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

Clic here to ORDER → 18 euros

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)
TENT, Rotterdam (29 September 2017)

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

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

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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.