Through the work on a collective publication, differently located artists (Marseille and Frankfurt) meet within the realm of literary expression. The writing of prosaic, autofictional/autobiographic texts, as well as poems with the emphasis of the localization of one’s own identity, feministic and general political themes, is the starting point of the planned publication. 

This writing, that is part of their whole artistic practice, is what connects the four participating artists. Hereby text seems to be a meaningful media of connection. In the context of the release of the publication, two readings have taken place at Voiture 14 in Marseilles and at saasfee*pavillon in Frankfurt am Main between March and June 2023. 

The Publication itself, as well as the readings, aspire to transport the intimate, to share something private, and through that question a private and political reality. The interdisciplinary practice of the participating artists, that combine in performance, sculpture, photography, social artistic practice in public spaces, music-production and more, will show not only in the format of the readings but also in the publication itself. The publication is no classical book, but rather a collection, a personal archive of text, memory and emotion (anger, lust, grief, sorrow, empathy and tenderness). 

The goal of the project is, to balance (geographic) distance, through the confrontation with similar themes from different perspectives. The reality of life stays different, but a speaking tube appears, a connecting aspect – through the constant, careful perceiving of one’s own reality and the digesting through the writing process. 

Handmade in an edition of 80.

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“I don’t care (about football)” is a participatory artistic project involving the players of the Marangoni 105 football team, created in 2011 as part of one of the rehabilitation residences of the Udine Mental Health Department managed by the Duemilauno Agenzia Sociale Cooperative. The title, inspired by the words of a girl from the community, suggests how the game is not an end in itself but rather a practice of social inclusion and integration. Marangoni 105 is made up of service users together with its operators and supporters. They all wear the number 14, that of the legendary Ajax player Johan Cruijff – one of the most emblematic proponents of total football.
Over three years of mutual understanding and hard work, workshops were held in which, through artistic-expressive practices, there was a choral reflection on mental discomfort and on the path undertaken over the course of the residence. Football thus became a metaphor for such a path and an experience of treatment. Photographs, meetings, travel, training, stretching sessions, performance actions, interviews, writing exercises and collages are the actions that transform the art object into a place of dialogue, where it is the discovery of the other and the self that takes centre stage. The process of analysis/self-analysis turns into a creative impetus via the appropriation and re-signification of images. Through the cut lines around the bodies, it thus becomes easier to investigate that ‘not’, that ‘not’ that gave the project its name, that difficulty which is such a common trait of existence yet to which it is very difficult to give voice, form and meaning. 

Texts by Maddalena Fragnito, Giulia Iacolutti, Igor Peres, and Tiziano Possamai

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The images in this book are preparative studies for large paintings. The 220 x 220 cm enameled aluminum frames are fixed on motorised axes, which allow the paintings to turn at 90 or 180 degrees. When it flips, the figure reveals its duplicity; elusive lines on a twisted path, bouncing back and forth from an illusion to another… “A duck with a fish in its beak” becomes “a rabbit with a carrot in between the ears”. “Nothing special” becomes “Something special”. “A saw in a log” becomes “a crocodile love”, etc.

First edition, 2023

About the author:
Under various pseudonyms Cornelius de Bill Baboul has received the Berlin Art Prize (DE), was nominated for the Aperture PhotoBook Award (US), has entered private and public collections such as MACBA (Barcelona), has been published by Nieves (CH) and exhibited at Paris-Photo (FR), MoMA PS1 (US), Swiss Institute (US), Huis Marseille (NL), Bank Gallery (JP). His work appears in the international press like the British Journal of Photography (UK), Purple (FR), CURA. (IT), Aperture (US), Elephant (UK), Zeit Magazin (DE), The New York Times (US), The Paris Review (US), Luncheon (UK), It’s Nice That (UK).

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Urban Kitsch, originally written in 1996, explores the forms of vernacular visual culture that emerged in the city of Baroda following the liberalization of the Indian economy. Plastic toys, celebrity mud flaps, and postmodern architecture collide into a new formal category—both celebrated and derided—as Praneet Soi traverses the city on his trusted Yamaha RX 100.

Published for the first time by Reliable Copy and Sharjah Art Foundation, Urban Kitsch was written as part of Praneet Soi’s Master’s in Painting at the Faculty of Fine Arts, Maharaja Sayajirao University of Baroda. The complete facsimile of this dissertation is accompanied by a recent interview with the artist by Nihaal Faizal and Sarasija Subramanian.

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The structure of a 1982 Cinderella sticker album formed the basis for Lenard Giller’s Productions, exploring the tension between mass media, memory, empty frames and fulfilling time. Originally conceived to host 360 stickers as a printed synthesis of its cinematic counterpart, Giller reinterprets its configuration offering a new narrative proposition.

In Productions, none of the characters are suitably introduced, confrontations take place without explanation and the resolution is left unresolved. What remains is a broken-up storyboard, a slimmed-down tale told through drawings, the characters becoming innocuous, with their voices from the original film and their emotional journeys entirely absent. It becomes as much about the processes of production as it is about the story, Giller exposes the limits of how entertainment is made, when all is reduced to its core.

Texts by Ted Targett

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This project is dedicated to the research of future actions for the conservation and promotion of biodiversity. The grasslands for insects collected in this book were made possible by several machine learning models.

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Signed copy

Published in 1979-1980
Hand bound, untrimmed edition 2022 from the original print run

Japanese writing and translation by Yoshio Shirakawa

Swiss-American graphic designer, musician, photographer and performance artist Mike Hentz ranks among the pioneers of new media art. He co-founded the legendary performance group Minus Delta t and the artist groups Frigo, Radio Bellevue and the European Media Art Lab. In the 1990s he realized the project Piazza Virtuale with Van Gogh TV and a great many interactive cable and satellite television shows with University TV. Hentz also taught at art schools in Germany, Switzerland and various Eastern European countries.

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Published on the occasion of the exhibition “Latefa Wiersch. Original Features”, Kunsthaus Langenthal, 25 August – 13 November 2022.

All texts and images originally published on Instagram @artpop_insta between 2018 and 2022.

The Kunsthaus Langenthal presents the first institutional solo exhibition of the work of Latefa Wiersch (*1982 in Dortmund, Germany, lives and works in Zurich). Her work is populated by liminal beings that combine elements of human and animal, plant, object, and machine, and that pupate and transform. Drawing on observations of everyday life and a provocative sense of humor, these figures tell stories about social realities and the life of the artist. Against the background of current discourses on identity, Latefa Wiersch confronts the gaps in her own history. The centerpiece of the exhibition is a performance with the Dandara Modesto and Rhoda Davids Abel.

Text & Images: Latefa Wiersch
Graphic Design: Dorothee Dähler
Editing: Eva-Maria Knüsel
Proof Reading: Thomas Skelton-Robinson

Edition of 300

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