Michaël Sellam – Science, fiction, culture, capital. Various Authors. BlackJack Éditions

Posted in art, books, exhibition catalogue on May 13th, 2022
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The first monograph dedicated to the work of Michaël Sellam, which is at the crossroads of sculpture, photography, video and music. Here, it brings together, among other things, fruits, flowers, parallel universes, smoke, microscopic hieroglyphs, an Italian grandmother, traces of lipstick, masters of darkness, some robots, aliens, the making of Egyptian ropes, the inhalation of parasitic odors from the solar system, the intensive programming of an extremely slow machine and the 180° head turn.

«Notre civilisation se développe dans une logique de la contingence, de la possibilité pour chaque chose d’être tout autre. Comment la notion de matière s’est ouverte à une économie et à une pensée de la forme à un moment où tout devient programmable? Expérimenter à travers l’art les relations de tensions entre science, fiction, culture et capital développe, de fait, un certain artifice. Il est peut-être nécessaire de produire une nouvelle esthétique qui ne soit ni représentative, ni abstraite, ni conditionnelle, mais constitutive d’une époque où, plus qu’à toute autre, nous construisons un monde qui inclut comme possible notre disparition et ou coexistent les formes chaotiques et ordonnées de la circulation: des idées, des formes, des atomes, des énergies, des gènes, de l’information.»
–Michaël Sellam

Texts by Gérard Berréby, Benoît Durandin, Christian Gaussen, Lætitia Paviani; interview with Timothée Chaillou. Published on the occasion of Michaël Sellam’s exhibition at the École Supérieure des Beaux-Arts de Montpellier Agglomération, from January to February 2014.

The work of Michaël Sellam (born in 1975 in Paris) multiplies the references to the world of popular leisure with a particular interest in amateur practices and forms of sub and counter-culture. Belonging to a generation that has integrated the use of computers and new technologies, he relies on these technical instruments and questions, through a complex and varied approach, forms that unfold from installation to video, from sculpture to performance.

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Water, Kinship, Belief. Candice Hopkins, Katie Lawson, Tairone Bastien (Eds.). Toronto Biennial of Art; Art Metropole

Posted in books, exhibition catalogue on May 9th, 2022
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The inaugural Toronto Biennial of Art in 2019, titled The Shoreline Dilemma, was the first edition of a two-part biennial that traced interconnected narratives around the city’s ever-changing shoreline. These connections sought to reveal strategies of resistance against industrial-colonial systems, uncover polyphonic histories sedimented around the shoreline, and open up relations between the human and more-than-human. To extend this artistic thinking and expand notions of relationality, in 2022, the second edition, titled What Water Knows, The Land Remembers, moves inland to follow tributaries and ravines, both above ground and hidden, that shape this place.

In relation to the two Biennial exhibitions, this publication Water, Kinship, Belief is a “third” site, a place where the continuities, resonances, and dissonances between Biennial editions are extended. Its pages become a means to bring together the artists, artworks, collaborators, and ideas that have together informed the exhibitions, irrespective of chronology, dispensing with categories, and part of a greater whole. Through its content and unique design, it is both a generative guide to the exhibitions and a Biennial site of its own, presenting new artistic relations that course through the book like tributaries.

Artists: AA Bronson, Abbas Akhavan, Abel Rodríguez, Adrian Blackwell, Adrian Stimson, Aki Onda, Althea Thauberger, Kite, Amy Malbeuf, Andrea Carlson, Ange Loft, Arin Rungjang, Augustas Serapinas, Aycoobo, Bárbara Wagner, Benjamin de Burca, Brian Jungen, Caecilia Tripp, Camille Turner, Caroline Monnet, Curtis Talwst Santiago, Dana Claxton, Dana Prieto, Denyse Thomasos, Eduardo Navarro, Elder Duke Redbird, Embassy of Imagination, PA System, Eric-Paul Riege, Fernando Palma Rodríguez, Ghazaleh Avarzamani, Hajra Waheed, Hera Büyüktaşcıyan, ᐃᓱᒪ / Isuma, Jae Jarrell, ᔭᓇ ᑭᒍᓯᐊ / Janet Kigusiuq, Jeffrey Gibson, ᔨᐊᓯ ᐅᓈᖅ / Jessie Oonark, Joar Nango, Judy Chicago, Jumana Manna, Kapwani Kiwanga, Laurent Grasso, Lawrence Abu Hamdan, Lisa Reihana, Lisa Steele, Kim Tomczak, Lou Sheppard, Luis Jacob, Mata Aho Collective, Marguerite Humeau, Maria Thereza Alves, Moyra Davey, Nadia Belerique, ᓇᐸᓯ ᐳᑐᒍᖅ / Napachie Pootoogook, Naufus Ramirez-Figueroa, New Mineral Collective, New Red Order, Nick Sikkuark, Paul Pfeiffer, Qavavau Manumie, Ramin Haerizadeh, Rokni Haerizadeh, Hesam Rahmanian, ReMatriate Collective, Shezad Dawood, Susan Schuppli, Syrus Marcus Ware, Tanya Lukin Linklater, Tsēmā Igharas, Erin Siddall, ᕕᐃᑎᕋᐊ ᒪᒍᓯᐊᓗ / Victoria Mamnguqsualuk, and Waqas Khan.

Contributions by Adrian Blackwell, Ange Loft, Camille Georgeson-Usher, Camille Turner, Candice Hopkins, Charles Stankievech, Chiedza Pasipanodya, Ilana Shamoon, Katie Lawson, Melony Ward, Patrizia Libralato, Sebastian De Line, Susannah Rosenstock, Tairone Bastien, and Yaniya Lee.

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Hunting & Collecting. Sammy Baloji. Mu.ZEE; Galerie Imane Farès

Posted in art, books, exhibition catalogue on May 7th, 2022
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Published for the exhibition Hunting & Collecting, Mu.ZEE, Ostend, Belgium, cur. Sammy Baloji, Philip Van den Bossche and Anouck Clissen (3 August 2014 – 21 September 2014).

Whatever can hunting wild animals in colonial Congo and the exploitation of Congolese mines in the present have in common with a collection of modern and contemporary art in a museum in the Belgian coastal city of Ostend? In 2014 Sammy Baloji initiated an ambitious research exhibition bringing together historical documents, pictures by Congolese photographer Chrispin Mvano, works of Belgian artists from the 19th and 20th century included in the collection , contributions by contemporary artists dealing with the exploitation of Congo and finally his own acrimonious collages. This book transforms the numerous layers of the exhibition into a experimental visual essay. The seemingly distant realities f art history and global economies appears as closely intermingled.

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Ask Yo Mama. Ina Wudtke. NÖ MuseumsbetriebsgesmbH.

Posted in exhibition catalogue on February 26th, 2022
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Exhibition catalogue for the group exhibition “Ask Yo Mama” 2011 curated by Ina Wudtke at Kunstraum Niederösterreich Vienna. With texts by Ina Wudtke and Dieter Lesage, as well as an editorial by Christiane Krejs and 49 illustrations in 4-colour print. Available from Kunstraum Niederösterreich.

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A Portrait of the Artist as a DJ. Dieter Lesage. VdH Books.

Posted in exhibition catalogue, music on February 25th, 2022
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Published in 2007 as a catalogue for the solo exhibition of the same name by Ina Wudtke at Studio Voltaire London, edited by Dieter Lesage. 4-colour print with 56 illustrations. Limited, signed editions available. Supported by the Berlin Senate Scholarship to London.

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Weltgerichtstriptychon. Dieter Lesage Hrsg. Revolver Publishing.

Posted in exhibition catalogue on February 24th, 2022
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Published as a catalogue for the exhibition “Das Neueste Weltgerichtstriptychon” curated by Dieter Lesage, xhibit AdbK Vienna, 2014 – edited by Ina Wudtke, Herman Asselberghs, Alice Creischer, Andreas Siekmann, Dieter Lesage and Maruša Sagadin. Numerous 4-colour illustrations.

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Nosferasta: The Book. Adam Khalil and Bayley Sweitzer in collaboration with Oba. Gasworks

Posted in art, Artist Book, books, exhibition catalogue on January 12th, 2022
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Marking the first UK commission by Brooklyn-based filmmakers Adam Khalil and Bayley Sweitzer in collaboration with Oba, Gasworks has published a 176-page book that explores the ever-expanding vampiric universe of Nosferasta.

Spanning 500 years of colonial destruction, human trafficking and blood sucking, Nosferasta is a Rastafarian vampire film that reimagines Oba’s origin story in the late 15th century, when he is seduced by the vampire Christopher Columbus, ensuring his undying allegiance to the colonial project. Combining film forms and jumping across multiple timelines, Nosferasta examines the guilt of being complicit in imperial conquest, while acknowledging the extreme difficulty of unlearning centuries of vampiric conditioning. Ultimately, the film tackles an uncomfortable question:

How can you decolonise yourself, if it’s in your blood?

Interspersed with excerpts from Oba’s literacy diaries, Nosferasta: The Book features critical essays, speculative fiction and visual contributions by Peggy Ahwesh, Lou Cornum, Alex Esco, Sabel Gavaldon, Adam Khalil, Mutabaruka, Oba, Austin Sley Julian, Bayley Sweitzer, and Laura Vallés. Designed by fag tips (aka Virgil b/g Taylor).

Nosferasta: The Book is published by Gasworks as part of the European Cooperation project 4Cs: From Conflict to Conviviality through Creativity and Culture, co-funded by Creative Europe and the Royal College of Art.

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Laura Owens & Vincent van Gogh. Bice Curiger, Mark Godfrey, Julia Marchand (Eds.). Verlag der Buchhandlung Walther König

Posted in art, exhibition catalogue, exhibitions on November 20th, 2021
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Laura Owens (b. 1970) is one of the most celebrated American artists working today. For 25 years she has asked probing questions about the parameters of painting.

In this exhibition, her works responded to Van Gogh’s last paintings. Throughout 2020 Owens lived in and around Arles, and her new work came out of meticulous research into the history of the city and of Van Gogh’s connections there.

Like most artists, Owens has known Van Gogh’s work since she was a child, and she has looked at his art in various ways throughout her career.

The seven actual Van Gogh paintings shown at the Foundation in Arles included loans from museums with which Owens has a deep connection.

Laura Owens has often addressed the spaces where she has exhibited. For this exhibition she created a vast painting, in the form of a unique hand-painted and silkscreened wallpaper installation, which covered the entire walls of the rooms where the Van Gogh’s works were exhibited.

Many of the motifs in the wallpaper come from designs made by Winifred How, who worked in London as an artist and designer shortly after Van Gogh was alive. The installation drew a suspended universe between premodern and contemporary, inspired by How’s work.

Co-curated by Bice Curiger (artistic director of the Foundation Vincent van Gogh Arles) and Mark Godfrey (British art historian, critic, and curator), the exhibition shared how Laura Owens explores the images, colours and methods of Van Gogh, creating a conceptual framework for her investigations.

Published after the exhibition at Foundation Vincent van Gogh Arles, France (19 June – 31 October 2021).

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for a provisional anthology of elevated desires. Doris Maninger, Maurizio Alampi, Mirza Kahriman. CURA.BOOKS; Motto Books

Posted in art, Artist Book, exhibition catalogue, Motto Books on November 5th, 2021
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Catalogue of Doris Maninger’s solo exhibition

for a provisional anthology of elevated desires
Curated by Veronica He, Pia Lauro

STUDIO STEFANIA MISCETTI, Rome
21.10.21 – 08.01.22

On display forty Mongolfiere, made with recycled materials, objet trouvé and natural elements, each dedicated to a desire. The project was born in the spring of 2020 when, in response to the isolation imposed by the pandemic, the artist asked friends, family and colleagues to express a desire to be shaped, leaving all of them free to follow the flow of their thoughts and aspirations. This freedom gave birth to a choral discourse, made up of a set of desires all different from each other but united by the same strength and determination.

The anthology composed by Doris Maninger is, as the title itself explains, a provisional collection – because it is potentially in the making – of desires ironically defined as “elevated”, an allusion to both their nobility and their suspension in space.

In addition to the Mongolfiere series, the series of drawings is also on display, in which the artist returns to work on desires to give life to two-dimensional works where artistic intuition finds its maximum synthesis and abstraction. To complete the exhibition, voice overs that transform every single desire into a soundtrack. This part of the project was developed in collaboration with Maurizio Alampi, who composed a short arrangement with each desire, providing an admittedly partial poetic reading among the many possible ones.

For a provisional anthology of elevated desires it is therefore a collection of forms of desire, in which the coexistence of languages, and a composition methodology based on the circularity and the chorality of thought give life to an anthology that we could define as proximity, as story of the substance of the human relationship.

Doris Maninger (Graz, Austria 1958)
She trained as a painter and restorer at the Academy of Fine Arts in Vienna, she has moved at young age to Italy to complete her studies in various fields of arts and crafts. Her work is constantly shifting between diverse fields such as painting, sculpture, textile design and jewelry, combining traditional techniques with new formal approaches and theoretical research. In 1998, she moved to Florence and co-founded the contemporary jewellery school Alchimia with Lucia Massei. She exhibited, lectured, gave workshops and curated internationally in places such as, among the others, Hong Kong, Seoul, Tokyo, Tel Aviv, Bangkok, Cairo and in various private and public institutions around Europe and America. In 2017 she left the school she co-founded and is working as consultant, free-lance educator and artist. Since 2016 she has been teaching consultant of the Design Studio Azza Fahmy in Cairo, Egypt.

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Psicoenciclopedia possibile: Une exposition de Gianfranco Baruchello au Centre d’Art Contemporain Genève. Gianfranco Baruchello. Motto Books

Posted in art, Artist Book, exhibition catalogue, exhibitions, Motto Books on September 27th, 2021
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 psicoenciclopedia-possibile-une-exposition-de-gianfranco-baruchello-au-centre-d-art-contemporain-geneve-motto-books-9782940672325-1  psicoenciclopedia-possibile-une-exposition-de-gianfranco-baruchello-au-centre-d-art-contemporain-geneve-motto-books-9782940672325-3 psicoenciclopedia-possibile-une-exposition-de-gianfranco-baruchello-au-centre-d-art-contemporain-geneve-motto-books-9782940672325-4 psicoenciclopedia-possibile-une-exposition-de-gianfranco-baruchello-au-centre-d-art-contemporain-geneve-motto-books-9782940672325-5 psicoenciclopedia-possibile-une-exposition-de-gianfranco-baruchello-au-centre-d-art-contemporain-geneve-motto-books-9782940672325-6 psicoenciclopedia-possibile-une-exposition-de-gianfranco-baruchello-au-centre-d-art-contemporain-geneve-motto-books-9782940672325-8 psicoenciclopedia-possibile-une-exposition-de-gianfranco-baruchello-au-centre-d-art-contemporain-geneve-motto-books-9782940672325-9 psicoenciclopedia-possibile-une-exposition-de-gianfranco-baruchello-au-centre-d-art-contemporain-geneve-motto-books-9782940672325-10 psicoenciclopedia-possibile-une-exposition-de-gianfranco-baruchello-au-centre-d-art-contemporain-geneve-motto-books-9782940672325-11 psicoenciclopedia-possibile-une-exposition-de-gianfranco-baruchello-au-centre-d-art-contemporain-geneve-motto-books-9782940672325-12 psicoenciclopedia-possibile-une-exposition-de-gianfranco-baruchello-au-centre-d-art-contemporain-geneve-motto-books-9782940672325-13 psicoenciclopedia-possibile-une-exposition-de-gianfranco-baruchello-au-centre-d-art-contemporain-geneve-motto-books-9782940672325-14 psicoenciclopedia-possibile-une-exposition-de-gianfranco-baruchello-au-centre-d-art-contemporain-geneve-motto-books-9782940672325-backcover

Gianfranco Baruchello (1924, Italy) is an artist, filmmaker and writer who has experimented with the transversality of artistic languages since the late 1950s. He has in particular created short-circuits between apparently irreconcilable domains and fields like art and agriculture, or the regulations of governance of a fictitious company and economics. His painting contends with uncertainty and uses white as a field of the possible. In these spaces, he imagines the coexistence of essences of images and words, which he organises in all directions. Thus, writing is present in one way or another in all his practice and constitutes the very essence of the work presented at the Project Space (4th floor).The Psicoenciclopedia possibile is an impressive and complex project that Baruchello began in 2017 and finished in 2020. It is a sort of deconstruction of the encyclopaedia system presented in the form of an imposing book of 816 pages. Commissioned and published by the Istituto dell’Enciclopedia Italiana, founded by Giovanni Treccani, the book in fact subverts the structure used by an encyclopaedia and creates a complex system that links, through unexpected convergences, 1200 entries (in the first section) and 200 plates (in the second). The entries are taken from texts (some published, some not), notes and transcriptions of Baruchello’s dreams, while the images are the result of a long process of selection and editing from various sources.

Baruchello thus puts to the test, this time in a book, the systems of organization (causes, effects, narrative sequences, links) of seeing and knowing. Like in all his other works, from painting to objects and even installations, the encyclopedia also dismantles the most solid and anchored links to venture into the uncertain and the possible, into the “pleasure of thinking”, by means of an ars combinatoria that does not exclude the different or insignificant. Overall, the artist analyses the 21st century, entering into the multiplicity of possible viewpoints and pointing up the fact that, in the end, knowledge is something subjective and always open to interpretation.

In parallel, the Cinema Dynamo is showing a series of films made by Baruchello between 1968 and 2008 on the subject of processes of classification, archiving and inventory, the editing of which has similarities with the procedure used in the Psicoenciclopedia.

Lastly, as an adjunct to the exhibition, the Genevan artist Ambroise Tièche — who is also the author of an encyclopaedic work, to which he has devoted more than ten years: the Dictionnaire encyclopédique lacunaire — has organised a programme of performances and readings that “will give a voice” to the Psicoenciclopedia, with the participation of Cléa Chopard, Alix Debraine, Gilles Furtwängler, Federico Nicolao and Leonardo Pellicanò.

The exhibition project has been conceived as an organic whole, embracing a catalogue, the exhibition at Project Space, the Cinema Dynamo film programme, and the readings and performances aimed at celebrating, in spite of its obvious and — perhaps — necessary incompleteness, this umpteenth colossal effort by this legendary Italian artist.

This exhibition is part of a cycle of presentations of the Psicoenciclopedia possible undertaken by the Fondazione Baruchello, which benefits from the support of the Italian Council (7th Edition, 2019), program to promote Italian contemporary art in the world by the Directorate-General for Contemporary Creativity of the Italian Ministry of Culture. After Geneva, Baruchello’s Encyclopaedia will be presented at the Bibliothèque Kandinsky – Centre Georges Pompidou in Paris (25 September–24 October) and at CIMA in New York (6–12 December).

The first edition of the Psiconeciclopedia possibile is being published in French by Motto Books for the occasion of the show. It includes an extract translated from the entries as well as essays that offer a French-speaking public a fundamental introduction to Gianfranco Baruchello’s colossal project.

The exhibition, on view from 14 September until 17 October 2021, is curated by Andrea Bellini and Carla Subrizi, with the collaboration of Ambroise Tièche.

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