Loris Gréaud “Cellar Door” is a series of projects (installations, opera, book, etc.) which draws on Loris Gréaud’s interweaving interests in art, architecture, and music.

One could say that Gréaud’s practice is characterized by a desire to fuse differ­ ent fields of knowledge and activity. His modus operandi is in fact comparable to that of cinematic production (involving collaboration and co-authorship), and he often works with experts from diverse disciplines (including architects and scientists). This book documents the project in its entirety, and is accompanied by an extensive essay by Pascal Rousseau.

Published with Kunsthalle, St. Gallen; La Conservera, Murcia; Kunsthalle Wien, Vienna. With the support of Pace Gallery, New York and Yvon Lambert, Paris/New York

Sean Landers Sean Landers’ new book, entitled “Improbable History,” is focused on works of the early 1990s, his text and cartoon works on paper, his first paintings and sculptures, as well as his videos and audio works. A 380-page hardcover volume, it is published with the Contemporary Art Museum St. Louis, as part of the Ringier Collection series [ISBN 978-3-03764-178-1].

Christian Marclay Christian Marclay has recently experi­ mented with the cyanotype technique, producing a series of beautiful works made of audiotape elements and light.

A project developed by the Contem­ porary Art Museum and Graphicstudio at the University of South Florida, its results are gathered together in this complex publication, designed by Norm. Attempting to translate the color saturation, scale, and photo­ gra­phic nature of these works, the book is printed in duplex, bound with several foldouts as a hard­cover edition [ISBN 978-3-03764-219-1].

Gabriele Basilico & Dan Graham “Unidentified Modern City”: under this title lies a unique collaboration between Gabriele Basilico and Dan Graham around the city of Brescia, commissioned by gallerist Massimo Minini. The publication attempts to translate the dialogue between the Italian photographer and the American Conceptual artist into book form. It is accompanied by a discus­ sion between the two protagonists and an essay by Maurizio Bortolotti.

Never before seen images and a cuttingedge design make this publication, printed in a limited edition, a collec­ tor’s item [ISBN 978-3-03764-218-4].

Ringier Annual Report The Book Edited by Loris Gréaud Author Pascal Rousseau English / French edition June 2011 ISBN: 978-3-03764-167-5 Hardcover, 220 x 320 mm 392 pages Images 200 color CHF 90 / EUR 60 / GBP 48 / US 90

The Ringier Annual Report 2010, as always edited by Beatrix Ruf, is made this year by Das Institut, with a special feature by Kerstin Brätsch. After the projects by Richard Prince, Fischli/ Weiss, Josh Smith, and John Baldessari, the 2010 report promises to be a sur­ prising object! Part of the portfolio of the group’s products comes in the guise of a Vietnamese magazine, with fashion and graphic contributions by the German duo Bärtsch and Röder, a special give-away of fake nails designed by the artists, and the analysis of the Swiss group’s results [ISBN 978-3-03764-217-7].

Ai Weiwei

26 Fairytale

In 2007 Ai Weiwei (*1957 in Beijing), the well-known Chinese artist, architect, curator, and documentary filmmaker, presented “Fairytale” at Europe’s most innovative five-yearly art event Documenta 12 in Kassel: he invited 1001 Chinese citizens of different ages and from various backgrounds to Germany to experience their own fairytale for 28 days. “Fairytale” was judged one of the most sen­ sational artworks of the Documenta 12.

A 152-minute film documenting the whole process is now available, and a reader is currently in preparation: it gathers together texts by Roger M. Buergel, Artistic Director of Documenta 12; Roselee Goldberg, the author of the reference book on the history of Performance art; Daniel Birnbaum, Director of the Moderna Museet in Stockholm; Christian Höller, the editor of “Springerin” magazine; Raphael Gygax, Curator at the Migros Museum für Gegenwartskunst in Zurich; and Ai Weiwei [ISBN 978-3-03764-210-8]. Published with Galerie Urs Meile, Beijing/Lucerne.

The DVD: Ai Weiwei — Fairytale Documentary Edited by Ai Weiwei English edition ISBN: 978-3-03764-153-8 DVD, 135 x 190 mm CHF 38 / EUR 25 / GBP 17 / US 35

Jason Rhoades In preparation / Excerpt from an interview with Paul McCarthy by Ralph Rugoff, November 2010

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Perfect World/Perfect Model

At the time it was made, Jason Rhoades’ “Perfect World” (2000) installation at the Hamburg Deichtorhallen was called the largest indoor sculpture ever made. Were you impressed by the sheer size of the work when you saw it?

I went to Hamburg to see the piece.

It was while Jason was working on it, before the opening. I remember I thought it was just unbelievable. The piece was massive. Jason had been given this enor­ mous space to work in. He was given a gigantic room with high ceilings. There were also three or four adjacent rooms.

He made the piece for the space.

One of the most interesting and innovative aspects of “Perfect World” was the way that it reconfigured the interior of the Hamburg Deichtorhallen, dividing the central hall horizontally and creating an elevated space five meters above the floor of the main gallery.

I believe in part Jason was saying something about two different experi­ ences of space or experiences of life. The underneath, below the ceiling, was filled

with a maze of pipes on diagonals, shiny reflective tubes that held up the second floor. The second floor, the upper level, was a flat surface made up of these trian­ gular platforms. The second floor was an ephemeral space, airy, isolated. The underneath was a clutter that you passed through. When you were on the second or upper floor, the ephemeral area, you were up above the entanglement. He had covered the triangular panels of the sec­ ond floor with large photographs of his father’s garden. You could take a ride in these hydraulic lifts that began on the ground floor, the underground, and would pass up through the second floor.

You could continue up above the second floor almost going to the ceiling of the Deichtorhallen. It was interesting that when you went all the way up in the lift you could look back down at the photo­ graphs of the garden. When you looked down at the photographs, it was like look­ ing down on to a large landscape, his father’s garden, an aerial view.

The Book Authors Eva-Meyer Hermann, Paul McCarthy, Ralph Rugoff English edition June 2011 Hardcover, 240 x 300 mm 160 pages ISBN: 978-3-03764-226-9

Mark Morrisroe

28 Monograph Mark Morrisroe photographed by Nan Goldin, 1982

from the tumultuous punk beginnings to the sandwich prints produced through extensive laboratory work, the graininess and muted colors of which are reminiscent of Pictorialism.

The extraordinarily diverse work of the American photographer Mark Morrisroe has until now mostly been exhibited and discussed in connection with his famous Boston colleagues Nan Goldin and David Armstrong. Like them, Morrisroe doc­ umented his circle of friends, whose lifestyles were inspired by punk and bohemia. He finished his studies at the School of the Museum of Fine Arts in Boston in 1982, a few years later than Goldin and Armstrong. He moved to New York in the middle of the 1980s, and died of AIDS-related illnesses in 1989 when he was only 30. Mark Morrisroe’s short period of creativity in the 1980s was astonishingly productive and stands out be­ cause of its individual aesthetic. He captured his friends in painterly portraits and nude photo­ graphs; the Polaroid camera became a mirror of his own body, reflecting its illness and decay.

During the three years leading up to his death he transferred his photographic experiments more and more to the dark room, where he used pages from porno magazines and X-ray images of him­ self as negatives.

Exhibtions: Artists Space, New York, March 9-May 1st, 2011; Villa Stuck, Munich, Spring 2012

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This first comprehensive monograph, realized on occasion of an exhibition at the Fotomuseum Winterthur and in collaboration with the Morrisroe Estate by the Ringier Collection, shows many unknown works: from the tumultuous punk beginnings to the sandwich prints produced through extensive laboratory work, the graininess and muted colors of which are reminiscent of Pictorialism.

The book is illustrated with more than 500 images, and accompanied by newly commissioned essays and a complete biography.

The Book: Mark Morrisroe Edited by Beatrix Ruf, Thomas Seelig Authors Stuart Comer, Lia Gangitano, Teresa Gruber, Elisabeth Lebovici, Fionn Meade, Beatrix Ruf, Thomas Seelig, Frank Wagner, Linda Yablonsky English / German edition ISBN 978-3-03764-121-7 Flexicover, 203 x 262 mm 512 pages Images 420 color CHF 68 / EUR 45 / GBP 35 / US 65

30 More new books

5 Bookshops

Five Bookshops We Love

Kunstgriff: since 1996 THE place in Zurich for books, DVDs and special editions on contemporary art. Until the end of the major renovation undergoing at the Löwenbrau complex (summer 2012), re-located at Hubertus Exhibitions, Albisriederstrasse 199A

AA Bronson & Peter Hobbs AA Bronson & Peter Hobbs’ “Queer Spirits,” co-published with Creative Time and Plug In: available this Spring [ISBN 978-3-03764-216-0].

T (+41) 44 272 90 66 F (+41) 44 272 58 78 Tue / Wed / Fr 12-18h Thu 12-20h / Sat/Sun 11-17h / (Closed on Monday) www.kunstgriff.ch / www.hubertus-exhibitions.ch

Ben Kinmont Ben Kinmont, “Prospectus 1988– 2010”: available this Spring [ISBN 978-3-03764-169-9].

Jon Hendricks & Jean Toche We are discussing with Printed Matter and Kunstverein Amsterdam the reprint of Jon Hendricks and Jean Toche’s GAAG (Guerrilla Art Action Group), a 1979 classic, which has been impossible to find for a long time.

Erik Steinbrecher Erik Steinbrecher’s new artist’s book should come out this year.

Patrick Weidmann

Motto: started as a distribution company for magazines and artists’ publications in 2007, it is working nowadays with more than 100 publishers worldwide, with bookstores in Berlin-Kreuzberg, Vancouver, and Zurich The bookstores regularly function as a spaces for presentations and launches, as well as special evenings dedicated to different discussions around publishing about art, graphic design, photog­ raphy, typography, and related matters.

Motto Berlin (est. 2009) Skalitzer Str. 68, D–10997 Berlin / Mon–Sat 12–20h Motto Zürich (est. 2010) c/o Perla Mode Langstr. 84, CH–8004 Zürich / Thu–Fr 12–19h, Sat 12–17h Motto Vancouver (est. Dec. 2010) c/o the Or Gallery 555 Hamilton Street, Vancouver BC, Canada V6B 2R1

Gallery Store, Queensland Art Gallery: 2 locations, in the Queensland Art Gallery and the Gallery of Modern Art in Brisbane, Australia The shop specializes in art, design, and photography books, focusing on artists’ books, rare catalogues, artist multiples, and art merchandise. At the heart of the shop is the belief in the book as object, the book as art. With this in mind it is our charter to stock the finest art/design books available.

Stanley Place South Bank QLD 4101 South Brisbane T +61 (0)7 3840 7341 www.gallerystore.com.au Monday to Friday, 10am to 5pm Weekends 9am to 5pm

A few years ago we published a novel

by Patrick Weidmann in the Hapax series, illustrated with some of his own photographs. A book dedicated to his photographic practice is currently in preparation, with the support of Mamco (Geneva).

Parc des Ateliers The Parc des Ateliers in Arles, a LUMA Foundation project, should start building its Frank Gehry project this year; a book is underway to document the reflections leading to the defini­ tion of the architectural and artistic program.

Tranzit: corner bookshop in tranzitdisplay exhibition space, Prage, Czech Republic

Dashwood Books: NYC’s only independent bookstore specializing in photography

The collaboration between Tranzit and JRP | Ringier, through a series of books edited by Vit Havranek and supported by Erste Foundation, has led to opening this corner shop: visiting the space, Lionel Bovier proposed to start stocking contemporary art books that are hard to find in the Czech Republic, in order not only to create a specialized retail point, but also to offer a space to consult these publications. Started with JRP | Ringier books only, it will be opened soon to other publishers.

Located in NoHo, Dashwood has become a Mecca for photogra­ phers, collectors and art directors as well as a valued source for fashion, advertising, film and anybody interested in photography and design. Our main specialty is in contemporary photography; importing books that have no or very limited distribution in the United States including limited press runs from Japan, Germany and The Netherlands; artists’ self-published books, signed books and collectible post-war titles.

Dittrichova 9/337 / 120 00 Praha 2 T +420 222 516 982 / info@tranzitdisplay.cz Tu–Sa 12–18h / www.tranzitdisplay.cz

Dashwood is open Monday to Saturday from noon until 8pm and Sunday from noon until 7pm as well as online at www.dashwoodbooks.com

Collectors’ Editions Information and orders at info@jrp-ringier.com

31

General Idea Set of three untitled photographs from 1977, printed and signed in 2009 in an edition of 30

Harmony Korine: hand-painted covers of “Trash Humpers,” signed and numbered in an edition of 50 (each one unique)

Allen Ruppersberg Multicolored silkscreened on heavy paper stock, printed by letterpress in black, edition of 20 numbered copies (each one different)

Valentin Carron Printed pages with metallic Iris effect, signed and numbered in an edition of 50 (each one different)

Walead Beshty Copies of the book “Natural Histories” made of blotting papers overprinted several times and bound following the sequence of the signatures of the trade edition, initialed and numbered by the artist in an edition of 50 (each one different)

Stefan Marx Original drawings on the shrinkwraped copies of “I guess I shouldn’t be telling you,” signed and numbered on 20 copies (each one unique)

32

Hans Ulrich Obrist’s Top 10

Top Ten

2

1

Peter Saville Estate

Philippe Parreno Johan Olander Parade?

4

3

Allen Ruppersberg You and Me or the Art of Give and Take

Sturtevant The Razzle Dazzle of Thinking

6

5

Scott King Art Works

A selection of 10 prefered titles from our backlist by our best-selling author, whose “A Brief History of Curating” will be in its fourth edition this year and has already been translated into Spanish, Portuguese, and Italian

John Armleder About Nothing 8

7

Encyclopedia of Fictional Artists & The Addition

FILE Megazine General Idea

9

© Yang Fudong, Shanghai 2009

Peter Fischli & David Weiss Sonne, Mond und Sterne

10

Isa Genzken I Love New York, Crazy City

Contacts

Distributors

JRP | Ringier Letzigraben 134 / CH–8047 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 fol­ lowing distribution partners:

E info@jrp-ringier.com www.jrp-ringier.com ISBN 978-3-03764-225-2

© 2011, the authors, the artists, the photographers, and JRP | Ringier Kunstverlag

Design: Gavillet & Rust/Devaud, Geneva 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

Buch 2000, AVA Verlagsauslieferung AG, Centralweg 16, CH-8910 Affoltern a.A., buch2000@ava.ch, www.ava.ch

Vice Versa Vertrieb, Immanuelkirchstrasse 12, D-10405 Berlin, info@vice-versa-vertrieb.de, www.vice-versa-vertrieb.de

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 D.A.P., Publishers, 155 Sixth Avenue, 2nd Floor, USA-New York, NY 10013, dap@dapinc. com, www.artbook.com