Edition Taube – förlag

“The Red Crowned-Crane & The End of the World” is both an artists’ book and a mini-exhibition. The leporello, half-bound in linen, shows abstract photographs of cranes inspired by Japanese screen painting. These are juxtaposed with a series of dramatically rising clouds of steam from a volcano at the “end of the world”: A symbol of the power of nature as the beginning and end of all life. Inserted in the book is another fanfold on which poems by Kashiwagi Mari are printed in Japanese and English. “The end of the world” - this is what the Ainu, the indigenous people of Hokkaido, call the volcanic region in the north of Japan. The area is also home to the Manchurian crane, which was once widespread and has been a symbol of happiness, long life and loyalty in Asia for thousands of years. In the 1920s, humans brought the Manchurian crane to the brink of extinction. The rescue of the Manchurian crane is as legendary in Japan as the bird itself: During a particularly harsh winter in 1952, a farmer saved one of the last flocks from starvation by spreading grain in a field where the cranes had sought refuge. Humans are destroying nature, but at the same time the dedicated actions of one individual can save a species and perhaps even an entire ecosystem. “The Red-Crowned Crane & The End of the World” by Peter Granser was created in Hokkaido in 2020

"The Hills Have Crazy Eyes – Woman in a Landscape" by Anna McCarthy is a poetic-philosophical work that, in its search for change and healing, juxtaposes the structures of violence against women with man's interaction with nature. An assemblage of fragments of self-experience and quotations in German and English, told through the history of the perception of nature and mountaineering, accompanied by sketches, drawings and paintings made during McCarthy's own mountaineering expeditions en plein air. The book is the second part of a dilogy. The first volume, 'Trickles & Oozes', is an anthology of drawings of melting figures. Both books relate to the performance 'The Hills Have Crazy Eyes', which premiered at the Münchner Kammerspiele in May 2024. The book is funded by Stiftung Kunstfonds.

“Distance” is a conceptual comic by Raúl Silva, produced in collaboration with Paula Eslava. The work features panels appropriated from various manga and comic sources, overlaid with original dialogue that explores abstract concepts like the dichotomy between the geometric and oceanic, rationality versus impulse, authorship, and the relationship between the spiritual and physical realms. Through this juxtaposition of borrowed visuals and new text, the artists create a contemplative meditation on human experience, creative expression, and philosophical dualities.

The collaboration Danče Deluxe between the German artist Olaf Nicolai and the Dubrovnik based sculptor Mariana Pende is an homage to one of the last refuges of the local Dubrovnik population – the Danče Beach – a meeting place of generations and summer outdoor life. The publication features fragments of the imaginary architectural space of Danče Beach that was reenacted 2023 in a joint exhibition at Meštrović-Pavillon in Zagreb.

“What Birds Say” assembles attempts to mimic bird songs in writing across 64 languages, compiled from dialogues with different native speakers. Side by side, these abstract word sequences from around the world unfold a poetry of their own – clumsy and charming at once, saying less about birds than about our longing to grasp the world in language. A dadaistic chorus of onomatopoeia that may connect us all to singing birds.

This project is about erasure. Memory. Forgetting. Data. Archives. Etcetera. The passages in this book are descriptions of digital photographs that have been deleted. In a culture over-inundated and amassed with digital images and eroded attention spans, David Horvitz decided to start erasing his photo archive. This erasure became an artwork. “Nostalgia” is the third edition of the Nostalgia Series. It presents 300 recently deleted private digital photographs of the artist, in the form of an image description, the original time of creation and its filename. The photos from this book will be presented in an installation at Paris Photo at the booth of Jean-Kenta Gauthier in which process they will be deleted.

Steinbrecher turns the world upside down and plays with the unstable and fragile condition of balancing umbrellas on the water, or – depending on the perspective – balancing the sea on an umbrella. The artists’ book »Lago Mio« in the form of a travel brochure shows the reproduction of this series. The artist interferes in the process of reproduction and thus creates new composi- tions and layouts. The traces of the remedialization stay visible and reveal the artistic and creative process. The artistic work exists only as a book and was deliberately created as an »uncomfortable« act: the digital photocopy of analogue pictures, the visible artefacts of this process, the thin printing paper and the simple saddle stitching make it hard for the spectator to gain an over- view of the repetitive series. The irritation of our conditioned visual perception through this simple shift of viewpoint charges this object with some truly psychedelic energy.

The artists’ book “How to shoplift books” by David Horvitz is a guide on how to steal books. It details 80 ways in which one can steal a book, from the very practical, to the witty, imaginative and romantic. Originally published in 2013, this paperback reissue is making the sought after title available again at an affordable price (for those who don’t yet know the techniques described within) and is released in multiple languages.

The 3D View-Master was first launched in the United States of America in 1939. The device was an updated version of the stereoscope and enabled people to view images of places in colour and 3D. The reels of the View-Master and their photographic images served as souvenirs of visited as well as unvisited sights. Between 1939 and 1980 more than 1. 5 billion View-Master reels were produced, with the majority of them being released in the first decades of that period. These reels mainly depicted American landscapes and sites. The artists’ book «American Sights» is a photographic journey back in time and to sights of the 20th century, zooming in on touristic artifacts from the beginning of mass image production. Four hundred 3D View-Master reels were browsed to select a series that carries a romantic distance between the image and the viewer.

FLEUROP is a new guide to deciphering the 'Fleurop list', showing photos of fake plants with their corresponding national flag ribbons. The 'Fleurop list' is a list of codenames used by the German secret service, the BND, to identify friendly countries that it spied on using plant names (which recently caused a major scandal). This list shows how everyone in Europe has always spied on everyone else. It also shows clichés and images used at the highest level between states: Why is the code name for Turkey a hemp plant, but the code name for the US a flowering hydrangea? Sebastian Utzni is a conceptual artist living in Zurich and, together with San Keller, heads the Art and Communication programme at Lucerne University of Applied Sciences and Arts. In his art, he deals with contemporary stories and myths. His book ‘M-Maybe’ was also published by Edition Taube.

Shot on the coast of England in Dungeness, Samsara is influenced by Shiraishi’s memories of childhood visits to his grandparents’ home in the country side of Japan, and the realisation that arose from his time there: that the natural and man-made were both part of the landscape, a part of nature. In Dungeness there is balance: life and death, yin and yang, black and white. This duality of place is replicated by the design of the book. Images shimmer, black pages balance white, adder stones puncture paper. Full bleed images are occasionally interrupted with pages of differently textured paper. Through collapsing time and space, Samsara brings us closer to the emotions and landscape of Dungeness—a cobblestone headland stranded at the edge of England.

A collection of deconstructed speeches from Trump to Merkel, Agata Madejska’s Mistakes Were Made reimages the poetic pathos that has come to structure the radicalisation of mainstream political thought.

The new artist book features photographs by Ju Young Kim that capture her personal perspective as a transcontinental traveler. They document both the peculiar and the exceptional moments during the hours of travel between different time zones, the standardized meals, the views of cloudscapes, sunrises, and runways through the small round windows. In this way, Kim gives a unique and universally recognizable expression to states of transition and transit zones. The photographs are accompanied by collaborative short stories by Guilherme Vilhena Martins and the artist. In an exchange of journal entries, which are based on thoughts and conversations during the flights or personal travel routines and observations of other passengers, Vilhena Martins assembled the passages into a travelogue.

The leporello includes a letter from the Holy Broccoli to Emperor Andrew Gilbert. On the front there are seven coloured paintings, in which Andrew Gilbert shows important stages in the life of Baby Afghan Squirrel, and the handwritten letter on the back. The book, which looks like a children’s book at first sight, unveils brutal, funny drawings about the baby afghan squirrel during the colonial occupation by the British in Afghanistan. Andrew Gilbert is a scottish artist living in Berlin who was part of the Exhibition "Artist and the Empire“ at TATE Britain last year.

Peter Granser's photo series shows selected buildings of the Bolivian architect Freddy Mamani Silvestre in El Alto, Bolivia. Autodidact, Mamani has with his architectural practice realised more than 60 projects in El Alto since of 2005.

In “I walked into a cave and up to Paradajs” Peter Granser grapples with his father’s death. He created this very personal work immediately thereafter, in October 2016, in the woods and a cave on Mount Paradajs in Slovakia. The photographs evoke the impermanence of all things in the inexorable cycle of nature, showing how, despite the darkness, the world around us can still be a source of beauty and hope. In this work, Granser combines his photographs with the minimalist poem “one moment passes” by Robert Lax.

In Vibration Highway, Andrea Éva Gy?ri illustrates her explorations in female lust in 80 truely vibrating watercolors. The book consists of three series: The first one is created in her studio – she invites women to masturbate in front of her while drawing them. In a second series she illustrates the women’s corresponding phantasies and inner visions. The insights from a 3-month orgasm workshop form the third part, a guidebook to the female orgasm. A crucial part of this artistic process is the communication with sexologist Dr. Dania Shiftan, whose analyses and written interpretations complement Gy?ris images. In addition to being an artists’ book, »Vibration Highway« thereby exists also as a research project, exploring new perspectives on femineity and the connections between body, phantasies and personal experience. The art project entitled Vibration Highway was conceived by Manifesta 11 in Zurich, under the curatorial direction of Christian Jankowski.

“The Collection for the poor Collector” edited by Thomas Geiger brings together 21 artists undertaking the brave and exciting work of exploring economic and distribution strategies outside of the art market. Inspired by the work “I Want To Become A Millionaire” of the author and the Edition Taube classic of 2011: Eugene Schwartz’s “Confessions of a Poor Collector“. With Marc Buchy, Nobutaka Aozaki, Hubert Renard, Florian Graf, David Horvitz, Thomas Geiger, JaZoN Frings, Matthijs Booij, Jonathan Monk, David Sherry, Sophie Lapalu + X, Donna Kukama, Adnan Balcinovic, Antoanetta Marinov, Kurt Ryslavy, Émilie Brout & Maxime Marion, Dennis Tyfus, Jesús “Bubu” Negrón, Constant Dullaart and *.

A block of 500 A4 sheets corresponds to a basic unit in office life—a single ream of photocopy paper, a brick. Günzburgers book consists of over 500 drawings on letter paper: concentrated, reduced, almost calligraphic sketches of other artworks held in the collection of the government of the canton of Zurich. Günzburger’s drawings are a kind of virtuoso exercise: a single artistic idea is extracted from each work and depicted in black ink in a minimum number of strokes, a single phrase or aphorism. Speed and consistency leads here to a kind of abstraction. Sculptural works, portraits, abstract paintings; all are captured in sequence of economic gestures. They can all be compared to each other but also lose their specific characteristics, all the material qualities that make them artworks and not signs. With the inventory of the works on the letterhead of the canton, Günzburger also draws a portrait of the „Fachstelle Kunst“ (which, however, never existed under this name), thus providing an insight into the nature of bureaucracy. With a text by Adam Jasper

In contrast to Mount Everest, the highest point on earth and sometimes referred to as the Third Pole, the Fourth Pole is the lowest continental point. Situated in a terrain that, like no other is marked by decades of political disputes between religions and states, its current form is of relatively recent origin and the result of the dwindling water level of the Dead Sea. The expedition shifts the biased perspective onto this terrain by declaring the region a Pole and, in so doing, it opens an imaginary space that is not so much defined by national coordinates as by topographical and autobiographical ones. Paradoxically, with the Fourth Pole, the two explorers produce a place that is unknown to them and may have to remain so. Accordingly, the text they generate during their expedition breaks off before they reach their destination. The text is written in four languages – Arabic, German, English and Hebrew – which make their way from the front and back covers to the centre of the book.

No super hero was able to prevent the attacks on the World Trade Center in 2001. Sebastian Utzni collected comics that were published between 1973 and 2001 and that show shockingly similarity to the images of the 9/11 attacks. Text contributions by Daniel Baumann, Manuel Gerber, Gino Leoni, Thomas Milic, Katharina Ammann, Maxim Keller & Friedrich Melzer (futurzwei), Siri. Edited by J. Steinbach

“Schatten – Ombre” is a dialogue of old and new works by the artist Wolfgang Gäfgen. A play of shadows develops between pure form and narrative content. On 52 pages, the essence of the two “least colorful” colors is traced – black and white. On the right-hand sides of each page are paper cuts from the years 1995 – 1998. They are juxtaposed with pictorial responses from 2019, which were created in the original size of the publication especially for this artist’s book. Hand-signed artist edition, 200 copies.

Stefano Calligaro presents a selection of his literal “poetical-tricks”, an ongoing body of work consisting of modified words and common English terms. These silly yet clever verbal glitches challenge established social and cultural codes through visual simplicity and a precise, deliberate (mis)use of language. The original aim of the series is to become a “visual ecology of signs and meanings”, in contrast to the sense of hyper-spectacle permeating art and culture today. “Poetricks” are simultaneously artworks, minimal poems, and tools used by the artist to question and redefine the essence, meaning, and boundaries of art, language, and poetry.

There are 64 different terms for rain in the Georgian language. Artist David Horvitz worked with Tbilisi-based curator Elene Abashidze to collect these words. The result is a glossary that describes the subtle differences in how water can fall from the sky. The wealth of expressions for a single natural phenomenon also makes visible what we stand to lose from the effects of the climate crisis, when the variety of expressions for rain no longer apply. The work was created on the occasion of the exhibition "The Palace of Concrete Poetry" at the Writers' House of Georgia in Tbilisi (September 9 - October 9, 2022). The artist's book "????? Rain" contains the entire glossary and is published by Edition Taube in an edition of 1000 unique copies, and a special edition printed with Georgian rainwater.

The publication tracks traces of migration in cartography. As part of his research for a Callais project, Georg Lutz tracked how traces of migration bit by bit vanished from Google Maps .

Since the Age of Enlightenment our understanding of nature in the Western world has undergone a profound transformation, and no other medium captures this quite like the English landscape garden. In Vesuv, Venus, Saskia Groneberg takes a closer look at one of Europe’s most significant garden monuments, Wörlitzer Park. She embarks on a photographic journey in search of the age-old dream of a paradise on Earth, the harmonious coexistence of humankind and nature. In fine gradations of gray, she plays with the contradictory yet dreamlike spaces of this art(ificial) nature, oscillating between utopia and reality. On this journey through the park, space and time grow indistinguishable. Winter follows spring, detail follows sequence, dream leads to deconstruction. A replica of Mount Vesuvius fashioned from enormous blocks of stone and the sculpture of a Venus de Medici simultaneously symbolize and deconstruct the antipodes of masculine and feminine, earthly and divine, darkness and light. Mythical motifs such as the swan and the fig leaf brush up against mundane tourists. The latter sit in gondolas on the lake, hurry towards historical architectures – fold-out maps and walking sticks in hand – or follow winding paths from viewpoint to viewpoint. Along the way, the plants, buildings, canals, even the wildlife reveal themselves to be part of a dreamlike scenery in which the visitors move about like figures in a tableau vivant. They are observers and at the same time protagonists of a never-ending play.

How to build a worthwhile art collection with the least possible money? ". The only important thing about this art, as any art, is the art itself. Not its monetary value, not its social prestige, not its public relations leverage, not the artists Themselves, and not the fact that you collected them first. The only thing did counts - the only prize in the game -. Is who ends up with the paintings " - Eugène M. SchwartzIn the new edition of the out-facsimile of 1970, Schwartz explains his philosophy of art collecting and how to get in easy steps to a successful art collection. Schwartz was copywriter and author of several successful books on advertising. With his wife Barbara Schwartz he set a time of important collections of contemporary American art together. Generously donating hundreds of important works from its collection of facilities in the United States. With an epilogue by John Beeson.

The concept of luxury is ever changing—from era to era, and from person to person. For some, luxury exists in material form, as something to desire and long for, while for others it is more intangible, the attainment of time, space, peace and quiet. In issue 36 we speak with seven young artists and designers who play with opulent, excessive aesthetics as a way to question the world around them. Our cover artist, Maisie Cousins, discusses ideas around luxury and food, exploring consumption and gastronomy through the lens of desire, class and community. _x000D__x000D_In our Encounters section we meet German painter Katharina Grosse and Japanese photographer Hiroshi Sugimoto, and visit John Loker and Emily Mayer, the British artist couple who live and work in an intriguingly independent studio set-up. We also feature the paintings of Cristina BanBan and Jules de Balincourt in our two Paper Galleries, and catch up with the New Establishment, featuring interviews with rising stars Zach Blas and Summer Wheat. _x000D__x000D_In Journal, Hettie Judah discusses the notion of fully automated luxury communism, and Alice Bucknell explores the latest trend for luxury art spaces (on heat)—with shopping malls, galleries and concept stores all rolled into one.