Lining the walls of the Galerie Allen, Paris, May 15 – June 14, the images of Laëtitia Badaut Haussmann from the Maisons françaises, une collection series affirm their strange uniqueness. Drawn from a larger selection, they originate from a collection of the decoration magazine Maison Française, dating from 1971 to 1989. From them, the artist has extracted adverts that she treated in a specific way. After converting them to black and white, she removes any trace of text or symbol that reveals their commercial purpose. While the formats vary, the printed area is the same for each of the images in the series. Using subtraction and, therefore, reversing the process of production for advertising images, Laëtitia Badaut Haussmann offers a smoothing and an equalisation of all the selected images. Sometimes still readable when they are presented as a single object, they are more complex when the information load is greater. In those in which the meaning was governed by the commercial necessity of the advert (selling a model object, as much as a model life), in getting rid of the brand and the slogan, the images have nothing to sell except themselves and their rapprochement in the exhibition space offers an unsuspected potential narrative.
The Internet Archive is a digital library of Internet sites and other cultural artifacts in digital form. Like a paper library, they provide free access to researchers, historians, scholars, the print disabled, and the general public.
As part of the Internet Archive Tumblr Residency program, Re Production of Tangible Things, by Gijsbert Wouter Wahl, brings ephemera obsessively combed from the databases out into intertwined chapters. The archive has been pictured, and the images, out of their original positions in files and books, become part of a new territory from which you can drill back into sources that may otherwise have remained invisible.
The Jan Van Eyck Academy Alumni Association is an open platform for theory, art and design built from the assembly of former researchers and participants of the Jan Van Eyck Academy, who are dissatisfied with the debilitating nature of the institutional field, and who reject the prevailing norms of commerce. The idea is to form a mobile framework for collaboration between designers, artists and theorists, one which will bring about a radical probing of disciplines by suspending their borders and provoking their mutual subversions, affirming the need for collective work and engaging in projects which open the possibilities of different domains, whether aesthetic, scientific, or political. They understand the Association as a project continually ‘in the making’: open-ended and multifaceted.
The Association invite you to join in Justifiable Versions of Events, July 20 to 26 in Berlin. They seek experimental proposals for exhibitions, symposia, interventions, actions, workshops, papers and performances, any of which can be used as nuclei for future collaborative work.
In the 19th century public galleries opened to provide access to art for the enjoyment and education of all members of society. At this time, it was common for paintings to be displayed close together from floor to ceiling to create a ‘salon hang’, named after exhibitions held in the Salon Carré of the Louvre, the national museum of France. This arrangement was often guided by instinct rather than a planned concept, and could transform the gallery goer’s impression of the exhibited paintings.
BP Spotlight: Source, until September 14 at Tate Britain in London, highlights similarities between the mass display of art in a salon hang and the ability of 21st century digital and social media platforms such as Tumblr and Instagram to present large numbers of images in a single location online. Digital artworks created in response to the display are presented alongside Tate collection works, selected for the visual qualities they share with images created for these contemporary platforms.
The rise of social media along with the mass distribution and consumption of images is transforming how we communicate visually. Images can be easily accessed, they are repeatedly re-used and presented out of context, and the source of the image is immediately replaced. This alters how origin, meaning and content might be read, raising questions about the value of originality and authenticity of the image’s original source.
THE PARTICLES (of White Naugahyde) is the first publication of a play by William Leavitt. Leavitt is one of the pioneers of conceptual art in Los Angeles, helping significantly to establish the genre in the late 1960s and the 1970s. His works make use of narrative elements drawn from LA architecture and popular culture as well as from the movie and television industries. The artist works in various media, including sculpture, painting, drawing, photography and theatre.
Framed as a sitcom setting, the narrative of THE PARTICLES (of White Naugahyde) tells the story of a family auditioning for a NASA program, which sends them to a newly planned space colony. The demanding admission process makes them live in a security-free community in the desert together with other applicants. These two weeks in the desert result in anxiety and anti-social behavior among the participants.
Book launch and conversation with William Leavitt, Ann Goldstein, Niels Olsen, and Fredi Fischli, April 16, 2014, 6pm, as part of the opening of William Leavitt’s solo exhibition, Sidereal Time, in Zürich.
The book Almost a centimeter is the result of Make Your Own Press, a collective effort of 5 professors and 16 students from 3 distinct academies in the Baltic and Nordic region, and 5 visiting lecturers and critics, invited because of their outstanding efforts in the field of artist book making and publishing.
The book emerged from a course that recognizes the explosion in artist book making all around the world, especially in lieu of the less than terminal death of print predicted now for many years. This resurgence of print was something the group wanted to aid, particularly in their region, by giving a younger generation a course that presented all the steps necessary in taking a book from its concept, through its relation to historical antecedents, design, paper and color selection, the printing process, and finally distribution and acting as a temporary publishing house.
Six teams made a 16-page section each reflecting on various aspects of what it takes to realize a publication: The Author, The Editor, The Designer, The Printer, The Distributer, and The Reader.
The light whistles and flashes red. Guided by ferrite metal. Passage still takes place in electricity. A heat engine that reproduces its own parts when they break down. Is it money or is money just thought. Lost inside everything. Resonance of a dead car battery. No one to speak the car. The shade that threatens to return to life. The closer I get to you. Lower front strut brace. Left passenger door window, glass regulator channel run. Door handle pull cable. Window trims in topaz-pearl, silver birch, steel grey, rust. Mineral deposits of salt, broken glass, dust. Fables in which all things are alive and give signs. Voices that imitate the sounds of the press or the blacksmith. Paint shop agates. Signal red. Amber and ruby tail lights. Pulsing, reminiscing. Gestural, phonetic. Songs from clouds of ash, smoke and soot. A very seductive scent. People noticing their own language. Walk about and become what is happening. Carried away on an endless belt. Grounded or in flight. Indicators will let you know. The history of those feelings. When it was in the air.
Project investigates the possibilities for developing a critical position in contemporary architecture. Publishing both visual and written work, the goal of Project is to provide a platform for disseminating ideas. Each issue includes an insert devoted to visual presentations of contemporary projects. The journal also features writing in several formats: polemical essays by architects and critics; extended conversations with significant figures in the field; long-form critical writing; and short readings of provocative images and projects. Project focuses on publishing young architects who take strong positions and engage in debate and critical evaluation of the field.
Issue Three includes contributions from common room & Kim Förster, Reinier de Graaf (OMA/AMO), Neil Denari, Edward Eigen, Formless Finder, Adam Fure, John May, Magnus Nilsson, Valerio Olgiati Architect, Pezo von Ellrichshausen, Lola Sheppard (Lateral Office), Jill Stoner, Tom Wiscombe and more… Launch April 9, from 7pm, at common room, New York.
Typography Summer School is a meeting place for graduates of graphic design, wanting to bridge the gap between student and professional and learn more about typography. The school brings together leading practitioners and participants to study, exchange ideas, and investigate the discipline.
As well as running a range of projects within typography with real clients and budgets, the school acts as a think tank encouraging research and dialogue. This environment provides a forum in which to discuss what typography is, its relevance in design history and the part it plays in today’s society. The school investigates the role of typographic design across ranging mediums, from books to film credits and posters to websites.
The 2014 tutors are Julian Bittiner, Neil Donnelly, Bob Gill, Francesca Grassi, Hilary Greenbaum, Geoff Han, Other Means, Fraser Muggeridge, & David Senior. Bringing together a range of varied tutors will offer each participant a unique experience to learn from and apply to their future work.
Applications are open until May 15, 2014.
Rietveld Berlin is a temporary school, organized by the Graphic Design program of the Gerrit Rietveld Academie, Amsterdam. Since the beginning of March, the students of Rietveld Berlin have discussed, evaluated and defined what their workspace could and should be, and have set it up accordingly. To present these accumulated thoughts and results, they will open up their studio to host an evening themed around the designer’s/artist’s workspace this coming Tuesday, April 8, 2014.
To go along with the presentation of their studio, and to open up the discourse, they have invited several designer’s/artist’s to participate with “studio-selfies”—small videos of their studios.
Our material world is made up of a succession of layers; generation by generation, work by work, each new layer is informed by and created in dialogue with the existing material strata. The food we eat, the spaces we occupy, the written and visual media we engage with, the songs we listen to, the art we spend time with, the films we watch, and the objects we live with were all informed by past material culture and, in turn, will influence future creative decisions. The objects presented in Source Material exemplify the material foundation from which creative work is made today.
Source Material – April 8 to 12, Kaleidoscope Project Space, Milano – presents the objects, keepsakes, and references that have had a pivotal effect on the work of fifty-four creative minds from the fields of architecture, art, cuisine, design, fashion, film, and music, such as Erwan & Ronan Bouroullec, Thomas Demand, Konstantin Grcic, Jürg Lehni, Mike Meiré, Mike Mills, Harsh Patel, Benjamin Sommerhalder, Wendy Yao, etc… Found within the contributors’ everyday working or living environments, these objects are stepping-stones for the creative process.
Images: Massimo Torrigiani, Leggio; Marco Velardi, Disegnare Colorare Costruire, book series curated by Bruno Munari; Jürg Lehni, A Guide to Architecture in Southern California by David Gebhard, Robert Winter; Andrew Stafford, Scale furniture.
The one-day event Art-Information: Editorial Strategies, Text-based Formats, Publishing Contexts, April 26, at ICA in London, looks at acts of publishing within contemporary art and curatorial practice. Guest contributors Stuart Bailey, Dr Ruth Blacksell, Dr Jo Melvin, Dr Lucy Mulroney, and Alun Rowlands will draw on a rich variety of engagements, setting current practices against the alternative lineages of Pop and Conceptual Art. Presentations range from considerations of the various format and distribution strategies used by magazine editors and curators, to discussions of publishing, editorship and layout in (and as) practice.
Through these, contributors will highlight specific issues such as the appropriation of trade publishing channels and editorial design vocabulary; the significance of typographic layout in progressions from passive ‘looking’ into active ‘reading’; requirements for reader participation and responsibility; and the shifting notion of archival and open work within the interactive and networked platforms of digital publishing.
For the exhibition New Reproductions, David Maljkovic has created an extensive display of his work which provides a new reading of his artistic practice and the exhibition format itself.
The show presented six new reproductions of previous projects by the artist, and deals with conceptual strategies and utopian references past and present. It included animation, slide projection and collage, as well as sculptures as reconfigured objects.
The artist book New Reproductions, published in conjunction with the exhibition, designed by Åbäke, is a dense object in which the textual contributions function as poetic and fictional response to the artist’s collaged 48 images. Here, Maljkovic provides a certain utilitarian take on re-reading, remembering, incompleteness, and exhaustion as artistic positions in order to assemble filiations between works separated by time span and by his changing ideas.
Informational Affairs is an ever growing index of books collected by Folder Studio.
Né d’une série d’invitations par ricochet, Side Effects est un échange artistique international mené par Laura Kuusk, artiste estonienne, et Pascale Riou, théoricienne de l’art française. Cette collaboration est née d’un questionnement commun sur l’activité artistique, le travail à-côté, la pluriactivité, le faire-avec, le choix, l’accident. Pour cette exposition, Museum of Museum réalise l’ouvrage de médiation intitulé Le Syndrome de Stendhal.
En 1826, sortant de la basilique Santa Croce de Florence en Italie, Stendhal manqua de s’évanouir, ébranlé physiquement et psychologiquement par la puissance de cette oeuvre humaine. Il venait de ressentir puis d’exprimer ce que l’on nommera par la suite le syndrome de Stendhal, syndrome dû au dépaysement, dû aussi et surtout à l’intense émotion provoquée par la confrontation aux oeuvres d’art.
Les récits d’expériences de rencontre avec l’art sont multiples, ils expriment les représentations que l’on se fait de l’art, des artistes, de la création, les mythes qui y sont rattachés, et participent à l’écriture de l’Histoire de l’Art.
Museum of Museum (MoM) met en exergue cette histoire par la restitution de quelques-unes de ces expériences narrées, et suivant le modèle des maîtres de la biographie d’artiste – illustres prédécesseurs tels que Pline l’Ancien, Giorgio Vasari ou Carlo Ginzburg – par l’écriture des biographies des artistes participants à l’exposition Side Effects.
Prenant le parti d’aborder l’oeuvre par l’étude de la vie de l’artiste, MoM fonde ses récits sur des témoignages oraux et de la documentation diverse : catalogues d’exposition, interviews issues de magazines spécialisés, sites issue des internets.
En s’appuyant sur l’oeuvre littéraire préexistante des grands auteurs, MoM propose des biographies possibles, une lecture parmi d’autres du travail des artistes. Cette lecture se base sur leur vie et les expériences artistiques, mettant l’accent sur les anecdotes, sur ce qui entoure la création et y participe finalement.
The Fernand Baudin Prize is awarded every year for the most attractive editions and beautifully crafted books in Brussels and Wallonia. This is the fifth time the prize has been awarded and now a new, additional concept is being introduced: a book club.
Once a month, at various cultural locations, the Fernand Baudin Prize provides an opportunity to share and exchange ideas and opinions about books. The idea is simple: bring along a book and introduce it to the others. Give a short presentation, exchange opinions about the design, read an excerpt aloud, add a personal anecdote or an in-depth analysis: all stories and contributions are welcome. The book club embraces everyone: every reader or booklover, professional as well as amateur writers and all manner of book producers. Upcoming rendezvous, April 23, 2014, 6.30pm, Beursschouwburg, Brussel.
Chapters I-XXX is a book published in conjunction with the exhibitions of the artist Haris Epaminonda (Chapter IV at Fondazione Querini Stampalia, Venice & Vol. XIV at Galleria Massimo Minini, Brescia).
In tracing some of the notions and narratives embedded in Chapters, a 16 mm film shot in Cyprus in 2012, the idea of making a book came about as an exercise, or rather an experiment, to deconstruct the film into some of its subject matters. Embarking on a new set of associations between image and subject, source and information, meaning and abstraction, this book is both a document and a memory map, tracing the beginnings of a thought, a time, an image, a place.
The book aims at being a sort of encyclopedia, regardless of the impossibility of such a task. The reference material of the artist’s latest film Chapters is collected in these 30 posters. Printed in two copies each, they constitute a limited run edition of 60 signed posters.
131 Variations, a project by Fleur van Dodewaard, is a reinterpretation of Sol Lewitt’s 122 Variations of Incomplete Open Cubes. Assisted by two mathematicians Lewitt succeeded in visualizing 122 variations on an open cube that was defined only by its edges. What distinguished these from ordinary 12-edged cubes was that only between 3 and 11 edges were visible, meaning that to obtain an image of the full cube the beholder had to complete the three-dimensional form in the mind. In his quest, Lewitt discovered 122 ways of leaving the cube unfinished.
Fleur van Dodewaard set about recreating and photographing the piece seeking to produce an exact copy. But in the process things went wrong: some cubes went missing, others appeared double and previously unknown variants arose. With her 131 Variations Fleur van Dodewaard demonstrates that the 122 variations listed and presented by Lewitt did not represent an exhaustive spectrum of all conceivable possibilities. Accordingly, the “failure” consciously introduces moments of arbitrariness, inconsistency and irrationality into this aleatory process to allow for an element of coincidence, thereby challenging mathematical logic.
131 Variations seeks to debate the issues of authenticity, appropriation and reproduction, while challenging the role of photography as a medium to represent reality. Exhibition until April 5, Hauser gallery, Zürich; Book launch, March 30, 4pm, Foam, Amsterdam.
En 1971 John Berger imagine avec le producteur Michael Dibb la série Ways of seeing pour la chaîne de télévision de la BBC. Cette série rencontre à l’époque un grand succès. L’année suivante un livre du même nom, fruit d’une collaboration entre Berger, Dibb, Chris Fox, l’artiste Sven Blomberg et le graphiste Richard Hollis est publié. C’est bien la vision typographique d’une justesse irréfutable créée par ce dernier qui fera entrer l’ouvrage dans la bibliothèque des designers.
En sept essais, Berger rappelle les modalités de commande des peintures de la renaissance et démontre ainsi le pouvoir de la classe dominante. Il analyse la filiation entre ces modalités et le développement et l’omniprésence des codes de la publicité dans notre société capitaliste contemporaine. Il encourage ainsi le spectateur-lecteur à questionner les images qui l’entourent au quotidien.
En nous montrant comment voir différemment des tableaux que tant de musées présentent comme des reliques sacrées, John Berger nous invite à une réappropriation critique de notre héritage culturel. Il s’appuie sur près de 160 reproductions de tableaux et d’images publicitaires, et analyse le traitement du corps féminin dans l’histoire de l’art parallèlement à nos relations aux objets, au pouvoir et à la propriété.
Si la société s’est beaucoup modifiée depuis 1972 et l’écriture de ce texte, reflétant aujourd’hui plus largement les valeurs du modèle capitaliste qu’à l’époque, l’enjeu fondamentalement politique de Voir le voir reste cependant le même.
La version française, Voir le voir, que B42 republie est un facsimile de l’édition originale anglaise parue en 1972. La traduction est une reprise de la version établie par Monique Triomphe pour les éditions Alain Moreau en 1976.
Le festival Cinéma du réel, au Centre Pompidou, Paris, propose le samedi 29 mars Ways of Telling, un évènement autour du travail de John Berger.
Since 1967, designers and architects Trix and Robert Haussmann have built an idiosyncratic oeuvre that has continuously challenged architectural, design and aesthetic conventions. In the 1960?s they began to elaborate a complex language that can be viewed as an early post-modern or Radical Design position. Throughout their fifty year long career they have explored many creative perspectives, such as poetry composed by chance, drawings, collages and texts.
Disrupting or “destroying” spaces and forms could be one of the Haussman?s mottos. For instance, their drawer, shaped in the form of a Greek column, is literally “destroyed” by its function (the opened drawers). This work in particular is a direct, deadpan nod to Sullivan?s famous statement “form follows function”. It?s not surprising that the Haussman?s 1981 manifesto was published under the title of “Manierismo Critico”. In contrast to other designers and architects, Trix and Robert Haussmann are acutely conscious that an object can be more a vector of meaning than a functional or aesthetic item. This relationship to the object opened them up to a broader vision of what it means to be an architect today.
The exhibition, from April 26 to June 15, 2014, at Fri Art, Fribourg, entirely conceived in close collaboration with the architects over a long period of time, examines every aspect of their research. Nevertheless, far from being a classical retrospective, it will weave together different bodies of works.