Suzanne Perrottet (1889 1983) grew up in Geneva, studied rhythmics with Émile Jaques-Dalcroze and taught in Hellerau, where Mary Wigman was one of her pupils. In 1912,she met the dancer, choreographer, and theorist Rudolf von Laban, moved with him tothe Monte Verità artists colony near Ascona and later to Zürich, where she performed atthe Dada soirées. The summer of 1913 was a great turning point on Monte Verità! Alongwith Laban, Wigman, and others, Perrottet discovered the expressive power of naturalmovements and gestures, of sounds and words. It was the birth of modern dance.Everyone was to benefit from the spirit of natural movement; the goal was to liberatebody and mind.In 1920 Perrottet founded a school in Zürich. There she not only taught dancers, actors,children, and adults, including the physically and mentally impaired, but also devotedherself to intense, ongoing research. To compensate the lack of literature available in thisnew field, she started cutting pictures of movements, gestures, and physical expressionsout of magazines. In the course of 60 years, she amassed an archive of over 10,000pictures, which she classified by categories. Suzanne Perrottet continued working untilshe was 89 years old. After she died, her banana boxes of clippings were forgotten.Rediscovered in this book, they give an insight into a unique collection a visual archiveof movement.

Giorgio Wolfensberger was born in 1945 in Zürich, grew up in Winterthur and died in 2016 in Umbria, which he’d made his adoptive geographical and political home. He was not only an industrial photographer, filmmaker, slide-show specialist, expert on and writer for the Swiss modern dancer and dance teacher Suzanne Perrottet, sleuth extraordinaire for archival photographs; he was also a collector and photographer equipped with a seventh sense for the things of this world. He seems to have been a magnet for the peculiarities of everyday life, departures from the norm, the play of objects, the humorous and the grotesque, as though his eyes, nose and fingers were probes immersed in physical reality. Whether on assignment for an exhibition project or a book, roaming freely on the prowl in the city or driving around the countryside, he always discovered something unusual in the commonplace, something of his own in the general, something rich in the poor, something strange in the norm. This book brings together his artistic freelance photography for the first time, to form a cabinet of curiosities, a variegated cabaret of things. Beginning with the black-and-white documentary photography of his first years in Italy, he gradually developed a rich, humorous, colorful photo povera, an enchanting, pensive dance of “poor” plain things.

Proposing a history of exhibitions sourced from a wide corpus reaching beyond the framework of art institutions. This volume gathers and expands upon the results of the research project “Theater, Garden, Bestiary: A Materialist History of Exhibitions,” held at ECAL/University of Art and Design Lausanne, and proposes a history of exhibitions sourced from a wide corpus reaching beyond the framework of art institutions. It undertakes a transdisciplinary history at the nexus of art history, science studies, and philosophy, exploring the role the exhibition played in the construction of the conceptual categories of modernity, and outlines a historiographical model that conceptualizes the exhibition as both an aesthetic and an epistemic site. Contributors Etienne Chambaud, Elitza Dulguerova, Anselm Franke, Tristan Garcia, Fabien Giraud & Raphaël Siboni, Dorothea von Hantelmann, Yuk Hui, Pierre Huyghe, Sami Khatib, Jeremy Lecomte, Stéphane Lojkine, Rafael Mandressi, Vincent Normand, Peter Osborne, Filipa Ramos, Juliane Rebentisch, João Ribas, Pamela Rosenkranz, Anna-Sophie Springer, Lucy Steeds, Olivier Surel, Etienne Turpin, Kim West, Charles Wolfe

The first career-spanning catalog of the work of Gianfranco Gorgoni, whose iconic photographs established Land Art as one of the major art movements of the twentieth century. For five decades, photographer Gianfranco Gorgoni (1941-2019) built his reputation as the premier documentarian of Land Art in the US and beyond. After leaving Italy, Gorgoni started making portraits of the major artists of the New York scene, including Michael Heizer, Robert Smithson, Nancy Holt, Walter De Maria, Carl Andre, and Richard Serra.   It was not long before he was traveling with Heizer, Smithson, and De Maria to the American West in the late 1960s to plot the works that would famously break art practice out of the confines of the gallery world. In Nevada, New Mexico, and Utah, these artists embarked on major Land Art installations that would redefine contemporary art practice of the era. In many cases, Gorgoni was the only photographer on the ground to document their projects, and his images often serve as the definitive photographic record of the planning and creation of these groundbreaking works. Published to coincide with the first major exhibition of Gorgoni’s photographic Land Art images at the Nevada Museum of Art, featuring over fifty of his large-scale photographs, Gianfranco Gorgoni: Land Art Photographs includes an introduction by Ann M. Wolfe, Andrea and John C. Deane Family senior curator and deputy director at the Nevada Museum of Art, an essay by the late art historian and critic Germano Celant, whose contribution here is among the last he wrote before his death in 2020, and William L. Fox, the Peter E. Pool Director of the Center for Art + Environment.   A landmark collection of photographs of legendary and lesser-known works by Michael Heizer, Walter De Maria, Christo and Jeanne-Claude, Richard Serra, Robert Smithson, Ugo Rondinone, and Charles Ross, Gianfranco Gorgoni: Land Art Photographs is a major new assessment of one of the world’s great art movements.

“L’incontro tra lo spericolato Tom Wolfe… e Ken Kesey ha dato come risultato il più singolare reportage che oggi ci venga dagli Stati Uniti. La vita di Kesey esemplifica in modo forse insuperabile un fenomeno che negli ultimi anni ha scosso… l’opinione pubblica mondiale: la trasformazione del giovane-borghese-promettente in quello che ormai tutti conosciamo come uno hippy. Quando Kesey «stimatissimo scrittore trentunenne» benestante e «candidatissimo al successo» sperimentò le nuove droghe allucinogene, divenne improvvisamente la guida spirituale di un gruppo di Pranksters (Burloni) che si diedero da fare per diffondere negli Stati Uniti la «filosofia» dell’LSD attirando ben presto i fulmini dei benpensanti e della polizia. Qui si narra come Kesey… si fece guida di una tribù sempre più numerosa e scalmanata, e come, deludendo i suoi seguaci, rinunciò con un atto clamoroso all’uso delle droghe. Kesey e i suoi amici organizzavano, tra l’altro, una specie di cerimoniale (detto Acid Test) durante il quale venivano serviti «rinfreschi» all’LSD… Le avventure, spesso comiche, degli amici di Kesey, le memorabili scorribande attraverso gli Stati Uniti, l’alleanza con le bande degli Hell’s Angels californiani, l’incongruo intervento in una manifestazione di protesta contro la guerra nel Vietnam: tutti questi avvenimenti sono ricostruiti… in una narrazione sapida e rapida, costellata di personaggi autentici e pittoreschi”

The second volume in the Psychopathologies series maps the complex development of cognitive capitalism. This volume assembles papers from the 2013 conference at ICI, Berlin, into three sections: Cognitive Capitalism: The Early Phase; The Psychopathologies of Cognitive Capitalism and its Responses; and The Cognitive Turn in Cognitive Capitalism. With essays by Ina Blom, Arne De Boever, Pascal Gielen, Sanford Kwinter, Maurizio Lazzarato, Karl Lyden, Yann Moulier Boutang, Warren Neidich, Matteo Pasquinelli, Alexei Penzin, Patricia Reed, John Roberts, Liss C. Werner and Charles T. Wolfe.