The best source of information

about an artist is the artist.

— John Baldessari, 1975

This newspaper is published biannually by JRP|Ringier. Issue 2, Fall 2011. Printed in 15 000 copies by Ringier Print Adligenswil AG. Not for sale

We make Books
With Art
This second issue of JRP | Ringier’s
journal is released earlier than planned
thanks to the positive feedback we
received from the first. The initial aim
to inform readers, booksellers, and art
world professionals about our program,
recent releases, and current projects,
seems to have met expectations.
Inside you will not only see
announcements for finished books, but
also enter into a space where projects
are defined, will evolve, and find their
final form. This new issue presents you
with our list of books to be completed
between this fall and spring 2012, offers
various reflections on the translation
of an artist’s project into printed matter,
and introduces some of the authors and
editors we work with on a regular basis.
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ities, visit us at www.jrp-ringier.com,
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Highlights

John Baldessari
Yto Barrada
Gabriele Basilico /
Dan Graham
Ericka Beckman
Jennifer Bolande
Valentin Carron
Nicole Eisenman
Luigi Ghirri
Piero Gilardi
Mike Kelley
Sean Landers
Armin Linke
John Baldessari photographed by Hedi Slimane

Christian Marclay
Allan McCollum
Mai-Thu Perret
Rodarte / Catherine Opie /
Alec Soth
Tim Rollins & K.O.S.
Paul Thek
Heimo Zobernig
 John Baldessari
2 Writings Artist's Books 3

John Baldessari and Lionel Bovier, Los angeles, November 2010

Notebooks. Photographs: Gilles Gavillet

“more than You Wanted to know about John
Baldessari” is the first complete collection of the
writings of artist John Baldessari. edited and with
essays by meg Cranston and hans ulrich obrist,
the texts in this two­volume set trace the develop­
ment of Baldessari’s understanding of art from
the early 1960s through to the present, and includes
an extended interview with the artist on the sub­
“Pa”
ject of his writing. “Pa” is an artists’ magazine published
annually. each issue presents an in­
depth look at the oeuvre of a contempo­
the collection also includes numerous who need ideas, to the problem of money rary artist working in the medium of
never­before­published texts as well as in the art world, while returning through­ photography. the artists are given the
opportunity to invite a fellow artist of
facsimiles of the original documents out to the very focused set of issues that their choice to make a contribution
that illustrate Baldessari’s word compo­ are key to his own work. Principle among to the issue and to engage in a dialogue
about their practice.
i NeVer sitions, which achieve both literary and them is Baldessari’s love of words and John Baldessari and film set designer
saY eDifiCe graphic impact. his long­standing investigation into the Naomi shohan created “Pa” #3 present­
ing a unique combination: film stills
WheN BuiLDiNG in a pared­down style that is more similarity and possible interchangeability from the outsider’s view—the artist’s
WouLD Do practical than aesthetic, Baldessari writes of word and image. take on hollywood—and film stills from
the insider’s view—the set designer
by turns as a storyteller, moralist, teacher, in his view, words have the advantage who has worked on many major film
and occasional gadfly using whatever form of being the most abstract though para­ productions such as “american Beauty,”
“Constantine,” “the replacement
is needed to accomplish what the artist doxically the most common and under­ killers,” “the sorcerer’s apprentice,”
describes as the central task of art making: stood form of communication. he believes among others. they engage in a visual
dialogue and play with juxtapositions,
to communicate in a way that people can that words make it possible to catch more correspondences, and contrasts,
understand. When describing his writing of the world in the net, not just the which add new, surprising, ironic, and
witty dimensions and narrations to
Baldessari is typically concise and profound, picturesque. all the writings included in the images.
“i never say edifice when building would do.” “more than You Wanted to know about the publication includes a conversa­
tion between John Baldessari and Naomi
Baldessari’s writing addresses a broad John Baldessari” are motivated by that shohan, moderated by amy Cappellazzo,
range of topics from the problem of color impulse to catch more of the world and as well as texts by David Campany and
Jessica morgan.
in sculpture, to the problem of art students to ever expand the possibilities of art. Published by Cristina Bechtler in
collaboration with Christie’s.

The Book: More Than You Wanted To Know About John Baldessari New Release: John Baldessari in collaboration with Naomi Shohan (PA3) Also Available: John Baldessari, Parse

Edited by Edited by Edited by

Meg Cranston and Cristina Bechtler, David Campany Beatrix Ruf
Hans Ulrich Obrist
John John Authors English edition
English edition
Spring 2012
Baldessari Baldessari John Baldessari
David Campany
Available
ISBN: 978-3-03764-117-0
Vol. 1: ISBN: 978-3-03764-192-7
Vol. 2: ISBN: 978-3-03764-256-6
More Than More Than Amy Cappellazzo
Jessica Morgan
Hardcover, 335 x 255 mm
240 pages
Softcover, 150 x 210 mm
240 pages (each)
You Wanted You Wanted Naomi Shohan Images 280 color
CHF 90 / EUR 58 /
CHF 30 / EUR 20 /
GBP 14 / US 29.95
To Know To Know English edition
October 2011
GBP 48 / US 95

This two-volume publication is About John About John ISBN: 978-3-03764-252-8

Softcover, 240 x 310 mm
part of the Documents series, co-
published with Les presses du réel Baldessari Baldessari 160 pages
Images 100 color
and dedicated to critical writings CHF 30 / EUR 20 /
[Vol. 1] [Vol. 11] GBP 15 / US 29.95
 allan mcCollum
4 Retrospective Monograph Retrospective Monograph 5

since the late 1970s, allan mcCollum and community (just as was the art

Recently published in the Migros Museum series

Published in the Christoph Keller Editions series in 2011
(*1944, Los angeles, lives in New York) itself ), in an effort to explore local
has addressed the production, distribu­ micro­politics and understand how his
tion, acquisition, display, and reading of projects might develop in interaction
the artwork. art as a symbol of social with specific milieus. thus, his constant
Peter Piller this first retrospective monograph, edited by and economic status, and thus the
museum and the commercial gallery as
use of strategies of multiplication, his
examination of the museum as a discur­
it’s Not a Garden table
“kraft” is the new artist’s book by
Peter Piller [isBN 978-3-03764-230-6].
rhea anastas, offers, through original contribu­ authorities, have been the focus of his sive agent, and his recurrent interest in an anthology on art and design which
questions the permeability of these
work from his first “surrogate Paintings”
all of the photographs in this vol­
ume were taken between 2007 and
2011 from the artist’s car, during his
tions alongside extensive visual documentation (1978–1982), his “individual Works”
notions of display, as well as his attempts
to find a generic form for any purpose,
fields through interventions by artists
and designers such as martino Gamper,
martin Boyce, andrea Zittel, and
job­related journeys between
hamburg and Leipzig on the a7
of many unpublished works, a new reading on (1987–1989), his recent “shapes Project”
(since 2005), through the famous series
were entirely reconfigured by this dis­
placement of context. Working with
Jerszy seymour [isBN 978-3-03764­
211-5, english edition/isBN 978-3­
freeway near Bad fallingbostel , and
include the kraft logo. mcCollum’s work. of “Plaster surrogates” (started in 1982), regional museums, heterogeneous audi­
03764-237-5, German edition].

“Perpetual Photos” (since 1981), and ences, and references ranging from pale­
“Perfect Vehicles” (since 1986), as well as ontology to mineralogy, allan mcCollum
in collaborations with Louise Lawler and has built a very strong and intriguing
Laurie simmons. in the 1990s, the art­ body of works that has remained, in large
a VerY stroNG ist’s “art objects” were replaced by found part, unknown to (or at least unseen by)
aND iNtriGuiNG objects belonging to a situated context the art world.
BoDY of the Garden of
oriol Vilanova Works that forking Paths

Photograph: Larry Lamay

“they Cannot Die” by Catalan artist has remaiNeD, an anthology about contemporary
oriol Vilanova is a possible portrait
of how the 20th century dealt with
iN LarGe Part, follies, edited by heike munder, with
original contributions by Lars Bang
history and fame. it starts with a uNkNoWN to Larsen, michael Bracewell, horst
fiction written as a theater­essay in
which Dalí, Lenin, and Disney enter
(or at Least Bredekamp, anthony Vidler, Catherine
Wood, etc. [isBN: 978-3-03764-232-0,
into a lively argument about immor­ uNseeN BY) english/German edition].
tality in an empty exhibition room
[isBN 978-3-03764-246-7].
the art WorLD

alex Bag
mischa kuball first monograph on the american art­
ist, edited by raphael Gygax & heike
in “New Pott” [isBN 978-3-03764­
munder [isBN 978-3-03764-220-7,
138-5, German edition], 100 families
english/German edition]. alex Bag
from 100 different nations give an
is regarded as a vital reference point
account of their lives in the ruhr
by an entire generation of younger
region (ruhrpott) of Germany, out­
artists such as Cory arcangel and
lining their perspectives for a new era.
shana moulton.
christoph Keller editions
2222 2 2222
tri-AnnuAl report
dAs institut
Adele roeder
Kerstin Brätsch

K e rsti n B rätsc h
Ade le roe de r
dAs i nstitut
tr i e n n uAl r e p ort
2011 – 2009
c h r istop h K e lle r e ditions
The Book: Allan McCollum

Edited by
Allan McCollum Rhea Anastas

Authors
Rhea Anastas
Martha Buskirk
kerstin Brätsch & MaryJo Marks
adele röder Catherine Quéloz

English edition
maybe softer corners?

at the end of 2011 kerstin Brätsch

Spring 2012
& adele röder (Das iNstitut) will TITLE
TITLE

ISBN: 978-3-03764-193-4
publish “triennual report 2011– 112 113

Hardcover, 280 x 272 mm

2009” (sic), a new project by the two workable but maybe not so good as the other

144 pages
Photograph: Colby Bird

artists. edited by katharina hegewisch

Images 100 color / 30 b/w
von Perfall, kathrin Jentjens, anja
CHF 90 / EUR 60 /
Nathan­Dorn, sandra Patron, and
GBP 40 / US 80
Beatrix ruf, it is published in
45 degree

an english/french/German edition
best best 5 degree slant the best

[isBN 978-3-03764-231-3]. ..05 curved corners

best

TITLE
TITLE
 mai­thu Perret Valentin Carron
6 Reference Monograph Reference Monograph 7

New releases
New releases in 2011
Collage Culture “the Crystal frontier” (1999–) is the first body of the sculptures of  Valentin Carron (*1975, lives in texte zur kunst
this little pamphlet by aaron rose,
mandy kahn, and Brian roettinger
work by mai­thu Perret (*1976, lives in Geneva), martigny, switzerland) mark a renewal of appro­ 1990–1998
a French translation of a selection
has been released this fall. a reflection
in the book­form on collage as a
contemporary practice. english
and is a series that comprises text and objects, priationist discourse: through the re­employment of essays stemming from the
German journal “texte zur kunst,”
edition, only 19 eur/29 us$ [isBN
978-3-03764-119-4]. Check also
which she describes as either the hypothetical of vernacular forms that are not part of the domi­ edited by Catherine Chevalier
and andreas fohr [isBN 978-3-03764­
214­6], and published in the
www.collageculture.com.
production of a group of women living in autarchy nant culture, the artist develops a project that Documents series.

Fondation d’entreprise Ricard, Paris

Isabelle Cornaro

in the desert of New mexico, or the materialization confuses genres. Neither authentic nor kitsch, not
Isabelle Cornaro

Le Magasin, Grenoble

of the principles that shape their everyday life. readymade nor really craft, these objects play with

je škaredé, tak „dnešného škaredého poobedia“ a podobne). A potom pôjdeme spať a potom zas ďalej!
prežitie tohto dňa, ktoré je možno i najpravejšou pointou práve dnešného krásneho večera (keď čítaš poobede, tak „dnešného krásneho poobedia“, a ak

1) To, že toto dieťa je nadmieru talentované niekedy nie je spontánne evidentné, alebo je len ťažko evidovateľné. 2) Ak toto dieťa nie je evidované ako
so on). And then we will go to sleep, and then again onwards!
then “beautiful afternoon”, and if it is miserable, then “miserable afternoon and

O) That child is extremely talented. And from this root I will build / there will be
built the following elementary protocols. 1) The fact that the child is extremely
John Doe & Joe Bloggs say: 0) To dieťa je nadmieru talentované. A z tohto koreňa budem / sa budú budovať nasledujúce elementárne protokoly.
ISBN 978-3-03764-234-4

9 783037 642344

investigating our relationships to common

ambiguity (fake wood, fake concrete, fake bronze,
isabelle Cornaro objects found in contemporary art, design etc.) and with an iconography of power and Boris ondreicka
spaces, and everyday shops, the artist
the first monograph dedicated to
the french artist (*1974, lives in
engages with the consequences and chang­ authority (public sculptures and commemorative the new volume in the tranzit
Paris). edited by Clément Dirié,
with texts by Vivian rehberg, Glenn
ing realities of utopian thinking as it
becomes incorporated into capitalism’s
monuments, traditional forms, etc.). series, edited by Vit havranek,
is an artist’s book by Boris
ondreicka. english edition
adamson, and alice motard.
[isBN 978-3-03764-234-4].
Published in an english [isBN 978- mainstream. the book includes most of
3-03764-208-5] and a french [isBN
978-3-03764-209-2] edition.
her projects so far, introduced by short
captions she has written, as well as newly
commissioned essays by elisabeth Lebovici
and Diedrich Diederichsen.
EVERYTHING
Cover Image:
Art Center Graduate Press

Joseph Jacotot
(1770–1840)

IS IN EVERYTHING

UES RANCIÈRE JACQUES RANCIÈRE

GILBERT-ROLFE Between INTELLECTUAL
ANK RUDA EMANCIPATION and
E DE BOEVER AESTHETIC EDUCATION
EVERYTHING IS IN EVERYTHING

TER FRIEDL For Jacques Rancière, politics is not primarily the exercise or

N VOELKER struggle for power but the institution of a certain type of space
and time, a mode of visibility and intelligibility that creates a tear
in the consensual fabric of a given form of collective life. Art
RE FONTAINE institutes just such a space and time, in which the fundamental
polarities of experience—activity and passivity, form and matter,
ON E. SMITH appearance and reality—are suspended and transformed.

LDER WILLIAMS The essays collected in this volume, based on a symposium

held at Art Center College of Design (Pasadena), consider the

RIA MUHLE
knot formed in Rancière’s work between aesthetics, politics and
education. From his earliest work (The Lesson of Althusser) to
his magisterial book on the pedagogical theory of Joseph Jacotot
TTE WEISSER (The Ignorant Schoolmaster), the theme of education has been at
the center of Rancière’s concerns; his apparently recent turn to
aesthetics, after the 1995 publication of The Disagreement, should
be understood as a continuation of his studies of the aesthetic
experiments conducted during the post-work nights of 19th

Patrick Weidmann
century proletarians (The Nights of Labor).

The questions forming the horizon of this collection are therefore:

Edited by
Center Graduate Press JASON E. SMITH & ANNETTE WEISSER
what would it mean to propose a new aesthetic education of
humanity? How would the resurrection of this concept transform
the current concepts of art, politics, and pedagogy? And to
what extent is it necessary to return to the founding moments
of aesthetic theory to rearticulate the relation between art and
politics today?

the first monograph on Weidmann’s

everything is in photographic work, edited by Lionel
everything Bovier [english/french edition,
isBN 978-3-03764-236-8].
Photograph: stefan altenburger

subtitled “Jacques rancière Between

Photograph: italo rondinella

intellectual emancipation and

Photograph: andré morin

aesthetic education,” this volume,
edited by Jason e. smith, is
based on a symposium held at art
Center College of Design,
(Pasadena) [engish edition, isBN
978-3-03764-265-8].

The Book: Mai-Thu Perret The Book: Valentin Carron

Edited by Edited by
Lionel Bovier Lionel Bovier

Authors Authors
Diedrich Diederichsen Andrea Bellini
Elisabeth Lebovici Christy Lange
Jacob Proctor Fabrice Stroun
Dorothea Strauss
English edition
English edition Available
Available ISBN 978-3-03764-204-7
ISBN 978-3-03764-201-6 Softcover, 238 x 286 mm
Softcover, 238 x 286 mm 160 pages
160 pages Images 87 color / 12 b/w
Images 100 color CHF 60 / EUR 40 /
CHF 60 / EUR 40 / GBP 25 / US 55
GBP 25 / US 55
 Christian
8 Interview by Lionel Bovier Photographs by Will Lytch 9

as obsolete as this method of recording It’s not the first time you wanted the design

Christian Marclay
pictures. And the blueprint process team NORM to work on one of your
uses photosensitive ferric compounds, books (they worked on “Replay” in 2007 for

Marclay
similar to the iron compound that coats instance); could you describe how this
magnetic tape. Making cyanotypes is relationship develops into some kind of colla­b ­
actually a very handmade and low-tech oration and if it is an integral part of making
procedure. There are a lot of chance the book, rather than the mere documentation
elements that you have to remain open of an existing work?
to and integrate. Right away I thought of collaborat­
ing with NORM. This is the second book
Your “Cyanotypes” series uses a very partic­
Lionel Bovier The format of the book and the decision to use we’ve done together and I thoroughly
many foldouts is quite specific and relates to scal­ enjoyed working with them. They’re not
ular and old-fashioned technique of photographic ing images in the printed matter space. How just designers with a good visual sense,
development. How did you come up with this did you envision these questions when you started they’re conceptual artists. Designing a
thinking about the project? book is like making an intimate sculp­
idea, and how do you think it translates into a book, NORM, the designers, suggested a ture. It’s an object to interact with, and
4

larger format than I initially thought of.

with its characteristic photomechanical processes?
I’m curious how the loss of
Christian Marclay
something becomes the return of some­
thing else, like a cycle, or circular entropy.
I wanted to document the work I did at
Graphicstudio in Florida using this old-
fashioned blueprint photographic process,
and the first idea I had was to make a
blue book, using one color to print every­
thing, images and text. I’m very fond of
the color blue. It’s the color that repre­
sents the sky, water, and Blues music.
Sound is air in motion and it flows like
a river, never the same twice. The cyano­
type’s process has always intrigued me.
How were these old photograms or archi­
tectural blueprints made? I use cassette
tapes to create my images. Recording
audio onto cassette has slowly become
I generally don’t like large art books.
each aspect of this object has to be
thought out carefully. There should be a
Larger is rarely better. The books end up good reason for everything. The scale,
too heavy and uncomfortable to handle. paper weight, paper texture, font, cover,
Through the use of foldouts NORM was binding, spine, etc. have to coalesce into
able to make certain images larger while a book that best expresses the content.
keeping the book at a reasonable scale. “There is no art without details,” said
The larger reproductions allow smaller the Fluxus artist Ben. I love making
details to be shown—fragments of the tape books. It’s not just a way to translate my
and even words printed on the cassettes. work into a printed medium, but an
The cover is soft and comfortable in the extension of the work and an art form
hand, while still using a sewn binding. in itself.

Designing a book 5

is like making
an intimate
sculpture. It’s an
object to interact
with, and each
aspect of this
object has to
be thought out
carefully

The Book: Christian Marclay — Cyanotypes

Edited by
David Louis Norr

Authors
Noam M. Elcott
Margaret A. Miller

English edition
Available
ISBN 978-3-03764-219-1
Flexicover, 222 x 330 mm
116 pages
Images 68 color
CHF 54 / EUR 40 /
GBP 34 / US 55
Published with Graphicstudio,
Tampa
 Armin Linke
10 Socialist Architecture: The Vanishing Act Photographs by Armin Linke 11

“Socialist Architecture: The Vanishing Act” is

a collaborative project between photographer
Armin Linke and architect Srdjan Jovanovic Weiss.
Weiss and Linke have worked together since
2009 to visit and document selected examples of
ex-Yugoslav Socialist architecture in order to
document the state that they are in today. The
Socialist Federation of Yugoslavia vanished during
the early 1990s and the former Socialist states
were Balkanized into a number of emerging demo­
cracies. Each of these new states inherited monu­
ments, buildings, landscapes, and infrastructure,
which were constructed specifically for the former
Socialist context and needs. After Yugoslavia’s
disappearance, most of the inherited architecture
was left vacant and in a state of limbo between
being repurposed and reused for new content, or
simply being declared Socialist archeology, and
continuing its life as ruins. By creating documen­
tation, “Socialist Architecture: The Vanishing Act”
captures the indecision of five particular emerging
democracies today—Croatia, Bosnia-Herzegovina,
Montenegro, Macedonia, and Serbia—and the
The Book: Armin Linke and Srdjan Jovanovic Weiss Also Available: Armin Linke — ll Corpo dello Stato

distinct effects their irresolution creates spatially

Edited by Edited by
Tobia Bezzola Lionel Bovier
Srdjan Jovanovic Weiss

and visually on former Yugoslav architecture.

Author
Authors Giorgio Agamben
Tobia Bezzola
Philip Ursprung English / Italian edition
Srdjan Jovanovic Weiss Available
ISBN: 978-3-03764-080-7
English / German edition Softcover, 210 x 255 mm
January 2012 128 pages
ISBN: 978-3-03764-245-0 Images 72 color
Hardcover, 245 x 345 mm CHF 45 / EUR 29 /
156 pages GBP 25 / US 39.95
Images 100 color
CHF 78 / EUR 50 /
GBP 42 / US 75
Published with Codax Publishers,
Zurich

Armin Linke & "Socialist Architecture: The Vanishing Act" is a collaborative project
between photographer Armin Linke and architect Srdjan Jovanovic
Srdjan Jovanovic Weiss. Weiss and Linke have worked together since 2009 to visit and
 Luigi Ghirri
12 Project Prints Text by Elena Re 13

© Eredi di Luigi Ghirri

© Eredi di Luigi Ghirri
In the early 1970s, Luigi Ghirri (b. Scandiano,
Reggio Emilia, 1943–d. Roncocesi, Reggio Emilia,
1992) delved into fundamental ideas about the
Luigi Ghirri, Brescello 1989, “Il profilo delle nuvole”
series, project print, 9 x 11 cm

role of photography in contemporary art. He often

© Eredi di Luigi Ghirri

created maquettes in order to visualize and struc­

ture his series and think about his work. In the
early 1980s, as he probed deeper in the search for
Luigi Ghirri, Correggio – Villa Pirondini 1990,
“I luoghi della musica” series, project print, 8 x 10 cm
expression in his work with landscapes, Ghirri
started producing larger negatives, clearly not for
© Eredi di Luigi Ghirri

the sake of technique itself, but rather to “get

Luigi Ghirri, Forlì 1983-85, “Esplorazioni sulla Via
Emilia” series, project print, 9 x 11 cm
inside” the subject more intensely. Thanks to these
master copies Ghirri was able to produce excel­
lent contact prints, small photographs that he would
cut out, file, and line up in order to see each im­
age, plan his series, organize his own ideas; or he
would leave them loose and then bring them to­
gether again in endless combinations. These small
photographs that enabled Ghirri to organize his Luigi Ghirri, Milano – Studio di Aldo Rossi 1989-90, “Studio di Aldo Rossi” series, project print, 5.5 x 7 cm

own outlook from the early 1980s until 1992, were

named project prints. Including about 250 pictures,
an essay by Elena Re, interviews with Paola Ghirri,
Massimo Minini, Andrea Bellini, and excerpts
from Ghirri’s own writings, this book is a journey
The Book: Luigi Ghirri — Project Prints

through the work and the vision of this important

Edited by Eelena Re

Authors

Italian artist. It is published on the occasion of a

Andrea Bellini
Luigi Ghirri

touring exhibition of this body of works, starting

Paola Ghirri
Luigi Ghirri Massimo Minini
Project Prints Elena Re

at Castello di Rivoli, Turin, in 2012. English/Italian edition

Spring 2012
ISBN 978-3-03764-249-8
Hardcover, 200 x 260 mm
180 pages
Images 200 color
CHF 52 / EUR 39 /
GBP 32 / US 55
 Tim Rollins
14 Tim Rollins and K.O.S.: An Index Interview by Alessandro Rabottini 15

We began painting on book this problem of how to be inspired but

Photographs: Nelson Ricardo Savinon, 2010
Tim Rollins and K.O.S. (Kids of Survival)
Alessandro Rabottini
have been collaboratively drawing and painting on
book pages since 1982. In a certain way, I see this
Tim Rollins and K.O.S. (Kids of Survival)
Tim Rollins
pages because, well, it looked great. It
was like skating or dancing on the sur­
face of the leaf torn from a selected
volume. It felt transgressive yet transcen­
dent simultaneously. We were broke,
so we had to work with very inexpensive
materials like watercolor, and while the
results often feel immediate, the medium
does require a certain concentration,
To be published soon
not be determined by the texts being
used, whether they were written by
Kafka or Malcolm X, Melville or Stephen
Crane. As I started deeply considering
the problems we were creating for our­
selves, it was important to research the
Beat Streuli
history of the text and image relation­
Public Works 1996–2011
A reference monograph on the Swiss
ship. While Odilon Redon would engage
photographer, edited by Salome
with the writings of Edgar Allan Poe and Schnetz & Beat Streuli, English

book as a sort of marvellous tautology: it brings
control, love of chance, and happy acci­
dents. We were making illuminations
Flaubert, he once wrote that his images
were never illustrations but “visual cor­
edition [ISBN 978-3-03764-206-1].

together almost all the titles that they have been
working on since the beginning of the project, and
inspired by the narratives and movements respondences” of his own dream and
of the carpet of text underneath. They
trance-like invention. I was also moved Gabriele
Detterer &
are categorically not illustrations but by Arnold Schoenberg’s early music and Maurizio

it does so by means of the very primary medium

Nannucci
something more integrated. William Blake’s its relationship to the text … and the [eds.]
Artist-Run
watercolors of his poems immediately poetry or librettos or Lieder that so many Spaces
We were broke,
so we had to
of the work, which is the singular book page. As came to mind. In the early days of the composers use as muses for their own
project, the young participants in the Art
work with very if it were a collection of contemporary miniatures. and Knowledge Workshop (that was our
music. The text becomes a generator for
a new creation that may not have a direct
Artist-Run Spaces
The first extensive research on
inexpensive name for it back then) and I would make and obvious correspondence. This strat­ artist-run spaces of the 1960s–1970s,
materials like things out of necessity with the only egy is always and fearlessly intuitional, edited by Gabriele Detterer &
Maurizio Nannucci, English edition
watercolor, real structure being the need to solve often irrational … [ISBN 978-3-03764-191-0].
and while the
results often
feel immediate,
the medium does
require a certain
concentration,
control, love of
chance, and happy Raymond Bellour
accidents Between-the-Images
20 illustrated essays written between
1981 and 1989 by the prominent
film theorist Raymond Bellour.
Edited by Lionel Bovier &
Clément Dirié, English edition
[ISBN 978-3-03764-144-6].

The Book: Tim Rollins and K.O.S. — An Index

Edited by
Alessandro Rabottini, with Nikola Documenta 4 / 5
Dietrich and Andrea Villani A new series of DVDs
Authors “Documenta” 4 and 5 filmed by
Nicholas Cullinan Jef Cornelis
Suzanne Hudson Edited by Yves Aupetitallot
English / French edition
English edition March 2012
Spring 2012 Published with Le Magasin,
ISBN 978-3-03764-241-2 Grenoble, and Argos, Brussels
Hardcover D4: [ISBN 978-3-03764-257-3]
200 x 240 mm D5: [ISBN 978-3-03764-258-0].
224 pages
CHF 48 / EUR 35 /
GBP 29 / US 47.50
Published with GAMeC, Bergamo;
Fondazione Galleria Civica, Trento;
Museum fur Gegenwartskunst, Basel
Recently published / Limited edition Rodarte, Catherine Opie, Alec Soth / English edition — ISBN 978-3-03764-122-4 — Hardcover, 215 x 280 mm, 176 pages, images 141 color — CHF 70 / EUR 52 / £ 45 / US 80
 Fabrice Stroun
18 Associate Editor Interview by Lionel Bovier 19

As a freelance curator, what has your relation­ You are about to take up the directorship of the

Photograph: Balthazar Lovay

Photograph: Samuel Gross

ship to printed matter been? Kunsthalle Bern. What will your publications
I tend to work on books with artists program be like?
the same way that I approach a show. In One option, which I may favor, is
the end, it is just another platform to cast to standardize and rationalize all publica­
Fabrice Stroun (*1968) was, until this year, an the artist’s work in the most transparent
light. Of course, this ideal for objectivity
tions: a single format, a set number of
pages and design options, etc. It would
independent curator based in Geneva, where he is skewed by the fact that I suffer from an make economic sense to do so; it would
acute fetishistic relationship to printed
also headed Hard Hat, a gallery space and publish­ matter. I collect books, and often push art­
bolster the identity of the institution and
its program, etc. Of course, it’s a solution
ing venture for artists’ editions. Appointed as ists to make books that I would like to own. that may not always be in the artist’s
best interest, and would undoubtedly limit
the new director of Kunsthalle Bern in 2011, he has Does it work? Are the books you have worked the distribution capacity of whatever it
on your favorites?
worked as an Associate Editor with JRP|Ringier Not often. Besides well conceived
is we publish. It’s a conundrum I’m still
trying to think through.
since its foundation in 2004. He has notably co- artist’s books, which artists tend to edit
themselves, I favor comprehensive mono­
edited, with Lionel Bovier, Tom Lawson’s and graphs with a substantial scientific apparatus:
in depth, illustrated exhibition chronolo­
David Robbins’ writings in the “Positions” series, gies, detailed technical descriptions of
and his long-term project of publishing Jim Shaw’s artworks, annotated bibliographies, etc.
But these take forever to do, especially if
“My Mirage” works recently came to a conclusion you are working alone. I’ve been working
on a Steven Parrino monograph for a
with the release of the book this spring. number of years now … as you know!

Thomas Lawson — Mining for Gold. Selected Writings (1976—2002) David Robbins — The Velvet Grind. Selected Essays, Interviews, Satires (83—05)

Edited by Edited by
Lionel Bovier Lionel Bovier
Fabrice Stroun Fabrice Stroun

English edition English edition

Available Available
ISBN: 978-2-940271-22-1 ISBN: 978-3-905701-02-9
Softcover, 150 x 210 mm Softcover, 150 x 210 mm
I suffer 192 pages 320 pages
from an acute CHF 20 / EUR 13 / Images 16 b/w
GBP 11 / US 15 CHF 24 / EUR 15 /
fetishistic GBP 11 / US 22
relationship
to printed
matter

Jim Shaw — O Jim Shaw — My Mirage

Edited by Edited by
Lionel Bovier Lionel Bovier
Fabrice Stroun Fabrice Stroun

Authors Author
Yves Aupetitallot Fabrice Stroun
Lionel Bovier
Doug Harvey English edition
Nadia Schneider Available
Fabrice Stroun ISBN: 978-3-03764-187-3
Softcover, 200 x 260 mm
German edition 216 pages
Available Images 123 color / 32 b/w
Photograph: Jeanne Graf

ISBN: 978-2-940271-40-5 CHF 56 / EUR 40 /

Hardcover, 205 x 286 mm GBP 32 / US 55
64 pages
Images 47 color
CHF 38 / EUR 25 /
GBP 17 / US 29
 Piero Gilardi
20 Piero Gilardi: A Life In and Out of the Art World Text by Clément Dirié 21

Piero Gilardi. Photograph: Renaud Monfourny

“Natura come vestito,” 1967

chronology

1942 Born in Turin

1963 First solo exhibition Machines for
The Future at Galerie L’Imagine,
Turin

Piero Gilardi is a pioneer of Arte Povera and a 1965 First Nature-Carpets

1966 Exhibition Arte abitabile with
Pistoletto at Galerie Sperone,
proud advocate of an ecologically concerned un­ Turin
1967 Exhibition Nature-Carpets at

dertaking in the visual arts. He is a peripatetic Galerie Sonnabend, Paris

1968–1969 Collaborates on the first
two international exhibitions
artist who gathered information about experimen­ of the new tendencies at the
Stedelijk Museum, Amsterdam

tal art and creators in the 1960s, promoting the (Op Losse Schroeven), and at the
Kunsthalle Bern (When Attitudes
Become Form)
work of Richard Long and Jan Dibbets, and intro­ 1969–1980 Withdrawal from the art
world. Works in psychiatric

ducing Bruce Nauman and Eva Hesse to Europe.

hospitals; participates in various
community outreach programs
and political initiatives: a time
He is also a political activist who marched with

for political activism and social
endeavors with students and

What I was trying the FIAT workers in the 1970s, and who founded,

workers. Leads various collective
creative experiences in urban
to do with the outskirts and throughout the

Nature-Carpets in the 2000s, the Living Art Park, commissioning

world: in Nicaragua, on Indian
reservations in the USA, and
was to move
away from a
earthworks from contemporary artists such as in Africa
1981 Publication of the book From Art
to Life, From Life to Art on his life,
self-reflexive Dominique Gonzalez-Foerster and Lara Almarcegui. work, and artistic research
1983 Re-entry in the art world. While
dimension
and toward a For all this and for much more—his design and


working on a new series of
Nature-Carpets, he begins his multi­-
media and “Living Art” period,
“relational” type
of environment,
fashion creations, his social endeavors, etc.— creating a series of  “virtual reality”
artworks

to merge Piero Gilardi is emblematic of the evolution of art 1993 Participation at the Venice
Biennale
technology and 2001 Collective exhibition Zero to

nature—not and society in the last five decades. He is an artist Infinity: Arte Povera at Tate Modern,
London
to set them in whose works and theoretical research are still 2007 Opening of the Parco d’Arte Vivente

Exhibition view, Galerie Ileana Sonnabend, Paris 1967

(Living Art Park), a “moving
opposition garden” designed to promote
relevant to map what art can achieve and how art

“Vestito Natura Betulle,” 1967, performance

encounters and collaborations
around landscape, biotechno­-

can be useful in the “real world.” logies, and ecology

“I wanted to open up the path to a new
creativity that could change the individ­
ual, and change life. But life, society, its
language and structure, rejected creativity.
So I joined forces with all those who
take back control of our lives everywhere,
and in real ways. The posters, sketches,
and cartoons that I made in those days Images: courtesy Semiose galerie, Paris
communicated these human needs … I
worked in psychiatric workshops … Later,
The Book: Piero Gilardi

wanted to change society … At first, there I took part in the activities of a cultural Edited by

was hardly any time for art anymore. The and political collective. My comrades and
Benoit Porcher

fight against the establishment was taking I would go round the neighborhoods, to English edition

all our energy. In those days, creativity the schools and factories, trying to cata­
(French edition by Semiose)
Spring 2012
was expressed through behavior: struggle, lyze the collective creativity of the people ISBN: 978-3-03764-242-9

discussion, equality. The key thing was to who were struggling.” — Piero Gilardi, 1982
Hardcover, 280 x 272 mm
144 pages
Images 150 color / 50 b/w
CHF 90 / EUR 60 /
GBP 48 / US 80
Piero Gilardi, 1967

piero gilardi
 Gabriele Basilico Yto Barrada
22 Unidentified Modern City Reference Monograph 23

Yto Barrada, Tangier, summer 2011

Dan Graham French-Moroccan artist Yto Barrada (b. 1971, Paris)
gained recognition in 2004 with “A Life Full of
Hopes—The Strait Project,” a photographic series
in which she offers an unexpected portrait of
her hometown Tangier, a legendary city finally
revealed in its complexity and contradictions.
Her work, which also includes films, installations,

“Palm Sign,” 2010

sculptures, and publications, is an artistic reflec­
tion on postcolonial history and present-day
geopolitical changes, a combination of documentary
strategies and a meditative approach to images.
This reference monograph gives an overview of
Yto Barrada’s practice—a practice that deals with
history and geography, family stories and layered
memories from Tangier, a thrilling place from
which to address contemporary issues.

“Lyautey Unit Blocks,” 2010

The Book: Gabriele Basilico and Dan Graham — Unidentified Modern City The Book: Yto Barrada

Edited by Edited by
Dan Graham
Gabriele Basilico

Unidentified Modern City

Maurizio Bortolotti Clément Dirié

Lionel Bovier
Massimo Minini Authors
Jean-François Chevrier
Gabriele Basilico & Dan Graham

Authors Juan Goytisolo

Gabriele Basilico Marie Muracciole
Maurizio Bortolotti Sina Najafi
Dan Graham
Massimo Minini English edition
ISBN 978-3-03764-202-3
Unidentified Modern City

English/Italian edition French edition

Available ISBN 978-3-03764-203-0
ISBN 978-3-03764-218-4 Spring 2012
Softcover, 220 x 330 mm Softcover, 238 x 286 mm
80 pages 160 pages
Images 40 color / 3 b/w Images 150 color
CHF 42 / EUR 30 / CHF 60 / EUR 40 /
GBP 24 / US 39.95 GBP 25 / US 55
 Paul Thek Jennifer Bolande
24 Paul Thek New Releases 25

Paul Thek, 1971. Photograph: Erik Cornelius

JENNIFER BOLANDE

“Paul Thek at Moderna Museet 1971/72” evolved
from the discovery of an unrealized publication
project by the American artist Paul Thek (1933–
1988), which had been discussed while he was
installing his first space-filling environment,
“Pyramid/A Work in Progress” in 1971, and which
Paul Thek, Untitled (Janus-faced Giraffe), 1971
For the past 25 years Jennifer Bolande has
engaged in an intuitive form of conceptualism,
working in a variety of media including photo-
graphy, sculpture, photo-objects, collage, film,
installation, and dance. She has built a career out
of being attentive to visual anomalies, making
Jennifer Bolande

Edited by

was to have been released for “Documenta V.” once-ephemeral perceptual and cultural slippages Nicholas Frank

For this project, around 800 images were taken concrete. Her work questions the distinctions
Authors
Dennis Balk
Jack Bankowsky

capturing the progress of the installation, as well between objects and events, and between what is Rosetta Brooks
Nicholas Frank

as the final form of this pivotal work of 1970s real and what is imagined.
Ingrid Schaffner
Christina Valentine

installation art, “Pyramid/A Work in Progress.” English edition

January 2012
ISBN 978-3-03764-260-3
Softcover, 229 x 343 mm
The book contains not only a large curated in terms of its re-incorporation 192 pages
Images 120 color
number of unpublished images, but also of what has been left out of art and CHF 45 / EUR 32 /
evaluates the complex organizational exhibition history. Consequently, the book GBP 28 / US 45

Ericka Beckman
task of the installation’s conception and takes a documentary and fragmentary
Sheet with text by the Artist’s Co-op, Pyramid/A Work in Progress, 1971

eventual realization. It offers an exhibi­
tion history seen through the backdoor,
with particular attention paid to the
status of the ephemeral objects that
remain as contingent representatives of
the lost work. The selected and repro­
duced source material is understood as
approach, and reproduces all the contact
sheets and a large selection of the
photographic images, all the remaining
correspondence between the artist and
the institution, the exhibition and
work-related ephemera, as well as the
press coverage of the show.
Beckman began making films in the mid-1970s Super 8 Trilogy Ericka Beckman

using Super-8 sound film. Neither documentaries

nor narratives, these works, as J. Hoberman
puts it, are “like primitive cartoons … enigmatic
allegories filled with nervous activity and comic
violence, sexual imagery … perceptual game-playing
The Book: Paul Thek in Process

and ingenious homemade optical effects.” This

Author
Susanne Neubauer Paul Thek in Process

first anthology gathers three pieces from 1979–

English edition
Spring 2012

1980, made after her CalArts studies and featuring

ISBN 978-3-03764-253-5
Softcover, 160 x 230 mm
160 pages

many other artists as actors.

Images 100 b/w
Ericka Beckman
CHF 30 / EUR 20 /
GBP 15 / US 29.95
Edited by
Lionel Bovier

English edition
Spring 2012
ISBN 978-3-03764-259-7
DVD multizone, 1h30
CHF 55 / EUR 37 /
GBP 26 / US 45
 Sean Landers Heimo Zobernig
26 Retrospective Monograph New Releases 27

Heimo

“Cartoon (Hurry Up Asshole!),” 1992

Zobernig
ohne Titel
(in Red)
Since the early 1990s, Sean Landers’ work has Heimo Zobernig has been viewed as a key figure Kunsthalle
been one of the most fascinating and repeatedly on the Austrian art scene since the early 1980s. Zürich

irritating projects in contemporary art. The polar His oeuvre explores themes of Minimalism, the
opposites of tormented self-doubt and endless historical loading of the opposing pair of  “figura­
self-aggrandizement run like a thread through the tion vs. abstraction,” and the problem as to what
artist’s practice along with a number of masks art is or can be—its outward form and function.
of failure used by the subject as a strategy to pre­ This new monograph attempts to transform his Heimo Zobernig — ohne Titel (in Red)

serve himself from impending loser status. With exhibition, treated as a retrospective, at Kunsthalle Edited by
“Danny Boy of Dingle,” 1993

Beatrix Ruf

text and video works that appear disguised as Zürich in Museum Bärengasse, into book form. Authors

Conceptual art, he introduces into this genre the

Beatrix Ruf
Gregor Stemmrich

taboo of the artist as subject, as well as the artist’s English / German edition
October 2011

emotions. He has become known as the artist

ISBN 978-3-03764-235-1
Softcover, 210 x 297 mm
160 pages

who—with confessional and stream-of-conscious­ Images 70 color

CHF 48 / EUR 36 /

ness texts and videos—presents himself as a

GBP 30 / US 47.50

failure in his art, his life, and his relationships.

Nicole NICOLE
EISENMAN
Installation view, Stuart Regen Projects, Los Angeles, 1994

This comprehensive monograph includes beginnings. It thus presents itself as

almost all of Landers’ early oeuvre,
from 1990 to 1995. Published here for
the first time, it offers an overview on
the text and cartoon works on paper,
the first paintings and sculptures, as well
as the video and audio works of his
The Book: Sean Landers 1990—1995, Improbable History
Edited by
Paul Ha
Eisenman
a companion volume to the reference
monograph published in 2005 and
reprinted in 2008.
Published with the Contemporary
Art Museum St. Louis and the support
of the Ringier Collection.
Since the 1990s the American artist Nicole
Eisenman (born 1965 in Verdun, France, lives
and works in New York) has garnered attention
with her figurative paintings that, playfully and Nicole Eisenman

Authors with great artistic freedom, cross stylistic and Edited by

Beatrix Ruf

compositional elements from the history of art

Matthew Higgs
Dominic Molon
Authors

from Renaissance painting to modernism, with

Nicole Eisenman
English edition
Beatrix Ruf
Available
Lynne Tillman

comics, slapstick, TV culture, pornography, and

ISBN: 978-3-03764-178-1
Laurie Weeks
Hardcover, 248 x 324 mm
392 pages

subcultural image strategies. This new monograph

English / German edition
Images 400 color
Available
CHF 90 / EUR 60 /
ISBN 978-3-905770-78-0

dedicated to her work is published in the

GBP 48 / US 95
Hardcover, 205 x 255 mm
96 pages

Kunsthalle Zürich series.

Images 63 color
CHF 38 / EUR 25 /
GBP 17 / US 35
 Mike Kelley
28 From our Backlist Retrospective Monograph 29

“Timeless Painting #2,” 1995

Production still from “Extracurricular Activity Projective Reconstruction #7 (Woods Groups),” 2004–2005
In 1995, Mike Kelley realized “Educational
Complex,” a model of the school he attended and
the house where he grew up. The blind spots of
the model represent forgotten zones, and are in­
terpreted as symbolic places of “institutional” “Repressed Spatial Relationships Rendered as Fluids
#6: St. Mary’s Church and School (Cry Room in

abuse. For Kelley, this work marks the beginning

the Sky),” 2002

of a series of projects where autobiography, mem­

ory, and the reinterpretation of previous pieces
become the privileged instruments in a poetic
deconstruction of the structures and systems
initiated at the end of the 1970s. “Entry Way (Genealogical Chart),” 1995

“Educational Complex Onwards 1995–2008,”

is the first book bringing together these different
works and offering an overview of the develop­
ment of Kelley’s practice. Each project is exten­
sively documented by artist’s texts and reference
material, while essays by Diedrich Diederichsen,
Howard Singerman, and Anne Pontégnie explain
the systemic change that the artist impulsed in
his work to shift its direction and understanding.

The Book: Mike Kelley — Educational Complex Onwards 1995—2008

Edited by
Anne Pontégnie

Authors
Diedrich Diederichsen
Mike Kelley
Anne Pontégnie
Howard Singerman

English edition
“Missing Time Color Exercise #4,” 1998

Available
ISBN 978-3-905829-80-8
Hardcover, 210 x 270 mm
344 pages
Images 337 color
CHF 72 / EUR 48 /
GBP 32 / US 70
 5 Bookshops
30 Five Bookshops We Love Information and orders at info@jrp-ringier.com 31

Collectors’
Most Beautiful Swiss Books 2010

Editions
Jim
STAMPA: Art gallery and bookshop for Jim Shaw Shaw
international contemporary art, since 1969. 12 original drawings accompanying the
A gallery combined with a specialized publication “My Mirage” (2011); graphite
bookshop for art, photography, design, on paper, 22.5 x 19.5 cm My Mirage
video, artists’ books, and editions. 2011
Kerstin Brätsch and Das Institut, “Parasite Patch from Schröderline,” 2011
Spalenberg 2
4051 Basel
Three different knitted patches, edition of 15 each (+10 sets) Special
T +41 (0)61 261 79 10
info@stampa-galerie.ch edition
www.stampa-galerie.ch

Tuesday–Friday 11 am–6.30 pm
Saturday 10 am–5 pm
Scott King
Atlas of
Second-hand record sleeves printed in
Transformation hot-foil with the famous motif of
12 original drawings accompany the publication dedicated to “My Mirage,” a body of work that the artis
1986 and 1991. Each portrays a male figure drawn from students’ yearbooks, echoing the recurring work

Mike Oldfield’s “Tubular Bells” album

“Girls in Billy’s Class.” Graphite on paper, 25.5 × 19.5 cm, signed, dated, and numbered 1–12 on the bac

Edited by
Edition of 40, each one unique
Zbynek Baladran, Vit Havranek Armin Linke: Alpi (2011)
Special edition

Editioned in 100 copies, the backcover of the LP

is numbered and signed by Armin Linke.

Design
Price: 100 EUR / Order at: info@jrp-ringier.com

Adéla Svobodová, Prague

English edition
ISBN 978-3-03764-147-7
Artwords: Artwords Bookshop is a special­
ist in contemporary visual culture. We
stock a wide range of recent publications
LACMA: Art Catalogues at LACMA spe­
cializes in new and out-of-print exhibition
catalogues and books on the subjects of
Alpi is the result of seven years of research into the perception of the Alpine landscape, juxtaposing places and situations

Armin Linke
across all eight bordering nations and spanning the territories of four languages. Based on the research of Piero Zanini, Renato
Rinaldi, and Armin Linke, Alpi is both a film, presented here on a 60-minute DVD, and an audio piece composed by Oreledigneur
(Giuseppe Ielasi & Renot Rinaldi). This takes the form of an LP (45 rpm), and includes a poster designed (as is the overall project)
by Cornel Windlin & Gregor Huber, as well as a text by Bruno Latour.

and regularly import new books and mag­ art, photography, and architecture of the
“Alpi” is both a film (presented here on
azines from Europe and North America. 20th and 21st centuries and hosts a chang­ a 60-min. DVD) and an audio piece
We aim to reflect current visual thinking. ing program of innovative artists’ talks David Noonan
(taking the form of an LP-cum-poster)
Scenes
Edition of 100
69 Rivington Street
and performances. Special edition

Voici un dessin suisse SHOREDITCH

1990–2010 London EC2A 3AY 5905 Wilshire Blvd
T 020 7729 2000 Los Angeles, CA 90036
Edited by E rivingtonstreet@artwords.co.uk +1(323) 857 6587
Julie Enckell Julliard artcatalogues@lacma.org
Monday–Friday 10.30 am–7 pm
Design Saturday 11 am–7 pm Open weekdays noon to 8 pm; Saturdays and Sundays
No-Do, Neuchâtel Sunday 12 am–6 pm from 11 am to 8 pm (closed Wednesdays)

English edition
David Noonan
Silkscreen print
10.25 × 10.25 in. (26 × 26 cm)

ISBN 978-3-03764-100-2
Edition of 35
Includes silkscreen, artist’s box,
and cloth-bound book

French edition
Numbered, signed, and dated
with white dustjacket

Silkscreen print, 26 x 26 cm
Price: 750 chf

ISBN 978-3-03764-101-9
Includes silkscreen, artist’s box,
German edition
and cloth-bound copy of  “Scenes”
ISBN 978-3-03764-102-6
Edition of 35

Buchhandlung Walther König: Bookshop for L’Atelier d’à côté: In Paris, in the hype
international contemporary art, since 1969 Belleville neighborhood where some of
in Cologne and since 2008 at Museumsinsel the most interesting young Parisian
in Berlin. galleries are now located, the bookshop
Specialized bookshop for art history, artists’ books, architecture,
L’Atelier opened L’Atelier d’à côté, a space
Ringier Annual Report design, graphic design, photography, aesthetic theory, philosohpy, dedicated to arts and travel, with a focus Erik Steinbrecher
2009 arts and crafts, non-European art, international sales.
on contemporary art, aesthetics, cine­ma, In 100 copies of his new publication,
Edited by Burgstrasse 27, DE–10178 Berlin architecture, and photography books. “Super Green Horn,” the artist inserted
Beatrix Ruf T +49 (0)30 25 76 098-0 grass between the front cover and the
berlinburg@buchhandlung-walther-koenig.de 3, rue Constant-Berthaut / 75020 Paris first page; softcover, 14.8 x 21 cm, 300
Design www.buchhandlung-walther-koenig.de + 33 1 46 36 62 77 / atelierdacote@yahoo.fr / www.librest.com pages, black and white offset, signed and
Gavillet & Rust, Geneva Monday–Saturday, 10 am–8 pm Tu–Sa 10 am–8 pm / Su 10.30 am–1.30 pm numbered

Published by Ringier AG
 Beatrix Ruf ’s
32 Top Ten

“The Situationist
International
(1957–1972)”
Wade Guyton
“Black Paintings”

Top 10
A selection of 10 prefered titles from our backlist
by Beatrix Ruf, Director/Curator of Kunsthalle
Zürich and an Associate Editor at JRP | Ringier, in
“Voids
A Retrospective”
Hans Ulrich
Obrist
“A Brief History
charge of a series of first monographs as well as
of Curating”
the Ringier Collection Artists’ Books

Wolfgang Tillmans Guy de Cointet

Sturtevant Valentin Carron

“The Razzle
Dazzle of
Thinking”

Photograph: Mathias Braschler

Liam Gillick AA Bronson &

“Proxemics” Peter Hobbs
“Queer Spirits”

Contacts Distributors

JRP | Ringier JRP | Ringier books are available Switzerland Germany & Austria USA, Canada, Asia,
Letzigraben 134 / CH–8047 Zurich internationally at selected & Australia
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ISBN 978-3-03764-268-9
For a list of our partner
bookshops or for any general
© 2011, the authors, the artists, the photographers, questions, please contact
and JRP | Ringier Kunstverlag JRP | Ringier directly at
info@jrp-ringier.com, or visit
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Design Gavillet & Rust/Devaud, Geneva
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