Sammy Engramer


The term “log” is used to designate a file or a database in which all the events affecting a process (software application, transactions on a computerized network, etc) are chronologically recorded. Thus, between the sham ideal of “transparency” and the fluid discourse between “communicants,” the very foundation of immediate thinking, Sammy Engramer places a series of obvious things on center stage through his appropriation of the concept of the art magazine. For Engramer, designing a magazine offers the advantage of being able to resist both the gravity and the rigidity of the monographic catalog as well as the temptation to understand his work as fixed and definitive in form. The magazine LOG presents the many points of view permeating his approach to better weave together the links between the various elements that compose it...

Collection: Collection o(x)
Theme(s): Art contemporain
Language(s): English, French
22,00 €



Sammy Engramer’s work is nourished by a critique of immediacy; it rejects outright the visible that produces meaning for everyone, meaning that is consumed and vaporized up at the same instant, pursuing the hierarchy of events and the immense chattering power of Opinion. The viewer is always free to interpret as s(he) wishes the work s(he) perceives; that is why the work does not have to show, or therefore say, a single thing bearing any relation to the diktat of the language in which the viewer will delight and go away feeling reassured and filled with certainty. The work must produce an infinitesimal number of leads, meanings and orientations to allow viewers to enrich themselves, and therefore “make do with their own culture.”

Originally a painter, Sammy Engramer quickly became interested in sculpture and the objects he places on stage in exhibition spaces, which he perceives as privileged moments of an aesthetic experience in a context unavoidably pervaded with political and commercial issues. Heir to the legacy of Marcel Broodthaers, he explores the relations that exist between art, discourse and object. Sammy Engramer is an active member of the Laura Group, a movement which in a purely casual way seeks to “make visible all the mechanisms of the value chain in art” but especially to “consider the implications of an art object in its context of production and exhibition.


P 4 FOREWORD, Patrice Joly / P 14 ART - Benjamin Rondeau et Jill Gasparina, Forword to a Preface to the Introduction to the Prologue of a Discourse on a Particular Subject / P 29 DESIGN - Etienne Bernard , The Happy End of Martin Heidgger’s "Dasein" / P 42 HABITAT - Elisabeth Wetterwald, interview Sammy Engramer, Something like a complex figure in a Persian Carpet / P 50 ARCHITECTURE - Thibaut de Ruyter, When Construction Booms, Everything Booms / P 56 PUBLIC SPACE - Anne Bonnin, The Phantom of the Exhibition / P 70 SATELLITE - Anne‐Laure Even Please, Give Us A Second Chance / P 74 MAGAZINES / P 88 COLLECTION MATHIEU MERCIER / P 96 FASHION, Emilie Renard, The Little War of a Few Salutary and Highly Cryptic Accessories / P 103 MUSIC, Cédric Schönwald, Derythmization / P 112 BOOKS - Jérôme Diacre, Is Decoy Sammy his name?


  • 22,00 €
  • Language(s): English, French
  • Référence:
  • Nombre de pages: 128
  • Couleur(s): four colours- 200 illustrations
  • Type de reliure: soft cover
  • Dimensions: 1 × 22 × 28.5 cm
  • Poids: 600 g
  • Partenaire: Published with the support of : Centre national des arts plastiques, Centre d’art contemporain – L’espace des Arts- ville de Colomiers ; Galerie Municipale de Ruteboeuf - Clichy la Garenne ; Centre d’art contemporain du Domaine départemental de Chamaran