Marie Canet
‘Juntos en la Sierra’ (SP094)

SP094 MARIE CANET JUNTOS EN LA SIERRA MARIE CANET

Marie Canet ‘Juntos en la Sierra, Speech Act, Identité, Globalisation’

Detail

2018, Edition française
Couverture souple, reliure cousue collé
14 x 21 cm, 80 pages
ISBN 978-2-36582-023-3
€12.00

Credits

Texte : Marie Canet
Dessin : Albane Duvillier
Graphisme : Bartolomé Sanson

Commander

A propos

Cet essai propose de penser la manière dont des êtres jusque-là privés des outils de la représentation se sont emparés des technologies de visualisation afin de produire des énoncés contestataires et solidaires.

L’enjeu contextuel de ces hackings est la production de savoirs alternatifs et solidaires créés depuis les marges linguistiques, sexuelles, biologiques et géographiques de l’histoire.

L’auteure

Marie Canet est critique, essayiste, programmatrice. Elle enseigne l’esthétique à École des beaux-arts de Lyon. Elle a collaboré avec des institutions telles que le Musée d’art et d’histoire du Judaïsme, le Centre Pompidou ou la South London Gallery. Ouvrages parus: Posture et talons hauts (2011, Les presses du réel / Toasting Agency / Strenberg Press), Bruno Pélassy, HIV+Cinema (2015, Dilecta), Palestine, Prénom Charlemagne (2017, Les presses du réel).

Julien Carreyn
‘Photographies du soir’ (SP095)

JULIEN CARREYN SHELTER PRESS
JULIEN CARREYN SHELTER PRESS
JULIEN CARREYN SHELTER PRESS
JULIEN CARREYN SHELTER PRESS
JULIEN CARREYN SHELTER PRESS
JULIEN CARREYN SHELTER PRESS
JULIEN CARREYN SHELTER PRESS
JULIEN CARREYN SHELTER PRESS
JULIEN CARREYN SHELTER PRESS
JULIEN CARREYN SHELTER PRESS
JULIEN CARREYN SHELTER PRESS
SP095-I

Julien Carreyn ‘Photographies du soir’

Technical

88 pages
20 x 27 cm
Clothbound hardcover with photograph tip-in on front cover and typography in golden foil on the spin

First edition of 700 copies
Limited edition of 15 copies

ISBN: 978-2-36582-020-2
Publication date: May, 31 2018

Avec le soutien à l’édition du CNAP, Centre national des arts plastiques.

Credits

All works by Julien Carreyn
Texts by Mick Peter (EN) and Claire Moulène (EN/FR)
Design by Julien Carreyn and Bartolomé Sanson

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About the book

Photographies du soir consists of a series of images taken by Julien Carreyn between 2014 and 2017. Placing with a formidable precision a self-published editorial practice at the heart of his artistic production, Julien Carreyn offers withPhotographies du soir a singular and ambitious publication that presents for the first time his photographic work on color. This series of 41 images is followed by texts by art critic Claire Moulène and Scottish artist Mick Peter.

“It is always precious to know what artists look at, what works, in the mille-feuille of art history, by some genealogical or aesthetic turn, had vampirized their imagination. It is often surprising. In the case of the author of Photographies du soir, we are surprised and almost immediately enchanted by the disorderly voyage he proposes: by way of Matisse and therefore his paradise, Bonnard and Corot, but also the vampire films of Jean Rollin on the banks of the Loire and Les Noces rouges by Chabrol; the pastel interiors by Marc-Camille Chaimowicz and the indecipherable though highly erotic photographs by the painter David Salle.

Each image of this book, as modest as it may be, contains a little of all that. As much as they individually cultivate a certain sulky and lascivious monotony, involving the same portraits of well-bred heroines, with ankle-length pants and sweaters pulled up to conceal cleavage; the same Day in the Country on the banks of the river, dormitories with unmade beds, deserted shopfronts on provincial main streets and declining summer evenings; they carry within them, collectively, this cultural density, this consistency. Because it’s by putting things end to end that we manage to bring the underground labyrinth into the light. And by putting image on page, that we give body to this occult matrix.”

Claire Moulène, 2018

A propos du livre

Photographies du soir est constitué d’une série d’images réalisées par Julien Carreyn entre 2014 et 2017. Positionnant la pratique éditoriale au coeur de sa production artistique, d’une précision redoutable et majoritairement auto-publiée, Julien Carreyn propose ici avec Photographie du soir une publication singulère et ambitieuse qui présente pour la première fois son travail photographique sur la couleur. Cette série de 41 images est accompagnée de textes de la critique d’art Claire Moulène et de l’artiste écossais Mick Peter.

“Il est toujours précieux de savoir ce que les artistes regardent. Quelles sont les oeuvres qui, dans le mille-feuille de l’histoire de l’art, par quelques torsions généalogiques et esthétiques, ont vampirisé leur imaginaire. On est souvent surpris. Chez l’auteur des Photographies du soir, on est surpris et presque immédiatement enchanté par le voyage désordonné qu’il propose : en passant par Matisse et son paradis donc, Bonnard et Corot, mais aussi les films de vampire de Jean Rollin en bord de Loire et les Noces rouges de Chabrol ; les intérieurs pastel de Marc-Camille Chaimowicz et les photographies indéchiffrables mais hautement érotiques du peintre David Salle.

Chaque image de ce livre aussi modeste soit elle, contient un peu de tout cela. Elles ont beau cultiver individuellement une certaine monotonie boudeuse et lascive, en tournant autour des mêmes portraits d’héroïnes de bonne famille, le pantalon aux chevilles et le pull relevé à la naissance des seins ; des mêmes parties de campagne au bord de l’eau, dortoirs aux lits défaits, devantures désertées de centres-villes de province et soirs d’été sur le déclin, elles portent en elles, collectivement, cette épaisseur culturelle. Car c’est la mise bout à bout qui permet de faire émerger le labyrinthe souterrain. Et la mise en page qui densifie ce maillage occulte.”

Claire Moulène, 2018

 

matali crasset
(w/ Julien Carreyn)
‘les capes’ (SP097)

matali crasset shelter press julien carreyn les capes
matali crasset shelter press julien carreyn les capes
matali crasset shelter press julien carreyn les capes
matali crasset shelter press julien carreyn les capes
matali crasset shelter press julien carreyn les capes
matali crasset shelter press julien carreyn les capes
matali crasset shelter press julien carreyn les capes
matali crasset shelter press julien carreyn les capes

matali crasset ‘les capes’

Technical

48 pages
13,5 x 19 cm
Clothbound hardcover with drawing on front cover in silver foil
16 color plates with spot gloss varnish

First edition of 500 copies
Limited edition of 20 copies

ISBN: 978-2-36582-024-0
Publication date: May, 31 2018

Published at the occasion of ‘les capes’, an exhibition by matali crasset at The Cultural Gallery, April 26 – June 30, 2018.

Published with the support of The Cultural Gallery

Credits

All works by matali crasset
Photographs by Julien Carreyn
Design by Julien Carreyn and Bartolomé Sanson

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About the book

This catalogue presents a series of vases produced by designer matali crasset during a residence at the national porcelain manufactory of Sèvres, in France. The publication gathers 3 different segments printed on 3 different papers, including Polaroids of vases photographed by Julien Carreyn, drawings by crasset and miscellaneous documents.

A propos du livre

matali crasset et Julien Carreyn se connaissent et collaborent ensemble depuis plusieurs années.

À l’occasion d’une résidence à la manufacture de Sèvres, en France, la designer a invité l’artiste et photographe Julien Carreyn à saisir son projet en cours, les capes, une collection de vases en porcelaine. Ce livre propose un dialogue et jeu à quatre mains autour de ces vases, les premiers vases de matali crasset, et de dessins réalisés pour une exposition à Monaco. Une suite de polaroids et de photographies numériques de Julien Carreyn viennent dialoguer avec ces dessins de matali crasset, ainsi qu’avec des dessins d’épure issus du catalogue de la Manufacture.

L’absence de texte se nourrit d’un chemin de fer qui développe une narration entre ces éléments. Plus que révéler les vases, les images tournent, ce sont des clefs, des indices qui sont donnés.

 

Various Artists
‘En Suspens’ (SP091)

Shelter Press Bartolomé Sanson Le Bal
Shelter Press Bartolomé Sanson Le Bal
Shelter Press Bartolomé Sanson Le Bal
Shelter Press Bartolomé Sanson Le Bal
Shelter Press Bartolomé Sanson Le Bal
Shelter Press Bartolomé Sanson Le Bal

Various Artists ‘En Suspens’

Technical

96 pages + insert
19,5 x 24,5 cm
Clothbound softcover
Saddle Stitched
2018
first edition of 1000 copies
(600 french + 400 english)

ISBN: 978-2-919430-06-2
Publication date: February 8th, 2018
Co-published by Le Bal & Shelter Press

Credits

Editors: Diane Dufour, Bartolomé Sanson, Julie Héraut
Graphic design: Bartolomé Sanson
Translator: Glenn Naumovitz
Proofreader: Joséphine Gross and Elaine Krikorian
Scans: Après Midi Lab

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About the book

Co-publié avec Le BAL, ce livre en format souple et broché se lit comme une trace des oeuvres rassemblées à l’occasion de l’exposition éponyme autour d’un état transitoire de notre temps : le suspens. Entre abstraction et fragilité, il contourne l’idée du catalogue traditionnel pour transcrire à travers de fines pages en noir et blanc cet état intangible et indéfinissable.

Publié à l’occasion de l’éxposition En Suspens, Le Bal, Paris, février 8 – Mai 13, 2018

Published at the occasion of the eponymous exhibition at Le Bal, Paris, this publication is a poetic, abstract, fragile attempt to translate something of our times: being in a state of suspension. It subverts the idea of a traditional catalogue to transcribe this intangible and indefinable state through a continuous stream of black-and-white images.

Conceived by Bartolomé Sanson, Diane Dufour and Julie Héraut, the book borrows the simplicity of black and white fanzines and unfolds in a continuous stream of images, like a suspended trace of the works in the exhibition. Excerpts from Jacques-Henri Michot’s Un ABC de la barbarie—an inventory of media language clichés that contaminate everyday life—seep into its pages. Like a multitude of shards, images of the works featured in the exhibition oppose this desertion of words and thought. A gesture of resistance to immediacy, this publication is an attempt to give poetic form of the intangible.

Published on the occasion of the eponymous exhibition, Le Bal, Paris, from February 8 to May 13, 2018.

Artists

Bas Jan Ader
Debi Cornwall
Stéphane Degoutin & Gwenola Wagon
Luc Delahaye
Darek Fortas
Hiwa K
Aglaia Konrad
Jacques-Henri Michot
Rabih Mroué
Mélanie Pavy
Sebastian Stumpf
Paola Yacoub
Henk Wildschut

Press

Aperture
Les Inrocks
France Culture (La Dispute)
France Inter
Connaissance des Arts



Gaillard & Claude
‘Oompah, Tom-tom, Tootle-too & Toot’ (SP088)

Gaillard_claude-shelter_press
Gaillard_claude-shelter_press
Gaillard_claude-shelter_press
SP088d
SP088e
SP088f

Gaillard & Claude ‘Oompah, Tom-tom, Tootle-too & Toot’

Technical

48 pages
22 x 28 cm
color offset
perfect bound
soft cover with flaps
first edition of 500 copies
2017

ISBN 978-2-36582-022-6

20 euros

Special edition with limited print in a run of 25 signed copies also available. Write an email for more informations / order at contact@shelter-press.com

Credits

Photography: Kristien Daem
Dialogues: Lili Reynaud-Dewar
Publication coordination: Alberto García del Castillo
Proofreading: Eleanor Ivory and Lætitia Paviani
Design: sunny-side- up
Printing and binding: Snel, Vottem, Belgium

Co-publishers
Établissement d’en face, Brussels, Belgium
In extenso, Clermont-Ferrand, France
Les Bains-Douches, Alençon, France

Funded by Fédération Wallonie-Bruxelles
With additional support from
Galerie Loevenbruck, Paris, France

About the book

Oompah, Tom-tom, Tootle-too & Toot narrates the story of four members of an orchestra who animatedly chat during a break backstage at the Henry Le Bœuf concert hall in Brussels. Through gossip, arguments, and existential crises, they shake the axioms and notions of community, authenticity and happiness.
Dialogues by Lili Reynaud-Dewar are illustrated by photographs realised by Kristien Daem. The sculptures depicted in the book are part of a larger corpus previously exhibited between 2015 and 2016 in Early Development of Calculus at Etablissement d’en face, A Proper Orchestra is Fun for Everyone! at Les Bains-Douches and A Finite Sum at In extenso.

About the artists

Gaillard & Claude make sculptures, editions, musical tracks, radio broadcasts and other forms that most often appear as groups – like friends or families – relating to each other through music, science, sociopolitics, and art in a form of joyful play.

Felicia Atkinson
‘Ambient Park’ (SP090)

Felicia Atkinson new book 'Ambient Park' out on Shelter Press & Perimeter Editions
Felicia Atkinson new book 'Ambient Park' out on Shelter Press & Perimeter Editions design Bartolome Sanson
felicia-atkinson-ambient-park
felicia-atkinson-ambient-park
felicia-atkinson-ambient-park
Felicia Atkinson new book 'Ambient Park' out on Shelter Press & Perimeter Editions design Bartolome Sanson
felicia-atkinson-ambient-park
Felicia Atkinson new book 'Ambient Park' out on Shelter Press & Perimeter Editions design Bartolome Sanson

Felicia Atkinson ‘Ambient Park’

Technical

24 pages
19 x 29 cm
4c printing
2017
first edition of 400 copies
saddle stitched softcover

ISBN: 978-0-9953586-6-9
Publication date: August 2017
Printed in Australia
Co-published by Perimeter Editions (Melbourne, Australia) & Shelter Press (Rennes, France)

Design: Bartolomé Sanson

About the book

Ricocheting quietly between photographic landscapes, drawn abstractions and poetic recollections, Ambient Park – the latest artist book from Shelter Press cofounder Félicia Atkinson – assumes the form of a deferred performance. Serving as a kind of response to the French artist and experimental musician’s recent sonic and visual output, the book comprises a series of film stills shot during her travels to New Mexico and Arizona, overlaid with a collection of at once crude and delicate drawings made in Australia.

Co-published by Shelter Press and Perimeter Editions to coincide with Atkinson’s Australian tour, Ambient Park echoes of Brian Eno’s On Land or The Plateaux of Mirror (with Harold Budd) as astutely as it offers a nod to the untethered line work and colour of Clifford Still, Helen Frankenthaler, Amy Sillman or John Baldessari.

Working to navigate a path across real lands, negative spaces and psychic topographies, Ambient Park manifests in the filmic trace, the words that spring to mind and the lines the body can draw.

About the artist

Félicia Atkinson (born 1981 in Paris) is graduated with Honors from l’Ecole Nationale Supérieure des Beaux-Arts de Paris and studied also anthropology and contemporary dance (BOCAL project with Boris Charmatz in 2003).

She is a visual artist, an experimental musician and the co-publisher of the independent imprint Shelter Press/curatorial platform Argument with Bartolomé Sanson.

Here works deals mostly with the topics of improvisation, fiction, instant composition, noise, abstraction and poetry.

Her paintings, drawings, sculpture, texts, installations, performances, and musical compositions are mostly abstract and are fed by multiples expeditions to many places where she collect sounds, objects, materials and other diverse materials to her visual and sound works.

Marcelline Delbecq & Ellie Ga
‘Dialogue’ (SP083)

Marcelline Delbecq Ellie Ga Dialogue Shelter Press SP083
Marcelline Delbecq Ellie Ga Dialogue Shelter Press SP083
Marcelline Delbecq Ellie Ga Dialogue Shelter Press SP083
Marcelline Delbecq Ellie Ga Dialogue Shelter Press SP083

Marcelline Delbecq et Ellie Ga ‘Dialogue’

Credits

32 pages
14 x 20 cm
Impression offset
2017
Première edition : 700 exemplaires

Bilingual edition
Comes with a downloadable PDF in both languages (FR / EN)

Dialogue a été écrit dans le cadre de l’exposition SoixanteDixSept Experiment au Centre Photographique d’Ile de France du 11 mars au 16 juillet 2017. Publié avec le soutien du Centre Photographique d’Ile-de-France.

Publié par Shelter Press en mai 2017

SP083 — ISBN 978-2-36582-021-9 

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About

After studying photography, art and art criticism, Marcelline Delbecq gradually moved away from the image as such and now concentrates on writing. Ellie Ga practises a blend of narrative genres – memoirs and travel diaries – that pushes back the boundaries of photographic documentation.

Taking as their starting point Susan Sontag’s book On Photography (1977), Marcelline Delbecq and Ellie Ga embarked on a long-term words-and-images dialogue addressing films, books and artworks that have marked their individual trajectories, together with historical events related (or not) to the year 1977.

A compelling consideration of the way images circulate, this “personal, shared museum” will be up for reading and watching with the publication of Dialogue, out now on Shelter Press.

A propos

Après des études de photographie, d’art et de critique d’art, la pratique de Marcelline Delbecq s’est peu à peu éloignée de l’image en tant que telle pour se concentrer sur l’écriture. Ellie Ga mélange, elle, les genres narratifs – mémoires et carnet de voyage – afin de pousser les limites de la documentation photographique.

Prenant comme point de départ le livre On Photography de Susan Sontag paru en 1977, Marcelline Delbecq et Ellie Ga ont entamé un dialogue au long cours, en images et en mots. Les deux artistes y abordent aussi bien des œuvres cinématographiques, littéraires ou artistiques marquantes dans leurs parcours que des événements historiques liés ou non à l’année 1977.

Ce “musée personnel et partagé” qui offre une puissante réflexion sur la circulation des images est donné à lire et à voir avec la parution de Dialogue, publié par Shelter Press.

David Horvitz
‘A Disappearance from Winschoten’ (SP084)

David Hortvitz A Disappearance from Winschoten Shelter Press
David Hortvitz A Disappearance from Winschoten Shelter Press
David Hortvitz A Disappearance from Winschoten Shelter Press
David Hortvitz A Disappearance from Winschoten Shelter Press

David Horvitz ‘A Disappearance from Winschoten’

Technical

32 pages
14 x 20 cm
black / white offset
2017
first edition of 500 copies
saddle stitched

Credits

All works by David Horvitz
Design by Bartolomé Sanson

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About

In 2012 I was asked to be in an exhibition in Holland themed around the Dutch artist, Bas Jan Ader. I was to come to the small town of Winschoten for a month and make the work for the exhibition. The town was a short bike ride away from the small village where Ader’s father was a minister. After staying in Holland for about a week, I became annoyed with the curators. From this annoyance I decided what work I would give to them for their exhibition. I was to disappear from Winschoten. Not to romanticize Ader’s own disappearance at sea, but to disappear from a situation I did not want to deal with. Obviously, I would not tell them any of this. So one morning I left. I went off as if I was going to a coffee shop to work on my computer. I had my laptop, a small amount of money in my pocket, my camera, my passport. I was wearing a light jacket, and also had my notebook and a book I was reading. In my room was my wallet with some money and all my credit cards and library cards and various other IDs. I left a pile of books and the rest of my clothes and my suitcase. I left food, various notebooks, watercolors, my laptop case, various photocopies and receipts, and all my toiletries. I left my phone charger, my laptop charger, and my camera charger. I then got on a train and left Winschoten. There were still two or three more weeks until the exhibition was to open, and it was scheduled to be on view about a month. From that day until the exhibition’s scheduled closing day, I remained off of all social media. No one was to know what happened to me. On the last day of the exhibition I came back online and explained my piece to the curators.
— David Horvitz

Alberto García del Castillo
‘Merman’ (SP079)

Alberto Garcia del Castillo merman Shelter Press
Alberto Garcia del Castillo merman Shelter Press
Alberto Garcia del Castillo merman Shelter Press
Alberto Garcia del Castillo merman Shelter Press
Alberto Garcia del Castillo merman Shelter Press
Alberto Garcia del Castillo merman Shelter Press

Alberto García del Castillo ‘Merman’

Technical

156 pages
13,7 x 17,3 cm
black & white
perfect bound
soft cover printed in 4C + 1 silver PMS
first edition of 1,000 copies
2017

ISBN 978-2-36582-017-2

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Credits

Contributions:
Alejandro Gómez Palomo, Steev Lemercier, Poesivski Poeselovski, César Segarra and Susana Vargas Cervantes

Copyediting and proofreading:
Liz Allan, Cabiria, Livia Cahn and Marnie Slater

Design:
Bartolomé Sanson

Collaborators:
1646, AIR Antwerpen, Etablissement d’en face, La Fonderie: Brussels Museum of Industry and Labour, Nadine and Pane Per Poveri

Support:
Fédération Wallonie-Bruxelles and Wallonie-Bruxelles International

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About the book

A queer travelogue of a boating voyage on Belgium’s inland waterways with merman and singer Steev Lemercier in the company of Chanel and Dolce, who are a cat and a dog, during the first months of their friendship with the author.

POMPOTIOUS

 

Download the ‘Preface’ and ‘Prologue’ in PDF

About the author

Alberto García del Castillo writes genre fiction and nonfiction about communities and queer, performs his own and other people’s writings, and collaborates in multiple configurations. He has published his writing in Girls Like Us, co-edited Midpoint (Théophile’s Papers, 2016) and his debut novel Retrospective was published by Shelter Press (2014). Alongside Marnie Slater, is co-curator of Buenos Tiempos, Int.

Readings

Pane Per Poveri, Athens (6 April 2017)
Etablissement d’en face, Brussels (14 May 2017)
San Serriffe, Amsterdam (22 June 2017)
Panicz, Ostend (8 July 2017)
Section 7 Books, Paris (21 July 2017)
Botanique, Brussels (9 September 2017)
Photomonth Biennial, Tallinn (23 September 2017)
TENT, Rotterdam (29 September 2017)
Astérides and Triangle France, Marseilles (2 December 2017)
Supportico Lopez, Berlin (17 March 2018)

Xavier Antin
‘When ‘I’ met ‘K” (SP078)

xavier_antin_shelter_press
xavier_antin_shelter_press
xavier_antin_shelter_press

Xavier Antin ‘when ‘I’ met ‘K”

Technical

24 pages
14 x 20 cm
black / white offset
2017
first edition of 600 copies
saddle stitched

Credits

All works and design Xavier Antin

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About the artist

Xavier Antin (b. 1981) lives and works in Paris. He received an MA in Communication Art & Design from the Royal College of Art, London (2010) and an MA in Graphic Design at École Nationale Supérieure des Arts Décoratifs, Paris (2008).

Solo exhibitions include: when ‘I’ met ‘K’, Galerie Crèvecoeur, Paris (2017), if, La vitrine du Plateau, Frac Île-de-France, Paris (2016); L+T, La BF15, Lyon (2015); An Epoch of Rest, Palais des Beaux-Arts, ISDAT, Toulouse; News from Nowhere, MABA, Nogent-sur-Marne; Offshore, galerie Crèvecoeur, Paris (all 2014).

About the book

“We ‘square men’ had a sign by which we knew each other. If a true brother came to my case, ostensibly to borrow sorts, and idly let a few lower-case ‘i’ s’ sift through his fingers, I would let some lower-case ‘k’ s’ sift through my fingers. Thus we would understand each other without need of conversation.”From “when ‘I’ met ‘K'”, Xavier Antin, 2017
Published at the occasion of the eponymous exhibition at Galerie Crèvecoeur, Paris.
January 27 — March 18