Bøger udgivet af Jean Boite editions

Derek Beaulieu's a, A Novel is an erasure-based translative response to Andy Warhol's eponymous novel. Beaulieu carefully erases all of the text on each page of the original work, leaving only the punctuation marks, typists' insertions and onomatopoeic words. The resultant text is a novelistic ballet mécanique, a visual orchestration of the traffic signals and street noise of 1960's New York City. This visually powerful half score/half novel highlights the musicality of non-narrative sounds embedded within conversation. Published in December 1968, Andy Warhol's a, A Novel consists solely of the transcribed conversations of Factory denizen Ondine (Robert Olivo). Ondine's amphetamine-addled conversations were captured on audiotape as he haunted the Factory, hailed cabs to late-night parties and traded gossip with Warhol and his coterie. The tapes were roughly transcribed by a small group of high school students. Rife with typographic errors, censored sections, and a chorus of voices, the 451 pages of transcription became, unedited, "a new kind of pop artefact". These pages emphasize transcription over narration, hazard over composition.

Double-exposed nude photography from a master of self-portraitureThe work of Swedish photographer Lina Scheynius (born 1981) captures quiet moments of intimacy and hidden beauty, as if ripped from the pages of her diary. Raw sexuality and naked bodies populate her photographs, which often feature her close friends and lovers, and herself, as models.In this latest project, Scheynius works with analog photography, double-exposing the film--first with images of centuries-old statues, then with her own nude body--using self-portraiture as a bridge across millennia. Both subtle and raw, Scheynius offers here a groundbreaking photobook for the 21st century.

Thirty-two conceptualist life instructions inspired by the artist's five-year-old daughterIn the tradition of conceptual action books, American artist David Horvitz (born 1982) has created a long-form poem developed initially as a collaboration between the artist and his five-year-old daughter. Change the Name of the Days offers a collection of 32 lessons and short teaching units in the form of a colorful and graphic text-based artist's book. From instructions such as "welcome the night into your house" to "exchange breaths with a plant," this publication invites reflection upon the immateriality of the world surrounding us. The prompts also provide the reader with an opportunity to develop a performative action for each lesson, constituting their own personal collection of poetic instruments. The book is enriched with a text by author and Fluxus specialist Natilee Harren.

From golden ice cubes to crepuscular charcoal dust: sunset-inspired cocktail recipes to enliven that special hourThis book is an invitation to transform the simple contemplation of a well-mixed cocktail into a sensory experience of "drinking the sunset."In 2020, French artist and architect Guillaume Aubry (born 1982) asked the celebrated Paris-based American mixologist Sterling Hudson to translate his artistic research on sunsets into cocktail recipes. Based on Aubry's research and Hudson's expertise, Sunset Cocktails presents 12 cocktails inspired by the beauty of a sunset, from the dazzling "Regulus," whose saffron ice cube glows gold once submerged in vermouth, to the "Grand Soir," a liquid sunset that infuses a dusting of charcoal into a crisp glass of vodka.With luxurious full-color photographs of the cocktails and the sunsets that inspired them, this volume encourages readers to consider mixology as a creative form of expression in the larger context of art history; in addition to Aubry's own writing on the subject, Japanese poet Ryoko Sekiguchi provides a luminous afterword to prepare readers' imaginations for an aesthetic and gustatory experience. A small-format, easily accessible volume, Sunset Cocktails presents Aubry and Hudson's collaboration with a uniquely poetic flair, encouraging readers to reflect upon society's relationship with sunsets and our collective aesthetic experience of quotidian moments of beauty, whether those manifest as a sunset, a fancy cocktail, or both.

A reflection on our changing relationship with the sea, imagined by artists such as Jeff Koons and Alison KatzIt goes without saying that our relationship to the natural world, especially the sea and its enigmatic and unfathomable contents, is complex and fraught. Far from a wholesale critical condemnation of anthropocentrism, The Imaginary Sea seeks to present a balanced, multifaceted perspective of our evolving relationship with the natural world. It operates, if not in different temporalities, then in different imaginations, compiling work inspired by the sea from artists such as Jeff Koons, Miquel Barceló and Alison Katz, working across a wide range of mediums. This publication, released alongside the eponymous exhibition at the Fondation Carmignac, considers not only how artists are reevaluating our relationship with nature, but also how nature, particularly the sea, sparks our imagination. Akin to the emotional range of a Shakespearian comedy or tragedy, The Imaginary Sea intends to evoke joy, mystery, wonder and melancholy, as well as loss.

New feminist portraiture from Marilyn Minter, in dialogue with ancient Greek art and ImpressionismAmerican visual artist Marilyn Minter (born 1948) has long cultivated a space between the classical and the commercial for her photorealistic paintings and visceral photographs. Minter's art is characterized by an emphasis on natural textures in all of their extremes--whether that of the turquoise eyeshadow on a young woman's face or the glittery grit on the underside of a high-heeled shoe. This monograph dedicated to her recent works presents her 2009 film Green Pink Caviar and a dozen monumental paintings as well as the processes behind such works.In her most recent painting series, Minter is inspired by classical representations of the female bather as an artistic subject from ancient Greece to early Impressionism. She offers a contemporary version of this figure: her female subjects relax and wash themselves in modern showers, their faces and bodies partially obscured by a film of condensation on the glass separating them from the viewer. In some images the women appear as a mere blur behind the glass; in others, the rivulets of water that course down the glass plane reveal enough to identify a face or body part. The effect is a sensuousness that defies the male voyeuristic gaze seen throughout art history.

A revelatory, long-overdue survey of the bold and explicit feminist painting of Betty Tompkins, from the late 1960s to the presentThis first monographic work on the New York-based feminist painter Betty Tompkins (born 1945) presents around 50 paintings and drawings made during her career. Tompkins is best known for her large-format Fuck Paintings, a series launched in 1969 depicting close-up sex, the source images of which are taken from pornographic magazines. The series is famous for having been censored many times.In this and other series, such as the Cunt Paintings and Pussy Paintings, Tompkins uses a cold and restricted palette of black, white and gray for the pornographic images that she appropriates. Stylistically close to photorealism, the images are cropped and produced with an airbrush on pastel backgrounds. Sometimes the artist covers up the image with misogynistic texts.Although her paintings were rarely shown, due to their explicit content, Tompkins has influenced a younger generation. Since the 1970s, she has tirelessly questioned what determines the codes of representation of female bodies. This work thus takes on a new dimension within the framework of the recent #MeToo movement.In this essential volume, collages and drawings reveal Tompkins' work processes, highlighting her grid work, a major synthesis of minimalism and formalism. Among the works on paper, the 2014 Photo Drawings series is unveiled here for the first time.

From Hillary Clinton to Enron: political history in hacked recipesA Los Angeles Times 2021 holiday gift guide pick Have you ever wondered what a conspiracy menu tastes like? This book compiles major email leaks of the past 15 years through the theme of cooking. Part reportage, part cookbook, it showcases over 50 recipes for breakfast, dips, main dishes, sides and desserts. The recipes come from emails released after having been hacked, leaked, breached and uploaded by governments as part of large-scale investigations. Indulge in once-confidential instructions, shared by staff from the world's most influential companies, government workers linked to Hillary Clinton's emails and more. Illustrating each recipe is a photograph by Emilie Baltz, offering a unique mix of office culture, technology and food appreciation. A riotous insight into office culture, politics, family and friendships, this book is a unique and engaging perspective on the pressing issue of data privacy.

New Office is a dummy company created by Florence Jung using a fake identity between March 2019 and March 2020. New Office does not produce anything. New Office reproduces the only know system, the one on which it was built. A system whose sole line of defense is its impossibility to imagine a way out. A system that, in its most advanced form, provokes a variety of symptoms: a state of generalized suspicion, a feeling of chronic oppression, a growing propensity for boredom, a desire to flee as forms the core of New Office's activities. The sale of the data from every person who answered New Office's ads financed the production of an original edition. This book is a facsimile of it. This book was made possible with the support of Helmhaus Zürich.

This first book by Tarik Kiswanson brings together two poems: two polyphonic narratives that explore the notions of desire, plural identities, borders and métissage.The first one, composed as an interview between the artist and his alter ego, a pre-adolescent boy who gives his name to the poem, Vadim. This exchange is then split, multiplied and conceptually hybridized in As Deep as I Could Remember, As Far as I Could See. The accumulation of experiences and voices reflects a human condition in perpetual movement, and offers a new weave of universal history and the construction of our individuality.The poems are followed by an essay written by Jesi Khadivi, curator and writer which highlights the artist's conceptual strategies of textual and sculptural weaving.

Features 33 works of art from the Tia Collection that portray the shape, symbol or ideology of the cross.

Hans Ulrich Obrist is a marathon runner of daily discussions, conversations and exchanges with artists, architects, scientists, thinkers and writers.The elements of language that he accumulates offers a generic lexicon in which he draws alternately words or expressions that are as many vocal punctuations as exclamations of style.Are you here? compiles for the first time the stamp drawings that Hans Ulrich Obrist has composed for years, sometimes organized in clusters or lists, to flirt with concrete poetry.Sometimes rendered illegible, these leitmotivs come to black almost the whole of the page as a result of performances close to trances.This practice, which can be likened to stereotypy, is an outlet for the author, in which he uses, in the manner of a shaman, the elements of language that are his own.

#artselfie opens with an incisive remark by Douglas Coupland: "Selfies are mirrors we can freeze ... Selfies allow us to see how others look at themselves in a mirror making their modeling face when nobody's around ... except these days, everybody's around everywhere all the time." The #artselfie hashtag emerged in 2012 and was subsequently activated by New York-based collective DIS, as an aggregated mode of art-tourism and documentation. These selfies and their dialogue with art are an opportunity to revisit fundamental questions such as: if art is a mirror, what happens when we place ourselves between it and the camera? Including an introduction by Douglas Coupland (author of Generation X and ruthless observer of contemporary society) and a discussion between Simon Castets and DIS, #artselfie allows us to experience how significant--and seductive--this viral phenomenon is.