Costanza Candeloro, Glam Proof, five photographic prints, decals on ceramic, 21 cm x 29,7 cm, signed and dated. Edition of the Centre d’édition contemporaine, Geneva, 2025.
CHF 2’000.-
Costanza Candeloro
Glam Proof
Costanza Candeloro
Costanza Candeloro
Different kinds of wants
From September 18 to November 7, 2025
Finissage, Friday, November 7, 2025, at 5 PM
C – Clinical
N – Notes
E – Economy
I – Illusion
Different kinds of wants, CEC, 2025. Photo : Guillaume Python
Glam Proof, éd. du Centre d’édition contemporaine, Genève, 2025. Photo: Guillaume Python
Glam Proof, ed. of the Centre d’édition contemporaine, Geneva, 2025. Photo : Guillaume Python
Glam Proof, éd. du Centre d’édition contemporaine, Genève, 2025. Photo: Guillaume Python
Glam Proof, éd. du Centre d’édition contemporaine, Genève, 2025. Photo: Guillaume Python
Glam Proof, éd. du Centre d’édition contemporaine, Genève, 2025. Photo: Guillaume Python
Different kinds of wants, CEC, 2025. Photo : Guillaume Python
Reduction, CEC, 2025. Photo : Guillaume Python
Reduction, CEC, 2025. Photo: Guillaume Python
Re-Assembled Fortune (détail), CEC, 2025. Photo : Guillaume Python
Re-Assembled Fortune (détail), CEC, 2025. Photo: Guillaume Python
Re-Assembled Fortune (detail), CEC, 2025. Photo : Guillaume Python
Re-Assembled Fortune (detail), CEC, 2025. Photo : Guillaume Python
Different kinds of wants, CEC, 2025. Photo : Guillaume Python
De-Evaluation, CEC, 2025. Photo: Guillaume Python
Expectation / Access, CEC, 2025. Photo : Guillaume Python
Costanza Candeloro’s works, informed by intellectual, poetic and literary references, develop like stages in a thought process in motion. Between life and work, body and image, production and reproduction, this movement deconstructs the internal hierarchies of signs and identifications.
Rather than focusing on a single technique or medium, the artist’s practice involves the circulation, dissemination and transition from one medium to another. Playing on these shifts, the work creates the conditions for an active and open reception which runs counter to the trends of the cultural industry and property.
***
For her first solo exhibition in a Swiss institution, the artist presents a coherent collection of new works produced for the occasion, as well as an edition of five printed ceramics*. In Different kinds of wants, she alters seemingly innocuous objects and picks apart the illusory anchoring of value in things. Through her reworking of shoes, jumpers, scratch cards and cosmetics, the artist condemns the mechanisms of seduction of supposedly unique products.
The corrections conflate the techniques of art with those of commerce. In their passion for form, both rely on appearance. The magic of light, whose mystery remains intact: “At first glance, a commodity appears to be something trivial and self-explanatory. But for the artist, it is a very complex thing, full of metaphysical subtleties and theological nuances.”Far removed from any contemporary sophistication, with a ancient presence, the works open up to time and the necessity of production.
Costanza Candeloro (1990; Bologna, Italy) lives and works in Paris. She graduated from HEAD (Geneva University of Art and Design) in 2020 and is represented by the Martina Simeti Gallery, Milan. The artist will open an exhibition at the Swiss Institute in New York at the end of September 2025. Recent exhibitions include: Tout le temps de vie est temps de travail, Sihl Delta, Zurich (2024); Possessed is The Style, Austellungsraum Friedensgasse, Zurich (2024); C&G, with Gritli Faulhaber, Swiss Institute, Milan (2023); ENVY & GRATITUDE, Martina Simeti, Milan (2022); My Skin-care, My Strength, ICA Milano, Milan (2022); Sweet Days of Discipline, La Plage, Paris (2022). With Francesca Ciccone, she also runs Licit Illicit Bookshop, a mobile book platform that explores the connections between rarity and radicalism.
Costanza Candeloro’s exhibition is supported by Dr. Georg und Josi Guggenheim Foundation and of the Department of Culture and digital Transition of the City of Geneva.
Presentation of two videos by Denis Savary
Car Wash, portrait de John M Armleder
Giulia, portrait de Giulia Essyad
Opening, Wednesday, June 4, 2025, from 6 pm to 8 pm
The installation is on view on Thursday, June 5, 2025, from 1 pm to 6 pm
Denis Savary presents two portraits of artists with whom he has been in dialogue for several years, John M Armleder and Giulia Essyad. These two video portraits and two original works resonate with the program of the Centre d’édition contemporaine, where both artists were invited to produce editions: John M Armleder in 1992 and 2024, and Giulia Essyad in 2022 and 2024.
These two portraits depart from the classical approach to the genre, which typically documents and analyzes the artist’s work or personality. Savary instead focuses on recurring and distinctive elements of each artist’s practice – practices that, at first glance, seem to oppose one another: plants for Armleder, and her own body for Essyad.
Savary sees these two productions as a continuation of Blood on the Dining-Room Floor, the video he presented during his 2024 exhibition Quiet Clubbing at the Centre d’édition contemporaine. In both Armleder’s and Essyad’s portraits, we find the recurring theme of confinement within transparent spaces that characterized that earlier video – a kind of return to the past, featuring a light show in the style of a “rural discotheque”, projected onto the walls of his childhood home, turned into a screen. For John M Armleder, Savary creates a botanical garden inside a car interior, which is then driven through a car wash. The transparency and gloss of the windows are heightened by beams of light, water, and foam cascading over the glass, giving the illusion of artificial aquatic plants – all in perfect harmony with the soundtrack of Hawaiian music selected by John M and Stéphane Armleder. In Giulia Essyad’s portrait, the artist’s face appears in the darkness of an indoor laser tag game. The beams of light transform her into an otherworldly being, illuminated by an intense blue reminiscent of the Bluebots – her doubles, small figurines that appear throughout her video works.
Like Blood on the Dining-Room Floor, these new projects explore both the medium and the structure of video itself. Car Wash becomes a kind of psychedelic aquarium, where the image of washing water is projected onto dry plants, evoking splashes – a recurring motif in Armleder’s work. The video Giulia is similarly structured around an effect of projected light: the laser tag environment alternately merges with and reflects off Essyad’s face. The artist, like a ghost trapped inside a television screen, reveals – through transparency – the space she seems to haunt.
Denis Savary (1981) lives and works in Geneva. His work has been shown in numerous solo exhibitions, most recently: Nashville, Kunsthaus Centre d’art Bienne, KBCB (2025) ; Quiet Clubbing, Centre d’édition contemporaine, CEC, Genève (2024) ; Roma, Roma, Roma, Rolex Learning Center, Ecole polytechnique fédérale de Lausanne (2024) ; Josy’s Club, with Pierre-Olivier Arnaud, Synagogue de Delme (2023); Octogone, with Chloé Delarue, Mayday, Basel (2023); Flower of Fog, GNYP Gallery, Berlin (2022); Ambarabà Ciccì Coccò, with Alfredo Aceto, Kunst Halle Sankt Gallen, St. Gallen (2021). Recent group shows include Frau in Blau. Oskar Kokoschka und Alma Mahler, Museum Folkwang, Essen (2025); Le MAMCO, de mémoire, MAMCO, Geneva (2024); Temps de Mars, Musée des Beaux-Arts, La Chaux-de-Fonds (2024); The Big Chill, Galerie Maria Bernheim, London (2023); Mirage, MCBA, Lausanne (2023); Deep Deep Down, MUDAM Luxembourg, Luxembourg (2023); The Puppet Show, Centre d’art contemporaine, Geneva (2022).
This project is supported by the Office fédéral de la culture et de la République et canton de Genève.
Heimo Zobernig
From November 16, 2024, to February 21, 2025
Opening, Friday, November 15, 2024, from 6 to 9 pm (Nuit des Bains)
Week-end des Bains, Saturday, November 16, 2024, from 11 am to 6 pm
Rentrée des Bains, Thursday, January 16, 2025, from 6 to 9 pm
Café / Croissant des Bains, Saturday, February 1, 2025, from 10 am to 1 pm
untitled, ed. of the CEC, 2024 © Sandra Pointet
In 1996, Heimo Zobernig produced an emblematic edition for the CEC. At the time, Zobernig’s focus was on handmade and artisanal objects. His method? Printing old, damaged and broken lithographic stones. These stones, of which there were 15, were simply polished, then coated with black ink, the printing being limited to a simple transfer onto the paper, revealing shapes and lines resulting from the breaks in these modified surfaces, as they were. These 15 lithographs were reduced to a black, monochrome surface, each printed in an edition of four copies, one e.a. and one H.C. These black rectangles or squares on a white background bore direct comparison to Malevich’s historic black square, with all the distancing, irony and mischief contained in this gesture. Zobernig deconstructs and simplifies the historical references to modernism and minimalism with which his work is associated, shifting them to the field of design and graphics. The technical criteria of a craft – at the time, lithography – are also taken literally: a surface coated with ink, transferred directly onto a sheet of paper, the only motif being the lines of the breaks in this series of stones, found in an old stockpile, forgotten and unusable. A kind of game with a local situation, that of this obsolete workshop from another time, playfully reactivated.
Zobernig pushes his quest for simplification, clarity and neutrality to the level of the simple object. Artistic expression is reduced to a minimum. His strategies include objectification, reduction, standardisation and systemisation. This distancing enables him to shift his perspective, to cultivate a pragmatism that is always tinged with irony, free from pathos, and foremost determined by an unwavering search for autonomy. In reality, Zobernig approaches text like a graphic designer; colour like a “scientist”; objects like an industrialist; space like a scenographer or an architect.
The artist’s production system is broken down into several series, including the shelving structures and bookcases that seem to have been inspired by the famous Billy model, emblematic of Ikea furniture shops. An ironic reference, perhaps, to the modules created by Donald Judd or those used in Robert Morris’ scenographies. These bookcase-structures first appeared in his solo exhibition at the Kunsthalle Zürich in 2011, then at the Museum Bärengasse in 2015, at the KUB in Bregenz and, more recently, at the Mumok in Vienna in 2021. These large series of bookcases are transformed into exhibition displays, architectural structures that intersperse, enter into dialogue with, and sometimes exalt or outright transform the architecture of these institutions.
For some years now, Zobernig has been introducing colour and material variations into his work, as well as sculptural figures, like mannequins in a shop window: non-gendered, schematic, standard human bodies. Geometric, modular figures with balanced proportions, envisaged as elements of architecture, in the image of Le Corbusier’s Modulor. Other stereotypes spring to mind, emblems of the monumental statuary: from ancient statues to the robot-women in Metropolis, Georg Kolbe’s sculpture Der Morgenfor Ludwig Mies van der Rohe’s German Pavilion in Barcelona, and even statuettes from the Oscars or Hollywood film credits.
Zobernig introduces a break with this monumental, authoritarian classicism. He manipulates, deconstructs, literally turns his figures upside down and sometimes even disguises them. As composites, they are made up of several body parts from different sources: the artist’s head or body glued to bits of old sculptures. Others are reduced to their production method: from 3D to the first bronze casts, left in their raw, unfinished state, broken, more or less well reconstructed, oxidised, chipped or rusted. Some mannequins hang from the shelves of his bookcase-structures, twisted, dislocated, more dramatic, oscillating between mummified, digital and archaic beings.
Zobernig also uses his own body, practising self-reference and self-mockery. In a video made in 1989 (No. 3), he dances, wearing an improbable wig with long hair made of chiffon. He re-enacted this scene in 2023 (no 33), wearing a similar outfit. His body and gestures had changed, becoming stiffer, clumsier, more tired: distancing and irony applied to himself.
Heimo Zobernig’s exhibition at the CEC features a range of productions and editions: five metal bookcases; three screenprints in three combinations of colours and three different qualities of paper (black/white/silver), made up of horizontal lines and the words SELF SHELF EDITION: self-editions, self-shelves, shelf-editions. SELF SHELF, the phonetic proximity of these two words, typographical too, with an extra H between SELF and SHELF, H as in Heimo, H as in a shelf. A play on sounds and words, an association that Zobernig makes with humour between himself and a shelf. These “crosswords” could well have been the title of this exhibition: objects produced, edited and exhibited together with their production system. Shelves, screenprints, flyers and posters produced in Vienna and Geneva, by Zobernig and the CEC, from a distance.
The three 50 x 70 cm screenprints, each with a print run of 10, are also available as flyers (200 copies of one of the screenprints on a white background, paper size: A4) and three posters (three copies, in F4 format). Each of these large posters is printed in black, breaking down and recomposing the different elements: one poster with only the horizontal lines, another with only the words, and the third with the lines and the words.
Heimo Zobernig was born in Mauthen in 1958. He lives and works in Vienna. Some of his most recent exhibitions include: Heimo Zobernig & László Moholy-Nagy, Galerie Nagel Draxler Crypto Kiosk, Berlin (2024); Heimo Zobernig, Galerija Manuš, Split (2024); Richard Hoeck/Heimo Zobernig, 1997/2013, Meliksetian Briggs gallery, Los Angeles (2024); Heimo Zobernig, Meyer Kainer Gallery, Vienna, (2024); Heimo Zobernig, Galerie Chantal Crousel, Paris (2023); Heimo Zobernig. Der Bildhauer als Zeichner, Kunstraum St. Virgil, Salzburg (2023); Das Grafische Werk, Museum der Moderne, Salzburg (2022); Heimo Zobernig. tHIs oLD nEw, Galerie Bärbel Grässlin, Frankfurt (2022); Enjoy, MUMOK, Vienna (2021); Heimo Zobernig. Spirit Fuck Painting, MARe, Bucharest (2022).
His work has also featured in various group exhibitions, including ECCENTRIC. Aesthetics of Freedom, Pinakothek der Moderne, Munich (2024); Kiesler Today.Work dialogues with contemporaries, Kunsthaus Zug, Zug (2024); Bernard Frize, Matt Mullican, Niele Toroni, Heimo Zobernig, Galerie Micheline Szwajcer, Antwerp (2024); From the Collection: Together – Collaborative Art Practices, S.M.A.K., Ghent (2024); Dan Graham. Optics and Humor, Galerie Meyer Kainer, Vienna (2024); Galerie Christine Mayer, Munich (2024); Soliloquies, Petzel Gallery, New York (2024); Blank.Raw. Illegible. Artists’ Books as Statement (1960-2022), Leopold-Hoesch-Museum, Düren (2023) ; HERE AND NOW II. Vienna Sculpture 2023, Neuer Kunstverein Wien, Vienna (2023); Out of the Box, Schaulager, Basel (2023); Alvin Baltrop, Wade Guyton, Heimo Zobernig, Galerie Francesca Pia, Zurich (2022); Avant-garde and Contemporary Art, Belvedere Museum Vienna, Belvedere 21, Vienna (2022); The Drawing Centre Show, Consortium Museum, Dijon (2022).
Mini VOLUMES 2024 – Summer Edition
Saturday, June 8, 2024, from 12 to 8 pm
During Zurich Art Weekend
Ramp of Löwenbräukunst
Limmatstrasse 268
8005 Zurich
volumeszurich.ch
The CEC is at mini VOLUMES 2024 – Summer Edition
With the editions, artist’s books and multiples of Marie Angeletti, John Armleder, Artists’ Voices, Paul Bernard, Laurence Bonvin, Harry Burke, Yann Chateigné Tytelman, Liz Craft, Guillaume Dénervaud, Anne Dressen/Nick Mauss, Giulia Essyad, Mathis Gasser, David Hominal, Dorothy Iannone, Victor Man, Paul Paillet, Caroline Schattling Villeval, Susan Te Kahurangi King, Paul Viaccoz
John Armleder
Lézards Sauvages III &
Lézards Sauvages IV
Lézards Sauvages III, (1979) 2024, and,
Lézards Sauvages IV, (1979) 2024, ed. of the CEC, 2024 © Sandra Pointet
John Armleder, Lézards Sauvages III (1979) 2024, six leporellos, offset print on 6 colored sheets, yellow and pink, 42 x 20 cm, from the edition, Lézards Sauvages IIa/ « égouttés », edited by Galerie Marika Malacorda, Geneva, in 1979, from the artist’s archives. The six leporellos, without having been previously used, folded and signed, have been mounted on a 300gsm sheet, 85 x 65 cm, on which the “Splash” motif has been screen-printed in one color (gold). This edition of the CEC, Lézards Sauvages III, (1979) 2024, consist of 20 copies, 3 A.E. and 2 H.C., uniques, titled, numbered, dated and signed. Edition of the Centre d’édition contemporaine, Geneva, 2024.
Framed exhibition copy (gold frame)
CHF 3’000.- (per silkscreen)
John Armleder, Lézards Sauvages IV (1979) 2024, six leporellos, offset print on 6 colored sheets, yellow and pink, 42 x 20 cm, from the edition, Lézards Sauvages IIa/ « égouttés », edited by Galerie Marika Malacorda, Geneva, in 1979, from the artist’s archives. The six leporellos, without having been previously used, folded and signed, have been mounted on a 300gsm sheet, 85 x 65 cm, on which the “Splash” motif has been screen-printed in one color (silver). This edition of the CEC, Lézards Sauvages IV, (1979) 2024, consist of 20 copies, 3 A.E. and 2 H.C., uniques, titled, numbered, dated and signed. Edition of the Centre d’édition contemporaine, Geneva, 2024.
Framed exhibition copy (silver frame)
CHF 3’000.- (per silkscreen)
Caroline Schattling Villeval
When a frog meets a dog
Caroline Schattling Villeval, When a frog meets a dog, animation video, loop, 5′, 2024
At the bottom of an almost dry lake, frogs are gathered around a puddle. Their movements, slowed down and almost imperceptible, bring life to this deserted landscape. A dog appears. Imposing, his body extends beyond the frame. His walk sets off a panoramic, moving shot.
Thus begins Caroline Schattling Villeval’s video When a frog meets a dog, produced for her exhibition Carences et toute-puissance1. This new piece functions as a continuation of her installation good boy (Hasch, Marseille, 2023) which revolved around the fictional text Vie/Chienne, that explores the question of domination arising from a non-consensual interaction between a person and a dog with a wandering tongue2. Once again, the animal is one of the main protagonists of Caroline Schattling Villeval’s video When a frog meets a dog, this time alongside a group of frogs.
With his massive, slender body and golden fur, the dog, animated by Caroline Schattling Villeval, moves forward in a menacing manner. He appears to be indifferent to everything, including the amphibians which have come together to stop his march. Piled up in the shape of a column, they form a mass in front of this manifestation of almighty power. The counter-power embodied in the group’s strength is swept away, pushed aside by a paw. It’s not strong enough. A crushing failure even: it’s raining frogs. They splash into the exhibition space, contaminating the room. The almighty power triumphs over the collective strength. End of the story. However, in Caroline Schattling Villeval’s work, the power dynamics also manifest themselves in an underlying manner through the technical process. A dog, frogs, a 3D-modelled bestiary bought online like one would adopt a pet: an act of domination. Then comes the computer, far from functioning autonomously as the artist manipulates her virtual puppets through an animation software. Finally, the dog, never fully visible, dominates the frogs as well as the space. The dog, the first animal species domesticated by Man – its « best friend » –, that Caroline Schattling Villeval has trained to perform its own dance. The image is replayed in a loop, but who’s calling the shots? When a frog meets a dog is a canvas onto which power dynamics are superimposed in infinite layers.
1. In parallel with her exhibition at the Centre d’édition contemporaine, Caroline Schattling Villeval presents StéréoMimicryat the Salle Crosnier, Palais de l’Athénée, from January 12 to February 10, 2024.
2. Vie/Chienne was written by Caroline Schattling Villeval in 2023 for [SWISS] Weird & Magic #1, forthcoming publication by éditions Clinamen.
Born in 1995 in Zürich, Caroline Schattling Villeval lives and works in Geneva. Her work has been exhibited in various venues in Switzerland and abroad in solo shows such as : StéréoMimicry, Salle Crosnier, Geneva (12.01–10.02.2024) ; good boy, Hasch, Marseille (2023) ; No firing, with Paul Paillet, Espace 3353, Carouge (2021) ; Chiara Chiara Chiara, Zabriskie Point, Geneva (2020) ; Being fucked, Lokal-int, Biel (2020). She has also taken part in several group exhibitions, including: Basel Social Club with Joyfully waiting, Basel (2023) ; MINIMIRACLES, Sonnenstube, Lugano (2023) ; Bourses déliées – Arts Visuels, Halle Nord, Geneva (2022); Prix Kiefer Hablitzel, Art Basel, Basel (2022) Esprit d’Escalier, with Paul Paillet, Centre d’édition contemporaine, Geneva (2022) ; Plaisirs Minuit, Forde as part of the Fesse-tival, Geneva (2022) ; Peeping through the looking glass, Set Space, London (2021) ; Fotoromanza, Le Commun, Geneva (2021) ; Silicon Malley, Prilly (2020) ; Weaving home, Limbo Space, Geneva (2020).
This project is sponsored by the Federal Office of Culture and the Republic and the Canton of Geneva.
VOLUMES – Art Publishing Days 2023
Saturday, November 18, 2023, from 12 to 8 pm
Sunday, November 19, 2023, from 12 to 7pm
Zentralwäscherei
Neue Hard 12
8005 Zurich
volumeszurich.ch
The CEC is at VOLUMES – Art Publishing Days 2023.
With publications and editions of Marie Angeletti, Artists’ Voices, Paul Bernard, Laurence Bonvin, Harry Burke, Yann Chateigné Tytelman, Liz Craft, Keren Cytter, Guillaume Dénervaud, Anne Dressen/Nick Mauss, Giulia Essyad, Mathis Gasser, David Hominal, Dorothy Iannone, Matthew Lutz-Kinoy, Victor Man, Paul Paillet, Mai-Thu Perret, Susan Te Kahurangi King, Paul Viaccoz
Gina Folly
Gina Folly,
You are not for everyone, ed. of the CEC, 2023 © Sandra Pointet
Gina Folly,
Human nature is no excuse, ed. of the CEC, 2023 © Sandra Pointet
Gina Folly,
Emotions come and go, ed. of the CEC, 2023 © Sandra Pointet
Gina Folly,
Don’t underestimate the power of staying in bed, ed. of the CEC, 2023 © Sandra Pointet
Gina Folly,
Dreams are the raw material of reality, ed. of the CEC, 2023 © Sandra Pointet
Gina Folly,
You don’t know how powerful you are, ed. of the CEC, 2023 © Sandra Pointet
Gina Folly,
Love is a Time Machine, ed. of the CEC, 2023 © Sandra Pointet
Don’t look at your phone first thing in the morning, box, varnished cardboard, seven stabilized grey roses, title in sticker from on the floor, 34 x 31 x 9 cm, edition of the CEC, 2023
Sold out
You are not for everyone, box, varnished cardboard, four stabilized pink tuberoses, title in sticker from on the floor, 30 x 12,5 x 15 cm, edition of the CEC, 2023
CHF 800.-
Prepare the new normal, box, varnished cardboard, twenty stabilized grey roses, title in sticker from on the floor, 20 x 23 x 24 cm, edition of the CEC, 2023
Sold out
Human nature is no excuse, box, varnished cardboard, one stabilized burgundy rose, title in sticker from on the floor, 26,5 x 22,5 x 22,5 cm, edition of the CEC, 2023
CHF 800.-
Emotions come and go, box, varnished cardboard, four swiveling wheels, two stabilized white gerberas, title in sticker from on the floor, 44 x 30 x 30 cm, edition of the CEC, 2023
CHF 1’200.-
Don’t underestimate the power of staying in bed, box, varnished cardboard, one stabilized grey rose, title in sticker from on the floor, 37, 5 x 25, 5 x 24 cm, edition of the CEC, 2023
CHF 1’000.-
Dreams are the raw material of reality, three boxes, varnished cardboard, four stabilized orange zinnias, title in sticker from on the floor, 35,5 x 31 x 17,5 cm, edition of the CEC, 2023
CHF 1’000.-
You don’t know how powerful you are, plank, varnished cardboard, three stabilized grey roses, title in sticker from on the floor, 60 x 37 x 5 cm, edition of the CEC, 2023
CHF 1’200.-
Love is a Time Machine, two boxes, varnished cardboard, eight stabilized pink tuberoses, title in sticker from on the floor, 45 x 39 x 28, 5 cm, edition of the CEC, 2023
CHF 1’200.-
RM
SOLO TÚ
From 12th May to 16th September 2023
Vernissage/Nuit des Bains, Thursday 11th May 2023, 6 pm – 9 pm
Guided tours of RM’s exhibition and presentation of recent editions and publications
Thursday 14th September 2023, 6:30 pm (Nuit des Bains)
Saturday 16th September 2023, 2 pm (Geneva Art Week)
SOLO TÚ, CEC, 2023 © Sandra Pointet
SOLO TÚ, CEC, 2023 © Sandra Pointet
SOLO TÚ, CEC, 2023 © Sandra Pointet
The Art Spiel vs. the Real Madrid Deal
Biennale di Veneziá vs. Karim Benzema
Invited by Véronique Bacchetta vs. Federico Santiago Valverde Dipetta
Other People’s Clothes vs. Rodrygo Goes
Étudiants aux Beaux Arts vs. Eden Hazard
Uber Triennale Curatior vs. Vinicius Paixao de Oliveira Junior
Crits’n’Reviews vs. Toni Kroos
Caravaggio’s Chiaroscuro vs. Jesus Vallejo Lazaro
Your Artist Fee vs. Aurélien Tchouaméni
Mille Plateaux vs. Eder Gabriel Militão
RM’s Instagram Erotic vs. Luka Modric
Artistas Unidos Vámonos vs. Daniel Carvajal Ramos
Until the End, Come on Real.
A Play (Off) by Miriam Laura Leonardi, April 2023
SOLO TÚ
RM at CEC 2023
Until last summer we used to go by a name written Real Madrid, pronounced either rɪəl məˈdrɪd, or ře’al ma’ðrid. After legal threats by a namesake company we had to disown that moniker and disclose being unpatented knockoffs. It was a matter of ticking time, of who trademarked facts first and once – for the moment we use the shortened RM but pronunciation stays unaltered.
We want this show to be an unbaptism, a debut against copyrighted one-off geniuses, an and to a story, a stack of counterfeit merch and a spoonful of the shared minestrone of ideas, and also another unoriginal show about identity.
The b/w images you see have been taken by Mathilde Agius.
RM
The RM’s exhibition is supported by Ernst und Olga Gubler-Hablützel Foundation, Dr. Georg und Josi Guggenheim Foundation and the City of Geneva.
Jonathan Monk
Soft Boiled Eggs
Jonathan Monk, Soft Boiled Eggs, Soft Boiled Egg 1/10 + Soft Boiled Eggs 9/10 + Soft Boiled Eggs 2/10 + Soft Boiled Eggs 8/10 + Soft Boiled Eggs 3/10 + Soft Boiled Eggs 7/10 + Soft Boiled Eggs 4/10 + Soft Boiled Egsg 6/10 + Soft Boiled Eggs 5/10 + Soft Boiled Eggs 10/10, DVD transfer from the original edition (2013), 3h 59′ 13”, loop, mute, 2023
Jonathan Monk proceeds by method, by series. He creates scores that, once established, are carried through, this second part not being necessarily the most important step. These scores might be considered as a broader form of editing and some of its parameters: image reproduction rights, copyright, artistic property. Jonathan Monk is the perfect candidate for edition, because for him original and copy most importantly represent endless and free possibilities of crossings, of clouding issues and of conceptualization, all this above their commercial value. Monk revisits some artistic standards often in the form of multiples, like an actor who would re-enact his classics, practice his scales.
He maintains an ironic distance to art – most often to conceptual art – but also takes a similar amused and critical look at society and its excesses. Monk stages and experiences the proliferation of signs, might they be artistic or consumerist, as a daily invasion of our living and mental space. He recomposes and reorganizes these signs in order to reveal all their absurdity with a discrepancy that is more often affective and autobiographical than it seems.
For his solo show, Egg, at the CEC, from February 21 to April 27, 2013, Jonathan Monk has imagined Soft Boiled Eggs, an edition of a series of unique Super 8 films. The making of these films is based on the duration of a Super 8 film cartridge and on the time, it takes to cook an egg. An edition with copies produced every two and a half minutes, a mechanical possibility of making an edition. In a same pan, Monk adds an egg every two and a half minutes: in the first film, we see only one egg, in the second two eggs, etc., until ten eggs in the tenth film. If this statement might seem simple and old-fashioned, it probably suggests an innocent imitation of historical and more conceptual eggs or series of eggs; we think of Manzoni, Broodthaers, Kippenberger… and also underlines the idea of egg as an object, the perfect multiple. For Jonathan Monk, the idea appears unavoidable: …”I like boiled eggs and I couldn’t escape from them! – for me they represented the beginning of something… in this case the egg and not the chicken…”
The finalised edition consists of a Super 8 film roll, one DVD transfer and a certificate of authenticity signed by the artist. It is housed in a black box, carefully hand painted with ten coloured eggs. An Easter edition, if you like.
Johnathan Monk, Soft Boiled Eggs, Soft Boiled Egg 1/10 + Soft Boiled Eggs 9/10 + Soft Boiled Eggs 2/10 + Soft Boiled Eggs 8/10 + Soft Boiled Eggs 3/10 + Soft Boiled Eggs 7/10 + Soft Boiled Eggs 4/10 + Soft Boiled Egsg 6/10 + Soft Boiled Eggs 5/10 + Soft Boiled Eggs 10/10, 10 unique films, Super 8 and DVD, colours, duration of the films = cooking time of one egg (approx. 2 min. 45), of 2 eggs, of 3, 4, 5, 6, 7, 8, 9, 10 eggs, colors, 2023
Johnathan Monk
Soft Boiled Eggs
Soft Boiled Egg 1/10, …, Soft Boiled Eggs 10/10, 10 unique films, Super 8 and DVD, colours, duration of the films = cooking time of one egg (approx. 2 min. 45), of 2 eggs, of 3, 4, 5, 6, 7, 8, 9, 10 eggs, black cardboard box with a hand – painted pattern by Jonathan Monk on its cover, spray, colours, containing the Super 8 film and a DVD – transfer, as well as a certificate of authenticity signed by the artist, edition of 10, numbered from 1 to 10, dated, edition of the Centre d’édition contemporaine, Geneva, 2013.
Jonathan Monk was born in Leicester in 1969 and lives and works in Berlin. His most recent solo exhibitions were held in 2023 at Cristina Guerra, Lisbon, Galerie Dvir, Paris, König2 project space, Vienna; in 2022 at Casey Kaplan Gallery, New York, Massimo de Carlo, Paris, and Meyer Riegger, Karlsruhe. In 2023, he took part in several group shows, including Galerie Nicolai Wallner, Copenhagen, Mudac, Lausanne, Fondation Morra Greco, Naples; in 2022, Collection Boros, Berlin, MAH, Geneva, Design Museum Holon, Israel, and MAAT, Lisbon.
This project is sponsored by the Federal Office of Culture and the Republic and the Canton of Geneva.
artgenève 2023
Editions and Before publications
From January 26th to January 29th, 2023
Preview, January 25th, 2023
Booth A43, hall 2, Palexpo, Geneva
The CEC at artgenève 2023
Recent « Before publications » of Paul Bernard and Giulia Essyad
With Marie Angeletti, Paul Bernard, Laurence Bonvin, Harry Burke, Liz Craft, Guillaume Dénervaud, Anne Dressen/Nick Mauss, Giulia Essyad, David Hominal, Dorothy Iannone, Matthew Lutz-Kinoy, Paul Paillet, Mai-Thu Perret, Susan Te Kahurangi King, Paul Viaccoz, Niels Wehrspann
Liz Craft
Ms America XS
Ms America XS, ed. of the CEC, 2022 © Sandra Pointet
Ms America XS, ed. of the CEC, 2022 © Sandra Pointet
8 unique small-sized puppets, mixed media, polychrome porcelain heads, ca. 7 x 6 cm, colored dresses with different patterns, metal stands, ca. 30 x 19 cm, dated and signed on the dress, edition of the CEC, 2022
CHF 800.-
Printed Matter’s Virtual Art Book Fair 2021
Monica Bonvicini, Harry Burke, Guillaume Dénervaud, Anne Dressen/Nick Mauss, Liz Craft, Keren Cytter, Mathis Gasser, Katie Holten, Dorothy Iannone, Jakob Kolding, Mads Ranch Kornum, Matthew Lutz-Kinoy, Victor Man, Paul Paillet, Josef Strau, Susan Te Kahurangi King, Oscar Tuazon, Jeffrey Vallance, Jean-Michel Wicker and Artists’ Voices
Opening Wednesday February 24, 2021
from February 25 till February 28, 2021
3 PM – 6 PM (CET)
pmvabf.org
Valentin Carron, Marc Camille Chaimowicz, François Curlet…
Valentin Carron, Marc Camille Chaimowicz, François Curlet, Keren Cytter, Philippe Decrauzat, Jason Dodge, Trisha Donnelly, Sylvie Fleury, Mathis Gasser, Thomas Hirschhorn, David Hominal, Aaron Flint Jamison, Raphaël Julliard, Tobias Kaspar, Jakob Kolding, Elke Krystufek, M/M (Paris), Jonathan Monk, Oscar Tuazon, Jeffrey Vallance, Oriol Vilanova, Jean-Michel Wicker, Heimo Zobernig
From March 23 till May 5, 2018
Opening Thursday March 22 from 6 PM to 9 PM
