Bootleg, Cinema First Edition Hardcover 640 pages 22 x 21 cm Texts in English / Italian   New       EUR 72 ORDER

Benedikt Reichenbach, Pasolini's Bodies and Places, Edition Patrick Frey, 2017

Around 1980 in Rome, a small cooperative around film critics Michele Mancini and Giuseppe Perrella produced a mysterious, elaborate and yet effortless looking 600-page book of black-and-white photographs entitled Pier Paolo Pasolini: Corpi e Luoghi (Theorema 1981). According to some reviews of the time this is the most Pasolinian publication to date (Alberto Farrasino), an indispensable tool for future research (Tullio Kezich), not just an illustrated book but a unique model of critique (Adriano Aprà).

With its relentless and yet playful classification of some 2,000 film stills ranged under the categories of “bodies” and “places”, whatever page we turn to, Mancini and Perrella stage an ever-shifting space. With a hidden reference to Walter Benjamin and a correspondingly revolutionary attitude, quotation here is understood as a form of “appropriation”, as a practical use of an archive.

Entitled Pasolini’s Bodies and Places and translated by Ann Goldstein and Jobst Grapow, this new quasi-facsimiled edition in English is a first step towards an exploration of the original. Mancini and Perrella introduce their compilation of quoted images with a compilation of texts by Pasolini where he describes his own research of bodies and places for his films. These text were unpublished prior to Corpi e Luoghi. With Stephen Sartarelli’s translations in the present edition they now are fully available in English. The book contains also the original text in Italian / contiene testo italiano.

Monograph Hardcover 296 pages 30 x 24 cm Texts in English   New       EUR 65 ORDER

Billy Sullivan, STILL LOOKING. Works 1969-2016, Edition Patrick Frey, 2016

Since the early 1970s Billy Sullivan has accompanied New York’s underground, art and fashion scenes with his camera, using the resultant photographic material as templates for oil paintings, pastel drawings and elaborate multi-part slideshow installations. Sullivan shows his friends, family, lovers and muses, as well as the worlds and demimondes in which they move: clubs, ateliers, rumpled hotel rooms and elegant beach houses. In Sullivan’s imagery, which dispenses with any chronological order, the underground scene, the cultural elite and high society are always very close together, as are surface and abyss, the lust for life and the transience of youth. This distillation of Sullivan’s photographs, paintings and drawings showcases an ongoing dialogue between camera and paintbrush that characterizes his work.

Sullivan’s pictures are intimate, sensual and minutely observed. In his latter-day paintings, moments captured by his camera forty years back look as though they’d taken place only yesterday, defying the passage of time. They are unabatedly existential in their painstaking observation of casual beauty, desire and love in their every facet – between family members, lovers, fly-by-night acquaintances and kindred artistic spirits.

Sullivan succeeds in doing wholly without shock effects, voyeurism, irony and maudlin melancholy. The key to his work lies in the sincerity with which he approaches his subjects and to which they respond in kind. He juxtaposes images without comment or value judgment, piecing them together into a visual autobiography that is at the same time a chronicle of bohemian New York.

Most beautiful Swiss books 2016

With texts by William J. Simmons and Linda Yablonsky.

Monograph First Edition Hardcover 188 pages 34 x 22 cm Texts in English   New       EUR 78 ORDER

Judith Bernstein, Dicks of Death, Edition Patrick Frey, 2016

"For over five decades, my most powerful and intense relationship has been with my work. As a graduate student at Yale in the ‘60s, I began to use the phallus as a metaphor for feminism and male posturing. At the time, Yale was an all-male undergraduate program. I became fascinated with explicit graffiti that I discovered in men’s bathrooms, finding inspiration in raw humor and unedited scrawls. Aggression and humor are strongly connected in my work. This is epitomized in my piece “Supercock” (1966), a drawing of a comic superhero with huge genitals ejaculating through the world; and in “Fun-Gun” (1967), an anatomical drawing of a phallus shooting collaged live ammo. My “Fuck Vietnam” series was just the start. Graffiti influences can be traced throughout my entire body of work and in my scatological titles such as “Dicks of Death” (2015). I confront war with very graphic, in-your-face words and images. Stuffed phalluses, blood and semen juxtapose national imagery and the US flag. It’s funny – but it’s dead serious!" 

Artist's book, Bootleg Second Edition 660 pages 24 x 13 cm   New       EUR 120 ORDER

H. R. Giger, Alien Tagebücher / Alien Diaries, Edition Patrick Frey, 2012

HR Giger worked in the Shepperton Studios near London from February to November 1978, creating the figures and sets for the film Alien (1979) directed by Ridley Scott. The film became an international success, earning Giger an Oscar. In the transcribed Alien Diaries, published here for the first time as a facsimile, HR Giger describes his work in the studios. He writes, sketches, and takes photographs with his Polaroid SX70. With brutal honesty, sarcasm and occasional despair, Giger describes what it is like working for the film industry and how he struggles against all odds — be it the stinginess of producers or the sluggishness of his staff — to see his designs become reality. The Alien Diaries (in German transcription with an English translation) show a little-known personal side of the artist HR Giger and offer an unusual, detailed glimpse into the making of a movie classic through the eyes of a Swiss artist. The book contains almost completely unpublished material, including drawings, Polaroids showing the monster coming to life, and several still shots from the plentiful film material that Giger took in Shepperton.

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