A journey into Miami’s ghetto. A gang, writing classes, a bicycle, rap songs, turquoise houses, dollars, a strip club and North Beach ocean. A love story forbidden by the silent rules of the streets of Liberty City. A solar depiction of a place where fates are sealed. She is Ella. His name is June. Burnt by the sun, they are watching the white shapes of water, “White Water”.

“White Water” takes the reader on a journey through Liberty City, a poor neighborhood in Miami. It draws the story of two characters divided by everything: Ella & June. A hybrid project, this story is related by both a book and a movie. Analog photographs, raps, poems & interviews will immerse you into the hood alongside the fiction. The short movie acts as a symbolic and poetic depiction of the story. Both are connected, independent & intrinsic.

“White Water” offers a reading as an artistic experience. It is an adventure, an exploration, and a questioning of the self and the others. Halfway between a novel and an art book, “White Water” offers an adventure, an exploration and a questioning of oneself and of others.

Limited edition of 150 copies

Un voyage dans le ghetto de Miami. Un gang, des cours d’écriture, un vélo, du rap, des maisons turquoise, des dollars, un strip club et l’océan de North Beach. Une intrigue amoureuse interdite par les lois silencieuses des rues de Liberty City. Le portrait solaire d’un lieu où les destinées sont déjà écrites. Elle s’appelle Ella, il s’appelle June. Brûlés par le soleil, ils regardent les formes blanches de l’eau, “White Water”.

“White Water” offre au lecteur un voyage dans un quartier pauvre de Miami appelé Liberty City et tisse un portrait de ce lieu à travers le regard de deux personnages que tout sépare : Ella & June. Projet hybride, il se décline sous la forme d’un livre et d’un court-métrage. Le livre est un roman de fiction accompagné de photographies, de raps, de poèmes et d’interviews. Le court-métrage agit comme un portrait poétique et symbolique de la fiction. Ils sont connectés, intrinsèques et à la fois indépendants. 

À mi-chemin entre le roman et le livre d’art,“White Water” se veut une aventure, une exploration et un questionnement sur soi et sur les autres.

Édition limitée de 150 exemplaire

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Texts by Brad Feuerhelm, Juri Marian Gross, Marija Repšytė, and Nele Ruckelshausen
Edited by Philippe Gerlach and Agnė Juodvalkytė
Design by Marijn Degenaar

Through photographs of the studio process and visual sketches the first publication ANSKA by artist Agnė Juodvalkytė offers an overview of the artist’s studio practice from the past years while creating a sensory world of recollection. The book marks the conclusion of the ANSKA cycle in her work.

“In Agnė Juodvalkytė’s work, the weave that is bound by cloth, ash, dirt, and dye, invokes memory, utility, and hand-infused labor. The stains, folds, and strained fraying edges of her chosen material are also infused, caked, and distressed to provide new readings of production. There is something familiar in her use of textiles. Each fold of fabric is detailed by a weave birthed from the center spiraling out in an obstinate mosaic of emotion wrought from the plunder of self.”
— Brad Feuerhelm

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Top Stories, #19-20: How to Get Rid of Pimples

How to Get Rid of Pimples is Cookie Mueller’s first and only fiction publication, where she spins short, strange tales of friends healed by her miraculous acne cure. Although the stories revolve around her description of others, Cookie herself outshines her characters, with an unmistakable voice that is astute, grotesque, and undeniably hers – as if Flannery O’Connor became a New York downtown diva. With photos by Peter Hujar, Nan Goldin, and David Armstrong, How to Get Rid of Pimples conjures a vision of the remarkable world of Cookie Mueller.

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Please join us for the book launch of

Ein Jahrhundert der verletzten Männer / A century of injured men
Bernhard Cella
Published by Album Verlag, 2022

Art&Girls
_
Published by Salon für Kunstbuch, 2022

10 February 2023
from 7pm

Motto Berlin
Skalitzer Str. 68 (im Hinterhaus)
10997 Berlin


Links:
Bernhard Cella
un.titled
art.n.girls
Album Verlag
Salon für Kunstbuch

Ein Jahrhundert der verletzten Männer / A century of injured men

Authors: Bernhard Cella
Publisher: Salon für Kunstbuch
Year: 2022
Pages: 152
Dimensions: 12.8 x 20 cm
Language: English / German
ISBN: 978-3-85164-210-0

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Bernhard Cella’s sweeping pictorial documentary of convalescent men present us with an iconography of a century of medical progress and, by the same token, with a typology of the mise en scenes of soon-to-be homecoming patients. These staged pictures open up a counter narrative to that of vigorous, unscathed, and invulnerable masculinity. They invariably invoke calamitous moments, sustained injuries, the scars of war as well as the causes and circumstances preceding a fateful event that no camera was there to capture. Their insistence on calm, deceleration, casual gestures, and lightheartedness in the photographer’s presence cannot hide this fact. Or, as Paul Virilio put it, “images are ammunition, cameras are weapons.”

Bernhard Cellas Panoptikum an rekonvaleszenten Männern – quer durch ein Jahrhundert – demonstriert nicht nur eine Ikonografie des medizinischen Fortschritts und die Typologie der mise en scène der bald wieder in den Alltag Zurückkehrenden. Es legt in seiner jeweiligen Inszenierung auch einen Bruch offen, der dem Bild der vitalen, unversehrten und unverletzbaren Männlichkeit zuwiderläuft. Jedes fotografische Abbild trägt in sich unweigerlich auch den Moment des Unfalls, der Verwundung, der Kriegsverletzung, bei dem kein Aufnahmeapparat zugegen war. Die Insistenz auf Ruhe, Entschleunigung, Unbefangenheit und Unbeschwertheit für das Objektiv kann nicht drüber hinwegtäuschen. Oder wie Paul Virilio formulierte: “Bilder sind Munition, Kameras sind Waffen”.

Art&Girls 

Authors: _
Publisher: Salon für Kunstbuch
Year: 2023
Pages: 204
Dimensions: 14.8 x 10.5 cm
Language: English / German
ISBN: 978-3-902374-23-3

Text by Valie Djordjević
Translation by Andrea Scrima

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We see women looking at art, everything an exhibition has to offer: paintings, sculptures, installations. If we’re women, then one could say they’re women looking at women looking at art. And if the Instagram account “art.n.girls,” which reposts images of women looking at art, is also art, then we have women looking at art in which women are looking at art. The images are gleaned from the Instagram accounts of museums, galleries, art magazines, art blogs, and auction houses. Women looking at art embody a particular image of commodified femininity that shows its bourgeois roots. Thus, they reflect the commodification of an art that’s become a mere investment. Their bearing in these PR photos is receptive, moved, submissive, and might be intended as a stand-in for the artwork’s aura, but ultimately it remains empty and devoid of meaning.

Wir sehen Frauen, die sich Kunst anschauen – alles, was die Ausstellungsorte so hergeben: Gemälde, Skulpturen, Installationen. Wenn wir Frauen sind, dann könnte man sagen, hier schauen Frauen sich Frauen an, die auf Kunst schauen. Und wenn der Instagram Account “art.n.girls,” der Bilder von Frauen repostet, die sich Kunst anschauen, auch Kunst ist, dann schauen Frauen auf Kunst, auf der Frauen Kunst anschauen. Die Bilder stammen aus Instagram Accounts von Museen, Galerien, Kunstzeitschriften, Kunstblogs oder Auktionshäusern. Die Kunst schauenden Frauen verkörpern ein ganz bestimmtes Bild von warenförmiger Weiblichkeit, die ihre bourgeoise Herkunft nicht versteckt. Sie spiegeln damit die Warenförmigkeit einer Kunst, die lediglich Investitionsobjekt ist. Ihre Haltung in diesen PR-Fotos – empfänglich, bewegt und unterwürfig – soll möglicherweise als Surrogat der Aura des Kunstwerks dienen, bleibt aber letztendlich leer und ohne Bedeutung.

Urban Kitsch, originally written in 1996, explores the forms of vernacular visual culture that emerged in the city of Baroda following the liberalization of the Indian economy. Plastic toys, celebrity mud flaps, and postmodern architecture collide into a new formal category—both celebrated and derided—as Praneet Soi traverses the city on his trusted Yamaha RX 100.

Published for the first time by Reliable Copy and Sharjah Art Foundation, Urban Kitsch was written as part of Praneet Soi’s Master’s in Painting at the Faculty of Fine Arts, Maharaja Sayajirao University of Baroda. The complete facsimile of this dissertation is accompanied by a recent interview with the artist by Nihaal Faizal and Sarasija Subramanian.

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Over the years 1919–20, the celebrated medical scientist and doctor Carl Julius Salomonsen began giving public lectures and publishing pamphlets regarding a new “epidemic” that had begun to affect the European populace: the increasing ubiquity of modernist art.

In a 1919 pamphlet titled New Forms of Art and Contagious Mental Illness, he wrote: “We stand, at this moment, before a movement in art which is psychopathic in character, and whose victorious journey through all countries is probably caused by the same spiritual disease that gave the older, religious spiritual epidemic such a powerful spread.” This pamphlet and the accompanying talks were countered by a retaliatory pamphlet published by members of Grønningen, a Copenhagen modernist painters group, to which Salomonsen responded with a further pamphlet.

Translated into English for the first time by literary theorist Andrew Hodgson, the entire altercation is gathered in this book, documenting one of the earliest rejections of modernist art.

Edited & Translated by Andrew Hodgson

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The structure of a 1982 Cinderella sticker album formed the basis for Lenard Giller’s Productions, exploring the tension between mass media, memory, empty frames and fulfilling time. Originally conceived to host 360 stickers as a printed synthesis of its cinematic counterpart, Giller reinterprets its configuration offering a new narrative proposition.

In Productions, none of the characters are suitably introduced, confrontations take place without explanation and the resolution is left unresolved. What remains is a broken-up storyboard, a slimmed-down tale told through drawings, the characters becoming innocuous, with their voices from the original film and their emotional journeys entirely absent. It becomes as much about the processes of production as it is about the story, Giller exposes the limits of how entertainment is made, when all is reduced to its core.

Texts by Ted Targett

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This project is dedicated to the research of future actions for the conservation and promotion of biodiversity. The grasslands for insects collected in this book were made possible by several machine learning models.

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Pocket-sized street furniture catalogue expresses love for scraps of wood, tattered oilcloth, pieces of organolith and other derelict materials. This furniture is super-nature layer dissolved in our cities. Collection of furniture is protected from the modern habits of fast consumption and meets the highest aesthetic standards. It is free of superficial, fashionable tendencies. Through its simplicity and logic, it reflects the honesty and authenticity of the materials from which it is made.

Numbered, third edition of 50
2022

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Creating, traveling, drawing, and building: such is the DNA of the exuberant architect and designer Marcelo Joulia. Driven from his home country of Argentina by the 1976 military coup, this personal trauma gave him the strength to be a great builder. For thirty years, his agency Naço —‘intuition’ in the Guarani language—has been the laboratory of a global and inventive architecture, aiming to decompartmentalise genres and trades, and mixing knowledge, arts, and professional backgrounds together. Belonging to no specific school, and fiercely attached to his independence and freedom, he has imagined a unique creative space in which expertise and rigor both flourish within the domains of luxury, urban mobility, and major architecture. As an insatiable adventurer, he is able to take an interest in anything —large-scale buildings, design, furniture, bicycles, boats— while not denying himself anything. His passion revolves around teamwork and bringing talents together to conceive of new worlds. As an epicurean, a generous person passionate about art and gastronomy, Marcelo Joulia creates places in his image: unique, welcoming, and always dynamic.

This book showcases the vision of a man and an agency that has surrounded itself with the best and strived to bring to life a demanding and iconoclastic architecture, and carry it forth into the future.

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