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
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).
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.
Zone papillons (Butterflies Area)
Two readings and two anthologies/panoramas in French, in the frame of the fair BucH.08, and a presentation of the Centre d’édition contemporaine, Geneva, in Basel:
L’Effet papillon, 1989-2007, Centre d’édition contemporaine, Geneva, 2008, presented by Véronique Bacchetta and her guest, Philippe Cuenat
« This publication retraces through its archives the history and evolution of a particular place – the Centre d’édition contemporaine –, its productions and artistic choices. It defines its place, its position and engagement in the field of contemporary art. » Véronique Bacchetta, director of the CEC, Meret Oppenheim Prize 2007. Continue reading “Presentation of
L’Effet papillon, 1989-2007
at Maison de la poésie, Basel”
While Trisha Donnelly produces drawings, photographs, videos as well as sound pieces and performances, she doesn’t just decline techniques. Instead, the different mediums she uses are reservoirs of reflections. Even the space and time of the exhibition are seen by the artist as receptacles of references – historical, geographical, symbolical and spiritual -, of associations of ideas and reminiscences.
Rather than thinking of Trisha Donnelly’s works as mysterious and impenetrable, one should see them as attempts to escape the constraints of the production and materialisation of any object and to go beyond the spatial and temporal limitations of the exhibition. Maybe Trisha Donnelly is just not where we think she is? Continue reading “Trisha Donnelly”
Catalogue, in French, introduction by Véronique Bacchetta, texts by Véronique Bacchetta, Sylvie Boulanger, Lionel Bovier, Brian D. Butler (English and French), Philippe Cuenat, Thomas Hirschhorn, Christoph Keller (German and French), Hans Ulrich Obrist and Alexis Vaillant. 432 pages, 17,5 x 23,5 cm, offset printing on Munken Print Premium White paper, 115 g/m2, offset printing and hot gold foil stamping on Munken Print White paper, 300g/m2, for the cover, 61 color ill., 278 b/w ill. Graphic design : Schönwehrs, Geneva. Printing : Musumeci S.p.A., Quart (Aosta Valley), Italy. Publisher : Centre d’édition contemporaine, Geneva, June 2008. Distribution : JRP|Ringier, Zurich. Continue reading “L’Effet papillon, 1989-2007“
Olivier Bardin’s exhibitions challenge the image of the person. Visitors are invited into an empty exhibition space, and the show really commences as the artist asks them to become the only pictures to be seen. Thus, the self-image is the real object of the exhibition. The apparatus reveals the way this image is built up from the other people’s perception; spectators, at the same time, are watching and being watched. Eventually, they constitute a community based on mutual confidence, where perception acts as a self-balancing device. Continue reading “Olivier Bardin
You belong to me I belong to you“
François Curlet, Jérôme Leuba, Anne-Julie Raccoursier et Markus Schinwald
Presentation of recent editions of the CEC, in particular those realized as gifts for the 2006 and 2007 members of the association of the Centre d’édition contemporaine: François Curlet, PUB-UP (mini portfolio of five facsimile), 2007 and Jérôme Leuba, battlefield#39 (colour poster), 2007
It is a well-known fact that Finns are not afraid of anything. They often love unusual sport events: mobile throwing Olympics, wife carrying contests, mosquito killing competitions, sauna world championships. In the same spirit, every year, not far from the Polar circle, is held the Air Guitar World Championships to which Anne-Julie Raccoursier has dedicated a video work. Entitled Noodling (2006, 7’20’’), it reveals, in close-up, stylish contestants, unlikely clones of Frank Zappa or Billy Idol. They ape the gestures of these musicians at the climax of their shows. The state of exaltation of the candidates is tempered by the absence of soundtrack. An additional distance is created between them and us: in slow motion, their gestures, sometimes hidden out of shot, seem loaded with affect and could equally suggest (solitary) pleasure or pain, ecstasy or hysteria. Continue reading “Anne-Julie Raccoursier
Wireless World, BAC, Genève”
With Sean Snyder (Berlin), Jeremy Deller (Londres), Karl Holmqvist (Stockholm/Berlin), Bernadette Corporation (Paris/Berlin), Artemio (Mexico), Reena Spaulings (New York), Bruno Serralongue (Paris), Claire Fontaine (Paris), Jennifer Allora-Guillermo Calzadilla (San Juan), Jay Chung & Q Takeki Maeda (Berlin/Düsseldorf), Mario García-Torres (Los Angeles/Mexico) et Minerva Cuevas (Mexico).
Where to live, and how? This exhibition offers a reflection on projects by artists and architects who think about living conditions and challenge this question in their work. These projects come from various contexts that, for the major part, are situated at the junction of architecture and art, Utopia and reality, individual and collective space. Some of these projects document very active emerging urban forms and ask complex economical, political, and social questions which traditional notions of urbanism disregard.
If we think of the city as “a series of strata and styles, of icons and cultural practices which bring together constructions from the past, tradition, as well as these new projects and ideas for the future”1, can the different projects that will be presented really transform, or at least question, the way specialists, the State and users tackle the problem of living conditions? Continue reading “Habitat/Variations, BAC, Genève”
Markus Schinwald (born in Salzburg in 1973 ; lives and works in Vienna) is an artist whose work is protean and has no hierarchy of genres. Inspired by the worlds of fashion, dance or opera, and more broadly by that of entertainment, he moves easily from performance to film, from photography to clothes making. His heelless pumps (Low Heels, 1998) or his snakeskin sneakers (Snakers, 1998) – fetishistic objects par excellence – suggest a subtler conditioning of the body. Markus Schinwald’s universe wavers between that of Lynch, Cronenberg and Chalayan, and the clothes he designs can become instruments of constraint, transform themselves into prosthesis, and even replace the body. This dividing, or dual body, expresses hidden fantasies and brings to the surface the intricacy of our subconscious depth. Continue reading “Markus Schinwald, BAC, Genève”
The approach of Andreas Dobler (b. 1963, Zurich) is characterized by frequent incursions into varied domains such as fanzine illustration, tie-dye, China ink on paper, hard rock or ambient music, as well as screenwriting for films and the stage. Even though painting remains his favored activity, he is still very much interested in drawing. His universe oscillates between oppressive representations, often borrowed from sci-fi imagery, psychedelic culture, the esthetics of comics, petit bourgeois kitsch or exoticism for tourists.
A digital clock, recently installed on the fronton of the Tokyo Palace entrance chimes the 5 billion year countdown, which separates us from the explosion of the sun and therefore the end of all life on earth. Big Crunch Clock (1999) reminds us of the inexorable end of all things.
A cake of soap made from extra fat recovered after Silvio Berlusconi’s liposuction in a Swiss plastic surgery clinic: Mani pulite (2005). The first cake of Berlusconi’s soap brand which washes whiter than white? What about the replica of the American flag which was erected on the moon (Tranquility Base, 1999) once transposed in the space of White Cube? Should we see the poetic nevertheless absurd conquest of emptiness or of contemporary art? We might as well be shooting for the moon! Yet the commemorative tablet of the 759 Guantanamo victims (The Victims of Guantanamo Bay (Memorial), 2006), prisoners, or rather hostages, parked in a space without rights, literally removed from society’s awareness.
John M Armleder, Marcel Broodthaers, François Curlet, Trisha Donnelly and Pierre Vadi
« Fiction can help to fin both the truth and what if hides. »
Marcel Broodthaers
The Missing Evidence is an exhibition aiming to explore strategies of mystification towards which tend certain artists, playing of their status of creators. It takes to witness the emblematic figure of Bas Jan Ader (1942-1975). The artist, mysteriously gone missing at sea at age of 33, during his performance-trip entitled In the Search of the Miraculous.
This conceptual Dutch artist, whom art was a voyage just as real as metaphorical, chose to cross the Atlantic alone on a sailboat from the United States. Upon his arrival, an exhibition was planned at the Groninger Museum (Holland) to present works realized during his voyage. Continue reading “The Missing Evidence“
Editions from 1995 to 2005 for the members of Cec
Olivier Mosset (1995) : Sans titre, engraving chisel, black / white;
Fabrice Gygi (1996) : Sans titre, displays, screen color;
Elena Montesinos (1997) : Love it, blotter, plastic bag;
Elke Krystufek (1998) : Economical Love, poster, offset color;
Klat (1999) : EVIL TALK, affiche, sérigraphie noir/blanc;
Alexandre Bianchini (2000) : Sans titre, displays, serigraphy black / white;
Jakob Kolding (2001) : Sans titre, displays, offset black / white;
Karl Holmqvist (2002) : CECI N’EST QU’UNE ILLUSION, plastic bag, screen;
Mai-Thu Perrret (2003) : Sculptures of Pure Self-Expression, series of five ceramics;
No More Lights on My Starguitar (2004) : compilation rock ‘n’ roll performed by Bruno Dürr, vinyl, 33 rpm;
et Christophe Rey (2005) : Washington, color photography.
Launching the French and English editions – Future Perfect, 21st Century – recounting the history of the 21st century from anticipatory texts and scenarios.
40 x 500 cm
French and English versions
With the collaboration of Pedro Jiménez Morrás for the translation and Gidon Mead, Frédéric Favre, Céline Mangeat, Francesca Whitman for the rereading.
This edition is presented in the form of a 5-meter-long scroll with a timeline running through it relating the history of the 21st century. Continue reading “Marie Velardi
Futurs antérieurs, 20006“
Christophe Rey is an artist who is particularly interested in photography and its history as well as in the cinema, architecture and literature. His long journeys – preferably across Canada or the United States – have enabled him to build up an extensive photographic archive which provides him with a major source of inspiration for his writing. His texts, often concise, express deep introspection. Yet, without restricting himself to a purely autobiographical approach, the artist’s keen eye goes far beyond mere ‘impressions of a journey’ and is infused with a social, moral or political awareness drawn mostly from the very heart of cities. Continue reading “Christophe Rey
Ocean Bluff“
John M. Armleder, gravures, 1992
Monica Bonvicini, Eternmale, 2002
Jakob Kolding, lambda print & Posters, 2001/2003
Mai-Thu Perret, 5 Sculptures of Pure Self-Expression, 2004
Florian Pumhösl, Etudes abstraites, 2004
Heimo Zobernig, Sans titre, 1996
Presentation of No More Lights On My Starguitar, vinyl, 33 rpm , 12 soundtracks from Albert Angelo (GB), John Armleder (GE), Ana Axpe (GE), Kim Sop Boninsegni (GE), Bruno Dürr (GE), Mossuraya (GE), Yanick Fournier (D), Benoit Guignat (FR), Baron Samedi (Elena Montesinos, C. Daesen and S. Mercier) (CH), Reynols (AR), SPLITt (Jacques Julien & Hugues Reip) (FR), Uusi Fantasia (FI), 1000 copies, edited by Made at Home Records and the Centre d’édition contemporaine, Geneva, 2005. This compilation of soundtracks (music, audio pieces) rock’n’roll inspired, gathered by Bruno Dürr, wants to prove wrong the idea always updated and outdated that rock is dead.
On this occasion, the vinyl will be offered to the 2004 members of Cec association.
In one of the last Florian Pumhösl’s movie, Untitled (Mixed Exhibits), images of a deserted city slowly unfold in a strangely timeless mood of expectation, threat and ending. The viewer is taken, by a slide show succession of dissolving images, from the outside walls of a huge fortress to a wild courtyard; in the back a motionless isolated Cyclops sits in semi-obscurity. Led back out to the open, the viewer then finds himself at ground level, in the mist of stone and concrete blocks. He gets transported abruptly from the artificially stone paved winter garden to the outside barren stone yard. Shown in a long barely moving frame, authentic outside stone blocks seem to acquire a sort of mineral density. Their radically motionless material aspect alludes back to the Cyclops, and encloses the viewer into a timeless, frozen like surreal space. Continue reading “Florian Pumhösl
Héliogravures et film“
pour hoM/Me, Printemps Été 2004, Serie of 6 posters, silkscreen four colors, 120 x 176 cm, 25 issues of each, coedition Cneai (Chatou/Paris) and Centre d’édition contemporaine Center of contemporary edition (Geneva).
M/M presents a “new” collection of clothes, integral and technoid uniforms. Six models dressed up with integrated tools offering to their owners greater possibilities of communication and autonomy.
Since 1999, Mai-Thu Perret invents the story of an utopian and autonomous community, situated in New Mexico, which is strictly made up of women. New Ponderosa Year Zero already exists in different forms, those of a text-manifest, diaries, objects produced by this community : furniture, decorative elements, sculptures, clothes and party’s decor as well as events’ residues which testify the existence and the organization of the everyday life of this microsociety. This imaginary world gives the artist the possibility to invent a society, its story and its organization and to project her fantasies, her comments whether they are of a social or political nature, putting together reality and fiction just as her pleases her. This work’s structure allows Mai-Thu Perret to play different roles : artist, director, novelist. More seriously, this is also maybe a way of thinking about the reconstruction of a ethic, a search for lost idealism or a new form of commitment.
Harutyun Simonian (lives and works in Yerevan, Armenia) will present at the cec, video testimony of a performance achieved in camera and previously transformed into a private theater, a sort of black box whose interior coated with vaseline is made impassable. This action between body art and dance, put the artist in a constant imbalance, always at the limit of the fall.
This body is loss of balance Harutyun Simonian use it as a metaphor and comment on the disorientation both political, cultural and identity, consequential moral vacuum left by the end of the Soviet authoritarian political system.
In order to pursue our investigation into the field of the multiple and to consider it as a field of experimentation and test site, this year we have chosen to shift our perspective towards objects that straddle the border between the artistic and commercial systems. Throughout 2003 we have been showcasing publications that operate outside the constraints of traditional channels of distribution and communication, with multiples such as posters and portfolios, fanzines, Xerox books, newspapers and free magazines, distributed – before or after the exhibition – by hand, through the mail, or in public places such as bars, stores, galleries, art centers and museums, … Continue reading “Filière papier – Filière expo“
Hanging 13 copies of the edition of Monica Bonvicini, Eternmale, 2002
A collaboration between finger (artist collective based in Frankfurt-am-Main, Germany) and three graduating students – Aurélien Gamboni, Sloane Huguenin and Marion Ronca – from the CCC critical curatorial cybermedia postgraduate program of the Ecole supérieure des beaux-arts HES-Genève, and the centre d’édition contemporaine.
finger was founded in 1998. The group, composed today of four artists, Martin Brandt, Florian Haas, Claudia Hummel and Andreas Wolf, aims to undertake research in the form of “fieldwork”: mediating actions and alternative realizations which are later regularly documented in their eponymous publication.
A platform for discussion and exchange between artists and authors, finger deals with exhibitions, conferences and publications touching on the new phenomena, whether unconscious, popular, individual or more general which traverse contemporary society, at the level of the everyday, the local and the city, but also through larger economic, social and cultural movements: globalization, immigration, political and social conflicts, new technologies… Continue reading “Finger No. 12
conventions/
Konventionen/
conventions“
Editions
Posters, artist’s publication,briefcase with 18 folded prints, streetview photos of the posters, several texts in french/english : an artist’ text, a selection of past projects’ texts, a text of Doreen Massey, geographer, french translations of posters’ texts, 21 x 29,7 cm, offset, black/white, on paper couché demi-mat blanc 115 gm2, briefcase couché semi mat white 300 gr, 22 x 30,5 cm, 700 copies, edition of the Centre d’édition contemporaine, 2003.
Poster, offset, black/white, on paper affiche couché blanc brillant, 135 gm2, 60 x 84 cm, 700 copies, unnumbered, undated and unfirmed, edition of the Centre d’édition contemporaine, 2003. Continue reading “Jakob Kolding”
Presentation of Amy O’Neill’s (US/GE) and Emmanuel Piguet’s (GE) edition: dm-melkenburg (death match-melkenburg) realized within the 2001 Prize of the CEC. This edition is in reality a virtual one, consisting of a computer card with a fighting game to be played in networks or on the internet. The environment of the game reconstitutes the death row of an American prison.
Karl Homlqvist’s Tropical Evening
for the presentation of his edition, CECI N’EST QU’UNE ILLUSION, offered to the members of the association of the cec and to anybody else.
Videos
WORLDSAVER (Chiang Mai 2002, 15’30’’),
GREEN PARTY (Chiang Mai 2002, 60’),
De Kongelige Elefanter (Copenhague 2002, 23’20)
Posters and publications
Aesthetic movement, REAL Art & Poetry etc.
Music
CHA-BASHIRA L?K?O MusicsystemM,
Greatest Hits ACE OF BASE,
Tigerman TEDDYBEARS STHLM,
Djurens Parad PLUXUS Villa Lecitin
and others
Poetry
SPOKEN WORD: Les Fleurs du Mal Continue reading “Karl Holmqvist
Soirée tropicale“
One video every week, 7 days a week, 24 hours a day, visible from the street
With videos by Knut Åsdam (NO), Jonas Dahlberg (SE), Esra Ersen (TR), Vidya
Gastaldon (FR), Tommi Grönlund (FI), Elke Krystufek (AT), Olivier Nottellet
(FR), mvrdv (NL), Amy O’Neill (US), Pia Rönicke (DK), Markus Schinwald (AT),
Mika Taanila (FI), Pablo Vargas Lugo (MX), Paul Viaccoz (CH). Continue reading “Animation: Vidéos“
Exhibition of the editions of Rosemarie Trockel, etchings, 1996.
Group exhibition of a collective we are part of, with about 30 independent editors and alternative magazines gathered together by the editor Christoph Keller / Revolver – Archiv für aktuelle Kunst, Frankfurt.
The Centre d’édition contemporaine presents the Genevan session, after the ones in 2001 in Hamburg, Vienna, Düsseldorf, Berlin, and before the one in Frankfurt for Manifesta 4.
For the occasion, the CEC becomes a salon for reading, open for every reader, for consultation, with a subjective and instructive selection of independent, alternative and contemporary projects, editions, magazines, video and sound projects
A non-representational and informative selection
of independent publishing projects, alternative magazines,
and audio works on contemporary art,
compiled by Revolver – Archiv für aktuelle Kunst, Frankfurt,
with the help of many friends. Continue reading “KIOSK (V)“
Monica Bonvicini (born in 1965 in Venice, lives and works in Berlin)
First presentation of Monica Bonvicini’s new publication, on the occasion of her two shows in Switzerland : bad bed bud pad bet pub at the Kunsthaus Glarus (Summer 2000) and Bonded Eternmale at the Centre d’édition contemporaine.
Eternmale, publication with 13 reproductions of collages from the series Drawings for Eternmale (2000) and an interview of Monica Bonvicini by Beatrix Ruf, offset print on white opaque Patinata paper, 200gm2, colour, 14 pages bound together by a metal spiral, 50 x 60 cm (same size as Pirelli calendars), edition of 1000, co-edited by Kunsthaus Glarus and Centre d’édition contemporaine, 2002.
Monica Bonvicini transforms our venue into a living room with brutal design, characterized by virile aesthetics but not lacking critical humour.
Posters: Jakob Kolding, Alexandre Bianchini, Vidya Gastaldon & Jean-Michel Wicker, KLAT, Elke Krystufek, Fabrice Gygi, Claude Lévêque
Books: Elke Krystufek, Alex Baladi, Thomas Hirschhorn, Claude Closky, Sigurdur Arni Sigurdsson, Stephan Landry, Marie Sacconi, Anne Pesce, Emmett Williams
Two exhibitions on communication and power structures and nine free handouts available to the public in dispensers throughout the city of Geneva.
Artists: Jeremy Deller (GB) / Karl Holmqvist (SE)
Matthieu Laurette (F) / Gunilla Klingberg (SE)
Plamen Dejanov & Swetlana Heger (AT) / Jarno Jokinen & Katja Valanne (FI)
Claude Closky (F) / Tuomo Tammenpää (FI) and KLAT (CH)
Organised by NIFCA, FRAME and the Centre d’édition contemporaine in collaboration with Forde, Geneva. Curated by Cristina Ricupero (NIFCA) andb Paula Toppila (FRAME) Continue reading “Social Hackers“
Choice of editions of the CEC (John M. Armleder, Rosemarie Trockel, Giuseppe Penone, Olivier Mosset, Karen Kilimnik, Jean-Michel Othoniel, Kristin Opp
Fabrice Gygi is an artist from Geneva who has become increasingly important on the contemporary art scene over the past few years in Switzerland, and more recently, abroad. His work has been shown in various group–Nonchalance, Centre PasquArt, Bienne, Freie Sicht aufs Mittelmeer, Kunsthaus Zurich, Dogdays are Over, Centre Culturel Suisse, Paris, Xn00, Espace des Arts, Chalon-sur-Saône–and solo exhibitions–at the Centre d’Art de Neuchâtel, and at the Magasin-Centre National d’Art Contemporain in Grenoble. He has also produced works for public spaces on the occasion of Over the Edges in Ghent, in Fribourg at the invitation of the Kunsthalle and in Bienne during Transfer. His pieces are also regularly on view at galleries Bob von Orsouw in Zurich and Chantal Crousel in Paris. Continue reading “Fabrice Gygi
VITRINES et PITON UNIVERSEL“
Vidya Gastaldon (born in 1974 in Besançon, lives and works in Geneva)
Jean-Michel Wicker (born in 1970 in Mulhouse, lives and works in London)
Exhibition of a new piece and presentation of the edition Chromolux Landscape, 2000, silkscreen prints
First exhibition in the new venue: Presentation of older and new editions, of which the 2000 editions:
– Alexandre Bianchini
– Laurence Huber and Marie-José Blanquet
– Sidney Stucki
And the older ones: Claude Closky – Jérôme Hentsch and Alain Julliard – Elke Krystufek – Stephan Landry – Elena Montesinos – Giuseppe Penone – Anne Pesce – Marie Sacconi – Roman Signer – Sigurdur Arni Sigurdsson – Rosemarie Trockel – …
On May 19, 2000, on the occasion of the opening, Elena Montesinos aka DJ Go Home and Gregor Von Schönborn aka DJ Crowdpleaser proposed a performance followed by a party Backstage on Fire.
Tommi Grönlund and Petteri Nisunen, Mika Vainio and Ilpo Väisänen, Carl Michael von Hausswolff
On a proposal by Cristina Ricupero (curator, Paris)
Before the Centre moves and to honor one last time the villa of 17 Malagnou, we chose a project that would leave only sounds occupy all the spaces of the house, erasing the distinction between showrooms and the rest of the building …
Exhibition of the winners of the 1997-99 CGGC Prize
1997: Roland Herzog and Olaf Probst
Olaf Probst (born in 1962, lives and works in Munich)
Roland Herzog (born in 1967, lives and works in Zurich)
1998: Marieke Palocsay-Degaïchia and Tony Morgan
Marieke Palocsay-Degaïchia (born in 1970, lives and works in Geneva)
Tony Morgan (born in 1938, lives and works in Geneva)
1999: Delphine Kreuter
Delphine Kreuter (born in 1973, lives and works in Paris)
Concert-installation for the presentation of the edition Evil Talk with organ concerto played by Julien Cupelin and bar where Jägermeister was served .
Videos of Integrated Presentation at the 8th Biennial of Moving Images, Centre pour l’image contemporaine, Saint-Gervais Geneva.
Integrated Videos, 1995-1999
Compilation of all the videos embedded by Thomas Hirschhorn at its installations between 1995 and 1999, video, VHS PAL, 15 ‘, color, sound, achieved by raising and Coraly Suard-Hirschhorn, produced by the Centre pour l’image contemporaine, Saint-Gervais Geneva in collaboration with the Centre genevois de gravure contemporaine, published by bdv, Paris, 1999.
The exhibition presents an installation composed of recent works : paintings, mannequins, photographs, videos and music.
Exhibition of the Centre genevois de gravure contemporaine editions 1986 – 1998
The CGGC artistic program reflects the CGGC productions from 1986 to 1998: engraving, lithography, offset, multiple and artist book. Among the artists who previously collaborated with the Centre and whose works were exhibited on this occasion, particularly be mentioned the names of Ian Anüll, John M. Armleder, Alex Baladi, Alexandre Bianchini, Marcel Broodthaers, Stéphane Brunner, Mourad Cheraït, Claude Closky, Philippe Favier, Nicolas Fernandez, Claude Gaçon, Fabrice Gygi, Alex Hanimann, Jérôme Hentsch et Alain Julliard, Thomas Hirschhorn, Andreas Hofer, Karen Kilimnik, Elke Krystufek, Simon Lamunière, Stephan Landry, Claude Lévêque, Christian Lindow, Henri Michaux*, Elena Montesinos, Olivier Mosset, Kristin Oppenheim, Giuseppe Penone, Anne Pesce, Marie Sacconi, Roman Signer, Sigurdur Arni Sigurdsson, Rosemarie Trockel, Emmett Williams, Heimo Zobernig.
Collective manifestation – exhibition with works , editions , installations , performances and video screenings or dias from Alex Baladi, Alexandre Bianchini, Cosima von Bonin, Mourad Cheraït, Claude Closky, Adam Dant, Alain Declercq, Jeremy Deller, Andreas Exner, Nicolás Fernández, Claude Gaçon, Vidya Gastaldon & Jean-Michel Wicker, Jakob Gautel, Fabrice Gygi, Mathilde ter Heijne, Thomas Hirschhorn, Laurence Huber, Klat, Koo Jeong-A, Elke Krystufek, Yves Levasseur, Claude Lévêque, Elena Montesinos, Gianni Motti, Honoré d’O, Kristin Oppenheim, Anne Pesce, Christophe Rey, Allen Ruppersberg, Alain Séchas, Luc Tuymans, Heimo Zobernig.
Presentation of the editions of the Centre genevois de gravure contemporaine between 1993 and 1996 .
Presentation of the editions, Love It by Elena Montesinos and FUJI 4 Alexandre Bianchini ( publication edited by Véronique Bacchetta ), subtitle of the event: ” MXP Live electronics, non-stop drinks + noise “. Friday, November 28, 1997, in the evening and during the exhibition Été 97.
Presentation of the editions of John Armleder, Nicolás Fernández, Thomas Hirschhorn, Karen Kilimnik, Claude Lévêque, Olivier Mosset, Kristin Oppenheim, Jean-Michel Othoniel, Giuseppe Penone, Marie Sacconi, Sigurdur Arni Sigurdsson, Rosemarie Trockel. École des Beaux-Arts de Metz.
Continuously event over three days and exhibition of works, installations, performances and video projections and films. With Alexandre Bianchini, Henry Bond, Mourad Cheraït, Claude Closky, Jeanne Dunning, Olafur Eliasson, Andreas Exner, Urs Fischer, Mathilde ter Heijne, Jérôme Hentsch, Thomas Hirschhorn, Laurence Huber, Fabio Jaramillo et Sidney Stucki, Karen Kilimnik, Elke Krystufek, Yves Levasseur, Aernout Mik, Kristin Oppenheim, Alix Pearlstein, Lisa May Post, Marie Sacconi, Hinrich Sachs et Marylène Negro (as surprise guest), Rosemarie Trockel, Carl Emanuel Wolff, Heimo Zobernig. Video on request : Jeanne Dunning, Nicolás Fernández, Gianni Motti, Jean-Michel Othoniel, Alix Pearlstein, Christophe Rey, B. Toguo Tamokoué, Luc Tuymans, Anne Pesce.
[ … ] Most often, Stan Douglas’s films are shown as installation in which music, text and images cross each other. Each screening mobilizes the entire space, involving the viewer in a subjective scene that immerses it in a historical and cultural universe, where are combined new computer technologies and aesthetic charged with references, often nostalgic. (Véronique Bacchetta , extract from the press release)
The next exhibition of the Centre genevois de gravure contemporaine will be dedicated to two young artists: Toguo Tamokoué (born in 1967 in Cameroon, lives and works in Grenoble, Düsseldorf and Abidjan) and Hinrich Sachs (born in 1962 in Osnabrück, lives and works in Hamburg) who received both the purse of CGGC / 1996, giving them the opportunity to produce an edition in engraving or in any technical feasible in our workshops. This exhibition is the result of several coincidences, among others, the choice of our jury that focused on two artists who wanted to meet and who, further to their meeting, projected a common journey in Ivory Coast. This project was developed on the basis of their respective personal experiences and their linguistic and artistic journey: each of them lived the experience of immigration and had to leave a native language to a foreign language. Thus, their history and their artistic practice led them to end up in Europe today, and maybe tomorrow in Africa.
Presentation of the editions of Alexandre Bianchini, Claude Closky , Nicolás Fernández, Fabrice Gygi , Alex Hanimann Jérôme Hentsch and Alain Julliard, Thomas Hirschhorn, Karen Kilimnik , Stephan Landry, Claude Leveque, Olivier Mosset , Kristin Oppenheim, Jean- Michel Othoniel , Giuseppe Penone Anne Pesce , Marie Sacconi, Roman Signer , Sigurdur Arni Sigurdsson , Rosemarie Trockel , Luc Tuymans , Emmett Williams.
With objects that one hesitates to describe as artistic or utilities, Heimo Zobernig questions both the places of art (the exhibition, the catalog) and the everyday environment (a bar, a facade). (Véronique Bacchetta , extract from the press release)
If Alexandre Bianchini, Nicolás Fernández, Jérôme Hentsch and Alain Julliard are not part of a group, they participate in a joint discussion where the questioning of art and function play an important part. (Véronique Bacchetta , extract from the press release)
Alexandre Bianchini, Le Théâtre de la nature d’Oklahoma, installation.
Nicolás Fernández, Ils nous ont vendu,Table, Tu es entré et tu es sorti. Maman, Ils nous ont vendu, Ils nous ont acheté, Ils nous ont donné, Tu m’as donné, Je t’ai donné, Vos mères se souviendront de vous, Banc, Embrasure and Ils nous ont écrit, installation with woodcuts, cardboard and other materials.
Jérôme Hentsch et Alain Julliard, Conte d’auteurs, two projections Super 8 films ,facing and show on a loop in a specially space made for that purpose, objects and text.
Her artistic practice situates it-self in an infra-thin area where each act, minimized – sounds, line, light – is repeated endlessly. Repetition insinuates a reseach for a breaking point where the mastery yields to the humanity of the gesture and the voice. (Véronique Bacchetta, extract from the press release)
Presentation of various editions (1992-1994) and etchings published by the Centre.
For the edition of the Centre genevois de gravure contemporaine, Rosemarie Trockel incorporates elements that have traveled through his work. If, in her “paintings”, electric hob stove or knitted patterns replace in a trivial and playful way the forms of minimalism, for this serie of engravings long woolen thread blocked in the varnish organize the networks of clumsy and trembling lines – line networks that transform a grid or decorative designs repeated several times in a stylized writing. This distance towards abstract painting codes is recovered in a very pragmatic and immediate approach of the engraving where an object is reproduced literally in its texture. Again, artisanal qualities of the technique are used not for their material effects, but with objectivity and amused detachment that often characterize the works of Rosemarie Trockel. (Véronique Bacchetta, extract from the press release)
One of the rooms will be occupied by a huge “stand” (Les Plaintifs, les Bêtes, les Politiques). […] The other rooms will be crossed by a cardboard box wall where Thomas Hirschhorn will intervene by collages of photographs, newspaper clippings and pages from his previous catalogs. The comments he will add will enable him to act again and document his exhibitions again. This kind of presentation gives the opportunity not only to re-expose his work but to subject it to self-criticism, justifying itself again and again, breaking the classification of genres – exhibitions, videos, catalogs, texts, editions – to defer the closure of his work. The works are reused and re-discussed, like the cardboard box constituent material, revealing an artistic practice that also announces itself on the mode of recovery and recycling. (Véronique Bacchetta, extract from the press release)
[…] Karen Kilimnik appropriates love affairs and escapades of media personalities: stars, supermodels and princesses, from Elizabeth Taylor to Michael Jackson via Caroline of Monaco or Kate Moss. […] She transposes her fascinations and schizophrenic fantasies that range between freshness, innocence and violence, the horror of thriller, the famous tragic event, whether the Manson family crimes, the murder of John Kennedy, the occupation of Paris … Some of its “decorations” overloaded with a multitude of objects and images seem to emerge from a disaster, close to the results of an action or a happening, remembering the hazard game of Fluxus or of art in progress. But this research for identity and the fascination for dated and glamor can switch very quickly into drama when Karen Kilimnik goes to spray with bullets her hanging just finished with a machine gun. The seven black and white lithographs are collected in a luxury and flashy box, covered with fake tiger fur and lined with shiny satin. This box contains seven subjects partially copied or inspired of celebrity pages of magazines. […] These lithographs, will find their readability thanks to a mirror slipped into a pocket crafted in the same fake fur than the box. (Véronique Bacchetta, extract from the press release)
Présentation of the éditions of John Armleder, Marc-Camille Chaimowicz, Claude Closky, Alex Hanimann, Stephan Landry, Claude Lévêque, Christian Lindow, Olivier Mosset, Jean-Michel Othoniel, Giuseppe Penone, Marie Sacconi, Sigurdur A. Sigurdsson, Emmett Williams. Bibliothèque de la Part-Dieu, Lyon.
Luc Tuymans asks throught the representation, the question of the status of painting in the current field of art. Inspired as much by the cinema and photography, he reflects the world of resurgences and fantasies, intimate and disenchanted, related to the collective memory and personal recollections. These images are often mangled by some specific treatment that gives an impression of both blur and immediat. (Véronique Bacchetta, extract from the press release)
Presentation of works by Jean-Marc Bustamante, Photographs 1977-1982, 1993; Rodney Graham Interiors. The Berlin Studies of Jacob and Wilhelm Grimm, 1993; Thomas Schütte, United Enemies: A Play in ten scenes, 1994; Jan Vercruysse, Neuf projets pour la couverture d’une revue en huit plus une livraison, 1991.
Prints and photographs published by Yves Gevaert, editor, Brussels
Presentation of the edition of twenty-five unique prints, monochrome in five colors and five shapes.
L’exposition n’aura pas lieu du 27 janvier au 26 mars 1994. Le vernissage ne sera pas le 26 janvier avant 18h. Il n’y aura pas d’édition de huit séries de 20 livres d’artiste intitulés « 1440 nombres qui servent à donner l’heure ». Fermé le dimanche, fermé le samedi avant 14h et après 17h, du lundi au vendredi avant 14h et après 18h. Édition de deux séries de 80 livres d’artiste intitulés « 8560 nombres qui ne servent pas à donner l’heure ». Du lundi au vendredi de 14h à 18h, le samedi de 14h à 17h et sur rendez-vous. (Invitation double-sided written by Claude Closky)
Each of the 80 books reproduced on 216 pages, a non-existent minute figures copied to a digital clock. (Véronique Bacchetta, extract from the press release)
Presentation of the edition offered to the members of 1994 of the Centre, Version #1 (performance, music, decor and bar)
Exhibition and edition of a book object, 235.604-1789.
The texts or fragments of texts used by Alex Hanimann are often indifferently extracted from manuals, philosophical maxims or political slogans.
The edition Images de pierres produced by the Centre genevois de gravure contemporaine and co-published with the School of Fine Arts of Annecy, is made up of five prints drawn on the basis of lithography from five marble slabs, chosen and reworked by Giuseppe Penone. This particular experimental technique, very empirical, allows to find and print the natural veins of the marble that constitute the matrix and the pattern of this series. (Véronique Bacchetta, extract from the press release)
Joint presentation of paintings, drawings and edition of the Centre (book and portfolio).
Sigurdur Arni Sigurdsson, Icelandic young painter, tackles figurative painting without previous speeches, nor on the “painting–painting” nor on a so-called return to representation. His subjects are extremely simplified archetypes (lakes, clouds, animals) or abstract forms (balls, circles, ovals). […] These simplified objects float on a monochrome surface, often cold and bright, suggesting a boreal atmosphere, that they penetrate, creating a confrontation between flat space and the illusionist space. The schizophrenic space and shapes in suspension arising from these pure and transparent surfaces transport us to imaginary tales and legends. (Véronique Bacchetta, extract from the press release)
Presentation of films shot by Gerry Schum under its Fernseh und Videogalerie. In collaboration with Simon Lamunière, artist and curator, Geneva.
Gerry Schum has made several series of films as part of its project Fernseh Gallery / Television Gallery, which aimed to create links between the confined space of the art gallery and television. From 1969, Gerry Schum shot several short films with major artists affiliated to Land Art, to Arte Povera or to conceptual art. These films are not documentaries on the work of these artists, but autonomous works. (Véronique Bacchetta, extract from the press release)
Exhibition of twenty-one unique engravings edited by the Centre Genevois de Gravure Contemporaine in 1992, Villa Arson, National Centre of Visual Arts, Nice.
O.T.(screen printing on canvas), 1993″ width=”686″ height=”1000″> Ian Anull, O.T.(screen printing on canvas), 1993For Ian Anüll, art is an integral part of society, it is not an alternative to reality or to the banality of the world nor a subject of mystification. His work always oscillates between right and wrong, the message and the irony, art and non-art. […] Ian Anüll rather cultivates independence and impertinence that enable him to collect and update them with quick thinking and foresight the nonsense and pitfalls of the artistic conformism and also of the society.
Posted in Exhibition, Solo shows
Installations, drawings, sculptures, objects and editions. Since 1985, Claude Gaçon constitutes a collection of balls. He produces and recovers an infinity of spherical objects, composed of such diverse and strange as unexpected materials: paper, marble, lava, wire, plastic, crystal, fur, etc. This accumulation built a non exhaustif catalog of all possible and imaginable formal combinations between full and empty, the heavy and the light, the precious and commonplace. The pure shape is also the starting point for conceptual games and investigation, between inside and outside, content and container, order and disorder, purity and impurity, dispersion and concentration … […] In an aesthetics close of scientific and biological performances – viruses, atoms, anatomical plates, maps and world maps – Claude Gaçon seeks endlessly to imagine, to simplify, to understand and master the elusive three-dimensional shape. (Véronique Bacchetta, extract from the press release) Presentation of the editions of Ian Anüll, John Armleder, Françoise Bridel, Stéphane Brunner, Marc Camille Chaimowicz, Philippe Favier, Andreas Hofer, Stephan Landry, Christian Lindow, Jean-Michel Othoniel, Anne Pesce, Laurence Pittet, Marie Sacconi, Roman Signer, Jean Stern, Emmett Williams. Presentation of a series of twenty-one unique engravings. The work of John Armleder has long been as close to the neo-Fluxus as the geometric painting. His pictorial references are numerous: Picabia and El Lissitzky to Blinky Palermo, Helmut Federle and Olivier Mosset through Sigmar Polke. (Véronique Bacchetta, extract from the press release) Exhibition of editions of the magazine PARKETT, 1984-1992. Engravings and multiples. Presentation of the edition. Centre genevois de gravure contemporaine, 1992. Drawings, wall interventions and artist book. Lithographs printed at the Centre by Laurent Mathelin, typography of the first cover, title page and colophon conducted by the Imprimerie des Arts, Geneva, bound by Craftsman Bookbinder, Jean-Pierre Netz, Geneva. Centre genevois de gravure contemporaine, 1991. Embroideries, drawings, paintings and presentation of the edition and the artist’s book. Lithographs and paintings. 1991 Presentation of the five framed prints and a molded object with sulfur bull eyes, Histoire d’yeux. […] Without wishing to return to archaic or some nostalgia too often attached to traditional printmaking techniques (as it happens the technical copper occurrence in flowers of sulfur dating from the eighteenth century), the features offered by the direct attack of the copper by the sulfur (without acid interference) fit perfectly to the work of Jean-Michel Othoniel and his research for this edition. The artist seeks to reproduce trademarks, ghosts of objects: clothing, fabrics. […] Roman Signer works on natural elements – water, fire, air, earth – and sometimes industrialized or manufactured objects such as boxes, cans, balloons or furniture, making them fly, fall, explode, filling, emptying, etc., like Richard Serra when he proposed, in 1967-1968, his famous list of action verbs “roll, fold, bend, twist, split, cut …” Roman Signer prefers the progress, the process and the idea of moving sculpture.(Véronique Bacchetta, extract from the press release) Jean-Marc Meunier is foremost landscape photographer: in 1984, his first important series is devoted to the transformation of neighborhoods in south-east London, offering whole landscapes under construction, half savage, half industrial. He then focuses on vegetation, particularly vegetation accreditation suburban areas and residential areas, and its intermingling with architecture and public facilities. His series on Christmas trees, carried out between November 1988 and January 1989 in the Geneva area, continues that theme. (Olivier Lugon, extract from the press release) Anne Pesce tries to find a definition of painting in the nihilistic context of the recent years. Avoiding to get confused with the movements “neo” and other post-modernism that never end to kill painting, Anne Pesce tries to take it up through a more poetic and philosophical. It creates metaphorical links between painting, words, critical thinking and the world: “I like to paint to stop thinking, think to paint is only an aping of the big tide of the spirit. “ Presentation of the edition and installation in the Parc de Malagnou in front of the Centre, of the six double-sided panels (remained in place from 1989 to 2000) In the park in front of the Centre, will be installed a series of panels similar to those used for road signs, except that the discs do not present the conventional acronyms, but abstract signs, perforated or enamelled. Planted following each other, these six panels will turn into a succession of targets, bringing confusion on the actual function of the set and an ironic dash to omnipresence in our cities of the signs and its procession of prohibited. (Véronique Bacchetta, extract from the press release) Presentation of the edition and silkscreen-prints. During the exhibition: presentation at the Centre of the film Images du monde visionnaire of Henri Michaux, directed by Eric Duvivier (1963). Today, it seems important to report by texts of the will of producing and experimenting of Michaux, always with the same honesty facing the sign in movement and the abstract sign, as well as its points of cinematographic view, given to see, in their profusion, like a picture book. Photographs from 1984 to 1989. The landscapes of Andreas Gursky are soccer fields, swimming pools, mountains, artificial lakes, play areas, intermediate areas between town and country, the Sunday walks. Man is at the center of these photographs, although the landscape is omnipresent. Presentation of the complete series of 35 large format prints published by the Centre and exposed in 1988 (Stéphane Brunner, Gravures, March 17 to April 23, 1988) and paintings, Musée des Beaux-Arts de La Chaux-de-Fonds. The Centre genevois de gravure contemporaine, in 1985, had exposed several works of young Genevan artists from the School of Visual Arts in Geneva. Without being in the hunt for young talents, the Centre would like to show that etching is still a field of investigation for new formal and conceptual preoccupation. Shigeru Mori, was born in Japan in 1952, student of the engraving workshop of the School of Visual Arts in Geneva since 1985, he works with a traditional technique, particularly spectacular – black aquatint – he uses in a “modern” perspective with reports of abstract and minimal forms. (Véronique Bacchetta, extract from the press release) Claude Gaçon
Exhibition from February 12 to March 27, 1993
Opening February 11, 1993
Sans cible, 1993″ width=”1000″ height=”657″> Claude Gaçon, Sans cible, 1993
Claude Gaçon, Sans cible, series of 6 engravings, etching and offset, black/white, on Vélin BFK Rives 280 g/m2, 50 × 50 cm, edition of 8 plus 2 H.C., numbered, signed and dated. Edition of the Centre genevois de gravure contemporaine, Geneva, 1993.
Éditions, 1986-1992
Exhibition of 20 November 1992 to 16 January 1993
Opening November 19, 1992
John M Armleder
Exhibition from June 11 to July 18, 1992
Opening June 10, 1992
John M Armleder, Sans titre, 21 unique engravings (etchings and monotypes), colour, on Arches paper, 200 × 100 cm, dated and signed. Edition of the Centre genevois de gravure contemporaine, Geneva, 1992.
Parkett
Exhibition from April 16 to May 30, 1992
Opening April 15, 1992Jean Stern
Panini alle melanzane
Exhibition from March 13 to April 4, 1992
Opening March 12, 1992
Stephan Landry
Exhibition from 14 February to 7 March 1992
Opening February 13, 1992
Marie Sacconi
Exhibition from January 17 to February 8, 1992
Opening January 16, 1992
Laurence Pittet
Exhibition of 6 December 1991 to 11 January 1992
Opening December 5, 1991
Lithographs printed by the Centre Laurent Mathelin. Centre genevois de gravure contemporaine, 1991.Laurence Pittet, Sans titre, series of 3 lithographs, colour (1 black, 1 red, 1 blue), on Arches paper, 50 × 65 cm, edition of 9 for each colour plus 1 H.C., numbered, signed. Edition of the Centre genevois de gravure contemporaine, Geneva, 1991.
CHF 200.– per lithograph
Laurence Pittet, Sans titre, series of 3 lithographs, colour (1 red, 1 blue, 1 yellow), on newspaper, 64.5 × 94 cm, edition of 9 for each colour plus 3 H.C., numbered, signed. Edition of the Centre genevois de gravure contemporaine, Geneva, 1991.
CHF 200.– per lithograph
Laurence Pittet, Sans titre, colour lithography on Arches paper, 38 × 46.5 cm, edition of 20 plus 1 H.C., signed and numbered. Edition of the Centre genevois de gravure contemporaine, Geneva, 1991.
CHF 100.– per lithograph
Suzanne Lafont
Photographies
Exhibition from October 11 to November 23, 1991
Opening October 10, 1991
[…] An almost cinematic continuity is woven between these portraits. Her work is based on an opposition between the snapshot and the pose. The model laying six to seven seconds, while the image remainsthat of a fragment of a glance, a fleeting nod, barely sketched. Suzanne Lafont moves the meaning of her images between “taken from life” and set design, between the sole and the series between the pictorial and cinematic. (Véronique Bacchetta, extract from the press release)Marcel Broodthaers
Œuvres graphiques, 1964-1975
Exhibition from May 31 to July 20, 1991
Opening May 30, 1991
Presentation of all editions of Marcel Broodthaers (except Le Corbeau et le Renard, 1967). In collaboration with Philippe Cuenat, Geneva.Jean-Michel Othoniel
¡ Capotes !
Exhibition from February 15 to April 6, 1991
Opening February 14, 1991
Roman Signer
Installation hélicoptère, 1990
Exhibition from October 26 to December 8, 1990
Opening October 25, 1990
Jean-Marc Meunier
Sapins de Noël, 1988-1989
Exhibition from May 31 to July 14, 1990
Opening May 30, 1990
Anne Pesce
Pêcheur, c’est lui qui devient un poisson
Exhibition from March 30 to May 12, 1990
Opening March 29, 1990
Anne Pesce, Pêcheur, c’est lui qui devient un poisson, artist’s book with a text by the artist, offset on laid paper Conqueror 100 g/m2 and 220 g/m2, 21 × 19 cm, edition of 150 plus 20 H.C., numbered, dated and signed. Edition of the Centre genevois de gravure contemporaine, Geneva, 1990.
Andreas Hofer
Installation – édition
Exhibition from February 12 to March 24, 1990
Opening February 10, 1990
Andreas Hofer, Sans titre, box containing 6 perforated discs, covered with enamel front and back, on aluminium, colour and black/white, with an impressum on cardboard in a tracing paper envelope. With two colour photographs of the installation. 52.5 × 52.5 cm, edition of 20, numbered and marked with a dry stamp « H » at the bottom of the box. Edition of the Centre genevois de gravure contemporaine, Geneva, 1990.
Emmett Williams
Multiples
Silkscreen-prints (1978-1979)
From September 18 to October 28, 1989
Emmett Williams, La dernière pomme frite et autres poèmes des fifties et sixties, 112 lino engravings on ivory satin cardboard 240 g/m2, black and red, presented in a black box, 32.5 × 24 cm, edition of 20 plus 2 A.P. and 2 H.C., numbered, dated and signed. Edition of the Centre genevois de gravure contemporaine, Geneva, 1989.
Henri Michaux
Encres, gouaches, aquarelles, lavis
Exhibition from June 1 to July 15, 1989
Opening May 31, 1989
The June 14, 1989 in the evening: Concert of New Quartet of Geneva, 5th quartet of Giacinto Scelsi dedicated to Henri Michaux and the works of H. Villa Lobos and Anton WebernHenri Michaux, catalogue: Introduction d’Anne Patry et Paul Viaccoz, textes de Jean Starobinski, Alfred Pacquement, Alain Jouffroy, René Micha, Raymond Bellour et biographie de Geneviève Bonnefoi, cinquante-deux pages, 32 x 24 cm, offset sur papier Biber 65 mat 150 gm2, seize ill. noir/blanc et deux ill. couleurs, sept-cent exemplaires, imprimés par Victor Chevalier Imprimerie Genevoise SA, édités par le Centre, Genève, 1989
Andreas Gursky
Photographies
Exhibition from April 6 to May 20, 1989
Opening April 5, 1989
Stéphane Brunner
Exhibition from February 25 to April 2, 1989
Opening February 25, 1989
Mori Shigeru
Estampes
Exhibition of 18 November 1988 to 14 January 1989
Opening November 17, 1988
