Edition Patrick Frey
Edition Patrick Frey’s 30th anniversary
Catalog 2016
1986–2016
Edition Patrick Frey
Edition Patrick Frey’s 30th anniversary
Catalog 2016
1986–2016
The artist’s book as balm for the frenetic 21st-century soul
Edition Patrick Frey is turning 30 this year, about half as old as I am. Which means I’ve spent roughly half my life publishing books that were slightly eccentric and, commercially speaking, utterly marginal in the book market even when we started back in 1986, about five years before the commercialization of the Internet. They weren’t photo, art or art history books, nor were they catalogs; they were modeled instead on artists’ books as latterly reinvented by the likes of Dieter Roth and Ed Ruscha in the mid-’60s. In other words, artistmade books that were not primarily intended to document or reference the artist’s work, but to stand alone as artworks unto themselves – in book form. Back in those days of distant memory when printers had just switched from metal type to phototypesetting and master copies were still pasted together with glue sticks and box cutters, what set Edition Patrick Frey artists’ books apart was not only that we wholly dispensed with any attempt to cultivate a uniform look or corporate identity, allowing each book to celebrate its autonomous artistic identity of both content and form. It was equally important that we’d decided from the get-go not to publish any ultra-exclusive artists’ books only for connoisseurs or the specialized art market, but to conceive artists’ books that might be radical in subject matter and design, but which kept within the formal parameters – donning the disguise, as it were – of conventional books, and were to be had at affordable prices in art book stores and even ordinary bookstores with well-stocked art book sections. So we wanted to square the circle : to publish radical artists’ books that would convey an artist’s position as naturally and unabashedly as possible, often expressly without commentary, and reveal the essence of the artist’s work while preserving the key characteristics of a democratic, easily accessible medium : the printed book. Our print runs were not to be too small, and the books were to be affordable for many.
Naturally, we weren’t able to remain absolutely faithful to this somewhat idealistic concept : over the past ten years, some of our publications have crossed the boundary into the rarefied domain of books-as-objets-d’art, and we had and still have a few exclusive, limited editions. This is of course partly owing to the recent upheavals in the book market : the Digital Revolution has shifted the production of analog books, especially ones like ours, closer to the art market and to art in general. Nowadays, every one of our printed books is to a certain extent perceived as a work of art, and globalization increasingly makes small editions seem limited and exclusive. Our books are increasingly regarded as “rare books” – even when they’ve just come out. What we have quite deliberately retained and intensified, on the other hand, is the cultivation of our DNA, the further development of the artist’s book concept, which we have quasi typologically and methodically applied in an increasingly extended form. Even though over the years we have published a whole slew of other book genres – including non-fiction, photo books, books about art history, the sociology of art or everyday life – we still adhere to the matrix we practiced till the end of the ’90s, publishing books for the most part by people from my extended artistic circle of friends, with no prescribed formal or conceptual schema. The form and content of each book have to be newly developed from scratch. Each publication has to follow its own formal laws, which, whenever possible, are defined by the author’s vision of its form and content, entirely as though it were a work of art in and of itself. This has given rise to hybrid publications : artists’ books by photographers, graphic designers, art and music historians and photo collectors, as well as publications that are a cross between an artist’s book and teaching material, nonfiction, literature or photojournalism. 30 years is but the beginning. My curiosity is unabated, and so is my delight in working with authors from all over the world to explore the possibilities of the book medium and push its ever-shifting outermost boundaries. Especially nowadays, as we begin to see the full-blown effects of digital culture, we can begin to dream again of a new culture of the printed book, of another metamorphosis of this extremely flexible medium, which has already survived various transformations with flying colors. This renaissance of the printed book – or, more precisely, this new fascination with the specific sort of “beautiful book” produced by Edition Patrick Frey – is devoid of any nostalgia, though attended by a deep-seated melancholy that reflects our relationship to present-day media reality on the whole. After all, we ourselves are – like books – extremely flexible and adaptable. But this flexibility only concerns parts of our nature, the crystalline, Apollonian side of our consciousness, not the senses outside the audiovisual, not the body and the soul. Though we are easily beguiled by speed, for instance, the body and soul strangely yearn for long hikes and slow food or a leisurely ride on a horse-drawn carriage. With our insatiable curiosity and relish for progress, we love the
crystal-clear transparency of the ever-fleeting present, and yet the smelling, tasting, feeling body loves the opaque, the impenetrable, the abiding, the dirt of this earthly existence. Printed books are opaque and extremely permanent. They’re proof against transparency, heavy to transport, and hard to hack. They are flammable, to be sure – down through history, far more books have been burnt than still fill the stacks of present-day libraries – and yet their form of storage is extremely resistant, for while it’s possible to burn books, it’s practically impossible to destroy every single physical copy of a printed work. Of course books made of paper, glue and ink are, on the one hand, still exactly the same thing as e-books : highly efficient carriers of content, culture, poetry for the sensibility, arsenals for the keen mind. At the same time, however, they are slowly but surely transforming into a soothing balm for a modern consciousness at once beguiled and overwhelmed by speed and transparency. For they are perishable, decomposing bodies like ourselves, slow food for our souls. Patrick Frey, Publisher
Edition Patrick Frey
Books 2016
13 Eric Bachmann Casa Verdi
69
17 Georg Keller Georg Keller x Manor 21 Barbara Heé Waters 25 Iwan Schumacher 1972 – At Home and on the Way 29 Mike Hentz WORKS 7 33 Taiyo Onorato / Nico Krebs Eurasia 37 Judith Bernstein Dicks of Death 41 Jean-Luc Cramatte Culs de ferme 45
Daniela Comani Sunsets
49 Pierre Leguillon, Barbara Fédier (Eds.) Oracles – Artists’ Calling Cards 53 Basile Mookherjee Fully Fueled 57 Arno Brandlhuber, Christopher Roth, Antonia Steger (Eds.) Legislating Architecture Schweiz
Gina Bucher Female Chic. Thema Selection – Story of a Fashion Label
73 Nik Emch, Laurent Goei MINIMETAL 11 MANTRAS 77 Peter Radelfinger Sowohl als ob 81 Andreas Tschersich peripher 85 Clemens Marschall / Klaus Pichler Golden days before they end 89 Alan Reid Warm Equations 93 Billy Sullivan Still, Looking. Works 1969–2016 97 Marie-Isabel Vogel, Alain Rappaport (Eds.) Maximilian Stejskal – Folklig idrott 101 Ramin Haerizadeh, Rokni Haerizadeh and Hesam Rahmanian Her Majesty ? 105 Fabian Marti Bilder 2005 – 2016
61 Beni Bischof Texte 2
109
Patrick Boschung, Daniel Fontana, Stefanie Mauron, Adeline Mollard, Katharina Reidy (Eds.) Bad Bonn Song Book
65 Elodie Pong Paradise Paradoxe
113 Michele Sibiloni Fuck it
Walter Pfeiffer : Das Auge, die Gedanken, unentwegt wandernd
Kleenex / LiLiPUT : Das Tagebuch der Gitarristin Marlene Marder
1986
ISBN 9783906803258
Eric Bachmann Casa Verdi
With texts by Christian Kämmerling and Andreas Koller in English and German Softcover, 124 pages 42 images 17.5 × 25 cm | 7 × 10 in. Design : Dominik Bachmann
As the clocks slowly advance towards lunchtime, some very curious figures can suddenly be seen shuffling across Milan’s Piazza Buonarotti. One of them has a strikingly broad-brimmed hat on, which he waves in greeting, bowing benignly, elegantly, whenever an acquaintance (even if merely a supposed acquaintance) crosses his path. Another, wearing a dark tuxedo-like suit in broad daylight, puts on a face as though he were sick and tired of forever being asked for his autograph. These peculiar figures are making their way to a fancy-looking edifice, a small palace with a neo-Gothic-inspired façade. They are residents of the Casa di Riposo per Musicisti, an old-age home founded in 1896 by Giuseppe Verdi for musicians and opera singers who find themselves penniless in their sunset years – whether because their passion for a labor of love made them havenots their whole lives long or because, as Verdi put it in his modest way, they simply “had less luck than I”. In 1981, even before Daniel Schmid presented a compassionate portrait of retired singers at the Casa Verdi in his 1984 film Il Bacio di Tosca, Eric Bachmann and German journalist Christian Kämmerling put together a report on the elegiac world of this remarkable retirement home for a Swiss magazine. Casa Verdi now brings together in a single volume the bulk of Bachmann’s photo archive, Kämmerling’s sensitive essay, and by and large reconstructed biographies of the retired musicians and singers. What few biographical facts were available after the war serve here as posts between which imagination has now been stretched. And yet despite all the remaining questions, there is a silver lining here at the Casa di Riposo, where those taken in need worry no more about their twilight years : Verdi bequeathed to the home – which he called his “finest work” – the cornerstone of his fortune, namely the rights to all his operas.
Eric Bachmann (b. 1940) is a Swiss photo reporter. Edition Patrick Frey has already published his two books Leutschenbach Karambuli (2001) and Muhammad Ali, Zürich, 26.12.1971 (2014).
EUR 36 | CHF 36 ISBN 978-3-906803-25-8
Nº 225
13
NÂş 1 Andreas ZĂźst, Bekannte Bekannte
Nยบ 1
1987
With texts by Giovanni Carmine, Eveline Suter and Mirjam Varadinis in English and German Softcover, approx. 200 pages Approx. 120 images 17 x 24 cm | 6 ¾ × 9 ½ in. Design : Sidi Vanetti
ISBN 9783906803241
Georg Keller Georg Keller x Manor
“A brand like a friend” is the motto of Georg Keller Unternehmungen (GKU). Through this dummy concern, the artist Georg Keller infiltrates and reflects on economic cycles. In 2016, after receiving the renowned Manor Art Prize, Keller set about plotting a friendly takeover of Switzerland’s biggest department store chain. What looks at first glance like a corporate history from below turns out to be the intertwining of an artistic one-man enterprise with a Swiss retailer that turns over roughly CHF 3 billion with a workforce of over 10,000 staff. Interviews with employees at various levels of the corporate hierarchy form the first thread of the narrative. The second, visible only when the day’s work is done, delves into Georg Keller’s creative work. So these are two books in one, two stories, each of which stands alone and yet sheds a revealing light on the other. Keller’s projects question and lay bare the workings of economic structures, scrutinizing the mechanisms of globalization and their impacts on mankind and the environment. His earnest approach to these explosive subjects is coupled with a reduced aesthetic and a pinch of humor. With the aid of GKU he exposes elements of economic narration and staging, using all sorts of different media, including installation, sculpture, video and performance, and developing works in artistic and theatrical contexts and in public spaces. All his works come together under the umbrella of GKU to form a total artwork.
Georg Keller was born in 1981 in Zug, Switzerland, and is now based in Zürich.
EUR 52 | CHF 52 ISBN 978-3-906803-24-1
Nº 224
17
Nยบ 2 Rudolph Jula, Conquest
Nยบ 2
1988
With texts by Barbara Heé in English and German Hardcover, approx. 140 pages Approx. 135 images 21 × 29 cm | 8 ¼ × 11 ½ in. Design : Krispin Heé
ISBN 9783906803234
Barbara Heé Waters
In Hinwil, southeast of Zürich, I asked some friends what their favorite place was in the vicinity of Mount Bachtel. Without exception they each recalled “their” childhood waterfall. Then I tracked down the spots they’d described and photodocumented those falls for months. After storms, floods, summer dry spells… Then I changed the focus, setting out at night to probe the mysterious phenomenon of twilight. A combination of many small components makes these twilight shots possible : there has to be a cold wind blowing, the moon shining, and it ought to be stormy and raining, too – all at the same time. And the falling water has got to be ice cold. But even if all these prerequisites are lined up, there’s no guarantee the lights will appear. And when they do, it’s never for more than fifteen minutes. I took 12,000 pictures for this book and did not edit or crop any of them. I just pressed the shutter. I chose the pictures that come closest to my mental images and my drawings and paintings over the past few years. My husband John accompanied me on all these excursions day and night, making sure I didn’t tumble down the slippery cliff, watching for every sign of nature. I wasn’t out to photograph fairies, gnomes, ghosts or any other natural or supernatural creatures : that they showed themselves all the same is one of the mysterious whims and gifts of nature. Exploring the twilight is a mystical pursuit. Day dies, night is born. These pictures of the falls are a gift to me : the Star Taler girl holds open her shift and all the stars fall in. Barbara Heé, Hinwil, 2015
Barbara Heé was born in St. Gallen in 1957. She is a draftswoman, painter, sculptress and photographer, living with her family in Hinwil since 2013.
EUR 60 | CHF 60 ISBN 978-3-906803-23-4
Nº 223
21
Nº 3
Nº 3 Peter Fischli / David Weiss : Photographs
1989
With texts by Martin Jaeggi in English and German Hardcover, approx. 148 pages Approx. 132 images 21.5 × 28 cm | 8 ½ × 11 in. Design : Teo Schifferli
ISBN 9783906803227
Iwan Schumacher 1972 – At Home and on the Way
Filmmaker Iwan Schumacher, known for his portraits of artists, bought a small camera in early 1972 and took it with him everywhere he went. The camera became his notebook. Schumacher subsequently gave himself up to the lure of the landscapes, people and mood-changing lighting that he came across. With his little Canon he could shoot away without intention, without prescribed subject or theme, much the way we take pictures with cell phones today. Schumacher spent the first half of 1972 in England, where he’d been teaching photography at an art school for a year and a half. After his return to Switzerland he assisted on a documentary film and got to work on making his own first film. Over time his interest in continuing his photographic diary waned till in late 1972 he stopped taking pictures altogether and devoted himself entirely to film. The friends and coworkers portrayed by Schumacher are all young, still looking to find their social and professional niche. Their moods of the portraits seesaw between elation and melancholy. And the subjects include not only friends, but also a ragpicker, a mailman, a mother with her brood, even a portrait of Alfred Hitchcock and a shot of a couple asleep. The days of “Swinging London” were over, England was paralyzed by strikes and power cuts. Schumacher produced neither postcards nor social reportage, epitomizing Switzerland in highrise tenements on the edge of town, inter alia, or a still life with Sinalco ash tray and Knorr spice stand. Many of the shots taken on the fly through the windows of cars or trains are blurred, imbued with a poetic, dreamlike quality. Of the 3,000-odd black-and-white pictures he took that one year, Schumacher has selected about 120. In their associative, sometimes filmic sequential arrangement, the pictures suggest stories that may lie behind them.
Iwan Schumacher was born in Lucerne in 1947. He is a filmmaker and the editor of Nine Books by David Weiss (2014). Schumacher lives in Zürich.
EUR 43 | CHF 43 ISBN 978-3-906803-22-7
Nº 222
25
Nº 4
Nº 4 Peter Fischli / David Weiss : Airports Nº 5 Marcel Biefer / Beat Zgraggen, Prophezeiungen
Nยบ 5
1990
With texts by Martin Jaeggi in English and German Hardcover, approx. 235 pages Approx. 220 images 21 × 29.7 cm | 8 ¼ × 11 ¾ in. Design : Mike Hentz
ISBN 9783906803210
Mike Hentz WORKS 7
Swiss-American graphic designer, musician, photographer and performance artist Mike Hentz ranks among the pioneers of new media art. He co-founded the legendary performance group Minus Delta T and the artist groups Frigo, Radio Bellevue and the European Media Art Lab. In the 1990s he realized the project Piazza Virtuale with Van Gogh TV and a great many interactive cable and satellite television shows with Universcity TV. Hentz also taught at art schools in Germany, Switzerland and various Eastern European countries. Works 7 is a very special overview of Hentz’s work : snapshots from all over the world, paintings, collages, graphic and ornamental works, and various artifacts from the artist’s collections, which include everything from old magazines to fabric patterns. Interconnected and mutually illuminating, Hentz’s works are multifunctional, incessantly morphing and re-emerging in all sorts of different contexts : a painting may be hung on a wall or used in a video lecture, a projected snapshot becomes part of an installation, existing works are scanned and reworked. Hentz’s aggregate work-in-progress is reconstructed in an associative order in this encyclopedic, excessive book that highlights every aspect of his wide-ranging œuvre.
The polymedia artist Mike Hentz was born in New Jersey, USA, in 1954. He grew up in America and Europe and now lives and works in Berlin, Germany.
EUR 70 | CHF 70 ISBN 978-3-906803-21-0
Nº 221
29
Nº 6 Nº 7
Hannes Brunner : Maschinenpark Peter Fischli / David Weiss : Bilder, Ansichten
Nº 8
Marcel Biefer / Beat Zgraggen : Der Beuteträger
Nยบ 6
Nยบ 7
Nยบ 8
1991
ISBN 9783906803203
Taiyo Onorato / Nico Krebs Eurasia
Hardcover Approx. 352 pages Approx. 200 images 24 × 30 cm | 9 ½ × 11 ¾ in. Design : Hi – Megi Zumstein & Claudio Barandun
In April 2013, photographers Nico Krebs and Taiyo Onorato, who have been working together for 13 years, loaded up their 1987 Toyota Land Cruiser in Switzerland and headed east. They’d already roughly traced their route by running a finger across the map of Eurasia to their ultimate destination, Ulan Bator, the capital of Mongolia. It felt like setting forth on an expedition to the mystical realms of the East : Eurasia, Central Asia, the foothills of the Himalayas, the forests of Siberia, the Stan Republics, the gigantic expanse of the former Soviet Union. A vast land mass, very few images of which are lodged in our minds, at least no clear and well-defined images, rather a haze of history and global politics. Nico Krebs and Taiyo Onorato went out in search of these images, to reproduce them, and to create them themselves. Eurasia is a travel log straddling the fine line between documentation and fiction about unknown lands, their possible past and conjectured future. It relates encounters with the utterly bizarre and inaccessibly alien, as well as with a remarkable openness and lavish hospitality they’d never known before, in striking contrast to their previous trip across the United States (The Great Unreal, now in its third edition at Edition Patrick Frey). Many of the countries and regions they traversed are in the throes of upheaval, caught between thousand-year-old traditions and post-Communist history and geopolitics, religious, territorial and ethnic turmoil, and the spreading desire to jump on the bandwagon of global turbocapitalism. The search for identity here is palpable – a search, along with the attendant confusion, graphically depicted in Eurasia.
Taiyo Onorato and Nico Krebs (Swiss, both b. 1979) work together on photography, film and installation projects. www.tonk.com
EUR 78 | CHF 78 ISBN 978-3-906803-20-3
Nº 220
33
Nº 9 Peter Fischli / David Weiss : Siedlungen, Agglomerationen Nº 10 Ian Anüll : Aquarelle
Nº 11 Felix Stephan Huber /Philip Pocock : Black Sea Diary
Nยบ 10
Nยบ 11
Nยบ 9
1993
Hardcover, approx. 104 pages Approx. 230 images 22.5 x 34 cm | 9 × 13 ½ in. Design : Krispin Heé, Malin Gewinner
ISBN 9783906803197
Judith Bernstein Dicks of Death
Judith Bernstein Dicks of Death Edition Patrick Frey
For over five decades, my most powerful and intense relationship has been with my work. As a graduate student at Yale in the ‘60s, I began to use the phallus as a metaphor for feminism and male posturing. At the time, Yale was an all-male undergraduate program. I became fascinated with explicit graffiti that I discovered in men’s bathrooms, finding inspiration in raw humor and unedited scrawls. Aggression and humor are strongly connected in my work. This is epitomized in my piece “Supercock” (1966), a drawing of a comic superhero with huge genitals ejaculating through the world; and in “Fun-Gun” (1967), an anatomical drawing of a phallus shooting collaged live ammo. My “Fuck Vietnam” series was just the start. Graffiti influences can be traced throughout my entire body of work and in my scatological titles such as “Dicks of Death” (2015). I confront war with very graphic, in-your-face words and images. Stuffed phalluses, blood and semen juxtapose national imagery and the US flag. It’s funny – but it’s dead serious ! Charcoal is my favorite medium. Over the span of my career, the experience of working with charcoal has been extremely dynamic, raw and personal. There’s a gritty and visceral quality to these political drawings. The charcoal works represent an amalgamation of anti-war, feminism and sexuality. Beyond these themes, my work delves into the multiple layers of the human psyche. My art confronts the viewer with the urgency and complexity of human relationships – issues that perpetually arise and tension that resonate from our origins to today. Judith Bernstein, New York, 2016
Judith Bernstein (born 1942) is a feminist artist. Bernstein was a founding member of the cooperative feminist A.I.R. Gallery in New York. Dicks of Death is Bernstein’s first artist book.
EUR 70 | CHF 70 ISBN 978-3-906803-19-7
Nº 219
37
Nº 12
Nº 12 Grob / Ledermann / Pente / Remondino / Rösli : Wohlgroth
1994
Jean-Luc Cramatte Culs de ferme
With texts by Jean-Luc Cramatte in French Softcover, 288 pages, 200 color images 23.5 × 30.5 cm | 9 ¼ x 12 in. Design : Studio Rubic
In Culs de ferme Jean-Luc Cramatte seeks to portray various forms of accumulation in a globalized landscape that is often touted as clean and orderly. His ambitious, nonconformist projects are of Promethean proportions. Well acquainted with social fault lines, Cramatte may be deemed a photographer of upheavals, one good example of which is his series on Swiss post offices (Poste mon Amour, 2001–2008). An obsessive collector of pictures, including both his own photographs and found pictures, Cramatte has been compiling a photographic inventory for twenty years now. He likes thinking and working serially, securing all sorts of evidence to stop the growing gaps in our collective memory. His examinations of the visible world, invariably based on idiosyncratic concepts, steer our gaze towards things inconspicuous and overlooked. His photographic inventories shed a humorous and critical light on the “normal” present-day world, thereby producing a telling ethnography of quotidian life. He sometimes takes the concept of the catalog to its limits ultimately reinventing reality, even while adhering to a strictly documentary approach without eschewing the unsightly, the bleak, the monotonous. His work culminates in a poetry of the ordinary. From the first hints of degradation to outright overgrown ruins, his pictures seize the status quo. Unvarnished and free of nostalgia, though never accusing or complaining, they offer an insightful look at the state of decline. Above and beyond his ethnological and sociological approach, Cramatte seeks above all to capture situations that remind him of real or literary events.
The photographer Jean-Luc Cramatte was born in Porrentruy in the Swiss Canton of Jura in 1959 and grew up in Haute-Ajoie.
EUR 70 | CHF 70 ISBN 978-3-906803-18-0
N° 218
41
Nº 14
Nº 13 Cécile Wick : KopfFall Nº 14 Anna Meyer : Fernwärme
Nยบ 13
1995
ISBN 9783906803173
Daniela Comani Sunsets
With texts by Renata Stih in English, German and Italian Softcover, 64 pages 30 images in black / white and 2 spreads in color 21 x 26 cm | 8 ¼ × 10 ¼ in. Design : Daniela Comani
OFF, a photographic series by Daniela Comani, is an excursus into perception as it relates to the media. With painstaking precision she probes that everpresent device for the reproduction of moving images, the television set, but in off mode : turned off, TV sets seem dead, they become cold objects – and yet concomitantly they serve as surfaces for viewers to project their own fantasies and fears on. Even when the picture is extinguished, the TV is still not bereft of content, for the dark screen reflects the room and the people and objects in it. Daniela Comani doesn’t merely take pictures of inactive TV sets, she shoots them : the flash hits the dark screen like a Big Bang that yields new sights and insights, even as it outshines and obliterates the protagonist’s reflection. At the instant she pulls the trigger, the split-second flash blends with the surface structure of the television sets in the most peculiar ways, producing new images and new shapes in these landscapes with sunset, small format. Daniela Comani’s series is also about design : for this minimalistic miseen-scène of an assortment of TV sets of varying shape, size and design, the artist has painstakingly removed the brand names in order to bring out the physical idiosyncrasies of each different setup. The objects are portrayed from the front, as though they were people gazing out from the picture at the viewer. The housing of each set serves as a picture frame and suggests the machine’s essential nexus to the picture. The photograph turns the plastic TV sets into two-dimensional pictures, which Comani then mounts on paperboard to create a new three-dimensional object. Each picture is unique despite the serial nature of photography with its technical capability of infinite reproduction. Renata Stih, Berlin 2011
Daniela Comani is an Italian multimedia artist. She was born in Bologna in 1965, lives and works in Berlin.
EUR 30 | CHF 30 ISBN 978-3-906803-17-3
Nº 217
45
N° 15 Andreas Züst : Bekannte Bekannte 2
Nยบ 15
1996
ORACLES Artists’ Calling Cards
With texts by about 50 authors in English Softcover, approx. 190 pages 117 business cards 18 × 23 cm | 7 × 9 in. Design : Clovis Duran
Artists’ Calling Cards
ISBN 9783906803166
Pierre Leguillon, Barbara Fédier (Eds.) Oracles – Artists’ Calling Cards
This book presents over a hundred calling cards of artists (painters, sculptors, photographers, architects, graphic designers, illustrators etc.) from the 18th century to the present day. The facsimiled cards are slipped like bookmarks into a book by several authors on the history of the use of calling cards, the social context in which they were produced, and related historical and fictional narratives. The often unexpected graphic qualities of these personalized objects, each designed to capture an individual identity within the narrow confines of a tiny rectangle card, implicitly recount a history of taste and typographic codes in the West. But this calling card collection also lays the foundations for a microhistory of art, inspired by the Italian microstoria, or a looser narrative that breaks free from geographic contexts and historical periods. We can imagine how social networks were formed before the advent of Facebook, and how artists defined themselves in the social sphere, whether they were students or teachers, dean of the art school or museum curator, founder of a journal, firm, restaurant or political party, and so on. Superimposed on this imaginary or idealized network formed by chance encounters is a living network of students of art or history, historians or anthropologists, librarians, archivists, gallerists, museum curators and artists themselves, the network upon which this pocket museum is constructed. The sheer variety of perspectives and stories brought together here makes this book a prodigious forum for discussion. The carded artists include Rosa Bonheur, Irma Boom, Constantin Brancusi, Antonio Canova, Sonia Delaunay, Guerilla Girls, Walter Gropius, Keith Haring, Ana Jotta, Paul Klee, Yves Klein, Filippo Tommaso Marinetti, Henri Matisse, Annette Messager, Félix Nadar, Francis Picabia, Adrian Piper, Man Ray, Edward Ruscha, Sophie Taeuber-Arp, Jack Smith, Andy Warhol, Piet Zwart et al.
Co-published by HEAD – Genève (Geneva University of Art and Design) and Edition Patrick Frey under the patronage of the Museum of Mistakes
EUR 120 | CHF 120 ISBN 978-3-906803-16-6
Nº 216
49
Nº 20
Nº 17
Nº 16 Karen Kilimnik : Drawings Nº 17 Dieter Hall : So unverwandt betrachtet Nº 18 Rudolph Jula : Giulios Schlaf
Nº 19 Barbieri / Broger / Klaus / Steffen / Weber : Zentralstrasse Nº 20 Monica Beurer : Carole – Aus der Norm / Carole – hors norme
Nยบ 19
Nยบ 16
Nยบ 18
1997
Softcover, 172 pages 191 images 26 × 33.5 cm | 10 ¼ × 13 ¼ in. Design : Bureau DGC
ISBN 9783906803159
Basile Mookherjee Fully Fueled
Where there was once a desert, cities are now sprawled out for miles and miles, and their parts, as though copy-pasted together, seem to bubble up from the black depths of computer screens. 16-lane highways dictate the urban rhythm and texture here, daily commutes often take several hours. In the Emirates everything happens in and around your car. So it’s little wonder that young Emiratis feel most at home in their cars. Cars symbolize freedom, they can be movable dwellings or temporary autonomous zones, cars are tax-free, and the main thing is to show off with them : your car shows who you are and who you wish to be. Besides being status symbols, cars also serve as a potent means of seduction in a society in which direct contact with the other sex is forbidden. Fully Fueled brings together pictures taken from 2012 to 2014 by the young French photographer Basile Mookherjee, who documented young Emiratis’ nights out and the United Arab Emirates’ 42nd national holiday on the streets of Dubai and Abu Dhabi. Flat, sprawled-out urban deserts, phallic urban geometries, reflecting surfaces and lavish ornamentation form the décor. In the main focus of these photographs are of course the cars, and the view seldom rises above windshield level. The human subjects – the secret stars of the book – traditionally dressed in dishdasha (for men) and abaya (for women), seem as though photographed “through the lens of the car,” as the photographer puts it. Fully Fueled is an over-the-top liturgy composed of the shapes and surfaces of our globalized environment. The book also reflects on the UAE’s abrupt petrodollar-driven modernization and the aesthetic expression thereof in cities that have sprung up amid an essentially nomadic Middle Eastern culture. A world somewhere between desert dust and Gotham City, Islam and spending power, tradition and modernity.
French photographer Basile Mookherjee, born in 1987 in Paris, studied in the UK and Switzerland. He now lives and works in Paris.
EUR 36 | CHF 36 ISBN 978-3-906803-15-9
Nº 215
53
Nº 21 Kurt Caviezel : Red Light Nº 22 Piotr Uklanski : The Nazis Nº 23 Stefan Banz : I Built This Garden For Us Nº 24 Cécile Wick : America
Nº 25 Barbara Davatz : As Time Goes By – Portraits 1982 /1988 / 1997 Nº 28 Stefan Banz : A shot away some flowers
Nº 21
Nº 22
Nº 23
Nº 24
Nº 25
Nº 28
1999
ISBN 9783906803142
Arno Brandlhuber, Christopher Roth, Antonia Steger (Eds.) Legislating Architecture Schweiz
With texts by Arno Brandlhuber, Marc Angélil, Adam Caruso, Tom Emerson, Patrick Frey, Christian Kerez and Christopher Roth in English and German Softcover, 368 pages, 348 images 11.8 × 18.5 cm | 4 ½ × 7 ¼ in. Design : Teo Schifferli
Berlin-based architect Arno Brandlhuber explores the Swiss building code, the “most important book of all for architects,” specifically the relationship between building regulations and architecture. How do certain laws determine architectural possibilities ? How can architects, in turn, shape those laws ? Accompanying an exhibition at the ETH Zürich, Legislating Architecture Schweiz serves as a fragmentary reference book. It retraces the chronology of referendums held in Zürich on architectural issues, shedding light on controversial nationwide referendums as well. Different strategies of bringing influence to bear on the referendums emerge; recurrent conventionalized graphic techniques used on referendum posters, artistically expressed political statements and even protests in the real space of the city go to show there isn’t only a politics of architecture, but also an architecture of politics. The text is interwoven with dialog in the form of Arno Brandlhuber’s conversations with Marc Angélil, Adam Caruso, Tom Emerson, Patrick Frey, Christian Kerez and Christopher Roth.
Arno Brandlhuber is the founder of brandlhuber+ Berlin. He holds the chair of architecture and urban research at the Academy of Fine Arts, Nuremberg and is directing the nomadic masters program a42.org. He is co-founder of the public seminar Akademie c/o, which has been researching on the spatial production of the Berlin Republic. Published in the series of publications STUDIOLO / Edition Patrick Frey
EUR 43 | CHF 43 ISBN 978-3-906803-14-2
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Nº 26 Philipp Tingler : Hübsche Versuche Nº 27 Monika Kiss Horváth : Bar Nº 29 Claudio Walser / Philipp Funk : Tage Buch
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Nº 30 Morphing Systems KLINIK : Morphing Nº 31 Tatjana Gerhard : Herzklopfen
2000
Beni Bischof Texte 2
English and German Softcover, 480 pages 10.8 × 17.7 cm | 4 ¼ × 7 in. Design : Samuel Bänziger
Wild, boisterous and humorous – Beni Bischof’s mises-en-scène of his unbridled creative urges deftly combine all kinds of media, everything from wallsized paintings to filigree drawings and grotesque collages, from surreal objects to outlandish mixed-media sculptures. His trenchant artwork reflects both the banality of everyday life and controversial political issues. Bischof virtuosically leads the viewer out onto thin ice to expose the inner workings of the mass media and the illusions of glamour they manufacture. Psychobuch (2014), his first book to be published by Edition Patrick Frey, was at once an overall view of his copious œuvre and a self-contained artist’s book unto itself. Texte 1 (2015) came out for the presentation of the 2015 Manor Art Prize and an associated solo show at the Kunstmuseum St. Gallen. Texte 2 is the follow-up, another pocket-size volume presenting a mix bag from Bischof’s exuberant collection of headlines, slogans, jokes, junk mail, lyrics, dialogues from movie scenes, aphorisms and a whole lot more – a present-day selection and yet a subjective quintessence of the textual archive he has amassed over the years. Nadia Veronese, St. Gallen, 2016
Swiss artist Beni Bischof, born in 1976 in St. Gallen, where he lives and works.
EUR 16 | CHF 18 ISBN : 9-783-906803-13-5
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Nº 32 Walter Pfeiffer : Welcome Aboard Nº 33 Karen Kilimnik : Paintings Nº 34 Gabriela Gründler : Stars of Suburbia Nº 35 Eric Bachmann : Leutschenbach Karambuli
Nº 36 Geholten Stühle : The Stools Walk the Earth Nº 37 Bruno Steiger : Der Billardtisch Nº 38 Gerold Kunz / Hilar Stadler : Waldhütten
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2001
Elodie Pong Paradise Paradoxe
With texts by Harry Baker, Justin Vivian Bond, Jim Drobnick, Holly Dugan, Jack Halberstam, Rachel Herz, Andreas Keller, Georg Kohler, Chus Martínez, Daniel Morgenthaler, Gayil Nalls and Elodie Pong in English and German Softcover, 296 pages 200 images 19.2 × 26 cm | 7 ½ × 10 ¼ in. Design : Huber / Sterzinger
Eyes can be shut – but there is no off option for the nose. To breathe is to smell. And while visual stimuli only enter our brain via a complex process of neuronal translations, olfactory incentives affect us more directly – and often unbeknownst to us. The invisible architecture that surrounds us is the starting point of artist Elodie Pong’s project. She explores its numerous facets at an interface between fiction and reality, in both an exhibition at Helmhaus Zürich (March 11 to May 16, 2016) and in the space of this publication. Fragrances are quintessential signifiers and metaphors for the liquidity of our times. Subtly involved in every aspect of culture, smell plays an ungraspable role as an unspoken connection between people, objects and places. It acts as a sort of invisible communication tool. Perfume and scent drift across the boundaries that normally divide fields as disparate as marketing, identity politics, history, philosophy, scientific ethics and method, neurology, genetic modification, globalization, and sexuality and gender issues. This book interconnects disciplines to reflect upon the complex role of scent as a fluid vector of identity, myth and memory, post-evolutionary science, body-synthesis, capitalism, power and branding. “Bandit” – once Elodie Pong’s favorite fragrance – has been described as the perfume that “makes being bad smell good”. Disguise, declaration, subversion – are we led by the nose ? Or does the olfactory rather offer the potential for positive change ?
Paradise Paradoxe is co-produced by Edition Patrick Frey and Helmhaus Zürich.
EUR 52 | CHF 52 ISBN 978-3-906803-01-2 (EN) ISBN 978-3-906803-12-8 (DE)
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Nº 42 Nº 39 J.-F. Schnyder : Zugerstrasse / Baarerstrasse 1999 – 2000 Nº 40 Teresa Chen : Welcome to Polkamotion with Ma and Pa Chen Nº 41 Roman Keller / Barbara Wiskemann : EXPOMAT
Nº 42 Ingo Giezendanner : GRR8 : Zürich Nº 43 Andreas Dobler : Argovian Sun Nº 44 Erik Steinbrecher : Gras
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2002
9 783906 803111
Gina Bucher (Ed.) Female Chic. Thema Selection – Story of a Fashion Label
With texts by Elisabeth Bronfen, Katharina Tietze, Martin Jaeggi, Jacqueline Burckhardt, Laurence Frey, This Brunner, Sibylle Berg, Walter Keller, Bice Curiger, and many more. With an insert by Ursula Rodel. in English and German Softcover, 624 pages 400 color images 22.8 × 30 cm | 9 × 11 ¾ in. Design: Naima Schalcher
EUR 70 | CHF 70 978-3-905929-87-4 (DE) 978-3-906803-11-1 (EN)
N° 187 N° 211
90000 >
The fashion label Thema Selection and its outlet in Oberdorf, a Zürich neighborhood, made quite a splash back in the 1970s in the placid city along the Limmat River. The label attracted notice with its unique style and eccentric fashion shows, and the shop itself became a favorite haunt of Zürich’s arts scene over the years. The shop and label creators Katharina Bebié, Ursula Rodel and Sissi Zoebeli were joined a few years later by Elisabeth Bossard, then Christa Derungs, and now Sonnhild Kestler. Their plainly-cut work clothes for women made from men’s fabrics, garments that play on their androgyny, were way ahead of their time when first displayed at their original shop at Weite Gasse 9: in those days, most women dressed either like hippies or staid matrons. For two years the shop hardly drew any business, until in 1974 Vogue magazine wrote rapturously about the avant-garde fashion in Oberdorf. The three fashion shows that followed were the talk of the town, bolstered by headlines about international movie stars outfitted by Ursula Rodel and Sissi Zoebeli, as well as plenty of urban legends – which, unfortunately, can’t all be cleared up within the scope of this book. For who these women from Thema Selection were varies from one account to the next: sometimes it was the same configuration for years, then the lineup changed again. The official membership of this creative undertaking was never decisive, it was a shared can-do business credo that really mattered. The backdrop to the history of this avant-garde enterprise is recounted here by the shop’s founders as well as their companions along the way, who were then, and remain to this day, part of that special zest for life.
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Nº 45 Philipp Tingler : Ich bin ein Profi Nº 46 Anne-Lise Coste : NON
Nº 47 Andreas Züst : Roundabouts (DE) Nº 48 Christian Lanz : Strahlende Lider
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2003
Nik Emch, Laurent Goei MINIMETAL 11 MANTRAS
With 11 lyrics in English With QR codes to 37 videos and 44 sound recordings Softcover, 260 pages 307 images 21.5 × 27.5 cm | 8 ½ × 10 ¾ in. Design : Minimetal
22 years ago, Nik Emch and Laurent Goei formed the Zürich-based artist duo Minimetal. They produce musical visual art projects and play both underground venues and white-roomed art galleries. Their “sound sculptures” are a veritable torrent of guitar sounds, drums, vocals – and images. A torrent that has been carrying audiences off into a hypnotic stratosphere for 22 years now. Minimetal is punk, rock, art and above all : a lifetime project. Back in the early ’90s Emch and Goei composed 11 songs with the idea of playing what they call “Minimetal” : a mini-band, just the two of them, but with plenty of power and metal. To this day they’ve stuck to these 11 songs, which have become their mantras, reinterpreted over the years in highly produced or rough and unfinished renditions ranging from pop and punk to noise and techno. How and why have remained crucial questions as their discussions and arguments in the studio have become part of the show. From the get-go, the duo steered clear of the usual rock show arenas, rarely, if ever, performing on stage. This eschewal of “maxi” venues gave Minimetal plenty of latitude to explore new ways of performing and recording, which invariably led to the art scene and now to an artist’s book. MINIMETAL 11 MANTRAS isn’t just a journey back across 22 years of Minimetal’s multi-media œuvre, but a journey through the history of sound quality as well. This photobook is illustrated with QR codes, “quick response” codes you can scan with a smartphone for direct access to 13 hours of audio and video content on the web, which makes this book a sound and video carrier as well.
Nik Emch (b. 1967 in Bern) lives and works in Zürich and Berlin. Laurent Goei (b. 1964 in Lausanne) lives and works in France and Switzerland.
EUR 60 | CHF 60 ISBN 978-3-906803-09-8
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Nº 49 Christian Schwager : Falsche Chalets Nº 50 Anoushka Matus : The Light on Your Face Warms My Heart Nº 51 Marcel Gähler : Bleistift auf Papier / Pencil on Paper
Nº 53 F. Rothenberger : I Don’t Know Where I’m Going, but I’m on the Way Nº 54 F. Eggelhöfer / M. Lutz : Die schönsten Tea Room der Schweiz
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2004
Peter Radelfinger Sowohl als ob
With texts by Peter Radelfinger in German Softcover, approx. 450 pages Approx. 1000 images 17 × 24 cm | 6 ½ × 9 ½ in. Design : Sandro Wettstein, Jonas Vögeli
This book presents a wide range of artistic working processes that Peter Radelfinger developed and implemented together with students in various disciplines during the many years he taught at Zurich University of the Arts : several series of elementary (to begin with, drawing and performing) exercises, strategies and techniques of working with images, researching, artistic actions and complex artistic projects. Radelfinger tries to lay down precise coordinates that will serve to broaden his students’ perceptions and understanding of art, routinely setting parameters that establish a “minimal order” within which they’ll have maximum room for maneuver. Radelfinger combines his idiosyncratic artistic approach with his pedagogical and didactic know-how. Not for nothing does he insist his teaching is part and parcel of his artistic practice. This book, in turn, sets about creating a “minimal order” for the next playful round of artistic consciousness expansion. Serving neither as documentation of Radelfinger’s courses nor as conventional teaching material designed to put across a specific method, this is an exciting handbook that provides plenty of food for further reflection – and action. This book comprises multiple pictorial and textual levels : it’s a montage of (outside) texts and pictures with cross-references and background information about everyday life as well as (contemporary) art and art history. The texts and pictures are interlinked with a view to opening up new avenues of thought. The images do not show completed works, they document working processes and designs for the most part produced in class.
Peter Radelfinger, born 1953, is a Swiss artist and professor. He lives and works in Zürich.
EUR 70 | CHF 70 ISBN 978-3-906803-08-1
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Nº 55 Max Küng : Einfälle kennen keine Tageszeit Nº 56 Pietro Mattioli : 1977 Nº 58 Andro Wekua : That Would Have Been Wonderful
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Nº 59 Anne-Lise Coste : Poemabout Nº 60 Karen Kilimnik : Kirschgarten
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2005
Andreas Tschersich peripher
Hardcover, approx. 240 pages Approx. 90 color images 33.5 × 25.5 cm | 13 ¼ × 10 in. Design : Guillaume Mojon
The eponymous “peripher” functions in the works of Andreas Tschersich, a Swiss artist based in Berlin for 14 years now, as a structural, aesthetic and mental moment. It refers to places of transit and transition that defy unequivocal classification, standardization and demarcation. Tschersich portrays cityscapes in which people, upkeep, habits and uses always remain hidden. The tenor remains the same regardless of whether the scene is set in Charleroi, Liverpool, New York or Tokyo. Tschersich’s pictures are universal and never seem foreign or forbidding, but ever familiar in their everyday banality, even to those who’ve never been there before. Tschersich is always on the lookout for motifs, to be sure, but sometimes they just come to him by serendipity. He is a master of the art of losing his way and making the most of that lost state as a creative moment. As he roams the city, sometimes it’s simply there all of a sudden : that feeling he seeks to convey in his photographs. It is the perception of that touch-and-go moment when everything hangs in the balance, the instant before a fateful decision is to be reached : dereliction or gentrification, danger or safety. Anything can happen to Tschersich’s locations. He is averse to calling his pictures architectural photographs or seeing any direct ties to Bernd and Hilla Becher’s work, although his own work is clearly in line with the photographic tradition of recording man’s relationship to his (built) environment since the second half of the 20th century. In order to keep as close as possible to the “human gaze”, the experience of an instant, he makes use of a method of digital montage invisible to the viewer. He puts several medium-sized negatives together to form one big picture in order to portray larger sections without distorting the perspective, which would be inevitable in a mechanically constructed single-shot exposure using a large format camera. In a word, Andreas Tschersich makes use of technology not to falsify reality, but to “cling to it as closely as possible”.
Andreas Tschersich was born in 1971 in Biel-Bienne in Switzerland. He now lives and works in Berlin.
EUR 60 | CHF 60 ISBN 978-3-906803-07-4
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Nº 61 Holger Salach : Alles kann, nichts muss Nº 62 / Nº 68 Lurker Grand : Hot Love – Swiss Punk & Wave 1976 – 1980
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2006
Clemens Marschall / Klaus Pichler Golden days before they end
Photographs by Klaus Pichler With texts by Clemens Marschall Hardcover, approx. 250 pages Approx. 120 images 28 x 22 cm | 11 × 8 ½ in. Design : Roland Hörmann
They still exist, these little cafés, inns, Branntweiner [small drinking places that open early in the morning], bars or – as the customers refer to these places – dens, where time seems to have stopped. If you pass by, you hear loud laughter through the half open door – and only very few walk in. Too often, these places appear in the media with reports of a fight or a stabbing between friends over a misunderstanding during one of their drinking sessions. Klaus Pichler (photos) and Clemens Marschall (text) chose not to walk by, but to walk in those places, in order to document these parallel universes. Pichler took photos of the guests, the daily grind, craziness and high drama of it all; Marschall interviewed the owners to get their perspective. For many customers, these are the only places they find somebody to talk to. Most of the time, the whole bar takes part in one conversation. These are substitute families with their own daily rituals. Barter trades flourish and people take care of each other; small circles you can only join after a certain probation time. But once you’ve joined the family, you stick together and you drink together – all day, every day … Branntweiner open at five in the morning, other cafés at 9am, some open in the afternoon or the evening to provide a 24-hour service for the older drinking generation. The furnishings often date from the 1960s, and some customers have been coming for as long. The only sign betraying the ravages of time, is people dying. And with them, these drinking dens. Pichler and Marschall went on a mission to find, document and explore the last of these refuges for a dying drinking generation. On countless wanderings through Vienna they found some of these places in their final throes. The book is a swan song for these bars that have shaped their customers’ existences for decades, places that are soon to disappear forever.
Klaus Pichler (born in 1977) and Clemens Marschall (born in 1985) both live and work in Vienna, Austria.
EUR 52 | CHF 52 ISBN 978-3-906803-05-0 (DE) ISBN 978-3-906803-06-7 (EN)
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Nº 63 Christian Schwager : My Lovely Bosnia Nº 64 Andreas Züst : Fluoreszierende Nebelmeere / Fluorescent Seas of Fog Nº 65 Fabian Biasio / Margrit Sprecher : Die Mitte des Volkes
Nº 66 Walter Pfeiffer : Cherchez la femme! Nº 69 Gabriela Gründler : My Things Nº 70 Peter Regli : Reality Hacking 256-001
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2007
Alan Reid Warm Equations
Edited by Rachel Valinsky. With texts in English by Matthew Brannon, Corinna Copp, Jill Gasparina, Kristen Kosmas, Ella Kruglyanskaya, Lisa Robertson, Chris Sharp, Rachel Valinsky, Jamieson Webster Softcover, approx. 200 pages Approx. 50 images 17.6 x 25 cm | 7 × 9 ¾ in. Design : Brian Paul Lamotte
Warm Equations is a monograph that’s not a monograph : a study of an unstable, mercurial subject. Taking the paintings of New York-based Alan Reid as a cypher, the book pivots around the artist’s deferral of authorial closure, shifting the emphasis from his work to a multiplicity of voices and contributors. Rushing in from offstage, these voices pronounce their own concerns, setting textual tempos and rhythms that run amok non-hierarchically, catching on to or installing their own ambient metaphors. Set among Reid’s images, each text constitutes a voice within a splintered chorus. The dramaturgical chorus, traditionally united in its simultaneous interventions, here operates on discrete registers. The ideal audience, the selfsame guide, the judge and jury of ever evolving ethical ploys, the personification of narrative, the analyst, a reminder of social imperative, a road to the gods … The chorus shares in the action, but only by marking its enunciation as interlude, as arbitrated pause. Warm Equations assembles such interludes, recasting the figure of the protagonist as always already necessarily multiple.
Imagine you and I, Reid and reader, nymph and faun, our prowling halt and frozen. The chorus overtakes the theater.
It is published on the occasion of Alan Reid’s May 2016 exhibition, In Heat, at Lisa Cooley, New York. Artist Alan Reid, born 1976 in Texas, is now based in New York.
EUR 52 I CHF 52 ISBN 978-3-906803-04-3
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Max Küng : Buch Nº 2 Christoph Hänsli : Mortadella Marianne Mueller : The Proper Ornaments Anne-Lise Coste : Remember
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Roth Stauffenberg : Based on a True Story Jussi Puikkonen : On Vacation Christoph Fischer Teufelskreis Kreuzstutz Eggelhöfer / Lutz : Gut Holz
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2008
Billy Sullivan Still, Looking. Works 1969–2016
With texts by William J. Simmons and Linda Yablonsky in English Hardcover, 296 pages 396 images 30 × 23.5cm | 11 ¾ × 9 ¼ in. Design : Marietta Eugster
Since the early 1970s Billy Sullivan has accompanied New York’s underground, art and fashion scenes with his camera, using the resultant photographic material as templates for oil paintings, pastel drawings and elaborate multipart slideshow installations. Sullivan shows his friends, family, lovers and muses, as well as the worlds and demimondes in which they move : clubs, ateliers, rumpled hotel rooms and elegant beach houses. In Sullivan’s imagery, which dispenses with any chronological order, the underground scene, the cultural elite and high society are always very close together, as are surface and abyss, the lust for life and the transience of youth. This distillation of Sullivan’s photographs, paintings and drawings showcases an ongoing dialogue between camera and paintbrush that characterizes his work. Sullivan’s pictures are intimate, sensual and minutely observed. In his latterday paintings, moments captured by his camera forty years back look as though they’d taken place only yesterday, defying the passage of time. They are unabatedly existential in their painstaking observation of casual beauty, desire and love in their every facet – between family members, lovers, fly-by-night acquaintances and kindred artistic spirits. Sullivan succeeds in doing wholly without shock effects, voyeurism, irony and maudlin melancholy. The key to his work lies in the sincerity with which he approaches his subjects and to which they respond in kind. He juxtaposes images without comment or value judgment, piecing them together into a visual autobiography that is at the same time a chronicle of bohemian New York.
Billy Sullivan was born in 1946 in New York, where he still lives and works.
EUR 70 | CHF 70 ISBN 978-3-906803-03-6
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Nº 78 Daniela Comani : Neuerscheinungen, hrsg. von Daniela Comani Nº 79 Olivia Heussler : Der Traum von Solen tiname / The Dream of Solentiname
Nº 80 Klaudia Schifferle : Eingeblaut Nº 81 Patrick Graf : Episoden aus dem Ypsilon’schen Zeitalter Nº 83 Taiyo Onorato / Nico Krebs : The Great Unreal
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Nº 84 Hannes Schmid : Rockstars Nº 85 PierLuigi Macor : Zukunft Nº 86 Elmar Mauch : Die Bewohner
2009
Marie-Isabel Vogel, Alain Rappaport (Eds.) Maximilian Stejskal – Folklig idrott
With texts by Maximilian Stejskal, Marie-Isabel Vogel and Alain Rappaport in English Hardcover, 120 pages 74 b/w images 25.5 × 35 cm | 10 × 13 ¾ in. Design : Prill Vieceli Cremers
Maximilian Stejskal (1906-1991), an ethnologist and gymnastics teacher from Helsinki, carried out a study for his PhD thesis on “folk athletic” contests amongst Finland’s Swedish-speaking male rural population in the early 20th century. For his study Stejskal biked across large swaths of southern and eastern Finland as well as Estonia for a month or two every year from 1929 to 1937 and then again in 1948, equipped with two bellows cameras and a box of photographic glass plates. On these excursions he systematically collected information about the traditional games, or “folk athletics” as he calls them, which were hardly practiced anymore even then. For the most part elderly farmers and craftsmen would tell him in detail about the exercises and tests of strength and courage with which they had tried to prove their virility in their younger days. According to these descriptions, their sons, relatives and farm hands were asked to perform the exercises in front of the camera so Stejskal could photograph them. During his field research, which took over 20 years, Stejskal amassed a considerable collection of documentation, which he divided up into 11 different sections, one for each excursion. It comprises over two thousand handwritten pages of travelogs, descriptions of exercises, tables, sketches, musical and phonetic recordings and 433 photographs. This book focuses on a small selection of those photographs.
Marie-Isabel Vogel and Alain Rappaport are artists and scenographers based in Zürich.
EUR 52 | CHF 52 ISBN 978-3-906803-02-9
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Lily’s Stomach Supply (ed.) : I Grew up on the Back of a Water Ox Nicole Zachmann : Fish of Hope Olivia Heussler : Zürich, Sommer 1980 Thomas Kern : A Drug Free Land
Nº 91 Dawn Mellor : The Conspirators Nº 92 A.C. Kupper : Revolutionäre Mittelklasse Nº 94 Mats Staub : Meine Grosseltern /My Grandparents Nº 101– Nº 111 Georg Diez / Christopher Roth : 80*81 (Vol. 1–11)
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2010
Ramin Haerizadeh, Rokni Haerizadeh and Hesam Rahmanian Her Majesty ?
Hardcover, 370 pages, 385 images 28 × 39 cm | 11 × 15 ¼ in. Design : Teo Schifferli Reproductions and image processing : Michel Gilgen
2012 was the 60th anniversary of Queen Elizabeth II’s reign, an XL jubilee fêted by Taschen Verlag with an XL coffee table book. And now for a new version of Her Majesty : three Iranian artists, Ramin Haerizadeh, Rokni Haerizadeh and Hesam Rahmanian, have utterly overhauled the book. The extraordinary life of the world’s most famous monarch now blossoms forth in majestic satire : the queen becomes a drag queen, the royal house Animal Farm, and the royal insignia mere stage props and rickety state coaches. This isn’t heartless of the Iranian trio by any means, though, for they’re actually helping the Queen to a life chock-full of absurdity beyond ritual and representation. Then again, does she even want all this freedom ? Her Majesty ? is a delirium of caustic wit, a cornucopia of waggish brainwaves and a grandiose masterpiece of draftsmanship and the art of collage. Daniel Baumann, Director of the Kunsthalle Zürich, 2015
Ramin Haerizadeh (b. 1975), Rokni Haerizadeh (b. 1978) and Hesam Rahmanian (b. 1980) are living in exile in Dubai. In 2015 they exhibited at several venues, including the Kunsthalle Zürich and the Institute of Contemporary Art in Boston. Each copy comes with a handmade cover for this limited edition of only 600 copies.
EUR 180 | CHF 180 ISBN 978-3-906803-00-5
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H.-U. Schlumpf : Armand Schulthess. Rekonstruktion eines Universums Robert A. Fischer : Ich / Buch-stabendrescher etc. Roswitha Hecke : Irene
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Nº 97 Rico Scagliola / Michael Meier : Neue Menschen Nº 98 FUZI UV TPK : Ma Ligne Nº 99 Oliver Perrottet : TAXI Nº 100 Andreas Züst : Himmel
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Merja Salo : Carscapes huber.huber : Universen Lutz&Guggisberg : Loch im Spiegel Gauri Gill : Balika Mela Rudolph Jula : Slow Travelling – Auf dem Weg nach Damaskus
2011
Fabian Marti Bilder 2005–2016
With texts by Erik Davis and Paul J. Ennis Hardcover, 224 pages, 200 images 21 x 31.5 cm | 8 ¼ × 12 ½ in. Design : Teo Schifferli
This book is a trip. A trip through the visual realms of the artist Fabian Marti. Its prevailing cosmic black is subtly accentuated now and then by color : the milky white of mountain crystal, the raw dun of rock caves, the sandy beige of pillared Greek ruins. Or color as a by-product of alchemistic photogram processes. The shapes are original and familiar. Marti reinterprets symbols and reviews the cultural history of modernity and beyond. A journey through time as past and present blend in simultaneity. Digital and analog united. Scanned objects revealed : mushrooms, stones, toast, a pair of hands. And modified pictures from outside sources. This is a book about altered states of consciousness triggered by substances and shapes. It’s about spiritual views and mystical experiences – and their negation. Not somber, not sad, not heavy, but contemplative and awake. An oscillation between yes and no. The picture section is rounded out by essays by Erik Davis and Irish philosopher Paul J. Ennis.
Fabian Marti was born in 1979 in Fribourg. He lives in Zürich and Los Angeles.
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Andrea Heller : Die Wurzeln sind die Bäume der Kartoffeln Martin Guggisberg : Miss Lurker Grand / André Tschan : heute und danach Carolina E. Santo / Véronique Hoegger : Buchs
Nº 123 Nº 124 Nº 125 Nº 126
Luca Schenardi : An Vogelhäusern mangelt es jedoch nicht Marcel Gähler : Nie ist die Nacht so dunkel wie in der Kindheit Walter Pfeiffer : Scrapbooks 1969 – 1985 Jon Naiman : Familiar Territory
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Nº 127 Fredi Fischli / Niels Olsen : Trix + Robert Haussmann Nº 128 Georg Diez / Christopher Roth : 2081
2012
Patrick Boschung, Daniel Fontana, Stefanie Mauron, Adeline Mollard, Katharina Reidy (Eds.) Bad Bonn Song Book
With texts by Conrad Lambert, Chan Marshall, Benedikt Sartorius and Christophe Schenk in English, German and French 528 pages, 264 images 21 x 29.7 cm | 8 ¼ x 11 ¾ in. Design : Adeline Mollard, Katharina Reidy
Seeing as notes are generally the best way of putting music on paper, this publication, celebrating the 25th anniversary of the Bad Bonn music venue in Fribourg, takes the form of a song book. Then again, since hardly any of the bands that play there actually notate their music, it’s an unusual song book that’s likely to appeal to laymen as well. For two and a half years, artists performing at the Bad Bonn were asked to put their songs on paper. The results proved as diverse as their musical styles and personalities, including everything from sheet music and lyrics with guitar tabs to photos and drawings, it’s all there. The contributions show a side of the musicians’ creativity that doesn’t show on stage or on their recordings. Café Bad Bonn in Düdingen, a small town in the Fribourg canton of Switzerland, was once a health resort and spa, but for nearly 25 years now it’s been a magnet for mobile music lovers by the lake Schiffenensee. Where Bonnstrasse comes to an end in the middle of nowhere stands a building. Behind its modest, almost staid, exterior is a venue with a surprisingly diverse lineup of artists you might see billed in London, Berlin or Paris. Whether metal, antifolk, country, electronica, indie or hip hop, there’s room here for every niche and fringe in the popular music scene. Some 2500 bands have played this little stage since 1991, including big names like My Bloody Valentine, Bonnie Prince Billy, The Prodigy, Queens of the Stone Age, Ministry, Cat Power, The Young Gods and plenty of other international and local bands. Its club concerts aside, the highlight of the year is Bad Bonn’s annual Kilbi Festival. Acclaimed “Switzerland’s best festival” by renowned music critics and cultural journalists, the event has become a permanent fixture of the nation’s performing arts program.
EUR 70 | CHF 70 ISBN 978-3-905929-98-0
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PENSIVE RACING DRIVERS
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Michael Blaser : Mittelland Michael Günzburger : Plots Lisa Meier : Funeral Fashion in Ghana David Küenzi : Zustandsaufnahme Sebastian Heeb : Zulu Romeo Hotel Max Küng : Pensive Racing Drivers
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Maurer / Riboni : How pictures find houses (…) KCBR : LIVE LIFE LIKE Keiichi Tanaami : NO MORE WAR David Renggli : 25% Painting Nicola Carpi / Martin Schaer : I Like Nsima and Fish Catherine Ceresole : Beauty Lies in the Eye
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MICHAEL GÜNZBURGER
PLOTS
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Marc Elsener : Bärte aus dem Jenseits H. R. Giger : Alien Diaries / Alien Tagebücher Marie Angeletti : Fabricants Couleurs Luciano Rigolini : Private/Used Yi / Lord / Soskolne / Rodriguez : The Politics of Friendship
2013
Michele Sibiloni Fuck it
With a text by David Cecil in English Softcover, 128 pages 66 images 17.7 × 25 cm | 7 × 9 ¾ in. Design : Sidi Vanetti
Street-walkers, good-time girls, vagabonds, village fools, rastas, pimps, drunken expats, drunken locals, drunken everybody, underpaid guards, overworked bouncers, old-timers, orphans, urchins, beggars, hoodlums, hustlers, grasshopper vendors, all kinds of cops, NGO workers and back-alley exorcists. Some Peace Corps blogger once described Kabalagala – Kampala’s most deliciously sleazy bar district – as ‘Tijuana on acid’. Uganda has successfully presented itself to the international community as a responsible, progressive site for aid and development for nearly three decades now. In 1986 the country emerged from an 8-year civil war, following a 7-year dictatorship, following 70 years of exploitative colonial rule. It was the epicentre of the AIDS pandemic, though you wouldn’t guess that from the outrageous promiscuity of its urban dwellers. The rich, pungent variety of images in this book will elicit a range of reactions : pity, disgust, uncertainty, titillation – natural responses to such beautiful horrors. The stories told by these grimy vignettes are at once a cartoon strip and an archive of the ephemeral, an African symphony and a third-world catastrophe, a naughty grope and a guilty giggle. This is the noir : the fallen angels of debauchery and desperation. This is the future : brazen young things with money to burn – all poolside parties and bleach-blonde hair. This is the past : askaris with arrows, women with burdens, military junta in open jeeps. This is contradiction : a city of Puritan alcoholics, prostitutes giving love for free, perverted aid workers, developing that arse. This is a disgrace : a security guard on $1/day, a corrupt ruling class passing laws on morality, a white man who’s pissed his pants. David Cecil
Michele Sibiloni (born in Parma / Italy in 1981) lives and works in East Africa. His editorial work has been published in The New York Times, The Wall Street Journal, Vogue Italy, and many more.
EUR 43 | CHF 43 ISBN 978-3-905929-97-3
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Nº 160 MAYA ROCHAT CRYSTAL CLEAR EDITION PATRICK FREY 156 MAYA ROCHAT CRYSTAL CLEAR EDITION PATRICK FREY 156 ISBN: 978-3-905929-56-0 First edition 2014 Graphic design Niels Wehrspann Thanks to my family Philipp Hachenberg Otis Bergemanund Rock & Wrestling Daniel Suter Jérôme SchaeferPhilippe Gerlach & Talin Mehdi Bechler Jonathan Roy Otis Bergenund Rock & Wrestling Daniel Suter Jérôme Schaefer Daniel Suter U5 ECAL With the support of
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Nº 154 Nº 148 David Weiss : Nine Books 1973 – 1979 Nº 149 Beni Bischof : Psychobuch Nº 150 G. Wolfensberger : Suzanne Perrottet – Bewegungen /Movements Nº 151 Erik Steinbrecher : MONDFOTOGRAFIE Nº 152 Daniela Comani : A Happy Marriage Nº 156 Maya Rochat : Crystal Clear
Nº 154 Bochsler /Bochsler : The Rendering Eye : Urban America Revisited Nº 155 Damian Christinger / Museum Rietberg : Das Fremde ist nur in der Fremde fremd Nº 157 Luciano Castelli : Self-Portrait 1973 – 1986 Nº 158 Karen Kilimnik : Photographs Nº 159 Giuseppe Micciché : Cento Passi
castel i self-portrait
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Nº 169 Nº 160 William Leavitt : THE PARTICLES (of White Naugahyde) Nº 161 Adi Kaplan / Shahar Carmel : The Diary of Lev Afor Nº 162 Susanne Meyer : Are you kidding Nº 163 Anne-Lise Coste : Où suis-je Nº 164 / 165 Eric Bachmann : Muhammad Ali, Zurich, 26.12.1971 Nº 166 Marianne Mueller : STAIRS ETC Nº 167 Fredi Fischli / Niels Olsen : Ashley Bickerton – Susie
Nº 168 Jürg Halter / huber.huber : Hoffentlich verliebe ich mich nicht in dich Nº 169 Bieke Depoorter : I Am About To Call It a Day Nº 170 David Weiss : Die Wandlungen
2014
Distribution Switzerland
Germany / Austria
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Edition Patrick Frey Limmatstrasse 268 CH - 8005 Zürich T +41 (0)44 381 51 02 wismer@editionpatrickfrey.ch
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Nº 180 Gundi Feyrer
27 DICKE BILDER UND FLIEGENDE SAETZE
Edition Patrick Frey
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Nº 189 Thomas Müllenbach ORIGINALE
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Nº 181
Edition Patrick Frey
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Salon Moderne
Nº 188 Menschen Tiere Andreas Züst
Abenteuer
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Weinberg & Co : Haussmann für Weinberg Corina Flühman : Weststrasse F. Rothenberger : I love to dress like I am coming from somewhere Cameron Jamie : Front Lawn Funerals and Cemeteries Gundi Feyrer : 27 dicke Bilder und fliegende Sätze Lurker Grand : Die Not hat ein Ende
Nº 178 J.P. Maurer /R. Müller : Morgan Is Sad Today Nº 179 Barbara Davatz : As Time Goes By 1982 1988 1997 2014 Nº 180 Peter Radelfinger : Falsche Fährten Nº 181 Luciano Rigolini : MASK Nº 182 Beni Bischof : Texte Nº 184 Claudio Cambon : Shipbreak Nº 185/186 Olivier Suter : Jean Tinguely. Torpedo Institut
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Gina Bucher : Female Chic. Hilar Stadler : Gasoline and Magic Paweł Szypulski : Greetings from Auschwitz Thomas Müllenbach ORIGINALE Prill Vieceli Cremers : Money Fabienne Eggelhöfer / Monica Lutz : Salon Moderne Andreas Züst : Menschen Tiere Abenteuer
Nº 194 Aaron Flint Jamison : Cascades Nº 195 Albert Oehlen : In der Wohnung Nº 196 Bob Nickas 69 / 96
2015
Publisher
Catalog 2016
Edition Patrick Frey Limmatstrasse 268 CH - 8005 Zürich
Concept Marietta Eugster, Andreas Koller and Maximage
T +41 (0)44 381 51 02 mail@editionpatrickfrey.ch www.editionpatrickfrey.com
Design Marietta Eugster and Maximage Coordination Gloria Wismer Translations Eric Rosencrantz Typeface Theinhardt Regular Print Kösel GmbH
www.editionpatrickfrey.com