Reena Spaulings

Bernadette Corporation
Eine Pinot Grigio, Bitte

“For this book Bernadette Corporation uses screenplay formatting software and the screenplay form with no intention to produce a film or communicate anything. … the hack is used as a starting point for a literature, with hack tools in a hack medium. EINE PINOT GRIGIO, BITTE to remind you of the necessity to understand that all creativity is equal.” Bernadette Corporation

A novel-in-disguise, Eine Pinot Grigio, Bitte is a dark foray into capitalism gone awry. Set against a backdrop of decadent zombies, the screenplay follows John Delp and Aude as they shoot a movie in the cities of Paris, Berlin, and Mexico City. With its wild and messy sense for the absurd, Eine Pinot Grigio, Bitte unravels that conventional Hollywood repertoire of screenwriting all to better recycle both fiction and the real.

Eine Pinot Grigio, Bitte is followed by “Pedestrian Memoranda,” a series of notes on Bernadette Corporation’s temporary underground film studio, operated from 2005–2007 in Paris, Berlin, and Mexico City.

Bernadette Corporation has previously worked under the guise of an eponymous underground fashion label, published a fashion magazine called Made in USA, produced video-films, including the 2003 documentary Get Rid of Yourself, collectively authored the novel Reena Spaulings (Semiotext[e] 2004), as well as exhibited at the 2006 Whitney Biennial, the Witte de With museum, and the Centre Pompidou.

Co-published by Art in General, New York

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Painting 2.0
Expression in the Information Age

The resurgent interest in contemporary painting in recent years has coincided with an explosion of new digital media and technologies. Contrary to canonical accounts premised on medium-specificity, painting’s most advanced positions since the 1960s have developed in productive friction with contemporaneous forms of mass media and culture. From the rise of television and computers to the Internet revolution, painting has assimilated precisely those cultural and technological developments that were held responsible for its presumed “death.” Moving far beyond its technical definition as “oil on canvas,” painting during the information age has consistently offered a site for negotiating the challenges of a mediated life-world.

Featuring over 230 works by 107 artists, Painting 2.0 is one of the largest and most comprehensive exhibitions of contemporary painting in recent years.

Artists include:
Kai Althoff, Ei Arakawa/Shimon Minamikawa, Monika Baer, Nairy Baghramian, Georg Baselitz, Jean-Michel Basquiat, Lynda Benglis, Sadie Benning, Judith Bernstein, Joseph Beuys, Ashley Bickerton, Cosima von Bonin, KAYA (Debo Eilers & Kerstin Brätsch), Günter Brus, Daniel Buren, Merlin Carpenter, Leidy Churchman, William Copley, René Daniëls, Guy Debord/Asger Jorn, Carroll Dunham, Mary Beth Edelson, Thomas Eggerer, Michaela Eichwald, Nicole Eisenman, Jana Euler, Louise Fishman, Andrea Fraser, Isa Genzken, Mary Grigoriadis, Philip Guston, Wade Guyton, GuytonWalker, Raymond Hains, Harmony Hammond, David Hammons, Keith Haring, Rachel Harrison, Mary Heilmann, Eva Hesse, Charline von Heyl, Ull Hohn, Jacqueline Humphries, Jörg Immendorff, Jasper Johns, Joan Jonas, Mike Kelley, Martin Kippenberger, Yves Klein, Jutta Koether, Michael Krebber, Manfred Kuttner, Maria Lassnig, Sherrie Levine, Glenn Ligon, Lee Lozano, Konrad Lueg, Michel Majerus, Piero Manzoni, Kerry James Marshall, Hans-Jörg Mayer, John Miller, Joan Mitchell, Ree Morton, Ulrike Müller, Matt Mullican, Elisabeth Murray, Cady Noland, Hilka Nordhausen, Albert Oehlen, Laura Owens, Steven Parrino, Ed Paschke, Howardena Pindell, Sigmar Polke, Seth Price, Stephen Prina, R.H. Quaytman, Robert Rauschenberg, David Reed, Gerhard Richter, Mimmo Rotella, Niki de Saint Phalle, Mario Schifano, Amy Sillman, Sylvia Sleigh, Josh Smith, Joan Snyder, Reena Spaulings, Nancy Spero, Gruppe SPUR, Frank Stella, Walter Swennen, Paul Thek, Rosemarie Trockel, Cy Twombly, Jacques de la Villeglé, Kelley Walker, Andy Warhol, Sue Williams, Karl Wirsum, Martin Wong, Christopher Wool, Heimo Zobernig, u.a.

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Mark von Schlegell
New Dystopia

 

“To gain that which is worth having, it may be necessary to lose everything else.”
—Bernadette Devlin

2011. A kulturnaut, a squid, a Shakespeare, a dog, an artist abstract, a chrononaut, a washerwoman, Tom Ripley and his bones all pass through New Dystopia. Their sped-up speculations lead to new models of deterritorialized life. Visionary and hallucinatory models. Through them, Mark von Schlegell “displays” some of the facets of the invisible catastrophe breaking up our world, which artists in particular are responding to.

Put together in the wings of the “Dystopia” exhibition at the CAPC musée d’art contemporain de Bordeaux, acting as a resonance chamber, this illustrated novel raises the issue of possible futures in the form of a critical fiction, and involves the outposts of the novel to come. About New Dystopia, the city in which the novel’s protagonists live, the narrator states: “As an American … one only came to New Dystopia City to become an artist. That only there was it a way of life.” According to von Schlegell, we are living in that new metropolis. He states, “Dystopia is today.”

After Venusia (2005) and Mercury Station (2009), both published by Semiotext(e), New Dystopia is Mark von Schlegell’s third novel.

Artists: Wallace Berman, Cosima von Bonin, Brian Calvin, Tony Carter, Marc Camille Chaimowicz, Peter Coffin, Simon Denny, Andreas Dobler, Roe Ethridge, Keith Farquhar, Hans-Peter Feldmann, Aurélien Froment, Cyprien Gaillard, Isa Genzken, Dan Graham, Robert Grosvenor, Sebastian Hammwöhner, Roger Hiorns, Ull Hohn, Des Hughes, Peter Hutchinson, Eugene Isabey, Sergej Jensen, On Kawara, Michael Krebber, Jesus Mari Lazkano, Rita McBride, John Miller, Pathetic Sympathy Seekers, Manfred Pernice, Stephen G. Rhodes, Glen Rubsamen, Sterling Ruby, Julia Scher, Frances Scholz, Michael Scott, Markus Selg, Reena Spaulings, Michael Stevenson, Tommy Støckel, Josef Strau, Blair Thurman, Mathieu Tonetti, Oscar Tuazon, Franz West, Jordan Wolfson

Co-published with CAPC musée d’art contemporain de Bordeaux

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Reena Spaulings
A Novel by Bernadette Corporation

Set in post-9/11 New York City, Reena Spaulings was written by a large collective of writers and artists that bills itself as The Bernadette Corporation. Like most contemporary fiction, Reena Spaulings is about a female twenty-something. Reena is discovered while working as a museum guard and becomes a rich international supermodel. Meanwhile, a bout of terrible weather seizes New York, leaving in its wake a strange form of civil disobedience that stirs its citizens to mount a musical song-and-dance riot called “Battle on Broadway.” Fashioned in the old Hollywood manner by a legion of professional and amateur writers striving to achieve the ultimate blockbuster, the musical ends up being about a nobody who could be anybody becoming a somebody for everybody. The result is generic and perfect—not unlike Reena Spaulings itself, whose many authors create a story in which New York itself strives to become the ultimate collective experiment in which the only thing shared is the lack of uniqueness.

The artist-collective Bernadette Corporation was founded in a night club in 1994. In the beginning the group organized spontaneous, purposeless events in public space. In 1995 they morphed into a fashion label, then a self-publishing company that from 1999 to 2001 published an art magazine called Made in USA. Bernadette Corporation has also produced films, including Hell Frozen Over (2000), and Get Rid of Yourself (2003), as well as exhibits at art galleries and museums throughout the world.

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