Exhibition – Centre d’édition contemporaine Geneva

(INDEX)

Giulia Essyad
INNARDS

Posted on 27 September 202429 October 2024 by cec

From September 27 to October 25, 2024

Opening, Thursday, September 26, 2024, from 6 to 8 pm

Presentation of the exhibition by the artist, Thursday, October 24, 2024, 6:30 pm

View of the exhibition Giulia Essyad, INNARDS, CEC, 2024 © Sandra Pointet — View of the exhibitionINNARDS, CEC, 2024 © Sandra Pointet

Giulia Essyad, say you love me bitch, 2024 © Sandra Pointet — View of the exhibitionINNARDS, CEC, 2024 © Sandra Pointet

Giulia Essyad uses her body as both an investigative tool and a physical projection surface, immersing it in fantastical cinematic universes inspired by medieval legends, pop culture and cyborg aesthetics. This composite, hybrid, technological body enables her to escape binary gender classification. Through ultra-sensuality and glamour, and an over-determination of the codes of extreme femininity, Essyad invites viewers to critically deconstruct self-representation and the contemporary body. The body becomes a militant, iconic vector, released from taboos, canons and aesthetic stereotypes, a means of breaking free from essentialist, naturalist tendencies and simplistic dichotomies such as nature/culture, man/woman, human/animal, etc.

In a very free, syncretic style, the artist articulates concepts that range from animism to polytheism, by way of fantasy. She draws on a vast, multicultural range of natural and supernatural phenomena, myths and more traditional, ancient beliefs. In this multifaceted universe, which is simultaneously digital and archaic, the artist creates avatars of herself, metamorphosed into marketing material worthy of the most over-produced advertisements. They oscillate between an amused, assertive animality and a sophistication that would make digital or Hollywood sisters of Ann Lee or Betty Boop, ancient nymphs or modern mermaids. These dolls are transformed into warriors, their bodies liberated from imposed norms and the codes of classical beauty.

This is not Giulia Essyad’s first collaboration with the Centre d’édition contemporaine. In 2015 and 2016, she presented two readings on the occasion of the exhibition of the collective sound edition Artists’ Voices produced in 2016, made up of three vinyls: a poem, Poetry Reading December 2016, and a text, Prophecy Podcast 1. In 2022, the CEC edited Blueberry Studies.Before publication 8, part of the Before publication collection linked to the catalogue L’Effet papillon, 2008-2025, as well as a print, temple-piss19-psd, 2020, an edition offered to members of the CEC association in 2022.

Giulia Essyad is presenting a new body of work specially produced for the INNARDS exhibition, as well as a new edition, Unspeakable (i’m ready), 2023-2024. The latter consists of photographic reproductions of a series of nude images taken as part of a Pro Helvetia residency in Bengaluru, India, in 2022. Unspeakable (i’m ready) includes five photographs of the artist experimenting on herself with the Japanese bondage technique known as shibari. This sexual practice became popular in Japan in the 1950s, before gradually becoming an “art” performed by masters whose techniques were exported and popularised in the West. Giulia Essyad reinterprets them in a more personal and empirical way, for example in the performance Rosabel…BELIEVE (Perrrformat, Zurich, 2022).

From a technical point of view, these photographs are black-and-white reproductions of images that were produced using the wet collodion process – a photographic technique dating from 1860, made famous by the photographer Eadweard Muybridge, the precursor of chronophotography – , in postcard format, on thin sheets of Plexiglas. Sixty-five of these reproductions were individually wrapped in transparent plastic boxes and packaged like computer products, before being bound together with an elastic band in groups of five photographs.

The Unspeakable (i’m ready) edition, like a pack of nudes for sale, is presented in a display inspired by the layouts of electronics stores. The exhibition space calls to mind the interior of a mobile phone shop: in the centre of the room, several phones are laid out on a table. These are actually little cobbled-together lightboxes: DIY objects made from hot glue and salvaged phone cases, rudimentary reproductions of these communication tools. Essyad’s imitations of these indispensable everyday objects are deliberately jerry-built, but jubilantly so. Smartphone cases are transformed into substrates, the exclusive backdrops for her self-portraits, her stagings of herself and her character: low-tech showcases for a body that is both deconstructed and augmented, uninhibited, futuristic and cyborg-like. For Essyad, IT tools (telephones, USB cables) and terminology (RAM, external hard drives) are metaphors for the human body, its venous and nervous systems, its memory, brain and entrails (INNARDS).

The artist, herself a central figure in this provocative, no-holds-barred body of work, offers an alternative to the dictates of a perfect physique, exposing the nudity of a body that oversteps the norms imposed by contemporary society, social networks and unattainable standards. Giulia Essyad humorously turns these tools of ultra-communication to her advantage by modifying them in a deliberately sloppy way. She mocks them, attempts to destroy them from within, well aware that it is almost impossible to free oneself completely from them.

Her overexposed, hypersexualised character claims a right to difference and self-determination, as a means of being totally oneself through a joyful, exuberant theatricality. She plays with the products of over-communication and over-information, in a world that claims to be totally transparent whilst paradoxically producing a double bind of coercion, control and intolerance.

Giulia Essyad is a Swiss artist, born in Lausanne in 1992, who lives and works in Geneva. Her work has been exhibited in solo shows in various venues in Switzerland and abroad: INNARDS, CEC, Geneva (2024); Tunnel Vision III, Tunnel Tunnel, Cinema Bellevaux, Lausanne (2023); Chocolate Factory, Cherish, Geneva (2020) ; Blue Period, Lokal Int, Bienne (2020); A Selene Blues, Fri Art Kunsthalle, Fribourg (2020); Herstory, Tunnel Tunnel, Lausanne (2016); Faces of the Goddess, Quark, Geneva (2016); Immortality, Forde, Geneva (2015); Hunter, MJ Gallery, Geneva (2014). She has also taken part in numerous group exhibitions: Bourses de la Ville de Genève 2024, Centre d’art contemporain, Geneva (2024); Of Bodies in Digital Life, Kunsthaus, Langenthal (2024); Swiss Media Art – Pax Art Awards, HeK, Basel (2024); Swiss Art Awards, BAK, Basel (2023); Jane of All Trades, Schmorévaz, Paris (2023); A performer’s misfits, Oxyd, Winterthur (2023); Ja, wir kopieren, Kunstmuseum Solothurn, Solothurn (2023); Prix Mobilière, Art Geneva, Geneva (2023); Claustrophobia Alpina, curated by Varun Kumar, Forde, Geneva (2022); Unbetrauerbar, For, Basel (2022); Biennale de l’Image en Mouvement, CAC, Geneva (2021); Octobre Numérique: Faire Monde,Pays d’Arles (2021); Fotoromanza, Le Commun, Geneva (2021); Contrology, Kunsthaus Riehen, Basel (2021).

Giulia Essyad’s exhibition is supported by Erna und Curt Burgauer Foundation, Dr. Georg und Josi Guggenheim Foundation and Inarema.

Mini VOLUMES 2024 – Summer Edition

Posted on 8 June 20243 July 2024 by cec

Saturday, June 8, 2024, from 12 to 8 pm

During Zurich Art Weekend

Ramp of Löwenbräukunst
Limmatstrasse 268
8005 Zurich

volumeszurich.ch

The CEC is at mini VOLUMES 2024 – Summer Edition

With the editions, artist’s books and multiples of Marie Angeletti, John Armleder, Artists’ Voices, Paul Bernard, Laurence Bonvin, Harry Burke, Yann Chateigné Tytelman, Liz Craft, Guillaume Dénervaud, Anne Dressen/Nick Mauss, Giulia Essyad, Mathis Gasser, David Hominal, Dorothy Iannone, Victor Man, Paul Paillet, Caroline Schattling Villeval, Susan Te Kahurangi King, Paul Viaccoz

Denis Savary
Quiet Clubbing

Posted on 17 May 202423 October 2024 by cec

From May 17 to August 23, 2024

Opening, Thursday, May 16, 2024, from 6 to 9 pm (Nuit des Bains)

Nocturne d’été des Bains, Wednesday, July 10, 2024, from 6 to 9pm
Presentation of the exhibition by the artist, 6:30 pm

View of the exhibition Denis Savary, Quiet Clubbing, CEC, 2024 © Sandra Pointet — © Denis Savary

Each of Denis Savary’s artwork is the fruit of thorough research into fields as varied as history, art history, literature and sometimes even science. The result of this process is a series of cross-referenced pieces, whose hybridity also plays out at a technical level. Savary values collaboration with craftspeople from different trades (glass, carpentry, ceramics, tapestry, etc.), which works as an opportunity for him to explore their knowledge and to experiment with techniques. At first sight fragmented, his work produces an abundant and heterogenous world, filled with objects charged with a multitude of mythologies, a patchwork of personal memories and references — literary, musical, historical, and folkloric — transformed or reinterpreted.

These intertwined mentions constitute a mental archive, a sort of non-hierarchical library made of extracts, flashbacks and shortcuts between art history, literary figures, between fascination for a variety of artisanal techniques and scientific informations. Savary’s work seemingly belongs within this generic and playful sense of research: the emphasis shall be put on the manufacturing of the objects, prior to their transformation into actual artworks. Therefore, the process itself is fundamental, as a research system, empirical as well as experimental, a never-ending stream of thoughts. If production is carried out upstream, these new propositions might still be reworked, recombined, and modified during the exhibition set-up. Savary is an artist who favors continuity over finality, as a way of escaping the finiteness of the work and remaining curious and receptive to new narratives.

The exhibition title itself, Quiet Clubbing, works as a common thread running through several editions that come together in a nocturnal, festive atmosphere, through which light beams, plays of transparency and dancing movements occur: a collection of glass objects, a video, and a series of posters. Savary’s objects, being transformed and offbeat, filled with references and modified with technical manipulations pushed to the limits of feasibility, are the products of a sensual enjoyment of craftsmanship and the manipulated matter. In a way, one could argue that Savary invents ultra-pop objects, sort of giant toys, unreal, which build an eerie theater from one exhibition to the other.

For the CEC edition, Campfire, Savary invoked the image of the wood fire. This edition is made of seven glass objects produced by the workshop of master glassmaker Vincent Breed, in Brussieu in Lyonnais, with whom Savary has been collaborating since 2013. The choice of the wood fire works as a reference to the origins of the birth of glass. Following Pline the Elder, the first glass was made by accident around 2000 years B.C. by Phoenicians nitre (sodium carbonate) dealers who were lighting a fire on a beach. The heat emanating from the fire, in contact with nitre and silice coming from the sand, generated a chemical reaction which allowed for glass to form.

The idea for this project goes back to 2021, when the artist began an experimental work session on glass. One of the collaborations between Denis Savary and the glassmaker consisted of covering various wooden objects in molten glass, in order to eventually recover the molding. Savary based his edition on the same precedent. These seven unique shapes were made as a technical challenge: reproducing in glass a campfire built with wooden elements. The aim was to cover this highly flammable material with molten glass and obtain its imprint: to destroy and to create with fire, to let emerge out of this incandescent matter a glass silhouette, transparent and liquid, a ghost which would contain the traces and the souls of the wood and the fire; an achievement that evokes the alchemist’s gesture — an artist as alchemist. These aquatic objects made of glass produce luminous diffraction effects that recall the series of images installed in a panorama: aurora borealis seen from a beach covered in snow, between sky and sea, between the shadow of the night of the Far North and the spectral, iridescent waves of the northern lights.

This passage of light is reversed in a new video produced especially for this exhibition, Blood on the Dining-Room Floor, realized with the help of Geoffrey Cottenceau for the photography and Nicolas Ponce for the editing. The first few seconds suggest a CGI animated video reminiscent of the slow, slightly jerky movements of obsolete computer screensavers. Then, little by little, one can enter into the image as in a dark room, where the eye struggles to find its way around and to discern shapes and objects. Architectural elements progressively appear thank to the spotlights of the nightclub, but it then becomes quickly noticeable that this space is a mere illusion. Indeed, the single object of the video is one of the Villa series’ miniature houses that Denis Savary exhibited in the Bernheim gallery, in Zurich, in 2021 (Ithaca). Now working as a projection surface, the Villa II welcomes on its walls another video, Le Must, which was realized by Savary in 2004 and which describes, in still image, a light show inside a nightclub. The video was the central motif of his solo exhibition Baltiques, in 2012, at the Kunsthalle Bern. This mise en abyme actually dissimulates a voluntary play of inversion, of movements and passages, from the inside to the outside, a sort of interpenetration of private and public spaces.

Blood on the Dining-Room Floor borrows its title to Gertrude Stein’s first detective novel, written after the successful Autobiography of Alice B. Toklas. As she lived recluse with her partner, Alice, in the French village of Bilignin, Stein started writing this novel, inspired by the various events and intrigues of the small hamlet daily life. Her country house then becomes a location from which Stein could observe this microcosm filled with underlying violence. With this video, Savary looks back to a specific period in his work, in the beginning of the 2000s, when he was producing videos mostly from or within the immediate environment of his family home in Vaud. Realized in miniDV, a bygone production mean, these videos represent an era where the house worked as a studio and as a vantage point overlooking the world. Curiously, amongst the miniature houses of the Villa series, the one chosen for Blood on the Dining-Room Floor is the one which looks the most similar to the artist’s old house.

In his version realized for the CEC website, the video is accompanied by an eponym sound piece, a work commissioned to the artists composers Maria Esteves and Mathilde Hansen. The sound and the image are merged and seem to be out of sync, as a dance off the beat. Progressively, the house’s motion slows down, and reveals the complexity of a mutli-track House sound from which emerges a voice that chants extract from Gertrude Stein’s novel. The video dissimulates a pun, between the musical genre of House music and the main subject of the film, the artist’s childhood house. Set in a rotating movement, the miniature house from the Blood on the Dining-Room Floor video reminds of dance-floor disco balls projecting rays of colored light: a light show, like the festive counterpart to the northern lights on the Quiet Clubbing posters, or the mysterious reflections caught in the transparency of the glass objects in the Campfire edition.

Denis Savary (1981) lives and works in Geneva. His work has been shown in a number of solo exhibitions, such as : Josy’s Club, with Pierre-Olivier Arnaud, Synagogue de Delme, Delme (2023) ; Octogone, avec Chloé Delarue, Mayday, Basel (2023) ; Flower of Fog, GNYP Gallery, Berlin (2022) ; Ithaca, Galerie Maria Bernheim, Zurich (2021) ; Ambarabà Cicci Cocco, with Alfredo Aceto, Stiftung Kunsthalle Sankt Gallen, Saint Gall (2021) ; Ventimiglia, Galerie Maria Bernheim, London (2021); Phantom, Lemme, Sion (2021). His many recent group exhibitions include : Temps de Mars, Musée des Beaux-Arts, La Chaux-de-Fonds (2024) ; The Big Chill, Galerie Maria Bernheim, London (2023) ; Mirage, MCBA, Lausanne (2023) ; Deep Deep Down, MUDAM Luxembourg, Luxembourg (2023) ; The Puppet Show, Centre d’art contemporain, Geneva (2022) ; Inventaire, Mamco, Geneva (2021) ; Ballard in Albisola, Casa Jorn House, Albisola (2021) ; La Suite – Regards sur les artistes des collections des Frac, Institut d’art contemporain, Villeurbanne (2021) ; Body Double, Galerie Maria Bernheim, London (2021). In 2024, Denis Savary’s work will be the subject of several solo and group exhibitions: Fonderia Artistica Battaglia, Milan ; Denis Savary, Galerie Maria Bernheim, London ; Roma, Roma, Roma, Rolex Learning Center, Ecole polytechnique fédérale de Lausanne. In 2025, he will be exhibited at KBCB Kunsthaus Biel Centre d’art, Biel.

Zsuzsanna Szabo, production manager, is in charge of digital transformation projects for the CEC (2021-2024)

Denis Savary’s exhibition has been produced with the support of the Ernst und Olga Gubler-Hablützel Foundation, the Leenaards Foundation, the Federal Office of Culture and the Republic and Canton of Geneva.

John Armleder
ENCORE TROP

Posted on 15 March 202427 June 2024 by cec

From March 15 to May 3, 2024

Opening, Thursday, March 14, 2024, from 6 to 9 pm (Nuit des Bains)

View of the exhibition John Armleder, ENCORE TROP, CEC, 2024 © Sandra Pointet — View of the exhibition John Armleder,
*ENCORE TROP*, CEC, 2024 © Sandra Pointet

A few monotypes, two screen prints and a multiple

Before attempting to unravel the meaning, or meanings, behind the title of this exhibition, ENCORE TROP, we can consider a couple of quotes by John Armleder from the recent catalogue of a group exhibition he curated, It Never Ends, John M. Armleder & Guests (Kanal – Centre Pompidou, Bruxelles, September 2020). The title of this solo and group exhibition seems to imply a perception of time and space that distances itself from the definitive. Armleder feeds on the propositions, the circumstances as well as the context to make his choices : « I always work following the logic of the space and the people who invite me […] »¹. Here, we find a very seventies philosophy, horizontal, a philosophy of delegation, where the very existence of the work of art is shared by all, in a limitless and open-ended interaction which considers the means of production, the exhibition spaces, and finally the viewer as entirely part of the creative process. In the same catalog one can find the sentence chosen as the exhibition title at the Museion of Bolzano in 2018 : « Plus ça change, plus c’est la même chose. » (« The more it changes, the more it remains the same. »)²

This observation echoes perfectly the circumstances of the exhibition at the CEC, ENCORE TROP, which follows our first collaboration in 1992, more than 30 years ago, when we produced a series of 21 engravings (etchings and monotypes), all unique, which offered a range of different types of print : monochrome surfaces resulting from the inking of an industrially sanded plate, drippings of acid that, when inked, would transform into colorful printed drips, or simply trinkets and glitters directly thrown onto the plate, which would then be crushed and melded with the paper under the pressure of the press roll. Comment from the time: « Etching gives John Armleder the freedom to use the same « motifs » over and over again, with little to no work. In contrast to the traditional practice of using a plate to reproduce the same etching in several copies, John Armleder starts from four matrices treated differently in order to produce a set of dissimilar prints. Thus, he can choose various combinations – superimpositions, inversions, color inking. Without any pre-established system, the decisions depend on the circumstances, the flaws and the successes of each print run. John Armleder rediscovers this freedom of choice which allows him to oscillate between etching and pictorial effects, between free abstraction and geometry, between necessary and relative, between style and non-style, between self-criticism and distancing. »³

Indeed, everything changes and nothing changes. The monotypes exhibited today at the CEC recall the ones produced and exhibited in 1992 : monotypes, unique pieces, available in series, where everything is kept as is. In the series currently exhibited, Shady place for sunny people (2024), three large sheets display drips, and four others, almost fully white, are in reality protective sheets, marked with colored residual imprints from the pressure of a weighed system, which allowed the transfer of masses of ink on the first ones, and left the traces of their overflows on the second ones. These simple stains also echo the « splashes », recurring stylized motifs in Armleder’s work, here screenprinted, gold or silver, on two sets of paper sheets, pink or yellow, mounted on cardboard, recovered from an edition produced in 1979, a leporello, Lézards Sauvages IIa/ « égouttés ». Each leaflet used to display a printed reproduction of a comb, whole or broken, found on the streets of Geneva. This harvest offered Armleder the casualness of a stroll and the recovery of a pre-existing object : a performance which lasted the time of his journeys, and a ready-made form, an abstract, random and unselective grid, which made the series possible.

This new edition keeps the same title while continuing the numbering begun in 1979, Lézards Sauvages III and IV, (1979) 2024. The recovery of old material from more than 40 years ago, 1979/2024, suggests a crushing of time, between nostalgia and newness. A continuous creation cycle between recovery and self-citation, which eludes the linearity and finality of the retrospective, blurring the lines of dating, archiving and conservation, preferring « the semicolon, the comma to the full stop. »⁴

Concerning the comb metaphor, beyond Duchamp’s ready-made or Armleder’s iconic braid, worn unchanged and at all times, the notion of gap deserves consideration, the gap between the teeth of the comb, between the spread hair, regrouped, shaped, as a philosophy of the gap and of the side step, important for the artist collective Ecart, founded in the 1970s by Armleder and two friends, Claude Rychner and Patrick Lucchini. One can also think of the comb as a simplified brush, both literally « brushing », brushing but not really, to paint as to brush, a distanced, ironical gesture, far from expression and pathos, a sort of mechanised painting, which prefers the arbitrariness of dripping and the mechanics of transfer. No need for further research on artistic and linguistic metaphors, as Armleder himself prefers to keep a distance from text and analysis : « In my work, I am in favor of getting rid of the text and its constraints on comprehension. »⁵

For Armleder, the harvest of the combs, this action, and the leporello edition of 1979 are part of an equivalent whole, as the unused recovered sheets of this leporello will serve as the background of our two screen prints, Lézards Sauvages III and IV, (1979) 2024. Added to these three steps, the edition of a multiple, an engraved comb, once again a comb, ENCORE TROP, a sort of return to the real object, as for him « There is no gap between art and other objects». He then follows : « Art is not singular, and is absolutely not useful. Art is only inevitable. »⁶

Véronique Bacchetta, March 2023 (trad. Flavia Vuagniaux)

John Armleder was born in Geneva in 1948, where he lives and works. His work has been displayed in numerous solo exhibitions, such as : On ne fait pas ça, Massimo de Carlo Milano (2024) ; Experiences, Kunsthalle Marcel Duchamp, Cully (2023), Pour la planète, Palais Galerie, Neuchâtel (2023), Yakety Yak, Mrac Occitanie, Sérignan (2023) ; Again, Just Again, Rockbound Art Museum, Shanghai (2021) ; « It never ends », Carte Blanche to John M Armleder, KANAL, Centre Pompidou, Brussels (2020) ; CA.CA., Schirn Kunsthalle, Frankfurt (2019) ; Spoons, moons and masks, Aspen Art Museum, Aspen (2019), Quicksand II, MAMCO, Geneva (2019) ; 360°, MADRE – Museo d’Arte Contemporanea Donnaregina, Naples (2018) ; Plus ça change, plus c’est la même chose, Museion, Bolzano (2018) ; Stockage, Instituto Svizzero di Roma (2017) ; À Rebours, La Salle de Bains, Lyon (2017).
His work has also been included in numerous group exhibitions, including : Monotypes, Edition VFO, Kunsthalle Zürich, Zurich (2023) ; &, MAMCO, Geneva (2022) ; Stop Painting, Fondazione Prada, Milano (2021) ; Ecart at Art Basel, MAMCO, Geneva (2019) ; Medusa – Jewellery and Taboos, Musée d’Art Moderne de la Ville de Paris, Paris (2017).
In 2024, John Armleder’s work will be the subject of several solo and group exhibitions : Never-Nevermore, Lovay Fine Arts, Geneva ; Renverser la tâche, Galerie Catherine Issert, Saint-Paul-de-Vence ; Transparents, Musée Barbier-Müller, Geneva ; Galerie Elisabeth and Klaus Thomas, Innsbruck. He is represented by a number of galleries : Massimo de Carlo Gallery, David Kordansky Gallery, Almine Rech Gallery, Galerie Mehdi Chouakri. His artwork are part of permanent collections of many museums, such as the Centre Pompidou, Paris ; the Museum of Modern Art, New York ; the Long Museum, Shanghai ; the Getty Research Institute, Los Angeles ; the Kunstmuseum Basel ; the Fondation Museion – Museum of contemporary and modern art, Bolzano ; and the Moderna Museet, Stockholm.

¹ “Quatre entretiens avec John Armleder”, “It Never Ends”, It Never Ends, John M Armleder & Guests, éd. Yann Chateigné Tytelman, KANAL – Centre Pompidou et Lenz, Bruxelles, 2024, p. 192.
² Ibid., p. 193.
³ Véronique Bacchetta, extract from the press release for John Armleder’s exhibition at the CGGC/CEC from 11 June to 18 July 1992.
⁴ “Point, virgule, point-virgule”, It Never Ends, John M Armleder & Guests, éd. Yann Chateigné Tytelman, KANAL – Centre Pompidou et Lenz, Bruxelles, 2024, p. 201.
⁵ op.cit. p. 192.
⁶ Extract from a quotation by John Armleder at the beginning of the postface, Yves Goldstein, “It Never Ends (Postface)”, It Never Ends, John M Armleder & Guests, éd. Yann Chateigné Tytelman, KANAL – Centre Pompidou et Lenz, Bruxelles, 2024, p. 190.

P.A.G.E.S. 2024

Posted on 2 February 20246 February 2024 by cec

Friday, February 2, 2024, from 4 pm to 9 pm
Saturday, February 3, 2024, from 12 pm to 7 pm
Sunday, February 4, 2024, from 12 pm to 5 pm

HEAD – Genève
Espace Hippomène
7 avenue de Châtelaine,
1203 Geneva, Switzerland

p-a-g-e-s.ch

The CEC at P.A.G.E.S. 2024

With publications and editions by Marie Angeletti, Artists’ Voices, Paul Bernard, Laurence Bonvin, Harry Burke, Yann Chateigné Tytelman, Liz Craft, Keren Cytter, Guillaume Dénervaud, Anne Dressen/Nick Mauss, Giulia Essyad, Mathis Gasser, David Hominal, Dorothy Iannone, Tobias Kaspar, Victor Man, Paul Paillet, Caroline Schattling Villeval, Susan Te Kahurangi King, Paul Viaccoz, Jean-Michel Wicker

Caroline Schattling Villeval
Carences et toute-puissance

Posted on 19 January 20245 March 2024 by cec

From January 19 to March 1, 2024

Opening, Thursday, January 18, 2024, from 6 to 9 pm (Rentrée des Bains)

Finissage, Thursday, February 29, from 6 to 8 pm
Presentation of the exhibition by Caroline Schattling Villeval, 6:30 pm

View of the exhibition Caroline Schattling Villeval, Carences et toute-puissance, CEC, 2024 © Sandra Pointet — View of the exhibition Caroline Schattling Villeval,
*Carences et toute-puissance*, CEC, 2024 © Sandra Pointet

At the bottom of an almost dry lake, frogs are gathered around a puddle. Their movements, slowed down and almost imperceptible, bring life to this deserted landscape. A dog appears. Imposing, his body extends beyond the frame. His walk sets off a panoramic, moving shot.

Thus begins Caroline Schattling Villeval’s video When a frog meets a dog, produced for her exhibition Carences et toute-puissance¹. This new piece functions as a continuation of her installation good boy (Hasch, Marseille, 2023) which revolved around the fictional text Vie/Chienne, that explores the question of domination arising from a non-consensual interaction between a person and a dog with a wandering tongue². Once again, the animal is one of the main protagonists of Caroline Schattling Villeval’s video When a frog meets a dog, this time alongside a group of frogs.

With his massive, slender body and golden fur, the dog, animated by Caroline Schattling Villeval, moves forward in a menacing manner. He appears to be indifferent to everything, including the amphibians which have come together to stop his march. Piled up in the shape of a column, they form a mass in front of this manifestation of almighty power. The counter-power embodied in the group’s strength is swept away, pushed aside by a paw. It’s not strong enough. A crushing failure even: it’s raining frogs. They splash into the exhibition space, contaminating the room. The almighty power triumphs over the collective strength. End of the story. However, in Caroline Schattling Villeval’s work, the power dynamics also manifest themselves in an underlying manner through the technical process. A dog, frogs, a 3D-modelled bestiary bought online like one would adopt a pet: an act of domination. Then comes the computer, far from functioning autonomously as the artist manipulates her virtual puppets through an animation software. Finally, the dog, never fully visible, dominates the frogs as well as the space. The dog, the first animal species domesticated by Man – its « best friend » –, that Caroline Schattling Villeval has trained to perform its own dance. The image is replayed in a loop, but who’s calling the shots? When a frog meets a dog is a canvas onto which power dynamics are superimposed in infinite layers.

When the dog and the frogs meet, bodies blend and collide. Objects of power, they gain, or attempt to gain, the upper hand over those who oppose them. In the video No, no no healthy trust, the question of the body remains, in this case individual as well as biological. The theme of power is approached through the topic of well-being. For Caroline Schattling Villeval, the interest in care as a concept emerged through the discovery of the feminist self-help movements of the 1970s. The movement was initiated on one hand as a reaction to the masculine domination in the health system, and on another hand as a set of contemporary artistic practices which were articulated around said movement. In Europe, the Feminist Health Care Research Group, formed in 2015 in Berlin by Julia Bonn, Alice Münch and Inga Zimprich took inspiration from the West German Health Movement in order to create spaces to welcome collective research around exhibitions, workshops or zines as tools to think about and construct a more radical health system. As an empowerment process, individual education notably revolves around learning DIY practices within a communal setting, as a way to propose a collective alternative to the dominant health system.

In the video No, no no healthy trust, a small green plant agitates itself in a jerky trance. Is it the result of drug consumption within a festive setting, or maybe dietary supplements consumed to provide a daily energy boost? Regardless of whether it’s one or the other, the specter of the neoliberal economy seems to loom large. Caroline Schattling Villeval’s characters are often offbeat, submerged by a world which overflows with possibilities to get better, always better. They seem to be in a perpetual well-being quest, an investigation of happiness. Happiness, as it was formulated by Martin Seligman, co-founder of positive psychology next to Mihaly Csikszentmihalyi, follows a hyper-individualist logic; To reach happiness depends on one’s will to undertake a series of important actions as a way to achieve a sustainable blissful state. How convenient for capitalism! Supported by the good vibes only slogan, the wellness industry takes off in the beginning of the 2000s: happiness can be bought. Yoga, pilates, diets, detoxes, miracle morning, beauty care, meditation, self-development, spiritual retreat: so many practices that guarantee a better life, evolving at the pace of supply and demand, standardising bodies and minds while detaching them from any kind of collective commitment. Health is no longer limited to fighting diseases, and now encompasses attempts to perform better, self-optimise, compensate hypothetical deficiencies³. For one’s own sake?

Last convulsions: a wellness overdose. Nothing left from the little plant in No, no no healthy trust but a glass skeleton, similar to a relic. A safety pin and chains are used to suture the wounds on this damaged body. The remains of a life in search of happiness.

Christine Glassey (trad. Flavia Vuagniaux)

1. In parallel with her exhibition at the Centre d’édition contemporaine, Caroline Schattling Villeval presents StéréoMimicryat the Salle Crosnier, Palais de l’Athénée, from January 12 to February 10, 2024.
2. Vie/Chienne was written by Caroline Schattling Villeval in 2023 for [SWISS] Weird & Magic #1, forthcoming publication by éditions Clinamen.
3. According to the WHO Constitution, which came into force in 1948, « health is a state of complete physical, mental and social well-being and not merely the absence of disease or infirmity. »

Born in 1995 in Zürich, Caroline Schattling Villeval lives and works in Geneva. Her work has been exhibited in various venues in Switzerland and abroad in solo shows such as : StéréoMimicry, Salle Crosnier, Geneva (12.01–10.02.2024) ; good boy, Hasch, Marseille (2023) ; No firing, with Paul Paillet, Espace 3353, Carouge (2021) ; Chiara Chiara Chiara, Zabriskie Point, Geneva (2020) ; Being fucked, Lokal-int, Biel (2020). She has also taken part in several group exhibitions, including: Basel Social Club with Joyfully waiting, Basel (2023) ; MINIMIRACLES, Sonnenstube, Lugano (2023) ; Bourses déliées – Arts Visuels, Halle Nord, Geneva (2022); Prix Kiefer Hablitzel, Art Basel, Basel (2022) Esprit d’Escalier, with Paul Paillet, Centre d’édition contemporaine, Geneva (2022) ; Plaisirs Minuit, Forde as part of the Fesse-tival, Geneva (2022) ; Peeping through the looking glass, Set Space, London (2021) ; Fotoromanza, Le Commun, Geneva (2021) ; Silicon Malley, Prilly (2020) ; Weaving home, Limbo Space, Geneva (2020).

Caroline Schattling Villeval’s exhibition is supported by the Fonds cantonal d’art contemporain, DCS, Geneva, and the Office fédérale de la culture, de la République et canton de Genève.

VOLUMES – Art Publishing Days 2023

Posted on 18 November 202321 November 2023 by cec

Saturday, November 18, 2023, from 12 to 8 pm
Sunday, November 19, 2023, from 12 to 7pm

Zentralwäscherei
Neue Hard 12
8005 Zurich

volumeszurich.ch

The CEC is at VOLUMES – Art Publishing Days 2023.

With publications and editions of Marie Angeletti, Artists’ Voices, Paul Bernard, Laurence Bonvin, Harry Burke, Yann Chateigné Tytelman, Liz Craft, Keren Cytter, Guillaume Dénervaud, Anne Dressen/Nick Mauss, Giulia Essyad, Mathis Gasser, David Hominal, Dorothy Iannone, Matthew Lutz-Kinoy, Victor Man, Paul Paillet, Mai-Thu Perret, Susan Te Kahurangi King, Paul Viaccoz

Gina Folly
Dolce Vita

Posted on 6 October 202312 December 2023 by cec

From October 6 to December 8, 2023
Opening, Thursday, October 5, 2023, from 6 to 8 pm

Nuit des Bains, Thursday, November 9, 2023, from 6 to 9 pm

Vue de l’exposition Gina Folly, Dolce Vita, CEC, 2023 © Sandra Pointet — Vue de l’exposition Gina Folly,
*Dolce Vita*, CEC, 2023 © Sandra Pointet

Gina Folly’s work focuses on everyday life, on the interactions between the private and public space, between the intimate and social realms. She takes a precise, ironic and subtly critical look at the objects, messages and situations that surround us on a daily basis, which she retains, photographs and isolates in order to modify them and transpose them into the field of art. This gesture of appropriation, transformation and exhibition questions their real function, their purpose and above all the epistemological impact that these ordinary materials can have on our lives. She dissects them in order to reveal their poetic and dramatic potential, and their psychological and political impact.

The objects chosen by Folly question our condition as human beings, catapulted into an often hostile and coercive society. She endeavours to highlight the intrinsic contradictions, the underlying and imperceptible violence, lurking in all the signs of power that flood the social and political space, and parasitise our lives.

Folly chooses a variety of seemingly banal objects, such as boxes, electrical circuits, chains, padlocks, light bulbs, fans, handles and locks, eyelets and pregnancy tests. She extracts them from their context, transforms or duplicates them, slightly modifying the materials, formats, colours or finish, and recombines them with other objects, accentuating the feeling of constraint, hindrance and confinement.

In 2019, she intervened in the public space for the Kunsthaus Baselland in Basel. Outside, Folly installed a large photograph of a bookshelf belonging to a friend she had stayed with. The title, Fashion, Sex and Death – Science – Sports, Gardens and Conspicuous Consumption, simply transcribes the labels that are stuck on the shelves, indicating the classification themes which group together the words “fashion” and “sex” with “death,” “sport” with “garden” and “conspicuous consumption.” Without alteration, this labelling already suggests a commentary and a political questioning. The framing of the photograph, a close-up on these few shelves, precludes an overall or interior view, accentuating the feeling of suffocation already induced by the themes chosen to arrange these books. This work is emblematic of that which underpins Gina Folly’s work and determines its critical scope.

On the occasion of this exhibition, she spoke about her work and her commitment in a discussion with Inès Goldbach, the director of the Kunsthaus Baselland and the curator of the exhibition, which appeared in the book Listening to Artists (published byédition VfmK Verlag für moderne Kunst, 2022):

“My works almost always generate from a photograph. I’m keeping a sort of diary, mostly taken with my phone. I document my daily life as an observer. They’re architectural structures, objects and social events that make our daily life easier, disrupt it, make it more complicated, or ones that I don’t understand. Especially because of that, it can become interesting to document them. These moments mostly vanish again in my archive. I go back to them when I’m working on a specific project. They result in mostly approbate objects that I reproduce and specify. These processes are about entering relationships. Be it getting to know the person who produced the object I’m attracted to, or who knows the reason of its existence, or to find the right producer to make exact replicas of the respective works.”

In 2023, for her series of photographs exhibited at the Kunstmuseum Basel | Gegenwart, Gina Folly opted for a simple medium-format film camera with which she photographed members of the Quasitutto association of retired people, which offers all kinds of day-to-day support services. For another project, also in Basel, she distributed small disposable cameras to a number of children, so that they could take photos of their favourite works on display at the Basel Social Club, the fair that took place during ArtBasel 2023. In these two projects, the shooting is simple, on a 1:1 scale, with no aesthetic overkill, be it in terms of the framing, image processing, gesture, intention, recording. All of these parameters remain the most important, with no stylistic effects, no aesthetic overkill, no technical, dramatic or sentimental effects. A simple document, like an image seen in “real life,” whose recording method perfectly reflects Folly’s desire to remain in the background.

This absence of pathos allows viewers to project their own feelings, memories or experiences onto these very neutral, open images. These “implicit” images create an open space for appropriation and projection. Paradoxically, they have a greater impact on viewers’ memories, making them more endearing.

The objects chosen by Folly are often not commercial products; they are made or transformed by their user for a very specific, functional, practical use; they are inexpensive, devoid of luxury or decoration. Like the fountains for refreshing coconuts that can be found on beaches. Built by the farmers themselves – a kind of DIY –, adapted to their use and made with “the means at hand.” The fountain exhibited in June 2023 at the entrance to the Basel Social Club, during ArtBasel, was the perfect replica of one them.

Hans-Peter Feldmann, Jean-Frédéric Schnyder, Fischli and Weiss, and even Ed Ruscha have all worked in series, establishing a principle beforehand, a subject for collection, a pretext for repetition, multiplication of images or objects, made or appropriated, linked to everyday life. But whereas these artists practised a distancing, offering us a glimpse of our world through the prism a critical and necessary irony and scepticism, Gina Folly does not shy away from a compassionate dimension, in an inclusive gesture, never looking down on her subjects. By simply capturing everyday life, her environment and residual micro-events, however minute they may be, her works always bear witness to a society that is trying to maintain a precarious balance, a fairness and humanity that are so often abused. This empathy and awareness of otherness is the sign of a shift into another era.

As part of her exhibition project at the Centre d’édition contemporaine, Gina Folly will be producing an edition, a series of bouquets of preserved flowers presented in cardboard boxes coated with a varnish that protects against humidity and makes the boxes shiny. Each box bears an inscription, a very short phrase found randomly on a horoscope application that predicts the day ahead: slightly simplistic aphorisms, advice, judgements or trivial, absurd prophecies, whose meaninglessness and naivety create a poetic or downright comedic effect.

The process of preserving the flowers in this edition consisted of replacing the sap with glycerine, so that the plant retains a living appearance for many years, without the need for any special care. Once the bouquet has been preserved, no external intervention is required to ensure that the plants retain their original freshness. They are protected from wilting, frozen in a state of almost eternal flowering, but their colour is transformed: the petals take on a light grey-pink tint, almost black and white. A light, subtle, refined metaphor for the passage from life to art.

Gina Folly’s second project for her exhibition at the CEC will feature a frame containing a single sachet of seeds from the “Dolce Vita” flower mix – a reference to the title of the exhibition. The name of the mixture and the brand of these seeds, SELECT, allows Folly to intuitively and emotionally put this existential and philosophical question into perspective. What determines our choices, be they individual or collective? How does this infinite multitude of choices – from belief in chance, to the notion of the preconditioned unconscious, from chaos to consciousness and freedom of choice – influence our paths and our lives?

Gina Folly was born in Zurich in 1983. She lives and works between Basel and Paris. In recent years she has presented several solo exhibitions, including: Autofokus. Manor Kunstpreis 2023, Kunstmuseum Basel | Gegenwart, Basel (2023); Solo presentation, Ermes Ermes, Paris Internationale, Paris (2019); Fashion, Sex and Death – Science – Sports, Gardens and Conspicuous Consumption, Kunsthaus Baselland, Basel (2019). Her work has also been shown in group exhibitions such as: CITY SALTS: THE GINA SHOW, Salts, Basel (2022); WHIMSIES, Essener Kunstverein, Essen (2022); THINK, AND THEN THINK AGAIN, Sgomento Zurigo, Zurich (2022); ORCA – Duo-Show with Philipp Timischl, Fondation Fiminco, Paris (2021); PRK-1U, Tonus, Paris (2021); A Part, Kunstkredit, Kunsthalle Basel, Basel (2020); Reality Companions, Motto Berlin, Berlin (2020); Groupshow, Bel Ami, Los Angeles (2019); life and limbs, Swiss Institute, New York (2019).

Gina Folly’s exhibition is supported by Ernst und Olga Gubler-Hablützel Foundation and Pro Helvetia, Fondation suisse pour la culture.

Book launch, Paradis

Posted on 5 July 202322 October 2024 by cec

Wednesday, July 5^th 2023
6 pm − 8 pm

Paradis

Published by Claude Balls Int.

Published by Claude Balls Int. in December 2022, Marseille
Edited with Gianmaria Andreetta, Marie Angeletti and Camilla Wills
21 x 28.5 cm, 416 pages, edition of 840

6:30 pm: Conversation with Gianmaria Andreetta and Marie Angeletti

Contributions from : Nicole-Antonia Spagnola, Georgia Sagri, John Kelsey, Matthew Pang, Cathy Wilkes, Sarah Rapson, Nick Irvin, Gene Beery, Anne Dressen, Anne Pontégnie, Jacqueline Mesmaeker, Sara Deraedt, Anne Rorimer, Kari Rittenbach, Olga Balema, Maria Nordman, Louise Lawler, Julie Ault, Martin Beck, Adrian Morris, Matt Browning, John Miller, Envers Hadzijaj, Enzo Shalom, Bedros Yeretzian, Morag Keil, Helmut Draxler, Gianna Surangkanjanajai, Steve Cannon, Rae Armentrout, Zoe Hitzig, CIPM, Pierre Guyotat, Lola Sinreich, Fanny Howe, Georgia Sagri, Hélène Fauquet, Marie Angeletti, Richard Hawkins, Andy Robert, Alexander García Düttmann, Daniel Horn, El Hadji Sy, Henrik Olesen, Aurélien Potier, John Miller, Richard John Jones, Stéphane Barbier Bouvet, Nora Schultz, Peter Fend, Megan Francis Sullivan, Jill Johnston, Sturtevant, Tonio Kröner, Bernard Bazile, Pierre Bal-Blanc, Jérome Pantalacci, Gérard Traquandi, Gladys Clover, Maria Wutz, Jimmie Durham, Richard Sides, Camilla Wills, Michael Callies, Steven Warwick, Matthew Langan-Peck, Dan Graham, Nina Könnemann, Hans Christian Dany, Valérie Knoll, Win McCarthy, Eleanor Ivory Weber, Anna Rubin, Heji Shin, Michèle Graf & Selina Grüter, Inka Meißner, Simone Forti, Morgan O’Hara, Angharad Williams, Ye Xe, Lily Van Der Stokker, Yuki Kimura, Peter Wächtler, Eva Steinmetz, Michael Van den Abeele, Marc Kokopeli, Bradley Kronz, Robert Grosvenor, Samuel Jeffery, Charlotte Houette, Adam Martin, Wade Guyton, Chloe Truong-Jones.

Presentation evening “Before publications”

Posted on 25 May 202326 May 2023 by cec

Thursday, May 25^th 2023, from 6:30 pm

Laurence Bonvin and Yann Chateigné Tytelman present their “Before publication”.

Evening presentation of “Before publications” by Laurence Bonvin and Yann Chateigné Tytelman, in collaboration with Joyfully Waiting
Evening presentation of “Before publications” by Laurence Bonvin and Yann Chateigné Tytelman, in collaboration with Joyfully Waiting
Evening presentation of “Before publications” by Laurence Bonvin and Yann Chateigné Tytelman, in collaboration with Joyfully Waiting
Evening presentation of “Before publications” by Laurence Bonvin and Yann Chateigné Tytelman, in collaboration with Joyfully Waiting

From 6:30 pm, presentation of the « Before publications » by

Laurence Bonvin
شالي (shali), Before publication 7, ed. of the CEC, 2022

Yann Chateigné Tytelman
Blackout, Before publication 10, ed. of the CEC, 2023

Interlude
Dirty dirty desire, RM, 2023, track by Pony Pride, released on activeRat

Followed by a listening session of Joyfully Waiting

I wanna say a word (extrait), 1:55’’, 2023, Maëlle Gross

Spiral Spirit (Série Moon Motet), 3:28, 2022, Galaxia Wang

Untitled (in rage), 10:45’’, 2021, Deborah Joyce Holman & Yara Dulac Gisler

Desert Wind, 2022, 4:25, Hélène Fauquet

Sand, 2020, 11:50, Alexandre Joly

This event is organized in collaboration with Joyfully Waiting

The evening presentation and the “carte blanche” for Joyfully Waiting are supported by the City of Geneva and the Nicati – de Luze Foundation.

RM
SOLO TÚ

Posted on 12 May 202319 September 2023 by cec

From 12^th May to 16^th September 2023
Vernissage/Nuit des Bains, Thursday 11^th May 2023, 6 pm – 9 pm

Guided tours of RM’s exhibition and presentation of recent editions and publications

Thursday 14^th September 2023, 6:30 pm (Nuit des Bains)
Saturday 16^th September 2023, 2 pm (Geneva Art Week)

View of the exhibition RM, SOLO TÚ, CEC, 2023 © Sandra Pointet — View of the exhibition RM,
*SOLO TÚ*, CEC, 2023 © Sandra Pointet

The Art Spiel vs. the Real Madrid Deal

Biennale di Veneziá vs. Karim Benzema
Invited by Véronique Bacchetta vs. Federico Santiago Valverde Dipetta
Other People’s Clothes vs. Rodrygo Goes
Étudiants aux Beaux Arts vs. Eden Hazard
Uber Triennale Curatior vs. Vinicius Paixao de Oliveira Junior
Crits’n’Reviews vs. Toni Kroos
Caravaggio’s Chiaroscuro vs. Jesus Vallejo Lazaro
Your Artist Fee vs. Aurélien Tchouaméni
Mille Plateaux vs. Eder Gabriel Militão
RM’s Instagram Erotic vs. Luka Modric
Artistas Unidos Vámonos vs. Daniel Carvajal Ramos

Until the End, Come on Real.

A Play (Off) by Miriam Laura Leonardi, April 2023

SOLO TÚ
RM at CEC 2023

Until last summer we used to go by a name written Real Madrid, pronounced either rɪəl məˈdrɪd, or ře’al ma’ðrid. After legal threats by a namesake company we had to disown that moniker and disclose being unpatented knockoffs. It was a matter of ticking time, of who trademarked facts first and once – for the moment we use the shortened RM but pronunciation stays unaltered.
We want this show to be an unbaptism, a debut against copyrighted one-off geniuses, an and to a story, a stack of counterfeit merch and a spoonful of the shared minestrone of ideas, and also another unoriginal show about identity.

The b/w images you see have been taken by Mathilde Agius.

RM

The RM’s exhibition is supported by Ernst und Olga Gubler-Hablützel Foundation, Dr. Georg und Josi Guggenheim Foundation and the City of Geneva.

Videos: new and revisited

Posted on 16 March 202330 May 2023 by cec

Projections

Paul Paillet, Guillaume Dénervaud, Mai-Thu Perret & Matthew Lutz-Kinoy, Paul Viaccoz, Alexandre Bianchini, Liz Craft, Gianni Motti, Jeffrey Vallance

From 16^th March to 28^th April 2023

Vernissage and launch on the website of CEC, Thursday 16^th March 2023, 6pm – 9pm (Nuit des Bains)

Paul Paillet
Surprise/Innocence, animation video, 7′24′′, music, 2023
Guillaume Dénervaud
AGLOROMONES, video, 2’53’’, sound, 2022
Mai-Thu Perret & Matthew Lutz-Kinoy
Conversation, video, 38’20’’, sound, 2022
Paul Viaccoz
Murs chamaniques, Commentaires, video, 5’41’’, sound, 2022
Alexandre Bianchini
Detroit on Circle, digital transfer of Super 8 films, 12’24’’, music, 1996
Liz Craft
“Brave new world”, March 2020, video, 17’’, 2020 © Liz Craft
Gianni Motti
Cosmic Storm, Cern, video, 30’, sound, 2006
Jeffrey Vallance
The Gospel According to Jeffrey, video of the performance at the chapel of Saint-Léger, Geneva, 82’, sound, 2012

VIDEO PROJECTIONS PROGRAM PRODUCED BY THE CEC (2022/2023)

FROM 16^TH TO 24^TH MARCH 2023

Paul Paillet, Surprise/Innocence, animation video, 7′24′′, music, 2023
+
Guided tour with the artist, Thursday 16^th March 2023, 6:30pm

FROM 28^TH TO 31^ST MARCH 2023

Guillaume Dénervaud, AGLOROMONES, video, 2’53’’, sound, 2022
+
Guided tour, Thursday 30^th March 2023, 6:30pm

FROM 4^TH TO 14^TH APRIL 2023

Mai-Thu Perret & Matthew Lutz-Kinoy, Conversation, video, 38’20’’, sound, English, 2022
+
Guided tour, Thursday 13_^rd April 2023, 6:30pm

FROM 18^TH TO 21^ST APRIL 2023

Paul Viaccoz, Murs chamaniques. Commentaires, video, 5’41’’, sound, French, 2022
+
Guided tour, Thursday 20^th April 2023, 6:30pm

FROM 25^TH TO 28^TH APRIL 2023
“ARCHIVES” – PROJECTION OF ONE VIDEO PER DAY FROM THE ARCHIVES OF THE CEC

Tuesday April 25^th, 2023 – Alexandre Bianchini, Detroit on Circle, digital transfer of Super 8 films, 12’24’’, music, 1996

Wednesday April 26^th, 2023 – Liz Craft, Brave new world, March 2020, video, 17’’, 2020

Thursday April 27^th, 2023– Gianni Motti, Cosmic Storm, Cern, video, 30’, sound, 2006

Friday April 28^th, 2023 – Jeffrey Vallance, The Gospel According to Jeffrey, video of the performance at the chapel of Saint-Léger, Geneva, 82’, sound, English, 2012

The CEC is launching a video production project, initiated as a consequence of the pandemic and the need to develop digital resources. The project will take place in several stages, most often in relation to the CEC’s programming. This series of short films will be posted regularly on our website. The videos will be divided into three chapters under the generic title “Films”: “Recent videos”, “Documents” and “Archives.” The “Documents” section will mainly present interviews with artists, critics or curators; the “Archives” section will make it possible to discover or rediscover some of the videos created in the context of exhibitions, events or editions from the 1990s onwards.

A group of four new videos, produced between 2022 and 2023, with Guillaume Dénervaud, Paul Paillet, Mai-Thu Perret and Matthew Lutz-Kinoy, as well as Paul Viaccoz, is now available on our modified and expanded website, thanks to Niels Wehrspann (graphic designer, Lausanne), and will be screened at the CEC, from March 16th to April 28th, 2023, with a private view on Thursday, March 16th, 2023, from 6 pm to 9 pm, as part of la Nuit des Bains.

Videos: new and revisited will open with Paul Paillet’s video, screened from March 16th to 24th, 2023, and Guillaume Dénervaud’s, from March 28th to 31st, 2023. These two artists exhibited at the CEC in 2020 and 2021, during the first two years of Covid-19.

For this invitation, Paul Paillet has directed a hypnotic and psychedelic video-clip, working from a series of collages with zingy colours. Handmade, these collages were then digitised and enhanced with special effects. Reminiscent of vertical smartphone screens, the ultimate symbol of the rapid and uncontrolled circulation of images taken on the fly, Surprise/Innocence is a mixture of low-tech and high-tech. The animation follows a filiform figure with aquatic movements, crossing a landscape of hills against a backdrop of a setting sun and more or less enigmatic architectures. This character moves to the rhythm of an increasingly frenetic live performance by the collectives Tamal Nuisances and Csters, recorded at the Teknival de Chambley in 2004. This Hardtek soundtrack is strangely linked to the album Wings (2016) by the South Korean interplanetary boy band BTS, whose members read extracts from the novel Demian.Die Geschichte einer Jugend by Hermann Hesse (1919). Paul Paillet intentionally takes up this sampling technique which is emblematic of electronic music, especially that of the Free Party movement. This film is a nod to the installation Tin Can BTS Radio (Wings), which was presented during the artist’s solo exhibition fascination for fire which opened at the CEC in September 2020.

AGLOROMONES is Guillaume Dénervaud’s first video. It presents a selection of images shot outdoors, embodying the research and concerns linked to the era of the Anthropocene, which underpin the artist’s entire body of work. Filmed on the route that separates Guillaume Dénervaud’s former residence in the 18th arrondissement of Paris from his studio in Saint-Denis, the images document the artist’s daily observations in this rapidly-transforming part of the city. AGLOROMONES presents a series of filmed scenes between abstraction and reality, a crossing of these interstitial and peripheral spaces, transit areas between the city and the countryside.

The programme will continue with the screening of two documents, directly related to the exhibitions of Paul Viaccoz, Mai-Thu Perret and Matthew Lutz-Kinoy, which took place in 2021, 2022 and 2018.

Recorded in January 2022 in Paul Viaccoz’ studio in Courroux, Murs chamaniques. Commentaires is an extension of his ESPRIT ES-TU LÀ ? exhibition. In the voice-over, the artist recounts his spiritual journey to encounter illness and death. The film also presents a visual journey, a tracking shot which encompasses his collection of objects, often linked to personal memories or mystical images, that make up the Murs chamaniques which the artist has been continuously developing in his house and studio for the past few years. Day after day, he assembles objects taken from nature or from everyday life, fetishes and talismans which are then juxtaposed or combined with photographs, drawings, screenshots of his videos, postcards, masks, musical instruments, skulls and crossbones, sabres, dried flowers, feathers, jewellery and pieces of embroidery. This collection of objects, images and texts forms a mural puzzle, rearranged according to the artist’s moods, reflections and lived experience.

The Conversation in English between Mai-Thu Perret and Matthew Lutz-Kinoy opens a series of filmed interviews, which will continue with the one recently recorded at the CEC between Liz Craft and Paul-Aymar Mourgue d’Algue. Conversation is an opportunity for the two artists to revisit the Scrolls in the Wind. A collection of scripts and poems by Harry Burke, Cyrus Grace Dunham, Sharon Hayes, James English Leary, Sophy Naess, Amy Sillman and Emily Sundblad edition (2018) by Matthew Lutz-Kinoy, and Mai-Thu Perret’s My Sister’s Hand in Mine (2022), both produced by the CEC. This exchange reveals the complicity between two artists with unique backgrounds, but especially their shared interest in traditional craft practices and their curiosity about various techniques and trades, which they revisit regularly. They share this reflection and this blurring of the boundaries between arts and crafts.

This first round of screenings will conclude with the presentation of four videos from the CEC archives, one per day for four days, from April 25th to 28th, 2023, some of which have been remastered and reformatted for our expanded website: Detroit on Circle by Alexandre Bianchini, Brave new world, March 2020 by Liz Craft, Cosmic Storm, Cern by Gianni Motti, The Gospel According to Jeffrey by Jeffrey Vallance.

In collaboration with Zsuzsanna Szabo, coordinator and production manager

The project Videos: new and revisited is supported by the Federal Office of Culture and the Republic and Canton of Geneva.

artgenève 2023
Editions and Before publications

Posted on 25 January 202330 June 2023 by cec

From January 26th to January 29th, 2023
Preview, January 25th, 2023
Booth A43, hall 2, Palexpo, Geneva

artgenève 2023, view of the CEC’s booth. © Sandra Pointet

The CEC at artgenève 2023

Recent « Before publications » of Paul Bernard and Giulia Essyad

With Marie Angeletti, Paul Bernard, Laurence Bonvin, Harry Burke, Liz Craft, Guillaume Dénervaud, Anne Dressen/Nick Mauss, Giulia Essyad, David Hominal, Dorothy Iannone, Matthew Lutz-Kinoy, Paul Paillet, Mai-Thu Perret, Susan Te Kahurangi King, Paul Viaccoz, Niels Wehrspann

Liz Craft
Ms. America

Posted on 5 November 202230 June 2023 by cec

From November 5th, 2022, to February 3rd, 2023

Vernissage, Saturday November 5th, 2022, 11:00 – 18:00
Week-end GENEVE.ART, Saturday November 5th & Sunday November 6th, 2022, 11:00 – 18:00

Rentrée du Quartier des Bains, Thursday January 12, 2023, 18:00 – 21:00

View of the exhibition Liz Craft, Ms. America, CEC, 2022 Courtesy Centre d’édition contemporaine, Geneva Photo : © Sandra Pointet — View of the exhibition Liz Craft,
*Ms. America*, CEC, 2022 © Sandra Pointet

View of the exhibition Liz Craft, Ms. America, CEC, 2022 — View of the exhibition Liz Craft,
*Ms. America*, CEC, 2022 © Sandra Pointet

In 2021, the Centre d’édition contemporaine published New York & Beyond, 2017-2019, which brings together a selection of the artist’s works presented in the United States or Europe, as well as photographic memories of lived situations, encounters and intimate family moments. So many memories captured by Liz Craft and her entourage between 2017 and 2019. The 40-page brochure, a kind of diary in images, covers the three years that the artist spent in New York.

Liz Craft, New York & Beyond, 2017 – 2019, publication, digital printing, colour, 40 pages, 15 x 21.2 cm, 500 copies, stapled binding. Text: Paul-Aymar Mourgue d’Algue (English). Graphic design: Niels Wehrspann, Lausanne. Edition by the Centre d’édition contemporaine, Geneva, 2021.

As a follow-up to the publication, the CEC has invited Liz Craft to create a new exhibition, which will take place from November 5th, 2022, to February 3rd, 2023.

For this exhibition, Ms. America, Liz Craft will be creating a new installation composed of a group of about twenty figurines of different sizes, in the image of Pac-Man, the character from the Japanese video game created in 1980. Probably inspired by the smileys of the 60s, it was used in the 90s by rave culture, including Aphex Twin aka Power-Pill, which is just as yellow as our contemporary emoji’s. If video games like “Space Invaders”, which involved killing aliens and aggressive invaders in a warlike atmosphere, Pac-Man, invented to attract women and increase the number of players, features a small, seemingly harmless, bright yellow glutton in the shape of a pizza missing a slice, who continuously devours small lozenges whilst being stuck in a maze and attacked by relentless ghosts. But what are we to make of this hero, who met with phenomenal success in the West, and especially in the United States, by being constantly hungry, insatiable, permanently dissatisfied and condemned to a state of perpetual failure? How to interpret this voracious little being, endlessly consuming, a non-stop seeker of instant gratification, experiencing short phases of pleasure thanks to a magic gum, forever forced to start over in its crazy consumer race, in a never-ending acceleration? And thus, our cute Pac-Man is turned into a compulsive consumer, totally addicted to sugar, pharmaceuticals, and drugs, caught in the net of the “always more” proposed by the great capital, be it legal or illegal.

The Pac-Man of Liz Craft and Ms. America have fittingly big yellow heads adorned with big red bows and are wrapped in a big black tunic. Presented as a group, they oscillate between a howling choir and a cult of furious, grotesque, and menacing madmen, begging to be released from this hell.

Liz Craft (1970, Los Angeles) lives and works in Berlin. Her exhibitions have included those at the Real Fine Arts Gallery, New York, Truth and Consequences, Geneva, Jenny’s, Los Angeles, and at the Neue Alte Brücke, Frankfurt between 2015 and 2022. Her work has been presented in various solo exhibitions, such as: Cavern, at the Neue Alte Brücke, Frankfurt (2022); Do You Love Me Now? at the Kunsthalle und Kunstmuseum, Bremerhaven (2022); Escape From New York at the baby Company, New York (2019); QUERELA at the Galeria Zé dos Bois, Lisbon (2019); Watching You Watching Me at Jenny’s Gallery, London (2018). She has also taken part in numerous group exhibitions: Kreislaufprobleme at Croy Nielsen, Vienna (2019), Tranted Loveat Confort Moderne, Poitiers (2018); Sueurs Chaudes at South Way Studio, Marseille (2017); Medusa. Bijoux et tabous at the Musée d’Art Moderne de la ville de Paris, Paris (2017).

L’esprit d’escalier

Posted on 25 October 20222 March 2023 by cec

Before publications and recent editions

From May 13 to July 8, 2022
Continuation of the exhibition from August 9 to October 21, 2022

Marie Angeletti, Paul Bernard, Laurence Bonvin, Harry Burke, Liz Craft, Guillaume Dénervaud, Jason Dodge, Anne Dressen/Nick Mauss, Giulia Essyad, David Hominal, Dorothy Iannone, Matthew Lutz-Kinoy, Fabian Marti, Paul Paillet, Mai-Thu Perret, Caroline Schattling Villeval & Paul Paillet, Susan Te Kahurangi King, Paul Viaccoz

Vue de l’exposition L’esprit d’escalier, Before publications et éditions récentes, CEC, 2022. © Sandra Pointet — Vue de l’exposition
*L’esprit d’escalier, Before publications* et éditions récentes, CEC, 2022. © Sandra Pointet

Presentation of Paul Bernard’s publication, « Guy would never have done that. » Debord Curator, as part of the Nuit des Bains, Thursday, September 15, 2022, at 7 pm.

The CEC takes part in the Nuit des Bains on Thursday May 12, 2022, from 6 to 9 pm (Vernissage)
The CEC takes part in Weekend GENEVE.ART on Saturday May 21 and Sunday May 22, 2022, from 11 am to 6 pm

NEW EDITIONS

Marie Angeletti, RAM, artist’s book, ed. of the CEC, 2022. © Sandra Pointet — Marie Angeletti,
*RAM*, artist’s book, ed. of the CEC, 2022. © Sandra Pointet

Giulia Essyad, temple-piss19.psd, 2020, ed. of the CEC, 2022 — Giulia Essyad,
*temple-piss19.psd, 2020*, ed. of the CEC, 2022

Giulia Essyad, Blueberry Studies, Before publication 8, ed. of the CEC, 2022. © Sandra Pointet — Giulia Essyad,
*Blueberry Studies, Before publication 8*, ed. of the CEC, 2022. © Sandra Pointet

Marie Angeletti, RAM, artist’s book, digital print, photocopies, black enamel on acrylic, silver paper, colors, 27,5 x 21 cm, 5 copies including 1 A.P., numbered. Edition of the Centre d’édition contemporaine, Geneva, 2022.

CHF 1’000.-

Marie Angeletti, RAM, fanzine, digital print, photocopies, silver paper, black/white, colors, 27,5 x 21 cm, slipped into a white paper slip cover, 100 g/m2, 20 copies including 1 A.P. and 1 H.C., numbered and signed. Edition of the Centre d’édition contemporaine, Genève, 2022.

CHF 50.-

Paul Bernard, «Guy would never have done that.» Debord Curator, Before publication 9, brochure, 44 pages – single booklet, 17,2 × 23,5 cm, offset, stapled binding – published in the Before publication collection, which gathers the pre-publications of authors’ texts or artists’ inserts, which will appear regularly and as a preview before the final publication, L’Effet papillon II (second volume of L’Effet papillon, 1989 – 2007, catalogue of the Centre d’édition contemporaine published in 2008). Graphic design: Niels Wehrspann, Lausanne. Edition of the Centre d’édition contemporaine, Geneva, 2022.

CHF 15.-

Giulia Essyad, Blueberry Studies, Before publication 8, brochure, colors, 32 pages – single booklet, 17,2 × 23,5 cm, offset, stapled binding – published in the Before publication collection, which gathers the pre-publications of authors’ texts or artists’ inserts, which will appear regularly and as a preview before the final publication, L’Effet papillon II (second volume of L’Effet papillon, 1989 – 2007, catalogue of the Centre d’édition contemporaine published in 2008). Graphic design: Niels Wehrspann, Lausanne. Edition of the Centre d’édition contemporaine, Geneva, 2022. ISBN : 978-2-9701369-6-5

CHF 15.-

Giulia Essyad, temple-piss19.psd, 2020, poster, offset, two colors, Algro Design glossy laminated paper 180 g/m2, 98.5 × 49 cm, 150 copies, 14 A.P. and 10 H.C. Edition of the Centre d’édition contemporaine, Geneva, 2022.

Edition offered to the members of the Centre d’édition contemporaine association for the year 2022.

CHF 150.-

Paul Bernard
“Guy would never have done that.” Debord Curator

Posted on 15 September 20226 July 2023 by cec

Thursday, 15^th September 2022, 7pm

Paul Bernard presents his publication at the CEC as part of the Nuit des Bains (6-9pm).

Paul Bernard, «Guy would never have done that.» Debord Curator, Before publication 9, éd. du CEC, 2022. © Sandra Pointet — Paul Bernard,
*«Guy would never have done that.» Debord Curator*, Before publication 9, ed. of the CEC, 2022. © Sandra Pointet

« Guy would never have done that. » Debord Curator, Before publication 9, brochure, 44 pages – single booklet, 17,2 × 23,5 cm, offset, stapled binding – published in the Before publication collection, which gathers the pre-publications of authors’ texts or artists’ inserts, which will appear regularly and as a preview before the final publication, L’Effet papillon II (second volume of L’Effet papillon, 1989 – 2007, catalogue of the Centre d’édition contemporaine published in 2008). Graphic design: Niels Wehrspann, Lausanne. Edition of the Centre d’édition contemporaine, Geneva, 2022. ISBN: 978-2-9701369-7-2

Paul Bernard is director of Kunsthaus Pasquart, Biel/Bienne.

In 2018, the Musée d’art moderne et contemporain de Genève (MAMCO) presented Die Welt als Labyrinth, an exhibition devoted to the early years of the Situationist International (S.I) and the various movements it derived from. Conscious of the complexity of such a project, we began to work on it a year earlier, setting up a curatorial committee (composed of Lionel Bovier, Gérard Berréby, Julien Fronsacq, John M Armleder, Mai-Thu Perret, Swana Pilhatsch-Morenz and Luca Bochicchio) which enabled us to quickly get in touch with a network of specialists. For my part, I was able to travel to Paris, Albissola, Prato, Venice, Berlin, Amsterdam, Copenhagen and Silkeborg in the space of a year to meet collectors, historians, curators and artists who were more or less directly related to the S.I. Nearly all of these meetings were fascinating, supportive and even downright enjoyable. But there were a few condescending grimaces from people who found our project to be deplorable. How indeed to conceive an exhibition about the Situationists without distorting the meaning of their action?

From the first paragraph of Paul Bernard’s text, “Guy would never have done that.” Debord Curator, Before publication 9, ed. CEC, 2022

I Never Read, Art Book Fair Basel 2022

Posted on 15 June 202213 October 2022 by cec

From June 15 to June 18, 2022
Kaserne
Klybeckstrasse 1b
4057 Basel

ineverread.com

The CEC at I Never Read, Art Book Fair Basel 2022.

With publications and editions of Laurence Bonvin, Harry Burke, Liz Craft, Keren Cytter, Guillaume Dénervaud, Anne Dressen/Nick Mauss, Giulia Essyad, Mathis Gasser, David Hominal, Dorothy Iannone, Matthew Lutz-Kinoy, Victor Man, Paul Paillet, Mai-Thu Perret, Susan Te Kahurangi King, Oscar Tuazon, Paul Viaccoz, Jean-Michel Wicker

Paris Ass Book Fair 2022

Posted on 3 June 202213 October 2022 by cec

From June 3 to June 5, 2022
Lafayette Anticipations
9 rue du Plâtre, 75004 Paris

parisassbookfair.fr

The CEC at Paris Ass Book Fair (PABF).

Artists’ Voices, Laurence Bonvin, Harry Burke, Liz Craft, Keren Cytter, Guillaume Dénervaud, Anne Dressen/Nick Mauss, Giulia Essyad, Mathis Gasser, David Hominal, Dorothy Iannone, Victor Man, Paul Paillet, Susan Te Kahurangi King, Paul Viaccoz, Jean-Michel Wicker

Mai-Thu Perret
My sister’s hand in mine

Posted on 17 March 20223 May 2022 by cec

Exhibition from March 18 to April 29, 2022
Opening, Thursday March 17, 2022, from 6 to 8 pm

Nuit des Bains
Thursday March 24, 2022, from 6 to 9 pm

View of the exhibition Mai-Thu Perret, My sister’s hand in mine, CEC, 2022. © Sandra Pointet — View of the exhibition Mai-Thu Perret,
*My sister’s hand in mine*, CEC, 2022. © Sandra Pointet

Continue reading “Mai-Thu Perret
My sister’s hand in mine“

artgenève 2022
Before et publications

Posted on 3 March 202213 October 2022 by cec

Before et publications

From March 3 to March 6 2022
Booth A43, hall 2, Palexpo, Geneva

View of the CEC’s booth. © Sandra Pointet

The CEC at artgenève 2022.

Marie Angeletti, Laurence Bonvin, Harry Burke, Liz Craft, Guillaume Dénervaud, Anne Dressen et Nick Mauss, David Hominal, Susan Te Kahurangi King, Dorothy Iannone, Paul Paillet, Paul Viaccoz

Marie Angeletti
Ram

Posted on 25 November 20219 March 2022 by cec

From November 26, 2021, to March 5, 2022

Opening, Thursday November 25, 2021, from 6 to 8 pm

Nocturne du Quartier des Bains
Thursday January 27, 2022
from 6 to 8 pm

Continue reading “Marie Angeletti
Ram“

Paul Viaccoz
ESPRIT ES-TU LÀ ?

Posted on 30 September 20218 March 2022 by cec

From October 1st to November 12, 2021
Opening Thursday September 30, 2021, 2 PM – 8 PM

View of the exhibition Paul Viaccoz, ESPRIT ES-TU LÀ?, CEC, 2021. © Sandra Pointet — View of the exhibition Paul Viaccoz,
*ESPRIT ES-TU LÀ?*, CEC, 2021. © Sandra Pointet

« … Souvent, il séjournait dans cet espace pour trouver le calme et l’inspiration. Dans un carnet, il prenait des notes accompagnées de croquis et de plans pour de futurs projets. Les murs blancs de la maison, la vue sur le jardin et les arbres étaient propices à la méditation et parfois à la lecture. Il pensait qu’un moine jardinier aurait pu se retrouver dans la même situation que lui, à l’écart du monde, du vacarme et des brutales réalités de la vie. Ces murs laiteux ressemblaient à ceux d’une chapelle. Par un jour de printemps, il décida de peindre de petites saynètes et des paysages directement sur ces parois immaculées. … »

Extract from the text by Paul Viaccoz, ESPRIT ES-TU LÀ ?, published in Before publication 5, éd. CEC, 2021.

Continue reading “Paul Viaccoz
ESPRIT ES-TU LÀ ?“

Bridge the gap

Posted on 6 May 202126 August 2022 by cec

Exhibition from May 6 till July 9, 2021
and from August 17 till September 10, 2021

Harry Burke, Timothée Calame, Liz Craft, Keren Cytter, Guillaume Dénervaud, Anne Dressen/Nick Mauss, David Hominal, Dorothy Iannone, Matthew Lutz-Kinoy, Fabian Marti, Paul Paillet, Susan Te Kahurangi King

View of the exhibition Bridge the gap, CEC, 2021. © Sandra Pointet — View of the exhibition *Bridge the gap*, CEC, 2021. © Sandra Pointet

The CEC opens during the Nuit des Bains on Thursday May 6, 2021, 12:00 to 21:00 and Thursday September 2, 2021, 18:00 to 21:00.
The CEC opens during Weekend GENEVE.ART on Saturday May 29 and Sunday May 30, 2021, 11:00 to 18:00.

Guillaume Dénervaud
Surv’Eye

Posted on 18 March 202118 May 2021 by Zsuzsanna Szabo

Exhibition from March 19 till April 23, 2021
Opening March 18, 2021 (Nuit des Bains)

View of the exhibition Guillaume Dénervaud, Surv’Eye, CEC, February 2021. © Sandra Pointet. Strata, series of sandblasted crystal spheres produced as a part of the Fondation d’entreprise Hermès Artists' Residency program, 2020. — View of the exhibition Guillaume Dénervaud, *Surv’Eye*, CEC, February 2021. © Sandra Pointet. *Strata*, series of sandblasted crystal spheres produced as a part of the Fondation d’entreprise Hermès Artists’ Residency program, 2020.

Constellations

By Dean Kissick

During the Nineties, when Elise was at school in the English countryside, there was a constant flow of UFO sightings and crop circles, in which complicated but harmonious patterns of spiralling orbs would appear cut into wheat fields overnight, and reports of ethereal abductions on lonely country roads. These abductions were usually in the United States, and again happened overnight. Aliens would come down and snatch American men and sodomize them, for their experiments. The Nineties were fantastic, she thought. Now that old sense of excitement about and openness to the cosmos was gone. There were no more lights in the sky, no more encounters of any kind. No more geometry appeared on the farms. Steel monoliths sometimes arrived on Romanian hillsides and deserts. But no one thought about space anymore. What was space good for now?

Continue reading “Guillaume Dénervaud
Surv’Eye“

Printed Matter’s Virtual Art Book Fair 2021

Posted on 24 February 20212 April 2024 by Zsuzsanna Szabo

Monica Bonvicini, Harry Burke, Guillaume Dénervaud, Anne Dressen/Nick Mauss, Liz Craft, Keren Cytter, Mathis Gasser, Katie Holten, Dorothy Iannone, Jakob Kolding, Mads Ranch Kornum, Matthew Lutz-Kinoy, Victor Man, Paul Paillet, Josef Strau, Susan Te Kahurangi King, Oscar Tuazon, Jeffrey Vallance, Jean-Michel Wicker and Artists’ Voices

Opening Wednesday February 24, 2021

from February 25 till February 28, 2021

3 PM – 6 PM (CET)

pmvabf.org

Paul Paillet
Fascination for fire

Posted on 17 September 20208 February 2024 by Zsuzsanna Szabo

Exhibition from September 18 till December 12, 2020
Opening Thursday September 17, 2020, 2 PM – 8 PM

Paul Paillet
*Fascination for fire*, CEC, 2020. © Sandra Pointet

View of the exhibition Paul Paillet fascination for fire, CEC, 2020. © Sandra Pointett — View of the exhibition Paul Paillet
*Fascination for fire*, CEC, 2020. © Sandra Pointet

Paul Paillet’s solo exhibition at the Centre d’édition contemporaine was intended to open in March 2020, but was postponed due to lockdown until September 2020. For this exhibition, Paul Paillet has developed a proposal drawing on numerous references that insect and overlap, creating an ensemble of several pieces: sculptures and a mural work in porcelain, a newspaper, a radio and a publication. Each of these elements contains various cultural and personal indices that construct a kind of staged presentation. The theme of fascination for fire is partly autobiographical, linked to a reflection on a return to the artist’s adolescence, his adventures and darker moments in his past, which result in semantic shifts, from the private sphere to more critical and committed societal and political implications. Continue reading “Paul Paillet
Fascination for fire“

Metallica

Posted on 9 June 202028 July 2022 by Zsuzsanna Szabo

From June 9 to September 4, 2020

New show with editions by Trisha Donnelly, Vidya Gastaldon & Jean-Michel Wicker, Fabrice Gygi, Sylvie Fleury and Fabian Marti

View of the exhibition Metallica, CEC, 2020.Vue de l'exposition Metallica, CEC, 2020. © Sandra Pointet — View of the exhibition *Metallica*, CEC, 2020.Vue de l’exposition *Metallica*, CEC, 2020. © Sandra Pointet

The CEC open during the Nuit des Bains on Thursday September 3, 2020, from 2 p.m. to 9 p.m.

artgenève 2020

Posted on 30 January 202030 June 2023 by Zsuzsanna Szabo

The CEC at artgenève 2020

Artists’ Voices, Harry Burke, Timothée Calame, Liz Craft, Keren Cytter, Dorothy Iannone, Matthew Lutz-Kinoy, Victor Man, Fabian Marti, Jonathan Monk, Susan Te Kahurangi King

Thursday January 30
12PM – 7PM
Friday January 31
12PM – 8PM
Saturday February 01
12PM – 8PM
Sunday February 02
12PM – 7PM

Palexpo, Geneva
Booth A43

Fabian Marti
Such a Good Girl

Posted on 16 January 202011 October 2023 by Zsuzsanna Szabo

Exhibition from January 17 till March 7, 2020
Opening on Thursday January 16, from 6 PM, Rentrée du Quartier des Bains

View of the exhibition Fabian Marti Such a Good Girl, CEC, 2020. © Sandra Pointet — View of the exhibition Fabian Marti *Such a Good Girl*, CEC, 2020. © Sandra Pointet

Fabian Martii, Such a Good Girl, coedition Wilde and CEC, 2020. © Sandra Pointet — Fabian Martii, *Such a Good Girl*, coedition Wilde and CEC, 2020. © Sandra Pointet

Fabian Marti sees his artistic work as a chance to explore ideas about the place of the artist and the individual in society and in the field of production. This type of questioning, which brings him closer to conceptual art, allows Marti to view his practice as a way of challenging the divides between traditional techniques, conventional modes of creation, customary terms of exchange right through to the artist’s status. He goes back to more archaic technical choices, and the handmade in particular, reappropriating craft skills such as ceramics. As for the shift in the artist’s function, Marti is involved and participates in the creation of exhibition spaces, artists’ studios and publishing houses. The Zurich space Hacienda, TwoHotel, Marti Collection, Marti Ceramics and FM Studio Chairs are simultaneously both art objects and small “companies”, places or structures that facilitate production projects, both for Fabian Marti himself and for invited artists. Continue reading “Fabian Marti
Such a Good Girl“

P.A.G.E.S. 2019

Posted on 6 December 201913 October 2022 by Zsuzsanna Szabo

The CEC at P.A.G.E.S. Salon du livre d’artiste et de l’imprimé contemporain, Genève

Friday December 6, 2019
4 PM – 9 PM
Saturday December 7, 2019
10:30 AM – 7 PM
Sunday December 8, 2019
10:30 AM – 5 PM

HEAD – Genève
Bâtiment H
Av. de Châtelaine 7
1203 Geneva

Timothée Calame, Keren Cytter, Philippe Decrauzat, Jason Dodge, Mathis Gasser, Thomas Hirschhorn, David Hominal, Dorothy Iannone, Matthew Lutz-Kinoy, Victor Man, Susan Te Kahurangi King, Oscar Tuazon, Jeffrey Vallance, Jean-Michel Wicker

Open accrochage, editions
of

Posted on 16 November 20197 February 2024 by Zsuzsanna Szabo

Timothée Calame, Keren Cytter, Dorothy Iannone, Matthew Lutz-Kinoy, Fabian Marti, Jonathan Monk, Susan Te Kahurangi King, Jean-Michel Wicker

The CEC participates in Week-end GENEVE.ART, Saturday and Sunday, November 16 and 17, 2019, 11 AM – 6 PM

Exhibition from November 16, 2019 till December 20, 2019

Matthew Lutz-Kinoy, Scrolls in the Wind…, edition of the CEC, 2018. © Sandra Pointet

Timothée Calame, editions of theCEC, 2019. © Sandra Pointet — Timothée Calame, editions of the CEC, 2019. © Sandra Pointet

Keren Cytter, The Furious Hamster, coedition Pork Salad Press and CEC, 2018. © Sandra Pointet — Keren Cytter, *The Furious Hamster*, coedition Pork Salad Press and CEC, 2018. © Sandra Pointet

Keren Cytter, The Brutal Turtle, coedition Pork Salad Press and CEC, 2018. © Sandra Pointet — Keren Cytter, *The Brutal Turtle*, coedition Pork Salad Press and CEC, 2018. © Sandra Pointet

New edition

Harry Burke

A diminished poetry. An expanding (and contracting) writerly. Fragments, for Rindon Johnson

Before publication 1

Brochure published in the Before publication collection, which will gather the pre-publications – unique notebooks of 4 to 24 pages, 17.2 x 23.5 cm, offset, black/white, stapled binding, 250 copies – of authors’ texts and artists’ inserts, which will appear regularly and in preview of their final edition in L’Effet papillon II (second volume of L’Effet papillon, 1989-2007, the catalog of the Centre d’édition contemporaine published in 2008).

Graphic design: Niels Wehrspann, Lausanne
Edition of the Centre d’édition contemporaine, Geneva, December 2019

OTHER RECENT EDITION

Susan Te Kahurangi King

Selected Works 1965–1980

Offset, colours, 20 pages, 16,5 x 23,6 cm. Coedition innen, Zurich and Centre d’édition contemporaine, Geneva, 2019.
Edition offered to the members of the Centre d’édition contemporaine association for the year 2019.

Selected Works 1965–1980 from Susan Te Kahurangi King is part of a series of three publications coedited with innen, Zurich of which Eros Paintings by Dorothy Iannone published in Spring 2019 and New York & Beyond 2017–2019 by Liz Craft (forthcoming).

TIMOTHÉE CALAME
ALTERA

Posted on 16 May 201930 June 2023 by cec

Opening Thursday May 16, 2019, 6-9 PM (Quartier des Bains common openings)

Exhibition from May 17 till September 28, 2019

Exhibition extended till October 26, 2019

View of the exhibition Timothée Calame, Altera, CEC, 2019. © Sandra Pointet — View of the exhibition Timothée Calame, *Altera*, CEC, 2019. © Sandra Pointet

Continue reading “TIMOTHÉE CALAME
ALTERA“

LA Art Book Fair 2019

Posted on 11 April 201913 October 2022 by Zsuzsanna Szabo

April 12-14, 2019
Opening Night Avril 11, 2019

Booth G07, The Geffen Contemporary at MOCA, Los Angeles

Keren Cytter, Mathis Gasser, Thomas Hirschhorn, Katie Holten, Aaron Flint Jamison, Mads Ranch Kornum, Matthew Lutz-Kinoy, Victor Man, Josef Strau, Oscar Tuazon, Jeffrey Vallance, Jean-Michel Wicker

Spring Sale Time

Posted on 19 February 20194 May 2023 by Zsuzsanna Szabo

From February 19 till May 4, 2019

View of the exhibition Spring Sale Time, CEC, 2019 © Sandra Pointet — View of the exhibition *Spring Sale Time*, CEC, 2019 © Sandra Pointet

Gerard Byrne, Valentin Carron, Marc Camille Chaimowicz, Keren Cytter, Philippe Decrauzat, Jason Dodge, Sylvie Fleury, Mathis Gasser, David Hominal, Tobias Kaspar, Jakob Kolding, Matthew Lutz-Kinoy, Erik van Lieshout, Christian Lindow, David Maljkovic et Konstantin Grcic, Victor Man, Mélanie Matranga, Jonathan Monk, Olivier Mosset, Gianni Motti, Florian Pumhösl, Markus Schinwald, Oscar Tuazon, Jean-Michel Wicker, Heimo Zobernig

Cut-price
%

Thursday March 14, 2019, 6-9 PM (Quartier des Bains common openings)
and
Saturday May 4 2019, 12-5 PM

artgenève 2019
ground

Posted on 30 January 201913 October 2022 by Zsuzsanna Szabo

January 31-February 3, 2019
Preview: 30 janvier 2019
stand D4, halle 1, Palexpo, Genève

ground

(edited and curated by Harry Burke and Marlie Mul)

Khairani Barokka
Simnikiwe Buhlungu
Amy DG & Samantha Dick (Where People Sleep)
Marlie Mul
Precious Okoyomon
Kirsten Pieroth
Linda Stupart
The Gate
WAGES FOR WAGES AGAINST
Jean-Michel Wicker

+

Editions of the CEC

Matthew Lutz-Kinoy
Jean-Michel Wicker

Presentation of the new edition of Matthew Lutz-Kinoy

Scrolls in the Wind
A collection of scripts and poems by Harry Burke, Cyrus Grace Dunham, Sharon Hayes, James English Leary, Sophy Naess, Amy Sillman and Emily Sundblad
Edited by Matthew Lutz-Kinoy

ground

Curators : Harry Burke and Marlie Mul

Presentation of the zine ground – first edition launched in 2018 – edited by Harry Burke (writer, critic, editor, and indepndant curator) amd Marlie Mul (artist, born in 1980 in Utrecht, lives and works in Berlin) with contributions by The Gate, Linda Stupart, Jean-Michel Wicker, Khairani Barokka, Reader’s Digestion, Sorryyoufeeluncomfortable et Marlie Mul.

“In collaboration with Centre d’edition contemporaine for artgenève, Harry Burke and Marlie Mul, the editors of ground, will curate a selection of prints and editions by artists featured in both their recently published first zine and in their forthcoming second publication. ground is an independently distributed zine that aims to look beyond institutions, in their current form, as the dominant spaces and frameworks in which to present and deal with artistic production, and instead explore grassroots political and aesthetic alternatives. The presentation at artgenève will highlight the ways that artists are using publishing and printmaking to achieve these aims, and will involve work by artists who are often underrepresented in international commercial presentations such as artgenève.” (Harry Burke)

Talk by Marlie Mul, presentation of the zine ground, art talks & performances, Saturday, February 2, 2019, artgenève 2019

Matthew Lutz-Kinoy
What to wear to a concert? Tips for concert outfits: wear your best punk jacket with the right patches ! “A patch meant to be fixed to the back of your jacket depicting relevant cultural affiliations”

Posted on 24 January 201913 October 2022 by Zsuzsanna Szabo

Presentation of the edition offered to the members of the Centre d’édition contemporaine association for the year 2018
Thursday, January 17, 2019, 6 – 9 PM (Common openings of the Quartier des Bains)

Matthew Lutz-Kinoy, What to wear to a concert? Tips for concert outfits: wear your best punk jacket with the right patches! « A patch meant to be fixed to the back of your jacket depicting relevant cultural affiliations »

Silkscreen print on raw cotton, 36 × 48 cm, safety pins, postcard, 150 copies, edition of the Centre d’édition contemporaine, Geneva, 2019. Edition offered to the members of the Centre d’édition contemporaine association for the year 2018.

Matthew Lutz-Kinoy
The Meadow

Posted on 11 October 20183 February 2019 by cec

Exhibition from October 12 till February 8, 2019 Opening Thursday October 11, 2018 from 6 PM to 9 PM (Nuit des Bains)

Week-end Genève Art Contemporain : Saturday 17 and Sunday 18 November from 11 AM till 6 PM

Common openings of the Quartier des Bains : Thursday, January 17, 2019, from 6 PM till 9 PM

View of the exhibition Matthew Lutz-Kinoy, The Meadow, CEC, 2018. © Sandra Pointet — View of the exhibition Matthew Lutz-Kinoy, *The Meadow*, CEC, 2018. © Sandra Pointet

Matthew Lutz-Kinoy’s primary medium might be painting, but it often goes beyond two-dimensional space to extend to its surroundings, becoming decor or pieces of furniture. This expansion of the pictorial space is seen both in the choice of subjects and in the enlarged and repeated stylized motifs. His large format paintings, often installed like decorative tapestries, wall panels or suspended ceilings, stages the exhibition space in which viewers are physically immersed. This highly spatial and physical approach to painting expresses Lutz-Kinoy’s special relationship with the body and gesture, and explains the extension of his work into dance and performance. For his recent exhibition at Le Consortium, Dijon, a vast system of murals, inspired by François Boucher’s painted panels that once decorated a boudoir and are now displayed at the Frick Collection in New York, entirely covered the walls of this white cube. This fascination with the refined, sophisticated and carnal painting of the 18^th century brought out its erotic and transgressive nature against a backdrop of sensual and sexual liberation.

Continue reading “Matthew Lutz-Kinoy
The Meadow“

Salon MAD#4 (Multiple Art Days)
Paris 2018

Posted on 13 September 201819 September 2018 by cec

14 – 16 september 2018 from 11 AM to 7 PM
Preview : 13 september 2018 from 4 PM to 7 PM
Monnaie de Paris, Paris

The CEC participates in the Salon MAD#4 (Multiple Art Days)

With the editions of Victor Man, Keren Cytter, Jean-Michel Wicker, Mathis Gasser, Artists’ Voices (triple vinyle) and Valentin Carron

Entrelacs
Victor Man invites Navid Nuur

Posted on 17 May 201830 June 2023 by cec

From May 18 till September 15, 2018
Opening Thursday May 17, 2018 from 6 PM to 9 PM (Common openings of the Quartier des Bains)

View of the exhibition Entrelacs, Victor Man invites Navid Nuur, 2018, © Sandra Pointet — View of the exhibition *Entrelacs*, Victor Man invites Navid Nuur, 2018, © Sandra Pointet

For his exhibition at the CEC, Victor Man invites Navid Nuur not so much to create a common work but rather to establish a dialog and to underline a certain kinship between their artistic practices: their use of traditional and handcrafted techniques – watercolour for the one and ceramics for the other -, their common references to materials that bear strong symbolic and poetic meaning – minerals, water, fire -, their personal and artistic background, but also their ties to childhood, to memory and perhaps to nostalgia. A shared way of revisiting the significant initiatory stages that rendered this duo possible and natural, offering an installation alternating the watercolours of Victor Man and the ceramics of Navid Nuur. Continue reading “Entrelacs
Victor Man invites Navid Nuur”

Valentin Carron, Marc Camille Chaimowicz, François Curlet…

Posted on 22 March 201830 June 2023 by cec

Valentin Carron, Marc Camille Chaimowicz, François Curlet, Keren Cytter, Philippe Decrauzat, Jason Dodge, Trisha Donnelly, Sylvie Fleury, Mathis Gasser, Thomas Hirschhorn, David Hominal, Aaron Flint Jamison, Raphaël Julliard, Tobias Kaspar, Jakob Kolding, Elke Krystufek, M/M (Paris), Jonathan Monk, Oscar Tuazon, Jeffrey Vallance, Oriol Vilanova, Jean-Michel Wicker, Heimo Zobernig

From March 23 till May 5, 2018
Opening Thursday March 22 from 6 PM to 9 PM

View of the exhibition, CEC, 2018. © Sandra Pointet

New Editions:

Keren Cytter, The Brutal Turtle, Book, offset, colours, 40 pages, 15 x 15 cm, an edition of 500, text in English. Coedition Pork Salad Press, Copenhagen and the Centre d’édition contemporaine, Geneva, 2018.

Keren Cytter, The Furious Hamster, Book, offset, colours, 56 pages, 15 x 15 cm, an edition of 500, text in English. Coedition Pork Salad Press, Copenhagen and the Centre d’édition contemporaine, Geneva, 2018.

artgenève 2018
Keren Cytter

Posted on 1 February 201813 October 2022 by cec

February 1 – 4, 2018 from 12 PM – 8 PM
Preview: Wednesday, January 31, 2018 2 PM – 8 PM
Booth D23, Palexpo, Geneva

View of the CEC’s booth, 2018. Photo © Sandra Pointet

The CEC at artgenève 2018

Keren Cytter

Presentation of three small children books, The Curious Squirrel (2015), The Brutal Turtle (2018) and The Furious Hamster (2018), of recent drawings and three objects on wheels

For the CEC booth at artgenève, Keren Cytter presents a little reading room for children with a series of recent drawings and three volumes on wheels: a red ball, a yellow pyramid, a blue cube, objects that are between mobile shapes and children seats. This childlike environment will serve as a display for the book, The Brutal Turtle and The Furious Hamster, both coproduced by Jacob Fabricius, artist director at Kunsthal Aarhus, who runs Pork Salad Press, Copenhagen and the Centre d’édition contemporaine, Geneva. Continue reading “artgenève 2018
Keren Cytter“

Jonathan Monk
Directional Advice

Posted on 7 December 201730 June 2023 by cec

Presentation December 8, 2017 – March 3, 2018
Preview opens Thursday, 7 December 2017 at 6 PM

Jonathan Monk, Directional Advice, ed. CEC, 2017. © Sandra Pointet — Jonathan Monk, *Directional Advice*, edition of the CEC, 2017. © Sandra Pointet

Presentation of the edition offered to the 2017 members of the Centre d’édition contemporaine association

Jonathan Monk, Directional Advice, one colour silkscreen print with clear varnish coating, Algro Screen cardboard 1260 g/m², Ø 40 cm, edition of 150, signed and dated on the reverse, printed by Christian Humbert-Droz, Geneva, die-cut by Decoform, Geneva. Edition of the Centre d’édition contemporaine, 2017. Edition offered to the members of the Centre d’édition contemporaine association for the year 2017.

Editions by Valentin Carron, Marc Camille Chaimowicz, François Curlet, Jason Dodge, Sylvie Fleury, Mathis Gasser, Thomas Hirschhorn, David Hominal, Tobias Kaspar, Jakob Kolding, Oscar Tuazon, Oriol Vilanova, Jean-Michel Wicker, Heimo Zobernig

Thomas Hirschhorn
Flashforward

Posted on 11 November 201724 August 2021 by Zsuzsanna Szabo

The CEC at week-end
Genève Art Contemporain

Saturday and Sunday November 11 and 12, 2017
11 AM – 6 PM

Thomas Hirschhorn, Flashforward, samedi 11 novembre 2017, CEC — Thomas Hirschhorn, *Flashforward*, Saturday November 11, 2017, CEC

Thomas Hirschhorn, Flashforward, Saturday November 11, 2017, CEC — Thomas Hirschhorn, *Flashforward*, Saturday November 11, 2017, CEC

Itinerant presentation of the facsimile of the publication Les plaintifs, les bêtes, les politiques

Signing session in the presence of Thomas Hirschhorn

Saturday November 11, 2017 from 1 PM

Thomas Hirschhorn, Les plaintifs, les bêtes, les politiques, offset printed brochure, CMYK color model, glossy coated paper, 80 g/m2, 231 × 24 cm, 208 pages. Original edition by Centre genevois de gravure contemporaine/Centre d’édition contemporaine (CEC), Geneva, 1995 and edition of the facsimile, ed. Galerie Chantal Crousel, Paris, 2017.

Edited by the CEC!
Focus: Mélanie Matranga

Posted on 12 October 20171 March 2018 by Zsuzsanna Szabo

Edited by the CEC!

Exhibition October 13 – November 25, 2017
Opening October 12, 2017 from 2:30 PM

Editions by Valentin Carron, Marc Camille Chaimowicz, François Curlet, Philippe Decrauzat, Jason Dodge, Sylvie Fleury, Mathis Gasser, David Hominal, Tobias Kaspar, Jakob Kolding, Mélanie Matranga, Giuseppe Penone, Oscar Tuazon, Oriol Vilanova, Jean-Michel Wicker, Susanne M. Winterling, Heimo Zobernig

Focus: Mélanie Matranga

Mélanie Matranga, B : Love close, edition of the CEC, 2017. © Sandra Pointet — View of the exhibition *Edited by the CEC! Focus: Mélanie Matranga*, CEC, 2017

Mélanie Matranga’s artistic approach is crossed by stories that infiltrate a production of objects, installations, films, and even pieces of furniture and reconstructions of interiors that are loaded with signifying signs, texts and images: drawings, photographs, prints, projections. These combined elements propose “situations” that interrogate intimacy and seem to be filled with sensations and residual feelings, receptacles where real life experience and imagination, the document and the scenario meet. Continue reading “Edited by the CEC!
Focus: Mélanie Matranga“

Jean-Michel Wicker
#picturebook1
Book Launch c/o Section 7 Books, Paris

Posted on 30 June 201730 June 2023 by cec

Friday, June 30, 2017

Jean-Michel Wicker, #picturebook1, edition of the CEC, 2017 — Jean-Michel Wicker, *#picturebook1*, edition of the CEC, 2017

From 6 PM Book Launch: #picturebook1 by Jean-Michel Wicker, presented by the artist

Jean-Michel Wicker
#picturebook1
Book Launch c/o SALTS, Birsfelden/Basel

Posted on 15 June 201729 June 2023 by cec

Thursday, June 15, 2017

From 6 PM Book Launch: #picturebook1 by Jean-Michel Wicker, presented in collaboration with The Printed Room, SALTS and the Centre d’édition contemporaine, Geneva

With a reading by Harry Burke and a specially produced flyer by Jean-Michel Wicker

Presentation of the edition
Jean-Michel Wicker
#picturebook1

Posted on 1 June 201711 June 2019 by cec

Thursday, June 1, 2017

From 6 PM Presentation of Jean-Michel Wicker’s edition, #picturebook1, artist’s book, offset, 27 × 28.5 cm, 396 pages, including 360 pages in colour and 36 pages in black on LuxoArt Silk 150 g/m2 paper, glossy colour cover, LuxoArt Silk 350 g/m2, 10 inserts, colours, 26.5 × 28 cm, LuxoArt Silk 130 g/m2, publication of an arbre de vie produced by Jean-Michel Wicker in collaboration with Marlie Mul, a text by Harry Burke, and a recipe for Alsatian plum pie by Charlotte Wicker (French), English, an edition of 500. Graphic design: Maximage Société Suisse, London. Printing: DZA Druckerei zu Altenburg, Altenburg. Edition of the Centre d’édition contemporaine, Geneva, June 2017.

Jakob Kolding
The Outside or the Inside of the Internalised Externalised

Posted on 18 May 201720 June 2017 by cec

Exhibition 19 May – 30 September 2017
Exhibition preview opens Thursday, 18 May 2017 at 6 PM (Nuit des Bains)

Jakob Kolding, Houseplants, 2017. © Jakob Kolding — Jakob Kolding, *Houseplants*, 2017. © Jakob Kolding

Jakob Kolding, view of the exhibition The Outside or the Inside of the Internalised Externalised, CEC, 2017. © Sandra Pointet — Jakob Kolding, view of the exhibition *The Outside or the Inside of the Internalised Externalised*, CEC, 2017. © Sandra Pointet

For this exhibition, Jakob Kolding will be proposing a scenography reminiscent of 19th century dioramas or the photomontages of the Théâtre Alfred Jarry, a small theatre that will fill all our exhibition spaces and be visible from outside, both as an installation and a public artwork. Several scaled up or down “standing” silhouettes will be grouped on this stage set, creating an interplay of juxtapositions and gaps. Each figure suggests a historical or anonymous person, illustrative of Jakob Kolding’s extended vocabulary of literary, philosophical, artistic or personal references, and encouraging a sociological, cultural and aesthetic interrogation of the use of space. While in his earlier works this critical research was more closely linked to the phenomena of the transformation of urban space and gentrification, Kolding has more recently approached different concepts of space in a broader, more open and ambivalent way, as areas where questions of identity are simultaneously complex, shifting and multiple. Continue reading “Jakob Kolding
The Outside or the Inside of the Internalised Externalised“

Jean-Michel Wicker
BBiblioteca ffanafffantastica

Posted on 23 March 20179 May 2017 by Zsuzsanna Szabo

Opening Thursday March 23, 2017 from 6 PM till 9 PM
Exhibition from March 24 to May 6, 2017

Jean-Michel Wicker, view of the exhibition BBiblioteca ffanafffantastica, CEC, 2017. © Sandra Pointet — Jean-Michel Wicker, view of the exhibition *BBiblioteca ffanafffantastica*, CEC, 2017. © Sandra Pointet

Jean-Michel Wicker’s exhibition BBiblioteca ffanafffantastica brings together several works involving the medium of print for which the artist has worked out a number of iterations, including fanzines, scrapbooks, antibooks, book-objects, and flyers. The display will also feature supports, both literal and figurative, that have something to do with books, and other elements that extend the gesture of consultation, reading and writing, even the function of storage. This includes bookcases, display stands, showcases, tables and chairs. Other objects or useful ordinary materials like electric wires, clothing, key rings, neon lights, lamps and tarps will be transformed, cobbled together, and combined with a wide range of supports in their usual and unsurprising form or reappropriated and put to other uses. Those supports include paper, cardboard, plastic, papier-mâché, and shells. Continue reading “Jean-Michel Wicker
BBiblioteca ffanafffantastica“

artgenève 2017
Inside the Bubble-Booth

Posted on 25 January 201729 June 2023 by Zsuzsanna Szabo

January 26 – 29, 2017 12 PM – 8 PM
Preview: Wednesday, January 25, 2017, 2 PM – 8 PM
Booth D25, Palexpo, Geneva

View of the CEC’s booth, 2017. Photo © Sandra Pointet

Centre d’édition contemporaine at artgenève
International art fair

Inside the Bubble-Booth
With Timothée Calame, Valentin Carron, Jakob Kolding, Matthew Langan-Peck, Matthew Lutz-Kinoy and Mélanie Matranga

For artgenève 2017 the CEC proposes a group show, Inside the Bubble-Booth, that evolves around the idea of organs and the corps morcelé. The booth of the CEC will be transformed this year into an intimate and organic space. This proposition is also a pretext for improvising on a proposed theme such as desire, intuition or a lead for a work. Each invited artist was chosen on the base of this postulate, without their works being literally an illustration of this theme, they suggest or make allusion to it.

Presentation of the edition
Jean-Michel Wicker
Belle étiquette

Posted on 19 January 201716 March 2017 by cec

Thursday January 19 2017

Jean-Michel Wicker, Belle étiquette, edition of the CEC, 2016. © Sandra Pointet — Jean-Michel Wicker, *Belle étiquette*, edition of the CEC, 2016. © Sandra Pointet

Giulia Essyad, Salamander Said, ceramics, 2016. With Sabrina Röthlisberger, En Attendant Antarah, guerrier poète, 2015 © Sandra Pointet — Giulia Essyad, *Salamander Said*, ceramics, 2016. With Sabrina Röthlisberger, *En Attendant Antarah, guerrier poète*, 2015 © Sandra Pointet

David Knuckey, Crest, 2016. John M Armleder, Sans titre, 1992. Rosemarie Trockel, Sans titre, 1996. — David Knuckey, *Crest*, 2016. John M Armleder, *Sans titre*, 1992. Rosemarie Trockel, *Sans titre*, 1996.

David Hominal, Through the Windows, 2013. David Knuckey, Crest, 2016. Andreas Dobler, Under Fire, 2007. — David Hominal, *Through the Windows*, 2013. David Knuckey, *Crest*, 2016. Andreas Dobler, *Under Fire*, 2007.

From 6 PM Presentation of Jean-Michel Wicker’s edition, Belle étiquette, woven flyer taking the form of a mini carpet functioning as an advertisement object, polyester, black and white, high definition weaving, heat cut with fray out edges, 92 × 140 mm, edition of 1000, unsigned, weaving Bornemann-Etiketten GmbH, Wuppertal. Edition of the Centre d’édition contemporaine, Geneva, 2016.

This edition is accompanied by a publication bearing the same title, Belle étiquette, publication, 16 pages, black/white, colours, offset on Magno Satin 130 g/m²paper, 26,8 × 20,5 cm, 250 copies. Graphic design : Marietta Eugster and Jean-Michel Wicker. Edition of the Centre d’édition contemporaine, Geneva, 2016.

Edition offered to the 2016 members of the Centre d’édition contemporaine association.

Mathis Gasser

In the Museum 1 2 (3), Regulators 1 2 n, artist’s book, 448 pages in black and 128 pages in colour, 17 × 22,8 × 3,5 cm, offset, on Arctic Volume White 1.12 paper 100 g/m², cover in Arctic Volume White 1.2 paper 300 g/m², 300 copies. Graphic design: Niels Wehrspann, Lausanne with Mathis Gasser. Print : La Buona Stampa, Lugano. Binding: Schumacher AG, Schmitten. Edition of the Centre d’édition contemporaine, Geneva, 2016.

Artists’ Voices

Triple LP with sound pieces by Rita Ackermann, Gerard Byrne, Valentin Carron, Claire Fontaine, Jason Dodge, Giulia Essyad, Sylvie Fleury, Gilles Furtwängler, Mathis Gasser, Marcus Geiger / Heimo Zobernig, Vivienne Griffin & Kaspars Groshevs, Thomas Hirschhorn, Tobias Kaspar and Jan Vorisek, Anne Le Troter, Beat Lippert, Tobias Madison, Fabian Marti, Jonathan Monk, Damián Navarro, James Richards, Emanuel Rossetti, Ryan Conrad Sawyer, Ramaya Tegegne and Ricardo Valentim, 3 picture discs in a two-piece box, 310 × 310 × 15/15 mm, 350 copies. Sound engineer: Ladislav Agabekov, Caduceus Mastering, Geneva. Graphic design: Niels Wehrspann, Lausanne. Edition du Centre d’édition contemporaine, 2016.

John M Armleder, Valentin Carron, Marc Camille Chaimovicz, Claude Closky, Andreas Dobler, David Hominal, Rosemarie Trockel and Heimo Zobernig (editions CEC), Giulia Essyad (ceramic) and Sabrina Röthlisberger (bench and book), Solar Lice (double LP, Power Station, Dallas, 2013) and David Knuckey (sculptures)

Until March 11, 2017

Presentation of the book
Mathis Gasser
In the Museum 1 2 (3),
Regulators 1 2 n

Posted on 15 December 201616 March 2017 by Zsuzsanna Szabo

Thursday December 15 2016

Extract of the cover of Mathis Gasser *In the Museum 1 2 (3), Regulators 1 2 n*, Leonora Carrington, *Adieu Amenhotep*, 1955 (detail), © Estate of Leonora Carrington/ARS

Mathis Gasser, In the Museum 1 2 (3), Regulators 1 2 n, edition of the CEC, 2016 — Mathis Gasser *In the Museum 1 2 (3), Regulators 1 2 n*, edition of the CEC, 2016

From 6 PM Presentation of Mathis Gasser’s book In the Museum 1 2 (3), Regulators 1 2 n, artist’s book, 448 pages in black and 128 pages in colour, 17 × 22,8 × 3,5 cm, offset, on Arctic Volume White 1.12 paper 100 g/m², cover in Arctic Volume White 1.2 paper 300 g/m², 300 copies. Graphic design: Niels Wehrspann, Lausanne with Mathis Gasser. Print: La Buona Stampa, Lugano. Binding: Schumacher AG, Schmitten. Edition of the Centre d’édition contemporaine, Geneva, 2016.

David Knuckey, Crest, 2016

From 7 PM Readings by Marie Angeletti, Samuel Luterbacher, Marta Riniker-Radich and Angharad Williams

Until March 11, 2017 John M Armleder, Valentin Carron, Marc Camille Chaimowicz, Claude Closky, Andreas Dobler, David Hominal, Rosemarie Trockel and Heimo Zobernig (editions CEC), Giulia Essyad, Sabrina Röthlisberger, Solar Lice (double LP, Power Station, Dallas, 2013)

Artists’ Voices

Until March 11, 2017

Presentation of the edition
Artists’ Voices

Posted on 8 December 201616 March 2017 by Zsuzsanna Szabo

Thursday December 8 2016

Artists’ Voices, triple LP, edition of the CEC, 2016. © Sandra Pointet — *Artists’ Voices*, triple LP, edition of the CEC, 2016. © Sandra Pointet

From 6 PM Presentation of the sound edition Artists’ Voices, with Rita Ackermann, Gerard Byrne, Valentin Carron, Claire Fontaine, Jason Dodge, Giulia Essyad, Sylvie Fleury, Gilles Furtwängler, Mathis Gasser, Marcus Geiger / Heimo Zobernig, Vivienne Griffin & Kaspars Groshevs, Thomas Hirschhorn, Tobias Kaspar and Jan Vorisek, Anne Le Troter, Beat Lippert, Tobias Madison, Fabian Marti, Jonathan Monk, Damián Navarro, James Richards, Emanuel Rossetti, Ryan Conrad Sawyer, Ramaya Tegegne and Ricardo Valentim (triple LP, ed. CEC, 2016)

7 PM Ramaya Tegegne, Version #19: Judy Chicago, 2016 (reading/performance)

7:30 PM Giulia Essyad, Poetry Reading December 2016 (reading) et Salamander Said, 2016 (ceramics) with Sabrina Röthlisberger, En Attendant Antarah, guerrier poète, 2015, (bench)

8 PM HAGGARD CARAVAN, composed by Stefan Tcherepnin, with recordings by Solar Lice (Jeanne Graff, Tobias Madison, Flavio Merlo, Emanuel Rossetti, Gregory Ruppe, William Z. Saunders & Stefan Tcherepnin), mixed in York House Hotel, Wakefield, 2014 (sound installation, 44’30’’)

John M Armleder, Valentin Carron, Marc Camille Chaimovicz, Claude Closky, Andreas Dobler, David Hominal, Rosemarie Trockel and Heimo Zobernig (editions CEC)

Until March 11, 2017

Valentin Carron
Deux épaisseurs un coin

Posted on 15 September 201622 November 2016 by Zsuzsanna Szabo

Opening Thursday September 15, 2016, 6 PM – 9 PM
Exhibition September 16 – November 26, 2016

Valentin Carron, Sunset Punta Cana, edition of the CEC, 2016. © Sandra Pointet — Valentin Carron, *Sunset Punta Cana*, edition of the CEC, 2016. © Sandra Pointet

Valentin Carron, view of the exhibition Deux épaisseurs un coin, CEC, 2016. © Sandra Pointet — Valentin Carron, view of the exhibition *Deux épaisseurs un coin*, CEC, 2016. © Sandra Pointet

Valentin Carron, Deux épaisseurs un coin, 2016. © Sandra Pointet — Valentin Carron, *Deux épaisseurs un coin*, 2016. © Sandra Pointet

Valentin Carron explores the principle of reality through acts of appropriation, replicating almost identically elements from popular culture, the practice of monument-making, daily life and his immediate environment. The shift in meaning is probably due more to the choice of referents than to their mere displacement in the field of art. Carron conceals the function, blunts the decorative aspect and revisits the craftsmanship-like manufacturing of these objects that oscillate between irony, affection and fascination and seem to densify as entering in contact with art, endorsing themselves with a common acknowledgement and with the nostalgia of a forgotten story. Continue reading “Valentin Carron
Deux épaisseurs un coin“

Mathis Gasser
Sept sont tombés vers le ciel
Works on paper

Posted on 19 May 201614 September 2016 by Zsuzsanna Szabo

Opening Thursday May 19, 2016, 6 PM – 9 PM
Exhibition May 20 – September 3, 2016

Mathis Gasser, view of the exhibition Sept sont tombés vers le ciel, CEC, 2016. © Sandra Pointet — Mathis Gasser, view of the exhibition *Sept sont tombés vers le ciel*, CEC, 2016. © Sandra Pointet

Mathis Gasser draws upon and combines thousands of images that he patiently gathered and arranged in a personal archive. Their references come from the arts, architecture, cinema, comics, science fiction, magazines or from current events. In a very elaborated practice of collage, thousands of signs collide and are multiplied in an explosive combination, in a mirror or imbricating effect, diffracted by the immateriality of the digital world and by the invasion of information. The impact that Gasser seeks for through this body of reappropriated, reassociated images that are frequently reworked through drawing and painting, and caught in a sustained and invasive turnover. They oscillate between a nihilistic vision and an interrogation of the limits of a world undermined by temptations of archaism and the resurgence of primal fears, sectarian deliriums, theories of conspiracy and hyper technological and futuristic extravaganzas and other prophecies. Continue reading “Mathis Gasser
Sept sont tombés vers le ciel
Works on paper”

artgenève 2016

Posted on 27 January 201613 October 2022 by Zsuzsanna Szabo

January 28 – 30, 2016 12 PM – 8 PM
Preview: Wednesday, January 27, 2016, 2 PM – 8 PM
Booth D19, Palexpo, Geneva

View of the CEC’s booth, 2016. Photo © Sandra Pointet

Centre d’édition contemporaine at artgenève
International art fair

With the editions of Jason Dodge, David Hominal, Tobias Kaspar, David Maljkovic with Konstantin Grcic

Artists’ Voices
Prolongation

Posted on 10 December 20152 February 2017 by Zsuzsanna Szabo

Sound exhibition from December 11, 2015 till March 26, 2016
Opening Thursday December 10, 2015, 6 PM – 9 PM

View of the exhibition Artists’ Voices, CEC, 2015. Photo © Sandra Pointet — View of the exhibition *Artists’ Voices,* CEC, 2015. Photo © Sandra Pointet

Tobias Kaspar, Heart-Bite Valentine’s Day Teddy, CEC, 2015. Photo © Sandra Pointet — Tobias Kaspar, *Heart-Bite Valentine’s Day Teddy*, CEC, 2015. Photo © Sandra Pointet

Artists’ Voices assembles a group of sound pieces linked to the theme of the voice. The voice considered as a strong marker on the unconscious, a pre-language primal expression that is directly connected to emotions and is identifiable by a body of signs: tone, vibration, timbre, rhythm. The sound pieces are songs, declamations, monologues, a reading, a discourse, a dialogue, an echo, a whisper, a noise, a scream or breathing, up to the point of rupture, dysphonia, aphonia, silence, or even the return of sound and music. Continue reading “Artists’ Voices
Prolongation”

Artists’ Voices

Posted on 10 December 201520 January 2017 by cec

Sound exhibition from December 11, 2015 till March 26, 2016
Opening Thursday December 10, 2015, 6 PM – 9 PM

Extract

Posted on 17 September 201528 July 2022 by Zsuzsanna Szabo

Exhibition from September 18 till November 14, 2015
Opening Thursday September 17, 2015, 6 PM – 9 PM

View of the exhibition EXTRACT, CEC, 2015. Photo © Sandra Pointet — View of the exhibition *EXTRACT,* CEC, 2015. Photo © Sandra Pointet

Jason Dodge, edition of 120, CEC, 2015. Photo © Sandra Pointet

David Hominal, Détail, CEC, 2015. Photo © Sandra Pointet — David Hominal, *Détail*, CEC, 2015. Photo © Sandra Pointet

Jason Dodge, « what we keep doing to ourselves » (made near Jean Calvin’s grave), CEC, 2015. Photo © Sandra Pointet

Jason Dodge, David Hominal, Raphaël Julliard, David Maljkovic with Konstantin Grcic, Victor Man

With the new editions offered to the members of the CEC association:

David Hominal, Détail, silk screen print, edition of the Centre d’édition contemporaine, 2015 (edition offered to the 2014 members )
and
Jason Dodge, edition of 120 (edition offered to the 2015 members)

I Never Read, Art Book Fair Basel 2015

Posted on 17 June 201529 June 2023 by cec

June 18-19, 2015,4 PM – 10 PM
Juin 20, 2015, 12 PM – 6 PM
Preview: Wednesday June 17, 2015, 6 PM – 10 PM

I Never Read, Art Book Fair, Basel, 2015. © Max Reitmeier

With editions by Philippe Decrauzat, Jason Dodge, Sylvie Fleury, Katie Holten, David Hominal, Aaron Flint Jamison, Raphaël Julliard, Mads Ranch Kornum, Erik van Lieshout, Victor Man, Christophe Rey, Joseph Strau, Oscar Tuazon, Jeffrey Vallance, Oriol Vilanova

Jason Dodge

Posted on 28 May 201525 June 2015 by Véronique Bacchetta

Preview: Thursday May 28, 2015, 6 PM – 9 PM
(on the occasion of the Nuit des Bains)

From May 28th until September 5th, Jason Dodge will present shoes that have been made for someone with three legs.

Jason Dodge, vue de l'exposition, CEC, 2015. Photo © Sandra Pointet — Jason Dodge, vue de l’exposition, CEC, 2015. Photo © Sandra Pointet

Conference I want to talk again about the birds That are deaf from fireworks. In collaboration with the HEAD-Genève Wednesday, May 27, 2015 at 18pm.

David Maljkovic
with
Konstantin Grcic
Negatives

Posted on 19 March 201528 July 2022 by Raphaël Rodriguez

Exhibition from March 20 to May 16, 2015

David Maljkovic with Konstantin Grcic, Negatives, CEC, 2015. Photo © Sandra Pointet — David Maljkovic with Konstantin Grcic, *Negatives*

For his exhibition at the CEC, David Maljkovic will create, in collaboration with the German designer Konstantin Grcic, a series of works called Negatives. The “negatives” began with Maljkovic’s Temporary Projections in 2011. For this project, the artist created a fictional studio as a projection and one of the elements in the studio was a ‘fake’ working table. In collaboration with Grcic, the table is now an actual object, and what was once a secondary element becomes a model and the focus of the work. The “negatives”, then, are tables designed by Grcic that Maljkovic transforms by using as a work surface. As the artist cuts into paper with a blade, he leaves slashes and marks on the soft surface of the table top. The result is a group of intersecting lines and marks that combine to make a geometric abstraction. Red ink is then applied to this surface, and paper applied, in a process that resembles printmaking, leaving the table top marks filled with a vibrant red. The ‘negative’ is this structure that provided a space for the edition-making process. Continue reading “David Maljkovic
with
Konstantin Grcic
Negatives“

artgenève 2015

Posted on 28 January 201513 October 2022 by Véronique Bacchetta

January 29 – February 1, 2015 from, 2 PM – 9 PM
Preview: Wednesday, January 28, 2015, 2 PM – 8 PM
Booth D18, halle 1, Palexpo, Geneva

View of the CEC’s booth, 2015. Photo © Sandra Pointet — View of the CEC’s booth

With the editions of Sylvie Fleury, David Hominal, Raphaël Julliard, Erik van Lieshout, Victor Man, Olivier Mosset, Oscar Tuazon, Jeffrey Vallance, Oriol Vilanova

WINTER SALE
AND
ALPHABET EDITIONS

Posted on 12 December 201428 July 2022 by Véronique Bacchetta

WINTER SALE Tuesday December 16, 2014, 6 PM – 9 PM Saturday December 20, 2014, 12 PM – 5 PM

ALPHABET EDITIONS Exhibition of CEC’s editions (1989—2014) December 12, 2014 — February 28, 2015

View of the exhibition ALPHABET EDITIONS, CEC, 2014. Photo © Sandra Pointet — View of the exhibition *ALPHABET EDITIONS*

ALPHABET EDITIONS is an alphabetical display of the CEC’s editions (1989-2014), a possibility to see again everything or to purchase a book, a print or a multiple during this “winter sale”. WINTER SALE is neither a sale nor an auction or a sale, but simply the presentation of the still available editions, a new display, a Christmas market and above all a support for the CEC. Continue reading “WINTER SALE
AND
ALPHABET EDITIONS“

Raphaël Julliard
Chromozone

Posted on 18 September 201430 September 2015 by cec

Opening Thursday September 18, 2014 from 6 PM
on the occasion of the Nuit des Bains
Exhibition from September 19 till November 29, 2014

Raphaël Julliard, view of the exhibition CHROMOZONE, CEC, 2014. Image © Sandra Pointet — Raphaël Julliard, view of the exhibition *CHROMOZONE*

Exhibition of an installation of large pencil drawings on paper scroll and mobile wire sculptures, and the edition of an artist’s book entitled RREPTILES produced and edited by the CEC.

Raphaël Julliard is a polygraphic artist. Whether it be drawing, painting, installation work, video or performance, his work, rather than departing from a predefined idea or concept, stems from an initial impulsion that is as free and autonomous as possible, in order to arrive at the configuration induced by that same idea and its process of realisation. His work sometimes also questions the works of other artists, may them be central figures or lesser known. However, he seems to be inspired by everyday banal little things, whose existence is, in theory, considered to be insignificant. Like so, he had proceeded to the making of a classical ham-butter sandwich, from the planting of the seeds to the devouring of the sandwich, including the slaughtering of the pig and the churning of the butter (Mon Sandwich, HD video, 2010). Continue reading “Raphaël Julliard
Chromozone“

Oriol Vilanova
Renoncer à te décrire

Posted on 22 May 201427 November 2014 by Raphaël Rodriguez

Opening during the Nuit des Bains, Thursday May 22, 2014, from 6 AM
Exhibition from May 23 till July 11, 2014

Oriol Vilanova, view of the exhibition “Renoncer à te décrire” — Oriol Vilanova, view of the exhibition Renoncer à te décrire, Centre d’édition contemporaine, Genève, 2014. Photo: © Sandra Pointet

Oriol Vilanova, view of the exhibition Renoncer à te décrire, Centre d'édition contemporaine, Genève, 2014. Photo: © Sandra Pointet — Oriol Vilanova, view of the exhibition *Renoncer à te décrire*

The artist as collector, Oriol Vilanova is a collector of postcards, this touristy and obsolete medium of communication that contains within itself traces of individual and collective memory. Images d’Epinal, pictures of monuments, of iconic and historical places, printed on a simple card, thus offering an idealised vision of the world, filled with nostalgia, and unchanging subjects, yet they testify of a time hopelessly lost. Oriol Vilanova often works with notions of individual and collective memory, of lost time, of the immortality of the iconic and heroic figure, of monuments and stereotypes re-enacting through writing, performance or installation an extensive visual documentation—films, publications, printed matter, postcards—and thus creating a collision and a temporal coming and going between past, present and future. Continue reading “Oriol Vilanova
Renoncer à te décrire“

artgenève 2014 FILMS – CORRIDOR

Posted on 29 January 201413 October 2022 by Raphaël Rodriguez

january 30 – February 2, 2014
Preview: 29 january

View of the CEC's installation, artgenève, 2014. Photo: © Sandra Pointet — View of the CEC’s installation

Centre d’édition contemporaine at artgenève
international art fair

FILMS – CORRIDOR
Valentin Carron, Philippe Decrauzat, David Hominal, David Maljkovic, Fabian Marti, Adrien Missika, Jonathan Monk, Laurie Vannaz, Oriol Vilanova

During the preview, january 29th, 2014:
Izet Sheshivari, Poster Stories
Performance with typewriter and posters

Artissima 2013

Posted on 7 November 201328 June 2023 by Raphaël Rodriguez

8 – 10 november, 2013
Preview & opening: November 7th

The CEC's stand, Artissima, 2013 — The CEC’s stand

w/Monica Bonvicini, Gerard Byrne, Philippe Decrauzat, Trisha Donnelly, Sylvie Fleury, David Hominal, Aaron Flint Jamison, Jakob Kolding, Erik van Lieshout, Fabian Marti, Jonathan Monk, Oscar Tuazon, Jeffrey Vallance

Oval – Lingotto Fiere
Art Editions, Stand AE1
www.artissima.it

Edited!

Posted on 31 October 201326 June 2015 by Raphaël Rodriguez

Exhibition from October 31st to December 20th, 2013

View of the exhibition, cec, 2013. Photo © Sandra Pointet

With the editions of Trisha Donnelly, Sylvie Fleury, David Hominal.

NY Art Book Fair 2013

Posted on 19 September 201313 October 2022 by Raphaël Rodriguez

From September 20 to 22, 2013
Preview September 19

View of the CEC's stand, NY Art Book Fair, 2013 — View of the CEC’s stand

Philippe Decrauzat, Sylvie Fleury, David Hominal, Aaron Flint Jamison, Fabian Marti, Jonathan Monk, Oscar Tuazon, Jeffrey Vallance…

David Hominal
Through The Windows

Posted on 7 June 20135 October 2022 by Raphaël Rodriguez

Exhibition June 7 – October 19, 2013
Opening June 6, 2013 from 6 pm

David Hominal, view of the exhibition Through the Windows, Centre d'édition contemporaine, Genève, 2013. Photo: © Sandra Pointet — David Hominal, view of the exhibition *Through the Windows*

David Hominal, *Through the Windows*, CEC, 2013. Photo © Sandra Pointet

An installation of four silkscreen prints and a sound piece, as well as a new publication, Through the Windows.

David Hominal manipulates images that often come from his personal archive, from the press or more largely images with historical or political references. He proceeds by free associations that mix flashbacks that are as much linked to current events as to intense personal experiences or to his literary and cinematographic keenness. He makes freely figurative or abstract painting. The subjects are treated in a graphical manner, in a rapid and immediate style that borrows more from photography, advertisement and the press than from painting itself. Continue reading “David Hominal
Through The Windows“

Jonathan Monk
Egg

Posted on 20 February 201321 November 2014 by Raphaël Rodriguez

Exhibition from February 21 until April 27, 2013
Opening on February 20, 2013

Jonathan Monk, view of the exhibition Egg, Centre d'édition contemporaine, Genève, 2013. Photo: © David Gagnebin-de-Bons — Jonathan Monk, view of the exhibition *Egg*, Photo © David Gagnebin-de-Bons

JM: « For a little book that I just made with Galerie Yvon Lambert, The Making of Ten Posters, Ten Languages, Ten Colours, Ten Words, Ten Euros, we asked the printers if they would photograph their process. Actually, it started with a poster project that we had printed in Riga. Without us asking anything, the printers sent us photographs of the posters coming out of the press and of the printers holding them up. Upon seeing these pictures, we thought it would be perfect to make a book out of them. It’s really simple, basically to just show how the printers made the posters. But then we decided to ask the printers of the book, in Montreuil, to take pictures. We sent them a Polaroid camera and they agreed to document their whole process of making the book.» Continue reading “Jonathan Monk
Egg“

artgenève 2013

Posted on 31 January 201313 October 2022 by Raphaël Rodriguez

January 31st – February 2nd
stand A60, hall 1, Palexpo, Genève

View of the CEC's stand, artgenève, 2013. Photo: © Sandra Pointet — View of the CEC’s stand

Centre d’édition contemporaine at artgenève
International art fair

Gerard Byrne, Philippe Decrauzat, Trisha Donnelly, Sylvie Fleury, Oscar Tuazon, Jeffrey Vallance

Posters

Posted on 13 November 20125 October 2022 by Raphaël Rodriguez

November 13th,2012 – February 1st, 2013

Jakob Kolding, Sans titre, 2002 — Jakob Kolding, *Sans titre*

Alexandre Bianchini, Gerard Byrne, Jeremy Deller & Karl Holmqvist, Andreas Dobler, Vidya Gastaldon & Jean-Michel Wicker, Fabrice Gygi, Klat, Jakob Kolding, Elke Krystufek, Claude Lévêque, Fabian Marti, M/M

Salon Light #9, Paris

Posted on 19 October 20125 October 2022 by Raphaël Rodriguez

Organized by Cneai

w/ Pierre Bismuth, Monica Bonvicini, Philippe Decrauzat, Aaron Flint Jamison, Jakob Kolding, Erik van Lieshout, Christophe Rey, Oscar Tuazon, Jeffrey Vallance

Palais de Tokyo, Paris

NY Art Book Fair 2012

Posted on 27 September 201213 October 2022 by Raphaël Rodriguez

From September 28 to 30, 2012
Preview: September 27

View of the CEC's stand, NY Art Book Fair, 2012 — View of the CEC’s stand

With Monica Bonvicini, Philippe Decrauzat, Trisha Donnelly, Aaron Flint Jamison, Jakob Kolding, Elke Krystufek, Erik van Lieshout, Oscar Tuazon, Jeffrey Vallance

MoMA PS1, New York
organized by Printed Matter Inc.

Oscar Tuazon

Posted on 21 June 201226 November 2014 by Raphaël Rodriguez

Exhibition from June 22 until October 27, 2012
Opening on Thursday, June 21, 2012, from 6pm

Oscar Tuazon, view of the exhibition, Centre d'édition contemporaine, Genève, 2012. Photo : © Sandra Pointet — Oscar Tuazon, view of the exhibition

Oscar Tuazon or the liberating potential of construction

The work of Oscar Tuazon seems to be a natural extension of childhood, as obvious as building a wooden hut or exploring the forest. Tuazon never goes into architecture, he always stays below construction rules, safeguarding the freedom of building, by instinct, for the pleasure of taking possession of a place that would become for a while his living space, his home. Building as an extension of one’s self, of one’s body and movements. The gesture and the process of assembling are part of his pieces that must be understood as forms of appropriation, of experimentation, of « real-life » experiences. In an interview published in his catalogue I can’t see, Tuazon explains: « I want to make something with its own life, its own needs, a living thing. » Continue reading “Oscar Tuazon”

Salon des Dames

Posted on 13 May 201212 January 2018 by Raphaël Rodriguez

From May 13 until June 2, 2012

View of the exhibition Salon des Dames, Centre d'édition contemporaine, Genève, 2012. Photo © Vlado Alonso — View of the exhibition *Salon des Dames*

1 concert
6 evenings about contemporary editions
1 critical presentation of films
1 evolutive exhibition

An idea of Véronique Bacchetta, Donatella Bernardi, Boutheyna Bouslama, Noémie Étienne and Petra Krausz. A collaboration between Centre d’édition contemporaine and Eternal Tour

With Bertrand Bacqué, Daphné Bengoa, Donatella Bernardi, Laurence Bonvin, Jacques Borel, Thomas Boutoux, Rudy Decelière, Stéphane Degoutin, Noémie Etienne, Valeria Graziano, Tamar Halperin, Beat Lippert, Morad Montazami, Enrico Natale, Romolo Ottaviani, Marc Ruchmann, Denis Schuler et Frank Williams. Continue reading “Salon des Dames“

artgenève 2012

Posted on 24 April 201213 October 2022 by Raphaël Rodriguez

From April 25 until April 29, 2012
Opening on April 24, from 6pm

View of the CEC's stand at artgenève, 2012. Photo: © Sandra Pointet — View of the CEC’s stand at artgenève

With Pierre Bismuth, Philippe Decrauzat, Aaron Flint Jamison, Erik van Lieshout, Fabian Marti, Oscar Tuazon, Benjamin Valenza, Jeffrey Vallance, Heimo Zobernig
stand A31, halle 2, Palexpo, Geneva

Jeffrey Vallance
The Vallance Bible

Posted on 29 March 201221 November 2014 by Raphaël Rodriguez

Exhibition from March 30 until May 5, 2012
Opening on Thursday, March 29, 2012, from 6 pm
Performance on Thursday, March 29, 2012 at 8 pm, Chapelle de Saint-Léger, 20 rue Saint-Léger, 1204 Geneva

Jeffrey Vallance, view of the exhibition The Vallance Bible, Centre d'édition contemporaine, Genève, 2012. Photo: © Sandra Pointet — Jeffrey Vallance, view of the exhibition *The Vallance Bible*

Coming from the counterculture, Jeffrey Vallance (born in 1955, lives and works in Reseda/Los Angeles)is a Californian artist who revisits religious rituals, folklore and fetishist practices. While he slips in turn into the clothes of an ambassador, an anthropologist, an explorer, a writer, a professor or an investigator in paranormal phenomena, Vallance remains a compulsive collector whose stock-in-trade is nourished by personal and collective mythologies. Influenced by his forebear Emil Knudsen (1872–1956), famous Norwegian medium, he strongly believes in the part inspiration plays in his work, often perceived as a conversation with the hereafter. He thus turns his everyday life into an enchanted world, open to acts of faith, mysteries and revelations.

Continue reading “Jeffrey Vallance
The Vallance Bible“

Nouvelles éditions

Posted on 24 February 20125 October 2022 by Raphaël Rodriguez

Oscar Tuazon, Fabian Marti and editions of Gerard Byrne, Philippe Decrauzat, Andreas Dobler, Aaron Flint Jamison, Adrien Missika, Gianni Motti Continue reading “Nouvelles éditions“

Oscar Tuazon
Book Launch c/o Galerie Eva Presenhuber, Zürich

Posted on 12 January 20125 October 2022 by Raphaël Rodriguez

Opening on Thursday, January 12, 2012, from 6 to 8 pm
Oscar Tuazon talks to Giovanni Carmine, at 6.30 pm
Reading by American poet Cedar Sigo, at 7.15 pm
Exhibition from January 13 to February 18, 2012

Oscar Tuazon, Working Drawing, 2012. Photo: © Sandra Pointet — Oscar Tuazon, *Working Drawing*

Book published by the Centre d’édition contemporaine, Geneva
c/o Galerie Eva Presenhuber, Zurich

Oscar Tuazon, Working Drawing
Book, reproduction of 210 drawings and a text by Oscar Tuazon, 19 x 23 cm, 256 pages, black photocopy, on Condat matt Périgord, cover in clear glass, covered in linen cloth, Texlibris GTI, colour: steel 564, square spine, sewn and glued, wrapped in a sheet of ribbed Pop’Set Perle, edition of 130, numbered and signed on the colophon inserted at the end of the book. Original drawings are included in the first 20 copies, starting from page 229. In addition, 20 A.P. signed and numbered from I to XX, have been printed. Binding and assemblage are the work of the atelier Philippe Martial, Paris. Designed by Pierre-François Letué, Paris, for the artist. Printed by Tracts, Paris.
This book is published by the Centre d’édition contemporaine, Geneva, January 2012.

Book Launch of Working Drawing
On the occasion of Oscar Tuazon’s exhibition, Manual Labor
at the Galerie Eva Presenhuber, Zurich.

Galerie Eva Presenhuber
Diagonal Building, Maag Areal
Zahnradstrasse 21
8040 Zurich
www.presenhuber.com

Aaron Flint Jamison

Posted on 9 December 201126 November 2014 by Raphaël Rodriguez

From December 9, 2011 to february 11, 2012
Opening on December 8, 2011

Aaron Flint Jamison, view of the exhibition, Centre d'édition contemporaine, Genève, 2011 — Aaron Flint Jamison, view of the exhibition

Aaron Flint Jamison is an artist particularly engaged in the field of edition. His artistic work comes as a wide range of reflections on the book and the object. He can be printer, typographer, editor and of course artist at the same time.
He often works by assemblage and combinations: a piece of furniture, a poster or a publication which all push the link between representation, production, functionality, presentation and distribution to the edges of its simplicity, its obviousness and its impact. Each object merges technical and aesthetic potential and conceptual accuracy. Aaron Flint Jamison is between the artist and the technician, between the craftsman and the inventor. Continue reading “Aaron Flint Jamison”

Philippe Decrauzat
Book Launch c/o Motto Zürich

Posted on 5 November 20115 October 2022 by Raphaël Rodriguez

November 5, 2011, at 6.30pm

View of the installation, Centre d'édition contemporaine, Genève, 2011 — View of the installation

Philippe Decrauzat, Trois films photographiés – A Change of Speed, a Change of Style, a Change of Scene – After Birds – Screen O Scope

Discussion around the book with Philippe Decrauzat and Véronique Bacchetta, director of the CEC
and presentation of a selection of editions of the Centre d’édition contemporaine, with the artists’ books of Sigurdur Arni Sigurdsson, Thomas Hirschhorn, Elke Krystufek, Monica Bonvicini, Jakob Kolding, Roman Ondák, Mads Ranch Kornum, Céline Duval, Katie Holten, Josef Strau, Christophe Rey, Erik van Lieshout; the catalogues Marcel Broodthaers, l’oeuvre graphique, essais; L’Effet papillon 1989-2007; Sgrafo vs Fat Lava and the multiples of François Curlet and of Pierre Bismuth Continue reading “Philippe Decrauzat
Book Launch c/o Motto Zürich”

Abstractions sentimentales et quelques éditions, Cneai, Paris

Posted on 7 October 20115 October 2022 by Raphaël Rodriguez

From October 8 until October 23, 2011
Opening on October 7, 2011, from 6pm

View of the exhibition <em>Abstractions sentimentales</em> et quelques éditions, Centre d'édition contemporaine, Genève, 2011 — View of the exhibition *Abstractions sentimentales* et quelques éditions

With Gerard Byrne (IE), Raphaël Julliard (CH), Jakob Kolding (DK), Fabian Marti (CH), Adrien Missika (FR), Florian Pumhösl (A), Benjamin Valenza (FR), Susanne M. Winterling (DE).
Presented by Véronique Bacchetta and the Centre d’édition contemporaine, Geneva
At the Cneai de Paris, 20 rue Louise Weiss, 75013 Paris
Project realized for the « carte blanche » given by CNEAI DE PARIS – 2011 Continue reading “Abstractions sentimentales et quelques éditions, Cneai, Paris”

Philippe Decrauzat
NYSTAGMUS

Posted on 23 September 201122 November 2014 by Raphaël Rodriguez

Exhibition: september 23-novemeber 20

em>, Centre d'édition contemporaine, Genève, 2011. Photo: © David Gagnebin-de-Bons — Philippe Decrauzat, view of the exhibition *NYSTAGMUS*

Like the spectator of a 3D cinema, Philippe Decrauzat’s work slides with mastery from one dimension to another. With wallpaintings and floorpaintings, shaped canvases, installations and light displays, we sway between scientific rigour and the vibrant effect of the red-blue spectacles. Whilst encompassing the legacy of abstraction as in Contructivism and Suprematism, in Op Art and its games of illusion as well as in Minimalism, his work shows a much wider interest for the origins of abstraction. Continue reading “Philippe Decrauzat
NYSTAGMUS“

Gerard Byrne
For example; a sketch of Five Elevations, 1971-72

Posted on 4 May 201121 June 2023 by Raphaël Rodriguez

Exhibition from May 5 – July 16, 2011
Opening on Wednesday, May 4, from 6pm.

Gerard Byrne, view of the exhibition <em srcset= — For example; a sketch of Five Elevations, 1971-72, Centre d’édition contemporaine, Genève, 2011. Photo: © Sandra Pointet ” width=”1200″ height=”800″> Gerard Byrne, view of the exhibition *For example; a sketch of Five Elevations, 1971-72*

Gerard Byrne’s work is structured around documents – advertisements, daily papers, specialized magazines – dating from after the Second World War, generally from the 1960s and 1970s. After researching archives, Byrne uses these often fragmented and forgotten documents, transforms them and gives them a second life. The new images and settings that emerge from the joined processes of critical deconstruction and reconstruction, often dramatized, examine the codes of artistic or media images and those of representation. Continue reading “Gerard Byrne
For example; a sketch of Five Elevations, 1971-72“

Presentation of the book
Sgrafo vs Fat Lava

Posted on 20 January 20115 October 2022 by Raphaël Rodriguez

January 20, 2011, from 6pm

Sgrafo vs Fat Lava, 2011 — *Sgrafo vs Fat Lava*

Book, French, bound, 105 x 165 mm, 64 pages, 22 colour pictures. Summary : Nicolas Trembley (ed.), Madeleine de Proust et Fat Lava (introduction); text by Horst Makus, Formes, couleurs et décors. Un survol; Interview of Ronan Bouroullec by Nicolas Trembley. Graphic design : Gavillet & Rust / Eigenheer, Geneva. Publisher : JRP|Ringier (Hapax collection), Zurich, 2011. ISBN 978-3-03764-163-7.

Présentation de l’édition de Pierre Bismuth Something Less, Something More – DIY

Posted on 16 December 20105 October 2022 by Raphaël Rodriguez

Presentation from December 16, 2010

Pierre Bismuth, view of the installation, Centre d'édition contemporaine, Genève, 2010. Photo: © Olivier Pasqual — Pierre Bismuth, view of the installation

Something Less, Something More – DIY
Triple groove corrugated cardboard plate with seven pre-cut discs, 37 x 50 cm, a metal stick and instructions for use, offset, black and one colour, front and back, French/English, 74 x 50 cm, on Keaykolour nature quartz mat 150g/m2 paper, folded in two, all elements in a coloured plastic envelope (green, blue, yellow or clear) closed by a folded cardboard as colophon, digital print, one colour, 180 copies, edition of the Centre d’édition contemporaine, Geneva, 2009.

Sgrafo vs Fat Lava
Céramiques et porcelaines Made in West Germany, 1960-1980

Posted on 4 November 201021 June 2023 by Raphaël Rodriguez

From November 5, 2010, until February 5, 2011
Opening on November 4, 2010, from 6pm

View of the exhibition Sgrafo vs Fat Lava, Centre d'édition contemporaine, Genève, 2010 — View of the exhibition *Sgrafo vs Fat Lava*

Céramiques et porcelaines Made in West Germany, 1960-1980
With a sound piece by Seth Price

For the beginning of the month of November 2010 with the exhibition of a collection of historical ceramics from the 1960s – 1980s, we will be crossing from the field of art into the field of the object, nevertheless not fully abandoning the first one to the second. Almost a hundred pieces covering different styles and production processes will let us discover through a utilitarian and decorative object the different aesthetic variations of a prolific and stylistically free period, when common taste allowed itself to be kitsch and delirious. An era before the supremacy of design that is going to format most of our daily objects.
The exhibition, entitled « Sgrafo vs Fat Lava, Ceramics and Porcelains Made in West Germany, 1960-1980 », is accompanied by a little book published for the occasion by JRP/Ringier (Zurich) in its « Hapax » series : Sgrafo vs Fat Lava. Continue reading “Sgrafo vs Fat Lava
Céramiques et porcelaines Made in West Germany, 1960-1980″

“Encadrées”

Posted on 13 July 201021 June 2023 by Raphaël Rodriguez

From July 13 until September 17, 2010

View of the exhibition <em srcset= — "Encadrées", Centre d’édition contemporaine, 2010″ width=”1200″ height=”783″> View of the exhibition *“Encadrées”*

with Olivier Mosset, Gianni Motti, Florian Pumhösl, Jean-Michel Othoniel, Christophe Rey and Susanne M. Winterling.

Susanne M. Winterling, Dynamique de réflexion (2010)
Florian Pumhösl, Etudes abstraites (2004)
Jean Michel Othoniel, La Grande Lèvre (1991)
Gianni Motti, Sans titre (2006)
Olivier Mosset, Sans titre (1994)
Christophe Rey, Washington (2005)

Susanne M. Winterling
They Called Each Other Horses

Posted on 22 April 20101 November 2017 by Raphaël Rodriguez

April 23 – June 26, 2010
Opening on April 22, 2010, 6pm

Susanne M. Winterling, view of the exhibition They Call Each Other Horses, Centre d'édition contemporaine, Genève, 2010. Photo: © Olivier Pasqual — Susanne M. Winterling, view of the exhibition *They Call Each Other Horses*

Susanne M. Winterling likes revisiting different figures of Art History, architects or intellectuals of the 20th century, mostly from its beginning. She admires and is inspired by the work of artists such as Berenice Abbott, Eileen Gray, Edward Krasinski, Le Corbusier or Annemarie Schwarzenbach, artistic fiction-figures from another world, a world that witnessed the birth of modernity.
As Mark Prince states in his Frieze article [n° 126, October 2009, …of Mice and Blood, (for E.K.), review of the Berlin exhibition at the gallery Lüttgenmeijer, where Susanne M. Winterling pays tribute to the Polish artist Edward Krasinski (1925-2004) with a display of objects and an environment inspired by a series of photographies taken in his atelier, preserved in its last state by the Warsaw Foksal Gallery (that Edward Krasinski cofounded in 1966)] : « Where the installation is more than the sum of its allusions, it manages to translate the irreducible particularities of another artist’s life and work into Winterling’s own language, like a dreamy adolescent who absorbs the image of a pop star into the private universe of her bedroom. » Continue reading “Susanne M. Winterling
They Called Each Other Horses“

Changement d’accrochage: Heimo Zobernig

Posted on 16 March 20105 October 2022 by Raphaël Rodriguez

From March 16 until April 9, 2010

Heimo Zobernig, <em>Sans titre</em>, 1996 — Heimo Zobernig, *Sans titre*

Sans titre
15 lithographs, black, on BFK Rives 300gm2 paper, 80 x 65 cm, edition of 4 plus 1 A.P. and 1 H.C., numbered, dated and signed.
Heimo Zobernig, born in 1958 in Mauthen (Austria), lives and works in Vienna.

Fröhliche Gesellschaft,
Parrotta Contemporary Art, Stuttgart

Posted on 12 February 201021 June 2023 by Raphaël Rodriguez

Exhibition at the gallery Parrotta Contemporary Art (Stuttgart, Germany)
From February 13 until March 27, 2010
Opening on February 12, 2010 at 7pm

Heimo Zobernig, <em srcset= — Sans titre, 1996″ width=”755″ height=”1000″> Heimo Zobernig, *Sans titre*

In a momentary community, free and polyphonic, the gallery Parrotta Contemporary Art in Stuttgart presents a series of editions of the Centre d’édition contemporaine chosen by Véronique Bacchetta : Andreas Dobler, Elke Krystufek, Erik van Lieshout, Florian Pumhösl, Markus Schinwald, Benjamin Valenza, Emmett Williams, Heimo Zobernig. Continue reading “Fröhliche Gesellschaft,
Parrotta Contemporary Art, Stuttgart”

Editions vs. objets

Posted on 3 November 200926 November 2014 by Raphaël Rodriguez

From November 3, 2009, until January 22, 2010

View of the exhibition Editions vs objets, Centre d'édition contemporaine, Genève, 2009 — View of the exhibition *Editions vs objets*

Pierre Bismuth, François Curlet, Fabrice Gygi, Karl Holmqvist, Angela Marzullo, Mai-Thu Perret, Benjamin Valenza, Jeffrey Vallance et Erik van Lieshout
Continue reading “Editions vs. objets“

Erik van Lieshout
The Assistant

Posted on 18 June 200926 November 2014 by Raphaël Rodriguez

Exhibition from June 19 to October 10, 2009
Opening: Thursday, June 18, 2009, from 6 pm

Erik van Lieshout, view of the exhibition The Assistant, Centre d'édition contemporaine, Genève, 2009. Photo: © Sandra Pointet — Erik van Lieshout, view of the exhibition *The Assistant*

Erik van Lieshout, vue de l’exposition The AssistantCentre d'édition contemporaine, Genève, 2009. Photo: © Sandra Pointet

Erik van Lieshout is one of Holland’s most prominent artists and is best known for his installations and videos. Nevertheless, he regularly paints and above all draws. He finds his inspiration in urban culture, its sociocultural melting-pot and its violence and has no qualms about immersing himself for long explorations into non-place zones – like the outer suburbs and frontiers with no real identity – and losing himself, setting himself adrift in unrestrained, openly depressed self-scrutiny verging at times on the morbid and a state of crisis. These overplayed, uninhibited and often provocative autobiographical events are put across with humour and intensity in a continuous, inextinguishable production, punctuated by drawings and collages, which represents the free, direct expression of repressed feelings and holds up an emancipating mirror for all our introspection and past experience. Continue reading “Erik van Lieshout
The Assistant“

T. Quelques possibilités de textes

Posted on 7 May 200923 November 2014 by Raphaël Rodriguez

Exhibition from May 8 to June 13, 2009
Opening : Thursday, May 7, 2009, from 6 pm

View of the exhibition T. Quelques possibilités de textes, Centre d'édition contemporaine, Genève, 2009. Photo: © Sandra Pointet — View of the exhibition *T. Quelques possibilités de textes*

T like text, of course, or temporary, tentative, turn of phrase, trove, trouble, tension… tea time and T. Rex.

T is an exhibition which offers several possibilities of texts. Artists’ texts that can be images, signs or also an abstract, a description, an explanation, a manifesto, a recollection, a quotation, a poem, a story…

T is a round-trip from text to work, from work to text: a new exercise.

T, it’s some simple sheets of A4 paper, several proposals of printed matter (tracts or small posters), but also a letter, a recording, a distribution or even a republishing, the publication of a work already completed or the layout of a future publication; a model. Continue reading “T. Quelques possibilités de textes“

EDITIONS (suite…)

Posted on 30 April 20095 October 2022 by Raphaël Rodriguez

Alternately and until April 30, 2009

Gianni Motti, <em>CMS, Compact Muon Solenoid experiment, Cern</em>, 2006 — Gianni Motti, *CMS, Compact Muon Solenoid experiment, Cern*

With Olivier Bardin, Gianni Motti, Florian Pumhösl, Anne-Julie Raccoursier and Markus Schinwald.
Presentation of editions of the Centre d’édition contemporaine, with Gianni Motti, Sans titre, 2006 and CMS, Compact Muon Solenoid experiment, Cern, 2006; Florian Pumhösl, Etudes abstraites, 2004; Anne-Julie Raccoursier, Remote viewer 2, 2007; and Markus Schinwald, Les Boîtes, 2007

Présentation du catalogue
L’Effet papillon, 1989-2007,
castillo/corrales, Paris

Posted on 23 January 20095 October 2022 by Raphaël Rodriguez

January 23, 2009, at 8pm
Section 7 Books bookshop presented by castillo/corrales, rue Rébeval 65, 75019 Paris

<em>L'Effet papillon, 1989-2007, 2008</em>. Photo: © Sandra Pointet — *L’Effet papillon, 1989-2007*

On the occasion of the presentation of L’Effet papillon, 1989-2007, Véronique Bacchetta (director of CEC) will read the chapter « Marketing as social project » from Philippe Cuenat’s text A Fifty-cent Item: Maciunas’ marketing of Fluxus published in this book.
and Benjamin Valenza (born in 1980 in Marseille, lives and works in Lausanne) will give a lecture of the poem Maintenant c’est après le succès les temps changent/Now he following the success of changing times, freely inspired by Ms Leokadija Maciunas’ comments about the commercial initiatives of her son (see Philippe Cuenat, A Fifty-cent Item: Maciunas’ marketing of Fluxus). Benjamin Valenza will play his sculpture Don Quixote’s hip (2009, painted brass and aluminium, 100 x 35 cm).

EDITIONS (2004-2008)

Posted on 11 December 20085 October 2022 by Raphaël Rodriguez

From December 11, 2008

View of the exhibition <em>EDITIONS (2004-2008)</em>, Centre d'édition contemporaine, Genève, 2008 — View of the exhibition *EDITIONS (2004-2008)*

Presentation of the Centre d’édition contemporaine’s editions, with Olivier Bardin, You belong to me I belong to you, 2008; Gianni Motti, Cosmic Storm, Cern, 2006 and Sans titre, 2006 ; Florian Pumhösl, Etudes abstraites, 2004 ; and Markus Schinwald, Les Boîtes, 2007.

Giulia Essyad’s exhibition is supported by Erna und Curt Burgauer Foundation, Dr. Georg und Josi Guggenheim Foundation and Inarema.

Saturday, June 8, 2024, from 12 to 8 pmDuring Zurich Art WeekendRamp of LöwenbräukunstLimmatstrasse 2688005 Zurichvolumeszurich.ch

From May 17 to August 23, 2024Opening, Thursday, May 16, 2024, from 6 to 9 pm (Nuit des Bains)Nocturne d’été des Bains, Wednesday, July 10, 2024, from 6 to 9pmPresentation of the exhibition by the artist, 6:30 pm

From March 15 to May 3, 2024Opening, Thursday, March 14, 2024, from 6 to 9 pm (Nuit des Bains)

A few monotypes, two screen prints and a multiple

Véronique Bacchetta, March 2023 (trad. Flavia Vuagniaux)

Friday, February 2, 2024, from 4 pm to 9 pmSaturday, February 3, 2024, from 12 pm to 7 pmSunday, February 4, 2024, from 12 pm to 5 pm

HEAD – GenèveEspace Hippomène7 avenue de Châtelaine,1203 Geneva, Switzerlandp-a-g-e-s.ch

From January 19 to March 1, 2024Opening, Thursday, January 18, 2024, from 6 to 9 pm (Rentrée des Bains)Finissage, Thursday, February 29, from 6 to 8 pmPresentation of the exhibition by Caroline Schattling Villeval, 6:30 pm

Christine Glassey (trad. Flavia Vuagniaux)

Caroline Schattling Villeval’s exhibition is supported by the Fonds cantonal d’art contemporain, DCS, Geneva, and the Office fédérale de la culture, de la République et canton de Genève.

Saturday, November 18, 2023, from 12 to 8 pmSunday, November 19, 2023, from 12 to 7pm

ZentralwäschereiNeue Hard 128005 Zurichvolumeszurich.ch

From October 6 to December 8, 2023Opening, Thursday, October 5, 2023, from 6 to 8 pmNuit des Bains, Thursday, November 9, 2023, from 6 to 9 pm

Gina Folly’s exhibition is supported by Ernst und Olga Gubler-Hablützel Foundation and Pro Helvetia, Fondation suisse pour la culture.

Wednesday, July 5th 20236 pm − 8 pmParadisPublished by Claude Balls Int.

Published by Claude Balls Int. in December 2022, MarseilleEdited with Gianmaria Andreetta, Marie Angeletti and Camilla Wills21 x 28.5 cm, 416 pages, edition of 840

6:30 pm: Conversation with Gianmaria Andreetta and Marie Angeletti

Thursday, May 25th 2023, from 6:30 pmLaurence Bonvin and Yann Chateigné Tytelman present their “Before publication”.

This event is organized in collaboration with Joyfully WaitingThe evening presentation and the “carte blanche” for Joyfully Waiting are supported by the City of Geneva and the Nicati – de Luze Foundation.

From 12th May to 16th September 2023Vernissage/Nuit des Bains, Thursday 11th May 2023, 6 pm – 9 pmGuided tours of RM’s exhibition and presentation of recent editions and publicationsThursday 14th September 2023, 6:30 pm (Nuit des Bains)Saturday 16th September 2023, 2 pm (Geneva Art Week)

The RM’s exhibition is supported by Ernst und Olga Gubler-Hablützel Foundation, Dr. Georg und Josi Guggenheim Foundation and the City of Geneva.

Projections

Paul Paillet, Guillaume Dénervaud, Mai-Thu Perret & Matthew Lutz-Kinoy, Paul Viaccoz, Alexandre Bianchini, Liz Craft, Gianni Motti, Jeffrey Vallance

From 16th March to 28th April 2023Vernissage and launch on the website of CEC, Thursday 16th March 2023, 6pm – 9pm (Nuit des Bains)

VIDEO PROJECTIONS PROGRAM PRODUCED BY THE CEC (2022/2023)

FROM 16TH TO 24TH MARCH 2023Paul Paillet, Surprise/Innocence, animation video, 7′24′′, music, 2023+Guided tour with the artist, Thursday 16th March 2023, 6:30pm

FROM 28TH TO 31ST MARCH 2023Guillaume Dénervaud, AGLOROMONES, video, 2’53’’, sound, 2022+Guided tour, Thursday 30th March 2023, 6:30pm

FROM 4TH TO 14TH APRIL 2023Mai-Thu Perret & Matthew Lutz-Kinoy, Conversation, video, 38’20’’, sound, English, 2022+Guided tour, Thursday 13rd April 2023, 6:30pm

FROM 18TH TO 21ST APRIL 2023Paul Viaccoz, Murs chamaniques. Commentaires, video, 5’41’’, sound, French, 2022+Guided tour, Thursday 20th April 2023, 6:30pm

FROM 25TH TO 28TH APRIL 2023“ARCHIVES” – PROJECTION OF ONE VIDEO PER DAY FROM THE ARCHIVES OF THE CEC

Tuesday April 25th, 2023 – Alexandre Bianchini, Detroit on Circle, digital transfer of Super 8 films, 12’24’’, music, 1996

Wednesday April 26th, 2023 – Liz Craft, Brave new world, March 2020, video, 17’’, 2020

Thursday April 27th, 2023– Gianni Motti, Cosmic Storm, Cern, video, 30’, sound, 2006

Friday April 28th, 2023 – Jeffrey Vallance, The Gospel According to Jeffrey, video of the performance at the chapel of Saint-Léger, Geneva, 82’, sound, English, 2012

In collaboration with Zsuzsanna Szabo, coordinator and production manager

The project Videos: new and revisited is supported by the Federal Office of Culture and the Republic and Canton of Geneva.

From January 26th to January 29th, 2023Preview, January 25th, 2023Booth A43, hall 2, Palexpo, Geneva

The CEC at artgenève 2023

Recent « Before publications » of Paul Bernard and Giulia Essyad

With Marie Angeletti, Paul Bernard, Laurence Bonvin, Harry Burke, Liz Craft, Guillaume Dénervaud, Anne Dressen/Nick Mauss, Giulia Essyad, David Hominal, Dorothy Iannone, Matthew Lutz-Kinoy, Paul Paillet, Mai-Thu Perret, Susan Te Kahurangi King, Paul Viaccoz, Niels Wehrspann

From November 5th, 2022, to February 3rd, 2023Vernissage, Saturday November 5th, 2022, 11:00 – 18:00Week-end GENEVE.ART, Saturday November 5th & Sunday November 6th, 2022, 11:00 – 18:00Rentrée du Quartier des Bains, Thursday January 12, 2023, 18:00 – 21:00

From May 13 to July 8, 2022 Continuation of the exhibition from August 9 to October 21, 2022

Presentation of Paul Bernard’s publication, « Guy would never have done that. » Debord Curator, as part of the Nuit des Bains, Thursday, September 15, 2022, at 7 pm.

The CEC takes part in the Nuit des Bains on Thursday May 12, 2022, from 6 to 9 pm (Vernissage) The CEC takes part in Weekend GENEVE.ART on Saturday May 21 and Sunday May 22, 2022, from 11 am to 6 pm

NEW EDITIONS

Marie Angeletti, RAM, artist’s book, digital print, photocopies, black enamel on acrylic, silver paper, colors, 27,5 x 21 cm, 5 copies including 1 A.P., numbered. Edition of the Centre d’édition contemporaine, Geneva, 2022.

CHF 1’000.-

Marie Angeletti, RAM, fanzine, digital print, photocopies, silver paper, black/white, colors, 27,5 x 21 cm, slipped into a white paper slip cover, 100 g/m2, 20 copies including 1 A.P. and 1 H.C., numbered and signed. Edition of the Centre d’édition contemporaine, Genève, 2022.

CHF 50.-

CHF 15.-

CHF 15.-

Giulia Essyad, temple-piss19.psd, 2020, poster, offset, two colors, Algro Design glossy laminated paper 180 g/m2, 98.5 × 49 cm, 150 copies, 14 A.P. and 10 H.C. Edition of the Centre d’édition contemporaine, Geneva, 2022.

Edition offered to the members of the Centre d’édition contemporaine association for the year 2022.

CHF 150.-

Thursday, 15th September 2022, 7pmPaul Bernard presents his publication at the CEC as part of the Nuit des Bains (6-9pm).

Paul Bernard is director of Kunsthaus Pasquart, Biel/Bienne.

From the first paragraph of Paul Bernard’s text, “Guy would never have done that.” Debord Curator, Before publication 9, ed. CEC, 2022

From June 15 to June 18, 2022 Kaserne Klybeckstrasse 1b 4057 Basel

The CEC at I Never Read, Art Book Fair Basel 2022.

From June 3 to June 5, 2022 Lafayette Anticipations 9 rue du Plâtre, 75004 Paris

The CEC at Paris Ass Book Fair (PABF).

Artists’ Voices, Laurence Bonvin, Harry Burke, Liz Craft, Keren Cytter, Guillaume Dénervaud, Anne Dressen/Nick Mauss, Giulia Essyad, Mathis Gasser, David Hominal, Dorothy Iannone, Victor Man, Paul Paillet, Susan Te Kahurangi King, Paul Viaccoz, Jean-Michel Wicker

Exhibition from March 18 to April 29, 2022 Opening, Thursday March 17, 2022, from 6 to 8 pm

Nuit des Bains Thursday March 24, 2022, from 6 to 9 pm

Before et publications

From March 3 to March 6 2022 Booth A43, hall 2, Palexpo, Geneva

The CEC at artgenève 2022.

Marie Angeletti, Laurence Bonvin, Harry Burke, Liz Craft, Guillaume Dénervaud, Anne Dressen et Nick Mauss, David Hominal, Susan Te Kahurangi King, Dorothy Iannone, Paul Paillet, Paul Viaccoz

From November 26, 2021, to March 5, 2022

Opening, Thursday November 25, 2021, from 6 to 8 pm

Nocturne du Quartier des Bains Thursday January 27, 2022 from 6 to 8 pm

From October 1st to November 12, 2021 Opening Thursday September 30, 2021, 2 PM – 8 PM

Extract from the text by Paul Viaccoz, ESPRIT ES-TU LÀ ?, published in Before publication 5, éd. CEC, 2021.

Exhibition from May 6 till July 9, 2021 and from August 17 till September 10, 2021

Harry Burke, Timothée Calame, Liz Craft, Keren Cytter, Guillaume Dénervaud, Anne Dressen/Nick Mauss, David Hominal, Dorothy Iannone, Matthew Lutz-Kinoy, Fabian Marti, Paul Paillet, Susan Te Kahurangi King

The CEC opens during the Nuit des Bains on Thursday May 6, 2021, 12:00 to 21:00 and Thursday September 2, 2021, 18:00 to 21:00. The CEC opens during Weekend GENEVE.ART on Saturday May 29 and Sunday May 30, 2021, 11:00 to 18:00.

Exhibition from March 19 till April 23, 2021 Opening March 18, 2021 (Nuit des Bains)

Opening Wednesday February 24, 2021

from February 25 till February 28, 2021

Saturday, June 8, 2024, from 12 to 8 pm

During Zurich Art Weekend

Ramp of Löwenbräukunst
Limmatstrasse 268
8005 Zurich

volumeszurich.ch

From May 17 to August 23, 2024

Opening, Thursday, May 16, 2024, from 6 to 9 pm (Nuit des Bains)

Nocturne d’été des Bains, Wednesday, July 10, 2024, from 6 to 9pm
Presentation of the exhibition by the artist, 6:30 pm

From March 15 to May 3, 2024

Opening, Thursday, March 14, 2024, from 6 to 9 pm (Nuit des Bains)

Friday, February 2, 2024, from 4 pm to 9 pm
Saturday, February 3, 2024, from 12 pm to 7 pm
Sunday, February 4, 2024, from 12 pm to 5 pm

HEAD – Genève
Espace Hippomène
7 avenue de Châtelaine,
1203 Geneva, Switzerland

p-a-g-e-s.ch

From January 19 to March 1, 2024

Opening, Thursday, January 18, 2024, from 6 to 9 pm (Rentrée des Bains)

Finissage, Thursday, February 29, from 6 to 8 pm
Presentation of the exhibition by Caroline Schattling Villeval, 6:30 pm

Saturday, November 18, 2023, from 12 to 8 pm
Sunday, November 19, 2023, from 12 to 7pm

Zentralwäscherei
Neue Hard 12
8005 Zurich

volumeszurich.ch

From October 6 to December 8, 2023
Opening, Thursday, October 5, 2023, from 6 to 8 pm

Nuit des Bains, Thursday, November 9, 2023, from 6 to 9 pm

Wednesday, July 5^th 2023
6 pm − 8 pm

Paradis

Published by Claude Balls Int.

Published by Claude Balls Int. in December 2022, Marseille
Edited with Gianmaria Andreetta, Marie Angeletti and Camilla Wills
21 x 28.5 cm, 416 pages, edition of 840

Thursday, May 25^th 2023, from 6:30 pm

Laurence Bonvin and Yann Chateigné Tytelman present their “Before publication”.

This event is organized in collaboration with Joyfully Waiting

The evening presentation and the “carte blanche” for Joyfully Waiting are supported by the City of Geneva and the Nicati – de Luze Foundation.

From 16^th March to 28^th April 2023

Vernissage and launch on the website of CEC, Thursday 16^th March 2023, 6pm – 9pm (Nuit des Bains)

FROM 16^TH TO 24^TH MARCH 2023

Paul Paillet, Surprise/Innocence, animation video, 7′24′′, music, 2023
+
Guided tour with the artist, Thursday 16^th March 2023, 6:30pm

FROM 28^TH TO 31^ST MARCH 2023

Guillaume Dénervaud, AGLOROMONES, video, 2’53’’, sound, 2022
+
Guided tour, Thursday 30^th March 2023, 6:30pm

FROM 4^TH TO 14^TH APRIL 2023

Mai-Thu Perret & Matthew Lutz-Kinoy, Conversation, video, 38’20’’, sound, English, 2022
+
Guided tour, Thursday 13_^rd April 2023, 6:30pm

FROM 18^TH TO 21^ST APRIL 2023

Paul Viaccoz, Murs chamaniques. Commentaires, video, 5’41’’, sound, French, 2022
+
Guided tour, Thursday 20^th April 2023, 6:30pm

FROM 25^TH TO 28^TH APRIL 2023
“ARCHIVES” – PROJECTION OF ONE VIDEO PER DAY FROM THE ARCHIVES OF THE CEC

Tuesday April 25^th, 2023 – Alexandre Bianchini, Detroit on Circle, digital transfer of Super 8 films, 12’24’’, music, 1996

Wednesday April 26^th, 2023 – Liz Craft, Brave new world, March 2020, video, 17’’, 2020

Thursday April 27^th, 2023– Gianni Motti, Cosmic Storm, Cern, video, 30’, sound, 2006

Friday April 28^th, 2023 – Jeffrey Vallance, The Gospel According to Jeffrey, video of the performance at the chapel of Saint-Léger, Geneva, 82’, sound, English, 2012

From January 26th to January 29th, 2023
Preview, January 25th, 2023
Booth A43, hall 2, Palexpo, Geneva

From November 5th, 2022, to February 3rd, 2023

Vernissage, Saturday November 5th, 2022, 11:00 – 18:00
Week-end GENEVE.ART, Saturday November 5th & Sunday November 6th, 2022, 11:00 – 18:00

Rentrée du Quartier des Bains, Thursday January 12, 2023, 18:00 – 21:00

From May 13 to July 8, 2022
Continuation of the exhibition from August 9 to October 21, 2022

The CEC takes part in the Nuit des Bains on Thursday May 12, 2022, from 6 to 9 pm (Vernissage)
The CEC takes part in Weekend GENEVE.ART on Saturday May 21 and Sunday May 22, 2022, from 11 am to 6 pm

Thursday, 15^th September 2022, 7pm

Paul Bernard presents his publication at the CEC as part of the Nuit des Bains (6-9pm).

From June 15 to June 18, 2022
Kaserne
Klybeckstrasse 1b
4057 Basel

From June 3 to June 5, 2022
Lafayette Anticipations
9 rue du Plâtre, 75004 Paris

Exhibition from March 18 to April 29, 2022
Opening, Thursday March 17, 2022, from 6 to 8 pm

Nuit des Bains
Thursday March 24, 2022, from 6 to 9 pm

From March 3 to March 6 2022
Booth A43, hall 2, Palexpo, Geneva

Nocturne du Quartier des Bains
Thursday January 27, 2022
from 6 to 8 pm

From October 1st to November 12, 2021
Opening Thursday September 30, 2021, 2 PM – 8 PM

Exhibition from May 6 till July 9, 2021
and from August 17 till September 10, 2021

The CEC opens during the Nuit des Bains on Thursday May 6, 2021, 12:00 to 21:00 and Thursday September 2, 2021, 18:00 to 21:00.
The CEC opens during Weekend GENEVE.ART on Saturday May 29 and Sunday May 30, 2021, 11:00 to 18:00.

Exhibition from March 19 till April 23, 2021
Opening March 18, 2021 (Nuit des Bains)

Exhibition from September 18 till December 12, 2020
Opening Thursday September 17, 2020, 2 PM – 8 PM