Tiphanie Blanc

The third volume of a new series of publications by the collective Wages For Wages Against, acting for better work conditions in the visual arts and against all forms of discrimination.

In 2022, the collective Wages for Wages Against applied for the Swiss Art Awards with the ambition of questioning the very model of the prize and its impact on artists. Art competitions are presented as real opportunities for artists, and arise throughout their careers, starting with school—entrance selection procedure, juried evaluations, diplomas and honors distinctions—, all the way to professional recognition—Meret Oppenheim Prize, Marcel Duchamp Prize, Turner Prize, etc. Only a handful of artists are selected for merit-based reward. However, this logic of sorting and validation upholds an entire system that reproduces inequalities and that perpetuates precarity in a milieu that is exclusive, and thus excludes. The institutional practices of communication and selection, as well as the validation of unpaid labor, favor certain artists at the expense of others. In this context, we surveyed the artists who participated, are considering participating, or are not participating in the Swiss Art Awards competition, in the interest of understanding their experiences and sharing their demands. In a broader sense, we wish to rethink the founding principles of artists' support policies and work to build a less competitive art world.

Wages For Wages Against (WFWA, wfwa.ch) is a a militant collective and a campaign for the fair remuneration of artists in Switzerland, better work conditions, and an alternative economy of the arts.

Contributions by Nathalie Stirnimann & Stefan Stojanovic and Amandine Gay.

The second volume of a new series of publications by the collective Wages For Wages Against, acting for better work conditions in the visual arts and against all forms of discrimination.

We Know What Remains Unsaid presents research on the mechanisms of invisibilisation of precarious realities and activist knowledges. It investigates what our silences and the unsaid reveal. By giving a voice to several researchers, activists and collectives, this volume records silent words, forgotten stories, invisible struggles and thus makes possible the construction of alternative common narratives.

Wages For Wages Against (WFWA, wfwa.ch) is a a militant collective and a campaign for the fair remuneration of artists in Switzerland, better work conditions, and an alternative economy of the arts.

Edited by Tiphanie Blanc and Ramaya Tegegne.

Contributions by Gufo, Tiphanie Blanc, Johana Blanc, L'eau à la Butch, Tiziri Kandi, Noémi Michel, Olga Rozenblum.

Graphic Design: Roxane Maillet.

Un livre qui t’expliquera tout sur l’argent, l’économie capitaliste, le système bancaire, la police et la révolution !

"Tu verras quand tu seras grand!", premier livre pour enfants des éditions L'Amazone, explique l’économie capitaliste mondialisée à travers quatre chapitres sur l'argent, le système bancaire, la police et la révolution. Il a été réalisé à partir des livres cités par l’auteure Marie L’or Kaeppelin-Billaudot dans Il sera une fois… Essai sur le contenu des livres pour enfants (Espaces féminins, La pensée sauvage, 1978). "Tu verras quand tu seras grand!" part du constat que peu de livres pour enfants traitent ouvertement de la question économique alors qu’elle est omniprésente dans leur quotidien. Le détournement de ces ouvrages, plus de quarante ans après leurs publications, nous permet de repenser notre rapport à ces mythes fondateurs, de la même manière qu’un conte joue un rôle dans la construction d’une histoire commune.

À partir de 6 ans.

Conception d’ouvrage : Tiphanie Blanc
Design Graphique : Tiphanie Blanc & Roxanne Maillet
Impression riso : Autobahn
Couverture sérigraphiée : Chromodrome
Papier : Arena Natural Rough 200g & Sirio Color Foglia 350g
Typographies :  Ovo de Nicole Fally, Gaya de Raphaël de la Morinerie, DinDong de Clara Sambot, Zarathustra de Lorène Ceccon, Cormorant de Catharsis Fonts & Zipper de Bob Newman
Exemplaires : 250

We are not where we need to be but, we ain't where we were is the first volume of a new series of publications by the collective Wages For Wages Against that reports on active research engaged within the artistic professions and institutions since 2017. Its aim is to question the underlying neoliberal logics in the contemporary art world, by orienting our object of study towards the struggles that impact it. With this publication, our hope is to put into practice various values specific to the campaign: the existence of a systematic and fair remuneration, a desire for transparency, the sharing of knowledge, and the visibilization of demands proper to the field of the visual arts and concomitant struggles. It is the result of militant experiences, at the convergence of our individual experiences and collective questionings.

With texts by Tiphanie Blanc, Antonella Corsani, Fanny Lallart, Lili Reynaud-Dewar, Ramaya Tegegne and an interview with Outrage Collectif.

"Elles sont de sortie" is the title of a periodic publication launched in 1977 by Pascal Doury and Bruno Richard. The plural and feminine form of the enigmatic phrase "elles sont de sortie," chosen almost by chance, announces a protean work and often collective experience. From its origins to the most recent iterations, including Doury's more confidential individual trajectory after "Elles sont de sortie," Choquer le Monde à Mort traces five decades of a corpus of nearly three hundred publications. It addresses some of the most emblematic editorial works, as well as others that remain unpublished, alongside ambitious and sometimes scandalous exhibitions, few of which are documented.

This work is the result of several years of research, enriched by numerous firsthand interviews, and unfolds in three parts: a chronology and analysis of a singular and marginal artistic history, works and iconographic documents, and an anthology bibliography. Together, these elements reveal the complexity of an editorial object with porous boundaries, both in its forms and its contents, oscillating between graphzine, artist book, poetry collection, and personal journal. Its ramifications, status, and legacy retrospectively reveal the importance of a discreet yet seminal work.

Thus, "Elles Sont de Sortie" also serves as an opportunity to revisit the paths of two aesthetic and provocative artists, deeply devoted to their art and true free spirits in an art world often too narrow for them. It immerses us in a plethora of works that are intimate and raw, as well as subtle and refined, all in service of a project that, in Doury's words, aims to "shock the world to death."

Edited by Tiphanie Blanc, Jonas Delaborde, Anna Lejemmetel.
Contribution by Anna Lejemmetel.