The Bootleg Documents is an ongoing library of publications that is shared – for consultation only – each time we do a Shelter Press exhibition. This project is slowly building a corpus of hard to find and/or long-time out of print publications, giving them a new visibility and audience.

001. « Advanced Structural Geometry Studies », by Joseph D. Clinton, September 1971
002. « Working Big », by John Lidstine & Clarence Bunch, 1975 (Litton Educational Publishing)
003. « An Individual Note », by Daphne Oram, 1972 (Galliard)
004. « Bolinas Lagoon Inlet, California », by J.W. Johnson, May 1974
005. « Inflatocookbook », Collective book, July 1973 (Ant Farm)
006. « DomeBook 1″, Collective book, 1970 (Pacific Domes)
007. « Interval, Vol III, Number 3″, Collective book, Winter 82 (Interval)

Wrapping a wide part of the artist body of work from the last few years, this new zine by Ryan Foerster features and melts found images, solar eruptions, Germs art cover, poetry and diary photography. From raw and dark figurative photographs to abstract and repetitive shapes, these images connected all together by the book form may be frightening but most likely deeply narrative.

Published at the occasion of L’Attraction Minérale, curated by Manuel Pomar. Lieu-Commun, Festival International d’Art de Toulouse, May 24 -June 23, 2013.

Ryan Foerster is born in 1983 in Newmarket, Ontario.
He lives and works in Brooklyn, New York.

L’Attraction Minérale was published for the eponym show by Felicia Atkinson at Lieu-Commun, Toulouse (FR). The zine features a serie of views from the artist studio at Komplot artist-run space in Brussels (BE). Documenting the matrix of her working process, the zine questions how drawings and sculptures rise from the artist’ studio and its primordial mess to a final art piece.

Published at the occasion of L’Attraction Minérale, curated by Manuel Pomar. Lieu-Commun, Festival International d’Art de Toulouse, May 24 -June 23, 2013.

Félicia Atkinson is born in 1981 in Paris, France. She lives and works in Brussels, Belgium. She is graduated with Honors from l’Ecole Nationale Supérieure des Beaux-Arts de Paris and studied also anthropology and contemporary dance. She is a visual artist, an experimental musician and the co-publisher of the independent imprint Shelter Press.
Her paintings, drawings, sculptures and musical compositions are mostly abstract. Her work takes its sources from the American tradition of painting (Morris Louis, Cy Twombly, Richard Tuttle) and from avant-gardes figures who worked on chance and randomness (Fluxus, John Cage, La Monte Young…) as much as feminist figures in music and art.

New split 12′ between two modular experimentalists stretching the world map for this split release. While Keith Fullerton Whitman comes with one of his more accessible / danceable piece to date, Floris Vanhoof had full reign to record a dark and hazy drone piece for the flipside. Using purely analog synths, both build very unique although complementary compositions.

Keith Fullerton Whitman – you already know him – is an American electronic musician who has recorded albums influenced by many genres, including ambient music, drone, electronic, drill and bass, musique concrète and krautrock.
Making music since the 90′, he started recording using his own name in 2001, and most of his work recorded today is under that name. He studied computer music at Berklee College of Music, where he was exposed to modern electronic music composition and synthesis. Whitman has released albums on many labels such as Edition Mego, PAN, Kranky, Root Strata, Planet Mu.

Connecting his many worlds, ideas and influences into highly personal pieces, everything Floris Vanhoof put his hands on turned into a highlight. Not only his solo LPs on Ultra Eczema and Kraak, but also an extensive list of stunning performances.
In his live shows Vanhoof links new visual ideas to his idiosyncratic musical performances in which homemade synthesizers, exceptional ebay acquisitions and a personal framework are forged into an impressive whole. One of the most versatile and creatively liberated artists in Belgium!

This record has been mastered and cut by Rashad Becker at Dubplates & Mastering in Berlin. Pressed on 180g black vinyl and packaged in a 3 colors silkscreened cover printed by Hannah Geise. Edition of 400 copies.

Keith Fullerton Whitman
“Jardin electronique”
1. Automatic Ping (3:00)
2. Automatic Melody (3:00)
3. Automatic Drums (3:00)
4. Automatic Drums with Melody (9:00)

Floris Vanhoof
5. De Karekiet van Karakas (19:31)
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Extract

Keith « Automatic Drums with Melody » by Keith Fullerton Whitman

Twenties Are Gone is sentimental journey written in the mist of a Finnish August of 2012.

It guides us as a reconstructed and DIY « carte du Tendre ». Reconstructed through the primordial forests – from the californian redwoods to the northern finland. A statement led by the experience of making sculptures and having drinks under a porch, drawing as making sandwiches, being in love and singing songs, watching tv shows and staring at sunsets. Both highly in the now and at the same time metaphysical.
The Twenties are gone. And thirties are opening their wild gates.

This is the first poetry book wrote by the visual and sound artist Felicia Atkinson.

Félicia Atkinson is born in 1981 in Paris, France. She lives and works in Brussels, Belgium. She is graduated with Honors from l’Ecole Nationale Supérieure des Beaux-Arts de Paris and studied also anthropology and contemporary dance.

She is a visual artist, an experimental musician and the co-publisher of the independent imprint Shelter Press.

Her paintings, drawings, sculptures and musical compositions are mostly abstract. Her work takes its sources from the American tradition of painting (Morris Louis, Cy Twombly, Richard Tuttle) and from avant-gardes figures who worked on chance and randomness (Fluxus, John Cage, La Monte Young…) as much as feminist figures in music and art.

« Thinking about ‘shelter’ and the idea of ‘home’, I re-read a book I have called « Farming, Always Farming » that my family’s publishing company printed in 1972. It’s a nice book of text and images of traditional farms in the area I’m from. I adapted the title from that. So, this book is composed from photos of the book I took while reading it one afternoon. I added a coarse halftone dot over it all to obscure the text and reduce the imagery to abstract shapes and tones. »
N.G. march 2013

Nicholas Gottlund is a photographer and bookmaker. He founded and runs the publishing house Gottlund Verlag that produces limited edition artist books with contemporary photographers.
He currently lives and works in Los Angeles, California and in Kutztown, Pennsylvania.

« 16. Pages 38-43″ by Ben Vida


« 15. Pages 8-9″ by Ben Vida


« 7. Pages 20-21″ by Ben Vida

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This record will be reissue on vinyl later this year on Shelter Press

Second model of Shelter Press totebag.
The visual includes only our logo.

Edition of 50 copies
Silkscreened on organic cotton — Printed in Brussels

Je Suis Le Petit Chevalier’s Dark Morse is an exclusive lost tape inspired by the short story The Angel Esmeralda written by Don Delillo. Following two LPs and bunch of tapes dropped last year, this new output is her most whispering beat orientated material to date.

Dark Morse is a tabu hidden at the end of a lost road in the suburbs, a pile of crawling concrete, burried under sub basses, broken rhythms, drunken lullubies for blind dogs.

Je Suis Le Petit Chevalier whispers here holy encounters with dark shades moving at dawn, hoarse prayers, slum saints and never growing ghosts children….


—

 » Sister Jan said, I don’t know.
Of course you know. You know. You saw her.
I don’t know what I saw.
You know. Of course you know. You saw her. »

Don Delillo, The Angel Esmeralda.

A1. Drying in Abou Dhabi
A2. Esmeralda on the lake
A3. Broken drum

B1. The names
B2. The war
B3. The slum nun

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Extract

‘Esmeralda On The Lake’ (SP015/R5) by Je Suis Le Petit Chevalier