« … Souvent, il séjournait dans cet espace pour trouver le calme et l’inspiration. Dans un carnet, il prenait des notes accompagnées de croquis et de plans pour de futurs projets. Les murs blancs de la maison, la vue sur le jardin et les arbres étaient propices à la méditation et parfois à la lecture. Il pensait qu’un moine jardinier aurait pu se retrouver dans la même situation que lui, à l’écart du monde, du vacarme et des brutales réalités de la vie. Ces murs laiteux ressemblaient à ceux d’une chapelle. Par un jour de printemps, il décida de peindre de petites saynètes et des paysages directement sur ces parois immaculées. … »
Constellations
By Dean Kissick
During the Nineties, when Elise was at school in the English countryside, there was a constant flow of UFO sightings and crop circles, in which complicated but harmonious patterns of spiralling orbs would appear cut into wheat fields overnight, and reports of ethereal abductions on lonely country roads. These abductions were usually in the United States, and again happened overnight. Aliens would come down and snatch American men and sodomize them, for their experiments. The Nineties were fantastic, she thought. Now that old sense of excitement about and openness to the cosmos was gone. There were no more lights in the sky, no more encounters of any kind. No more geometry appeared on the farms. Steel monoliths sometimes arrived on Romanian hillsides and deserts. But no one thought about space anymore. What was space good for now?
Fabian Marti sees his artistic work as a chance to explore ideas about the place of the artist and the individual in society and in the field of production. This type of questioning, which brings him closer to conceptual art, allows Marti to view his practice as a way of challenging the divides between traditional techniques, conventional modes of creation, customary terms of exchange right through to the artist’s status. He goes back to more archaic technical choices, and the handmade in particular, reappropriating craft skills such as ceramics. As for the shift in the artist’s function, Marti is involved and participates in the creation of exhibition spaces, artists’ studios and publishing houses. The Zurich space Hacienda, TwoHotel, Marti Collection, Marti Ceramics and FM Studio Chairs are simultaneously both art objects and small “companies”, places or structures that facilitate production projects, both for Fabian Marti himself and for invited artists. (more…)
View of the CEC’s stand at LAABF 2019
ground
Editions of the CEC
ground
Curators : Harry Burke and Marlie Mul
Presentation of the zine ground – first edition launched in 2018 – edited by Harry Burke (writer, critic, editor, and indepndant curator) amd Marlie Mul (artist, born in 1980 in Utrecht, lives and works in Berlin) with contributions by The Gate, Linda Stupart, Jean-Michel Wicker, Khairani Barokka, Reader’s Digestion, Sorryyoufeeluncomfortable et Marlie Mul.
“In collaboration with Centre d’edition contemporaine for artgenève, Harry Burke and Marlie Mul, the editors of ground, will curate a selection of prints and editions by artists featured in both their recently published first zine and in their forthcoming second publication. ground is an independently distributed zine that aims to look beyond institutions, in their current form, as the dominant spaces and frameworks in which to present and deal with artistic production, and instead explore grassroots political and aesthetic alternatives. The presentation at artgenève will highlight the ways that artists are using publishing and printmaking to achieve these aims, and will involve work by artists who are often underrepresented in international commercial presentations such as artgenève.” (Harry Burke)
Talk by Marlie Mul, presentation of the zine ground, art talks & performances, Saturday, February 2, 2019, artgenève 2019
Matthew Lutz-Kinoy’s primary medium might be painting, but it often goes beyond two-dimensional space to extend to its surroundings, becoming decor or pieces of furniture. This expansion of the pictorial space is seen both in the choice of subjects and in the enlarged and repeated stylized motifs. His large format paintings, often installed like decorative tapestries, wall panels or suspended ceilings, stages the exhibition space in which viewers are physically immersed. This highly spatial and physical approach to painting expresses Lutz-Kinoy’s special relationship with the body and gesture, and explains the extension of his work into dance and performance. For his recent exhibition at Le Consortium, Dijon, a vast system of murals, inspired by François Boucher’s painted panels that once decorated a boudoir and are now displayed at the Frick Collection in New York, entirely covered the walls of this white cube. This fascination with the refined, sophisticated and carnal painting of the 18th century brought out its erotic and transgressive nature against a backdrop of sensual and sexual liberation.
The CEC participates in the Salon MAD#4 (Multiple Art Days)
With the editions of Victor Man, Keren Cytter, Jean-Michel Wicker, Mathis Gasser, Artists’ Voices (triple vinyle) and Valentin Carron
For his exhibition at the CEC, Victor Man invites Navid Nuur not so much to create a common work but rather to establish a dialog and to underline a certain kinship between their artistic practices: their use of traditional and handcrafted techniques – watercolour for the one and ceramics for the other -, their common references to materials that bear strong symbolic and poetic meaning – minerals, water, fire -, their personal and artistic background, but also their ties to childhood, to memory and perhaps to nostalgia. A shared way of revisiting the significant initiatory stages that rendered this duo possible and natural, offering an installation alternating the watercolours of Victor Man and the ceramics of Navid Nuur. (more…)
The CEC at artgenève 2018
Keren Cytter
Presentation of three small children books, The Curious Squirrel (2015), The Brutal Turtle (2018) and The Furious Hamster (2018), of recent drawings and three objects on wheels
For the CEC booth at artgenève, Keren Cytter presents a little reading room for children with a series of recent drawings and three volumes on wheels: a red ball, a yellow pyramid, a blue cube, objects that are between mobile shapes and children seats. This childlike environment will serve as a display for the book, The Brutal Turtle and The Furious Hamster, both coproduced by Jacob Fabricius, artist director at Kunsthal Aarhus, who runs Pork Salad Press, Copenhagen and the Centre d’édition contemporaine, Geneva. (more…)
Presentation of the edition offered to the 2017 members of the Centre d’édition contemporaine association
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The CEC at week-end
Genève Art Contemporain
Itinerant presentation of the facsimile of the publication Les plaintifs, les bêtes, les politiques
Signing session in the presence of Thomas Hirschhorn
Edited by the CEC!
Focus: Mélanie Matranga
Mélanie Matranga’s artistic approach is crossed by stories that infiltrate a production of objects, installations, films, and even pieces of furniture and reconstructions of interiors that are loaded with signifying signs, texts and images: drawings, photographs, prints, projections. These combined elements propose “situations” that interrogate intimacy and seem to be filled with sensations and residual feelings, receptacles where real life experience and imagination, the document and the scenario meet. (more…)
From 6 PM Book Launch: #picturebook1 by Jean-Michel Wicker, presented by the artist
From 6 PM Book Launch: #picturebook1 by Jean-Michel Wicker, presented in collaboration with The Printed Room, SALTS and the Centre d’édition contemporaine, Geneva
With a reading by Harry Burke and a specially produced flyer by Jean-Michel Wicker
From 6 PM Presentation of Jean-Michel Wicker’s edition, #picturebook1, artist’s book, offset, 27 × 28.5 cm, 396 pages, including 360 pages in colour and 36 pages in black on LuxoArt Silk 150 g/m2 paper, glossy colour cover, LuxoArt Silk 350 g/m2, 10 inserts, colours, 26.5 × 28 cm, LuxoArt Silk 130 g/m2, publication of an arbre de vie produced by Jean-Michel Wicker in collaboration with Marlie Mul, a text by Harry Burke, and a recipe for Alsatian plum pie by Charlotte Wicker (French), English, an edition of 500. Graphic design: Maximage Société Suisse, London. Printing: DZA Druckerei zu Altenburg, Altenburg. Edition of the Centre d’édition contemporaine, Geneva, June 2017.
For this exhibition, Jakob Kolding will be proposing a scenography reminiscent of 19th century dioramas or the photomontages of the Théâtre Alfred Jarry, a small theatre that will fill all our exhibition spaces and be visible from outside, both as an installation and a public artwork. Several scaled up or down “standing” silhouettes will be grouped on this stage set, creating an interplay of juxtapositions and gaps. Each figure suggests a historical or anonymous person, illustrative of Jakob Kolding’s extended vocabulary of literary, philosophical, artistic or personal references, and encouraging a sociological, cultural and aesthetic interrogation of the use of space. While in his earlier works this critical research was more closely linked to the phenomena of the transformation of urban space and gentrification, Kolding has more recently approached different concepts of space in a broader, more open and ambivalent way, as areas where questions of identity are simultaneously complex, shifting and multiple. (more…)
Jean-Michel Wicker’s exhibition BBiblioteca ffanafffantastica brings together several works involving the medium of print for which the artist has worked out a number of iterations, including fanzines, scrapbooks, antibooks, book-objects, and flyers. The display will also feature supports, both literal and figurative, that have something to do with books, and other elements that extend the gesture of consultation, reading and writing, even the function of storage. This includes bookcases, display stands, showcases, tables and chairs. Other objects or useful ordinary materials like electric wires, clothing, key rings, neon lights, lamps and tarps will be transformed, cobbled together, and combined with a wide range of supports in their usual and unsurprising form or reappropriated and put to other uses. Those supports include paper, cardboard, plastic, papier-mâché, and shells. (more…)
Centre d’édition contemporaine at artgenève
International art fair
Inside the Bubble-Booth
With Timothée Calame, Valentin Carron, Jakob Kolding, Matthew Langan-Peck, Matthew Lutz-Kinoy and Mélanie Matranga
For artgenève 2017 the CEC proposes a group show, Inside the Bubble-Booth, that evolves around the idea of organs and the corps morcelé. The booth of the CEC will be transformed this year into an intimate and organic space. This proposition is also a pretext for improvising on a proposed theme such as desire, intuition or a lead for a work. Each invited artist was chosen on the base of this postulate, without their works being literally an illustration of this theme, they suggest or make allusion to it.
From 6 PM Presentation of Jean-Michel Wicker’s edition, Belle étiquette, woven flyer taking the form of a mini carpet functioning as an advertisement object, polyester, black and white, high definition weaving, heat cut with fray out edges, 92 × 140 mm, edition of 1000, unsigned, weaving Bornemann-Etiketten GmbH, Wuppertal. Edition of the Centre d’édition contemporaine, Geneva, 2016.
This edition is accompanied by a publication bearing the same title, Belle étiquette, publication, 16 pages, black/white, colours, offset on Magno Satin 130 g/m2 paper, 26,8 × 20,5 cm, 250 copies. Graphic design : Marietta Eugster and Jean-Michel Wicker. Edition of the Centre d’édition contemporaine, Geneva, 2016.
Edition offered to the 2016 members of the Centre d’édition contemporaine association.
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Mathis Gasser
In the Museum 1 2 (3), Regulators 1 2 n, artist’s book, 448 pages in black and 128 pages in colour, 17 × 22,8 × 3,5 cm, offset, on Arctic Volume White 1.12 paper 100 g/m2, cover in Arctic Volume White 1.2 paper 300 g/m2, 300 copies. Graphic design: Niels Wehrspann, Lausanne with Mathis Gasser. Print : La Buona Stampa, Lugano. Binding: Schumacher AG, Schmitten. Edition of the Centre d’édition contemporaine, Geneva, 2016.
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Artists’ Voices
Triple LP with sound pieces by Rita Ackermann, Gerard Byrne, Valentin Carron, Claire Fontaine, Jason Dodge, Giulia Essyad, Sylvie Fleury, Gilles Furtwängler, Mathis Gasser, Marcus Geiger / Heimo Zobernig, Vivienne Griffin & Kaspars Groshevs, Thomas Hirschhorn, Tobias Kaspar and Jan Vorisek, Anne Le Troter, Beat Lippert, Tobias Madison, Fabian Marti, Jonathan Monk, Damián Navarro, James Richards, Emanuel Rossetti, Ryan Conrad Sawyer, Ramaya Tegegne and Ricardo Valentim, 3 picture discs in a two-piece box, 310 × 310 × 15/15 mm, 350 copies. Sound engineer: Ladislav Agabekov, Caduceus Mastering, Geneva. Graphic design: Niels Wehrspann, Lausanne. Edition du Centre d’édition contemporaine, 2016.
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John M Armleder, Valentin Carron, Marc Camille Chaimovicz, Claude Closky, Andreas Dobler, David Hominal, Rosemarie Trockel and Heimo Zobernig (editions CEC), Giulia Essyad (ceramic) and Sabrina Röthlisberger (bench and book), Solar Lice (double LP, Power Station, Dallas, 2013) and David Knuckey (sculptures)
Until March 11, 2017
From 6 PM Presentation of Mathis Gasser’s book In the Museum 1 2 (3), Regulators 1 2 n, artist’s book, 448 pages in black and 128 pages in colour, 17 × 22,8 × 3,5 cm, offset, on Arctic Volume White 1.12 paper 100 g/m2, cover in Arctic Volume White 1.2 paper 300 g/m2, 300 copies. Graphic design: Niels Wehrspann, Lausanne with Mathis Gasser. Print: La Buona Stampa, Lugano. Binding: Schumacher AG, Schmitten. Edition of the Centre d’édition contemporaine, Geneva, 2016.
David Knuckey, Crest, 2016
From 7 PM Readings by Marie Angeletti, Samuel Luterbacher, Marta Riniker-Radich and Angharad Williams
Until March 11, 2017 John M Armleder, Valentin Carron, Marc Camille Chaimowicz, Claude Closky, Andreas Dobler, David Hominal, Rosemarie Trockel and Heimo Zobernig (editions CEC), Giulia Essyad, Sabrina Röthlisberger, Solar Lice (double LP, Power Station, Dallas, 2013)
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Artists’ Voices
Triple LP with sound pieces by Rita Ackermann, Gerard Byrne, Valentin Carron, Claire Fontaine, Jason Dodge, Giulia Essyad, Sylvie Fleury, Gilles Furtwängler, Mathis Gasser, Marcus Geiger / Heimo Zobernig, Vivienne Griffin & Kaspars Groshevs, Thomas Hirschhorn, Tobias Kaspar and Jan Vorisek, Anne Le Troter, Beat Lippert, Tobias Madison, Fabian Marti, Jonathan Monk, Damián Navarro, James Richards, Emanuel Rossetti, Ryan Conrad Sawyer, Ramaya Tegegne and Ricardo Valentim, 3 picture discs in a two-piece box, 310 × 310 × 15/15 mm, 350 copies. Sound engineer: Ladislav Agabekov, Caduceus Mastering, Geneva. Graphic design: Niels Wehrspann, Lausanne. Edition du Centre d’édition contemporaine, 2016.
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John M Armleder, Valentin Carron, Marc Camille Chaimovicz, Claude Closky, Andreas Dobler, David Hominal, Rosemarie Trockel and Heimo Zobernig (editions CEC), Giulia Essyad (ceramic) and Sabrina Röthlisberger (bench and book), Solar Lice (double LP, Power Station, Dallas, 2013) and David Knuckey (sculptures)
Until March 11, 2017
From 6 PM Presentation of the sound edition Artists’ Voices, with Rita Ackermann, Gerard Byrne, Valentin Carron, Claire Fontaine, Jason Dodge, Giulia Essyad, Sylvie Fleury, Gilles Furtwängler, Mathis Gasser, Marcus Geiger / Heimo Zobernig, Vivienne Griffin & Kaspars Groshevs, Thomas Hirschhorn, Tobias Kaspar and Jan Vorisek, Anne Le Troter, Beat Lippert, Tobias Madison, Fabian Marti, Jonathan Monk, Damián Navarro, James Richards, Emanuel Rossetti, Ryan Conrad Sawyer, Ramaya Tegegne and Ricardo Valentim (triple LP, ed. CEC, 2016)
7 PM Ramaya Tegegne, Version #19: Judy Chicago, 2016 (reading/performance)
7:30 PM Giulia Essyad, Poetry Reading December 2016 (reading) et Salamander Said, 2016 (ceramics) with Sabrina Röthlisberger, En Attendant Antarah, guerrier poète, 2015, (bench)
8 PM HAGGARD CARAVAN, composed by Stefan Tcherepnin, with recordings by Solar Lice (Jeanne Graff, Tobias Madison, Flavio Merlo, Emanuel Rossetti, Gregory Ruppe, William Z. Saunders & Stefan Tcherepnin), mixed in York House Hotel, Wakefield, 2014 (sound installation, 44’30’’)
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John M Armleder, Valentin Carron, Marc Camille Chaimovicz, Claude Closky, Andreas Dobler, David Hominal, Rosemarie Trockel and Heimo Zobernig (editions CEC)
Until March 11, 2017
Valentin Carron explores the principle of reality through acts of appropriation, replicating almost identically elements from popular culture, the practice of monument-making, daily life and his immediate environment. The shift in meaning is probably due more to the choice of referents than to their mere displacement in the field of art. Carron conceals the function, blunts the decorative aspect and revisits the craftsmanship-like manufacturing of these objects that oscillate between irony, affection and fascination and seem to densify as entering in contact with art, endorsing themselves with a common acknowledgement and with the nostalgia of a forgotten story. (more…)
Mathis Gasser draws upon and combines thousands of images that he patiently gathered and arranged in a personal archive. Their references come from the arts, architecture, cinema, comics, science fiction, magazines or from current events. In a very elaborated practice of collage, thousands of signs collide and are multiplied in an explosive combination, in a mirror or imbricating effect, diffracted by the immateriality of the digital world and by the invasion of information. The impact that Gasser seeks for through this body of reappropriated, reassociated images that are frequently reworked through drawing and painting, and caught in a sustained and invasive turnover. They oscillate between a nihilistic vision and an interrogation of the limits of a world undermined by temptations of archaism and the resurgence of primal fears, sectarian deliriums, theories of conspiracy and hyper technological and futuristic extravaganzas and other prophecies. (more…)
Artists’ Voices assembles a group of sound pieces linked to the theme of the voice. The voice considered as a strong marker on the unconscious, a pre-language primal expression that is directly connected to emotions and is identifiable by a body of signs: tone, vibration, timbre, rhythm. The sound pieces are songs, declamations, monologues, a reading, a discourse, a dialogue, an echo, a whisper, a noise, a scream or breathing, up to the point of rupture, dysphonia, aphonia, silence, or even the return of sound and music. (more…)
Centre d’édition contemporaine at artgenève
International art fair
With the editions of Jason Dodge, David Hominal, Tobias Kaspar, David Maljkovic with Konstantin Grcic
Artists’ Voices assembles a group of sound pieces linked to the theme of the voice. The voice considered as a strong marker on the unconscious, a pre-language primal expression that is directly connected to emotions and is identifiable by a body of signs: tone, vibration, timbre, rhythm. The sound pieces are songs, declamations, monologues, a reading, a discourse, a dialogue, an echo, a whisper, a noise, a scream or breathing, up to the point of rupture, dysphonia, aphonia, silence, or even the return of sound and music. (more…)
Jason Dodge, David Hominal, Raphaël Julliard, David Maljkovic with Konstantin Grcic, Victor Man
With the new editions offered to the members of the CEC association:
David Hominal, Détail, silk screen print, edition of the Centre d’édition contemporaine, 2015 (edition offered to the 2014 members )
and
Jason Dodge, edition of 120 (edition offered to the 2015 members)
With editions by Philippe Decrauzat, Jason Dodge, Sylvie Fleury, Katie Holten, David Hominal, Aaron Flint Jamison, Raphaël Julliard, Mads Ranch Kornum, Erik van Lieshout, Victor Man, Christophe Rey, Joseph Strau, Oscar Tuazon, Jeffrey Vallance, Oriol Vilanova
Conference I want to talk again about the birds That are deaf from fireworks. In collaboration with the HEAD-Genève Wednesday, May 27, 2015 at 18pm.
For his exhibition at the CEC, David Maljkovic will create, in collaboration with the German designer Konstantin Grcic, a series of works called Negatives. The “negatives” began with Maljkovic’s Temporary Projections in 2011. For this project, the artist created a fictional studio as a projection and one of the elements in the studio was a ‘fake’ working table. In collaboration with Grcic, the table is now an actual object, and what was once a secondary element becomes a model and the focus of the work. The “negatives”, then, are tables designed by Grcic that Maljkovic transforms by using as a work surface. As the artist cuts into paper with a blade, he leaves slashes and marks on the soft surface of the table top. The result is a group of intersecting lines and marks that combine to make a geometric abstraction. Red ink is then applied to this surface, and paper applied, in a process that resembles printmaking, leaving the table top marks filled with a vibrant red. The ‘negative’ is this structure that provided a space for the edition-making process. (more…)
With the editions of Sylvie Fleury, David Hominal, Raphaël Julliard, Erik van Lieshout, Victor Man, Olivier Mosset, Oscar Tuazon, Jeffrey Vallance, Oriol Vilanova
ALPHABET EDITIONS is an alphabetical display of the CEC’s editions (1989-2014), a possibility to see again everything or to purchase a book, a print or a multiple during this “winter sale”. WINTER SALE is neither a sale nor an auction or a sale, but simply the presentation of the still available editions, a new display, a Christmas market and above all a support for the CEC. (more…)
Exhibition of an installation of large pencil drawings on paper scroll and mobile wire sculptures, and the edition of an artist’s book entitled RREPTILES produced and edited by the CEC.
Raphaël Julliard is a polygraphic artist. Whether it be drawing, painting, installation work, video or performance, his work, rather than departing from a predefined idea or concept, stems from an initial impulsion that is as free and autonomous as possible, in order to arrive at the configuration induced by that same idea and its process of realisation. His work sometimes also questions the works of other artists, may them be central figures or lesser known. However, he seems to be inspired by everyday banal little things, whose existence is, in theory, considered to be insignificant. Like so, he had proceeded to the making of a classical ham-butter sandwich, from the planting of the seeds to the devouring of the sandwich, including the slaughtering of the pig and the churning of the butter (Mon Sandwich, HD video, 2010). (more…)
The artist as collector, Oriol Vilanova is a collector of postcards, this touristy and obsolete medium of communication that contains within itself traces of individual and collective memory. Images d’Epinal, pictures of monuments, of iconic and historical places, printed on a simple card, thus offering an idealised vision of the world, filled with nostalgia, and unchanging subjects, yet they testify of a time hopelessly lost. Oriol Vilanova often works with notions of individual and collective memory, of lost time, of the immortality of the iconic and heroic figure, of monuments and stereotypes re-enacting through writing, performance or installation an extensive visual documentation—films, publications, printed matter, postcards—and thus creating a collision and a temporal coming and going between past, present and future. (more…)
Centre d’édition contemporaine at artgenève
international art fair
FILMS – CORRIDOR
Valentin Carron, Philippe Decrauzat, David Hominal, David Maljkovic, Fabian Marti, Adrien Missika, Jonathan Monk, Laurie Vannaz, Oriol Vilanova
During the preview, january 29th, 2014:
Izet Sheshivari, Poster Stories
Performance with typewriter and posters
w/Monica Bonvicini, Gerard Byrne, Philippe Decrauzat, Trisha Donnelly, Sylvie Fleury, David Hominal, Aaron Flint Jamison, Jakob Kolding, Erik van Lieshout, Fabian Marti, Jonathan Monk, Oscar Tuazon, Jeffrey Vallance
Oval – Lingotto Fiere
Art Editions, Stand AE1
www.artissima.it
With the editions of Trisha Donnelly, Sylvie Fleury, David Hominal.
Philippe Decrauzat, Sylvie Fleury, David Hominal, Aaron Flint Jamison, Fabian Marti, Jonathan Monk, Oscar Tuazon, Jeffrey Vallance…
An installation of four silkscreen prints and a sound piece, as well as a new publication, Through the Windows.
David Hominal manipulates images that often come from his personal archive, from the press or more largely images with historical or political references. He proceeds by free associations that mix flashbacks that are as much linked to current events as to intense personal experiences or to his literary and cinematographic keenness. He makes freely figurative or abstract painting. The subjects are treated in a graphical manner, in a rapid and immediate style that borrows more from photography, advertisement and the press than from painting itself. (more…)
JM: « For a little book that I just made with Galerie Yvon Lambert, The Making of Ten Posters, Ten Languages, Ten Colours, Ten Words, Ten Euros, we asked the printers if they would photograph their process. Actually, it started with a poster project that we had printed in Riga. Without us asking anything, the printers sent us photographs of the posters coming out of the press and of the printers holding them up. Upon seeing these pictures, we thought it would be perfect to make a book out of them. It’s really simple, basically to just show how the printers made the posters. But then we decided to ask the printers of the book, in Montreuil, to take pictures. We sent them a Polaroid camera and they agreed to document their whole process of making the book.» (more…)
Centre d’édition contemporaine at artgenève
International art fair
Gerard Byrne, Philippe Decrauzat, Trisha Donnelly, Sylvie Fleury, Oscar Tuazon, Jeffrey Vallance
Alexandre Bianchini, Gerard Byrne, Jeremy Deller & Karl Holmqvist, Andreas Dobler, Vidya Gastaldon & Jean-Michel Wicker, Fabrice Gygi, Klat, Jakob Kolding, Elke Krystufek, Claude Lévêque, Fabian Marti, M/M
Organized by Cneai
w/ Pierre Bismuth, Monica Bonvicini, Philippe Decrauzat, Aaron Flint Jamison, Jakob Kolding, Erik van Lieshout, Christophe Rey, Oscar Tuazon, Jeffrey Vallance
Palais de Tokyo, Paris
With Monica Bonvicini, Philippe Decrauzat, Trisha Donnelly, Aaron Flint Jamison, Jakob Kolding, Elke Krystufek, Erik van Lieshout, Oscar Tuazon, Jeffrey Vallance
Oscar Tuazon or the liberating potential of construction
The work of Oscar Tuazon seems to be a natural extension of childhood, as obvious as building a wooden hut or exploring the forest. Tuazon never goes into architecture, he always stays below construction rules, safeguarding the freedom of building, by instinct, for the pleasure of taking possession of a place that would become for a while his living space, his home. Building as an extension of one’s self, of one’s body and movements. The gesture and the process of assembling are part of his pieces that must be understood as forms of appropriation, of experimentation, of « real-life » experiences. In an interview published in his catalogue I can’t see, Tuazon explains: « I want to make something with its own life, its own needs, a living thing. » (more…)
1 concert
6 evenings about contemporary editions
1 critical presentation of films
1 evolutive exhibition
An idea of Véronique Bacchetta, Donatella Bernardi, Boutheyna Bouslama, Noémie Étienne and Petra Krausz. A collaboration between Centre d’édition contemporaine and Eternal Tour
With Bertrand Bacqué, Daphné Bengoa, Donatella Bernardi, Laurence Bonvin, Jacques Borel, Thomas Boutoux, Rudy Decelière, Stéphane Degoutin, Noémie Etienne, Valeria Graziano, Tamar Halperin, Beat Lippert, Morad Montazami, Enrico Natale, Romolo Ottaviani, Marc Ruchmann, Denis Schuler et Frank Williams. (more…)
With Pierre Bismuth, Philippe Decrauzat, Aaron Flint Jamison, Erik van Lieshout, Fabian Marti, Oscar Tuazon, Benjamin Valenza, Jeffrey Vallance, Heimo Zobernig
stand A31, halle 2, Palexpo, Geneva
Coming from the counterculture, Jeffrey Vallance (born in 1955, lives and works in Reseda/Los Angeles)is a Californian artist who revisits religious rituals, folklore and fetishist practices. While he slips in turn into the clothes of an ambassador, an anthropologist, an explorer, a writer, a professor or an investigator in paranormal phenomena, Vallance remains a compulsive collector whose stock-in-trade is nourished by personal and collective mythologies. Influenced by his forebear Emil Knudsen (1872–1956), famous Norwegian medium, he strongly believes in the part inspiration plays in his work, often perceived as a conversation with the hereafter. He thus turns his everyday life into an enchanted world, open to acts of faith, mysteries and revelations.
Oscar Tuazon, Fabian Marti and editions of Gerard Byrne, Philippe Decrauzat, Andreas Dobler, Aaron Flint Jamison, Adrien Missika, Gianni Motti (more…)
Book published by the Centre d’édition contemporaine, Geneva
c/o Galerie Eva Presenhuber, Zurich
Oscar Tuazon, Working Drawing
Book, reproduction of 210 drawings and a text by Oscar Tuazon, 19 x 23 cm, 256 pages, black photocopy, on Condat matt Périgord, cover in clear glass, covered in linen cloth, Texlibris GTI, colour: steel 564, square spine, sewn and glued, wrapped in a sheet of ribbed Pop’Set Perle, edition of 130, numbered and signed on the colophon inserted at the end of the book. Original drawings are included in the first 20 copies, starting from page 229. In addition, 20 A.P. signed and numbered from I to XX, have been printed. Binding and assemblage are the work of the atelier Philippe Martial, Paris. Designed by Pierre-François Letué, Paris, for the artist. Printed by Tracts, Paris.
This book is published by the Centre d’édition contemporaine, Geneva, January 2012.
Book Launch of Working Drawing
On the occasion of Oscar Tuazon’s exhibition, Manual Labor
at the Galerie Eva Presenhuber, Zurich.
Galerie Eva Presenhuber
Diagonal Building, Maag Areal
Zahnradstrasse 21
8040 Zurich
www.presenhuber.com
Aaron Flint Jamison is an artist particularly engaged in the field of edition. His artistic work comes as a wide range of reflections on the book and the object. He can be printer, typographer, editor and of course artist at the same time.
He often works by assemblage and combinations: a piece of furniture, a poster or a publication which all push the link between representation, production, functionality, presentation and distribution to the edges of its simplicity, its obviousness and its impact. Each object merges technical and aesthetic potential and conceptual accuracy. Aaron Flint Jamison is between the artist and the technician, between the craftsman and the inventor. (more…)
Philippe Decrauzat, Trois films photographiés – A Change of Speed, a Change of Style, a Change of Scene – After Birds – Screen O Scope
Discussion around the book with Philippe Decrauzat and Véronique Bacchetta, director of the CEC
and presentation of a selection of editions of the Centre d’édition contemporaine, with the artists’ books of Sigurdur Arni Sigurdsson, Thomas Hirschhorn, Elke Krystufek, Monica Bonvicini, Jakob Kolding, Roman Ondák, Mads Ranch Kornum, Céline Duval, Katie Holten, Josef Strau, Christophe Rey, Erik van Lieshout; the catalogues Marcel Broodthaers, l’oeuvre graphique, essais; L’Effet papillon 1989-2007; Sgrafo vs Fat Lava and the multiples of François Curlet and of Pierre Bismuth (more…)
With Gerard Byrne (IE), Raphaël Julliard (CH), Jakob Kolding (DK), Fabian Marti (CH), Adrien Missika (FR), Florian Pumhösl (A), Benjamin Valenza (FR), Susanne M. Winterling (DE).
Presented by Véronique Bacchetta and the Centre d’édition contemporaine, Geneva
At the Cneai de Paris, 20 rue Louise Weiss, 75013 Paris
Project realized for the « carte blanche » given by CNEAI DE PARIS – 2011 (more…)
Like the spectator of a 3D cinema, Philippe Decrauzat’s work slides with mastery from one dimension to another. With wallpaintings and floorpaintings, shaped canvases, installations and light displays, we sway between scientific rigour and the vibrant effect of the red-blue spectacles. Whilst encompassing the legacy of abstraction as in Contructivism and Suprematism, in Op Art and its games of illusion as well as in Minimalism, his work shows a much wider interest for the origins of abstraction. (more…)
Gerard Byrne’s work is structured around documents – advertisements, daily papers, specialized magazines – dating from after the Second World War, generally from the 1960s and 1970s. After researching archives, Byrne uses these often fragmented and forgotten documents, transforms them and gives them a second life. The new images and settings that emerge from the joined processes of critical deconstruction and reconstruction, often dramatized, examine the codes of artistic or media images and those of representation. (more…)
Book, French, bound, 105 x 165 mm, 64 pages, 22 colour pictures. Summary : Nicolas Trembley (ed.), Madeleine de Proust et Fat Lava (introduction); text by Horst Makus, Formes, couleurs et décors. Un survol; Interview of Ronan Bouroullec by Nicolas Trembley. Graphic design : Gavillet & Rust / Eigenheer, Geneva. Publisher : JRP|Ringier (Hapax collection), Zurich, 2011. ISBN 978-3-03764-163-7.
Something Less, Something More – DIY
Triple groove corrugated cardboard plate with seven pre-cut discs, 37 x 50 cm, a metal stick and instructions for use, offset, black and one colour, front and back, French/English, 74 x 50 cm, on Keaykolour nature quartz mat 150g/m2 paper, folded in two, all elements in a coloured plastic envelope (green, blue, yellow or clear) closed by a folded cardboard as colophon, digital print, one colour, 180 copies, edition of the Centre d’édition contemporaine, Geneva, 2009.
Céramiques et porcelaines Made in West Germany, 1960-1980
With a sound piece by Seth Price
For the beginning of the month of November 2010 with the exhibition of a collection of historical ceramics from the 1960s – 1980s, we will be crossing from the field of art into the field of the object, nevertheless not fully abandoning the first one to the second. Almost a hundred pieces covering different styles and production processes will let us discover through a utilitarian and decorative object the different aesthetic variations of a prolific and stylistically free period, when common taste allowed itself to be kitsch and delirious. An era before the supremacy of design that is going to format most of our daily objects.
The exhibition, entitled « Sgrafo vs Fat Lava, Ceramics and Porcelains Made in West Germany, 1960-1980 », is accompanied by a little book published for the occasion by JRP/Ringier (Zurich) in its « Hapax » series : Sgrafo vs Fat Lava. (more…)
with Olivier Mosset, Gianni Motti, Florian Pumhösl, Jean-Michel Othoniel, Christophe Rey and Susanne M. Winterling.
Susanne M. Winterling, Dynamique de réflexion (2010)
Florian Pumhösl, Etudes abstraites (2004)
Jean Michel Othoniel, La Grande Lèvre (1991)
Gianni Motti, Sans titre (2006)
Olivier Mosset, Sans titre (1994)
Christophe Rey, Washington (2005)
Susanne M. Winterling likes revisiting different figures of Art History, architects or intellectuals of the 20th century, mostly from its beginning. She admires and is inspired by the work of artists such as Berenice Abbott, Eileen Gray, Edward Krasinski, Le Corbusier or Annemarie Schwarzenbach, artistic fiction-figures from another world, a world that witnessed the birth of modernity.
As Mark Prince states in his Frieze article [n° 126, October 2009, …of Mice and Blood, (for E.K.), review of the Berlin exhibition at the gallery Lüttgenmeijer, where Susanne M. Winterling pays tribute to the Polish artist Edward Krasinski (1925-2004) with a display of objects and an environment inspired by a series of photographies taken in his atelier, preserved in its last state by the Warsaw Foksal Gallery (that Edward Krasinski cofounded in 1966)] : « Where the installation is more than the sum of its allusions, it manages to translate the irreducible particularities of another artist’s life and work into Winterling’s own language, like a dreamy adolescent who absorbs the image of a pop star into the private universe of her bedroom. » (more…)
Sans titre
15 lithographs, black, on BFK Rives 300gm2 paper, 80 x 65 cm, edition of 4 plus 1 A.P. and 1 H.C., numbered, dated and signed.
Heimo Zobernig, born in 1958 in Mauthen (Austria), lives and works in Vienna.
In a momentary community, free and polyphonic, the gallery Parrotta Contemporary Art in Stuttgart presents a series of editions of the Centre d’édition contemporaine chosen by Véronique Bacchetta : Andreas Dobler, Elke Krystufek, Erik van Lieshout, Florian Pumhösl, Markus Schinwald, Benjamin Valenza, Emmett Williams, Heimo Zobernig. (more…)
Pierre Bismuth, François Curlet, Fabrice Gygi, Karl Holmqvist, Angela Marzullo, Mai-Thu Perret, Benjamin Valenza, Jeffrey Vallance et Erik van Lieshout
(more…)
Erik van Lieshout is one of Holland’s most prominent artists and is best known for his installations and videos. Nevertheless, he regularly paints and above all draws. He finds his inspiration in urban culture, its sociocultural melting-pot and its violence and has no qualms about immersing himself for long explorations into non-place zones – like the outer suburbs and frontiers with no real identity – and losing himself, setting himself adrift in unrestrained, openly depressed self-scrutiny verging at times on the morbid and a state of crisis. These overplayed, uninhibited and often provocative autobiographical events are put across with humour and intensity in a continuous, inextinguishable production, punctuated by drawings and collages, which represents the free, direct expression of repressed feelings and holds up an emancipating mirror for all our introspection and past experience. (more…)
T like text, of course, or temporary, tentative, turn of phrase, trove, trouble, tension… tea time and T. Rex.
T is an exhibition which offers several possibilities of texts. Artists’ texts that can be images, signs or also an abstract, a description, an explanation, a manifesto, a recollection, a quotation, a poem, a story…
T is a round-trip from text to work, from work to text: a new exercise.
T, it’s some simple sheets of A4 paper, several proposals of printed matter (tracts or small posters), but also a letter, a recording, a distribution or even a republishing, the publication of a work already completed or the layout of a future publication; a model. (more…)
With Olivier Bardin, Gianni Motti, Florian Pumhösl, Anne-Julie Raccoursier and Markus Schinwald.
Presentation of editions of the Centre d’édition contemporaine, with Gianni Motti, Sans titre, 2006 and CMS, Compact Muon Solenoid experiment, Cern, 2006; Florian Pumhösl, Etudes abstraites, 2004; Anne-Julie Raccoursier, Remote viewer 2, 2007; and Markus Schinwald, Les Boîtes, 2007
On the occasion of the presentation of L’Effet papillon, 1989-2007, Véronique Bacchetta (director of CEC) will read the chapter « Marketing as social project » from Philippe Cuenat’s text A Fifty-cent Item: Maciunas’ marketing of Fluxus published in this book.
and Benjamin Valenza (born in 1980 in Marseille, lives and works in Lausanne) will give a lecture of the poem Maintenant c’est après le succès les temps changent/Now he following the success of changing times, freely inspired by Ms Leokadija Maciunas’ comments about the commercial initiatives of her son (see Philippe Cuenat, A Fifty-cent Item: Maciunas’ marketing of Fluxus). Benjamin Valenza will play his sculpture Don Quixote’s hip (2009, painted brass and aluminium, 100 x 35 cm).
Presentation of the Centre d’édition contemporaine’s editions, with Olivier Bardin, You belong to me I belong to you, 2008; Gianni Motti, Cosmic Storm, Cern, 2006 and Sans titre, 2006 ; Florian Pumhösl, Etudes abstraites, 2004 ; and Markus Schinwald, Les Boîtes, 2007.
Zone papillons (Butterflies Area)
Two readings and two anthologies/panoramas in French, in the frame of the fair BucH.08, and a presentation of the Centre d’édition contemporaine, Geneva, in Basel:
L’Effet papillon, 1989-2007, Centre d’édition contemporaine, Geneva, 2008, presented by Véronique Bacchetta and her guest, Philippe Cuenat
« This publication retraces through its archives the history and evolution of a particular place – the Centre d’édition contemporaine –, its productions and artistic choices. It defines its place, its position and engagement in the field of contemporary art. » Véronique Bacchetta, director of the CEC, Meret Oppenheim Prize 2007. (more…)
While Trisha Donnelly produces drawings, photographs, videos as well as sound pieces and performances, she doesn’t just decline techniques. Instead, the different mediums she uses are reservoirs of reflections. Even the space and time of the exhibition are seen by the artist as receptacles of references – historical, geographical, symbolical and spiritual -, of associations of ideas and reminiscences.
Rather than thinking of Trisha Donnelly’s works as mysterious and impenetrable, one should see them as attempts to escape the constraints of the production and materialisation of any object and to go beyond the spatial and temporal limitations of the exhibition. Maybe Trisha Donnelly is just not where we think she is? (more…)
Catalogue, in French, introduction by Véronique Bacchetta, texts by Véronique Bacchetta, Sylvie Boulanger, Lionel Bovier, Brian D. Butler (English and French), Philippe Cuenat, Thomas Hirschhorn, Christoph Keller (German and French), Hans Ulrich Obrist and Alexis Vaillant. 432 pages, 17,5 x 23,5 cm, offset printing on Munken Print Premium White paper, 115 g/m2, offset printing and hot gold foil stamping on Munken Print White paper, 300g/m2, for the cover, 61 color ill., 278 b/w ill. Graphic design : Schönwehrs, Geneva. Printing : Musumeci S.p.A., Quart (Aosta Valley), Italy. Publisher : Centre d’édition contemporaine, Geneva, June 2008. Distribution : JRP|Ringier, Zurich. (more…)
Olivier Bardin’s exhibitions challenge the image of the person. Visitors are invited into an empty exhibition space, and the show really commences as the artist asks them to become the only pictures to be seen. Thus, the self-image is the real object of the exhibition. The apparatus reveals the way this image is built up from the other people’s perception; spectators, at the same time, are watching and being watched. Eventually, they constitute a community based on mutual confidence, where perception acts as a self-balancing device. (more…)
François Curlet, Jérôme Leuba, Anne-Julie Raccoursier et Markus Schinwald
Presentation of recent editions of the CEC, in particular those realized as gifts for the 2006 and 2007 members of the association of the Centre d’édition contemporaine: François Curlet, PUB-UP (mini portfolio of five facsimile), 2007 and Jérôme Leuba, battlefield#39 (colour poster), 2007
A digital clock, recently installed on the fronton of the Tokyo Palace entrance chimes the 5 billion year countdown, which separates us from the explosion of the sun and therefore the end of all life on earth. Big Crunch Clock (1999) reminds us of the inexorable end of all things.
A cake of soap made from extra fat recovered after Silvio Berlusconi’s liposuction in a Swiss plastic surgery clinic: Mani pulite (2005). The first cake of Berlusconi’s soap brand which washes whiter than white? What about the replica of the American flag which was erected on the moon (Tranquility Base, 1999) once transposed in the space of White Cube? Should we see the poetic nevertheless absurd conquest of emptiness or of contemporary art? We might as well be shooting for the moon! Yet the commemorative tablet of the 759 Guantanamo victims (The Victims of Guantanamo Bay (Memorial), 2006), prisoners, or rather hostages, parked in a space without rights, literally removed from society’s awareness. (more…)
It is a well-known fact that Finns are not afraid of anything. They often love unusual sport events: mobile throwing Olympics, wife carrying contests, mosquito killing competitions, sauna world championships. In the same spirit, every year, not far from the Polar circle, is held the Air Guitar World Championships to which Anne-Julie Raccoursier has dedicated a video work. Entitled Noodling (2006, 7’20’’), it reveals, in close-up, stylish contestants, unlikely clones of Frank Zappa or Billy Idol. They ape the gestures of these musicians at the climax of their shows. The state of exaltation of the candidates is tempered by the absence of soundtrack. An additional distance is created between them and us: in slow motion, their gestures, sometimes hidden out of shot, seem loaded with affect and could equally suggest (solitary) pleasure or pain, ecstasy or hysteria. (more…)
With Sean Snyder (Berlin), Jeremy Deller (Londres), Karl Holmqvist (Stockholm/Berlin), Bernadette Corporation (Paris/Berlin), Artemio (Mexico), Reena Spaulings (New York), Bruno Serralongue (Paris), Claire Fontaine (Paris), Jennifer Allora-Guillermo Calzadilla (San Juan), Jay Chung & Q Takeki Maeda (Berlin/Düsseldorf), Mario García-Torres (Los Angeles/Mexico) et Minerva Cuevas (Mexico).
Where to live, and how? This exhibition offers a reflection on projects by artists and architects who think about living conditions and challenge this question in their work. These projects come from various contexts that, for the major part, are situated at the junction of architecture and art, Utopia and reality, individual and collective space. Some of these projects document very active emerging urban forms and ask complex economical, political, and social questions which traditional notions of urbanism disregard.
If we think of the city as “a series of strata and styles, of icons and cultural practices which bring together constructions from the past, tradition, as well as these new projects and ideas for the future”1, can the different projects that will be presented really transform, or at least question, the way specialists, the State and users tackle the problem of living conditions? (more…)
Markus Schinwald (born in Salzburg in 1973 ; lives and works in Vienna) is an artist whose work is protean and has no hierarchy of genres. Inspired by the worlds of fashion, dance or opera, and more broadly by that of entertainment, he moves easily from performance to film, from photography to clothes making. His heelless pumps (Low Heels, 1998) or his snakeskin sneakers (Snakers, 1998) – fetishistic objects par excellence – suggest a subtler conditioning of the body. Markus Schinwald’s universe wavers between that of Lynch, Cronenberg and Chalayan, and the clothes he designs can become instruments of constraint, transform themselves into prosthesis, and even replace the body. This dividing, or dual body, expresses hidden fantasies and brings to the surface the intricacy of our subconscious depth. (more…)
The approach of Andreas Dobler (b. 1963, Zurich) is characterized by frequent incursions into varied domains such as fanzine illustration, tie-dye, China ink on paper, hard rock or ambient music, as well as screenwriting for films and the stage. Even though painting remains his favored activity, he is still very much interested in drawing. His universe oscillates between oppressive representations, often borrowed from sci-fi imagery, psychedelic culture, the esthetics of comics, petit bourgeois kitsch or exoticism for tourists.
John M Armleder, Marcel Broodthaers, François Curlet, Trisha Donnelly and Pierre Vadi
« Fiction can help to fin both the truth and what if hides. »
Marcel Broodthaers
The Missing Evidence is an exhibition aiming to explore strategies of mystification towards which tend certain artists, playing of their status of creators. It takes to witness the emblematic figure of Bas Jan Ader (1942-1975). The artist, mysteriously gone missing at sea at age of 33, during his performance-trip entitled In the Search of the Miraculous.
This conceptual Dutch artist, whom art was a voyage just as real as metaphorical, chose to cross the Atlantic alone on a sailboat from the United States. Upon his arrival, an exhibition was planned at the Groninger Museum (Holland) to present works realized during his voyage. (more…)
Editions from 1995 to 2005 for the members of Cec
Olivier Mosset (1995) : Sans titre, engraving chisel, black / white;
Fabrice Gygi (1996) : Sans titre, displays, screen color;
Elena Montesinos (1997) : Love it, blotter, plastic bag;
Elke Krystufek (1998) : Economical Love, poster, offset color;
Klat (1999) : EVIL TALK, affiche, sérigraphie noir/blanc;
Alexandre Bianchini (2000) : Sans titre, displays, serigraphy black / white;
Jakob Kolding (2001) : Sans titre, displays, offset black / white;
Karl Holmqvist (2002) : CECI N’EST QU’UNE ILLUSION, plastic bag, screen;
Mai-Thu Perrret (2003) : Sculptures of Pure Self-Expression, series of five ceramics;
No More Lights on My Starguitar (2004) : compilation rock ‘n’ roll performed by Bruno Dürr, vinyl, 33 rpm;
et Christophe Rey (2005) : Washington, color photography.
Launching the French and English editions – Future Perfect, 21st Century – recounting the history of the 21st century from anticipatory texts and scenarios.
40 x 500 cm
French and English versions
With the collaboration of Pedro Jiménez Morrás for the translation and Gidon Mead, Frédéric Favre, Céline Mangeat, Francesca Whitman for the rereading.
This edition is presented in the form of a 5-meter-long scroll with a timeline running through it relating the history of the 21st century. (more…)
Christophe Rey is an artist who is particularly interested in photography and its history as well as in the cinema, architecture and literature. His long journeys – preferably across Canada or the United States – have enabled him to build up an extensive photographic archive which provides him with a major source of inspiration for his writing. His texts, often concise, express deep introspection. Yet, without restricting himself to a purely autobiographical approach, the artist’s keen eye goes far beyond mere ‘impressions of a journey’ and is infused with a social, moral or political awareness drawn mostly from the very heart of cities. (more…)
John M. Armleder, gravures, 1992
Monica Bonvicini, Eternmale, 2002
Jakob Kolding, lambda print & Posters, 2001/2003
Mai-Thu Perret, 5 Sculptures of Pure Self-Expression, 2004
Florian Pumhösl, Etudes abstraites, 2004
Heimo Zobernig, Sans titre, 1996