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Reading: Rediscovering traditional values beaches leisure time arelaxed attitude by Shanzhai Lyric, 03.09.2023, SYSTEMA · Marseille

Rediscovering traditional values beaches leisure time a relaxed attitude

Shanzhai Lyric

03.09.2023
SYSTEMA, Palais Carli · Marseille


Reflecting on Marseille as a port-city, trade hub, and space of leisure fantasy, Shanzhai Lyric read a poem composed for the occasion from fragments of “Incomplete Poem,” a shifting archive of poetry-garments which they consider to form one long text moving across bodies and landscapes.

“Incomplete Poem (laundry line)” is on view in a purpose-built reading apparatus at Giselle’s through November, incorporating new poetry-garment acquisitions culled from the informal market places of Marseille.

Established in 2015, Shanzhai Lyric investigates global trade networks, informal economies, and the poetics of counterfeit goods. 山寨, or “shanzhai,” translates to “mountain hamlet,” but also means “counterfeit” in contemporary Chinese usage. The group takes inspiration from shanzhai t-shirts produced in China that circulate globally, often emblazoned with non-standard English phrases expressing a radical disregard for the norms of branding. Recent presentations include MIT School of Architecture and Planning, MoMA PS1, Henry Moore Institue, SculptureCenter, Amant, Canal Projects, Abrons Arts Center, Women’s Art Library, and Artists Space.


Se penchant sur Marseille en tant que ville portuaire, plaque tournante du commerce et espace de fantasmes et de loisirs, Shanzhai Lyric lira un poème composé pour l'occasion à partir de fragments de "Incomplete Poem", une archive mouvante de vêtements-poèmes considérés comme un long texte se déplaçant entre et à travers les corps et les paysages.

"Incomplete Poem (laundry line)" est exposé avec un appareil de lecture spécialement conçu à cet effet chez Giselle's jusqu'en novembre, incorporant de nouvelles acquisitions de vêtements-poèmes provenant des marchés informels de Marseille.

Créé en 2015, Shanzhai Lyric étudie les réseaux commerciaux mondiaux, les économies informelles et la poétique des produits contrefaits. 山寨, ou "shanzhai", se traduit par "hameau de montagne", mais signifie également "contrefaçon" dans l'usage chinois contemporain. Le groupe s'inspire des t-shirts shanzhai produits en Chine qui circulent dans le monde entier, souvent ornés de phrases en anglais non-standard, exprimant un mépris radical pour les normes de l'image de marque. Shanzhai Lyric ont présenter leur travail à MIT School of Architecture and Planning, MoMA PS1, Henry Moore Institue, SculptureCenter, Amant, Canal Projects, Abrons Arts Center, Women’s Art Library, and Artists Space.

Rediscovering traditional values beaches leisure time a relaxed attitude​ Shanzhai Lyric performing at Palais Carli, Marseille during SYSTEMA 2023.
Rediscovering traditional values beaches leisure time a relaxed attitude​ Shanzhai Lyric performing at Palais Carli, Marseille during SYSTEMA 2023.

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Incomplete Poem (Laundry line) – Shanzhai Lyric, 30.08.2023 – 31.10.2023, Giselle’s Books · Marseille

Incomplete Poem (Laundry line)

Shanzhai Lyric

30.08.2023 – 31.10.2023
Giselle’s Books · Marseille


Incomplete Poem
by Shanzhai Lyric is a shifting archive of shanzhai t-shirts sourced from Hong Kong to New York, which they consider one long poem moving across bodies and landscapes. At Giselle’s, the installation weaves through the library and domestic quarters of the space and out onto the terrace, taking inspiration in part from the informal and wholesale markets in the neighbouring area and Marseille’s wider situation as a historic port city.

Shanzhai Lyric’s archive is often shared through purpose-built reading apparatuses, designed with architectural collective common room, that reference structures where text and textile trouble the borders of public and private space. Here, the structure is inspired by the form of a laundry line, which extends the domestic space out into public view, and by the subversive potential of “airing dirty laundry”—an idiom that refers to discussing personal, unpleasant matters in front of others.
The rest of the Incomplete Poem archive is currently on view at Henry Moore Institute in Leeds, UK, where Shanzhai Lyric has been pursuing research on textile industries, property, and theft— looking at the typology of the hedge as an original boundary marker across the landscape.

Established in 2015, Shanzhai Lyric investigates global trade networks, informal economies, and the poetics of counterfeit goods. 山寨, or “shanzhai,” translates to “mountain hamlet,” but also means “counterfeit” in contemporary Chinese usage. The group takes inspiration from shanzhai t-shirts produced in China that circulate globally, often emblazoned with non-standard English phrases expressing a radical disregard for the norms of branding. Shanzhai Lyric notes: “There is a delightful humour in the unexpected collisions of meaning, but what really resonates with us about these garments is how deeply we can be moved by apparent nonsense, how it actually seems to describe with poetic precision the experience of living in an utterly nonsensical world. With devoted irreverence, shanzhai poems highlight the arbitrary line between real and fake—designed to exploit and criminalize the many for the gain of the few.” Recent presentations include MIT School of Architecture and Planning, MoMA PS1, Henry Moore Institue, SculptureCenter, Amant, Canal Projects, Abrons Arts Center, Women’s Art Library, and Artists Space.


Incomplete Poem
de Shanzhai Lyric est une archive de t-shirts shanzhai, provenant de Hong Kong à New York et considérés comme un long poème se déplaçant à travers les corps et les paysages. Chez Giselle's, l'installation se faufile à travers la bibliothèque et les espaces domestiques du lieu en s'étendant sur la terrasse, s'inspirant en partie des marchés de ventes informelles du quartier voisin et de la situation de Marseille en tant que ville portuaire historique.

Les archives de Shanzhai Lyric sont souvent partagées par le biais de dispositifs spécifiques, conçus avec le studio d'architecture belge common room, faisant référence à des structures où le texte et le textile troublent les frontières de l'espace public et de l'espace privé. Ici, la structure s'inspire de la forme du fil à linge, qui étend l'espace domestique à la vue du public, et du potentiel subversif de airing dirty laundry (laver son linge sale en public) - une expression qui fait référence à la discussion de sujets personnels et désagréables devant d'autres personnes.
Le reste de l'archive d'Incomplete Poem est actuellement exposé à l'Institut Henry Moore de Leeds, au Royaume-Uni, où Shanzhai Lyric poursuit ses recherches sur les industries textiles, la propriété et le vol, en s'intéressant à la typologie de la haie en tant que marqueur de frontière original dans le paysage.

Exhibition view: Incomplete Poem (Laundry line) by Shanzhai Lyric, Giselle's Books, Marseille
Exhibition view: Incomplete Poem (Laundry line) by Shanzhai Lyric, Giselle's Books, Marseille
Exhibition view: Incomplete Poem (Laundry line) by Shanzhai Lyric, Giselle's Books, Marseille
Exhibition view: Incomplete Poem (Laundry line) by Shanzhai Lyric, Giselle's Books, Marseille
Exhibition view: Incomplete Poem (Laundry line) by Shanzhai Lyric, Giselle's Books, Marseille
Exhibition view: Incomplete Poem (Laundry line) by Shanzhai Lyric, Giselle's Books, Marseille
Exhibition view: Incomplete Poem (Laundry line) by Shanzhai Lyric, Giselle's Books, Marseille
Exhibition view: Incomplete Poem (Laundry line) by Shanzhai Lyric, Giselle's Books, Marseille
Exhibition view: Incomplete Poem (Laundry line) by Shanzhai Lyric, Giselle's Books, Marseille

Ce projet à reçu le soutien de la
Région Provence Alpes Côte d’Azur
« Carte Blanche 2023 ».

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Bruce LaBruce and Hugo Bausch Belbachir in Conversation

Bruce LaBruce and Hugo Bausch Belbachir in conversation

The curator of the exhibition Don’t Be Gay: J.D.s (1985-1991) held at Giselle’s Books engage in an extended conversation with the co-founder of J.D.s.
They discuss the fascinating origins of the zine as well as the genesis of the Queercore movement among other themes.

Hugo and Bruce’s discussion sheds light on the crucial role of J.D.s and its impact on the queer community and Toronto’s alternative scene in the late 80s.

 

Hugo Bausch Belbachir : What I found interesting when I engaged in my research on Queercore is that I found myself studying something else than Queercore, or its musical phenomena. To be more precise; I ended up suggesting queer narratives where they were possibly hidden. Somehow, and for the past 400 years, Queercore was a mystery, and then a surprise, when understood within punk movements. This brings us back to a continuous position regarding queer histories, which is working with concealed pieces of evidence. So this was immediately very political, in the same way that the etymology of ‘punk’ takes its roots within the same as ‘faggot’. When I was thinking about this interview, I was mainly occupied with thoughts about the epistemological approach that J.D.s structured. Maybe I should simply ask you about the context of J.D.s’ debuts. 

Bruce LaBruce: Well, where should I begin? There were several people, either in the punk scene or peripheral to it, that were doing fanzines really early on, in the mid-1980s. One of them was called Fags and Faggotry which was done by a more gay-identified man, doing political and pornographic content. In a way you probably need to start with The Body Politic which was a gay Marxist publication distributed for free in Toronto’s gay bars in the 70’s and 80’s. It was very political and directed towards activism as a kind of direct intervention. These were the people that had been politicized by the sexual revolution in the 1960s and 1970s, and the more nascent gay liberation movement that had underpinnings of feminism and black activism, too. That gay thing was becoming more political while also being, already by the mid-1980s, more of a white, middle-class movement. So my friends and I, who already were in the punk scene or in some kind of underground, were very disillusioned by this gay orthodox scene controlled by white, middle-class narratives, as it was exhibiting elements of racism, misogyny, and classism. We were very much opposed to that, and that’s why we turned to punk and started our first homocore fanzine. My friend Candy had one too, called Dr. Smith, which was more overtly punk and had a lot of subtextual homosexual content, or subtext. Then we found that the punk movement had the same problems as the mainstream gay movement, and felt like we were alienated by both subcultures and caught in the middle. That’s what J.D.s was about, as well as homocore, originally. In the gay world, lesbians and gays were very much separated, and there weren’t a lot of social or political alliances between us. We were very much insistent on being more diverse and interested in some sort of coalition, between gays, lesbians, and trans, as well as racial inclusivity. We would have people of color on our covers and stuff like that. This is all the way back to the late 1980s. The other notable thing is that G.B. Jones and I created J.D.s as some kind of narrative, or meta- narrative – you could also say ‘fake news’ – that we were a full-fledged underground movement that was already established, with hundreds of members, creating a sort of havoc or upheaval in Toronto. It really started with me and a couple of my female friends making it seem like we were a big gang. Some people believed it and then a lot of others started, in other cities, doing the same thing, as we were sending our fanzines and movies to the, let’s say, five big punk fanzines. We also used to put ads and then they would write articles about us. There was Vaginal Davis in Los Angeles with Fertile La Toyah Jackson Magazine, who also used to work with Rick Castro, who did Shrimp. He was also doing a lot of underground gay leather photography and fashion. There was also Linda Simpson in New York doing My Comrade, which was more of a drag fanzine. Then later this guy from San Fransisco, Tom Jennings, started a fanzine named Homocore. I can’t really remember when it turned into Queercore, because I was always ambivalent towards the term ‘queer,’ mainly because it had already been coopted by the end of the 1980s. It had a political connotation that was a little more orthodox than what we were doing. We were more in the spirit of the Situationists and Anarcho-Syndicalists. The queer movement itself was a radical left moment but also more of a mainstream or political strategy organized with the fantasy of existing within the system, as opposed to us. We were radically underground and dealing with pornographic, almost terrorist imagery and being about promoting an idea of homosexuals as criminals, something that embraces its criminality and the censorship and the hostility directed towards it, something that we cultivated in a kind of aggressive, punk way. So that’s a long-winded explanation. 

H.B.B: I remember this text by Guy Hocquenghem that was published in Semiotext(e)’s Hatred of Capitalism, which was titled We all can’t die in bed, or something like that. Anyways, it’s about Pasolini’s death on this desert beach next to Rome, in Ostia, as a manifesto on homosexual meta-criminality and lethal destiny. I mean it’s kind of silly talking about Guy Hocquenghem today for so many reasons, but this text makes so much sense when it comes to the context of homosexualities in the 1970s. In a way J.D.s also stood against Cocteau or Wilde, fancy fags let’s say, and opened its questioning on queers as a group of misfits, punks, junkies, and hustlers. 

B.L: Well we were in a way forced to have our bars in rough parts of town, on the waterfront, or somewhere with that energy. Gay bars were repositories for all sorts of misfits and criminals; people who just got out of jail, people hiding from the law, sex workers, and all the people who didn’t fit anywhere else either: gays and transgenders, people of color. We would all congregate in these places and this formed a sort of loose community that was more aligned with what Punk was doing in the late 80’s, at least in Toronto – people being transgressive. I remember that the Southern California Punk scene was very queer. It had a lot of queer bands that were not aligned with the gay movement per se but had queer members, like The Germs and Darby Crash, The Bags, Catholic Discipline, all those kinds of bands that had queer members but were more aligned with punk aesthetics and politics. 

H.B.B: There’s also an ambivalence around these aesthetics as emptied from their, let’s say, original political meaning. At some point you started presenting yourselves as The New Lavenders Panthers, referring to Raymond Broshears’s self-harmed, queer militia. 

B.L: Yes, and which is referencing the Black Panthers themselves. 

H.B.B: It’s also a rigorous vocabulary; The New Homosexual Revolution, The Gay Rebels, Juvenile Delinquents, The Sex Rebels, The Teen Gangs. It’s perverting perverted references. 

B.L: Any kind of subversive or subcultural movement, we were interested in. That’s why we were so much into pornography, as it was essentially oppositional to the dominant sexual order. My partner G.B. Jones was obsessed with Bubblegum music and bands. Candy, especially Candy, was completely into comics, and so we were kind of trying to channel these target audiences; young kids, teens who may be queer and not know it or not knowing how to express it, in big cities or smaller ones, and trying to tap into that kind of natural, spontaneous youth rebellion. There was also this other fanzine called Hide that was about Situationist détournement and similar strategies. I remember that Candy drew a series of comics that were based on skater characters and skate culture, which we were very much into. You know, we were obsessed with movies like Crime in the Streets, Wild in the Streets, and stuff like that, gangs, prostitution, street hustlers. They played a big part in this. I started dating a hustler whom I guess was my first boyfriend, even though he was straight and had a girlfriend. Later he became a neo-Nazi skinhead and we broke up after he beat me up.

H.B.B: I’ve regularly come to the conclusion that Queercore was more of an imprecise rhythm depending on class and historical conjunctions, instead of being an organized movement. 

B.L: You’re right. It was almost like a collective in a way, but not so organized. We were heavily influenced by Warhol’s Factory. This was before any of Warhol’s films were widely seen or known, but somehow we were really aware of that scene, but influenced by producing a more politicized punk version than what he had done. The Factory was almost like a squat and people just hung out there all the time. It was very social and pornographic, challenging all the conventions not just of the dominant order, but also the conventions of cinema by making experimental work that was decidedly noncommercial, kind of anti-corporate. For me it was always the hustler bars that were a kind of a nexus of communities, and where I would meet people I’d put in my films. There was a particular bar in Toronto called Sneakers, which closed I think in 2008. Again, this was where I would meet a lot of people that just got out of jail, or who got out of the army and were kind of disillusioned, and a lot of them were sex workers, obviously. So this was the community, and this is always important to form those allegiances that could then be turned into some kind of activism. 

H.B.B: Where would you watch pornography back then? 

B.L: There were dedicated porn cinemas in Toronto. There was one called The Metro that was open until about eight years ago or something. It’s now like a rock climbing gym. 

H.B.B – laugh: This makes sense.

B.L – laugh: Well, I always thought they should mix porn and rock climbing. This would be a brilliant combination. Porn projected on the walls while people are climbing on them. 

H.B.B: That’s a good idea. 

B.L: I know! That’s where I used to premiere all my movies and everything. But to be honest I was never a huge porn guy. I never followed it super seriously. I was more into the 1960s avant-garde; Peter Berlin, Wakefield Poole, Peter de Rome, Fred Halsted – all those kinds of people who made truly avant-garde films while their main function was pornography. Then, of course, other avant-garde films pushed me to do pornographic work; Jack Smith, Kurt McDowell, Warhol and Morrissey, John Waters. That was the underground, which doesn’t exist in any kind of way today, att least in Western countries, and with the internet, which has kind of rendered the underground superfluous. It’s very difficult to talk about the difference between when we started Queercore, orJ.D.s, and today’s context because it’s a different world, really. For us it was also about found porn, and the way we consumed porn was dramatically different. It was more of a communal experience; going to movie theaters and watching porn collectively. It was about having sex in public while watching porn on the screen. Then you would also find porn in alternative bookstores, in basements, where you could find bins with old super 8 porn films that were really cheap, and I would splice them into my experimental movies. Certain people knew about these underground films and would pass copies of them to each other. It was much more exciting. Sex was more exciting, more about cruising in public parks and toilets. So when I made my first experimental feature film, in the early 1990s, I put myself in it, performing sex, It was called No Skin Of My Ass, with my boyfriend at the time playing the skinhead. This was not found pornography anymore but, you know, making my own pornography for the first time, putting myself in that position, in a very dramatic way. It was very taboo and more shocking than it would be today, I think. I felt like I was using porn for political purposes as well as for pleasure, being naughty and sexy. It was also traumatic; suddenly people would look down on you for being a pornographer. I mean, that’s also something we embraced, somehow. That’s one of the ways we used porn in a political context: we would project queer porn in straight punk clubs or venues in order to shock them. I mean, they were really pretty sexually conventional. 

H.B.B: I also want to talk about cinema. It took me a while to understand why I was so fascinated with 1940’s-1950’s Hollywood cinema, or to understand that directors were mainly closeted fags portraying queer narratives through heterosexual scripts. Which is why, I guess, queers often identify with figures such as Marilyn Monroe, Lauren Bacall, or Rita Hayworth, right? 

B.L – laugh: I mean, obviously.


H.B.B: J.D.s is also about that, I mean, the figure of James Dean or J.D Salinger; dramatically perverted cinematographic symbols. 

B.L: I was in film school at York University while working on J.D.s, and my main teacher, or mentor was Robin Wood. He was already quite famous, being the favorite film critic of Godard, Truffaut, and Chabrol. He was a Marxist feminist leftist that had written books on Hitchcock and Hawks. When I met him he had just come out of the closet, within the last five or seven years, aftar having been married to a woman and had kids. He came out after writing Responsibilities of the Gay Film Critic, which was an important article that made him quite radical. So his colleagues and students, like me, were then obsessed with classical Hollywood cinema for that particular reason. Today is Howard Hawks’ birthday by the way, and Wood dedicated an entire book to Hawks and his “homosexual subtext.” I combined this idea of queer Hollywood with J.D.s, a kind of collage of hardcore punk and classical or romantic Hollywood cinema and gay porn, all in a very dialectical way. I mean, mashing things togehter that aren’t supposed to go together. I made a film called Slam, which is an underground super8 film where I went to a hardcore show and shot all these sweaty shirtless punks being very homoerotic with each other. Then I spliced that together with found gay porn, like mainstream gay porn, and then put a Carpenters’ soundtrack to it. And so it was like the combination of those three things, intuitively forming a weird dialectical way of presenting our own cosmology. 

H.B.B: It’s funny that you mention that it’s Hawks’ birthday today. You also have this frenetic habit of posting about birthdays, on your Instagram. When I was speaking about perverted figures it was also in that way of referring to others as a way of discovering, or referring to yourself, if that makes sense. There’s this thing throughout J.D.s of honoring figures, like Peter Berlin or The Prince of Homosexuals, conceived as ceremonies. 

B.L : I mean, he was the first person we declared as Prince of The Homosexuals. We were ironically referencing how the gays love pageants and beauty contests. Regarding the birthdays I sort of do it in a Kenneth Anger’s “Hollywood Babylon” kind of way, which has to do with sexploitation, being irreverent or blasphemous. For example on Twitter, on someone’s birthday, I’ll often post a nude picture of them. It’s a bit different from Anger because I uses it more as a visual kind of strategy of queering and outing. 

H.B.B: Isn’t it harder to post pornographic content now on Twitter? 

B.L: No, not yet. No. They keep talking about it but I haven’t seen it happen. The only thing that happened to me recently was after I posted a picture of that black actor that went nude in a  Broadway play. Somebody in the audience took a video of him with their phone and posted it, and it went viral. Anyways, it was immediately taken down after I posted it, as he’s trying to suppress it, because it was taken without is permission or something. To me it is frightening that they have the technology to do that, but besides this I haven’t had any trouble posting extremely pornographic references on Twitter. But I think it’s probably coming. I mean, even my most recent film, Saint-Narcisse, which isn’t sexually explicit, was taken off and removed from Amazon Prime for “offensive” content after being available on the platform for six months. 

H.B.B: I’ve discovered explicit gay content on Twitter only recently. I was more into Tumblr at some point when I was younger. 

B.L: Tumblr was super hardcore because that’s where you’d find the slammers who would all be slamming meth together on multiple video screens, and all sorts of other extreme kinky stuff. Twitter is almost mainstream porn industry by comparison. 

H.B.B: I loved Tumblr so much as it was mainly stolen images that were reinterpreting this idea that somehow was highly expressed within J.D.s, of perverted contents. I remember blogs chronologically posting images of Chavs, middle-class white teenagers, straight guys, or any other source of content with a sense of hacking and revenge. 

B.L: It was almost like the last gasp of the underground, in a way, because you really had to dig for what you were looking for. It wasn’t a message board, so it wasn’t as public as Twitter. What makes the porn aspect of Twitter interesting is that it’s a public forum. So I can publish extremely pornographic posts and everyone sees that. All my followers see it and anyone can see it. It’s the most kind of accessible and public porn forum. 

H.B.B: Yes, you really had to spend hours digging into reposts and finding specific accounts, and meta- contents. There’s still explicit content on it now but it’s definitely different than what it used to be in, like, 2014. 

B.L : Oh, Tumblr is over. It’s a dead space. 

H.B.B: OnlyFans really took the monopoly of these practices, while globalizing them. 

B.L: It’s a different world from the one I knew in the 1980s. When I was appearing sexually in my movies, I never thought about it as a way of putting myself in front of a globalized audience. It was for small cinemas, punk bars, and so for limited audiences. You know, me being kind of picked up by the film festival circuit and starting to be screened internationally was an upheaval in my life that caused havoc amongst all my friends and kind of divided the people around me. Now, with OnlyFans, now, it’s about the democratization of porn, where it’s not such a taboo anymore and everyone is willing to do it. I mean, it’s a schizophrenic time where you have moral forces that are trying to squelch, censure, and eliminate certain kinds of sexual representations while at the same time you have really free and extreme avenues of sexual expression. So it’s like a big schizophrenic divide. 

H.B.B: Going back to J.D.s, how were the parties? 

B.L: We used to have crazy parties. That was part of the fun. We would get people drunk and take pictures of them. There was kind of a wild aspect to what we did. It was also about juvenile delinquents and so hard-partying, and hard fucking. I would have parties where people would end up having public sex. There was this party I organized for one of my films that was part of the Toronto Film Festival, in a gallery, where people were having sex in public. That was J.D.s trademark. 

H.B.B: Can you tell me about the context of these gatherings, you navigating these decades? 

B.L: I have lived my gay life pre-liberation, liberation, and post-liberation, so it was about going through phases. At the same time, I lived my life pre-internet and pre-social media and pre-digital and then transitioned. It’s been a wild ride going through those transformations. The gay movements, or any kind of liberation movements, were more underground and interconnected, I would say. In the 1990s, in the East Village, every bar could have a dark room. It was really part of the culture. I would hang out with Terry Richardson and other people who became notorious for pushing the limits of sexual representation, or the line between orthodox art and porn. My work has always been about that: something that is too pornographic for the mainstream art world, and too arty for the mainstream porn world. It has always been about being in the middle, a twilight area. 

H.B.B: What about the end of J.D.s, in 1991? In our first emails you told me about this ‘zine war’, and today’s mystified conceptions around collectives. 

B.L: I think queercore had become incredibly idealized, or romanticized on a certain level. Today there’s a lot of nostalgia for it, which is really unfortunate. I mean, for one thing fanzines were meant to be disposable, and that was the point of making these cheap publications. They weren’t really meant to be archived. The current academic interest in elaborating theses and dissertations around it is pretty much what we stood against, in a sense of not being coopted by institutions or institutional figures. Anyways. I stopped because of that, in some ways, but not mainly. The movement became fractured and factionalized and there were more exciting things happening. I think it also fits with my personal idea of revolution, something that is doomed to failure that remains important not in what it ultimately achieved, but for the revolutionary moment itself. I felt very ambivalent about its cooptation and I started feeling that it was taking the wrong turn. 

H.B.B: Are you nostalgic yourself? 

B.L: I don’t have a lot of nostalgia for it, no. I’m fond of what I did at that time, at that moment, but I don’t feel so into the institutional interest it’s getting. Although I do appreciate archives and I do appreciate Queer archives, I understand the importance of that, it’s still funny because fanzines weren’t really meant to last forever. But to relegate it to nostalgia is a kind of trivializing of it, or a diminishing of it, because I still feel like I try to continue the spirit of it, when I was working on J.D.s, in my work today, in my films and photographs and writings. My work has the same punk, homocore ethos that we developed during those years. 

H.B.B: As a way of keeping it alive? 

B.L: Keeping it alive in that way, absolutely.

 

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Giselle Salon 2, 18.02 – 19.02.2022, Giselle’s Books · Marseille

Giselle Salon 2

18.02 – 19.02.2022
Giselle’s Books · Marseille


Giselle Salon returns this year with the intent of focusing on international publishing initiatives that cultivate community energies among their readerships.

This year guests have been selected for their ability to dialogue with specific audiences fostering long lasting relationships and interests within their respective scenes. The participants of this edition not only devote their titles to cultural or artistic dimensions but also strive their initiative around specific themes and subjects that embodies their very own paths of publishing practice.

Giselle Salon 2 is decidedly concerned with reflecting on the scale of larger commercial book fairs by committing to a small amount of projects and providing a meeting to Giselle’s Books library members and interested persons. The event seeks to go beyond the mere transactional aspect of book buying and selling, by providing a convivial and sympathetic space for meaningful discussions and engagement. Attendees will have the opportunity to browse and purchase a specially curated selection of titles from the variety of publishers presented below.

Cassandra Press
Founded in 2016 as an extension of the multidisciplinary practice of Kandis Williams, Cassandra Press is a collaborative publishing platform that highlights and disseminates texts on issues of race, feminism, power, and aesthetics. Cassandra Press has since grown to become a multifaceted educational resource, hosting virtual workshops, organizing artist residencies, commissioning texts, and building public exhibitions alongside its publishing program.
Williams began Cassandra Press after being alarmed by the rise of right-wing authoritarianism while deeply inspired by a new audience coalescing around the Black Lives Matter movement. During the past five years, Cassandra Press has published thirty-one Readers. Organized around a central impulse, they are photocopied, roughly bound anthologies that present theory, history, sociology, and criticism by a panoply of intellectuals, activists, and editorial sources. Williams makes these resources available for free to Black students and instructors through online programming and local engagements. In 2020, Cassandra Press expanded collaborative aspects of its work into the Cassandra Classrooms project, a series of immersive courses led by artists, intellectuals, and educators who share their vital knowledge and invite participants into generative investigations.

Esmat–publishing
Esmat—Publishing List is a specialised publisher who works alongside cultural workers (artists, designers, writers, theater makers, art educators, and cultural managers among others) to harvest and share the unique knowledge and social imaginaries their work generates. Esmat—Publishing List is an homage to the phantoms of our fantasies and to characters past and present who haunt our imagination. We develop, produce, print and circulate intimate and reflective writing that may include fiction, non-fiction, and criticism. We have published artist books, critical anthologies and zines. Through publishing, Esmat is committed to exploring the contours of our collective fantasies and the emotions that make us imagine ourselves in the world the way we do. Esmat is based in Cairo (Egypt).

Feminist Healthcare Research Group
Feminist Healthcare Research Group (FHRG: Julia Bonn/Inga Zimprich) has been developing empowering perspectives on healthcare in exhibitions, workshops and zines since 2015. It aims to create space in which we can share vulnerability with each other, center (access) needs and break through the competitive mode of working in the arts. In the project the New Health Movement FHRG together with Huong Nam Nguyen Thi, Kim Wichera, Alina Buchberger, Pasquale Virginie Rotter collects demands for changes in healthcare.

If I Can’t Dance, I Don’t Want To Be Part Of Your Revolution
Established in 2005, If I Can’t Dance, I Don’t Want To Be Part Of Your Revolution is an art organisation dedicated to exploring the evolution and typology of performance and performativity in contemporary art. We do this through the development, production, and presentation of commissioned projects with artists, curators, and researchers on the basis of long-term collaboration and support.
On a day-to-day basis we operate out of a production office in Amsterdam, using the flexibility it provides us to move and adapt, as each production requires. We present our projects through an ever-evolving network of partner institutions in the Netherlands and abroad, creating the conditions for each project to have a meaningful trajectory of presentations, and for diverse audiences to have access to these.
We aim to approach performance through an understanding of it as an inherently interdisciplinary form, and produce work that ranges from live performance to film to installations. Uniting our projects is a critical consideration of space, time, and the body (in all of its manifestations). Through our programme of commissions we aim to support practitioners at pivotal stages in their career, and to represent intergenerational, international, and intersectional positions.

Pilot Press
Pilot Press is the imprint of artist Richard Porter and is an attempt to recover a philosophy of publishing and a sensibility lost to AIDS and the rampant spread of free market capitalism since the 1980s.
Its titles are stocked worldwide and are held in various special collections for printed matter, including those at The British Library, Tate Britain, New York Public Library, The Whitney Museum of American Art and Wellcome Trust.
It's a difficult time to be a small independent publisher. 

Talker
TALKER is a self-published print project that presents conversations with performance-makers as a way to discuss their work and map the discipline of performance art. TALKER has featured interviews with the artists Ian White, Kate Valk, Richard Maxwell, Sue Tompkins, Dora García, Spalding Gray, Kathy Acker, Jo Fong, Paul Maheke, Clifford Owens, Gustav Metzger, Barby Asante and Miranda July.


Giselle Salon revient cette année avec le souhait de se concentrer sur les initiatives de publication internationales qui développent des énergies communautaires parmi leurs lectorats.

Cette année, les invités ont été sélectionnés pour leur capacité à dialoguer avec des publics spécifiques en favorisant des relations et des intérêts durables au sein de leurs milieux respectifs. Les participants de cette édition ne se contentent pas de consacrer leurs titres à des disciplines culturelles ou artistiques, mais concentrent également leurs activités sur des thèmes et des sujets spécifiques reflétant des approches et pratiques uniques de l'édition.

Giselle Salon 2 se propose de réfléchir à l'échelle des grandes foires commerciales du livre en s'engageant sur un petit nombre de projets et en offrant une rencontre aux membres de la bibliothèque de Giselle's Books et aux personnes intéressées. L'événement souhaite aller au-delà du simple aspect transactionnel de l'achat et de la vente de livres, en offrant un espace convivial et sympathique pour des discussions et dialogues significatifs.
Les participants auront l'occasion de parcourir et de se procurer une sélection de titres spécialement sélectionnés parmi les différents éditeurs présentés ci-dessous.

Cassandra Press
Fondée en 2016 comme une extension de la pratique multidisciplinaire de Kandis Williams, Cassandra Press est une plateforme d'édition collaborative qui met en lumière et diffuse des textes sur les questions de race, de féminisme, de pouvoir et d'esthétique. Cassandra Press s'est depuis développée pour devenir une ressource éducative aux nombreuses facettes, accueillant des ateliers virtuels, organisant des résidences d'artistes, commissionnant des textes et construisant des expositions publiques parallèlement à son programme d'édition. Williams a créé Cassandra Press après avoir été alarmé par la montée de l'autoritarisme de droite, tout en étant profondément inspiré par le nouveau public qui s'est rassemblé autour du mouvement Black Lives Matter. Au cours des cinq dernières années, Cassandra Press a publié trente et un Readers. Organisés autour d'une impulsion centrale, ce sont des anthologies photocopiées, grossièrement reliées, qui présentent la théorie, l'histoire, la sociologie et la critique d'une panoplie d'intellectuels, de militants et de sources éditoriales. Williams met ces ressources gratuitement à la disposition des étudiants et des instructeurs noirs par le biais de programmes en ligne et d'engagements locaux. En 2020, Cassandra Press a étendu les aspects collaboratifs de son travail au projet Cassandra Classrooms, une série de cours immersifs dirigés par des artistes, des intellectuels et des éducateurs qui partagent leurs connaissances essentielles et invitent les participants à des investigations génératives.

Esmat—publishing
Esmat-Publishing List est un éditeur spécialisé qui travaille aux côtés des travailleurs culturels (artistes, designers, écrivains, créateurs de théâtre, éducateurs artistiques et gestionnaires culturels, entre autres) pour rassembler et partager les connaissances et les imaginaires sociaux uniques que leur travail génère. Esmat-Publishing List est un hommage aux fantômes de nos fantasmes et aux personnages passés et présents qui hantent l'imagination. Cet organisme développe, produit, imprime et fait circuler des écrits intimes et réflexifs qui peuvent inclure la fiction, la non-fiction et la critique. Ils ont publié des livres d'artistes, des anthologies critiques et des zines. À travers l'édition, Esmat s'engage à explorer les contours de nos fantasmes collectifs et les émotions qui nous poussent à nous imaginer le monde de la manière dont nous le vivons. Esmat est basé au Caire (Égypte).

Feminist Healthcare Research Group
Feminist Healthcare Research Group (FHRG : Julia Bonn/Inga Zimprich) développe depuis 2015 des perspectives autonomisantes sur les soins de santé dans des expositions, des ateliers et des zines. Il vise à créer un espace dans lequel nous pouvons partager la vulnérabilité les uns avec les autres, centrer les besoins (d'accès) et rompre avec le mode compétitif du travail dans les arts. Dans le projet le Nouveau Mouvement de la Santé FHRG avec Huong Nam Nguyen Thi, Kim Wichera, Alina Buchberger, Pasquale Virginie Rotter collecte des revendications pour des changements dans les soins de santé.

If I Can't Dance, I Don't Want To Be Part Of Your Revolution
Fondée en 2005, If I Can't Dance, I Don't Want To Be Part Of Your Revolution est une organisation artistique qui se consacre à l'exploration de l'évolution et de la typologie de la performance et de la performativité dans l'art contemporain. Pour ce faire, If I Can't Dance, I Don't Want To Be Part Of Your Revolution développe, produit et présente des projets commandés à des artistes, des conservateurs et des chercheurs sur la base d'une collaboration et d'un soutien à long terme.
Au quotidien, ils opèrent à partir d'un bureau de production à Amsterdam, utilisant la flexibilité qu'il offre pour se déplacer et s'adapter, selon les besoins de chaque production. Ils présentent leurs projets par le biais d'un réseau en constante évolution d'institutions partenaires aux Pays-Bas et à l'étranger, créant ainsi les conditions pour que chaque projet ait une trajectoire significative de présentations, et pour que divers publics y aient accès.
L'objectif est d'aborder la performance en la considérant comme une forme intrinsèquement interdisciplinaire, et de produire des œuvres allant de la performance en direct au film en passant par les installations. Leurs projets sont unis par une considération critique de l'espace, du temps et du corps (dans toutes ses manifestations). Par le biais de leur programme de commandes, ils visent à soutenir les praticiens à des étapes cruciales de leur carrière et à représenter des positions intergénérationnelles, internationales et intersectionnelles.

Pilot Press
Pilot Press est la marque de l'artiste Richard Porter et tente de retrouver une philosophie de l'édition et une sensibilité perdues à cause du SIDA et de la propagation effrénée du capitalisme de marché libre depuis les années 1980.
Ses titres sont vendus dans le monde entier et font partie de diverses collections spéciales d'imprimés, notamment celles de la British Library, de la Tate Britain, de la New York Public Library, du Whitney Museum of American Art et du Wellcome Trust.
C'est une période difficile pour les petits éditeurs indépendants. 

Talker
TALKER est un projet d'impression auto-publié qui présente des conversations avec des créateurs de performances comme un moyen de discuter de leur travail et de définir la discipline de l'art de la performance. TALKER a présenté des entretiens avec les artistes Ian White, Kate Valk, Richard Maxwell, Sue Tompkins, Dora García, Spalding Gray, Kathy Acker, Jo Fong, Paul Maheke, Clifford Owens, Gustav Metzger, Barby Asante et Miranda July.

Giselle Salon 2, Giselle's Books, Marseille, 2022.

Don’t be gay : J.D.’s (1985-1991), exhibition curated by Hugo Bausch Belbachir, 16.12.2022 – 14.02.2022, Giselle’s Books · Marseille

Don’t be gay : J.D.s (1985-1991)

Curated by Hugo Bausch Belbachir

16.12.2022 – 14.02.2022
Giselle’s Books · Marseille


In a text Bruce LaBruce sent to me, he recounts how he was hit in the face by an English man with a mohawk in the beginning of the 1980s, whilst he was out with a group of sissycore friends. Five years later, J.D.’s (for Juvenile Delinquents) was co-founded in Toronto by Bruce LaBruce and G.B. Jones.
Independently initiated by artists, sex workers, authors, and anonymous individuals close to the local punk movements, J.D.’s intervened as the first printed matter that belonged to a persistent movement; Homocore. Promptly rethought as Queercore, the zine provided a space for radical, pornographic queer literature and iconography to operate and allowed a forgotten generation - decimated by the AIDS epidemic - to develop a politico-structural criticism towards its own limits.
J.D.’s was a revenge.

— Hugo Bausch Belbachir


Don’t be gay : J.D.s (1985-1991)
is the first retrospective exhibition on J.D.s in France. Formulated as an anthology, the project is curated by Hugo Bausch Belbachir.


Dans un texte que Bruce LaBruce m’a envoyé, il raconte s’être fait frapper au visage par un Anglais portant un Mohawk au début de l’année 1980, alors qu’il était accompagné par un groupe d’amixs sissycore. Cinq ans plus tard, J.D.s (pour Juvenile Delinquents) est co-fondé à Toronto par Bruce LaBruce et G.B. Jones.
Constitué en autonomie par des artistes, des travailleurxs du sexe, des auteurxs et des anonymes proches des mouvements punks locaux, J.D.’s intervient alors comme la première production imprimée d’un mouvement persistant; l’Homocore. S’il est rapidement repensé pour le terme Queercore et s’initie comme un espace d’exploitation radicale d’iconographie et de littérature pornographique queer, il permet à une génération oubliée -décimée par l’épidémie du Sida - de constituer une critique politico-structurelle sur ses propres limites. J.D.s était une revanche.
 
— Hugo Bausch Belbachir

 
Don’t be gay : J.D.s (1985-1991) est la première exposition de retrospective autour de J.D.s en France. Pensée comme un projet d’anthologie, elle est organisée par Hugo Bausch Belbachir.
Exhibition View: Don’t be gay : J.D.s (1985-1991) curated by Hugo Bausch Belbachir, Giselle's Books, Marseille
Exhibition View: Don’t be gay : J.D.s (1985-1991) curated by Hugo Bausch Belbachir, Giselle's Books, Marseille
Exhibition View: Don’t be gay : J.D.s (1985-1991) curated by Hugo Bausch Belbachir, Giselle's Books, Marseille
Exhibition View: Don’t be gay : J.D.s (1985-1991) curated by Hugo Bausch Belbachir, Giselle's Books, Marseille
Exhibition View: Don’t be gay : J.D.s (1985-1991) curated by Hugo Bausch Belbachir, Giselle's Books, Marseille
Exhibition View: Don’t be gay : J.D.s (1985-1991) curated by Hugo Bausch Belbachir, Giselle's Books, Marseille
Exhibition View: Don’t be gay : J.D.s (1985-1991) curated by Hugo Bausch Belbachir, Giselle's Books, Marseille
Exhibition View: Don’t be gay : J.D.s (1985-1991) curated by Hugo Bausch Belbachir, Giselle's Books, Marseille. Excerpt from Bruce and Pepper Wayne Gacy's Home Movies by Bruce LaBruce and Candy Parker, 1988. Video courtesy of Bruce LaBruce.
Exhibition View: Don’t be gay : J.D.s (1985-1991) curated by Hugo Bausch Belbachir, Giselle's Books, Marseille
Selected excerpts from J.D.'s issues 1-8 (1985-1991)
Selected excerpts from J.D.'s issues 1-8 (1985-1991)
Selected excerpts from J.D.'s issues 1-8 (1985-1991)
Selected excerpts from J.D.'s issues 1-8 (1985-1991)

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Evening reading, with Hannah Black and Mayra Rodríguez-Castro, 28.08.2022, Giselle’s Books · Marseille

Evening reading with Hannah Black and Mayra Rodríguez-Castro

Organized on the occasion of PENUMBRA, by Hannah Black, Juliana Huxtable & And Or Forever at OCTO Productions, Marseille.

28.08.2022
Giselle’s Books · Marseille


On the occasion of PENUMBRA, by Hannah Black, Juliana Huxtable & And Or Forever, which opens on Saturday the 27th of August at OCT0 Productions, Giselle's Books will host an evening reading by Hannah Black and Mayra Rodríguez Castro on Sunday the 28th at 8pm.

HANNAH BLACK works across mediums from video to performance and writing, most recently exhibiting The Meaning of Life, Art Gallery of York University, Toronto, Canada (2022); Wheel of Fortune at gtaExhibitions, Zurich, Switzerland (2021);  Beginning, End, None at ORG Project (2020); and Dede, Eberhard, Phantom at Kunstverein Braunschweig Germany (2019). She has published widely, including in ArtforumTexte zur KunstTankHarpers4 Columns and The New Inquiry. She is the author of Life (2017), which she co-wrote with performance artist Juliana Huxtable, and Dark Pool Party (2015), an auto-fictional collection of poems and texts. In 2022, Capricious Publishing released her novella, Tuesday or September or the End.

MAYRA A. RODRÍGUEZ CASTRO is a writer and translator. She is the editor of Dream of Europe: selected seminars and interviews: 1984-1992 (Kenning Editions, 2020). Her writing and contributions appear in Social Text Journal, The Poetry Project, South As a State of Mind among others. Rodríguez lives across cities.


À l'occasion de PENUMBRA, par Hannah Black, Juliana Huxtable et And Or Forever, qui ouvre ce Samedi 27 Août à OCT0 Productions, Giselle's Books sont heureux de vous inviter  à une lecture par Hannah Black et Mayra Rodríguez Castro le dimanche 28 Août à 20 heures.

HANNAH BLACK works across mediums from video to performance and writing, most recently exhibiting The Meaning of Life, Art Gallery of York University, Toronto, Canada (2022); Wheel of Fortune at gtaExhibitions, Zurich, Switzerland (2021);  Beginning, End, None at ORG Project (2020); and Dede, Eberhard, Phantom at Kunstverein Braunschweig Germany (2019). She has published widely, including in ArtforumTexte zur KunstTankHarpers4 Columns and The New Inquiry. She is the author of Life (2017), which she co-wrote with performance artist Juliana Huxtable, and Dark Pool Party (2015), an auto-fictional collection of poems and texts. In 2022, Capricious Publishing released her novella, Tuesday or September or the End.

MAYRA A. RODRÍGUEZ CASTRO is a writer and translator. She is the editor of Dream of Europe: selected seminars and interviews: 1984-1992 (Kenning Editions, 2020). Her writing and contributions appear in Social Text Journal, The Poetry Project, South As a State of Mind among others. Rodríguez lives across cities.

evening reading with Hannah Black and Mayra Rodríguez-Castro at Giselle's Books
Hannah Black, Juliana Huxtable, And Or Forever, Penumbra, 2021. Courtesy of the artists, Arcadia Missa, London and Project Native Informant, London.

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SYSTEMA – Hervé Georges Hic & Loré Lixemberg, 26.08 – 28.08.2022, Palais Carli · Marseille

SYSTEMA 2022

Hervé Georges Ic, Loré Lixemberg

26.08 – 28.08.2022
Palais Carli · Marseille


Giselle’s Books is pleased to invite you to the first edition of SYSTEMA, from Friday the 26th to Sunday the 28th of August at Palais Carli, Marseille.

Giselle’s Books will showcase a duo presentation of Hervé Ic and Loré Lixenberg for the occasion.

www.systema.plus


Giselle’s Books vous invite à la première édition de SYSTEMA, du Vendredi 26 au Dimanche 28 Août 2022 au Palais Carli, Marseille.

Pour l'occasion, Giselle’s Books exposera le travail d'Hervé Ic et de Loré Lixenberg.

www.systema.plus

Hervé Georges Hic, Four Horns, 2007, Huile sur toile, 200 x 240 cm each Installation view, Systema, Palais Carli, Marseille
Hervé Georges Hic, Four Horns, 2007, Huile sur toile, 200 x 240 cm each Installation view, Systema, Palais Carli, Marseille
Hervé Georges Hic, Four Horns, 2007, Huile sur toile, 200 x 240 cm each Installation view, Systema, Palais Carli, Marseille

ARCHIVE

Murmurations – Carte blanche to the project spaces of Marseille, 24.06 – 14.08.2022, Friche Belle de Mai · Marseille

Murmurations

Organized by Fræme
with : Agent Troublant, Belsunce Projects, Cabane Georgina, Giselle’s Books, Gufo, Loë Gang, MUFF – Marseille Underground Film Festival, SISSI Club, SOMA, Southway Studio, TANK Art Space, Thomas Mailander x Tuba Club, Voiture 14

24.06 – 14.08.2022
Friche Belle de Mai · Marseille


Giselle’s Books presents the second volume of All the books, a series of printed publications destined to classify the Giselle's Books's library collection in an evolutionary manner. Each new publication focuses on a particular indexing method, this second volume is based on chance.


All the books V.II, Giselle’s Books, 2022 
Double-sided prints


Drawings by Olga Chert Zavialoff 


Giselle’s Books présente le deuxième volume de All the books, une série de publications imprimées destinées à classifier le fond de la bibliothèque Giselle’s Books de façon évolutive. Chaque nouvelle parution s’intéresse à une méthode de recollement particulière, ce deuxième volume, au hasard. 


All the books V.II, Giselle’s Books, 2022 
Impression Recto-Verso


Dessins par Olga Chert Zavialoff 

All the Books vol II, Giselle’s Books Murmurations volet I, 2022, à la Friche la Belle de Mai Exposition produite par Fræme
All the Books vol II, Giselle’s Books Murmurations volet I, 2022, à la Friche la Belle de Mai Exposition produite par Fræme
All the Books vol II, Giselle’s Books Murmurations volet I, 2022, à la Friche la Belle de Mai Exposition produite par Fræme
All the Books vol II, Giselle’s Books Murmurations volet I, 2022, à la Friche la Belle de Mai Exposition produite par Fræme

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Hoot 7 – Book Launch, 20.05.2022, Ola Radio · Marseille

HOOT #7 – Book Launch

With performances by INVENTORY

20.05.2022
Ola Radio · Marseille


Gufo, Giselle’s Books and Ola Radio invite you to the launch of HOOT #7.

Following Hoot's invitation, Inventory and Giselle’s Books had two long conversations about their publishing projects, travels, their past, and future, but more significantly: their present. If these interviews help us get closer to their enterprise as an art collective, they also definitely uncover their ability to move through time with an uncanny vision.
From Inventory’s eponymous journal to their interventions, video works, and their exhibitions, among which A doctrine of scattered occasions at Giselle’s Books in 2021, this issue of Hoot helps connect the dots in Inventory's confidential but dissident and subversive practice.
For the occasion, Inventory proposes a reading as well as looped projections of their films. 
 
HOOT #7
co-published by Giselle’s Books & Hoot.
Graphic design by Traduttore traditore.
 

Gufo, Giselle’s Books et Ola Radio vous invitent au lancement de HOOT #7.
 
Invités par Hoot, Inventory et Giselle’s Books se sont entretenus autour de leurs projets de publications, voyages, passés et à venir, mais aussi de manière plus significative de leur présent.
Si ces conversations aident à nous renseigner sur leurs activités en tant que collectif, elles dévoilent surtout leur capacité à naviguer le temps avec un regard particulier.
 
À partir de leur journal éponyme, au travers leurs interventions, leurs vidéos et leurs expositions, dont A doctrine of scattered occasions à Giselle’s Books en 2021, ce numéro de HOOT nous aide à lever les zones d’ombre dans la pratique confidentielle mais subversive de Inventory.
 
Pour l’occasion, Inventory propose une lecture ainsi qu’une vidéo projection en boucle de leurs films.
 
HOOT #7
Co-publié par Giselle’s Books & Hoot.
Design par Traduttore traditore.
 
Book launch of HOOT #7 at Ola Radio, Marseille.
Performance by Inventory, during the Book launch of HOOT #7 at Ola Radio, Marseille.
Book launch of HOOT #7 at Ola Radio, Marseille.

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Success in Failure, Wolfgang Stoerchle, Exhibition curated by Alice Dusapin, 13.05 – 12.06.2022, Giselle’s Books · Marseille

Success in Failure, Wolfgang Stoerchle

Curated by Alice Dusapin

13.05 – 12.06.2022
Giselle’s Books · Marseille


On the occasion of the publication of the first monograph on Wolfgang Stoerchle's work written by Alice Dusapin, Giselle's Books presents a selection of his videos accompanied by previously unpublished documents.

Wolfgang Stoerchle (1944-1976) is a particularly influential artistic figure of the early 1970s who left a definite but discreet mark on a generation of Californian artists, notably through the production of videos and performances involving his body as raw material. His life story, as brief as it was eventful, is full of rumors, and his sudden death in 1976 probably further accentuated the myth surrounding him. His entire body of work was completed in eleven years, between 1965 and 1976. Forty-five years after his death, his name is still whispered in the West Coast art world, awaiting wider recognition.

Alice Dusapin has devoted extensive research on his life and work since 2017 and has organized several exhibitions on his work since then: Ampersand (Lisbon) Galerie overduin & co (Los Angeles), Galerie Air de Paris (Paris), Macro (Rome) and Le Crédac (Ivry sur Seine).

The monograph includes interviews with Daniel Lentz, Paul McCarthy, Matt Mullican, David Salle, and Helene Winer, as well as extensive documentation of his videos and performances, rare sculptures and paintings, and installations.

"He stood naked in front of us with eyes closed and tried and failed to get an erection. Such a bad idea and so good." William Wegman

The publication Wolfgang Stoerchle, "Success in Failure" (Daisy Editions, Christophe Daviet-Thery, 2022) was made possible thanks to the support of the CNAP, Terra Foundation for American Art, and Antoine de Galbert.

Giselle’s Books would like to thank Fraeme and Atelier Villeneuve for their technical support.


Conjointement à la sortie de la première monographie consacré au travail de Wolfgang Stoerchle écrite par Alice Dusapin, Giselle’s Books présente une sélection de ses vidéos accompagnés de documents inédits.

Wolfgang Stoerchle (1944-1976) est une figure artistique particulièrement marquante du début des années 70 qui a laissé une empreinte certaine mais discrète sur une génération d’artistes californiens, notamment grâce à la production de vidéos et de performances impliquant son corps comme matière première. L’histoire de sa vie, aussi brève que mouvementée, est chargée de rumeurs, et sa mort brutale en 1976 a probablement accentué davantage le mythe qui l’entoure. L’ensemble de son œuvre a été réalisé en onze ans, entre 1965 et 1976. Quarante-cinq ans après sa mort, son nom est toujours murmuré dans le monde de l’art de la côte ouest américain, dans l’attente d’une plus large reconnaissance.

Alice Dusapin a consacré des recherches approfondies sur sa vie et son oeuvre depuis 2017 et a organisé plusieurs expositions sur son travail depuis: Ampersand (Lisbonne) Galerie overduin & co (Los Angeles), Galerie Air de Paris (Paris), Macro (Rome) et Le Crédac (Ivry sur Seine).

La monographie rassemble des entretiens avec Daniel Lentz, Paul McCarthy, Matt Mullican, David Salle Helene Winer, accompagnés d’une large documentations sur ses vidéos et performances, ainsi que de rares sculptures, peintures et installations.

He stood naked in front of us with eyes closed and tried and failed to get an erection. Such a bad idea and so good.” William Wegman

La réalisation de la publication Wolfgang Stoerchle, "Success in Failure" (Daisy Editions, Christophe Daviet-Thery, 2022) a été rendue possible grâce au soutien du CNAP, Terra Foundation for American Art, et Antoine de Galbert.

Giselle’s Books would like to thank Fraeme and Atelier Villeneuve for their technical support.

Success in Failure, Wolfgang Stoerchle. Curated by Alice Dusapin. Exhibition View, Giselle’s Books, Marseille
Wolfgang Stoerchle, Success in Failure, edited by Alice Dusapin (Daisy, Christophe Daviet-Thery, 2022) Interviews with David Salle, Helene Winer, Matt Mullican, Paul McCarthy and Daniel Lentz. Designed by Coline Sunier and Charles Mazé.
Success in Failure, Wolfgang Stoerchle. Curated by Alice Dusapin. Exhibition View, Giselle’s Books, Marseille
Success in Failure, Wolfgang Stoerchle. Curated by Alice Dusapin. Exhibition View, Giselle’s Books, Marseille
Success in Failure, Wolfgang Stoerchle. Curated by Alice Dusapin. Exhibition View, Giselle’s Books, Marseille
Crawling out of cloth, Wolfgang Stoerchle, Video, black and white, sound, 2:09 min., c. 1970-72. Courtesy Karen Couch Wieder.
Dodging, Wolfgang Stoerchle, Video, black and white, sound, 3:24 min., c. 1971. Courtesy Karen Couch Wieder.
Success in Failure, Wolfgang Stoerchle. Curated by Alice Dusapin. Exhibition View, Giselle’s Books, Marseille
Untitled (Fictional News), Wolfgang Stoerchle, Newspaper print, 43.5 x 56.5 cm, 1970. Courtesy Karen Couch Wieder.
Shoe Piece, Wolfgang Stoerchle Video, black and white, sound, 4:32 min., c. 1971. Courtesy Karen Couch Wieder.
Shoe Piece, Wolfgang Stoerchle Video, black and white, sound, 4:32 min., c. 1971. Courtesy Karen Couch Wieder.
Poster, 43 x 28 cm, for Artists’s Performances, Pomona College Art Gallery, March, 2, 6, 13, 20, 1972. Courtesy Karen Couch Wieder.
Untitled (Mexico drawing), Wolfgang Stoerchle, pen on paper, 28 x 21.5 cm, 1975, Courtesy Karen Couch Wieder.
Untitled (Mexico drawing), Wolfgang Stoerchle, pen on paper, 28 x 21.5 cm, 1975, Courtesy Karen Couch Wieder.

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