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a large ›library and
a small ›museum on contemporary art

Cover Parkett 93, Danh Vo


Collaborations Vol. 93:
Valentin Carron
Frances Stark
Adrián Villar Rojas
Danh Vo



Valentin Carron for Parkett 93


Valentin Carron


Valentin Carron finds inspiration in neglected public art, commonplace architectural adornments, and broken-down motorbikes. In this issue, Lionel Bovier, David Breslin, and Giovanni Carmine provide a closer look at his sculptures.

 “Valentin Carron’s restored moped was taking sun the first time I saw it at the Swiss Pavilion in Venice. Its lush Oxford blue body, a deeper shade than the azure of the ornament on its front, greedily sucked in the light while the chrome of the wheel covers coughed it back up in blinding little blasts.” — David Breslin

Valentin Carron's Edition

The artist has transformed a simple table bell into a beautiful object of bronze and wood.

Bell, 2013

Bronze cast, wood, diameter 6 1/2 x 2 3/4” (16 x 7 cm),
Ed. 35 / XX, signed and numbered certificate.

› Parkett vol. 93
› Valentin Carron's Edition for Parkett 93


Frances Stark for Parkett 93


Frances Stark


Frances Stark uses her own diaristic reflections and sexual encounters on the Internet as material for drawings, videos, performances, and PowerPoint presentations. Christoph Gurk and Alex Kitnick reflect on the breadth of her work, and Dieter Roelstraete and Monika Szewczyk conduct a conversation over e-mail.

 “The artist has to make a change, define the times. Stark does this … by returning to the epic—but a homemade epic, an almost-epic, virtually opera buffa, but actually also basic desktop design.” — Monika Szewczyk

Frances Stark's Edition

Frances Stark’s edition is a stash book—a hand-bound hardcover hollowed out to hold whatever you hope to hide away.

Dishonest but Appealing, 2013

Book with safe, paper pages, hand bound,
hardcover with embossed printing, red cloth,
silk ribbon, 11 1/2 x 8 1/2 x 2 1/4 ” (28,5 x 21,5 x 6 cm).
Edition of 35/XX, signed and numbered.

› Parkett vol. 93
› Frances Stark's Edition for Parkett 93

Adrián Villar Rojas for Parkett 93


Adrián Villar Rojas


Adrián Villar Rojas translates science-fiction fantasies of dystopian futures into monumental sculptures made of unfired clay. Doryun Chong and Eungie Joo consider his different projects, while D. Graham Burnett presents a transcript of three critical responses.

 “Are we witnessing a scene after a massacre, an environmental catastrophe, or a cataclysmic epidemic that has wiped out all living forms, leaving only this architectural structure as remainders? A whole civilization without its makers?” — Doryun Chong

Adrián Villar Rojas' Edition

Inspired by the nest of the Hornero, Argentina’s iconic bird, Adrián Villar Rojas has created a series of unique sculptures that emulate the animal’s artistry.

From the Series Brick Farm, 2013

Mud and unfired clay,
approx. 9 7/8 x 9 7/8 x 11 7/8”
(ca. 25 x 25 x 39 cm),
each unique, Edition of 35/XX,
signed and numbered certificate.

› Parkett vol. 93
› Adrián Villar Rojas' Edition for Parkett 93


Danh Vo for Parkett 93


Danh Vo


Danh Vo’s installations retell history through the lens of his family’s experiences. Here Sabeth Buchmann, Michael Newman, and Michael Taussig offer their views on the artist.

 “Rarely have exhibition spaces been so charged with aesthetic tension and intensity while at the same time bearing witness to the very dystopia that is inscribed into the anti-aesthetic legacies of the ’60s and ’70s avant-gardes.” — Sabeth Buchmann

Danh Vo's Edition

The artist has collected a set of rare vintage postcards from Vietnam, each one now uniquely transformed by his father’s precise penmanship.

Untitled, 2013

Vintage postcard from Ha Long Bay with
writing by Phung Vo (the artist’s father) on the front.
3 3/4 x 5 1/2 ” (9,5 x 14 cm), each unique.
Ed. 35 / XX, signed and numbered certificate.

› Parkett vol. 93
› Danh Vo's Edition for Parkett 93

Also in this issue: Doug Aitken talks to Tim Griffin about his cross-country American odyssey, Station to Station; Angela Vettese describes the Italian extravaganzas organized by patron Nicoletta Fiorucci and curator Milovan Farronato; and Michael Glasmeier looks back at two Rembrandt self-portraits.
For the Insert, Tala Madani has miniaturized the loutish men who people much of her work—yet their mischief-making remains undiminished.

For more details on Parkett 93 as well as on artists’ editions, subscriptions, and back issues, and to connect on Facebook, please visit


Upcoming Exhibition at Parkett's Space in Zurich

Small is Beautiful


Opening February 14, 6 - 8 pm (February 15 - May 17, 2014)

The new exhibition at Parkett’s Space in Zurich presents small and miniature format works made by artists for Parkett since 1984. On view is a never before seen selection of eighty works, many smaller than a hand and rarely larger than a Parkett page.

› More Information on Parkett's Exhibition Space in Zurich

logo Parkettart  

a large ›library and
a small ›museum on contemporary art

Published bi-annually in Parkett’s book-bound signature design, each volume features four artists’ collaborations and some fifteen essays and texts, with numerous color illustrations on 250 pages. Each artist also contributes a work especially made for Parkett as a signed and limited edition. In addition to these artists’ collaborations, Parkett features various contributions on contemporary art within a series of playful sections such as Cumulus, Insert, or Les Infos du Paradis.




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