March 10, 2004 - Revolver - 12 NEW TITLES
March 10, 2004

12 NEW TITLES

12 NEW TITLES

Revolver

12 NEW TITLES FROM REVOLVER

by

Monica Bonvicini / Sam Durant

Christian Jankowski

Lucy McKenzie / Paulina Olowska

David Shrigley

Jonathan Meese

Yuri Leidermann

Nicoletta Stalder

Frances Ruiz

Peter Piller

Elodie Pong

and others …

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Monica Bonvicini & Sam Durant

Break It, Fix It

Exhibition catalogue, Secession, Vienna (28 Nov. 2003 – 1 Feb. 2004); with essays by Rebecca Gordon Nesbitt, Jennifer Gonzalez, Hou Hanru, Jorg Heiser, Matthias Herrmann, Leslie Kanes Weisman, Chris Kraus, John Miller/Frank Lutz/John Sinclair, Roberto Ohrt, Patrizia Valduga and Kevin Young (German/English); 22,5 x 16,5 cm, 126 pp., 47 ill., paperback

ISBN 3-937577-00-9

“Initial inspiration for ‘Break it/Fix it’, Monica Bonvicini and Sam Durant’s project developed for the Secession, comes from two of Wittgenstein’s aphorisms: ‘Running full tilt against the limits of language? Language is not a cage.’ and ‘This running against the walls of our cage is perfectly, absolutely hopeless.’ Restricting space likewise limits possibilities for moving in space. The outline for the word ‘Cage’, which forms the installation, can only be imagined, is only visible and able to be experienced in excerpts, which alone do not result in a whole. In order to actually fully comprehend the cage, it is necessary to know of the cage, the borders of what can be imagined are also the borders of that which is known. Bonvicini and Durant inscribe a structure in the conceptual framework, and in the history of the room, from which they visualize their thoughts in the social, political, and historical conditions of architecture. The main task of a cage is to separate two opposing arrangements and thus the walls of the cage clearly describe the prevailing relations. In Bonvicini’s and Durant’s work, language and architecture stand facing each other – whereby the permeable gaps in this relationship are just as definitional as the separating walls.” (Matthias Herrmann)

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Christian Jankowski

Magic Circle

Artist book, ed. Christoph Keller; with descriptions of the three projects “Mijn leven als duif”, “Direktor Pudel” and “Flock” (German/English); with essays by Stephan Schmidt-Wulffen and Magician Christian Knudsen (German); 15,5 x 20,5 cm, 119 pp., 116 ill., hardcover with dust jacket, 500 copies

ISBN 3-9806326-3-6

Special edition: 30 copies with three original photographs (each ca. 13 x 18 cm, signed) in box

Christian Jankowski, emerging sorcerer of the young international art scene, finally reveals the secrets and tells us the tips and tricks about the magic formula of illusionism. On more than 100 pages with many images, documents and text contributions, the spell is put on art… Careful readers might learn enough from this little artist book to know how to be transformed into a pigeon (and back), how to feed a museum director converted into a poodle or how to become the shepherd of Raffael’s sheeply allegory on art contemplation. It’s magic…!

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Lucy McKenzie / Paulina Olowska

Nova Popularna

Artist book, ed. Foksal Gallery Foundation, Warsaw (2 – 29 May 2003), with contributions by Michal Wolinski, Joanna Mytkowska, Wojtek Pustowski, Malgorzata Charylo, Stuart Bailey, Lucy McKenzie and Paulina Olowska (English/Polish); 31,5 x 23 cm, 68 pp. 70 ill., stapled

ISBN 3-936919-94-1

“The salon is a place with a natural flow of ideas or thoughts, which is easy to romanticize when you see documentation of the Cabaret Voltaire or Cricot in Krakow. The idea with Nova Popularna was to create a space designed by artists for artists, friends and passers-by. Feeling dissatisfied with other clubs and bars in Warsaw, it was important to imagine an alternative that wasn’t built on generic ideas of how a club should be.

The idea of the artists’ salon is maybe passe, but when thinking of Montmartre bohemia meetings, creative cabaret or music bands like those at Bauhaus, it was really tempting to create a contemporary version of it.” (Paulina Olowska)

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David Shrigley

Kill Your Pets

Children’s book; ed. Christoph Keller (from the Revolverle series); 12,5 x 12,5 cm, 72 pp., ca. 70 ill., paperback, 500 copies

ISBN 3-937577-21-1

Special edition available: 30 copies with an original post-it note by David Shrigley

Hungry dogs eat dirty pudding… no beginning or end… neither useful nor thought provoking… the unmanned craft… make art not friends! It will happen.

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Hidden in a Daylight

Exhibition catalogue, Hotel “Pob Brunatnym Jeleniem”, Cieszyn (17 – 27 July 2003): Pawel Althamer, Cezary Bodzianowsky, Christoph Buchel, Jeremy Deller, Jeanne Faust, Omer Fast, Mark Leckey & Donatella, Mark Lewis, Rosalind Nashaschibi, Anne Niesterowisz, Enrique Metinides, Paulina Olowska, Mathilde Rosier, Wilhelm Sasnal, Piotr Uklanski, Artur Zmijewski; with essays by Joanna Mytkowska, Andrzej Przywara, Adam Szymczyk, Anna Niesterowicz, Agata Jakubowska, Piotr Rypson, Sebastian Cichocki, Lukasz Gorczyka, Violetta Sajkiewisz, Jeremy Deller, Michal Wolinski, Anke Kempkes and Charles Esche (English/Polish); 22,5 x 15,5 cm, 73 pp., 70 col. ill., paperback

ISBN 3-937577-10-6

On the occasion of and in collaboration with the 3rd Cieszyn Film Festival the Foksal gallery Foundation has realized an exhibition concentrated on artists working with film.

“To my knowledge, it is rare to find a serious art exhibition in conjunction with a film festival. Despite all efforts to encourage the mixing of art forms, organisers tend to stick to what they know and what can be easily explained to a stratisfied media and commercial interest. The appearence of “Hidden in a Daylight” as part of the Cieszyn Film Festival is therefore to be applauded. The fact that the show provokes thoughts about film itself is something to discuss. One question this exhibition raises is a common one today. Why is film so regularly the medium of choice for visual artists?” (Charles Esche)

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Jonathan Meese

Kepi blanc, nackt

Exhibition catalogue, Schirn Kunsthalle, Frankfurt/Main (16 Jan. – 12 April 2004); with contributions by Max Hollein, Martina Weinhart and Jonathan Meese (German/English)

29,5 x 21 cm, 73 pp., 40 col. ill., paperback

ISBN 3-937577-14-9

“KEPI BLANC, NACKT” is just short for the exhibition title which reads as follows: “DR. NO’S DIAMANTENPLANTAGE, des PHANTOMMONCH’S PRARIEERZHALL, nahe den wassrigen GOLDFELDERN des DR. SAU, dabei die DSCHUNGELHAUT uber die ZAHNSPANGE des erntefrischen GEILMADCHENS ‘SAINT JUST.’ (DER PLANETENKILLER DR. FRAU).” The title already leads us right into the center of Meese’s universe. Various figures and their world views clash in a flood of pictures, neologisms, texts, and objects of all kinds: Stanley Kubrick meets Richard Wagner, Stalin encounters Zardoz; Heidegger, Klaus Kinski, Hitler, Marquis de Sade, Mishima, Balthus, Romy Schneider, Dr. No, virgins, and busty girls are just some of the figures populating Meese’s pseudo-psychotic universe of art. In the fadeovers blending myth, art, and politics, boundaries between different concepts blur. Squeezing in between all people and things, Meese, deliberately crossing the line, creates a specific cosmos that is fuelled by both the past and present of his personal sphere and world history.

The catalog presents Meese’s installation from the Falckenberg collection in numerous large-scale images.

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Yuri Leidermann

Docteurs-Pecheurs et Partis du Bonheur General

Artist book, ed. art 3, Valence & Le Creux de l’enfer, Thiers; 16,5 x 11,5 cm, 617 pp., ca. 800 ill., paperback

RDB040301

With “Docteurs-Pecheurs et Partis du Bonheur General”, Yuri Leiderman delivers a comprehensive dictionary of all the names that could ever be used by political parties as well as the single components of those names. They are not accompanied by written definitions though, but by illustrations from the field of fishing which lends a humorous and poetical note to the publication that finally leads to a paradoxical lightness.

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Nicoletta Stalder

Hallimasch – was tun in 30 Tagen?

Exhibition catalogue / artist book, Kunsthalle Basel (17 Oct. – 16 Nov. 2003); ed. Adam Szymcyck; with contributions by Adam Szymcyck, Isabel Zurcher, Jolanda Bucher, Annemarie Maag, Jolanda Eggenberger, Frantiska & Tim Gilman-Sevcik, Samuel Herzog, Nele Stecher and Nicoletta Stalder (German); 24 x 18 cm, text booklet (40 pp.), stapled, and 72 single col. ill. in box (each ca. 24 x 18 cm)

ISBN 3-937577-17-3

“My studio is my kitchen, and all ingredients are permissible.” Using various means – painting, sculpture, objects, videos, manifestoes, interventions and culinary art – Nicoletta Stalder (b. 1972) repeatedly injects an energy into the art business that runs almost stubbornly counter to traditional exhibition forms. Nicoletta has drawn attention to herself with actions and manifestoes which coquettishly berate the current art business. She has chosen a space that lies outside of the theoretical debate and works closely with a whole network of people who are creatively active in art and culture, and who have chosen an independent path – to the advantage of their creative work, but to their own financial disadvantage.

30 days are no trouble to this artist. Having been invited as a guest to the Basle Kunsthalle, she how, as hostess, offered a platform to her growing network of partners. Small and micro-companies allowed the public insight into their respective independent economies. On a daily basis, new time windows opened in which Nicoletta’s guests sang, danced, performed magic, or pursued crafts. The fruits of these activities were texts, hats, paintings, sound, a climbing wall and much more.

The photographs which were taken throughout the whole project mostly show installation shots or single works, but some of them also document conversations between people. The choice of the photographs as well as the texts about moments deliberately chosen by the authors, match the questioning of the classical notion of an artwork which Stalder follows in her art practice.

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Francesc Ruiz

Esta es mi playa

Artist book, ed. art 3, Valence; 16,5 x 11,5 cm, 256 pp., 124 ill., paperback, 800 copies

RDB 040302

The publication “Esta es mi playa” by Francesc Ruiz consists of 124 images which can be put together to an artwork of the same title. The single pages can be taken apart and aligned to a frieze-like picture of approx. 14 m length.

The publication exists in seven editions with different cover images as well as different sequences of pages. Put together the seven covers form another picture.

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Peter Piller

Unangenehme Nachbarn

Artist book, 15 x 9,5 cm, set of 28 postcards in foldout box

ISBN 3-937577-13-0

Special Edition: 30 copies with a signed original drawing from Peter Piller’s archive (ca. 15 x 10 cm)

Hamburg-based artist Peter Piller continually broadens his archive of newspaper clippings – published in our Peter Piller’s archive publication series – by adding new collecting fields such as aerial view photographs of houses and now German postcards of dud bombs mostly from the first World War. 28 reprints of orginal postcards show this strange motif: bombs that have not exploded, found somewhere in the landscape, with their dimensions printed next to them or photographed together with children to give an idea of their size.

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Elodie Pong

Where is the Poison

Exhibition catalogue / artist book, Kunsthaus Baselland, Muttenz ( 17 Jan. – 29 Feb. 2004); Halle fur Kunst e.V., Luneburg (23 Sept. – 7 Nov. 2004); with contributions by Sabine Schaschl-Cooper, Heike Munder & Elodie Pong and Veronique Mauron (English/French); 21 x 27,5 cm, 132 pp., 62 ill., paperback, black-and-white poster (folded), 60 x 80 cm

ISBN 3-937577-20-3

Dissecting the notion of intimacy, using the body as a means of expression, staging a visual show around the body in search of an identity, and capturing subtle human emotions-all these elements make up Elodie Pong’s artistic approach. The publication, adopting the form of an artists’ book rather than a catalogue of works, impressivley mirrors Pong’s artistic interest.

“‘Her Body lies upon the gown’, wrote Blaise Cendrars in ‘Du monde entier’, imbuing the fabric with the covered flesh. The body lies upon an ornament, stretching out upon a veil. Constantly emerging on the surface; it is hidden, yet still visible, hovering between appearance and disappearance, rendered uncertain by a veil, slightly absent. In Elodie Pong’s work, ornamentation – whether it is a dress or a mask, or disguise and make-up – constitutes a potential epiphany of the body. All her recent work in film, video or performance, exploits the power of the screen as the flesh becomes an image. The body appears camouflage: illuminated by tattoos, disguised, acting the wrong part, made-up. Duplicated and over-visible, it exposes itself deliberately masked.” (Veronique Mauron)

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Rosanne Altstatt / Ralf Sausmikat (Ed.)

Turbulent Screen

Die Strukturelle Bewegung in Film und Video / The Structural Movement in Film and Video

Exhibition catalogue / source book, Edith Russ Site for Media Art, Oldenburg (29 Aug.- 9 Nov. 2003): Martin Arnold, Douglas Davis, Runa Islam, Takahiko Iimura, Mark Lewis, Jonathan Monk, Pat O’Neill, Michael Snow, Steina & Woody Vasulka; ed. Rosanne Altstatt & Ralf Sausmikat (German/English); 24 x 17 cm, 160 pp., 70 ill., paperback

ISBN 3-936919-66-6

Turbulent Screen is a project in the form of an exhibition and cinema program that presents structural approaches in film and video art. In the 60s a new language of film emerged, which was labeled as the movement of “Structural Film”. The filmmakers constructed their films not according to narrative sequences, but along artistic principles which could be found in every area of contemporary art at the time – challenging perception, the materials of their media, the time-space parameter of film and the relationship between the viewer and the viewed. This experimentation with moving images in the film world was also mirrored in the new medium of video. Artists who began working with video in the late 60s and 70s were very much aware of what was happening on the front of moving images and forged new paths with playful and intelligent examinations of their own medium. Today, the approaches of decades past are being tapped and furthered by a younger generation of artists who are also featured in the Turbulent Screen project.

Film and video program: Marc Adrian, Eric Anderson, Kenneth Anger, Martin Arnold, Bruce Baillie, Scott Bartlett, Jordan Belson, Lynda Benglis, Stan Brakhage, Robert Breer, Dietmar Brehm, John Cale, Peter Campus, Kerstin Cmelka, Bruce Conner, Tony & Beverly Conrad, Douglas Davis, Ed Emshwiller, Valie Export, Albert Finne, Morgan Fisher, Hollis Frampton, Ernie Gehr, Peter Gidal, Wilhelm & Birgit Hein, Gary Hill, Tony Hill, Gerard Holthuis, Takahiko Iimura, Ken Jacobs, Joan Jonas, Joe Jones, Kurt Kren, Gunter Kru.ger, Peter Kubelka, Kerry Laitala, Owen Land, David Larcher, Standish D. Lawder, Malcolm LeGrice, lia, Sharon Lockhart, George Maciunas, Mara Mattuschka, Anthony McCall, Jonas Mekas, Matthias Mu.ller, Werner Nekes & Dore O., Gunvor Nelson, Annabel Nicholson, Pat O’Neill, Yoko Ono, Dennis Oppenheim, Vivian Ostrovsky & Yann Beauvais, Nam June Paik, Ilppo Pohjola, David Priestman, Arnulf Rainer, Al Razutis, reMI, Liz Rhodes, David Rimmer, Jozef Robakowski, Zbigniew Rybczynski, Paul Sharits, Chieko Shiomi, Michael Snow, John Stehura, Steina, Aldo Tambellini, Peter Tscherkassky, Stan Vanderbeek, Woody & Steina Vasulka, Bill Viola, Robert Watts, Chris Welsby & William Raban, James Whitney, Michael Whitney, Joyce Wieland

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Please visit our website www.revolver-books.de

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