Catalog is a serial publication about cataloging written by Lieven Lahaye and designed by Ott Metusala. This is Catalog issue 21, ‘Impressed’, it’s part of a sub-series on near invisibility. Published on the occasion of the exhibition ‘Dear Friend’ at EKA Gallery, Tallinn in September 2022. This issue of Catalog was produced during a residency period at Air Berlin Alexanderplatz, May-August 2022.
This artist's book is the achievement of the Ka Kualmaku project conducted in 2018 during a residency of Marc Buchy in Colombia, in Lugar A Dudas, during which the artist began to learn Namtrik, said to be a disappearing language. The book restores this learning as a Namtrik-French language guide.
The first-ever overview on the multimedia art of free-jazz pioneer and creative polymath Milford Graves
Milford Graves (born 1941) has been a revelatory force in music since the mid-1960s, liberating the drummer from the role of "timekeeper" to instrumental improviser and giving rise to the free-jazz movement, with groundbreaking performances alongside Lou Reed, Min Tanaka and John Zorn.
But music cannot contain the energies of his creativity and intellect. Graves' kaleidoscopic genius led him to develop an unprecedented body of interests--from medicine to botany, stem-cell regeneration to martial arts.
A Mind-Body Deal gathers the multifaceted work of Milford Graves, exploring the practices and predilections of this extraordinary mind. Fully illustrated, this catalog includes documentation from the eponymous show at ICA Philadelphia, exhibiting a collection of Graves' hand-painted album covers and posters, idiosyncratic drum sets, recording ephemera, multimedia sculptures, photographs and costumes, with elements from his scientific studies.
This volume surveys Paul Chan's publications and works made between 2010 and 2022 following his return to artmaking. The exhibition takes as its organizing principle the notion of the "breather," a word that can signify a moment of rest or pause but can also reference a purposeful redirection toward other activities.
Chan's turn to publishing through the founding of his independent press Badlands Unlimited represented a type of "breather." Badlands for Chan embodied a radical break that seeded new ideas and ways of working. The term is also what Chan titles a recent major body of work. Breathers is an ongoing series of pneumatic sculptures and installations that he considers a new genre of moving-image works. Tacitly and overtly, the metaphor of the "breather" underscores each of the works in the Walker Art Center exhibition, which, with the artist's input, is conceived in four sections. The exhibition catalog includes scholarly contributions by Chan; Pavel Pys, Curator of Visual Arts at the Walker Art Center; and Vic Brooks, Senior Curator of Time-based Visual Art at Experimental Media and Performing Arts Center Rensselaer Polytechnic Institute (EMPAC).
Paul Chan (born 1973) is an artist, writer and publisher who lives in New York. Chan is the winner of the Hugo Boss Prize in 2014, a biennial award honoring artists who have made visionary contributions to contemporary art. Chan founded the independent press Badlands Unlimited in 2010. Badlands has published over 50 books, including the works of Yvonne Rainer, Calvin Tomkins, Lynne Tillman, Hans Ulrich Obrist, Carroll Dunham, Claudia La Rocco, Dread Scott, Martine Syms, Craig Owens, Petra Cortright, Cauleen Smith, Ian Cheng, Rachel Rose, Aruna D'Souza and many others.
An artist's book by New York-based author and artist Sam Pulitzer (born 1984), The Premise of a Better Life combines photographs with ethical and existential questions addressed to the viewer, in an allegory of the contemporary condition. These photographs of everyday things, ambiguous details, nondescript landscapes and cityscapes were mostly taken in New York, although the city appears as the pale reflection of a model city.
Each picture is accompanied by a question: "Can you afford yourself?" "Are you waiting for a moment that just won't come?" "If you knew then what you know now, would it make a difference?" "Do you trust happiness?" The montages offer a complex, personal, at times satirical image of the present age.
An original essay by Pulitzer unfolds the project's philosophical and political issues, notably discussing a key reference for the project, Ernst Bloch's The Principle of Hope.
American author Kathy Acker was one of the most influential writers of the 20th century. Working through an experimental and avant-garde tradition, she wrote numerous novels, essays, poems, and novellas from the early 1970s to the late 1990s. As a postmodernist, plagiarist, and post-punk feminist, she continues to inspire generations of writers, philosophers, and artists. Get Rid of Meaning is the first comprehensive publication on Acker’s work from an artistic and literary perspective. It includes previously unpublished material from Acker’s personal archive and other collections. The publication is the compilation of a multipart research project including an exhibition and a symposium at Badischer Kunstverein in Karlsruhe.
With contributions from: Kathy Acker, Eleanor Antin, Dodie Bellamy, Hanjo Berressem, Ruth Buchanan, William S. Burroughs, Anja Casser, Georgina Colby, Leslie Dick, Claire Finch, Johnny Golding, Lynn Hershman Leeson, Anja Kirschner, Chris Kraus, Sylvère Lotringer, Douglas A. Martin, Jason McBride, Karolin Meunier & Kerstin Stakemeier, Avital Ronell, Carolee Schneemann, Daniel Schulz, Matias Viegener & McKenzie Wark.
Kamil Bouzoubaa-Grivel réalise au printemps 2020 la série de dessins Hack’n’slash.
Ces collages sont faits à partir d’aplats de couleur autocollants Letrafilm Color/Tint Overlay, que l’on pourrait traduire par Couleur/Teinte Superposition, permettant ainsi de nommer l’importance des jeux de profondeur qui s’y trouvent.
L’artiste se calque là-dessus et joue alors avec la confrontation entre le hack: détournement et réemploi d’outils techniques (trames numériques, encres d’imprimante, dessin manuel) – et le slash: le fait de trancher/juxtaposer les formes venant de différentes dimensions pour composer ses dessins.
Chaque édition a une couverture unique sérigraphiée sur du papier Pantone Letraset par l’Atelier PPP et un texte critique-fiction de Mia Brion.
A significantly expanded edition of Carrington's acclaimed Tarot series, featuring new archival images and research.
The British-born Mexican surrealist Leonora Carrington (1917-2011) spent a lifetime exploring the esoteric traditions of diverse cultures, and incorporated their ideas and symbols into her artistic and literary oeuvre. Tibetan Buddhism, the Kabbalah, ancient Egyptian and Mesopotamian magic, Celtic mythology, witchcraft, astrology and the Tarot were filtered through her feminist lens to create a visionary, woman-centered worldview.
Carrington created a spectacular Major Arcana Tarot deck sometime during the 1950s, laying gold and silver leaf over brilliant color. Exhibited for the first time during her centennial exhibition Leonora Carrington: Magical Tales in 2018, this extraordinary work was a revelation for the public and inspired the publication of The Tarot of Leonora Carrington.
This book is a colourised version of the 1828 “Pâtissier Pittoresque”. First published by french pastry chef Antonin Carême, it gathers more than a hundred sugar sculptures, all served on the buffet table of Emperor Napoleon I and king Louis XVIII.
Known in the cooking world for their elegant sobriety, the blueprints of these sculptures were, as of today, always published in black and white. Yet, the author refers to more than thirty of them in his introduction, instructing how the sugar paste and biscuit should be coloured to create the desired effect. Thinking himself more as an artist than as an artisan, this new colourised version is a testament to Carême’s effervescent creativity.
Colourised by Robin Bantigny and Jérémie Rentien Lando.
Co-published with Jan Van Eyck Academie
“RUSTIQUE” is an artist book created by Nicola Godman. This book is sprung out of a residency in September 2021 at Hôtel Chevillon, a former Scandinavian artist colony in Grez-sur-Loing, France. Barbizon, the village where the painter Jean-François Millet (1814–1875) lived and died, is located 20 km away from there. The book interweaves the life and work of Millet with Godman’s photographs, drawings and personal anecdotes.
“RUSTIQUE” wishes to put forward the artistic gaze towards rural life by artists who themselves are born peasants. Nicola Godman (b. 1989, Rute) is an artist working with photography, video, books and stories, currently based in Stockholm, Sweden. Having grown up on an organic dairy farm, she is researching depictions of rural life in art history and contemporary culture.
This publication constitutes a continuation of “Melody”, the installation created by David Douard for Sculpture Garden (2022 edition), acquired by the city of Geneva, and which was subsequently vandalized. This last point is at the heart of the book, which presents a graphic section bringing together reproductions of preparatory works for the piece, plates of images of the work in situ, and a discussion between the artist and the curator Devrim Bayar dealing with the status of this work during and after degradation.
Texts by Devrim Bayar and David Douard (in collaboration with Justine Dorion)
Dutch graphic designer Karel Martens (born 1939) has been an influential figure in the visual culture of the Netherlands for many decades. Alongside his commissioned projects, Martens has maintained a commitment to this personal and iterative way of printing, which shows how creative practice often spans perceived disciplinary boundaries.
For each day of this elegant 2023 calendar, Martens has created a unique abstracted form to serve as a number—originally constructed using his signature method of printing letterpress monoprints from found metal forms, which are then digitized to comprise 365 compositions in total. The piece’s reference to the daily practice of art expresses Martens’ own approach as a designer and educator: “every day is a new day.”
Gossiping is Not (Just) Bitching is a zine transcribing a performance revolving around the clichés attributed to gossip, addressing the oppression exerted on women and queer voices. Informal discussions, defined as futile, are discredited as marginal, practised by people who don’t always have access to public speech. The performance deconstructs different uses of gossip, exploring its political significance through the interpretation of sources from sociology, literature, chick-flicks and reality TV.
More images at
https://aurianepreudhomme.com/gossiping-is-not-just-bitching-artist-book-2022/
A collaborative artist's book of musical scores based on Norwegian knitting patterns.
For Identity Pitches, artists Cory Arcangel (born 1978) and Stine Janvin (born 1985) have composed conceptual music scores based on the knitting patterns for traditional Norwegian sweaters known as Lusekofte. Utilizing three of the most popular designs (Setesdal, Fana and the eight-petal rose of Selbu) of this ubiquitous garment, Janvin creates scores for both solo and ensemble performers by mapping the knitting patterns onto the harmonic and subharmonic series and integrating the tuning principles of traditional Norwegian instruments. These scores are further manipulated by Arcangel using a custom "deep-fried" coding script to create a series of image glitches.
A foreword and an interview between the two artists, both based in Stavanger, Norway, provide context for the work, delving into the history of Norwegian folk music tunings and the Lusekofte sweater and their intersection with the cultural identity of the country over the last millennium.
Nº 49 / October 2022
In her work, Lisa Vlaemminck explores the boundaries of painting, creating an exciting, vibrating and disorienting universe. In her images, she questions very classical phenomena in painting, such as the landscape and the still life, by freezing them behind semi-transparent layers of paint. We catch a glimpse that feels familiar, but soon find that nothing is what it seems. Vlaemminck’s work oscillates between the microscopic and the interstellar, as well as the amorphous spaces in between. Image, material, shape, texture and form mutate into compositional playgrounds floating in a newly created universe where different laws and rules apply.
The book “Screensaver Error” is conceived as a symmetrical, folded stack of sheets with images of Lisa’s paintings and collages.
At the heart of the book is the sixty-metre long, worm-shaped textile sculpture, which runs like a stream through the book for many pages.
Dominique De Groen wrote an electrically charged shimmering poem tailored to the work. The introductory text was written by Simon Delobel.
In KIOSK, Lisa Vlaemminck presents a series of new paintings and a sixty-metre long textile sculpture that will occupy the various exhibition spaces. For the design of the fabric, Lisa worked patterns that form a long colour gradient.
At the end of the exhibition, the sculpture, Meat A Morph Hose, will be cut into 35 separate, new sculptures that will be offered as artworks at € 350 each. Each work is a part of the colour gradient and has a unique print. The proceeds will finance the book. Details: Printed cotton, latex spaghetti filling, the ends are closed with climbing rope
40 cm diameter x 130cmA signed copy of the book will also be delivered together with the work.
The sculptures can be collected from KIOSK at the book-launch: Sat. 26 November
The artist is reprented by gallery rodolphe janssen
With texts by Phillip Van den Bossche, Filarowska and a conversation between Eva Wittocx and the artist (NL/EN)
Nº 48 / October 2022
sawing a plank is like going for a walk by Kato Six (b. 1986) is published on the occasion of Kato’s solo exhibition at M Leuven this autumn. This book encapsulates 10 years of her quest as an artist.
The work of Kato Six (b. 1986) balances between abstract and figurative art. She works on different themes which she develops into series or ensembles. Architecture, design, domesticity and utensils all act as important references. Starting there, she uses recognisable and everyday materials such as MDF, stone, plastic or textiles.
Kato wants to question certain affinities and let the viewer look at familiar objects or images from a different perspective. As a viewer, you feel connected to the object or image but the actual meaning or function no longer applies.
Some of my works refer to the domestic, especially the most recent ones, such as ‘Carpet Beater Carpet’ and ‘Striped Knitwear’. The invisible work done by “housewives”, but also by workers or maintenance staff, is certainly one of the themes addressed in ‘Carpet Beater Carpet’. The above works are textile works, created with so-called “soft skills”. In the arts, these “soft skills” are often attributed to female artists — women often being assigned a certain medium.
Kato Six in conversation with Eva Wittocx in “sawing a plank is like going for a walk”
The artist book Amanda is greatly inspired by “Tradeswomen” quarterly magazine for women in blue-collar work, published in the 1980’s and 1990’s in the United States. Amanda is similarly thought as a periodical dealing with the subjects of technology and industry from a feminist (not solely female) angle. The first issue contains fiction stories of an emancipatory character, citing trade associations, oil industry in Iran and ghosts of the printer feeders.
The publication is made in the framework of The Building Institute, an experimental organisation aiming to strengthen the position of femmes builders in the domain of technical construction work. Amanda brings together literary texts by Maria Toumazou, Samantha McCulloch, Sepideh Karami and Madeleine Morley, combining fiction stories with visual artwork.
Olga Micińska is a visual artist currently living in Amsterdam. Graduated from the MA Art Praxis program at the Dutch Art Institute and holds an MFA in Sculpture from the Academy of Fine Arts in Warsaw. Also trained as a woodworker, collaborates with craft studios of various domains. Recently she has initiated The Building Institute.
The Building Institute (TBI) is an experimental platform aiming to emancipate the undermined knowledges dwelling in the craft domains, and to unpack diverse questions related to technology and the means of production. TBI combines art’s speculative competences with the grounded practice of manual labor, manifesting its objectives through educational activities, exhibitions, and publications.
Skies is a practice that emerged when Edurne Rubio and María Jerez found themselves working in isolation during the creation process of their performance A Nublo in 2020. A dialogue in pictures capturing the skies above Madrid, Brussels and many other places, it is now a book and document of a particular time that invites others to reminisce as they read the clouds and ponder invisible worlds that haunt the aether. It comes with an essay by Augusto Corrieri on theatre and cosmos.
Edurne Rubio is a visual artist. Her work leans towards the documentary and starts out from orality and storytelling.
María Jerez creates work at the intersection of choreo graphy, film and visual art. With her work, she wants to open up spaces of possibility through the encounter with what is foreign to us.
www.edurnerubio.org
www.mariajerez.com
Published by Varamo Press in the essay series Gestures
First edition October 2022
200 pages, 11 x 16.5 cm, sewn perfect binding
ISBN: 978-82-691492-6-5
Graphic design by Michaël Bussaer
Jack Smith presented his performance Irrational Landlordism of Bagdad as part of the Cologne Art Fair fringe in the summer of 1977. Many other events were documented photographically and can now be found in the Cologne Art Fair archives - not so Smith's performance.
This book shows him in his fair stall and during his performance for the first time. The pictures are perfect documents of a completely eccentric transaction by this pioneering director and performance artist.
Ronaldo V. Wilson’s Carmelina: Figures excavates the territory between memory, nation, and embodiment, exploring place as a discipline of the body and an extension of the hand. Through poems, photographs, drawings, records of performance, and home movies recorded in Guam, Tennessee, and the Subic Bay between 1962 and 1979, Wilson reckons with familial heritage, diaspora, and legacies of militarism.
The book pays homage to Wilson’s mother, Carmelina, who served for most of her working life as a certified nursing assistant at Florin Convalescent, an assisted living facility in South Sacramento, California. A glut of signals and media recovers Carmelina’s vivid and urgent experience of exile from the Philippines to marry Wilson’s father—a Black American soldier—being disowned, and before that, of her parents’ assassinations during the Japanese Occupation. Through a visual logic of repetition and reenactment that works to unmoor sensory expectation and narrative logic, Wilson renders her figure as trace, melody against paper, drawing within song, mixed media, dance, and through improvised, masked, and recorded performances in the Berkshires, MA; Long Island, NY; Emeryville, CA; and Boulder, CO. Carmelina: Figures is a book of the Psoas, ice, smudge, and light.
TIME by Spencer Longo is a collection of printed work depicting government raids, religious visions, environmental catastrophe, and extremist fundamentalism tangled together in a narrative web of salvation, annihilation, and transcendence. Using pen plotter graphics directly on uncollated pages of Time magazine, Longo explores the conspiratorial trope that messages are secretly embedded in mass media, coaxing our millenarian anxieties out through an additive printing process using graphics from survivalist publications, end-times evangelical cartoons, and marginalia from the borders of underground occult material, all sprinkled with ecstatic bursts of star-spangled clipart. A must-have for your fallout shelter's library.
The volume is an epistolary narrative produced via text message with a community of anonymous correspondents. Following on from a performative work, conceived by Simon Asencio, this book stages a relation between two protagonists, U and I. Through identitarian slips and glyphs, the book explores the narrative ambiguities of experimental writing, to generate a space for fluidity and uncertainty, at the intersection of the artistic and the literary.
Edited by Lilou Vidal
Dear reader,
These words are the premises of a correspondence between you and I. It will carry on for some a few days or a few months, it's up to you-just tell me if you want ti bring this to an end. One part of this story has ended on April 19th, 2020. Another part continues within these bound pages.
U and I don't jnow each other: two letters standing in for two characters in a story yet to be narreted.
You will remain forever the riddle, an address to the unknown: I will be writing to U, unknowing of who stands behind this U (after all you could be so many), unknowing of where you stand when reading these words, unknowing of how these words might coalesce with the life that forges your sense of self daily.
In my case this I might not necessarily stand for one self either, yet I will account for all of these selves.
I hope this masquerade will allow us to get closer. To long for and attend to each other without assuming our otherness.
I do not expect any answers. Yet if you do, I promise it will remain between U and I.
I look forward x
+32 485 837 930
Simon Asencio (Toulouse, 1988) uses imposture and the expression of doubt to create performances that question the notions of liveness, stage and audience. The publication of this book results from the exhibition This Is My Body, My Body Is Your Body, My Body Is the Body of the Word, curated by Lilou Vidal, at Le Delta, Namur (BE); in partnership with Le Delta, Namur, with the support of Fédération Wallonie-Bruxelles.
