KARL LARSSON / PARROT

Thursday October 21, from 6 to 9pm



Thursday October 21st will be three days already into the FIAC, the art fair taking place in Paris this week. It happens every year, and we know how it goes. The first couple of days are exciting, there is a lot to see in the fair, and many acquaintances to greet and to congratulate. But by the third day, things aren’t looking as crisp, and it’s time for a different setting for art, it's time for a change of atmosphere.

On Thursday October 21st, from 6 to 9pm, castillo/corrales will welcome you in its gallery/bookshop space on the hills of Belleville for an authentic evening of art and poetry, on the occasion of the release of Paraguay Press latest publication: Parrot, by Swedish artist Karl Larsson.

Larsson is simply one of the most interesting artists today – and quite certainly a future fixture of following Fiacs (that’s a nice one). His new book Parrot can be described as an artist’s essay in the fullest sense: aphoristic, poetical, comedic and surprising, it challenges theoretical and historical categories. It stems from research conducted by Karl Larsson “on” Marcel Broodthaers, focusing upon the problem of language and the place of poetry in the work and the myth surrounding the late Belgium artist.

On Thursday, Karl will read, talk, maybe perform; drinks will be served, cigarettes will be smoked, and it will feel nice to be on the street again.

More information on Parrot



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THE LAUNCH OF MAY # 4 and SECTION 7 BOOKS 1st BLOWOUT SALE

Tuesday July 13, from 5 to 8pm



On Tuesday (yes, Tuesday) July 13th, from 5 PM, castillo/corrales invites you for the launch of the new issue of MAY, which coincides with the first anniversary of the Paris-based journal. Issue after issue, MAY just keeps getting better as you’ll find out by yourself after getting a copy of the # 4. It features a collection of texts and archival material from the Italian “feminist nebula” from the 1970s, edited by Fulvia Carnevale, in addition to the regular essays, exhibitions reviews and interviews authored either by artists or critics. Josef Strau, Jay Chung, Clara Schulman, Alex Kitnick and David Lewis have each contributed with new texts to this issue, which also includes a transcript of a very mexican conference by Tony Conrad, and a conversation with French artist Mathieu K. Abonnenc.
MAY #4 is 216 pages long. Texts are in English and/or French. 8 Euros

And to make this day even better for everyone (at least those around us), we organize what is no less than, yes, a blowout sale, with discounts on a selection of publications from the bookstore reaching, sometimes, 60% of the cover price. But of course, this is just for the day.

www.mayrevue.com



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A PRESENTATION OF THE BOOKTHE SPACE OF WORDS

with Christophe Gallois, Jean-Philippe Antoine, and Pierre Leguillon

Friday July 2, at 7pm




The book The Space of Words is conceived as an extension to the exhibition of the same name, curated by Christophe Gallois at Mudam, Luxembourg, in 2009. Articulated around the practice of eleven artists from different generations –Marcel Broodthaers, Ryan Gander, Raymond Hains, Ed Ruscha, Frances Stark, Josef Strau or Tris Vonna-Michell, amongst others– it explores the relationships between language and space. Erasure, alteration, the slippage or exploding of meaning, illogism, the transposition of the medium of the text to the exhibition space are some of the issues which triggered this project. The catalogue The Space of Words further highlights the singularity of the artists’ approaches, notably through a series of new interviews with them, original contributions by artists Aurélien Froment, Ryan Gander and Josef Strau, and essays by Gallois and Jean-Philippe Antoine.

Christophe Gallois, editor and curator of The Space of Words, Jean-Philippe Antoine and Pierre Leguillon, who contributed to the book too, will present it along some documents in relation to it.

NB: We could add that castillo/corrales’s current show, "John Latham: Into the Noit", is not completely alien to that very question of the physics of words (and reverse)

The Space of Words. 336 pages, French/English. Texts by Jean-Philippe Antoine, Christophe Gallois, Pierre Leguillon, Markus Pilgram. Graphic design: Florence Richard (Mudam). Editor: Christophe Gallois (Mudam). ISBN 978-2-919923-29-8. Mudam éditions, 2010. €30



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BRIAN KENNON / 2nd CANNONS PUBLICATIONS, LOS ANGELES

Thursday May 20, at 7.30pm



Could there be a better guest for an evening at castillo/corrales around this time of year?

Brian Kennon, you know, the author of Good Boy (a collection of dissected and altered Christopher Wool paintings, remade into Misfits song titles, Minutemen song lyrics and other paintings Christopher Wool never made, but Kennon thought he should have) and The Cindy Shermans I’d Like to Fuck (where Sherman’s photographs of phantom female identities are appropriated and reorganized into 7 chapters based on the sex drive of the book’s author) and Black and White Reproductions of the Abstract Expressionists (here the title says it all, well almost), and Hello Victims: Ad Reinhardt (where Reinhardt's black paintings are presented within the context of the equally apocalyptic lenses of Motorhead, Nuclear War and Zombie films) or She Has a Hot Ass...

Brian Kennon, you know, the publisher of Rarely Seen Bas Jan Ader Film, a flipbook by David Horvitz, and Good Morning Evil Genius by Meg Cranston, and Foul Mouth by Bruce Hainley, and last but not least, Tearoom by William E. Jones (amongst other publications of the filmmaker).

There is only one Brian Kennon, and he will be at castillo/corrales this Thursday to talk about all these books, and the work with his imprint 2nd Cannons, which holds a pretty unique position in the art publishing landscape.

www.2ndcannons.com



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FALKE PISANO and WILL HOLDER

Saturday March 27, 6-9pm



Saturday afternoon, when the sun is still well in the sky in Paris, Falke Pisano and Will Holder will start talking about how their longtime conversation shaped Figures of Speech – Pisano’s new artist book, just published by JRP Ringier/Christoph Keller Editions, that Holder edited and designed.What does the book form produces in relation to the characteristic circulatory nature and dynamic of Pisano’s work? Does it freeze it, slow it down, or put it further into motion? And how does it relate to Louis Zukofsky’s famous (and marxian): "Infinite is a meaningless word: except – it states / The mind is capable of performing / an endless process of addition." Seriously.

The book will also be discussed in regard to two other outstanding publications that Will Holder edited and designed recently, almost concurrently: For the blind man in the dark room looking for the black cat that isn’t there (2009), the companion book for the eponymous exhibition curated by Anthony Huberman, and The Otolith Group: A Long Time Between Two Suns (2010). It's a triple release party in a way, and most likely, when we'll say goodbye, the sky will be completely dark.



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COCO FUSCO and MATHIEU K. ABONNENC

Tuesday February 16, at 7pm



In anticipation of the group exhibition "Self as Disappearance" curated by Mathieu K. Abonnenc at La Synagogue de Delme (Feb 19 - May 23), to which she is taking part, the Cuban-American artist and writer Coco Fusco will give a talk and discuss with Abonnenc at the bookstore this Tuesday at 7pm. One of the subjects will be "Buried Pigs with Moros", an installation through which the artist builds up a history of torture acts directed religious communities, from the Philipine-American to Guantanamo.

A selection of publications by Coco Fusco are available at section 7 books, including "A Field Guide for Female Interrogators" (Seven Stories Press, 2008), and its French edition "Petit manuel de torture à l'usage des femmes-soldats" (Les Prairies Ordinaires, 2008); "Only skin deep: Changing visions of the American self" (Harry Abrams, 2003); "The Bodies That Were Not Ours and other writings" (Routledge/Iniva, 2001); "Corpus Delecti: Performance Art of the Americas" (Routledge, 1999), and "English is Broken Here: Notes on Cultural Fusion in the Americas", The New Press, 1995.



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BACK COVER #3

Saturday February 13, from 2 to 7pm



Back Cover, the Paris-based magazine edited by graphic design team DeValence returns with a new issue. Articulated through a rigorous selection of articles, this third issue offers new texts, interviews and new thinking by Abäke, Alexandre Dimos, Anthony Froshaug, Aurélien Froment, Richard Hollis, Jean-Yves Jouannais, Robin Kinross, Metahaven, Didier Semin, Yann Sérandour, Benjamin Thorel and Raphaël Zarka. On Saturday 13th at Section 7 Books, starting at 2pm, DeValence will present the issue and act as bookstore attendants for the day, offering advices and commentaries to visitors about the bookstore's selection. At 6pm, they will deliver a more formal presentation of the issue, and to reward their contribution to the business of the day at section 7 books, as well as to the intellectual scene, with this great journal, drinks will be served.

BACK COVER #3
graphic design, typography, etc.
#3 Winter—Spring 2010, 60 p.
Bilingual French /English

www.editions-b42.com



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AARON FLINT JAMISON

A Financial Presentation of Veneer Magazine

Friday January 22, at 8pm



As most customers of Section 7 Books know, Veneer magazine is among our favorite publications at the bookstore, one we can talk about on and on and on. It surely deserves such a commitment; it requires it also, quite certainly. But finally, this Friday, we will be able to step back and listen instead of doing the talking – probably somewhat untruthfully or incompletely – as we’re hosting a presentation of Veneer by Aaron Flint Jamison, its founder and editor-in-chief.

It won’t come as a surprise to those already familiar with Veneer that this presentation is not going to be generic, but one with an angle. And this is how it goes:

A cultural or commercial institution collaborates with an artist on a grandiose project. That artist and institution agree upon a budget. The institution appoints an administrative assistant to maintain financial records of the artist's spending. With 1/3 of the project completed, the artist asks the administrative assistant to look at the spreadsheets. The artist presents these figures to his audience and then, in an act of exploring responsibility, leaves them in the possession of his public relations agent.

"I'm not worried about the deficit. It's big enough to take care of itself." -- Ronald Reagan It is easy and cavalier to critique institutions. What is more interesting is actually self-deprecating. Aaron Flint Jamison, founder of Veneer Magazine, will present three acetate transparencies that detail and diagnose the financial health of his publishing project. After the meeting, the acetates will be left to Section 7 Books and castillo/corrales, Veneer's primary European selling outpost.

What does it mean financially to make a publication such as Veneer? If one of Veneer's primary focuses is performance, why is this meeting about the specifics of bookmaking? Oh wait. Finally: how does such a summit interface with a gallery, a failing economy, and the life of an artist such as Kathryn Bigelow who became a popular genre movie film director?


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Veneer Magazine is an 18-book publishing project established in 2007. To date, six books in the series exist. Each publication is elaborately made and often focuses on the books themselves being documents to specific performances.

In 2002, Aaron Flint Jamison co-founded the artist-run center Department of Safety located in Anacortes, WA, USA. He received his MFA from the San Francisco Art Institute in 2006. He is the founder and editor-in-chief of Veneer Magazine. Jamison exhibits his work frequently. Currently, he is working on a commission and living in Portland, OR, USA.




www.veneermagazine.com



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EILEEN MYLES

Reading from The Importance of Being Iceland. Travel Essays in Art.

Thursday October 15, 2009 at 8pm



Throughout her career, Eileen Myles has reclaimed poetry as public vocation. "Our times needs a shadow," she writes in The Importance of Being Iceland. Framed by an account of her travels in Iceland, these essays assert inbetweenness as the most vital (and poetic) position to view the world as a whole. Culled form more than two decades of art and cultural criticism originally written for exhibitions, events, and journals, the essays in this book--on subjects ranging from Henry David Thoreau, James Schulyler, and Björk to queer Russia, working class speech, California freeways, and flossing--counterpose the nuance of Iceland's deeply rooted yet fluid culture with the more prevalent, American fact of steamrolling "global" heteregoneity. Myles links ancient Icelandic verse, New York summer streets, the antiseptic malls of La Jolla, and the back of the Sister Spit tour van with an awareness that criticism is always a social gesture.

The Importance of Being Iceland was released last July by Semiotext(e). 369 pages.



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MARK VON SCHLEGELL, "Alien Season"

Thursday July 23, at 8 pm




No, no, we’re not announcing that we are closing for the summer holidays. Not yet. Not quite. Ok, summer is for slacking, we don’t argue with this, but there are many ways of slacking, and spending some time at castillo/corrales listening to and meeting with some of the most talented writers active today is perhaps one of the highest form of summer slacking, at least when you’re in Paris, and the only beach around is the environmentally-evil Paris-Plages.


On Thursday, 23rd at 8pm, we will host Cologne-based American novelist and cultural critic Mark von Schlegell, for a lecture/reading. MVS is not an artist who writes, which would not be something that special. Yet, he’s a writer who publishes almost exclusively in the art context. What else does he do? He believes in the role of small presses as active agents against cultural standardization, including the commodification of art practice. The editor of The Rambler, an insurrectional pamphlet in Los Angeles, MVS has an habit of spreading texts through various magazines and publishers, including Semiotext(e), the Journal of Aesthetics and Protest or Pork Salad Press. Besides his literature and art critical inquiries, recently on Robert Smithson or Dan Graham, his dystopian insights on the society of control and cultural domestication expand in his science-fiction writings, and increase in an ongoing saga titled « Systems Series », published by Semiotext(e).


For his talk at c/c, and to introduce his way of blending fiction with criticism, MVS will rely on the books of the « Systems Series», Venusia and Mercury Station, and on a new literary essay, Realometer, soon to be released by Merve Verlag in Berlin. « If you ask me for criticism, expect a story. Science fiction helps my criticism », he says. « I often mix it in directly now. I found it adds humor, imagination, makes what is often a terrible chore done for money suddenly fun to do.»








Thanks to Jennifer Teets and Kadist Art Foundation




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JEFF RIAN "Purple Years"


July 17, 2009 at 7.30 pm





Maybe it has something to do with what Gertrude Stein once wrote on being an American writer in Paris:

One of the things that I liked all these years is to be surrounded by people who know no English. It has left me more intensely alone with my eyes and my English. I do not know if it would have been possible to have English be so all in all to me otherwise… I like living with so very many people and being all alone with English and myself.

Or maybe it is simply because, when he writes, he has no agenda beyond sharing personal experiences, responses, lucidities.

Jeff Rian is one of the few writers in the art world one reads for pleasure. It has been a real luck to have him living in Paris as an American expatriate since the mid-90s, and to keep up with his straightforward, jargon-free, reflective prose. We can only be grateful to onestar press for putting out this new collection of essays – his second after The Buckshot Lexicon (Lexique Revolver, in French) published by Purple Books in 2000.

Purple Years collects two dozens essays that appeared in different form in Purple magazine or in The Purple Journal, the two main venues for his writings here. The texts chosen for Purple Years are not, except for one, about art, visual artists, and musicians, and go by titles like “1992”, “Laundry”, “Living in Paris”, Two Train Rides”, “What I Want”, “Work” or “A Unified Theory of Acceptance and Letting Go”. They form a remarkable collection and make Purple Years the ideal companion for the summer holidays.

This Friday, at castillo/corrales, Purple Years will be at a special price, and Jeff will read, and drinks will be served.



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The Paris Launch of the inaugural issue of the art journal MAY


21 June 2009, 5 pm





This year, June is the month of MAY. On June 21 at 5pm, castillo/corrales celebrates May 1. Although it sounds like a typical pun à la Joe Scanlan, this is not a side event of his exhibition “Red Flags” currently on view at c/c. No, what we’re talking about is the inaugural issue of the new Paris-based art journal called May.

It’s a baptism party with no guest list, no church service and no white cake with white frosting, but season drinks served by the editors and some of the contributors of this first issue, on a sunny Sunday afternoon in Paris. We hope you can join us on this occasion to celebrate this bright initiative, and get a grasp of how this first issue was built piecemeal, and what it could mean as an editorial, or what May stands for and is aiming at.

May #1 presents texts and contributions by artists and critics, including Fulvia Carnevale, Catherine Chevalier, Jay Chung, Grand Openings, Karl Holmqvist, Michael Krebber, Anne Marquez, Jean Pierre Rehm, Clément Rodzielski, Vincent Romagny, Benjamin Thorel, Oscar Tuazon, Antek Walczak, and more...

May #1, 176 pages, Texts in English and French. 6 Euros. Distribution: Les presses du réel.

www.mayrevue.com



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What do paintings want... to illustrate?

A dialogue between American artists R.H. Quaytman and Amy Sillman, as an introduction to Quaytman's book Allegorical Decoys published by MER. Paper Kunsthalle.

24 January 2009, 7pm




"I structure my work as if I were making a library, each painting being part of a chapter. Unavoidably, the taboo idea of paintings as illustration is something I think about. My interest in illustration is connected to the pleasurable anxiety I feel in the textlessness of painting. I have, maybe unconsciously, made my pictures function as illustrations whether it be through the particular site’s history or space, illustrating what paintings do, illustrating what eyes do or illustrating the picture itself. The viewer is invited to ask any question of the picture and I guarantee there will be answers in the form of words. There will be a story – there will be a caption even if the image is abstract. These are my campaign promises. This is not to say that these words will explain the picture but rather these words are telling another story of which this painting can be seen, if one chooses, as illustrating. This alone should stabilize your vertigo. They play with the injunction against illustration as fundamentally an aid for poor readers. Illustrations are, after all, for children and illiterates."

Amy Sillman, R.H. Quaytman’s close friend and colleague has generously agreed to join her in a conversation around the question “what do paintings want…to illustrate?”





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L'EFFET PAPILLON, 1989 - 2007

23 January 2009, 8pm

A presentation of L'Effet papillon 1989 - 2007, the retrospective catalogue of the Centre d'édition contemporaine (Cec), Geneva, with Véronique Bacchetta, director of the Cec, and artist Benjamin Valenza.







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SOONER OR LATER WE ALL UP END IN RETAIL

16 January 2009, 8pm


"Sooner or later we all end up in retail" is a video presentation and discussion by Jason Simon on the co-operative gallery project Orchard, (New York, 2005-2008). Simon will screen "May I Help You", by Andrea Fraser and Jeff Preiss, and his own video "Vera", to consider some experiences of commodity culture at the edge of the bubble.







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THE HAPPY HYPOCRITE I & II

19 December 2008, 8pm


A presentation of The Happy Hypocrite by Maria Fusco, the founding editor of this new journal for and about experimental art writing published by Bookworks (London).



For more information on HH, see: bookworks.org



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DOT DOT DOT #16 and F.R. DAVID #3

7 October 2008, 8pm


The Paris double launch of DDD #16 and F.R David #3. With Raimundas Malašauskas, guest co-editor of this new issue of the New York based journal Dot Dot Dot, and Will Holder, co-editor of F.R. David (Amsterdam).









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A.R.T PRESS / BACK COVER

17 July 2008, 8 pm


An Evening in two parts. Alexandre Dimos, Gaël Étienne and Véronique Marrier, editors of the Paris journal for graphic design Back Cover, will explain the reasons behind the change of names and formats from Marie Louise to Back Cover, and discuss the community of interest and aspiration that has formed recently in France around new trends in graphic design and typography.

Then, Alejandro Cesarco, the New York artist and editor of the A.R.T. Press series "Between Artists" will talk about artist to artist conversations, what makes a good pair, and how to create the conditions for an interesting dialogue to take place. He will also present the latest titles in the series: Maria Eichhorn/John Miller; Andrea Bowers/Catherine Opie; Martha Rosler/Paul Chan; Lawrence Weiner/Liam Gillick; Amy Sillman/Gregg Bordowitz; Silvia Kolbowski/Walid Raad.



www.editions-b42.com

www.artresourcestransfer.org




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OEI (R)Ed. Est.


7 May 2008, 8pm




castillo/corrales is pleased to host, on Wednesday May 7, a presentation of the latest issue of OEI, the Swedish poetry, theory and art magazine.

Jonas (J) Magnusson, poet, writer and theorist, Cecilia Grönberg, artist and writer, Martin Högström, poet, and Kim West, art critic, all members of the editorial team of OEI, will read from the magazine and talk about publishing as an experimental practice, editorial aesthetics, and the use of montage in writing and language.

A publication devoted to "conceptual operations and aesthetical technologies", OEI was founded in the very end of the last millennium. It has published 38 issues, growing thicker to reach the shape of a more than 400 pages volume, elegantly and cleverly designed and edited, gathering experimental poetry as well as art criticism. Linked to the non-commercial publishing house OEI editör, OEI reminds us of the Revue de Littérature Générale, indeed one of its models, in the way it gathers essays, documents and text-based artworks, connecting the history of literature to contemporary aesthetics while working on the very art of publishing and magazine making. Mainly published in Swedish, OEI also insists on the significance of translation in art and knowledge nowadays, relevantly raising questions of visibility, readability, and global conversation in the contemporary art field.

The conceptual point-of-departure for OEI (R)Ed. Est. is the proposition that editorial work is carried out according to specific principles of assembling (researching, documenting, commissioning) and presenting (postproduction, montage, layout, typography) a body of material, and that such operations are carried out in a number of genres and disciplines including film editing, sound editing, magazine editing, literary editing, etc. OEI (R)Ed. Est. thus constitutes a series of attempts to actualize the notion (pace Eisenstein) of editing/montage as a "generic" cultural operation, or, in another sense, to articulate points of contact between various practices within an "expanded" field of editing.

OEI (R)Ed. Est. contains, among other things, reprints of pages from Vito Acconci & Bernadette Mayer's 0 to 9; translations of La Rédaction, Craig Dworkin, Liz Kotz, and Harun Farocki; essays about Leslie Scalapino, Jean-Luc Godard and Jarl Hammarberg; contributions from editors of magazines like Multitudes or Cabinet; a presentation of the legendary Boulevardkartongen Tvångs-Blandaren (an issue of the Swedish periodical Blandaren, edited by among others a young Pontus Hultén and which had a seminal influence on George Maciunas and the so-called Fluxus boxes); an extensive presentation of the projected but never-realized journals Krise und Kritik (ed. Walter Benjamin and Bertolt Brecht) and Revue Internationale (ed. Maurice Blanchot...), etc. Last but not least, a whole section of the magazine is dedicated to Art & Language and the great journal Art-Language.

For more information on OEI, visit oei.nu




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SOCIETE ANONYME, P.II


Kadist Art Foundation, Paris

January 24 – March 10, 2008



Section 7 Books was a central element of the exhibition "Societe Anonyme" curated by Thomas Boutoux, François Piron and Natasa Petresin-Bachelez, during the second stage of this project, in 2008, at Kadist Art Foundation. Temporarily relocated on the hills of Montmartre, Section 7 Books functionned both as a daily operated bookstore and a display structure for the works produced by the artists and organizations participating in Sociéte Anonyme: 16 Beaver Group (New York), b_books (Berlin), Chto Delat / What is to be done? (Saint Petersburg), Erick Beltran (Mexico), Nico Dockx & Friends (Antwerp), tvtv (Copenhagen), tranzit (Prague), and What, How & for Whom? (Zagreb).

The bookstore also hosted a series of events and conversations, including a presentation of the online journal rosab.net; the launch of the book Art Conceptuel, une entologie published by Mix Editions; an event organized by 220 jours with artists Isabelle Cornaro, Aurélien Froment, Benoit Maire and Raphaël Zarka; readings from the science-fiction novel Philip by Heman Chong, Cosmin Costinas and Tessa Giblin, and diners with Emily Pethick of Casco, Office for Art, Design and Theory, in Utrecht, or with Zhang Wei and Hu Fang of Vitamin Creative Space, Guangzhou.







www.kadist.org



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METRONOME No. 11 (What is to be done? Tokyo)


A Conversation between Clémentine Deliss, Joanna Fiduccia and Benjamin Thorel

2 Nov 2007, 7 pm



On November 2nd, at castillo/corrales, Clémentine Deliss, publisher and editor of Metronome, was trading stories, hints, tools, thoughts and afterthoughts on the research that led to the latest issue of Metronome published in collaboration with documenta 12. Produced in Tokyo over a period of one year, Metronome No.11 questions mobility and translation in art and asks: what might the future faculties of knowledge for a new independent art school be? It investigates the conditions for autonomous dynamics of research and production in art and science, and looks at the constitution of self-formed or proto-institutions in relationship to local contexts and activist education. Metronome questions their back-stage presence in the contemporary art world and their resistance to growth and expansion in a time where visibility constitutes the dominant horizon for most art practices and projects.

Metronome No.11 rethinks intellectual exchange and shared investments in art, new modalities of teamwork, conversations, think-tanks and symposia.

The conversation with Clementine Deliss was conducted by art critics Joanna Fiduccia and Benjamin Thorel.

For more information on Metronome, visit Metronome Press