Silkscreen, one color (gold), on 6 colored sheets (yellow or pink, offset print, 42 x 20 cm), from the unused print stock of the edition Lézards Sauvages IIa/ « égouttés », (leporello, ed. Marika Malacorda Gallera, Geneva, 1979), mounted on 300gsm sheets, 85 x 65 cm, 20 copies, 3 A.E. and 2 H.C., titled, numbered, dated and signed, edition of the Centre d’édition contemporaine, 2024.
CHF 3’000.- (per screen print)
John Armleder
Lézards Sauvages IV (1979) 2024
Silkscreen, one color (silver), on 6 colored sheets (yellow or pink, offset print, 42 x 20 cm), from the unused print stock of the edition Lézards Sauvages IIa/ « égouttés », (leporello, ed. Marika Malacorda Gallera, Geneva, 1979), mounted on 300gsm sheets, 85 x 65 cm, 20 copies, 3 A.E. and 2 H.C., titled, numbered, dated and signed, edition of the Centre d’édition contemporaine, 2024.
Caroline Schattling Villeval, When a frog meets a dog, animation video, loop, 5′, 2024
At the bottom of an almost dry lake, frogs are gathered around a puddle. Their movements, slowed down and almost imperceptible, bring life to this deserted landscape. A dog appears. Imposing, his body extends beyond the frame. His walk sets off a panoramic, moving shot.
Thus begins Caroline Schattling Villeval’s video When a frog meets a dog, produced for her exhibition Carences et toute-puissance1. This new piece functions as a continuation of her installation good boy (Hasch, Marseille, 2023) which revolved around the fictional text Vie/Chienne, that explores the question of domination arising from a non-consensual interaction between a person and a dog with a wandering tongue2. Once again, the animal is one of the main protagonists of Caroline Schattling Villeval’s video When a frog meets a dog, this time alongside a group of frogs.
With his massive, slender body and golden fur, the dog, animated by Caroline Schattling Villeval, moves forward in a menacing manner. He appears to be indifferent to everything, including the amphibians which have come together to stop his march. Piled up in the shape of a column, they form a mass in front of this manifestation of almighty power. The counter-power embodied in the group’s strength is swept away, pushed aside by a paw. It’s not strong enough. A crushing failure even: it’s raining frogs. They splash into the exhibition space, contaminating the room. The almighty power triumphs over the collective strength. End of the story. However, in Caroline Schattling Villeval’s work, the power dynamics also manifest themselves in an underlying manner through the technical process. A dog, frogs, a 3D-modelled bestiary bought online like one would adopt a pet: an act of domination. Then comes the computer, far from functioning autonomously as the artist manipulates her virtual puppets through an animation software. Finally, the dog, never fully visible, dominates the frogs as well as the space. The dog, the first animal species domesticated by Man – its « best friend » –, that Caroline Schattling Villeval has trained to perform its own dance. The image is replayed in a loop, but who’s calling the shots? When a frog meets a dog is a canvas onto which power dynamics are superimposed in infinite layers.
1. In parallel with her exhibition at the Centre d’édition contemporaine, Caroline Schattling Villeval presents StéréoMimicryat the Salle Crosnier, Palais de l’Athénée, from January 12 to February 10, 2024. 2. Vie/Chienne was written by Caroline Schattling Villeval in 2023 for [SWISS] Weird & Magic #1, forthcoming publication by éditions Clinamen.
Born in 1995 in Zürich, Caroline Schattling Villeval lives and works in Geneva. Her work has been exhibited in various venues in Switzerland and abroad in solo shows such as : StéréoMimicry, Salle Crosnier, Geneva (12.01–10.02.2024) ; good boy, Hasch, Marseille (2023) ; No firing, with Paul Paillet, Espace 3353, Carouge (2021) ; Chiara Chiara Chiara, Zabriskie Point, Geneva (2020) ; Being fucked, Lokal-int, Biel (2020). She has also taken part in several group exhibitions, including: Basel Social Club with Joyfully waiting, Basel (2023) ; MINIMIRACLES, Sonnenstube, Lugano (2023) ; Bourses déliées – Arts Visuels, Halle Nord, Geneva (2022); Prix Kiefer Hablitzel, Art Basel, Basel (2022) Esprit d’Escalier, with Paul Paillet, Centre d’édition contemporaine, Geneva (2022) ; Plaisirs Minuit, Forde as part of the Fesse-tival, Geneva (2022) ; Peeping through the looking glass, Set Space, London (2021) ; Fotoromanza, Le Commun, Geneva (2021) ; Silicon Malley, Prilly (2020) ; Weaving home, Limbo Space, Geneva (2020).
This project is sponsored by the Federal Office of Culture and the Republic and the Canton of Geneva.
With publications and editions of Marie Angeletti, Artists’ Voices, Paul Bernard, Laurence Bonvin, Harry Burke, Yann Chateigné Tytelman, Liz Craft, Keren Cytter, Guillaume Dénervaud, Anne Dressen/Nick Mauss, Giulia Essyad, Mathis Gasser, David Hominal, Dorothy Iannone, Matthew Lutz-Kinoy, Victor Man, Paul Paillet, Mai-Thu Perret, Susan Te Kahurangi King, Paul Viaccoz
Don’t look at your phone first thing in the morning, box, varnished cardboard, seven stabilized grey roses, 34 x 31 x 9 cm, edition of the CEC, 2023
CHF 1’000.-
You are not for everyone, box, varnished cardboard, four stabilized pink tuberoses, 30 x 12,5 x 15 cm, edition of the CEC, 2023
CHF 800.-
Prepare the new normal, box, varnished cardboard, twenty stabilized grey roses, 20 x 23 x 24 cm, edition of the CEC, 2023
CHF 800.-
Human nature is no excuse, box, varnished cardboard, one stabilized burgundy rose, 26,5 x 22,5 x 22,5 cm, edition of the CEC, 2023
CHF 800.-
Emotions come and go, box, varnished cardboard, four swiveling wheels, two stabilized white gerberas, 44 x 30 x 30 cm, edition of the CEC, 2023
CHF 1’200.-
Don’t underestimate the power of staying in bed, box, varnished cardboard, one stabilized grey rose, 37, 5 x 25, 5 x 24 cm, edition of the CEC, 2023
CHF 1’000.-
Dreams are the raw material of reality, three boxes, varnished cardboard, four stabilized orange zinnias, 35,5 x 31 x 17,5 cm, edition of the CEC, 2023
CHF 1’000.-
You don’t know how powerful you are, plank, varnished cardboard, three stabilized grey roses, 60 x 37 x 5 cm, edition of the CEC, 2023
CHF 1’200.-
Love is a Time Machine, two boxes, varnished cardboard, eight stabilized pink tuberoses, 45 x 39 x 28, 5 cm, edition of the CEC, 2023
Biennale di Veneziávs. Karim Benzema Invited by Véronique Bacchetta vs. Federico Santiago Valverde Dipetta Other People’s Clothes vs. Rodrygo Goes Étudiants aux Beaux Arts vs. Eden Hazard Uber Triennale Curatior vs. Vinicius Paixao de Oliveira Junior Crits’n’Reviews vs. Toni Kroos Caravaggio’s Chiaroscuro vs. Jesus Vallejo Lazaro Your Artist Fee vs. Aurélien Tchouaméni Mille Plateaux vs. Eder Gabriel Militão RM’s Instagram Erotic vs. Luka Modric Artistas Unidos Vámonos vs. Daniel Carvajal Ramos
Until the End, Come on Real.
A Play (Off) by Miriam Laura Leonardi, April 2023
SOLO TÚ RM at CEC 2023
Until last summer we used to go by a name written Real Madrid, pronounced either rɪəl məˈdrɪd, or ře’al ma’ðrid. After legal threats by a namesake company we had to disown that moniker and disclose being unpatented knockoffs. It was a matter of ticking time, of who trademarked facts first and once – for the moment we use the shortened RM but pronunciation stays unaltered. We want this show to be an unbaptism, a debut against copyrighted one-off geniuses, an and to a story, a stack of counterfeit merch and a spoonful of the shared minestrone of ideas, and also another unoriginal show about identity.
The b/w images you see have been taken by Mathilde Agius.
RM
The RM’s exhibition is supported by Ernst und Olga Gubler-Hablützel Foundation, Dr. Georg und Josi Guggenheim Foundation and the City of Geneva.
Jonathan Monk proceeds by method, by series. He creates scores that, once established, are carried through, this second part not being necessarily the most important step. These scores might be considered as a broader form of editing and some of its parameters: image reproduction rights, copyright, artistic property. Jonathan Monk is the perfect candidate for edition, because for him original and copy most importantly represent endless and free possibilities of crossings, of clouding issues and of conceptualization, all this above their commercial value. Monk revisits some artistic standards often in the form of multiples, like an actor who would re-enact his classics, practice his scales. He maintains an ironic distance to art – most often to conceptual art – but also takes a similar amused and critical look at society and its excesses. Monk stages and experiences the proliferation of signs, might they be artistic or consumerist, as a daily invasion of our living and mental space. He recomposes and reorganizes these signs in order to reveal all their absurdity with a discrepancy that is more often affective and autobiographical than it seems.
For his solo show, Egg, at the CEC, from February 21 to April 27, 2013, Jonathan Monk has imagined Soft Boiled Eggs, an edition of a series of unique Super 8 films. The making of these films is based on the duration of a Super 8 film cartridge and on the time, it takes to cook an egg. An edition with copies produced every two and a half minutes, a mechanical possibility of making an edition. In a same pan, Monk adds an egg every two and a half minutes: in the first film, we see only one egg, in the second two eggs, etc., until ten eggs in the tenth film. If this statement might seem simple and old-fashioned, it probably suggests an innocent imitation of historical and more conceptual eggs or series of eggs; we think of Manzoni, Broodthaers, Kippenberger… and also underlines the idea of egg as an object, the perfect multiple. For Jonathan Monk, the idea appears unavoidable: …”I like boiled eggs and I couldn’t escape from them! – for me they represented the beginning of something… in this case the egg and not the chicken…”
The finalised edition consists of a Super 8 film roll, one DVD transfer and a certificate of authenticity signed by the artist. It is housed in a black box, carefully hand painted with ten coloured eggs. An Easter edition, if you like.
Johnathan Monk, Soft Boiled Eggs, Soft Boiled Egg 1/10 + Soft Boiled Eggs 9/10 + Soft Boiled Eggs 2/10 + Soft Boiled Eggs 8/10 + Soft Boiled Eggs 3/10 + Soft Boiled Eggs 7/10 + Soft Boiled Eggs 4/10 + Soft Boiled Egsg 6/10 + Soft Boiled Eggs 5/10 + Soft Boiled Eggs 10/10, 10 unique films, Super 8 and DVD, colours, duration of the films = cooking time of one egg (approx. 2 min. 45), of 2 eggs, of 3, 4, 5, 6, 7, 8, 9, 10 eggs, colors, 2023
Johnathan Monk Soft Boiled Eggs Soft Boiled Egg 1/10, …, Soft Boiled Eggs 10/10, 10 unique films, Super 8 and DVD, colours, duration of the films = cooking time of one egg (approx. 2 min. 45), of 2 eggs, of 3, 4, 5, 6, 7, 8, 9, 10 eggs, black cardboard box with a hand – painted pattern by Jonathan Monk on its cover, spray, colours, containing the Super 8 film and a DVD – transfer, as well as a certificate of authenticity signed by the artist, edition of 10, numbered from 1 to 10, dated, edition of the Centre d’édition contemporaine, Geneva, 2013.
Jonathan Monk was born in Leicester in 1969 and lives and works in Berlin. His most recent solo exhibitions were held in 2023 at Cristina Guerra, Lisbon, Galerie Dvir, Paris, König2 project space, Vienna; in 2022 at Casey Kaplan Gallery, New York, Massimo de Carlo, Paris, and Meyer Riegger, Karlsruhe. In 2023, he took part in several group shows, including Galerie Nicolai Wallner, Copenhagen, Mudac, Lausanne, Fondation Morra Greco, Naples; in 2022, Collection Boros, Berlin, MAH, Geneva, Design Museum Holon, Israel, and MAAT, Lisbon.
This project is sponsored by the Federal Office of Culture and the Republic and the Canton of Geneva.
Recent « Before publications » of Paul Bernard and Giulia Essyad
With Marie Angeletti, Paul Bernard, Laurence Bonvin, Harry Burke, Liz Craft, Guillaume Dénervaud, Anne Dressen/Nick Mauss, Giulia Essyad, David Hominal, Dorothy Iannone, Matthew Lutz-Kinoy, Paul Paillet, Mai-Thu Perret, Susan Te Kahurangi King, Paul Viaccoz, Niels Wehrspann
Monica Bonvicini, Harry Burke, Guillaume Dénervaud, Anne Dressen/Nick Mauss, Liz Craft, Keren Cytter, Mathis Gasser, Katie Holten, Dorothy Iannone, Jakob Kolding, Mads Ranch Kornum, Matthew Lutz-Kinoy, Victor Man, Paul Paillet, Josef Strau, Susan Te Kahurangi King, Oscar Tuazon, Jeffrey Vallance, Jean-Michel Wicker and Artists’ Voices
Valentin Carron, Marc Camille Chaimowicz, François Curlet, Keren Cytter, Philippe Decrauzat, Jason Dodge, Trisha Donnelly, Sylvie Fleury, Mathis Gasser, Thomas Hirschhorn, David Hominal, Aaron Flint Jamison, Raphaël Julliard, Tobias Kaspar, Jakob Kolding, Elke Krystufek, M/M (Paris), Jonathan Monk, Oscar Tuazon, Jeffrey Vallance, Oriol Vilanova, Jean-Michel Wicker, Heimo Zobernig
From March 23 till May 5, 2018 Opening Thursday March 22 from 6 PM to 9 PM
Keren Cytter, The Brutal Turtle, Book, offset, colours, 40 pages, 15 x 15 cm, an edition of 500, text in English. Coedition Pork Salad Press, Copenhagen and the Centre d’édition contemporaine, Geneva, 2018.
Keren Cytter, The Furious Hamster, Book, offset, colours, 56 pages, 15 x 15 cm, an edition of 500, text in English. Coedition Pork Salad Press, Copenhagen and the Centre d’édition contemporaine, Geneva, 2018.
Gerard Byrne, For example ; a sketch of Five Elevations, 1971-72, video, 9′ 37”, loop, mute, 2011
For his exhibition at the Centre d’édition contemporaine in 2011 (05.04 – 07.16.2011), Gerard Byrne has presented a film referring to a 1971-72 piece by Richard Serra he had had access to in the parc of a private collection near London: Five Elevations. This film follows a series of researches on abstraction and minimalism, and among others a previous film installation, A thing is a hole in a thing it is not (videos, 2010). It has been produced and presented first at the Van Abbemuseum, Eindhoven, then at The Renaissance Society, Chicago, at Lismore Castle Arts, County Waterford, Ireland, and at the 2010 Glasgow International Festival of Visual Art. This movieis made up of several short films showing works from the collection of the Van Abbemuseum, which somehow represent the quintessence of American minimalism: with paintings and sculptures by Carl Andre, Donald Judd, Dan Flavin, Robert Morris or Frank Stella. Reinstalled in the Eindhoven halls by Gerard Byrne, the works replay their presence in the museum. The camera records the works as well as the context: museum workers, photographs, cleaners, attendants and visitors. The shots result from large scanning or a back-and-forth between the surrounding space, the apparently insignificant details and the art works themselves, objectified as well. The shift in point of view operated by Gerard Byrne is recontextualized in the field of minimalism by Penelope Curtis in her essay A local address, in Tuxedo Junction (1960), about A thing is a hole in a thing it is not:
“This means that we are left with the possibility of thinking of Minimalism’s project as both romantic and classical; as a work of the imagination as well as of manufacturing; an idea as well as an object ; a dream as well as a result. It is also made clear, however, that Minimalism is not just about us, and our experience, but also about how other experiences are mediated for us, whether in text, voice or imagery.“1 Besides, the epigraph introducing the catalogue reads: “Assembled and edited by Gerard Byrne upon the achievements of the Minimalists and their critics.”2
In For example; a sketch of Five Elevations, 1971-72, the camera moves around Five Elevations. Through shots using a variety of standards of cinematic grammar, creating a subjective image of this complex sculpture. In the background, and without being the subject of the movie, the camera records simultaneously and partly a fashion shoot taken place here by coincidence. Despite this double setting, the work of Richard Serra remains the principal character of this fiction, although the confrontation with the fashion shoot transforms Five Elevations in a kind of “Stonehenge“, provoking a back-clash between these two temporal dimensions: eternity vs the ephemeral.
As in his previous works, Gerard Byrne puts the question of the historical or the artistic transmission of a well-known reality, media-covered, phenomenological, or more: iconic. He puts this reality to the proof of its recording or re-recording (film, photography), of its diffusion and its reception:
“The idea was to construct for each work a kind of self-awareness of being viewed. I am interested in how the camera tries to construct and elaborate those viewpoints in a filmic sense. I recall Beckett’s Film quoting our fellow Irishman Bishop Berkeley – “To be is to be perceived.”
Gerard Byrne, For example ; a sketch of Five Elevations, 1971-72, HD video, loop, color, mute, multimedia player (full HD), 20 copies, 2 A.P. and 2 H.C., numbered, dated et signed. Edition of the Centre d’édition contemporaine, Geneva, 2011
Gerard Byrne’s works have been exhibited at Centraal Museum Utrech (2020), Sessession, Vienna (2019), Moderna Museet, Stockholm (2017), Kunstmuseum St. Gallen (2015), FRAC Pays de Loire, Nantes (2014), Baltimore Museum of Art (2013), Bonniers Konsthall, Stockholm (2013), Whitechapel Gallery, London (2013), Bonniers Konsthall, Stockholm (2013). Gall (2015), FRAC des Pays de la Loire, Nantes (2014), Baltimore Museum of Art (2013), Bonniers Konsthall, Stockholm (2013), Whitechapel Art Gallery, London (2013), Renaissance Society, Chicago (2011), Lisson Gallery, London and New York (2017, 2013, 2009 and 2007). He has also exhibited his works at the Kunstverein, Düsseldorf (2007) and for the Irish Pavilion at the 52nd Venice Biennale (2007). He has taken part in several group shows at Tate Britain, London (2006, 2010 and 2014), MUDAM, Luxembourg (2010), Kunstmuseum Basel, Basel (2010), Malmö Konsthall (2010) and Henry Moore Institute, Leeds (2010), as well as the Turin, Gwangju and Sydney Biennales (2008) and the Lyon Biennale (2007). He took part in the ILLUMInazioni exhibition for the 54th Venice Biennale (2011), Documenta 13, Kassel (2012), The Art of Memory, Bonniers Konsthall, Stockholm (2012), Salon der Angst, Kunsthalle, Vienna (2012) and Trapping Lions in the Scottish Highlands, Aspen Art Museum (2912), at Curiosity, De Appel, Amsterdam (2012), The Persistence of Objects, Lismore Castle, for Out of Body, Out of Time, Out of Place, Skulptur Projekte 2017, Münster (2017) and at the Busan Biennale (2020).
1 Penelope Curtis, “A local address”, in Gerard Byrne, Tuxedo Junction, 1960, Lismore Castle Arts, Lismore, Co Waterford, Ireland, 2010 2 Gerard Byrne, Tuxedo Junction, 1960, Lismore Castle Arts, Lismore, Co Waterford, Irelande, 2010, flyleaf
This project is sponsored by the Federal Office of Culture and the Republic and the Canton of Geneva.
