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”
Opening : Thursday October 9, 2008, from 6pm Exhibition from October 10 to December 4, 2008 Finissage (with the presence of the artist) : Thursday, December 4, 2008, from 6pm
Trisha Donnelly, view of the exhibition
Trisha Donnelly, view of the exhibition
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”
From June 21 until September 13, 2008
Opening on June 20, 2008, from 6pm
View of the exhibition L’Effet papillon, 1989-2007
View of the exhibition L’Effet papillon, 1989-2007
View of the exhibition L’Effet papillon, 1989-2007
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, view of the exhibition You belong to me I belong to you
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“
From December 14, 2007, until March 15, 2008
Opening on December 13, from 6pm
Editions récentes, Centre d’édition contemporaine, Genève, 2008″ width=”1200″ height=”800″> View of the exhibition Editions récentes
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
Exhibition from October 13 to December 16, 2007
Opening on Friday October 12, 2007 (from 6 pm)
Anne-Julie Raccoursier, view of the exhibition Wireless World
Anne-Julie Raccoursier, view of the exhibition Wireless World
Anne-Julie Raccoursier, view of the exhibition Wireless World
Anne-Julie Raccoursier, view of the exhibition Wireless World
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”
Exhibition andedition From June 23 toSeptember 2, 2007
View of the exhibition, CEC, 2007
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).
From June 23 until September 2, 2007
Opening on June 22, 2007, from 6pm
Symposium: Saturday, June 23, 2007, from 2 to 7 pm, directed by the architect Juan Herreros
Upon invitation of the Centre d’édition contemporaine and of the Centre d’Art Contemporain at BAC – Bâtiment d’art contemporain, Geneva
View of the exhibition Habitat/Variations
View of the exhibition Habitat/Variations
View of the exhibition Habitat/Variations
View of the exhibition Habitat/Variations
View of the exhibition Habitat/Variations
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”
Exhibition from April 20 to June 3, 2007
Opening on Thursday April 19, 2007 (from 6 pm)
Markus Schinwald, view of the exhibition
Markus Schinwald, view of the exhibition
Markus Schinwald, view of the exhibition
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”
February 2, 2007 – April 1, 2007
Opening: Thursday February 1, 2007, from 6 pm
Andreas Dobler, view of the exhibition In Deep Ink
Andreas Dobler, view of the exhibition In Deep Ink
Andreas Dobler, view of the exhibition In Deep Ink
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.
Exhibition from May 26 to September 17, 2006
Opening on Thursday May 25 (Ascension Day), from 6 pm
View of the exhibition The Missing Evidence
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“
Olivier Mosset (1995) : Sans titre, engravingchisel, 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, serigraphyblack/ 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, seriesoffiveceramics; No More Lights on My Starguitar (2004) : compilationrock ‘n’ roll performed byBrunoDürr, vinyl, 33 rpm;
et Christophe Rey (2005) : Washington, color photography.
Exhibition from February 3 to March 18, 2006
Opening on February 2, 2006, from 6pm
Marie Velardi, Vue 9 (deux eaux)
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.
Exhibition from October 28 till December 17, 2005
Opening on October 27, 2005 from 6pm
Christophe Rey presentation of the exhibition at 7.15pm
Christophe Rey, Ocean Bluff
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“
Party March 3, 2005 at 18:00 Exhibition from March 4 to April 30, 2005
No More Lights On My Starguitar, vue de l’exposition, CEC, 2005
No More Lights On My Starguitar, vue de l’exposition, CEC, 2005
No More Lights On My Starguitar, vue de l’exposition, CEC, 2005
No More Lights On My Starguitar, vue de l’exposition, CEC, 2005
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.
Opening: October 28 2004, 6pm
Exhibition from October 29 2004 through January 29 2005
Florian Pumhösl, view of the exhibition Héliogravures et film
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“
Summer presentation from the 22nd of June to the 25th of September 2004
Opening time : Tues-Fri 2-6 pm / Sa 2-5 pm
Annual closure: from the 26th of July until the 23rd of August 2004
M/M (Paris), view of the exhibitionPour hoM/Me, printemps-été 2004
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.
Exhibition from April 9 to June 12, 2004
Opening reception Thursday April 8, 2004, from 6 pm
Mai-Thu Perret, vue de l’exposition Love thy sister like thyself
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.
OpeningJanuary 29thfrom 18:00at the Centre d’édition contemporaine(cec) Exhibition fromJanuary 30 toMarch 27, 2004 open Tuesdayto Fridayfrom 14h to 18hand Saturdayfrom 14h to 17h
Haroutioun Simonian, view of the exhibition, cec, 2004
HarutyunSimonian(lives and works in Yerevan, Armenia) will present at the cec,videotestimony of aperformance achievedin camera andpreviouslytransformed intoa private theater, a sort of black boxwhose interiorcoated with vaselineismade impassable. This actionbetweenbody artand dance,putthe artist in aconstantimbalance,always at the limitof the fall.
Thisbodyisloss of balanceHarutyunSimonian use it as a metaphorandcomment on thedisorientationbothpolitical, cultural and identity, consequential moralvacuum left bythe end of theSovietauthoritarian political system.
Exhibition from October 31, 2003 to January 17, 2004
Opening Thursday October 30, 2003, from 6 PM
View of the exhibition Paper field – exhibition Field
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“
Exhibition at the centre d’édition contemporaine (cec), from May 23 to July 19, 2003
Opening Thursday, May 22, 2003, from 6 pm
View of the exhibition Finger No. 12 conventions/Konventionen/conventions
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“
Exhibition from march the 28th to may the 10th, 2003
Opening march the 27th, from 6 pm
Jakob Kolding, view of the exhibition
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”
Amy O’Neill and Emmanuel Piguet, view of the exhibition Dm-Melkenburg
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.
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“
KIOSK (V), Centre d’édition contemporaine, Genève, 2002″ width=”1200″ height=”960″> View of the exhibition KIOSK (V)
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)“
Exhibition from January 26, 2001 till March 30, 2002
Opening January 25, 2002
Monica Bonvicini, view of the exhibition Bonded Eternmale
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
Exhibition from September 13, 2001 till November 11, 2001
Opening September 12, 2001, 6 PM
View of the exhibition Social Hackers
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“
Opening May 3rd at 6 pm
Exposition from May 4th to June 23rd 2001
Fabrice Gygi, outside view of the exhibition VITRINES et PITON UNIVERSEL
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,ElenaMontesinosaka DJGo Homeand GregorVonSchönbornaka DJCrowdpleaserproposed aperformancefollowed by a partyBackstageon Fire.
TommiGrönlundandPetteriNisunen, MikaVainioandIlpoVäisänen, Carl Michael vonHausswolff On a proposal byCristinaRicupero(curator, Paris)
Beforethe Centremovesand to honorone last timethe villa of17Malagnou, we chose a project thatwould leave only soundsoccupy all thespacesof the house, erasing the distinction betweenshowroomsand the restof 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)
On 13 December 1999 in the evening at Forde, space for contemporary art, Geneva.
Klat, Evil Talk: Beyond the pleasure principle, 1999
Concert-installation for the presentation of the edition Evil Talk with organ concerto played by Julien Cupelin and bar where Jägermeister was served .
KLAT, EVIL TALK, poster, silkscreen print, black/white phosphorescent on poster paper, 50 × 100 cm, edition of 300. Edition of the Centre genevois de gravure contemporaine, Geneva, 1999.
Edition offered to the members of 1999 of the Centre genevois de gravure contemporaine association.
VideosofIntegratedPresentation at the8th BiennialofMoving Images, Centre pour l’image contemporaine, Saint-Gervais Geneva.
IntegratedVideos, 1995-1999
Compilationof all thevideos embeddedby ThomasHirschhornat its installationsbetween 1995 and 1999, video, VHS PAL, 15 ‘, color, sound, achieved byraising andCoraly Suard-Hirschhorn, producedby the Centre pour l’image contemporaine, Saint-Gervais Geneva in collaboration withthe Centre genevois de gravure contemporaine,published bybdv, Paris, 1999.
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.
Exhibition from 10 to 14 June 1998
Opening June 9, 1998
Alexandre Bianchini et Yves Levasseur, Sans titre, 1998
Luc Tuymans, Le Verdict, Alex Baladi, Une fille et un être qui n’existent pas, Thomas Hirschhorn, Über Katalog. Text, Edition, 1998
Vidya Gastaldon & Jean-Michel Wicker, Détail, Luc Tuymans, Le Verdict, Elena Montesinos, Sincerly Yours, 1998
Claude Closky, 12 heures = 10 heures, Jakob Gautel, Rendez-vous !, Thomas Hirschhorn, Über Katalog. Text, Edition, 1998
One Step Backwards: Books, prints, videos, 1998
One Step Backwards: Books, prints, videos, 1998
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.
Elena Montesinos, Tune out, Turn off, Drop in, 1997
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.
Elena Montesinos, Love it, blotting paper, plastic, 8.2 × 12.1 cm, edition of 300, numbered and signed. Edition of the Centre genevois de gravure contemporaine, Geneva, 1997.
Edition offered to the members of 1997 of the Centre genevois de gravure contemporaine association.
Exhibition fromOctober 31 toNovember 30, 1997 OpeningOctober 30, 1997 On 30 October 1997, conference–meeting with VéroniqueBacchetta.
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.
Exhibition from September 26 to December 13, 1997
Opening September 26, 27, 28 during the day and evening
Urs Fischer, Sans titre, Marie Sacconi, Emplois du troisième type et jours fériés, 1997
Olafur Eliasson, By Means of Your Sudden Feature, 1997
Olafur Eliasson, By Means of Your Sudden Feature, 1997
Thomas Hirschhorn, Mondrian-Autel, 1997
Mathilde Ter Heijne, You Still Haunt Me, 1997
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.
Exhibition from June 16 to July 18, 1997
Opening June 14, 1997
Photographies, 1997″ width=”1000″ height=”774″> Stan Douglas, Photographies, 1997
[ … ] 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)
Exhibition from April 18 to May 31, 1997
Opening April 17, 1997
Hinrich Sachs – B. Toguo Tamokoué, view of the exhibition, 1997
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.
Exhibition from January 25 to March 29, 1997
Opening January 25, 1997
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.
Exhibition from November 7 to December 21, 1996
Opening November 6, 1996
Sans titre, 1996″ width=”912″ height=”1200″> Heimo Zobernig, Sans titre, 1996
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)
Heimo Zobernig, Sans titre, 15 lithographs, black, on BFK Rives 300 g/m2 paper, 80 × 65 cm, edition of 4 plus 1 A.P. and 1 H.C., numbered, dated and signed. Edition of the Centre genevois de gravure contemporaine, Geneva, 1996.
Exhibition from June 21 to September 21, 1996
On 20 June 1996 , on the occasion of the opening,
projection of super 8 film of Alexander Bianchini, Detroit is Circle in one of artist workshops of the Centre.
Jerome Hentesch et Alain Julliard, view of the exhibition, 1996
Alexandre Bianchini, view of the exhibition, 1996
Nicolas Fernandez, view of the exhibition, 1996
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.
On the occasion of this exhibition, each artist has produced an edition :
Alexandre Bianchini, Detroit on Circle, super 8 mm films, colour, 3’, 24 im/sec, edition of 12 plus 2 A.P. and 2 H.C., numbered. Sound: Minus, Robert Hood / Maurizio 05, basic channel / Vertical, Jeff Mills, Axis 008 / Growth, Jeff Mills, Axis 10 / Detroit on circle, Robert Hood / Internal empire, Robert Hood / Mike Inke, Studio 1 / Version, Hubert Mean / DJ Sid, MG 004 / (excerpts). Edition of the Centre genevois de gravure contemporaine, Geneva, 1996.
Nicolás Fernández, Tu es entré et tu es sorti. Maman, woodcut, protection paper, 240 × 150 cm, edition of 4 plus 2 A.P. and 2 H.C., numbered, dated and signed. Ils nous ont donné, woodcut, protection paper, 240 × 150 cm, edition of 4 plus 2 A.P. and 2 H.C., numbered, dated and signed. Ils nous ont vendu, woodcut, protection paper, 240 × 150 cm, edition of 4 plus 2 A.P. and 2 H.C., numbered, dated and signed. Ils nous ont acheté, woodcut, protection paper, 240 × 150 cm, edition of 4 plus 2 A.P. and 2 H.C., numbered, dated and signed. Vos mères se souviendront de vous, woodcut, protection paper, 101 × 76 cm, edition of 6 plus 2 A.P. and 2 H.C., numbered, dated and signed. Je t’ai donné, woodcut, protection paper, 96 × 73 cm, edition of 8 plus 2 A.P. and 2 H.C., numbered, dated and signed. Tu m’as donné, woodcut, protection paper, 96 × 73 cm, edition of 8 plus 2 A.P. and 2 H.C., numbered, dated and signed.
Edition of the Centre genevois de gravure contemporaine, Geneva, 1996.
Jérôme Hentsch and Alain Julliard, Un bateau en papier, offset print on Zerkall-Bütten Ingres champagne vergé 90 g/m2 paper, 29.7 × 21 cm, in a cardboard jacket Invercote GX white 340 g/m2, 29.8 × 21.1 cm, edition of 60, numbered. Edition of the Centre genevois de gravure contemporaine, Geneva, 1996.
Alain Julliard and Jérôme Hentsch, Fond de commerce, silkscreen print on acetate, 45.5 × 21 cm, in a cardboard jacket Invercote GX blanc 340 g/m2, 46.5 × 42.4 cm, edition of 60, numbered. Edition of the Centre genevois de gravure contemporaine, Geneva, 1996.
Exhibition from May 4 to 15 June 1996
Opening May 3, 1996
Kristin Oppenheim, view of the exhibition, 1996
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)
Kristin Oppenheim, Slip, six lithographs, black/white, on BFK Rives 300 g/m2 paper, 80 × 60 cm, edition of 8 plus 2 A.P. and 2 H.C., numbered, dated and signed. Edition of the Centre genevois de gravure contemporaine, Geneva, 1996.
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)
Rosemarie Trockel, Sans titre, 3 etchings (3 patterns: grid, loops, balloons), soft wax, colour, on BFK Rives 300 g/m2 paper, 120 × 90 cm, printed in 9 copies (of which: 3 blue copies, 3 red copies and 3 green copies, signed and dated), edition of 27 plus 9 A.P. and 11 H.C., numbered, dated and signed. Edition of the Centre genevois de gravure contemporaine, Geneva, 1996.
Exhibition from November 30 to January 27, 1996 Opening November 29, 1995
Thomas Hirschhorn, view of the exhibition, 1995
Thomas Hirschhorn, view of the exhibition, 1995
Thomas Hirschhorn, view of the exhibition, 1995
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)
From October 12 toNovember 18, 1995 OpeningOctober 11, 1995
Karen Kilimnik, view of the exhibition, 1995
Karen Kilimnik, Tiger, 1995
Karen Kilimnik, Tiger, 1995
[…] 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)
Karen Kilimnik, Tiger, 7 lithographs, black/white, on Velin BFK Rives 250 g/m2 paper, white, 70 × 50 cm, one silkscreen print on Pop’set Californie 240 g/m2 paper, 35 × 49.5 cm, a plastic mirror and a plexiglas plate used as impressum, in a box covered in fake fur and lined with satin, 54 × 74 cm, edition of 10 plus 2 A.P. and 2 H.C., numbered, dated and signed. Edition of the Centre genevois de gravure contemporaine, Geneva, 1995.
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.
“Edition-exhibition” from June 1 to July 15, 1995 Opening May 31, 1995
Luc Tuymans, view of the exhibition, 1995
Luc Tuymans, view of the exhibition, 1995
LucTuymans asks throught the representation, the question ofthe statusof paintingin the current fieldof art.Inspired as much by thecinemaand photography, he reflects the world ofresurgencesandfantasies, intimateand disenchanted, relatedto the collective memoryandpersonal recollections. Theseimages are oftenmangled bysomespecifictreatment that givesan impressionof bothblurand immediat. (VéroniqueBacchetta, extract from thepress release)
Luc Tuymans, Le Verdict, 11 colour lithographs, printed on 7 strips of blotting paper, 50 × 590 cm, 50 × 569 cm, 50 × 506 cm, 50 × 210 cm, 50 × 195 cm and 50 × 200 cm, edition of 8 plus 2 A.P. and 2 H.C., numbered, signed and dated. Edition of the Centre genevois de gravure contemporaine, Geneva, 1995.
Strip No 1: Strip with 3 lithographs, 50 × 569 cm.
Sold out
Strip No 2: Strip with 2 lithographs, 50 × 590 cm.
Sold out
Strip No 3: Strip with 2 lithographs, 50 × 506 cm.
Presentationof works byJean-Marc Bustamante, Photographs1977-1982, 1993; RodneyGrahamInteriors.The BerlinStudies ofJacob andWilhelm Grimm, 1993; Thomas Schütte, United Enemies:APlay intenscenes, 1994;Jan Vercruysse, Neuf projets pour la couverture d’une revue en huit plus une livraison, 1991.
Claude Closky, 8560 nombres qui ne servent pas à donner l’heure,1994
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 the80booksreproducedon216 pages, a non-existentminutefigurescopied toa digital clock.(Véronique Bacchetta, extract from thepress release)
Claude Closky, 8560 nombres qui ne servent pas à donner l’heure, 2 series of 80 books of 214 pages, on Data Copy Coated 100 g/m2 paper, 21 × 15 cm, one separable series and one inseparable series. Edition of the Centre genevois de gravure contemporaine, Geneva, 1994.
Alexandre Bianchini – Huber Mean, Version # 1, 1994
Presentation of the edition offered to the members of 1994 of the Centre, Version #1 (performance, music, decor andbar)
Alexandre Bianchini – Huber Mean, Vinyl, Version # 1, 12’’ maxi record, A and B side, sound mixing of a text and of various styles of music (jazz and acid jazz), edition of 300. Edition of the Centre genevois de gravure contemporaine, Geneva, 1994.
Edition offered to the members of 1994 of the Centre genevois de gravure contemporaine association.
Exhibitionand edition of abookobject, 235.604-1789. The textsor fragments oftexts used byAlexHanimannare oftenindifferentlyextracted from manuals, philosophical maximsorpolitical slogans.
Alex Hanimann, 235.604 – 1789, 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, 1994.
The editionImages de pierresproduced bythe Centre genevois de gravure contemporaine andco-publishedwith the Schoolof Fine Artsof Annecy,is made up of fiveprintsdrawn on the basisoflithographyfrom fivemarble slabs, chosenand reworkedbyGiuseppe Penone. This particularexperimental technique, very empirical, allows to findand print thenaturalveinsof the marblethat constitutethe matrixand the patternof this series. (Véronique Bacchetta, extract from the press release)
Giuseppe Penone, Image de pierres, lithograph from a marble slab, 85 × 63 cm, edition of 19 plus 2 A.P. and 4 H.C., numbered, dated and signed. Edition of the Centre genevois de gravure contemporaine, Geneva, 1993.
Exhibitionfrom 17 June to30 July 1993 OpeningJune 16, 1993
Sigurdur Arni Sigurdsson, Corrections, 1993
Sigurdur Arni Sigurdsson, Réserve, 1993
Joint presentationof paintings,drawingsand edition of theCentre(book and portfolio).
SigurdurArniSigurdsson, Icelandicyoungpainter,tacklesfigurative paintingwithout previousspeeches,nor on the“painting–painting” nor on aso-calledreturnto representation.His subjects areextremelysimplifiedarchetypes(lakes, clouds, animals) orabstract forms(balls, circles, ovals). […]These simplified objects floaton amonochromesurface, oftencoldandbright, suggesting a borealatmosphere, that they penetrate, creating a confrontation betweenflat spaceandthe illusionistspace.Theschizophrenicspace andshapes in suspensionarising fromthese pureandtransparent surfacestransport us toimaginarytalesand legends. (Véronique Bacchetta, extract from thepress release)
Sigurdur Arni Sigurdsson, Corrections, series of 6 collotypes, black/white, on collotype paper, 30 × 30 cm, edition of 60 plus 2 A.P. and 4 H.C., numbered, dated and signed. Edition of the Centre genevois de gravure contemporaine, Geneva, 1993.
Sigurdur Arni Sigurdsson, Réserve, artist’s book, 6 double pages, etching on BFK Rives and japanese style paper, 22 × 17 cm, edition of 60 plus 2 A.P. and 4 H.C., numbered, dated and signed. Edition of the Centre genevois de gravure contemporaine, Geneva, 1993.
Fernseh und Videogalerie, 1993″ width=”1000″ height=”708″> Gerry Schum, Fernseh und Videogalerie, 1993
Presentation offilms shot byGerrySchumunderitsFernsehundVideogalerie. In collaboration withSimonLamunière, artist and curator, Geneva.
GerrySchumhas madeseveral series offilms as partof its projectFernsehGallery/Television Gallery, which aimed tocreate links betweenthe confined spaceof theartgalleryand television. From1969,GerrySchumshotseveral short films withmajor artistsaffiliated toLand Art, to Arte Poveraor toconceptual art.These films arenot documentaries onthe work of theseartists, butautonomous works. (Véronique Bacchetta, extract from thepress release)
O.T.(screen printing on canvas), 1993″ width=”686″ height=”1000″> Ian Anull, O.T.(screen printing on canvas), 1993
For 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 showsTagged Ian Anüll
Exhibition from February 12 to March 27, 1993 Opening February 11, 1993
Sans cible, 1993″ width=”1000″ height=”657″> Claude Gaçon, Sans cible, 1993
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)
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.
Presentation of aseries of twenty-one uniqueengravings.
The work ofJohn Armlederhas long beenas close totheneo-Fluxus as the geometric painting. Hispictorial referencesare numerous:PicabiaandEl LissitzkytoBlinky Palermo,HelmutFederleand OlivierMossetthroughSigmar Polke. (Véronique Bacchetta, extract from the press release)
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.
Exhibitionfrom 14 February to7 March 1992 OpeningFebruary 13, 1992
Stephane Landry, view of the exhibition, 1992
Drawings, wallinterventions andartist book.
Lithographsprintedat the Centre byLaurentMathelin, typography of the firstcover,title pageandcolophonconducted bythe Imprimerie des Arts, Geneva, boundbyCraftsmanBookbinder, Jean-PierreNetz, Geneva.Centre genevois de gravure contemporaine, 1991.
Exhibitionof 6 December1991 to11 January 1992 OpeningDecember 5, 1991
Laurence Pittet, Sans titre, 1991
Lithographs andpaintings. 1991 Lithographsprintedbythe CentreLaurentMathelin. 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.
[…]Analmost cinematiccontinuityis woven betweenthese portraits. Her work is basedon an oppositionbetweenthe snapshot andthe pose.The modellayingsix to sevenseconds, whilethe image remainsthat of a fragmentof a glance,afleetingnod, barely sketched. SuzanneLafontmoves themeaningof her imagesbetween “taken from life” andset design,between the soleand the seriesbetweenthe pictorialandcinematic.(VéroniqueBacchetta, extract from thepress release)
Jean-Michel Othoniel, view of the exhibition, 1991.
Presentation of thefiveframed printsanda moldedobject withsulfurbulleyes, Histoire d’yeux.
[…]Without wishing toreturn toarchaicorsome nostalgiatoo oftenattachedto traditionalprintmakingtechniques (as it happens thetechnicalcopperoccurrenceinflowers of sulfurdating from theeighteenth century), the featuresoffered by the direct attack of the copper by the sulfur(withoutacidinterference) fit perfectlyto the work ofJean-Michel Othoniel andhis researchfor this edition.The artist seeks toreproducetrademarks,ghostsof objects: clothing, fabrics.
Roman Signer, Installation hélicoptère, 1990, 1990
[…]Roman Signerworks onnatural elements–water, fire, air, earth –and sometimesindustrializedormanufacturedobjects such asboxes, cans, balloons or furniture, making themfly,fall, explode,filling, emptying, etc., like Richard Serrawhen he proposed, in 1967-1968, hisfamous listofaction verbs “roll, fold, bend, twist, split, cut …”Roman Signerprefersthe progress, the processand the idea ofmoving sculpture.(Véronique Bacchetta, extract from thepress release)
Sapins de Noël, 1988-1989, 1990″ width=”1000″ height=”668″> Jean-Marc Meunier, Sapins de Noël, 1988-1989, 1990
Jean-MarcMeunier isforemostlandscape photographer: in 1984, his first important seriesis devoted to thetransformation ofneighborhoodsinsouth-east London, offeringwhole landscapesunder construction,half savage, halfindustrial. He then focuseson vegetation,particularlyvegetationaccreditationsuburban areasand residential areas, and itsinterminglingwith architectureand publicfacilities. His seriesonChristmas trees,carried out between November1988 and January1989 in theGeneva area, continues that theme. (OlivierLugon, extract from the press release)
Anne Pesce, Pêcheur, c’est lui qui devient un poisson, 1990
AnnePescetries to findadefinition of paintingin the nihilistic context of the recent years. Avoidingto get confused withthe movements“neo”and otherpost-modernism that never endto killpainting,AnnePescetries totake it upthroughamore poeticand philosophical.It createsmetaphoricallinksbetween painting, words, critical thinking and the world: “I like to paintto stop thinking, think to paintis only an aping ofthebig tideof the spirit.“
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.
Exhibitionfrom February 12 toMarch 24, 1990 OpeningFebruary 10, 1990
Andreas Hofer, Sans titre, 1990
Andreas Hofer, Sans titre, 1990
Presentationof the edition andinstallation in theParc de Malagnouin front of the Centre, of the six double-sidedpanels (remained in place from 1989 to2000)
In the parkin front of theCentre, will be installeda series ofpanelssimilarto those used forroad signs,except that thediscs do notpresent theconventionalacronyms,butabstract signs, perforated orenamelled.Plantedfollowingeach other, these six panelswill turn intoa succession oftargets, bringing confusionon the actualfunction of the setand an ironic dash to omnipresencein our citiesof the signsand itsprocession of prohibited. (Véronique Bacchetta, extract from thepress release)
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.
Silkscreen-prints(1978-1979) From September 18 toOctober 28, 1989
La dernière pomme frite et autres poèmes des fifties et sixties, 1989″ width=”1200″ height=”904″> Emmett Williams, La dernière pomme frite et autres poèmes des fifties et sixties, 1989
Presentation of the edition and silkscreen-prints.
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.
During the exhibition: presentation at the Centre of the filmImages du monde visionnaireof HenriMichaux,directed by EricDuvivier(1963). TheJune 14, 1989in the evening:Concertof NewQuartetof Geneva, 5th quartet of GiacintoScelsidedicated toHenri Michauxand the works ofH.Villa Lobosand AntonWebern
Today, it seems importantto reportby textsof the will of producingand experimenting of Michaux,always with the samehonestyfacing the sign in movement and the abstract sign, as well asits points of cinematographicview, givento see,in theirprofusion, like a picture book.
Henri 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
The landscapes ofAndreasGurskyaresoccer fields, swimming pools, mountains,artificial lakes,play areas, intermediate areas betweentown and country,theSundaywalks.Man isat the centerof these photographs,althoughthe landscapeis omnipresent.
Exhibition from February 25 to April 2, 1989
Opening February 25, 1989
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.
Exhibition of 18 November 1988 to 14 January 1989
Opening November 17, 1988
Estampes, 1989″ width=”1200″ height=”636″> Mori Shigeru, Estampes, 1989
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)
O.T.(screen printing on canvas), 1993″ width=”686″ height=”1000″> Ian Anull, O.T.(screen printing on canvas), 1993
Sans cible, 1993″ width=”1000″ height=”657″> Claude Gaçon, Sans cible, 1993
