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

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

Felicia Atkinson
‘Audio Book’ (SP077)

Felicia Atkinson Audio Book Shelter Press
Felicia Atkinson Audio Book Shelter Press
Felicia Atkinson Audio Book Shelter Press
Felicia Atkinson Audio Book Shelter Press
Felicia Atkinson Audio Book Shelter Press
Felicia Atkinson Audio Book Shelter Press
Felicia Atkinson Audio Book Shelter Press
Felicia Atkinson Audio Book Shelter Press

Felicia Atkinson ‘Audio Book’

Technical

272 pages
14 x 21 cm
1 c printing
2017
first edition of 200 copies
perfect bound / softcover

About the book

Uncompromising collection of found images and original work from Felicia Atkinson, composing a rasterized visual score.

Audio Book could be a radio program without sound, but it’s a travel guide for a destination that doesn’t exist. It’s a take-away environment. It’s a deep looking into the palimpsests of a landscape.
It gathers two hundred images, some are found materials some are originals. Some images are words. Each of those images contains a grain, a noise, a distortion, a blur, a change of frequency.
The book is the territory. The pages are the knitters of a strange kind of duration.
In the book there is no need for frontiers and passeports, language is a river to cross or to swim in.  We are all foreigners of something. There are only derives and situations. The book travels for you, circulates, is exchanged, stolen, given or lost.

If you’re into publications like Batia Suter ‘Surface Series’ or Louis Reith ‘Decor’, this one comes highly recommended.

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.

Louis Reith
‘Décor’ (SP071)

Louis Reith Shelter Press Décor
Louis Reith Shelter Press Décor
Louis Reith Shelter Press Décor
Louis Reith Shelter Press Décor
Louis Reith Shelter Press Décor

Louis Reith ‘Décor (P, TG-AIH, TAHoS AE, PGaA ofUS, TF-OtHoJA, S:FaM)’

Technical

24 pages
14 x 20 cm
black / white offset
2016
first edition of 500 copies
saddle stitched

Credits

All works by Louis Reith
Editing and design by Louis Reith & Bartolomé Sanson

About the artist

With an interest in printed matter, book design and craftsmanship artist Louis Reith creates drawings, collages, paintings and installations. The found material is always chosen by personal interest into form, theme and balance, which are then translated into new compositions. These compositions are made intuitively and refined consciously, playing with the illusion of mechanical versus handmade. Reith graduated from the AKI Academy for Arts and Design, Enschede in 2010 and lives in Amsterdam. He exhibits his work through international solo and group exhibitions. Besides his studio practise he also runs a small publishing house called Jordskred and he co-organises the annual Grafixx festival in Antwerp, Belgium.

About the book

Décor (P, TG-AIH, TAHoS AE, PGaA ofUS, TF-OtHoJA, S:FaM) contains a collection of recent collages assembled from found book pages, in which the artists specifically seeks a relationship between the abstract and the figurative, and thereby creating new narratives.

The source material is derived from vintage books, in which not only subject and size play a role, but also the printing technique and colour. These books are stripped from their covers and subject to observant deconstruction. What remains are loose pages and spreads that are processed, with their actual compositions as a coincidental starting point. The final composition leads to transformed subjects as if it were a fictional archive from the future. With just the abbreviations of the titles as a reference to the used books.

In his collages Reith creates serene worlds where abandoned shelters and tranquil sculptures present a modern history, where black and white landscapes are disrupted by bold geometric constructions. He tries to resist technology in favour of physical and craft-based media.

Together with Shelter Press, Reith selected 18 collages from different series which were divided onto 24 pages, in which the works were reorganised and emerged as new compositions.

Various Artists
‘In The Canyon, Revise The Canon’ (French Edition) (SP062)

SP062-a2 copie

In The Canyon, Revise the Canon (french edition)
Savoir utopique, pédagogie radicale et Artist-Run Community Art Space en Californie du sud

Order

ORDER / COMMANDER

Technical

2016, French Edition
14 x 21 cm, 226 pages
18 contributions
20 b/w ills.
softcover
ISBN 978-2-36582-012-7
€16.00

Credits

Ed. Geraldine Gourbe
Copyeditors Anna Gourdet & Geraldine Gourbe
Proofreaders Isabelle Labarthe
Design Bartolomé Sanson
Publishers Bartolomé Sanson & Stéphane Sauzedde

Published by Shelter Press,
in collaboration with ESAAA éditions
With the support of:
CNAP, Centre National des Arts Plastiques

A propos

Avant l’avènement du backlash social et culturel au début des années 80 initié et mené par le gouvernement Reagan, le sud californien a été un territoire privilégié pour la genèse et le développement des mouvements d’émancipation afro-américain, chicano, pacifiste, marxiste, féministe et homosexuel.
À partir de la fin des années soixante, ces ondes révolutionnaires ont particulièrement influencé des pratiques comme la performance, la vidéo, l’installation, l’art collaboratif ou œuvré à l’édification de réseaux alternatifs tels que les artist-run space, non-profit space et artist-run community art space.

Entre Santa Barbara, Los Angeles et San Diego, l’action collective publique s’est construite autour de savoirs utopiques essaimés à leur tour dans les universités ou les écoles d’art favorisant l’émergence d’une pédagogie radicale.
Ces manières autres ou encore expérimentales de penser, de faire et d’enseigner l’art ont permis une déconstruction de certains canons hérités d’une tradition et d’une histoire de l’art européennes tout en œuvrant à la remise en cause de l’american way of life.

In the Canyon, Revise the Canon.

With contributions by

Mark Allen, Juliette Bellocq, Vera Brunner-Sung, Nancy Buchanan, Carol Cheh, Matthew Coolidge, Jill Dawsey, François Esquivié, Rita Gonzales, Géraldine Gourbe, Robby Herbst, Walter Hopps, Robert Irwin, Chris Kraus, Leslie Labowitz, Suzanne Lacy, Fred Lonidier, Pauline Oliveros, Elana Mann, Emily Mast, Senga Nengudi, Janet Sarbanes, Annette Weisser, Joshua Young, Andrea Zittel

About

Before the onset of the social and cultural backlash that was brought on by the Reagan administration in the early eighties, Southern California was ripe territory for the genesis and development of emancipation movements for and by African Americans, Chicanos, pacifists, Marxists, feminists and homosexuals.

Starting in the late sixties, these revolutionary waves particularly influenced practices such as performance art, video, installation and collaboration, which led to the construction of alternatives like artist-run spaces, non-profit spaces and artist-run community art spaces.
In Santa Barbara, Los Angeles and San Diego, collaborative public action was constructed around utopian knowledge which was then redirected towards universities and art schools that favored the emergence of radical pedagogies.

These other manners of experimental thinking, doing and teaching permitted artists to deconstruct certain canons that were inherited from European tradition and art history, and provoked a reexamination of “the American way of life”. In the Canyon, Revise the Canon.

Felicia Atkinson
‘Animals’ (SP067)

SP067 FELICIA ATKINSON ANIMALS SHELTER PRESS
SP067 FELICIA ATKINSON ANIMALS SHELTER PRESS
SP067 FELICIA ATKINSON ANIMALS SHELTER PRESS
SP067 FELICIA ATKINSON ANIMALS SHELTER PRESS
SP067 FELICIA ATKINSON ANIMALS SHELTER PRESS
SP067 FELICIA ATKINSON ANIMALS SHELTER PRESSSP067 FELICIA ATKINSON ANIMALS SHELTER PRESS

Felicia Atkinson ‘Animals’

Technical

158 pages
14 x 21 cm
1 c printing
2016
first edition of 200 copies
perfect bound / softcover
text and cut-outs by Felicia Atkinson

Worldwide Order / Wholesale / Commande Librarie

— SOLD OUT AT SOURCE

Also available at

— FR / BE / CH retail / wholesale via LES PRESSES DU REEL
— UK / EU retail / wholesale via ANTENNE
— AU / NZ retail / wholesale via PERIMETER
— Others countries / get in touch ⇢ shelterpress@gmail.com

About the book

Animals is the third novel by Felicia Atkinson, following Twenties Are Gone (2012) and Improvising Sculpture As Delayed Fictions (2014).

Animals questions through a poetic approach the modernist apprehension of time and locomotion, in the realm of today.
Somehow, Felicia Atkinson is asking herself what is the feeling of passing the beginning of a century on the passenger’s seat whereas it is experienced through reading, writing, while she is traveling by train or by car, scrolling informations on a computer, and its consequences on one own’s perception of a particular landscape. Or, even how to behave in a mundane context.
Can a lake shape a relationship? Can a train be an office? How to deal with neighbors? When to act? When to stop? Can the words mean the same thing all the time? What is duration? How to feel specificity inside a crowd?
Through simple words in English (Atkinson is a French native speaker) in the rhythm of an echoing monologue punctuated by black and white paper cut-outs , the author finds her way through the book with an ambiguous mixture of “nonchalance” and attention.
Animals is a train ride, an experience of time brushed by the fugitive landscapes and the indistinct noises all around.

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 such as Rio de Janeiro, Britany and most often the American West, where she collect sounds, objects, materials and other diverse materials to her visual and sound works.

Anne Brugni
‘Metamorphosis’ (SP065)

anne-brugni-shelter-press
anne-brugni-shelter-press
anne-brugni-shelter-press
anne-brugni-shelter-press
anne-brugni-shelter-press
anne-brugni-shelter-press

Anne Brugni ‘Metamorphosis’

Technical

32 pages
20 x 26 cm
color offset
2015
first edition of 700 copies
saddle stitched / american dust cover

Order

— Direct order from our STORE
!! free shipping worldwide !!

Wholesale / Commande Librarie

— FR wholesale via LES PRESSES DU REEL
— UK / EU wholesale via ANTENNE
— AU / NZ wholesale via PERIMETER

— Others countries / get in touch ⇢ shelterpress@gmail.com

About the book

Mottled sausages, icy landscapes with worms that seem to have died trying to make it over hurdles, portals to impossible lands: welcome to the accidental world of Anne Brugni.

Her workspace resembles a sort of paper autopsy gone wrong, with marbled organs, multicolored hides and strange texts scrawled in shaky brushed script scattered around. We are witnesses to a new sort of Frankenstein, who pieces all of these disparate parts together to create new creatures: joyful, perplexing, but always in the end, intriguing.

METAMORPHOSIS is a period piece of a work in progress, a cross section of ideas that eliminates a good quantity of works already made, and ignores the future. It is not a “best of”.

The book itself is made in the same manner of the works displayed within: using instinct, not too much revision (but revision nonetheless) and just enough material to give a glimpse of a narrative without becoming redundant or conclusive. The primary question that the work makes us pose is: WHAT?

What does this represent? What is this material? What is going on?

Therein lies the attraction, for the work is not for curious people, it makes people curious. It demands us to ask questions, to question it and ourselves at the same time.

Sure the material is profane: simply paper & clay (if boiled down to the bare essentials). But the treatment, the textures and compositions give us clues to a mania, a research, an exploration that is flabbergasting.

Estelle Hanania
‘Happy Purim’ (SP064)

estelle-hanania-happy-purim-shelter-press
estelle-hanania-happy-purim-shelter-press
estelle-hanania-happy-purim-shelter-press
estelle-hanania-happy-purim-shelter-press
estelle-hanania-happy-purim-shelter-press
estelle-hanania-happy-purim-shelter-press
estelle-hanania-happy-purim-shelter-press
estelle-hanania-happy-purim-shelter-press

Estelle Hanania ‘Happy Purim’

Technical

68 pages
24,5 x 31 cm
4 colors printing
2015
first edition of 700 copies
perfect bound / clothbound hardcover
Text by David Ivar (english)
Interview with Delphine Horvilleur (french + english)

Happy Purim is out on September 20th 2015, in a first edition of 700 copies worldwide.

Order / Wholesale / Commande Librarie

— Direct order from our STORE

— FR / BE / CH wholesale via LES PRESSES DU REEL
— UK / EU wholesale via ANTENNE
— DE / EU wholesale via MOTTO
— Others countries / get in touch ⇢ shelterpress@gmail.com

About the book

September 2015 marks the release of Happy Purim, a new monograph dedicated to the work of paris-based photographer Estelle Hanania. Happy Purim gathers 42 images documenting 3 years of photographs taken between 2011 and 2014 during the Purim holiday in the neighbourhood of Stamford Hill, London.
Kids wearing home made costums incarnating a wide range of human vernacular history and reality (from the pizza to the clown). Standing in the street they are revealing some cultural fantasies as well as the familiar invisible backgrounds of their neighborhood: a simple tree, a part of a brick wall, a locked door or a pavement.

While the content of this book could appear a bit softer compare to her previous series, costums, masks, parade and most of Hanania’s recurring subject are fully vivid here.

To quote french rabbi Delphine Horvilleur, who signs a text at the end of the book : « Purim has the reputation of being a holiday for children. It is children, besides, that constitute the very matter of these photos even if the truth, in my opinion, is that Purim is an adult holiday. Children, in a way, act like a veil, like the “masks” – in all senses of the word – disguising the holiday, making it up in order to hide the complex questions it raises. The fundamental issue of Purim is the question of appearance and of internal reality. On this day, we read a text called the Megillah of Esther, whose content should practically be censured for underage persons. »

About the artist

Estelle Hanania lives and works in Paris. Happy Purim is her fifth collaboration with Shelter Press, following Attila Csihar, Broken Mirror & Metamorphosis of the Tree (2010), Dondoro (2011), Glacial Jubilé (2013), and more recently Eternelle Idole (2015), a collaboration with Stephen O’Malley and Gisèle Vienne published last month.

Various Artists
‘In The Canyon, Revise The Canon’ (english edition) (SP061)

In The Canyon, Revise The Canon

In The Canyon, Revise the Canon (english edition)

Technical

2015, English edition
14 x 21 cm, 208 pages
18 contributions
20 b/w ills.
softcover
ISBN 978-2-36582-012-7
€16.00

Credits

Ed. Geraldine Gourbe
Copyeditors Geraldine Gourbe & Emily Mast
Proofreaders Vera Brunner-Sung
Design Bartolomé Sanson
Publishers Bartolomé Sanson & Stéphane Sauzedde

Published by Shelter Press, in collaboration with ESAAA, Ecole Supérieure d’Art de l’Agglomération d’Annecy

Out on Apr. 01, 2015

With contributions by

Mark Allen, Juliette Bellocq, Vera Brunner-Sung, Nancy Buchanan, Carol Cheh, Matthew Coolidge, Jill Dawsey, François Esquivié, Rita Gonzales, Géraldine Gourbe, Robby Herbst, Walter Hopps, Robert Irwin, Chris Kraus, Leslie Labowitz, Suzanne Lacy, Fred Lonidier, Pauline Oliveros, Elana Mann, Emily Mast, Senga Nengudi, Janet Sarbanes, Annette Weisser, Joshua Young, Andrea Zittel

About (en)

Before the onset of the social and cultural backlash that was brought on by the Reagan administration in the early eighties, Southern California was ripe territory for the genesis and development of emancipation movements for and by African Americans, Chicanos, pacifists, Marxists, feminists and homosexuals.
Starting in the late sixties, these revolutionary waves particularly influenced practices such as performance art, video, installation and collaboration, which led to the construction of alternatives like artist-run spaces, non-profit spaces and artist-run community art spaces.
In Santa Barbara, Los Angeles and San Diego, collaborative public action was constructed around utopian knowledge which was then redirected towards universities and art schools that favored the emergence of radical pedagogies.
These other manners of experimental thinking, doing and teaching permitted artists to deconstruct certain canons that were inherited from European tradition and art history, and provoked a reexamination of “the American way of life”. In the Canyon, Revise the Canon.

About (fr)

Avant l’avènement du backlash social et culturel au début des années 80 initié et mené par le gouvernement Reagan, le sud californien a été un territoire privilégié pour la genèse et le développement des mouvements d’émancipation afro-américain, chicano, pacifiste, marxiste, féministe et homosexuel.
À partir de la fin des années soixante, ces ondes révolutionnaires ont particulièrement influencé des pratiques comme la performance, la vidéo, l’installation, l’art collaboratif ou œuvré à l’édification de réseaux alternatifs tels que les artist-run space, non-profit space et artist-run community art space.
Entre Santa Barbara, Los Angeles et San Diego, l’action collective publique s’est construite autour de savoirs utopiques essaimés à leur tour dans les universités ou les écoles d’art favorisant l’émergence d’une pédagogie radicale.
Ces manières autres ou encore expérimentales de penser, de faire et d’enseigner l’art ont permis une déconstruction de certains canons hérités d’une tradition et d’une histoire de l’art européennes tout en œuvrant à la remise en cause de l’american way of life. In the Canyon, Revise the Canon.

Malin Gabriella Nordin
‘Fruits of Yesterday’s Harvest’ (SP058)

Malin Nordin Shelter Press
Malin Nordin Shelter Press
Malin Nordin Shelter Press

Malin Gabriella Nordin ‘Fruits of Yesterday’s Harvest’

Technical

24 pages
14 x 20 cm
black / white offset
2015
first edition of 1000 copies
saddle stitched

Credits

All works by Malin Gabriella Nordin
Art direction, editing and design by Tony Cederteg

About the artist

My work consists of fragments reconstructed from memories, dreams and surroundings where past and present no longer work as isolated units. My overall process is my own game of telephone, where I move between different mediums and techniques. Something that started out as a collage on paper might become a sculpture and later a painting from another point of view, constantly changing in the search for the right medium and size for each piece. These changes in material, size and technique always involve a translation in process. During the process the qualities change but also how I think about the piece. It becomes a new character with different qualities and abilities, or sometimes, it’s still the same character but with new features.

About the Book

Hey you
you there
why don’t you walk right in, it’s okay
turn to the left, a little bit further, now you’re in front of a new territory
never been here or seen it before, it’s time to explore these feelings of yours.

Look upstairs, it’s getting hot
the air is rare cause there is something funny in a big scale
what can it be, is it smiling at me
following me, like if I was its key
there is more out there, but we’re just passing through, crossing paths, I’m your clue.

Just follow the line
it’s all up in the sky
stormy weathers passing by
I see you, don’t think you can escape
I will blow you in other directions to the ones you can’t ache.

Anything can in the end, break away from someone’s gaze
that is what is up right now and what is not will down your mouth.
Watch your step it’s getting wet, let’s find a way to stand up straight
don’t count to grey, it’s all these in-betweenness that keeps me A OK.

Let’s give some space for the ones that shine
bright and purple, eyes come closer
drying up ’til all crust falls off
getting splashed, confusion grows in a massive class rap.

Step it up, shake it well, give it all, celebrate, crossing fingers, eyes don’t lie
making patterns in the sky, mourning, yearning calculate, all these colors join embrace
shades on top of each other like memories of lost space
keeping company, letting be, keep on counting, soon we’ll be free.

Wild and free as we can be, thick and red, coming together, pulsating now and for ever
full frontal and down through a hole, revisit the darkness, black is low
changing colors, moving by, a couple steps further and you will roll over
let all tears sail away when the horizon come closer, memories fade and the sun keeps us pale.

These are the fruits of yesterday’s harvest, silk worms are working, the mass is falling
let there be light, neither day nor night
wave your flag
raise it high
let’s get wasted
and cruise right by.

Text by: Alexandra Karpilovski

Chris Duncan
‘Moon’ (SP057)

chris duncan shelter press

Chris Duncan ‘Moon’

Technical

46 pages / 23 imaegs
21 x 29,7 cm
black risograph
2014
first edition of 100 copies
saddle stitched

About the book

Risographed variations on moon pictures standing as a spontaneous reflexion on print making.

Chris Duncan is an Oakland-based artist who employs repetition and accumulation as a basis for experiments in visual and sound based media. Often in flux between maximal and minimal, Duncan’s work is a constant balancing act of positive or negative, loud or quite, solitary or participatory and tends to lead towards questions regarding perception, experience and transcendence. Outside of his studio practice he organizes events and runs a small artist book press and record label called LAND AND SEA with his wife. Duncan earned his BFA from the California College of Arts and Crafts and his Masters Degree in Art Practice from Stanford University.