Sun Feels Honest Todae

Terence Koh, Sun Feels Honest Todae

Terence Koh, Sun Feels Honest Todae
Softcover, 40 pp., offset 1/1, 225 x 305 mm
Edition of 1000
ISBN 978-3-905714-96-8
Published by Nieves

$24.00 · add to cart

Issue #8 of THE international with Terence Koh features deep monochrome prints of his haunting photography layered with drawings that form collages evoking avant-garde Japanese underground scenes from the 1970s.

The Dead Sea

Stefan Marx, The Dead Sea

Stefan Marx, The Dead Sea

Stefan Marx, The Dead Sea
Hardboard/gatefold record sleeve, 3 posters, offset 1/1, 600 x 900 mm
Edition of 1000
ISBN 978-3-905999-01-3
Published by Nieves

$18.00 · add to cart

With his debut release on co-owned Smallville record label Stefan Marx presents an exclusive three-part poster collection coated inside a gatefold 12-inch cover sleeve. Giving the Smallville shop and label a visual face since the very beginning Stefan Marx created hundreds of posters and flyers, painted the shop windows regularly and conceived every record cover.

Now is the time for himself to release an extraordinary Smallville/Nieves issue in 12-inch format. Three folded posters (each has the size of 90 x 60 cm) including a first appearance of his Band project The Dead Sea (aka Stefan Marx, RVDS, Lawrence and Birte Löschenkohl).

Cillit Bang, Dash, Omo and Friends

Beni Bischof, Cillit Bang, Dash, Omo and Friends

Beni Bischof, Cillit Bang, Dash, Omo and Friends
Softcover, 112 pp., offset 1/1, 195 x 255 mm
Edition of 1000
ISBN 978-3-905714-97-5
Published by Nieves

$28.00 · add to cart

Beni Boschof draws wild and intuitive on everything within reach of his hands. In this manner he compiled several thick books, all unique, each page an original. Mysterious structures, cross-eyed figures and words, that somehow sound strangly familiar… Cillit Bang, Dash, Omo and Friends combines a selection from the original books into a singular new publication.

On Vient Quand Même!

Gil Pellaton, On Vient Quand Même!

Gil Pellaton, On Vient Quand Même!
Softcover, 20 pp., offset 4/4, 195 x 255 mm
Edition of 1000
ISBN 978-3-905714-99-9
Published by Nieves

$16.00 · add to cart

Table bombs, ice cream and balls of lights in nebulous doom and gloom: Artist Gil Pellaton places his grotesquely twisted figures in imaginary scenes that hover between scenery-like reality and bizarre exaggeration. The large-scale oil paintings are dynamic and as specific as dreamlike worlds can be. On Vient Quand Meme! is his inaugural publication, combining his most recent works in a small but mighty volume.

Hop Step Jump

Keiichi Tanaami, Hop Step Jump

Keiichi Tanaami, Hop Step Jump
Softcover, 32 pp., offset 4/4, 195 x 255 mm
Edition of 1000
ISBN 978-3-905999-02-0
Published by Nieves

$18.00 · add to cart

Hop Step Jump brings together portraits of colorful, eccentric figures that interpret “Life and Hereafter”, essential truth and source of inspiration to Keiichi Tanaami. Tanaami’s vivid and highly surreal drawings are often considered psychedelic. However, a closer look reveals that his drawings go far beyond psychedelic trops. They have their roots in his tense personal recollections: memories, dreams and nightmares.

No More Reality

Phil Chang
Arthur Ou
Eduardo Sarabia
Anna Sew Hoy

Temporary bookshop and exhibition
July 21 — August 25, 2011
Reception: Thursday, July 21, 6-8pm
Organized by Textfield, Inc.

Creatures of Comfort
205 Mulberry St.
New York, NY 10012
www.creaturesofcomfort.us
Creatures of Comfort New York is pleased to present No More Reality, a temporary bookshop and exhibition organized by Textfield, Inc. The bookshop and exhibition will take place in Creatures of Comfort’s adjacent project space at 205 Mulberry St.

In conjunction with the bookshop, which will feature current and archived titles from Textfield Distribution, there will be an exhibition of work by artists that Jonathan Maghen has collaborated with through Textfield to realize various publishing projects. The exhibition will feature the works of Phil Chang, Arthur Ou, Eduardo Sarabia, and Anna Sew Hoy.

The bookshop and exhibition title have been appropriated from the Philippe Parreno work, No More Reality (the demonstration), 1991, which is a four-minute video of children demonstrating, and chanting the slogan and title (“No More Reality”).

New York Times Tmagazine.

Research Notes

Jürg Lehni and Alex Rich, Research Notes

Jürg Lehni and Alex Rich, Research Notes
Softcover, 20 pp., offset 1/1, 195 x 255 mm
Edition of 500
ISBN 978-3-905714-95-1
Published by Nieves

$14.00 · add to cart

In an attempt to celebrate how we find ourselves doodling while on the phone, testing pens in stationery shops, our belief in folklore, the need to misuse technology or whose idea it was to fly aero planes in formation to write messages across our skies.

The research notes selected from the archive A Recent History of Writing & Drawing hopefully provide references to things old, new and maybe forgotten which together can offer an alternative understanding of our habit to document thoughts and ideas. Upending assumptions that any one kind of communication is more authentic, more direct or more valid that any other, A Recent History of Writing & Drawing finds meaning, texture and poetry in the most unlikely places.

Empty Words

Jürg Lehni and Alex Rich, Empty Words

Jürg Lehni and Alex Rich, Empty Words
Softcover, 24 pp., cut paper, 195 x 255 mm
Edition of 500
ISBN 978-3-905714-93-7
Published by Nieves

$24.00 · add to cart

In 2005, together with Jonathan Hares, a pair of drilled posters were made as a contribution to The Free Library, curated by Mark Owens. This prompted the exploration of possible methods of mechanised production. Using a standard CNC plotter, a rotated LCD display, an Apple TV, and a software interface, Empty Words cuts each dot of the poster in sequence at a controlled speed. Similar to a Linotype machine, the resulting device became a tool for the production of text works, used by both ourselves and the general public.

The publication features the following playlist selected by Lehni and Rich during the installation of Empty Words at the Swiss Institute, New York, 2009.

News

Jürg Lehni and Alex Rich, News

Jürg Lehni and Alex Rich, News
Softcover, 24 pp., offset 1/1, 195 x 255 mm
Edition of 500
ISBN 978-3-905714-94-4
Published by Nieves

$14.00 · add to cart

The Speed-i-Jet, a mobile pen-printer manufactured by Reiner (Germany), is a device built around an industrial inkjet cartridge / printing head. With its clumsy user interface and 30 character maximum capacity, this charming parasitical product prompted the discussion of possible uses for such a device. Together with the curatorial staff of the institution, daily news headlines were selected and transferred onto the devices. Holding and moving the device like a pen, visitors could experience the writing of texts to which the author is ambiguous.

The headlines were collected during Things to Say at Kunst Halle Sankt Gallen, Switzerland, 14 February — 12 April, 2009.

Directory

Ari Marcopoulos, Directory

Ari Marcopoulos, Directory
Softcover, 1200 pp. + signed print, offset 1/1, 215 x 275 x 70 mm
First edition
ISBN 978-0-8478-3532-4
Published by Nieves

out of print

Ari Marcopoulos’s unique style of raw immediacy has made him one of the most important contemporary photographers. For thirty years, photographer Ari Marcopoulos has been pioneering contemporary photography by documenting subcultures such as skateboarders and graffiti artists, as well as landscapes and his own family and friends. Since his days printing photographs for Andy Warhol, he has amassed a huge body of work marked by its arresting and unsentimental intimacy that has been influential to the worlds of art, fashion, and photography. Bound to mimic a phone book, Ari Marcopoulos, Directory presents a collection of approximately 1,200 photographs, with curator and critic Neville Wakefield providing insightful commentary on some of Marcopoulos’s singular images. Copublished with Rizzoli, each book in this limited-edition series includes a print signed by the artist.

The Line

Saul Steinberg, The Line

Saul Steinberg, The Line
Leporello Foldout, 30 pp., offset 1/1, 195 x 255 mm [5850 x 255 mm unfolded]
Edition of 1000
ISBN 978-3-905714-80-7
Published by Nieves

$24.00 · add to cart

The hallmark of Saul Steinberg’s art is the inked line, always drawn with a spare elegance that expresses the semiotic richness of the line itself. As it shifts meaning from one passage to the next, Steinberg’s line comments on its own transformative nature.

The Line, the original a 10-meter-long drawing with 29 panels that unfold, accordion fashion, is Steinberg’s manifesto about the conceptual possibilities of the line and the artist who gives them life. His drawing hand begins and ends the sequence, as the simple horizontal line that hand creates metamorphoses into, among other things, a water line, laundry line, railroad track, sidewalk, arithmetic division line, or table edge; near the end, the curlicues etched by the iceskater’s blade remind us of the role calligraphy plays in Steinberg’s art.

The Line was designed for the Children’s Labyrinth, a spiraling, trefoil wall structure at 10th Triennial of Milan, a design and architecture fair that opened in August 1954. The drawing, photographically enlarged and incised into the wall, was one of four Steinberg conceptions used on the labyrinth.

Medium 1

Medium 1, Poetry

Medium 1, Poetry
Softcover, 64 pp., offset 4/4, 165 x 240 mm
Edition of 500
Published by Nieves

$14.00 · add to cart

Today there was a guy leaning the wrong way in the tube. It was not immediately noticeable. There was no one else sitting nearby. No other passengers to compare him to. But then I did notice that every time the carriage came to a stop, he leaned away from the direction we were moving. Very slightly. Think about it. You’re supposed to lean forward. In the direction you were moving toward. Toward the point which the weight of your body was expecting to reach. Now this guy, he leans the other way. Just slightly. As a friend of mine would put it, he has a great sense of irony. Definitely. That’s important in life. They say that Rothko, he killed himself because he met the people who bought his art. No sense of irony. Me neither I don’t have any sense of irony. I like to take things at face value. Your wife she once told me that what led to the demise of the Black Panthers, aside from the absence of trust, and a murderous governmental incarceration campaign, it was their complete lack of a sense of humor. It was only much later that I realized she meant a murderous governmental incarceration campaign is actually a lot worse than not having a sense of humor. But these ironies are lost on me. Your sister and your wife they both say so. When I tell them things I find funny, they rarely laugh. I’m not even going to mention this guy in the tube to them. I recently told them about my bathroom sink in this hotel room. Real bad design. Flat. Which meant the liquid always accumulated in the corners. Instead of flowing down the drain. You had to use your fingertips to fish out the shaved hair stubble from the corners of the sink. Or it would just lie there. Waiting. You know what’s even funnier: you had to try and propel what you spat out when you brushed your teeth towards the center of the sink. Or you’d have mounds of mucus and toothpaste. Just drying in small heaps, here and there. Hilarious. And speaking of heaps of mucus. Another thing I’ll keep to myself – this was the funniest thing in years: I saw an old couple smooching in the street the other day. How often do you see that. Teenagers, yes. Or oldies arm in arm. But here you had oldies with their tongues down each other’s throats. Right there in the pedestrian zone. Eighty years old maybe more. Couldn’t believe it. I just stood there laughing. These oldies have no sense of humor either. They pretended not to hear me. But I could tell they heard me perfectly well. So now the carriage starts moving again, and I stand up, knowing I’ll exit at the next station. You see there are things I’m less sure about. Are they funny or just poetic. Lately my eyeballs scrunch as I close my eyes. A crunching sound. Brief, almost imperceptible. The sound is a bit like high-tech mechanics when they start aging. Wearing out. A whispering scrunching sound. Funny, or lyrical? Now as I exit the carriage, I notice there’s vapor in the air as I breathe, despite the high temperatures. It’s been like this all week. Again, very odd and almost funny. In a tiny, barely noticeable kind of way. Like the guy leaning the wrong way back there. As the doors slam shut, I turn around to look for him. I want to see which direction he’s leaning in as the train departs. Before I can assess his movements, he smiles and waves. I wave, but I fail to smile back. It’s just not funny anymore.

Dieselbrugger Apokalypse

Emanuel Halpern, Dieselbrugger Apokalypse

Emanuel Halpern, Dieselbrugger Apokalypse
Hardcover, 80 pp., offset 4/4, 220 x 297 mm
English and German
Edition of 1000
ISBN 978-3-905714-89-0
Published by Nieves

$46.00 · add to cart

When someone as peaceful as Emanuel Halpern (Zurich, 1948) draws an apocalypse, things must be pretty bad with the world. His fifty large-scale coloured pencil drawings telling the story of the destruction of Dieselbrugg confirm this prediction. This is his comic version of Dürrenmatt‘s valley of confusion. Reality, which is usually slouching towards tragedy, can be described only by comic means. Both talented storytellers subscribe to this truism. They give us solid citizens with image and text collages that are almost excessively artistic and hypertrophic. But the images underline the fact that this is the only way that we can tackle and escape from the mess.

In the Dieselbrugger Apokalypse, Halpern manages to move between pilgrimage and the misery of refugees with the sure-footedness of a somnambulist. “You can‘t really be as dozy as that” he seems to be muttering. “Come into my yurt In here you will hear peace bells ringing, you‘ll see bathing towels fluttering. This is Dieselbrugg.”

— Guido Magnaguagno