Neukalm. Christian Vialard. Grautag Records.
Mixed and produced by Frederic Bigot at the Padded Cell in Berlin.
February 2013
Mastered by Norsq
Front, back and inside sleeve: Nicolas Moulin
20€
Buy it
San Rocco #8: What’s wrong with the primitive hut?
SAN ROCCO • WHAT’S WRONG WITH THE PRIMITIVE HUT? 2A+P/A talks about Zeno * Pedro Ignacio Alonso on Charles Eisen * Tanguy Auffret-Postel and Tiago Borges on Jacques Hondelatte’s Artiguebieille House * Pep Avilés on the Caribbean hut * Ido Avissar’s degré zéro * Marc Brabant on individualism and architecture * Marc Britz on the Panthéon français * Ivica Brnic on huts and temples * Ludovico Centis on space oddities * Steven Chodoriwsky on the duck * Carly Dean explores the desert on Google Earth * gall on a November weekend in 2011 at Slievemore, Dooagh, Keel East, Achill Co., Mayo * Giovanni Galli on primaeval architecture in an edenic context * Giorgio Grassi refuses to answer baukuh’s questions * Stefano Graziani goes to Devils Tower * Nils Havelka and Sarah Nichols on the Malm whale * Wonne Ickx on the well-tempered hut * David Kohn on the return of the Roi des Belges * Anders Krüger and Regin Schwaen on leftovers * Eric Lapierre on primaeval building substance * Annamaaria Prandi and Andrea Vescovini tells a straight story * Isobel Lutz Smith on the demolition of Glasgow * Nikos Magouliotis on the Three Little Pigs * Daniel Martinez on wilderness * Gabriele Mastrigli on Delirious New York * Ariadna Perich Capdeferro on Toyo Ito’s Sendai Mediatheque * Philippe Rahm on the Olduvai Gorge * Pier Paolo Tamburelli reads the Entwurff einer historischen Architektur * Neyran Turan on primitive flatness * With photos by Stefano Graziani
15€
Buy it
Born in 1928, Swiss artist Pierrette Bloch has been active in the field of postwar abstraction and contemporary drawing since the 1950s. A student of Henri Goetz and André Lhote, she developed a corpus of drawings, collages, and three-dimensional pieces whose key principles are an economy of means (ink, paper, mesh, and horsehair), the use of primary forms (dots, curls, and lines) and seriality, and the reduction to black and white.
For this first complete monograph dedicated to Pierrette Bloch’s practice from the 1950s to the 1980s, the editor of the book and Musée Jenisch diretor Julie Enckell Julliard has invited contributions from an international panel of authors and art critics including Catherine de Zegher, Pamela M. Lee, and Philippe Piguet. Their essays address the different components of the artist’s work, from a very attentive approach to her drawing practice to a reflection on her position within art history. A complete biographical essay by Laurence Schmidlin concludes the book.
Edited by Julie Enckell Julliard. Author(s): Julie Enckell Julliard, Pamela M. Lee, Nicolas Muller, Philippe Piguet, Laurence Schmidlin, Catherine de Zegher
English / French
November 2013
ISBN: 978-3-03764-329-7
Hardcover, 280 x 270 mm
180 pages
Images 80 color / 36 b/w
Published with Musée Jenisch, Vevey (Switzerland).
60€
Buy it
how a mosquito operates. Mahony. Broken Dimanche Press.
With texts by John Holten and Sophie Kaplan
Design: Dorothea Brunialti
Mahony was founded 2001 in Vienna, Austria Stephan Kobatsch, *1975 Vienna, Austria Clemens Leuschner, *1976 Göttingen, Germany Jenny Wolka, *1978 Cologne, Germany
—–
Much of Mahony´s artistic production derives from well known and unknown historical facts. This kind of appropriation in Mahonyterms always means questioning, transforming, translating, re-associating and reactivating the chosen topic. With this process they form new rhizomatic nets making connections from past to present, paths that go across geographical and historical zones, social and political contexts. They alienate the viewer by translating found material from ancient times into ours or from one culture into another. At the beginning of a project oftentimes stands a journey to places like Yucatan (2011), Ushuaia (2009) and Brasil (by cargoship, 2009). Therefore works that emerge in public space or in the countryside are later continued in the studio and vice versa. The media and material that
—–
Mahony works with video, photo, print, collage, sculpture, performance, urban intervention and installation. (Victoria Dejaco, 2012 /Deutsche Übersetzung folgt) Most recently they have exhibited in Art Basel, Künstlerhaus Bethanien, La Criée, centre d’art contemporain, Rennes and in spring 2014 they have a solo show at Galerie Emanuel Layr, Vienna
—–
The Irish writer, artist and publisher, John Holten (b.1984) studied at University College Dublin and the Sorbonne-Paris IV before obtaining an MPhil from Trinity College Dublin. His novel The Readymades was published in 2011, and most recently he has written fictional or immersive texts for the artists Mahony, Natalie Czech, Darri Lorenzen, Jani Ruscica, Lorenzo Sandoval and The LGB Group. His work has been included at Center, Berlin, Malmö Konsthall, The White Building London, David Zwirner Gallery New York (with Aengus Woods) and NGBK Berlin, amongst other places. In 2011 he received a Literature Bursary from the Irish Arts Council. His video commercials for his next novel Oslo, Norway have been exhibited in Plan B Gallery and Team Titanic, Berlin and an extract appeared in the first issue of the journal Gorse in spring 2014. www.johnholten.com
Author: Mahony
Publisher: Broken Dimanche Press
Language: english
Binding: Softcover
ISBN: 978-3-943196-24-5
15€
New York New York Book. Eli Bornowsky. Artspeak.
Language: English
Pages: 54
Size: 10 × 18
Binding: Softcover
ISBN: 9780921394679
Price: €8.00
Shadow Architecture / Architektura Cienia. Aleksandra Wasilkowska (Ed.)
The economy shapes both architecture and the ethics of its creators. A city focused only on profits may turn into nothing more than an Excel graph. However, the architects who design buildings without taking into account their future maintenance costs can create monsters that would pray on institutions’ budget and could slowly drive them into bankruptcy. The alternative economies which are being invented at times of crisis such as time banks, cashless exchange of goods and services, alternative currencies or expanding the informal economy, will surely influence both the architecture and organisation of the cities of tomorrow.
In many countries the shadow economy reaches up to 40% of the market share. The prognoses predict an ongoing increase in informal transfer of the capital. According to the Organisation for Economic Co-operation and Development almost half of all the working people in the world, which is around 1.8 billion people, are involved in the shadow economy. It is estimated that by 2020 this number will rise to two-thirds of all working people. More and more customers decide to go shopping at the street markets. This phenomenon is so common that many big corporations decide to launch their products also onto the stalls.
The traditional economy still denies the existence of informal economy because it is hard to examine and the boundary between the formal and informal circulation is rather blurry. Most of the economists ignore the influence it has on the world economy and describe it as a marginal or pathological phenomenon. The whole notion of a term ‘informal shadow economy’ is stigmatising. The journalist Robert Neuwirth in his book ‘Stealth of Nations. The Global Rise of the Informal Economy’ calls for a change in the language and finding a new name for the phenomenon. Instead of ‘shadow l economy’ or ‘black market’ he proposes a different name, ‘System D’.
The spontaneously developing shadow economy, called also the grey economy or System D will become an important element of global economy as well as of the city landscape in the 21st century. The street markets and space occupied by street vendors very often create local informal centres and a real alternative at the times of crisis. Together with the advance of System D we can expect to see the development of architecture and infrastructure related with it. Street stalls, collapsible tables, carts and other architectural forms of System D will have a more important role in our everyday life. As we change the language and the name of the alternative economy we should also coin a term of Shadow Architecture.
Shadow Architecture consists of objects, which were created without participation of any architect, as a side effect of the processes driven by the shadow economy. The awareness of Shadow Architecture has been denied by urban planners and architects although this kind of architecture has its regular users: petty traders and serious street vendors. The Shadow Archetype in Carl Gustav Jung’s analytical psychology stands for an element which has been denied from the individual and collective consciousness. Shadow Architecture is a kind of spatial structure which eludes central planning, just like street stalls.
The space around street trade creates local informal city centres. Marketplaces or stalls are something more than just places of direct exchange of goods and services. They form local and open meeting places, community performances, incarnation of contacts where real money is being confronted with real merchandise. The energy of community which is created by market places can be compared to the energy of public gatherings such as holy masses, sports games, parades or general protests. The movement of buying and selling masses builds a certain kind of fervour, a social exchange. Street trade is always close to the human, the city dies without him.
Street vendors of System D should be treated as an important social group. The shadow architecture: stalls, carts and stands can complement the so-called ‘high’ architecture and should be considered in official projects regarding important intersections, bus stops, metro stations, railway stations entrances and in all places which generate traffic. Local plans should provide solid areas which would allow street trade because a city without a street trade looks like an unfinished model.
20€
Buy it
Malicious Damage. Ilsa Colsell (Ed.). Donlon Books
In 1962, a then unknown couple, John (Joe) Orton and Kenneth Halliwell, were tried at Old Street Magistrates Court, London, charged with, ‘larceny, malicious damage and wilful damage’, involving hundreds of Islington Library’s book stock. Over the previous three years the pair had been secretly stealing these books, removing what amounted to thousands of valuable art plates and either using them to create alternative dust jackets for other books, (which were then returned quietly to the library’s shelves for unsuspecting browsers to find), or pasting them directly into a large and uninterrupted collage spanning the interior walls of their one-roomed flat on nearby Noel Road. The pair would receive a six-month custodial sentence for these actions. The reconfigured dust jackets were part of a decade of often shared creative endeavour; the two had written, collaged and entertained themselves with the combined fragments of Arts history and contemporary culture. This small flat their studio and living space, and where they enacted a loving relationship at a time when homosexuality was forbidden by law ‘in public and in private’. Their arrest and trial would be an abrupt curtailment of this private idyll and a turning point in their lives, setting them separately (though never entirely separated) on a path which would lead John to become Joe Orton, one of the fashionable playwrights of sixties London. Halliwell pursued his own creative path with further collage — but did so without fully finding an audience for his artwork to match Orton’s rapid theatrical success. Their deaths at Noel Road five years later in 1967 became the sensationalised end to what had largely been a private, enclosed life together; Orton murdered by Halliwell who then took his own life. Now, fifty years after the trial, Malicious Damage looks closely at the collaged dust jackets still remaining within the archive at Islington Local History Centre and focuses on the early collaborative nature of Orton and Halliwell’s relationship. Using the changing collage that had consumed such a large part of their lives in Noel Road as its frame, Malicious Damage underlines the visual and performative nature of their collaborations, as well as using the process of collage itself to investigate Halliwell and his work in greater detail.
44€
Buy it
Editionshow. Chert, Raster & Motto, @ Chert / Motto. 06.12.2013 – 15.02.2014
These posters exist for a day. They are conceived in the newsrooms of our tabloid dailies – The Star, The Sun, The Times and others – in the late afternoon, as the paper is being put to bed. Just hours later they are visible along the roadside of every major arterial road in the city.
These tabloid posters – candid and often outrageous epigrams of news – have been displayed along this road since the First Anglo-Boer War. They live momentarily in the minds of passing drivers and pedestrians, and by midnight they are already defunct.
I began collecting South African tabloid posters in 2008 with no other purpose than to preserve them. I thought they were funny, clever and true. Composed in a local vernacular of shebeen English, these statements are part of the texture of our urban fabric; so familiar as to almost disappear. Loud and colourful, tough and sharp, replete with a droll wit and blunt gallows humour, their blatant iconoclasm and muscular use of language is invigorating and oddly reassuring. The newspapers themselves were not keeping an archive, and however ephemeral they might seem I thought there was a relevance in them that was not being recognised; something uniquely South African.
Driving down Louis Botha Avenue, the rhythmic flash of passing headlines reads like a journalistic version of the surrealist game Exquisite Corpse. It’s an alternative history of the city, a tabloid summary of our age. Constructed from political sound-bites, public innuendos, colloquial bon-mots and hard, bitter truths, they read like an everyman’s state of the nation address, full of comedy and antagonism.
“They are,” as one of the copy editors remarked, “the perfect marriage of a corrupt society and a progressive constitution.”
– Laurence Hamburger
Language: English
Pages: 208
Size: 19 x 27 cm
Binding: Hardcover
ISBN: 9780957161221
49€
Buy it
Zicatela Ding. Yann Gerstberger. éditions P.
Un projet de / a project by Yann Gerstberger
Photos de / by Julien Goniche
Textes de / texts by Laetitia Paviani et / and Lili Reynaud-Dewar
Conception graphique par / graphic design by Adulte Adulte
Florent Faurie & Daniel Ribeiro
Language: English / French
Binding: Softcover
ISBN: 978-2-917768-35-8
15 €