Common Name (Yoonjai Choi & Ken Meier)
Precise (Luke Archer)
Commissioned as part of a series in which architects and designers are invited to explore their own interests as a way to instigate new thinking and practices within and beyond their professional disciplines, the exhibition Test Fit provided the graphic design firm
Project Projects the opportunity to use the permanent collection of the Art Institute of chicago as a means of investigating the curatorial process and issues related to exhibition design.
The studio was initially inspired by the mock-ups that curators often produce when preparing the layout of an exhibition. Driven also by the unusual characteristics of the Kurokawa Gallery, which is a well-trafficked, transitional space between the Modern Wing and other parts of the museum, Project Projects decided to develop a model of an exhibition that could serve as a framework for addressing issues of representation and reproductions in a playful, yet critical way.
The studio’s selection of works is based on the personal concerns of its partners, as expressed in the accompanying texts they have written. Although they began with an interest in European modernism, as imported to Chicago in the mid-twentieth century by such practitioners as László Moholy-Nagy and Ludwig Mies van der Rohe, the present collection of works speaks more broadly to Project Projects’ own interest in the history of design practice. Using a consistent format of printed facsimiles at a one-to-one scale, the studio encourages viewers to consider this exhibition as a mode of creative and cultural expression in and of itself.
The exhibition is on view until April 28, Art Institute of Chicago, and Project Projects (Prem Krishnamurthy, Adam Michaels, & Rob Giampietro) will give a lecture April 16, 6.30pm.
An array of drawings and prints reveal graphic designer and illustrator Karl Nawrot’s aesthetic sensibility as a curious union of the macabre and the childlike. These monochrome pictures are various: elementary graphics made with crude stencils and other drawing devices and the occasional distorted figure.
The exhibition Karl Nawrot: Mind Walk #I – April 19 – May 18, 2013, Eastside Projects, Birmingham – suggests narrative paths through this material, presenting Nawrot’s work as an expanded comic.
THIS BOOK is an investigation series of Zurich based performance artist Veronika Spierenburg asking different people about their book projects by contacting them on Skype. The aim of the talks is to reflect current book production in the art field and to get a deeper understanding of motivations behind productions.
THIS BOOK (1), April 4, 7pm, Corner College, Zurich will have as guests Loraine Furter, Thijs Wassink, Matthew Vollgraff, Haemmerli, Ari Marcopoulos, Michael Günzburger. For THIS BOOK (2), May 3, 7pm, at Corner College, guests will be Banu Cennetoglu, Rafael Rozendaal, Manuel Raeder, Fabrice Stroun, San Seriffe.
Veronika Spierenburg has also regularly been visiting the Art Library in the Sitterwerk, in St.Gallen, for the day since 2010. She often works in a site-specific manner, as she also did in the Sitterwerk, where she became the “collector of the collection”. Individual pages of books from the Art Library, of which she has recorded a total of some 30,000, are her personal inventory. Then she reduced in collaboration with the Graphic Designer Simone Koller this selection further to a specific compilation, which is now—simultaneous to the exhibition—being published as an artist’s book: In Order of Pages, Kodoji Press, Baden.
The exhibition Between Handle and Blade – May 05 – June 23, 2013, Sitterwerk, St.Gallen – consists of individual interventions that examine the book as subject matter or refer to it in a broader sense. The focal point of the exhibition will be a three-meter-tall reading wheel made of metal. This object thus makes reference to the engineer Agostino Ramelli (1531–1600). Ramelli drew the plan for a mechanical reading aid around 1588, which was published along with 194 construction drawings in the book Le diverse et artificiose machine and is today considered to be a classic on the engineering of the sixteenth century. In the exhibition, the parallel reading and looking at individual book pages by means of the reading wheel becomes a direct reference to the publication by Veronika Spierenburg…
The End(s) of the Library is a series of commissioned installations, lectures, performances, and workshops that consider the state of the library taking place at the Goethe-Institut New York Library. The contributors had addressed how previous library configurations have given way to new forms and revised values in the digital age, emphasizing the fact that the library is neither a monolithic system nor an abandoned utopia, but an ever-contested site demanding new readings of its organizational frameworks: an institution whose ends are without end.
The Serving Library is a cooperatively-built archive that assembles itself by publishing. Its house journal, Bulletins of The Serving Library, is produced as a composite printed/electronic publication released first online as a series of individual PDF “bulletins” from www.servinglibrary.org over a six-month period, then assembled, printed, and distributed twice a year in the United States and Europe. Each issue of the journal assembles around a loose theme.
As part of The End(s) of the Library, The Goethe-Institut New York Library is both sponsor and catalyst for the fifth issue, whose ostensible theme will be “Germany.” It will be compiled and edited during spring 2013 by The Serving Library’s founders, Stuart Bailey, Angie Keefer, and David Reinfurt, and will be launched at the Goethe-Institut New York Library at the start of the summer. In advance of this publication, The Serving Library’s archive of artifacts, variously drawn from previous issues of the journal and its forerunner Dot Dot Dot, will be on view at the Goethe-Institut New York Library from April 1 to June 21, 2013.
Books &Foam – March 28 to May 26, 2013, Foam, Amsterdam – will be placing a large selection of photography books from the Netherlands in the spotlight with special presentations to shed light on the design process, with installations, book signing sessions and a selection of recent international photo books.
Among others, visitors will gain insight into the design process of six yet-to-be-published photo books. Showing the first ideas and sketches, email correspondence between photographer and designer, dummies and test prints provide an associative view into the design process… Dutch and international experts from the world of photography have also been invited to provide a ‘curated bookshelf’, containing their choices for the five best photo books of 2012…
Fernand Baudin (1918-2005) was a belgian typographer, or “typographiste” as he liked to call himself. Teacher, author and lecturer, his extensive study focused on the history and teaching of writing and publishing.
Drawing from Fernand Baudin’s collection kept in the rare books and manuscripts section at the Université libre de Bruxelles, this Dossier Fernand Baudin – published for the fifth edition of the Fernand Baudin Prize, prepared by Coline Sunier & Charles Mazé, and launched on the occasion of PA/PER VIEW, at WIELS, Brussels, March 22, 7.30pm – gathers texts written or translated by Baudin, previously unreleased or published in various journals, or read in conferences, covering a period going from 1958 to 1998. Presented in a chronological order, this selection of texts conveys a panorama of his various activities, the ideas he developed and advocated, and gives a glimpse on the network of friendly and professional relationships Baudin established during his entire career.
Through their chronology and the history they depict, the facsimiles naturally offer an insight on the technical evolutions in the field of the graphic industry, a particular concern for Baudin. When taken as a whole, they allow highlighting Fernand Baudin’s position on the role of writing in the printing process, from the author’s draft to the final, published edition via all the intermediary stages. Specifically created for this publication, Fernand Baudin Bille and Fernand Baudin Feutre are digital interpretations of Baudin’s “ballpoint pen” and “felt pen” handwriting.
This Dossier Fernand Baudin refers to the Dossiers prepared by Fernand Baudin for the Association des Compagnons de Lure between 1969 and 1975. These Dossiers include documents and contributions selected by Baudin. Each opus is dedicated to a single subject or a single theme, such as writing or layout. In Dossier Layout (1972), Baudin gathers and annotates a selection of working documents sent by graphic designers and typographers. This method was employed in a separate section of the Dossier, to present the nine books awarded this year with a Fernand Baudin Prize.
Überknackig Bureau (Ismaël Bennani, Orfée Grandhomme, Pacôme Beru)
Traven T. Croves (Andrew Lister & Matthew Stuart) (pic: with Maxime Harvey & Stefan Thorsteinsson)
Kasper-Florio (Larissa Kasper & Rosario Florio)
EUROGROUPE (Laure Giletti & Gregory Dapra)
From artists’ books, magazines, and museum catalogues to opening announcements, advertisements, and event scores, printed matter has long been a dynamic element of art discourse and practice. But these materials, ephemeral by nature, have not always been preserved. Today, with our unprecedented access to information—virtual, downloadable, on-demand—there is a renewed interest in print’s material dimensions and the ways publication can be both a historical resource and a platform for art-making.
Excursus is a multifaceted initiative at the Institute of Contemporary Art, Philadelphia, in which artists, designers, publishers, and other cultural producers whose work engages the archive and publication are invited to create a platform for more intimate programming, alongside an online residency.
For Excursus IV, Primary Information has been invited to delve into ICA archive and to reflect on its contemporary potential. Through an engagement with ICA’s own critical history of publishing, Primary Information’s project will unfold over the coming weeks with a series of events in the installation and interventions on the Excursus website…
Ray Johnson (1927-1995) was a seminal Pop Art figure in the 1950s, an early conceptualist, and a pioneer of mail art. His preferred medium was collage, that quintessentially twentieth-century art form that reflects the increased (as the century wore on) collision of disparate visual and verbal information that bombards modern man. Integrating texts and images drawn from a multiplicity of sources — from mass media to telephone conversations — Johnson’s innovativeness spread beyond the confines of the purely visual. He staged what Suzi Gablik described in Pop Art Redefined as perhaps the “first informal happening” and moved into mail art, artist books, graphic design, and sculpture, working in all modes simultaneously. Johnson not only operated in what Rauschenberg famously called “the gap between art and life,” but he also erased the distinction between them. His entire being – a reflection of his obsessively creative mind – was actually one continuous “work of art.” His works reflect his encyclopedic erudition, his promiscuous range of interests, and an uncanny proto-Google ability to discover connections between a myriad of images, facts and people…
The Master in Art Direction (MAAD) is part of ECAL/Ecole cantonale d’art de Lausanne in Switzerland. The programme focuses on contemporary editorial practices, it encourages students to create, commission, select and arrange content.
The MAAD motivates and puts emphasis on the work of “editing”: creating a sequence, editing and laying out content, via printed and/or virtual matter. What are the components of an identity of a label, a magazine, a website or an exhibition catalog?
The programme gives the opportunity for students to participate in a diverse range of experiences, from lectures, workshops to semester projects, in which they work with some of the best international experts. The two year programme ends with a master thesis and a practical project. The MAAD calls for curious, dynamic and ambitious students who are eager to explore the fields of photography, graphic design and type design. The online registration is open until 3 May 2013.
Sture Johannesson‘s practice enriches politically-confrontational artistic strategies with experimental graphic design and anti-disciplinary actions aimed at Sweden’s systems of social engineering. Such corrosive methods have led to long periods of isolation and ostracization from the mainstream art world, a history that has made him one of the most legendary and important Swedish artists alive today.
The exhibition Sture Johannesson: In Memery – March 16 to May 25; 2013, Index, Stockholm – focuses on the breaking point that occurred in the late 1960s when Johannesson’s work moved away from the genre of Psychedelic Art and began experimenting with computer-generated graphics.
It was in the framework of psychedelia — a misunderstood artistic movement influenced by the counter-revolutionary and generational turbulences of the period, which suffered from association with hippie clichés — that Johannesson first became interested in digital drawings. Information systems and cybernetics were a logical development of psychedelia’s interest in self-organization, the technology of the drug, and media that proposed forms of artistic production able to ‘turn on’ and ‘off’ within or outside of established institutional frames that seek to ideologically regulate the social body. They worked towards dissolving the hierarchical and behavioral relations of a bureaucratized mass society, contributing to more egalitarian and interdependent relations, which could improve, for instance, the standard of living…
Each year Werkplaats Typografie organises its “Best Books” selection, where every participant chooses a book according to a specific criteria. The criteria for the most recent selection derived from a discussion with Kobe Matthys from Agency, Belgium. The resulting publication collects conversations and meetings with and around books with Kees Beentjes, Katherina Bornefeld, Tamara Henderson, Harmen de Hoop, Oliver Ibsen, Colter Jacobsen, The Librarian at Arnhem’s Public Library, Henk Pel, Seth Siegelaub, Matthew Stadler, Joëlle Tuerlinckx, and Ashleigh Young. …………. book will be launched March 16, from 5pm at San Serriffe in Amsterdam.
Le catalogue et ses hybrides / The Catalog’s Mongrels is a proposal of one possible way to document/trace the same name exhibition.
The exhibitions The Catalog and its hybrids – curated by Charlotte Cheetham – introduced publishing projects reflecting the diversity of publications that are associated with the exhibition context… The catalog of the project, designed by officeabc, tries to embody its own statement…
All informations about the project:
These printed sites of encounter – a format of interaction between an art space (art center, gallery, museum…), a curator, an artist, a graphic designer, a theorist… – question, particularly, the potential of the book object to be an alternative to the exhibition space.
From a documental object – the catalogue – to a composite printed form – the artist book – some of these publications offer a more complex treatment of the documentation of artistic production and curatorial practices.
A source, trace or extension of the ephemeral, each of these printed experiences, which are reactivated at each new reading, constitute an alternative space of living memory, a new context for the existence of a work of art.
- Introduction & Promenade (Charlotte Cheetham)
- A kind of bibliography The Catalog and its hybrids
– An extract of the The Catalog and its hybrids collection
- Seth Siegelaub: to exhibit, to publish… (Jérôme Dupeyrat)
- A case of tic, tac, toe et Notes about a flyer (officeabc)
• a tumblr bookmark
• sticker Museum of Museum
• cards “teaser/clue to a catalogue”
Typography: Devanture par Sarah Kremer
Translation: Mafalda Dâmaso & officeabc
Print: Print it
A project supported by Toulous’up, label et bourse de la ville de Toulouse.
For now, Le catalogue et ses hybrides / The Catalog’s Mongrels is also on sale at Librairie du Palais de Tokyo (Paris), Florence Loewy Books by artists (Paris), & : Christophe Daviet-Thery (Paris), THEOPHILE’S PAPERS (Bruxelles), Motto Berlin (Berlin).
For the fourth year, the 2013 Summer School – set up by schools Werkplaats Typografie & ISIA Urbino – requires students or professionals in the field of design, or art related practices. They are calling for talented, inspiring, non-conventional candidates, with an authentic and critical mind, who don’t mind to work over summer, instead of sunbathing. During the two week workshop students will be guided by Karel Martens, Armand Mevis, Maureen Mooren and Leonardo Sonnoli. They will encourage them to work on a theme in relation to it’s specific context… Application deadline: May 20, 2013.
Lange Liste 79–97, by Christian Lange, documents the everyday life of family Lange using meticulously kept cash books. Gisela Lange, the mother of the designer, gathered endless accounts of groceries, taxes, parties, leisure activities, clothes or presents with an exact price index. To complement the cycle of this everyday life narratively, the first 18 years of life, from 1979 to 1997, were analyzed and summarized in appropriate categories. Brief explanations and interviews with protagonists of the list illustrate important moments. A series of family photos, pictures of products, certificates and receipts add to the family`s archive. With its 12.051 items, Lange Liste 79–97 grants a detailed impression of the hidden desires, pleasures and losses of a family’s household kept in two different political and economical systems…
©photo Céline Chip et Léna Araguas, Ensba Lyon, 2013
Seule ou prise dans une série, flanquée ou non d’une légende, bordée par un texte où s’affichant sans parure, l’image se présente le plus souvent à nous éditée (terme entendu ici dans un sens étendu, celui que recouvrent les différentes acceptions du terme anglais edit).
C’est cette question de l’image éditée qui est au centre du présent recueil – lequel rassemble des textes et documents originaux, rares ou devenus indisponibles – et qui a inspiré son titre, Seule ou Accompagnée.
S’éloignant des protocoles d’organisation stricts qui régissent le plus souvent les anthologies, ce recueil est d’abord un catalogue de gestes éditoriaux. Enquêter, copier, traduire, transcrire, collectionner, prélever, sélectionner, déplacer, recadrer, remettre en circulation, couper, légender, monter sont autant d’opérations qui sont ici documentées en même temps qu’elles sont mises en pratique. Ces gestes ont partie liée avec une culture visuelle élargie, qui s’étend de la littérature au cinéma, de la théorie à l’entertainment, du photojournalisme à la science-fiction, de la télévision à la presse à grand tirage. Ils nous racontent en la rejouant la romance de l’image et du texte.
Seule ou Accompagnée est le fruit d’un atelier de recherche éditoriale mené depuis 2011 par Jean-Marie Courant, Jill Gasparina et Catherine Guiral avec les étudiants du master Design de l’Ensba Lyon.
Dans un premier temps, l’atelier a pris la forme d’un séminaire de recherche au sein duquel a été menée une exploration bibliographique et théorique. Ce premier atelier était ouvert à l’ensemble des étudiants du master et a été accompagné d’octobre 2011 à janvier 2012 par un cycle de conférences. Dans un second temps, il s’est agit d’éditer certains contenus que ces premières recherches avaient mis au jour et de les rassembler dans un volume, qui a pris la forme du présent ouvrage. S’il rend compte des premières recherches menées en atelier, il les prolonge et les augmente aussi, rejouant d’une manière singulière une romance pourtant souvent interprétée.
Seule ou Accompagnée sera présentée le 2 mars à 14h, dans le cadre de Crystal Maze IV — 1 + 2 + 3 = 3, au Centre Pompidou, Paris.
©Joseph Beuys & Ken McMullen: Word Works (1972). Courtesy Ken McMullen / George Brecht: Entrance to Exit (1965). Courtesy Re:voir / Morgan Fisher: The Wilkinson Household Fire Alarm (1973). Courtesy Morgan Fisher / David Gatten: Film for Invisible Ink, case no. 323: ONCE UPON A TIME IN THE WEST (2010). Courtesy David Gatten / Liza Béar: Earthglow (1983). Courtesy Liza Béar
The screening Image, Text, Time: Typography in Artists’ Film and Video – selected by Fraser Muggeridge and Will Rose, during Publish and Be Damned 2013, March 2, Institute of Contemporary Arts, London – brings together artists’ films and videos in which typography plays a central role. The screening will look at how typography has been used to shape new aesthetic relationships between image, text and time, and how viewing moving image might be considered as a process of reading as well as looking.