Universities and art schools alike have been subjected to the pressure of recent austerity politics and the ongoing attempt to transform higher education according to the demands of reigning neoliberals. In this context, it is urgent to conceive of alternative frameworks and methodologies of study–whether within, outside or at the margins of academic institutions.

This book examines the current interest in education through a series of conversations with artists, theorists, activists and educators -including Suhail Malik, Brian Holmes, Ruth Sonderegger, Gerald Raunig, Judy Chicago, Gal Kirn, Mohammad Salemy, Melissa Gordon, Marina Vishmidt and Andrea Fraser-who are all actively involved in developing new models of study. Ranging from self-organized learning to critical teaching methodologies, the alternatives gathered here offer a resource for those interested in the renewed politicization of education, new modes of knowledge production and teaching methodologies.

€ 23.00

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Before the onset of the social and cultural backlash that was brought on by the Reagan administration in the early eighties, Southern California was ripe territory for the genesis and development of emancipation movements for and by African Americans, Chicanos, pacifists, Marxists, feminists and homosexuals. Starting in the late sixties, these revolutionary waves particularly influenced practices such as performance art, video, installation and collaboration, which led to the construction of alternatives like artist-run spaces, non-profit spaces and artist-run community art spaces. In Santa Barbara, Los Angeles and San Diego, collaborative public action was constructed around utopian knowledge which was then redirected towards universities and art schools that favored the emergence of radical pedagogies. These other manners of experimental thinking, doing and teaching permitted artists to deconstruct certain canons that were inherited from European tradition and art history, and provoked a reexamination of “the American way of life”. In the Canyon, Revise the Canon.

With contributions by:

Mark Allen, Juliette Bellocq, Vera Brunner-Sung, Nancy Buchanan, Carol Cheh, Matthew Coolidge, Jill Dawsey, François Esquivié, Rita Gonzales, Géraldine Gourbe, Robby Herbst, Walter Hopps, Robert Irwin, Chris Kraus, Leslie Labowitz, Suzanne Lacy, Fred Lonidier, Pauline Oliveros, Elana Mann, Emily Mast, Senga Nengudi, Janet Sarbanes, Annette Weisser, Joshua Young, Andrea Zittel

Ed. Geraldine Gourbe
Copyeditors Geraldine Gourbe & Emily Mast
Proofreaders Vera Brunner-Sung
Design Bartolomé Sanson
Publishers Bartolomé Sanson & Stéphane Sauzedde

Co-published with ESAAA, Ecole Supérieure d’Art de l’Agglomération d’Annecy

€ 16.00

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The Communist Manifesto was first printed as a 24 page pamphlet in February 1848, in London. Since that time, it has been reproduced in countless contexts — making it not only one of the most widely read texts ever, both one that continues to be disputed for the efficacy of its call to action. It has been subject to various editions and translations, but the various covers that package the manifesto exemplify the complexity of ways it has been received, perceived, used and abused across different times and places. All publishers are presented with the paradoxical issue of how to design its cover and market such a text — to confront it both in terms of form and function, use and exchange value.

01.01.CM presents over 100 covers of The Communist Manifesto, compiled by the Museum of Ordure from its collection. The book is turned inside out to draw attention to its material form and historical conditions: the covers have fascinating stories to tell of hopes and anticipated futures – for instance, in their use of particular imagery and in the signs of wear through human use – and draw attention to the excesses of capitalist production. This notion of excess is fundamental to the overall project of the Museum of Ordure in its attention to the management of human waste and identification of ordure. What value do readers place upon the Manifesto in a situation where radical politics appears to have been reduced to commodity form, nostalgia or mere curiosity?

01.01.CM was published as part of the exhibition: Systemics#3: Against the idea of growth, towards poetry (or, how to build a universe that doesn’t fall apart two days later), in Kunsthal Aarhus (16jan.–30mar.).

editing/design Geoff Cox and Mathias Kokholm
image editing Lasse Krog Møller
assistant Michael Roloff

A very red book!

€30.00

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Felicia Atkinson / Shelter Press @ Motto Berlin. 04.07.2015
performance 8pm (sharp)

Felicia’s sound performance derives from her LP ‘A Readymade Ceremony’ and her book ‘Improvising Sculpture As Delayed Fictions by Felicia Atkinson’, both published by Shelter Press

On the same evening, Chert opens

Ceramics & Graphite

Artists: Laura Aldridge, Felicia Atkinson, Peppi Bottrop, Lucy Coggle, Tommaso Corvi-Mora, Emilie Ding, Jérémie Gindre, Emma Hart, Hannah James, Klara Kayser, Marthe Krüger, Bevis Martin and Charlie Youle, Lucie Mičíková, Diogo Pimentão, Vanessa Safavi, Erik Steinbrecher, Ignacio Uriarte, J. Parker Valentine, Renata Ward

with a text by Georg Simmel “The Stranger” from 1908

English / Indonesian

with a text by Georg Simmel “The Stranger” from 1908

edition of 800

€12.00

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Print on Demand

€12.00

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Fara Fara means face-to-face in Lingala and is a musical phenomenon deeply rooted in Congolese culture. Two groups play at the same time at adjacent locations, and the ones who play longest win. In times gone by, disputes were sometimes settled in this way; nowadays, it is more about musical leadership. A Fara Fara is a massive event attracting huge crowds, but it happens very rarely.

This book is about a film where a Fara Fara takes place in Kinshasa, a musical battle between the two major proponents of Congolese contemporary rumba. The film has not been made yet. It will be directed by the artist Carsten Höller and the film director Måns Månsson.

The book contains photographs taken during various preparatory trips, made since 2001 by Pierre Björk, Hoyte van Hoytema, Reed Kram, Armin Linke, Giovanna Silva, Patrik Strömdahl and the directors. The Swedish writer and music cognoscente Elin Unnes provided the text.

Concept: Carsten Höller
Graphic design: Christoph Steinegger/ Interkool
Text: Elin Unnes

PVC softcover, hot foil

€30.00

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This catalogue brings the first comprehensive survey of most of public art works which Sanja Iveković has either sketched, proposed or performed “on the street” over the last three decades. As we face a time when the idea of public space is confronted by the effects of private capital, and while on the other side of that coin the feminist slogan ‘private is political’ still has it’s raison d’etre, Ivekovic rethinks notions of public through her work.

€20.00

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Published in conjunction with the exhibition “Anicka Yi: 6,070,430K of Digital Spit” at the MIT List Visual Arts Center, the book includes an exchange between Caroline A. Jones and Yi on scent, ethnicity, and symbiotic microorganisms; an essay by Johanna Burton on networks and extravisual means; and an essay by Alise Upitis on the irreducible ambiguity of Yi’s work. Anicka Yi: 6,070,430K of Digital Spit is the artist’s first monograph.

Texts by Johanna Burton, Caroline A. Jones and Anicka Yi, and Alise Upitis

Designed by Eric Wrenn

€24.00

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Müller Josh 1–5 (2014) is a self-published artist’s book developed collaboratively by artist Josh Müller (DE/AT) and typographer Nik Thoenen (CH/AT). The project contains documentary material from five individual bodies of work, however without providing an overview — nor a review — of Müller’s artwork. While two of the five slim volumes expand on or parallel to existing works, the other three elaborate on non-shown long-term documentary and archival projects from 2001-2013. As a whole, the book engages with the generation of narrative. Far from being a fragmented linear reproduction of existing works, the publication demands montaging as an unbound collage, an exploration of the literary and the visual, enhancing the experiences of cross- and close reading. A self-published project: a work in the form of a book. Unbound and loose-leafed, an installative work in itself, a tribute to the non-linear character of the five volumes.

Five-part Artist’s Book
Camouflages / The Non–Titled Files / la construction du ciel / jetzt gleich — soon now / A Face that Turns its Face Away

With essays by Roland Graffé, Lina Morawetz, Gaëlle Obiégly, Axel Stockburger

Graphic design Niklaus Thoenen
Published independently, Vienna 2014
Printed in an edition of 300 + 50 on Munken paper 70g/m2, perforated and boxed.
The fonts Korpus and Areal BL were created by Niklaus Thoenen and Michael Mischler (Binnenland).
115 b/w and 26 colour images

€56.00

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