New Items

Alejandro Cesarco’s “Album” (Leporello N° 11) presents the titles and durations of each of the songs that make up The Cure’s “Disintegration”, the band’s iconic album from 1989. Each song is listed on its own panel, as if they were images in a photo album.

Admittedly, The Cure plays heavily in the soundtrack of Cesarco’s youth. These gloomy soundscapes further the artist’s investigation into questions of aging–both in relation to style, regrets, and possibilities. Curiously, Robert Smith, the band’s frontman, wrote “Disintegration” as he was about to turn thirty, supposedly fearing his best years were behind him.

The release of Cesarco’s “Album” coincides unexpectedly with “Songs of a Lost World”, The Cure’s latest, and fourteenth, studio album.

« In ‘The Size of My Richard Prince Book Collection’, Jonathan Monk presents his extensive collection of books by the American artist Richard Prince – 170 titles in total. Each book is represented only by its measurements, leaving the viewer to try to figure which title is represented on each page. The numbers are all added up and the full size of Monk’s collection of Prince books is given at the end of the book. »

« For more than 35 years, Jochen Lempert’s photographs have stood out as a singular oeuvre within contemporary art. The trained biologist’s gaze is marked by constant wonder. At first, and not without irony, at the history and forms (and warps) of our cultural fascination for the inexhaustible potential of plants and animals. He is increasingly interested in the phenomena of perception and how they are translated into images, in the life forms of flora and fauna and their analogies to his own creative process. For all their photographic minimalism – always captured with the simplest means of an analogue camera or light-sensitive paper – Jochen Lempert’s pictures are full of poetic power and a profound knowledge of the Natural Sources of our existence. Along with the puristic and reduced hanging of his works in exhibitions, artist’s books are one of his favourite ways of presenting his work. Following the publication of « Phenotype » in 2013 by Verlag der Buchhandlung Walther König, « Natural Sources » is Jochen Lempert’s second major artist’s book. » Florian Ebner

Things I Looked at on eBay Today is a publication about strange and unusual objects found for sale on eBay during lockdown (between March and June 2020). This bewildering artist book is a collaboration between photographer Annie Collinge and art director Claire Huss. It showcases a selection of 56 screenshots carefully chosen by Huss amongst the collection of objects that drew Collinge’s attention. The format of the publication and the yellow spiral binding at the top are a nod to the mobile phone, and the way we scroll through images.

“Flashing Lane documents the stretch of road in Appleby where every year, Irish travellers race and show their horses during the Horse Fair. This historical event, that takes place in June since 1685, is one of Europe’s biggest and crucial gathering points for the Romani and Traveller communities from all over Europe, the UK. For the photographers Kira Bunse and Eleonora Gustapane, the series becomes a terrain of identity-based anthropological exploration, a way to investigate the culture, the coming of age and the value system within a traditionally nomadic society. Focusing on their individual dress code, distinctive hairstyles and peculiar physiognomy, the visual dialogue is punctuated by assonances and dissonances, creating a continuous interplay between the human, the animal and the folklore.”

Sujet peu répandu dans le paysage éditorial, Collectionner les tombes présente une précieuse archive photographique sur l’art funéraire du XIXème siècle à nos jours. L’ouvrage puise dans le fonds d’images de cimetières de l’artiste et collectionneur André Chabot. Depuis une cinquantaine d’années, ce dernier dresse un inventaire méticuleux de tombes, sculptures, chapelles sépulcrales et autres catacombes, photographiées dans plus de soixante-dix pays.
Sur le postulat du photographe, « l’art funéraire, c’est du passé », et à l’heure où cette forme esthétique est en voie de disparition, les éditions Païen invitent à arpenter ce livre comme on déambulerait dans les allées d’un cimetière afin d’en recueillir les derniers témoignages.
Collectionner les tombes est une invitation à la découverte d’une «vaste nécropole mondiale où l’on pourra s’attarder devant les tombes les plus humbles et les plus émouvantes comme devant les mausolées les plus grandioses et les plus spectaculaires».

Sous Arles gît une immense nécropole antique dont l’actuel monument « Les Alyscamps » se propose d’être la façade.
L’édition Duplex Arelas s’extrait volontairement de toutes images des Alyscamps pour explorer les zones en marge de cette vitrine antique.
À la manière d’un tombeau qu’on exhume, d’un casier d’archives qu’on ouvre et referme, la surface vide des pages dissimulent dans leur plis une longue frise d’images. Elles présentent des réminiscences de la nécropole dans leur contexte contemporain, cherchant des occurrences où la ville des morts affleure à la surface des vivants.26 x 15 cm

The Book is part of a public art project in a school. Gathering 696 digital collages using the children’s drawings as source material. 9 works are translated into ceramic wall pieces that are mounted in the hallways .

Turbo Magazine #56

Since 2017 we photograph the transformation of cities. »These specify some of the unique features of these cities as well as comparable structural elements that they share, which act, for the most part, as catalysts for revolutionary urbanistic developments.«

Observing and documenting the transformations of the landscape, the process of the construction-sites the project deals with the following questions: Can major events like the Olympic Games be accelerators of such urban changes, how much do they contribute to further changing the understanding of private and public space? Do ideas of coming together, exchange, sporting competition still play a central role or are the stadiums, arenas and pavilions just some more ruins of the future?

On 8 December 2018, in residence in Paris, Katja Stuke and Oliver Sieber were confronted with one of the first ‘acts’ of the gilets jaunes movement. From a distance, without taking sides, but without remaining indifferent, they observed how this conflict became part of the city‘s narrative. This walk, of 113 photographs, guides them from the rue de Rivoli to the Louvre, from the Madeleine to the Gare Saint-Lazare, from the Boulevard Haussmann to the Place de la République, and depicts nothing less, nothing more than six hours of protest – one act – of a social drama.

Book with 192 stills of a 3.2 seconds film clip of Haku Shimasaki performing a Cab Double 1080˚. In October 2022 Ari Marcopoulos went to Saas-Fee in Switzerland to work on his short film Butter. The film was shot on the glacier where a halfpipe was made for professional snowboarders to kick off their competitive season. After finishing the film Ari asked a group of snowboarders to send him their favourite clips of tricks which resulted in another film: Black Snow. He had desaturated and inverted the clips so the stills looked like black-and-white negatives, connecting the relatively new technique of multi-channel video to the beginnings of photography. In this process the clip by Haku Shimasaki stood out and has been made into this publication.  With text by Canon Georges LeMaire, Lucy Raven, and Ari Marcopoulos. Design: Roger Willems. Edition of 300 copies in a box with a risograph, signed and numbered by Ari Marcopoulos.

In the south of Iceland is Landbrot, whose geologic particulars present a unique landscape. It is a place closer to fairy tales than to science, indeed a place easy to imagine as the singular source of fairies and elves worldwide. It is easy, too, to imagine the sensual comfort and satisfaction to be found there. Mother, Wonder is the eleventh book in Horn’s ongoing series “To Place,” which she initiated in 1989 and exists only in book form. All the volumes focus on Iceland and the evolving experiences of the artist there; together they form a flowing dialogue addressing the relationship between identity and place. The titles to date in the coveted “To Place” encyclopedia are Bluff Life (1990), Folds (1991), Lava (1992), Pooling Waters (1994), Verne’s Journey (1995), Haraldsdóttir (1996), Arctic Circles (1998), Becoming a Landscape (2001), Doubt Box (2006) and Haraldsdóttir, Part Two (2011).

The inte­ri­or of Koba De Meut­ter’s home con­sists of sculp­tu­res. Sur­roun­ded by this gro­wing col­lec­ti­on of particular fur­ni­tu­re, Koba has spent the last few years dra­wing fic­ti­o­nal people. These peo­p­le now inhabit a book, publis­hed by INFINITIF.

Flanders, the early 1990s. The number of fatal victims of road traffic accidents connected to nightlife is at its peak. Emergency physician Dr. Beaucourt prepares a slideshow and tours secondary schools on a mission. He seeks to highlight the risks and shows harrowing, brutal images of victims. These images become part of the collective memory of a generation. This publication revisits that presentation. The only original elements here are the photos, which are depicted in slide format. The order of each image is determined by the chronology of events connected to a crash. The numerical code under each image refers to the location where it was found in the original archive.

In banana boxes, Maxime Le Bon collects and stores a lot of documents in a jumble. Most of them are printed, cut out from newspapers, magazines, old publications, erratas, other fragments of texts and photographs. Added to this are drawings that he improvises – some of them torn or stained that he don’t want to display or throw away. This collection of heterogeneous items is then being rearranged and slipped into plastic pockets where he stores them. Unstable and in constant change, this improbable archive grows with the years. It sedimented layers of experiences and constitutes this heterogeneous deposit from which can emerge all sorts of fragmentary narratives and accidental arrangements. The publication ZILCH brings together a selection of A4 photocopies made by the artist from this extensive archive.

« Good Luck » is the second book of a trilogy that started with « Good Morning », published in 2021.

As written in the subtitles; some drawings, and a story. Common things. Drawings as memories and memories as flashes adhered to images. Things that happen, with neither significance nor lasting as long as it takes a ship to cross a bridge or a cloud to block the sun’s rays.

The exhibition Calendar 2025 is a homage to the exhibition March 1969 by Seth Siegelaub. Participating artists were invited to present any relevant work regarding the “Time” and their assigned month. Through this project, einBuch.haus aims to connect contemporary artists who use the “book” as their main artistic practice.

This book includes 100 photographs of the 100 rulers made on the occasion of Jonathan Monk’s exhibition SL at the Torre Bonomo in Spoleto. The quicker you flick through it, the faster it moves.

This is the first printed issue of Slant, featuring all the contributions.
Slant is a mail art project and a publishing house. It invites artists, designers, writers and poets to express themselves through a common theme every two weeks. It has poetry as its beacon of reflection, keeping in mind that sometimes we must tell the truth slant in order to see our reality depicted.

Pendant six ans, Homma a photographié les évolutions du paysage urbain de Tokyo, en pleines préparations des Jeux olympiques de Tokyo 2020. Le livre présente des images qui rendent compte de l’ampleur de la mégapole, à travers les transformations du stade national, le marché de Tsukiji juste avant sa relocalisation au marché de Toyosu, les bâtiments en constante évolution et les vastes terrains vagues de Tokyo Bayside.

Dans ce petit ouvrage, des objets normalement inanimés prennent vie sous le pinceau d’Amelie von Wulffen, se déplaçant dans un univers étrange et surréaliste comme s’il s’agissait de personnes réelles : une série d’aquarelles sombrement drôles qui mettent en lumière nos propres réalités banales.

À travers des centaines d’images, ce livre d’artiste suit le travail de Daniel Steegmann Mangrané dans l’ordre chronologique, depuis ses premières sculptures en 1997 jusqu’à ses installations les plus récentes de 2022 dans le cahier central, avant de reprendre le voyage en sens inverse, pour revenir en 1997 dans les dernières pages, créant ainsi un cycle que l’on peut recommencer. À l’intérieur du livre, des fac-similés de ses annotations et de ses croquis offrent une introduction unique à l’univers de l’artiste.

« This book is a new look at photographs from the time Marcopoulos shot Brown Bag, a short super-8 film of skateboarders in New York in 1993. The film, photographs from that time, plus a small selection of recent work, appear in this book, and as a large collage in the exhibition BEWARE at the Musée Art Moderne de Paris (April 5–August 25 2024). » From the publisher’s website

« During the installation of his show ‘Hard Copies’ at Camera Austria in Graz, Stephan Keppel made walks in the city, collecting structures, surfaces and traces of the past. In the book ‘Immer Zimmer’ these works are reworked and replaced, creating a new view on the historic city of Graz. The book includes an excerpt from the poem ‘Kracht voor Graz’ (1976) by K. Schippers » From the publisher’s website

« In ‘Flat Finish’ Stephan Keppel explores and investigates the known, and unknown, structures and surfaces of New York City. By assembling a subjective databank of images and reproductions of city walls, architectural references and urban structures, Keppel strips the city from its clichéd myth, and gives a new perspective on the Metropolis. This publication is part of Keppel’s ongoing research on the public space, urban structures and reproduction, and is combining his own photographs with re-photographed archival material and other (online and offline) found footage. Printed in special high pigmented inks, mostly black and white, but also fluorescent colors and metallic inks, this book is also questioning its own (re-)production. By doing so it becomes part of Keppel’s endless loop of recycled images, works and installations. » From the publisher’s website

« This book works as an adaptation for Christian Marclay’s Telephones (1995), precursor to his following video collages, such as Video Quartet (2002), Crossfire (2007), The Clock (2010), 48 War Movies (2019), Subtitled (2019) and Doors (2022). Scenes were sampled from movies rented at video stores in VHS format and edited into a seven-minute-long montage. The structure of the video was simple; the cut-up scenes follow the course of a phone conversation from beginning to end. Something that revealed a clash of technologies, behavioural patterns, sound effects and cultural references associated with audio and visual communication, expressed through various dramatic genres that characterise our collective memory of cinema.
Oddly enough, almost thirty years later, its relevance seems to have grown rather than diminished, largely because it emerged at the very moment that cell phones made their initial appearance into popular consumerist culture and digital technology was overtaking analogue film. This publication is an attempt to see how such a moving image work could be translated into a book format. The fragmentary and chance quality, which is at the heart of any collage process, is exemplified here by allowing the reader to mix and match images. ‘Telephones’ is part of the ongoing LiberArs series and brings together stills of the visual track, a transcription of the soundtrack and a conversation between Christian Marclay and Yuval Etgar during the 2020 lockdown—befittingly, over the phone. »
Text taken from the publisher’s website

« C’est rien, c’est la rue » est le premier et unique numéro de Zzz Magazzzine, une revue réalisée par un groupe d’étudiant·es dans le cadre d’une ligne de recherche de l’École nationale supérieure d’arts de Paris-Cergy – ENSAPC. Il réunit des contributions provenant de pratiques et de disciplines diverses pour proposer une vision kaléidoscopique de la rue. Elle apparait tour à tour comme un symbole ou un dispositif, un lieu où s’inventent des musiques ou des formes de contestations, un espace d’interactions sociales, amicales, ou sexuelles et se présente continuellement comme traversée de rapports de dominations.

Comité éditorial : Chloé André, Adèle Ballif, Kenza Belghiti Alaoui, Dana Cavigny, Emma Fleury-Cancouët, Nathalie Chollet, Mariama Conteh, Dona Eva Goroshevsky, Amine Habki, Selma Hyka et Audrey Teko
Coordination éditoriale : François Aubart

Cette édition est composée de deux livrets réunis dans une jaquette embossée : le premier, monographique, se lit de gauche à droite, et le second, dédié à l’exposition
personnelle éponyme de l’artiste, se lit de gauche à droite. Le livret monographique s’architecture autour d’un sommaire gradué (1, 1,5, 0,5, 0, 1) avec une numérotation des oeuvres reprise en négatif dans le livret de l’exposition. Ce travail en positif et négatif prolonge dans la mise en page et dans le maniement, les questionnements propres au travail plastique de l’artiste comme le double, la répétition, l’aller-retour, les seuils de perception et registres de visible, le pli et le repli.

Catalogue inventaire d’un musée par lui-même

Livre d’artiste, catalogue d’un musée sans murs, récit d’une œuvre en construction en réponse à une commande dans un ancien bassin minier, Joëlle Tuerlinckx nous guide dans l’archive de l’atelier, ouvre au développement d’une pensée pour aboutir à l’inventaire de la collection du M.M. (Musée de la Mémoire). Jouant du grand classique et englobant ‘tout l’œuvre J.T.’, elle met en scène « un musée par lui-même ».
Si à l’origine cet ouvrage est lié à ‘La Triangulaire de Cransac’, une œuvre monumentale implantée dans la petite cité aveyronnaise, il met aussi en perspective l’évolution du musée dans son lien avec l’artiste et le livre. Joëlle Tuerlinckx rappelle que si le musée est comparé à un livre en raison de son ordonnancement intérieur, inversement un livre est comparé à un musée du fait de sa systématique et de sa méthode de contemplation de l’objet.
Deux versions de couvertures ont été conçues apportant une variante pour l’introduction et le colophon traduits en anglais.

This publication freely inspired by the collection « autobiography” of Tonini Editore is composed of 30 anagrams formed from my name and my first name in order to question the invisibility of women artists and curatorial choices.

« Ces photographies ont été réalisées entre 2018 et 2022.
Au creux des pages, mes ami·es, tels les cairns sur les sentiers,
balisent une série de paysages et objets naturels.
Iels sont les témoins d’une persistante recherche de refuge hors de la ville.
On trouve une caisse et on part. »

Texte de Constance Burger-Leenhardt

Le comic Ciudad del Transporte  prend la forme d’un manuel de conduite pour une auto-école. Au sein de la communauté dissidente qui compose cette cité des transports, les auto-écoles sont les points de contact, les premiers liens, avec tous ceux qui souhaitent faire partie de cette communauté.

Ventoline est un fanzine de musique écrit et illustré par des femmes. Avec Mara Krastina, Sofie Vandevoorde, La Crue, Sarah Vadé & Catherine Guiral, Félicité Landrivon, Sonia Terhzaz, Fanny Quément, Morgane Le Ferec, Cassidy McGuinley, Dagmar A. Binge / Cattle Records, Victoria Palacios, Anouk Ricard.

Ventoline est un fanzine de musique écrit et illustré par des femmes. Ont contribué à ce quatrième numéro Līva Kandevica, Cynthia Vaites, Fiona Brunet, Leïla Bergougnoux & Amélie Fontaine, Liliane Chansard, Péroline Barbet, Félicité Landrivon, Tessa Namias, Charlène Darling, Nina Chevallier, l’Amicale du Freesquet, Mona Granjon.