The theme of the 26th International Biennial of Graphic Design Brno 2014 is education in the field of graphic design and visual communication. This thematically focused biennial will — through a wide range of exhibitions, lectures and accompanying programs — investigate the educational models of contemporary graphic design as well as the methods and approaches of individual tutors and schools. It will also look at the diversity of specific schools, the influence of architecture on education, and the relationship between theory and practice.
Exceptionally, the International Exhibition, a traditional part of the Brno Biennial, will leave aside the work of professionals to focus instead on work created by students. All works created in a school context between 1 January 2010 and 31 December 2013 are eligible for the International Exhibition. The application form is now available online.
SHOW INFO websites document research into thirty-six Latin-alphabet typefaces and their (technical, cultural, social, artistic, commercial…) contexts. The websites were made by the second-year graphic design students of the Gerrit Rietveld Academie in autumn 2013, in an assignment conducted by Sam de Groot with Jakub Straka.
Curated by Jon Sueda, All Possible Futures – January 14 to February 13, 2014, SOMArts, San Francisco – explores the potential of graphic design and celebrates a questioning of boundaries regarding concepts, processes, technologies, and form.
What happens when graphic designers extend the boundaries of their discipline and initiate creative explorations built on risk and uncertain ground? Exhibited conceptual proposals, critical provocations, and experimental works that exist on the margins of graphic design or in parallel to professional projects, as well as proposals that were initially rejected by a client and remain unrealized, position All Possible Futures at the intersection of design and fine art.
Exhibiting designers includes, among others, Abake, Ludovic Balland, Daniel Eatock, Dexter Sinister, Jaan Evart, Experimental Jetset, Ed Fella, Jürg Lehni, Karel Martens, Metahaven, Mevis van Deursen, Radim Pesko, Project Projects, ResearchCenteredDesign, Sulki and Min, etc… To accompany the exhibition, the book All Possible Futures will be published by Bedford Press.
In the attic of Oslo National Academy of the Arts, a unique collection had been lying forgotten, untouched by time. It consisted of rare graphic design journals, cases of metal and wood type, books, type catalogues and printing machines dating back to the last century. The exhibition A Form for History, until January 3, 2014, at Oslo’s R21 gallery, presents part of the typography archive and offers an exceptional glimpse of Norwegian graphic design history.
On show is a selection of books and printed titles from the archive; demonstrating a diverse visual field where modernistic expression developed in conjunction with lingering roots of art nouveau. The titles are accompanied with quotes from the archive, seeking to portray a varied cultural development where issues such as national style, a lack of high quality paper, The New Typography and the role of women have all been debated.
The large, red table, with two stairs that leads up to it, was imagined as both a reference to the attic which had been the archives hiding place for several years, as well as the often unapproachable aspect that history can hold. The table itself contains 20 articles, which as a whole presents both an insight into the industrial progress, as well as the development of visual expressions in Norway. Visitors are invited to bring home copies of the articles as a way to create their own selection of history.
Any Part, Any Form is a follow up to London-based graphic designer Radim Peško’s Informal Meetings, a collection of photographs made during travels and wanderings to different places. This volume brings back found compositions and situations where seemingly unremarkable encounters between space, architecture and water suggest their own stories.
Pierre Faucheux (1924-1999) a été l’une des figures majeures de l’édition française au lendemain de la Seconde Guerre mondiale. Renouvelant largement ce champ du design graphique, il traversa la seconde moitié du XXe siècle en y laissant des empreintes multiples qui sont autant d’expérimentations revisitant les avant-gardes ou s’inscrivant dans les courants artistiques de son époque. En marge de son atelier, il développa un travail visuel constitué de collages et d’”écartelages” photographiques. Enfin, il consacra également sa carrière à l’architecture, en s’associant aux projets de divers architectes ou en élaborant des aménagements muséaux et des scénographies d’expositions.
Faucheux concevait l’architecture comme une écriture et la mise en livre comme un travail architectural : écrire l’espace et être un architecte du livre, tel fut le grand écart qu’il se proposa de tenir tout au long de sa carrière. À partir de cette notion d’écart, qu’il fit sienne à la suite de Charles Fourier puis des surréalistes, L’écartelage ou l’écriture de l’espace d’après Pierre Faucheux, sous la direction de Catherine Guiral, Brice Domingues & Jérôme Dupeyrat, propose d’approfondir la connaissance critique du travail de Pierre Faucheux tout en le situant parmi les acteurs de son époque et en regard des références historiques et culturelles qui permettent de comprendre les divers aspects de son œuvre.
The Fox issue 4 is loosely a continuation of the 1970′s journal The Fox produced by the artist’s collective Art & Language, however this regenerated version deviates from the concerns of the past publication, instead holding a closer link to the ‘natural world’, particularly the urban fox as a medium through which to explore attitudes towards the city, culture, nature, labour, architecture and design.
Designed by Mathew Whittington and with contributions by Daniel Arsham, Federico Campagna, Mike Davis, Mabli Elliman, Paul Elliman, Kristen Gallerneaux Brooks, Valentijn Goethals, Bill Hutchison, Esther Leslie & Ben Watson, Tetsuo Mukai, Leonard van Munster, Melissa Pilon, and Hermione Spriggs, as well as a selection of re-published material from the 19th and 20th century. Launch December 14, 3-5pm, Wysing Art Centre, Cambridge, as part of X Marks the Bökship’s X-Operative.
The eleventh issue of F.R.DAVID, All distinctions are mind, by mind, of mind will be launched November 24, 4pm, Dexter Sinister, New York, with readings by Kendra Sullivan, David Reinfurt and Will Holder.
“All distinctions are mind, by mind, of mind” is comparative — making divisions and splits in order to read the design of rhetoric in the stories we tell about our fictional and professional selves. With Abra Ancliffe, Robert Ashley, Ricardo Basbaum, Michael Gazzaniga, Ken Jacobs, Shane Krepakevich, John Latham, Ezra Pound, Kendra Sullivan, Sergei Tret’iakov, Marina Vishmidt, Rebecca Wilcox & Sarah Rose and many more.
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.