If you let your fingers do the walking through these Yellow Pages, you won’t find that plumber you’re looking for, but you will plumb an inviting exercise in Conceptual art from Swiss artist, prankster, performer and teacher John Armleder. He and his class at the Hochschule für Bildende Künste in Braunschweig, Germany, who call themselves Team404, solicited original graphic works made on A4 paper from over 500 artists (Corrie Colbert, Sylvie Fleury, Thomas Hirschhorn, Odili Donald Odita, Michael Snow)–“be it a text, sketch, drawing, picture, or whatever suits your mind,” the letter said. The works were displayed in a gallery, then each was randomly put together with another artist’s work to be reproduced as a black double print on yellow paper. Armleder, whose own prints and multiples were the subject of a retrospective exhibition at Geneva’s Cabinet des Estampes in 1995, dials a winner.

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

The arts have changed since 1885, and Les Grands Spectacles sets out to document this evolution in three phases. Starting with the invention of film and the standardisation of the bourgeois theatre-house in the late 19th century, the book then focuses on the modernisation and dissemination of the mass media after World War Two, and finally arrives at the situation of art at the beginning of the new millennium, where events cultivate a theatrical quality, and the individual’s every intimate impulse can become entertainment for the masses. Les Grands Spectacles also shows what effects these changes have had on art or have been spurred by art, and how the social significance of the sensational, the tragic or the deceptive has been understood in art and the material of the spectacle explored, extended, hijacked, altered or destroyed in artworks. Artists in the exhibition include Vito Acconci, John Baldessari, Matthew Barney, Vanessa Beecroft, Maurizio Cattelan, Jake & Dinos Chapman, Marcel Duchamp, Marlene Dumas, Sylvie Fleury, Nan Goldin, Dan Graham, Richard Hamilton, Damien Hirst, Candida Höfer, Martin Kippenberger, Yves Klein, Gustav Kluge, Jeff Koons, Yayoi Kusama, El Lissitzky, Robert Longo, Paul McCarthy + Jason Rhoades, Jonathan Meese, Laszlo Moholy-Nagy, Otto Mühl, Takashi Murakami, Dennis Oppenheim, Raymond Pettibon, Pablo Picasso, Richard Prince, Mimmo Rotella, Dieter Roth, Ed Ruscha, Jean Tinguely, Cindy Sherman, Joel Sternfeld, Hiroshi Sugimoto, Nicola Tyson, Dziga Vertov, Catherine Wagner, Andy Warhol, Franz West, and many, many others. Essays by Magrit Brehm, Roberto Ohrt and Klaus Theweleit.

Presenting unique and in-depth collaborations and editions with leading international artists, Parkett #57 features the work of Doug Aitken, Nan Goldin, and Thomas Hirschhorn, three artists who conceive of private and personal landscapes and challenge our notions of the real and the imaginary. Contributing writers include Francesco Bonami, Christina van Assche, and James Roberts on Aitken; Arthur Danto, Deborah Eisenberg, Dana Friis-Hansen, Elisabeth Lebovici, and Lisa Liebmann on Goldin; and Robert Fleck, Alison Gingeras, Markus Steinweg, and Philippe Vergne on Hirschhorn. In addition, this issue contains essays on Donald Baechler, Louise Lawler, and John Miller. Parkett #58, featuring collaboration artists Sylvie Fleury, Jason Rhoades, and James Rosenquist, will be published in early Summer 2000.

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