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.

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.

Alberto García del Castillo
‘Merman’ (SP079)

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

Alberto García del Castillo ‘Merman’

Technical

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

ISBN 978-2-36582-017-2

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Credits

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

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

Design:
Bartolomé Sanson

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

Support:
Fédération Wallonie-Bruxelles and Wallonie-Bruxelles International

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)

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.

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.

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 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.

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. »