Month: June 2025

LP (180 Gram)
Original Artwork by Paul Collins
Numbered & signed edition of 25 ex.
d’or087
Date of Publication: 6 September 2025
Price: 120 euro

Quentin Rollet (born August 26, 1974) is a French musician and co-founder of the labels Rectangle, reQords, and BISOU Records. Quentin Rollet was introduced to improvised music from a young age. The son of Christian Rollet (a founding member of ARFI), he attended his concerts and later accompanied him on tour, where he quickly became familiar with free and experimental soundscapes. He began playing the saxophone at age 11 in a jazz school, and later entered the conservatory. Following a classical apprenticeship on his instrument, he gravitated toward more contemporary aesthetics, which piqued his curiosity for less conventional musical forms. After some experience with various groups, Quentin Rollet met Fabrice and Nicolas Laureau, members of Prohibition, in 1992. It was through him that the band signed their first two albums to the Distortion label. Quentin Rollet was quickly integrated into the band live, then on their albums, eventually becoming a permanent member of the group until its dissolution in 1999. In parallel and following this stage experience in Europe and the United States, Quentin Rollet participated in numerous projects for varying lengths of time. We can mention his contribution to Akosh S. Unit from 1999 to 2005 on stage and on various albums, but also more punctually with different musicians and groups such as The Red Krayola, Melmac, Mendelson, Dragibus, Herman Dune, Phoebe Killdeer & The Short Straws, David Grubbs, Thierry Müller, Rubin Steiner, Jérôme Lorichon, Charlie O, Dan-Charles Dahan, eRikm, Zsolt Söres, Pal Toth, Jean-Noël Cognard, Jean-Pierre Barja, Jac Berrocal, Rivkah, Benoît de Villeneuve, Andrew Liles and many others. Present on stage on some or all of certain albums, Quentin Rollet offers an entirely improvised and free approach to different saxophones or various instruments[1]. In 2011, he met Colin Potter with whom he embarked on a duo album. This project will lead him to perform on different stages with Nurse With Wound and to intervene on several albums since 2016.

Paul Collins. Born in 1955 in Toronto, where he completed his studies and began his career as an artist. He moved to Paris in 1982. His multidisciplinary practice alternates and combines painting, printmaking, and music. In 1986, he began teaching in art schools in France. He currently teaches at the École supérieure d’arts et média, Caen/Cherbourg. He is represented by General Hardware Contemporary, Toronto. Paul Collins studied at York University and the New School of Art in Toronto. His multidisciplinary practice alternates and combines painting, printmaking, and music. In Toronto, he worked at Coach House Press, exhibited at the Museum of Contemporary Canadian Art, A Space, YYZ, and Mercer Union, and performed improvised and post-punk music at the Cabana Room of the Spadina Hotel. He has contributed to Only Paper Today and co-founded Permanent Press on Mercer Street. He exhibited at the Art Gallery of Ontario for the exhibition “Canadian Art in the 1960s and 1970s through the lens of Coach House Press.” 2009. He moved to Paris in 1982, where he exhibited and performed at the Fondation Cartier, Paris; Crédac, Ivry sur Seine; the Museum of Fine Arts in Mulhouse; the Artothèque in Caen; l’Impasse, Moments artistiques, La Générale ((Belleville et Sèvre)), les Instants Chavirés and Treize in Paris. In 1986, he began teaching in art schools in France. Currently, he teaches painting, printmaking and experimental music at the École supérieure d’arts et média, Caen/Cherbourg. In 2015, he performed with The Glenn Branca Orchestra at the Philharmonie de Paris. His latest artist book, Vent: Photographs 1977 – 2017, was published in 2016. His duo, Protocol Warum, has performed at the Palais de Tokyo and their latest album was released in 2017.

Marija Kovačević Serbian born, New York City based violinist, works in classical, experimental and improvised music and theater. She has a B.M and M.M degrees in Violin Performance from Fakultet Muzičkih Umetnosti in Belgrade, Serbia. While working as a violin teacher at the Brooklyn Music School in 2020, Kovačević came upon a storage closet full of broken violins and took them home, imagining that the discarded instruments might have an afterlife as an installation for experimentation by non-musicians. Playing around with them herself, she soon discovered a heterogeneous world of rich sounding potential within the unpredictable, once-precious objects. Learning how to work with and from each broken violin and bow, Kovačević has since developed an idiosyncratic vocabulary of dragging strings, playing cracks, bowing broken bodies, wrapping loose hair, and creaking pegs. In performance, there is a minimalist, ritualistic structure to her unembellished studies, as each instrument is approached in procession, with silence in between each visceral deviance from the accepted technical norms. Marija Kovačević has performed at The Stone, Roulette Intermedium, MoMa PS1, The Lincoln Center, David Geffen Hall, The Museum of Modern Art, Artist Space, Shift 411, Museo del Barrio, La MaMa Theater, The Jewish Museum, The Brick Theater, Target Margin Theater, The Exponential Festival, American Museum of Natural History, Symphony Space, Performance Space New York etc. Her music was featured on BBC Radio 3 “Freeness”, “Late Junction”, “Brian Turner Show” and WFMU’s “Strength Through Failure”.

Artwork description: Letterpress prints of abstract forms. Each different.