Publishers: Christophe Boutin & Mélanie Scarciglia Editor-in-chief: Richard Dailey Design: Christophe Boutin for executiveartists.com n° 2 Contributors: Mark Alizart, Philippe Buschinger, Christophe Chérix, Stefano Chiodi, afterart news Bettina Funcke, Maria Fusco, Benedikt Ledebur,

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DACK & le bureau des 

GILLICK’s 3 leon 2 mésarchitectures  IDENTITY Didier Page Page Page Page 9 Page SPOT & Nancy Fuzia Faustino Barthélémy Toguo’s african roots & institutes

old on to your head gear: philanthropy? A Camer- Toguo’s Institute of Visual oonian big man bitten by Arts is about to morph the art bug? Nope. The from two cinderblock Institute of visual Arts is structures in small Cam- the brainchild of Barté- Heroonian towns (Bandjoun, M’Balmayo) lémy Toguo, 36 years old, into one relatively grandiose structure in a self-made artist and

, onestar press 2003 press , onestar Douala, a port city of 2 million people on a local guy made good. the Gulf of Guinea. In its new home the Toguo is a versatile artist Institute of Visual Arts will display work who uses sculpture, vid- not only by African artists but also by eo, photography, drawing such luminaries as Damien Hirst, Martha and performance to cre- Rosler, Marcel Dzama, Claude Lévêque, ate an artistic language A view of Barthélémy Toguo's Art Institue in Bandjoun

EROTICOTOGUO Tania Bruguera... It will offer workshops, arising from encounters rican art is today entirely in the hands of lecture series, theatre/performance/ and voyages. He developed a profile in western institutions and collectors, and music, and an art library to the public. the mid 90s through a series of perfor- that contemporary “African” art is large- Perhaps the Institute’s groundbreaking mances in airports and public transit ly produced and collected in the west. move is the largess of the French gov- sites such as train stations and frontiers. That’s the reason he is investing his time rom the cover of of the cover rom ernment, you think? Private European Toguo has observed that traditional Af- F and energy in the Institute. Given the double loss for Africa of traditional and contemporary art, Toguo has decided to  make sure that there is some place on the Man-made masses by Beat Streuli African continent where both Western and African artists can experience the he urban crowd in which Beat Streuli finds his faces; and although the rapidity with which the world of contemporary art world in a unique set- images, mostly portraits or partial portraits of light flitted before the window prevented me from casting ting. « I want to do something worthwhile with my modest means, » he explains. more than a glance upon each visage, still it seemed that, people, came into being more than a century Luckily in Cameroon you get a lot of bang and a half ago when Edgar Allan Poe gave this in my then peculiar mental state, I could frequently read, for your buck, so Toguo’s new Institute urban phenomenon its current geist in his short even in that brief interval of a glance, the history of long should be up and running in good time. It Tstory, The Man in the Crowd. Try reading Poe’s short story years.” Streuli’s photographs of the contemporary urban won’t have the immediate effect that, say, while looking at Streuli’s photographs. It’s almost like an the Guggenheim has had on Bilboa, but instuction manual, or a literary riff on Streuli’s images. afterart news is intrigued. We’ll be keep- Here, for example, is Poe’s narrator observing the passing ing you informed in future issues of our crowd in as he gazes out a pub window: « At first paper on progress in Douala as the walls my observations took an abstract and generalizing turn. I go up, the roof goes on and the art goes in. Stay tuned. looked at the passengers in masses, and thought of them Richard Dailey in their aggregate relations. Soon, however, I descended to details, and regarded with minute interest the innumerable Barthélémy Toguo at the Musée d'Art Moderne de varieties of figure, dress, air, gait, visage, and expression of la Ville de Paris, 1999 countenance.” Can you get more Streuli than that? As with Poe, time and place count for Streuli. The video stills for his recent onestar press book 23/04/01 were made at the entry/exit of the Astor Place subway station in NYC on the title’s date. The artist caught people, with a Sony Beat Streuli, from “23-04-01”, onestar press 2001 PC100 placed on a nearby parade provoke the same feelings of irresolvable curiosity onestar onestar press, 2003 , café table, rising to the day and tantalizing intuitions as those felt by Poe’s narrator; light or descending into the the same to and fro between “aggregate relations” and subway, highlighted against detail; the same compulsion to explore the unknowable. the darker background: Poe got it right too when he compared the urban crowd (from The Man in the to a certain German book that “er lasst sich nicht lessen” Lawrence Weiner Crowd) “The wild effects of – does not permit itself to be read. Good thing then that aanews the light enchained me to Beat Streuli has given us his pictures to look at, striking

“Deep blue sky / Light blue sky” onestar (s) #2 an examination of individual enigmas of the man-made masses. Richard Dailey

See www.afterartnews.com 1 Architects Arise! You have nothing to lose but your chains!

idier Faustino is a French architect game to blur the line between art and architecture, suffering the effects of success. Nice Kiesler and Moholy-Magy did it; but there’s one problem to have, you might think. He’s thing you can bet on with Faustino: like them, in his mid-30s and his work is all over he isn’t going to trade his artistic freedom for 15 the place, both literally (works up or minutes of fame and a couple of euros. Maybe it’s Din progress in several European countries) and his name: Little Faust. His white angel is freedom of figuratively (everything from video to sculpture). expression, his black angel is public money to build. His Bureau Des Mesarchitectures in Paris is the Everybody knows architecture, like film, can require center of operations for this plumber/punk turned compromise simply because of the sums involved. architect. Open the door to his « firm » in the quiet But when such ideas (see www.mesarchitecture. courtyard off rue Montorgueil and prepare yourself com) as the Stairway to Heaven, One Square for the strains of Marilyn Manson over the hum Meter House, Body in Transit, Casa Nostra, and of architectural activity. Didier, skull rings on his Love Me Tender are being engendered, why not fingers, will welcome you with the bemused look of let the shit fly and see what sticks to the walls? As someone who suddenly finds himself on the way to Motorhead says, “I wanna feel a little danger, feel a the top of the heap. little stranger, Angel City tonight!”. Richard Dailey So what could possibly be wrong? Well, no one Check out his onestar press book, Stairway to Heaven, seems to know which heap he is going to the top a good place to think about identity, freedom and the of, the architecture heap or the art heap. It’s an old making of an independent brand.   www.beatstreuli.com www.christellelheureux.com www.sittes.net www.harveybenge.com www.christopheboutin.com www.revolver-books.de www.buschinger.com www.chrisplytas.com www.jrp-editions.com www.parasite-pogacar.si www.lizvegas.com www.new-territories.com www.manetas.com www.mesarchitecture.com www.newrafael.com www.alainsechas.com clickwww.angeloplessas.com www.laboratories.com www.afterart.com www.continuousproject.com www.nskstate.com www.aabronson.com www.herrmann-studio.com www.vier5.de www.ganahl.info www.anthologyfilmarchives.org www.franckscurti.net www.philippecazal.com www.sechas.net www.galarosastables.com herewww.stephenvitiello.com www.artistbookarchive.com

ere’s afterart news #2. Welcome back, and thanks for the warm reception you gave our first issue. Turns out culture vultures of many stripes are hungry for a quality art paper that’s free, doesn’t spout party line and focuses on developing international cultural and social tendencies. As you can see, we’re most excited by hybrid styles, borderline activities, fried brains, crossover artists, networks, the Hconstantly mutating potential of the internet and the frontier of public and private spheres. We’re in English because any project like afterart news with international distribution has to be in English, unless you can afford an army of translators. We’re based on the onestar press network because it provides us with what is actually a meta-network of pre-existing artists’ networks, like a multi-galaxy universe with exponentially infinite possibilities. Want to make it into the pages of afterart news? It’s simple: publish a book with onestar press. Everybody else did, or knows someone who did. We would like to dedicate afterart news 2 to Rudolf Schmid. He’s dead, and you won’t find his name in any art book, but in 1953 the Viennese “stunt man” lived in a bottle for 365 days, making an exhibition tour of 100 European cities. Rudolf Schmid lost 66 pounds (30 kilos) over the year. According to the International Herald Tribune, Schmid “also lost 14 snakes which he had taken with him for company but which couldn’t take the climatic changes.” Schmid was reported saying, as he emerged from his bottle, “There is little difference between life inside and outside the bottle.” Little is right. So hats off to Rudolf, the great unknown pre-neen proto- actionista from Vienna! Special project for aanews for project Special Paul-Armand Gette, “Seul véritable portrait d’Eve”, 2003 See ya in the fall in the next afterart news. Richard Dailey, editor-in-chief 2 www.afterartnews.com Leon and Nancy

ancy Spero and Leon Golub are too well known to need much introducing here. They have been important figures in art and political circles at least since 1964, when Nthey returned to NYC from Paris at the height of the Vietnam War. Today international interest in their work is high. The Eupatrids are rolling out the red carpets, and there is rock-solid succès d'estime among the rank and file. The more you know about Leon & Nancy the more you want to find out, and here they have generously agreed to answer a few questions for afterart news readers.

Can you indicate for us the state of political art since 9/11? How do things look from downtown NYC? We are not in the best position to comment on the state of political art since 9/11. It would be largely concentrated in video- to what percentage as against from before 9/11, we would have no idea. We follow very little video art (which has the capacity to totally eat up one’s time). As to how things look in downtown New York, it is cleared up and throngs of New Yorkers are going about their business without paying much attention. It is not that people don’t care, but New Yorkers live fractured harried lives and only occasionally get diverted to other concerns unless it is an extraordinary event such as 9/11. Down the street where we Photo-montage by Christophe Boutin Christophe by Photo-montage live the American Institute of Architects, NY Chapter, has in a window a glistening skyward ‘utopian’ building monument What are you working on now? Do you have work habits, have also recently worked again on silk, creating several that has come out of the special interest struggles, etc., or is every project approached differently? banners celebrating the 100th anniversary of the Egyptian and the damn thing looks pretty good, surprisingly so. Leon: Very irregular work habits any time of the day and collection at the Museum of Fine Arts in Boston. My work less frequently at night. As I am eighty-two and have habits are worse than Leon’s, split off and fractured, What was Paris like when you lived there with your young various ailments and fatigue, I work perhaps 2 hours one largely at night but then I try to give them coherent visual children in the early 1960s? Why did you return to NYC day or several such sessions another day, or no work for circumstances. in ‘64? several days, etc. So it is totally variable. For several years Paris in the early 60’s was in the midst of the Algerian I have been working on paintings on canvas roughly 2 to Care to make a prediction about the upcoming US struggle with various militarized police forces in the streets 2 1/2 ft. in either dimension with a white size and primarily presidential election? and we observed several brutal incidents. Tensions were black india ink and these paintings/ drawings often One fears and one hopes. If Bush comes back it’s a disaster. huge particularly since the right wing OAS forces and Pied carry printed slogans such as “Cringe Before The Law”, If Kerry wins the US might retain at least to some degree a Noirs were intending to carry out a coup d’etat against “We Could Disappear You” , “This Could Be You” images humane face to the world. De Gaulle. It was largely due to his histoiric role that the speaking to governmental and individual power. I have military forces were unable to coalesce against him. Some also made in the past 3 years perhaps 250 drawings/ Is a world without war a utopian dream? of what occurred is quite extraordinary in this regard. But paintings all 8 x 10 in. on vellum or bristol board with oil A strange kind of Utopia might emerge when we become De Gaulle was too huge a figure to topple. At the same stick and acrylic. Some images are explicitly violent and largely robotized. Until then no matter that huge time Paris was still Paris like New York after 9/11 is still brutal, others are sarcastic and ironic or erotic, if not populations suffer, the voyeurs of war will be utterly bored New York. The cafe life, etc., etc., went on as always. And pornographic, nearly so. without war. Global and national and mega technological artists made their art typically without political intent or Nancy: I continue to work with the “actors”- Artemis, the entities can’t give up a hugely enjoyable profitable content. We were in Paris from 1959 to 1964. We are from Goddess Nut, athletes, dancers, musicians, gorgons, enterprise such as war. One can feel secure in saying that Chicago and went to Paris, as we say, to fly over New York. victims, heroines, etc. from my stock company of 300 plus utopian dreams of peace remain out of sight and literally Given who we are as artists and the mainlining that went images of women. Working from both plastic and metal out of comprehension. Nevertheless, we both participated on in New York, we figured it ain’t worth struggling with. plates I combine, recombine, and bring in new images in the Utopia project at the 2003 Venice Biennal! So In 1964 we decided it was time to take on New York each and keep changing the context of these images as they perhaps in unforeseen ways Utopia will arise! on our own. move through what are often extended linear formats. I Look for Leon’s upcoming book from osp….   onestar press’s books, movies and Jon kessler's universe onestar press multiples can be found at: Librairie Florence Loewy, Paris Even though it is not a flip-book, John a collection of www.florenceloewy.com Printed Matter Bookstore, New York

Kessler’s The Freckles on My Back books, www.printedmatter.org lends itself to flipping. His reverse Walther König, Köln, London movies, www.buchhandlung-walther-koenig.de printed close-up photographs of his Schaden, Köln and multiples www.schaden.com freckles are like stars spangling the Librairie Bookstorming, Paris night sky and, with a little imagina- by artists www.bookstorming.com Colette, Paris tion and some quick wrist and finger www.colette.fr _strictly OFR System, Paris action, looking at the book is almost www.ofrpublications.com un-edited Artimo, Amsterdam like travelling in space and time. Kes- www.artimo.net sler, best known for his sophisticated by the Barbara Wien, www.barbarawien.de kinetic works, creates an abstract, yet publisher_ Art Metropole, Toronto www.artmetropole.com somehow intimate, surface out of his Librairie du Palais de , Paris Librairie du Musée d’Art Moderne own body in his spot-on (no pun in- de la ville de Paris www.onestarpress.com tended) artist’s book. and at www.onestarpress.com

Cover ofJon Kessler's book at onestar press onestar book at Kessler's ofJon Cover Vivian Rehberg, Paris www.afterartnews.com 3 Doodle til you die

atrick Phipps doesn’t appear in the revue J&L blocked, at the baying of a generation of fifty-somethings who Illustrated #11 and it’s surely an accident because most refuse to die or lay down their arms. Sworn to benign thoughts, of his peers are there, David Shrigley, Marcel Dzama, fractured assaults, historically denied adding ideologies. And the Craig Taylor, Oskar Korsar, Dame Darcy and the grandeur, precisely, is in the fracturing, in being condemned to the others. Where is this sudden eruption of incontinent infinitesimal. The force comes from the apparent innocuousness. Pdoodlers coming from? Is it a sign of the times – that graffiti has left It’s kudzu, this work, a whole civilization being slowly, insidiously, the walls of the city (thanks Mr. Giuliani) to invade the notebooks surrounded, swamped, strangled. And for this civilization to die is and proliferate right into the galleries? The Blog generation exactly what we want, for it to finish in this delicious debris, in the lets its cerebral matter drip from its pencil points. Well made sketchbooks of these adorable youngsters, artists beyond genres, heads, full to the exploding point, the umpteenth Renaissance, beyond hierarchies; direct descendants of the ancient great the « noble » arts and the trivial sources of Impressionism and ones Robert Crumb, Gary Panter (claimed overtly by our man Pop stirred into lumpy mashed potatoes, appetizing, innocent (in Phipps3), nursling brothers of post 9-11 situationnist David Rees4; appearance), adolescent. The references, quotations, allusions, of Chris Ware, master of comics; of Marcel Dzama (quoted two are innumerable, inexhaustible, become the name of the game, times, cause he’s the Boss as was said of Braque5) and so many

, onestar press 2004 press , onestar its propulsion or gasoline: it’s the reign of Google culture. Moth- others who stone the world with their tiny graphic pebbles and eaten mythologies (Bushido, Kung-fu, Motörhead, Mott the who will end up, if one still believes a little bit in Art, by doing it Hoople, Starwars & werewolves); disorderly, suavely desperate in. Jean-Luc Fromental, Paris

Nice Krisis Nice name-dropping (Bunuel, Matthew Barney, Malevitch sponsored 1 by Chevrolet); pop without poppers; post-coïtal post-modernism; J&L P.O. Box 723991 Atlanta GA, USA 31139 2 Not any old funny pages: Popeye and Krazy Kat, by gosh!

, from , from 2 funny pages and bad French (that fantastic «Dieu Pain» in lieu 3 A fellow Texan: ceci expliquant peut-être cela of «Pan God», those triumphant « Putain (de) sa mère » and 4 Putain, c’est la Guerre – David Rees - Denoël Graphic 2003 « Plus Vites ! »); the snotty questions («What’s so fucking great 5 And this not by chance when we see Phipps had an exhibition in 1995 with the Royal Art Lodge in Winnipeg, where the beautiful Marcel was born and trick Phipps about Dylan anyway?») of thirty-somethings, their perspectives blossomed Pa   Closky: 99% inspiration 1% perspiration If genious is 1% inspiration and 99% perspiration, with ministerial ribbons above a highly respectable they are all primed from the get-go for a little and European, likes to postulate that there is Closky fits the formula. He works with an energy tally of exhibitions and publications. Recently deconstruction lite. Americans can’t decide what something behind Closky’s work, some grand some call « obsessive-compulsive. » But he also Closky’s multiplicitous European showings reached to make of him, which is odd since Closky picked artistic or social scheme of which we are seeing, inverses the genious ratio, as his book Coloriage such a continental mass that he popped up in New up many of his tricks-of-trade in the States. Dike presumably, bits and pieces (« visual nibbles, » (onestar press, 2001) shows. Since his early days York with a one-man show at Location One (fall Blair warns readers (Art Forum, 10/03) that they as Blair puts it). Maybe there is and maybe there with The Frères Ripoulin, a Parisian art/music 2003). Many French artists merit better play in will oscillate between fascination and irritation; but isn’t, but hey, isn’t that kind of like life ? collective of which he was part in the 80s, Closky the States, and Closky is definitely one of them. Blair’s article is informed and gracious compared to Go to www.sittes.net has worked his way in hard conceptual pursuit It’s revealing to compare recent American with Ken Johnson’s in the NY Times (10/28/03), where Choose one. See where it gets you. of the absurd in the logical and the logical in the European criticism of Closky. Europeans usually Johnson wonders if Closky’s work is « really dumb absurd. He has also put together a CV festooned take to his work immediately, maybe because entertainment. » Almost everybody, American Richard Dailey

THE FIRST 300 Claude Closky's Top Choice

RANK NAME RANK NAME RANK NAME RANK NAME RANK NAME RANK NAME 1 CIPPELLETTI Éléonore 51 THEBAUT Guillaume 101 Poorananthasina 151 NOURY Estelle 201 PELOUX Alix 251 RUAND Félicia 2 CHAUDESAIGUES Jean 52 BOUILLEFORT Muriel 102 BOUROCHE Catherine 152 FERET Colette 202 ANTHOINE Mathieu 252 BAPTISTE Monique 3 LEHERPEUX Sophie 53 CYHOLNYK Jean 103 SADIER Augustin 153 LEY Albert 203 DE CHALENDAR Jean 253 NETANGE Bernard 4 SROUSSI Léon 54 RIDEL Mélanie 104 PIZZOLATO Claude 154 MONNAIN Louis 204 KUBE Dionys 254 DOUAT Jeanne 5 YVONNOU Catherine 55 IMBARD Christelle 105 DELAGE Eliane 155 VERNOTTE Georges 205 CURIS Bernard 255 YOUNG Rosine 6 SVATZMAN David 56 TRAN Nhu 106 ZALC Abraham 156 PHAL Patricia 206 DESSUPOÏU Antoine 256 AFRAKHTE Farid 7 CUINET Chantal 57 BERSTEIN Aline 107 DEROUSSEN Fabrice 157 GRANON Sylvie 207 WAYSER Nathalie 257 QUADRELLI Edouard 8 KOVALYK Joseph 58 RALLIER Sylvie 108 CHAU Marie-Ange 158 DEHON-TAIEB Bernard 208 FAVRE Marie-Pierre 258 NAGEL Andrea 9 LONGY Alain 59 MANCA Christiane 109 TAILLET Charles 159 BADEL Roger 209 VARDENI Lucien 259 VEIGA Joaquim 10 DUFLOCQ Nicolas 60 PELLEVOISIN Eric 110 DELAHAYE Yves 160 ARTAL Bernard 210 DEVILLERS Françoise 260 DESTREM Odette 11 BILLOUX Jean-Pierre 61 SALEM Adrian 111 PEROUX Thierry 161 OUAD Hocine 211 VICTOIRE Christian 261 MONGRENIER Vincent 12 JOUFFROY Alain 62 VANNIER Adrien 112 FÉVRIER Philippe 162 D’ARAILH Dominique 212 RENOUX Céline 262 CHAMBAZ Denise 13 DANGU André 63 PORTIER Emile 113 DRÉNO Françoise 163 ULLMO Fred 213 COLOMBERT Fabrice 263 BOUXIN Robert 14 CHEN Changhou 64 HUGUENIN Agnès 114 SCHAIER Ali 164 ESSADIK Khadija 214 CUISIN Gérald 264 GAUTRON Florent 15 DOMSCH Catherine 65 FROGER Marc 115 KHAN Imran 165 MENNINI Marie 215 HONIGMAN Brigitte 265 JOUQUAND Annick 16 PREMARE Thierry 66 MANIA Laurence 116 FICHTNER Birgit 166 THOURAUD Jean 216 CHAABANE Noomen 266 MEHLER Claudia 17 OLWAN Fouad-Kamal 67 PEYROT Fabrice 117 CROWN Patricia 167 JOIRE Alexis 217 CACHEUX Stéphanie 267 LAMOUREUX Philippe 18 DETEZ DE LA DREVE 68 KULDA Christine 118 LEDOUX Josette 168 FONTANAROSA 218 ACIMOVIC Ljubisa 268 TRAIKOVITCH Mira 19 Alain 69 LEPAGE Thibaud 119 GUENOUX Jeanne 169 Dominique 219 AMORY Agnès 269 ALMA David 20 DELAIN René 70 BARBET Christiane 120 ABAY Ercan 170 BUDA Fabien 220 SERVOIN Antoine 270 CANONICA Michele 21 PRUNIER Charles 71 VERMET Frédéric 121 LEGER Audelienne 171 SAKKAT Donia 221 ROUHER Odile 271 JAUBERT Claude 22 DE HERCE Marie-Sophie 72 BOTHUA Olivier 122 BULTEL Séverine 172 SRANON Isabelle 222 POULAIN Antoine 272 BOURGUILLEAU Antoine 23 JUIN André 73 YESILKAYA Serdar 123 COMMEAU Claire 173 CHAPIN Frédéric 223 GOSSELIN Arnaud 273 FLAGEUL Edmond 24 BAVELIER Alain 74 POWER Anne-Marie 124 IWEINS Constance 174 TRILLER Yves 224 GONCALVES Luis 274 BENASSAYAG Maurice 25 LEMEN Aimée 75 DILOO Ashre 125 VALLON Lucette 175 MERCIER Sabine 225 DAMOUR Pauline 275 BUCAS Georges 26 STANKOVIC Dusko 76 ROEHRICH Béatrice 126 IPICJIAN Lisette 176 LYS Armand 226 MENSAH Odette 276 LEBORNE Christiane 27 FERBER Jérôme 77 BOKOBZA Daniel 127 ERNAULT Jean-Claude 177 CRÈCHE Frédéric 227 VANDAELE Henri 277 CHERBLANC Géraldine 28 ROCLORE Guy 78 PIRO Paul 128 CRANN Brigitte 178 MOUTERDE Bernard 228 SEEMAN Robert 278 JANVIER Albert 29 MARKOWITZ Samadar 79 GELÉ Yves 129 RENTY Loïc 179 AVERTY Evan 229 DERIGNY Antoine 279 JOUAN Alain 30 HOUNZA Eglantine 80 JABES Robert 130 HEUBERGER Patrice 180 ARAMBURU Suzanne 230 ALLACHE Larbi 280 RONDEY Emmanuelle 31 DUCROS Henri 81 KWONG Connie 131 GRIMALDI Marc 181 BARTHEZ Alain 231 RENARD Jean-Noel 281 BURSZTYN Nathalie 32 D’AURIOL Sophie 82 DONATI Jean-Frédéric 132 FILALI MOUHIM Nicolas 182 AMIAND Emile 232 LOGAN Dany 282 JOVET Béatrice 33 DURIS Sébastien 83 CRABOL Joëlle 133 CADY DE SEGRAIS 183 DUFFÉAL Odette 233 GUYARD Bertrand 283 VEISSEYRE Jean 34 DEFFO Hélène 84 CALDEIRA Anne-Cécile 134 Ariane 184 GULEN Sehmus 234 BISEUIL Hugues 284 LAGARDE Monique 35 SOUBRANE Alexandre 85 COUSO Francisco 135 AUTRET Christiane 185 DANIEL Sandrine 235 DE LA CLERGERIE Eri 285 BISMUTH Lucien 36 MENENDEZ Fernando 86 ABBOU Ahmad 136 BOURGUIBA Hadhoum 186 BENHAMOU Alain 236 HAMADE Muriel 286 KANETI Victor 37 AMOUYAL Marie-Josèphe 87 FRAISSE Julie 137 PASQUIER Eric 187 TERRIN Martine 237 PINCON Jean-Marie 287 COURCEL Marguerite 38 CHIENG André 88 TONNEAU Huguette 138 GRILLET Evelyne 188 SAMY Jérôme 238 GODOT Rémi 288 JOENSSON Camilia 39 CHARGAIRE Michel 89 COTEL Claude 139 CAHILL Barry 189 BENSOUSSAN Pierre 239 HAOUY William 289 DORDEVIC Ljubinka 40 JABIR Stéphanie 90 ISABELLE Jacqueline 140 DOUKOURÉ Harouma 190 MICKOS Véronique 240 FRANK Annemarie 290 VU Hai 41 IGNACIO-PINTO Louis 91 STECK Ginette 141 VAUTRIN Guillaume 191 TIREL Noëlie 241 CHEDAD Mohamed 291 COURCIER Emmanuel 42 JEROME Cécile 92 NIKI Alexis 142 HALAS Katarzina 192 WOLOZYNSKI Gabrielle 242 GORIS Angèle 292 CUDELL Pedro 43 DURAT Anne-Christine 93 KHALLADI Mustafa 143 DEMARE Gilles 193 TIROT Patricia 243 ISRAËL Elie 293 EDOUARD Joelle 44 DAVIDOVITCH Françoise 94 STERNBERG Elise 144 LAMIOT Christophe 194 ROJO Feliciana 244 DI VINCENZO Massimo 294 JOULAIN Arlette 45 PAQUIER Damien 95 ROTIVAL Hervé 145 DIZES-LAUNAIS Maryse 195 QUOI Alexandre 245 LEBRUN Régis 295 BELLOUN Jean-Luc 46 SUBIRA Anne 96 CHAUFFOURIER 146 DESSIMIROFF Micheline 196 TEULIÈRES Olivier 246 MASGANA Constantine 296 CAUDRON Sébastien 47 AFONSO Amadou 97 Catherine 147 DARNOIS Alexis 197 CHAUVETON Cécile 247 KRETZ André 297 VIARD Régine 48 FEBVRE Aurèle 98 FREDOUILLE Bernard 148 LAKHAL Ahmed 198 LECORRE Frédéric 248 RIVOIRE Marc 298 HAUET Jean 49 DENEUX Jean-François 99 KARAT Fortune 149 HOUDRÉ Loic 199 BACHIR Hadjira 249 DEMONCHY André 299 BITTON Richard 50 PHEULIN Christophe 100 AINGARAN 150 DE FREITIÈRE Christophe 200 DRAHY Alain 250 LOUP Johanna 300 BENAISSA Véronique Special project for aanews for project Special 4 www.afterartnews.com Pierre Alferi rocks the craddle

a Berceuse de Broadway is the tran- scription in book form of a film that Steel: a man Pierre Alferi realized at the Pompi- dou Center’s invitation for an evening dedicated to the theme of «grâce» in LApril 2002. This film, about 12 minutes long, com- of paper posed of a handful of shots borrowed from Gold This book, There, is here and now. It is both concrete art, and Rohrschach test, flip- Diggers by Busby Berkeley (1935), was, originally, book and short story. In a way, the book tells the history of art of the last forty years. a silent film, or a silenced film more like it, a film in Way back then, we had books like Matisse’s Cutouts. This was a book in which paper which Pierre Alferi cut the sound to better bring became picture. In which flat cut-outs represented human forms, and thus referred to the three-dimension- out the propositions that he had, as he puts it, al. Now, in There, we «tattooed» on the image, in the manner of Go- have pictures that are dard in Histoire de cinéma («Tendez l’oreille et almost abstract, except écoutez la berceuse de Broadway, le brouhaha they might be porno, le tintamarre de la berceuse de Broadway...»). I pictures that look like say «originally» because it isn’t at all surprising graphic design, but are to discover how he has resonorized the impres- art, pictures that are sion. You will swear you know the voice of the black and then white. Haim Steinbach is a young woman who sings la berceuse, and whose friend of Steel. We can head grows bigger here page after page as in a tell this in the title and flipbook. You will swear you’ve heard, or least to the graphics, and the have «heard,» the «grondement du métro, le va- fact that the book came carme des taxis, les filles qui brûlent les planches to fruition for onestar chez Angelo et Maxie, les clameurs, les rumeurs press. If Haim recom- de la berceuse de Broadway» the first time that mends another artist, you see the film. All these sounds that the edit- we are going to believe him. He knows how to ing has revealed to the ear, the paper restitutes 3 choose cereal boxes, to the eye as if they had been fossilized in the exercise balls, wigs, lava image. «Grâce n°4: toutes les choses de l’art, lamps, and Halloween toutes les choses du cinéma sont entraînées masks with precision. 2 par un mécanisme à se reloger en elles-mêmes, He is a master in the dis-

, onestar press 200 press , onestar cerning of beauty. And à continuer de battre, chacune sa mesure.» This e thus, his recommenda-

book beats its own time, in a strange way, as if Ther enclosed life, the gestures and perhaps the calls tion of this book is good

onestar press 200 press onestar enough for you and me. , from , from , for help of a crowd of souls held prisoner in en- Buy it. It is sexy. gulfing arms of the American music hall. There. Be careful not to leave it open. Cornelia Lauf, Pierre Alferi Pierre Mark Alizart, Paris Stillman Steel   Bernard Heidsieck sound poet #1 hen Bernard Heidsieck delivers his categorical to a machine in its time, the tape recorder, and to experiment discover and generate a new space for listening. It means bringing judgment of «sound poetry,» starting with the with different effects trying to put his voice in perspective by together art and technology by opening poetry to the social 1950s, he gives us a healthy lesson: «Don’t,» confronting it with a contemporary sonic diversity capable of sphere without necessarily saying that technology is the goal. he says, «let the machine consume you.» He’s activating in the listener the awareness that he in turn can be an Lucidity finally means escaping the isolation that has been the talking about the computer, of course, the actor with a body, eyes and ears. It means finding the concrete poet’s privilege without losing oneself in collective meandering. Wall-in-one machine, accessible to everyone. The machine can’t means to twirl words around a public, which thus becomes the It means refusing the authority of a leader, a pope who, as do anything by itself, we know: «Before using such a machine,» co-producers of an as yet unrealized work, taking form among recent literary history shows, excludes or calls to order. It means Heidsieck continues, «you have to know what you want to do them, with them and for them. It means creating a zone of musical actively preaching for an opening in which on the same platform with it. You have to have an idea that the machine may be able complicity with contemporary musicians (Boulez & Stockhausen can co-exist «an agglomeration of lines, various movements, to help you realize. You shouldn’t throw yourself at this kind of & Cage) who, in their respective fields, set the tempo. It means sometimes adjoining, parallel, sometimes contradictory» and machine too easily.» Fifty years of practicing the art of sound working directly with sonic poetic material in such a way as to which are there for each person to decide to participate or not. poetry renders you lucid. Or maybe it’s It means constituting a sort of «franc- the opposite: lucidity makes sound poetry maçonnerie underground» that knows possible. Lucidity, for example, may be how to get around the obligatory trends abandoning «written poetry» when you and established distributors to transmit realize that poetry books don’t sell, that information directly both to colleagues even the term poetry has fallen upon hard and the public. It means replacing times or that, in every sense of the word, the poetry in the public realm by multiplying poem remains eminently passive, waiting its manifestations, readings, collective wisely on the page for its reader. Lucidity and individual performances. means thinking about the support for It means, in a more personal way, for production, communication and diffusion the poet to try to see better what’s of poetry in general and finding a way out happening around him/her and allow of its dead end. It means wanting to exit without balking the transformation of poetry from its double ghetto («poetry» things by refusing a priori the rights book + plus small distribution within of naïveté and ignorance. It means micro-circles) and resolutely envisioning being conscious of making a simple an alternative that reactivates poetry and proposition that worth what it’s worth, finding a material consistence adequate but that shows in any case that «we’re all to the modernity of its epoch. Lucidity is in the same boat.» also giving oneself the technical means to reach one’s goal. It is reinvesting from Bernard Heidsieck tells the story of the moment of a text’s conception in its this lucidity in his book “nous étions oralization, previewing from the moment bien peu en ...”. of writing, which then resembles a simple So: take it easy: read it, enjoy it and be notation, a score, the way in which the sure of something: it’s up to you to be text should be read. It is including in the lucid too! text itself the possibility for the poet to incarnate this oralization and to share it

Portrait of Bernard Heidsieck by Philippe Buschinger, 2004 Buschinger, Philippe by Heidsieck Bernard of Portrait with a public. Lucidity is knowing to resort Interview by Philippe Buschinger, Paris www.afterartnews.com 5 Special project for aanews: Chris Hanson and Hendrika Sonnenberg: Fruit Bowl

6 www.afterartnews.com New York New

is now your taking bets on Rachel K. Ward, K. Rachel onestar press onestar nenberg of plaster fruit pieces is as complex as chance photos of of photos chance as complex as is pieces fruit plaster of may season Hockey action. in sticks hockey and elbows – fight the continue & Sonnenberg Hanson but be over fruit performance, and installation reality, and art pitting and hockey. matches. these - son & Sonnenberg combine the quiet subject of still lives lives still of subject quiet the combine Sonnenberg & son fruit the Both events. sports of mayhem rowdy captured the with fruit the – suspense in caught are fights the and and frozen the fights, installations, ripe inside eternally re photos The winner. a clear without in action arrangement forever strategic the – choreographies intricate veal - - Fruit Fruit is is onestar press onestar . In a match up as responsive as as responsive as up match a In . ts ally part of the game, inside the rink. They are about the the about are They rink. the inside game, the of part blood ally of drops and pulling and punching of performance & Hanson Hen Chris of shed for the winning. triumph for book new Sonnenberg’s drika Figh Hockey Han and Milk, of Bowls Glass a and Fires Small Various Ruscha’s Ed - - Cause of Arrest: Hockey eight Arrest: of Cause York, New Clifton, in season hockey of finals the At adults were arrested for assault and A battery. tournament a – ice the on fight game a concerning out broke - had led to that par 9 old children among year match usu are fights Hockey stands. in it the out fighting ents Chris Hanson & Hendrika Son Hendrika & Hanson Chris

www.afterartnews.com 7 That Ain’t No Lady… ew York based all widely grinning. Now I have never met artist, Mary Carroll but I am assuming that all these Ellen Carroll would-be doppelgangers present no recently clear or present danger to her in terms invited actors of anatomical exactitude; to revisit that to attend an old legend, she is safe that she will not open audition die in the near future through meeting to be her. with them. Baudrillard’s universally well- “…Female or feminine male (28 - 40), thumbed concept of the simulacrum - the Ntall (5’10” +), lanky, brunette, hazel eyes, copy without an original - grimaces at us intelligent…dry wit, not so ugly, strong from the pages of, illustrating, in a most 2004 press , onestar character, for role as post-conceptual graphic manner, that our current notions artist in New York.” Assured that they of culture and society as a shifting flux of would be paid and that there would be no undifferentiated images and signs are most nudity, Carroll received as wide a variety notably reinforced when reproduction as could be humanly possible for such a and reproducibility are in play, especially precise physical brief: the publicity shots when has been an exact outline of what the can be me think they the men that All which are reproduced in this book feature original should have been like. I wonder if , from women and men who black, white, big, one of the photographs is actually her… small, bald, hirsute and uncannily nearly Maria Fusco, London Mary Ellen Carroll Ellen Mary  

Special project for aanews: Alain Séchas: Museum shop 8 www.afterartnews.com Christophe Cherix recently interviewed Sean Dack and That Ain’t No Lady… Liam Gillick about their fruitful collaboration by email for AANews. At the time, their OSP book only existed as a PDF fi le. This kind of thing is banal now, of course, but every once in a while it hits home again. Virtual 2004 press onestar , book, virtual interview: can the virtual artist be far behind? These guys are for real, though,

as you can tell here. And if spot identity new Sanders Anna

virtual is good enough for you, from , the PDF can be downloaded at www.onestarpress.com n Dack and Liam Gillick Liam and Dack n

How did you come to collaborate with Sean Dack? Sea Liam Gillick: Sean and I met at Columbia University a couple of years ago, where I go in for two weeks a year to run an intensive group situation. We have been looking at each other’s work for some time, but this is our fi rst real collaboration. His interest in fi lm “Anna Sanders New and photography within his art made it a functional partnership. But also he cast Lisa Rovner in the role of Anna Sanders for our clip as he is in a sophisticated position in relation to the contemporary situation Indentity Spot” in New York. His work is extremely stable in terms of its elegant execution yet deals with issues that are inherently destabilised; the corrupted multiple image of fame; landing planes near suburban homes; By SEAN DACK AND urban abandonment and promotion. He manages to avoid didactic presentations without losing a certain melancholic political element within the work. We work together pretty well including work on the editing and soundtracks for the fi lm. lIAM Gillick

How would you describe the Anna Sanders Films Identity Spot? Sean Dack: Perhaps it is the beginning of a fi lm about AT ONESTAR PRESS the 1960’s that was probably shot in the early 1980’s for very little money. It is something you think you recall seeing on cable television late one night. It is direct but it is also slightly awkward in its execution. at as a reworking of the banal, but then there is a process You wonder why she has winked at you. Then you of focusing and fi ltering that makes a work seem resonant. think that she is acknowledging something that you I strive for this resonance. The slightest alteration of the know and is sharing that back with you. normal can allow for the endless possibility of ideas. You could potentially both be “insiders” and you quite possibly you may have similar agendas. A Why make a book out of it ? 2004 press , onestar crystalline daytime shot faded into an abstracted Liam Gillick: I like working in the book format for quite old internal space. reasons connected with rapid and easy distribution of ideas Then you realize that it is not the intro to a particular and escaping certain traps that might exist within the art fi lm but that it is the intro to any fi lm. It is essentially context. In this case the book also preserves and heightens an advertisement. But it is not that either. It is too the gesture of making this super-short clip. It concretises direct and formal. It is an artwork because it hovers the relationship between Sean and myself and registers between all of these forms. that the production of the clip should also be understood

My work is about crossing multiple paths at one within an art context, not just the cinematic context within spot identity new Anna Sanders time. Creating historical and formal parallels that which the clip will generally be used. Sometimes it is nice to otherwise may not be congruent or thought of offer a book to a fi lm company. It is a common moment of , cover of of , cover within a single context. Negation between and exchange that normally happens before the development within elements is constantly occurring, you could of a fi lm project. We both liked the self-referentiality of call this a form of alchemy, or perhaps I am setting offering a fi lm company a book of its own clip instead of up systems that allows for change. A good portion the latest hot novel. We were also quite interested in the of my practice seems so obvious, while managing fact that we could produce something fast due to the way

to be unique and obscure. Most of my source onestar press operates. and Liam Gillick n Dack

inspiration is simply, “everyday.” It could be looked aanews Sea www.afterartnews.com 9 Peter Nagy is an artist and co-founder, with Alan Belcher, of Nature Morte, one of more successful galleries in New York’s East Village during the 80s. Anyone not dead, tied down by cheap rent or enslaved to a job fl ed the Big

Apple in the early 90s after the city collapsed into a miasma of corruption and crack. Peter went to New Dehli, and eventually reopened Nature Morte there. Afterart News recently asked him a few questions about life after the East Village. Here’s what he has to tell us. Subodh Gupta: “Doot” 2003; cast aluminum Ambassador car, toy cars and mirrors; installation at Nature Morte, New Delhi, December 2003-January 2004. Poddar Collection, New Delhi. (photo: Reserved Rights) TheThe D e lhi next door

fterart news: You say Delhi reminds How aware/infl uenced are Indian artists by towards curating and dealing. As I stayed on you of the early 80s in NYC. What western culture? Do they care what goes on over (as they say) in India, I became familiar with its makes you say that? It’s hard to here? contemporary art scene and was seeing a lot of imagine the same potent mix of PN: This segues nicely into your second question. interesting work and knew that it was not being drugs, sex, music, art and money. India as a whole has opened itself up to the exhibited in commercial galleries. Frankly, it took APeter Nagy: The Indian art scene is reminiscent world in the past decade, the decade that I have a guy from New York to see the potential on an of that of NY in the 1980s as it is, at present, full lived here. This means in Delhi we can order in international scale for much of this art and after of potential energy and artists are, in general, Domino’s pizza, have the BBC, CNN and WWF fi ve years of slogging away and busting my butt quite optimistic. In many ways, a scene that on television, drive Fords and BMWs and shop at I’m glad to say its starting to pay off. accommodates photography, video, installation Bennetton (all for better and for worse). Indian AAN: Are there other ex-NewYorkers around? Do and experimental mediums has only coalesced in artists have greater access to information of what people fi nd you? Do you ever get over to Madras is happening around the world, though in terms of to see F. Clemente? I ask because his Hanuman contemporary art this mostly comes through the Books were published over there. Maybe they still Internet. The younger generation is more clued are. in to what is happening in different parts of the PN: Love Madras, but don’t go there to see Mr. world, more attuned to the possibilities within a Clemente. Actually, he’s not well thought of in globalizing art scene. But, mind you, their focus the Indian art scene. He’s seen as someone who may be just as much on what is going on in other took from India and never gave anything back, parts of Asia or in Australia as it is on New York and an Orientalist who wants to keep India as the Europe. We’ve been deluged by foreign curators mystical, exotic Other and never interacts with (mostly European though not exclusively) coming its contemporary realities. Delhi is a city the size to India in the past few years and we’re starting of New York and, being the capital, has a lively to see contemporary dealers sniff around. I’ve international cultural life and a chunk of my shown some work by New York artists here in audience at the gallery comes from foreigners group shows and have worked on some projects either in diplomatic service or connected to the with European artists, but as the market does press. not accommodate work by non-Indian artists its AAN: Do you sometimes get the feeling in Dehli rather diffi cult to rationalize and afford. that you are seeing Western culture through some AAN: What made you go to Delhi when you left strange fi lter? NYC? Did you intend to reopen Nature Morte PN: Actually, it’s the reverse in the sense that the when you went there? Western World, and especially, are PN: I fi rst visited India in 1990 as a tourist and becoming increasingly Asianized and more like Peter Nagy (photo: Reserved Rights) then came to live here, for a year, in 1992. I was India. India is the future in many ways: wars are the past four to fi ve years and both young artists motivated by a combination of the crash of the already being fought over water not oil; the post- and more established ones are taking advantage art-market in the early 90s and the desire to both modern West is catching up with Indian attributes of the opportunities currently available to them. live in a foreign country (having grown up in the of hybridity, complexity and contradiction; much Of course, one can’t compare the struggling and NY metropolitan area) and delve deeper into of Indian cities look to be already deconstructed nascent market of here to that gonzo animal we another culture. When I closed Nature Morte and we move through a synthesis of the past, knew in NYC twenty years ago. in New York in 1988 I thought that I would open present and future which is not unlike Blade AAN: In some ways all art, like politics, is local. Do it again somewhere else, basically because I am Runner. you ever show artists from Europe or the States? not interested in teaching and am more inclined Interview by Richard Dailey 10 www.afterartnews.com Steve Fagin’s Mark “conceptual” Borthwick y the elegant defacement of his own cover of Purple, Mark Borthwick simultaneously negates and reclaims eternal endgame! a publication with which he is widely identifi ed. BBut Social documentaries amid this pist is neither an appropriation or a parody. It is, rather, a compilation of photography and text that serves as an introduction to a complex body of work that defi es easy description; perhaps ‘urban pastoral’ might do. I prefer to think of Mark as a closet romantic who messes with form; wether it be the printed page, a garment, a sound, or an event. Primarily a person with a camera, a democratic, Warholian logic pervades Mark’s thinking.

, onestar press 2003 press onestar , Something like; “If this girl is ‘beautiful’, then shouldn’t this one be?”, or, “If we admire a dress for its ‘shape’ and ‘lines’, can’t we admire the sidewalk for the same reasons?’, etc. Mark also likes to give his subjects things to do-like ‘hold this plant/pillow/ or Oliver Khan Oliver entire rack of dresses’. Art that looks (deceptively) easy to make is often imitated, and one has long seen the trickle- down infl uence of Marks ‘lets- step-outside-to-take-this- picture’ aesthetic. Not simply Steve Fagin, from the movie movie the from Fagin, Steve a photographer who sleeps magine a sort of vagabondage, a long reverie. Imagine being plunged around with other media without warning into an image fl ux that seems to allude to a memory, though, Borthwick is closer a real lived experience which is nonetheless opaque, as if someone to being a conceptual artist descended to the basement and after having brought up some old operating from within the video cassettes begins watching them compulsively, mumbling a little, brittle little universe where Iwith the absent air of one of the great solitaries. And imagine this Beckettian a certain kind of art practice character, a Krapp who has replaced the reels of his tape recorder with meets fa-fa-fa-fashion. But, a VHS and now spends his days running around in a world shrunken to once again, it is the romantic the dimension of a football match, watching those games engraved in our impulse that separates Mark M. Borthwick, from his book at onestar memories and those we have forgotten, a game of mirrors, time travel, the from the pack. His world press 2002 images and the voice superimposed, mixed, bouncing off each other like is the world of daylight, or maybe the muffl ed dusk, when a visual stream of consciousness. Oliver Kahn, the fi lm that Steve Fagin magic’s in the air. Gently choreographed celebratory images directed in 2003, carries the name of the football player from Bayern Munich, made in collaboration with a willing cast of family and friends but it isn't a biography: we are more like witnesses of “an intermittence” in are particularly welcome in a climate where photography’s his memory, where the chaotic materials of his pervious life are interlaced. engagement with youth can only be described as vampiric. Yet, And it is through the superimposition of these fragments that we are led, Mark does feed off of his own frenetic production, frequently as the artist puts it, «to deal with the issue of memory in this new age of re-photographing and republishing earlier projects in different stream video. The piece puts forward that memory is linked with “machines formats. ‘form’, once again. The writings that accompany the of vision” (also sound) and new machines of vision do not simply replace images and occasional collage are, um, ‘challenging’ and deeply old ones, hence the overlap and confl ation in the piece among pre-cinema eccentric. Think of Joyce (James). Think of jetlag (Air France?). devices, Hollywood cinema, VHS recorded matches, toy camera diary, and Think of a long, stoned conversation you once had with someone stream video». Stefano Chiodi, Rome you suspected might be a genius. Tim Maul, NYC Franck Scurti: Urban Activist 

In 1998, Franck Scurti, always quick to create a poster and a handout, «The exhaustive inventory of all the city’s

react to insignifi cant events, ripped city is not a tree,» sent anonymously palisades, a way to echo the urban rumor 2003 press onestar , up an advertisement from Libération to all the galleries and institutions in contained in this virgin poster of all the that shows a leaf from a tree and drew Paris, over four months, by a team of inscriptions and to deliver an enigmatic on it with a black marker. Initially this four people. Wanted takes as its fi eld message. The white pages ripped out gesture evokes the use of advertising of investigation the public space and and inserted between images actualize in Pop painting and the dissimulation becomes a parasite with the help of this documentation while recalling the of certain Pop artists behind the cold a recurring motif over a given period. initial gesture of ripping the page of image of advertising. Wanted! But what It is a project involving uprooting, a advertising in Libération. Wanted is tree a not is city The are we looking for? Franck Scurti works metaphor of identity in the image of this the witness of an epoch, an ephemeral with accidents and fracture; each of his leaf fallen from a tree whose veins evoke project of which the book is the only , cover of of cover , actions can lead him, by a system of a thumbprint. To prolong the work, the memory. It’s also the demonstration of leaps or the association of ideas, toward artist published in 2003 at onestar press an art that can exist outside of museums, new projects. Thus, six months later, a compilation of photographic archives galleries and institutions. he reused this spontaneous gesture to of this project. has become the non Claire Staebler, Paris Franck Scurti Franck www.afterartnews.comwww.afterartnews.com 11 12 www.afterartnews.com