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Finally, the catalog published by Spector Books will be here soon! 

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Keller

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*Paper Passion* contains a short text broken down into individual statements. The text deals with the materiality of books, especially their smell and value. According to the opening credits, whose sentences are spread over several pages, the work refers to the perfume of the same name produced by Geza Schoen in collaboration with publisher Gerhard Steidl and designer Karl Lagerfeld. This perfume comes packaged in a book and is sold for €275. 

The implied advertising promise, in Jean Keller’s words, is: “With Paper Passion you get the smell of the intellectual world without reading a book.” Jean Keller then makes a point for the intellectual value of content, and for the book as a medium for structuring thoughts. Such a book can even be as cheap as a 40-page print-on-demand paperback—in contrast to its fetishization as a container for a perfume. This ultimately brings him to the final statement: “ART IS ART / AND / A FART IS A FART.”

To underline this stance, *Paper Passion* has its price of ₤7 – $11.50 – €8.80 printed on the back. However, this is no longer correct due to the constantly changing price calculations on print-on-demand platforms.

open edition

10.8 x 17.5 cm 

artist’s book / bookwork

black-and-white

paperback

unpaginated

perfect bound

composition (writing  / drawing / photography)

pricing

Lulu

print on demand

materiality

economy / labor

print technology

book / book design

Paper Passion

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Judith Goldman on HOLLY MELGARD'S FRIENDS & FAMILY.pdf

Judith Goldman on HOLLY MELGARD'S FRIENDS & FAMILY

Yearous-Algozin

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*HOLLY MELGARD’S FRIENDS & FAMILY* is a collection of voice mails sent to Holly Melgard over three years (January 1, 2011 through January 1, 2014) and transcribed by her partner Joey Yearous-Algozin, both of them founding members of the print-on-demand publishing collective Troll Thread. This is one of the very few conceptual books by Yearous-Algozin not published directly via Troll Thread but as part of the Bon Aire Projects series “LOVE / LOVERS / LOVING,” a publisher of experimental text that also uses Lulu. 

This book is an excellent example of conceptual writing practices present in print-on-demand publications that often circle around remediation, appropriation, and documentation. It is also, as Judith Goldman writes, “a virtuosic performance of genre-bending, as *HMFF* runs the gamut of conceptualism, confessional um [*sic*] lyric, documentary, life-writing, novella…” often leaning toward oversharing. In addition, it foregrounds voice mail as a means of communication “in the age of SMS and email” that “has its own place in the ecology of immediacy and too closeness” (Judith Goldmann, review).

The transcriptions follow a strictly documentary style: They not only contain the usual “um” and “uh” of oral speech, but also dispense with punctuation marks, since these are not a part of spoken language. In addition, they allow a voyeuristic insight into certain idiosyncrasies and patterns in Melgard’s life and her various roles as sister, daughter, editor, lecturer, friend, girlfriend, etc. The identity of some callers is redacted. Though Melgard becomes present only as addressee of different demands and her voice is absent in the act of transcription, it is ultimately her who opened up her voice mails to Yearous-Algozin and let him transcribe all or part of them, keeping a significant amount of agency in this kind of exposure and appropriation. 

The book comes with an introduction by Teresa Carmody which includes footnotes by Vanessa Place.

isbn

14.8 x 21.0 cm

experimental literature

translation / transcription

documentation / archiving

remediation

Bon Aire Projects

gender

narration

publishing / distribution

memory / storage

surveillance / privacy

email / messaging

HOLLY MELGARD’S FRIENDS & FAMILY

Founded by Chloé Bernhardt, Olivier Bertrand and Justin Bihan in 2017 and run by Olivier Bertrand since 2019.

Surfaces Utiles

Olivier Bertrand has made the production of books in margins the basic principle of his publishing house Surfaces Utiles. Bertrand characterizes his publishing strategy with the French expression “faire la perruque,” borrowed from Michel de Certeau and describing a kind of détournement: what is meant by this is using the working time and the working means, resources, or tools of a company to one’s own advantage, or to the company’s disadvantage.

Discours sur le déchet