Manfred Pernice’s new catalogue Haldesleben ? Bibette headland ? Hotel Hangelar (2018) / Wolfgang Tillmans, What is Different? (2018), Sternberg Press / New Japan Photo (2018), Einstein Studio, Tokyo / Edition by Mariana Castillo Deball
Miss Read: The Berlin Art Book Festival marks its 10th year anniversary, assembling more then 260 international publishers, art periodicals, artists and authors. The fair is accompanied by a series of lectures, discussions, book launches and workshops dedicated to discourse around artists’ books, conceptual publications and publishing as practice. This year’s special focus is on Japanese publishers, with the Stage hosting a series of highlight events; a talk with legendary photographer Takashi Homma, launch of a new edition by e-flux Superhumanity: Design of the Self, and a lecture on Anthropocene with philosopher, anthropologist and sociologist Bruno Latour.
photos: Heji Shin
Journeying across deserts, cities and foreign lands, the 19th century explorer Heinrich Barth was on constant expeditions to experience the world’s diversity and cultures with sensitivity. As an homage to his restless spirit and adventures, an eponymous line of high-quality bodycare is dedicated to wanderlust and intimacy. Heinrich Barth products are born out of their founders’ urge to capture and cherish moments in the form of lavish mementos associated with places they have close to their heart. Eclectic ingredients from different regions of the world are the basis of all the products which are made by a traditional family business in Turin, Italy. The primary product line is without scent in order to make anyone feel comfortable in their skin and environment without leaving a trace. In contrast, the Destination Line is reminiscent of specific places: MYKONOS 07 brings on the olfactory experience of being on the island right in its prime in July. Fig leaves, olive trees and wild herbs tell stories of endless summers. DAKAR 04, with its hints of papaya, mango and vanilla, transports the wearer to the city’s bustling markets, where fruits are stacked up to the sky on wooden carts and their aromas mix with bright colors. Travel and discovery trace every step of Heinrich Barth. Wanderlust turns into liquid indulgence.
images: Instagram Heinrich Barth
Poster by Karl Holmqvist
Gathering more than 240 independent publishers in the Haus der Kulturen der Welt, Miss Read is dedicated to building community and creating a public meeting place for discourse around artists’ books, conceptual publications and publishing as practice. The art book fair suffuses art, graphic design, literature and publishing and seeks to cultivate dialogue within various thematics, and essentially give impetus to further cross-pollination between disciplines. Like every year, the fair will be accompanied by a series of lectures, discussions and workshops with the common mission of exploring the boundaries of contemporary publishing and the possibilities of the book. Among other events, the renowned ARCH+ magazine will be celebrated alongside a panel discussion on critical architecture theory, utopias and discursive practice. The 5th Conceptual Poetics Day, a recurring element of the bookfair, will explore the imaginary border between visual art and literature in the form of readings, lectures and performances.
In a small village close to Ouagadougou, the capital city of Burkina Faso, arts and culture take center stage as contributors to the growth of a country and its younger generation. Initiated as an idea in 2009 by the German artist and theater director Christoph Schlingensief (1960-2010), the international art project Operndorf Afrika provides a platform for cultural encounters, workshops and collaborations. Schlingensief envisaged the initiative as a meeting place where people from different backgrounds are able to work as artists and exchange views. Over the last few years, that seed has grown from mere abstract plans into a full-fledged community that includes sustainable homes, education, health care as well as a bedrock for the area to evolve its singular artistic expression and set an example the world over. Operndorf is essentially a center where ideas can be cultivated as people from across the globe merge in one location. Here art paves the way to a thriving community, cross-cultural dialogue and much-needed postcolonial discourses building up a new image of Africa.
“The Operndorf is a project that arouses hope – hope that there can be a relationship between Europe and Africa, which is based on reciprocity and not on dominance. Hope that culture can contribute to the development of children and the development of a country.” — Horst Köhler, former Federal President of Germany
A profound love for words and images shape Pascale Obolo’s world and artistic output. Hailing from Cameroon and raised in Paris, this prolific creative works between publishing, journalism and cinematography. Bureau N met with her in Basel during the I Never Read art book fair where she’s the first exhibitor to represent independent publishers from Africa. As the founder of the African Art Book Fair and the contemporary art journal AFRIKADAA, Obolo seeks to foster artistic voices from Africa, offering them increased visibility and a platform for widespread discourse.
Pascale Obolo with one of her colleagues
When did you establish the African Art Book Fair?
It’s a very young project. We started in 2016 at the Dakar Biennale, but before that we founded AFRIKADAA, an art journal created by a collective of artists, art critics and book lovers. The idea is to present each issue’s content in an actual exhibition space. We want to have a platform where we can show the artists we collaborate with whether they are from different parts of Africa or the diaspora. Most national museums are not interested in showcasing this kind of artists, they go for safer choices. So the journal acts as a sort of laboratory and a curatorial exercise. Also, we invite various writers from around the world to contribute, and thus the result is a great mix of academic writing, clearly journalistic pieces, and experimental texts.
How did your collaboration with I Never Read come about?
INR is the one who found me and initially we were thinking of joining forces during the Art Paris fair but unfortunately we didn’t manage to get financial backing. Then later on, we picked up the discussion again and they invited me to talk about the projects I’ve been involved in and introduce them to indie publishers from Africa — a completely unknown scene to them. It’s the first time that an African publisher is exhibited at the fair, so that’s very interesting.
What kind of books did you bring with you this time for the fair?
We selected three books (award-winning artist Marc Johnson with lacune féconde, books by artist Sammy Baloji from Galerie Imane Farès and others) and as well as the upcoming issue of AFRIKADAA, which will be out in September 2017. We publish three issues per year plus one special edition. Last year we collaborated with the Centre Pompidou for their group show “Museum On/Off”. The museum gave us a carte blanche to propose ways on how to reinvent the museum in the future. I suggested a fictional museum including artists that I knew the Centre Pompidou had never exhibited before. We decided to do an extension of what we did there and create “paper museum” of sorts for the special issue.
How many publishers did the African Art Book Fair have first?
Not that many, maybe 25. From different places in Africa. We also invited three artists from South Africa who use the book as their artistic medium.
What would a potential collaboration between the African Art Book Fair and I Never Read look like next year?
We actually have plenty of ideas. For the next edition of the fair in Dakar in May 2018, we’re thinking of doing an exchange with Basel and mixing publishers from the north with publishers from the south. It will be more of an artistic project and we’ll question the role and existence of fairs in the contemporary world. Why are there so many nowadays? And what purpose do they serve, especially for independent initiatives.
Aiming to foster the notable art publishing community worldwide, the annual I Never Read, Art Book Fair is back in Basel for the sixth time. What started as a platform for experimental publishing and printed matter straddling the line between art object and reading material, has now become an integral part of the renowned Art Basel week. More than 130 publishers, authors, artists and designers from more than twenty countries will present their art and artist books, catalogues, monographs, rare editions, magazines and zines from the fields of art, photography, graphic design and architecture. This time around, fair-goers will have the opportunity to also see projects from Latin America and Africa: from works by publishers specializing in risographs, independent books by Latin American artists, and conceptual editions all the way to niche magazines turning the spotlight to African photography and small local publishers. Like every year, the fair will be accompanied by a radio station hosting talks about zine culture and the world of publishing within the arts.
book cover and Marcel Broodthaers with camel in front of Palais des Beaux-Arts de Bruxelles © Maria Gilissen
“Museums should be invisible. With an imaginary museum you can do whatever you want.” –
What does the term anti-art encompass? It’s shaped by an array of concepts that reject prior definitions of art and question the art system and how it functions. “The Anti-Museum“, an extensive anthology by Mathieu Copeland and Balthazar Lovay, addresses the idea of anti-art through numerous contributions by renowned artists and writers. From interviews and historical reprints to manifestos and commissioned essays, the 794-page encyclopaedic tome presents the first comprehensive exploration of the radical and paradoxical concept that is the ‘anti-museum’ – a term so present in art history and yet one that has never been the object of detailed investigation. The museum has always been a target for criticism, whether it comes from artists, thinkers, curators, or even the public. Dedicated to all forms of “anti” such as Anti-Art, Anti-Technology, Anti-Design and Anti-Philosophy, the publication features numerous texts from the 60s until today – including newly commissioned as well as never-before-translated pieces – to define the idea of anti-art in a broad sense, evoking attempts to disrupt rules and customs in artistic disciplines.
Photos: Robert Rieger
The Grill Royal family has teamed up with artist Rirkrit Tiravanija and chef Dalad Kambhu for their latest restaurant, Kin Dee. Here, contemporary Thai cuisine is served family style – dishes such as whole fried fish or beef stew are plated to share among several people. Lemongrass, kaffir lime, wild ginger, galangal, curcuma, coriander or red chili are essential ingredients. However, whenever possible, the chef and her international team substitute imported products with regional ones from her network of local suppliers. This leads to a modern interpretation of Thai food without sacrificing flavor: sweet apple in place of mango, yellow turnip in place of Asian sweet potato, or pickled kohlrabi in place of papaya. Located in Schöneberg, Kin Dee inherits the former space of the restaurant Edd’s. Out of respect for its history, only small changes and refurbishments have been made to the space. One new addition, though, is the artwork that hangs in the dining room: some of these pieces were created by co-owner Tiravanija, and other were made by artist friends.
Placed on a high pedestal at the heart of Frankfurt Alt-Sachsenhausen’s new bar Bonechina is a night-blue, porcelain elephant. Coincidentally, it is also your bartender: tonic water splashes from its mouth. Guests are invited to mix their own drinks, gathering around the sculpture to fill their cups, choose between a sandalwood or Vetiver aromatic ice cube, possibly exchange some names and stories. Developed by the Lindenberg Group, Bonechina is less of a bar than what a bar may dream of. Absent are the bartenders (though two hosts are present to prepare drinks if desired), and gone are the counter, the stools. With a visual concept designed by Studio Aberja, the whole interior glimmers across ceramic tiles called Frankfurter Fliese, diamond-cut and painted in the same shade of blue as the elephant-fountain. The blue continues onto the curtains and upholstery, and above the light limbs of pear-wood furniture, aromatic diffusers let out puffs of yuzu and bergamot throughout the evening. With all of this housed inside a baroque building from the wooden-shingled 18th century, the 20 lucky guests for a night at Bonechina may start to think they’re dreaming too.
Photos: Steve Herud