Above spreads from Chapter One: Down The Rabbit Hole, Unique Silkscreened book,
33 x 46 cm, 2010
C & P: How did Bongoût begin? How did you start collaborating with Anna Hellsgård? When did you open the Bongoût art space/store? Who runs the Bongoût store? Are the shop, the graphic design/illustration business (Re:Surgo!), and the artist representative agency (Bellevue Illustration) all run by the same people, in the same space? Is this all you and Anna Hellsgård?
Bongoût/Christian: I started pretty punk. My first silkscreen atelier was in a huge alternative warehouse project across the Rhine, in Kehl (Germany), that was hosting rehearsal spaces, recording studios and event spaces. I was publishing silkscreen hand-printed artist books in a very DIY matter. Some of my friends started a small garage punk & noise label, so I would design and print the record covers. Meanwhile we organised concerts, exhibitions, raves and parties, So I was in charge of doing the design and print to advertise the events.
When I met Anna in 2001, we started collaborating and eventually our work became more structured and sharp. We relocated in Bordeaux for a year and a half. We quickly moved to Berlin. In Berlin we’ve had three different locations, and we’ve been in the space on Torstrasse since early 2008.
Our shop, design & print studio are all in the same location—we occupy the entire lower floor of Torstr. 110. Our illustration agency, Bellevue, is in the 4th floor in the same building. Anna and me run the graphic design studio and silkscreen studio together. We run the publishing company and shop with our partner Alain, and Bellevue is co-run by us and Jakob Hinrichs and Katia Fouquet.
C & P: Is there a silkscreen facility on the Bongoût premises? How often is the press in use?
Bongoût/Christian: The silkscreen print studio is in the back of of shop. Hardly a day goes by when we don’t print.
C & P: The Bongoût web shop sells photography, sculpture, paintings, handmade books, zines, limited edition prints, t-shirts, music, and more. Do you sell as much of a variety of products in the store? Who curates what is sold in the store and online?
Bongoût/Christian: Yes, in fact you can regard it as a sort of select shop—we carry things we like, mostly print publications (from polished offset artist monographs to DIY limited edition zines) but also prints, posters, apparel, vinyl records, and even chinaware designed by artists, and of course original artworks.
Biographical Chapter 12, Silkscreen print, 150 x 200 cm, 2011
C & P: Do you regularly have exhibitions in the space? Are the exhibitions always of people’s work who you sell in the shop?
Bongoût/Christian: For the last three and a half years, we had on opening every month and were having exhibitions non-stop in constant rotation. But we’ve had to focus more and more on our own work as well as the books we are publishing, and needed more space for the office and studio.
We moved them into the former exhibition space and are now having smaller shows every third month in the shop part of Bongoût. It’s not only people whose work is in the shop, but it will often be of artists who we’ve worked with in the past in some form. The connections come about quite naturally, and we develop the concept for the exhibitions together. When we were using the exhibition space we would approach it as a very flexible and modular space, and it looked different for every exhibition—adding temporary walls, changing the lighting, painting the walls different colours… each exhibition had a very unique character.
Loomings Chapter 1, Silkscreen print, 150 x 200 cm, 2010
C & P: Could you talk about the process of working with an artist/illustrator on a book or an art print? Do you silkscreen the book/print or does the artist silkscreen their own work? Or does the process vary from artist to artist, project to project?
Bongoût/Christian: We have very often worked with other artists—in fact, collaborations are an essential part. Each project defines a new set of rules, and in general we have a very good chemistry with our project partners. It’s comparable to making music with different people. It creates a good balance and challenges between our different projects.
C & P: Do you only print limited edition, hand-silkscreened books and prints in house? Do you ever send a project out to an offset press to print a larger edition of a book?
Bongoût/Christian: A few years ago we started to publish offset books. We now have a catalogue of over 15 offset publications, books & catalogues. We are currently working on three big offset monographs: a painting book by ATAK, a book of Marilyn Manson’s watercolours and a photo book with Natacha Merritt.
Given, 72 pages silkscreen book, 93 colours, 40 x 30 cm (above 3 images)
C & P: What is the most involved/complex project you have ever undertaken in Bongoût’s print shop?
Bongoût/Christian: We just finished Given, a huge collective silkscreen book. Three booklets in a cardboard box, 30 x 40 cm, 72 pages, and a run of 145. We used 93 screens for it. We asked 35 artists (Seripop, Tara Mc Pherson, Pakito Bolino, Gregory Jacobsen, Manuel Ocampo….) to submit images and we printed the whole project this summer. It´s massive.
C & P: How do you find the artists/illustrators/comics that you work with and/or represent? Are most of the Bongoût stable friends and/or acquaintances? People who have submitted work through your website? Or people that you have scouted out at schools and in other publications? Are they mostly German?
Bongoût/Christian: The connections happen naturally. The artists we work with come from all over the world. After 15 years of being active, we have a pretty good network, but we are always excited to discover new young talents to collaborate with.
C & P: How many projects do you work on at a time?
Bongoût/Christian: We always multi-task and work on several projects simultaneously. That’s how we can keep on being productive and avoid lulls. It is not unusual that a project goes over a time frame of three-six months (sometimes it takes a year or two to put everything on place), so if we were focusing on only one at a time it would be very slow and frustrating. This way we keep ourselves busy and have a steady output, its’ exciting.
C & P: Are there other publishers in Berlin doing something similar to what Bongoût is doing? How about elsewhere in Europe?
Bongoût/Christian: In Berlin I’m not sure. Over the years I saw a few publications that go in a similar direction, but rarely anything consistent. Since the 70´s here is a long tradition of underground art publishing in France, which is part of my background, l´APAAR, Elles sont de Sortie, Le Dernier CRi, United Dead Artists… just to name a few.
C & P: Do you ever collaborate with other independent publishers?
Bongoût/Christian: We carry other publishers’ books in our shop and web shop. We did a few straightforward collaboration too.
C & P: Do you sell Bongoût product anywhere in the USA?
Bongoût/Christian: Cinders Gallery and Booklyn Artist Alliance, both in Brooklyn, are carrying our silkscreen artist books, and in terms of distribution, DAP and LAST GASP are distributing some of our offset books in the USA.
C & P: How long have you been creating artwork? Have you always used the medium of silkscreen?
Bongoût/Christian: I started to publish graphic zines under the name Bongoût in April 1995, and I met Anna in 2001. We essentially silkscreen, but we also paint, draw, photograph, do installations and play in several bands.
Chapter Two: A Pool of Tears, Unique Silkscreened book, 40 x 60 cm, 2011 (above 3 spreads)
C & P: I saw the book Down the Rabbit Hole at the New York Art Book Fair last year and was absolutely blown away by it. It was definitely the most beautiful book I saw at the entire fair, unfortunately I could not afford to purchase it. There is only one copy made? And this year you produced a similar book, A Pool of Tears, which The US Library of Congress purchased. Could you tell me a bit about the process of making these books? Where does the imagery in the book come from? How long does it take to produce?
Bongoût/Christian: Yes, it is a unique book, there is only one copy. It’s a hard cover, with embossing (46 x 33 cm). The book is a mise-en-abyme of media and techniques and the title is obviously inspired by Alice in Wonderland by Lewis Carroll. The beginning it’s very intuitive. The materials go through several iterations and transpositions until the final result is achieved. It just clicks, we know exactly when we have reached what we wanted. At the end it makes it hard to pinpoint one specific technique.
This book is part of a series, with each book being considered as a “chapter”. Each chapter is named after a chapter in Alice In Wonderland. We are currently working on Chapters 3 & 4. Chapter 1 is now in the Standford library collection and Chapter 2 in the US Library of Congress.
C & P: Do you ever take the imagery from a page in one of these books and reuse it to make a poster or present it in some other format?
Bongoût/Christian: Like I said, our work is a constant mise-en-abyme. A time-travel remix. We are reusing film, elements, found material, our own work (paintings, drawings, photos)… one work leads to the next one. The creative process reflect the dynamics of creation and inspiration.
C & P: What is your favorite thing to do in the neighborhood?
Bongoût/Christian: Sorry but I will not advertise them in a public discussion. (Ed.- Understandable, I might have the same reaction to the question in regards to Greenpoint/Williamsburg!) I hang out there with my friends and I want to keep these places genuine and tourist-free as long as possible. That’s why they are my favorite spots.
C & P: Do you feel that you will be able to stay in Mitte for a long time? Or is Mitte changing in a way that it will make it impossible for a gallery/artist run space to be able to operate there in the future?
Bongoût/Christian: Anna and I were discussing it recently. We’ll see what the future brings, but all together I don’t think that it’s changing that fast.
C & P: I just read that Tacheles was closed down this year and the artists who had studio spaces there were evicted. Is this true? How do you feel about the arts landmark being demolished and turned into high priced condos?
Bongoût/Christian: I never felt very close to the Tacheles community or spirit. Tacheles was a pale vestige of a Berlin that is long gone for me. Twenty years ago you had a lot of squats and artist spaces like this, and I loved that energy, but it is something that was particular to the 80’s and 90’s right before and after the fall of the Berlin wall. These creative community had as much to give as the established artists.
But even if the building was amazing, over the last few years, the Tacheless turned more and more into just another tourist attraction. It’s a natural evolution, gentrification is inevitable. No big deal. When it happen move on and do something new.
C & P: I went to Berlin in early 2000 and again in 2005 and in just five years I noticed that the city had changed a lot… and now I assume it has changed even more. Do you feel that Berlin is a different city now than it was in 2005? Is it becoming more difficult to live cheaply there?
Bongoût/Christian: It might still take a while until all of Berlin looks and feels like Prenzlauer Berg though. Of course, once you’re settled or running a business, you’re pretty happy that you can walk along the sidewalk without stepping in dog shit and having to dodge the drunks. But people were saying the same thing in 1990, and again in 2000. I see tons of galleries and artists moving to Berlin because they think it’s the El Dorado of art. They heard about cheap rents and are hoping to make it big time here, but most of them quickly sober up and realize it’s not as easy as they thought. Financially, the city is still a nightmare—there’s a reason why the beer and the rents are cheap. Most people don’t make a lot of money here. But this is part of Berlin’s flair. And you could see this as a sort of freedom from economic constraints or the pressure of “making it.” If you have accepted that, you might as well do what you like. This creates the basis for the particular kind of vitality and creativity so unique to Berlin. Perhaps the established art world is getting bitter and running in circles, but there are a lot of extremely talented artists working on what they love to do, there are exciting off-spaces, hundred of concerts every night. It’s still really exciting what’s going on here.
C & P: Would you ever move to a different city/place or is Berlin the place for you?
Bongoût/Christian: Even if I could imagine moving to NYC or San Fransisco, Berlin is definitely the place for us. There is an energy in Berlin that you won’t find anywhere else. It’s always been like this. It is a city that is truly alive. This is why we love Berlin. It’s a city of paradoxes, and these paradoxes are its strength.