follow
A series of folded invitations cards/posters by Meyer Riegger Galerie (est. 1997 in Karlsruhe, since 2008 also in Berlin). The exhibiting artist would choose the text for the inside, a quote, a poem, a short text. As many of the new young galleries established in the mid to late nineties, Meyer Riegger Galerie used their invitation cards to highlight individuality and as an innovative form of (self-)branding. Invitation cards could become an art project, and a space where art may happen – and is distributed worldwide for free. A similar strategy was adopted by other young up-and-coming galleries such as neugerriemschneider, Berlin (est. 1994), Gavin Brown’s Enterprise, New York (1994-2020), CFA Contemporary Fine Arts, Berlin (est. 1992), The Modern Institute, Glasgow (est. 1997), or Eva Presenhuber (Galerie Walcheturm 1989-1998/Galerie Eva Presenhuber).
Körner Union
Since 1999, Sami Benhadj, Tarik Hayward and Guy Meldem have been working together under the name Körner Union. We produce commercials, music videos, prints and features. “Je connais les artistes et je me souviens d’une carte de voeux qu’ils avaient evoyée, avec cet humour décalé. Mais je n’ai pas vu l’exposition présenteée par ce flyer.” (user comment)
Cyprien Gaillard at frac champagne-ardenne
An invitation card for Cyprien Gaillard’s exhibition at frac champagne-ardenne. The frac still send invitation cards, as many French instiution continue to do. Sometimes in very ambitious forms. If I am not mistaken, the graphic concept is by Gavillet & Rust, in charge of the frac champagne-ardenne’s graphic identity since 2008. The studio was originally established in 2001 as Gavillet & Rust by Gilles Gavillet and David Rust (1969-2014).
Mark Leckey
In 2006 The Drunken Bakers were the subject of a film by Mark Leckey (to be watched). Leckey created a film using frames from the original strips to construct a narrative and added a soundtrack spoken by himself and his colleague Steve Claydon in Liverpudlian accents. According to Emily Mears,
By fading the screen to black between episodes, Leckey constructs an elliptical narrative that mirrors the sense of time lost by the drinkers and the viewer. The video plays in a white box with a white carpet; a clock projected onto the outside of the box tells a stuck time, the hour hand slipping back to three each time it manages to reach four.
In Roberta Smith’s words, Leckey constructs “dreamy, druggy, disjointed variants on music videos…He has ingeniously filmed the comic strip with close-ups and jump-cuts, creating a kind of stop-action animation, and added a skillfully explicit soundtrack replete with convincing belches, slurps, breaking glass and vomiting.” Smith says that Leckey’s artwork is less an original work than an “adaptation or an homage” of the original cartoon. (as reported by Cabinet’s website)
Comment by a user Thomas Schlup: “‘Betrunkene Bäcker’ nannte sie Mark Leckey; mich erinnern sie aber an die beiden Jungs bei Busch, einfach ein wenig in die Jahre gekommen. Das waren vielleicht nur Doubles, die gemahlen wurden, und die Originale sitzen hier auf dem Bänklein vor dem Haus und erzählen dem Wilhelm ihre Missetaten aus der Jugend. Drei-Gupf-Hüte. Keck.”
THE ADVERTISMENTS OF GALERIE BRUNO BISCHOFBERGER IN ARTFORUM AND KUNSTBULLETIN
BACK COVERS. SUMMER FALL WINTER SPRING. THE ADVERTISMENTS OF GALERIE BRUNO BISCHOFBERGER IN ARTFORUM AND KUNSTBULLETIN. Since 1987, Galerie Bruno Bischofberger has combined the advertisements for its gallery program with images of traditional Swiss life; a montage of contrasts that brings local traditions face to face with a globalized art world’s cosmopolitan self-image. For roughly thirty years, the advertisement series has appeared parallel in the art magazines Artforum and Kunstbulletin and has helped the gallery achieve a high level of recognizability. Curated by Peter Fischli and Hilar Stadler at Bellpark Kriens in 2018.
Comment by user Thomas Schlup: “Ländliches Brauchtum, verwurzelt in Volk und Scholle. Keine billige Touristenfolklore. Die Zinggen in der Landschaft heissen im Volksmund ‘Toblerone’. Sie dienten einst als Panzersperren. Die Titelseiten sind ein Spiegel der Zeit, die in Dialog treten mit den Fotos, mit denen Bruno Bischofberger auf seine Galerie hinweist. Das ‘Kunstbulletin’ begleitet uns auch heute noch verlässlich.”
Villa Magica and friends: Season’s Greetings
Annual Season’s Greetings by Villa Magica, the Geneva-based label founded by Sylvie Fleury, John Armleder, and Stephan Armleder (aka The Genevan Heathen). Here and here some of the label’s music, LPs, and CDs. They also have or had a tumblr page.
Comment by User Thomas Schlup: “Leicht antropomorphe Katzen mit einem Mistelzweig auf einer vergnügten Rutschpartie wie es sie nur in England geben kann. Die Karte ist ein Nachdruck aus einer privaten Sammlung, und nun ist sie wieder gesammelt worden. Eine ganze Sammlung an Schriften – gesetzt, gedruckt, gestempelt, geschrieben. Die kleine Grüne Karte hat zwei eingeprägte Schneesterne. Die Lamettabäume funkeln prächtig.”
Jochen Lempert
Jochen Lempert ist mir vor zwei Jahren in Paris begegnet. Ich mag seinen Blick auf die scheinbaren Nebenschauplätze. Diese Fotografie ist irritierend und zauberhaft: Das kleine Gewicht auf der Wasseroberfläche; die Spannung, die es trägt. Faszinierend: der weite Raum, der sich im Wasser spiegelt. Das unscheinbar Kleine im unendlich grossen Raum.
Peter Wiedenmeier
‘Wegen Schneefall abgesagt’ teilt uns Peter Wiedenmeier mit, auf einer nebelgrauen Fläche, die alles zudeckt. Die Kugelschreiberzahlen könnten Pegelstände bedeuten. ‘Elco’ für Schreibmaterialen und Couverts, schön geschwungene Schnüerlischrift. Die gedruckte Seite der Karte macht dann deutlich weniger her. Thomas Schlup
NO ISBN!
If a publisher is selling their books on their own and are not trying to place them in stores or libraries or with wholesalers, is an ISBN required? No, an ISBN is not required. Straight from the horse’s mouth. Thomas Schlup
Heidrun Holzfein, Mexico 68
“Between 2005 and 2007 I conducted a series of video interviews with activists of the 1968 student movement. MEXICO 68 investigates the significance and impact of the ‘68 student movement on Mexican society, politics and culture in general, and on the lives of the participants in particular. Conducted almost forty years after the fact, the 18 interviews with activists offer a diverse range of personal accounts, political and social analysis as well as reflections on the events that took place during that mythic year.” (Heidrun Holzfeind)
See also http://www.mexico68.net/. It’s the announcement for the publication by Kodoji Press.