JRP|Ringier Newspaper Issue 5

The artists affect theory versus theory affects the artists. Who controls the castle?

It’s a laugh a minute.

— Paul McCarthy, 2003

This newspaper is published by JRP|Ringier and edited by Lionel Bovier. Issue 5, Winter 2013. Printed in 15 000 copies by Ringier Print Adligenswil AG. Not for sale

WE MAKE BOOKS WITH ART The fifth issue of our journal focuses on several artists whose recent “rediscovery” seemed to us of particular relevance today, such as Takesada Matsutani, a key member of the “second generation” of the Gutai Art Association; Gianni Piacentino and Robert Overby, whose works and trajectories appear so contemporary; or Pierrette Bloch, whose upcoming retrospective will reveal the density of her approach. Besides a far-reaching revision of the 1960s canon, these examples also testify to a current reevaluation and redefinition of the 1950s in the visual arts.

This issue also gives credit to film as a medium by presenting a new feature film by Paul & Damon McCarthy, the journey of cinematographer Robby Müller, and the practice of Yang Fudong.

Of course, it also features information on new titles by contemporary artists and photographers, sums up the most recent releases in our Documents, Positions, and Associate Editors series (such as Kunsthalle Zürich and Migros Museum), together with news about Latin-American distribution, activities in our two locations, and a selection of bookshops and new special editions.

Have a good read!

Highlights

Paul & Damon McCarthy, Rebel Dabble Babble, 2013 (film still)

Carlos Amorales Walead Beshty Pierrette Bloch Jay DeFeo Latifa Echakhch Yang Fudong Takesada Matsutani Paul McCarthy Robby Müller Robert Overby Gianni Piacentino Jules Spinatsch Sigismond de Vajay Xavier Veilhan

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Paul McCarthy & Damon McCarthy

Artists' Book

Paul & Damon McCarthy, Rebel Dabble Babbke, 2013 (film still)

This richly illustrated publication is a selection of hundreds of still photographs shot during the making of Rebel Dabble Babble, a collaboration between Paul McCarthy and his son Damon McCarthy.

HOLLYWOOD IS A POPULOUS MEDIUM ALONG WITH ITS COUSIN THE ADULT ENTERTAINMENT WORLD, PRIMARILY FINANCIAL AND PROFIT MOTIVATED. GIVING THE POPULATION WHAT IT DESIRES AND WHAT IT IS CONDITIONED TO WANT. THE DREAM MACHINE. — Paul McCarthy (May 2012)

Rebel Dabble Babble is a complex installation and video projection work originally inspired by both Nicholas Ray’s 1955 classic Hollywood film Rebel Without a Cause and the furious rumors that swirled around the off-set relationships between its director and his stars James Dean, Natalie Wood, and Sal Mineo. This densely layered opus confronts definitions of power and role-playing, and expands far beyond references to the 1955 movie and related legends Ultimately, Rebel Dabble Babble is an expansive meditation upon the archetypes and Oedipal tensions

that define family dynamics as they have been played out in private homes, in the evolution of art history, and in the development of the entertainment industry.

In the film Paul McCarthy and his actors (including Hollywood star James Franco) play hybrids both of Nick Ray’s cinematic characters and the actors who performed as those characters. With this mind-bending series of doubles, binaries, and inversions, Rebel Dabble Babble presents perversions of interchangeable roles and fetish relationships.

Paul & Damon McCarthy, Rebel Dabble Babbke, 2013 (film still)

Paul & Damon McCarthy, Rebel Dabble Babbke, 2013 (film still)

Artists' Book

3 Paul & Damon McCarthy, Rebel Dabble Babbke, 2013 (film stills) Paul & Damon McCarthy, Rebel Dabble Babbke, 2013 (film still)

The Book: Paul McCarthy and Damon McCarthy — Rebel Dabble Babble Authors Donatien Grau, Paul McCarthy, Damon McCarthy English edition Available ISBN 978-3-03764-336-5 Hardcover, 280 x 390 mm 312 pages Images 374 color Published with Hauser and Wirth, Zurich/London/New York CHF 98 / EUR 78 / GBP 59 / US 100

4 © Barbet Schroeder and Golan-Globus Productions

Barfly (1987), dir. Barbet Schroeder

SO THERE YOU HAVE IT, IN ONE SHOT, WHAT I CAN SAY ABOUT ROBBY: HE’S A GREAT PAINTER, ONE OF THE DUTCH MASTERS, A TRAVELER FROM THE GREAT ERA OF PAINTING ACROSS THE AGE OF FILM AND RIGHT INTO THE DIGITAL KINGDOM. A PIONEER. —Wim Wenders

Robby Müller is one of the most inspiring cinematographers of our time. His influence is noticeable in his long-term collaborations with directors such as Wim Wenders and Jim Jarmusch and in his groundbreaking work for films such as Breaking the Waves and Dancer in the Dark by Lars von Trier. As well as helping to shape their films, his contribution also reveals an adventurous and creative vision which can also be seen in other films by directors such as Alex Cox and Barbet Schroeder. This publication gives a visual insight into his artistic flexibility and technical expertise, and reveals his passion for the nature of light in all its manifestations.

The book was made possible by the generous support of EYE, Nederlands Filmfonds, Wouter Barendrecht Film Foundation.

Spread from Robby Müller

© Alex Cox and Edge City

Repo Man (1984), dir. Alex Cox

Robby Müller

Film

Retrospective Publication

5 New Releases

Hans Ulrich Obrist A Brief History of New Music

Hans Ulrich Obrist This publication gathers together interviews with composers pioneering new ideas between the 1950s and the 1980s such as Karlheinz Stockhausen, Elliott Carter, and Pierre Boulez; electroacoustic composers such as Iannis Xenakis, Robert Ashley, François Bayle, Pauline Oliveros, and Peter Zinovieff; Minimalist and Fluxusrelated artists such as Terry Riley, Tony Conrad, Steve Reich, Yoko Ono, and Phill Niblock; as well as influential musical figures such as Brian Eno, Arto Lindsay, Kraftwerk, and Caetano Veloso.

Their contributions map the evolution of the musical field, from the early experiments in concrete and abstract music, to the electronic development and later hybridization of popular and avant-garde culture.

[ISBN 978-3-03764-190-3]

Spread from Robby Müller

The Book: Robby Müller — Cinematography Authors Linda van Deursen, Marietta de Vries, Wim Wenders English edition Available ISBN 978-3-03764-341-9 Softcover, 240 x 330 mm 248 pages Images 450 color / 250 b/w CHF 50 / EUR 40 GBP 30 / US 49.95

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Robert Overby

Artist's Book

Exhibition

ROBERT OVERBY’S WORK WILL BE FEATURED IN SOLO SHOWS BOTH AT GALLERIA D’ARTE MODERNA E CONTEMPORANEA DI BERGAMO AND THE CENTRE D’ART CONTEMPORAIN IN GENEVA IN 2014

Born in 1935 in Harvey, Illinois, Overby attended the School of the Art Institute of Chicago in the mid-1950s and later moved to Los Angeles where he worked as a graphic designer and taught advertising and graphic design.

Whereas artists like Gordon Matta-Clark took a surgical approach to architectural materiality, slicing into buildings in order to unearth new and previously impossible perspectives, Overby focused on the outer layer, making latex casts of building facades and canvas “maps” of building interiors that functioned simultaneously as images and recordings. In a 2000 Frieze review of Overby’s retrospective at the Hammer in Los Angeles, Charles LaBelle wrote: “He instilled a highly personal, poetic and social content into what were basically reductive, processoriented works; marrying pure materials such as rubber, lead, canvas, concrete, resin, and wood to banal objects and abject spaces. All manner of crappy, dirty, broken things formed the subject of his works: socks and handkerchiefs, shattered windows and splintered doors,

bondage masks, beaver shots, coat hangers, cans, belly buttons, and manhole covers all cropped up during the high point of his production in the 1970s.

With his been-down-so-long-it-lookslike-up-to-me sensibility, Overby wasn’t afraid to crawl in the gutter, and the resultant work refused to accommodate itself to the expectations of market or spectator.”

His 1980s image paintings are post-Pop combinations of figure and abstraction that explore similar issues of surface, decay, and the skin between the real and its incorporeal other.

This book is a reprint of his first publication, 336 to 1. August 1973–July 1969, which he conceived, edited, and designed himself.

The Book: Robert Overby — 336 to 1 (August 1973—July 1969) Clap, 1975

Facs imil e r e p ri n t o F the lo ng - u n avai l abl e a nd much so u ght- aF t e r 1 9 7 4 a rtist’ s bo o k by r o b e rt ov e rby ( 1935–1993) , o ne o F the m o st Fasc i n at i n g Fig ure s o F t he 1970s ca l iFo rnian art sc e n e

English edition Available ISBN 978-3-03764-330-3 Softcover, 110 x 160 mm 320 pages Published with the Estate of Robert Overby CHF 27 / EUR 19 GBP 16 / US 29.95

Artist's Book

7 New Releases

John Baldessari Magnetic Stretch, 16 July 1970, 59 × 81 × 3 in. © Andrew Kreps Gallery, and the Estate of Robert Overby

The texts in this two-volume set trace the development of John Baldessari’s understanding of art from the early 1960s through to the present. It includes numerous never-before-published texts as well as texts that illustrate Baldessari’s compositions of words, which achieve both literary and graphic impact. His writings address a broad range of topics, from the system he uses to classify material in the studio, his tributes to other artists, through money in the art world.

Principle among Baldessari’s themes is his long-standing investigation into the similarity and possible interchangeability of word and image. In his view, words have the advantage of being the most abstract though paradoxically the most common and understood form of communication, thus making it possible to catch more of the world in the net—not just the picturesque.

All the writings included here are motivated by that impulse and to ever expand the possibility of art.

[Vol. 1: ISBN 978-3-03764-192-7, Vol. 2: 978-3-03764-256-6]

DAN GRAHAM NUGGETS New and Old Writing on Art, Architecture, and Culture

Large Yellow and Silver Stretch, 16 July 1970, 59 × 81 × 3 in. © Andrew Kreps Gallery, and the Estate of Robert Overby

Edited by Kathy Slade JRP|RINGIER & LES PRESSES DU RÉEL

Dan Graham The texts presented in this volume span the years 1967 to 2011 and articulate ideas around a broad range of topics including Conceptual art, Minimalism, architecture, and design, and reflect Dan Graham’s long-standing interest in structures of knowledge, systems of representation, and modes of interaction or self-perception for the viewer.

The book includes essays on the work of Carl Andre, Atelier Bow-Wow, John Chamberlain, Joe Colombo, Darcy Lange, Claes Oldenburg, Jeff Wall, and Peter Zumthor, and features an extensive interview with Itsuko Hasegawa in which the Japanese architect’s major public works are discussed in relation to Graham’s recent glass and mirror structures.

[ISBN 978-3-03764-198-9]

Gianni Piacentino

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New Monograph

Born in 1945 and living in Turin, Piacentino is one of the most inventive Italian artists of the second half of the 20th century. Initially associated with the Arte Povera movement, he went on to develop a vocabulary of his own —“The Aesthetics of Technique”—that is constantly probing the boundaries and the complexity of the links between art and design.

I’VE ALWAYS HAD A PASSION FOR OLD CARS AND MODELS. SO I THOUGHT IF ARTISTS CAN PAINT TREES, THEN I CAN MAKE VEHICLES WITH WHEELS. — Gianni Piacentino

Invitation card, Gianni Piacentino, Galleria Sperone, Turin, 1968

His resume also lists professional activities that are unusual for an artist: he has been a manufacturer of special varnishes, a designer, and motorbike racer. Thus he is both an artist and a constructor: his works are objects, prototypes even, and at the same time metaphorical representations of the object as symbol.

As Dan Cameron writes in this book, “Revisited nearly 50 years after they were made, Piacentino’s table-sculptures and idealized geometrical forms in three-dimensional space seem incredibly prescient in the way they articulate an idea of sculptural space that easily brushes off the mediation of bases or pedestals. All of the work is highly legible, in the sense of conveying its essential characteristics to our eyes in the first moment, but the ambiguity that comes from straddling the worlds of pure and applied design also makes his art appear to be a kind of hybrid, like functional art from another civilization, whose application to our present circumstances remains to be discovered. In particular,

Piacentino’s vehicles are imbued with dreamlike characteristics, from their elongated horizontality to their almost nostalgic evocation of a time when the modern and the future were one and the same, and progress entailed an infinite expansion of the machine’s capacity to fulfill our fantasies. Piacentino’s vision might not yet have become a reality in terms of the way we think of locomotion across a surface, but his grasp of the strangeness of unadulterated optimism lend his early works a preternaturally postmodern aura. Belief in the future requires a leap of faith in any age, but Piacentino’s art allows for an unencumbered tie between utopian visions of the future and the hyper-stylization of the objects of today.”

This book is a tribute to Piacentino’s art and to his sense of independence, with works spanning 1966 to the present.

It includes essays by Dan Cameron and Hans Ulrich Obrist, and is edited

by Andrea Bellini.

New Monograph

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SYMMETRICAL COMBINE (LOWER PERSPECTIVE) II, 1979–1980, 182 × 560 × 14 cm

New Releases in the Documents Series

Joshua Decter Art Is a Problem

Joshua Decter In this volume of selected essays, interviews, curatorial texts, and reviews, spanning 1986 to 2012, Joshua Decter examines contemporary art in relation to its various ideological, public, discursive, and social contexts. The author unpacks art’s paradoxical condition: art problematizes, and is intrinsically a problem. From this standpoint, he analyzes art’s definitions, functions, ethical entanglements, societal aspirations, and cultural contradictions.

[ISBN 978-3-03764-195-8]

Jeff Derksen After Euphoria

NICKEL-PLATED FRAME VEHICLE WITH BLACK TANK II, 1971, 61 × 342 × 25 cm, Giuliani Collection, Rome

Jeff Derksen This collection of texts considers the potential of art and culture during the rise and grinding decline of the long neoliberal moment.

Jeff Derksen engages with the work of artists such as Alfredo Jaar, Ken Lum, and Sam Durant in a mode of argument rooted in cultural studies and contemporary poetics. These essays identify the possibilities of cultural and artistic critique after globalization, and also focus on the pressures placed on cities today— from the effects of the Olympics and other mega-events, to urban policies based on affect, to the siren call of “the creative city.”

[ISBN 978-3-03764-197-2]

Chantal Pontbriand [ed.]

Performance & Performativity

The Book: Gianni Piacentino Edited by Andrea Bellini Authors Andrea Bellini, Dan Cameron, Laura Cherubini, Christophe Khim, Hans Ulrich Obrist, Marc-Olivier Wahler English edition Available ISBN 978-3-03764-327-3 Hardcover, 202 x 264 mm 272 pages 219 color / 46 b/w Published with the Centre d'Art Contemporain, Geneva CHF 42 / EUR 32 GBP 26 / US 45

Parachute: The Anthology [Vol. II] This volume brings together seminal texts written throughout the first 25 years of the magazine. Focused on emerging art practices since its inception, Parachute sought to develop a new critical language that could deal with performance. The texts refer to the concept of performativity and address questions of genre, feminist and cultural studies, and institutional critique. The essays discuss works by artists such as Yvonne Rainer, Krzysztof Wodiczko, General Idea, and Matthew Barney.

[ISBN 978-3-03764-283-2]

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Pierrette Bloch

Retrospective Monograph

Pierrette Bloch, c. 1948

Pierrette Bloch was only 11 years old when she saw an exhibition in Geneva that would mark her as an artist both in, and out, of time. It was 1939 and the world was descending into chaos just miles from the Swiss border.

Untitled, 1974

For a precocious girl coming into a life of art, however, more proximal interests were at hand, as a collection of masterworks from the Prado had been put on display the summer of that auspicious year. There, Pierrette Bloch could examine the paintings of Goya and El Greco up close and in person, alongside works

by Velazquez, Titian, and other masters.

The encounter with these titans of art history is routinely described as formative in the artist’s biographies, exerting a lifelong “fascination” on the young artist.

Of course, such biographical snippets can only fail to narrate the events which made this artistic rendez-vous possible– namely, the desperate circumstances under which such works arrived in Switzerland in the first place. The paintings had made their journey, after all, as virtual exiles of war; since 1936, with Franco’s murderous bombs on the wing, the Prado’s collections had followed a

desperate passage from Madrid to Valencia, Catalonia to Geneva. Not that the young Pierrette Bloch necessarily had any knowledge or access to such information. A child would understandably be sheltered from these matters, including the circumstances of her family’s subsequent exile from France. Yet as an origin myth of sorts, the story bears decisive implications for this essay, which concerns Bloch’s work as both timely and untimely– how its traces, lineaments, and returns, especially in her use of India ink, index both uncanny confrontations and missed encounters, all guided by a serial preoccupation with the expressive possibilities of mark making. Bloch’s formative experience in Geneva suggests something of the historical dissonance underwriting her path as an artist, the split between where and how she arrived at her process.

But far from being merely a function of her biography, such events shed a peculiar

Untitled, 1976 Untitled, 2000

Untitled, 2000

Text by Pamela M. Lee

decades; or the obsessively calligraphic whorls that stand as both figure and ground to the page in drawings of the 1980s; or the simultaneously sculptural and graphic meshes fashioned from horse hair? Bloch has tested the medium of drawing in its myriad forms and materials since the 1950s, as if perpetually returning to and dissecting her earliest experiments in painterly abstraction. The quality, flexibility, and formal expressiveness of her line has been extensively celebrated.

But the line Bloch follows, we need to say, is not a direct one, whatever the labor, conviction, and time required to produce it.

—Excerpted from the essay “In and Out of Time” by Pamela M. Lee, Pierrette Bloch, published on the occasion of her retrospective held at Musée Jenish, Vevey, November 11, 2013–February 28, 2014, curated by Julie Enckell Julliard

New Titles

light on the logic of her art as being both in, and out, of time.

There is a recurring pattern, in other words, to Bloch’s reception and practice, in which the artist is granted oblique insight and access to the aesthetic happenings of her day even as she remains at a certain distance from their sponsoring conditions, at once seeming to prefigure certain events within the history of art or arriving at the same aesthetic destination with other artists, even with no apparent contact. What would it mean for an artist of a certain gender, age, nation to be in and out of time? And what would the phrase mean as it concerns Bloch’s art and working method, as registered generally in the torn paper collages of the 1950s and 1960s, nuanced if relentless exercises in inky facture; or the steady and obstinate daubs of India ink in her untitled drawings of the following

11 Denis Savary

Denis Savary First monograph on the Swiss artist (b. 1981, lives in Paris). It includes two essays by art historian and Centre Pompidou curator PhilippeAlain Michaud and art critic and Ferme du Buisson director, Julie Pellegrin, as well as an interview with writer Jean-Yves Jouannais.

[ISBN 978-3-03764-227-6]

Djordje Ozbolt

Djordje Ozbolt First monograph on the Belgradeborn, London-based artist (b. 1967).

It includes an essay by New York’s Metropolitan Curator of Modern and Contemporary Art, Nicholas Cullinan, as well as a conversation with Gregor Muir, Director of the Institute of Contemporary Arts in London.

[ISBN 978-3-03764-345-7].

Jérôme Leuba

Untitled, 1969

The Book: Pierrette Bloch Edited by Julie Enckell Julliard

Pierrette Bloch

First monograph dedicated to the Swiss artist (b. 1970, lives in Geneva). Edited by Fabrice Stroun, it includes a short narrative by filmmaker and author Jean-Philippe Toussaint, a conversation with art critic and Laboratoires d’Aubervilliers co-director Mathilde Villeneuve, as well as an essay by Kunsthaus Zürich curator Mirjam Varadinis. [ISBN 978-3-03764-243-6]

Authors Julie Enckell Julliard, Pamela M. Lee, Nicolas Muller, Philippe Piguet, Laurence Schmidlin, Catherine de Zegher English/French edition November 2013 ISBN 978-3-03764-329-7 Hardcover, 280 x 272 mm 180 pages Published with the Musée Jenish, Vevey CHF 90 / EUR 60 GBP 40 / US 80

Piero Gilardi In this artist’s book, Piero Gilardi reveals his working methods and explains how to create sculptures like those he has produced since the early 1960s. [ISBN 978-3-03764-326-6]

12 Takesada Matsutani in his studio, Paris, 2013

Takesada Matsutani

New Monograph

Paris-based artist Takesada Matsutani (b. Osaka, 1937) became a key member of the “second generation” of the Gutai Art Association (1954–1972), Japan’s innovative and influential art collective of the postwar era. His signature media, vinyl glue which he has been using in his works since the 1960s, along with black graphite in the last few decades, is his way to experiment with surface and form, to create bulbous forms reminiscent of the curves of the human body.

SENSUALITY FOR MATSUTANI REVERBERATES IN ALL THINGS. HE CREATES HIS OWN TERRAIN, A MATRIX OF ENERGY THAT IS A FERTILE LANDSCAPE FROM WHICH FLOW PURE MANIFESTATIONS OF LIFE. — Midori Nishizawa

Active in the performance, drawing, painting, printmaking, and installation fields, Takesada Matsutani is one of the most important Japanese artists working today. He was recently included in the exhibition Gutai: Splendid Playground at the Guggenheim Museum, New York, and had his first exhibition with Hauser & Wirth in London last spring.

Work 63, 1963, Vinyl adhesive, acrylic, and oil on canvas, 150 × 105 × 11.5 cm

nihonga, traditional Japanese-style painting. At this time, information about postwar art movements overseas was filtering in: Art informel in France and Action Painting in the United States.

I had been very ill for a long time. I really wanted to be healthy and strong. I was focused on that, and I wanted above all to get outside. I wondered how I could express those feelings in a painting. The Tsutomu Mizusawa and Sawako Inaniwa You joined result is the painting I did with nihonga the Gutai art movement some years after pigments. It is screaming with that desire. it was first organized.

The Gutai group was already doing outdoor exhibitions—what would now be Takesada Matsutani Gutai had its beginning called installations—and performances in what was called the Contemporary on stage. In all honesty, I did not like Art Panel. The Asahi Shimbun newspaper what they were doing and thought, in Osaka arranged lectures, mainly “This is not art.” [ … ]

by Kansai artists, in painting, sculpture, I became associated with the flower arrangement, and design. Young Gutai movement in the early 1960s, after artists and other people came to hear it had gone through one cycle, having these talks. Jiro Yoshihara (1905–1972) was been substantially introduced abroad one of the lecturers, and his class met by [critic and curator] Michel Tapié monthly. Yoshihara and the young artists (1909–1987). It had begun to shift to around him had the idea to do something a concentration on painting, on the two “concrete,” and in 1954 the Gutai Art dimensional “tableau.” I wasn’t involved Association was formed. in the action painting or the Happenings I had heard about it at the time, of the early Gutai period [ … ] I was but I was still in high school and doing influenced by many things at the time.

Conversation with Tsutomu Mizusawa and Sawako Inaniwa

who was here recently, immediately said he had never seen anything like it. After about a year of working with this strange picture surface, and having made a good number of pieces, he said he wanted to do a solo show. I said ‘Fine. This is something new. This will do.’”

Studio visit, Paris, 2013 Circle-Eruption, 2005, vinyl adhesive, acrylic, and graphite pencil on canvas, 169.5 × 120 × 3.5 cm

TM Right, right. He said he would let me have my exhibition at the Pinacotheca, and I felt, “Aha! I did it!” That was for this 1963 show, and I worked furiously to make the works for it. Yoshihara was against any kind of literary image.

Come to think of it, the images were kind of “sensual.” I had some kind of consciousness of something organic that happened—by serendipity—to surface with the glue. That is how I started to have the connection with vinyl glue.

I also learned from this material. In other words, it was a dialogue. This was, in essence, a Gutai theme. At the time, a lot of people were repelled. Even now, women often say so. They say it looks like buttocks, or genitals, or the belly of a pregnant woman. I personally feel embarrassed about it, even now. I learned TSM & SI This is the sentence in the 1963 to use words such as “sensual,” but that Gutai Pinacotheca pamphlet for your solo was after I had made the works. At the exhibition: “It is a strange material that time I was just concentrating on producevokes associations with nipples, blisters, ing. We thought about what we did after or swelling from a burn. Even Tapié, we did it. That was how it was.

Reportage Studio

By chance, Gutai was happening close by, and I decided to give it a try. One of my works was included in the 1959 [Gutai group] exhibition [ … ] My work was exhibited with Gutai for the next three or four years. When I showed it to Yoshihara, he said, “That kind of thing already exists. Do something else.” My work was displayed in an out-of-the-way corner.

Yoshihara said, “Do something new, something no one has done before.”

I understood what he was saying, but had no idea how to do it. I had my own image about what to produce. I wanted to do something organic, something threedimensional. Something that would have volume and hang like icicles or stalactites.

After the war, Japan was putting a great deal of energy into industry, and the vinyl glue that was being produced caught my eye. It had an organic feel to it, and three-dimensionality. One day when there was a strong wind, the glue I was using evaporated in the wind, but kept its plastic quality. That produced strange shapes, something like blisters, or female genitals. It was completely by chance.

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The Book: Takesada Matsutani — A Matrix Edited by Kate van Houten, Midori Nishizawa Authors Kate van Houten, Sawako Inaniwa, Takesada Matsutani, Tsutomu Mizusawa, Midori Nishizawa, Ming Tiampo English edition Available ISBN 978-3-03764-337-2 Hardcover, 218 x 287 mm 208 pages Images 61 color / 49 b/w Published with Hauser and Wirth Zurich/London/New York CHF 58 / EUR 45 GBP 36 / US 59.95

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Fully conceived by the celebrated German artist (b. 1966), this book traces the evolution of the work from the early 1990s until today. It includes new texts by the artist, Angus Cook, Antje Majewski, and Patrik Scherrer.

[ISBN 978-3-905829-28-0]

Lutz Bacher

Lutz Bacher Ever since her career began in the 1970s, this Bay Area artist has drawn upon fragmentary information from popular culture and her own life to produce works that play with the instability of identity and the allaround trickiness of images. In artist’s books, installations, sculptures, videos, photographs, paintings, and screen prints, Bacher uses images and objects in a physical, visceral manner. Her mixture of bodies and ideas, pop and personal, while always remaining somehow elusive, feels entirely relevant to problems in art and life now. In this book, she has compiled her work from 1975 to 2013 into a hefty volume of seemingly digital files from an inventory.

It is accompanied by a new essay

by Caoimhin Mac Giolla Leith.

[ISBN 978-3-03764-347-1]

Helen Marten

In this new monograph on DeFeo, John Yau looks at the breadth of the artist’s work and her broad range of interests and influences. The publication explores her late work, paintings of the 1980s, as well as the exceptional corpus of drawings from the 1980s, and her photographic oeuvre of the 1970s. It thus complements the book published on the occasion of her Whitney Museum retrospective in 2013.

Jay DeFeo (1929–1989) was part of a vibrant community of avant-garde artists, poets, and musicians in San Francisco during the 1950s and 1960s. Her circle included Wallace Berman, Joan Brown, Bruce Conner, Wally Hedrick, Edward Kienholz, and Michael McClure. Although best known for her monumental painting The Rose (1958–1966), DeFeo worked in a wide range of media and produced an astoundingly diverse and compelling body of work over four decades.

DeFeo’s unconventional approach to materials and her intensive, physical method make her a unique figure in postwar American art.

©2013 The Jay DeFeo Trust, New York

This publication is the first to document Marten’s extraordinary and extensive recent artistic output.

It represents a touring exhibition initiated by the Kunsthalle Zürich with the show Almost the exact shape of Florida. Together with Plank Salad at the Chisenhale Gallery in London and No borders in a wok that can’t be crossed at the Center for Curatorial Studies at Bard College, these exhibitions present one of the most fertile artistic productions of our time. The book includes numerous installation and work views as well as commissioned texts by Ed Atkins, Michael Archer, Kit Grover, Flint Jamison, and Richard Wentworth.

[ISBN 978-3-03764-346-4]

New Releases in the Kunsthalle Zürich Series

Kai Althoff

Jay DeFeo

New Monograph

Untitled, 1973. Gelatin silver print, 6 × 11.4 cm

New Monograph

15 New Releases

Yto Barrada

Impressions of Africa No.5, 1986, Oil and alkyd on paper, 127 × 96.5 cm. ©2013 The Jay DeFeo Trust, New York

The Book: Jay DeFeo — Chiaroscuro Author John Yau English/German edition Available ISBN 978-3-03764-339-6 Hardcover, 255 x 310 mm 112 pages Images 36 color / 19 b/w Published with Galerie Eva Presenhuber, Zurich CHF 46 / EUR 35 GBP 29 / US 45

For more than a decade, FrenchMoroccan artist Yto Barrada (b. 1971), has offered a reflection on postcolonial history and current geopolitical changes from a “non-Western” art world perspective. Her works include films, installations, sculptures, and publications, and propose a combination of documentary strategies with a meditative approach to images. Introduced by Spanish writer Juan Goytisolo, this reference monograph puts together a retrospective essay by the art critic and curator Marie Muracciole, a visual essay by the art historian and theoretician Jean-François Chevrier, and an interview with Sina Najafi, editor-in-chief of Cabinet magazine.

Together with a large selection of images, these texts offer an overview of Barrada’s work—a practice that deals with history and geography, family stories, and layered memories.

[English: ISBN 978-3-03764-202-3; French: ISBN 978-3-03764-203-0]

Joana Hadjithomas & Khalil Joreige Since the mid-1990s, Lebanese artists Joana Hadjithomas & Khalil Joreige (b. 1969, live and work in Beirut and Paris) have worked together in the visual arts and cinema–shooting documentaries and fictions such as I Want to See, starring Catherine Deneuve and Rabih Mroué, and screened at the Cannes Festival in 2008. Their practice in both fields is imbued with a distinctive aesthetic that occupies spheres of the visible and the fictional, nourishing a fascinating back and forth between life and fiction. This book is the first reference monograph dedicated to the artists. Essays by Guggenheim Foundation Curator Suzanne Cotter and cinema critic and historian Jean-Michel Frodon, as well as a conversation held by Michèle Thériault, Director of the Leonard & Bina Ellen Gallery, Montreal, with fellow artists and thinkers ( Jalal Toufik, Etel Adnan, Dominique Abensour, etc.), explore the numerous themes of their practice.

[English: ISBN 978-3-03764-240-5; French: ISBN 978-3-03764-294-8]

Valentin Carron, 2013

RECENTLY PUBLISHED: VALENTIN CARRON, Artist’s book [ISBN 978-3-03764-321-1]

18 Xmas Jewels II David Noonan Slade & Robertson

Since 2011, 8 rue saint-Bon has established itself as an independent project space in Paris, dedicated to curatorial propositions stemming from the editorial programs of the five partners sharing this location— the film producer Anna Sanders Films; the publishing houses Les presses du réel, Macula, and JRP | Ringier; and the art video distribution and production company Art View/bureau des vidéos.

Information

8 RUE SAINT-BON IS OPEN ON FRIDAYS AND SATURDAYS AND

BY APPOINTMENT

8 rue Saint-Bon, Paris

Exhibitions

In October 2013, 8 rue Saint-Bon celebrates its second anniversary by welcoming Los Angelesbased artist Walead Beshty. This exhibition will conclude a busy and eclectic year: we hosted numerous book launches, including those for Fluxus master Georges Maciunas, French duo Louise Hervé & Chloé Maillet, and the transdisciplinary magazine Peeping Tom; among the exhibitions we organized were the constellation of screen prints by Canadian duo Kathy Slade and Lisa Robertson, the rare presentation of Australian London-based artist David Noonan’s recent collages, the rediscovery of Ericka Beckman’s fascinating audio and light installation Boundary Figures, unseen since its first appearance in 1989, and a presentation of the first film by Valentin Carron, alongside multiples and books.

Of course, we are always delighted to welcome you in Paris, and once again, don’t miss our Christmas Jewels market for its third manifestation in December.

Contact: +33 (0) 1 58 30 39 38 info@8ruesaintbon.fr & facebook For more information about the programs of the five partners: Valentin Carron

www.lespressesdureel.com www.annasandersfilms.com www.editionsmacula.com www.bureaudesvideos.com www.jrp-ringier.com

Kunstgriff Bookshop

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New furniture by INCH

Located on the ground floor of the Löwenbräu building, the hub for contemporary art in Zurich, at the main entrance, Kunstgriff bookstore is now up and running at full speed. Kunstgriff’s display includes a wide range of reference monographs and artists’ books, as well as out-of-print and hard-to-find books, an eclectic selection of magazines, as well as special editions and multiples.

It regularly hosts events and book launches and experienced Bookstore Manager Markus Schmutz will be happy to welcome you on your next visit.

Information

KUNSTGRIFF IS OPEN TUESDAY TO FRIDAY FROM 11AM TO 6PM AND SATURDAY FROM 11AM TO 5PM Kunstgriff Limmatstrasse 270 E0 of the Löwenbräu building Contact: +41 44 272 90 66 www.kunstgriff.ch info@kunstgriff.ch JRP | Ringier Limmatstrasse 270 E01 of the Löwenbräu building Contact: +41 43 311 27 50 www.jrp-ringier.com info@jrp-ringier.com

20

Sigismond de Vajay

Associate Editor

You are currently editing a second book on your project Of Bridges & Borders that started in 2009. How did it come together and how did you construct the relations between the exhibition and the two publications?

Lionel Bovier

In 2004 we opened a non-profit art platform in Barcelona, called KBB (Kültur Büro Barcelona) where we organized many contemporary art projects until 2009 (www.kbb.org.es). Of Bridges & Borders was initially the idea to do an exhibition in a book, as the last project of KBB, so that it could remain active after we closed down the physical venue and carry the ideology and spirit of the place. When the book came out, we decided to do a pretty important launch tour through European and Latin American cities, 20 in total, to present the book in various contexts like art fairs, cultural centers, museums, concert venues, galleries etc.

When I arrived in Buenos Aires in 2009, some cultural institution directors got excited about the contents of the book and asked me if we would be interested in trying to make an exhibition project inspired by the publication. I considered the proposal and from January to the end of the year 2011, we did three museum shows and two public interventions on bridges in the city. It was the reverse situation of the normal way (first the exhibition and then the book): in this case it was similar to what happens with films that are inspired by novels …

Simultaneously, we thought that after all this work to put the project into the making, it would be nice to circulate the project around Latin America; therefore, in March 2013, we produced a new show based on the same topics in the city of Valparaiso in Chile, producing new

works and adding new artists to the list.

While working on the project, we also noticed that we met a lot of very interesting people on the road and we thought that a perfect way to complete the project would be to add a new “chapter,” consisting of a volume with theoretical texts by architects, anthropologists, philosophers, sociologists, artists, and writers. The book, Of Bridges & Borders, Vol. II, is coming out in November ...

You have initiated a distribution system for contemporary art books in Latin America, with a base in Buenos Aires. How did it start and how is it evolving?

This started a bit by chance. On the one hand, in 2011 the SMAK in Ghent was preparing an important solo show of Argentinean artist Jorge Macchi, and they liked very much the way Of Bridges & Borders was edited; they asked me if I would be interested in editing Jorge’s catalogue for the show. On the other hand, in 2011 Buenos Aires was declared World Capital of Books, and they were giving grants for different projects related to publishing. We applied to do Jorge’s catalogue. The graphic designer who was working on Jorge’s book with me was also preparing Matias Duville’s first important monograph, and another designer was preparing Adrian Villar Rojas’ catalogue for the Venice Biennial, as well as the first monograph on Diego Bianchi, who was taking part in the Lyon Of Bridges & Borders II is a project in a book form.

It brings together artists and writers, combines a range of singular positions, chronicles contributions whose formats vary as widely as their content, and aims to create new readings by proximity, difference, comparison, and contradiction.

Chronologically, it spans the period after the fall of the Berlin Wall to the present; conceptually, it contains a broad range of works made in a variety of media, all of them dynamically joined in a manner that consciously contrasts with the traditional encyclopedia structure.

Of Bridges & Borders attempts to reflect a contemporary global memory in a free art world with more bridges than borders.

Of Bridges & Borders II es un proyecto en forma de libro.

Artistas y escritores aparecen aquí reunidos en una combinación de una amplia gama de posiciones particulares: se trata de un conjunto de contribuciones cuyo formato varía tanto como su contenido. Precisamente, Of Bridges & Borders busca provocar nuevas formas de lectura por proximidad, diferencia, comparación y contradicción.

En términos temporales, su recorrido se extiende desde el período que sigue a la caída del Muro de Berlín hasta el presente. Conceptualmente hablando, su contenido congrega una extensa muestra de trabajos realizados en una diversidad de medios que, dispuestos en forma dinámica, ofrecen un claro contraste con la estructura enciclopédica convencional.

Of Bridges & Borders quiere reflejar una memoria global contemporánea en un mundo artístico libre con más puentes que fronteras.

Interview by Lionel Bovier

of imported books, and the local production is not really dynamic. We are trying to do our best to position our publishing house and distribution company and think that soon we will be getting good results out of it, if the political situation doesn’t get worse …

As an artist and a curator, how would you define your relationship to printed matter?

As an artist I often use printed matter for my work, to hold together drawing series that are part of the same project, for example. This allows me to spread my work to a larger audience, to propose a more sociable art form. For me, the relationship to the object, in opposition to a digital form like a web page, is also something I really like. As a curator, I do think that printed matter is a great means to legitimate projects and art works. It writes history in a way, as it is often what remains from a project.

New Releases

Biennale. All these books were about to come out with no publisher, so I thought it would be the perfect opportunity to start something. That’s how we came to publish four books on Argentinean artists between May and August 2011. The last aspect to take care of was the distribution in Argentina and abroad. So we decided to distribute our books ourselves, and add books from other publishers to get an exciting catalogue. We did our first major collaboration with JRP|Ringier, selecting 170 different titles, and imported 7’000 books to Argentina.

Things have been evolving quite fast: we have been working for some 18 months now and we have 60 bookshop accounts, and we know more or less who our customers are and what they are interested in. Argentina is now going through a difficult moment politically, and it became very complicated to import new books into the country. This means we have very little competition in terms

21

Paulina Olowska Paulina Olowska’s work demonstrates an interest on Communist Poland’s fascination with Western consumerism and celebrates the spirit and stylish improvisations of the “Applied Fantastic”—a term coined by Polish writer Leopold Tyrmand in 1954 to describe the vernacular recreations of Western styles. In her paintings, collages, and knitted works, Olowska incorporates text and graphics from found illustrations or images that have a decidedly “behind the Iron Curtain” look, while paying tribute to American Pattern and Decoration art of the 1970s and its use of nontraditional contemporary art mediums such as tiles and textiles.

This publication is the first monograph to offer an overview of her work. It includes an interview with Adam Szymczyk and an essay by Jan Verwoert.

[ISBN 978-3-03764-287-0]

The Book: Of Bridges and Borders Edited by Sigismond de Vajay Authors Pedro Donoso, Andrea Giunta, Josep-Maria Martin, Cuauhtémoc Medina, Carsten Nicolai, Marti Peran English/Spanish edition Available ISBN 978-3-03764-081-4 Hardcover, 175 x 235 mm 408 pages Images 192 color / 40 b/w CHF 65 / EUR 43 GBP 33 / US 60

The Book: Of Bridges and Borders Vol. II

Teddy Cruz Kyong Park Juan Herrero

Edited by Sigismond de Vajay

Of Bridges & Borders II

Manuel Borja Villel Hans Michael Herzog Graziella Speranza Rodrigo Moura Lawrence Weiner John Baldessari Jenny Holzer Teddy Cruz Kyong Park

Of Bridges & Borders II Juan Herrero Manuel Borja Villel Hans Michael Herzog Graziella Speranza Rodrigo Moura Lawrence Weiner John Baldessari

Authors Marc Augé, Graciela Speranza, Juan Herreros, Laurence Weiner, Fatima Velez, Olivier Zybok, Saskia Sassen, Kyong Park, Sandro Mezzadra, Jenny Holzer

Jenny Holzer

English/Spanish edition November 2013 ISBN 978-3-03764-263-4 Hardcover, 175 x 235 mm 408 pages Images 60 b/w CHF 36 / EUR 26 GBP 22 / US 35

Ugo Rondinone This new publication is dedicated to a series of recent works realized

by Ugo Rondinone that relate to the artist’s interest in nature and mankind. It contains a detailed survey of the recent exhibition thank you silence in M – Museum Leuven (2013), including Rondinone’s latest works—primitive, a series of handmolded bronze birds named after natural phenomena, clocks made of colored stained glass, and the complete nude series of hyper-realistic, introverted figures cast in a mixture of wax and earth pigments. Two new series made especially for the exhibition are also presented: four monumental soil landscapes and the work entitled your age and my age and the age of the sun, which features 400 drawings of the sun made by children from Leuven. Published with M – Museum Leuven and Studio Rondinone, with the kind support of Galerie Eva Presenhuber, Zurich; Barbara Gladstone Gallery, New York – Brussels; Galerie Almine Rech, Paris – Brussels; Sadie Coles HQ , London; and Esther Schipper, Berlin.

[ISBN: 978-3-03764-354-9]

Yang Fudong

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Reference Monograph

Lionel Bovier (ed.)

Ecart This book focuses on Swiss artist John Armleder’s early Fluxusrelated works with Ecart, a group Armleder founded with Patrick Lucchini and Claude Rychner in Geneva in the late 1960s. Ecart, which “many considered the most important alternative space in Europe in the 1970s [ … ] even going beyond the American concept of the alternative,” was officially founded in 1969 during a performance festival.

In 1972 Ecart established its activities as both bookshop and gallery in Geneva. From 1973 to 1982 Giuseppe Chiari, Braco Dimitrijevic, Dick Higgins, Olivier Mosset, Annette Messager, Daniel Spoerri, Ben, Manon, and many other artists prominent in the art scene of the 1970s exhibited there. At the same time, Armleder, Lucchini, and Rychner started publishing activities, printing and distributing artists’ projects in the form of books and multiples. Peter Downsborough, Robert Filliou, Genesis P-Orridge, Sarkis, Endre Tót, Dan Graham, Maurizio Nannucci, and Lawrence Weiner all produced one or more publications with them. If we add to this the foundation in 1974 of the Ecart Performance Group, which was active until 1981, we begin to have an idea of the group’s rich and multifaceted production. Edited by Lionel Bovier and published with the Charles H. Scott Gallery, Emily Carr Institute of Art & Design, Vancouver, it is the first English publication dedicated to this artists’ collective.

[ISBN 978-3-03764-331-0]

New Release in the Hapax Series

Ecart (1969–1980)

Chinese artist Yang Fudong’s work reflects the ideals and anxieties of a generation born after the Cultural Revolution, struggling to find their place in the fast-paced changes of society. His films and film-installations feature an atemporal and dreamlike quality in long and suspended sequences, dividing narratives, and multiple story lines. In his most recent multi-channel filminstallations, Fudong shifts his attention more and more toward a reflection on the process of filmmaking. The book includes a comprehensive selection of Yang Fudong’s photographic and film work, as well as newly commissioned theoretical essays by renowned film scholar Rey Chow, and artists and curators Ho Rui An and Colin Chinnery.

Published with Kunsthalle Zürich, UC Berkeley Art Museum and Pacific Film Archive, and Sifang Art Museum, Nanjing.

The Book: Yang Fudong Kunsthalle Zürich UC Berkeley Art Museum and Pacific Film Archive

Authors Colin Chinnery, Rey Chow, Philippe Pirotte, Beatrix Ruf, Ho Rui An English/German edition Available ISBN 978-3-03764-348-8 Softcover, 237 x 286 mm 160 pages Images 101 color, 149 b/w CHF 60 / EUR 40 GBP 25 / US 55

Yang Fudong

Edited by Philippe Pirotte Beatrix Ruf

Yang Fudong

Latifa Echakhch Reference Monograph

23 Black People Are Cropped

of A gIven LAnguAge

drawings that keep him from laugh-crying to death,” writes Helen Molesworth about William Pope.L’s Skin Set Drawings.

Made with very low-key materials, these drawings deal with the absurdities and perversities of intentional language, especially

William Pope.L

Reprints in the Hapax Series

A Word or forM THAT oCCurs

onLy onCe In THe reCorded CorPus

“When Pope.L shakes his head he makes

racist language and language associated with categorizing and naming color. This selection of drawings, made between 1997 and 2009 by the self-proclaimed “friendliest black artist in America,” is accompanied by critical essays

by Iain Kerr and Helen Molesworth, as well as one of the artist’s own texts.

William Pope.L, who has been making multi-disciplinary works since the 1970s, is a visual and performancetheater artist and educator who makes culture out of contraries. He lives and works in Chicago.

Born in 1974 in Morocco and currently living in Switzerland, Latifa Echakhch’s work is, according to the book’s editor Florence Derieux, “proof that art can be instrumental to exchange and social engagement without being patronizing or exploitative. While her sculptures are elegant and delicate, the visitor must nevertheless not be deceived by this sensibility when she examines subjects such as culture, geography, and personal as well as collective histories.” This first reference monograph, organized as an A-Z of titles, includes essays by GAMeC Chief Curator Alessandro Rabottini and writer Ben Borthwick, and provides a first overview for this muchdebated artist’s work. Published with FRAC Champagne-Ardenne, Reims; Kunstverein Bielefeld; Fridericianum Kassel; and GAMeC, Bergamo.

William Pope.L “When Pope.L shakes his head he makes drawings that keep him from laugh-crying to death,” writes Helen Molesworth about William Pope.L’s Skin Set Drawings. Made with very low-key materials, this extended corpus of drawings deals with the absurdities and perversities of intentional language, especially racist language and language associated with categorizing and naming color. “Black People Are Taut,” “Brown People Are The Green Ray,” “Blue People Are What We Do To Homosexuals,” “French People And Roma,” “Purple People Are The Perfect Cone For The King Not His Body,” “Red People Are The Niggerss Of The Canyon” are some examples of this ongoing series made by the self-proclaimed “friendliest black artist in America.”

This book offers a selection of drawings, made between 1997 and 2009, some sketches, and two critical texts—by artist and writer Iain Kerr and Chief Curator at the Institute of Contemporary Art (Boston) Helen Molesworth—as well as one of the artist’s own texts.

William Pope.L (b. 1955, New Jersey) is a visual and performance-theater artist and educator who makes culture out of contraries and confronts issues of race, sex, power, consumerism, and social class. Among his best-known works are the “crawls,” a series of performances staged since 1978, in which he inches his way through busy city streets on his belly, back, hands, and knees in an attempt to draw attention to the plight of those members of society who are least empowered. He has been making multi-disciplinary works since the 1970s, and has exhibited internationally. He now lives and works in Chicago.

[ISBN 978-3-03764-269-6]

The Book: Latifa Echakhch Latifa Echakhch

Edited by Florence Derieux Authors Alessandro Rabottini, Florence Derieux, Ben Borthwick English edition October 2013 ISBN 978-3-03764-200-9 Softcover, 237 x 286 mm 160 pages CHF 60 / EUR 40 GBP 25 / US 55

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Xavier Veilhan

Artist's Book

Since the mid-1990s, French artist Xavier Veilhan (b. 1963, lives in Paris) has created an acclaimed body of work defined by his interest both in the vocabulary of modernity (speed, motion, urban life, etc.) and in classical statuary—to which he has given his own contemporary reinterpretation.

Since 2011 he has been working on Rays, an ongoing series of works formulated as a tribute to Jesús Rafael Soto and Fred Sandback. Dealing with the possibilities of representation and the question of display—two important issues in his practice—these works are immersive and optical environments that play with scale, light, and shadow, and ephemeral architecture. Along with extensive photographic documentation of the successive Rays installations, this artist’s book also presents preliminary sketches and Veilhan’s iconographic research into scientific imagery, architectural references, and artistic figures.

The Book: Xavier Veilhan — Rays

Rays Xavier Veilhan

Also Available: Xavier Veilhan Edited by Lionel Bovier

Edited by Jean-Pierre Criqui

English edition November 2013 ISBN 978-3-03764-328-0 Hardcover, 230 x 310 mm 64 pages CHF 45 / EUR 35 GBP 28 / US 45

Authors Jean-Jacques Aillagon, Michel Gauthier, Laurent Le Bon, Arnauld Pierre, Pierre Sengès English edition Available ISBN 978-3-03764-077-7 Softcover, 237 x 286 mm 160 pages Images 193 color / 16 b/w CHF 60 / EUR 40 GBP 25 / US 55

Carlos Amorales Artist's Book

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Germinal brings together a series of pieces by Carlos Amorales, who has created a graphic language that detaches itself from the compression and fragmentation of images compiled in his Liquid Archive, a project he developed over more than ten years. This process gave rise to a codified alphabet, to which we do not initially have access, but whose plasticity locates it at the limit between image and sign. This language is used in traditional printed formats such as posters, books, and newspapers. Nevertheless, in exploring media such as sculpture and video, these works explore the use of language and its limits, posing the question of what lies beyond language.

The Book: Carlos Amorales — Germinal Authors Carlos Amorales, Michel BlancsubÊ, Magnolia de la Garza, Jon Kun, Reinaldo Laddaga English/Spanish edition Available ISBN 978-3-03764-338-9 Softcover, 217 x 280 mm 384 pages Published with Kurimanzutto and Yvon Lambert CHF 58 / EUR 45 GBP 38 / US 59.95

26

Since the late 1990s, Carey Young has investigated the growing influence of international corporations on the individual in works that span a variety of media and which draw on the tradition of Conceptual art. For example, she studies how language is transformed by corporate culture, or how contractual structures and their linguistic markers progressively pervade and reshape all domains of life. [ISBN 978-3-03764-335-8]

Stephen G. Rhodes The American artist’s installations are based on selected references from a wide range of historical and cultural sources, including the American past and the histories of art and film. Dar Allers war ne’er eny Bear Bear, for example, linked Walt Disney’s Song of the South (1946), a movie adaptation of Joel Chandler Harris’ Uncle Remus stories, which are in turn based on the oral histories of the slaves on the plantations of the American South, to Stanley Kubrick’s The Shining.

Building such connections allows him to take up the repressed depths of the American past and place them in new contexts.

[ISBN 978-3-03764-315-0]

Geoffrey Farmer The artistic practice of Geoffrey Farmer (b. Vancouver, 1967; lives and works in Vancouver) integrates forms of collecting and scholarship employed by cultural historians, and draws on a diverse repertoire.

After extensive research, the artist builds collections that unite aspects of visual art, literature, music, politics, history, and sociology, and crystallize in sprawling theatrical installations. With contributions by Kathy Noble, Michael Turner, Jan Verwoert, Heike Munder, and Tobias Ostrander.

[ISBN 978-3-03764-343-3]

New Releases in the Migros Museum of Contemporary Art Series

Carey Young

Jules Spinatsch

Photography

Since the 18th century, the Swiss Alps have been considered the epitome of sublime nature, and natives have missed no opportunity to capitalize on that myth. Over the past centuries, the relatively untouched mountains have been transformed into a high-tech event landscape geared toward profit. But today the first challenge for the winter sport industry is to survive, since the promises of eternal snow through technology turned out to be a dead end.

In Snow Management, Spinatsch has taken pictures of ski slopes being prepared at night. Under the glare of cold floodlights, machines noisily turn nature into a tourist experience with snow cannons at full blast and bulldozers flattening the slopes. There are no mountains to be discovered in these nightscapes. Instead the pictures evoke the cold emptiness of stills from a science-fiction film about a barren planet being made habitable.

The spectacle of nature in the Alps is no different from soccer games and summit meetings; it, too, is a staged production. This oeuvre makes manifest that technology, staging, and mediatization have become the basics of contemporary life and it gives us the opportunity to take a look backstage at the makings of “reality.” Jules Spinatsch always remains matter-of-fact and unsentimental; his dry understatement lends the work a clarity and farsightedness that is far more oppressive than many detailed apocalyptic visions.

Text by Martin Jaeggi, excerpted from Parkett No. 81 (translated by Catherine Schelbert)

27 New Releases in our Associate Editors' Series

Michael Stevenson & Jan Verwoert Animal Spirits is an artist’s book based on a collaborative process, a kind of partial exquisite corpse co-illustrated in a similar way by the artist and Margaret Stevenson, his mother.

[ISBN 978-3-03764-137-8]

Mungo Thomson For Crickets the artist has collaborated with composer Michael Webster to transcribe field recordings of crickets from around the world into a musical score.

[ISBN 978-3-03764-334-1]

The Nervous System A dialogue between Zbynek Baladran (b. 1973, Prague) and Jiri Kovanda (b. 1953, Prague) in the form of spontaneous reflections on the images with which they confront each other.

[ISBN 978-3-03764-342-6]

The Book: Jules Spinatsch — Snow Management (Complex) Edited by Markus Bosshard Lionel Bovier Jürg Trösch Authors Tobia Bezzola, Walter Keller English/German edition December 2013 ISBN 978-3-03764-355-6 Hardcover, 245 x 345 mm 160 pages Published with Codax CHF 68 / EUR 54 / GBP 42 / US 75

Ruhestörung Second volume of the KiöR series, this book is based on a symposium chaired by Dorothea Strauss and Christoph Doswald.

[German edition, ISBN 978-3-03764-183-5]

28

I TRY TO BE SENSITIVE TO ALL THE WAYS THE WORK IS DISTRIBUTED, WHETHER THIS IS IN THE CASE OF AN EXHIBITION, OR IN THIS INSTANCE IN THE FRAME OF THE MONOGRAPH. FOR ME, THE CONTEXT OF PRODUCTION, OR THE PREEXISTING SYSTEMS WITHIN WHICH ART IS PRODUCED AND DISTRIBUTED ALLOWS AN ACCESS TO THE BROADER IMPLICATION OF AESTHETICS, I.E. ART’S CONNECTION TO THE VICISSITUDES OF DAILY LIFE THROUGH READYMADE SYSTEMS OF PRODUCTION. — Walead Besthy, 2011

Walead Beshty

From Our Backlist

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

This reference monograph realized in close collaboration with the artist (b. 1976), presents a 10-year overview of Walead Beshty’s approach to photographic and sculptural representation.

With commissioned essays by Suzanne Hudson, Nicolas Bourriaud, as well as a conversation between Bob Nickas and Walead Beshty.

Reprinted in a revised and expanded edition.

Revised and Expanded Edition

29

The Book: Walead Beshty — Natural Histories Edited by Walead Beshty Authors Nicolas Bourriaud, Suzanne Hudson, Bob Nickas English edition Revised and expanded edition December 2013 ISBN 978-3-03764-353-2 Softcover, 237 x 286 mm 192 pages Images 120 color / 97 b/w CHF 60 / EUR 40 / GBP 25 / US 55

30 Book Prizes in 2013

5 Bookshops

Five Bookshops We Love

Since 2008 Garage Bookshop has offered books on contemporary art, architecture, and design in Russian and English, art magazines, designer items and art pieces

by Russian contemporary artists, gifts and souvenirs.

Garage Bookshop Mon–Thur 11am–9pm 9, Krimsky val street Fri–Sun 11am–10pm 119049 Moscow Russia T +7 495 645 0521 E shop@garageccc.com W www.facebook.com/GarageBookStore

David Maljkovic Sources in the Air Monograph Design: Mevis & Van Deursen Production: Lecturis, Eindhoven ISBN: 978-3-03764-307-5

Drawing Ronan & Erwan Bouroullec Artists’ book Design: Cornel Windlin Production: Swissprinters, Zofingen ISBN: 978-3-03764-319-8

Piero Gilardi Monograph Design: Gavillet & Rust Production: Musumeci, Aosta ISBN: 978-3-03764-242-9

ARTBOOK @ MoMA PS1 is the most vibrant source for cutting-edge contemporary art books and magazines on the East Coast, a treasure trove of books, catalogues, magazines, DVDs and CDs, and an international destination for lovers of contemporary culture.

Art Catalogues at LACMA specializes in museum exhibition catalogues and books, both in- and out-of-print, on the subjects of contemporary art, photography, and architecture. New titles arrive daily, and we actively buy libraries and personal collections.

ARTBOOK @ MoMA PS1 Thu–Mon: 12–6pm 22-25 Jackson Ave (at 46th Ave.) Long Island City, NY 11101 T +1 718 433 1088 E booksmomaps1@artbook.com W www.artbook.com/artbookps1.html

Art Catalogues at LACMA 5905 Wilshire Blvd Los Angeles, California 90036 T +1 323 857 6587 E artcatalogues@lacma.org W www.artcatalogues.com

On the occasion of its 40th birthday, the CAPC opened ACAPULCO, a bookshop dedicated to contemporary culture.

It offers a selection of books on contemporary art, aesthetics, photography, design, and a choice of artists’ editions and prints, as well as its own collection of objects and “goodies.”

Settled in the old Eiffel building, Le Magasin’s bookshop—recently renovated—provides since 1986 an amazing choice of publications dedicated to the contemporary artistic field. It offers exhibition catalogues, monographs, artist’s books, rare and out-of-print books, and theoretical literature.

Acapulco by CAPC Entrepôt. 7, rue Ferrère 33000 Bordeaux France T+ 33 5 56 00 81 69 E acapulco.ink@gmail.com W www.capc-bordeaux.fr

Librairie du Magasin CNAC Site Bouchayer-Viallet 8, esplanade Andry Farcy 38028 Grenoble France T + 33 4 76 21 65 24 E librairie@magasin-cnac.org W www.magasin-cnac.org

Tue–Sun 11am–6 pm, Wed until 8pm

Mon, Tue, Thu: 11am–5.30pm Fri: 11am–8pm Sat & Sun: 10am–7pm

Tue–Sun 2–7pm

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

31

Ericka Beckman, Out of Hand (Sleeper), 1981–2013.

Pigment print, 60 × 40 cm, edition of 7

Paulina Olowska Special edition: two different, signed and numbered copies with a special dustjacket 25 copies, 100 CHF

“Out of Hand is a depiction of memory formation … At this time in my life when I made the Super-8 Trilogy, I read Piaget’s books very loosely, almost with a poetic freedom to just enjoy his tests and children’s response to his tests. But I also tried to deeply absorb his definition of the successive levels of intelligence leading up to the acquisition of language.”

—Ericka Beckman

Marc Camille Chaimowicz Special edition: Emma … , 2012 Silkscreen print on cotton fabric, 80 × 120 cm each Edition of 20 + 10 AP, signed and numbered, 750 CHF

32

Paul McCarthy & Damon McCarthy Rebel Dabble Babble

Clive Phillpot Booktrek

John Baldessari More Than You Wanted to Know About John Baldessari Vol. 2

Valentin Carron

Piero Gilardi

Euan Macdonald We Already See So Much

Hans Ulrich Obrist A Brief History of Curating

General Idea A Retrospective (1969–1994)

AA Bronson Peter Hobbs Queer Spirits

A selection of 10 favorite titles from our catalogue by AA Bronson, known as much for his 25 years with the artists’ collective General Idea as for his love of printed matter, and whose recent artist’s book, Queer Spirits, explores new paths to the art world.

Photo: Olivier Pasqual

John Baldessari More Than You Wanted to Know About John Baldessari Vol. 1

AA Bronson Top 10

Contacts

Distributors

JRP | Ringier Limmatstrasse 270 | CH–8005 Zurich T +41 (0) 43 311 27 50 F +41 (0) 43 311 27 51

JRP | Ringier books are available internationally at selected bookstores and from the following distribution partners:

E info@jrp-ringier.com www.jrp-ringier.com ISBN 978-3-03764-357-0

© 2013, the authors, the artists, the photographers, and JRP | Ringier Kunstverlag Design Concept: Gavillet & Rust, Geneva Layout: Nicolas Eigenheer Typefaces: Genath by François Rappo (www.optimo.ch), Nameit by Jeremy Schorderet

Top Ten

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

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