Estelle Hanania
‘IT’S ALIVE! A travers l’œuvre de Gisèle Vienne’ (SP100)

SP100 Estelle Hanania Gisele Vienne Shelter Press It's Alive

SP100 Estelle Hanania Gisele Vienne Shelter Press It's Alive

SP100 Estelle Hanania Gisele Vienne Shelter Press It's Alive

SP100 Estelle Hanania Gisele Vienne Shelter Press It's Alive

SP100 Estelle Hanania Gisele Vienne Shelter Press It's Alive

SP100 Estelle Hanania Gisele Vienne Shelter Press It's Alive

SP100 Estelle Hanania Gisele Vienne Shelter Press It's Alive


Limited edition

Limited edition with hand made color print, unframed, 18 x 24 cm, signed and numbered.
Available during the preorder period only, until Dec. 3rd, 2019.

Estelle Hanania
IT’S ALIVE! A travers l’œuvre de Gisèle Vienne

192 pp.
thread-swened hardcover
blind debossing on front and back cover with foilblocked typography on spin
4 colors offset
Format: 215 x 270 mm
Print run: 1000 copies
Language: French / English
Rennes, December 2019
ISBN: 978-2-36582-019-6

45€ / ORDER REGULAR EDITION   150€ / ORDER LIMITED EDITION

BOOKLAUNCH
— December 3rd, 2019 at Yvon Lambert, 14 rue des Filles du Calvaire 75003 Paris

ABOUT   IT’S ALIVE! à travers l’oeuvre de Gisèle Vienne, the new book from French photographer Estelle Hanania, gathers over ten years of collaboration and archives revolving around the artistic universe of Gisèle Vienne.
A subjective monography on the choreographer’s work, the present book makes for one of Estelle Hanania’s densest cluster of images to date, arraying a collection of photographs that spans from 2008 to 2019.
For Estelle Hanania, whose work has previously been featured twice by Shelter Press, the human body has proven to be a limitless source of inspiration. Her ability at capturing the essence of Gisèle Vienne’s vision, through her acute visual understanding of bodies and objects, as well as her knack for building natural bridges between Gisèle’s performances and the whole of her photographic endeavour, make this new publication a much essential milestone in Estelle’s career.
Shaking up the foundations of the classic live-performance book as we know it, It’s Alive! offers a singular take on the work of Gisèle Vienne, inviting the reader to look from beyond the stage’s borders, taking a step back and shifting perspectives, allowing to envision the whole of Vienne’s body of work under a fresh new light; the heart of the book deploying in truly free and sensible fashion, while eschewing the chronological, and/or thematic approach usually associated with such efforts.
An ambitious photographic project in full resonnance with Shelter Press’ aspirations, it is with particular emotion that we welcome this title, reference SP100, to the fold – a number bound to establish as a landmark issuing in our catalogue.

A PROPOS   IT’S ALIVE! à travers l’œuvre de Gisèle Vienne, nouveau livre de la photographe française Estelle Hanania, regroupe dix années de collaboration et de documentation autour du travail de Gisèle Vienne.
Monographie subjective dédiée à l’œuvre de la chorégraphe, le livre propose l’un des corpus d’images les plus dense d’Estelle Hanania, présentant un ensemble de photographies réalisées entre 2008 et 2019.
Pour Estelle Hanania, dont le travail a déjà fait l’objet de deux ouvrages publiés par Shelter Press, le corps humain est une source d’inspiration sans limite. Son habileté à capturer l’essence du travail de Gisèle Vienne, par son regard unique sur les corps et les objets, mais aussi en créant des ponts naturels entre ces spectacles et l’ensemble du son travail photographique, fait de ce nouvel ouvrage un élément majeur dans sa carrière.
Bousculant les canons du livre de spectacle vivant, It’s Alive! pose un regard singulier sur le travail de Gisèle Vienne, invitant le lecteur à regarder hors du plateau, à se positionner à une distance nouvelle, mais aussi à envisager l’ensemble de l’œuvre de la chorégraphe sous un jour nouveau, le contenu du livre se déployant de façon sensible et libre, se détachant d’une approche chronologique ou thématique propre à ce type d’ouvrage.
Livre de photographie ambitieux et en complète résonance avec le catalogue de Shelter Press, c’est avec une émotion non dissumulée que ce titre, portant le numéro de référence SP100, s’inscrit comme un jalon essentiel de notre catalogue.

Photographs: Estelle Hanania
Texts: Pierre Dourthe, Estelle Hanania, Gisèle Vienne
Translation: John Doherty
Design: Bartolomé Sanson and Estelle Hanania

ESTELLE HANANIA   Estelle Hanania’s photographs quite brilliantly meld the real and imaginary—the extraordinary and the incidental—to create contemporary visual folklore. While attending the School of Fine Arts in Paris, Estelle Hanania experimented with photography and honed her skills as a freelance art director. A month after receiving her degree, Hanania was awarded the 2006 Hyères Festival’s photography prize.
Hanania has created remarkable publications since 2009, beginning with a self-published zine that marks her ongoing collaboration with performance artist Christophe Brunnquell, and Parking Lot Hydra (Decathlon, 2009). Myriorama (Gottlund Verlag, 2010), A Propos De Gisèle (in collaboration with choreographer Gisèle Vienne, JSBJ, 2011), and Dondoro (Kaugummi, 2011), are each distinct experiences of Hanania’s encounters and collaborations. Her most recent books; Glacial Jubilé (2013), Eternelle Idole (book and vinyl by Stephen O’Malley, 2015), and Happy Purim (2015) are all published with Shelter Press. In addition to her book-making, Hanania has exhibited her work internationally for the past ten years. For Estelle Hanania, the human form is an endless source of inspiration. Her capacity for balancing instinct, observation, improvisation and precision makes her images uniquely theatrical and unforgettable.
Hanania’s photographs have appeared in publications including AnOther Magazine, Garage, Luncheon, M le Magazine du Monde, Mémoire Universelle, POP, T: The New York Times Style Magazine, American Vogue, and British Vogue. She has been commissioned by fashion brands including Dior, Gucci, Lemaire, and Nina Ricci.

Les photographies d’Estelle Hanania mêlent subtilement le réel et l’imaginaire – l’extraordinaire et le prosaique – pour créer son propose folklore visuel. Etudiante à l’école des Beaux Arts de Paris, Estelle Hanania expérimente alors le tirage argentique grand format tout en travaillant comme directrice artistique free lance. En 2006, un mois après avoir obtenu son diplôme, Hanania reçoit le grand prix du festival de photographie de Hyères .
Depuis 2009, la photographe a produit plusieurs publications allant d’un fanzine auto-publié qui marqua le début de sa collaboration avec l’artiste Christophe Brunnquell, à Parking Lot Hydra (Decathlon, 2009). Myriorama (Gottlund Verlag, 2010), et Dondoro (Kaugummi, 2011), toutes ces publications témoignent des rencontres et collaborations successives d’Hanania. Ses livres plus récents; Glacial Jubilé (2013), Eternelle Idole (livre et vinyl de Stephen O’Malley, 2015), et Happy Purim (2015) sont tous publiés chez l’éditeur indépendant Shelter Press. En parallèle à ses publications, Estelle Hanania expose internationalement depuis ces 10 dernières années. Pour la photographe, le corps humain est une source infinie d’inspiration. Sa capacité à allier instinct, observation, improvisation et précision rendent ces images théâtrales et marquantes.
Estelle Hanania collabore régulièrement avec la presse, notamment pour des publications telles qu’ AnOther Magazine, T: The New York Times Style Magazine, American Vogue, Luncheon, M le Magazine du Monde, Mémoire Universelle, POP, entre autres. Des marques de mode telles que Dior, Lemaire, et Nina Ricci ont également collaboré avec la photographe. Son dernier livre « It’s Alive! A travers l’oeuvre de Gisèle Vienne » publié à nouveau chez Shelter Press rassemble dix ans de collaboration avec la chorégraphe Gisèle Vienne.

GISELE VIENNE   Gisèle Vienne was born in 1976. She is a franco-austrian artist, choreographer and director. After graduating in Philosophy, she studied at the puppeteering school Ecole Supérieure Nationale des Arts de la Marionnette. She works regularly with, among other, the writers Dennis Cooper, the musicians Peter Rehberg and Stephen O’Malley, and the light designer Patrick Riou.
Since the company was founded in 1999, 14 shows have been created. She has choreographed and directed, in collaboration with the writer Dennis Cooper, I Apologize (2004) and Une belle enfant blonde / A young, beautiful blond girl (2005), Kindertotenlieder (2007) and Jerk, a radioplay in the framework of the “Atelier de Création Radiophonique” of France Culture (June 2007), the play Jerk (2008), Eternelle Idole (2009) with an ice skater and an actor, This is how you will disappear (2010), LAST SPRING: A Prequel (2011), Showroomdummies #3 rewriting of the piece created in 2001 with Etienne Bideau-Rey that is now part of the CCN-Ballet de Lorraine repertoire, The Pyre (2013), The Ventriloquists Convention (2015) in collaboration with Puppentheater Halle and Crowd (2017). Since 2005, she has been frequently exhibiting her photographs and installations.
Gisèle Vienne, Dennis Cooper, Peter Rehberg and Jonathan Capdevielle published an audio book in 2 versions French and English: JERK / Through Their Tears (publisher DIS VOIR). She has published a book 40 PORTRAITS 2003-2008, in collaboration with Dennis Cooper and Pierre Dourthe (publisher P.O.L). Currently she is working on a show based on Robert Walser short story Der Teich.

Née en 1976, Gisèle Vienne est une artiste, chorégraphe et metteure en scène franco-autrichienne. Après des études de philosophie et de musique, elle se forme à l’Ecole Supérieure Nationale des Arts de la Marionnette. Elle travaille depuis régulièrement avec, entre autres collaborateurs, l’écrivain Dennis Cooper, les musiciens Peter Rehberg et Stephen O’Malley et l’éclairagiste Patrick Riou.
Créée en 1999, la compagnie compte aujourd’hui 14 pièces à son répertoire. Les premières pièces ont été créées en collaboration avec Etienne Bideau-Rey, Spendid’s (2000), Showroomdummies (2001) qui a par la suite été réécrite en 2009 et est entrée au répertoire du CCN-Ballet de Lorraine en 2013, Stéréotypie (2003) et Tranen Veinzen (2004). Dix pièces mises en scène par Gisèle Vienne tournent régulièrement en Europe et dans le monde : I Apologize (2004), Une belle enfant blonde / A young beautiful blonde girl (2005), Kindertotenlieder (2007), Jerk, un radiodrame (2007) dans le cadre de l’atelier de création radiophonique de France Culture, sa version scénique Jerk (2008), Eternelle Idole (2009), pièce pour une patineuse et un comédien, This is how you will disappear (2010), LAST SPRING : A Prequel, installation pour une poupée robotisée (2011), The Pyre (2013), The Ventriloquists Convention (2015) créé en collaboration avec le Puppentheater Halle et Crowd (2017).
Depuis 2005, Gisèle Vienne expose régulièrement ses photographies et installations. Elle a publié un livre + CD Jerk / Through Their Tears en collaboration avec Dennis Cooper, Peter Rehberg et Jonathan Capdevielle aux Editions DISVOIR en 2011 et un livre 40 Portraits 2003-2008, en collaboration avec Dennis Cooper et Pierre Dourthe, aux Editions P.O.L en février 2012.
Gisèle Vienne prépare actuellement une mise en scène du texte de Robert Walser l’Etang.



Félicia Atkinson
‘A Forest Petrifies: Diamond Feedback’ (SP113)

Félicia Atkinson A Forest Petrifies Diamond Feedback

Félicia Atkinson A Forest Petrifies Diamond Feedback

Félicia Atkinson A Forest Petrifies Diamond Feedback

Félicia Atkinson A Forest Petrifies Diamond Feedback

Félicia Atkinson A Forest Petrifies Diamond Feedback

More images coming soon.

Félicia Atkinson

A Forest Petrifies: Diamond Feedback

56 pp.
perfect bound
softcover
2 colors offset (black + 1 PMS)
Format: 110 x 180 mm
Print run: 700 copies
Language: English
Rennes, October 2019
ISBN: 978-2-36582-035-6

ORDER

ABOUT   A forest petrifies: Diamond Feedback is the first part of a larger novel in several episodes.
Inspired by the Petrified Forest in Arizona and its ability to change over time from an organic to a mineral state, the story was concieved by the musician and artist Félicia Atkisnon over the past five years, while its on-going writing has been the starting point of many of Atkinson’s music lyrics and recent records and exhibitions.

A part of the book takes place in the middle of the desert in an indistinct future. Two men are having a discussion by a fire in a modernist house. The music they are listening to is not emitted by a device but by themselves, it’s a new kind of technology. They look at the embers of the fire and it reminds them of a painting by Jeronemus Bosch. They suddenly wonder if those embers could be a republic of some kind.

A Forest Petrifies is a novel about the perception of time and how some places mark people’s minds.

Text: Félicia Atkinson
Translation: Rachel Valinsky
Design: Bartolomé Sanson

EXTRACT   An old dream came back to me, one of those adolescent, nocturnal visions: I am a crocus, most likely, under the snow. I wait for the thaw, which does not come. I start to look around me. What is this covered up environment made of? What’s this terrifying basement? I realize that I am the only flower left, that around me are only grass, insects, and small flames. I wonder, flames under the snow? How clever! Shouldn’t they make the snow melt? I begin to shiver, praying that one of them devours and warms me up all at once. I forget the word for hell, and distract myself from what is happening to me by trying to find it. I wake up before finding out if the snow, and the earth, had completely melted.



Collectif
‘En parlant, en écoutant’ (SP112)

Shelter Press Speaking and Listening

Shelter Press en parlant en écoutant

Shelter Press en parlant en écoutant

Shelter Press en parlant en écoutant

Shelter Press en parlant en écoutant

Shelter Press en parlant en écoutant

Shelter Press en parlant en écoutant

David Antin, Félicia Atkinson, Charles Bernstein, Julien Bismuth, François J. Bonnet, David Horvitz, Sophie Kaplan, Hanne Lippard, Yann Sérandour, Christine Sun Kim, Christian Xatrec

En parlant, en écoutant

190 pp.
couverture souple cousue avec rabats
reliure otabind
3 couleurs offset (noir + 2 PMS)
Format : 240 x 320 mm
Tirage : 600 copies
Langue : Français
Rennes, Mai 2019
ISBN : 978-2-36582-029-5

COMMANDER

A PROPOS   En parlant, en écoutant est un livre imaginé par les artistes Yann Sérandour, Félicia Atkinson, Julien Bismuth et par la curatrice Sophie Kaplan, autour des questions de récit, d’écoute et d’improvisation.

   Il est la dernière occurrence du cycle « Alors que j’écoutais moi aussi […] », développé par La Criée centre d’art contemporain en 2017 et 2018, qui s’est déployé dans et hors-les-murs sous différents formats : expositions, événements, résidences.
Au centre d’art, cinq expositions collectives et personnelles et leurs évènements liés se sont succédés et répondus, comme autant d’occasions d’opérer des zooms mais aussi d’embrasser plus largement les différentes formes du récit.
Ce cycle s’est accompagné d’un programme hors-les-murs aux temporalités et localisations variées : une résidence croisée en Bretagne et aux États-Unis, un projet de recherche-action à la Bibliothèque Kandinsky du Musée national d’art moderne à Paris, un temps de recherche au Getty Research Institute à Los Angeles, une programmation de performances et/ou de rencontres à Los Angeles et New York (Human Ressources, LACMA, Hammer Museum,
Los Angeles ; Museum of Contemporary Art, San Diego ; Artists Space et Emily Harvey Foundation, New York).

   Dans la continuité de ces expériences, le livre est pensé comme une voix à part entière, générant de nouveaux contenus propres à ce support.

   Il se construit autour d’un long texte inédit du poète et performeur américain David Antin. Intitulé cadrer et être cadré, ce texte enrichit la connaissance de l’œuvre d’Antin, affirmant un certain rapport des artistes à leur travail, où les frontières entre l’art et la vie sont librement franchies.
Lui répondent les contributions, elles aussi inédites, de poètes, penseurs et artistes de générations et nationalités différentes, qui ont en commun de s’interroger sur les questions d’oralité, d’écoute, de narration, de transmission, d’improvisation, de traduction, d’énoncé et d’énonciation, de texte comme partition à activer.

   En parlant, en écoutant définit ainsi les contours d’une scène transatlantique et intergénérationnelle, où se croisent des artistes pour qui, en dialogue avec celui qui regarde et celui qui écoute, l’œuvre est un objet à toujours redéfinir, rejouer et raconter à nouveau.

Avec des textes de David Antin, Félicia Atkinson, Charles Bernstein, Julien Bismuth, François J. Bonnet, David Horvitz, Sophie Kaplan, Hanne Lippard, Yann Sérandour, Christine Sun Kim, Christian Xatrec.

Co-publié par Shelter Press et La Criée centre d’art contemporain
avec le soutien du CNAP, Centre National des Arts Plastiques.



Various Artists
‘Speaking and Listening’ (SP111)

Shelter Press Speaking and Listening

Shelter Press Speaking and Listening

Shelter Press Speaking and Listening

Shelter Press Speaking and Listening

Shelter Press Speaking and Listening

Shelter Press Speaking and Listening

Shelter Press Speaking and Listening

David Antin, Félicia Atkinson, Charles Bernstein, Julien Bismuth, François J. Bonnet, David Horvitz, Sophie Kaplan, Hanne Lippard, Yann Sérandour, Christine Sun Kim, Christian Xatrec

Speaking And Listening

240 pp.
thread-sewn softcover with flaps
otabind binding
3 colors offset (Black + 2 PMS)
Size: 170 x 227 mm
Print run: 600 copies
Language(s): English
Rennes, May 2019
ISBN: 978-2-36582-028-8
Edition Number: 1

ORDER

ABOUT   Speaking and Listening is a book conceived by the artists Yann Sérandour, Félicia Atkinson, Julien Bismuth, and the curator Sophie Kaplan, revolving around questions of narrative, listening and improvisation.

   It is the last episode in the cycle While I was also listening […], developed by La Criée contemporary art center in 2017 and 2018, which included in-house and extra muros events in the form of exhibitions, events, and residencies.

   At the art center, five group and solo exhibitions with their associated events succeeded and dialogued with one another, providing both specific and general perspectives onto different forms of narration.
   The cycle was accompanied by an extra muros program that unfolded at different times and in different locations: concomitant residencies in Bretagne and the US, a project of research/action at the Kandinsky Library of the Musée national d’art Moderne in Paris, a period of research at the Getty Research Institute in Los Angeles, and a series of events in Los Angeles and New York (Human Resources, County Museum of Art, Hammer Museum Los Angeles, Museum of Contemporary Art, San Diego, Artist’s Institute and Emily Harvey Foundation, New York).

   In the continuum of these experiences, the book has been designed to be a distinct voice, generating new contents appropriate to the medium.
The book is centered around a long unpublished transcript of a talk poem by the American poet and performance artist David Antin, entitled framing and being framed. Adding to the corpus of Antin’s works, this typically autobiographical text reveals Antin’s eloquent use of quotidian events to philosophical ends. The contributions that respond to Antin’s text are themselves innovative, composed by poets, thinkers and artists from different generations and nationalities, linked by their common interest in investigating questions of orality, listening, narrative, transmission, improvisation, translation, utterance and enunciation.

   Speaking and Listening thus defines the contours of a transatlantic and intergenerational scene, for whom the work of art — in dialogue with its viewers, readers, and listeners — is an object to be redefined, retold and replayed again and again.

With texts by David Antin, Félicia Atkinson, Charles Bernstein, Julien Bismuth, François J. Bonnet, David Horvitz, Sophie Kaplan, Hanne Lippard, Yann Sérandour, Christine Sun Kim, Christian Xatrec.

Co-published by Shelter Press and La Criée centre d’art contemporain
with the generous support of CNAP, Centre National des Arts Plastiques.

Content

   David Antin   Framing and being framed
   François J. Bonnet   Not all music is music…
   David Horvitz   Some recipes
   Julien Bismuth   The onlywhere
   Yann Sérandour   ]…[
   Hanne Lippard   Frames
   Christian Xatrec   A conversation
   Félicia Atkinson   Listening to the air I can’t hold
   Christine Sun Kim   Just music
   Charles Bernstein   UP Against Storytelling, for David Antin
   Sophie Kaplan   While I was also listening
   David Antin   Sky poem



matali crasset
‘wood’ (SP104)

matali crasset wood shelter press

matali crasset wood shelter press

matali crasset wood shelter press

matali crasset wood shelter press

matali crasset wood shelter press

matali crasset
wood

64 pp.
Thread-sewn clothbound hardcover
Drawing on front cover in silver foil
4 color offset
Size: 13.9 x 19 cm
Print run: 600 copies
Language(s): English
Rennes, April 2019
ISBN: 978-2-36582-033-2
Edition Number: 1

ENGLISH Following her Shelter Press debut (les capes / SP097), in collaboration with The Cultural Gallery, Monaco, paris-based designer matali crasset shares today the second output in our publication series together. ‘wood’ presents the ‘maisons sylvestre’, four small dwellings or ‘feral houses’ located within the 5000-hectares forest of the dompcevrin, fresnes-au-mont, lahaymeix, nicey-sur-aire, pierrefitte-sur-aire and ville-devant-beirain along the sentier du vent pathway in France. Revolving around those cabins, a spoon, a chair, blankets and apples are shown in the book.

FRANCAIS Deuxième collaboration entre matali crasset et Shelter Press et The Cultural Gallery Monaco, le livre ‘wood’ présente les ‘maisons sylvestres’, projet réalisé avec Vent des Forêts situées au cœur du département de la Meuse, dans 5000 hectares de forêts, à proximité des villages de Dompcevrin, Fresnes-au-Mont, Nicey-sur-Aire, Pierrefitte-sur-Aire et Ville-devant-Belrain. Autour de ces maison gravitent des cuillères, des couvertures, une chaise, et des pommes.

Published at the occasion of ‘wood’, an exhibition by matali crasset at The Cultural Gallery for Nomad St. Moritz.
February 7 – 11, 2019. Published with the support of The Cultural Gallery



Spectres
‘Composer l’écoute / Composing Listening’ (SP103)

Spectres Shelter Press INA GRM

Spectres Shelter Press INA GRM

Spectres Shelter Press INA GRM

Spectres Shelter Press INA GRM

Spectres Shelter Press INA GRM

SPECTRES
Composer l’écoute / Composing listening

228 pp.
thread-sewn softcover
1 color offset
Size: 135 x 200 cm
First edition, first printing: 1250
First edition, second printing: 1250
Language(s): French / English
Rennes, February 2019
ISBN: 978-2-36582-031-8
Edition Number: 2

ORDER / COMMANDER

WITH TEXTS BY / AVEC DES TEXTES DE

Félicia Atkinson, François Bayle, François J. Bonnet, Drew Daniel, Brunhild Ferrari, Beatriz Ferreyra, Stephen O’Malley, Jim O’Rourke, Eliane Radigue, Régis Renouard Larivière, Espen Sommer Eide, Daniel Teruggi, Chris Watson

ENGLISH

This book has been conceived as both a prism and a manual. Following the “traditional” arc of electroacoustic composition (listen—record—compose—deploy—feel), each of the contributions collected together here focuses in on a personal aspect, a fragment of that thrilling territory that is sonic and musical experimentation.
Although the term “experimental music” may now have be understood as referring to a genre, or even a particular style, we ought to hold on to the original use of this term, which was based more on an approach than on any particular aesthetic line to be followed. The experimental is first and foremost a spirit, the spirit of the exploration of unknown territories, a spirit of invention which sees musical composition more as a voyage into uncertain territories than as a self-assured approach working safe within the bosom of fully mapped out and recognized lands.

FRANCAIS

Le livre qui suit a été pensé comme un prisme et un manuel. Suivant l’arc « traditionnel » de la composition électroacoustique (écouter — enregistrer — composer —déployer — ressentir), chacune des contributions regroupées ici pointe un aspect personnel, fragment de territoire passionnant qu’est celui de l’expérimentation sonore et musicale. Si le terme de musique expérimentale a pu être assimilé à un genre, voir à un style, il ne faut pour autant pas oublier l’usage initial de ce terme, qui était basé plus sur la démarche que sur la ligne esthétique adoptée.
L’expérimental, en effet, est d’abord un esprit, un esprit d’exploration des territoires inouïs, un esprit d’invention qui voit dans la composition musicale plus un voyage vers des terres incertaines qu’une démarche assurée produisant dans le giron de terres balisées et reconnues.

CONTENTS / SOMMAIRE

1. Chris Watson
      Recording
      Enregister

2. Brunhild Ferrari
      The Microphone’s Gaze
      Le regard du microphone

3. Espen Sommer Eide
      Exercises in Non-Human Listening
      Exercices d’écoute non-humaine

4. Beatriz Ferreyra
      Perceive, Feel, Hear…
      Percevoir, ressentir, écouter…

5. Drew Daniel
      Towards a Heterology of Sound: on Bataille and Musique Concrète
      Vers une hétérologie de son : à propos de Bataille et de la musique concrète

6. Eliane Radigue
      Time Is of No Importance
      Le temps n’a pas d’importance

7. Stephen O’Malley
      Sound Matters
      Sons élémentaires

8. François J. Bonnet
      Underneath Listening
      En deçà de l’écoute

9. Jim O’Rourke
      Chair and Table
      Une chaise et une table

10. Régis Renouard Larivière
      Acousmatic Recreations
      Récréations acousmatiques

11. Daniel Teruggi
      Spaces of Mind
      Les espaces de l’esprit

12. Félicia Atkinson
      On the Patio: The Voice, Doubt, Perspective and Immersion
      Dans le patio : la voix, le doute, la perspective et l’immersion

13. François Bayle
      Space in Question
      L’espace en question

Published with the support of INA GRM




Julien Carreyn
‘Les rendez-vous de l’écluse’ (SP098)

Julien Carreyn Les Rendez Vous de l'Ecluse Shelter Press

Julien Carreyn Les Rendez Vous de l'Ecluse Shelter Press

Julien Carreyn Les Rendez Vous de l'Ecluse Shelter Press

Julien Carreyn Les Rendez Vous de l'Ecluse Shelter Press

Julien Carreyn Les Rendez Vous de l'Ecluse Shelter Press

Julien Carreyn Les Rendez Vous de l'Ecluse Shelter Press

Julien Carreyn Les Rendez Vous de l'Ecluse Shelter Press

Julien Carreyn Les Rendez Vous de l'Ecluse Shelter Press

Julien Carreyn Les Rendez Vous de l'Ecluse Shelter Press

JULIEN CARREYN
Les rendez-vous de l’écluse

64 pp.
with 32 colour photos
black saddle stitching softcover
4 color offset
Size: 21 x 29 cm
Print run: 480 copies + 20 special edition
Language(s): —
Rennes, January 2019
ISBN: 978-2-36582-032-5
Edition Number: 1

ENGLISH A few month after his Shelter Press debut with the publication ‘Photographies du soir’ (SP095), ‘Les Rendez vous de l’écluse’ presents a new serie of polaroid by Paris-based artist Julien Carreyn. Following a serie of locks in the countryside, the book offers a derive over the course of 32 new images.

Limited edition of 500 copies, printed on high gloss paper with gloss varnish on front cover. Bound with black staples.



Uriel Orlow
‘Affinités des sols • Soil Affinities’ (SP106)

Uriel Orlow affinités des sols soil affinities shelter press

Uriel Orlow affinités des sols soil affinities shelter press

Uriel Orlow affinités des sols soil affinities shelter press

Uriel Orlow affinités des sols soil affinities shelter press

Uriel Orlow affinités des sols soil affinities shelter press

Uriel Orlow affinités des sols soil affinities shelter press

URIEL ORLOW
Affinités des sols • Soil Affinities

136 pp.
thread-sewn softcover with dustjacket
3 color offset with black/white images
Size: 24 x 32 cm
Print run: 800 copies
Language(s): French + English
Rennes / Paris, January 2019
ISBN: 978-2-36582-030-1
Edition Number: 1

ENGLISH Soil Affinities, although a project unto itself, started with the desire by Uriel Orlow to share the research that accompanied and structured his project with the public, hence the eponymous title, developed from Les Laboratoires d’Aubervilliers between April 2017 and December 2018. The book is structured around a gathering of black and white images and of a notebook which regroups the body of texts. These two groups induce a dialogue for free circulation between the narratives proposed by the authors, functioning in resonance with the image of the story simultaneously local (Aubervilliers and certain agricultural zones of Mali and Senegal) and global (the story of these localities in the light of colonial and post-colonial history and the geopolitical and economic movements throughout the world that they implied) that this plant history reveals in the book and in the artistic project called Soil Affinities.

FRANCAIS Affinités des sols, tout en étant un projet en soi, répond au désir d’Uriel Orlow de partager avec le public les recherches qui ont accompagnées et structurées son projet au titre éponyme, déployés depuis Les Laboratoires d’Aubervilliers entre avril 2017 et décembre 2018. Le livre se structure autour d’un ensemble d’images en noir et blanc et d’un cahier qui regroupe le corpus des textes. Ces deux ensembles invitent au dialogue, à la libre circulation entre les récits proposés par les auteurs, le tout fonctionnant en se faisant écho les uns aux autres, à l’image de l’histoire à la fois locale (Aubervilliers, certaines zones agricoles du Mali et du Sénégal) et globale (l’histoire de ces localités en regard de l’histoire coloniale et (post-)coloniales et des circulations géopolitiques et économique à travers le monde entier qu’elles ont impliquées) que cette histoire des plantes révèlent dans le livre et le projet artistique Affinités des sols.

With texts by Abdoulaye Barry, Alexandra Baudelot, Bernadette Lizet, Jean-Michel Roy, Bouba Touré, Françoise Vergès, Serge Volper, Anne-Elizabeth Wolf.

Co-published by Les Laboratoires d’Aubervilliers / Shelter Press,
with the generous support of CNAP, Centre National des Arts Plastiques.



David Horvitz
‘When The Ocean Sounds’ (SP102)

David Horvitz When the ocean sounds Shelter Press

David Horvitz When the ocean sounds Shelter Press

David Horvitz When the ocean sounds Shelter Press

David Horvitz When the ocean sounds Shelter Press

DAVID HORVITZ
WHEN THE OCEAN SOUNDS

104 pp.
loose sheets housed in silkscreen PVC sleeve
1 color offset
Size: 24 x 32 cm
Print run: 500 copies
Language(s): English
Rennes / Paris, November 2018
ISBN: 978-2-36582-026-4
Edition Number: 1

ENGLISH David Horvitz made the score ‘When the ocean sounds’ for human voices intended to mimic the sound of the sea.
The work is linked to an idea of maritime biologist Rachel Carson, who wrote that the percentage of salt in the sea is equal to the salinity of our blood. This idea supports a theory that all life comes from the sea. Imagine the first life forms, with porous skin or cell walls, through which the sea could freely flow into and out of their small bodies. At a certain moment, however, these life forms evolve. They come out of the sea and develop a different type of skin, one that allows them to keep liquids within their bodies. These liquids are ultimately seawater, and so the creatures – as do we – carry the sea with them, no matter where they go. In a way, transcribing and performing the sounds of the sea are exercises in listening and meditating out loud. At the same time, they are exercises in imagining or remembering that we are actually
part of the sea.

Intended to be performed by 51 participants, the score is printed on 60gsm uncoated paper, and slipped in a silkscreened PVC sleeve, with instructions printed on front. First edition of 500 copies.



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 et commissaire. Elle a collaboré avec des institutions telles que le Musée d’Art et d’Histoire du judaïsme (Paris), Flat Time House (Londres), le Credac (Ivry), le Frac Aquiatine (Bordeaux), la Tate Modern (Londres) ou le Centre Pompidou (Paris)… Elle est membre de CaroSposo, un collectif de programmation spécialisé en cinéma et performance.
Elle enseigne l’esthétique à École des Beaux-arts de Lyon et tient un séminaire théorique aux Arts Décoratifs à Paris. 
Parmi les ouvrages déjà parus: 
Brice Dellsperger, Posture  et talons hauts (2011, Les presses du réel, Toasting Agency, Sternberg Press)
Bruno Pélassy, HIV+Cinema (2015, Dilecta), 
Palestine, Prénom Charlemagne, Meshugga Land (2017, Les presses du réel)
Juntos en la Sierra, Speech Act, identités et globalisation (Shelter Press, 2018).
Elle travaille actuellement à la rédaction d’une monographie consacrée à l’oeuvre d’Éliane Radigue et une autre consacrée au travail de Marc Camille Chaimowicz.

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

Order

ORDER

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
‘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

Order

ORDER

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

Order

ORDER

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

Order

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

ORDER 

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

logo-support

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

Order

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: LES PRESSES DU REEL
— UK / EU: ANTENNE
— AU / NZ : PERIMETER
— 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.

Press

New York Times
American Suburb X
Le Monde
Another
Vice

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.

Suzanna Zak
‘Sun + Soil / Moon + Dirt {Bootleg}’ (SP056)

SP056 SUZANNA ZAK
SP056 SUZANNA ZAK
SP056 SUZANNA ZAK
SP056 SUZANNA ZAK

Suzanna Zak ‘Sun + Soil / Moon + Dirt {Bootleg}’

Technical

58 pages
21 x 29,7 cm
black risograph
2014
first edition of 120 copies
saddle stitched

About the book

*** Risographed bootleg of this 2013 publication.
Suzy brilliant debut as a concrete poet.
A few photographs has randomly sneaked in the bootleg. ***

from Suzanna Zak to Shelter Press – may 20th; 2013
« I will be spending a lot of my Summer living in a tent in Northern Canada picking morel mushrooms. I will be living in the bush and won’t really have much access to internet / phones / etc etc. At first I wanted to give you guys writing before I left for this trip, however, I’m thinking at this point working on this poetry project on my off time during picking couldn’t be more appropriate. I have a decent amount written already but I think creating under the circumstances of living in the woods would be really nice. I’ll have time to focus on a solid grouping of works. »

Alberto García del Castillo
‘Retrospective’ (SP052)

albert-garcia-del-castillo-shelter-press
Alberto Garcia del Castillo Shelter Press
Alberto Garcia del Castillo Shelter Press
Alberto Garcia del Castillo Shelter Press

Alberto García del Castillo ‘Retrospective’

Technical

58 pages
11 x 18 cm
black & white
perfect bound / soft cover
first edition of 1,000 copies
2014

Sold out at source

Retail and wholesale

Les Presses Du Reel (BE/CH/FR)
Antenne Books (UK/Rest of Europe)
Motto Distribution (Germany)
Printed Matter (USA)
Perimeter Books (AUS/NZ)

Credits

Contributions:
B. Boofy and William Bonifay, Lars Laumann, Jurgen Ots, César Segarra

Copyediting and proofreading:
Liz Allan and Marnie Slater

Design:
Bartolomé Sanson

Support:
Wallonie-Bruxelles International and RUPERT

About the book

Alberto García del Castillo’s first novel, Retrospective, is a comedy-science-fiction novelette about ‘faggotry’ and the art world; depicting a retour-au-passé in contemporary painting and waving to some of the most beautiful homosexuals on Earth. Flaunting otherness, the alert reader can follow a clerk of The Land of Sculptures whilst he encounters the pretty faces of The Painter, The Foreign Painter, The Tyrolese Painter and other people doing art. Retrospective includes “Thumbs-Up”, a superficial analysis of the normalisation of gayness; “Why Homos Are Better”, a masterpiece of investigative journalism in two parts, that originally appeared in Agony 2 (circa 1988–93), a zine edited by B. Boofy and William Bonifay; a drawing by Jurgen Ots; a photograph by César Segarra; and a poem by Lars Laumann.

Download the first chapter in PDF

About the author

Alberto García del Castillo writes genre fiction and non-fiction 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 the co-curator of Buenos Tiempos, Int.

Readings

CAC, Vilnius (25 Nov. 2014)
Etablissement d’en face, Brussels (13 Dec. 2014)
ERG (Ecole de Recherche Graphique), Brussels (16 Jan. 2015)
Super Salon, Warsaw (19 Mar. 2015)
San Serriffe, Amsterdam (16 Apr. 2015)
J’En Suis J’Y Reste (LGBTQIF Centre), Lille (9 Jun. 2015)
Frans Hals Museum, Haarlem (13 Jun. 2015). Curated by Nieuwe Vide.
Treignac Project, Treignac (31 Jul. 2015). Curated by DATE.
La Cambre, Brussels (12 Oct. 2015)
Horseandpony Fine Arts, Berlin (19 Jan. 2016)
X Bienal de Nicaragua, Managua (14 Feb. 2016)
AIR Antwerpen, Antwerp (20 May 2016)

Press

Previously published chapters

Kopioitu (Brussels: Komplot, 2013)
YEAR magazine (Brussels: Komplot, 2013)

Felicia Atkinson
‘Improvising Sculpture As Delayed Fictions’ (SP050)

felicia-atkinson-shelter-press
felicia-atkinson-shelter-press
felicia-atkinson-shelter-press
felicia-atkinson-shelter-press
felicia-atkinson-shelter-press
felicia-atkinson-shelter-press
felicia-atkinson-shelter-press
felicia-atkinson-shelter-press

Felicia Atkinson ‘Improvising Sculpture As Delayed Fictions’

Technical

200 pages
13,5 x 20 cm
black & white
2014
first edition of 1000 copies
perfect bound / soft cover

About the artist

Felicia Atkinson is a French artist and musician graudated with honors from Les Beaux-arts de Paris.

She’s working mostly on site specific installments, paintings, drawings, texts, sculptures, music and performances through the prism of improvisation and instant composition.

Those permanent loops and impermanent objects are driven by the concepts of delay, reverberation, noise, ready mades, musique and sculpture concrete, experimentation, imagination, as so many possible “dérives” into the material frames that stand for the gallery, the book or the record.

 

About the book

Improvising sculpture as delayed fictions is the first monograph dedicated to the work of the French artist and musician Félicia Atkinson.

This books articulates her unique way of working through images and fiction: the painting and drawings will discuss the codes of improvisation with objects, sculptures, persons, landscapes.
It’s this very space hosted by the book that talks, the space of the studio, the space of the gallery, of the music or the page, physical or digital. One inside the other, as some kind of surrealistic russian doll.
As a statement disguised in a poetic novel, everybody is a foreigner, camping on some perishable and transitory spaces. The fiction allows the inner voices to become images and the archives of the pieces to shift into characters. Loops, distortions of the reality, imaginary meanings are playing together.
The books becomes a proper and new territory where art forms stand up and speak for themselves, where genres are shifting in a joyous revolution.

A propos du livre

Improvising sculpture as delayed fictions (improviser la sculpture comme des fictions différées) est la première monographie de l’artiste française Felicia Atkinson. Artiste et musicienne, son travail conjugue les codes de l’improvisation avec la sculpture, la peinture, le texte, le son et la performance. L’espace parle : qu’il soit présent (exposition, performance) ou déplacé (livre, disque, internet).

Conçu comme un texte de fiction poétique – en anglais, langue volontairement étrangère à l’auteur – ce livre rassemble textes et images sans dissociation. Les sculptures dialoguent avec l’espace de la page, les voix intérieures des objets font chœur avec des personnages imaginaires, des spectres critiques, des boucles bruitistes, et des retours à la ligne.

Le livre devient espace d’exposition, un terrain de jeu pour l’improvisation dans lequel le lecteur est invité à se perdre.
Improvising sculpture as delayed fictions se lit en temps réel, les œuvres se présentent à l’esprit, parfois bavardes, parfois silencieuses, toujours déplacées. Il s’agit d’improvisation, de composition instantanée. Chorégraphier sans domination les objets, mélanger les étiquettes, les mediums et les mots. Leur donner une place nouvelle, un genre nouveau, et laisser surgir le temps, l’autre, l’erreur et l’orage.

Peter Sutherland
‘Flames’ (SP049)

Peter Sutherland Shelter Press Zine
Peter Sutherland Shelter Press Zine
Peter Sutherland Shelter Press Zine

Peter Sutherland ‘Flames’

Technical

28 pages
17,5 x 27 cm
color (digital)
2014
first edition of 200 copies
saddle stitched

Credits

All works by Peter Sutherland

About the Book

Smoke!

and

Fire!

About the artist

Peter Sutherland lives and works in NY, USA. His films, photography, publications, and installations are intimate documents of his extensive travels, collages of encounters that form spontaneously interconnected narratives.

Travelling around the USA, Sutherland has photographed a variety of Americana imagery, from the East to the West coast. By overlaying and collaging his own photographic material, he makes associations with pop and cult imagery, opening up possibilities for interpretation. Printed onto perforated vinyl and glued onto standard plywood, or onto rocks bought by the artist at flea markets in Arizona.

Recent solo exhibitions include Whitecube (London, One Bar of Service, Stillhouse Gallery (Brooklyn); Extreme Terrain (with Andrew Sutherland), Bill Brady KC Gallery (Kansas City); and Victory Over Darkness, Half Gallery (NYC). He frequently collaborates with his brother, Andrew Sutherland, and with the Brooklyn-based collective, Still House Group



Peter Gizzi
‘Marigold & Cable’ (SP046)

Peter Gizzi Shelter Press

Peter Gizzi ‘Marigold & Cable’

Technical

48 pages
14 x 21 cm
bw xerox
2014
first edition of 100 copies
saddle stiched

SOLD OUT

About the book

Comes with the first 100 of Alex Cobb ‘Marigold & Cable’ (SP040)

Peter Gizzi was born on August 7, 1959, and grew up in Pittsfield, Massachusetts. He holds degrees from New York University, Brown University, and the State University of New York at Buffalo. His books include In Defense of Nothing: Selected Poems, 1987-2011 (Wesleyan University Press, 2014); The Outernationale (Wesleyan University Press, 2007), Some Values of Landscape and Weather (2003), Artificial Heart (1998), and Periplum (1992). He has also published several limited-edition chapbooks, folios, and artist books. His work has been widely anthologized and translated into numerous languages.

Félicia Atkinson & Bartolomé Sanson
‘The Last Frontier’ (SP042)

Bartolome Sanson Shelter Press Atkinson
Bartolome Sanson Shelter Press Atkinson
Bartolome Sanson Shelter Press Atkinson
Bartolome Sanson Shelter Press Atkinson

Félicia Atkinson & Bartolomé Sanson ‘The Last Frontier’

Technical

36 pages
20 x 26 cm
4 colors risograph
2014
first edition of 300 handnumbered copies
black saddle stiched

Published at the occasion of “The Last Frontier“
An exhibition by Félicia Atkinson & Bartolomé Sanson
Oslo 10, Basel (CH)
March 8th until May 3rd 2014

About the Book

From the french alps to new mexico, passing by Big Sur California, Felicia Atkinson & Bartolomé Sanson has been doing researches about the influences of the beat generation on the formations of the contemporary art.
How to be unsettled and in the meantime on site, connected to the landscape, ping-ponging from music to poetry, inside and outside the gallery space and the book form. Blurring everyday the frontier between genres, this book conceived as an on-site exhibition presents found images, sculptures, poetry and painting.

Keywords

Yuccas / silk / sun / Ojai Valley / aquarelles / Henry Miller / wood / documentation / Arizona / clay / songs / Big Sur / drive / pool / Petrified Forest / mountains / canyons / improvisation / Joshua Tree

Anne Laure Sacriste
‘Orion Aveugle’ (SP041)

Shelter Press / SP041
Shelter Press / SP041
Shelter Press / SP041
Shelter Press / SP041

Anne Laure Sacriste ‘Orion Aveugle’

Technical

48 pages + 2 inserts
16.5 x 23 cm
full color offset
2014
first edition of 700 copies
perfect bound
hard cover

All works by Anne Laure Sacriste
Layout by Bartolomé Sanson

About the artist

Anne Laure Sacriste (1970) is a paris-based visual artist.
Her works have been exhibited in Paris (Air de Paris, Galeries des Galeries Lafayette, Lafayette, Fondation d’entreprise Ricard, Art : Concept…), in France (Musée d’art moderne Saint Etienne, Villa Betarix Enea, Anglet, Château d’Avignon, Arles…) as well as in the rest of the world (Fri-Art, Fribourg – Suisse, Galerie Hadrien de Montferrand, Pékin, Chung King Project / François Ghebaly, Los Angeles…).

About the book

With the same image of Freud’s divan on its front and back covers, Orion Aveugle, Anne Laure Sacriste’s new artist’s book, offers a selection of recent paintings marked by an intensification of the characteristics we have come to know: monochrome grounds, vegetal motifs and visual anamneses. Borrowing the principle of free association (here, of pictures) from psychoanalysis, she also includes a fragment from Nicolas Poussin’s Blind Orion Searching for the Rising Sun. This is her simultaneous subversion of the ideals of classical clarity and analytical decoding: we can see only thanks to blindness and dazzlement.

Davide Balula
‘Ember Harbor’ (SP039)

Shelter Press / SP039
Shelter Press / SP039
Shelter Press / SP039
Shelter Press / SP039
Shelter Press / SP039

Davide Balula ‘Ember Harbor’

Technical

96 pages + centerfold
18.5 x 20,5 cm
full color offset
2014
first edition of 1000 copies
perfect bound
hard cover

About the book

Davide Balula exhibition catalogue produced on the occasion of the exhibition Ember Harbor at Galerie Rodolphe Janssen, Brussels.

Credits

Images by Davide Balula
Text by Paul Galvez

Suzanna Zak
‘Sun + Soil / Moon + Dirt’ (SP036)

Suzanna_Zak_Shelter_Press

Suzanna Zak ‘Sun + Soil / Moon + Dirt {Bootleg}’

Technical

64 pages
14 x 19 cm
black & white printing
2013
first edition of 50 handnumbered copies
perfect bound / soft cover

Shelter Poetry Book #5

About the book

from Suzanna Zak to Shelter Press – may 20th; 2013
« I will be spending a lot of my Summer living in a tent in Northern Canada picking morel mushrooms. I will be living in the bush and won’t really have much access to internet / phones / etc etc. At first I wanted to give you guys writing before I left for this trip, however, I’m thinking at this point working on this poetry project on my off time during picking couldn’t be more appropriate. I have a decent amount written already but I think creating under the circumstances of living in the woods would be really nice. I’ll have time to focus on a solid grouping of works. »

David Horvitz
‘A photograph of me…’ (SP034)

David Horvitz Mood Disorder Shelter Press
David Horvitz Mood Disorder Shelter Press
David Horvitz Mood Disorder Shelter Press

David Horvitz ‘A photograph of me crying early in the morning on the beach in the far rockaways that is placed onto the english wikipedia page for mood disorder and then used by various websites as a free stock’

Technical

32 pages
17 x 25 cm
black & white printing
2013
first edition of 150 copies
staple stitched

About the Book

As the title said : « A photograph of me crying early in the morning on the beach in the far rockaways that is placed onto the english wikipedia page for mood disorder and then used by various websites as a free stock ».

About the Artist

Horvitz uses art books, photography, performance art, watercolor, and mail art to create his work. His work includes « A Wikipedia Reader, » a mind map of artists browsing of Wikipedia, and « Public Access, » photographs of beaches uploaded to Wikipedia. His published work includes: Xiu Xiu: The Polaroid Project (2007), Everything that can happen in a day (2010), and Sad, Depressed, People (2012). He has exhibited at SF Camerawork, the Museum of Modern Art, the New Museum, Tate Modern

Estelle Hanania
‘Attila Csihar, Broken Mirror & Metamorphosis of the Tree’ (SP031)

Estelle Hanania Shelter Press
Estelle Hanania Shelter Press

Estelle Hanania ‘Attila Csihar, Broken Mirror & Metamorphosis of the Tree’

Technical

16 pages
14 x 20 cm
black / white xerox
2013
first edition of 100 copies
saddle stitched

Credits

All works by Estelle Hanania

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 in november 2016.

About the Book

« Attila Csihar, Broken Mirror & Metamorphosis of the Tree » is a series of eight images that Estelle Hanania took in 2010 with Attila Csihar focusing on his costume.

Coming along the preorder & special edition of Estelle Hanania’s Glacial Jubilé



Christina Carter
‘Juvenile Records’ (SP028)

Christina_Carter_Shelter_Press

Christina Carter ‘Juvenile Records’

Technical

36 pages
14 x 19 cm
black & white printing
2013
first edition of 50 handnumbered copies
perfect bound / soft cover

Shelter Poetry Book #4

About the book

Juvenile Record is the new poetry book wrote by the Texan singer and musician Christina Carter.
Like a prayer from the South, where voices and glasses are breaking in the heavy night, memories escaping like water, falling from the hands and evaporating in the air.

Objects, days, names, ages, charms, collected in the mind, folded, shouted or kissed, oftenly blessed, and sayed again.

A walk, a song, a drive, a dialogue, a pair of shoes, one life’s humble and beautiful quest.

About the artist

Christina Carter was born in the bayou city of Houston, Texas in November of 1968, and co-founded the group Charalambides there in December of 1991. Ever since then, she has deeply mined her own vein of sound-as-music with voice, guitar, piano, and keys.

For the past several years, Christina has utilized extended improvisational guitar passages within and without song-medley structures; re-contextualized certain Charalambides songs within the spare single guitar/voice form that birthed much of the group’s music; and recently, investigated ‘the song’ as a thing unto itself, specifically concentrating on ‘the word’- both in her own lyric writing and her interpretions of the work of other lyricists.

Concurrent with her work as a musician, Christina has expanded her involvement in writing and visual art. Her poetry has been published by Digitalis Industries, The Ecstatic Peace Poetry Journal, Glass Eye, and Slow Toe Press.

Estelle Hanania
‘Glacial Jubilé’ (SP027)

Shelter Press / SP027
Shelter Press / SP027
Shelter Press / SP027
Shelter Press / SP027
Shelter Press / SP027
Shelter Press / SP027
Shelter Press / SP027

Estelle Hanania ‘Glacial Jubilé’

Technical

160 pages
19 x 24 cm
4 colors printing
2013
first edition of 700 copies
perfect bound / clothbound hardcover
Interview with Alexis Vaillant (french + english)

— Regular editions out of stock at source.
Copies are still available at :
Les Presses Du Réel (France) and
Antenne Books (UK / ROW).

— Limited edition is still available :
Write us an email to place an order
contact@shelter-press.com

About the book

Customs and traditions: the originality of Estelle Hanania’s photographic work appears in the fact that it focuses on the european vernacular rites in a very unique way. Unlike the anthropologist or pure documentarist, she doesn’t try neither to understand nor to decode the mystery of those rites, letting them pass trough her camera.

A procession of giants in a field, a magician in a parking lot, a wild cave… The shadows of a singular identity are standing as a non-exotic setting yet revealing themselves as an hallucination.

Graduated from Les Beaux Arts de Paris, the 2006 award-winning photographer in Hyeres Festival Estelle Hanania is not afraid by the beauty, the pure aesthetics of the clothes or the masks. She knows how to keep a human distance to the subject, in a natural light, in silence.

Her photographs are portraits and landscapes of men becoming animals or plants, as many chimerical figures embodied in our absurd contemporary world.
In the background appears a car, a road, a parking lot: such as banal infrastructures and unspectacular places. Extraordinary rituals required in an ordinary community, a present in syncope, nested in the reality as a strange lichen growing on a concrete wall.

First monograph dedicated to the work of Estelle Hanania, Glacial Jubilé features six sets of photographs taken in Switzerland, Bulgaria, the Basque Country, Italy and Austria between 2006 and 2011.

Special Edition

3 different editions of 15 copies

Housed together in an embossed clamshell box, each set comprising :

— a signed and numbered first edition of the book « Glacial Jubilé » (1/15—A)
— one of three C-prints (A / B / C ) (unframed, 19 x 24 cm, signed and numbered (1/15—A)
— a signed and numbered zine (SP031)

Feel free to write us if you have any questions : contact@shelter-press.com

250 euros + shipping / write us an email to order

Shelter Press / SP027 EDITION
Shelter Press / SP027 EDITION
Shelter Press / SP027 EDITION
Shelter Press / SP027 EDITION
Shelter Press / SP027 EDITION
Shelter Press / SP027 EDITION
Shelter Press / SP027 EDITION
Shelter Press / SP027 EDITION

Ryan Foerster
‘Ryan Foerster’ (SP023)

SP022

Ryan Foerster ‘Ryan Foerster’

Technical

48 pages
17 x 25 cm
black & white printing
2013
first edition of 150 copies
staple stitched

Published at the occasion of L’Attraction Minérale, curated by Manuel Pomar. Lieu-Commun, Festival International d’Art de Toulouse, May 24 -June 23, 2013.

About the artist

Ryan Foerster is born in 1983 in Newmarket, Ontario.
He lives and works in Brooklyn, New York.

About the zine

Wrapping a wide part of the artist body of work from the last few years, this new zine by Ryan Foerster features and melts found images, solar eruptions, Germs art cover, poetry and diary photography. From raw and dark figurative photographs to abstract and repetitive shapes, these images connected all together by the book form may be frightening but most likely deeply narrative.

Felicia Atkinson
‘Twenties Are Gone’ (SP021)

Shelter Press / SP021
Shelter Press / SP021
Shelter Press / SP021

Felicia Atkinson ‘Twenties Are Gone’

Technical

54 pages
14 x 19 cm
black & white
2013
second edition of 700 copies
perfect bound / soft cover

About the book

Twenties Are Gone is sentimental journey written in the mist of a Finnish August of 2012.

It guides us as a reconstructed and DIY « carte du Tendre ». Reconstructed through the primordial forests – from the californian redwoods to the northern finland. A statement led by the experience of making sculptures and having drinks under a porch, drawing as making sandwiches, being in love and singing songs, watching tv shows and staring at sunsets. Both highly in the now and at the same time metaphysical.
The Twenties are gone. And thirties are opening their wild gates.

This is the first poetry book wrote by the visual and sound artist Felicia Atkinson.

About the artist

Félicia Atkinson is born in 1981 in Paris, France. She lives and works in Brussels, Belgium. She is graduated with Honors from l’Ecole Nationale Supérieure des Beaux-Arts de Paris and studied also anthropology and contemporary dance.

She is a visual artist, an experimental musician and the co-publisher of the independent imprint Shelter Press.

Her paintings, drawings, sculptures and musical compositions are mostly abstract. Her work takes its sources from the American tradition of painting (Morris Louis, Cy Twombly, Richard Tuttle) and from avant-gardes figures who worked on chance and randomness (Fluxus, John Cage, La Monte Young…) as much as feminist figures in music and art.

Ben Vida
‘Tztztztzt Î Í Í …..’ (SP018)

Ben_Vida_Shelter_Press

Ben Vida ‘Tztztztzt Î Í Í …..’

Technical

72 pages + download code
14 x 19 cm
black & white printing
2013
first edition of 50 handnumbered copies
perfect bound / soft cover

Shelter Poetry Book #3

Released on vinyl by Shelter Press as Slipping Control (SP038)

About the book

The 61 pages that make up the score for Tztztztzt Î Í Í … were interpreted and performed by three vocalists: Ben Vida, Tyondai Braxton, and Sara Magenheimer. Utilizing envelope following, vocoder analysis and trigger sensing the recordings of these performances were analyzed and converted into control sources. These control sources were used to activate analog and digital synthesizing systems and functioned to trigger envelopes and gates, determine pitched materials and act as modulating sources for frequency and amplitude modulation. Though the voice of the performer becomes almost completely obscured through this process, all rhythmic patterns, compositional forms and musical gestures were derived from the vocalist’s performance – the voice remains an intrinsic element of the final synthesized tracks.

About the artist

Ben Vida is a Brooklyn based composer, improviser and artist. He produces compositions that utilize analog and digital synthesizing technologies and focus on aural phenomena and auditory illusions. He has released records with Shelter Press, PAN, ALKU, Thrill Jockey, Drag City, Kranky… As both a solo artist and in collaboration he has presented his work in the United States, Canada, the United Kingdom, Europe, Australia, South Korea and Japan.

Camille Vivier
‘Veronesi Rose’ (SP012)

Camille_Vivier_shelter_press

Camille Vivier ‘Veronesi Rose’

Technical

20 pages
23 x 34 cm
full color offet
2012
first edition of 400 handnumbered copies
unbounded

About the book

Girls lying on concrete disonaurs are facing obsolete neon signs.
Broken, knocked down, abstract, discarded, left there.
The girls are naked, in black and white, static. The neons are coloured, saturated like comic strip boxes.
Prehistoric monsters, mysterious beauties follow and merge with relics of modern cities. Metals, skins and stones collide.
Pages unattached slide and mix to deceive time and order.

Text

“These girls? Their curves sketch infinity; their hollows end in, wisps of flesh, dark at times; their eyes pierce the image when they reach you. Waxy bodies drawing the image towards a less synthetic century. Artificial?

Bodies are framed, embedded and enclosed in a photograph. Caught in between limited
spaces: in the depths of a boulder, on a rocky edge, on the top of a shelf. Impossible to escape. Bodies and curios end their way here: still lives aiming at anthropomorphic shapes. In a haze of orange, green, yellow or blue—everything surfaces and evokes the colors of ancient masters.

Another fact: these images are noisy. Noise, a misguiding word that silences light, and nourishes black and white for a richer silver print. These selfish pictures, pose, freeze out of a storyline. But they take everything they can from the present: urban oddities, the wanderings of a contempary eye, and fragments of a no longer ostentatious luxury. These images, they steal everything: remnants of forgotten French films, some Garrel, some Rivette—but there is no Amour Fou, only an imposed distance. Are they found images?
They don’t care about their times, because they curl up—in the city, in wilderness, in a studio or in a forsaken interior. They become a new kind of daguerreotype. It takes us the past to progress.
Light as feathers, round as breasts, these images are voluptuous, straightforward, they swallow everything. A sentence by Henry Michaux fits them well: “In the warm mist of a young girl’s breath I found a place…”.

About the artist

Born in Paris in 1977, Camille Vivier started her photography career as an assistant
in Purple magazine.
After studying at the Grenoble Fine Arts School and Saint Martins, she dedicated herself entirely to photography and works at the same time in the art and fashion worlds. In 1998, she was awarded the photography prize at the 12th Hyères Festival. In 2002, she was awarded the Villa Medicis international grant. She has contributed to various magazines, including: I-D, Dazed&Confused, Another Magazine, Numéro, Purple Magazine, Double Grey, Crystallized, Ten, and Self Service. She’s collaborated with brands such as Stella McCartney, Martin Margiela, Cartier, Le Monde d’Hermès, and Isabel Marant amongst others.
Her work has been exhibited in several galleries and institutions abroad as well as in France, including the CAPC Bordeaux (“Jean-Luc Blanc/Opera rock”), Espace Electra (“Le Voyage intérieur”), Galerie Kamel Mennour, Maison Européenne de la Photographie (“Enquête d’identité”), and during the Rencontres de la photographie d’Arles.

Felicia Atkinson
‘Twenties Are Gone’ (SP011)

Felicia Atkinson Shelter Press

Felicia Atkinson ‘Twenties Are Gone’

Technical

54 pages
14 x 19 cm
black & white
2013
first edition of 50 copies
perfect bound / soft cover

Shelter Poetry Book #2

About the book

Twenties Are Gone is sentimental journey written in the mist of a Finnish August of 2012.

It guides us as a reconstructed and DIY « carte du Tendre ». Reconstructed through the primordial forests – from the californian redwoods to the northern finland. A statement led by the experience of making sculptures and having drinks under a porch, drawing as making sandwiches, being in love and singing songs, watching tv shows and staring at sunsets. Both highly in the now and at the same time metaphysical.
The Twenties are gone. And thirties are opening their wild gates.

This is the first poetry book wrote by the visual and sound artist Felicia Atkinson.

About the artist

Félicia Atkinson is born in 1981 in Paris, France. She lives and works in Brussels, Belgium. She is graduated with Honors from l’Ecole Nationale Supérieure des Beaux-Arts de Paris and studied also anthropology and contemporary dance.

She is a visual artist, an experimental musician and the co-publisher of the independent imprint Shelter Press.

Her paintings, drawings, sculptures and musical compositions are mostly abstract. Her work takes its sources from the American tradition of painting (Morris Louis, Cy Twombly, Richard Tuttle) and from avant-gardes figures who worked on chance and randomness (Fluxus, John Cage, La Monte Young…) as much as feminist figures in music and art.

Christopher Schreck
‘Burnt Grass’ (SP010)

Christopher_Schreck_Shelter_Press

Christopher Schreck ‘Burnt Grass’

Technical

54 pages
14 x 19 cm
black & white
2013
first edition of 50 copies
perfect bound / soft cover

Shelter Poetry Room #1

About the artist

Christopher Schreck lives and works
in New York city.

Extract

you buying

got something’ll untangle them blue veins

keep em from curling up like you seen
the gray fingernails of ash smeared street saints
with eight pound dreads
whove fed their very arms
to atrophy

im telling you man

theres no need to conjure up reasons

no cause to be kneeling
or numb’d into needing

there is still holiness in america

been ransomed and hidden
and driven to dirt

but its there to be found
dropping blossoms
in its meaningless

(which is not to say worthless
insipid or petty but only
with no purpose for being)

(and thus holy)

m o v e m e n t

you just gotta keep it straight in your mind

that beauty’s anything
you can see without blinking

and if you want to be free
of what leads to confusion
all you have to do
is forget about you

Jill Mulleady, Lindsey Bull, Maria Thurn Und Taxis
‘Painting Rituals’ (SP006)

SHELTER PRESS, Painting Rituals Lindsey Bull, Jill Mulleady, Maria Thurn und Taxis
SHELTER PRESS, Painting Rituals Lindsey Bull, Jill Mulleady, Maria Thurn und Taxis
SHELTER PRESS, Painting Rituals Lindsey Bull, Jill Mulleady, Maria Thurn und Taxis
SHELTER PRESS, Painting Rituals Lindsey Bull, Jill Mulleady, Maria Thurn und Taxis

Jill Mulleady, Lindsey Bull, Maria Thurn Und Taxis ‘Painting Rituals’

Technical

48 pages
16,5 x 23 cm
full color offset
2012
first edition of 1000 copies
perfect bound / hardcover

ISBN 978-2-3658200-2-8

About the book

Artists never stop exploring the approach they take towards their art. The mind state, the intention of thought that is present when creating a work of art is something that is continually revised and reaffirmed. From the subconscious dotting of Jill Mulleady’s colourful abstractionism, to the unexpected obscuring dabs placed on the faces of Lindsey Bull’s cabalistic subjects, to Maria Thurn und Taxis’s, the three artists employ different ways of enacting the ritual of painting.

BOOTLEG
‘Domebook 2’ (SP005)

Dome Book 2 Shelter Press
Dome Book 2 Shelter Press

‘Domebook 2’

Technical

140 pages
20 x 28 cm
full color offset
2012
first edition of 20 copies
perfect bound / softcover

About the book

« Since the first time I went in Bolinas, CA in 2008, and then when I came back with Bartolomé in 2010, I realized that there was a strange cosmic knot between my art and music work and the beliefs of Llyod Khan, the Shelter Utopians and of course Mr Buckminster Fuller. But also some echos of John Cage, the Blackmountain College, and the beloved environmentalist Thoreau…. Those wonders in Bolinas inspired my first a cassette called A Shelter in Bolinas, that I released as Je Suis Le Petit Chevalier for the american label Digitalis. That was a first step… But most of all, the desire for a belief of shelter in the same time unique, free, and completely independent, inspired Bartolomé and I a new home they would share : SHELTER PRESS.

Félicia Atkinson, february 2012


It would be a open door for different special projects, whether they will be books or records. As a statement for SHELTER PRESS and as a caption for my exhibition at LE BON ACCUEIL (“good welcome” in french) in Rennes in France, the two of them would take the opportunity to re-publish THE DOME BOOK 2 as a non profit gesture, a free sprit manifesto. The book will be presented inside a geodesic dome specially made for the exhibition called Walden’s Studio, a structure that would stand as an open air dome inside the gallery where you could record yourself playing music without cutting yourself from your environment.

 

Julien Langendorff
‘Black Mirrors’ (SP003)

Shelter Press / SP003
Shelter Press / SP003
Shelter Press / SP003
Shelter Press / SP003

Julien Langendorff ‘Black Mirrors’

Technical

48 pages
16,5 x 23 cm
full color offset
2012
first edition of 1000 copies
perfect bound / hardcover

About the artist

Julien Langendorff was born in Paris, France, in 1982. He studied at the École Duperré Paris where he began experimenting in various mediums including metal etchings and film, while writing and playing music. He has exhibited in galleries in Paris, New York, Tokyo and Berlin. He also plays music in Pillars of Fire, a doom-psychedelic band formed with artist Jason Glasser and singer Matteah Balm, and plays and records solo under the name, Skate Witches.
Julien Langendorff lives and works between New York (US) and Paris (FR).
His work combines collage, pen and ink drawings and paper cut-outs of 1970’s erotic imagery and often conjures up dark, dream-like visions influenced by gothic and hippie cultures, Black Sabbath, spiritism and diary-art. Langendorff’s work is both minimal and psychedelic with a free, stream of conscious sensibility.

About the book

I’ve always been a bit jealous of people who are able to paint and draw well. It’s not easy to write about drawings or paintings, they seem to be even more personal than photographs or video clips because they are so many things funneled into one image that is completely controlled and original.

Below is a short list of some places that my mind goes when i see Julien’s.
-the best parts of saturday morning cartoons, with all the shitty parts stripped away.
-the movie KRULL always sitting at the video rental store on VHS but i was too young to rent it.
-the feeling of what it might be like to get tasered.
-dark places mixed with light ones, literallly and figuratively.
-being covered in sweat and falling in dirt, but maybe colorful dirt.
-colored rocks at the bottom of a fish tank.

It seems that a lot of artists (myself included) are attracted to counter culture groups from the past; hippies, goths, satanists, etc. I’m not sure why these movements still resonate today. Is it because we haven’t had anything comparable in very recent times? Sometimes it feels like we are living in a time when it’s all about the same, everything has been referenced so much that it has all become dust and the peace sign has about as much meaning as the swastica. I’m not saying this in a negative way, i think it’s kind of exciting. For me these works create that feeling, they reference several times and things but still completely fresh. It’s like starting all over. (…)

 

Peter Sutherland, NYC, 2011

Estelle Hanania
‘Dondoro’ (SP000)

Shelter Press / SP000
Shelter Press / SP000
Shelter Press / SP000
Shelter Press / SP000

Estelle Hanania ‘Dondoro’

Technical

48 pages
16,5 x 22 cm
full color offset
2011
first edition of 1000 copies
perfect bound / softcover

About the book

Dondoro is a photographic work born from the collaboration between Estelle Hanania and the famous Japanese puppet master Hoichi Okamoto.
Enigmatic creator who lived alone in the Japanese countryside near Nagano, he created hundreds of puppets for his own performances. He archived all his puppets since the late 1970s. When Hoichi Okamoto used to slip behind one of its human-sized puppets to animate it, a confused game began between the master, the puppet and the photographer.
As usual with Estelle Hanania’s work, Dondoro leads the spectator in a world where human figures constantly appear and disappear, in the magical world of a magical storyteller.

About the artist

Photographer Estelle Hanania is a lyrical storyteller, weaving tender and sometimes perplexing plots into her personal & commissioned photo series. Her stories develop beyond the confines of a studio or location shoot by integrating still life and landscape images, creating visual rhythm and narrative complexity.
The Paris-based photographer has a background in graphic design, art direction and fine art. She graduated in 2006 from the Ecole Nationale Supérieure des Beaux-Arts de Paris and, in the same year, won the ‘best photographer’ prize at the highly prestigious Hyeres Festival in Southern France.
Her photography has been exhibited in several galleries in France and her work, both commissioned and personal, has appeared in magazines including Another, 032c, Vice,Capricious… Since 2009 her work has already been published in 2 books by Gottlund Verlag & Decathlon Books.