Liz Craft
Ms. America

From November 5th, 2022, to February 3rd, 2023

Vernissage, Saturday November 5th, 2022, 11:00 – 18:00
Week-end GENEVE.ART, Saturday November 5th & Sunday November 6th, 2022, 11:00 – 18:00

Rentrée du Quartier des Bains, Thursday January 12, 2023, 18:00 – 21:00

In 2021, the Centre d’édition contemporaine published New York & Beyond, 2017-2019, which brings together a selection of the artist’s works presented in the United States or Europe, as well as photographic memories of lived situations, encounters and intimate family moments. So many memories captured by Liz Craft and her entourage between 2017 and 2019. The 40-page brochure, a kind of diary in images, covers the three years that the artist spent in New York.

Liz Craft, New York & Beyond, 2017 – 2019, publication, digital printing, colour, 40 pages, 15 x 21.2 cm, 500 copies, stapled binding. Text: Paul-Aymar Mourgue d’Algue (English). Graphic design: Niels Wehrspann, Lausanne. Edition by the Centre d’édition contemporaine, Geneva, 2021.

As a follow-up to the publication, the CEC has invited Liz Craft to create a new exhibition, which will take place from November 5th, 2022, to February 3rd, 2023.

For this exhibition, Ms. America, Liz Craft will be creating a new installation composed of a group of about twenty figurines of different sizes, in the image of Pac-Man, the character from the Japanese video game created in 1980. Probably inspired by the smileys of the 60s, it was used in the 90s by rave culture, including Aphex Twin aka Power-Pill, which is just as yellow as our contemporary emoji’s. If video games like “Space Invaders”, which involved killing aliens and aggressive invaders in a warlike atmosphere, Pac-Man, invented to attract women and increase the number of players, features a small, seemingly harmless, bright yellow glutton in the shape of a pizza missing a slice, who continuously devours small lozenges whilst being stuck in a maze and attacked by relentless ghosts. But what are we to make of this hero, who met with phenomenal success in the West, and especially in the United States, by being constantly hungry, insatiable, permanently dissatisfied and condemned to a state of perpetual failure? How to interpret this voracious little being, endlessly consuming, a non-stop seeker of instant gratification, experiencing short phases of pleasure thanks to a magic gum, forever forced to start over in its crazy consumer race, in a never-ending acceleration? And thus, our cute Pac-Man is turned into a compulsive consumer, totally addicted to sugar, pharmaceuticals, and drugs, caught in the net of the “always more” proposed by the great capital, be it legal or illegal.

The Pac-Man of Liz Craft and Ms. America have fittingly big yellow heads adorned with big red bows and are wrapped in a big black tunic. Presented as a group, they oscillate between a howling choir and a cult of furious, grotesque, and menacing madmen, begging to be released from this hell.

Liz Craft (1970, Los Angeles) lives and works in Berlin. Her exhibitions have included those at the Real Fine Arts Gallery, New York, Truth and Consequences, Geneva, Jenny’s, Los Angeles, and at the Neue Alte Brücke, Frankfurt between 2015 and 2022. Her work has been presented in various solo exhibitions, such as: Cavern, at the Neue Alte Brücke, Frankfurt (2022); Do You Love Me Now? at the Kunsthalle und Kunstmuseum, Bremerhaven (2022); Escape From New York at the baby Company, New York (2019); QUERELA at the Galeria Zé dos Bois, Lisbon (2019); Watching You Watching Me at Jenny’s Gallery, London (2018). She has also taken part in numerous group exhibitions: Kreislaufprobleme at Croy Nielsen, Vienna (2019), Tranted Loveat Confort Moderne, Poitiers (2018); Sueurs Chaudes at South Way Studio, Marseille (2017); Medusa. Bijoux et tabous at the Musée d’Art Moderne de la ville de Paris, Paris (2017).

Mai-Thu Perret
My sister’s hand in mine

Exhibition from March 18 to April 29, 2022
Opening, Thursday March 17, 2022, from 6 to 8 pm
Nuit des Bains
Thursday March 24, 2022, from 6 to 9 pm

Continue reading “Mai-Thu Perret
My sister’s hand in mine

Paul Viaccoz

From October 1st to November 12, 2021
Opening Thursday September 30, 2021, 2 PM – 8 PM

« … 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. … »

Extract from the text by Paul Viaccoz, ESPRIT ES-TU LÀ ?, published in Before publication 5, éd. CEC, 2021.

Continue reading “Paul Viaccoz

Guillaume Dénervaud

Exhibition from March 19 till April 23, 2021
Opening March 18, 2021 (Nuit des Bains)


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?

Continue reading “Guillaume Dénervaud

Paul Paillet
fascination for fire

Exhibition from September 18 till December 12, 2020
Opening Thursday September 17, 2020, 2 PM – 8 PM

Paul Paillet’s solo exhibition at the Centre d’édition contemporaine was intended to open in March 2020, but was postponed due to lockdown until September 2020. For this exhibition, Paul Paillet has developed a proposal drawing on numerous references that insect and overlap, creating an ensemble of several pieces: sculptures and a mural work in porcelain, a newspaper, a radio and a publication. Each of these elements contains various cultural and personal indices that construct a kind of staged presentation. The theme of fascination for fire is partly autobiographical, linked to a reflection on a return to the artist’s adolescence, his adventures and darker moments in his past, which result in semantic shifts, from the private sphere to more critical and committed societal and political implications. Continue reading “Paul Paillet
fascination for fire

Fabian Marti
Such a Good Girl

Exhibition from January 17 till March 7, 2020
Opening on Thursday January 16, from 6 PM, Rentrée du Quartier des Bains

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. Continue reading “Fabian Marti
Such a Good Girl


Opening Thursday May 16, 2019, 6-9 PM (Quartier des Bains common openings)
Exhibition from May 17 till September 28, 2019
Exhibition extended till October 26, 2019

Continue reading “TIMOTHÉE CALAME

Matthew Lutz-Kinoy
The Meadow

 Exhibition from October 12 till February 8, 2019 Opening Thursday October 11, 2018 from 6 PM to 9 PM (Nuit des Bains)
Week-end Genève Art Contemporain : Saturday 17 and Sunday 18 November from 11 AM till 6 PM
Common openings of the Quartier des Bains : Thursday, January 17, 2019, from 6 PM till 9 PM


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.

Continue reading “Matthew Lutz-Kinoy
The Meadow

Victor Man invites Navid Nuur

From May 18 till September 15, 2018
Opening Thursday May 17, 2018 from 6 PM to 9 PM (Common openings of the Quartier des Bains)

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. Continue readingEntrelacs
Victor Man invites Navid Nuur”

Jonathan Monk
Directional Advice

Presentation December 8, 2017 – March 3, 2018
Preview opens Thursday, 7 December 2017 at 6 PM

Presentation of the edition offered to the 2017 members of the Centre d’édition contemporaine association

Jonathan Monk, Directional Advice, one colour silkscreen print with clear varnish coating, Algro Screen cardboard 1260 g/m2, Ø 40 cm, edition of 150, signed and dated on the reverse, printed by Christian Humbert-Droz, Geneva, die-cut by Decoform, Geneva. Edition of the Centre d’édition contemporaine, 2017. Edition offered to the members of the Centre d’édition contemporaine association for the year 2017.


Editions by Valentin Carron, Marc Camille Chaimowicz, François Curlet, Jason Dodge, Sylvie Fleury, Mathis Gasser, Thomas Hirschhorn, David Hominal, Tobias Kaspar, Jakob Kolding, Oscar Tuazon, Oriol Vilanova, Jean-Michel Wicker, Heimo Zobernig

Thomas Hirschhorn

The CEC at week-end
Genève Art Contemporain

Saturday and Sunday November 11 and 12, 2017
11 AM – 6 PM

Itinerant presentation of the facsimile of the publication Les plaintifs, les bêtes, les politiques

Signing session in the presence of Thomas Hirschhorn

Saturday November 11, 2017 from 1 PM
Thomas Hirschhorn, Les plaintifs, les bêtes, les politiques, offset printed brochure, CMYK color model, glossy coated paper, 80 g/m2, 231 × 24 cm, 208 pages. Original edition by Centre genevois de gravure contemporaine/Centre d’édition contemporaine (CEC), Geneva, 1995 and edition of the facsimile, ed. Galerie Chantal Crousel, Paris, 2017.

Presentation of the edition
Jean-Michel Wicker

Thursday, June 1, 2017

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.

Jakob Kolding
The Outside or the Inside of the Internalised Externalised

Exhibition 19 May – 30 September 2017
Exhibition preview opens Thursday, 18 May 2017 at 6 PM (Nuit des Bains)

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. Continue reading “Jakob Kolding
The Outside or the Inside of the Internalised Externalised

Jean-Michel Wicker
BBiblioteca ffanafffantastica

Opening Thursday March 23, 2017 from 6 PM till 9 PM
Exhibition from March 24 to May 6, 2017

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. Continue reading “Jean-Michel Wicker
BBiblioteca ffanafffantastica

Valentin Carron
Deux épaisseurs un coin

Opening Thursday September 15, 2016, 6 PM – 9 PM
Exhibition September 16 – November 26, 2016

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. Continue reading “Valentin Carron
Deux épaisseurs un coin

Mathis Gasser
Sept sont tombés vers le ciel
Works on paper

Opening Thursday May 19, 2016, 6 PM – 9 PM
Exhibition May 20 – September 3, 2016

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. Continue reading “Mathis Gasser
Sept sont tombés vers le ciel
Works on paper”

Jason Dodge

Preview: Thursday May 28, 2015, 6 PM – 9 PM
(on the occasion of the Nuit des Bains)
From May 28th until September 5th, Jason Dodge will present shoes that have been made for someone with three legs.

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.

David Maljkovic
Konstantin Grcic

Exhibition from March 20 to May 16, 2015

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. Continue reading “David Maljkovic
Konstantin Grcic

Raphaël Julliard

Opening Thursday September 18, 2014 from 6 PM
on the occasion of the Nuit des Bains
Exhibition from September 19 till November 29, 2014

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). Continue reading “Raphaël Julliard

Oriol Vilanova
Renoncer à te décrire

Opening during the Nuit des Bains, Thursday May 22, 2014, from 6 AM
Exhibition from May 23 till July 11, 2014

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. Continue reading “Oriol Vilanova
Renoncer à te décrire

David Hominal
Through The Windows

Exhibition June 7 – October 19, 2013
Opening June 6, 2013 from 6 pm

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. Continue reading “David Hominal
Through The Windows

Jonathan Monk

Exhibition from February 21 until April 27, 2013
Opening on February 20, 2013

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.» Continue reading “Jonathan Monk

Oscar Tuazon

Exhibition from June 22 until October 27, 2012
Opening on Thursday, June 21, 2012, from 6pm

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. » Continue reading “Oscar Tuazon”

Jeffrey Vallance
The Vallance Bible

Exhibition from March 30 until May 5, 2012
Opening on Thursday, March 29, 2012, from 6 pm
Performance on Thursday, March 29, 2012 at 8 pm, Chapelle de Saint-Léger, 20 rue Saint-Léger, 1204 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.

Continue reading “Jeffrey Vallance
The Vallance Bible

Aaron Flint Jamison

From December 9, 2011 to february 11, 2012
Opening on December 8, 2011

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. Continue reading “Aaron Flint Jamison”

Philippe Decrauzat

Exhibition: september 23-novemeber 20

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. Continue reading “Philippe Decrauzat

Gerard Byrne
For example; a sketch of Five Elevations, 1971-72

Exhibition from May 5 – July 16, 2011
Opening on Wednesday, May 4, from 6pm.

Gerard Byrne, view of the exhibition <em>For example; a sketch of Five Elevations, 1971-72</em>, Centre d'édition contemporaine, Genève, 2011. Photo: © Sandra Pointet
Gerard Byrne, view of the exhibition For example; a sketch of Five Elevations, 1971-72

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. Continue reading “Gerard Byrne
For example; a sketch of Five Elevations, 1971-72

Sgrafo vs Fat Lava
Céramiques et porcelaines Made in West Germany, 1960-1980

From November 5, 2010, until February 5, 2011
Opening on November 4, 2010, from 6pm

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. Continue readingSgrafo vs Fat Lava
Céramiques et porcelaines Made in West Germany, 1960-1980″

Susanne M. Winterling
They Called Each Other Horses

April 23 – June 26, 2010
Opening on April 22, 2010, 6pm

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. » Continue reading “Susanne M. Winterling
They Called Each Other Horses

Erik van Lieshout
The Assistant

Exhibition from June 19 to October 10, 2009
Opening: Thursday, June 18, 2009, from 6 pm

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. Continue reading “Erik van Lieshout
The Assistant

Trisha Donnelly

Opening : Thursday October 9, 2008, from 6pm
Exhibition from October 10 to December 4, 2008
Finissage (with the presence of the artist) : Thursday, December 4, 2008, from 6pm

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? Continue reading “Trisha Donnelly”

Olivier Bardin
You belong to me I belong to you

Exhibition from March 28 to May 24, 2008
Opening on Thursday March 27, from 6 pm

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. Continue reading “Olivier Bardin
You belong to me I belong to you

Gianni Motti
Perpetual Channel

Exhibition from November 17, 2006 to February 10, 2007
Opening on November 16th, 2006 from 6pm

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.

Continue reading “Gianni Motti
Perpetual Channel

Anne-Julie Raccoursier
Wireless World, BAC, Genève

Exhibition from October 13 to December 16, 2007
Opening on Friday October 12, 2007 (from 6 pm)

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. Continue reading “Anne-Julie Raccoursier
Wireless World, BAC, Genève”

Markus Schinwald, BAC, Genève

Exhibition from April 20 to June 3, 2007
Opening on Thursday April 19, 2007 (from 6 pm)

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. Continue reading “Markus Schinwald, BAC, Genève”

Andreas Dobler
In Deep Ink, BAC, Genève

February 2, 2007 – April 1, 2007
Opening: Thursday February 1, 2007, from 6 pm

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.

Continue reading “Andreas Dobler
In Deep Ink, BAC, Genève”

Marie Velardi
Futurs antérieurs, 20006

Exhibition from February 3 to March 18, 2006
Opening on February 2, 2006, from 6pm

Marie Velardi, <em>Vue 9 (deux eaux)</em>, 2006
Marie Velardi, Vue 9 (deux eaux)

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. Continue reading “Marie Velardi
Futurs antérieurs, 20006

Christophe Rey
Ocean Bluff

Exhibition from October 28 till December 17, 2005
Opening on October 27, 2005 from 6pm
Christophe Rey presentation of the exhibition at 7.15pm

Christophe Rey, <em>Ocean Bluff</em>, 2005.
Christophe Rey, Ocean Bluff

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. Continue reading “Christophe Rey
Ocean Bluff

Florian Pumhösl
Héliogravures et film

Opening: October 28 2004, 6pm
Exhibition from October 29 2004 through January 29 2005

Florian Pumhösl, view of the exhibition <em>Héliogravures et film</em>, Centre d'édition contemporaine, Genève, 2004
Florian Pumhösl, view of the exhibition Héliogravures et film

In one of the last Florian Pumhösl’s movie, Untitled (Mixed Exhibits), images of a deserted city slowly unfold in a strangely timeless mood of expectation, threat and ending. The viewer is taken, by a slide show succession of dissolving images, from the outside walls of a huge fortress to a wild courtyard; in the back a motionless isolated Cyclops sits in semi-obscurity. Led back out to the open, the viewer then finds himself at ground level, in the mist of stone and concrete blocks. He gets transported abruptly from the artificially stone paved winter garden to the outside barren stone yard. Shown in a long barely moving frame, authentic outside stone blocks seem to acquire a sort of mineral density. Their radically motionless material aspect alludes back to the Cyclops, and encloses the viewer into a timeless, frozen like surreal space. Continue reading “Florian Pumhösl
Héliogravures et film

M/M (Paris)
Pour hoM/Me,
printemps-été 2004

Summer presentation from the 22nd of June to the 25th of September 2004
Opening time : Tues-Fri 2-6 pm / Sa 2-5 pm
Annual closure: from the 26th of July until the 23rd of August 2004

M/M (Paris), view of the exhibition<em>Pour hoM/Me, printemps-été 2004</em>, Centre d'édition contemporaine, Genève, 2004
M/M (Paris), view of the exhibitionPour hoM/Me, printemps-été 2004

pour hoM/Me, Printemps Été 2004, Serie of 6 posters, silkscreen four colors, 120 x 176 cm, 25 issues of each, coedition Cneai (Chatou/Paris) and Centre d’édition contemporaine Center of contemporary edition (Geneva).

M/M presents a “new” collection of clothes, integral and technoid uniforms. Six models dressed up with integrated tools offering to their owners greater possibilities of communication and autonomy.

Mai-Thu Perret
Love thy sister like thyself

Exhibition from April 9 to June 12, 2004
Opening reception Thursday April 8, 2004, from 6 pm

Mai-Thu Perret, vue de l'exposition <em>Love thy sister like thyself</em>, Centre d'édition contemporaine, Genève, 2004.
Mai-Thu Perret, vue de l’exposition Love thy sister like thyself

Since 1999, Mai-Thu Perret invents the story of an utopian and autonomous community, situated in New Mexico, which is strictly made up of women. New Ponderosa Year Zero already exists in different forms, those of a text-manifest, diaries, objects produced by this community : furniture, decorative elements, sculptures, clothes and party’s decor as well as events’ residues which testify the existence and the organization of the everyday life of this microsociety. This imaginary world gives the artist the possibility to invent a society, its story and its organization and to project her fantasies, her comments whether they are of a social or political nature, putting together reality and fiction just as her pleases her. This work’s structure allows Mai-Thu Perret to play different roles : artist, director, novelist. More seriously, this is also maybe a way of thinking about the reconstruction of a ethic, a search for lost idealism or a new form of commitment.

Haroutioun Simonian
Performance (à huis clos) & installation vidéo

Opening January 29th from 18:00 at the Centre d’édition contemporaine(cec)
Exhibition from January 30 to March 27, 2004
open Tuesday to Friday from 14h to 18h and Saturday from 14h to 17h

Haroutioun Simonian, view of the exhibition, cec, 2004
Haroutioun Simonian, view of the exhibition, cec, 2004

Harutyun Simonian (lives and works in Yerevan, Armenia) will present at the cec, video testimony of a performance achieved in camera and previously transformed into a private theater, a sort of black box whose interior coated with vaseline is made impassable. This action between body art and dance, put the artist in a constant imbalance, always at the limit of the fall.

This body is loss of balance Harutyun Simonian use it as a metaphor and comment on the disorientation both political, cultural and identity, consequential moral vacuum left by the end of the Soviet authoritarian political system.

Jakob Kolding

Exhibition from march the 28th to may the 10th, 2003
Opening march the 27th, from 6 pm

Jakob Kolding, view of the exhibition, Centre d'édition contemporaine, Genève, 2003
Jakob Kolding, view of the exhibition

Posters, artist’s publication,briefcase with 18 folded prints, streetview photos of the posters, several texts in french/english : an artist’ text, a selection of past projects’ texts, a text of Doreen Massey, geographer, french translations of posters’ texts, 21 x 29,7 cm, offset, black/white, on paper couché demi-mat blanc 115 gm2, briefcase couché semi mat white 300 gr, 22 x 30,5 cm, 700 copies, edition of the Centre d’édition contemporaine, 2003.

Poster, offset, black/white, on paper affiche couché blanc brillant, 135 gm2, 60 x 84 cm, 700 copies, unnumbered, undated and unfirmed, edition of the Centre d’édition contemporaine, 2003. Continue reading “Jakob Kolding”

Amy O’Neill et Emmanuel Piguet

From January 30 until March 7, 2003

Presentation of Amy O’Neill’s (US/GE) and Emmanuel Piguet’s (GE) edition: dm-melkenburg (death match-melkenburg) realized within the 2001 Prize of the CEC. This edition is in reality a virtual one, consisting of a computer card with a fighting game to be played in networks or on the internet. The environment of the game reconstitutes the death row of an American prison.

Karl Holmqvist
Soirée tropicale

2002, november 21
8:00 pm
Centre d’édition contemporaine, 18 st-léger, 1204 Geneva, Switzerland

Karl Holmqvist, view of the exhibition Soirée tropicale, Centre d’édition contemporaine, Genève, 2002

Karl Homlqvist’s Tropical Evening

for the presentation of his edition, CECI N’EST QU’UNE ILLUSION, offered to the members of the association of the cec and to anybody else.

WORLDSAVER (Chiang Mai 2002, 15’30’’),
GREEN PARTY (Chiang Mai 2002, 60’),
De Kongelige Elefanter (Copenhague 2002, 23’20)

Posters and publications
Aesthetic movement, REAL Art & Poetry etc.

CHA-BASHIRA L?K?O MusicsystemM,
Greatest Hits ACE OF BASE,
Djurens Parad PLUXUS Villa Lecitin
and others

SPOKEN WORD: Les Fleurs du Mal Continue reading “Karl Holmqvist
Soirée tropicale

Monica Bonvicini
Bonded Eternmale

Exhibition from January 26, 2001 till March 30, 2002
Opening January 25, 2002

Monica Bonvicini, view of the exhibition <em>Bonded Eternmale</em>, Centre d'édition contemporaine, Genève, 2002
Monica Bonvicini, view of the exhibition Bonded Eternmale

Monica Bonvicini (born in 1965 in Venice, lives and works in Berlin)
First presentation of Monica Bonvicini’s new publication, on the occasion of her two shows in Switzerland : bad bed bud pad bet pub at the Kunsthaus Glarus (Summer 2000) and Bonded Eternmale at the Centre d’édition contemporaine.
Eternmale, publication with 13 reproductions of collages from the series Drawings for Eternmale (2000) and an interview of Monica Bonvicini by Beatrix Ruf, offset print on white opaque Patinata paper, 200gm2, colour, 14 pages bound together by a metal spiral, 50 x 60 cm (same size as Pirelli calendars), edition of 1000, co-edited by Kunsthaus Glarus and Centre d’édition contemporaine, 2002.

Monica Bonvicini transforms our venue into a living room with brutal design, characterized by virile aesthetics but not lacking critical humour.

Fabrice Gygi

Opening May 3rd at 6 pm
Exposition from May 4th to June 23rd 2001

Fabrice Gygi, outside view of the exhibition <em>VITRINES</em> et <em>PITON UNIVERSEL</em>, Centre d'édition contemporaine, Genève, 2001.
Fabrice Gygi, outside view of the exhibition VITRINES et PITON UNIVERSEL

Fabrice Gygi is an artist from Geneva who has become increasingly important on the contemporary art scene over the past few years in Switzerland, and more recently, abroad. His work has been shown in various group–Nonchalance, Centre PasquArt, Bienne, Freie Sicht aufs Mittelmeer, Kunsthaus Zurich, Dogdays are Over, Centre Culturel Suisse, Paris, Xn00, Espace des Arts, Chalon-sur-Saône–and solo exhibitions–at the Centre d’Art de Neuchâtel, and at the Magasin-Centre National d’Art Contemporain in Grenoble. He has also produced works for public spaces on the occasion of Over the Edges in Ghent, in Fribourg at the invitation of the Kunsthalle and in Bienne during Transfer. His pieces are also regularly on view at galleries Bob von Orsouw in Zurich and Chantal Crousel in Paris. Continue reading “Fabrice Gygi

Vidya Gastaldon & Jean-Michel Wicker

From February 15 until April 21, 2001

Vidya Gastaldon & Jean-Michel Wicker, Chromolux Landscape, 2000
Vidya Gastaldon & Jean-Michel Wicker, Chromolux Landscape, 2000

Vidya Gastaldon (born in 1974 in Besançon, lives and works in Geneva)
Jean-Michel Wicker (born in 1970 in Mulhouse, lives and works in London)
Exhibition of a new piece and presentation of the edition Chromolux Landscape, 2000, silkscreen prints

Evil Talk: Beyond the pleasure principle

 On 13 December 1999 in the evening at Forde, space for contemporary art, Geneva.

Klat, <em>Evil Talk: Beyond the pleasure principle</em>, 1999
Klat, Evil Talk: Beyond the pleasure principle, 1999

Concert-installation for the presentation of the edition Evil Talk with organ concerto played by Julien Cupelin and bar where Jägermeister was served .

KLAT, EVIL TALK, poster, silkscreen print, black/white phosphorescent on poster paper, 50 × 100 cm, edition of 300. Edition of the Centre genevois de gravure contemporaine, Geneva, 1999.
Edition offered to the members of 1999 of the Centre genevois de gravure contemporaine association.

Thomas Hirschhorn

Exhibition from November 5 to December 12, 1999

Videos of Integrated Presentation at the 8th Biennial of Moving Images, Centre pour l’image contemporaine, Saint-Gervais Geneva.

Integrated Videos, 1995-1999

Compilation of all the videos embedded by Thomas Hirschhorn at its installations between 1995 and 1999, video, VHS PAL, 15 ‘, color, sound, achieved by raising and Coraly Suard-Hirschhorn, produced by the Centre pour l’image contemporaine, Saint-Gervais Geneva in collaboration with the Centre genevois de gravure contemporaine, published by bdv, Paris, 1999.

Elena Montesinos
Tune out, Turn off, Drop in

Friday, November 28, 1997

Elena Montesinos, <em>Tune out, Turn off, Drop in</em>, 1997
Elena Montesinos, Tune out, Turn off, Drop in, 1997

Presentation of the editions, Love It by Elena Montesinos and FUJI 4 Alexandre Bianchini ( publication edited by Véronique Bacchetta ), subtitle of the event: ” MXP Live electronics, non-stop drinks + noise “. Friday, November 28, 1997, in the evening and during the exhibition Été 97.

Elena Montesinos, Love it, blotting paper, plastic, 8.2 × 12.1 cm, edition of 300, numbered and signed. Edition of the Centre genevois de gravure contemporaine, Geneva, 1997.
Edition offered to the members of 1997 of the Centre genevois de gravure contemporaine association.

Stan Douglas

Exhibition from June 16 to July 18, 1997
Opening June 14, 1997

Stan Douglas, <em>Photographies</em>, 1997
Stan Douglas, Photographies, 1997

[ … ] Most often, Stan Douglas’s films are shown as installation in which music, text and images cross each other. Each screening mobilizes the entire space, involving the viewer in a subjective scene that immerses it in a historical and cultural universe, where are combined new computer technologies and aesthetic charged with references, often nostalgic. (Véronique Bacchetta , extract from the press release)

Heimo Zobernig

 Exhibition from November 7 to December 21, 1996
Opening November 6, 1996

Heimo Zobernig, <em srcset=
Sans titre, 1996″ width=”912″ height=”1200″> Heimo Zobernig, Sans titre, 1996

With objects that one hesitates to describe as artistic or utilities, Heimo Zobernig questions both the places of art (the exhibition, the catalog) and the everyday environment (a bar, a facade). (Véronique Bacchetta , extract from the press release)

Heimo Zobernig, Sans titre, 15 lithographs, black, on BFK Rives 300 g/m2 paper, 80 × 65 cm, edition of 4 plus 1 A.P. and 1 H.C., numbered, dated and signed. Edition of the Centre genevois de gravure contemporaine, Geneva, 1996.

Kristin Oppenheim

 Exhibition from May 4 to 15 June 1996
Opening May 3, 1996

Kristin Oppenheim, view of the exhibition, 1996
Kristin Oppenheim, view of the exhibition, 1996

Her artistic practice situates it-self in an infra-thin area where each act, minimized – sounds, line, light – is repeated endlessly. Repetition insinuates a reseach for a breaking point where the mastery yields to the humanity of the gesture and the voice. (Véronique Bacchetta, extract from the press release)

Kristin Oppenheim, Slip, six lithographs, black/white, on BFK Rives 300 g/m2 paper, 80 × 60 cm, edition of 8 plus 2 A.P. and 2 H.C., numbered, dated and signed. Edition of the Centre genevois de gravure contemporaine, Geneva, 1996.

Rosemarie Trockel

Exhibition from February 29 to April 20, 1996
Opening February 28, 1996

Presentation of various editions (1992-1994) and etchings published by the Centre.

For the edition of the Centre genevois de gravure contemporaine, Rosemarie Trockel incorporates elements that have traveled through his work. If, in her “paintings”, electric hob stove or knitted patterns replace in a trivial and playful way the forms of minimalism, for this serie of engravings long woolen thread blocked in the varnish organize the networks of clumsy and trembling lines – line networks that transform a grid or decorative designs repeated several times in a stylized writing. This distance towards abstract painting codes is recovered in a very pragmatic and immediate approach of the engraving where an object is reproduced literally in its texture. Again, artisanal qualities of the technique are used not for their material effects, but with objectivity and amused detachment that often characterize the works of Rosemarie Trockel. (Véronique Bacchetta, extract from the press release)

Rosemarie Trockel, Sans titre, 3 etchings (3 patterns: grid, loops, balloons), soft wax, colour, on BFK Rives 300 g/m2 paper, 120 × 90 cm, printed in 9 copies (of which: 3 blue copies, 3 red copies and 3 green copies, signed and dated), edition of 27 plus 9 A.P. and 11 H.C., numbered, dated and signed. Edition of the Centre genevois de gravure contemporaine, Geneva, 1996.

Thomas Hirschhorn
Les Plaintifs, les Bêtes, les Politiques

Exhibition from November 30 to January 27, 1996
Opening November 29, 1996

One of the rooms will be occupied by a huge “stand” (Les Plaintifs, les Bêtes, les Politiques). […] The other rooms will be crossed by a cardboard box wall where Thomas Hirschhorn will intervene by collages of photographs, newspaper clippings and pages from his previous catalogs. The comments he will add will enable him to act again and document his exhibitions again. This kind of presentation gives the opportunity not only to re-expose his work but to subject it to self-criticism, justifying itself again and again, breaking the classification of genres – exhibitions, videos, catalogs, texts, editions – to defer the closure of his work. The works are reused and re-discussed, like the cardboard box constituent material, revealing an artistic practice that also announces itself on the mode of recovery and recycling. (Véronique Bacchetta, extract from the press release)

Karen Kilimnik

From October 12 to November 18, 1995
Opening October 11, 1995

[…] Karen Kilimnik appropriates love affairs and escapades of media personalities: stars, supermodels and princesses, from Elizabeth Taylor to Michael Jackson via Caroline of Monaco or Kate Moss. […] She transposes her fascinations and schizophrenic fantasies that range between freshness, innocence and violence, the horror of thriller, the famous tragic event, whether the Manson family crimes, the murder of John Kennedy, the occupation of Paris … Some of its “decorations” overloaded with a multitude of objects and images seem to emerge from a disaster, close to the results of an action or a happening, remembering the hazard game of Fluxus or of art in progress. But this research for identity and the fascination for dated and glamor can switch very quickly into drama when Karen Kilimnik goes to spray with bullets her hanging just finished with a machine gun. The seven black and white lithographs are collected in a luxury and flashy box, covered with fake tiger fur and lined with shiny satin. This box contains seven subjects partially copied or inspired of celebrity pages of magazines. […] These lithographs, will find their readability thanks to a mirror slipped into a pocket crafted in the same fake fur than the box. (Véronique Bacchetta, extract from the press release)

Karen Kilimnik, Tiger, 7 lithographs, black/white, on Velin BFK Rives 250 g/m2 paper, white, 70 × 50 cm, one silkscreen print on Pop’set Californie 240 g/m2 paper, 35 × 49.5 cm, a plastic mirror and a plexiglas plate used as impressum, in a box covered in fake fur and lined with satin, 54 × 74 cm, edition of 10 plus 2 A.P. and 2 H.C., numbered, dated and signed. Edition of the Centre genevois de gravure contemporaine, Geneva, 1995.

Luc Tuymans
Le Verdict

“Edition-exhibition” from June 1 to July 15, 1995
Opening May 31, 1995

Luc Tuymans asks throught the representation, the question of the status of painting in the current field of art. Inspired as much by the cinema and photography, he reflects the world of resurgences and fantasies, intimate and disenchanted, related to the collective memory and personal recollections. These images are often mangled by some specific treatment that gives an impression of both blur and immediat. (Véronique Bacchetta, extract from the press release)

Luc Tuymans, Le Verdict, 11 colour lithographs, printed on 7 strips of blotting paper, 50 × 590 cm, 50 × 569 cm, 50 × 506 cm, 50 × 210 cm, 50 × 195 cm and 50 × 200 cm, edition of 8 plus 2 A.P. and 2 H.C., numbered, signed and dated. Edition of the Centre genevois de gravure contemporaine, Geneva, 1995.
Strip No 1: Strip with 3 lithographs, 50 × 569 cm.
Sold out
Strip No 2: Strip with 2 lithographs, 50 × 590 cm.
Sold out
Strip No 3: Strip with 2 lithographs, 50 × 506 cm.
Sold out
Strip No 4: Strip with 1 lithograph, 50 × 380 cm.
Sold out
Strip No 5: Strip with 1 lithograph, 50 × 210 cm.
Sold out
Strip No 6: Strip with 1 lithograph, 50 × 195 cm.
Sold out
Strip No 7: Strip with 1 lithograph, 50 × 200 cm.
Sold out

Claude Closky

Exhibition from May 19 to July 9, 1994
Opening May 18, 1994 from 18h

L’exposition n’aura pas lieu du 27 janvier au 26 mars 1994. Le vernissage ne sera pas le 26 janvier avant 18h. Il n’y aura pas d’édition de huit séries de 20 livres d’artiste intitulés « 1440 nombres qui servent à donner l’heure ». Fermé le dimanche, fermé le samedi avant 14h et après 17h, du lundi au vendredi avant 14h et après 18h.  Édition de deux séries de 80 livres d’artiste intitulés « 8560 nombres qui ne servent pas à donner l’heure ». Du lundi au vendredi de 14h à 18h, le samedi de 14h à 17h et sur rendez-vous. (Invitation double-sided written by Claude Closky)

Each of the 80 books reproduced on 216 pages, a non-existent minute figures copied to a digital clock. (Véronique Bacchetta, extract from the press release)

Claude Closky, 8560 nombres qui ne servent pas à donner l’heure, 2 series of 80 books of 214 pages, on Data Copy Coated 100 g/m2 paper, 21 × 15 cm, one separable series and one inseparable series. Edition of the Centre genevois de gravure contemporaine, Geneva, 1994.

Alexandre Bianchini

Hubert Mean

13 May 1994 in the evening

Alexandre BianchiniI – Huber Mean, Version # 1
Alexandre Bianchini – Huber Mean, Version # 1, 1994

Presentation of the edition offered to the members of 1994 of the Centre, Version #1 (performance, music, decor and bar)

Alexandre Bianchini – Huber Mean, Vinyl, Version # 1, 12’’ maxi record, A and B side, sound mixing of a text and of various styles of music (jazz and acid jazz), edition of 300. Edition of the Centre genevois de gravure contemporaine, Geneva, 1994.
Edition offered to the members of 1994 of the Centre genevois de gravure contemporaine association.

Alex Hanimann
Peintures, édition

Exhibition from January 27 to March 26, 1994
Opening January 26, 1994

Alex Hanimann, <em>235.604 – 1789</em>, 1994
Alex Hanimann, 235.604 – 1789, 1994

Exhibition and edition of a book object, 235.604-1789.
The texts or fragments of texts used by Alex Hanimann are often indifferently extracted from manuals, philosophical maxims or political slogans.

Alex Hanimann, 235.604 – 1789, 112 lino engravings on ivory satin cardboard 240 g/m2, black and red, presented in a black box, 32.5 × 24 cm, edition of 20 plus 2 A.P. and 2 H.C., numbered, dated and signed. Edition of the Centre genevois de gravure contemporaine, Geneva, 1994.

Giuseppe Penone
Images de pierres

Exhibition from October 15 to December 18, 1993
Opening October 14, 1993

Giuseppe Penone, <em>Images de pierres</em>, 1993
Giuseppe Penone, view of the exhibition, 1993

The edition Images de pierres produced by the Centre genevois de gravure contemporaine and co-published with the School of Fine Arts of Annecy, is made up of five prints drawn on the basis of lithography from five marble slabs, chosen and reworked by Giuseppe Penone. This particular experimental technique, very empirical, allows to find and print the natural veins of the marble that constitute the matrix and the pattern of this series. (Véronique Bacchetta, extract from the press release)

Giuseppe Penone, Image de pierres, lithograph from a marble slab, 85 × 63 cm, edition of 19 plus 2 A.P. and 4 H.C., numbered, dated and signed. Edition of the Centre genevois de gravure contemporaine, Geneva, 1993.

Sigurdur Arni Sigurdsson
Peintures, dessins

Exhibition from 17 June to 30 July 1993
Opening June 16, 1993

Joint presentation of paintings, drawings and edition of the Centre (book and portfolio).

Sigurdur Arni Sigurdsson, Icelandic young painter, tackles figurative painting without previous speeches, nor on the “paintingpainting” nor on a so-called return to representation. His subjects are extremely simplified archetypes (lakes, clouds, animals) or abstract forms (balls, circles, ovals). […] These simplified objects float on a monochrome surface, often cold and bright, suggesting a boreal atmosphere, that they penetrate, creating a confrontation between flat space and the illusionist space. The schizophrenic space and shapes in suspension arising from these pure and transparent surfaces transport us to imaginary tales and legends. (Véronique Bacchetta, extract from the press release)

Sigurdur Arni Sigurdsson, Corrections, series of 6 collotypes, black/white, on collotype paper, 30 × 30 cm, edition of 60 plus 2 A.P. and 4 H.C., numbered, dated and signed. Edition of the Centre genevois de gravure contemporaine, Geneva, 1993.
Sigurdur Arni Sigurdsson, Réserve, artist’s book, 6 double pages, etching on BFK Rives and japanese style paper, 22 × 17 cm, edition of 60 plus 2 A.P. and 4 H.C., numbered, dated and signed. Edition of the Centre genevois de gravure contemporaine, Geneva, 1993.


Gerry Schum
Fernseh und Videogalerie

Presentation 24, 25 and 26 May 1993 at 20:30

Gerry Shum, <em>Fernseh und Videogalerie</em>, 1993
Gerry Schum, Fernseh und Videogalerie, 1993

Presentation of films shot by Gerry Schum under its Fernseh und Videogalerie. In collaboration with Simon Lamunière, artist and curator, Geneva.

Gerry Schum has made several series of films as part of its project Fernseh Gallery / Television Gallery, which aimed to create links between the confined space of the art gallery and television. From 1969, Gerry Schum shot several short films with major artists affiliated to Land Art, to Arte Povera or to conceptual art. These films are not documentaries on the work of these artists, but autonomous works. (Véronique Bacchetta, extract from the press release)

Ian Anüll
Dessins, sérigraphies et éditions

Exhibition from April 3 to May 15, 1993
Opening April 2, 1993

Ian Anull, <em>O.T.</em>(screen printing on canvas), 1993
Ian Anull, O.T.(screen printing on canvas), 1993

Presentation of the series of silkscreen prints edited by the Centre as well as drawings and editions.

For Ian Anüll, art is an integral part of society, it is not an alternative to reality or to the banality of the world nor a subject of mystification. His work always oscillates between right and wrong, the message and the irony, art and non-art. […] Ian Anüll rather cultivates independence and impertinence that enable him to collect and update them with quick thinking and foresight the nonsense and pitfalls of the artistic conformism and also of the society. (Véronique Bacchetta, extract from the press release)

Claude Gaçon

Exhibition from February 12 to March 27, 1993
Opening February 11, 1993

Claude Gaçon, <em/><figcaption id=Sans cible, 1993″ width=”1000″ height=”657″> Claude Gaçon, Sans cible, 1993

 Installations, drawings, sculptures, objects and editions.

Since 1985, Claude Gaçon constitutes a collection of balls. He produces and recovers an infinity of spherical objects, composed of such diverse and strange as unexpected materials: paper, marble, lava, wire, plastic, crystal, fur, etc. This accumulation built a non exhaustif catalog of all possible and imaginable formal combinations between full and empty, the heavy and the light, the precious and commonplace. The pure shape is also the starting point for conceptual games and investigation, between inside and outside, content and container, order and disorder, purity and impurity, dispersion and concentration … […] In an aesthetics close of scientific and biological performances – viruses, atoms, anatomical plates, maps and world maps – Claude Gaçon seeks endlessly to imagine, to simplify, to understand and master the elusive three-dimensional shape. (Véronique Bacchetta, extract from the press release)

Claude Gaçon, Sans cible, series of 6 engravings, etching and offset, black/white, on Vélin BFK Rives 280 g/m2, 50 × 50 cm, edition of 8 plus 2 H.C., numbered, signed and dated. Edition of the Centre genevois de gravure contemporaine, Geneva, 1993.

John M Armleder

Exhibition from June 11 to July 18, 1992
Opening June 10, 1992

John M Armleder, view of the exhibition, 1992
John M Armleder, view of the exhibition, 1992

Presentation of a series of twenty-one unique engravings.

The work of John Armleder has long been as close to the neo-Fluxus as the geometric painting. His pictorial references are numerous: Picabia and El Lissitzky to Blinky Palermo, Helmut Federle and Olivier Mosset through Sigmar Polke. (Véronique Bacchetta, extract from the press release)

John M Armleder, Sans titre, 21 unique engravings (etchings and monotypes), colour, on Arches paper, 200 × 100 cm, dated and signed. Edition of the Centre genevois de gravure contemporaine, Geneva, 1992.

Stephan Landry

Exhibition from 14 February to 7 March 1992
Opening February 13, 1992

Stephane Landry, view of the exhibition, 1992
Stephane Landry, view of the exhibition, 1992

Drawings, wall interventions and artist book.

Lithographs printed at the Centre by Laurent Mathelin, typography of the first cover, title page and colophon conducted by the Imprimerie des Arts, Geneva, bound by Craftsman Bookbinder, Jean-Pierre Netz, Geneva. Centre genevois de gravure contemporaine, 1991.

Laurence Pittet

Exhibition of 6 December 1991 to 11 January 1992
Opening December 5, 1991

Laurence Pittet, <em>Sans titre</em>, 1991
Laurence Pittet, Sans titre, 1991

Lithographs and paintings. 1991
Lithographs printed by the Centre Laurent Mathelin. Centre genevois de gravure contemporaine, 1991.

Laurence Pittet, Sans titre, series of 3 lithographs, colour (1 black, 1 red, 1 blue), on Arches paper, 50 × 65 cm, edition of 9 for each colour plus 1 H.C., numbered, signed. Edition of the Centre genevois de gravure contemporaine, Geneva, 1991.
CHF 200.– per lithograph
Laurence Pittet, Sans titre, series of 3 lithographs, colour (1 red, 1 blue, 1 yellow), on newspaper, 64.5 × 94 cm, edition of 9 for each colour plus 3 H.C., numbered, signed. Edition of the Centre genevois de gravure contemporaine, Geneva, 1991.
CHF 200.– per lithograph
Laurence Pittet, Sans titre, colour lithography on Arches paper, 38 × 46.5 cm, edition of 20 plus 1 H.C., signed and numbered. Edition of the Centre genevois de gravure contemporaine, Geneva, 1991.
CHF 100.– per lithograph

Suzanne Lafont

Exhibition from October 11 to November 23, 1991
Opening October 10, 1991

Suzanne Lafont, view of the exhibition, 1991
Suzanne Lafont, view of the exhibition, 1991

[…] An almost cinematic continuity is woven between these portraits. Her work is based on an opposition between the snapshot and the pose. The model laying six to seven seconds, while the image remainsthat of a fragment of a glance, a fleeting nod, barely sketched. Suzanne Lafont moves the meaning of her images between “taken from life” and set design, between the sole and the series between the pictorial and cinematic. (Véronique Bacchetta, extract from the press release)

Jean-Michel Othoniel
¡ Capotes !

Exhibition from February 15 to April 6, 1991
Opening February 14, 1991

Jean-Michel Othoniel, view of his exhibition at the Centre genevois de gravure contemporaine, 1991.
Jean-Michel Othoniel, view of the exhibition, 1991.

Presentation of the five framed prints and a molded object with sulfur bull eyes, Histoire d’yeux.

[…] Without wishing to return to archaic or some nostalgia too often attached to traditional printmaking techniques (as it happens the technical copper occurrence in flowers of sulfur dating from the eighteenth century), the features offered by the direct attack of the copper by the sulfur (without acid interference) fit perfectly to the work of Jean-Michel Othoniel and his research for this edition. The artist seeks to reproduce trademarks, ghosts of objects: clothing, fabrics.


Roman Signer
Installation hélicoptère, 1990

Exhibition from October 26 to December 8, 1990
Opening October 25, 1990

Roman Signer, <em>Installation hélicoptère, 1990</em>, 1990
Roman Signer, Installation hélicoptère, 1990, 1990

[…] Roman Signer works on natural elements water, fire, air, earth and sometimes industrialized or manufactured objects such as boxes, cans, balloons or furniture, making them fly, fall, explode, filling, emptying, etc., like Richard Serra when he proposed, in 1967-1968, his famous list of action verbsroll, fold, bend, twist, split, cut …” Roman Signer prefers the progress, the process and the idea of moving sculpture.(Véronique Bacchetta, extract from the press release)

Jean-Marc Meunier
Sapins de Noël, 1988-1989

Exhibition from May 31 to July 14, 1990
Opening May 30, 1990

Jean-Marc Meunier, <em>Sapins de Noël, 1988-1989</em>, 1990
Jean-Marc Meunier, Sapins de Noël, 1988-1989, 1990

Jean-Marc Meunier is foremost landscape photographer: in 1984, his first important series is devoted to the transformation of neighborhoods in south-east London, offering whole landscapes under construction, half savage, half industrial. He then focuses on vegetation, particularly vegetation accreditation suburban areas and residential areas, and its intermingling with architecture and public facilities. His series on Christmas trees, carried out between November 1988 and January 1989 in the Geneva area, continues that theme. (Olivier Lugon, extract from the press release)

Anne Pesce
Pêcheur, c’est lui qui devient un poisson

Exhibition from March 30 to May 12, 1990
Opening March 29, 1990

Anne Pesce, <em>Pêcheur, c’est lui qui devient un poisson</em>, 1990
Anne Pesce, Pêcheur, c’est lui qui devient un poisson, 1990

Anne Pesce tries to find a definition of painting in the nihilistic context of the recent years. Avoiding to get confused with the movements “neo” and other post-modernism that never end to kill painting, Anne Pesce tries to take it up through a more poetic and philosophical. It creates metaphorical links between painting, words, critical thinking and the world: “I like to paint to stop thinking, think to paint is only an aping of the big tide of the spirit.

Anne Pesce, Pêcheur, c’est lui qui devient un poisson, artist’s book with a text by the artist, offset on laid paper Conqueror 100 g/m2 and 220 g/m2, 21 × 19 cm, edition of 150 plus 20 H.C., numbered, dated and signed. Edition of the Centre genevois de gravure contemporaine, Geneva, 1990.

Andreas Hofer
Installation – édition

Exhibition from February 12 to March 24, 1990
Opening February 10, 1990

Presentation of the edition and installation in the Parc de Malagnou in front of the Centre, of the six double-sided panels (remained in place from 1989 to 2000)

In the park in front of the Centre, will be installed a series of panels similar to those used for road signs, except that the discs do not present the conventional acronyms, but abstract signs, perforated or enamelled. Planted following each other, these six panels will turn into a succession of targets, bringing confusion on the actual function of the set and an ironic dash to omnipresence in our cities of the signs and its procession of prohibited. (Véronique Bacchetta, extract from the press release)

Andreas Hofer, Sans titre, box containing 6 perforated discs, covered with enamel front and back, on aluminium, colour and black/white, with an impressum on cardboard in a tracing paper envelope. With two colour photographs of the installation. 52.5 × 52.5 cm, edition of 20, numbered and marked with a dry stamp « H » at the bottom of the box. Edition of the Centre genevois de gravure contemporaine, Geneva, 1990.


Henri Michaux
Encres, gouaches, aquarelles, lavis

Exhibition from June 1 to July 15, 1989
Opening May 31, 1989

Henri Michaux, view of the exhibition, 1989
Henri Michaux, view of the exhibition, 1989

During the exhibition: presentation at the Centre of the film Images du monde visionnaire of Henri Michaux, directed by Eric Duvivier (1963).
The June 14, 1989 in the evening: Concert of New Quartet of Geneva, 5th quartet of Giacinto Scelsi dedicated to Henri Michaux and the works of H. Villa Lobos and Anton Webern

Today, it seems important to report by texts of the will of producing and experimenting of Michaux, always with the same honesty facing the sign in movement and the abstract sign, as well as its points of cinematographic view, given to see, in their profusion, like a picture book.

Henri Michaux, catalogue: Introduction d’Anne Patry et Paul Viaccoz, textes de Jean Starobinski, Alfred Pacquement, Alain Jouffroy, René Micha, Raymond Bellour et biographie de Geneviève Bonnefoi, cinquante-deux pages, 32 x 24 cm, offset sur papier Biber 65 mat 150 gm2, seize ill. noir/blanc et deux ill. couleurs, sept-cent exemplaires, imprimés par Victor Chevalier Imprimerie Genevoise SA, édités par le Centre, Genève, 1989


Emmett Williams

Silkscreen-prints (1978-1979)
From September 18 to October 28, 1989

Emmett Williams, <em>La dernière pomme frite et autres poèmes des fifties et sixties</em>, 1989
Emmett Williams, La dernière pomme frite et autres poèmes des fifties et sixties, 1989

Presentation of the edition and silkscreen-prints.

Emmett Williams, La dernière pomme frite et autres poèmes des fifties et sixties, 112 lino engravings on ivory satin cardboard 240 g/m2, black and red, presented in a black box, 32.5 × 24 cm, edition of 20 plus 2 A.P. and 2 H.C., numbered, dated and signed. Edition of the Centre genevois de gravure contemporaine, Geneva, 1989.

Andreas Gursky

Exhibition from April 6 to May 20, 1989
Opening April 5, 1989

Andreas Gursky, view of the exhibition, 1989
Andreas Gursky, view of the exhibition, 1989

Photographs from 1984 to 1989.

The landscapes of Andreas Gursky are soccer fields, swimming pools, mountains, artificial lakes, play areas, intermediate areas between town and country, the Sunday walks. Man is at the center of these photographs, although the landscape is omnipresent.

Mori Shigeru

Exhibition of 18 November 1988 to 14 January 1989
Opening November 17, 1988

Mori Shigeru, <em>Estampes</em>, 1989
Mori Shigeru, Estampes, 1989

The Centre genevois de gravure contemporaine, in 1985, had exposed several works of young Genevan artists from the School of Visual Arts in Geneva. Without being in the hunt for young talents, the Centre would like to show that etching is still a field of investigation for new formal and conceptual preoccupation. Shigeru Mori, was born in Japan in 1952, student of the engraving workshop of the School of Visual Arts in Geneva since 1985, he works with a traditional technique, particularly spectacular – black aquatint – he uses in a “modern” perspective with reports of abstract and minimal forms. (Véronique Bacchetta, extract from the press release)