Endless House: Intersections of Art and Architecture, from June 27, 2015, to March 6, 2016, MoMA, New York, considers the single-family home and archetypes of dwelling as a theme for the creative endeavors of architects and artists. Through drawings, photographs, video, installations, and architectural models drawn from MoMA’s collection, the exhibition highlights how artists have used the house as a means to explore universal topics, and how architects have tackled the design of residences to expand their discipline in new ways.
The exhibition also marks the 50th anniversary of the death of Viennese-born artist and architect Frederick Kiesler (1890–1965). Taking its name from an unrealized project by Kiesler, Endless House celebrates his legacy and the cross-pollination of art and architecture that made Kiesler’s 15-year project a reference point for generations to come.
A 2010 archeological study found that the prehistoric Gwion Gwion paintings in Australia, whose chromatic vividness contrasts with their age and their exposure to sun and rain, are inhabited by “living pigments.” A symbiotic biofilm of red cyanobacteria and black fungi sustains a process of permanent self-painting, while also etching the pictures deeper into the quartz wall. The texts commissioned for the reader respond, from a variety of disciplinary perspectives, to an idiosyncratic temporality and economy—or ecology—of signification. Descending from an inscrutable past to the same extent that they are made now, in a radical contemporaneity, the Gwion Gwion are examined as an allegorical metabolism that generates new articulations of “art” and “life,” contamination and purity, prehistory and modernity, bacterial and human colonies, lost knowledge and scientific advancement—collaborative relations between antonyms, altered schemas of “origin” and “identity.”
InOtherWords imprint was founded by Oliver Knight & Rory McGrath of design studio OK-RM. InOtherWords creates books as collectable objects in close collaboration with artists, writers, institutions, galleries, and other cultural ventures.
Their first publication, One Language Traveller, accumulates objects created by Danish artist FOS, as if the book were a cabinet of curiosities. United on the pages of the book, the sculptures speak to each other in a new vocabulary of form. One Language Traveller is ring bound, sits in a reflective slipcase and is finished in an array of paper.
Launches, May 15, 6pm, at Printed Matter in New York; and May 20, 7pm, at Donlon Books in London.
In a time of previously unforeseen plurality, visibility and distribution, the value of the image has been elevated in its usefulness as a tool and simultaneously annihilated by its ease of multiplication and impossibility of ownership. Linus Bill & Adrien Horni seize this moment to reestablish the foundations and hierarchy of the image.
To create their raw material, they incorporate tools both analogue and digital – paper, scissors, glue, Xerox, scanner, iPhones, iPad and powerbooks, consumer printers, architectural printers and hi-end inkjet alike. Even if beginning on paper, these sketches soon become jpegs.
Eschewing the art world’s conscientious formula for creation / documentation / distribution, the artists approach their own process more like mail-order shopping. Flipping the idea of the catalogue on its head, Bill and Horni put the exhibition catalogue before the artwork, chronologically at least. The printed catalogue always precedes the works destined for the walls of the gallery or institution. The artists state that “The books are like catalogues from which we choose our next painting.”
The artist’s new book, their largest to date, Gemälde 2013 – 2017, (the years depict both the time frame of the source material and period to complete the paintings) is the foundation for the exhibition Gemälde 2015 at Galerie Allen in Paris, May 28 to July 26.
Know-How / Show-How Summer School in Sofia, June 29 – July 10
Booksfromthefuture Summer School in London, July 6-17
Werkplaats Typografie Summer School in Urbino, July 19-31
Typography Summer School in London, July 20-24
Asterisk Summer School in Tallinn, July 28 – August 6
GDA Summer Sessions 2015 in Detroit, August 1-16
Travelogue Summer School in Porto, August 3-8
Typography Summer School in New York, August 10-14
The Ventriloquist Summerschool in Oslo, August 10-15
Van Eyck Summer Design Academy in Maastricht, August 20-24
Allan Kaprow (1927–2006) is considered to be the founding father of the Happening, of Environments and Activities: terms that he continued to redefine throughout his career.
With a wide selection of images, Posters – edited by Alice Dusapin and Christophe Daviet-Thery, published by Christophe Daviet-Thery and Walther König, designed by Coline Sunier & Charles Mazé – documents Kaprow’s posters, a lesser-known side of his work, produced between 1953 for his first show at the Hansa Gallery, New York and 1996 at Kunsthalle Palazzo, Liestal.
Most of these posters were designed by Allan Kaprow and are characterized by their aesthetic quality, the earliest ones in particular a combination of hand-lettered text and drawings and the later ones of photographs and typographic text in a minimalist style.
More than merely advertising Happenings or Activities, these posters act as scores/tools for the participants to the Happenings and as everyday objects that blur the boundaries between art and life.
Launch May 5, 6pm, Librairie Yvon Lambert, Paris.
Paper Planes, by Sjoerd Knibbeler, consists of 16 paper models of aircrafts that have never made it past the drawing board. Sjoerd Knibbeler was able to recreate these models based on information, technical drawings and ‘artist impressions’, which he predominantly found online. Some of these aircraft designs are over 80 years old and if they have failed as physical aircrafts, they still fly around the world as ideas – in the virtual form of data. In this publication these models are combined with texts and drawings, and turned into a 4 meter long leporello, which folds back to an A4 book with a hardcover sleeve.
“I asked architects to send me important images that show the basis of their work. Images that are in their head when they think. Images that show the origin of their architecture. In this book we find 44 individual “musées imaginaires”. The most unique architects living today each present up to ten images to explain the autobiographical roots of their oeuvre. The images are explanations, metaphors, foundations, memories and intentions. They are poetic and philosophical avowals. They reveal a personal perspective on thoughts. They show the roots of architecture and expectations concerning projects. Conscious and unconscious. The biographies are written by the architects themselves. The images are small, legible and interpretable as icons. As individual collections, they present a personal view of an individual world, while as a whole they provide a universal view of the perceptible origin of contemporary architecture.” The Images of Architects, edited by Valerio Olgiati.
With Architects David Adjaye; Manuel and Francisco Aires Mateus; Alejandro Aravena; Ben van Berkel; Mario Botta; Alberto Campo Baeza; Adam Caruso and Peter St John; David Chipperfield; Preston Scott Cohen; Hermann Czech; Roger Diener; Peter Eisenman; Sou Fujimoto; Antòn Garcìa-Abril; Go Hasegawa; Jacques Herzog and Pierre de Meuron; Steven Holl; Anne Holtrop; Junya Ishigami; Arata Isozaki; Toyo Ito; Bijoy Jain, Studio Mumbai; Momoyo Kaijima and Yoshiharu Tsukamoto, Atelier Bow-Wow; Christian Kerez; Hans Kollhoff; Winy Maas, MVRDV; Peter Märkli; Jürgen Mayer H.; Richard Meier; Glenn Murcutt; Ryue Nishizawa; Valerio Olgiati; John Pawson; Cecilia Puga; Smiljan Radic; Richard Rogers; Kazuyo Sejima; Jonathan Sergison and Stephen Bates; Miroslav Šik; Àlvaro Siza Vieira; Eduardo Souto de Moura; Robert Venturi and Denise Scott Brown; Peter Wilson, Bolles + Wilson; Peter Zumthor.
MacGuffin is a new and unusual design & crafts magazine. It features fabulous stories about the life of ordinary, often anonymously designed things. Each biannual edition takes an object and explores the manifold stories it generates. Like the MacGuffins in Hitchcock films, these things are not the main characters, but the plot devices that set the story in motion.
MacGuffin N° 1 is all about the amazing backstage stories that revolve around our beds: cookie-cut Airbnb bedrooms, customized Do-it-Yourself beds, neat nightingale nests, copulating skyscrapers, instable flowerbeds and deflated airbeds are investigated by writers, critics, designers, craftsmen and photographers like Sam Jacob, Chris Kabel, Noriko Kawakami, Arnoud Holleman, Steven Heller, Wouter Vanstiphout, Madelon Vriesendorp and Labadie/Van Tour.
© BBella Bas & Robin Lopvet for Cosmos Arles Books
Offprint London, May 22-25, Tate Modern (Turbine Hall), London
Multiple Art Days #1, May 22-24, Maison Rouge, Paris
MISS READ 2015, June 26-28, Akademie der Künste, Berlin
Cosmos Arles Books, July 6-11, Rencontres d’Arles, Arles
Exercises in seating is a project by Max Lamb. From April 12 to 19 in Milano, the exhibition of furnitures will illustrate Max Lamb’s continuous examination of his material landscape and manifold modes of production. The accompanying publication is published by Dent-de-Leone.
Marcel Broodthaers est un artiste polymorphe, poète, plasticien, réalisateur de films, photographe, qui a anticipé la réflexion sur les rapports entre l’œuvre d’art, le musée et le public.
Le Musée d’Art Moderne – Département des Aigles, à laquelle l’exposition à la Monnaie de Paris – du 18 avril au 5 juillet 2015 – est dédiée, s’inscrit dans le contexte de 1968 en Europe, marqué par la réflexion sur les changements de la société, de l’art et de ses institutions. Malgré lui, Marcel Broodthaers en devient l’un des acteurs majeurs. Il s’autoproclame “directeur” et “conservateur” du Musée d’Art Moderne – Département des Aigles, institution qui, durant quatre ans, entre 1968 et 1972, va interroger la valeur de l’œuvre d’art en soit et dans son contexte d’exposition. Un questionnement de la notion de musée et de son rôle que Broodthaers fait passer entre le ton de la fiction et de la réalité.
Four Eggs Theory is an exhibition – until May 10, Futura, Prague – and a book by Honza Zamojski. In an ideal world an ideal egg would be an ideally oval geometrical form with an ideally spherical yolk center surrounded by whites. After boiling our specimen and cutting it crossways, we would see a microscale model of the Earth’s orbit around the Sun. Both systems – the cosmic one and the human one – are closed and complementary, as the vitality of one of the parts depends on the other. Meanwhile, the space between the surface of the yolk and the shell, on a cosmic scale, is the sphere of influence between our planet its closest star. In the “Four Eggs Theory”1 the key element of illustrations is a synthetic image of half an egg – a closed system with a core and a surrounding atmosphere. This theory aims to describe an individual, though also, from a wider perspective, the cyclical and recurring process of the artistic creation of a Work. The Work is the key element of artistic Practice. At the same time, the theory described in the following text could be analyzed through an illustrating diagram. If we were to seek an analogy in our common knowledge, we ought to ask: Which came first, the chicken or the egg? …
©Hans Peter Feldmann, “Untitled”, 1976, 1976. Offset lithographie, coll. Frac Nord-Pas-de-Calais, vue d’exposition à la Villa du Parc, CAC Annemasse, photographie Aurélien Mole – Batia Suter, “Seat”, slideshow + chair, 2014, courtesy l’artiste, vue d’exposition à la Villa du Parc, CAC Annemasse, photographie Aurélien Mole.
The whole world, up to today explores, until May 30 at Villa du Parc, Annemasse, the use of the archive in contemporary art.
The constitution of archives and their presentation in museums began to appear in the art of the 1960s, taking the form of dispositifs (apparatuses) and installations, often on a monumental scale. Such works are based on the accumulation of homogenous documents whose singularity recedes behind the system in which they partake. Rather than highlighting novelty or the emancipatory virtues of the image – as in the case of collage before the war – the ambition of these works is, on the contrary, to reveal the unchanging features of our representations (stereotyped poses, banal motifs, etc.) and to emphasize their value as memorial and societal indicators…
With artworks by The Atlas Group, Bernd et Hilla Becher, Christian Boltanski, Frédéric Bruly Bouabré, Gérard Collin-Thiebault, Hanne Darboven, documentation céline duval, Hans Peter Feldmann, On Kawara, Christian Marclay, Batia Suter, Oriol Vilanova, Akram Zaatari. Curated by Garance Chabert & Aurélien Mole.
Romka is a collective photo album in which people from all over the world share the stories behind their most cherished photographs.
L’exposition Pliure est un essai sur le livre et “la somme infinie de ses possibles” (Blanchot). Elle donne à voir le potentiel du livre, en relation permanente avec le geste artistique, et de quelle façon l’art se transforme à l’épreuve du livre et le livre se transforme à l’épreuve de l’art. Dans l’exposition, le livre devient un laboratoire d’expériences esthétiques -et le canal même de ces expériences. Exposition ni rétrospective, ni historique, Pliure ne prétend pas embrasser tout un thème ou prouver une théorie mais essaie plutôt de montrer comment l’espace du livre provoque l’art.
Après le Prologue de l’exposition, les oeuvres contemporaines de l’exposition Pliure. Epilogue (La bibliothèque, l’univers), du 10 avril au 7 juin 2015 à l’École nationale supérieure des beaux-arts de Paris, s’allient notamment à une sélection d’oeuvres issues de la collection de l’école, et à un focus autour de l’éditeur Seth Siegelaub.
TELLS US WE’RE NOTHING. TELLS US WE’RE EVERYTHING. FLOWS IN BETWEEN is an exploration by design & art studio RO/LU and graphic designer Dante Carlos on themes about meditation, objects, and space. March 28 to April 26, 2015, The Center for Ongoing Research & Projects, Columbus.
“RO/LU: It seemed really easy to talk to you about the connections between spirituality and art. Sometimes it makes me uneasy to talk about this because spirituality has a lot of baggage as a term? Because it’s easily conflated with religion but, it doesn’t really have anything to do with that for me. There’s not a lot of separation between meditation and the work we do. They are different but, it’s nice to explore.
DANTE: The blurrier those distinctions are, the more interesting it becomes, but that’s the Gemini in me talking. But maybe we’re both comfortable and interested in talking about it because the projects we take on bleed into each other and the way we make work absorbs all the influence around us. Why should there be a distinction between something that is productive and something that is meditative or spiritual; or distinct from the rest of the universe rather than framing a part of it?” (…)
Inventory Press publishes books on topics in art, architecture, design, and music, with an emphasis on subcultures, minor histories, and the sociopolitical aspects of material culture.
Way Station extends the January 2015 exhibition by Shannon Harvey, Adam Michaels, and Levi Murphy at Grice Bench, Los Angeles. At once static and dynamic, the book presents a journey through a series of landscapes, juxtaposed with a steadily spinning furniture form—that of the primary exhibition component, a set of colorful benches featuring ergonomics designed to heighten and transform physical and mental awareness. The book provides a particularly associative experience for a reader seated on a Way Station bench, while maintaining interest far beyond this setting.
In The Canyon, Revise The Canon – Utopian Knowledge, Radical Pedagogy and Artist-run Community Art Space in Southern California – is the last book published by Shelter Press and edited by Géraldine Gourbe.
Before the onset of the social and cultural backlash that was brought on by the Reagan administration in the early eighties, Southern California was ripe territory for the genesis and development of emancipation movements for and by African Americans, Chicanos, pacifists, Marxists, feminists and homosexuals. Starting in the late sixties, these revolutionary waves particularly influenced practices such as performance art, video, installation and collaboration, which led to the construction of alternatives like artist-run spaces, non-profit spaces and artist-run community art spaces. In Santa Barbara, Los Angeles and San Diego, collaborative public action was constructed around utopian knowledge which was then redirected towards universities and art schools that favored the emergence of radical pedagogies. These other manners of experimental thinking, doing and teaching permitted artists to deconstruct certain canons that were inherited from European tradition and art history, and provoked a reexamination of “the American way of life”. In the Canyon, Revise the Canon.
Presentation by Géraldine Gourbe, April 2, 2015, 6:30pm, ICI Curatorial Hub, New York.
Bookspace: Collected Essays on Libraries focuses on the current development of library spaces as public institutions through the perspective of architects, writers, librarians, and readers. It addresses the architecture of modern public spaces, and the development of library collections in the age of digital information, in order to discuss the larger social context of libraries as institutions. It provides an insight into their management and how their functions are changing.