Published by Arbor Vitae. Edited by Terezie Zemánková. Text by Manuel Anceau, Daniel Baumann, Eric Förster, Marie-Françoise Chanfrault-Duchet, Walter Morgenthaler, Barbara Safárová, Terezie Zemánková.
Adolf Wölfli is the original outsider artist. Before Darger, Rizzoli and Rodia, there was Wölfli: orphan, laborer, criminal, artist and the subject of a 1921 monograph titled A Psychiatric Patient as Artist, authored by his doctor--the first publication on an outsider artist--which won him the admiration of André Breton and Jean Dubuffet, and gave birth to the outsider phenomenon. “Wölfli’s creations treat the eye to a roller-coaster ride through a terrain bounded by Piranesi, biblical myth, illuminated manuscripts, tantric mandalas and Swiss cuckoo clocks,” New York Times critic Roberta Smith once wrote--“in other words, a dizzying multi-cultural universe.” Adolf Wölfli: Creator of the Universe is the most comprehensive publication on Wölfli ever published. It surveys his entire artistic and literary oeuvre, scrutinizing his intricately detailed drawings and collages and explicating his complex personal mythology. Translated here are texts such as Wölfli’s “Short Biography,” written shortly after his arrival at the Waldau Clinic in Bern, in 1895; his astoundingly bizarre list of inventions; and other prose works, alongside Wölfli’s doctor’s 1921 catalogue essay and other critical examinations. Visual and textual selections are included from the epic From the Cradle to the Grave, in which the artist recounts a fictitiously idyllic childhood; the Geographic and Algebraic Books, which describe his elaborate cosmology; and the St. Adolf Giant Creation, a chant in which Wölfli transposes music into abstract sounds and numbers. Orphaned at the age of ten, Adolf Wölfli (1864–1930) was arrested for sexual crimes in his late 20s. Upon his second arrest for such offences, in 1895, he was admitted to the Waldau clinic in his native town of Bern, Switzerland, where he soon began to draw, eventually amassing an oeuvre of thousands of works on paper. After his death, the Adolf Wölfli Foundation was formed to preserve his art.
Published by JRP|Ringier. Edited by Clément Dirié. Text by Daniel Baumann, Balthazar Lovay.
Invited to curate an exhibition at the museum Le Manoir de Matigny in Switzerland, artist Balthazar Lovay displayed the work of 60 artists, photographers and press cartoonists among a collection of artifacts, mixing works of different genres and time periods. Thus a piece by artist duo Guyton/Walker is seen alongside fourteenth-century religious sculpture, among other combinations.
Published by Hatje Cantz. Edited by Martina Weinhart, Max Hollein. Text by Daniel Baumann, Christiane Cuticchio, Michael Bonesteel.
The realm of outsider art provides for the untrained artist a haven from the art industry, populated as it is by those too bizarre to function within official culture. The fabulous universes depicted in Henry Darger's collaged watercolors represent but one of the more celebrated instances of outsider art's tendency to flout the conventions of reality. World Transformers: The Art of the Outsiders presents a wide range of art by artists working beyond the bounds of conventional artistic production, ranging from the nineteenth century to the present day, including the dream worlds of Swiss artist Aloïse, whose work was collected by Dubuffet; the precise mathematical utopias of George Widener; and the "Ewigkeitenendeland" (End-of-Eternities Land) of Austrian artist August Walla. Others represented here are A.C.M., Emery Blagdon, Darger, Auguste Forestier, Magde Gill, Karl Junker, Friedrich Schröder-Sonnenstern, Judith Scott, Oskar Voll, Adolf Wölfli and Birgit Ziegert.
Published by JRP|Ringier. Edited by Ruedi Bechtler. Text by Daniel Baumann, Heike Munder, Pipilotti Rist.
Swiss artist Ruedi Bechtler (born 1942) studied mechanical engineering, and since the 1980s has been making sculptures and installations that merge his obsessions with natural science and technology. Play, coincidence, wonder, decay and waste are all characteristics of the work of this under-recognized artist, who functions as a fascinating intermediary between science and philosophy.
Published by JRP|Ringier. Edited by Christoph Keller. Text by Michael Lailach, Anita Kühnel, Daniel Baumann.
Kiosk, Christoph Keller's famous art publications archive, has been exhibited at 27 institutions and biennials internationally since 2001, including the ICA (London), the Witte de With (Rotterdam), Artists' Space (NY), the Emily Carr Institute (Vancouver), MUDAM (Luxembourg) and biennials such as Manifesta 4, the 25th Graphic Biennial of Ljubljana and the Istanbul Biennial. To date, it contains more than 7,000 publications by approximately 500 independent art publishing projects, from magazines, fanzines, newspapers, journals, audio and video labels to institutional publishing, covering the entire bandwidth of publishing possibilities. On the occasion of the archive's final public presentation at the Kunstbibliothek, Berlin, this overview on independent art publishing activities today surveys the Kiosk project. This catalogue contains documentary illustrations and provides information on the contributing publishing projects.
Published by Witte de With Publishers. Text by Ina Blom, Daniel Baumann.
Taking off from Saâdane Afif's 2008 Witte de With exhibition Technical Specifications, this volume examines the artist's practice in relation to music. In addition to tracing the evolution and reconfigurations of the works in the show, it includes documentation of Afif's radio show, 53:56--which broadcast related words and songs.
Published by Walther König, Köln. Edited by Yilmaz Dziewior, Janneke de Vries. Interviews by Yilmaz Dziewior, Daniel Baumann, Scott Rothkopf, Janneke de Vries.
This first monograph on the prominent New York City artist, Wade Guyton, whose name has lately been appearing on the international art circuit with increasing regularity (often together with his sometimes-collaborator, Kelley Walker), features a selection of Guyton's chromatically cool, large-format serial prints on canvas. These object-like, Minimalistic "paintings," which sometimes connect directly to Bauhaus aesthetics, sometimes to Constructivism, Concrete, Appropriation or Conceptual art, convey a particular kind of humor and beauty, conjuring a re-formation and re-structuring of Modernist art and decor. Incorporating scanned pictures of flames, stripes, squares, points and holes drawn in the computer, as well as typed U's and X's, the works feel resolutely undefined and open to interpretation, even as the book's title refers directly to the advertising slogan for Olympus digital cameras: "Color. Power. Style. Find your Verve." Amen.