I Love Wiener Dog

Ingo Giezendanner's wild herbarium.

Density in the foliage, branching of the tree, structure in the bark: this book is entirely dedicated to organic, wild-growing greenery, mostly in black and white, but patterns emerge, the leaves become a frenzy, and grimaces from the thicket smile at us. The volume is deliberately overwhelming, making it impossible to get an overview. Rather this thick paperback serves as a reference for untamable, rampant, sprawling kraut.

Since 1998, Ingo Giezendanner, alias GRRRR, has been documenting the urban spaces in which he has travelled and lived. Apart from his native city of Zurich, his travels have taken him to diverse cities from New York and New Orleans to Cairo, Nairobi, Karachi and Colombo. Everywhere he travels, he captures his surroundings on location with pen on paper. His drawings have been presented in numerous magazines, books and animated films as well as in spacious installations and wallpaintings.

A previously unpublished collection of 60 ink pictograms, drawn between 1976 and 1996, originally printed individually as A2 plane prints.

An early progenitor of the artist's book genre, Warja Honegger-Lavater was born in Winterthur, Switzerland in 1913. She worked as an illustrator for the magazine Jeunesse from 1944-1958, and moved to New York shortly thereafter where she began a wonderful series of artist's books. 
These books were published between 1962 and 1971, an exceptionally ripe time for artists to turn to the bookform, a time when the most often cited "first" artist's book also appeared, Twentysix Gasoline Stations (1962) by Ed Ruscha.

All of Honegger-Lavater's books are made using the accordion-fold binding. Her aesthetic has been aptly described as "very clean, very Swiss." Each book tells a story, sequentially, like traditional books, but varying from them by rarely using words. Instead she chooses a symbol to represent, for example, a character, as in the red dot standing in for Red Riding Hood in Little Red Riding Hood.

New series of paintings by the Swiss artist, that examine the role of humankind in nature and within its social fabric on a philosophical-anthropological level.

"I asked Andriu Deplazes if he had always wished to be a painter. No, he said. For a time, he had trained to be a classical musician, but turned away from music because there was something repellent about the need to demonstrate virtuosity. To be a virtuoso, as the moral world depicted in these paintings clearly shows, is not the same as having virtue. And yet, at the same time, there are still traces of virtuosity in Deplazes' practice: in the idealised landscapes that he renders, and in the easy depiction of animal life. It is only humans that he will not denigrate with such perfection. Their overpainted faces do not allow them to be captured as things, but rather present them as subjects. They elude categorisation because they are responding, in real time, to what they see in us." Adam Jasper

Born 1993 in Zurich, Andriu Deplazes lives and works in Zurich, Brussels and Marseille. His paintings create a kind of parallel cosmos that questions the habitual ways of seeing and expectations of the beholder. Wide landscapes in colourfully powerful large format are the setting for curious characters who sometimes melt into the vegetation around them or appear strangely remote from it. His work has been exhibited throughout Europe since 2015.

This new body of work consists of paintings featuring heart-headed figures in various emotional states and situations that sometimes teeter between the ordinary and extraordinary. From tender amorous moments to unexpected skate scenes, the work is full of the next iteration of emotive "schmoo" characters.

Mark Gonzales ("The Gonz") is an American artist and professional skateboarder best known for his profound contribution to the development of street skateboarding from the mid-1980s onward. Gonzales' creative outlook is evident in his ability to perform inventive new tricks using the existing framework of urban architecture like handrails, stairs, and ledges. His artwork grew out of the same environment as his skateboarding and includes illustrating zines, which often have surreal and humorous characters, as well as producing and collaborating on projects with Harmony Korine and Spike Jonze. Born on June 1, 1968 in South Gate, CA, he began skateboarding by the age of 13 and formed the company Blind Skateboards in 1989. While pursuing his sporting career, the artist began drawing in his free time and created graphics for Krooked Skateboards. Since then, he has collaborated with the clothing brand Supreme and Adidas to name just a few. He lives and works in New York.

Plant-Based Monster Trucks is the latest drawing collaboration between Swiss illustrators and artists Lina Müller and Luca Schenardi. In September 2023, they spent a month in an early 1900s bungalow in Echo Park, Los Angeles—their first time visiting the city.  

It felt like a Lynchian dream: wandering through paradise-like garden neighborhoods, hearing owls at night from bed, watching coyotes from the porch swing at dusk, sitting in cars rolling along in an endless stream of other cars. But mesmerizing scenes could shift abruptly into unsettling ones. The artists were drawn to the contrast between light and shadow – on multiple levels. A peaceful stroll down a quiet street lined with blooming flowers suddenly turns into a frantic escape from a bloodhound trying to tear through a fence to get to them. A sinister stairway leading down from the sunlit Sunset Boulevard awakens primal fears. A black hole in the last few meters of a dark sidewalk—just before reaching a legendary diner-turned-music-club – seems like it could swallow you whole. Plant-based pizzas kill your appetite. And monster trucks are real. 

Touch Response is about lacking language and how to (not) interpret images. This is a book on vulnerability, as a description, prescription or side effect. It is made in a difficult period of fatigue and pain, mainly in the sofa in my living room, as a dialogue with myself and other invisible forces.

Drawings by Lore Smolders - visual artist
Interview with Birds WG - healer, writer, performance artist
Text editing by Isolde Vanhee and Joan Somers Donnelly

Edition of drawings, paintings and scans by Sophia Hamdouch, wrapped in a vinyl sleeve.

What does an oracle look like? gathers essays and drawings made by Perri MacKenzie between 2020 and 2024, themed loosely around pottery painting and vocal expression. The drawings, rendered in splashy India ink and collage, range from expressive sketches to theatrical still lives and experimental bandes dessinées. The book presents for the first time the essay Cathedral. Part memoir, part literary/sonic investigation, it meditates on the vocal texture of a Hollywood actor.

Designed by Ilke Gers.