oliverspies – Saprophyt

Müller Josh 1–5 (2014) is a self-published artist’s book developed collaboratively by artist Josh Müller (DE/AT) and typographer Nik Thoenen (CH/AT). The project contains documentary material from five individual bodies of work, however without providing an overview — nor a review — of Müller’s artwork. While two of the five slim volumes expand on or parallel to already existing works the other three elaborate on non-shown long-term documentary and archival projects from 2001–2013. As a whole, the book engages with the generation of narrative. Far from being a fragmented linear reproduction of existing works, the publication demands montaging as an unbound collage of the literary and the visual, enhancing the experiences of cross- and close reading. The thin paper contains wood and will yellow with age. Printed in an edition of 300 + 50 on Munken paper 70g/m2, perforated and boxed.

Müller Josh 1–5
Five-part Artist’s Book
Camouflages / The Non–Titled Files / la construction du ciel /
jetzt gleich – soon now / A Face that Turns its Face Away

With essays by
Roland Graffé, Lina Morawetz, Gaëlle Obiégly, Axel Stockburger (German/English/French)
Graphic design: Nik Thoenen
Published independently, Vienna 2014

176 pages, 30,5 x 21,5 cm & 32 x 22,5 cm, 115 b/w and 26 images in colour.
Perforated and boxed.
Edition of 300 + 50
56,- Euro / ISBN 978-3-200-03371-9

www.muellerjosh.net

GREY WHISPER

episode 2 from a series on indeterminacy

it’s the cosmos and it’s the loss, it’s there and it will disappear
from you and come back again, whatever we wish, we are the
same kittens in the same potato bag and we need to make piece
with ourselves and
1/ find an escape
2/ believe in future lives
3/ accept the fate
4/ eat each other
5/ wake up from this joke
6/ hit the one billion views
7/ PIZZA TIME!
Improvisation, loops, delay, inderterminacy, and distortion are the main themes of Felicia Atkinsons visual and musical works. Her exhibitions are deliberately “improvised”: as a score and protocole for her displays she often uses found images as well as found and her own writing. Felicia Atkinson uses clay, silk, painting, drawing, printed matters, sound, found materials, poetry and digital images, all in conversation, or in argument.

What kind of plot and territory express and locates a heterogeneous community of objects and species? How can we locate physically the instant and the “devenir’ of a body or an object? How can we not stick to the plan? What is the materialization of noise? Can an object acknowledge doubt and ambiguity without revolving it? Can we be different things at the same time? What are the political and social effects of inderteminacy in an contemporary art exhibition context?