saxpublishers

saxpublishers is a Vienna-based publishing house, founded in 2014 by Felix Gaudlitz and Alexander Nussbaumer. Their passion for printed matter and deep interest in contemporary art inspired them to develop publications in close collaboration with artists. In this way, saxpublishers translates artistic practices into artists’ books and limited print editions – from the very first idea to the final product. Publications are available for purchase on saxpublishers.com and in selected bookstores and museum shops. Contact us, join our mailing list or follow @saxpublishers on Instagram
Imprint saxpublishers Werdertorgasse 4/2/13, 1010 Vienna, Austria hi@saxpublishers.com ATU62646257 WKW, Fachgruppe Buch- und Medienwirtschaft

Jenna Dini Bliss SUICIDE GIRLS, 2019

Jenna Dini Bliss SUICIDE GIRLS

60 pages 12 × 18 cm Softcover, open spine with black thread ISBN 978-3-200-06469-0 Edition of 150 EUR 22.00 excl. shipping costs Order Jenna Dini Bliss SUICIDE GIRLS
Shipping costs Austria • Priority (with tracking number): 3.00 EUR Europe • Priority (with tracking number): 8.00 EUR Worldwide • Priority (with tracking number): 16.00 EUR
Jenna Dini Bliss SUICIDE GIRLS 2019
Jenna Dini Bliss <i>SUICIDE GIRLS</i>, 2019

Georgie Nettell Natural Language & Oliver Corino Favourite Son, 2019

Georgie Nettell Natural Language & Oliver Corino Favourite Son

24 pages 24 × 34 cm Pamphlet stitch Edition of 150 EUR 18.00 excl. shipping costs Order Georgie Nettell Natural Language & Oliver Corino Favourite Son
Shipping costs Austria • Priority (with tracking number): 3.00 EUR Europe • Priority (with tracking number): 8.00 EUR Worldwide • Priority (with tracking number): 16.00 EUR
Georgie Nettell Natural Language (reality) 2018
Georgie Nettell <i>Natural Language</i> & Oliver Corino <i>Favourite Son</i>, 2019

Heinrich Dunst The Artist & The Publishers, 2019

Heinrich Dunst The Artist & The Publishers

The Artist & The Publishers is based on a long ongoing conversation between the artist and saxpublishers, reflecting on artistic processes, exhibition making, documentation and fragmentation. Referring to the exhibition Publishing as an Artistic Toolbox: 1989 – 2017 (8 November 2017 – 28 January 2018) at Kunsthalle Wien, the title of the publication quotes a chapter of the show entitled “The Artist & The Publishers.” The Artist & The Publishers combines installation views of Dunst’s previous artistic production as inlays and spreads. While the inlay images were chosen from Dunst’s documentation archive, Georg Petermichl was commissioned for the spread images. Over the past years, Dunst has taken photographs—in his private home, studio as well as exhibition spaces—and printed them as a physical archive, showing sequences, formations and configurations of his artistic process. Taking Dunst’s solo exhibition Publishing as an Artistic Toolbox: C (28 March – 27 April 2018) at the Gallery of Contemporary Art and Architecture – House of Arts České Budějovice as a starting point, Petermichl kept the white balance provoked by the floor installation’s pink reflection as a reference for the whole documentation. Studying the interactions of light, space and the artworks, Petermichl marks a counterposition towards the practice of contemporary exhibition documentation. By layering the two positions, works and intentions of institutional context and industrial production appear and re-appear under subjective connotations—differing in size, context, and quality—towards a question of form and representation. 74 pages and inlays 23.5 × 29.5 cm Binder ISBN 978-3-200-06244-3 Edition of 400 EUR 28.00 excl. shipping costs Order Heinrich Dunst The Artist & The Publishers
Shipping costs Austria • Priority (with tracking number): 3.00 EUR Europe • Priority (with tracking number): 8.00 EUR Worldwide • Priority (with tracking number): 16.00 EUR
Heinrich Dunst Publishing as an Artistic Toolbox: C Gallery of Contemporary Art and Architecture – House of Arts České Budějovice, Czech Republic 28 March – 27 April 2018 Photography: Georg Petermichl
Heinrich Dunst <i>The Artist & The Publishers</i>, 2019 Heinrich Dunst <i>The Artist & The Publishers</i>, 2019

Alice Creischer In the Stomach of the Predators, 2019

Alice Creischer In the Stomach of the Predators

Starting with fictional texts in the mid-1980s, Creischer soon began to write scores for her pioneering performances and, together with her partner Andreas Siekmann, ended up becoming one of the early champions of the second wave of Institutional Critique that formed in the early 90s around Texte zur Kunst and Springerin. A decade later, and often in collaboration with Siekmann, Creischer would begin to expand this institutionally critical grammar towards issues surrounding globalization and transnational structures of exploitation. The twentytwo chronologically ordered essays, poems, performance scores, plays, prose pieces, and critical analyses by the artist, activist, and writer Alice Creischer that are collected in this book aim not only at rendering the manifold transitions of the reunified German (artistic) landscape visible. Moreover, the texts problematize Alice Creischer’s constant struggle for a language to analyze and criticize, to comment and intervene into the socio-economic fabric she finds herself surrounded by. Editor: Pujan Karambeigi Design: Ronnie Fueglister 196 pages 13.5 × 20 cm Cloth spine softcover ISBN 978-3-200-06292-4 Edition of 150  EUR 22.00 excl. shipping costs Order Alice Creischer In the Stomach of the Predators
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Alice Creischer <i>In the Stomach of the Predators</i>, 2019

Ex Libris, 2019

Ex Libris, 2019

With the invention of (book) printing in the 15th century, private book collections and actual libraries increased respectively started, whereupon it became important to list and archive books in the collection. Subsequently libraries, collectors and bookmakers commissioned artists to create an exlibris (transl. for “from the books (or library) of”)—stamps, little woodcuts, etchings, lithographs and other prints on paper, that were put in the frontispiz of every book in order to indicate the collection/owner of the book. Whilst in the 16th century exlibris became very popular and artists such as Albrecht Dürer, Hans Holbein or Lucas Cranach were commissioned, the exlibris did not entirely create much attention until its renaissance in the late 19th century, especially during the art deco period. In the beginning of book printing, exlibris stamps were used to mark and archive books. Later on, etchings, woodcuts and other prints on paper replaced the stamp for it not being distinguished enough. Although the exlibris has mostly disappeared and is almost only used in public libraries nowadays, the stamp was brought back for its longevity and practicality. saxpublishers’ new edition consists of commissioned exlibris stamps each in an edition of 10 + 2 AP by eight international artists. Artists: Patricia L. Boyd Alice Creischer Michèle Graf & Selina Grueter Sam Lewitt Till Megerle Andreas Siekman TJW/JP Wooden stamp with rubber plate and ink pad ca. 4.5 – 6.5 × 7.5 – 9.5 × 8.5 cm Edition of 10 + 2 AP EUR 100.00 Order saxpublishers Ex Libris
Shipping costs (with tracking number) • Austria: 5.00 EUR • Europe: 14.00 EUR • Worldwide: 19.00 EUR
Ex Libris, 2019 Ex Libris, 2019

smeared black inc. presents: Tony Cokes The Vienna Guide, 2018

Tony Cokes The Vienna Guide

The Vienna Guide is built upon “travel notes” compiled and edited by artist Tony Cokes. Adopting the point of view of the flaneur, Cokes creates a speculative image of Vienna by appropriating and meshing non-art, historical figures, touristic clichés and club nights, all entwined in technological comments. This distant gaze—Cokes hasn’t visited Vienna in the last 20 years—facilitates an aerial view of the complexities and unique traits that characterizes it. Commissioned by Attilia Fattori Franchini, the guide proposes to approach Vienna—and any urban site—as a discursive platform for future possibilities and identities rather than offering a historical or direct feedback over a city. The Vienna Guide by Tony Cokes includes 3 stickers of video stills of Cokes’ video Could you visit me in dreams? (2018) and is published in an edition of 150 + 25. 48 pages 11 × 17 cm Softcover Printed on Colorplan Factory Yellow Includes 3 stickers (15 × 8.5 cm) Edition of 150 + 25 for Could you visit me in dreams? curated by Attilia Fattori Franchini EUR 24.00 excl. shipping costs Order Tony Cokes The Vienna Guide
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Tony Cokes Could You Visit Me in Dreams? 2018 Video still from channel 1 of 3 part video installation Courtesy of the artist and Greene Naftali Gallery, New York
smeared black inc. presents: Tony Cokes <i>The Vienna Guide</i>, 2018 smeared black inc. presents: Tony Cokes <i>The Vienna Guide</i>, 2018

saxpublishers at Croy Nielsen Two photographs and a film by Peter Berlin

saxpublishers at Croy Nielsen Two photographs and a film by Peter Berlin

Exhibition & Bookshop: 13 – 16 December 2017 Tuesday – Friday: 12:00 – 18:00 Saturday: 11:00 – 15:00 Opening: Tuesday, 12 December 2017, 18:00 – 21:00 Screening: Friday, 15 December 2017, 19:00 OC Bar is open Nights in Black Leather USA, 1972/73 100min, OV Directed by Richard Abel With special thanks to Peter Berlin, San Francisco Croy Nielsen Parkring 4, 1010 Vienna, Austria In the early to mid-1970s, Peter Berlin created some of the most recognizable gay male erotic imagery of that time. Serving as his own photographer, model, and fashion designer, Peter redefined self-portraiture and became an international sensation. His two films, Nights in Black Leather (1972) and That Boy (1974), played to packed houses for years and, along with other pioneering erotic filmmakers such as Wakefield Poole and Jack Deveau, helped bring gay male erotic films artistic legitimacy. His self-portraits were widely published, making Peter a gay household name and an international celebrity. He was also the subject of several Robert Mapplethorpe photographs and six drawings by Tom of Finland. Read more...
Peter Berlin, Solo Peter Berlin in Black Leather, 1970s Vintage B/W Silver Gelatin Print with hand drawing, 35.6 × 27.9 cm (14 × 11 in.), Courtesy of saxpublishers, Vienna and Peter Berlin, San Francisco
saxpublishers at Croy Nielsen <i>Two photographs and a film by Peter Berlin</i>

Thomas Eggerer, Jochen Klein The English Garden in Munich, 1994/2017

Thomas Eggerer, Jochen Klein The English Garden in Munich

Thomas Eggerer and Jochen Klein initially started their collaboration by co-authoring texts for the catalog of   Die Utopie des Designs, a show at the Kunstverein Munich, Germany, curated by Helmut Draxler in 1994. They continued writing together, resulting in the essay “The English Garden in Munich.” This text would provide a context for a collaborational artwork that was executed around the same time: In the spring of 1994 Thomas Eggerer and Jochen Klein placed a message board on the outside wall of a public toilet, in proximity to the English Garden. The work Leave a message—respectively the documentation of the installation—was part of the show Oh Boy, It’s A Girl (19 July – 11 September 1994) at the Kunstverein Munich curated by Astrid Wege and Hedwig Saxenhuber. The message board was conceived as a communication tool between gay men to get in touch with each other in a public space. The essay describes the development of French garden architecture, its transition into English garden architecture and the body culture related to it. The text is divided in seven chapters, as well as a prologue and concludes with pointing out the contemporary use of the park as a gay cruising area. This publication marks the first time that the essay “The English Garden in Munich” is published. 24 pages 10.5 × 15.5 cm Brochure with foil embossed cover ISBN 978-3-200-05212-3 Co-published by Galerie Buchholz, Berlin/Cologne/New York & saxpublishers, Vienna Edition of 500 EUR 14.00 excl. shipping costs Order Thomas Eggerer, Jochen Klein The English Garden in Munich
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Thomas Eggerer, Jochen Klein <i>The English Garden in Munich</i>, 1994/2017

Juliette Blightman Loved an Image

Juliette Blightman Loved an Image

Juliette Blightman’s artist book Loved an Image combines three of the artist’s practices: performance, video and drawing/painting. Structured as abstract conversation and guide through a personal relationship, the book consists of black pages with one-phrase subtitle-like writings, taken out of Blightman’s films, performances and every day conversations, combined with cacti drawings. The artist uses those phrases, that individually create images for the viewer/reader, as substitute for actual green screens in which the movie industry transfers any desired imagery. Therefore the book creates a very intimate moment in which the reader is alone, in a sincere moment of personal thoughts, only interrupted by the imagery of warm and floral drawings that pull one from one’s private conversation with the fictional voice of the book. 100 pages 15 × 21.5 cm Softcover ISBN 978-3-200-05271-0 Edition of 150 EUR 27.00 excl. shipping costs Order Juliette Blightman Loved an Image
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Juliette Blightman Loved an image (20th May) – Kantstr Cactus, Drawing Courtesy Juliette Blightman & Galerie Isabella Bortolozzi Juliette Blightman Loved an image (20th May) – Kantstr Cactus Courtesy Juliette Blightman & Galerie Isabella Bortolozzi
Juliette Blightman <i>Loved an Image</i> Juliette Blightman <i>Loved an Image</i>

Simon Lässig, Vera Lutz Als wir plötzlich keine Stars mehr waren, 2017

Simon Lässig, Vera Lutz Als wir plötzlich keine Stars mehr waren

“A disarray of sensitivities was spreading, one felt it was too fast, the other still wanted to stay for a bit. One preferred to be in the shadow, the other the sun. Slowly it all divided, and everyone began to relate everything — why even the weather — to themselves. It was foreseeable that it would end, that it would tip; that one or the other who got stuck in the thicket somewhere would have to be left behind.” The publication Als wir plötzlich keine Stars mehr waren (When we all of a sudden weren’t famous anymore) by artists Vera Lutz and Simon Lässig, comprises a prologue, a series of 30 collaborative collages as well as a responding text by Lars-Henrik Gass, author of Das ortlose Kino. Über Marguerite Duras (2001) and Film und Kunst nach dem Kino (2012). 100 pages 24.5 × 34.1 cm Softcover ISBN 978-3-200-05272-7 Edition of 150 EUR 48.00 excl. shipping costs Order Simon Lässig, Vera Lutz Als wir plötzlich keine Stars mehr waren
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Simon Lässig, Vera Lutz <i>Als wir plötzlich keine Stars mehr waren</i>, 2017

Alexandra Noel Take me out, please, 2017

Alexandra Noel Take me out, please

Take me out, please by Los Angeles based artist Alexandra Noel takes art event photography as a starting point for sociological observation, divided into nine not clearly entitled chapters that reveal certain societal stereotypes: groups, singles, couples etc. Consciously using a title with multiple meanings—take out a dog, take out someone for an event, take someone out as in killing someone—the actual content remains secret for the time being. While her main artistic practice is painting, Noel observes the origin of her practice through the medium of photography, combined with poetic writings, that are revealed in the second part of the publication. In a total of nine texts, the artist implies an abstract description of the previous visual chapters. Thus, although the book seems to be divided in two parts, the publication allows the reader to enter the entire process of the artist’s practice and presents itself as one project. Formally referring to handy paperbacks and quoting Noel’s painting formats the book is printed on classic uncouted and bulky novel paper stock. The color edging on top of the book quotes the first use of color edgings: while being stored in libraries, color edgings where used to prevent the dust to go inside the pages and destroy them. 160 pages 12.4 × 18.8 cm Paperback with colored top edge ISBN 978-3-200-05003-7 Co-published by Bodega, New York, Neochrome, Turin & saxpublishers, Vienna Edition of 400 EUR 20.00 excl. shipping costs Order Alexandra Noel Take me out, please
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Alexandra Noel <i>Take me out, please</i>, 2017 Alexandra Noel <i>Take me out, please</i>, 2017

Anette Freudenberger, Niklas Lichti, Johannes Schweiger, Astrid Wagner, Catharina Wronn Blowin’ in the Wind, 2016

Anette Freudenberger, Niklas Lichti, Johannes Schweiger, Astrid Wagner, Catharina Wronn Blowin’ in the Wind

Release: 30 June 2016 5 folded posters (each 54 × 84 cm) and leporello (84 × 27 cm) in screen printed matt silver envelope 23 × 29 cm In collaboration with evn collection ISBN 978-3-9502597-9-7 Edition of 400 EUR 24.00 excl. shipping costs Order Blowin’ in the Wind
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Anette Freudenberger, Niklas Lichti, Johannes Schweiger, Astrid Wagner, Catharina Wronn <i>Blowin’ in the Wind</i>, 2016

Monnaie de Paris Les Vedettes s’affichent, 2016

Monnaie de Paris Les Vedettes s’affichent

In parallel of the exhibition at Monnaie de Paris, Les Vedettes du Pont-Neuf until 17 July 2016, 54 contemporary artists will feature a poster everyday for Merci Raymond! This creative gesture, turned towards the street, pays tribute to Raymond Hains’s spirit and practice in his attraction for fences and the urban world. Dominique Gonzalez-Foerster inaugurates the project on 25 May; then on 26 May, Maurizio Cattelan & Pierpaolo Ferrari. On this occasion saxpublishers invites Jazz Bar to collaborate on 13 July 2016.
Invited artists: 27/05: John Baldessari 28/05: Lawrence Weiner 29/05: Nathan Carter 30/05: Taryn Simon 31/05: Vanessa Beecroft 01/06 – 10/06: ... the Seine’s overflow 11/06: Benoît Broisat 12/06: Lisa Anne Auerbach 13/06: Daniel Gordon 14/06: Slavs & Tatars 15/06: Mathieu Mercier 16/06: Mircea Cantor 17/06: Jonathan Monk 18/06: Mika Tajima 19/06: Marina Abramovic 20/06: Liam Gillick 21/06: Rirkrit Tiravanija 22/06: Sam Lewitt 23/06: Parker Ito 24/06: Maurizio Cattelan & Pierpaolo Ferrari 25/06: Jakob Gautel 26/06: Elvire Bonduelle 27/06: Davide Bertocchi 28/06: Gloria Friedmann 29/06: Shimabuku 30/06: Cédric Rivrain 01/07: Otobong Nganka 02/07: Pierre Leguillon 03/07: Fabrice Hyber 04/07: Jonathan Horowitz 05/07: Koo Jeong-A 06/07: Jean-Baptiste Decavèle 07/07: Amalia Ulman 08/07: Tatiana Trouvé 09/07: Claude Lévêque 10/07: Samon Takahashi 11/07: Otobong Nkanga 12/07: Christelle Familiari 13/07: Felix Gaudlitz & Alexander Nussbaumer (saxpublishers) in collaboration with Jazz Bar 14/07: Christodoulos Panayiotou 15/07: Neil Beloufa 16/07: Renaud Auguste-Dormeuil 17/07: Heman Chong Photo: Les Vedettes s’affichent, 13 July 2016, © Monnaie de Paris
Monnaie de Paris <i>Les Vedettes s’affichent, 2016</i> Monnaie de Paris <i>Les Vedettes s’affichent, 2016</i>

Bouquinistes, 2015

Bouquinistes

As part of Take Me (I’m Yours) co-curated by Christian Boltanski, Hans Ulrich Obrist and Chiara Parisi at the Monnaie de Paris saxpublishers will establish their own library in a traditional Parisian second-hand book seller, a so called Bouquiniste in front of the museum at the Seine. The library’s inventory consists of historical publications from 1995 to 2015 from participating artists as well as own publications from saxpublishers. Some of them for sale, some of them for free, Bouquinistes will function as a curatorial appendix of the exhibition. Located between Pont Neuf and Pont des Arts, Bouquinistes will be in the center of the bridges, where tourists hang padlocks on the handrails. Taking this idea, saxpublishers invited eight artists to contribute motifs for a classical padlock. In an edition of 10 + 2 AP each padlock will be available at the Bouquiniste of Pascal Corseaux throughout the exhibition. Please note that Bouquinistes don’t have regular opening hours. Pascal will probably be there from Thursday - Sunday, if the weather is fine. Artists: Olga Balema Verena Dengler Lena Henke Benjamin Hirte Yngve Holen Lisa Holzer Chadwick Rantanen Ben Schumacher Laser engraving on brass padlock ca. 8 × 5 cm Edition of 10 + 2 AP EUR 100.00
Bouquinistes, 2015 Bouquinistes, 2015 Bouquinistes, 2015

Josip Novosel After Affection, 2015

Josip Novosel After Affection

In 2015 Josip Novosel went back to where he grew up – the Bavarian landscape of Tegernsee. In a place “where people only go back to die” Novosel started to work in a classical Bavarian tavern where he fell in love with an accordion player. This allegedly unanswered love in the surrounding of rich conservative Bavarians is the starting point for Novosel’s sculptural essay After Affection that takes you on a journey through the life of the artist himself. The essay was launched at the Bouquinistes in Paris where it has been distributed for free. Please contact us for available copies. 36 pages 14,8 × 21 cm Brochure (Xerox print) in PP bag English/German Edition of 100, numbered by the artist
Josip Novosel <i>After Affection</i>, 2015

Philipp Timischl They were treating me like an object. As if I were some sextoy or shit. I don’t wanna see them again., 2015

Philipp Timischl They were treating me like an object. As if I were some sextoy or shit. I don’t wanna see them again.

Using digitally-rendered busts that mirror installation views of his past exhibitions, video stills, or previous works, Philipp Timischl reflects upon his own artistic practice. This publication thus provides a comprehensive overview of the artist’s œuvre while illustrating different strategies of reappropriating communication and exhibition documentation material. Analogous to his technique of re-using and duplicating images and other digital sources, the publication itself can be read as an abstract translation of Timischl’s work. On the occasion of the show They were treating me like an object. As if I were some sextoy or shit. I don’t wanna see them again. at the Künstlerhaus KM– in Graz, Philipp Timischl created the eponymous artist book in collaboration with saxpublishers. 112 pages 14 × 20 cm Hardcover (linen) ISBN 978-3-200-03930-8 Edition of 400 EUR 26.00 excl. shipping costs Order Philipp Timischl They were treating me like an object. As if I were some sextoy or shit. I don’t wanna see them again.
Shipping costs (with tracking number) • Austria: 3.00 EUR • Europe: 7.00 EUR • Worldwide: 13.00 EUR
Exhibition view of Philipp Timischl, They were treating me like an object. As if I were some sextoy or shit. I don’t wanna see them again. at Künstlerhaus KM–, Graz, 6 December 2014 – 22 January 2015
Philipp Timischl <i>They were treating me like an object. As if I were some sextoy or shit. I don’t wanna see them again.</i>, 2015 Philipp Timischl <i>They were treating me like an object. As if I were some sextoy or shit. I don’t wanna see them again.</i>, 2015 Philipp Timischl <i>They were treating me like an object. As if I were some sextoy or shit. I don’t wanna see them again.</i>, 2015

Halvor Rønning Starschnitt, 2014

Halvor Rønning Starschnitt

For his publication Norwegian artist Halvor Rønning selected an item by the iconic furniture brand USM Haller to be used as an object of desire on a poster split into five parts. The Starschnitt format was originally devised by BRAVO, the first and largest youth magazine in German-speaking countries. Since 1959 BRAVO has published its magazine with collectible poster pages, which – once put together – form a life-size model of a celebrity. Drawing from this idea, Halvor Rønning developed his own personal Starschnitt to create a life-size model of one of the iconic USM Haller pieces. The publication consists of five folded posters (DIN A2), an instruction sheet and a cover in a plastic box. Edition of 100 EUR 40.00 excl. shipping costs Order Halvor Rønning Starschnitt
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Halvor Rønning <i>Starschnitt</i>, 2014 Halvor Rønning <i>Starschnitt</i>, 2014 Halvor Rønning <i>Starschnitt</i>, 2014
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