Transfer Drawings. Mechanical reproduction of another kind. Markus Uhr.
Text (English/German): Madeleine Schuppli.
Published by Kodoji Press. 250 copies.

“As source material Markus Uhr uses fragments of images and texts taken from the American as well as the German press. He cuts out individual motifs from the papers to assemble an archive of photographic ans typographic clippings, extracting all manner of themes from the cleary structured system of every newspaper: logos, headlines, reportage photographs. Once removed from their original function within the newsprint medium, these extracts mutate into free-floating, unrelated particles inside Markus Uhr’s pool of images.

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ESTATE. Aleksander Komarov.
Edition of 500 copies.
Published by Torpedo Press.

ESTATE (2010) by Aleksander Komarov, is an artist book based on the film ESTATE from 2008. The idea of the
book was conceived following a discussion between Lena Prents and Aleksander Komarov in the run-up to the
exhibition FALL OUT –– ART, DESIRE and DISENGAGEMENT at Gl Holtegaard, Denmark and at Malmö Konsthall,
Sweden. The book ESTATE reflects on the means of evaluation of artistic production.
To an extent, ESTATE is a response to the current condition of contemporary art and its relation to broader economic contexts. The project focuses the viewer’s attention on basic resources and the movement between
material and immaterial types of labour, gathering along the way diverse statements on the migration of value.
In her essay, Lena Prents recalls the images and issues raised in Aleksander Komarov’s film ESTATE (2008),
and questions the current position of artists, oscillating between the demands of the market, the conditions of work
beyond the “cult of genius” and the immaterial value of artistic labour.
Boris Buden draws on the wider context of the material presented in ESTATE, that of rationalised labour, then focus
on projects by Aleksander Komarov which balance the issue of being an artist working under current economic
conditions against the artistic “soul at work”.
The conversation between Aleksander Komarov and Jule Reuter deals with questions about the coherence between
(migrated) identity, value production and the personal way in which one position oneself.

ESTATE (2010) by Aleksander Komarov, is an artist book based on the film ESTATE from 2008. The idea of the book was conceived following a discussion between Lena Prents and Aleksander Komarov in the run-up to the exhibition FALL OUT –– ART, DESIRE and DISENGAGEMENT at Gl Holtegaard, Denmark and at Malmö Konsthall, Sweden. The book ESTATE reflects on the means of evaluation of artistic production. To an extent, ESTATE is a response to the current condition of contemporary art and its relation to broader economic contexts. The project focuses the viewer’s attention on basic resources and the movement between material and immaterial types of labour, gathering along the way diverse statements on the migration of value. In her essay, Lena Prents recalls the images and issues raised in Aleksander Komarov’s film ESTATE (2008), and questions the current position of artists, oscillating between the demands of the market, the conditions of work beyond the “cult of genius” and the immaterial value of artistic labour. Boris Buden draws on the wider context of the material presented in ESTATE, that of rationalised labour, then focus on projects by Aleksander Komarov which balance the issue of being an artist working under current economic conditions against the artistic “soul at work”. The conversation between Aleksander Komarov and Jule Reuter deals with questions about the coherence between (migrated) identity, value production and the personal way in which one position oneself.

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POSTER Unter Dem Motto 2010
Limited edition, traditionally made using letter press printing method.

84 x 59.4 cm

Various colours available.

D 12€
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Anti-Catalogue # 01

Published by The Model on the occassion of Dorm, an exhibition curated by Séamus Kealy ( 1 May to 4 July 2010)
Editor: Amish Morrell
Design: The Future

D 10€

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Cmagazine #107 – ANIMALS
Automn 2010.

EDITORIAL

Among Animals by Amish Morrell

FEATURES

-The Lives and Deaths of Carolee’s Cats by Carla Benzan
-Infinite, Indifferent Kinship by Karen Houle
-On Year of the Dog by Jon Davies
-Touching Animals by Helena Reckitt

ARTIST PROJECT

-Bill Burns: Bird Radio for Afghanistan, 2010
Accompanying text: Of Fauna and Manufactured Derivatives: Bill Burns and the Lucrative Didactics of Environmental Stewardship by Gentiane Bélanger

EXHIBITION REVIEWS

-Kristan Horton: The Echo Chamber by Dan Adler
-Adrian Blackwell: Model for a Public Space [knot] by Alex Snukal
-Carlos Garaicoa: Overlapping by Leah Modigliani
-Timeland: 2010 Alberta Biennial of Contemporary Art by Leah Turner
-David Hoffos: Scenes from a House Dream by Meredith Dault
-Marina Abramović: The Artist is Present by Aileen Burns and Johan Lundh
-Christian Boltanski: Personnes by Zoë Chan
-Marion Wagschal: Private Views and Paintings by James D. Campbell
-Stephen Kelly: Open Tuning (WaveUp) by Quyen Hoang
-Ryan Trecartin: Any Ever by Nadja Sayej
-Daryl Vocat: The Secret of the Midnight Shadow by Sally Frater

NOTEWORTHY

-by Jovana Jankovic and Maxine Proctor

BOOK REVIEWS

-Trash, Jon Davies by Jovana Jankovic
-Emergence: Contemporary Photography in Canada, edited by Sarah Parsons by Amish Morrell

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The Portable John Latham.
Edited and introduced by Antony Hudek and Athanasios Velios
Published by Occasional Papers.

Size 17 x 25cm, 112 p, soft cover

This book features a selection of documents from the personal archive of the late British artist John Latham, presently maintained in his last home and studio in Peckham, South London. Through reproductions of letters, invitation cards, exhibition reviews, performance scripts and images, the publication retraces Latham’s pioneering practice over six decades, from the late 1940s to his death in 2006. Published on the occasion of John Latham: Anarchive in association with Whitechapel Gallery, the book also includes an interview by Charles Harrison from 1968 and a glossary section.

D 16€
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Queen Ann. P.S. Belly cut off. Mariken Wessels.
Published by alauda publications.
80 pages full color (Dutch/Eng). 24 x 33 cm.
Including glassine envelope containing photos.

The photographs in this book are sourced from an existing person, a middle-aged woman wringing with her self-image in an endless stream of manipulated photographs of herself, making them into a true cabinet of curiosities. The authentic arrangement of the discovered material, with its strange mixture of old and new photographs, film material and collages is strikingly deceptive. In fact, both in Elisabeth – I want to eat – as well as in Queen Ann. P.S. Belly cut off, it is the hand of the fine craftswoman Mariken Wessels at work. The suggestive, intimate force of the ‘found’ photographic material and other personal documents, as well as the sequencing of the images as a whole, are both deliberately arranged with great precision. Wessels sensitively appropriates the photo and film material by newly photographing, editing, and re-organizing them, often incorporating other material in a complementary gesture. In doing so, she constructs a narrative, weaving together images in the medium of the book.

In Queen Ann. P.S. Belly cut off it is the unfolding of a melancholic narrative of a woman, whose life seems to be dominated by her obesity. Yet the reader is never turned into a voyeur. ‘Queen Ann’s’ peculiar and touching photo collages of herself, expressing a longing for another ‘being’, are fused with the image that the book evokes around her persona. In the contrast which the arrangement of the photos make all too evident, an uncomfortable incompatibility emerges between the present and the past life of Ann and the status of being beautiful. Wessels breathes new life into her protagonist, blurring the lines between fiction and reality, giving way in the process to a seemingly ‘higher’ reality.

D 35€

LIMITED EDITION

75 copies numbered and signed. With two unpublished photos on Hahnemühle Photo Rag.
In handmade box.

€ 149

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Elisabeth – I want to eat. Mariken Wessels.
Published by alauda publications.
80 pages full color (Dutch/Eng). 24 x 33 cm.
Including six thin colour-paper inserts.

The book was initially self-published by the artist in 2008 in a small edition and was widely acclaimed. It won the Silver Medal Book Award at the Fotofestival di Roma and was recently acquired by the MoMA collection in New York.

Elisabeth – I want to eat – consists of a collection of anonymous photographs, letters and postcards belonging to a young woman, which the artist stumbled upon in a shop in the Hendrik Jacobszstraat in Amsterdam. Wessels appropriates the found material in her own way, by photographing the images, creatively processing and arranging them, as well as occasionally adding her own material. The intensity and sensuality of the photographs are reminiscent of the work of master photographers like Gerard Fieret and Miroslaw Tichý. They depict a young woman defiantly posing in front of the camera, both figuratively and literally exposing herself. The black and white photographs are worn out, frayed by numerous scratches and dust particles, blending together both the exaltation and melancholy recorded in them. Apart from the photographs, the book carries a series of printed postcards and letters addressed to Elisabeth, from which the reader gradually infers that her life was thrown off track in some way. ‘Religion, order, discipline, detachment from the quest for ambition’ – these are, in brief, the ingredients of advice, with which a family member proposes to ‘heal’ her. Yet the person giving her advice himself tells no straightforward story. One is in fact left wondering which of the two people is more bizarre. There is a stark contrast in the book between the idyllic landscapes in the postcards painted in sweet watercolour and the disarming directness of Elisabeth’s gaze in to the camera. The book contains thin colour-paper inserts, on which the letters and postcards to Elisabeth almost transform into a direct appeal to the reader. The title of the publication is taken from the only letter in the book penned by Elisabeth herself, addressed to an unknown friend:
‘(…) The last time I saw you it was nice and I felt much better. Are you still in Brussels? I don’t know but I liked the house you lived and the streets there. I want to eat.’

D 35€

LIMITED EDITION
75 copies numbered and signed. With two unpublished photos on Hahnemühle Photo Rag.
In handmade box

€ 149

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Available for distribution.

Bad Day #8 – Ariel Pink

Featuring:
Ariel Pink, CEO, Hanna Liden, Scott Sternberg, Niall McClelland, Alex Wolfson, Michael Snow, Julie Doiron and a joke by SANY

D 11€
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Communist Guide to New York City – Yevgeniy Fiks

Communist Guide to New York City is a collection of 76 photographs of buildings, public places, and sites in New York City, that are connected to the history of the Communist Party USA, including photos of buildings which housed at different times the headquarters of the CPUSA, residences of important American Communists, sites where Communist-organized strikes and demonstrations took places, and court houses where American Communist leaders were tried. The photographs are accompanied by captions explaining the significance of each site. Additionally, different neighborhood maps locate the buildings and sites within New York City.

With essays by Olga Kopenkina, Kim Förster, and Yevgeniy Fiks.

Edited by common room.
Designed by Geoffrey Han.

D 12 €

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