Edition Patrick Frey Catalog 2019

Catalog 2019

Catalog 2019

Edition Patrick Frey

The Swiss-American graphic designer, musician, The multimedia artist Mike Hentz (b. 1954, New photographer and performance artist Mike Hentz Jersey, USA) grew up in America and Europe and ranks among the pioneers of new media art. He now lives and works in Berlin. 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 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 taken 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 oeuvre.

Nº 221

ISBN 978-3-906803-21-0 Mike Hentz WORKS 7

in English

Hardcover 304 pages 270 images 21 x 19.7 cm

Design: Teo Schifferli

EUR 70 I CHF 70

Walter Keller founded the cultural magazine Der Alltag — Sensationen des Gewöhnlichen in 1978, the art magazine Parkett in 1984 together with Bice Curiger, Jacqueline Burckhardt and Peter Blum, the photobook publishing house Scalo — Books and Looks in 1991, and the Fotomuseum Winterthur in 1993. An impressive record, to be sure, and yet it pales beside the exuberant creativity, curiosity, inspiration and energy with which for nearly forty years Walter Keller fascinated, nonplussed and motivated friends and foes alike, journalists and gallerists, curators and photographers, graphic designers and collectors — often very nearly driving them to distraction with his relentless tenacity.

On the night of September 1, 2014, Walter Keller died suddenly in the midst of preparations for exhibitions on Friedrich Dürrenmatt and the Cold War, as well as on contemporary Chinese photography and a thousand other ideas.

Walter Keller was a publisher, motivator, magazine maker, mentor and networker. But above all he was a much-loved friend and inspiring companion. This book does not seek to explore or explain what he did, but how and why he turned his surroundings into exhibits in his very own world’s fair.

Edited, backed, curated, written and produced by people whose lives were changed and enriched

by Walter Keller, this book is not a chronology of his œuvre, but an impressionistic patchwork, a subjective selection of testaments to his unbridled originality.

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ISBN 978-3-906803-36-4 Walter Keller — Beruf: Verleger Martin Jaeggi, Urs Stahel, Miriam Wiesel (eds.)

Design: Hanna WilliamsonKoller

Texts by Bice Curiger, Regina Decoppet, Nan Goldin, Martin Heller, Martin Jaeggi, Liz Jobey, Friedrich Meschede, Michael Rutschky, Joachim Sieber, Andreas Spillmann, Urs Stahel, Nikolaus Wyss in German

Softcover 432 pages 600 pages 19.2 x 25.7 cm

EUR 52 I CHF 52

Judging from old photographs, you’d think Susi Wyss (b. 1938) was an angel in satin, but the look in her dark-ringed eyes tells a different story. Susi’s richly illustrated memoirs, Guess Who Is the Happiest Girl in Town, are the stuff that elsewhere dreams are made of.

After studying fashion design in Zürich, Susi met an aristocratic couple in Saint-Tropez who initiated her into the world of the European jet set.

All the hype and hoopla around the “high life” may seem tasteless and insipid nowadays, but the way Susi sashayed through it back in the day was so exciting and outrageous that artists like the Swiss Manon and photographers like June (alias Alice Springs) and Helmut Newton immortalized her in books and magazines as a feminist spearhead of sexual liberation.

She used to hold extravagant dinner parties in her apartment for the Parisian smart set. In addition to her delectable home cooking, Susi recounts, “hashish, acid, mescaline, cocaine, threesomes, S&M, massages in the rooftop paddling pool and lots of fun were on the menu”. Her friends included Paul Getty, Baron Eric de Rothschild, Kenneth Anger, Iggy Pop, Dennis Hopper, the beat Brion Gysin and the fashion illustrator Antonio Lopez.

It wasn’t until her mid-thirties that Susi cashed in on her lifestyle and began working as a call girl, building up an illustrious clientele that included big wheels in politics, business and the arts. Before long she was overwhelmed by the demand and had to recruit other young beauties to satisfy her burgeoning business. In a flash Susi had become an internationally renowned madam.

Spanning the first forty years of Susi Wyss’s life, Guess Who Is the Happiest Girl in Town also reveals the darker side of her life story: the loss of youth, the deaths of near and dear ones, and the tipping point at which drugs and alcohol ceased to be merely fun.

At forty, however, she quit her call-girl career and began writing about her life. If the Dutch “Happy Hooker”, the Manhattan madam Xaviera Hollander “could make money with a book about sex,” she figured, “why can’t I?” So if Susi’s sensually slapstick stories don’t strum your heartstrings, they strike much lower, below the belt.

Nº 251

ISBN 978-3-906803-51-7 Susi Wyss Guess Who Is the Happiest Girl in Town

in English

Design: Frank Hyde-Antwi, Katarina Lang

Hardcover 840 pages 203 images 15 x 23 cm

EUR 52 I CHF 52

Gustav Mesmer, the “Icarus of Lautertal”, as he came to be known, was born in the village of Altshausen in Upper Swabia in Germany in 1903. He had to leave school early to work on farms as an indentured child laborer. “Where school miscarries, one’s whole life takes a roundabout route,” he wrote later. Then he entered a Benedictine monastery: “I endured six years in Beuron Abbey until all the heavenly glory crumbled away. I fell ill, half mentally deranged, got sent away, back to where I was from.” Back in his native Altshausen, he stormed into the church and proclaimed the whole thing a fraud. Diagnosed with “gradually progressing schizophrenia”, he was locked up in Bad Schussenried mental hospital, where he worked as a basket weaver and bookbinder. In 1932, he happened upon a report in the library on the invention of a flying bicycle. The resulting obsession would stay with him his whole life. He built human-powered flying bicycles that were supposed to take to the air.

His repertoire also included other flying machines, speaking machines and musical instruments. He made countless drawings and diagrams and wrote poetry and prose. His œuvre is an inexhaustible world unto itself, now presented in full to the public for the first time.

Gustav Mesmer died in 1994 and is now regarded as an outstanding outsider artist.

Nº 273

ISBN 978-3-906803-73-9 Gustav Mesmer, Ikarus vom Lautertal genannt

Stefan Hartmaier (ed.)

This book includes essays by Lucienne Peiry, Juliane Stiegele and Franz Xaver Ott, as well as photographs by Franco Zehnder and Stefan Hartmaier.

Texts by Franz Xaver Ott, Lucienne Peiry, Juliane Stiegele in English, German and French

Design: Stefan Hartmaier

Hardcover 550 pages 400 images 22 × 28 cm

EUR 83 I CHF 83

Stories of Little and Big Blossoms is about such emotional ordeals as being a stranger in a strange land or losing a loved one, told from the perspective of children. Elham, for instance, a little girl from Iran, has to start over again in Germany, where everything — starting with the streets, buildings and playgrounds of the new city — is alien to her. And at school she feels insecure and excluded, and has a hard time making friends.

Shirin Azari processes her own childhood experiences in these stories. One night in 1996, her family had to flee Iran — there wasn’t even time to say goodbye to relatives and friends. Over the years that followed, she attended no fewer than eleven different schools in Germany and suffered from never staying in one place for very long. Her life was one of unremitting insecurity and restlessness, until she began working up her insights and emotions into children’s stories. The tribulations of Elham, Jonathan, Aylin and her other unfortunateness protagonists, illustrated with delicate, poetic drawings, reflect her own uprooted childhood and youth and call attention to the open-mindedness and courage demanded of innocent children.

Shirin Azari (b. 1981, Bukan) is a Berlin-based Iranian illustrator, author, fashion designer and actress.

She studied fashion design at Berlin’s Lette-Verein and acting at the Filmschauspielschule in Berlin and the Lee Strasberg Institute in Los Angeles. Since 2002 she has been the Swiss photographer Walter Pfeiffer’s muse and model. Her son Arian was born in 2016.

Nº 280

ISBN 978-3-906803-80-7 Shirin Azari Stories of Little and Big Blossoms

Text and illustrations by Shirin Azari in English and German

Design: Shirin Azari with Bogislav Ziemer

Hardcover approx. 50 pages approx. 50 images 23.5 x 29.5 cm

EUR 43 | CHF 43

A performance artist, an avowed transsexual anarchist who called no place home, a macho woman, a fashion model for Marianne Alvoni, a target for the Swiss tabloids: Éve-Claudine Lorétan, alias Coco, Dana What’s-her-name, Patricia, was so very many people in her too-short life.

Olivier Fatton met Coco on a Sunday in November 1989. The photographer was mesmerized at first sight by “this bright and yet sorrowful angel”. Over coffee in a Bern gay bar, they made a deal: Coco would pose for him and Fatton would document her sex reassignment surgery. Their working relationship soon became a love affair, during which Fatton continued putting together his multi-faceted photo essay on colorful Coco, a mosaic of intimate portraits and staged fashion shots, at home and in clubs, on the road, in the Alps — images haunted by those large melancholy eyes, which Coco once said had become her second mouth.

Coco’s thousand-page autobiography was stolen by thieves, leaving those eyes to tell the sorrows of a twentieth-century Dame aux Camélias.

Dunia Miralles sees Coco as just such a literary figure of the demi-monde. In her biographically-based novelette, which accompanies Olivier Fatton’s photographs, Miralles recounts the sorrows of young Coco.

Olivier G. Fatton (b. 1957) is a self-taught photographer specializing in portraiture. Fatton’s works are included in major Swiss collections and have won him several grants and awards.

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ISBN 978-3-906803-81-4

Inside musuok.indd 195

Olivier G. Fatton Coco

05/12/18 17:27

The writer, director and performer Dunia Miralles is the author of Swiss Trash, a best-selling novel (first published in Paris), and the award-winning Inertie.

Her books are about social phenomena and the underground scene. Miralles seeks to intensify the reading experience by bringing to light what would otherwise remain hidden in the dark.

Text by Dunia Miralles in English and French

Design: Ann Griffin, Nicolas Jeanmairet (Studio–Rubic, Genève)

Softcover 264 pages 134 images 19 × 25 cm

EUR 52 | CHF 52

The Green Room & Science Lab, The Panther Ejaculates, Uptight Upright Upside Down, JABBA, I’M BACK! and Cocaine and Caviar — Monster Chetwynd gives her performances playful and often off-beat titles.

Her colorful, imaginative costumes and props are all handmade, and her friends, her relatives and herself make up the cast. Her performance pieces include elements of folk theatre and street spectacle as well as plenty of scientific, literary and pop cultural allusions. Humorous, informal, improvised and unconventional elements are also writ large in Monster Chetwynd’s work.

This kind of creative work generally defies any attempts at archiving or eternizing. “My performances are exciting live moments that are difficult to document,” says Chetwynd. And yet this book seeks to do just that. “In looking at a printed survey such as this, however, the reader’s energy builds in a way that is similar to witnessing one of the live events.”

And this is indeed a book about building energy, solidarity and interconnectedness.

Full to bursting with photographic documentation and source material, this book graphically retraces Monster Chetwynd’s creative years from 2007 to 2018. The photo series are framed by richly illustrated fanzines, mostly in English, covering each production, including references to sources of inspiration and cast lists.

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ISBN 978-3-906803-82-1 Monster Chetwynd The Supreme Deluxe Essential Monster Chetwynd Handbook

Monster Chetwynd (b. 1973, London) is a British performance artist. She studied anthropology and later fine arts at University College London and the Royal College of Art. She was shortlisted for the Turner Prize in 2012 and her works are included in several museums in Britain and abroad. She lives and works in Glasgow.

in English

Design: Marie Lusa, Studio Marie Lusa, Zürich

Softcover 647 pages 800 images 19.4 × 27.4 cm

EUR 78 | CHF 78

A person’s hair may be likened to the top of a mountain. But while mountaintops are often shrouded from our eyes by the clouds around them, a person’s top is almost always visible — especially in latitudes that have given up the daily use of bonnets, hats and headscarves. Hence the understandably heavy pressure on people’s heads — to get the hair just right. Over the course of several decades, the photographer Peter Gaechter shot a wide array of hairdos for the Zürich hairdresser Elsässer Pour Dames, tracking the changes in — and revivals of — hairstyles in late twentieth-century Switzerland.

The present publication brings together a selection of his photographs from the catalogues on display at these upmarket salons, showing the latest hairstyle trends from the 1970s to the 1990s. These sculptural cuts and coiffures, which were to be reproduced à l’identique on customers’ heads, were also telltale signs of the times. Whether a punk or “Cold War Kids” cut, a “five-finger” blow-dry, feathery “Charlie’s Angels” wings or “Old Hollywood” coiffure — the multifarious hairstyles of local beauties, “it girls” and actresses featured in this book reflect the “why not?” whateverism of liberal consumer culture as well as concrete changes in society, e.g. in the sudden apparition of a clunky cell phone accessorizing a pixie cut.

Gaechter’s photographs also hark back to an age in which photography was still infused with a spirit of professionalism. There are no snapshots here, no affectations of an amateur aesthetic, no strategically trashy elements — Gaechter’s pictures target a clientele aspiring to distinction, as could once be said of the photographer’s craft.

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ISBN 978-3-906803-83-8 GAECHTER+CLAHSEN Fünf Finger Föhn Frisur

Bettina Clahsen (b. 1941) studied photography at the Folkwang Uni Der Künste in Essen, Germany.

She has been based in Zürich since 1960.

Peter Gaechter (b. 1939) trained in gravure printing at Conzett+Huber, completed his preparatory course at Kunstgewerbeschule Zürich and studied photography at the Kunstgewerbeschule Zürich.

In 1984 they founded the GAECHTER+CLAHSEN photographic studio in Zürich together.

Text by Jörg Scheller in English and German

Design: Büro 146, Hamacher, Hindermann, Stahel

Softcover 224 pages 160 images 22.5 × 28.5 cm

EUR 60 | CHF 60

Alex Hanimann began producing series of drawings and fairly extensive groups of paintings in the early 1980s. Since 1992, his work with language, a mixed bag of existential and anonymous signs and codes, of imagination and reality, has developed into a separate strand of his creative process. In his textbased murals and superimposed texts using slide projections, Hanimann undermines syntactic logic and linguistic conventions, creating a new order by stripping the words of their conventional context and superimposing them, just as he dissolves the original context of his found images.

Etwas fehlt catalogues Hanimann’s photographic explorations over the past twelve years, presenting roughly 3,000 selected images from his archives. Shown in a chronological but disjointed order, the images are removed from their meaningful contexts and re-contextualized on the page.

The mosaic layout specially developed for this publication does not yield a rigid sequence or listing of the images, but a flexible structure that enlivens each pages, interspersed with blank spaces at seemingly random intervals.

The photographs are accompanied by an interview of Alex Hanimann by Hans Ulrich Obrist, as well as brief essays by Lorenzo Benedetti and Ludwig Seyfarth about the photographs’ subject matter, contextual meaning and points of view.

Nº 284

ISBN 978-3-906803-84-5 Alex Hanimann Etwas fehlt

Alex Hanimann (b. 1955, Mörschwil, Switzerland) is based in St. Gallen and Zürich. He co-founded the Kunsthalle St. Gallen in 1987. He served on the Swiss Art Awards jury from 1997 to 2004 and is now a professor at the Kunstgewerbeschule Zürich and a member of the Arts Committee of the City of St. Gallen. Hanimann exhibits regularly in Switzerland and abroad. Edition Patrick Frey previously published his book Trapped (2018).

Texts by Lorenzo Benedetti, Hans Ulrich Obrist, Ludwig Seyfarth

Hardcover 524 pages 3,024 images 23.4 x 32 cm

Design: Vinzenz Meyner

EUR 83 I CHF 83

In 2008, the Swiss artist Thomas Krempke began taking pictures every day. He prints them and pastes them into notebooks, correlates them and writes about them. The upshot is a log of his perceptions, a photographic diary, a cartography of what he sees.

He photographs wherever he happens to be, whatever he chances upon. He doesn’t take anything out or add anything to the images, not even light. The pictures don’t show any extraordinary occurrences: no wars, poverty, exotic landscapes, but what we call everyday life. And yet photographing everyday life alters it: the world is no longer the same as the camera delves deeper and deeper beneath surface appearances, taking us on an almost microscopic expedition into hitherto unseen, undiscovered realms. It gives a new dignity, even grandeur and poetry, to everyday objects, and shifts the scales of magnitude and importance. Krempke sets his pictures against the ubiquitous flood of media pictures, thereby creating a parallel world for himself, a coded version of his life — as in memory or a dream. As in waking up in the morning, when perception still oscillates between the inner images of nighttime and the outer images of daytime, he photographs in a state of wakeful dreaming, clear-sighted somnambulism — intuitively following his impulses, without intention. In his montage

of pictures and texts, he explores his day-to-day perceptions, his way of looking and photographing things, and ultimately the creation of his conception of the world.

Nº 285

ISBN 978-3-906803-85-2 Thomas Krempke The Whispering of Things

Thomas Krempke (b. 1957, Zermatt) lives in Zürich.

He studied photography from 1979 to 1983 at what is now the Kunstgewerbeschule Zürich and has made a number of films (notably Züri brännt, Da & Dort). He also used to work as a cameraman and as a film festival curator. Nowadays he works chiefly in postproduction for feature and documentary films. Excerpts from his photographic diaries have been shown at various exhibitions since 2012. The German-language version of the book, Das Flüstern der Dinge, was published in 2017.

in English

Design: Marietta Eugster

Hardcover 628 pages 600 images 16.5 × 22 cm

EUR 60 | CHF 60

Vera Lehndorff and Holger Trülzsch developed an œuvre of remarkably innovative staged photographs of body paintings — a synthesis of painting, photography and performance — during an intensive creative period from the 1970s to the late 1980s. In Body of Work — Behind the Appearances, Lehndorff / Trülzsch approach their artistic “bodywork” from a new angle by pictorially and verbally contextualizing the various series in social, artistic and personal terms. Their book retraces the evolution of gender identities and the treatment of the female body against the backdrop of pop culture, media and art trends from the second half of the twentieth century to the present.

Vera Lehndorff (b. 1939, Königsberg (now Kaliningrad)) studied painting and design at the Fachschule für Gestaltung in Hamburg from 1958 to 1961. In 1961 she moved to Florence, where her modeling career began. She made her international breakthrough in 1966 in Michelangelo Antonioni’s cult film Blow-Up, after which Veruschka, as she came to be known professionally, became a 1960s fashion icon. During the 1968 shoot in Rome for Franco Rubartelli’s film Veruschka, poesia di una donna (1971), she experimented with body-painting, progressively transforming her appearance in her

Nº 286

own artworks as well as in collaboration with Holger Trülzsch, whom she met in 1969. Vera Lehndorff has been based in Berlin since 2005.

Holger Trülzsch (b. 1939, Munich) studied painting and sculpture at the Akademie der Bildenden Künste München from 1960 to 1965. Trülzsch works in a wide array of different media, ranging from painting, drawing, photography and film to sculpture. Also an accomplished percussionist, Trülzsch teamed up with Florian Fricke to form the electronic music group Popul Vuh. They composed and performed the soundtrack to Werner Herzog’s Aguirre, the Wrath of God (1972), and recorded their first album, Affenstunde, in 1969 in Peterskirchen, Bavaria, where Trülzsch first met Vera Lehndorff. After extended sojourns in New York and Paris, Holger Trülzsch has been based in Berlin since 2010.

ISBN 978-3-906803-86-9 Vera Lehndorff & Holger Trülzsch Body of Work — Behind the Appearances

Facsimile texts by (a.o.): Hardcover Robert Hughes, Gary approx. 448 pages Indiana, Susan Sontag approx. 800 images 22.4 × 28.5 cm

Design: Chan-Young Ramert

EUR 70 | CHF 70

Notebooks is a collection of ten facsimile Moleskine notebooks filled with works by the Swiss artist Aldo Schmid. Created between 2005 and 2018, these visual worlds take us through abandoned factories and obscure picture-postcard idylls to the hollowed-out codes of modernity and a space of memory evoked by press photos. En route we meet a bizarre cast of characters including grotesque officials, creatures grimacing twistedly, or wearing masks, and dopey robotic and cartoonlike characters.

The styles and techniques employed by the artist are as diverse as the alternating figurations and abstractions in his pictures. Each Moleskine finds its own internally consistent language and rhythm, which are repeatedly disrupted by varying forms of visual counterpoint. Surreal drawings of urban motifs obsessively densified using felt pens, colored pencils and silver markers give way to watercolors of elegiac landscapes: the retrofuturistic steampunk of Les Cités obscures meets Heimatmalerei. Lakes are a recurring topos, their picturesqueness undermined by mushroom clouds reflected in the water. Over an unspecified cityscape hangs a cloud as light and yet gloomy as the menace and inscrutability that inhabits Schmid’s visual universe.

Aldo Schmid (b. 1951, Chur) is a Swiss painter and draftsman. He studied at the former Kunstgewerbeschule in Zürich from 1969 to 1982 and is currently based in Zürich.

Nº 287

ISBN 978-3-906803-87-6

Notebooks 2005–2018, Schmid’s first monographic publication, comprises a limited-edition boxed set of ten facsimiled Moleskine sketchbooks printed with additional colors.

10 sketchbooks Hardcover approx. 300 images 10 × 15.5 cm

Aldo Schmid Notebooks 2005–2018

Design: Teo Schifferli

EUR 125 | CHF 125

Polaroids by the American artist, musician, writer and bookshop keeper Cary Loren interleaves snapshots of his 1970s Detroit entourage with photographs of his elaborately staged collage assemblages of prints, TV stills, magazine covers, stickers, movie posters and other ephemera. The Polaroid medium enables him to manipulate what are seemingly unrelated visual idioms and image carriers in the development process by scratching and pressing the emulsion and combining them into pictures of painterly quality.

Loren’s alchemy of works fuses personal with mythological elements, mixing Christian iconography with icons of pop, sci-fi/monster and B-movie culture with the Golden Age of Hollywood as well as the aesthetic of trashy magazine publications (The National Enquirer, Famous Monsters of Filmland and Screw) into a highly idiosyncratic postWarholian pop cultism. The Addams Family rub shoulders with heavenly angels, as does the notion of the grotesque morphing with the beautiful.

It’s Loren’s reinterpretation of Dante’s Inferno which is lined with the chaotic backdrop of cupcakes and hearts. Loren ultimately creates ecstatic pictorial altars of memento mori, at once reverentially and irreverently indulging his obsession with pop and trash culture, glamour, transience and death.

This artist’s book includes an interview conducted by the American artist Cameron Jamie in cemeteries beside the graves of Loren’s idols (including Vampira, Ed Wood Jr and Jane Mansfield), where Loren’s own life story is told against the biographical background of these buried icons of pop culture.

Nº 288

ISBN 978-3-906803-88-3 Cary Loren Polaroids

Cameron Jamie (ed.)

Cary Loren (b. 1955, Detroit) is an artist, musician and author. He is one of the founders of the legendary noise/rock band Destroy All Monsters along with Mike Kelley, Jim Shaw and Niagara. His works are included in the collections of the Centre Pompidou in Paris and the Museum of Modern Art in New York.

As of 1982, he is co-owner of the bookshop Book Beat in Oak Park, Michigan.

Cameron Jamie (b. 1969, Los Angeles) is an American visual artist and filmmaker working in a wide variety of mediums. His work is shown widely and internationally. Jamie is also a member of the experimental band Cannibal.

Interview in English

Design: Cameron Jamie, Teo Schifferli

Hardcover approx. 108 pages approx. 52 images 20 × 26 cm

EUR 43 | CHF 43

Post-empire in the new Middle Kingdom: what once was America is now China. After his Insert Coins project (2016) about the decline of Las Vegas, the Swiss photographer Christian Lutz set off to explore the world’s new gambling capital, Macao, where everything similarly revolves around money, luxury, surfaces. This former Portuguese colony in the Pearl River delta, now one of China’s “special economic zones”, began its meteoric ascent after the turn of the millennium when the Macao government ended the monopoly on gambling and opened up the market to foreign investors. They erected temples to Mammon, monumental marble- and gold-faced casino resorts algorithmically modeled on generic Venetian and Parisian templates, bringing in thirty million — mostly Chinese — tourists a year. Macao’s regulated microclimate of gambling halls, boutiques and bars is packed with the usual business-men and politicians in ill-fitting suits alongside upwardly mobile Chinese families in sweatpants and flip-flops.

Everything here is sanitized, antiseptic, dust-free.

And everything refers to simulacra of simulacra.

Lutz’s insistent photographic gaze laconically scans the smooth surfaces of this brave new world — in which the first cracks are beginning to show.

The photographer Christian Lutz (b. 1973, Switzerland) takes an approach based on painstaking observation of social dynamics and issues such as political, economic and religious sway in society. His work is regularly exhibited and published internationally. He has been freelancing, based in Geneva, since 1996.

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ISBN 978-3-906803-89-0 Hardcover 152 pages 75 images 24 × 33 cm

Christian Lutz The Pearl River

Design: Pablo Lavalley and Christian Lutz

EUR 52 | CHF 52

It stares grimly out of its wide-open bloodshot eyes, while the row of tentacles concealing its oral fissure seem to judder voraciously. The membrane covering the next one’s head is so thin you can see its brain bulging out beneath it. Others have flat reptilian faces or canine heads, trunks, beaks, pointed ears, feelers and / or teeth sticking up through the tops of their heads.

Wherever you look you’ll see warts, bristly, pathologically proliferating tufts and mops of hair, staring cyclops’ eyes, droopy ears, impish toothless grins, ginormous eyes with multiple pupils. And in between, details of their sleeves, cufflinks and shirt buttons displaying skulls, as if from a mail-order catalogue of horror.

Monsters in Suits neatly lines up this whole cabinet of horrors in a series of mock-official busts.

The bigshots of politics and business are captured and caricatured here in dark blue ballpoint. But these aren’t straightforward portraits of Nestlé’s CEO (“Water is not a human right”), the head of the Ku Klux Klan or the ringleaders of far-right youth groups. They are distorted and mixed up by the subconscious into grotesque monsters and bogeymen, each fitted out with the trappings of respectability: namely a suit and tie. They’re ready for business — whatever the cost to the welfare of the world.

Here, for once, they show their true colors — and their true mugs.

Nº 290

ISBN 978-3-906803-90-6

Nicolas Frey (b. 1992, Zürich) is an artist based in Zürich. He studied fine arts at the Zürich University of the Arts and is currently finishing his master’s degree at the Lucerne University of Applied Sciences and Arts.

Nicolas Frey Monsters in Suits

Softcover approx. 140 pages 70 images 17 × 22 cm

Design: Teo Schifferli

EUR 36 | CHF 36

Anne-Marie von Wolff (1893–1974) grew up in Lucerne, where she was an outsider from an early age. Epileptic seizures, tuberculosis and the claim that her disease had caused the death of her niece increasingly made her a child pariah, but may have also made her such an attentive observer of her family and immediate surroundings. Her camera eventually gave her a place in the family fold and in the narrow world she inhabited.

She is said to have been taciturn and rather austere, but her photographs of everyday life in Lucerne, a summer holiday in Les Mayens-de-Sion and a visit to her cousin, the journalist and writer Karl von Schumacher, at Schloss Mauensee testify to her tenderness as well as her eye for strong compositions. But her artistic talent went unnoticed during her lifetime.

That changed when her great-grandniece, Mimi von Moos, happened upon some of her photos stowed in a banana box at her grandfather’s house.

To date Mimi von Moos has gathered some fifteen hundred black-and-white photos shot by AnneMarie von Wolff from the 1930s to the 1950s.

In Mimi von Moos’s literary essays, she writes about viewing these photographs of a bygone epoch from a present-day perspective and draws on them to piece together a portrait of the

all-but-invisible and unknowable photographer.

Die Verwandte (“The Kinswoman”) explores various aspects of photography on the basis of a most unusual find.

This critical endeavor is rounded out by transcribed interviews with family members and an essay by the artist and philosopher of language Tine Melzer, which delve deeper into the luminous imagery of a long-gone relative who always kept herself apart, in the shadows, behind the camera.

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ISBN 978-3-906803-91-3 Mimi von Moos Die Verwandte: Aus dem fotografischen Nachlass der Anne-Marie von Wolff

Mimi von Moos (b. 1969, Lucerne) studied visual arts at the Hochschule für Gestaltung und Kunst in Basel. She began her creative career as a jewelry designer and has been a freelance artist since 2011. She is based in Basel and Rotterdam.

Texts by Mimi von Moos and Tine Melzer in German

Design: Studio Krispin Heé, Jan Kiesswetter

Hardcover approx. 304 pages 230 images 18 × 26.5 cm

EUR 58 | CHF 58

Philippe Dudouit’s work is founded on in-depth historic, geopolitical and cartographic documentation, research and analysis. The presented project is a longterm photographic study on the sociopolitical evolution of the Sahelo-Saharan region since 2008.

Dudouit documents the new relationships that historically nomadic native inhabitants of the Sahelo-Saharan region have forged with a territory through which they can no longer pass freely, or safely. The former tourist paradise is now also off-limits to foreigners, due to a burgeoning abduction industry, making the formerly dire economic situation even worse, with large parts of the population cut off from an essential source of income.

At first glance, the rise of Islamic terrorism in the area is to blame, but a closer look reveals a reality that is much more complex: the area now faces a dangerous mixture of underdevelopment, poverty and state failure. The new constellation consists of armed Islamists, human traffickers, drugs and weapons smugglers, topped off by international businesses jockeying to win oil, gold and uranium mining rights. The lack of political vision for the area’s future is creating a scenario in which a doomed generation is growing up.

Dudouit’s work embodies hybridity, in the fusion of classic analogue large-format camera technique and the usage of digital technologies, but also in the combination of an innovative documentary photographic sensibility with the tableau-type composition of his environmental portrait.

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ISBN 978-3-906803-92-0 Philippe Dudouit The Dynamics of Dust

Philippe Dudouit (b. 1977) is a Swiss photographer.

After studying photography in Vevey, he won the Kiefer-Hablitzel Prize in 2004 and first prize in the World Press Photo contest in 2008 for his work on PKK fighters in northern Iraq. He also won the Swiss Design Prize in 2013 and a grant from the Magnum Foundation Emergency Fund.

The series featured in The Dynamics of Dust was first shown at the Rencontres d’Arles photo festival and at the Institut du Monde Arabe in Paris.

Texts by Philippe Dudouit and Emilio E. Manfredi in English and French

Softcover approx. 200 pages approx. 110 images 24.4 × 30.5 cm

Design: DIY (Philippe Cuendet & Ivan Liechti) EUR 58 | CHF 58

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Helmut Newton photographed Susi in her Paris apartment in 1974� Selected shots from the series were included in his 1976 book White Women (French title: Femmes Secrètes)� pp. 255–261

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Nan Goldin: The sky on the the twilight of philipines suicide, 1997 (Aufgenommen beim Fotomuseum Winterthur)

Nan Goldin und Walter Keller, 2000

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Walter Keller, fotografiert von Nan Goldin, 2000

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Patrick Frey und Walter Keller, 1996

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the boy at all, so there was no question of joining in.

We stayed three days in Essaouira and I saw a lot of Alex and his friends. re long Alex and I had something nice going on. He said he’d come and us in Marrakesh, and gazed deep into my eyes.

The traffic in Morocco is something else – cows and goats in the middle he street, people driving on the wrong side of the lousy roads – but eveny we made it to Marrakesh. It took us some time to find Peter and Thalia’s e, which was fronted with a plain-looking door in a slummy alley. Morgan asleep in Lawrence’s arms when we rang the bell. From the outside it didn’t much like a palace to me. But that plain, heavy door opened directly into dise. Morgan woke up as we stood staring at this vision of A Thousand One Nights: just then a peacock raised its tail in a quivering fan and my fellow rubbed his eyes and said, “Maman, is it a dream or is it real?”

Peter – with Thalia, looking divine in an antique embroidered robe – gave warm welcome and showed us round. The garden with its palm trees and ocks was on a lower level; on each side were alcoves and rooms with aic floors and walls, and one had its own fountain in the middle. There coloured glass lamps and exotic hand-carved furniture everywhere. The ce was as big as a grand hotel, and far more beautiful.

Our rooms were at the end of a second garden with a marvellous fountain he middle to cool the air. The two gardens were separated by an ornate e wall with one broad opening and two smaller doors on either side. Morjumped about with joy and plunged into the fountain. “Let’s never leave place! Let’s never ever go back to Paris!” he squealed.

We could see into Lawrence’s room when his door was ajar. Morgan and four-poster bed, the walls were hung with soft ornamental tapestries of -embroidered green velvet, and there were matching rugs on the floor. n’t I lucky to have friends like Peter and Thalia?

But what had happened to my favourite couple? They didn’t look as happy efore. Peter, who was about 35 then, still resembled a teenager, a freckled ead with a boyish smile. You could still feel the bond between them, but ething had changed. Since everybody pretended that all was still well, I my doubts to myself.

Nando had stopped sleeping with Lucy after she had the baby, he didn’t t to make love to a mother. Could it be that Peter felt the same way? No, been married before with several kids and had proved a tender, loving er. Or was it that these modern open marriages I envied so much just didn’t k out in the long run. To live like that with Heiri had been my deepest wish. be the tried and trusted arrangement where partners pretend to be faithwas still the best. Maybe it was wisest to have secret affairs and tell lies to e a marriage work.

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Lynn Mullens The girl with the square bellybutton, one of the stars of Sam Haskins’ 1975 photobook Cowboy Kate & Other Stories� Photo by Heiri Schmid, 1974

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Jerry Hall Antonio Lopez got her onto the cover of Andy Warhol’s Interview magazine. She went on to become one of the first supermodels and was involved with Brian Jones, then Mick Jagger� Cover of the September 1974 issue of ELLE with dedication to Susi opposite

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«Wo die Schule versagt, geht das ganze Leben einen Nr. x, 19xx Roni Horn, You Are The Weather, 1997 Nr. x, 19xx Roni Horn, You Are The Weather, 1997

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Gestaltung und Dynamik der Lebensläufe unserer Gegenwart st Masse unter dem Einfluss einer durch die Übereinkunft der Meh Standard-Dramaturgie: man habe im Alter zwischen zwanzig un und jenes zu erreichen, zwischen dreissig und vierzig das – und mit fünfundsechzig Jahren verschwinden wir in die Privatheit. B nen erweisen sich oft als regelrechte Trainingscamps, der Erfüllu ters zuarbeitend. Viel zu oft werden klaglos die vorgefertigten K des Lebens absolviert, um sozial aushebelnde Fragen zu vermei Stigmatisierung oder Sanktion. Der Applaus derer, die den Weg drückt überwiegend ihre Genugtuung über den Wiedererkennu beobachteten Verlaufs aus, Scheinsicherheiten winken. Materiel anästhesiert rudimentäre Restzweifel. Im Erfüllungszwang bleibe die Authentizität und Würde eines Menschen leider häufig auf d innere Entwicklung des Menschen – und damit sein wertvollste Beitrag zur Weltgestaltung – verkümmert viel zu oft ohne Raum Nischen abgedrängt, die wir Freizeit nennen.

Biografien wie aus dem Windkanal.

Die Grafik des Lebens von Gustav Mesmer folgt einer anderen K wenngleich auch sie durch gesellschaftliche Zwänge geformt w

Äusserlicher und vordergründig beeindruckender Höhepunkt se kes war die Beteiligung an der Weltausstellung 1992 in Sevilla m

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In 1975, while driving her car in Manhattan, the artist Marcia Resnick was involved in a car accident and her entire life flashed before her eyes. When she awoke in the hospital, she began to think about all of the events which led to her being there. She began to write ideas and draw pictures considering her life thus far, in preparation for creating a new book. In 1978, her poignant and ironic autobiographical book of staged photographs about female adolescence, Re-visions, was first published

by The Coach House Press in Toronto. Re-visions is a collection of revisualizations of memories, often revised to augment the irony and humor of the human condition. The words and pictures are equally important; they feed off each other, working in concert or in discord to form the narrative.

Andy Warhol called it “Bad”, and according to Allen Ginsberg it was “Sharp … for a girl.” Now, forty-one years later, longtime friend Lydia Lunch pays homage to the second edition of Re-visions: “A sweet twist which whispers in mysterious tones predicting the delicious perversion of a budding adolescence.”

Marcia Resnick (b. 1950, Brooklyn) first exhibited her art at the Brooklyn Children’s Museum when she was five years old. At sixteen she moved to Greenwich Village, birthplace of the counterculture and attended NYU, then the Cooper Union and shortly after received her MFA in photography from the California Institute of the Arts. Resnick returned to New York where she taught photography by day and frequented the Mudd Club and CBGB at night, encountering and photographing the enfants terribles of the downtown arts and music scene.

In 1975, she self-published the artists’ books See, Landscape, and Tahitian Eve. Her portraits of iconic men were compiled for Punks, Poets and Provocateurs: New York City Bad Boys 1977–1982 by Insight Editions in 2015. Her photographs can be found in numerous books and periodicals, are exhibited internationally and are in major private and museum collections including MoMA, the Met, the Getty, the National Portrait Gallery and the Rijksmuseum, amongst others. Resnick lives and works in New York City.

Nº 293

ISBN 978-3-906803-93-7 Marcia Resnick Re-visions

in English

Design: Brian Paul Lamotte

Hardcover 104 pages 48 images 28.0 x 21.8 cm

EUR 52 | CHF 52

This is the first book to present a wide selection of works from the Musée des Erreurs, or Museum of Mistakes. Founded in Brussels in 2013 by Pierre Leguillon, the Musée des Erreurs is a traveling exhibition that encamps for a show in the halls of brick-and-mortar museums — like a traveling circus that comes to town, and then moves on.

The rest of the time, the collection is stored in the artist’s studio apartment, mainly in his kitchen cupboards. Most of the items are serially manufactured and of negligible material value: postcards, record sleeves, posters large and small, pieces of fabric, ceramics, folk art, children’s drawings and other miscellany. This book also includes items deemed too small, fragile or insignificant to take on tour in the past, as well as photographs of everyday street scenes that shed some light on various facets of the collection.

Whether signed or anonymous, these artifacts defy any claims of authoritativeness in an age in which visual culture is shared on social media and all over the web, with no distinctions of substantive or aesthetic value, often with no captions and, all too frequently, with erroneous attributions.

For Leguillon, the constant sorting and reshuffling of the items helps us revisit conventional interpretations and subvert, with an ample dose of

humor, the sort of cultural “prêt-à-porter” so many museums serve us up nowadays. The artist adopts a method Michel Foucault once ascribed to the philosopher of science Gaston Bachelard: “He seeks to ensnare his own culture using its cracks, its deviances, its fringe phenomena, its blunders and its false notes.”

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ISBN 978-3-906803-94-4 Pierre Leguillon The Museum of Mistakes

Essays by Patricia Falguières and Morad Montazami situate the Musée des Erreurs in the tradition of art museums and the phenomenon of cultural appropriation. And Carrie Pilto contributes freestyle captions commenting on the featured items.

Pierre Leguillon (b. 1969) is a French-born artist based in Brussels who has exhibited widely in Europe and North America. His Musée des Erreurs is in the tradition of Sir John Soane’s Museum in London and Marcel Broodthaers’ modern art museum in Brussels and the exhibition methods of Georges-Henri Rivière, Sōetsu Yanagi, Mike Kelley, Rosemarie Trockel and Ydessa Hendeles, to name just a few.

Leguillon co-edited with Barbara Fédier Oracles: Artists’ Calling Cards, also published by Edition Patrick Frey (2017, now out of print).

Texts by Patricia Falguières, Morad Montazami, Carrie Pilto in English

Hardcover approx. 240 pages 250 images 19 × 26 cm

Design: Conny Purtill with Stéphane De Groef EUR 58 | CHF 58

A shiv or shank is a home-made weapon improvised out of any scrap materials you can get your hands on in prison. “To accidentally fall on a shank thirteen times” is a sardonic — and rather poetic — way of saying: to get stabbed”.

It doesn’t always kill you, but it always hurts. And still you’ve got to roll with the punches and keep going.

I find this ability to roll with the punches, to “take the pain” and adapt to circumstances, in my subjects: gypsies, beggars, crooks, vagabonds, underdogs, conmen, buskers and various shady characters in Romania and Moldova.

My object is not to exploit problem-ridden postcommunist Romania for voyeuristic purposes. I’m not an indifferent observer, but one who tries hard to give these people the freedom they need to portray themselves on camera — and to bring about necessary changes themselves in the social stereotypes still assigned to them.

Mihai Barabancea

Nº 295

Barabancea uses the camera as a tool to interact with his subjects. But instead of staging picturesque portraits, he zeroes in on moments of ruthless rawness and keen poignancy.

Mihai Barabancea (b. 1983, Bucharest) is a Bucharest-based photographer. Barabancea made quite a splash in Romania back in the late 1990s when he appeared on TV as a member of a graffiti gang. In 2018 he won the Gomma Prix Award for his series Overriding Sequence.

ISBN 978-3-906803-95-1 Mihai Barabancea Falling on Shanks

in English

Swiss binding Softcover approx. 260 pages approx. 120 images 18 × 24 cm

Design: Maximage

EUR 52 | CHF 52

“A documentary film that was supposed to be made for the cinema is mentioned in my notes, as is a biography that a journalist was planning to write,” writes Manon. “I ended up calling off both, along with plenty of other stuff.”

But the Swiss artist’s “notes” for the planned documentary in 2005, diary-like entries “about the passage of time, and about the passage of my times,” as she puts it, remained, and are published here for the first time. In light of the multitude of details they provide, it seems a bit of an understatement to call them “notes”. Federn (“Feathers”) actually takes the shape of a diary, and turns out to be a multi-layered narrative providing a succinct and yet feather-light look back on Manon’s life, art, men and day-to-day concerns.

In a mix of timidly restrained, resolute and at times drily humorous prose, the artist cautiously but confidently attempts to put into words the balancing act between her everyday life and her artistic career of highly stylized self-portraits. Federn interweaves memories and the present with comments on apparently minor matters. In contrast to her elaborate mises en scène, what interests the author of these notes is not pageantry and sensationalism, but minute mood swings, poetic observations of

Nº 296

her urban and natural surroundings, the trials and tribulations of the heart, and reflections on aging and transience.

Manon is a Swiss artist. She studied art and acting in Zürich. In 1974, she created Salmon-Colored Boudoir, the first of many environments and mises en scène of extras or of the artist herself. In late 1970s Paris, she turned to staged photography, which led to various black-and-white series including La dame au crâne rasé (“The Woman with the Shaved Head”). Shown in galleries in Germany and abroad and featured in various museum collections, to this day her works revolve around the themes of identity, eroticism and transience.

Manon was awarded the Prix Meret Oppenheim in 2008. She is currently based in Zürich.

ISBN 978-3-906803-96-8 Manon Federn

in German

Design: Marietta Eugster

Softcover 252 pages 1 image 12 × 19.5 cm

EUR 38 I CHF 38

Ja genau, Scheiss-Uhr, viel zu teuer.

Verstehe nix Zeit.

Steuern runter.

Toni

Texte 4 is another pictureless book by Beni Bischof Beni Bischof (b. 1976, St. Gallen) lives and works in his series, printed in standard pocket size. It is as an artist in St. Gallen.

Bischof’s personal presentation of his rich collection of catchy headlines and slogans, absurd comments and off-the-wall remarks. His text archives are a trove of inspiration for his pictures and titles.

Nº 297

ISBN ISBN 978-3-906803-97-5 Beni Bischof Texte 4

in English and German

Design: Samuel Bänziger

Softcover 380 pages 10.8 x 17.7 cm

EUR 18 I CHF 18

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Edition Patrick Frey Catalog 2019 This catalog was conceived during a workshop held by Marietta Eugster with Andreas Koller at ECAL / University of Art and Design Lausanne in spring 2019.

With the participation of Bachelor Graphic Design students Pauline Baldinetti, Inès Barrionuevo, Loris Briguet, Alexandre Brunisholz, Emma Chapuis, Hugo Hectus, Benjamin Huerta, Loreen Jula, Leoni Limbach, Jeremy Maffeï, Elena Najdovski, Julie Neuhaus, Huu Nguyen Thaïs, Lynne Nougou, Laetitia Paroz, Guillaume Pavia, Ares Pedroli, Amanda Puna, Julie Ryser, Samuel Schmidt, Timo Tiffert, Laura Trummer, Fiona Valais, Adeline Wahler, Loris Vermot and Shuaitong Zong.

Teaching assistant: Eilean Friis-Lund Animations: Maximage, Benjamin Muzzin Coordination: Gloria Wismer Translation: Eric Rosencrantz Proofreading: Jacob Blandy Printed at ECAL in 2019 in an edition of 2,000

by Benjamin Plantier. Offset plates engraved using a CNC machine tool as a part of the ongoing project CNC Print System, developed

by Eilean Friis-Lund at ECAL.

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