Haunted by woman figures having voluntarily ended their artistic career in the early 70’, and fascinated by their radicality, a young artist asks herself how to carry on with her artistic practice without betraying her idols. Over the course of one evening, during which she attends a series of openings, the story follows her attempt to find her position among a fantasized art world, caught between a paradoxical reality and thwarted ambitions.

novel in French, 11 x 16.5, offset, paper back, 16CHF

At the intersection between theatre, fashion design and poetry, Concours de larmes is a powerful text, both prophetic and unsettling. Based on the play of the same name presented at the TU – Théâtre de l’Usine in 2022, it is presented in the form of set of divinatory cards, each character referring to a specific part of the text. The reading can be performed individually as well as collectively and in a participatory manner.

French edition, case containing the text and 32 cards, 10 x 16, offset, 25 CHF

Daring Shifts is a collection of five short stories of speculative fiction between which links are woven despite the specific contexts of each author. The five stories were commissioned in an intuitive and subjective manner that bears witness to shared contemporary sensibilities and looks at the realities of multiple lives. They are stories that deploy an unlimited imagination, published here for the first time in both their original and translated versions, accompanied by illustrations.

Edited by Alicia Reymond & Lucas Cantori

Illustrations by: Yann Stéphane Biscaut, Maria Fernanda Ordoñez, Flora Mottini, Isabelle Racine, Gaia Vincensini

Translations by: Robin Myers, Julie Sas, Christine Gutman, Fatima Wegmann Guinassi, Alicia Reymond, Lucas Cantori

English and Franch edition + one sotry in Spanish, 16.3 x 21 cm, offset, paperback, 352 pages, 22CHF

everything happens very quickly. on the surface, there are humans, despair. in the depths, a multiplicity: births, ancestors, stories, emotions, wishes, desires… words are ostensibly fading, melodies are rising, from all directions, vibrations intermingle. laughter is a character, a space for radical listening. humans are falling apart, ROEs are blown away. the wind is a revolution.
appearing in the storm, the ehiiaya and the underwater entities face oppression and refuse reclusion.

in order to ally with the ehiiaya and the underwater entities, it is essential to disrupt identities and challenge languages and readings. it is a matter of multiplying interpretations, possibilities and futures to avoid hostilities. it is a matter of embracing the fact that differences in relation to others follow a lack of mutual understanding as we are confronted with unsuspected languages. the unknown is not inevitably adverse.

each language unfolds a parallel and complementary story in relation to other languages. languages aren’t a mere means of communication, they are also gestures, relationships to the world, sea streams that never mingle despite being in contact. languages do not belong to either the academy nor legislature, but to any entity who tempts to extract from them thoughts and desires. and as any language or any entity, a life story is neither simple nor singular. It hybridizes with and transfers to other lives, other entities, ancestors, memories, blood, fragments of bodies…

here, to love is conjugated only in the plural.

edition in french, english, arabic and hiiwaa, 9.8 x 14.5, + poster, color offset, sewn binding, 104 pages, 13CHF

audiobook: here

Gervasia Broxon is the second title in the collection “Entretiens pour un film” directed by Camille Dumond. It is based on the film Scuola Senza Fine by Adriana Monti, which bears witness to the experience of a group of Italian women in the 1970s who, at the age of 40, 50 or 60, returned to school. For 150 hours, in the company of feminist teachers, they learn writing, history and philosophy, but above all, they learn to think about their learning and the emancipation it brings them. They will learn to think about themselves in the world around them. Based on the subjects of the film, Camille Dumond and Camilla Paolino invited four authors to articulate a thought process around the issues of inter-generational sisterhood, autonomous and supportive learning, and Italian community feminism of the 1970s. Starting from this historical object, they developed a series of reflections on major contemporary issues in the framework of feminism, individual and collective emancipation and self-organization.

Trilingual edition IT/FR/EN, 11 x 16.5 cm, offset printing, paperback, 283 pages, 15CHF

This publication was born amid the chaos engendered by Covid-19, during the shutdown of art spaces and of just about everything else. For the curatorial duo Roxane Bovet and Yoan Mudry, it is the last expression, for lack of an exhibition, of their mandate at Forde.

The artists presented in this book have diverse practices, although sometimes common interests run through these: several of them share a taste for complex narrative structures; through the words borrowing, copy, stealing, or fan art, in several places we come across the notion of appropriation; there’s the idea of the whole that is greater than the sum of its parts, the exhibition as medium or as ecosystem; the practice of collage, of assemblage, discrepant montages and non-linear associations. But that which most definitely links all these artists together is also that which is the least obvious, and not so readily accessible. It’s not about a subject, nor about any aesthetic characteristic, but rather a capacity to not take the world at face value, to not see reality as definite and inevitable. In a society that does not hold together, they shake things up or draw our attention to what appears to be natural and/or normal: the forms, colours, structures, and tone taken on by the myths that fill our everyday life. In response, they tell parallel, infectious stories, their objects and their spaces are desires and ideas made tangible—pockets of fresh air which today must be preserved from words like salary, efficiency, rational.
This book contains interviews we held with nine artists. There could also have been 50.

With interviews of: Basile Dinbergs, Bastien Gachet, Florence Jung, Miriam Laura Leonardi, Thomas Moor, Diane Rivoire, Aymeric Tarrade, Puck Verkade, Shirin Yousefi.

Bilingual FR/EN, 12 x 17 cm, offset print, section sewn binding, 190 pages, 20CHF

Sans Grace is an ongoing encounter woven by the unique wording of Grace Seri, a book on the edge of writing and speaking. These texts, written while undergoing logorrheic exercises with Kayije Kagame and Grace Seri, initiate a writing method without graphemes, by which the unconscious speaks and the body writes. Once transcribed, the texts led to the diptych Sans Grace / Avec Grace, staged by Kayije Kagame, that explores twinship, the multiple identities of characters in search of meaning, apprehending their own desires, and the alternate absence of both actresses, on stage as well as in their daily life.

 
Bilingual FR/EN, 11 x 16 cm, laser print, section sewn binding, 64 pages, 15CHF

Artists’ books, which once allowed artists to avoid meddlesome institutions and galleries in producing and distributing artistic work, today have a paradoxical existence. On the one hand, there are the extremely rare founding books, termed “first edition” or “original”, and, on the other hand, there are “facsimile” editions, which entered the artist’s book realm to counteract the scarcity of the originals by offering re-enactments and reinterpretations of famous titles. This essay underlines a curiosity for practices of appropriation by artists and publishers, and aims to expose methods and discourses in the production of facsimile artists’ books.

Bilingual FR/EN, 14 x 20 cm, offset print, section sewn binding, 224 pages, 22CHF

Art & vinyl: an analytic anthology of artist’s records in Switzerland.

Since the beginning of its existence, the record has always been used by visual artists as a form of distribution for their sound practice. First experimented with by the early avant-garde movements, the role of these sound supports was later redefined in the context of the proliferation and hybridization of forms between sound and language.
While recording media such as discs or cassettes were used to document happenings, readings, and Fluxus concerts, these media also became a medium in their own right, used by artists to transmit their experiments. Moreover, the current economic and technological context generated a keen interest in editorial and multiple art practices.
A-sides brings into focus on a network of actors linked to the scene of the Lake Geneva region—on the history of artistic encounters and exchanges generating sound productions. The produced works, as well as the methods of exploration of this international network, formed the basis of this anthology of artists’ sound publications.
A-sides gives an insight into the conditions and motivations that give rise to the creation of sound recordings as an art form and explores the ambiguity of the relationship between the current technological context, which is moving towards dematerialization, and the persistence of sound practices distributed on tangible recording media.

Contributions by: Camilla Paolino, Francis Baudevin, Laurence Wagner, Laurent Schmid, Roxane Bovet, Jonathan Frigeri, Christophe Kihm, Luca Frei, Anne Le Troter, John Armleder, Karl Holmqvist, Charlemagne Palestine, Maurizio Nannucci, Mathieu Copeland, N.U. Unruh, Franz Treichler, FM Einheit, Hannah Weinberger, Daniel Löwenbrück, Jan van Toorn, Ben Schot, Volker Zander, Bruno Sphere, Tzii, Christophe Piette, Benjamin Novello (Blanktapes), d’incise, Frédéric Post, Francesco Cavaliere, Aymeric de Topol, Lieven Martens, Sixto Fernando, Zamzamrec, Ergo Phizmiz, Feldermelder, Joke Lanz.

 
English, 15 x 20 cm, section sewn binding, 224 pages, 25CHF

Each issue of the series «Entretiens pour un film» focuses on a moving image artist or filmmaker, specifically the place he or she has chosen to escape a particular world.

This first issue covers Derek Jarman’s home in Dungeness, UK. In 2014, a visit to Prospect Cottage, a house on the Kent coast, triggers questions around this healing space which is also a film set. Thoughts develop about starting over; Links are slowly drawn between a garden and the movements of a film camera; attempts to unveil issues around escaping the public sphere & finding intimacy.

Bilingual FR/EN, 12 x 18 cm, laser print, section sewn binding, 88 pages, 15CHF

Margaret is well known for having written the proto-science fiction novel The Blazing World, in which she imagines one of the first—if not the first—physically reachable extraterrestrial world (through the North Pole). However, she extensively wrote on nature, science and philosophy, a body of work lesser known and left untranslated.

If we sometimes need to get over the convoluted argumentations of her writings, the selected short texts are sufficient to seize a significant part of Margaret’s thinking and sensitivity.

Chosen among Observations upon Experimental Philosophy, these four texts, digging into her perception of the sky and its constituents, disclose her anti-Aristotelian standpoint. Moreover, her sensitivity, which has its similarities with a kind of materialism, actualizes an acute and thoughtful inclusion of humanity among other species—and the species of the world among humanity—, as she never forgets to mention other animals and creatures when speaking of humans in her repeated and warming phrasing “Man, and such other Creatures”. But her concerns and generosity surpass a special attention for the living, and embrace the elements and bodies of the world, collectively evolving among the sparkling “self-moving” nature she envisions. And through her writing, science and philosophy cohabit with intimacy and intuition.

“Mimic Octopus” is a collection dedicated to the republication of seminal texts that are no longer published, impossible to find or never translated into French.

 
Bilingual FR/EN, 13 x 19 cm, laser print, section sewn binding, 74 pages, 13CHF

Lauren Huret works closely on systems of beliefs linked to machines. For her, nothing is clear in this world: there is the mystery of growth, the unintelligibility of communication mediums, the cult of information, the secret of dynamic flows.

As for him, Pacôme Thiellement writes essays that he considers as popular culture hermeneutics. He works on topics as varied as David Lynch, Frank Zappa et mysticism. For him, popular productions like Buffy the Vampire Slayer or Twin Peaks are perfect points of entry to analyse the tendencies at play in our occidental societies.

For this common project, the authors investigate the different types of domination citizens have been submitted to since medieval times, in order to articulate a reflection on what they call « the age of technicians », which would be the next form of alienation to come.

The book comprises collages by artist Lauren Huret and a bilingual essay (FR/EN) by Pacôme Thiellement.

Bilingual FR/EN, 31×14,4 cm, laser print, stapled booklet, 56 pages, 20CHF

Occidental logic – drawing on Pascal’s lessons more than those of Heraclitus – has constructed for us a fundamentally linear and dissociative reality. Up is the opposite of down, and right or left has nothing to do with this relation. The line is Simplification, Classification, Dissociation and Separation. This dissociative logic, as much as it used to be representative of a time past, no longer roots in reality, be it natural, human or virtual reality. The line, which we thought existed, transforms in a series of infinite and intertwined loops.

The idea of this book emerged while having a beer at Yoan Mudry’s studio space. This three part publication holds the intervention of paleolithic chickens, the series Westworld, cryogenics, N. Katherine Hayles and Edgar Morin, in order to offer in a literary space the questions at stake in the work of Lausanne-based artist Yoan Mudry.

French, 11×17 cm, laser print, softcover, 58 pages + 1 poster, 10CHF

Hwabyeong is a hypothesis. Under the disguise of a short story, a timeline unfolds seeking its way between reality and fiction, between repressed memory and exalted fantasies.

Hwabyeong is a fire line, a cold anger – at the same time collective and individual – weaving through the twists and turns of another world (a world across, a world beyond) in the grip of chaos.

With the participation of Yvan Alvarez, Luca Beeler, Nicolas Brulhart, Timothée Calame, Éléonore Chalié, Marie Matusz, Léo Bachiri Wadimoff and an anonymous.

 
French, 13×20 cm, offset print, section sewn binding, 178 pages, 20CHF

By combining the tools, experiments and ethics of early conceptual artists with those of the new knowledge communities of the participatory web, Held Together With Water attempts to link parallel emergences in different eras.

HTWW is a fragmented exhibition that, rather than illustrating virtual reality through the borrowing of its aesthetic codes, presents artists whose strategies embody new possibilities, positions or worldviews. A side step in the generational understanding of contemporary art production, the post-internet hashtag and its global interpretation.

This publication is not an exhibition catalog but an exhibition in a book. This printed groupshow includes pieces by the artists Art & Language, Gilles Furtwängler, Sébastien Mennet and Lawrence Weiner, several anonymous artists as well as an essay on art in the post-internet era by Roxane Bovet.

Bilingual FR/EN, 10cm x 18cm, stapled booklet, 18 pages + 9 inserts + 1 leeflet
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Semiospace; the polysemic concept proliferates, progresses by folding and unfolding, according to a model in permanent expansion. It serves as a working methodology and as an installation in motion. Its generative dynamics reveals little by little its ambition of theory of the whole and lets itself be carried in the chaos of the cosmos. Is it a matter of reading the signs of the universe to better organize them into fictitious models and alternative realities? Or to propose architectures of the discursive space to travel always further in the depths of the thought?

Like a monograph of another kind, the semiospace also allows to present the work of the artist Raphaële Bidault-Waddington by proposing a panorama of its three laboratories of creations; Laboratory of engineering of ideas, Small industry of the sensory image, Poetic Refinery.

 
Bilingual FR/EN, 11.5cm x 18.5cm, offset print (?), section sewn binding, 68 pages + 1 poster, 23CHF

The first publication in the collection is “Temps à devenir, à propos de l’histoire du temps,” by Ilya Prigogine. The text is from a conference given at the Musée de la Civilisation in Quebec in 1993, in which the scientist proposes a concept of time that is not a mere variable for measurement, but rather a true dimension of existence whose greatest property would be its irreversibility. For if it does not allow us to correct our errors, it is the most powerful motor by which the universe is capable of developing complex systems, including all the diversity of life. Time is the space in which life and the universe continuously invent the new. Prigogine, a philosopher and winner of the Nobel Prize in Chemistry, investigated these complex systems which serve as the points of departure in his thought.

Mimic Octopus is a collection dedicated to the republication of seminal texts that are no longer published, impossible to find or never translated into French.

 
French, 14.7cm x 18.5cm, laser print, soft cover, 50 pages, 12CHF

Friendship is the second publication in the Mimic Octopus collection. Translated from the original German by Nicola Demarchi and Jeremy Ergas, this young adult novel by Franz Kafka was unearthed in Prague and, according to specialists, played a major role in Kafka’s work. It not only presents the premises of the author’s unfinished novels – The Castle, Amerika, and The Trial – but also forms a conclusion for each of them. Karl Rossmann, Josef K. and K.: could they be three different faces of a single man? Through its construction and by the questions it raises, Friendship undeniably offers new terrain to text interpreters.

“Mimic Octopus” is a collection dedicated to the republication of seminal texts that are no longer published, impossible to find or never translated into French.

 
French, 12cm x 18cm, laser print, soft cover, 70 pages, 15CHF
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Cards Against Humanity is a “card game for horrible people”, says its creators. Launched in Los Angeles, each country is invited to create its own. This is what Clinamen proposed to the public during an evening of the SKOOB publishing meeting.

 
The game is available in PDF under the creative commons license BY-NC-SA.

The Screamscape took place at the Fribourg’s Kunsthalle, Fri Art, in juin 2015 with the aim to create a huge panorama of the scream. This publication is a testimony of the event of this week but also of the project’s conceptual dynamic.

With: Thibault Walter, Nora Schultz, Angela Marzullo, Ilaria Picchetti, Michael Gendreau, Francesco Gregorio, Nicolas Brulhard, Antoine Läng & Thomas Perrodin, Lucas Cantori, Fabian Marti, Allen S. Weiss, Dave Phillips, Angela Marzulo, Jason Kahn, Vanessa Gageos, Léo Collin, Infolipo, Cassandre Poirier-Simon, Jérôme Berbier, Lou Masduraud, Roxane Bovet, Antoine Läng, Gabrielle Schaad, Boris Denler, Jen Morris, Marc Décimo, Grand Choeur Noise, Ernest Churchill, Andrea Marioni, Antoine Chessex, Francisco Meirino, Camille Dumond, Alexandra Catana, Junko Hiroshige, Judith Huber et Silvia Isenschmid, Delphine Depres, Denise Bertschi, Camilla Paolino, Nicole Staremberg, Thierry Dagon, Antoine Bertin, Tamara de Wehr, UnPerfectRadio, Ramaya Tegegne, Klaus Zuberbühler, Alain Freudiger, Rolf Laureijs & Benjamin Pogonatos, Mathias Clivaz, Nicolas Geiser, Flavio Merlo et Ben Rosenthal, Antoine Chessex & Stéphane Montavon, Laure Marville, Johnson & Kingston.

 
French, 29cm x 38cm unfolded, newspaper, 44 pages, 12CHF

Outside of predefined fields, a singular reflection is created in the junctions. FloppyPoppyWidy MATTER attempts to follow these lines of thought. Through an interrogation of imminence and the multitude, combination or chance, the project provokes encounters, allowing for new conceptual links. The connections of ideas are not controlled, different each time, subjected to the singular imagination of the reader. A sort of revisited Zettelkasten that places the reader inside the writing process.

It’s also the creation of a panorama. Mixing authors, artists, philosophers, researchers and scientists – in a given format – to take stock of thought here and now. Attempting to show a reality, to make a collection of ideas that reveal the world. Over time, the contributions grow and the project grows. No subject, style or genre is imposed; the choice of these questions by the author is also revealing of our interests.

 
The entire collection is available on the FPWM.XYZ website

Supporting multiple made by Yoan Mudry for Clinamen Editions. The pieces were presented during the exhibition Plumbing (Nicolas Kruppy Gallery, Basel, 2015).

 
Cornflour, glue and vinegar
9 x 30 x 30 cm
Edition: 24 + 4

co-published by Activerat

In the circle where the center is everywhere and the periphery nowhere, there is bliss. bliss is a hybrid and endless publication project that positions itself at the border between the object and the virtual. Under the direction of Ceel Mogami de Haas, the collection consists of a series of cards with access to wallpapers (smartphones and computers) and downloadable sound pieces. The first edition of this collection is realized by the curator/artist himself. Then, it is according to a non-regular rhythm that he invites artists to participate in the collection.

bliss 7: Mathieu Arbez-Hermoso, on the occasion of the exhibition Chamanisme, enfermement et rock’n’roll,abc, Dijon

 
10.5 x 12 cm, a download card on its support, riso printing, 3CHF
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How does one reflect on alterity? The presumption is that, in itself, alterity does not exist. If it existed, it would not be as otherness, but as identity. The result is that, when actualized, alterity destroys itself in a historic catastrophy. Philippe Sergeant brings an answer; we will see that poetry and art play their role in this answer. Because, in Lucretius, letters, words, atoms are associated in infinite configurations. Not only that, but they also transform themselves, reject each other, and recombine. This is the correlate of poetry, and the poetics of the world and nature. And the potential arrangements are what constitutes alterity, the future of all things, even beyond death. This text is not an essay on the works of Lucretius. In our era of biometric passports, in a time which lacks poetry, the question of otherness is eminently topical—paradoxically, maybe. If the choice has been set on Lucretius, it is undoubtedly because his philosophy is above all else a poem.

 
French, 13.5 x 18.5 cm, laser print, softcover, 153 pages, 18CHF
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co-published by Activerat

In the circle where the center is everywhere and the periphery nowhere, there is bliss. bliss is a hybrid and endless publication project that positions itself at the border between the object and the virtual. Under the direction of Ceel Mogami de Haas, the collection consists of a series of cards with access to wallpapers (smartphones and computers) and downloadable sound pieces. The first edition of this collection is realized by the curator/artist himself. Then, it is according to a non-regular rhythm that he invites artists to participate in the collection.

bliss 6: Yeji Lee, on the occasion of the exhibition in the mouth of the beast, one gee in fog, Chêne-Bourg

 
10.5 x 12 cm, a download card on its support, riso printing, 3CHF
OUT OF STOCK

Co-published by Activerat

In the circle where the center is everywhere and the periphery nowhere, there is bliss. bliss is a hybrid and endless publication project that positions itself at the border between the object and the virtual. Under the direction of Ceel Mogami de Haas, the collection consists of a series of cards with access to wallpapers (smartphones and computers) and downloadable sound pieces. The first edition of this collection is realized by the curator/artist himself. Then, it is according to a non-regular rhythm that he invites artists to participate in the collection.

bliss 5: Seyoung Yoon, on the occasion of the exhibition in the mouth of the beast, one gee in fog, Chêne-Bourg

 
10.5 x 12 cm, a download card on its support, riso printing, 3CHF
OUT OF STOCK

Co-published by Activerat

In the circle where the center is everywhere and the periphery nowhere, there is bliss. bliss is a hybrid and endless publication project that positions itself at the border between the object and the virtual. Under the direction of Ceel Mogami de Haas, the collection consists of a series of cards with access to wallpapers (smartphones and computers) and downloadable sound pieces. The first edition of this collection is realized by the curator/artist himself. Then, it is according to a non-regular rhythm that he invites artists to participate in the collection.

bliss 4: Guillaume Dénervaud, on the occasion of the exhibition in the mouth of the beast, one gee in fog, Chêne-Bourg

 
10.5 x 12 cm, a download card on its support, riso printing, 3CHF
OUT OF STOCK

Co-published by Activerat

In the circle where the center is everywhere and the periphery nowhere, there is bliss. bliss is a hybrid and endless publication project that positions itself at the border between the object and the virtual. Under the direction of Ceel Mogami de Haas, the collection consists of a series of cards with access to wallpapers (smartphones and computers) and downloadable sound pieces. The first edition of this collection is realized by the curator/artist himself. Then, it is according to a non-regular rhythm that he invites artists to participate in the collection.

bliss 3: Elena Radice, à l’occasion de l’exposition in the mouth of the beast, one gee in fog, Chêne-Bourg

 
10.5 x 12 cm, a download card on its support, riso printing, 3CHF
OUT OF STOCK

Co-published by Activerat

In the circle where the center is everywhere and the periphery nowhere, there is bliss. bliss is a hybrid and endless publication project that positions itself at the border between the object and the virtual. Under the direction of Ceel Mogami de Haas, the collection consists of a series of cards with access to wallpapers (smartphones and computers) and downloadable sound pieces. The first edition of this collection is realized by the curator/artist himself. Then, it is according to a non-regular rhythm that he invites artists to participate in the collection.

bliss 2: Thomas Koenig & Guillaume Foldz, on the occasion of the exhibition in the mouth of the beast, one gee in fog, Chêne-Bourg

 
10.5 x 12 cm, a download card on its support, riso printing, 3CHF
OUT OF STOCK

Co-published by Activerat

In the circle where the center is everywhere and the periphery nowhere, there is dliss. dliss is a hybrid and endless publication project that positions itself at the border between the object and the virtual. Under the direction of Ceel Mogami de Haas, the collection consists of a series of cards with access to wallpapers (smartphones and computers) and downloadable sound pieces. The first edition of this collection is realized by the curator/artist himself. Then, it is according to a non-regular rhythm that he invites artists to participate in the collection.

bliss 1 : Ceel Mogami de Haas, on the occasion of the exhibition And the crack in the tea-cup opens a lane to the land of the dead, Piano Nobile, Geneva

 
10.5 x 12 cm, a download card on its support, riso printing, 3CHF

The journal Quarks und Bastards aims to create an interaction bewteen certain disciplines, to set up dialogs and a platform. The purpose of QuB, through art, philosophy and the science of nature, is to wander in the “regions of reality” of a world which we apparently all share. Using the tools of different disciplines and territories, we put into friction the focal points that these same territories and disciplines develop.

The first issue came out on the 26th of June, 2014 with the participation of Thomas Mueller, Philippe Sergeant, Elsa Cornu & Olivier Ilegems, Alexis Rosenbaum, Reouth Keren and Merouan Ammor

 
French, 20.5 x 26.7 cm, laser print, riveted booklet, 82 pages, 10CHF
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Economie Libidinale is a collection of texts produced for Yoan Mudry’s eponymous exhibition at Marbriers 4 in Geneva in 2013. To accompany this solo exhibition, Yoan Mudry invited a series of young artists, curators and other Swiss cultural actors to produce a series of short texts. While the exhibition is still in preparation and nobody knows what it will be about, the authors are invited to write the presentation text with two constraints: the text should not exceed half an A4 page and the contributions should not explain Yoan Mudry’s work.
In order to question different notions – such as the status of the exhibition text, the communication of art spaces, the notion of network, of artistic scene, or the reification of artistic practices under “young artists” – the texts were distributed in two times and according to two different modalities. The first diffusion is done without signature and by electronic way as spam during all the time of the exhibition. At the end of the exhibition, more than six hundred people unsubscribed from the newsletter of the art space. It is only then that the assembled and signed texts are presented in the form of this publication.

 
Mix Fr/En, 13.8 x 19 cm, laser print, softcover, 53 pages, 12CHF
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