ROMA PUBLICATIONS: PROVISIONAL SPACE
Roma Publications: Provisional Space
An exhibition by the artists, designers, writers, who constitute the society of the Amsterdam-based Roma Publications.
With Nickel van Duijvenboden, Kees Goudzwaard, Arnoud Holleman, Rob Johannesma, Jan Kempenaers, Irene Kopelman, Mark Manders, Batia Suter, and Roger Willems.
February 11 – April 7, 2012
castillo/corrales, Paris
Apeirophobia
Apeirophobia – Karin Kihlberg & Reuben Henry
Presented by the Reading Room
Apeirophobia is a new publication by artists Karin Kihlberg & Reuben Henry, designed and co-edited by James Langdon, exploring the processes of translating an artwork into book format, an extension of a theme in Kihlberg and Henry’s work of things changing form through processes such as memory and recall, documentation and revisiting histories and possible futures.
Kihlberg and Henry will present a short video screening of three works (including a video of the launching and shooting of 30 copies of the book) which will be followed by an informal discussion by Kihlberg and Henry, James Langdon, and Dominique Hurth from The Reading Room, concerning the issues of artists books and publishing.
February 17, 2012, 7pm
Motto, Berlin
A History of its Own? Graphic Design and Feminism
A History of its Own? Graphic Design and Feminism
This free and public seminar includes three talks and a panel discussion about the status of feminism in graphic design today. Unlike the history of art and literature, the history of graphic design has only recently begun scrutinising its canon and methodological underpinnings. This relative youth has allowed it to recognise certain historiographic pitfalls, such as the privileging of biography over collective practices, and of Western European/North American histories. At the same time, as an emerging field, graphic design history may not have registered the impact of the 1960s/70s feminist and queer debates as much as other visual and textual studies. Can graphic design history make up lost time and imagine its history from the ground up? What models from adjacent or distant fields can allow it to fashion a history – indeed a feminist history – of its own? How does or could this reflection on graphic design’s recent past shape its current self-perception as a field? How are contemporary women graphic designers in particular representing themselves within it? And what strategies can question and challenge existing historiographic models?
- Catherine de Smet teaches at the École nationale supérieure des Arts Décoratifs and Université Paris 8, Paris, and L’École européenne supérieure d’art de Bretagne, Rennes, where she heads the graphic design research team. She is the author of two books on Le Corbusier and her essays on graphic design have appeared in numerous international magazines and catalogues. Catherine will introduce a selection of feminist graphic design practices from the 1960s to today.
- Hjärta Smärta is a graphic design and illustration collective consisting of Samira Bouabana and Angela Tillman, both living and working in Stockholm. They will share their experience as publishers of the monographic book series on women graphic designers Hall of Femmes, what inspired them to get started, what they are currently working on, and where they will go next.
- Sara De Bondt is a London-based graphic designer, teacher and co-director of Occasional Papers. Merel van den Berg is an independent graphic designer based in Amsterdam. Together they will present their research and data visualisation of women in contemporary graphic design.
- A panel, moderated by Antony Hudek (Mellon research fellow at University College London and co-director of Occasional Papers) and Sara Teleman (Project Coordinator at Iaspis) will discuss some of the issues raised, and invite the public to join in the debate.
The event marks the pre-launch of the graphic design historiography reader Graphic Design: History in the Writing (1983–2011) edited by Catherine de Smet and Sara De Bondt and published by Occasional Papers.
Saturday 25 February, 12:00
Iaspis, Stockholm
SAMIZDAT – I PUBLISH MYSELF, I DO THE PUBLISHING MYSELF
The Samizdat workshop (January/April 2010), lead by Marco Balesteros and Sofia Goncalves, proposed the creation of a space for critique and practice in the context of self-publishing.
Its central guidelines were the blurring of roles involved in editing/publishing, the designer as author/editor/producer, an understanding of the workshop as a pedagogical model parallel to academia and as a catalyst for critical experimentation and content generation.
This meta-design exploration was consolidated in a statement of intent, centered around 7 themes (ideology(ies), art/publishing, editing/contents, print culture/digital culture, meta-media, production, distribution/audience/reader). In turn, these issues led to a series of individual publications (authorial monologues) and collective contributions (panel discussions).
The SAMIZDAT publication serves as a record of the workshop as well as an aggregator and an informal compendium on self-publishing’s key issues.
Launch February 13, 2012, 19:15
during Lisbon Design Meetings
Faculdade de Belas-Artes da Universidade, Lisboa
Wandering
Wandering is a bilangual publication – german and english – about hiking in cities and the countryside.
Over 50 artists, critics, poets, writers and other people were invited to talk about wandering. The outcome is an almost 250 page collection of interviews, chats and dialougues.
Contributions by Airen, Jean du Arc, David Aylers, Tenzing Barshee, Daniel Baumann, Bill Berkson, Bomec, Juliette Bonneviot, Max Brand, Stefan Buck, Caroline Busta, Kerstin Cmelka, Ann Cotten, Dari, Iris Därmann, Nikola Eschenbach, Fredi Fischli, Gregory Fong, Lars Erik Frank, Nina Franz, Dillon de Give, Lena Henke, Viggo Julsgard Jensen, Julia Jung, Nuri Koerfer, Wolf von Kries, Quinn Latimer, David Lieske, Ariane Müller, Silvio Do Nascimento, Eckhart Nickel, Niels Olsen, Aude Pariset, Danica Phelps, Sam Pulitzer, Roy Radich, Marta Riniker-Radich, Michele Robecchi, Jörg Harlan Rohleder, Sarah Colony Rose, Andreas Rosenfelder, Emanuel Rossetti, Vanessa Safavi, Emily Segal, Brandon Shimoda, Martin Schmitz, Chris Sharp, Queen of Sheba, Fabrice Stroun, Kate Sutton, Greg Parma Smith, Mark Soo, Julian Stalbohm, Rui Tenreiro, Uvid, Stewart Uoo, Hendrik Weber, Jean-Michel Wicker, Amelie von Wulffen, Adolf Wölfli, Dena Yago, Amy Yao, Anicka Yi.
Le musée par l’artiste lui-même
Marcel Broodthaers
Le musée par l’artiste lui-même
par Catherine Mayeur, historienne de l’art
dans le cadre de Clés pour le XXIème siècle
La réflexion sur le cadre muséal amènent de nombreux artistes, d’horizons très divers, à produire des lieux alternatifs, souvent miniaturisés, ou à pasticher, non sans ironie ou avec une volonté délibérément critique, les systèmes d’exposition traditionnels. Ces dispositifs, ludiques, obsessionnels ou réflexifs, présentent leurs propres oeuvres, celles d’autres artistes, des objets trouvés ou sélectionnés pour leur valeur affective, des collections déjà constituées… dans des jeux de relations renouvelés ou ouverts à l’imaginaire.
Mais c’est aussi l’exposition même qui est exposée. Les procédures de mise en espace et d’archivage font dès lors partie de la pratique artistique à part entière. Les musées personnels tendent à se réapproprier la liberté des conditions de monstration et à organiser la mémoire des oeuvres.
Kurt Schwitters, Joseph Cornell, Marcel Duchamp, Robert Filliou, Georges Maciunas, Ben, Claes Oldenburg, Marcel Broodthaers, Joseph Beuys, Guillaume Bijl, Mark Dion, Hans Haacke, Ilya Kabakov, Walid Raad, Joëlle Tuerlinckx…
11 février 2012, 10:30
Palais des Beaux-Arts, Bruxelles
VIDÉO VINTAGE 1963-1983
Cinquante années ont vu défiler les recherches et les développements de la vidéo comme outil critique, et son intégration dans les milieux artistiques. Née en 1963, la vidéo a traversé tous les courants esthétiques de la modernité, de la performance à la mouvance Fluxus, de l’art minimal à l’art conceptuel pour poursuivre son évolution dans le courant post-conceptuel et avec les investigations actuelles liées aux cultural studies.
Durant les deux premières décennies de son histoire, les années 1960 et 1970, le médium vidéo a été adopté par des artistes aux démarches variées, expérimentant la bande vidéo par la performance, l’autofilmage, dans le contexte des laboratoires de télévision, par des recherches approfondies sur les diverses possibilités de la couche analogique et, pour poursuivre, par des essais conceptuels.
L’exposition « Vidéo Vintage » trace, à partir d’une sélection de bandes vidéo « fondatrices » de la collection du Centre Pompidou, une trajectoire de l’art vidéo et une synthèse des premières décennies de l’art contemporain.
8 février – 7 mai 2012
Centre Pompidou, Paris
Robert Filliou And So On, End So Soon: Done 3 Times 1977 Coul., son, 32 min. Production Western Front, Vancouver (Canada) Coll Mnam/Cci, Centre Pompidou;
WGBH, Fred Barzyk Video: The New Wave 1973 N & B et coul., son, 59 min., Production WGBH, Boston Coll Mnam/Cci, Centre Pompidou;
Bill Viola Reverse Television – Portraits of Viewers, Compilation Tape 1983-1984 Coul., son, 15 min. Production WGBH, Boston Coll Mnam/Cci, Centre Pompidou;
Allan Kaprow Rates of Exchange 1975 N & B, son, 45 min. Coll Mnam/Cci, Centre Pompidou.
Miscellaneous Uncatalogued Material
Miscellaneous Uncatalogued Material,
a series of public programs organized as part of the Museum of Modern Art’s Print Studio, which explores the evolution of print-based artwork in recent decades, from the revival of traditional techniques to the employment of new digital technologies.
Join artists Sarah Crowner and David Horvitz and poet Ariana Reines, as well as Triple Canopy editors and guests, for discussions about the nature of publication, which will lead to the production of the second edition of Volume Number series. Each program will examine the relationship between specific objects in the MoMA collection and contemporary art practices, focusing on new forms of public discourse, knowledge production, and circulation fostered by digital technologies. Crowner, Horvitz, and Reines will facilitate the conversations and, with Triple Canopy, edit transcripts and compile related materials for an edition of Volume Number to be designed by Tiffany Malakooti.
February 15, 27 & March 7, 2012
The Museum of Modern Art, New York
Viewing Room
Viewing Room aims to explore and discuss the role of the book within contemporary creative practices. Through utilizing examples from The Library of Independent Exchange the curators will construct within the gallery a system of categorisation denoting key forms of artist publication.
The exhibition will show printed matter from The Library of Independent Exchange, organised into categories, examining ideas of construction, market value and format. Also included is a new section of works exploring poetry and performance writing. The curators of ‘Viewing Room’ have also invited selected publishers and artists to contribute lists of their ‘favourite’ books from their own personal collections, exploring the idea of what is held in a collection and its influence on the creative output of their keepers.
Featuring special contributions from: Ed Ruscha, New Jerseyy, Hans Ulrich Obrist, Jem Southam, Jeff Eaton, Benjamin Sommerhalder, Lionel Bovier, Marco Kane Braunschweiler, Layla Tweedie-Cullen, Alec Finlay.
Literary contributions from: Friary Road House, Crater Press, Mark Leahy, A Circular, Tony Lopez, Gagarin, Holly Pester, Hot Gun Journal, halfcircle. A short film by An Endless Supply will be on loop in the gallery for the duration of the exhibition.
February 6-24, 2012
The Gallery, Plymouth College of Art
TYPOGRAPHY SUMMER SCHOOL 2012
TYPOGRAPHY SUMMER SCHOOL 2012
Applications now open
A week-long programme of typographic study in London for recent graduates and professionals. Alongside live projects run by Fraser Muggeridge, the school will host talks, seminars and tutorials from daily visiting practitioners: APFEL (A Practice for Everyday Life), Sara De Bondt, Europa, Ken Garland, James Langdon, OK-RM, David Pearson.
25 places available for each week:
9-13 July 2012 & 16-20 July 2012
The Drawing Room, London
BOLD ITALIC 2012
BOLD ITALIC 2012
Sint-Lucas visual arts Ghent presents an entire day related to graphic design with lectures and presentations by (in order of appearance):
Bart De Baets & Sandra Kassenaar; Paul Gorman, on the life & work of Barney Bubbles; James Langdon; Alexander Negrelli, on Otl Aicher, the visual identity of the Olympic Games in 1972, about terrorists, their design; Urs Lehni.
With San Serriffe – art book shop.
March 1, 2012, 10:00 – 17:30
Kunstencentrum Vooruit, Gent
JUNK JET 5: NET.HEART
Junk Jet has developed an archive impossible that transports, in print format, net based works, or fragments of works showing collections, series, animations, applications, and reflecting anti-heart texts on the net and its new forms of art, design, and architecture. N°5, the net.heart issue, has transferred internet things from their digital space into a paper jet. This transportation procedure relies on documents in a similar way as the museum relies on photograph and video documenting performance arts. And Junk Jet believes that this analogue documentation is in no way inferior to pseudo-preserving techniques of data migration, emulation, or reprogramming. At the end, Junk Jet says: Transportation is not so much about the artwork as object, but rather about the indication of the subjective decision of the artist. In this sense Junk Jet is a Russian conceptualist.
With wireless contributions by Adam Cruces, Agathe Andre, Alessandro Bava, Alexei Shulgin, Angela Genusa, Angelo Plessas, Aureliano Segundo, Asli Serbest, Aristide Antonas, Artie Vierkant, Ball-Nogues, Bärbel Jetter, Bea Fremderman, Beatriz Ramo, Ben Aqua, Ben Vickers, Billy Rennekamp, Bonno van Doorn, Brad Troemel, Bryan Boyer, Carsten Güth, Christian Oldham, Christine Nasz and Stefanie Hunold, Constant Dullaart, Dennis Knopf, Eilis Mcdonald, Fabien Mousse, Gene McHugh, Greg J. Smith, Hanne Mugaas, Jacob Engblom, Jasper Elings, JODI, Jonas Lund, Jordan Tate, Katja Novitskova, Laimonas Zakas, Lenox Twins, m-a-u-s-e-r, Marisa Olson, Michael Schoner, Mike Ruiz, Mimi Zeiger, Mona Mahall, Natalie Bookchin, Nicholas O’Brien, Nicolas Sassoon, NIEI, NLarchitects, Olia Lialina, Palace Palace, Ricardo Scofidio, Parker Ito, Patrick Cruz, Pieterjan Grandry, Raphael Bastide, Sam Hancocks, Sarah Weis, Something Fantastic, Sterling Crispin, Theo Seemann, Will Brand, Wyne Veen
GRAPHIC ISSUE #20 POSTER ISSUE – exhibition
©Experimental Jetset
GRAPHIC ISSUE #20 POSTER ISSUE
Exhibition
Mass-produced and posted in public places, posters communicate with the public. Traditionally, they have represented a powerful means of expressing certain values or opinions, but the posters of today are relatively restricted in function, serving for the most part to advertise products, promote sales and publicize events. We are hard pressed to find any kind of social statement in the posters that cover our roadside bulletin boards, buildings, billboards and road signs. In reaction to this, our aim here is to recall the social purpose of the poster.
GRAPHIC asked 22 graphic designers and artists to develop poster designs to express their own social “agenda.” The posters you see in this issue are the fruits of this voluntary collaboration, containing a diverse array of ideas ranging from positions on particular social issues to the mottos that inform the designers’ work. While differing a bit in their focus, all of them share one common quality, namely a message that powerfully captures not an economic interest, but the values that they wish to share with the public.
“We have printed about one hundred thousand copies of these posters in total. In addition to appearing on the pages of this issue, they are to be put up in exhibition venues, on roadside walls, and on the windows of shops and bookstores. We hope all of you reading will hang a poster you like in your own workspace. Offer them as gifts to friends. It is this kind of physical action that most clearly shows the social function of the poster. The year 2011 was an eventful one for the world, including Korea, the Middle East, Europe, the United States and Japan. Posters are something we need more of.”
Until February 24, 2012
GRAPHIC shop, PajuBookCity, Gyeonggi-do
Temporary Stedelijk (4)
©Karl Nawrot, Goblin and Ghost
“(…) The Stedelijk forgot the internet, the Stedelijk overlooked the abundance of young and promising artists that the city itself has to offer. As simple as that.
We think it’s incomprehensible that big institutions like the Stedelijk don’t offer a stage for innovative and young artists whom are there right in front of them. Isn’t it the responsibility of these institutions to invest time, effort and attention in it?
This is why we came up with the plan of showing an alternative; to tell the story of what is happening in the here and now. To somehow show the works of young artists from Amsterdam to the audience they deserve. We wanted to create a platform to tell this story, our story and to tell the artist’s story on the stage of the museum. When we found out the museum didn’t buy their own name on the internet, we did. And we created this website to show what Amsterdam has to offer when it comes down to innovating art.
Art, as all human action, is connected to the context it originates from. It is important to tell these stories. So, what we did: We went out the door, walked into the city, and brought the works and stories of these people back home, to put them together in virtual exhibitions on the stage of the museum. Every month a new virtual exhibition will be organized on this website; easily accessible and free from the nuisance of closed buildings. Always open.
Hopefully, the museum will realize its role, to show the here and now to their audience.(…)”
Amber van den Eeden & Kalle Mattsson
modernism 101: from aalto to swart
Modernism 101 is specialized in rare and out-of-print art, architecture, design books and periodicals. The site features an extensive collection of images and provides very detailed informations. A great resource.
LIFE IS BEAUTIFUL STOP PLEASE ALLOW FEATURES ASSUME EXPRESSION INDICATIVE OF AMUSEMENT JOY PLEASURE BENEVOLENCE ETCETERA BY DRAWING UP CORNERS OF MOUTH AND GENERALLY RELAXING FACIAL MUSCLES STOP LOVE FOR ALL STEFAN STOP
Located outside the Art & Music Department of Los Angeles Public Library’s Central Library, Works Sited is an ongoing series of displays featuring work with themes relating to the library’s collections and practices. The project aims to explore the public institution as exhibition space and challenge conventional notions of display within this context.
LIFE IS BEAUTIFUL STOP PLEASE ALLOW FEATURES ASSUME EXPRESSION INDICATIVE OF AMUSEMENT JOY PLEASURE BENEVOLENCE ETCETERA BY DRAWING UP CORNERS OF MOUTH AND GENERALLY RELAXING FACIAL MUSCLES STOP LOVE FOR ALL STEFAN STOP
or KURT SCHWITTERS ON A TIME CHART STOP.
A new display from Angie Keefer and Robert Snowden
Stefan (1910–1988) and Franciszka (1907–1988) Themerson were artists who made films, images, texts and books. In 1948, they founded the Gaberbocchus Press, which published over sixty titles between 1948 and 1979, with the purported aim of producing “best lookers rather than best sellers.” The Gaberbocchus stable included Alfred Jarry, Raymond Queneau, Kurt Schwitters, Bertrand Russell, Barbara Wright, and the Themersons themselves. In the late 1950s, the basement of the press became Common Room, a weekly meeting place where the likes of these convened for talks, recitals, screenings and performances. The Themersons’ work wears a complex anticategorical truth. It is mostly lacking in that requisite dose of the-world-as-represented-by-anybody-else.
Kurt Schwitters on a Time Chart is based on a lecture Stefan gave at the Society of Arts in Cambridge on February 17th, 1961. Its first published appearance was in Typographica, later the same year. The chart is re-produced here by Robert Snowden and Angie Keefer for Works Sited as part of a series of exhibitions and events commemorating the Themersons’.
Screening, February 24, 2012, 7pm
“Stefan Themerson and language” (1976), with an introduction by Stuart Bailey
Hop Louie, Los Angeles
Display, January 28 – March 10, 2012
Central Library, LAPL, Los Angeles
Do You Read Me?
Do You Read Me?,
une exposition de 60 ouvrages du Département Communication visuelle réalisés à l’ECAL dans le cadre du cours «Edition Magazine» donné par Pierre Fantys et François Rappo.
Le magazine est un agrégat, texte et image, un hybride. Composant de l’espace public, relai communautaire de lecteurs. Paradoxalement, concurrencé par les nouveaux médias, mais dynamisé par la liberté des nouvelles technologies, le format magazine s’est fait plus hybride et polymorphe encore, plus réticulaire et viral, brouillant les limites entre diffusion restreinte et large, entre fanzine et projet éditorial, entre «statement» privé et stratégie professionnelle.
C’est cette ambiguïté et cette dynamique qui parcourent les projets éditoriaux menés transversalement dans le Département Communication visuelle de l’ECAL, lors de ces 10 années: plus de 200 projets, parmi lesquels 60 ont été sélectionnés pour la présente exposition. Des magazines dans lesquels les étudiants des filières de Design graphique, Photographie et Media & interaction design auront occupé toutes les fonctions (photographe, rédacteur, graphiste) et défini la totalité des contenus. Dépassant ainsi le cadre d’un projet académique, le magazine s’est imposé comme un véritable prototype de média, anticipant un projet professionnel dans lequel se sont inscrits avec succès nombre d’étudiants de la filière, en tant que directeur artistique, éditeur, photographe, graphiste, dessinateur de caractères, coursier à vélo, sur la scène éditoriale internationale. Ainsi des titres tels que Sang Bleu, Novembre, Dorade, recevant une large reconnaissance, ont été modélisés, tout ou partie, dans le cadre expérimental offert par les cours de l’ECAL.
Scénographie conçue par les étudiants du Master en Design HES-SO (Master Art direction et Master Design de produit) suite à un workshop dirigé à l’ECAL par Michael Marriott et Jonathan Hares.
2-17 février, 29 février – 2 mars, 2012
elac, Renens/Lausanne
Portfolios – Katharina Reidy & Krispin Heé – Anna Haas – Annett Höland, Lu Liang, Isabelle Vaverka, Simone Koller
Upcoming Book Fairs
Why Do You Publish? is an art book fair that focuses on arts and culture publishing in the Middle East and beyond? Over a period of 4 days, publishing houses, artists and writers will meet in Beirut to present their current production and to probe ideas and ways of working with printed matter through a series of panels and events?
Why Do You Publish? is more than a commercial book fair It looks at historical and contemporary examples of printed matters as vehicles for political, social and artistic experimentation.
February 2-5, 2012
98weeks, Beirut
Publish and Be Damned present one of their vibrant and chaotic artists self-publishing fairs, where independent publishers will occupy the ICA for one day only to sell and trade their wares. Participants include Published and Be Damned members involved in architecture, music, design, literature, photography and fan culture. Among them are ANDpublishing, Banner Repeater, Everyday Press, Sara Mackillo, Monaco, Pablo Internacional Magazine, Esther Planas, Picpus, X Marks the Bökship and many more. Running alonside the fair will be a series of events related to issues of publishing, distribution, and design, ending with an evening of rapid-fire book launches.
March 17, 2012
Institute of Contemporary Arts, London
PA/PER VIEW art book fair brings together 40 leading artist book publishers. Leave your laptop behind and come and browse amongst the finest titles of these consistent players of the printed word and image.
March 23-25, 2012
Wiels, Brussels
Bookies is a seminar on artist and designer-led publishing as a vehicle for artistic expression and mode of distribution of contemporary art today. By exhibitions, talks and discussions by key figures in the field, Bookies will give the audience a comprehensive idea of the current shifts in independent art publishing and its design that are shaping the ways we experience contemporary art.
April 3-28, 2012
Museum of Contemporary art Kiasma,
Napa Galleria & Myymälä2, Helsinki
The New Public – a graphic kick-off
©Metahaven ©Lupo&Burtscher
Museion Passage presents the project by the designer Martino Gamper, set to change the look and role of the ground floor of the Museion and open it up to the public and external events.
The opening of “Museion Passage” will also see the presentation of a project involving four European graphic design companies – H I T, Lupo&Burtscher, Metahaven and NORM – which created a series of posters for the ground floor of Museion on the theme of “The New Public”. Using the advertising medium of the poster and employing different techniques, the companies created personal interpretations of the theme of the new museum-going public.
Rein Wolfs (guest curator), Martino Gamper, Angelika Burtscher (Lupo&Burtscher), Daniel van der Velden (Metahaven) and Emanuela De Cecco (faculty of Arts and Design, Free University of Bolzano) will be taking part in a panel discussion exploring the meaning of the word “public” in the art world, the relation between art and design and the theme of communication with the public.
February 2, 2012, 7.30 pm
Museion, Bolzano