Tags: Alexandra Leykauf, MOREpublishers
The posters created by Martin Kippenberger (1953-1997) for his own exhibitions represent a core aspect of his multimedia output and artistic vision. The show You too will eventually come into fashion – Posters by Martin Kippenberger therefore reveals an essential slice of Kippenberger’s characteristic, often wildly absurd sense of humor.
The exhibition marks the Museum Folkwang´s acquisition of a comprehensive collection of posters by Martin Kippenberger in 2013 which substantially enhances the existing group of works by the artist held at the museum.
A catalogue is due for release to accompany the show, available from Edition Folkwang/Steidl.
Edited by Museum Folkwang
Paperback / softback
20.5 x 26.5 cm
ISSUE E FOUR SEASONS 2015 incl. The PROVENCE Summer Reader: After Dark
ISSUE E FOUR SEASONS 2015
Josephine Pryde, Bra III (ISOSCELES at Ahlbeck) from Knickers, Berlin, 2014.
Courtesy Temnikova & Kasela, Tallinn
Poster size: 93 cm x 69 cm
The PROVENCE Summer Reader: After Dark is the second publication of a series of books co-published by Paraguay Press and PROVENCE.
The PROVENCE Summer Reader: After Dark takes it starting point—its body—from the kind of supplementary pocket books that are attached to the summer issues of various empire lifestyle magazines. As the title suggests, this book is a reader that gathers different—not to say heterogenous—material, by authors from diverse—though mainly art-connected— backgrounds, taking over a format known for its slippery, shallow, and entertaining content. Writings, fictions, documents, and poems come along with a suite of illustrations by Siw Umsonst. For a brief moment, this book was going to be a part of PROVENCE’s (pen)ultimate Issue C dedi- cated to Criticism Now. And then … in or out. We recalled the moment in history (was it the mid or the late 90s?), when art magazines not only featured sec- tions with the best of the year, but also with the worst shows and artists of the year. It was Richard Pryor, according to Lane Relyea, who stated: “I never met any- body who said when they were a kid, I wanna grow up and be a critic.” Soon the title shifted to Dark Matter, which turned criticism to social relations, but it echoed other engagements and expectations. As writing eludes the purposes of criticism, and comes to favor stories, emotions, and open air over judg- ment and in-depth studies, it was eventually replaced by After Dark. After Dark is also a series of computer screensaver software introduced in 1989 by Berkeley Systems for the Apple Macintosh, and for Microsoft Windows in 1991. It is—or was—a means to avoid switching your computer off and to maintain its functionality while not at work, keeping the system running. With the invention of laptops sleep mode in the late 90s, which made turning devices off unnecessary, the then famous Aquatic Realm, Flying Toasters, and Slide Show screensavers vanished. Many of the contributions to this Summer Reader attempt to engage a problem of their own or perform their authors’ participation in the networked, social, and communicational spaces that are shared with cul- tural production at large. They bear witness to nights of labor turned into proletarian days—even though they were written for a book supposed to be read un- der the sun. Or (maybe) exactly because of that: who would dare to take a tablet or a laptop to the beach?
ISSUE E FOUR SEASONS 2015
Tags: geology, Julian Charrière
Nicole Schweizer, ed.
Texts by Amelia Barikin, Rebecca Lamarche-Vadel, Nadim Julien Samman, Nicole Schweizer
Whether creating innovative topographies of his native country and adopted homeland using bacteria in constant evolution, or Babel-like towers that are gradually coated with organic motifs obtained through decomposition of samples taken from nine great rivers of the world, Julian Charrière studies the effect of time, its relationship with space and matter, and the various ways we perceive it. What he calls “the geology of History”
“Future Fossil Spaces”, the exhibition devised for the Musée cantonal des Beaux-Arts de Lausanne which is the occasion for this book, brings together works for which Julian Charrière traveled to Iceland, Kazakhstan, the Atacama Desert (Chile) and Argentina. The exhibition title evokes The Blue Fossil Entropic Stories, the result of an expedition carried out in 2013 in which the artist climbed an iceberg in the Arctic Ocean and attempted to melt the ice under his feet using a blowtorch for over eight hours. The fossils mentioned in the title do not refer to traces of animal or plant life found in rocks, but to the Latin etymology of the word, which translates literally as “obtained from digging”, the action of the artist consisting therefore in proposing, in the present of the exhibition space, works that are in dialectical tension between the two arrows of time, one pointing to the past and the other towards the future.
Language: English / French
Tags: Haris Epaminonda
Chapters I-XXX. Haris Epaminonda. Humboldt Books, Kunsthaus Zurich.
In tracing some of the notions and narratives embedded in Chapters, a 16 mm film shot in Cyprus in 2012, the idea of making a book came about as an exercise, or rather an experiment, to deconstruct the film into some of its subject matters. Embarking on a new set of associations between image and subject, source and information, meaning and abstraction, this book is both a document and a memory map, tracing the beginnings of a thought, a time, an image, a place.
Chapters I-XXX is published and presented in conjunction with the exhibitions Haris Epaminonda. Chapter IV at Fondazione Querini Stampalia, Venice (14 March – 18 May 2014); Haris Epaminonda. Vol. XIV at Galleria Massimo Minini, Brescia (25 March – 18 May 2014).
Concept: Haris Epaminonda and Marco Walser, Elektrosmog, Zürich
Graphic design: Marco Walser, Elektrosmog, Zürich
Image design / editing: Haris Epaminonda
Hardcover folder | English
24 film stills (color)
30 posters (b/w & Color)
Mousse #46. Edoardo Bonaspetti (Ed.)
New trimmed format for reader’s pleasure.
Language: English / Italian.
(this issue has 3 different cover colors. please ask in case)
Tags: Alexandra Leykauf, MOREpublishers
Tags: Heidi Kawai Smith, Nicholas Smith, Relief Journal
Relief Journal 2: Drift. Heidi Kawai Smith, Nicholas Smith (Eds.)
he theme of the second issue of Relief is Drift a rudimentary translation of the French term dérive popularised by Guy Debord and adopted by the Situationists to describe a way to experience the urban through unplanned drifts. This act traditionally signified a political gesture that strived to create friction in the world of capitalism, (or in the mind of the flâneur at least). Today such acts are perceived as privileged and dated, but the reason that I wanted to focus on this theme was because I believe that the Drift is an extremely prevalent practice within our lives, this process however has been internalised. Alot of what we used to experience outside, we now experience inside, so how we branch out into the world has changed. What does it mean to be in a city? Where is that city? How do we become public? Richard Senate, in his book The Fall of Public Man, announces that The Stage Tells a Story the Streets No Longer Tell, a statement made in 1977 which, seems to now have become inverted in the reflection of the dormant LED monitors that are installed in our workplaces, our homes, our journeys, our person. The Streets Tell a Story the Stage No Longer Tells – our journeys are virtual first and real second, they become real at the point that we choose to become public.
The contributors for this issue have chosen to become public and in doing so have either rendered themselves visible or disappeared. We hope that Relief allows a space for our contributors to become public in a way that is less bureaucratic than a gallery or institution and allows for the fleeting idea to sit next to the major work. Encapsulating the point in between the proposal and finished work we have, in the same way we did with the first issue commissioned new works, reconfigured older works, published archival documents and made talks and lectures black and white. A much more text heavy endeavour this time in a strive to become more ‘journally’ and less ‘ziney’, sticking to the same structure but more words, less pictures.
Owen Hatherley sets the tone to Drift, passing by the situationists, via Warsaw, Southampton, Notting Hill, Depford and a Chinese takeaway in Stockwell to the soundtrack of Pulp and the Manic Street Preachers. ‘An Occurrence’ provided by the editors looks at the work of Chris Marker and his misclassification by art historians in relation to the works of Hito Steryl. Jack Lavender has put together the photographic essay and provided the front cover image, displaying a potent articulation of the artists drift. Damian Griffiths interview’s German born US based artist Josephine Meckseper, her shop window displays that conflate with screens and advertisements, chrome rims, mirrors, underwear models and Brecht – the work is found and made, she talks about her aesthetic journeys and background.
The invited contributors for this issue are; Olivier Castel, who presents a selection of sand drawings from a recent show in London, Powered Cement originally installed with a light that either made the image visible or not, are here displayed in black and white on the static page. Tamarin Norwood has punctuated the publication beautifully with drawings that are between the digital and the analogue, accompanying this work is also a video piece that is available on the Relief website. Victor Burgin has provided what I have come to refer to as the ‘spine’ of the issue, a text originally given as a keynote talk in the Tate; Visible Cities starts in Palomanova and traverses through a version of Dubrovnik made entirely from images on Flickr, he pictures the streets of Naples, Paris and Milan with the use of the films of Roberto Rossellini, Michaelangelo Antonioni and Éric Rohmer. Simon Fatihfull has edited a collection of digital drawings of a journey from the Rivers Cam and Ouse, they are part of large collection of on-going drawings which started in 2000. In Dilatantes Smothered in Velcro George Vasey shares a curatorial diary of his journey in the strange space of making exhibitions, the banality and the sublime blindness of accumulating new knowledge through allowing unexpected situations, objects and systems to interfere with what we may consider as a straight forward profession. Jane Rendell visits three instances; writing spaces through an architectural discourse using of course, the works and lives of artists. In Dear Allan Arjuna Neuman writes to his old tutor and mentor, Allan Sekula, is he aware that these emails will never reach his intended reader?
Relief is a project that is created in-between artistic practices, jobs and many personal commitments, not only on my behalf as the editor but everyone who contributes to this publication. I would like to thank the contributors for being so generous and you for your support through buying Relief, as your support will allow us to continue publishing and providing a dynamic and insightful dialogue between our audience and our contributors.
Front cover image: Jack Lavender Unit 9, 2014, Courtesy The Approach, London
19 x 24 cm
Tags: Chert Gallery, Motto Books, Zora Mann
Printed on Bio Top paper by ourpress, in Berlin
Cover: Linoprint, printed at Druckwerkstatt im Kulturwerk des BBK Berlin, on Finnish Holzpappe
1st Edition, 220 copies
Plus 30 special editions, colored, signed and numbered
Published by Chert & Motto, Berlin December 2014
80€ (Special Edition)
Tags: Inventory Press, John Fahey
John Fahey: Paintings. Inventory Press
The much-revered avant-garde guitarist John Fahey (1939–2001) incorporated influences ranging from folk, blues, and bluegrass to classical music, musique concrete, and noise in his primarily acoustic guitar-based compositions. Considered a legend by many, Fahey released upward of three dozen LPs in his lifetime.
Relatively late in life, Fahey extended his so-called American Primitive approach beyond music, and into the creation of a substantial body of paintings created in makeshift studios in and around Salem, Oregon. Painting on found poster board and discarded spiral notebook paper, working with tempera, acrylic, spray paint, and magic marker, Fahey’s intuitive approach echoes the action painters and abstract expressionists. The same alluring and tranquilizing aesthetics that defines much of Fahey’s musical output are equally present in his paintings.
The first publication focusing on his visual output, John Fahey: Paintings is illustrated with 92 plates and is accompanied by essays from Keith Connolly, founding member of No-Neck Blues Band, and the critic Bob Nickas.