Edition patrick frey ch (16 Ergebnisse)

Paperback. Zustand: New. This picture book is a small window onto a large world.  It shows everyday life in the most varied corners of the African continent, one that does not exist in the coverage provided by Western media. There is nothing spectacular or sensational about this everyday life, but it is always there. It is colorful and also banal, sometimes even contradictory, but it is always precious and genuine.…

Paperback. Zustand: New. Pornalikes is a book of portraits with a difference, culled from a 2002-2018 photo archive of porn actors who resemble or actually even portray celebrities and public figures. Polish artist Piotr Ukla?ski draws on a stock of hard and soft copies of "dirty" glossy men's magazines like Hustler and Loaded-as well as a plethora of meme culture material dumped on websites and blogs. In an age in which the dichotomy between signifier and signified has long since come apart at the seams, Ukla?ski, in a dicey combination of criticality and media exploitation, subverts the original expectations of the traditional art-historical topos of portraiture. In this extreme-and extremely absurd-form of portraiture, Pornalikes is hell bent on challenging conventional morality and the bounds of so-called good taste. It shoves us willy-nilly into a postmodern hall of mirrors and trashy picture puzzles amid the morass of celebrity culture and neoliberal instrumentalization and commodification of the human body. It explores the pop-cultural tensions between sexual identity and exploitation, man and woman, fiction and reality, real biography and the story that comes out in the press. Delving into these dichotomies, Pornalikes picks up where the cult series The Nazis and Real Nazis, also published by Edition Patrick Frey, left off.…

Hardback. Zustand: New. In the middle of each painting stands a lone figure, facing the viewer, eerily still and, in some cases, menacing. The figures are borrowed from various media, ranging from pop culture, including Hollywood blockbusters, pulp horror, science fiction, manga and comics, to esoterica and works of art. Heroes and Ghosts is an ongoing series of figurative oil-on-canvas paintings by Swiss-British artist Mathis Gasser. This anthropological pictorial atlas of fictional characters is peopled by ghostly (anti-)heroes and (anti-)heroines, figures and narratives of the past that abide in our collective memory, continually transformed by contemporary culture-at an ever-increasing pace due to growing demand in the digital realm-and resurfacing in all sorts of different media. Gasser removes these figures from their narrative and media contexts and transfers them to the canvas, where they stand as if frozen in mid action, though it's up to the viewer to connect the dots and divine the nature of that action. In the stories in which they debut, these characters often embody the forces of violence, resistance or chaos within the social order, dredging up the suppressed fears and anxieties of contemporary liberal democracies and bringing them to light. They circulate in the creative realm of the now globalized systems that begat them, functioning as a means of cultural management of social tension, civil commotion and revolt.…

Paperback. Zustand: New. Josef Herzog (1939-1998) dated the start of his serious work from 1964, when he first began producing watercolors with surreal, clearly outlined planar configurations and ink drawings with labyrinthine "all-over" cellular structures. He remained faithful to the techniques of drawing and watercolor in all his subsequent work. And while he continually changed subjects and atmosphere, the line remained the signature element of his drawings, a variable constant in his oeuvre. Beginning in 1975, his lines broke free from their outlining function to become a means of expression in and of themselves, whether in pencil, oil crayon, pen and ink, or watercolors. Besides a few series that do feature the occasional planar element, Herzog thereafter steadfastly confined himself to exploring the possibilities of purely linear design. The lines differ in character considerably from one series to the next, depending on the format and choice of drawing medium, which take both format and medium on ever-greater importance in the utter absence of identifiable motifs. Josef Herzog's work has been the subject of a number of reviews since 1971. What's missing, however, is a current-day look back at his exuberant oeuvre. This monograph of his work from the 1970s on serves to accompany the Herzog retrospective, opening in March 2022 at Kunstmuseum Lucerne - and to fill that gap in the literature.…

Paperback. Zustand: New. Giorgio Wolfensberger was born in 1945 in Zürich, grew up in Winterthur and died in 2016 in Umbria, which he'd made his adoptive geographical and political home. He was not only an industrial photographer, filmmaker, slide-show specialist, expert on and writer for the Swiss modern dancer and dance teacher Suzanne Perrottet, sleuth extraordinaire for archival photographs; he was also a collector and photographer equipped with a seventh sense for the things of this world. He seems to have been a magnet for the peculiarities of everyday life, departures from the norm, the play of objects, the humorous and the grotesque, as though his eyes, nose and fingers were probes immersed in physical reality. Whether on assignment for an exhibition project or a book, roaming freely on the prowl in the city or driving around the countryside, he always discovered something unusual in the commonplace, something of his own in the general, something rich in the poor, something strange in the norm. This book brings together his artistic freelance photography for the first time, to form a cabinet of curiosities, a variegated cabaret of things. Beginning with the black-and-white documentary photography of his first years in Italy, he gradually developed a rich, humorous, colorful photo povera, an enchanting, pensive dance of "poor" plain things. -Urs Stahel.…

Hardback. Zustand: New. Dieter Hall portrays man thrown back on himself. Ecce Homo, behold the man-without his social attributes, often nude, in splendid isolation. Hall seeks the common denominator-metonymically called the Naked Chair-of mere existence in the images of others' (mostly male) bodies. He regards things, objects, gardens and landscapes with the same searching gaze. His minutely arranged still lifes-a glass, a flower, a chair - call to mind Bonnard and Matisse. Hall's bare chairs are recurrent silent echoes of isolation and transience, intensified by the dark shadow the AIDS epidemic cast on his life and work while living in New York. Although his works are not referential in the traditional sense, Hall reacts to the works of other artists, including painter Alice Neel's psychological realism and the work of photographers like David Armstrong and Peter Hujar. Hall was friends with Hujar and moved in the same scene-until the latter's early death from AIDS. Photography plays a key part in Hall's work - though never as an end in itself: it helps him compose his pictures. He selects details-a foot or a hand, for example-and transposes them into painterly renditions, wholly reinventing the subject portrayed in the process. The resulting works, characterized above all by their radical intimacy, tell of isolation and a deep-seated need for connection. …

Hardback. Zustand: Near fine. First Edition. 22 x 30cm 366pp near fine hardback. Fields of Sight is a unique collaboration between photographer Gauri Gill and renowned Warli artist Rajesh Vangad. The series began in early 2013 in Ganjad, Dahanu, an Adivasi village in coastal Maharashtra, India. A new visual language emerged symbiotically from Gill's initial experiences of photographing the landscape. Looking at her contact sheets, she perceived that although the camera was capturing the distinct 'chameleon-like' skin of the landscape, it was missing vital aspects of what was not apparent to the eye, yet was vividly relayed in the great mythical and experiential stories narrated to her by Vangad. The photographs by Gill, inscribed by drawings by Vangad, reconfigure the photographic site both formally as well as conceptually, to arrive at new documents of multiple truths and knowledge systems. In the act of viewing the landscape through the eyes of Vangad, Gill rekindles the need to challenge the way we see things today, what our eyes capture and what may elude them. 'As though one were photographing an old home, and the resident of the house came out, and began to speak'. With English text plus black and white reproductions. A heavy item, may need extra postage.…

Paperback. Zustand: New. This is the first book to bring together Dan Mitchell's complete posters and flyers. The British artist designs subversive, socially critical and humorous posters to promote his own shows as well as those of fellow artists, and to serve as critical commentary on everyday occurrences. Whilst carrying on the age-old tradition of poster art, he explores contemporary approaches involving various print sizes and even digital posters. "The Age of LOLZ is Over. Long Live DEATH LOLZ" proclaims Mitchell in a satirical commentary on a serious state of affairs: the age of "laughing out loud" is over. The book is rounded out with an interview of the artist by Swiss curators Fredi Fischli and Niels Olsen.…

Hardback. Zustand: New. In the middle of each painting stands a lone figure, facing the viewer, eerily still and, in some cases, menacing. The figures are borrowed from various media, ranging from pop culture, including Hollywood blockbusters, pulp horror, science fiction, manga and comics, to esoterica and works of art. Heroes and Ghosts is an ongoing series of figurative oil-on-canvas paintings by Swiss-British artist Mathis Gasser. This anthropological pictorial atlas of fictional characters is peopled by ghostly (anti-)heroes and (anti-)heroines, figures and narratives of the past that abide in our collective memory, continually transformed by contemporary culture-at an ever-increasing pace due to growing demand in the digital realm-and resurfacing in all sorts of different media. Gasser removes these figures from their narrative and media contexts and transfers them to the canvas, where they stand as if frozen in mid action, though it's up to the viewer to connect the dots and divine the nature of that action. In the stories in which they debut, these characters often embody the forces of violence, resistance or chaos within the social order, dredging up the suppressed fears and anxieties of contemporary liberal democracies and bringing them to light. They circulate in the creative realm of the now globalized systems that begat them, functioning as a means of cultural management of social tension, civil commotion and revolt.…

Paperback. Zustand: New. After the definitive switchover from analog to digital television about three years ago, Luca Schenardi noticed some puzzling non sequiturs one day while viewing teletext - one of his preferred media. In the wake of the digital TV revolution, teletext headlines on a number of channels were scrambled and apparently randomly recombined. In early 2015, for example, Schenardi happened upon the following item: "Pegida Alliance supporters held another rally in Dresden last night. According to the police, roughly 17,000 Pegida activists turned out at the Semperoper [Dresden opera house]. Meyer calls it free coffee. " This gem of a non sequitur was clearly worth saving, whereupon Schenardi began perusing and photographing teletexts on various channels every day. Seized with a mania for collecting suchlike glitches, he transcribed them in black marker and tusche into self-made A5-size notebooks and illustrated his finds with sketches. To date he has filled twenty such notebooks, roughly eight hundred pages, with this peculiar collection. Naturally bound up with daily news coverage, the transcriptions sometimes seem to convey uncanny truths, then get tangled up in utter absurdities, as though attempting a novel approach to relating news of war and calamity around the world in the guise of news ticker headlines. They bear an uncanny resemblance to the serious - though no less absurd - news headlines inundating our daily lives, whether online or in print. In Meyer spricht von Gratiskaffee ("Meyer calls it free coffee"), Schenardi releases a selection of these illustrated teletext quotations, rather like hoverflies - those masters of mimicry - disguised as wasps, into the infotainment jungle.…

Hardback. Zustand: New. W places the commonplace on an equal footing with what is presumably significant, right in line with Lukas Wassmann's whole approach to photography. The Swiss photographer interleaves intimate snapshots and self-portraits with pictures of arranged nature, buildings and people, home-made furniture, documentary and commercial fashion photography. The Things of Life, as this hodgepodge may suggest, are often played out on the margins. So this book is about an in-between realm, not about Wassmann's money shots. W brings together photographs from 2000 to 2018. They are not presented in any chronological or thematic order, but the associative pictorial sequences weave one loose narrative after another, only to break off and maybe take up the thread again at some point later on. Characters appear and disappear, chromatic analogies give way to choreographies of form. What remains is not even concrete things, but more atmospheric traces, a pictorial language of memory, moments in the stream of consciousness of an author with a highly idiosyncratic photographic eye.…

Paperback. Zustand: New. When the most beautiful cows of the Appenzell villages are crowned in autumn,smoke rises over the festival grounds. On this day, children-often still in their earlysingle-digit years-puff unabashedly on Krumme cigars, or Stumpen as they areknown locally, emblematic representatives of Swiss tobacco culture. They do so notin secret or as an act of rebellion, but in the midst of the village community, which notonly tolerates the tradition but is also the very source of it. It is a gesture ofacknowledgment for the children who take on agricultural work and responsibilitiesfrom an early age.With his work Smoke, artist Kris Lüdi approaches the custom from a place ofpersonal memory. As a child, Lüdi spent his summers with his grandparents inAppenzell and encountered the local children with the intimidated gaze of an outsiderof the same age. Their nonchalant, down-to-earth manner conveyed a sense ofmeaning that resonated with him, and Smoke is his delayed response to that.The result is a reflection on the progressive and conservative forces of the present,on local customs and cultural practices, and their positioning between tradition andmodernity. Smoke ventures into the very heart of Switzerland. Folkloric traditionbecomes the starting point for a photographic observation that documents reality-but does not claim to be a documentation. Instead, the portraits of smoking childrencreate a space of resonance that extends far beyond the canton's borders.…

Hardback. Zustand: New. The youth uprising, now simply called "The Sixties," was fed by one of the greatest booms in publishing history. The Underground Press Syndicate (UPS) began as a loose confederation of five papers in 1966, and within a few years swelled to over 500 across the world, reaching millions of readers. They "spread like weed," said the UPS director, weed-dealer, and eventual founder of High Times, Tom Forcade. The metaphor was apt: the UPS spurred the legalization movement, and weed became its totem. Weed was so pervasive it became a helpful means for government agencies to crack down on the UPS. Weed came to emblematize activist groups, and added a touch of flair to the mastheads of UPS titles. Weed permeated UPS pages, with gaps in text crammed with weed-inspired "spot illustratios". Heads Together collects these drawings, shining a light on lesser-known names in the stoner-art canon, and many who weren't names at all, as no signature was attached. It also compiles guides for growing weed from the period that were treated like contraband by the CIA. Activist-oriented, psychedelic rolling papers are showcased too. As pot now fast-tracks toward legalization in the U. S. and beyond, its once incendiary status is brought into odd relief. Pot's profiteers of the corporate market today do not reflect those who fought for legalization, or the Black and Latino populations strategically criminalized for pot well before hippies were targeted, and long after. The art in this book speaks to a time when pot was smoked with optimism, as something potentially good for society and people, capable of activating profound transformation in the face of corrupt and powerful forces.…

Paperback. Zustand: New. Josef Herzog (1939-1998) dated the start of his serious work from 1964, when he first began producing watercolors with surreal, clearly outlined planar configurations and ink drawings with labyrinthine "all-over" cellular structures. He remained faithful to the techniques of drawing and watercolor in all his subsequent work. And while he continually changed subjects and atmosphere, the line remained the signature element of his drawings, a variable constant in his oeuvre. Beginning in 1975, his lines broke free from their outlining function to become a means of expression in and of themselves, whether in pencil, oil crayon, pen and ink, or watercolors. Besides a few series that do feature the occasional planar element, Herzog thereafter steadfastly confined himself to exploring the possibilities of purely linear design. The lines differ in character considerably from one series to the next, depending on the format and choice of drawing medium, which take both format and medium on ever-greater importance in the utter absence of identifiable motifs. Josef Herzog's work has been the subject of a number of reviews since 1971. What's missing, however, is a current-day look back at his exuberant oeuvre. This monograph of his work from the 1970s on serves to accompany the Herzog retrospective, opening in March 2022 at Kunstmuseum Lucerne - and to fill that gap in the literature.…

Hardback. Zustand: New. Thanks to his work on the iconic creature for the film Alien (Ridley Scott, 1979)-a detailed account of which is given in his Alien Diaries (2013, first edition, Edition Patrick Frey)-H. R. Giger was firmly established in Hollywood's supernatural horror and science fiction genres. Giger went on to design all the ghosts for Poltergeist II: The Other Side (Brian Gibson, 1986). Unlike his work on Alien on the set at Shepperton Studios in England, Giger collaborated on the movie remotely from Zu?rich, basing his creatures on Michael Grais and Mark Victor's screenplay and airmailing the airbrushed designs to Los Angeles. Due to his absence as well as misunderstandings with the director and the studio and a meager production budget, the dark inscrutability and amorphous plasticity of Giger's initial shape-shifting sketches ended up falling flat on celluloid, coming to resemble cheap-looking monsters in a campy B-movie. Giger's in some cases psychedelic sketches were designed as sequences showing the metamorphosis of a worm-like ghost into a grotesque dwarf that ultimately morphs into a soul-devouring Gorgon-like monster called "The Great Beast". Poltergeist II-Skizzen 1983-1985 is a facsimile edition of Giger's original sketchbook, containing 135 of his remarkable drawings as well as drafts of letters expressing doubts and suggestions to director Brian Gibson.…

Hardback. Zustand: New. Over summer vacation, when we'd return to our village along with so many other families who'd emigrated abroad, our first taste of home was the arancini we ate on the ferry crossing from the Italian mainland to Sicily. We were welcomed back by the golden statue of the Madonna, the patron saint of Messina, visible from afar on the other shore. It wasn't till much later in life that I began taking an interest in the coastline around Messina, which has been of great geopolitical importance since ancient times. The Italian mainland is so close here that whole generations of locals have been obsessed with the idea of building a bridge between the Calabrian and Sicilian shores. This gigantomaniac and highly controversial bridge project was announced by Mussolini during the war and fleshed out by Berlusconi during his term as prime minister. It has been repeatedly thrashed out, planned out. and then ultimately rejected. It would be the world's longest and tallest suspension bridge - and built on sandy, earthquake-prone ground. To some, this prestigious undertaking would symbolize Sicily's economic upswing; to others, it hangs like the sword of Damocles over the region and the whole country. I myself was fascinated by that bridge that's not on any map, so I began photographically documenting the coast in 2005. The result of my long-term project is a portrait of a region at a standstill, waiting in a state of indifferent, frustrated or hopeful anticipation. This photo essay documents the transformation and hesitant attempts to refurbish the (sub)urban coastal stretches, and shows locals in their workaday lives, such as fishermen, whose earnings from swordfish hunting have long since ceased to be enough to live on. NO PONTE seeks to show how something's absence affects us as much as its presence would. If the bridge is ever built, I won't include any pictures of it in this series: I'll take the last shot when they lay the foundation stone. - Giuseppe Micciché.…