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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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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In the space where the Perú-Chile border meets the Pacific coastline, lies a triangle of approximately 3.7 hectares. Known as the “Triángulo Terrestre”, this piece of land has been causing diplomatic disputes between the two nations since the middle of the 20th century. Despite its relatively small size (equivalent to Parque Kennedy in Lima or Madison Square Park in New York) and having no agricultural, commercial or strategic value the Triángulo Terrestre has been in dispute since the signing of the 1929 treaty between Perú and Chile. The disputed land has acquired a symbolic value employed at different times by the governments of each country for political purposes.​

In April 2017, HAWAPI, in partnership with Galería Metropolitana (Chile) took a group of 13 artists (5 Peruvians, 5 Chileans, 1 Bolivian, 1 Israeli and 1 North American) to camp in Santa Rosa—the closest village to the “Triángulo Terrestre”. During four days camping on site, the group generated a series of artistic interventions and actions to contemplate in situ the social, political, economic and physical impact created by this dispute; before moving to Tacna where they staged an exhibition of their work in the independent cultural centre, Laramamango.

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Dear friends,

Please join us for the release of EVERYTHING LOOK BETTER WITH LOVE, artist book by MICHAËL SELLAM published by SALON DU SALON.

THURSDAY MAY 12th, at 7pm

In the presence of the publisher and friends.

MOTTO BERLIN
Skalitzer Str. 68, im Hinterhof
10997 Berlin

EVERYTHING LOOKS BETTER WITH LOVE

The protocol for the production of the book EVERYTHING LOOKS BETTER WITH LOVE published at Editions Salon du Salon is simple. There is a certain nonchalance, few gestures. These gestures directly question how a work is produced. The forms produced would have what Tristan Garcia calls an equal ontological dignity.

“We live in this world of things, where a cutting of acacia, a gene, a computer-generated image, a transplantable hand, a musical sample, a trademarked name, or a sexual service are comparable things”. (Tristan Garcia, Form and Object: A Treatise on Things, Edinburgh University Press, 2014, p. 1.)

It is a question of experimenting with a whole system of possible operations carried out with an unfailing form of love for things, gestures and beings.

—Michaël Sellam, Paris

SALON DU SALON is a project dedicated to contemporary art and a publishing house based in Marseille, France. Since December 2013, SALON DU SALON work with artists, authors and curators invited to develop proposals. Forms and development of collaboration are based upon the projects themselves, and have included, residencies, research, performance art, exhibition, publishing, and more.

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John Bock’s latest artist’s book combines over 150 video stills from his film “Skipholt” shot 2005 in Iceland, each with a corresponding drawing. Structured like a logbook of an expedition, it traces the path of the protagonist played by the artist himself, who embarks on a journey across the sea, volcanic plains and glaciers. The drawings read like notations of a journey, sometimes picture, sometimes diagram, peppered with word creations or theoretical explanations that reflect John Bock’s thought bubble and reveal the conjured para zone to the reader. The book is at the same time an art object, packed in a corduroy bag, filled with ‘KleinodtodSods’ – useful everyday objects such as Q-tips, thread and safety pin – and equipped with the practical belt pouch, so that nothing stands in the way of one’s own expedition.

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In her long poem “The Text”, Nora Amin uses a surrealistic form of poetic writing to deconstruct gender roles, sexual trauma and patriarchal authority, while composing a humane story of creation.

This book is the result of a collaboration between Amin, the visual artist Katharina Marszewski, and the graphic design studio Eps51. Marszewski responded to “The Text” by creating cryptic drawings that reveal the movements central to Amin’s choreographic poetry. Bilingual script and artwork interpenetrate in Eps51’s unique design, which allows readers to determine the reading direction of the book, depending on their preferred language (Arabic / English).

“The Text” is accompanied by an afterword by Christian Junge, scholar of Arabic literature.

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Wonders of the Volcano. Salvatore Arancio.

Wonders of the Volcano is the first artist’s book by Salvatore Arancio, published by NERO in collaboration with Federica Schiavo Gallery.
Wonders of the Volcano is a faithful reconstruction of a Victorian era book that is part of Arancio’s own collection and the source of some of his etchings. The original volume, printed in London presumably in the second half of the 19th century, was written by Ascott R. Hope and comprises 11 original illustrations in black and white.
Salvatore Arancio has re-elaborated the book’s original images, altering their scientific and documentary function, and added 8 plates to the final section of the volume. The text from the first edition has instead been reprinted in its entirety, and the book’s material and typographic characteristics are identical to the original.
The volume by Ascott R. Hope is an impassioned piece of research into the naturalistic wonders of volcanoes and of the geo-telluric phenomena related to them. The inexact geology of the late 19th century mixes here with landscape descriptions so ingenuous that they transform the underlying romanticism into loose and enthusiastic popular adventure literature. The most impressive natural phenomena – registered at that time not only in Italy, but also throughout Europe, South America, in the Indian east and across the entire Mediterranean basin – are described with all the imprecision of a vague science. In this book, the inductive method overlaps with the deductive, making space for oral testimonies, fairytales and superstitions, all philologically inventoried.
It is not by chance that Salvatore Arancio has chosen to work within a context that is “science-fictional” avant la lettre. The ambiguous alterations that the artist has brought to the original images do not merely evidence the book’s original nature, but, decontextualizing it, reinvent an inexistent past that oscillates between mythology and fantasy.
Such a rehabilitation of the past bears a twofold temporal valence: it looks back in order to go forward. Indeed, by means of this enigmatic booklet, Arancio reverses the very direction at the heart of the concept of innovation – scientific innovation, if we look strictly to the contents of the book; artistic, if we consider the entire conceptual operation – evidencing an “innovative” past on the one hand, and on the other a future that never occurred. And it is precisely into this temporal fissure, tinged with nostalgia, that Arancio drops his hypnagogic, unconscious and apocalyptic imaginary, letting it fluctuate in a spatiotemporal field that belongs neither to the present, nor to the future, nor to our past.
Wonders of the Volcano is accompanied by an insert containing a critical essay by Michael Wilson, editor and freelance critic, and a text on the relation between mythology and geo-telluric phenomena written by Luigi Piccardi, Researcher at the C.N.R. – Institute of Geosciences and Earth Resources, Florence.

D € 20

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