archives Jean-Dominique CARRE Contemporary Art
avant-gardes of the sixties and seventies
10 rue de la grande chaumière f -75006 paris france
archives.carre (at) wanadoo.fr
http://archives.carre.pagesperso-orange.fr

rosascape     Rosascape is an artist's books publisher, established 2009, based in Paris, France: Jewels from the Personal Collection of Princess Salimah Aga Khan, Camille HENROT, 2011-2012 Blaue Stunde Raum, Katinka BOCK, 2012 Le La Mort, Fabien GIRAUD, 2011 Mad Marginal / Archives, Dora GARCIA, 2011 Aesthetics of Differends, Benoît MAIRE, 2011 Latent Images / Diary of a photographer, Joana HADJITHOMAS And Khalil JOREIGE, 2010     Camille HENROT Jewels from the Personal Collection of Princess Salimah Aga Khan     Camille HENROT: Jewels from the Personal Collection of Princess Salimah Aga Khan     Production and publishing: Rosascape, Paris, France, 2011-2012 Size: 28 x 44 x 15 cm Pressed plants and flowers, 200 plates, 27,5 x 43 cm (each). 5 copies signed and numbered + 2 artist's proofs.   Camille HENROT: Jewels from the Personal Collection of Princess Salimah Aga Khan     Like herbarium sheets, the 135 plates featured in Camille Henrot's piece Jewels from the Personal Collection of Princess Salimah Aga Khan present various botanical specimens - plants and flowers - gathered by the artist from the private flower-beds decorating building entrances on the Upper East Side, New York City's wealthiest neighbourhood. Roland Barthes argues(1) that flowers symbolise all things useless and luxurious, yet the purpose of those planted in these ornamental urban sites is to construct a border and figure - in the etymological sense of the word - the image of "paradise on earth". A "paradise for the living", echoing the paradayadâm, an Old Persian term meaning "beyond the wall" and which, when associated with the word djivadi, refers to that which is "lively, living, belonging to the time of life(2)". The flowers collected in this Upper East Side paradise for the living, located on Manhattan Island, are brought together and displayed here on the facsimiles of a Christie's auction catalogue. The catalogue details the entire jewelry collection belonging to Princess Salimah Aga Khan, auctioned by Christie's at the Hotel Richemond in Geneva on November 13th 1995 jewels received during her twenty-six-year marriage to the Aga Khan. The sale took place following her divorce, while the Aga Kahn resorted to the courts, that same year, in an unsuccessful bid to prevent the sale. According to Michel Leiris(3), everything that constitutes luxury, surplus, accumulation and expenditure is connected to ecstasy and, by extension, to excess. The flowers in Jewels might be viewed as a metaphorical representation of this and, correspondingly, the precise description of each jewel as an inventory of the markers of domestic wealth. The excess or overflow present in Jewels is also tied to the symmetry and duplication between Princess Salimah Aga Khan's gesture and that of the artist Camille Henrot: the former is relieving herself of the heritage of several generations of women from one of the most prosperous families in the world - the Aga Khan dynasty - while the latter collects flowers gathered by passing "beyond the wall". Both are overstepping boundaries here (the boundary demarcating the paradise of the living) and transgressing the codes imposed by the dictates of a form of wealth focused on the markers of its own representation: transcendence via use and via the détournement of the codes of an archaic femininity, closed in on itself. The notion of tonga (or taonga) discussed by Marcel Mauss in his essay on The Gift_, published (in the original French) in 1923-1924, might help elucidate this comparison. Indeed, Marcel Mauss observes that in Maori, Tahitian, Tongan and Mangarevan, the notion of tonga connotes "everything that may properly be termed possessions, everything that makes one rich, powerful, and influential and everything that can be exchanged, and used as an object for compensating others: [...] exclusively the precious articles, talismans, emblems, mats and sacred idols, sometimes even the traditions, cults and magic rituals". In this way, the jewelry and archetypal symbols of femininity featured in Jewels could be considered "tonga-native" objects, as 'uterine' gifts - possessions more connected to the soil, the clan, the family and the individual. (1) See Roland Barthes, Comment vivre ensemble. Cours et séminaires au collège de France, 1976-1977, edited by Éric Marty and Claude Coste, Paris, Seuil, "Traces écrites" series, 2002. Sound recording available on Ubuweb: <http://www.ubu.com/sound/barthes.html>. (How to Live Together, Lectures at the Collège de France, 1976-1977). (2) Clarisse Herrenschmidt (3) Michel Leiris, Leiris Michel, L'Homme sans honneur, notes pour le sacré dans la vie quotidienne, Paris, Jean-Michel Place, 1994, p. 93. _ Available in the original French on the website "Classiques des sciences sociales": <http://classique.uqac.ca/classiques/mauss_marcel/socio_et_anthropo/2_essai_sur_le_don/essai_sur_le_don. html>. English translation: Marcel Mauss, The Gift: The Form and Reason for Exchange in Archaic Societies, Routledge, 1990, p.13.     Camille HENROT: Jewels from the Personal Collection of Princess Salimah Aga Khan   Camille HENROT: Jewels from the Personal Collection of Princess Salimah Aga Khan   Camille HENROT: Jewels from the Personal Collection of Princess Salimah Aga Khan           Katinka BOCK Blaue Stunde Raum     Katinka BOCK: Blaue Stunde Raum     Production and publishing: Rosascape. Size: 47 x 47 cm. 8 copies signed and numbered + 3 artist's proofs. For each edition: 6 monotypes on Photo Rag Bright White paper 310 g, 190 x 46 cm. 2 monotypes on Photo Rag Bright White paper 310 g, 100 x 20 cm. + 1 original print signed and numbered, 190 x 46 cm or 100 x 20 cm.   Katinka BOCK: Blaue Stunde Raum   Blaue Stunde Raum is an edition which is apprehended as a paper sculpture: a sculpture which invites the public to handle it and unfold, in space, the urban landscapes the object contains. This edition of eight monotypes stems from an installation that Katinka Bock put together for her exhibition at Rosascape which ran from December 2011 to February 2012, in which she covered the eight windows of one of the exhibition rooms with blue paint. The artist then applied various fragments of vegetation, pieces of cardboard, debris and refuse found in the street to the layer of paint: fragments as the traces and the memory of urban space, as the prints of a landscape and a temporality. The surface of the window panes and the paint(ing) punctuated by these scattered elements gleaned across the city came to form a support and a tool for making the monotypes (one of the simpler engraving techniques in terms of realisation). Katinka Bock applied several sheets of paper to each window pane until she obtained the desired result, and then finally selected one monotype per window. The book presented here brings together all of the works selected by the artist. The relationship between interior space - that of Rosascape - and the exterior space of the street, together with the artist's use of humble materials and the poetic dimension that derives directly from the very process of the work, all combine to make this edition a work which is both singular and perfectly exemplary of Katinka Bock's project as a whole.     Katinka BOCK: Blaue Stunde Raum     Katinka BOCK: Blaue Stunde Raum           Fabien GIRAUD Le La Mort     Fabien Giraud: Le La Mort   Published and Produced by Rosascape, Paris, 2011 Co-produced with Forde. 15 unique pieces. Size: 32 x 37 cm Le La Mort HD digital printing on Mondi 160g paper. Each book presents fifty-nine photographs reproducing at scale 1:1 the sculptures from the first part of the exhibition Du Mort qui Saisit le Vif (La Maison du Dehors) at Forde in 2011. Split by: Metaxu - a conversation about La Maison du Dehors. Fabien Giraud and Vincent Normand, 2011. Metaxu is the script of an eponymous film (Metaxu, Fabien Giraud and Vincent Normand, 2011, HD video, 107 min). The script is interrupted by fragments of the film set (Metaxu (Fond de la parole), 2011, digital printing 240 x 1 300 cm). Metaxu was set in Linotype Times and printed on Freelife Vellum 170g paper at the Moulin du Got, Saint-Léonard-de-Noblat.   Fabien Giraud: Le La Mort   What strikes one at first glance is the object's sobriety - for the only element to mark the white surface of the cover is the black lettering of the title Le La Mort. Looking through the pages of the book, the reader will discover the blackand-white photographs that reproduce at scale 1:1 a series of carbonised wood sculptures made by Fabien Giraud for his 2011 exhibition at Forde, Geneva. The photographs are enigmatic - sometimes only showing great black surfaces with no significant detail, sometimes revealing certain aspects of the sculpture and its texture. The book is divided, in the middle, by another book. The latter emerges in the midst of Le La Mort as if to rip out its very substance. The pages of Metaxu present a text divided into 48 chapters. The text is a technical saga and the narrative kicks off on a plain in the Indus Valley a few centuries before our time, ending in 2010 in the diffuse site of our contemporary culture, in the to-ing and fro-ing between the image culture and cutting-edge technology. In this work, as if to echo this technological saga, Fabien Giraud confronts two radically different printing techniques: digital, industrial printing for Le La Mort, and hand-crafted, linotype printing for Metaxu. He offers a forceful reflection - at once poetic, theoretical, literary and visual - on the relationship between art (and the artist) and its relationship to the different technologies that have developed throughout history.   Fabien Giraud: Le La Mort     Fabien Giraud: Le La Mort           Dora GARCIA Mad Marginal - Archives       Dora García: Mad Marginal - Archives     Production and publishing: Rosascape, Paris, 2011 Size: 33 x 28 x 7 cm. This edition is limited to 10 French-language, 10 Spanish-language, 10 Italian-language and 10 English-language copies. Each edition is numbered from 1 to 10 and signed by Dora García.   The artist's book MAD MARGINAL developed in parallel with the eponymous project Dora García has been working on since 2009. In the form of an archival box file, this artist's book compiles 27 documents (texts, photos, a DVD, a CD, emails, interviews and conversations, leaflets, etc.) which have fueled Dora García's research these past two years. These documents are identical facsimile reproductions of the originals. Dealing with marginality as an artistic and political position, Dora García attends to the different meanings involved in such a position, considering both the contradictory character and the beauty of the artist as marginal figure. Her research first developed out of her reading of texts by the Italian psychiatrist and essayist Franco Basaglia (in the 1960s, among other things, the latter established and ran the 'therapeutic communities' in Trieste and Gorizia that campained for the rights of 'psychiatrised' people. In Italy his struggle lead to Law 180 (1978) which aimed at abolishing the psychiatric hospital). The Mad Marginal project is essentially inscribed within the Trieste context, where the «Basaglian revolution» gained momentum between 1971 and 1978. Dora García's research for Mad Marginal also includes texts by thinkers such as Fernand Deligny, Michel Foucault, David Cooper, R.D. Laing, as well as writers and artists such as Jack Smith, Antonin Artaud, Lenny Bruce, James Joyce, Italo Svevo, Robert Walser, etc. In resonance with this project, the artist's book reproduces a large number of the archives Dora García has been putting together since 2009. From the very outset Mad Marginal - the artist's book and the material it contains, that is - were conceived of as a whole that would bring together, document and fuel the research process and the artistic project. The rendering of the various topographies attached to the various documents (texts exerpted from websites, a tract, educational leaflets, emails, etc.), to their original context (documents both from the 1970s-80s and the present) and printing format and method (digital photographs, DVD, CD, photocopies, books, digital prints, etc.) affords a deep immersion into the complex network of documents grounding Dora García's work. The book was part of the show as Dora García presented at the Spanish Pavillion in the 2011 Venice Biennale (June 4th - November 27th 2011).     Dora García: Mad Marginal - Archives     Dora García: Mad Marginal - Archives           Benoît MAIRE Aesthetics of Differends     Benoît MAIRE: Aesthetics of Differends     Production and publishing: Rosascape Size: L 230 mm x H 330 mm. Produced in a limited edition of twenty-five English-language signed and numbered copies The book also comprises a black and white photograph of a sculpture entitled Object for Measuring (2010), signed and numbered, printed on a Baryte paper (20 x 30 cm). The eight sixteen-page sections to date (January 2011) are printed on Cyclus paper 110grs.     Benoît MAIRE: Aesthetics of Differends     Aesthetics of Differends (2008 -) is an artist's book documenting Benoît Maire's ongoing research on the 'differend' - a concept borrowed from philosopher Jean-François Lyotard. Produced in a limited edition of twenty-five French-language and twenty-five English-language signed and numbered copies printed on Cyclus paper, each of which comes with a specially created fabric-covered box, Benoît Maire's book is a work in progress comprising eight sixteen-page sections to date (January 2011). It constitutes an art object in its own right, while doubling up as both a philosophical and an artistic investigation into the key questions of postmodernity and the significance of the postconceptual artwork. The dialectic between art and philosophy has always been the cornerstone of Benoît Maire's artistic practice, but in Aesthetics of Differends it is explicitly formulated for the first time: images of the corpus of artworks he has realized on the subject of the differend are confronted or fleshed out by largely unpublished philosophical reflections that expand on Lyotard's ideas. Whereas the latter applied the term 'differend' to conflicts in which the opposing parties use incommensurable modes of discourse, Benoît Maire emphasizes the importance of the concept for grasping the discrepant forms of expression making up the postmodern artistic landscape. Likewise, Benoît Maire's texts are classified according to different categories - each corresponding to a specific writing style - and in some cases feature numbered paragraphs, thereby echoing the theme and lay-out of Lyotard's landmark 1983 book. Each of these categories is printed in a different typeface, so as to assist the reader in navigating Benoît Maire's dense and consistently thought-provoking work. The first category consists of 'Sections' comprising both texts and images. These address the incommensurability of seeing and saying - which constitutes the primary differend underlying Maire's system of aesthetics. Section 1 features works exhibited at the Vitrine de Cergy. Here, images and texts coexist alongside one another, while Section 9, which corresponds to one of the pieces shown in Benoît Maire's exhibition at De Vleeshal, opens with an image of a crowd in the place of the word. The process of substituting images for words and vice versa becomes more abstract in the following sentences: for instance, the phrase 'in such a way that his' is followed by a rectangle with a chipped-off corner. For Benoît Maire, words are no more informative than images and the value of what is said and seen resides in the different affects these modes of expression engender. A more formal presentation of the concept of the differend is to be found under the category heading 'Didactic', while the texts assembled under the heading 'Talks' include an introductory presentation given in Amsterdam on the same concept. Repetition, a notion that has been explored by philosophers ranging from Nietzsche to Deleuze, enables Benoît Maire to validate his ideas, while intensifying and enhancing their impact. Another feature of his work is order reversal. For instance, he describes Aesthetics of Differends as a body of work in which the answers come before the questions - a notion borrowed from Lacan. Likewise, the transcript of a question and answer session following one of his lectures precedes the transcript of the lecture itself. In this lecture, given in Amsterdam in 2010, Benoît Maire defines the artwork in terms of two conflicting approaches, the analytic and the synthetic. The first can be defined as the in-depth exploration of a question or object, carrying with it the attendant dangers of redundancy and unintelligibility, whereas the second approach, which consists of establishing connections between different ideas or objects on the basis of common themes, runs the risk of banality and generalization. Benoît Maire's thesis is that these two tendencies constitute the dialectic at the heart of the contemporary postconceptual artwork and that a successful piece strikes a balance between them. The questions of order reversal and succession are further explored under the category heading 'Figures', which consists solely of images. The photographs of the bronze sculpture The Nose (2010) making up Figure 1 do not portray the work in its finished state, but during its construction, thereby referencing Benoît Maire's system of aesthetics, a work in progress. Confirming this impression of unreadiness, the photographs are blurred, while their subject, the nose in the process of being built, never occupies centre stage, but is photographed amid the clutter of the foundry, awaiting the moment when it will take up its function as an artwork. The phrase 'Giacometti's nose verifying the true hole in the Real', which is classified under 'Axioms', provides a further indication as to the sculpture's meaning. Its extraordinarily long nose points beyond the space surrounding the head to something that the subject can neither see nor hear - the true hole in the Real, a reference to Lacan's Symbolic Order. The 'Burdens', which constitute yet another category, represent answers to which the questions have yet to be found, while the category heading 'Methodology' features images and texts pertaining to the video Organisation of the Narrative and Structural Models Conjugated in the Sections. Based on affect rather than logic, the video explores the space between seeing and saying with reference to the structure of the 'Sections'. Finally, the text featured under the heading 'Ingress' looks at the artist Dash Snow, whose work exemplifies issues that Benoît Maire addresses in his book, namely the psychoanalytic concept of the lack and Derrida's notion of the cut. The book also comprises a black and white photograph of a sculpture entitled Object for Measuring (2010), which will be examined in forthcoming supplements. These supplements will also include essays on the work of Tino Sehgal and Adrian Piper and will be sent to individuals and institutions who purchase the book until such time as the project is brought to a close. When completed, Aesthetics of Differends will constitute not only a contemporary aesthetics as seen through the eyes of an artist, but also a work of art that materializes aesthetic concepts. Associating lucid analyses with pertinent references, it is likewise a perfectly balanced example of a postconceptual artwork.     Benoît MAIRE: Aesthetics of Differends       Benoît MAIRE: Object for Measuring           Joana HADJITHOMAS and Khalil JOREIGE Latent Images / Diary of a photographer Third section of the Wonder Beirut project       Joana HADJITHOMAS and Khalil JOREIGE: Latent Images / Diary of a photographer Third section of the Wonder Beirut project   Production and publishing: Rosascape, Paris, 2009 Size: L180 x H240 mm, 1312 pages. Latent Images / Diary of a photographer comes in two editions: - The French language edition, seventy five numbered and signed copies; - The English language edition, seventy five numbered and signed copies. The two editions were printed in offset on 90gr Vega paper and 300gr Arcoprint paper for the cover. The photographs of the two letters are silver based and have been printed on a 250gsr Fuji Frontier paper.The photographs of the reels which introduce each board are silver based and have been printed on a 220gsr satiny Fujifilm paper.       Joana HADJITHOMAS and Khalil JOREIGE: Latent Images / Diary of a photographer Third section of the Wonder Beirut project   The «Latent Images / Diary of a photographer» book brings together 38 contact print photographs selected from the hundreds of films used and never developed, taken by photographer Abdallah Farah between 1997 and 2006. This book of 1312 pages, published in a limited edition - two editions of 75 numbered and signed copies, one in French and the other in English - offers an immersion to the very heart of these latent images. The description of the images replaces the photographs themselves; short fragments of text describe the invisible images while creating a new imagined space. The original photographs of two letters, also numbered and signed, open the book; one is written by Khalil Joreige and Joana Hadjithomas, the other by Abdallah Farah. This exchange of correspondence between the artists and photographer sets the scene for the ties and project that form a link between them.Each film is presented to be seen and read in the form of a chapter: an original photograph of these films appears at the head of the chapter in the same way as photographs in a family album. The reader can thus move around freely in this assembly of photographic fragments, invent his own situations through the history of Abdallah Farah, read the story in chronological order or haphazardly. The book as a support to creation and circulation thus offers a new space for discovering these latent images. Some pages, closed, do not allow the vision of the images they contain; the reader is given the freedom to keep them closed or to open them and this influence their reading.Abdallah Farah is a character imagined by Joana Hadjithomas and Khalil Joreige. «Latent Images / Diary of a photographer» is thus a project signed by Joana Hadjithomas and Khalil Joreige.       Joana HADJITHOMAS and Khalil JOREIGE: Latent Images / Diary of a photographer Third section of the Wonder Beirut project             We are interested in purchasing artist books, multiples, prints and unique works of art by these artist. Please contact us. Nous sommes intéressés par l'achat de livres d'artiste, estampes, multiples et oeuvres uniques de ces artistes. Merci de nous contacter.     .

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