Einfälle kennen keine Tageszeit (Ideas know no time of day) contains Max Küng’s best reporting from DAS MAGAZIN (such as the piece in which he describes his bike conquest of the Alpe d’Huez, or his seven day trip around the world) and other magazines: The collected columns (naturally including the complete “We love Chris” series). Discovered pictures. Unbelievably important notes. Very finely printed fine print. 100 favorite songs. Suggestions for a few super DJ names. A homage to the Concord. Interviews (Metallica, Britney Spears). An eating splurge through New York. A very old picture of Juergen Teller. Thoughts on the inventor of the saxophone. A self-experiment (watching Swiss television for a week, nonstop). A visit to Locarno (and to China). Quite a few tips, advice with self-help appeal. A little poetry. Portraits of Erich von Däniken and Dries Van Noten. And much much more.

Everything about them is cool. The baby blue Porsche 917, the Chevy Camaro, the blue-, red- and yellow-striped overalls, the boys in low-buttoned shirts, sporting moustaches and a full head of hair, with the sunshine in their faces. Women wearing thick eyeliner and bell-bottoms, girls in crocheted bikinis at the finishing line, garlands of flowers for the winner. Motor sports in the 1960s, ’70s and ’80s gave rise to a whole world of imagery that arouses a certain wistfulness nowadays. Not only a nostalgia for beautiful old racing cars, but a more comprehensive yearning for the days when even major auto races were still held on ordinary roads, when ambitious auto mechanics would tinker away at a racing car in the local garage and international Grand Prix stars were still approachable. Gilles Villeneuve pushes a strand of hair behind his ear, Pedro Rodriguez rests up on a little stone wall, Jo Siffert stands around in white jeans and cowboy boots, Ayrton Senna is absorbed in thought. The cars race through Monaco and Le Mans and over the hills of Palermo. Most of the pictures in Gasoline and Magic, often impressive and quasi intimate shots, were taken by amateur photographers, who now share with us their fascination with fast cars. Swiss filmmaker and collector Thomas Horat spent years tracking down, labeling and archiving these pictures, which he now presents for the first time to the world at large in Gasoline and Magic – and at the show “VROOOOAAAMMM” at the Museum im Bellpark in Kriens, Switzerland (August 22 – November 8, 2015). With personal essays by Anthony Carter and Max Küng. Photos from the motorsport archive www.motorsportfriends.ch. Gasoline and Magic is co-produced by Edition Patrick Frey and Museum im Bellpark in Kriens.

Il volume è legato alla mostra Elements of Architecture della 14ª Biennale internazionale di architettura di Venezia. Elements sottopone a una analisi al microscopio gli elementi fondamentali dei nostri edifici, utilizzati da ogni architetto, in ogni tempo e in ogni luogo, ripercorrendone la storia globale: pavimenti, pareti, soffitti, tetti, porte, finestre, facciate, balconi, corridoi, camini, servizi, scale, scale mobili, ascensori, rampe. Il volume è realizzato da un gruppo di ricercatori della Harvard University Graduate school of design sotto la direzione di Rem Koolhaas: Cynthia Dehlavi, Stefan Dileo, Heather Dunbar, Elizabeth Eckels, Elle Gerdeman, Andrew Gipe, Patrick Hamon, See Jia Ho, Jenny Hong, Kangil Ji, Alison Kung, Will Lambeth, Jingheng Lao, Alison Ledwith, Difei Ma, Elizabeth Macwillie, Arthur Liu, Jielu Lu, Kurt Nieminen, Tiffany Maria Obser, Nicholas Potts, Annie Wang, Eric Williams, Max Wong.

This book presents 123 calling cards of artists (painters, sculptors, photographers, architects, graphic designers, illustrators etc.) from the 18th century to the present day. The facsimiled cards are slipped like bookmarks into a book by several authors on the history of the use of calling cards, the social context in which they were produced, and related historical and fictional narratives. The often unexpected graphic qualities of these personalized objects, each designed to capture an individual identity within the narrow confines of a tiny rectangle card, implicitly recount a history of taste and typographic codes in the West. But this calling card collection also lays the foundations for a microhistory of art, inspired by the Italian microstoria, or a looser narrative that breaks free from geographic contexts and historical periods. We can imagine how social networks were formed before the advent of Facebook, and how artists defined themselves in the social sphere, whether they were students or teachers, dean of the art school or museum curator, founder of a journal, firm, restaurant or political party, and so on. Superimposed on this imaginary or idealized network formed by chance encounters is a living network of students of art or history, historians or anthropologists, librarians, archivists, gallerists, museum curators and artists themselves, the network upon which this pocket museum is constructed. The sheer variety of perspectives and stories brought together here makes this book a prodigious forum for discussion. The carded artists include: Absalon, Anni and Josef Albers, John Armleder, Iain Baxter, Larry Bell, Joseph Beuys, Joseph Binder, Max Bill, Pierrette Bloch, Rosa Bonheur, Irma Boom, Aglaüs Bouvenne, Constantin Brancusi, Marcel Broodthaers, Antonio Canova, Caran d’Ache, A.M. Cassandre, Chenue malletier, Iris Clert, Claude Closky, Le Corbusier, Silvie Défraoui, Sonia Delaunay, Fortunato Depero, Marcel Duchamp, A.R. Dunton, Céline Duval, Nathalie Du Pasquier, Yan Duyvendak, Daniel Eatock, Edward Fella, Sylvie Fleury, Schwestern Flöge, Piero Fornasetti, Hans Frank, Lene Frank, Emile Gallé, General Idea, Dan Graham, Wolfgang von Gœthe, Jean-Baptiste Greuze, Walter Gropius, Guerrilla Girls, Hector Guimard, Friedrich Haeffcke, Raymond Hains, Keith Haring, Raoul Hausmann, John Heartfield, Anton Herrgesell, Jean-Auguste-Dominique Ingres, Ray Johnson, Ana Jotta, Wassily Kandinsky, André Kertész, Martin Kippenberger, Paul Klee, Johann Adam Klein, Yves Klein, Július Koller, Joseph Kosuth, Yayoi Kusama, Carl Gotthard Langhans, Fernand Léger, Pierre Leguillon, George Maciunas, Robert Mallet-Stevens, Edouard Manet, Piero Manzoni, Christian Marclay, Filippo Tommaso Marinetti, Karel Martens, Annette Messager, Lucia Moholy, Piet Mondrian, Valérie Mréjen, Félix Nadar, Isamu Noguchi, The Offices of Jenny Holzer, Peter Nadin, Richard Prince and al., Yoko Ono, Claes Oldenburg, Nam June Paik, Francis Picabia, Adrian Piper, Emil Pirchan, Man Ray, Les ready made appartiennent à tout le monde®, Carl August Reinhardt, Gerrit Rietveld, Auguste Rodin, Edward Ruscha, Alexander Search, Willem Sandberg, Erik Satie, Gino Severini, Johan Gottfried Schadow, Egon Schiele, Oskar Schlemmer, Käthe Schmidt, Roman Signer, Alec Soth, Gertrude Stein and Alice Toklas, Jack Smith, Hélène Smith, Harald Szeemann, Sophie Taeuber, Karel Teige, Oliviero Toscani, Theo van Doesburg, Roman Vishniac, Andy Warhol, Weegee, Neill Whistler, Heimo Zobernig, Piet Zwart, Emmy Zweybrück Prochaska With texts by: Samuel Adams, Damarice Amao, Daniel Baumann, Stuart Bertolotti-Bailey, Géraldine Beck, Paul Bernard, Christian Besson, Christianna Bonin, Véronique Borgeaud, Marie de Brugerolle, Garance Chabert, Kyrill Charbonnel, Yann Chateigné, Manuel Cirauqui, Chiara Costa, Caroline Coutau, Jean-Baptiste Delorme, Carla Demierre, Dakota DeVos, Corinne Diserens, Eva Fabbris, Patricia Falguières, Arthur Fink, Sophie Gayerie, Kati Gegenheimer, Mark Thomas Gibson, Nicolas Giraud, Victor Guégan, Andrea Gyorody, Nastassja Haidinger, Dean Inkster, Aurélie Jacquet, Elisabeth Jobin, Vincent Jolivet, Moritz Küng, Angela Lampe, Charlotte Laubard, Anaël Lejeune, Quentin Lannes, Pierre Leguillon, Charlotte Magnin, Nicole Marchand-Zañartu, Valérie Mavridorakis, Aurélien Mole, Michael J. Moore, Adrien Mouginot, Christiane Mühlegger, Émilie Parendeau, Ying Sze Pek, Corine Pencenat, Mathias Pfund, Fabien Pinaroli, Raphaël Pirenne, Paulo Pires do Vale, Carrie Pilto, Frans Postma, Jeanne Quéheillard, Fabienne Radi, Ivan Ristić, Vincent de Roguin, Paul-Louis Roubert, Margot Sanitas, Gilles Saussier, Elana Shapira, Klaus-Peter Speidel, Friedrich Tietjen, Rebecca Topakian, Gesine Tosin, Xiaoda Wang, Christophe Wavelet, David Zerbib, Célia Zuber.
Co-published by HEAD – Genève (Geneva University of Art and Design) and Edition Patrick Frey under the patronage of the Museum of Mistakes Editors: Pierre Leguillon in collaboration with Barbara Fédier and Kyrill Charbonnel, Pauline Cordier, Aurélie Jacquet, Aline Melaet, Anaïs Perez, and Charlotte Schaer, students of WorkMaster at HEAD – Genève

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