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).
“One year ago, we started the QUESTIONS/QUESTIONS project with the aim of giving some editorial space to students who graduated in 2011. Although we would have liked to have published it earlier, we believe that the interest of the projects that we have assembled is independent from the date of their publication. But there is a lot more that can be criticized or questioned. For example, the limitation to a certain audience of the call to contributions, which probably leaves a lot of good things out. That said, we are very happy with what we have been able to bring together.
The design and the editorial options follow from the desire to focus on the content — showing things that can’t be found on the Web or to emphasize particular aspects of the projects. We hope that this publication can become a humble source of reflexion for graphic designers — our selection has been influenced by the aim to combine, as much as possible, different horizons and ways of thinking about graphic design…”
Students: Rafaela Drazic, Benedetta Crippa, Benjamin E. Critton, Anne De Boeck and Laura Bergans, Caterina Giuliani, Filimonas Triantafyllou, Anna Craemer, Caroll Maréchal, Karoline Swiezynski, Laurie Robins, Alban-Paul Valmary, Manon Pavlowsky, Célia Castelo, Anh Truong, Laurens Teerlinck, Loraine Furter, Hester Barnard, RISD Graphic Design MFA Class of 2011, Bastien Bouvier, Agathe Demay, Michèle Champagne, Anja Groten, Simona Kicurovska, Maarten Kanters, Valentin Barry, Erik Hartin, Sophie Demay, Pedro Cid Proença, Afonso Martins, Maël Fournier-Comte, Astrid Seme, Nell May.
Contributors: Marco Balesteros, Annelys de Vet, Thierry Chancogne, Oliver Klimpel, Catherine Guiral, Harmen Liemburg, Uta Eisenreich, Europa (Paul Tisdell, Mia Frostner & Robert Sollis, CA&D alumni 2007), François Rappo.
Le catalogue et ses hybrides met en scène des projets qui rendent compte de la diversité de l’offre éditoriale liée au contexte d’exposition.
Ces espaces imprimés de rencontres – format d’interaction entre un lieu d’art (centre d’art, galerie, musée…), un commissaire, un artiste, un designer graphique … – questionnent notamment l’objet livre comme alternative à l’espace d’exposition.
De l’objet documentaire – le catalogue – à la formule imprimée composite – livre d’artiste – certaines de ces publications proposent un traitement plus complexe de la documentation des productions artistiques et des pratiques curatoriales.
Source, trace ou prolongement de l’éphémère, chacune de ces expériences imprimées, réactivées à chaque lecture, constitue un espace alternatif de mémoire vive, un nouveau contexte d’existence de l’œuvre d’art. Emancipé, le catalogue défie et contourne l’exposition.
Le contexte d’exposition génère des expérimentations éditoriales mettant en tension l’espace d’exposition et la documentation traditionnelle. En voici un extrait:
27-29 avril 2012
vernissage vendredi 27, 18h-21h
Le Moinsun, Paris
Le catalogue et ses hybrides, documentation: lecatalogueetseshybrides.tumblr.com
Born in Toulouse in the 17th century, the art collector Pierre Crozat is at the origin of the “Recueil Crozat”. Consisting of reproductive engravings of paintings and drawings, with notes on the artists, this work is one of the first prototypes of the art catalogue. An innovative initiative, the Recueil Crozat opens up the way to a new book type then to its descendants in multiple formats down to the unclassifiable mutant.
“The catalogue and its hybrids” depicts editorial projects initiated by art centres – France, Europe and international – which reflect the diversity of the editorial offer related to the exhibition context.
These printed spaces of meetings and dialogues – between an art centre, a curator, an artist, a graphic designer and so on – especially question the book object as an alternative to the exhibition space. From the documentary object – the catalogue – to the composite printed formula – artist’s book – some of these publications therefore propose a more complex treatment of artistic creation projects, artworks and their documentation.
Source, trace or ephemeral extension, each of these printed experiments, reactivated at each reading, comprises an alternative living memory space, a new context for the existence of the work of art.
Art spaces therefore today offer the creators the conditions required for these editorial experimentations confronting the exhibition space and traditional documentation. Here is an excerpt.
October 28-30, 2011
École supérieure des beaux-arts, Toulouse
conception graphique: © officeabc 2011
extrait photogramme: Georges Franju, Les Yeux Sans Visage, 1959 (D.R.)
extrait livre: Raf Vallet, Mort d’un Pourri, Gallimard, Paris, 1972 (D.R.)
Agrandir / Enlarge
Open Books II – Exhibition, Opening & Crystal Maze
Pics & Infos updates: open-books.tumblr.com
L’enjeu du projet Open Books, est de questionner la représentation et l’exposition de l’objet livre.
Sa première version, présentée à Londres en février 2011 par les curatrices du projet, Charlotte Cheetham & Sophie Demay, avait pour ambition de questionner cette thématique en exposant une sélection de livres, de projets et d’installations. Reposant sur une scénographie pensée comme une réponse à cette thématique, les projets éditoriaux exposés, recueil d’expérimentations, ont également pris forme dans une publication qui théorise et documente ces questions.
La seconde version du projet prend pour point de départ le corpus d’éditions présentées à Londres et propose une nouvelle mise en espace de l’objet livre.
À travers un processus de mise en abîme et d’extraction des références, l’installation – méta-exposition – propose ainsi au public une excroissance éditoriale, reflet du corpus initial. Pensée comme un prolongement, cette ré-interprétation du projet invite le public à la découverte et à la consultation de ces objets et de leurs connexions manifestes.
Samedi 10 septembre à 17h – The Crystal Maze II — Freeake Library
Dans le cadre d’Open Books II, Catherine Guiral, Brice Domingues et Jérôme Dupeyrat proposent la seconde édition du Crystal Maze, dispositif de monstration et de discussion dédié aux livres, à l’édition, et à tout ce qui s’y rapporte par des prismes divers que sont par exemple la lecture, le graphisme et le cinéma. Le Crystal Maze est un labyrinthe où se rencontrent des objets, des images et des voix, réunis pour l’occasion autour de la triple figure du Free, du Freak et du Fake.
Invités: Marcelline Delbecq (artiste), Alexandru Balgiu (graphiste), Xavier Bouyssou (étudiant graphisme/illustration).
Jérôme Dupeyrat est doctorant en esthétique, éditeur et enseignant en histoire de l’art contemporain. Catherine Guiral, chercheuse en histoire du design au Royal College of Art et enseignante, et Brice Domingues, sont les graphistes fondateurs du studio mobile officeabc.
Samedi 17 septembre dès 16h – rencontres & performances
Pendant les journées européennes du patrimoine 2011, Charlotte Cheetham et Sophie Demay explorent avec leurs invités certains des éléments consubstantiels à l’objet livre: la collection, la double page et la bibliothèque. Basé sur une série de performances et d’installations sonores et visuelles, cet événement s’intéresse notamment à la physicalité du livre et à sa transcription au travers d’autres médias.
Invités: James Langdon (designer graphique et fondateur/ commissaire d’Eastside Project, Birmingham), Stuart Whipps (artiste et photographe, Birmingham), Dominique Hurth (The Reading Room, Berlin), Sylvie Boulanger (Cneai/Fmra).
Mercredi 21 septembre de 18h à 21h – Marché aux livres
Remise en circulation des livres
Open Books is a project aiming to explore the “mise en abime” of the object book as well as to research the use of books as an exhibited material.
This publication, Volumes ABC, was produced in two steps. Printed ahead of the exhibition, Volumes A+B served as a documentation tool and caption for the public. Extended later by Volume C, the three volumes become then a trace of the exhibition.
- Volume A, Documents
Introduction – Charlotte Cheetham & Sophie Demay
Reading Space – Lucas Hoffalt & Samuel Lamidey
Mind Replica – Sylvie Boulanger
14 ways to exhibit books
Kiosk: a collection by Christoph Keller
About Books – Grégoire Romanet
Index of exhibitions (written by Tom Henni,
Christoph Schifferli, The best dutch Book Designs, Mathieu Gabiot,
Mylinh Nguyen, Dominique Hurth & Ciaran Walsh, Regine Ehleiter,
The Most Beautiful Swiss Books)
- Volume B, Material
This is a book about an exhibition – Elizabeth Glickfeld
Studio Book by Fraser Muggeridge studio – Eric Kindel
Double Page – Jérôme Saint-Loubert Bié
Graphic #10 – Kwangchul Kim & Na Kim interview
Ultramoderne Reader – Jean-Marie Courant
I swear I use not art at all – Joost Grootens
Recycled Works 1990-2005 – Armand Mevis & Linda Van Deursen
Fernand Baudin Price Catalogue – Alexia de Visscher & Ariane Bosshard
The most beautiful swiss books catalogue – Laurent Benner interview
Index of exhibited books
- Volume C, Exhibition
The exhibition Open Books
Perpetual Proposal – Fay Nicolson & Oliver Smith
Facing Pages – James Langdon & Stuart Whipps
Studio Project – Fraser Muggeridge
Mapping & Feeding the Library – Anna Haas & Annett Höland
Editor: Charlotte Cheetham & Sophie Demay
Designer: Sophie Demay & Lola Halifa-Legrand
Riso printed by Hato Press
Limited edition of 175
On January 2011, Manystuff presented the exhibition «Kunstkammer, The representation of an amateur wonder-room» at 12MAIL gallery in Paris.
Using representations of amateur wonder-rooms of the 17th century as a starting point, the exhibition was a graphic design posters amateur/collector room (the collection of Charlotte Cheetham) – as in a private interior, walls were covered by an accumulation of juxtaposed paintings with no hierarchy, frame against frame, from the floor to the ceiling – and also included a wonder-room (curiosities cabinet) with silkscreen commissioned posters.
The idea was to work on the “ideal museum”, as these representations of amateur wonder-rooms sometimes combined fiction and reality: an imaginary décor, copies of masterpieces and hybrid collections.
With the publication published by OMMU, the purpose was to compose a compendium of paintings that inspired this exhibition: from Kunstkammers to Cabinet of Curiosities representations, and finishing with the vanities paintings.
To give form to this compendium, to design the trace of this documentation, Charlotte Cheetham worked with Pierre Vanni who make the publication a graphic curiosity itself.
An extract of Georges Perec novel – A gallery portrait – is also illustrating the idea.
48 pages / A5 / 3-color Riso – Black, Blue & Flat Gold
More pictures: pierrevanni.tumblr.com/a-lbum
OMMU invites Manystuff to present its activities during a talk,
illustrated by a wall installation.
A publication, collaboration project between Charlotte Cheetham & Pierre Vanni,
Riso printed, published by OMMU, will be launched for the occasion.
16th June – 9th July 2011, wall exhibition
16th June, 7pm, Talk & Publication launch
ORTOMÁTICA II – PUBLISHING LAB
A books as prism
publishing workshop by Charlotte Cheetham & Pierre Vanni
27 — 29 APR. 2011 Centro de Arte Dos de Mayo, Madrid
Workshop coordinated by proyecto Prisma
> abookasaprism.tumblr.com pics & videos
The goal will be to think a publication (printed document) such as a prism, which means such as an element that reveals/refracts and/or disperses information. Of course we are not engineers or computer scientists, but designers. So, we’re not looking for new technological forms, but in search of new «logical» forms including a poetic approach.
In introduction to the workshop, and as textual material for the publication content, we ask you to work with the Jorge Luis Borges’novel «Libro de arena», a story of a book as infinity… How to narrate this story — and so, design it — in an original and significant way, using the clues given by Borges and the physical/logical/poetical particularities of the prism experiment?
The idea is not to think your publication as the solution of the incongruous title «a book as a prism», but to take it as a pretext to design new kinds of printed documents, new kinds of storytelling.
Graphic design: Valley of Omsk (Philippe Koeune)
Publisher: Jota Castro
© Thomas Vanden Driessche
Manystuff: Could you please present yourself?
Philippe Koeune: My name is Philippe Koeune, i was born in Luxemburg and since a few month i have a mustache.
I spend most of my time working on the GIRLS FROM OMSK (womenswear label) and the Valley of Omsk (graphic design studio) projects and this is good.
Manystuff: How do you feel about the “books price concept”, with a jury, a competition, etc. … ? Do you think, and why, it is relevant to organize this kind of competition? Is it related to a transformation of the book status?
Philippe Koeune: On a personal scale, it’s interesting to get feedback from other designers on your work. What i like about it and which is true for all the book prices i know, is that these competitions reward a pretty wide selection of books. The competition is not really about the individuals but more about the books. So in that sense i think it’s relevant.
Manystuff: Fernand Baudin price is privileging the coherence of the interactions between the various creators of book: what do you think about the complicity & dialogue that seems to be stronger between author/artist/publisher/graphic designer/printer/… in the creation process of a book?
Philippe Koeune: These interactions are rewarding, binding, exciting, challenging, etc.
Manystuff: Could you please introduce one of your upcoming project that you are now working on?
Philippe Koeune: Working on the visual identity of an upcoming irish art event.
Our library-team chose a range of contemporary graphic designers and asked them to make a shortlist of the books that were important for them as a designer. By e-mail we received their choices. It’s like reading and collecting books recommended by your favourite author. The purpose of the library is to get a view on the world of graphic designers today and to discover that there is a large variety of inspirational work in the form of books. Download pdf.
By Laura Bergans, Delphine Courier, Anne de Boeck, Caro De Rycke, Simon Heylen, Annelies Siersack, Ward Vanysacker, Brecht Vanzieleghem, Axelle Zwartjes.
Crappy stuff, a trade library.
Trade your trash for treasure.
by Pieter De Baets, Caro De Rycke, Cécile Galicher, Bram Kinet, Sam Smekens, Laurens Teerlinck, Jonas Temmerman, Sara Thewissen, Jolien Van der Smissen
There are no books that have no value. Books that have lost their use for their owners can still be valuable to other people. The content might interest new owners, the form of the book can be a source of inspiration for artists, graphic designers or anyone else who might like books.
The catalogue: because the collection is constantly changing, loosing and gaining books, we want to gather and archive visual information of the books. Part two of the project is about form. The yearbooks that we publish can be used as source of inspiration – in the first place for graphic designers.
SINT-LUCAS GENT – Manystuff Workshop
During 3 days, Master Graphic Design students of Sint-Lucas in Gent will work on “An ideal library” workshop (download .pdf)
What would be the ideal library for a graphic designer? Which books would it be constituted with? And why? After the selection of books is set up, students will think of an installation system highlighting the characteristic elements of this compilation.
With Laura Bergans, Delphine Courier, Pieter De Baets, Anne de Boeck, Caro De Rycke, Cécile Galicher, Simon Heylen, Bram Kinet, Lore Laporte, Annelies Siersack, Sam Smekens, Laurens Teerlinck, Jonas Temmerman, Sara Thewissen, Jolien Van der Smissen, Ward Vanysacker, Brecht Vanzieleghem, Axelle Zwartjes.
An Endless Supply, The Most Cool Books
Slide projection, sound, 14 minutes 48 seconds duration, looped
Books on um art and design, er, rated on whether they’re cool or whatever. Presented at PA/PER VIEW Art Book Fair at Zabludowicz Collection, London.
João Machado, Gestures
This video strongly relates to the effect of a book, extending beyond the form. A book is mainly compound of its materiality, formal content and the way these two interact with the reader. Beyond the form, the book lives on in the mind. In this video I aim to illustrate the experience and performance of a book discarding the object itself. By doing this I am asking the viewer to reassess what this object means to them.
Book Notes 2002-2009, Christoph Schifferli
“The reason I took this digital snapshots is very practical: to take notes about books and artworks I’m interested in. I started using a digital camera in the late 90s, mostly in art exhibitions were I took pictures of the artwork together with the small tags on the side stating the name of the artist, etc. I later started using the camera also for books, taking a quick picture of the cover with some spreads and the impressum (and possibly of the price if it was a rare book). Since the date is automatically registered when you take a digital picture, I still had to take note of the location (these were pre-GPS times). So I started taking pictures of the gallerist, artist or bookdealer to keep a record of the place or context. Finally these pictures also became a visual diary – but this happened more coincidentally and as a side effect, and I became aware of the diary effect much later in the process.”