Giselle's Books

TOP STORIES: New York City in 1979/1981, photographs by Anne Turyn and ephemera of the TOP STORIES era. Organized by Sophie T. Lvoff, 17.04 – 08.05.2022, Giselle’s Books · Marseille

TOP STORIES: New York City in 1979/1981, photographs by Anne Turyn and ephemera of the TOP STORIES era.

Organized by Sophie T. Lvoff

17.04 – 08.05.2022
Giselle’s Books · Marseille


TOP STORIES was a prose periodical published from 1978 to 1991 by the artist Anne Turyn in Buffalo, New York, and New York City. Over the course of twenty-nine issues, it served as a pivotal platform for experimental fiction and art through single-artist issues and two anthologies.

Top Stories primarily featured female artists, though in Turyn’s words a few men “crept in as collaborators”.
Although primarily “a prose periodical” (as its byline often stated), the issues varied in form and aesthetics, pushing the boundaries of what prose could be and, from time to time, escaping the genre altogether. In fact, the only parameters required for participants were that the periodical’s logo and issue list be included on the front and back covers, respectively.

New York City in 1979/1981 is an presentation of Anne Turyn’s black & white photographs, made on the occasion of Kathy Acker’s TOP STORIES issue. Acker wrote to Turyn regarding the edition, “Why not making it AMAZING as long as we’re making it?” The photographs depict the street scenes of a New York slightly forgotten, but undeniably recognizable, like the gleaming of the Statue of Liberty.

The 29-issues reprint of TOP STORIES magazine includes contributions by Kathy Acker, Laurie Anderson, Sheila Ascher, Douglas Blau, Lisa Bloomfield, Linda L. Cathcart, Cheryl Clarke, Susan Daitch, Constance DeJong, Jane Dickson, Judith Doyle, Lee Eiferman, Robert Fiengo, Joe Gibbons, Pati Hill, Jenny Holzer, Gary Indiana, Tama Janowitz, Suzanne Jackson, Suzanne Johnson, Caryl Jones-Sylvester, Mary Kelly, Judy Linn, Micki McGee, Ursule Molinaro, Cookie Mueller, Peter Nadin, Linda Neaman, Glenn O’Brien, Romaine Perin, Richard Prince, Lou Robinson, Janet Stein, Dennis Straus, Sekou Sundiata, Leslie Thornton, Kirsten Thorup, Lynne Tillman, Anne Turyn, Gail Vachon, Brian Wallis, Jane Warrick, Jenny Holzer with Peter Nadin, and Donna Wyszomierski.

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On the occasion of the opening,  voices of the art and writing scene of Marseille will read a selection of TOP STORIES with a sonic presence by Elia David, that will also be broadcast live on Duuu Radio.

Readers: Carisa Bledsoe, Bea Bottomley, Madison Bycroft, Fëlix Pap, Brontë Scott, Aki Yamouridis.

Anne Turyn is a photographer based in New York as well as the former editor of TOP STORIES magazine. Turyn’s work has been exhibited at the Museum of Modern Art, the Metropolitan Museum of Art, Kunsthalle Bern, Denver Art Museum, Walker Art Center, and Los Angeles County Museum of Art.

Sophie T. Lvoff is an artist based in Marseille. She has organized exhibitions in New York, New Orleans, and Grenoble. She is currently in residence at the Ateliers de la Ville de Marseille.

The re-edition of TOP STORIES is published by Primary Information.


TOP STORIES était un périodique de prose publié de 1978 à 1991 par l'artiste Anne Turyn à Buffalo, New York, et à New York City. Au cours de ses vingt-neuf numéros, il a servi de plateforme à la fiction et à l'art expérimental, par le biais de parutions Top Stories mettait principalement en vedette des artistes femmes, bien que, selon Turyn, quelques hommes "s'y soient glissés comme collaborateurs".
Bien qu'il s'agisse avant tout d'un "périodique en prose" (comme l'indique souvent sa signature), les numéros variaient en termes de forme et d'esthétique, repoussant les limites de ce que la prose pouvait être et, de temps à autre, échappant complètement au genre. En fait, les seuls paramètres exigés des participants étaient que le logo et la liste des numéros du périodique figurent respectivement sur les couvertures avant et arrière.

New York City in 1979/1981 est une présentation des photographies en noir et blanc d'Anne Turyn, réalisées à l'occasion du numéro TOP STORIES de Kathy Acker. Acker a écrit à Turyn à propos de cette édition : "Pourquoi ne pas la rendre AMAZING tant qu'on la fait ?". Les photographies représentent les scènes de rue d'un New York un peu oublié, mais indéniablement reconnaissable, comme le scintillement de la statue de la Liberté.

La réédition des 29 numéros du magazine TOP STORIES comprend des contributions de Kathy Acker, Laurie Anderson, Sheila Ascher, Douglas Blau, Lisa Bloomfield, Linda L. Cathcart, Cheryl Clarke, Susan Daitch, Constance DeJong, Jane Dickson, Judith Doyle, Lee Eiferman, Robert Fiengo, Joe Gibbons, Pati Hill, Jenny Holzer, Gary Indiana, Tama Janowitz, Suzanne Jackson, Suzanne Johnson, Caryl Jones-Sylvester, Mary Kelly, Judy Linn, Micki McGee, Ursule Molinaro, Cookie Mueller, Peter Nadin, Linda Neaman, Glenn O'Brien, Romaine Perin, Richard Prince, Lou Robinson, Janet Stein, Dennis Straus, Sekou Sundiata, Leslie Thornton, Kirsten Thorup, Lynne Tillman, Anne Turyn, Gail Vachon, Brian Wallis, Jane Warrick, Jenny Holzer avec Peter Nadin, et Donna Wyszomierski.
.............................................................................................................................................................................

À l'occasion du vernissage, des voix de la scène artistique et littéraire de Marseille liront une sélection de TOP
STORIES avec une présence sonore d'Elia David, qui sera également diffusée en direct sur Duuu Radio.
Lecteurs : Carisa Bledsoe, Bea Bottomley, Madison Bycroft, Fëlix Pap, Brontë Scott, Aki Yamouridis.

Anne Turyn est une photographe basée à New York ainsi que l'ancienne rédactrice en chef du magazine TOP STORIES. Les œuvres d'Anne Turyn ont été exposées au Museum of Modern Art, au Metropolitan Museum of Art, à la Kunsthalle de Berne, le Denver Art Museum, le Walker Art Center et le Los Angeles County Museum of Art.

Sophie T. Lvoff est une artiste basée à Marseille. Elle a organisé des expositions à New York, à la Nouvelle-Orléans et à Grenoble. Elle est actuellement en résidence aux Ateliers de la Ville de Marseille.

La réédition de TOP STORIES est publiée par Primary Information.

TOP STORIES: New York City in 1979/1981, photographs by Anne Turyn and ephemera of the TOP STORIES era. Organized by Sophie T. Lvoff. Exhibition View, Giselle's Books, Marseille, 2022.
New York City in 1979, shot in 1981 (Top Stories #9 by Kathy Acker), Anne Turyn 20 digital prints, 21,5 x 27,5cm Exhibition View, Giselle’s Books, Marseille, 2022.
TOP STORIES: New York City in 1979/1981, photographs by Anne Turyn and ephemera of the TOP STORIES era. Organized by Sophie T. Lvoff. Exhibition View, Giselle’s Books, Marseille, 2022.
New York City in 1979, shot in 1981 (Top Stories #9 by Kathy Acker), Anne Turyn 20 digital prints, 21,5 x 27,5cm Exhibition View, Giselle’s Books, Marseille, 2022.
TOP STORIES: New York City in 1979/1981, photographs by Anne Turyn and ephemera of the TOP STORIES era. Organized by Sophie T. Lvoff. Exhibition View, Giselle’s Books, Marseille, 2022.
New York City in 1979, shot in 1981 (Top Stories #9 by Kathy Acker), Anne Turyn 20 digital prints, 21,5 x 27,5cm Exhibition View, Giselle’s Books, Marseille, 2022.
TOP STORIES: New York City in 1979/1981, photographs by Anne Turyn and ephemera of the TOP STORIES era. Organized by Sophie T. Lvoff. Exhibition View, Giselle’s Books, Marseille, 2022.
TOP STORIES: New York City in 1979/1981, photographs by Anne Turyn and ephemera of the TOP STORIES era. Organized by Sophie T. Lvoff. Exhibition View, Giselle’s Books, Marseille, 2022.
New York City in 1979, shot in 1981 (Top Stories #9 by Kathy Acker), Anne Turyn 20 digital prints, 21,5 x 27,5cm Exhibition View, Giselle’s Books, Marseille, 2022.
TOP STORIES: New York City in 1979/1981, photographs by Anne Turyn and ephemera of the TOP STORIES era. Organized by Sophie T. Lvoff. Exhibition View, Giselle’s Books, Marseille, 2022.
New York City in 1979, shot in 1981 (Top Stories #9 by Kathy Acker), Anne Turyn 20 digital prints, 21,5 x 27,5cm Exhibition View, Giselle’s Books, Marseille, 2022.
New York City in 1979, shot in 1981 (Top Stories #9 by Kathy Acker), Anne Turyn 20 digital prints, 21,5 x 27,5cm Exhibition View, Giselle’s Books, Marseille, 2022.
New York City in 1979, shot in 1981 (Top Stories #9 by Kathy Acker), Anne Turyn 20 digital prints, 21,5 x 27,5cm Exhibition View, Giselle’s Books, Marseille, 2022.
TOP STORIES: New York City in 1979/1981, photographs by Anne Turyn and ephemera of the TOP STORIES era. Organized by Sophie T. Lvoff. Exhibition View, Giselle’s Books, Marseille, 2022.
New York City in 1979, shot in 1981 (Top Stories #9 by Kathy Acker), Anne Turyn 20 digital prints, 21,5 x 27,5cm Exhibition View, Giselle’s Books, Marseille, 2022.
New York City in 1979, shot in 1981 (Top Stories #9 by Kathy Acker), Anne Turyn 20 digital prints, 21,5 x 27,5cm Exhibition View, Giselle’s Books, Marseille, 2022.
TOP STORIES: New York City in 1979/1981, photographs by Anne Turyn and ephemera of the TOP STORIES era. Organized by Sophie T. Lvoff. Exhibition View, Giselle’s Books, Marseille, 2022.
New York City in 1979, shot in 1981 (Top Stories #9 by Kathy Acker), Anne Turyn 20 digital prints, 21,5 x 27,5cm Exhibition View, Giselle’s Books, Marseille, 2022.
TOP STORIES: New York City in 1979/1981, photographs by Anne Turyn and ephemera of the TOP STORIES era. Organized by Sophie T. Lvoff. Exhibition View, Giselle’s Books, Marseille, 2022.
Facsimile of correspondance and research material for the TOP STORIES issues, 1978-1991. Exhibition View, Giselle’s Books, Marseille, 2022.
On the occasion of the opening: readings of a selection of TOP STORIES with a sonic presence by Elia David, also be broadcast live on Duuu Radio. Readers: Carisa Bledsoe, Bea Bottomley, Madison Bycroft, Fëlix Pap, Brontë Scott, Aki Yamouridis.

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Mimicry—Empathy, Conversations, 12.03.2022, Giselle’s Books · Marseille

Mimicry — Empathy

Installation by BLESS
Talks by Marie de Brugerolle (curator, FR), Susanne Bürner (artist, DE), Amirali Ghasemi (curator, IE), Alexandra Leykauf (artiste, DE)

12.03.2022
Giselle’s Books · Marseille

Installation by BLESS (AT, DE)

With talks by : Marie de Brugerolle (curator, FR), Susanne Bürner (artist, DE), Amirali Ghasemi (curator, IR), Alexandra Leykauf (artist, DE)

The publication Mimicry—Empathy A Reader and Exhibition Document launched in January 2022, is one of several forms of this extensive project initiated in 2018 at the Lajevardi Foundation in Tehran, Iran. The book includes texts by: Roy R. Behrens, Professor of Art and Distinguished Scholar at the University of Northern Iowa (USA); Marie de Brugerolle, curator and art critic (FR); Roger Caillois, writer, sociologist and literary critic (FR); Johan Hartle, Director of the Academy of Fine Arts (AT); Gohar Homayounpour, psychoanalyst (IR); as well as conversations with former CIA agent Jonna Mendez (USA), and independent curators Anne-Sophie Dinant (FR) and Amirali Ghasemi (IR). The object is at once autonomous, singular, and part of the understanding of a more complex equation.

This evening, punctuated by interventions from artists and curators, is also an opportunity to discover a selection of publications from the Giselle’s Books collection in partnership with the Library of the Marseille School of Fine Arts, an INSEAMM institution.

As part of the exhibition Mimicry-Empathy 

organised by Fræme at la Friche la Belle de Mai

In partnership with : Fraeme, Goethe-Institut Marseille,  Monroe Books, Beaux-arts de Marseille-INSEAMM

Installation par BLESS (AT, DE)

Lectures et présentations par : Marie de Brugerolle (commissaire, FR), Susanne Bürner (artiste, DE), Amirali Ghasemi (commissaire, IR), Alexandra Leykauf (artiste, DE)

La publication Mimicry—Empathy (éd. Susanne Bürner / Monroe Books) lancée en janvier 2022, est l’une des différentes formes que prend ce vaste projet initié en 2018 à la Fondation Lajevardi à Téhéran (Iran). Le livre comprend des textes de : Roy R. Behrens, professeur d’art et chercheur émérite à l’Université de Northern Iowa (USA) ; Marie de Brugerolle, commissaire et critique d’art (Lyon, France) ; Roger Caillois, écrivain, sociologue et critique littéraire (France) ; Johan Hartle, directeur de l’académie für Bildende Künste (Vienne, Autriche) ; Gohar Homayounpou, psychanalyste (Téhéran, Iran) ; ainsi que des conversations avec l’ancienne agente de la CIA Jonna Mendez (Washington, DC, USA), et les curateur·rice·s indépendant·e·s Anne-Sophie Dinant (Bordeaux, France) et Amirali Ghasemi (Téhéran, Iran). L’objet est à la fois autonome, singulier, et entre dans la compréhension d’une équation plus complexe.

Cette soirée, ponctuée d’interventions d’artistes et de commissaires, est aussi l’occasion de découvrir une sélection d’ouvrages issus du fond de Giselle’s Books en partenariat avec la Bibliothèque de l’École des Beaux-Arts de Marseille, un établissement INSEAMM.

À l'occasion de l'exposition Mimicry-Empathy 

organisé par Fræme at la Friche la Belle de Mai

En partenariat avec : Goethe-Institut Marseille,  Monroe Books, Beaux-arts de Marseille-INSEAMM

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Giselle Salon 1, 18.12 – 19.12.2021, Giselle’s Books · Marseille

Giselle Salon

18.12 – 19.12.2021
Giselle’s Books · Marseille

Giselle Salon is a gathering of publishers and readers at Giselle’s Books library.

Drawing conclusions from the format of the publishing fair and seeking to develop reader-publisher relations beyond the simple economic transaction, Giselle Salon offers an episodic meeting to its members and interested persons in a sympathetic and convivial context open to the discussion.

Apogee Graphics (Los Angeles, USA)
Apogee Graphics is a design and publishing company founded by artists Laura Owens and Asha Schechter. From their office in the yellow tower of the Westin Bonaventure hotel in downtown Los Angeles they design material and virtual objects with writers, artists, chefs, organizers and others. Apogee approaches each project as content driven design.

BHKM (New York, USA – Hong Kong, HK)
BHKM is a conceptual publishing house run by Ho King Man.
“Outside my windows, there is a four-unlikeness: unlike loneliness, unlike crowdedness, unlike nostalgia, unlike to-be-ness, they are perhaps now-beings, or refer to the colored mirror in hearts, my imaginations.
Inside everyone, have been hidden: unaware, fermented substances. Everyone fails to know, only by every little bit, to touch, to feel.”

Circadian (Berlin, DE)
Circadian is a non-profit publishing house that call its readers to action through handbooks, poetical protocols, manuals, games, experiments and performances. It was founded in Berlin by Diego Agulló and Dmitry Paranyushkin.

Gufo with HOOT (Marseille, FR)
HOOT is a printed conversation, a transcribed verbal relationship with an art worker, a collective around the notion of work as activity, method, environment, field, symbol and necessity. Each month, between the 1st and the 31st, whether it is a Wednesday or a Sunday, HOOT offers to its readers a discussion that we hope will be passionate and open. Each issue will be transcribed according to the language used and shared in the conversation.

Isolarii (Alicudi, Sicily, IT)
ISOLARII is a series of books by the global avant-garde to provide orientation and meaning in a deteriorating world. A new work is released every two months via subscription and mailed to a community of readers in 32 countries. ISOLARII takes its name from the Renaissance genre of ‘island books,’ which proposed that poems, stories, letters, and illustrations could be singular islands of thought, together forming an archipelago.

Really Simple Syndication Press (Copenhagen, DK)
Really Simple Syndication Press focuses on publishing artistic and curatorial research as a project or part of an extended practice, by both emerging artists and curators and their established counterparts. The press is about developing new readerships in this post-social networked world through a ‘syndication’ model that makes room to support peers in the arts and publishing. To this end, it looks to represent fresh new literature, which reflects the research interests of writers, curators, and artists who are broadening the aesthetic, historical, political, and artistic concerns of our new century. The various active voices invited by RSS into its syndication model will find a new culture of intellectual hospitality that critically fosters their participation into the future.

The Funambulist (Paris, FR)
The Funambulist is a platform that engages with the politics of space and bodies. Their hope is to provide a useful platform where activist/academic/practitioner voices can meet and build solidarities across geographical scales. Through essays, interviews, artworks, and design projects, they assemble an ongoing archive for anticolonial, antiracist, queer, and feminist struggles. The print and online magazine is published every two months and operates in parallel with an open-access podcast and a blog.

Wendy’s Subway (Bushwick, Brooklyn, USA)
Wendy’s Subway is a reading room, writing space, and independent publisher in Bushwick, Brooklyn. They support emerging artists and writers in making experimental, urgent work and create alternative modes for learning and thinking in community. Wendy’s Subway is dedicated to encouraging creative, critical, and discursive engagement with arts and literature.
Their interdisciplinary program includes free readings, talks, performances, and reading groups, as well as sliding-scale writing workshops and intensives. The non-circulating library holds a collection of over 3,000 titles, ranging from poetry and fiction, to criticism and art books.

Giselle Salon was accompanied by Rose trilogy, a series of rose-based infusions conceived by Paula Pinho Martins Nacif. 

Paula Pinho Martins Nacif is a herbalist in training. Her current studies align with plant sciences energetics and bodywork. Her approach honors Brazilian syncretic spirituality. She lives in London, UK. 

Giselle Salon est un rassemblement d’éditeurs et de lecteurs à la bibliothèque Giselle’s Books.

Tirant des conclusions du format de la foire d’éditions et souhaitant developper les relations lecteurs-éditeurs par-delà la simple transaction économique, Giselle Salon propose un rendez-vous épisodique à ses membres et personnes intéressées dans un contexte sympathique et convivial ouvert à la discussion.

Apogee Graphics (Los Angeles, Etats-Unis)
Apogee Graphics est une société de design et d’édition fondée par les artistes Laura Owens et Asha Schechter. Depuis leur bureau dans la tour jaune de l’hôtel Westin Bonaventure dans le centre-ville de Los Angeles, ils conçoivent du matériel et des objets virtuels avec des écrivains, des artistes, des chefs, des organisateurs et autres. Apogee aborde chaque projet comme du design induit par le contenu.

BHKM (New York, Etats-Unis / Hong-Kong)
BHKM est une maison d’édition conceptuelle dirigée par Ho King Man.
« En dehors de mes fenêtres, il y a quatre dissemblances : à la différence de la solitude, à la différence de l’encombrement, à la différence de la nostalgie, à la différence de l’être-être, ils sont peut-être des êtres-maintenant, ou renvoient au miroir coloré dans les cœurs, mes imaginations.
A l’intérieur de chacun, se sont cachées : des substances inconscientes, fermentées. Tout le monde ne sait pas, seulement par petit bout, toucher, sentir. »

Circadian (Berlin, Allemagne)
Circadian est une maison d’édition à but non lucratif qui appelle ses lecteurs à l’action à travers des manuels, des protocoles poétiques, des notices, des jeux, des expériences et des performances. Elle a été fondée à Berlin par Diego Agulló et Dmitry Paranyushkin.

Gufo avec HOOT (Marseille, France)
HOOT est une conversation imprimée, une relation orale retranscrite avec un·e travailleur·se du champ de l’art, un·e collectif·ve autour de la notion de travail en tant qu’activité, méthode, environnement, milieu, symbole et nécessité.
Chaque mois, entre le 1 et le 31, qu’il s’agisse d’un mercredi ou d’un dimanche, HOOT propose à ses lecteurs·rices, une discussion que nous espérons passionnée, à bouches déliées. Chaque numéro sera retranscrit selon la langue utilisée et partagée lors de la conversation.

Isolarii (Alicudi, Sicile)
ISOLARII est une série de livres de l’avant-garde mondiale pour fournir une orientation et un sens dans un monde en détérioration. Un nouvel ouvrage est proposé tous les deux mois par abonnement et envoyé par la poste à une communauté de lecteurs dans 32 pays. ISOLARII tire son nom du genre de la Renaissance des «livres insulaires», qui proposait que les poèmes, les histoires, les lettres et les illustrations puissent être des îlots de pensée singuliers, formant ensemble un archipel.

Really Simple Syndication Press (Copenhague, Danemark)
Really Simple Syndication Press se concentre sur la publication de recherches artistiques et curatoriales en tant que projet ou partie d’une pratique étendue, à la fois par des artistes émergents et des conservateurs et de leurs homologues établis. La maison d’édition vise à développer de nouveaux lectorats dans ce monde post-social en réseau grâce à un modèle de « syndication » qui crée un espace pour soutenir les pairs dans l’art et l’édition. À cette fin, RSS Press cherche à représenter une nouvelle littérature fraîche, qui reflète les intérêts de recherche des écrivains, des conservateurs et des artistes qui élargissent les préoccupations esthétiques, historiques, politiques et artistiques de notre nouveau siècle. Les différentes voix actives invitées par RSS dans son modèle de syndication trouveront une nouvelle culture d’hospitalité intellectuelle qui favorise de manière critique leur participation à l’avenir.

The Funambulist (Paris, France)
The Funambulist est une plate-forme qui s’engage avec la politique de l’espace et des corps. Leur espoir est de fournir une plate-forme utile où les voix des activistes/universitaires/praticiens peuvent se rencontrer et construire des solidarités à travers les échelles géographiques. À travers des essais, des entretiens, des œuvres d’art et des projets, ils rassemblent des archives en cours pour des luttes anticoloniales, antiracistes, queer et féministes. Le magazine papier et en ligne est publié tous les deux mois et fonctionne en parallèle d’un podcast en libre accès et d’un blog.

Wendy’s Subway (Bushwick, Brooklyn, Etats-Unis)
Wendy’s Subway est une salle de lecture, un espace d’écriture et un éditeur indépendant situé à Bushwick, Brooklyn. Ils soutiennent les artistes et écrivains émergents dans la réalisation d’œuvres expérimentales urgentes et créent des modes alternatifs d’apprentissage et de réflexion en communauté. Wendy’s Subway se consacre à encourager l’engagement créatif, critique et discursif avec les arts et la littérature.
Leur programme interdisciplinaire comprend des lectures gratuites, des conférences, des performances et des groupes de lecture, ainsi que des ateliers et des stages intensifs d’écriture à échelle réduite. Leur bibliothèque non circulante détient une collection de plus de 3 000 titres, allant de la poésie et de la fiction à la critique et aux livres d’art.

Giselle Salon était accompagné par Rose trilogy, une série d'infusions à base de rose, conçue par Paula Pinho Martins Nacif. 

Paula Pinho Martins Nacif est herboriste en formation. Ses études actuelles s'alignent sur les sciences du végétal, l'énergétique et le travail corporel. Son approche fait honneur à la spiritualité syncrétique brésilienne. Elle vit à Londres, au Royaume-Uni.

Giselle Salon, at Giselle’s Books, Marseille, 18th & 19th of December 2021. With : Apogee Graphics, BHKM, Circadian, Gufo, Isolarii, Really Simple Syndication Press, The Funambulist, Wendy’s Subway.
Giselle Salon, at Giselle’s Books, Marseille, 18th & 19th of December 2021. With : Apogee Graphics, BHKM, Circadian, Gufo, Isolarii, Really Simple Syndication Press, The Funambulist, Wendy’s Subway.
Giselle Salon, at Giselle’s Books, Marseille, 18th & 19th of December 2021. With : Apogee Graphics, BHKM, Circadian, Gufo, Isolarii, Really Simple Syndication Press, The Funambulist, Wendy’s Subway.
Giselle Salon, at Giselle’s Books, Marseille, 18th & 19th of December 2021. With : Apogee Graphics, BHKM, Circadian, Gufo, Isolarii, Really Simple Syndication Press, The Funambulist, Wendy’s Subway.
Giselle Salon, at Giselle’s Books, Marseille, 18th & 19th of December 2021. ‘Rose trilogy’ by Paula Pinho Martins Nacif.

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Beton Insel, Sleepwalkers, Coagulum – Screening of films by INVENTORY, 17.10.2021, Giselle’s Books · Marseille

Coagulum – a momentary clot in the heart of commerce
and other selected films

Inventory

17.10.2021
Giselle’s Books · Marseille

Marking the end of Inventory's exhibition 'A doctrine of scattered occasions', a selection of their films will be projected at Giselle's Books.

The exhibition will exceptionally be open without appointment from 2pm onwards and will be concluded with the projection of : Beton Insel (2004, 8 minutes), Sleepwalkers (2003, 17 minutes) and Coagulum - a momentary clot in the heart of commerce (2002, 19 minutes).

Giselle's Books, 28 Rue des Convalescents, 13001, Marseille

Open from 2 to 9PM. Film screening : 7PM

Marquant la fin de 'A doctrine of scattered occasions', l'exposition du collectif Inventory, une sélection de leurs films seront projetés à Giselle's Books.

L'exposition sera exceptionnellement ouverte sans rendez-vous à partir de 14h, et sera conclue par la projections des films suivants:  Beton Insel (2004, 8 minutes), Sleepwalkers (2003, 17 minutes) and Coagulum - a momentary clot in the heart of commerce (2002, 19 minutes).

Giselle's Books, 28 Rue des Convalescents, 13001, Marseille

Ouvert de 14h à 21h. Projection : 19h.

Screening of Inventory's films, Giselle's Books, 2021

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A doctrine of Scattered occasions, Inventory, 28.08 – 17.10.2021, Giselle’s Books · Marseille

A doctrine of scattered occasions

Inventory

28.08 – 17.10.2021
Giselle’s Books · Marseille

Giselle’s Books presents the first exhibition in France of Inventory, a collective founded in London in the mid-nineties as well as a printed journal of the same name.

For this occasion, Inventory have begun to realise a longstanding project, to exhibit a new series of works that draw upon and develop research material that was first introduced within the context of the journal. Alongside is a broader constellation of works that relate to their most recent publication The Counsel of Spent (Book Works, 2018). In addition, a selection of documents, ephemera, notes and images from Inventory’s archive are displayed, charting their precarious trajectory from their tentative beginnings to the ever-vulnerable present. British art collective Inventory was founded in 1995 by Damian Abbott, Paul Claydon and Adam Scrivener. Since 2004, they are based in Kent (UK) and Toulouse (France).

Many of the new works presented here take, as their starting point, previously unseen visual research that was undertaken for articles that appeared in their eponymous journal Inventory. In their press release for their first issue, Inventory states that :

« The relationship between words and images is of paramount importance, but we do not wish this method to have a scientific character (in the sense of an ethnographic, documentary discourse) nor an artistic, literary value (which would condemn this material to an aesthetic musing). Rather, we wish to employ an emblematics whereby image and text are linked in a methodology which is at once historical, anthropological, poetic….»

For this exhibition, this notion of an ‘emblematics’ is re-orientated towards a more purely visual approach while maintaining an idea of ‘constellations of images’. However, this should not be simply understood as collage. Nor is it an attempt to merely present a picture of our times as a chaotic and impenetrable web of heterogeneous fragments. Because the, ‘choreography of these fragments as collage is an outmoded and pointless practice without an agenda which refuses to be seduced by the shattered image of society. The moment the fragment becomes resuscitated as an emblem, it transforms the social picture from one of irredeemable and alienated activity into one of recognisable yet still complex relationships.’

For Inventory, their practice is an approach to images and things in close up, almost too close. A kind of contaminated analysis that resides in bringing together small details, as well as the seemingly disparate, so that other impulses may be revealed. A dialectical re-constellation of images that allows for other critical interpretations, other narratives to coalesce and resonate.

Inventory’s previous solo exhibitions were at the Rob Tufnell gallery, London (2014 and 2016) White Columns, New York (2005); The Approach, London (2004, 2002 and 1999) and at The Modern Institute, Glasgow (1999). Recent collective exhibitions include: Condo London, Rob Tufnell (2018); The Revolutionary Suicide Mechanised Regiment Band, Rob Tufnell, Cologne (2016); Corruption Feeds, Bergen Kunsthall (2014); Make the Living Look Dead, 2nd Cannons Project Space, Los Angeles (2014); Ruin Lust, Tate Britain (2014); Keywords, INIVA (2013); A journey through London’s subculture, the ICA at Old Selfridges Hotel, London (2013), De Appel, Amsterdam (2008); Kunstverein Hamburg (2007); Museum of Contemporary Art, Belgrade (2007); Kunsthaus Dresden (2006); Aspen Art Museum (2006); Portikus, Frankfurt (2004); ICA, London (2003); Whitechapel Gallery, London (2003); Lenbachhaus, Munich (2002); the Courtauld Institute of Art, London (2001); their work is held in the collections of the Centre Pompidou, Paris and the Tate Gallery, London. Their work is represented by Rob Tufnell.

Giselle’s Books présente la première exposition monographique en France de Inventory, un collectif d’artistes fondé au milieu des années 1990 à Londres ainsi qu’une revue du même nom.
Pour cette occasion, Inventory ont commencé à réaliser un projet de longue date: exposer une nouvelle série de travaux qui puisent et développent un matériau de recherche initialement introduit dans le contexte de leur revue éponyme (publiée de 1995 à 2005). Elle s’accompagne d’une constellation de travaux relatifs à leur publication la plus récente, The Counsel of Spent (Book Works, 2018). De plus, Inventory présente une sélection de documents, d’éphéméras, de notes et d’images qui proviennent de leurs archives, retra- çant leur trajectoire précaire, des commencements incertains vers un présent toujours vulnérable.

Le collectif d’artistes britannique Inventory a été fondé en 1995 par Damian Abbott, Paul Claydon et Adam Scrivener. Depuis 2004, ils sont basés à Kent (RU) et à Toulouse (France).

Plusieurs nouveaux travaux présentés ont pour point de départ une recherche visuelle qui n’avait jamais été exposée auparavant, recherche entreprise en vue d’articles parus dans leur revue éponyme, Inventory. Dans le communiqué de presse pour le premier numéro, Inventory énonce :

« La relation entre les mots et les images est d’une importance primordiale, mais nous ne souhaitons pas donner à cette méthode un caractère scientifique (dans le sens d’un discours ethnographique ou documentaire) ni une valeur artistique, littéraire (qui condamnerait ce matériau à une rumination esthétique). Nous souhaitons plutôt faire appel à une emblématique où image et texte sont liés dans une méthodologie à la fois historique, anthropologique, poétique... ».

Pour cette exposition, la notion de l’« emblématique » est réorientée vers une approche plus purement visuelle, en maintenant une idée de « constellation d’images ». Toutefois, celle-ci ne doit pas être comprise simplement en termes de collage. Il ne s’agit pas non plus de présenter une image de notre temps comme une toile chaotique et impénétrable de fragments hétérogènes. Car « la chorégraphie des fragments en tant que collage risque d’être une pratique démodée et creuse si elle ne s’ancre pas dans une position qui refuse la séduction par l’image fracassée de la société. Au moment où le fragment est ressuscité comme un emblème, il transforme l’image sociale : l’image d’une activité aliénée et inexpiable devient l’image de relations intelligibles et reconnaissables, bien que toujours complexes ».

Inventory conçoit sa pratique comme une approche des images et des choses de près, presque trop près. C’est une sorte d’analyse contaminée, qui rassemble de petits détails et ce qui est disparate en apparence, pour que d’autres impulsions puissent se révéler. Une re-constellation dialectique d’images, pour que d’autres interprétations critiques émergent et que d’autres récits confluent et résonnent.

Leurs dernières expositions monographiques ont eu lieu à la galerie Rob Tufnell à Londres, en 2014 et 2016. Leurs expositions collectives récentes incluent : Condo London (Rob Tufnell) 2018, The Revolutionary Suicide Mechanised Regiment Band, Rob Tuf- nell (Cologne) 2016, Corruption Feeds, Bergen Kunsthall, Make the Living Look Dead, 2nd Cannons Project Space, Los Angeles, Ruin Lust, Tate Britain (2014), Keywords, INIVA et A journey through London’s subculture, the ICA à Old Selfridges Hotel, Londres (2013). Leurs expositions précédentes incluent des présentations monographiques à White Columns, New York (2005) ; The Approach, Londres (2004, 2002 et 1999) et au Modern Institute, Glasgow (1999). Le travail d’Inventory a été présenté également lors d’expositions collectives à De Appel, Amsterdam (2008) ; Kunstverein Hamburg (2007) ; Museum of Contemporary Art, Belgrade (2007) ; Kunsthaus Dresde (2006) ; Aspen Art Museum (2006) ; Portikus, Francfort (2004) ; Whitechapel Gallery, Londres (2003); Lenbachhaus, Munich (2002); the Courtauld Institute of Art, Londres (2001); the ICA, Londres (2003 et 1999) ; Cubitt, Londres (1997) et au Musée d’Art Moderne de la Ville de Paris (1996). Leurs œuvres figurent dans les collections du Centre Pompidou Paris et de la Tate Gallery Londres. Inventory est représenté par la galerie Rob Tufnell.

Exhibition view, Giselle's Books, A doctrine of scattered occasions, INVENTORY, 2021
Exhibition view, Giselle's Books, A doctrine of scattered occasions, INVENTORY, 2021
Exhibition view, Giselle's Books, A doctrine of scattered occasions, INVENTORY, 2021
THUGS, 2021 UV print on dibond, mounted documents and photos on hardboard 100 x 70 cm each
Elephant, 2021 UV print on dibond, mounted documents and photos on hardboard 100 x 70 cm each
Exhibition view, Giselle’s Books, Marseille A doctrine of scattered occasions, INVENTORY, 2021
Marquess, 2021 UV print on dibond, mounted documents and photos on hardboard 100 x 70 cm
Comply, 2021 Print on blue back paper 100 x 70 cm
Donne, 2006 B&W print on paper 100 x 70 cm
Exhibition view, Giselle's Books, A doctrine of scattered occasions, INVENTORY, 2021
Exhibition view, Giselle's Books, A doctrine of scattered occasions, INVENTORY, 2021
Exhibition view, Giselle's Books, A doctrine of scattered occasions, INVENTORY, 2021
9,000 BODIES, 2015 Print on blue back paper 85 x 59 cm
Histoire d’une forteresse, 2021 Laser cut on plywood and mounted B&W photography 90 x 60 cm
Equation, 2014 Framed silkscreen print 71,5 x 51,5 cm
CONVERT AUSTERITY INTO ACTION, 2015 Print on blue back paper 85 x 59 cm
Circles, 2021 Framed digital print 51,5 x 61,5 cm
Fist, 2015 Print on blue back paper 59 x 85 cm
Diatom and platic cup, 2021 Framed digital print 22 x 30,5 cm
Stevinus sisyphus, 2015 Print on blue back paper 85 x 59 cm
Wholesale and Foodbank, 2021 Framed digital print 22 x 30,5 cm
Landfill and Longbarrow, 2021 Framed digital print 31,5 x 41,5 cm
Elimine Iluminae, 2016 Print on blue back paper 42 x 59 cm
Kapitalistischer Realismus, 2014 Framed silkscreen print 51,5 x 71,5 cm
Exhibition view, Giselle’s Books, Marseille A doctrine of scattered occasions, INVENTORY, 2021
The later years of Inveterate Agitator, 2021 Collage (collected poster paper, letraset) and plexiglas 99 x 140,5 cm
The later years of Inveterate Agitator, 2021 Collage (collected poster paper, letraset) and plexiglas 99 x 140,5 cm
Exhibition view, Giselle’s Books, Marseille A doctrine of scattered occasions, INVENTORY, 2021
Touch, 2021 UV print on dibond, mounted documents and photos on hardboard 100 x 70 cm
Exhibition view, Giselle’s Books, Marseille A doctrine of scattered occasions, INVENTORY, 2021
The mystique of numbers, 2021 UV print on dibond, mounted documents and photos on hardboard 100 x 70 cm each
Exhibition view, Giselle’s Books, Marseille A doctrine of scattered occasions, INVENTORY, 2021
Exhibition view, Giselle’s Books, Marseille A doctrine of scattered occasions, INVENTORY, 2021
Categories, 2021 Framed laser print 22,5 x 31,5 cm
The work of thieves, 2014 Framed silkscreen print 51,5 x 71,5 cm
TLS, 1998 Framed newsprint 41,5 x 51,5 cm
Exhibition view, Giselle’s Books, Marseille A doctrine of scattered occasions, INVENTORY, 2021
Inventory Archive, 2021
Inventory Archive, 2021

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The Opening – Mayra Rodriguez Castro

The Opening

Mayra A. Rodríguez Castro

To return in you

 

To return in you

and pressed upon you

feel the air nothing else

 

to contend liberties exist

by molding the verge

of a single way

 

a path for spring

next to you in this body

and nowhere else 

 

not to leave the enclosure

but remain embracing

inhaling your shape

to believe in crevices

of form, of something inside

me conducting this frame

 

a place to assemble

the tactile, to be there

to you disposable

 

called by life in your chest

the bronchial rivers reveal

the mechanics 

 

of what I am certain is

inside you, I press upon you

the obverse of mine 

 

if you are here I must also

be somewhere in this interior

made of what I cannot name.

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Dancing in Shanghai – Hrefna Hörn Leifsdóttir

Dancing in Shanghai

Hrefna Hörn Leifsdóttir

Shanghai does not feel crowded. Not even the subway feels crowded. Neither does living on the 20th floor, above all these people.  The city puts its marks on you with another kind of pressure than the one from other bodies.

First there are the signs.

No leaning, no running, no smoking, no crossing, please stand to the side, please stand in line, please accept the security check, please report any suspicious activity.

People feel pressured to follow those rules. Because they are watched all the time.

My apartment greets me with 4 security cameras. My friends counted 25 from their gate to the door. On the third day the police knocked on our door to ask if we had all the papers needed for our stay. Of 60 apartments the building contained, they knew which door lead to us.

 

Across the street from the museum I worked in is a zebra crossing. There is a screen attached to the light- pole that displays pictures of the j-walkers. Those who cross this street on a red light.

A way to shame the city’s inhabitants away from breaking rules the society sets. And a mild example for us the foreigners of the use of facial recognition technique we’ve read about being used in other parts of the country for more aggressive restriction of movements.

 

The museum is new. It’s a big Frank Lloyd Wright building standing by the riverbank of a formally industrial area. It’s an art- hub now and in the middle is the French- Chinese Centre Pompidou. Partly the well known french institute and partly governmentally run.

A complicated mixture with political strings reaching far outside the museum walls.

I’m hired there to dance almost every day, for six weeks. Within the white walls and blurred windows that lead to the zebra- walking I repeat tasks and loosely instructed, endured movements that often lead into some state of trans. Set up in sets of 5- 20 minutes the movement evolve and change with the intensity of the music, the atmospheric lighting and computer- generated voices which read texts and demands in chineese and english. “Dear museum visitor” they are softer but similar to the ones on the train- platforms and in the supermarket.

“Please step away, the door is closing.”

 

There is a long history of choreographed public dancing being practised in China for health reasons. Results of which can be seen in public parks, at workplaces as they start their day and in schools. Every morning we woke up to the same soundtrack coming from the elementary school below our apartment. Where the entire school was gathered to perform the daily choreography.

 

People seem to be encouraged to move, again as long as it happens within a certain frame.

 

One of the dancer who performs with me has gone through all levels of Communist dance education possible. His CV is filled with high grades and awards. It list the different movements he can perform. One of them is Kung Fu.

 

Still when he is left to his own devices, told to improvise, Vogue like movements shine through. Movements I suspect were not trained within the walls of the institution but rather in a more private, bedroom- like situations.

 

My bank of movements comes from dancing at parties. For my adult life, dancing has been a way for me to communicate, forget, digest, meditate, observe and learn from different social environments. Therefor I was curious to discover that layer of the society I was situated in.

 

Working at the museum was another dancer that strongly identified with being a club kid.

 

It was made clear through his appearance, the appearance of his friends and what I could see from their social media that his part of their identity played a big role.

Finally on New Years it was time for me to go dancing with them.

The museum next door held a big party all rivers seemed to lead to. It was in a formal tank.

Its rounded interiors were lid up with lazers and projections and the sound system was a top one.

The line up I partly knew from Berlin, which made me think about how small the world was.

Someone told me that the crowded room was filled up with partly club kids and partly art kids, I looked around but had a hard time distinguishing between the two groups. Everyone seemed to wear expressive, carefully thought through outfits and held their phone up high at any given moment. One entertainment after another entered the stage or rushed though the still dance floor. In between the DJ’s played a mix that was hard to follow, jumping between genres and speed only me and three other people tried to follow. The rest passively observed with their phones in the air. It was soon clear to me that the event was not made to participate in. The club night was supposed to be observed. After all it was a museum- party, I reminded myself and responded positively to the suggestion to head to a real club. Taxies were hard to catch at that time so I filled my bag with booze from the nearest convenient – store to share, but no-one else was interested.

When we finally got to the real club we were joined with the rest of the crew outside.

The gathering was another fashion- show. I had gotten used to it by now.

They talked and pointed out the pro- regime cigarettes I had accidentally bought.

I said I was sorry and sipped my drink alone while the conversation continued in Chinese.

Then all of a sudden our plan was to enter the club without paying. We went in as a group and I walked past the bouncer as he caught my friend. The rush of adrenalin sent me straight to the dance floor where three people were jumping to an extremely fast beet.

I lasted about a minute until I turned to the bar. There stood a Norwegian guy, that was a part of the crew I had crashed and spoke flawless chinese. “The clubs here are different.” he said and waved his hand when he noticed my confused face. We had one drink before going back outside where the rest of the group had re- gathered. It was time to eat. The night was over.

There had been no plans of dancing.

 

Later I got comments for my dancing at that party, “oh I saw you in the story”, “of course it was you who was dancing, you are the dancer”. They seemed neither judgemental comments nor really positive. It seemed to be accepted but rather unusual activity and not necessarily desirable to dance freely to music. And identifying as a club kid had nothing to do with dancing.

I continued my days of dancing in the institution. It was a weird time.

People came to watch and some even staid for hours, I think the piece was generally well excepted.

Inside and outside I was observed. Only inside it was volontary.

Lacking vocabulary when it comes to dance I will include a pharagraph from a recently published article I stumbled up on and can be found here:

“ A dancing denotes one’s psychological state during, but not limited to, any physical activity, or indeed the course of a dance. Its essence is compositional, as derived from choreographic thinking, in organising actions and possibilities. For example, one can feel a dancing when combining opposing actions, like smiling while saying something disturbing. It is also possible to be in a dancing while standing still, and realising every possibility for motion.”

 

With this text in mind, each movement or facial expression acted outside of the allowed zone of the institution in a way became more of a performance than anything that happened inside of it. Dancing in the club became performative as well as running up the stairs at the station or accidentally leaning against the door of the running train.

But then again, no matter how many times I walked over on a red light my face never got displayed on those screens. It did not really matter how I moved.

Weather I was inside or outside the institution I was outside of the system.

Once saw it display a picture of a tire though .

A tire of a speeding car. It was a really face like tire, with a stretched grin.

As long as I’d been gone before my visa ran out I’d be fine.

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Running as if to meet the moon – Thierry Basile, Clarice Calvo-Pinsolle, Florent Dubois, Gaïa Vincensini, 28.09.2019, Giselle · Toulouse

Running as if to meet the moon

Thierry Basile, Clarice Calvo-Pinsolle, Florent Dubois, Gaïa Vincensini

28.09.2019
Giselle · Toulouse

Installation view, Running as if to meet the moon, with : Thierry Basile, Clarice Calvo-Pinsolle, Florent Dubois, Gaïa Vincensini at Giselle, 2019
Installation view, Gaïa Vincensini in Running as if to meet the moon, Giselle, 2019
Installation view, Gaïa Vincensini in Running as if to meet the moon, Giselle, 2019
Installation view, Florent Dubois in Running as if to meet the moon, Giselle, 2019
Installation view, Florent Dubois in Running as if to meet the moon, Giselle, 2019
Installation view, Running as if to meet the moon, with : Thierry Basile, Clarice Calvo-Pinsolle, Florent Dubois, Gaïa Vincensini at Giselle, 2019
Installation view, Thierry Basile in Running as if to meet the moon, Giselle, 2019
Installation view, Thierry Basile in Running as if to meet the moon, Giselle, 2019
Installation view, Thierry Basile in Running as if to meet the moon, Giselle, 2019
Installation view, Thierry Basile in Running as if to meet the moon, Giselle, 2019
Installation view, Clarice Calvo-Pinsolle in Running as if to meet the moon, Giselle, 2019
Installation view, Clarice Calvo-Pinsolle in Running as if to meet the moon, Giselle, 2019

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At the local repair – Sarah Rosengarten, 25.07 – 26.08.2019, Giselle · Toulouse

at the local repair

Sarah Rosengarten

25.07 – 26.08.2019
Giselle · Toulouse

Written about before* is the loss of language when traveling one’s own body. How-to is this daily and weekly, maybe less so longterm enigma to explore. Although, can I formulate this as a goal(?) when it spooks me too much to loose my ability to speak; as I anyways mostly search for it. Is anxiety my bodybuilding?? You do know athletic activity comes in many forms. So I really can. Throw myself into work-out – check my lack indicating greater muscle to come – roam my own self – ultmately approximating new landscapes ?
(…)

 
Most eggplants have a bitter-tasting surface. For lunch I sliced one up and roasted it. I ate the slices with the skin and it was truly bitter. I ate 5, .. way-y too many, before deciding to peel.

(…)

The story that the cosmetic brand Avène is basing it’s successful development on, is that of a horse with a skin disease, freely wandering around in the slopes of the Pyrenees. The horse finds the spring of St. Odile and rolls around in the water, drinks from it and is soon cured entirely. The spring became a Spa, the Spa became a skin treatment facility, the facility now has a hotel attached which resembles in it’s architectural appeal an over-polished spaceship. Altogether it’s called ‘Avène Thermal Station’. Most frequent visitors are older women and children with psoriasis and eczema, probably due to the fact that the minimum length of stay is 6weeks. The place is constantly surrounded by herds of butterflies which the director of the placecalls ‘too much’.
(…)

hmmm…..to spend a couple of hours.

 

text : Sarah Rosengarten

Installation view, at the local repair, by Sarah Rosengarten at Giselle, 2019
Installation view, at the local repair, by Sarah Rosengarten at Giselle, 2019
Endless Walks, 2019 2 aluminum framed C-prints, edition of 4 31,7 x 24,3 cm
Endless Walks (detail), 2019, 2 aluminum framed C-prints, edition of 4, 31,7 x 24,3 cm
Endless Walks (detail), 2019, 2 aluminum framed C-prints, edition of 4, 31,7 x 24,3 cm
precise act (detail), 2019 Dyed shower curtain, 60 x 70 x 200 cm
precise act (detail), 2019 Dyed shower curtain, 60 x 70 x 200 cm
a certain number of operations – quadruple flirt, 2019, Customised plastic drinking cup, glass straws, 9 x 9 x 24 cm
a certain number of operations – quadruple flirt (detail), 2019, Customised plastic drinking cup, glass straws, 9 x 9 x 24 cm
Installation view, at the local repair, by Sarah Rosengarten at Giselle, 2019
Installation view, at the local repair, by Sarah Rosengarten at Giselle, 2019

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Baba Yaga Dom – Hélène Boutonnet, 09.07 – 23.07.2019, Giselle · Toulouse

Baba Yaga Dom

Hélène Boutonnet

09.07 – 23.07.2019
Giselle · Toulouse

Installation view, Baba Yaga Dom by Hélène Boutonnet at Giselle, 2019
Installation view, Baba Yaga Dom by Hélène Boutonnet at Giselle, 2019
Installation view (detail), Baba Yaga Dom by Hélène Boutonnet at Giselle, 2019
Installation view (detail), Baba Yaga Dom by Hélène Boutonnet at Giselle, 2019
Installation view (detail), Baba Yaga Dom by Hélène Boutonnet at Giselle, 2019
Installation view (detail), Baba Yaga Dom by Hélène Boutonnet at Giselle, 2019
Installation view (detail), Baba Yaga Dom by Hélène Boutonnet at Giselle, 2019
Installation view (detail), Baba Yaga Dom by Hélène Boutonnet at Giselle, 2019
Installation view (detail), Baba Yaga Dom by Hélène Boutonnet at Giselle, 2019

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