Bøger udgivet af Patrick Frey Edition

Shipbreak tells the story of the last voyage, dismantling, and recycling of an American merchant vessel in Bangladesh in the late 1990s. Through both words and images, it describes how the ship becomes a touchstone for many groups of people across the world: from the American shipbuilders who built her in the early 1960s and the seamen who worked on her for almost four decades all the way to the Bangladeshi shipbreakers who took the vessel apart, more or less by hand, and the many people who incorporated the ship's raw materials into their daily lives as part of their country's effort to develop its infrastructure and economy. The book describes how the ship was a source of livelihood for all these individuals, whether they were engaged in the act of its creation, operation, or apparent destruction, and it draws a seemingly improbable connection between them in order to reveal a common humanity above and beyond the boundaries of space and time that appear to separate them. Shipbreak also depicts how their lives collectively give this magnificent object a metaphoric life of its own, and as such, the book becomes a meditation on the nature of life itself, on its loss and its transcendence. From photographs of the ship's blueprints and launch to ones of objects made with the recast metal, it bears witness to the way the ship was born, lived and died, and ultimately came to live again, albeit in a myriad of new forms that bear little resemblance to its former self.

Die Not hat ein Ende The Swiss Art of Rock ("Need Comes To an End-The Swiss Art of Rock") is Lurker Grand's third and most recent book project in a trilogy published by Edition Patrick Frey. Here the focus is not so much on a musical era and its protagonists as on the visualization of the subcultures. Designers, graphic designers, musicians, and photographers from across Switzerland visualize the last 50 years of local rock and pop music history through their album covers, concert posters, flyers, fanzines, comics, and photographs. Die Not hat ein Ende The Swiss Art of Rock is not just another colorful book about music, but instead an impressive historical document of an era. It is a fulsome work that pays tribute to the aesthetics of this anar-chic artistic avant-garde from its beginnings to the present day. In addition to visualizing the music, a lot of space is devoted to the history of the music itself. Music journalist, collector, and curator Samuel Mumenthaler, coauthor of this book, describes the development of rock music in Switzerland chronologically and very precisely, but without getting lost in the details. Roland Fischbacher, Director of the Visual Communications program at the Bern School for the Arts, and Robert Lzicar, Design researcher and designer, discuss the evolution of the visual appearance of rock culture from its beginnings to the present day. This is a pioneering work that no one in Switzerland has undertaken to date. The book also recounts anecdotes that have made it from Switzerland into the annals of international rock history.

America's decoration frenzy: graveyard cemeteries, ghosts, guillotines, skeletons in coffins, dismembered body parts, giant spiders and creatures turn up on the front lawns and exteriors of suburban homes in America every year. Families across the country decorate and stage their porches and gardens with horror themed scenes to celebrate Halloween on October 31st. In 1984, American artist Cameron Jamie started photographing these front exteriors in his old neighborhood in a suburban area of Los Angeles. Even while living full-time in France for the past fifteen years, Jamie continued to travel back to Los Angeles each year, just to continue this photographic ritual. One aspect of what makes these photographs extraordinary is the fact that they were all shot during the day rather than at night, which changes the meaning and whole context of how we normally perceive the horror and death culture surrounding Halloween. Thus, Front Lawn Funerals and Cemeteries is not a book about Halloween, but rather about the opposing tensions of themes and imagery of death staged in these daylight domestic environments, between feelings of something at once very calm, humorous, violent, and uncanny.

Following up on Nine Books 1973 - 1979 Edition Patrick Frey and Edition Weiss now proudly present an exclusive new publication of another important body of work by the late, internationally acclaimed Swiss artist David Weiss (1946-2012). DIE WANDLUNGEN ("The Metamorphoses") for the first time reproduces all 82 series of graphic metamorphoses dating from 1975 to 1979 in Marrakesh, Carona (Switzerland), and Zurich. The first series of Wandlungen dates from 1975 when, deeply upset because his girlfriend Carmen has started seeing Guy Barrier, a Zurich "revolutionary," David goes abroad. His travels take him via Yorkshire in England to Morocco, where he spends quite some time in Marrakesh. Without knowing in advance what he wants to draw, he begins each time at the upper left-hand corner of the sheet of paper, for example with a scribble, a dart, or a cube. The cube turns into a matchbox with a picture of a lion on it and a small deer inside it, which turns into a bone. The bone turns into a little man who pushes with all his might against the sides of the matchbox until the box collapses. The little man gets scared and, flat on his stomach, looks down over the edge of the cardboard base. The series of images ends with an ear of corn in which every grain has a face with a long nose. Pictures of those faces continue over several pages each page showing between 6 and 8 single drawings until a new series begins.

Zurich artist Walter Pfeiffer presents us with more than 100 portraits of women in his new book Cherchez la femme! Most of these photographs are being published for the first time and show a new facet to Walter Pfeiffer's rich oeuvre. Pfeiffer celebrates his quest for beauty and glamour with sophistication, irony, and wit. He guides you through a world residing between reality and reverie, snapshot and mise-en-scene. With simple means he creates intelligent and classic images of beauty and bliss, imbued with a wistful awareness of their artifice. Stylish, suggestive, and erotic, his images create an encyclopedia of desire. Clever and elegant, Walter Pfeiffer's photographs elude classification and create a world of their own, thereby suspending the viewer between the being and seeming. The photographs spurn the indexical gesture of documentary photography, invested, as it is, with solemn intensity and mired in the delusion of a one-to-one rendition of reality. However, they are equally wary of wallowing indiscriminately in the phantasmagoria featured in the elaborately staged photography of recent years. Instead, Pfeiffer's recent pictures are utopian variations on reality that undercut the blunt documentary assertion of factuality with the narrative "once upon a time" of a fairy tale.

Muhammad Ali, Zurich, 26.12.1971 shows the iconic American smooth-talking rhymester-boxer before and during his prize fight in Zurich against German heavyweight Jurgen Blin on December 26, 1971. Hans-Ruedi Jaggi, a Swiss hustler and promoter, succeeded in bringing the champ to Zurich for the fight. At Zurich's Playboy Bar, Jaggi made a bet with Jack Starck, a society reporter for the Swiss tabloid Blick, for a bottle of Ballantine's that, after having already got Jimi Hendrix and the Rolling Stones to give concerts in Zurich, he would now lure the mighty Muhammad Ali to town for a fight. He subsequently flew to the States three times but couldn't get an "in" with Ali. Eventually he made it through to Ali's Black Muslims. When asked by the clan's spiritual leader Herbert Muhammad, "What's with the dough?" he pulled $10,000 pretty much all the money he had at the time out of his silver ankle-boots and a preliminary deal was promptly signed and sealed on a sheet of hotel stationery. Zurich photographer Eric Bachmann accompanied Ali during his ten-day stay, on his winter jog through Zurich's woods or buying shoes in a working-class neighborhood, going through his training drills and, finally, during the big fight, which rapidly climaxed in the seventh round when he knocked out the blond German giant Jurgen Blin. The book documents the events in brisk chronological order, as befits a boxer who "floats like a butterfly, stings like a bee," in a rapid-fire succession of impressively intimate and humorous shots against the placid urban backdrop of mid-'70s Zurich.

Karen Kilimnik takes pictures with the same gesture she paints with: an unerring sense of the glut of shiny surface beauty, under which lurk the shades of monstrous things unseen and unspoken. She takes pictures with a shrewd, informed eye. She adores kitsch, but she knows how phony it is and how much this phoniness makes it irresistible. She is a wise old soul but she's absolutely determined to preserve the innocence and vulnerability of a young and restless mind. Kilimnik takes pictures of what she unconditionally loves, and this love is eclectic and deeply darkly romantic. She photographs idylls ad nauseam: the rolling hills of the Cotswolds in south central England, so leafy they almost seem unreal; a ladies' bicycle, hedge-lined streets, sheep in the shadow of a tree, cows in the morning mist, a squirrel that seems to be nibbling on a flower, sitting ducks on the banks of a stream. Kilimnik views profane reality through the mercilessly wide-open eyes of her camera lens, transforming it in her photographs into a stage for her fabulously dreamy / nightmarish fairytale figurations and arrangements. When reality does not suffice, she embellishes it, trimming the trees in the garden, for example, with glass Christmas ornaments or with fairy lights. Running through Kilimnik's photographic work are several motifs we know from her painting. And the two come together in her obsession with photographing details from her own paintings over and over again, such as the magnificent palace walls she has painted, as though beseeching us to agree that her painted fictions are no less real than so-called reality.

The Rendering Eye shows 3-D screenshots of the urban United States as they appear in Apple Maps: deserted streets, buildings and industrial plants that look almost post-apocalyptic. Cars and boats turn into ephemeral shadows, trees are cocooned into sculptures, containers melt, machinery is deformed, and streets are warped. Although the algorithms trace the contours of the world with astonishingly mimetic precision, the spooky universe of Apple Maps is utterly baffled by "reality." The software, originally developed for seeker missiles, was declassified a few years ago. The images it now produces conjure such references as the dystopian metropolises of Blade Runner, the Expressionist sea of buildings in The Cabinet of Dr. Caligari, the futuristic buildings in SimCity, or Camille Pissarro's light-saturated boulevards. The cityscapes captured by Regula Bochsler for this publication are abstract, machine generated, and cold. And yet they are, at times, bathed in exuberant, almost poetically tender colors. Thanks to their "mistakes," their blurred outlines, their distortions and reflections, they look handmade, which ultimately lends them an obscure painterly beauty. Regula Bochsler and Philipp Sarasin explore the implications of these algorithmically generated cityscapes, with a particular emphasis on the impact made by this technologically advanced rendering of our "new world" on photography and the media sciences.

In 1979 Catherine Ceresole and her husband Nicolas moved to New York, where he was to begin training as an audio engineer. In truth, however, the couple went there because they were captivated by the city's underground music scene. They soon became friendly with a number of musicians who Catherine began to photograph at concerts and in intimate settings. The result was a unique photographic documentary of the New York punk, no-wave and avant-garde music scene during its heyday. With her keen eye for dramatic moments, she captured them all on film: Sonic Youth, Lydia Lunch, Glenn Branca, Arto Lindsay, Christian Marclay, the Beastie Boys and many others. After they returned to Switzerland, Catherine Ceresole continued to photograph musicians and their bands - with an unfailing ear and keen eye. The book is a visual music history of the last decades, presenting the work of this unique photographer to a broad public for the first time.

Witty political posters and flyers from Dan Mitchell of Poster StudioBritish artist Dan Mitchell (born 1966) designs subversive, socially critical and humorous posters to promote exhibitions, and to serve as critical commentary on everyday events. This is the first book to bring together his complete posters and flyers.

Memories and observations from the five-decade career of feminist installation artist ManonSwiss artist Manon (born 1940) came to prominence in the 1970s with her installation The Salmon coloured boudoir, a meticulously furnished bedroom in a Zurich loft filled with fetish objects, feathers and glittery materials. Her intimate installations and staged photographs explore social transformations around sexuality and gender. This volume of her writings gathers diaristic entries made for a 2005 documentary on her work, "about the passage of time, and about the passage of my times," as she puts it. Published here for the first time, Feathers offers a succinct look back on Manon's life and art, interweaving memories with everyday concerns and observations. In contrast to her elaborate mises-en-scène, what interests the author of these notes is not pageantry and sensationalism, but minute mood swings, poetic observations of her urban and natural surroundings, the trials and tribulations of the heart, and reflections on aging and transience.

The eponymous "peripher" functions in the works of Andreas Tschersich, a Swiss artist based in Berlin for 14 years now, as a structural, aesthetic and mental moment. It refers to places of transit and transition that defy unequivocal classification, standardization and demarcation. Tschersich portrays cityscapes in which people, upkeep, habits and uses always remain hidden. The tenor remains the same regardless of whether the scene is set in Charleroi, Liverpool, New York or Tokyo. Tschersich's pictures are universal and never seem foreign or forbidding, but ever familiar in their everyday banality, even to those who've never been there before. Tschersich is always on the lookout for motifs, to be sure, but sometimes they just come to him by serendipity. He is a master of the art of losing his way and making the most of that lost state as a creative moment. As he roams the city, sometimes it's simply there all of a sudden: that feeling he seeks to convey in his photographs. It is the perception of that touch-and go moment when everything hangs in the balance, the instant before a fateful decision is to be reached: dereliction or gentrification, danger or safety. Anything can happen to Tschersich's locations.

They still exist, these little cafes, inns, Branntweiner [small drinking places that open early in the morning], bars or as the customers refer to these places dens, where time seems to have stopped. Klaus Pichler (photos) and Clemens Marschall (text) went on a mission to find, document and explore the last of these refuges for a dying drinking generation. The book is a swan song for these bars in Vienna that have shaped their customers' existences for decades, places that are soon to disappear forever.

Since the early 1970s Billy Sullivan has accompanied New York's underground, art and fashion scenes with his camera, using the resultant photographic material as templates for oil paintings, pastel drawings and elaborate multi-part slideshow installations. Sullivan shows his friends, family, lovers and muses, as well as the worlds and demimondes in which they move: clubs, ateliers, rumpled hotel rooms and elegant beach houses. In Sullivan's imagery, which dispenses with any chronological order, the underground scene, the cultural elite and high society are always very close together, as are surface and abyss, the lust for life and the transience of youth. This distillation of Sullivan's photographs, paintings and drawings showcases an ongoing dialogue between camera and paintbrush that characterizes his work. Sullivan's pictures are intimate, sensual and minutely observed. In his latter-day paintings, moments captured by his camera forty years back look as though they'd taken place only yesterday, defying the passage of time. They are unabatedly existential in their painstaking observation of casual beauty, desire and love in their every facet - between family members, lovers, fly-by-night acquaintances and kindred artistic spirits. Sullivan succeeds in doing wholly without shock effects, voyeurism, irony and maudlin melancholy. The key to his work lies in the sincerity with which he approaches his subjects and to which they respond in kind. He juxtaposes images without comment or value judgment, piecing them together into a visual autobiography that is at the same time a chronicle of bohemian New York.

This artist's book by Cédric Eisenring interweaves printed graphics created by means of used industrial metal templates with Photoshop drawings appropriated from the dregs of the entertainment industry. The Swiss artist scratches and etches this "trash for all" (as German novelist Rainald Goetz called his 1998 blog about contemporary culture) -- digitally generated figurative motifs -- directly onto the metal templates. The works are presented anew in Eisenring -- a book that serves as a kind of psychedelic stage: its décor and atmosphere comprise the patinated metal plates, whose punched-out portions evoke the ashtrays, ticket machines and train carriages they once served to manufacture. In Eisenring's works, the templates become blank spaces, and yet these mechanical-organic patterns serve as vessels transporting us to alternative narrative realms and levels. The punched-out portions are embossed on digital drawings and reproductions of Eisenring's artworks in this book. Now taking shape as under a magnifying glass, they develop a spatio-haptic language. This industrial braille rhythmizes and provides a running commentary on the printed pictures through an onomatopoetic and repetitive form of visual babble. If culture is reified work, then it is haunted by all its unkept promises and unrealized dreams. These ghosts of lost futures haunt Eisenring as well -- between mass media fossils and increasingly obsolete industrial surfaces.

2012 was the 60th anniversary of Queen Elizabeth II's reign, an XL jubilee feted by Taschen Verlag with an XL coffee table book. And now for a new version of Her Majesty: three Iranian artists, Ramin Haerizadeh, Rokni Haerizadeh and Hesam Rahmanian, have utterly overhauled the book. The extraordinary life of the world's most famous monarch now blossoms forth in majestic satire: the queen becomes a drag queen, the royal house Animal Farm, and the royal insignia mere stage props and rickety state coaches. This isn't heartless of the Iranian trio by any means, though, for they're actually helping the Queen to a life chock-full of absurdity beyond ritual and representation. Then again, does she even want all this freedom? Her Majesty? is a delirium of caustic wit, a cornucopia of waggish brainwaves and a grandiose masterpiece of draftsmanship and the art of collage. Ramin Haerizadeh (b. 1975), Rokni Haerizadeh (b. 1978) and Hesam Rahmanian (b. 1980) are living in exile in Dubai. In 2015 they exhibited at several venues, including the Kunsthalle Zurich and the Institute of Contemporary Art in Boston. Each copy comes with a handmade cover for this limited edition of only 600 copies.

A black and white photographic diary-cum-travelogue imbued with a poetic, dreamlike qualityFilmmaker Iwan Schumacher, known for his portraits of artists, bought a small camera in early 1972 and took it with him everywhere he went. The camera became his notebook. Schumacher subsequently gave himself up to the lure of the landscapes, people and mood-changing lighting that he came across. With his little Canon he could shoot away without intention, without prescribed subject or theme, much the way we take pictures with cell phones today. Schumacher spent the first half of 1972 in England, where he'd been teaching photography at an art school for a year and a half. The friends and coworkers portrayed by Schumacher are all young, still looking to find their social and professional niche. Their moods of the portraits seesaw between elation and melancholy. And the subjects include not only friends, but also a ragpicker, a mailman, a mother with her brood, even a portrait of Alfred Hitchcock and a shot of a couple asleep. The days of "Swinging London" were over, England was paralyzed by strikes and power cuts. Schumacher produced neither postcards nor social reportage, epitomizing Switzerland in highrise tenements on the edge of town, inter alia, or a still life with Sinalco ash tray and Knorr spice stand. Many of the shots taken on the fly through the windows of cars or trains are blurred, imbued with a poetic, dreamlike quality. Of the 3,000-odd black-and-white pictures he took that one year, Schumacher has selected about 120.