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The publication pupblished by the CAPC \nreflects this physical and mental adventure through preparatory prints, \nfilm dialogues and stickers alternating exhibition views and \nreproduction of Schinwald's works.\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\n\n\n\n\n\n\n\n\n\n\n\n\n \n\n\n\n \n\n\n\n\n     Markus Schinwald (born in 1973) has been dividing his life\n    between Vienna and Los Angeles. Between Freud and Lynch, Prater and\n    Mulholland Drive, Biedermeier and the Black Sun. He moves from one world to\n    the other the way people switch channels. In a trice. With the same\n    fluidity, he tacks between performance, visual arts and films, without\n    sticking to any particular medium. 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From this work, I created sculptures of light. The words wander through the dark space, penetrating it, forming a network of tightly woven and intertwined meshes, a firmament of text. The poems shimmer in a bath of black water, dissolve in the waves and new signs appear. From these images are born fifty-four photo-paintings.” — Rebecca Horn\u003c\/p\u003e\n\u003cp\u003eTypeset by Hans Werner Holzwarth  in Linotype Centennial and letterpress-printed by Atelier Mérat-Auger, the volume features visual prints produced by Gert Schwab Scantechnik and printed by Quensen (Lamspringe) on 150 gsm BVS paper. Binding and slipcase by La Reliure d’Art du Centre.\u003c\/p\u003e\n\u003cp\u003eBook XII.\u003cbr\u003ePublished in 2005\u003cbr\u003e34,8 x 26,3 x 10,3 cm (case)\u003cbr\u003eLimited edition of 150 copies, including 108 copies for sale, signed and numbered by the artist and the author\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e© Yvon Lambert Editions\u003c\/p\u003e","brand":"Yvon Lambert Bookshop","offers":[{"title":"Default Title","offer_id":14991367372866,"sku":"","price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0085\/4913\/8498\/products\/12_53poemes_DSF6699_linear_3.4_tranche.jpg?v=1649755773"},{"product_id":"niele-toroni-a-la-queue-leu-leu","title":"Niele Toroni \u003cbr\u003e\u003cem\u003eÀ la queue leu leu\u003c\/em\u003e","description":"\u003cp\u003eA key figure of Swiss conceptual and minimalist art, Niele Toroni defined his entire artistic practice around a rigorous, repetitive method: imprints of a No. 50 paintbrush applied at regular 30 cm intervals.\u003c\/p\u003e\n\u003cp\u003eTitled “À la queue leu leu”—literally “at the tail of the wolf” and meaning “in single file”—this edition features five original paint imprints executed by the artist in a leporello format. 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It includes an original silk screen print in red and blue printed by Derrière l’Étoile Studios (New York), along with a facsimile of her father’s business card. “Aux vieilles tapisseries” was the name of her father’s tapestry restoration shop; this facsimile was printed in black and white by Peter Kruty Editions (New York).\u003c\/p\u003e\n\u003cp\u003eThe volume was typeset by Atelier Mérat-Auger in Granjon type and printed on 300 gsm Magnani di Pescia extra white paper. 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Bound by Emmanuel Ardant, the book features a binding made of parchment and hot-stamped gold leather. 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Reflecting the somber melancholy of the themes he explores, the materials composing his books remain raw and tactile.\u003c\/p\u003e\n\u003cp\u003eFor the first time in this collection, a volume is published entirely without text. Created from photographs by the artist digitally printed by Gilles Pingeot, each copy is a unique piece upon which Anselm Kiefer applied original collages made of ash and lead. Bound by Emmanuel Ardant, the complete work is housed in a custom metallic slipcase designed by Christian Chopinaud. 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For this volume, he collaborated with French poet Alain Frontier, a specialist in rewriting, on a shared, fragmentary study of the human body through natural elements.\u003c\/p\u003e\n\u003cp\u003eTitled “Le Livre des fragments ou le Regard rapproché” [The Book of Fragments or A Closer Look], the publication consists of a set of booklets gathering plates designed by Paul Armand Gette that combine drawings, handwritten texts, and color vignettes. It opens with the essay “Ouverture”, written by Alain Frontier.\u003c\/p\u003e\n\u003cp\u003eThe volume was typeset by Pierre Ouchacoff in Times type. The vignettes, executed as color photocopies, were hand-pasted alongside their captions by Noriko Fusé. Screenprinted by Éric Seydoux on BFK Rives paper, the entire work is presented in a slipcase stamped with “0m”, crafted by Emmanuel Ardant.\u003c\/p\u003e\n\u003cp\u003eBook VII. \u003cbr\u003ePublished in 1999\u003cbr\u003e34.7 x 26.5 x 5.2 cm (case)\u003cbr\u003eLimited edition of 150 copies, including 108 copies for sale, signed and numbered by the artist and the author\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e© Yvon Lambert Editions\u003c\/p\u003e","brand":"Yvon Lambert Bookshop","offers":[{"title":"Default Title","offer_id":14991367733314,"sku":"","price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0085\/4913\/8498\/products\/7_Lelivredesfragments_DSF6720_linear_3.4_tranche.jpg?v=1649755063"},{"product_id":"lawrence-weiner-jean-claude-lebensztejn-a-fripon-fripon-et-demi","title":"Lawrence Weiner \u0026 Jean-Claude Lebensztejn \u003cbr\u003e\u003cem\u003eÀ fripon, fripon et demi\u003c\/em\u003e","description":"\u003cp\u003eA central figure of American Conceptual Art, Lawrence Weiner (1942–2021) placed language at the heart of his practice, emphasizing the dematerialization of the artwork in favor of text.\u003c\/p\u003e\n\u003cp\u003eTitled “À fripon, fripon et demi”, this edition explores the concept of the copy by pairing two distinct volumes. 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