The publication The Letter E is Everywhere is published in conjunction with the same name exhibition which consists of display structures and furniture pieces as well as books, prints, objects and textiles designed by Studio Manuel Raeder, juxtaposed with other objects found during an exploration of local handcraft production in Oaxaca. The exhibition also features furniture pieces developed as a result from this research, in collaboration with Oaxacan artisans, and objects whose production converses between craft and design practice: industrial, mass-produced popular objects, handicrafts, and furniture pieces from popular design.
The exhibition and catalogue propose an open narrative through the objects on display and question the position contemporary design plays in the dialogue between people and every day objects. At the same time, it reflects the approach that Manuel Raeder and his studio have about their practice, where design is used as a tool that is constantly reconsidered and customized.
Offprint Paris is an art publishing fair for emerging practices in art. Over four days, it gathers institutional and independent publishers from all over the world featuring publications by contemporary artists, graphic designers, photographers, publishers, bookdealers, museums, art schools, curators and antiquarians.
The Most Beautiful Swiss Books competition was established to promote and reward top-quality book design in Switzerland. The awarded books become part of an exhibition which will stop off in London during Thoughts on a Book. The event this year, November 22, 2013, 7pm, Open School East, London, will take a closer look into one of the awarded books: Trix + Robert Haussmann, edited by Fredi Fischli and Niels Olsen (Studiolo). Both the architects, Trix & Robert Haussmann, and the editors will give a talk about their collaboration, showcasing their process of working together.
LA DÉRIVE – Chapter I, November 17, 2013 – during Offprint, an Art Publishing fair – November 14-17, Beaux-Arts de Paris – invites the visitors to take various paths within the large and rich landscape of independent publishing in art and design. As advocated by La Dérive (in English Drift) of Guy Debord, the program is built around several specific ambiances, highlighted: the main idea being to let go of expectations and habits and to just wander among pleasant encounters… With contributions by Ramaya Tegegne, Erik van der Weijde, Jan Wenzel, Postdocument, De Stihl, and Etienne Robial.
Arguably, Rogério Duarte is “the genius behind the geniuses” (Narlan Mattos) of Brazil’s 1960–70s counter-cultural and avant-garde efforts. Thus, it comes as no surprise that key figures in the fields of design, music, art, and cinema, such as Glauber Rocha, Hélio Oiticica, Gilberto Gil, and Caetano Veloso, have provided the posterity with a vast catalogue of testimonies that leave no doubt as to the crucial role that Rogério played in the emergence of what is known today as the Tropicália movement, or Tropicalism.
Yet, despite the growing interest that the Brazilian counter-culture of that time encountered on the international stage during the past two decades, Rogério’s work has remained almost unknown to a broader public.
Marginália 1 was developed by the designer Manuel Raeder and the artist Mariana Castillo Deball over a period of four years. It is the first in-depth survey of Duarte’s practice, and the first time that a selection of his poems and texts have been translated into English.
This Is Your God, by Piero Glina, is a two volume publication which celebrates the 25th anniversary of the cult classic They Live by John Carpenter. The first volume includes an exact replica of a magazine prop as seen in the movie, containing the iconic typography with all its flaws and special characteristics. The second volume shows the places the words came from.
L’agence du doute is a collective founded by Catherine Guiral, Brice Domingues, and Jérôme Dupeyrat. One of its modes of transmission is a display device called a Crystal Maze, which combines the forms and principles of the conference, the montage, the screening, the exhibition and the edition.
The agence thus pratices a research dedicated to books, edition and everything that possibly connects to it through diverse reflections be it literature, graphic design or cinema.
Released in conjunction with Issue 18 of Fillip magazine, the booklet Slide Shows documents the specially commissioned Web video project on the landscape of international art publishing and design, curated by Charlotte Cheetham and produced by Fillip. Originally taking the form of a series of video presentations by publishers, designers, and artists, Slide Shows offers one possible cross section of a newly emergent field of book production. This publication documents the project, serving as a pocket reference to each of the profiles included in the series. After the pocket guide, the project will culminate in a printed volume that will document each slideshow, available in 2014.
Slide Shows booklet includes contributions by 4478zine, And publishing, Xavier Antin, Booklet, Cambridge Books, Cannon Magazine, Charlotte Cheetham, An Endless Supply, David Horvitz, Int. Typo. Union, James Langdon, mono.kultur, Samuel Nyholm, Occasional Papers, Oslo Editions, Precinct, Michalis Pichler, Elias Redstone, David Senior, split/fountain, Eva Weinmayr, Wendy Yao; and two new slideshows by Erik Kessels and Grotto are now available on the Slide Shows tumblr.
The School for Design Fiction – organized by James Langdon, introduced November 8, 3-8pm, Galerie für Zeitgenössische Kunst, Leipzig – offers a short course in reading objects, environments and messages. Stimulated by the curious genre of design fiction, the programme asserts storytelling as the primary function of design.
A design fiction (to be read in the same register as science fiction) represents a designed object that — materially, functionally, or conceptually — cannot presently be realised. More speculative than a prototype, a design fiction does not necessarily require the potential ever to exist. It is a suggestive form that prompts us to reconsider our assumptions about — or operates as a critique of — existing objects. It may do this by projecting into the future, or into a parallel reality.
Lectures at the school will be centred around a collection of such narrative objects, each a newly commissioned artwork realised by a member of the faculty. These objects will be employed performatively, to visualise subjects including the discovery of the human brain’s innate mechanism for narrating experience; the legibility of the built environment; and strategies for continuing unfinished stories.
Dubuffet Typographe/r is a tribute by the artist Pierre Leguillon to the French artist Jean Dubuffet (1901–1985) and to the typographic strategies with which Dubuffet achieves, on a visual level, his plan to destroy language through books and lithographs.
Dubuffet Typographe/r investigates the former wine-dealer’s professional acumen, demonstrated by Dubuffet’s creation of Art Brut and culminating in the management of an entire staff working to promote, document, and archive his activities. In the light of today’s obsession with self-promotion, Dubuffet can be understood as a forerunner of artists such as Jeff Koons or Damien Hirst. Once again, Leguillon’s approach follows seemingly marginal paths, which ultimately prove to be unexpectedly revelatory. Travelling to public and private archives such as la Fondation Dubuffet in Paris, the Bibliothèque Kandinsky at Centre Pompidou or to IMEC in Caen, Leguillon has photographed ephemera such as invitations, posters, catalogs, artist’s books, flyers, tickets, and record sleeves. These images were then used to execute a “recadrage” (re-framing) of Jean Dubuffet and his activities. Like a meticulous “detective”, Leguillon shows us how “for each project, Dubuffet invented a new way of writing and composing text—quite possibly by simply improvising. By this, he rejected the standardization as imposed by the printing process and typing, an education he himself went through. In books and lithographs, Dubuffet thoroughly sabotaged writing and typography (l’écriture) by fragmenting and distorting it, thus achieving, on a visual level, his plan to destroy language”.
©Andy Warhol Photographs, Robert Miller Gallery, 1987
John Cheim is known to many as one half of influential New York gallery Cheim & Read. However, what is less well known is that Cheim has produced and designed a number of important artist publications over the last 30 years including monographs on Louise Bourgeois, Alice Nell, Jack Pierson and Bruce Weber, to a name a few.
The presentation Design by John Cheim – October 15 to November 17, 2013, Institute of Contemporary Arts, London – sheds light on Cheim’s career as a book designer, known for precise, clear layouts combined with rich photographic reproductions. Having studied at Rhode Island School of Design, Cheim’s books have become highly prized among collectors of rare artists’ publications and this display aims to explore his work for the first time.
© Arnaud Desjardin, The Every Day Press
LE BAL Books week-end, September 6-8, 2013, Paris
The London Art Book Fair, September 13-15, 2013, London
MISS READ, September 19-22, 2013, Berlin
NY ART BOOK FAIR, September 20-22, 2013, New York
The Tokyo Art Book Fair, September 21-23, 2013, Tokyo
Unseen Book Market, September 26-29, 2013, Amsterdam
Vancouver Art/Book Fair, October 5-6, 2013, Vancouver
Salon Light #10, October 5-6, 2013, Paris
Third Issue, October 11-12, 2013, Frankfurt
OffPrint Paris, November 14-17, 2013, Paris
KIOOSK vol.2, November 16-17, 2013, Kraków
Sprint, November 29-December 1, 2013, Milano
Rookie Book Fair, December 7-8, 2013, Poznan
LA ART BOOK FAIR, January 31 – February 2, 2014, Los Angeles
Fahrenheit 39, March 7-9, 2014, Ravenna
Martine Syms, writer, designer and publisher
Zak Group, design and art direction
Jordy van den Nieuwendijk, illustrator
In the mid-1990s, Stuart Bailey interviewed Richard Hollis as part of his undergraduate thesis on Modernism in the UK. He subsequently became Hollis’s assistant, working with the designer at his home over a period of two years.
The talk The Truth About Hollis – September 26, 7pm, Artists Space, New York, as part of Richard Hollis exhibition – centers on Bailey’s insight into Hollis’s approach to graphic design, and the impact felt on the discipline due to social and technological developments. Stemming from Hollis’s writings on the historical shift towards visual communication as marketing, Bailey expands on how the material qualities of Hollis’s work can serve as heuristics towards a deeper understanding of his discipline.
The Billboard Book, project (New York) by Jonathan Monk, designed by Benjamin Critton Art Dept., published by Three Star Books, is exhibited on and around the grounds of Moma PS1 on the occasion of the New York Art Book Fair, until September 22, & onwards as is pertinent. It has been previously executed in Paris and London.
Fernand Baudin Students Publications / F B S P is a research project dedicated to contemporary forms of editorial practices. Initiated by members of Prix Fernand Baudin Prijs – Prize for the Most Beautiful Books in Brussels and Wallonia, it links the Belgian student’s context with the international independent publishing scene. It aims to create a common space between students and professionals, research and practice, thinking and making – through events, workshops and research publications. September, 25, 6pm, F B S P will launch its first publication This is not a most beautiful book award at Théophile’s Papers, Brussels.
After the Second World War, Willem Sandberg (NL, 1897–1984) transformed the Amsterdam Stedelijk museum into a dynamic centre for modern and innovative art and culture. He did this with exceptional creativity and in close collaboration with artists and architects.
Sandberg had distinct ideas about heading up a museum for modern and contemporary art, about the importance of art, about dealing with artists and about his work as typographic designer, but also about social responsibility and community.
The book Willem Sandberg, Portrait of an Artist – designed by Rutger de Vries – is based on interviews with Sandberg (from 1971 and 1981) and offers first-hand insight into questions such as: what does the task of museum director entail; how does art criticism work; what is the essence of being an artist; what does the ideal museum architecture look like; and what is the role of art and the museum in society?
They remember only the photographs* is a publication / exhibition – September 13-28, Bétonsalon, Paris – resulting from the collaborative work between the Ecole du Louvre students and the University Paris Diderot – Paris 7. Entrusted to graphic design studio Syndicat, the project focuses on scientific research and operates as a reflexive process in progress.
* “The problem is not that people remember through photographs, but that they remember only the photographs.” in Susan Sontag, Regarding the Pain of Others, New York: Ed. Farrar, Straus and Giroux, 2003, p. 79.
The arrival of photography and its role in reproducing art works, or understanding artistic practices has blurred our points of reference. Moreover, today it would seem that the modern and contemporary art archive is freeing itself from its purely documentary status. As a result of art’s conceptual and processual evolution, notably dating from the 1960s, document’s status borders on that of artwork, particularly thanks to photography.
This exhibition-publication aims to materialize a reflection not only on the practice and production of the documentary image, but rather and foremost on the archive, its uses, the diffusion and reception of these photographs. It strives to question the journey of the photos and the circulation of artwork and artistic practices, through the use of different supports (photographic printing, printed photographs, books, catalogues, magazines, revues, invitation cards, posters, post cards, digital images…)… Download press release.
Since 1997, when Lost & Found was started, over 90 sessions of stray images and sound have been organised. Artists, writers and musicians present work in progress, experiment or present work that doesn’t fit into their oeuvre (yet). A specific and unique stage for diverse and hybrid works which don’t fit comfortably into galleries or museums.
The collection of Lost & Found invitations was exhibited at Stedelijk Museum CS, Amsterdam, Alexandria Contemporary Arts Forum and Townhouse Gallery in Cairo. The Netherlands Institute for Art History took the flyers into their collection.
Typojanchi, Seoul International Typography Biennale, August 30 to October 11, 2013, is an international exhibition of typography to explore various intersections of the art of visible language and other cultural disciplines.
Typography has a dual identity: it is as much an art of language as a visual art. Typojanchi 2013 is devoted to the literary potentials of typography in the overlap of the two realms.
Rather than merely visualizing a given text, contemporary typography has come to actively engage in the production and distribution of the text. Exploring the themes traditionally reserved for literary studies such as conditions, conventions and nature of writing, typography itself becomes a form of literature. Meanwhile in literature itself, there is an experimental tradition of non-verbal—visual and material—devices. From concrete poetry to the OuLiPo group, metafiction and visual writings, the formal investigations have helped widen the boundaries of literature, inspiring many typographic designers. In addition, the widespread digital production and network technology have had a deep impact on the way we write, share and read texts, fundamentally transforming its nature and status. All these have contributed to the changing status of the text, from a solid common ground for communication to a more intangible and transient clouds in the air.
Typojanchi 2013 attempts to read and write the new text emerging from the shaking tradition of literary culture, examining the conditions and possibilities of the super-expanded, super-fluid, super-dynamic and super-sensitive text.