Friday, January 27, 2023

Hartmut Andryczuk, Covukrain, Redfox Press, Blue Fox Collection, Achill Island, County Mayo, Ireland, 2022, ed. 70


Another cool silk-screened accordion in the Blue Fox accordion series from the folks at Redfoxpress. There are two other accordions by this German artist in this blog, and like this one they all display his own unique visual poetry that combines words and images, coupled with the dark and brooding quality of his drawings. This work combines a text about Covid with the war in Ukraine, see complete texts below.

10 pages double-sided, individually 6.25" x 3.75", and when fully opened 3ft 1.5"

"Science has found a way to inflate coronaviruses as big as tennis balls. Finally the military had the opportunity to bomb them in eastern europe (ukraine)"



"After the war the military and virologists saved all the remaining variants."



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Maria Eichhorn, 72 Bilder (72 Pictures), supplement to catalogue 'Der zerbrochene Spieger: Positionen zur Malerei,' Museumquartier Messepalast, Vienna, 1993


This gatefold accordion catalogue was published as a supplement to the exhibition catalogue for Der zerbrochene Spiegel: Positionen zur Malerei (The Broken Mirror: Positions on Painting) co-curated by Kasper Konig and Hans-Ulrich Obrist and shown originally at the Museumquartier Messepalast, Vienna, 1993. 

These minimalist works were created during Eichhorn's 1992/93 exhibition Qui, Quoi, Ou, at the Musee d'Art Moderne de la Ville Paris. A German artist known for her site-specific works, she represented Germany at the 2022 Venice Biennale. While a relatively traditional gatefold accordion publication, however, I particularly enjoy the pure visuality of all these differently colored paintings when the catalogue is unfolded.

On the reverse side is information about each individual work including date and the title/color of each work in 3 languages

6 double-sided pages, individually 8.25" x 5.75" and when fully opened 2ft 10.5".



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Monday, January 23, 2023

Dorothy Iannone, Follow Me, DAAD, Berlin, 1978 [incl. 45 rpm record 'Follow Me', 1978]

front cover

A fascinating double-sided catalogue for Iannone's 1978 exhibition at the Haus am Lützowplatz gallery in Berlin where she was living & working after receiving a prestigious Berlin Artists-in-Residence fellowship from DAAD. 

While accordion exhibition catalogues have a long and distinguished history, this one departs from this tradition and moves closer to being an artists' book. Iannone would seem to confirm this when she thanks the editor Thomas Deecke for "... graciously permitting that the pain of making a catalogue be transformed into the pleasure of making a book." 

The catalogue contains a smorgasbord of Iannone's works including paintings, prints, sculptures as well as a 45rpm record, all of them created within her larger quest for what she called "ecstatic unity" through erotic love. One of the pinnacles in this quest was her meeting in 1967 with the Swiss artist Dieter Roth (1930-1998), and their intense 8 year relationship that followed. Her works during these years would revolve around the world they created between themselves with Iannone reflecting in a 2016 interview "...my work went into many new directions and took on many new forms. Because i was so much in love with him, Dieter was my muse..." 

I feel lucky to have found this accordion, as I'm only aware of one other that she published during her entire career. Iannone forged a totally unique painterly and illustrative style, that is soaked through with eroticism and sexuality, but it comes from a deep well of honesty about being a woman with erotic desires and living & interacting with the world of men. Ultimately, Iannone came to the realization that "ecstatic unity" could not be found through erotic love and that it had paradoxically led her "...to look for unity within myself."

Dorothy Iannone died almost a month ago on December 26th, 2022 in Berlin at the age of 89.

16 pages, double-side, individual pages 10" x 8", when opened 10ft 8 inches.






reverse side


45 rpm record in cover attached to the accordion



back cover


Wednesday, November 23, 2022

Josef Koudelka, Teatro del Tempo, (2003) and Decreazione, (2013)


accordion with slip cover




Powerful two-page accordion spreads display Koudelka's gritty photographs taken in Rome between 1999-2003.

56 single sided pages, individually 8.25" x 11.5", when fully opened 53ft 8"


accordion with slip cover




"The Holy See participates this year for the first time in la Biennale di Venezia with a pavilion inspired by Book of Genesis. For the second of the interlinked exhibition trio named Creazione, De-Creazione and Ri-Creazione, the Vatican approached the photographer Josef Koudelka. A 22-page folder with design by Aleš Najbrt accompanies the exhibition of nine large format panoramic photographs speaking about “the opposition of man to the world and to moral and natural laws, and material destruction deriving from the loss of ethical meaning.” [Aleš Najbrt website]

21 single sided pages, individually 8.75" x 11.5", and when fully opened 20ft 1".

Agence MYOP, Sine Die: March 16 - May 11, 2020, André Frère Éditions, Marseille, France, 2020


This is a powerful photographic book that evolved in response to the imposition of the Covid-19 lockdown in France in 2020. The accordion is made up of works by 19 photographers from the agence MYOP group, and was designed under the artistic direction of Pierre Hybre, Stephane Lagoutte and Jean Larive, accompanied with an introductory essay by Michel Poivert. The sine die of the title (meaning: without any future date indicated) only serves to emphasize our then collective nervousness about this dangerous new virus, and how long it would be with us.

I'll let the statement on the inside flap of this book introduce its theme and how these photographs came to be created during the first 56 days of the lockdown:

"Ever since the lockdown was announced in France on March 16, 2020, photographers of the agence MYOP have felt the need to document this historic 
event.

For the whole 56 day duration, highly sensitive to the impact of Covid-19 on our environments, we photographed the parts of the country where we were locked 
in and restrained. Every day, the pictures we shot were pasted on our Instagram account, putting together online of 465 images reproduced on the back of the Leporello.

From this corpus we have selected 56 pictures, one per day, creating a new chronology of this period where the horizon disappeared. Michel Poivert has drawn free inspiration from them to write a series of antilegnedes."

On the side of the accordion with the 56 photographs there is a real sense of dislocation, of people isolated and confined, and the outside with its empty streets and everyone trying to adjust to the new 'space' of the virus. The variety of images brush up against each other in their depictions of this new environment and together they create a poignant momento to those early days of the pandemic.

The reverse side of the book has small reproductions of all 465 images shot during the 56 day time period, as well as a listing documenting the credits for each photograph (photographer/title/location)

59 double-sided pages, individually 8.5' x 6.25" and when fully extended 31ft 11.5".








reverse side




back cover


Tuesday, November 22, 2022

Zuzana Pustaiová, One Day Every Day, Bratislava, Slovakia, 2022, ed. 300


This is a beautifully produced high gloss accordion that feels great in one's hands. However, it's not a straightforward accordion either, as it has a number of folded in fold outs that surprise the reader as you navigate the publication. Speaking about this new book Pustaiová said the larger themes were, "...about stereotypes and everyday life." Indeed, a majority of the photographs in the book depict daily activities and its objects, but usually with some kind of twist as well. But food, bodies and how we look and dress is the structure on which this accordion was constructed. It's a funny, amusing, and surreal sequencing of her cool photographs.

The book is accompanied with an essay by the photography curator, Branislav Stepanek, in which he expands upon the theme of book concluding, "The book could be an authentic testimony of a conformist rebel whose life taught them that any attempt to break the social rules conclusively means they will never fully fit in. It is about a path more difficult, the need to belong and, at the same time, not bending under the pressure of education, social bubbles, media, gender roles and even one's own social beliefs. Someone has truly taken this path. Only time will tell how viable it is."

62 double-sided pages, individually 9.5" x 6.5", 8' 6.5".

slipcover and the accordion






reverse side





back cover