edition patrick frey ch (243 Ergebnisse)

Paperback. Zustand: New. THE PARTICLES (of White Naugahyde) is the first publication of a play by William Leavitt (b. 1941). Leavitt is one of the pioneers of conceptual art in Los Angeles, helping significantly to establish the genre in the late 1960s and the 1970s. His works make use of narrative elements drawn from LA architecture and popular culture as well as from the movie and television industries. The artist works in various media, including sculpture, painting, drawing, photography and theatre. Framed as a sitcom setting, the narrative of THE PARTICLES (of White Naugahyde) tells the story of a family auditioning for a NASA program, which sends them to a newly planned space colony. The demanding admission process makes them live in a security-free community in the desert together with other applicants. These two weeks in the desert result in anxiety and anti-social behavior among the participants.

Paperback. Zustand: New.

Paperback. Zustand: New. Beni Bischof works in an unruly and intuitive manner.  In addition to his drawings, collages, paintings, sculptures, and installations, his self-published, laser copied art magazine has since 2005 borne witness to his eruptive creative urges. He translates spontaneous ideas concerning social and political issues into quirky, humorous word and image-based messages of a disarming directness. The banality of everyday life is not spared any more than current political dramas.  Beni Bischof de-glamorizes the noble appearance of purported exclusivity and draws a picture of society characterized by his unfathomable sense of humor.  He draws his image and text materials from trivial literature, fashion magazines, advertising, and even the virtual world. Psychobuch (2014), his first publication with Edition Patrick Frey, is both an overview of this intensive production as well as a full-fledged artist's book in its own right. Texte offers an initial view into his current work in progress: pure text in a paperback format. It consists of Beni Bischof's personal portrayal of his collection of emails, headlines, slogans, and jokes.

Paperback. Zustand: New. "A documentary film that was supposed to be made for the cinema is mentioned in my notes, as is a biography that a journalist was planning to write," writes Manon. "I ended up calling off both, along with plenty of other stuff. "But the Swiss artist's "notes" for the planned documentary in 2005, diary-like entries "about the passage of time, and about the passage of my times," as she puts it, remained, and are published here for the first time. In light of the multitude of details they provide, it seems a bit of an understatement to call them "notes". Feathers actually takes the shape of a diary, and turns out to be a multi-layered narrative providing a succinct and yet feather-light look back on Manon's life, art, men and day-to-day concerns. In a mix of timidly restrained, resolute and at times drily humorous prose, the artist cautiously but confidently attempts to put into words the balancing act between her everyday life and her artistic career of highly stylized self-portrayals. Feathers interweaves memories and the present with comments on apparently minor matters. In contrast to her elaborate mises-en-scène, what interests the author of these notes is not pageantry and sensationalism, but minute mood swings, poetic observations of her urban and natural surroundings, the trials and tribulations of the heart, and reflections on aging and transience.

Paperback. Zustand: New. Trix and Robert Haussmann are well known both in Switzerland and internationally for their vast contribution to design and interiors. Living and working together since the '60s, symbiotically creating and also sharing wonderful interiors filled with works of art and beautiful objects, one can think of them-and the spaces they inhabit-as an ever-evolving 'double self-portrait'. The Haussmanns have had close ties to the avant-garde of their time, have followed the various trends and artistic currents and have actively participated in the local scenes of Zurich or Bern. Through documenting their numerous exchanges and conversations with artists, dealers and creative kindred spirits, this book is a testimony of their lifelong interest in the visual arts, their active, enthusiastic and witty involvement with the Swiss art scene as well as their rather playful commitment to it. A conversation with Swiss author and curator Dieter Schwarz reveals a number of events and anecdotes that also attest to the couple's fascinating life with art which they have collected intuitively rather than with a particular strategy in mind throughout their lives and careers. The numerous photographic documents of their unique and somewhat exuberant interiors that span almost five decades and several homes are exemplary both of the distinctive way in which Trix and Robert Haussmann welcome works of art into their everyday lives alongside their furniture-including their own- and their various artefacts as well as of their very personal and playful use of mirrors.

Paperback. Zustand: New. Trix and Robert Haussmann are well known both in Switzerland and internationally for their vast contribution to design and interiors. Living and working together since the '60s, symbiotically creating and also sharing wonderful interiors filled with works of art and beautiful objects, one can think of them-and the spaces they inhabit-as an ever-evolving 'double self-portrait'. The Haussmanns have had close ties to the avant-garde of their time, have followed the various trends and artistic currents and have actively participated in the local scenes of Zurich or Bern. Through documenting their numerous exchanges and conversations with artists, dealers and creative kindred spirits, this book is a testimony of their lifelong interest in the visual arts, their active, enthusiastic and witty involvement with the Swiss art scene as well as their rather playful commitment to it. A conversation with Swiss author and curator Dieter Schwarz reveals a number of events and anecdotes that also attest to the couple's fascinating life with art which they have collected intuitively rather than with a particular strategy in mind throughout their lives and careers. The numerous photographic documents of their unique and somewhat exuberant interiors that span almost five decades and several homes are exemplary both of the distinctive way in which Trix and Robert Haussmann welcome works of art into their everyday lives alongside their furniture-including their own- and their various artefacts as well as of their very personal and playful use of mirrors.

Hardback. Zustand: New. Hair Affair, Haircore, Jennyf'hair: hair salons are curious little worlds. Their names angle for attention, as do the window displays touting their particular aesthetic. The names and window displays of the Swiss salons showcased in Salon Moderne are veritable gems: there's a window adorned with Corinthian columns, fishing nets and shells, for example, another decorated with model cars and a signed soccer ball, still others featuring carnival masks, colorful life preservers during the summer season, or photos of Miss Switzerlands past and present. But what could Swiss hairdressers possibly be thinking when they place a nibbled-at pine cone and a wooden hedgehog (half of whose spines are broken) on a styrofoam pedestal in the window? Well, it appears that hair salon window-dressing is an art unto itself, at once fascinating, perplexing and risible, often more or less divorced from the core business itself, and the sheer diversity of its one-off productions is unrivalled in any other line of retail business. That such a decorative culture should survive into the age of professional branding is but one more reason to devote a whole book to this bizarre phenomenon. After Gut Holz (2008), presenting a selection of aesthetically intriguing bowling alleys in Switzerland, and Die schönsten Schweizer Tea Rooms (2004), featuring the most stylish Swiss tea room interiors of the 1960s and '70s, Salon Moderne is the third book by editors Fabienne Eggelhöfer and Monica Lutz to be published by Edition Patrick Frey.

Paperback. Zustand: New. OFF, a photographic series by Daniela Comani, is an excursus into perception as it relates to the media. With painstaking precision she probes that ever-present device for the reproduction of moving images, the television set, but in off mode: turned off, TV sets seem dead, they become cold objects - and yet concomitantly they serve as surfaces for viewers to project their own fantasies and fears on. Even when the picture is extinguished, the TV is still not bereft of content, for the dark screen reflects the room and the people and objects in it. Daniela Comani doesn't merely take pictures of inactive TV sets, she shoots them: the flash hits the dark screen like a Big Bang that yields new sights and insights, even as it outshines and obliterates the protagonist's reflection. At the instant she pulls the trigger, the split-second flash blends with the surface structure of the television sets in the most peculiar ways, producing new images and new shapes in these landscapes with sunset, small format. Daniela Comani's series is also about design: for this minimalistic mise-en-scène of an assortment of TV sets of varying shape, size and design, the artist has painstakingly removed the brand names in order to bring out the physical idiosyncrasies of each different setup. The objects are portrayed from the front, as though they were people gazing out from the picture at the viewer. The housing of each set serves as a picture frame and suggests the machine's essential nexus to the picture. The photograph turns the plastic TV sets into two-dimensional pictures, which Comani then mounts on paperboard to create a new three-dimensional object. Each picture is unique despite the serial nature of photography with its technical capability of infinite reproduction. (Renata Stih, Berlin 2011).

Paperback. Zustand: New. Pictures of the moon, the ultimate topos in photography, have been given a new twist in Erik Steinbrecher's MONDFOTOGRAFIE. The Swiss artist collects pictures of the moon and rephotographs them, placing a finger on the lens. In this way, images of the full moon are transformed into obscure crescents. MONDFOTOGRAFIE is a dark and witty artist's book that takes a subtle, yet illuminating approach not only to the discourse on the photographic image but also to the interpretation and reading of images in general.

Paperback. Zustand: New. This picture book is a small window onto a large world.  It shows everyday life in the most varied corners of the African continent, one that does not exist in the coverage provided by Western media. There is nothing spectacular or sensational about this everyday life, but it is always there. It is colorful and also banal, sometimes even contradictory, but it is always precious and genuine.

Paperback. Zustand: New. Skuter (Indonesian for "scooter") shows a slice of motorized life on the Indonesian island of Sumatra. These pictures of people on motor scooters, many on their way to or from work, were shot through the window of a moving car on a two-day trip from the Aceh highlands to Medan, the capital of North Sumatra. Motor scooters, sometimes used to carry whole families, provide Indonesians with an affordable form of mobility and have become a permanent fixture of daily traffic and everyday life on the archipelago.The authors took these snapshots in the fall of 2015 while shooting a documentary film about the palm oil industry and rampant deforestation in Sumatra. Most beautiful Swiss books, 2017.

Paperback. Zustand: New. FUTURE is a series of five or six publications by Taiyo Onorato and Nico Krebs to be published by Edition Patrick Frey over the next few years. The various chapters in the series will be published on an ongoing basis, though not according to any content-based planning or timetable. The idea is to react promptly to current events and sensibilities and publish the results swiftly too. The first installment of the FUTURE series, entitled FUTURE MEMORIES, explores how our conceptions of the future have changed over the past few decades, how that affects our take on the present and our reactions to changes that lie ahead. Re-created by Taiyo Onorato and Nico Krebs for the most part out of archival material, the pictures in this book constitute a material exploration of the fact that every vision or illustration of the future is bound to be a collage of images drawn from the past. Using a combination of large-format analog photography and various digitally controlled laser technologies, the artists have created a visual world that makes sci-fi allusions and takes an associative approach to an emotional world that swings back and forth between the optimism of the artists' childhood and the dystopianism of the present day and age.

Hardback. Zustand: New. Since the late 1990s David Diehl's work has explored the sociopolitical implications of pop-culture phenomena and their specific para-religious function. ICONS tells the story of a series of over seventy paintings (2013-2020) that thematically play on the pitch that in recent decades the Church has increasingly had to cede to football. Sócrates, Zidane, Andrés Escobar. Each haloed portrait tells a story of its own, but the fate of Diehl's over-the-top iconographic rendering of - who else! - Diego Maradona takes the cake. After its release from the Zurich studio in which it was created, the image has now come home to Naples, where, in its myriad reproduced forms in connection with Maradona's death, it has morphed from a referential tongue-in-cheek artwork to an object of real religious veneration: an icon.With a photo series by Alessandro Tione.

Hardback. Zustand: New. Stories of Little and Big Blossoms is about emotional ordeals like being a stranger in a strange land or losing a loved one, told from the perspective of children. Elham, for instance, a little girl from Iran, has to start over again in Germany, where everything - starting with the streets, buildings and playgrounds of her new city - is alien to her. And at school she feels insecure and excluded, and has a hard time making friends. Shirin Azari processes her own childhood experiences in these stories. One night in 1996, her family had to flee Iran - there wasn't even time to say goodbye to relatives and friends. Over the years that followed, she attended no fewer than eleven different schools in Germany and suffered from never staying in one place for very long. Azari's own story is the message she seeks to put across, for she learned her lesson the hard way: to struggle, to assert herself and never to give up. The tribulations of Elham, Jonathan, Aylin and her other hapless protagonists, illustrated with Azari's delicate, poetic drawings, reflect her own uprooted childhood and youth, and the need for the most innocent victims of all, namely the children, to be courageous, assertive and open-minded.

Hardback. Zustand: New. Perfect Cherry Blossom presents the first and long-awaited collaboration between British artist Oliver Payne and Japanese pop artist Keiichi Tanaami. For this new series, Payne has reworked original drawings by Tanaami, adding stickers featuring motifs from Japanese "bullet hell" games. This subgenre of "shoot 'em ups" is special in that the games are not only beautiful, chaotic and psychedelic, but they represent a niche in the world of hardcore arcade shooter games that could be considered the pure video games par excellence. Unlike most popular game genres that borrow from cinema and current pop culture in general, bullet hell games are self-enclosed worlds concerned exclusively with their own, often very complicated, systems and rules. For Payne, the driving force in these games is "pattern": the patterns of "bullet curtains", for example. Gamers memorize the patterns of movement through a level and learn to recognize patterns in the behavior of the enemy boss. These patterns can be very pretty and very complicated. Tanaami was the first art director of the Japanese edition of Playboy magazine. He designed record covers for The Monkees and Jefferson Airplane, in which he fused elements of American and Japanese pop art. Payne and Tanaami, who knew and admired each other's work for years, finally met and exchanged artwork. Besides the new collages, the book presents an interview with Payne and Tanaami by Fredi Fischli and Niels Olsen discussing the origins of their collaboration.

Hardback. Zustand: New. "Mad Dog" Vachon, "Tarzan Tyler", Masao "Rusher" Kimura - the ring names of the professional wrestlers who grappled for glory in the AWA (American Wrestling Association) were as evocative as they were hair-raising. And their bouts in the ring were spectacular extravaganzas with mass public appeal. It's the Summer of 1969 and nine-year-old Darius Koehli has just left Zurich for a nine-month sojourn in the US with his father. He suddenly finds himself in a whole new world. And why the heck does it have to be Omaha, Nebraska, of all places? Fortunately, he soon makes friends with Carl, the neighbors' son. They take him along to the hottest spot in town, the Civic Auditorium, to see some catch wrestling. With his brand-new Kodak Instamatic, Darius begins taking pictures, capturing the ring's heroes before, during and after their bouts. With a remarkable eye for slapstick and physical comedy, and from a pint-sized 9-years-old's perspective, he produces hundreds of snapshots of these humongous hulks. The selection featured in this book provides a glimpse of a bygone era in which professional wrestling was just taking off - and blowing away the TV audience. On a visit to Zürich in the summer of 2019, Darius Koehli comes across the photo album he'd put together 50 years ago. Memories from Omaha rise up again, magical names emerge from a distant past, evoking stuffy auditoriums and brash, boisterous announcers, rowdy fans cheering and booing the contenders, the sweat and blood of battle-hardened bodies and mysterious masked accomplices, as well as moments of choreographed, sometimes even graceful combats.

Paperback. Zustand: New. This picture book is a small window onto a large world.  It shows everyday life in the most varied corners of the African continent, one that does not exist in the coverage provided by Western media. There is nothing spectacular or sensational about this everyday life, but it is always there. It is colorful and also banal, sometimes even contradictory, but it is always precious and genuine.

Hardback. Zustand: New. The youth uprising, now simply called "The Sixties," was fed by one of the greatest booms in publishing history. The Underground Press Syndicate (UPS) began as a loose confederation of five papers in 1966, and within a few years swelled to over 500 across the world, reaching millions of readers. They "spread like weed," said the UPS director, weed-dealer, and eventual founder of High Times, Tom Forcade. The metaphor was apt: the UPS spurred the legalization movement, and weed became its totem. Weed was so pervasive it became a helpful means for government agencies to crack down on the UPS. Weed came to emblematize activist groups, and added a touch of flair to the mastheads of UPS titles. Weed permeated UPS pages, with gaps in text crammed with weed-inspired "spot illustratios". Heads Together collects these drawings, shining a light on lesser-known names in the stoner-art canon, and many who weren't names at all, as no signature was attached. It also compiles guides for growing weed from the period that were treated like contraband by the CIA. Activist-oriented, psychedelic rolling papers are showcased too. As pot now fast-tracks toward legalization in the U. S. and beyond, its once incendiary status is brought into odd relief. Pot's profiteers of the corporate market today do not reflect those who fought for legalization, or the Black and Latino populations strategically criminalized for pot well before hippies were targeted, and long after. The art in this book speaks to a time when pot was smoked with optimism, as something potentially good for society and people, capable of activating profound transformation in the face of corrupt and powerful forces.

Hardback. Zustand: New. The German painter Josef Maria Schröder, born in 1886 in Düsseldorf, where he died in 1965, is still unknown to this day. He worked as a banker in Düsseldorf till 1913, when he boldly resolved to devote himself entirely to his art. After an apprenticeship with the painter Eugen Spiro (1874-1972) in the socially and artistically effervescent Berlin, Schröder enjoyed his first successes when his works were shown in solo exhibitions and he won the Max Liebermann Foundation award. Born with one leg shorter than the other, Schröder was spared conscription into the German army. Over the next forty years, however, he was confronted with all the adversities and deprivations of the war years and the interwar period. A temporary exhibition ban, cancelled commissions, dire financial straits and a general lack of support for the arts made him a representative of the "Lost Generation". Most of his paintings and drawings are portraits, landscapes or abstract works. His artistic explorations eventually culminated in a ballpoint pen technique that he developed from 1950 on. In these late works, Schröder integrated a wide range of artistic styles from the first half of the 20th century to produce intensely luminous abstract compositions of a surrealist/constructivist cast. This wide range of different forms and colors then served in other works as backgrounds to particularly striking and highly stylized portraits. Until the death of his daughter Cecilie in the spring of 2008, Schröder's works were gathering dust in her apartment and had never been shown or sold. It was thanks to Post Fine Arts, which acquired the works from the estate in 2012, that they were at long last accorded the public exposure and recognition they deserve in its gallery in Freiburg im Breisgau, Germany.

Paperback. Zustand: New. Street-walkers, good-time girls, vagabonds, village fools, rastas, pimps, drunken expats, drunken locals, drunken everybody, underpaid guards, overworked bouncers, old-timers, orphans, urchins, beggars, hoodlums, hustlers, grasshopper vendors, all kinds of cops, NGO workers and back-alley exorcists. Some Peace Corps blogger once described Kabalagala - Kampala's most deliciously sleazy bar district - as 'Tijuana on acid'. Uganda has successfully presented itself to the international community as a responsible, progressive site for aid and development for nearly three decades now. In 1986 the country emerged from an 8-year civil war, following a 7-year dictatorship, following 70 years of exploitative colonial rule. It was the epicentre of the AIDS pandemic, though you wouldn't guess that from the outrageous promiscuity of its urban dwellers. The rich, pungent variety of images in this book will elicit a range of reactions: pity, disgust, uncertainty, titillation - natural responses to such beautiful horrors. The stories told by these grimy vignettes are at once a cartoon strip and an archive of the ephemeral, an African symphony and a third-world catastrophe, a naughty grope and a guilty giggle. This is the noir: the fallen angels of debauchery and desperation. This is the future: brazen young things with money to burn - all poolside parties and  bleach-blonde hair. This is the past: askaris with arrows, women with burdens, military junta in open jeeps. This is contradiction: a city of Puritan alcoholics, prostitutes giving love for free, perverted aid workers, developing that arse. This is a disgrace: a security guard on $1/day, a corrupt ruling class passing laws on morality, a white man who's pissed his pants. (David Cecil).

Hardback. Zustand: New. "Health, happiness and money in the New Year." These are Anton Bruhin's New Year wishes for 2007 in his very first zine. Ever since he was a boy, he has loved putting together little A6-size zines. His stencil-printed Plim came out in 1969, followed by more zines at April Verlag, a publishing house that Bruhin and Hannes Bossert ran jointly from 1969 to 1972. Some thirty years later, in 1998, 40 zines were printed on a Brother fax machine under the title Vierhundertfünfundfünfzig-seelendorf Editionen. And his 2014 series Scheissegedichte (Shit Verses) featured word sequences, palindromes (ekle meteor-kroete melke), typewriter art and pixel portraits alongside drawings of electrical sockets with curlicue pig's tails and scatological couplets, e.g. for a rather free rhyming translation:Shit stinks and poop steams,the Romans shat on wooden beamsShit's formed by the assand normed by Brussels' brass.When the shit hits the wallit doesn't bounce back like a ball.Shit's the talk of the townand soon gets renown.Bruhin designed his New Year's greetings as 24- to 32- page zines featuring samples of his current work. Over the years, they covered a wide range of different linguistic and pictorial themes, subjects and genres. Their childlike curiosity and pure zest for discovery make for a certain continuity and a connection between the various issues. The Neujahrshefte hold treasures from the extravagant cornucopia of his overflowing imagination and jubilation.-Susi Koltai.

Paperback. Zustand: New. FUTURE is a series of five or six publications by Taiyo Onorato and Nico Krebs to be published by Edition Patrick Frey over the next few years. The various chapters in the series will be published on an ongoing basis, though not according to any content-based planning or timetable. The idea is to react promptly to current events and sensibilities and publish the results swiftly too. The first installment of the FUTURE series, entitled FUTURE MEMORIES, explores how our conceptions of the future have changed over the past few decades, how that affects our take on the present and our reactions to changes that lie ahead. Re-created by Taiyo Onorato and Nico Krebs for the most part out of archival material, the pictures in this book constitute a material exploration of the fact that every vision or illustration of the future is bound to be a collage of images drawn from the past. Using a combination of large-format analog photography and various digitally controlled laser technologies, the artists have created a visual world that makes sci-fi allusions and takes an associative approach to an emotional world that swings back and forth between the optimism of the artists' childhood and the dystopianism of the present day and age.

Paperback. Zustand: New. Where there was once a desert, cities are now sprawled out for miles and miles, and their parts, as though copy-pasted together, seem to bubble up from the black depths of computer screens. 16-lane highways dictate the urban rhythm and texture here, daily commutes often take several hours. In the Emirates everything happens in and around your car. So it's little wonder that young Emiratis feel most at home in their cars. Cars symbolise freedom, they can be movable dwellings or temporary autonomous zones, cars are tax-free, and the main thing is to show off with them: your car shows who you are and who you wish to be. Besides being status symbols, cars also serve as a potent means of seduction in a society in which direct contact with the other sex is forbidden. Fully Fueled brings together pictures taken from 2012 to 2014 by the young French photographer Basile Mookherjee, who documented young Emiratis' nights out and the United Arab Emirates' 42nd national holiday on the streets of Dubai and Abu Dhabi. Flat, sprawled-out urban deserts, phallic urban geometries, reflecting surfaces and lavish ornamentation form the décor. The secret stars of these photographs are of course the cars, and the view seldom rises above windshield level. The human subjects, traditionally dressed in dishdasha (for men) and abaya (for women), seem as though photographed "through the lens of the car," as the photographer puts it. Fully Fueled is an over-the-top liturgy composed of the shapes and surfaces of our globalized environment. The book also reflects on the UAE's abrupt petrodollar-driven modernization and the aesthetic expression thereof in cities that have sprung up amid an essentially nomadic Middle Eastern culture. A world somewhere between desert dust and Gotham City, Islam and spending power, tradition and modernity.

Paperback. Zustand: New. Pareidolia is the phenomenon of perceiving non-existing things in inanimate objects, such as human faces or animal heads in rocks. One well-known example is the Face on Mars, also known as the Cydonia Face after the region on the Red Planet where it can be seen. Pareidolia is a misapprehension of an object by the mind, which alters it according to its own imaginings or completes it to form a familiar image. Over the years, the Swiss painter and writer Jean Willi has photographed rocks that seem to have faces, thereby discovering a realm of stone apparently teeming with petrified "souls". It is often the sunlight that traces a face in the rock, which then disappears when the light changes. Sometimes it's only two dark spots like eyes, out of which the viewer fashions a face in the mind's eye. The question is what do we actually see and what do we consciously or unconsciously turn into something familiar. The dawn of art might even be traced to such subjective sightings. Shamans claim they need to make out faces in plants and stones in order to contact certain spirits. Over the course of his work, the photographer's gaze has changed to a point where he is convinced that faces are displayed in at least two thirds of rocks and stones. Most of us are familiar with the eerie experience of mistaking a branch or crumpled paper lying in the street for a snake or run-over bird (a pigeon or chicken, depending on the urban or rural environment), respectively. Many of the faces in this book seem so real that it's hard to believe their features are drawn only by nature and the play of light. It goes without saying that none of the photographed rocks has been rearranged and none of the photos retouched. The images were taken on Ibiza, Spain, between April 27, 2015, and January 12, 2017.

Paperback. Zustand: New. After the definitive switchover from analog to digital television about three years ago, Luca Schenardi noticed some puzzling non sequiturs one day while viewing teletext - one of his preferred media. In the wake of the digital TV revolution, teletext headlines on a number of channels were scrambled and apparently randomly recombined. In early 2015, for example, Schenardi happened upon the following item: "Pegida Alliance supporters held another rally in Dresden last night. According to the police, roughly 17,000 Pegida activists turned out at the Semperoper [Dresden opera house]. Meyer calls it free coffee. " This gem of a non sequitur was clearly worth saving, whereupon Schenardi began perusing and photographing teletexts on various channels every day. Seized with a mania for collecting suchlike glitches, he transcribed them in black marker and tusche into self-made A5-size notebooks and illustrated his finds with sketches. To date he has filled twenty such notebooks, roughly eight hundred pages, with this peculiar collection. Naturally bound up with daily news coverage, the transcriptions sometimes seem to convey uncanny truths, then get tangled up in utter absurdities, as though attempting a novel approach to relating news of war and calamity around the world in the guise of news ticker headlines. They bear an uncanny resemblance to the serious - though no less absurd - news headlines inundating our daily lives, whether online or in print. In Meyer spricht von Gratiskaffee ("Meyer calls it free coffee"), Schenardi releases a selection of these illustrated teletext quotations, rather like hoverflies - those masters of mimicry - disguised as wasps, into the infotainment jungle.

Paperback. Zustand: New. The new English edition of La mia commedia dell'arte (2022) is published in handy paperback format. It is complemented by a rediscovered letter from Ernst H. Gombrich and a text by Catherine and Tarcisius Schelbert, adding two more voices to those that speak of Jacqueline Burckhardt's contribution to the field of art."Art is my oxygen. It is also an inexhaustible cornucopia across all times and disciplines."Burckhardt's life is art, approached from many angles: as a former restorer, as an art historian, as the early initiator of the performance program at the Kunsthaus Zürich, as co-editor of the art journal Parkett, as curator of site-specific art on the Novartis Campus in Basel, as a lecturer at the Accademia di architettura in Mendrisio, and as director of the summer academy at the Zentrum Paul Klee. Her cultural commitment also includes presiding over the Swiss Federal Art Commission for nine years.An in-depth dialogue between curator and art historian Juri Steiner reveals her "inter-esse" in the Latin sense of the word, for she is active both in between and at the core of art. Their delightfully illustrated conversation - as lighthearted as it is profound - provides a fascinating account of Burckhardt's work and mindset. Together, Steiner and Burckhardt address a diversity of topics, ranging rhizome like from the dual historical nature of artworks to Herbert Lachmayer's concept of "taste intelligence." We encounter Kairos, the god of the opportune moment, alongside Isabelle d'Este, the botfly, and the octopus.Selected texts penned over the past 40 years elaborate on issues raised in the conversation and give an insight into Burckhardt's distinctive and informative writings on art.The "Intermezzo"- with contributions by Laurie Anderson, Kurt W. Forster, Katharina Fritsch, Herbert Lachmayer, Pipilotti Rist, Catherine Schelbert, and a copy of Ernst Gombrich's letter-eloquently testify to her relationship with artists and authors.The cover is an artistic collaboration between Herbert Lachmayer and Kai Damian Matthiesen. This "unorthodox, beautiful cover," in the words of the jury of the renowned American Institute of Graphic Arts (AIGA), was awarded a prize in the Fifty Books 50 Covers 2022 competition.With a conversation between Juri Steiner and Jacqueline Burckhardt; inserts by Laurie Anderson, Kurt W. Forster, Katharina Fritsch, Herbert Lachmayer, Pipilotti Rist, and Catherine Schelbert; and a selection of Burckhardt's writings.

Hardback. Zustand: New. A nocturnal secret ritual performed by two naked men in a hotel room in the Netherlands; a woven tent where the artist dressed as a mage encounters visitors to share their traumas; buttplugs adorned with rooster feathers; a collection of queer zines; anal-sprayed tartan paintings; a zen garden of mugwort. A few of the singular artistic gestures AA Bronson committed in the last few years are united in this book. After his General Idea partners, Felix Partz and Jorge Zontal, passed away in 1994, AA Bronson had to learn how to keep on living by himself, inventing a personal identity without his former companions, creating a new community of work, friendship and love. These issues have been at the core of his art in the last 25 years. He has developed a work where collaboration with other artists, especially younger queer artists, and creation of a social bond are central. AA Bronson's House of Shame aims to emphasize this social dimension in his work through an overview of a series of exhibitions he made between 2013 and 2018. These are shows that bring together a community of artists; shows where performances and rituals, often invisible, contribute to the creation of a shared experience; a unique blend of art, friendship, collaboration, spirituality and humour. The book is in two-parts. An initial monographic section, which includes an essay and an interview with the artist, brings together the works and the exhibitions. In the second, choral part, friends have been invited to bear witness and write a sort of 'journal de bord,' telling the tale of five years of the artist's community life. With a foreword by Vincent Simon, a text by Paul Clinton, and an interview by Frédéric Bonnet, and contributions from Philip Aarons, Defne Ayas, Elijah Burger, Matthias Herrmann, Richard John Jones, Bradford Kessler, Terence Koh, Sholem Krishtalka, Mark Jan Krayenhoff van de Leur, Gareth Long, Chrysanne Stathacos, Scott Treleaven, and Louwrien Wijers.

Paperback. Zustand: New. Skuter (Indonesian for "scooter") shows a slice of motorized life on the Indonesian island of Sumatra. These pictures of people on motor scooters, many on their way to or from work, were shot through the window of a moving car on a two-day trip from the Aceh highlands to Medan, the capital of North Sumatra. Motor scooters, sometimes used to carry whole families, provide Indonesians with an affordable form of mobility and have become a permanent fixture of daily traffic and everyday life on the archipelago.The authors took these snapshots in the fall of 2015 while shooting a documentary film about the palm oil industry and rampant deforestation in Sumatra. Most beautiful Swiss books, 2017.

Paperback. Zustand: New. The photo series by Jean-Pierre Maurer and Robert Müller was only shown once, in the Kunstgewerbemuseum Zürich in 1968, without any commentary other than a text by Ettore Sottsass. It is now displayed in this same way in Morgan Is Sad Today, which has been republished. The title of the book comes from a song whose lyrics go on to say ".sadder than yesterday"- and which in turn comes from the movie Morgan, A Suitable Case for Treatment, 1966, by Karel Reisz. It marked the beginning of a new way of making movies, the Free Cinema, with statements like "No film can be too personal," or "Perfection is not an aim," which are also reflected in the photographs at hand. The staged documentations and the stagings documented in the studio recall elaborate, but unpretentious concepts in art photography series by Swiss artists such as Manon or Urs Lüthi; on the other hand, though, the formal style, motifs, and narrative threads echo comic books. The pictures capture the Zeitgeist: on a trip to the myth-obsessed London of the Sixties or when Zurich Beat bands still posed for record covers standing head to head, or made leaps wearing suits with skinny ties and Flamenco dancer ankle boots. The Mid-sixties were also a time when the first large-scale black and white prints of posters became available: of Buster Keaton or Albert Einstein sticking his tongue out, or Trotsky. The photo series Morgan Is Sad Today is in this sense very much also a conceptual stringing together of posters.  In his text Ettore Sottsass stays very close to what the Zeitgeist embodied without glorification or denigration, with a subtle sense of amusement. And Sandro Fischli draws on the backgrounds of the pictures, sometimes sharply, sometimes deliberately, fraying a subjective and associative social and cultural history of the 1960s, and looking back on an economically booming Switzerland in which the boundaries of high culture were becoming increasingly porous.

Hardback. Zustand: New. It stares grimly out of its wide-open bloodshot eyes, while the row of tentacles concealing its oral fissure seem to judder voraciously. The membrane covering the next one's head is so thin you can see its brain bulging out beneath it. Still others have flat reptilian faces or canine heads, trunks, beaks, pointed ears, feelers and/or teeth sticking up through the tops of their heads. Wherever you look you'll see warts, bristly, pathologically proliferating tufts and mops of hair, staring cyclops' eyes, droopy ears, impish toothless grins, ginormous eyes with multiple pupils. And in between, details of their sleeves, cufflinks and shirt buttons displaying skulls, as if from a mail-order catalogue of horror. Monsters in Suits neatly lines up this whole cabinet of horrors in a series of mock-official busts. The bigshots of politics and business are captured and caricatured here in dark blue ballpoint. But these aren't straightforward portraits of Nestlé's CEO ("Water is not a human right"), the head of the Ku Klux Klan or the ringleaders of far-right youth groups. They are distorted and mixed up by the subconscious into grotesque monsters and bogeymen, each fitted out with the trappings of respectability: namely a suit and tie. They're ready for business-whatever the cost to the welfare of the world. Here, for once, they show their true colors-and their true mugs.