His mustache looked like it would tickle. That’s probably the only reason why I didn’t want to kiss him.

He was a weirdo, but not weird enough, if you know what I mean. He certainly had a flair for details. It wasn’t that. I mean, it’s not like he was wearing a mullet, no. Nor like the kind of guy to gift me a Chinatown Gucci bag. He hated scented soaps and he’d drag me out of any decent party if he found scenty sticks near the toilet. That kind of thing drove him nuts. It’s not like he had anything against grapefruit.

Early on in our friendship, he gave me a box of Gioconda pencils from Koh-I-Noor. He knew how to get me hooked. But that damn mustache. It was so thick, so neatly trimmed. He paid too much attention to the kind of things I didn’t want to pay attention to. The cappuccino foam in it, however, was a kind of turn-on.

This is no doubt why you are holding this book in your hands. His mustache, right? Admit it. It’s the bowl of bonbons by the register. But then you go undercover, under the sheets to find a lot of nudity, thwarted porn. Ja, ja, ja: bodies. Corporeality. Corporation, cooperation. Protest. Violence. Religion. Collage. A torn sheet at the back. A misbound book? A defect or just vulnerable?

Selbsthilfe ist auch keine Lösung (even self-help is not a solution) and Protestvorbild Frankreich (protest “role model” in France?) is the only text you can make out other than mine. You’re meant to struggle to read it, or maybe Erik (who has no mustache) was being intentionally casual about the way he cut out these pictures. It’s an awareness of being sloppy that is so aware, it’s no longer sloppy. A man standing with his fist held high. He’s standing in the window frame of an apartment at least one story up from the ground. He is forty and mad and he enjoys his Bud. His form of protest is a form of solidarity from the sofa. A window protest: comfy. So fucking clever. Then there’s the picture abutting it of a woman holding out her bra. We are meant to take it. She’s offering it to us. Go ahead. She wants you to.

And then there’s the spooning bodies with their tube socks in a wad next to… a bed. A solar bed. You got it? This book is brown sugar. Stinky Swiss cheese. Bad, bad, good, good.

April von Stauffenberg

€10.00

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Starship Magazine no. 16, with:

Søren Andreasen, John Allan MacLean, Tenzing Barshee, John Beeson, Leo Bersani, Gerry Bibby, Matt Billings, Kaucyila Brooke with Vickie Aravindhan, Louis Coy, Boz David, Jennifer Green, Blake Jacobsen, Tyler Lumm, Giselle Morgan, Ace Shi, AJ Strout, and Josh Winklholfer, Mercedes Bunz, David Bussel, Octavia E. Butler, Bonnie Camplin, Leidy Churchman, Eric D. Clark, Jay Chung, Hans Christian Dany, Katja Diefenbach, Nikola Dietrich, Francesca Drechsler, Martin Ebner, Sokol Ferizi, Stephanie Fezer, Julian Göthe, Michèle Graf, Selina Grüter, Karl Holmqvist, Cornelia Herfurtner, Nadira Husain, David Iselin-Ricketts, Monika Kalinauskaite, Heinz Peter Knes, Jakob Kolding, Michael Krebber, Klara Liden, Q Takeki Maeda, Robert McKenzie, Robert Meijer, Ariane Müller, Christopher Müller,
Henrik Olesen, Mark von Schlegell, Dan Solbach, Natasha Soobramanien, Katrin Trüstedt, Evelyn Taocheng Wang, Scott C. Weaver, Luke Williams, Amelie von Wulffen, Florian Zeyfang

Cover by Klara Liden
410 meters, May 22, 2017
Ink on 1000 copies of Starship

DE 8€ EU/WW 10€
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TSAR 14, Co-publié par Images Vevey
Mérinat
de Thomas Adank

48 pages
24 × 32 cm
Français / English
ISBN 978-2-9700842-6-6
Première édition 2016

12€
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Erik Thys, Portraits

“The reputation of Erik Thys (b. 1961) rests on his work as a psychiatrist, not as an artist. Thys lives in Brussels where he composes music, draws, and practices in two psychiatric hospitals. On the occasion of this book, Thys invited a colleague, the British psychoanalyst Darian Leader, to reflect on his infatuation with automobiles. The drawings in this book are a small, almost pitiful, portion of the number Erik Thys provided. They came to us on all types of office paper, prescription pads, and whatever else was at hand.”

Edited and produced by Anthony Huberman, Scott Ponik, Robert Snowden

Imagework by Brandi Kruse
Print supervision by Jurgis Griškevičius
Proofread by Hope Svenson
Printed by Petro ofsetas, Vilnius, Lithuania

Published in 2016 by Contemporary Art Centre (CAC), Vilnius; and kim? Contemporary Art Center, Riga as a part of the XII Baltic Triennial

Additional support is generously provided by Dr. Florian Seidl and Kunstverein München

Cameo by Stefan Hurtig

Monographic catalogue,
Includes pictures and texts of eleven video works from 2008–15,
three complete screenplays and a text by Franciska Zólyom
Graphic design: Lamm & Kirch

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Agenda 2017 LET’S GO/
HUR SMART ÄR DU

The artist’s first handy publication this year consists an international business agenda, a magazine and an airport cosmetic bag.
This work has a light and decorative look. It includes pictures and illustrations from the press news showing portraits of celebrities, actors, artists and politicians.

Published by rakete.co

book, brochure and bag
48+20 pages
First Edition 100 copies
€18

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Atlas soccer is part of atlas, a collection of images taken from newspapers and gathered from 1990 to 2010 and later filed by subject. The material, exclusively in paper format, was found by chance and collected without a particular reason other than the compulsive attraction to the photographic image. It was only later, in the filing process, that it has found its current form, a sort of map of the author’s obsessions.
Atlas soccer is different from other, more uniform, collections in that inside the soccer world there are an infinite series of sub-categories that can be traced back to the actions and gestures taking place on the 90 minutes of the match. This chain of gestures opens to wider reflections on performance and production. Every gesture goes beyond its primary nature of spontaneous action and into the hybrid territory of representation. Soccer players, modern heroes relentlessly followed by camera lenses, give vent to their narration in a chain of poses that find their outlet in the image itself, displaying forms dripping with erotism and involuntary history of art. The match becomes synonym with the world; its gestures being its subjective variant.

€20.00

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British artist Jonathan Monk replays, recasts and re-examines seminal works of Conceptual and Minimal art by variously witty, ingenious and irreverent means. Speaking in 2009, he said, ‘Appropriation is something I have used or worked with in my art since starting art school in 1987. At this time (and still now) I realised that being original was almost impossible, so I tried using what was already available as source material for my own work.’

A few years ago Monk moved to Rome for a while with his family. In Rome he adopted a pleasant gastronomic routine: restaurants and pizzerias, alone or with friends, but most of all with his family. Once back home, between the name of the restaurant and the total of the bill, on top of all the various dishes consumed, the artist used a pencil, sometimes with watercolours, to reproduce the image of a work by another artist on the receipt or scrubby hand-written note. Clearly, the appropriationist approach which had characterised most of his work thus far also continued through this new life experience. This book collects One Hundred Meals between Rome and Berlin.

Language: English, Italian
Pages: 216
Size: 12 x 15 cm
Weight: 206 g
Binding: Softcover
ISBN: 9788899385224

€20.00

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Ontani in Bali.
Emanuele Trevi and Giovanna Silva
Humboldt Books

Schick devoted a decade of his life (1969-1978) to observing, classifying and illustrating the wild vegetation that infests the grounds of the international railway marshalling yard in Chiasso. First published in 1980, Railway Flora has maintained all its original charm. Its bond with the territory and with the history of one of the symbols of its economic development, the painstaking research of an all but common man and his scrutiny of the complex relationship between human beings and their environment offer a testimony which remains as intriguing as it ever was.
The new edition features writings and original illustrations by the author, as well scientific updates by Nicola Schoenenberger and a literary contribution by the poet Fabio Pusterla.

15.4 x 23 cm
550 g
Softcover

€ 29.00

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Text: Arthur Fouray

Concept: Pierre Girardin, Nastassia Montel
Conversation: Arthur Fouray and Julien Gremaud

Published by Julien Gremaud, 2015
Micronaut #8

This book is the printed version of a surprising notes system held by Arthur Fouray

« Micronaut » is an editorial project initiated in 2011 with a singular approach to publishing and artist book. In three years of activity, the book series took several different forms, engaging a dialogue between disciplines and blurring the boundaries between actors involved in a book process.

€15.00

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