Books exhibition of Cpress publishing

With the support of “Pro Helvetia Moscow” Swiss Council for Culture

21:10 – 3:11 Space “Canned” (on Kuibyshev Street, near Didas Persia)

cpress was founded in 2014 by Christof Nüssli and Christoph Oeschger to establish an independent platform for artist books. cpress publishes high-quality books in close collaboration with its authors. Our books are works of art and therefore can be seen as multiples. cpress books tackle the topics of politics and (pop) culture while engaging and contributing to discussions in the cultural sphere and beyond.

The exhibition will be represented by Christoph Nyusli – one of the founders of the publishing house. Christof Nüssli (*1986, Zurich) is a visual artist, whose interdisciplinary approach involves photography, video, sculpture, installation, text and artist books. His work has been exhibited in various institutions and off-spaces. Nüssli authored three artist books (Miklos Klaus Rozsa, Withheld due to:, googly eyes) which won international prizes.

6 books will be presented at the exhibition, which succinctly  continue the theme of the festival – “History”:





This edition is based on the documents made by photographer and political activists Miklos Klaus Rossano (1954) from 1971 to 1989, which consists of photographs taken by Ross, as well as state security archives, according to the federal police, the cantonal police and Zurich police department. The published material is derived from the personal archive of Roses.
Motivated autonomous reportage, Rose gathered extensive image library, which has been used for a variety of publications on the stage, for flyers and print media. In addition to their intrinsic documentary value, Rose found a photograph of him a political act.

The resulting collage creates new images and tells about the events from two perspectives. On one side – Rozz photos that document the events of the youth movement. On the other hand, the observation materials illustrate distant and indistinct view of police events. Comparison photos Rozz and state security texts creates a moment of conflict, indicating neadnaznach


The book “Withheld due to”


_The Most Beautiful Swiss Books, 2016.
_Best Book Design from all over the World, 2017 (Bronze Medal).
_Kassel Photobook Award 2017 – The Experts Selection

“Withheld due to” – an uncomfortable book. This is an unconventional look at one of the most controversial scandals torture lately. The artist Christoph Nyusli built on photographic evidence and file cabinets government of Abu Ghraib and the war on terrorism, it covers US history. The government wants to keep in the dark. The American Civil Liberties Union (aClU), together with other human rights organizations for many years struggling for access to 2000 photos taken during torture. In February 2016 aClU requirements have been partially implemented, and the US government has published 198 photographs requested. The rest of 1802 is still hidden from public view.


George Gatsasa book “Signal The Future”

Georg Gatsas’ Signal The Future unpacks many layers of an important musical era in London. Through portraits, candid shots of clubbers, and architectural investigations of the city, a narrative unfolds of how music both shapes and is shaped by its immediate urban environment. Dating from 2008 – shortly after the British club phenomenon of dubstep received international acclaim – we’re introduced to a music scene in the flush of fame. Ethnically diverse, largely working class, surprisingly close-knit, and a world apart from the country’s acclaimed indie and guitar rock history, the people in this book are united by the city and their love of the music. We glimpse dancers mid-stride, witness their steppers’ communion, and get a sense of their afterhours lives on the empty streets of Brixton in the night.

In a few short years, the tone of electronic music changed and so did the images – becoming brighter, taking place more often outside, and interspersed with the kind of soaring structures that are the hallmark of modernism.The book includes essays by acclaimed writers on music and cultural theory, including the late Mark Fisher, probing deeply into many of the strands that Gatsas visualises: urbanism, community, the ‘underground’, capitalism, networked futurism, gentrification, and more. Anyone not following underground music may be surprised to realise how much is contained within its scope. Gatsas helps bring those complexities alive.


Christoph Oeschger “They’ve Made Us Ghosts”

Calais is one of the bottlenecks for refugees in Europe. Among others people from Afghanistan, Eritrea, Somalia, and Ethiopia, from Iran and Syria find themselves stranded in the French port on their way to the UK. They are stopped by a complex border control regime comprising surveillance systems, fences, and police security—a landscape that has been given a military makeover thus collides with an improvised, temporarily erected living environment. In his new artist’s book Christoph Oeschger cuts together the perspectives and realities of border guards and refugees.

From spring 2016 until summer 2017, Oeschger observed the way political power structures operate in the border security systems and the impact and ramifications that they have. In his book the emptiness of the places he photographs and the absence of any dramatic scenes act as an echo chamber, reflecting the sense of void that is engendered by enforced waiting. We see the drive along the almost endless border installations around the harbour and Eurotunnel terminal, wide expanses of landscape cut through by fencing and walls, desolate containers used for housing, improvised huts, the indeterminate daily activities of the people who live there, and the traces they leave in the landscape. The pictures do not follow any chronological or geographical system. Oeschger intersperses his own photographs with technical shots of the surveillance that now plays a key role in border security. Thermal imaging cameras are used to scan the nocturnal landscape, and the flatbeds of lorries are examined with microwave X-ray technology. In these images people become wraith-like apparitions, just like the description one of the refugees gave to Oeschger to conjure up his situation in the camp: “They’ve made us ghosts.”


Michael Etenspergera  “Masken”

Historically, one of the most significant, if largely overlooked, uses of photography is the
reproduction of artworks and other cultural artefacts. Disciplines like art history and anthropology were re-shaped by the increasing availability of photographic reproductions in the late 19th century. The examination of this photographic genre has been an on-going concern for Swiss artist Michael Etzensperger in the past few years. Whilst doing research for his series Normal Viewpoint, No Other than Frontal View which focused on the photographic reproduction of sculptures, he became aware of the impact of images of masks from traditional cultures, both Western and non-Western, had on the early modernist artists, in particular on the cubists and surrealists. Significantly, they mostly encountered these reproductions in books, for example in Carl Einstein’s eponymous Negro Sculpture (1915).

Struck by this art-historical phenomenon, Etzensperger began to hunt for images of masks in a variety of illustrated books, ranging from anthropological studies to coffee-table books, published throughout the 20th century and the early 21st century. Beyond the motifs of the photographic plates, he became increasingly fascinated by the changing surface qualities of the reproductions that were determined by printing techniques, photographic stock, camera optics, and other factors. Etzensperger then began to use the mask images he had collected as starting points for new images by making double exposures of the reproductions. In these composite pictures, two masks merge into a new hallucinatory face effigy, whilst the overlay of the different surface qualities produces painterly effects. The masks – said to subsume the identity of the wearer in traditional cultures – become non-identical themselves in the newly created image. Consequently, Etzensperger transposed these images, created from the book plates, back into book form, thus coming full circle. The book Masken (Masks) is at once a reflection on the transcultural phenomenon of masks and their impact on 20th century art, on the history of illustrated books and reproduction technologies, as well as a delirious visual delight.
Martin Jaeggi


Bardhi Haliti “May 25 is now October 1”


May 25 is now October 1 is an extensive research across Kosovar newspapers published between 1974 and 2018. The book documents sports activities that took place in seven identical sports halls in seven cities of Kosovo. The images have been cropped, zoomed in on, and paired together by similarity. The choreography is not meant to render them jewels or treasures, but rather to help find their meaning beyond their meaning within the now unfashionable sports halls. Through repetition, the images and texts reveal the multifunctional nature of community space in which larger sociopolitical and cultural cycles are reflected.