Philippe Queloz: 0,0,0
philippe queloz: 0,0,0
serigraph on paper, hand signed in pencil
published in 2025
by comptoir des arts franches montagnes (cafm)
saint-brais, switzerland
printed by SYMETRIA, saint-louis
edition of 250, 30 x 30 cm in a frame of 32 x 32 x 3.5 cm
including wooden shadow gap frame
0,0,0: a global snapshot of non-objective art in the digital age
commemorating the 110th anniversary of kazimir malevich’s groundbreaking 0,10 exhibition (petrograd, 1915), the 0,0,0 portfolio is a seminal contemporary project that explores the enduring legacy of geometric and non-representational art worldwide.
the title “0,0,0” references the pure state of the color black in programming code, symbolizing the core principle of maximum reduction and universal applicability—a direct conceptual bridge to malevich's revolutionary "zero form."
this limited-edition portfolio gathers 30 original works by international artists, showcasing the vibrant, transcultural evolution of constructivist principles across different generations and continents. it is a visual dialogue between the historical avant-garde and the logic of our networked, digital world.
st-brais is the headquarters of ca franches-montagnes, the publisher of the 0,0,0 portfolio. here, at the geographical "zero point" of the edition, philippe queloz operates as both an artist and a local observer. his contribution is a radical study of a ubiquitous object: the traffic cone, or "lubi.“
the name is a nod to the "lübecker hütchen" (lübeck cones), nicknamed after the twin conical roofs of the holstentor gate in lübeck, germany. this object has a deep history in queloz's work. in his long-term project "lubi 503025," begun in 2009, he established a "point zéro" at the galerie des emibois in the jura, drawing an imaginary vector all the way to lübeck. the cone was used to mark territory, transforming the landscape into a vast coordinate system. for the 0,0,0 portfolio, queloz returns to this "zero point" but shifts the angle. he adopts the "god’s eye view," looking at the object from directly above.
in this vertical shift, the banal warning cone flattens into perfect geometry. it becomes a set of concentric circles—a mandala of the street. stripped of its warning orange and rendered in the absolute contrast of the project’s theme, the "lubi" transforms into a black target. it suggests that the "zero point" is not just a void, but a center—a bullseye that commands our attention. by placing this graphic signifier in the box, queloz marks the physical and conceptual center of the collection.