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AH AH AH / Editorial design and art direction: Pierre Denan. Editorial assistant: Jessica Piersanti / Contributeurs/Featuring : Mark Alizart, Olivier Babin, Jérôme Bel, Nicolas Bourriaud, Samuel Boutruche, Antonio Canova, James Casebere, Jean-Max Colard, Pierre Denan, Ceal Floyer, Michel Gauthier, Liam Gillick, Laurent Grasso, Annika Von Hausswolff, Alberto Herraíz, Carsten Höller, Jacques Julien, Asma Khawatmi, Elise Kleeb, Vincent Lamouroux, Claude Lévêque, Marjolaine Lévy, Hélène Meisel, Mathieu Mercier, Vera Molnar, Jonathan Monk, Benjamin Moreau, Steven Parrino, Arnauld Pierre, Jessica Piersanti, Hugues Reip, Bojan Sarcevic, Gregor Schneider, Franck Scurti, Simon Starling, Veit Stratmann, Galerie Torri, Anissa Touati, Morgane Tschiember, Julijonas Urbonas, Xavier Veilhan, Lawrence Weiner.

The cover illustration is based on an exhibition invitation that artist Peter Roehr devised a year before he died, for what was to be his last show, ‘‘Roehr bei Seide’’ (Frankfurt, 1967). The invitation showed Roehr posing in a white cube, flanked by fashion models, in front of his artworks, namely ten montages of thirty-five rectangles made of black cardboard used by a window dresser. On this subject, see Marie Muracciole’s article, “TOMORROW NEVER KNOWS, Peter Roehr (1944-1968),” published in issue 5 of the magazine 20/27 (Editions M19, Paris, 2011).

paru en octobre 2011
édition bilingue (français / anglais)
21 x 28,5 cm (broché)
232 pages (97 ill. n&b)
14.00 €
ISBN : 978-2-9157-5416-2
EAN : 9782915754162

buy now: AH AH AH numéro 1
édition M19 - diffusion Les presses du réel

 

Gregor Schneider, Weisse Folter, Passageway N°1, 2005/2007

Samuel Boutruche, Benjamin Moreau (Kolkoz), El Pueblo de las Fantasmas, in Real de Catorce, state of San Luis de Potosi, September 2010

Jacques Julien and Hugues Reip —the group SPLIT— perform a concert at the Swiss Cultural Center in Paris

Soldiers patrol the Tuileries Gardens in Paris, December 8, 2010

Louvre muséum, visitors crowding in front of Leonardo da Vinci’s painting of Mona Lisa, May 30, 2011 at 3 pm

Black square on white round, created for AH AH AH by Alberto Herraíz, the chef at El Fogón Restaurant, Paris

Bojan Sarcevic’s work, Comme des Chiens et des Vagues, exhibited at the Modern Art Gallery, London from October 13 to November 13, 2010

Veit Stratmann, THE PLATFORMS, 2008, galvanised Steel

Vincent Lamouroux, on the refueling tarmac of Angoulême-Cognac airport, August 28, 2011. Preparation of The Imaginal Machine, a work in progress

Pierre Denan, Souffle de Nicolas Bourriaud, 2011, based on Piero Manzoni’s Souffle d’Artiste, 1960

Morgane Tschiember Electric tirés, Beijing, China, art district 798, June 2008

Jonathan Monk, As Yet Untitled V, 2010, Marble, courtesy of the artist and Casey Kaplan, New York, photo Cathy Carver


In order of appearance: an article by Marjolaine Lévy on Simon Starling, followed by a portrait of the artist standing in front of a white wall with a canoe over his head. A photograph by Annika Von Hausswolff titled The Blind Woman, 1998. A prisoner’s cell, an interrogation room, corridors: four photos by Gregor Schneider from a series titled Weisse Folter, 2005-2007. A picture of the earth, screen capture. Portraits of Samuel Boutruche and Benjamin Moreau (Kolkoz), photographed during their residence at Casa de los Perros in Apaseo el Grande, Guanajuato State, Mexico, from September 2010 to February 2011. Light reflecting off the zinc-topped bar of Le Monsigny at 25 Rue Saint-Augustin, Paris. The lyrics to FEEED, a song by Jacques Julien and Hugues Reip (the group SPLIT), and pictures of the concert they gave at the Swiss Cultural Center in Paris on March 3, 2011. A sculpture by Laurent Grasso titled Anechoic Wall, 2010. Photos of art historian Arnauld Pierre taken during an aikido session in the dojo at Gymnase Caillaud in Paris, March 31, 2011. Two-dimensional depictions of works by Alexander Calder, Untitled, circa 1933 and Snow Flurry I (Rafale de Neige), 1948, published in Arnauld Pierre’s book, Calder: Mouvement et Réalité (Paris: Hazan, 2009). Soldiers patrolling the Tuileries Gardens in Paris, photographed on a day of heavy snowfall, December 8, 2010. A few pages on Julijonas Urbonas’ Euthanasia Coaster, a hypothetical euthanasia machine in the form of a roller coaster designed to put an end to human life with elegant, humane euphoria. A tangle of electric wires, tires on a black tarp, and sheets of lead photographed by Morgane Tschiember during trips to China (2008) and the U.S. (2009). Three works by Morgane Tschiember titled How Small a Thought it Takes to Fill a Whole Life, raster patterns, 2011, silkscreens on glass, 2 x 3 m (78 x 118 in). Perfectly aligned houses and manicured lawns: three photographs by James Casebere from a series titled Landscape with Houses, shot from a huge maquette made by the artist based on suburban Duchess County, New York. A photo of Romain Torri’s office at Galerie TORRI on Rue Saint-Claude in Paris, with works by Mathias Schweizer, Jean-Baptiste Bernadet, Florian Pugnaire, Braco Dimitrijevic, and Hamish Fulton. Two paintings by Vera Molnar, titled Carré Coupé en 5 Rectangles, 2011. Visitors crowding in front of Leonardo da Vinci’s Mona Lisa, at 3 pm on May 30, 2011 in the Louvre Museum, Paris. A bronze nail in the wall of the Triple V gallery in Paris, being a work by Olivier Babin titled You Know, 2009. A view of Rue Beaubourg in Paris from the hole in a building made by Gordon Matta-Clark, photographed in 1975, digital print on canvas on round stretcher (diam. 19 3⁄4 in.), titled Pour le Mur, signed Pierre Denan and exhibited at the Galerie de Multiples in Paris on October 15, 2011, for the launch of AH AH AH. A thick cloud of smoke in a Flemish primitive painting, being a work by Laurent Grasso titled Studies into the Past, oil on oak panel, 2010. An image, repeated four times, of a woman’s hand holding a blank-screened iPhone, replicating the picture used by Wallace Berman (of a transistor radio ad) for his Verifax Collages, done in the 1960s; but here the iPhone is left blank, so that readers can personalize their copies of AH AH AH by sticking on the visuals of their choice. Splatters of white paint on the sidewalk opposite Galerie Jocelyn Wolff on Rue Julien-Lacroix in the Belleville neighborhood of Paris. Two portraits of Pierre Denan (by Cécilia Jauniau) after photos taken by Peter Roehr for the invitation card to his exhibition Roehr bei Seide , 1967, Frankfurt. A ceiling at the Galerie Thaddaeus Ropac on Rue Debelleyme in Paris. Elise Kleeb and Anissa Touati (Heidigalerie, Nantes) at Le Baron on the night of May 11, 2011, following a party at the Tokyo Art Club during which Xavier Veilhan invited Melvil Poupaud to read texts by Edouard Merino. One second from John Woo’s film Face OFF, 1997: dazzling lights photographed from a freeze-frame. A painting by Steven Parrino titled Cosa, 1990, hanging in the office of Mark Alizart at the French Ministry of Culture. A black square on white ground created for AH AH AH by Alberto Herraíz, chef at the El Fogón restaurant in Paris. A photo of the medium Reynal Roussel, whom Pierre Denan asked to contact the spirit of Marcel Duchamp. A marble plaque inscribed YOUR NAME HERE, being a work titled As Yet Untitled V, by Jonathan Monk, 2010. A photo of Michel Gauthier in a New York screening room in January 2010. Xavier Veilhan’s playlist AH AH AH, and a portrait of the artist spinning disks during the opening party for his solo show, Free Fall, at the Espace Louis Vuitton (Le Baron, Tokyo, January 14, 2011). A photo of Piero Manzoni’s Socle du Monde (1961), flipped 180°. An article by Hélène Meisel on Bojan Sarcevic’s work, Comme des Chiens et des Vagues, exhibited at Modern Art in London from October 13 to November 13, 2010, several pictures of which are reproduced here, notably those of young women posing with the metal sculptures. A list of books on Jean-Max Colard’s desk on Saturday, April 1, 2011. A sculpture by Antonio Canova, Psyché Ranimée par le Baiser de l’Amour (Psyche Revived by Cupid’s Kiss), circa 1793, photographed in the Louvre Museum, Paris, in the month of June 2011. A wall of breeze-blocks in front of the window of the Sox gallery in Berlin, plus seats, platforms, carts, and other public works by Veit Stratmann: IN TROYES, 2009, FOR THE CITY, 2004, VOR SOX, 2010, THE PLATFORMS, 2008. A wool cap by Dolce & Gabbana bearing the word BOXE (BOX), photographed in the M19 premises in the winter of 2011, in an allusion to Pierre Bonnard’s 1931 self-portrait titled The Boxer, 1931, oil on canvas. A portrait photo of Claude Lévêque taken by Hughes Bigo in 1987: “It was the golden age of alternative Punk.” A cardiac-training exercycle, being an unsigned ready-made sculpture. Urban architect Asma Khawatmi in her workshop in Montreuil, just outside Paris, on July 25, 2011. A portrait of Vincent Lamouroux fueling his airplane, August 2011. An article by Michel Gauthier titled “Football: Cruyff, Zidane, Modernism et Postmodernism.” Johan Cruyff photographed during an Ajax vs. Panathinaikos game on June 2, 1971. Zinedine Zidane photographed during a Switzerland vs. France game on October 8, 2005. A painted plaster potato, prototype for a project in bronze by Mathieu Mercier, 2010. A cannibal’s fork and plate, photographed at the Tous Cannibales show at the Maison Rouge, Paris, in March 2011. The solar corona photographed during a total eclipse of the sun on February 15, 1961 by the Observatoire du Pic du Midi in France. A picture of a white balloon against a white wall, titled Souffle de Nicolas Bourriaud, 2011. A work by Carsten Höller titled Double Carousel with Zöllner Stripes, 2011. An article by Jérôme Bel in which the choreographer explains why his project to mount a show with no actors never took place. A photo of the empty stage of the Kaaitheater in Brussels, where Bel’s show had its tryout. Three photos of the statement OUTSIDE OF ANY GIVEN CONTEXT, taken at a Liam Gillick and Lawrence Weiner exhibition titled A Syntax of Dependency, hosted by Muhka in Antwerp from February 3 to May 29, 2011. An electric drill on the floor, being a work by Ceal Floyer titled Drill, 2006. The final verse of the final canto of the first part of Dante’s Divine Comedy, in which he speaks of the Inferno. And, in conclusion, the words: “A cell phone rings: ‘Where are you?’”