Published March 19, 2013 by aanews

onestar press proudly announces the presence of New York-based artists, Jimmy Raskin and Mika Tajima, both in town on the occasion of BOOK MACHINE (Paris) and joining us at onestar press for a special presentation of their respective works.

Jimmy Raskin Legislation, voyeur

With a bombastic follow up to his artist’s book Corner Jump and the ever uncanny performance of The Lisbon Lecture at BOOK MACHINE (Paris), we invite one and all to onestar press for Jimmy Raskin’s current showroom installation entitled, LEGISLATION, VOYEUR.

Jimmy brings to us from his New York studio an intense wall of poetic inquiry; here arrives The Documentarian to track an elusive Poet and it is that Poet who disrupts his work as he sleeps. Jimmy Raskin presents special diagrams meshing cartoons, words with glitter, rhyme with reason..

Individual collages, drawings and prints will bring together a mood-board-mosaic of the voyeur.

Mika Tajima Negative Entropy

We first had the pleasure of working with Mika Tajima for her artist’s book Deal or No Deal and are honored to welcome the artist’s commissioned scenography designed especially for BOOK MACHINE (Paris) entitled “POST SCRIPT”, located at Forum -1 at Centre Pompidou.

We are happy to present at onestar press her new series of abstract woven portraits entitled Negative Entropy.

Negative Entropy is a series of abstract woven portraits for which she had recorded production sounds at several locations in manufacturing areas of Pennsylvania, including a few remaining textile-related factories in the area as well as a data center network in Philadelphia.

These recordings were then transmuted into digital image files and physically translated by a weaving designer into a Jacquard fabric. The final woven textiles were stretched over custom acoustic panels to function as sound deadening tiles, the same type used in recording studios to isolate sounds made by individual performers. The looms inscribe their own death, producing a mute visualization of vacant factories and the ascendant industry of immaterial abstractions.

Negative Entropy series on view:

Jimmy Raskin & Mika Tajima at onestar press
Visiting hours: 10AM – 6PM

49, rue Albert
75013 Paris
Metro: Olympiades

onestar press presents: Book Machine (Paris) for the 4th annual Nouveau Festival 2013 at Centre Pompidou!

Dates: February 20 – March 11, 2013

© Photo: Theophile Boutin
© Book Machine (Paris) typeface “Bréton-Brut” designed by Mika Tajima for Book Machine (Paris) 2013

Running concurrently with the exhibition of Olivier Mosset at Campoli Presti, London, Three Star Books has been invited by the gallery for a special presentation of editions by Mosset and his fellow Swiss contemporary John Armleder.

On view until February 16, 2013:


Display for John Armleder’s Black Cat, Three Star Books (2012)


Olivier Mosset’s Sixteen Cardboard Toblerones, Three Star Books (2010)


Installation view of John Armleder’s edition Black Cat and a selection
of the artist’s Glitter Paintings for Three Star Books


Installation view of Olivier Mosset’s Sixteen Cardboard Toblerones

© Andy Keate 2013

Published December 4, 2012 by aanews

Shop, drink, play and be merry!

Join onestar press on Saturday 15 December, 2012 from 4PM – 9PM for our first annual holiday sale and ping-pong party!

Mulled wine will be drunk and special prizes await to be won so come one come all…

Please come and visit onestar press at PA/PER VIEW Art Book Fair in Porto at Maus Habitos, from Saturday November 24 – Sunday November 25, 2012 where we will be presenting Gabriel Kuri’s multiple from onestar press:


Untitled (Hand-Rubbed in Paris 2012) by Gabriel Kuri

You can also view Gabriel Kuri’s specially designed bookshelves for onestar press entitled Soft Wave Bookshelves here

We will be present among an international roster of leading independent publishers and look forward to seeing you there!

In the 1980’s the rising tide of postmodernism floated many boats; new collectors needed objects beside painting to collect so the pedestal made a return to the gallery’s topology getting art off the grimy post-minimal floor. The Grandchildren of Duchamp were everywhere and artists Jeff Koons, Haim Steinbach, and Meyer Vaisman had the Midas touch, spinning straw into gold in a new era of photogenic, immaculately crafted objects. A half step behind this moment were tendencies in sculpture and installation that would emerge as an antidote to all things glossy after the art-market crash in the early 90’s. An international cast of cosmopolitan provocateur (Martin Kippenberger) and arty punks (Mike Kelley) had absorbed the theatricality of minimalism and displacements of Arte Povera recycling undesirable materials back into art. Gallerists whose instincts did not match the 80’s hype began to take chances with artists too early or late for neo-geo painting or ‘picture generation’ appropriation, which would make the most lasting impact.

The role the art dealer John Gibson played during this time of lowered expectations is usually overlooked. Located first uptown, later to West Broadway in Soho, and finally over to Prince and Broadway, the notoriously tight-fisted Gibson was ahead of the curve showing ‘Body’ and advanced European conceptual art while initiating movements like ‘narrative’ or ‘story’ art. Gibson thrived in an era of portability, when images and documentation could be toted across the Atlantic under one’s arm. I cannot imagine that the 80’s were conducive to Gibson’s not-a-team-player temperament, but interest shifted back to the gallery that continued to show endless Beuys multiples along with 70’s figures like Bill Beckley and the ubiquitous Dennis Oppenheim; incoming Euro’s included Bertrand Lavier, Olivier Mosset, and John Armleder who was primarily responsible for reviving critical and collector interest in this modestly scaled and appointed gallery.

I met Armleder in ’82, probably through Jean Dupuy, at the opening of Peter Frank’s ‘Young Fluxus’ show at Artist’s Space’s Hudson Street location. The show’s timing was unfortunate, looking a little folksy for this closely observed career launching pad. I found Armleder a courtly, open man whose elegant, precise drawings looked filched from a Bauhaus design class in 1929. Soon after showing with Gibson, I encountered Armleder’s disordered grouping of pictures and furniture at Pat Hearn’s chic East Village space and his poured glitter/resin Morris Louis knockoffs at Daniel Newburg gallery in Tribeca. Armleder’s installations of ‘lyrical’ abstract paintings exhibited in tandem with furniture actualized the collector’s request for the ‘couch painting’, art that, to paraphrase David Salle, ‘…did a number of things in addition to making the room look better’. 80’s Armleder may have been a truly ‘post-studio’ artist, a conceptual materialist traveling from gig to gig conjuring up anticipated exhibitions out of the ‘pre-owned’ probably employing the host gallery as temporary studio space. I regarded his early presentations of askew, ‘customized’ furnishings as resolutely Swiss in their modulated impulse to disrupt the norm, running ‘counter-clockwise’ to the perception of national complacency and order. Dada Zurich is the birthplace of this resistance that may be traced through Tinguely’s suicidal machine, Christian Marclay’s album cover mash ups, and Pipilotti Rist’s spree of gleeful windshield destruction.

Happily Gianni Jetzer at the Swiss Institute has gathered 13 of Armleder’s works from 1979-2012 and installed them at their cavernous Wooster Street location. The shopping mecca Soho is an appropriate district to reacquaint oneself with Armleder in its proximity to high end retail widow dressing and to the towering glass box residencies of the very well to do. The gallery’s address is also footsteps away from Colin DeLand’s legendary American Fine Arts, which showed the first grim constructions of Cady Noland along with Jessica Stockholders vivid abstract accumulations. In addition, this space was recently a Jeffrey Deitch outpost, the scene of skateboarding and Fischerspooner extravaganzas, events that somehow sold a certain kind of art to a certain kind of person in ways I never understood. What is immediately striking is the public’s adjustment to scale-big art for big rooms. While the ‘paintings’ remain grand, all the other objects function in the manner of their actual size. Decades ago this work would have been monumental, now it feels typical. It makes sense that most of these works were produced after a California sojourn; the Marshall amplifiers, ‘hard edge’ paintings doubling as wall graphics, surfboards, Brooks Brother suits, LUDWIG drum set, and a single bowling ball emit a fun fun fun west coast vibe. Viewed as a whole the exhibition recalls the ‘trophy’ or ‘show’ room, operating somewhere between the decorative and symbolic. Armleder’s family were hoteliers and I am convinced this informed his eye for décor and visually rhyming relationships between the inanimate. Hotels are sites of transition where the generic is often welcomed and kitsch tolerated-a nice view and clean towels (Armleder provides blankets in ‘Furniture Sculpture 228, 1989/2012) is what everyone really wants. Missing here (with two discrete exceptions) are works that have been painted upon in an off-register Supremacist style, many of which were shown with John Gibson. While graffiti art came and went in the 80’s art world, Armleder’s occasionally damaged goods connected with this condoned form of vandalism; think of Malevich, El Lissitzky et al as a downtown ‘crew’ breaking into the winter palace armed with cans of spray paint.

As the 80’s boom receded, John Armleder’s art was welcomed in New York by informed collectors and artists seeking relief from the shrewd banality of a Jeff Koons but certainly setting the stage for a Damien Hirst. This show is John Armleder’s first local exhibition in eight years and is accompanied by an publication which includes an essay by Robert Nickas and period black and white installation shots which convey the basic, no frills gallery spaces (radiators and stationary lighting) before money and art were super sized.





Article by Tim Maul (11/2012); all images © Daniel Perez 2012

John Armleder has published Steal These Books with onestar press and The Glitter Book with Three Star Books

We were very pleased to welcome Gabriel Kuri last week at onestar press to not only create and present his new multiple entitled ‘Untitled (Hand-rubbed in Paris) 2012′  but to present the artist and his unique ‘Soft Wave bookshelves’ as well.


Gabriel Kuri works on his multiple at 49, rue Albert 75013 Paris, France


Gabriel Kuri at rest between bookshelves Soft Wave Grey 2 & Soft Wave Mustard Yellow 1

And — straight back from its debut at SUNDAY Art Fair (London) was Jonathan Monk’s most recent publication at Three Star Books entitled Billboard Book Project (London) designed by British design duo OK-RM and published by Three Star Books.


The Billboard Book Project (London) displayed at SUNDAY Art Fair (London) © Joe Clark


The Billboard Book Project (London) displayed at SUNDAY Art Fair (London) © Joe Clark

Thank you to everyone who braved the rain to be with us — for those of you who could not be here, please feel free to stop by onestar press’ showroom to view the works on display; you may contact Three Star Books directly to inquire about Jonathan’s new project and also view Gabriel Kuri’s multiple here and the bookshelf, here.


 

onestar press and Three Star Books are rounding up their goods and are proud to announce their upcoming participation in Rob Pruitt’s Flea Market taking place on Saturday 19 May 2012 in Paris at Le Musée de La Monnaie from 6PM – Midnight.

We will have for your purchasing pleasure a variety of treasures from artists featured by onestar press and Three Star Books:

Marina Abramovic / Maurizio Cattelan / Monica Haller / Pierre Huyghe / Haim Steinbach / Hans Schabus / Annika Strom / & much more!

And don’t forget to stay for a very special TOMBOLA (“Raffle”) / PERFORMANCE with Elvire Bonduelle (Les Cales, onestar press 2006/Les Dessins à La Règle, onestar press 2011) who will be creating a series of speed drawings live from 8PM – 10PM.

Drawings are to be raffled off at the onestar press / Three Star Books stand so try your luck and purchase your tombola (“raffle”) tickets to possibly walk away with an ORIGINAL DRAWING!

Tombola tickets are only 5€ each!

**Special Event**
Elvire Bonduelle’s – Tombola/Performance
Time: 8PM – 10PM
Location: onestar press / Three Star Books booth
________________________

Rob Pruitt’s Flea Market
Open to the public from 6PM – Midnight
Free to enter
________________________

La Monnaie de Paris
Cour de la Méridienne
Entrance : 11 quai de Conti – 75006 Paris
events@monnaiedeparis.fr

- 246 tickets sold
- 26 drawings created live
- 10,6% chance of winning

Thank you to everyone for coming out and party-cipating in Elvire Bonduelle’s Tombola/Performance Party at onestar press on Wednesday 25 April, 2012!

We all had an extraordinary evening together with Elvire and would like to extend a big round of congratulations to the lucky winners for beating the odds and walking away with an original drawing!


Tombola of chance


Guests wait in anticipation of the evening’s Tombola selection


Guests gathering around artist Elvire Bonduelle as she posts her drawings


Artist Elvire Bonduelle steadily working as she created a series of 26 live drawings on Wednesday night


Elvire Bonduelle during her speed-drawing performance


Elvire starting another drawing


Performance and creative work space for Elvire Bonduelle


Birds-eye view of Elvire Bonduelle’s performance space at onestar press


The tools of Elvire Bonduelle


A selection of the various materials Elvire Bonduelle worked with to create her special series

Please join onestar press and Elvire Bonduelle for the finissage of ‘L’art, le joli & le fonctionnel” on Wednesday 25 April, 2012 starting at 7:30PM for a one-night engagement of TOMBOLA/PERFORMANCE.

A special series of drawings will be created live and guests have the chance to participate in the tombola – 2€ ticket allows you to take part in possibly being chosen walk away with an original A4 drawing!

Come one and come all!

For more information please visit TOMBOLA/PERFORMANCE PARTY