Edition of 600
Paperback 26×24 cm
Released on the occasion of Müller’s solo exhibition at the Museum im Bellpark, in Kriens, this publication showcases a selection of photographs taken by the artist, over a year-long period, in secondhand shops, flea markets, antique stores and auction houses in Berlin. Art objects, bibelots and “discarded commodities” are framed as elusive, ghostly presences caught within fading backgrounds. They are vectors of the past, the scoria of history; fully extradited from the present, they convey shifting values concerning sentimentality, historicization and commodification. As reflected by the materiality of the publication itself — a lightweight, stapled paper booklet inserted into a transparent plastic sleeve — Müller’s images display objects whose very existence, meaning and usability in the world are interrogated.
Flash Art Magazine
The Four Seasons Forever
Edition of 800
Paperback 28×21 cm
A new publication on the work of Sam Falls, The Four Seasons Forever, depicts 13 photogram works made by the artist, each pictured before and after its exposure to natural elements, such as sun, wind and rain. The first section of the book shows Falls’s collection of classical music on vinyl, photographed lying on shimmery, silk material. Each record, accompanied by its original cover, serves as “ elief” or “sun catalyst”, in order to create an impression of two geometric shapes (a circle and a square) on silk. Time, chance and accident combine in this series of works, which the artist created on the occasion of a year-long exhibition at Galleria Franco Noero, Turin. The publication includes an extended conversation between the artist and Nicolas Trembley.
Flash Art International no. 313
March – April 2017
Discussing the painting practice of Kerry James Marshall with Hans Ulrich Obrist, fashion designer Grace Wales Bonner cites Marshall’s intention to keep producing images of blackness “so that you’re broadening the spectrum and flooding people with that kind of imagery until it becomes normal.” “I think that’s probably why I’m on this path as well,” she concludes. Her words are central to this issue of Flash Art, which is premised on broadening the spectrum of representation of disenfranchised and marginalized communities and giving voice to creatives emerging out of these groups.
This issue gathers together artists and practitioners concerned with the development of creative languages “for empowerment,” all of whom “weaponize” creativity. In a tacit homage to Lutz Bacher’s interview project “Do You Love Me?” our cover artist Puppies Puppies meets with fellow Los Angeles–based artist Nancy Lupo. To his question, “What do you think about power in my work?” Lupo replies: “We are mutually vulnerable. The project of finding out when and where love begins is irresistible because it allows you to inscribe yourself into something that’s already happening. You get to choose your archetype, although it’s true that archetypes can be vexing, as are readymades.”
Edition of 600
Hardcover 26×24 cm
This publication explores the painting practice of New York–based, Italian-born artist Matteo Callegari. Organized in sections according to the artist’s bodies of work, the volume digs into Callegari’s constellation of references — from ancient funerary sculpture to Renaissance painting — and rearticulates materials according to the artist’s strategies of image-making. Design studio Front Desk Apparatus imitates Callegari’s painting practices of distortion and delineation in order to freeze the moment in which the images’ semantic value deteriorates. Callegari’s paintings appear in these pages as corrupted data, information bugs; at the same time they fight for their own iconicity. Embodying the very process of the artworks’s making, this book can be read as the platform of Callegari’s “painting system.”