To celebrate its 10th year of association, aparté has been invited by artgenève to showcase its publications. Aparté asked each artist together with whom they produced their first monograph, to create a limited edition work (edition of 20) specifically for the occasion. The works are representative of the individual expression unique to each artist and demonstrate the evolution of their practice since first meeting with the curator who chose them to receive the Award.

Aparté’s participation at artgenève is a chance to show these artists’ work after having accompanied them in the production of their first monograph and their promotion in the public forum. Importantly, it is an opportunity to participate in a fair whereby the Association is able to fulful its primary objective of helping to give talented artists visibility. The diversity of the resulting works exemplify the freedom given to the artists commissioned to produce a limited edition.

The production of the works has been overseen by Elisabeth Chardon, whose experience working with artist editions for the newspaper Le Temps provides a reassuring indication of the professionalism lent to this project.


ALEXANDRE JOLY, Fougères-Cristal-Cactus et Amulette, 2018

The work produced by Alexandre Joly creates a dialogue between two elements, a poster and a small necklace. The image is enigmatic – whilst organic and geometric, at the same time it is regular and irregular.  It is actually a comination of three images, those of a cactus, a fern leaf and a crystal. Suspended from the necklace are two bells – sound elements that often features in the work of the artist – and beads. Five nails co-exist with these two elements , one is clearly intended to attach the necklace (Amulette) to the poster, the other four fix the poster to the wall. « With no particular purpose », explains the artist.

 A Joly


Fougères-Cristal-Cactus et Amulette, Colour impression on matte paper 183 gr, bells, beads, nails, 80 x 53 cm

Alexandre Joly is also showing at stand D45, Galerie Rosa Turetsky.

DONATELLA BERNARDI, Dolci libri, 2018

Dolci libri is a series of twenty-eight book-objects made in cloth, referencing the dimensions of aparté’s publications. It is a reference to volume yet also to content : the cover of twenty books, each different , are embroidered with thread, in a form that alludes to, in an abstract sense, the two faces on the cover and back  pages of the artist’s monograph À la poursuite d’une hospitalité illimitée, produced with curator Jacqueline Burckhardt. The pages are replaced with strips of cloth, that are for the most part double-sided Japanese fabric print.

Dolci libri is the name of work by Maria Lai (1919-2013), an artist from Sardinia who also made cloth books. This series also references the career of Carla Lonzi (1931-1982) who gave up her life as an art critic to invest her time into feminist activism. Several generations later, such radicicalism is now seen in a more flexible, tender and pliant manner, like a book which adapts to the hands that carries it.


Dolci libri, 2018, cloth book, stitching, thread, 23,4 x 16,6 cm


The words « singularities » et « obsolescence » inspired the artist Geneviève Favre Petroff to reflect on her own work : « How can I speak of time that has passed with respect to myself? How do I synthesise the work that I have created over the years in one unique piece of work ? I thought of an hourglass, the fragile and playful object, which with its sand that slips away, captures our attention, amuses us and fascinates us. It visualises a dimension that escapes us, that we seek to have control over. It has us reflect upon our own internal clock, at our internal organs, at their intake, the liquid and gaseous exchanges, to the perpetual circulation of the living. I also see two heads mirroring each other, connected by the trachea, as if they are different facets of the same personality. »  With this in mind, Geneviève Favre Petroff has collaborated with glass blower, Claude Merkli, to create a statuette which is suggestive of the forms of four individual head pieces and hat, each associated to a performance and relevant costume.


Totem, 2018, Blown glass on oak base, 12x12x 56 cm approx.


LAURENT FAULON, Cendriers, 2018

« Cendriers plays upon two archetypes, the work appears as an ornament, a sort of ‘souvenir gift’ of the primary œuvre (corpos) of an artist, a utilitarian vision; the artisanal ashtray is seen as a caricatural object of the process of learning to work with clay. » Laurent Faulon offers a slightly bleaker proposition. The works come across as « failures », each ashtray differs slightly from the others due to inevitable variations when produced manually and is suggestive of « a certain puerility, a regressive manipulation of the medium. This evocation of childhood and manual labour, however, finds itself destroyed by the brutality of the crushed cigarette butts.» Specifically, « in each case, it’s as if one is ‘playing shops’, it is as if I was an artist, as if I was making ashtrays. » The series is in two parts, ten ashtrays covered in transparent enamel.


Laurent Faulon, Cendriers, terracotta, untreated or covered in transparent enamel diam.12 cm, ht 4cm. Presented here in their packaging.


MAXIME BONDU, Deep war Boris’ first anniversary, 2018

Deep War (2015) is an informatic experience developed by Maxime Bondu in collaboration with Julien Griffit. A square panel composed of LEDs replicating a chessboard. A simulation allows the view to follow two computer programmes competing against each other in a game of chess. As often is the case, the work evokes a historic event.  After a series of matches won by Garry Kasparov in 1996, on May 11, 1997 in New York, Deep Blue, the super computer developed by the firm IBM, wins the final leg of their showdown.  The advent of artificial intelligence is established. And discussed. In effect, at any given moment, Deep Blue sacrified a pawn, destabilising Kasparov. Fifteen years later, it is now understood that this move which emanates a « human » strategy, was actually a technical glitch. Deep War examines the idea of artificial intelligence and the development of a chess game that is sensitive to learning from it’s own experience, beyond that which it imparted in the beginning.

The project Deep War has since created two databases, which continue to grow, and the two artifical intelligences playing chess draw information from their games. Two different paths, two memories, two distinct lives. The project Deep War, First Anniversary (2018) is a graphic visualisation of their databases. Designed to be produced annually, it gives a visual representation of their knowledge by way of an image of algorithms at each age. The visualisation created for aparté is produced in the form of a digital print.

Maxime Bondu is also showing at Stand D9, counter space.


Maxime Bondu & Julien Griffit, Deep war Bobby’s first anniversary, 73 x 73 cm, ink on paper, Ed.15, 2018 and Griffit, Deep war Boris' first anniversary, 73 x 73 cm, ink on paper, Ed.15, 2018

SÉVERIN GUELPA, Talking Stick, 2018

This piece takes the idea of a talking stick, originating from American Indian tribes, the first to have set foot in the Amboy crater in the Mojave Desert, where the artist founded Matza, a manifesto based on the idea of a community creation capable of producing its own tools. The Talking Stick is a democratic object which allows each person in a group the chance to speak in front of the others. It is an object which has since then been re-used by different movements in the American West, often associated with freedom groups. Séverin Guelpa used it at Amboy during group discussions.


Séverin Guelpa, Talking Stick, 2018, diverse media, 8 x 8 x 80 cm