Accompanied by a letterpress print signed by Kenny Scharf and packaged in a custom full-color box, this new limited edition book by the cult artist reveals his latest body of works entitled “MOODZ.”

Comprising 400 circular paintings of faces—each one different—this comprehensive ensemble gives form to a population of moods, feelings, expressions, and colors. Who are the characters depicted on these multiple canvases? Scharf explains they all reflect aspects of his own personality. Some days he needs to release his aggressive energy and they may reflect his anger. Other faces reflect his exuberance and love of painting.

The serial imagery and the iconic quality of Scharf’s faces evoke the work of Andy Warhol. The conceptual structure also reflects the heritage of minimal art. Scharf likens the “MOODZ” series to an early memory of seeing the pixels of color on his parents’ first color television. His work fuses the vocabulary of Pop and Minimalism with 1960s California TV culture that he experienced as a boy in the San Fernando Valley, and as a high school student in Beverly Hills.

Kenny Scharf has been spray-painting faces since 1981. First furtively painting on the street, he learned to develop images spontaneously and quickly. For “MOODZ” he has created an expansive body of work within a rigorous set of constraints—but with infinite possibilities. Scharf embraces the immediacy of spray paint. His gestures use his entire body. The process is totally physical, like a dance. He paints while listening to music on his headphones, entering into a zone where his mind and body merge. His strokes follow the beat. Spray painting is probably the most direct way to make an image. There is no possibility for correction or erasure. As Scharf says, “there is no lying with spray paint.” The accidents that happen lead to new ideas. His faces are continually morphing and evolving.

Designed by Alexander Kohnke (Los Angeles) and organized chromatically, the publication gathers together the entire series of “MOODZ” as well as exhibition views and documentation related to the project. It features an essay by American gallerist and cultural figure Jeffrey Deitch, and an interview with the artist by Lio Malca. A poster (72 x 55 cm)—on which all the faces are reproduced together as if they form a color chart—accompanies the publication.

Kenny Scharf is an American painter. He was born in 1958 in Los Angeles, California, where he currently lives and works. In 1978 he moved to New York to study at the BFA School of Visual Arts from which he graduated in 1980. He befriended artists such as Jean-Michel Basquiat, Andy Warhol, and Keith Haring, and gained notoriety in the 1980s in New York for bridging contemporary art and graffiti. Scharf uses images from popular culture, especially from TV cartoons such as The Jetsons, The Flintstones, and The Simpsons, to bring art to everyday life. His art highlights a kind of eternal youth, a utopic colorful pop world full of comical monsters, floating donuts, and one-eyed creatures.

The Moods series was presented by Lio Malca at La Nave Salinas in Ibiza during the summer of 2019 and in Los Angeles in 2020 at Jeffrey Deitch.

To coincide with the release of her reference monograph published by JRP|Editions, Isabelle Cornaro (*1974, lives in Paris) has spray-painted a limited number of her publication’s covers, offering the opportunity to acquire a unique limited edition.
The cover being already formed by the superposition of two emblematic images of her work, this spray-painted gesture adds a new layer and refers to one of Cornaro’s characteristic way of working in her films, paintings, and sculptures.

Active since the beginning of the 2000s, Isabelle Cornaro investigates the relationship between objects—especially decorative objects—value, and art, through the issues of representation, perceptual experience, and reproduction. She is also exploring how to translate forms and languages, for example an old master painting into a 3D installation, a film into a graphic score, or the vocabulary of Minimalism into a more emotional language. She mines ambiguity by setting up a tension between the analytical, symbolic, lyrical, and anecdotal, addressing how our way of looking constructs the—colonial, bourgeois, modern—world and its uses. She works with various media such as installation, painting, sculpture, video, wall painting, and drawing.

Informed by her studies of Renaissance and classical aesthetics, she has explored how French painter Nicolas Poussin gave form to constructed worlds in his detailed depictions of mythological scenes and to how baroque art empowered objects; she has often favored the genre of still life, be it carefully built or chaotically (dis)organized. In her two- and three-dimensional pieces Cornaro is always creating a stage for the objects to be seen and the viewer to position themselves in. Perspectives and the ways we look at things play a crucial role in her work.

Offering a first occasion to grasp the cogency of a manifold practice, this reference monograph includes essays by American art critic Tim Griffin and art historian and Musée Picasso Paris President Cécile Debray, interviews with curator Fabrice Stroun and editor Clément Dirié, as well as comprehensive descriptive texts by art critic Benjamin Thorel.

Dedicated to the three iterations of the Mirage installation in Palm Springs, Detroit, and Gstaad (2017–2021), this publication offers the reader an experiential book that shares some of the characteristics of Mirage: the immersive emotion, the disrupted perception, the merging of the viewer and the landscape. This unique publication is thus not only about Mirage; it is conceived as an immersion in the artwork’s atmosphere.

A site-specific installation successively exhibited in the California desert outside Palm Springs, a defunct Detroit bank, and the Alpine landscape of Gstaad, Mirage is inspired by the ranch-style suburban American house—informed by the ideas of architect Frank Lloyd Wright—and entirely composed of reflective mirrored surfaces. A visual echo-chamber, its mirrored surfaces form a life-size kaleidoscope that absorbs and reflects the landscape. Subject and object, interior and exterior, the tangible and the ephemeral, the psychological and the physical, built architecture and landscape : each of these oppositional forces are held in constant tension, yet allowed to shift and transform during the passing of time and seasons. Like a human-sized lens, Mirage works to frame and distort the evolving world outside of it. There is no single time to view this work, as each moment provides a new variation: at night the distant lights refract to create a universe of stars; on a tranquil afternoon the sky is transformed into banks of blue fragmented by slices of clouds. There is no fixed perspective or correct interpretation. Each experience of this living artwork is unique. “I’m interested in the viewer seeing themselves in the work,” Aitken says about his installation, which also dialogues with the history of the Land art.

Designed by Arno Baudin (Zolo Press), this book gathers together never-before-published photo-documentation on the three Mirage installations, drawings, and other material related to the project, a comprehensive text by Neville Wakefield, as well as an interview with the artist on the history and evolution of Mirage over the years and in its different locations. Featuring cold foils, special inks, silver printing, and bound as a leporello to reflect on the mirror-like quality of Mirage, this publication is a limited edition that will become a collectible volume for both art amateurs and book lovers.

Doug Aitken (b. 1968, lives in Los Angeles) is an American artist and filmmaker. Utilizing a wide array of artistic approaches from sculpture, film, and installation to architectural intervention, Aitken’s immersive works lead us into a world where time, space, and memory are fluid concepts, and experience is key. He has recently exhibited at the Whitney Museum of American Art, The Museum of Modern Art, Vienna Secession, the Serpentine Gallery, and the Centre Pompidou. Aitken earned the International Prize at the Venice Biennale in 1999 for his installation, electric earth.

This book is co-published with Zolo Press, in collaboration with LUMA.

Dedicated to the three iterations of the Mirage installation in Palm Springs, Detroit, and Gstaad (2017–2021), this publication offers the reader an experiential book that shares some of the characteristics of Mirage: the immersive emotion, the disrupted perception, the merging of the viewer and the landscape. This unique publication is thus not only about Mirage; it is conceived as an immersion in the artwork’s atmosphere.

A site-specific installation successively exhibited in the California desert outside Palm Springs, a defunct Detroit bank, and the Alpine landscape of Gstaad, Mirage is inspired by the ranch-style suburban American house—informed by the ideas of architect Frank Lloyd Wright—and entirely composed of reflective mirrored surfaces. A visual echo-chamber, its mirrored surfaces form a life-size kaleidoscope that absorbs and reflects the landscape. Subject and object, interior and exterior, the tangible and the ephemeral, the psychological and the physical, built architecture and landscape : each of these oppositional forces are held in constant tension, yet allowed to shift and transform during the passing of time and seasons. Like a human-sized lens, Mirage works to frame and distort the evolving world outside of it. There is no single time to view this work, as each moment provides a new variation: at night the distant lights refract to create a universe of stars; on a tranquil afternoon the sky is transformed into banks of blue fragmented by slices of clouds. There is no fixed perspective or correct interpretation. Each experience of this living artwork is unique. “I’m interested in the viewer seeing themselves in the work,” Aitken says about his installation, which also dialogues with the history of the Land art.

Designed by Arno Baudin (Zolo Press), this book gathers together never-before-published photo-documentation on the three Mirage installations, drawings, and other material related to the project, a comprehensive text by Neville Wakefield, as well as an interview with the artist on the history and evolution of Mirage over the years and in its different locations. Featuring cold foils, special inks, silver printing, and bound as a leporello to reflect on the mirror-like quality of Mirage, this publication is a limited edition that will become a collectible volume for both art amateurs and book lovers.

Doug Aitken (b. 1968, lives in Los Angeles) is an American artist and filmmaker. Utilizing a wide array of artistic approaches from sculpture, film, and installation to architectural intervention, Aitken’s immersive works lead us into a world where time, space, and memory are fluid concepts, and experience is key. He has recently exhibited at the Whitney Museum of American Art, The Museum of Modern Art, Vienna Secession, the Serpentine Gallery, and the Centre Pompidou. Aitken earned the International Prize at the Venice Biennale in 1999 for his installation, electric earth.

This book is co-published with Zolo Press, in collaboration with LUMA.

Since 1998, Ringier, the Swiss-based global media company, has traditionally commissioned an artist to design its annual report. Publisher Michael Ringier and curator Beatrix Ruf initiated this series as a means of reinforcing the links between art and the activities of the company.

For the 2021 edition published in 2022, the invitation was given to artist Walid Raad. His project Another Festival of Gratitude: An Annual Report is based on a book he found in a flea market in Medusa in 2009. The notebook contains a handwritten note as well as colored forms and words connected by lines. Intrigued by the note about floating words, their smell, and the attempt to build sentences, Raad began the search for the unknown author. The artist was able to retrace some of the composite sentences of the notebook in various newspaper articles published in North America, Europe, and the Middle East between 1989 and 2005, but no further sighting of its creator was forthcoming.

Some pages of this found book are now reproduced for the Ringier Annual Report. Presented in a box, 36 loose sheets of paper show the colorful word and form compositions; the texts from the Ringier company report appear on the verso. The latter ones are “‘edited by foul-mouthed, cynical, know-it-all shit detector of a reader,”, as the artists states. The artist explains: “On the front, words, lines, colors, and shapes that drift and connect. On the back, words, lines, colors, and shapes that try to close ranks; on the front, someone trying to keep it together, to get a grip; on the back, someone’s trying to keep it together, to keep the ship afloat.”

Walid Raad (born 1967 in Chbanieh, Lebanon) is one of the most important artists of his generation from the Middle East. His works include photographs, videos, sculptures, installations, and performances. His ongoing art projects are The Atlas Group (1989–2004), Scratching on Things I Could Disavow (2007–present), and Sweet Talk: Commissions (1987–present).

Raad participated in documentas 11 and 13. He has held solo shows at, among others, Museo Nacional Thyssen-Bornemisza in Madrid, Moderna Museet in Stockholm, the Stedelijk Museum in Amsterdam, and MoMA in New York.

Published by Ringier AG; limited edition.

An unprecedented insight into Louise Bourgeois’ art by Jenny Holzer
Two of the most original artists of the postwar period, Louise Bourgeois (1911–2010) and Jenny Holzer (b. 1950), meet in this exceptional artist’s book conceived and designed by Holzer to accompany the Bourgeois exhibition she has curated at the Kunstmuseum Basel.

Holzer is internationally renowned for her exploration and subversion of public language in a wide variety of media and formats. Despite their formal differences, both artists share a strong interest in psychological and emotional states, such as love, desire, sexuality, rejection, jealousy, murder, suicide, dependency, and abandonment. Where Holzer approaches these subjects from a more sociopolitical angle, Bourgeois derives them from her own psychic life.

Holzer’s book is not a document of her Bourgeois exhibition but rather a parallel work that further mines the dynamic interplay between text and image in Bourgeois’ art. Working in a sumptuous oversize format, she has set up a nonlinear narrative through juxtapositions of Bourgeois’ works and writings, deploying extreme close-ups, dramatic croppings, full-page bleeds, and other devices to startle and refocus our attention on Bourgeois’ preoccupations and obsessions. At times these juxtapositions are enriched with works chosen from the historical collections of the Kunstmuseum Basel. The resultant confrontations are unexpected, jarring, and inspiring.

A fascinating montage of images and writings, this volume offers a unique perspective on Bourgeois’ extraordinary oeuvre as filtered through Holzer’s gaze.

The artist’s book is accompanied by a booklet with texts by Kunstmuseum Basel director Josef Helfenstein and curator Anita Haldemann.

Published with the Kunstmuseum Basel on the occasion of the exhibition Louise Bourgeois x Jenny Holzer: The Violence of Handwriting Across a Page, February 19–May 15, 2022

With sampling, shuffling, and montage taking center stage, the practice of Swiss-American artist Christian Marclay (*1955) has been anchored in the universe of sound since the end of the 1970s. An eminent conceptual artist and recipient of the Golden Lion at the Venice Biennale for his landmark 24-hour video installation The Clock (2010), he is equally fascinated by all aspects of popular music and avant-garde music, Hollywood cinema, and experimental film. Drawing on the Fluxus vision of art and Pop spirit, and heir to John Cage and Andy Warhol, Marclay has been exploring all the possibilities of the visual arts and the relationships between visual and sonic phenomena for more than four decades through collage, assemblage, installation, video, photography, painting, and printmaking. Also a performer, he has taken part in numerous musical projects, making the vinyl record and the turntable his favorite instruments.

Published on the occasion of the artist’s major retrospective at the Centre Pompidou, Paris, this volume explores in depth his consequential open and multimedia work, whose echo and popularity have continued to grow over time. From his early performances in the 1970s to his iconic Guitar Drag (2000) and his most recent large-scale video installations such as All Together (2018) and Subtitled (2019), assemblages of records and their covers, photographs in all formats, altered musical instruments, videos, combined prints and paintings, objects, and graphic scores ensure the connective tissue of this choral and resolutely polymorphic body of work in perpetual evolution—a practice in which the auditory dimension of our existence, whether literal or silently evoked, is constantly asserted.

Designed by Zak Group, and extensively illustrated, the publication gathers together new essays by writers Polly Barton and Nathalie Quintane, art historians Michel Gauthier and Marcella Lista, and design specialist Catherine de Smet to bring new perspectives to the artist’s practice. It also features a comprehensive conversation with Christian Marclay by the exhibition’s curator Jean-Pierre Criqui, an anthology of texts from an international array of writers and art historians—Clément Chéroux, Dennis Cooper, Jean-Pierre Criqui, Wayne Koestenbaum, and David Toop—as well as an exhaustive chronology by Annalisa Rimmaudo.

Published on the occasion of the artist’s retrospective at the Centre Pompidou, Paris, from November 16, 2022, to February 27, 2023.

To celebrate the new printing of “Everything In The Universe is Unfinished”, first published in 2017, “i ii iii Stamp” ( 2017/2024), an artwork by Yoko Ono, is being released for the first time as a limited edition print. The print comes in an envelope with the artist book.

The instructional text written on this letterpress print “This stamp can be used anywhere in the world,” echoes the sentiments of Nutopia, a conceptual country created by Yoko Ono and John Lennon in 1973.
In a joint letter, “Declaration of NUTOPIA”, they envisioned a new country with ”…no land, no boundaries, no passports, only people.”

“i ii iii Stamp” also incorporates Ono’s 2004 work “ONOCHORD”, a universal message of “I LOVE YOU” transmitted by a code of blinking lights: i for I, ii for Love, and iii for You.

To celebrate the new printing of “Everything In The Universe is Unfinished,” Yoko Ono has partnered with JRP|Editions to create two limited-edition artworks:

Add color where the world needs peace (1960/2017/2024):

Since 1960, Ono has invited participants to add color to canvases and objects. This print combines her “Add Color” initiative with her “Map Piece” works (1962–present), encouraging participants to creatively imagine peace in the world.
Edition of 250
46 cm × 61 cm (18.1 in. x 24 in).
Letterpress printed in 2 colors on Crane’s Lettra, Fluorescent White, 110 cover lb, accompanied by a set of mini colored pencils.
Numbered and stamped “y.o.” at the back of the print, accompanied by a certificate authenticated with the artist’s inkan.

EVERYTHING IN THE UNIVERSE is UNFINISHED & i ii iii Stamp (2017/2024):

Released as a limited-edition print for the first time, this artwork comes with the artist’s book. The print includes instructional text, “This stamp can be used anywhere in the world,” reflecting the ideals of Nutopia, a conceptual country created by Ono and John Lennon in 1973. It also incorporates elements of Ono’s 2004 work “ONOCHORD,” which conveys the message “I LOVE YOU” through a code of blinking lights: i for I, ii for Love, and iii for You.
Edition of 300
Book: 5.51 in. x 5.51 in. (14 cm x 14 cm)
Print: 5.5 in. x 5.5 in. (13.97 cm x 13.97 cm)
Letterpress print with blind faux perforation on Crane’s Lettra Fluorescent white 104 cover lb paper.
The print comes in an envelope with the artist book by Ono, EVERYTHING IN THE UNIVERSE IS UNFINISHED.
Accompanied by a certificate authenticated with the artist’s inkan.

Released to accompany JRP|Editions 2024 book Love is Forever, Isn’t It?, this limited edition closely produced with the Estate of Dorothy Iannone is completely representative of Iannone’s visual style and approach to art and life.

Excerpted from the book The Berlin Beauties, or You Have No Idea How Beautiful You Are she published with her intimate friend Mary Harding in Berlin in 1978 (The Mary Dorothy Verlag. The Passion Press), it blends drawing and text to propose a powerful and poetic image dedicated to ecstatic friendship, female autonomy, and the merging of art and love.

Since 1998, Ringier, the Swiss-based global media company, has traditionally commissioned an artist to design its annual report. Publisher Michael Ringier and curator Beatrix Ruf initiated this series as a means of reinforcing the links between art and the activities of the company.

For the 2023 edition published in 2024, the invitation was given to artist AA Bronson/General Idea. The publication takes the form of an administrative cardboard folder or binder whose design evokes the founding “Showcard Series” created by General Idea in 1975–1979. Unfolding the three-part cover, an artist book, a notepad containing Ringier’s facts & figures, and an embossed mirror sheet to reflect in (aka the context) are revealed.

Partly printed on transparent and mirror-like papers, the artist’s book appropriates a 1972 cover of FILE Megazine—the magazine General Idea ran from 1972 to 1989. It brings together images and works of mirrors and reflection dated 1972—2024, connecting the history of General Idea with that of AA Bronson. “I have often been confused by the subject of identity. Not only do I carry two identities—as AA Bronson but also as the more prosaic Michael Tims—but I also carry the identity of the group General Idea, I carry my partners Jorge and Felix, both deceased, on my back,” says the artist.

In the special edition of the 2024 Ringier Annual Report, Ringier’s facts & figures are replaced by a pad of tear-off sheets, repeating a text and photograph from General Idea: Jorge Zontal with his arms wrapped around his head, both held and holding. The photograph originates from the collective’s open call mail art project MANIPULATING THE SELF (Phase 1–A Borderline Case) that began in 1970. As a modern re-edition of this project, the reader is invited to re-perform the described pose and post the images using defined hashtags.

The publication also features a conversation between AA Bronson and Beatrix Ruf.

Conceived by AA Bronson in close collaboration with designer Garrick Gott, this special edition of the 2023 Ringier Annual Report is limited to 200 copies. Each copy is signed and numbered.

Canadian collective General Idea was founded in Toronto in 1969 by Felix Partz, Jorge Zontal, and AA Bronson, and active until the death of Partz and Zontal in 1994. JRP|Editions has published many books on General Idea, including a recent compendious overview of their practice released on the occasion of their touring exhibition in Ontario, Amsterdam, and Berlin in 2022–2023.

Published with Ringier Collection; limited edition.