Design, l’anthologie, d’Alexandra Midal, est une anthologie consacrée à l’histoire et la théorie du design en langue française, et s’adresse à tous ceux qui se demandent – puisque “tout est aujourd’hui affaire de design” – ce que cette discipline recouvre, quels débats et problématiques elle soulève et dans quels flux elle s’inscrit. Même si des thèmes tels que l’industrie, la standardisation, la démocratie, le style, les matériaux ou les relations entre art et design, sont récurrents et permettraient d’articuler une lecture thématique de l’histoire, la chronologie a été privilégiée. Elle permet de suivre les inflexions du design au gré des mouvements de l’histoire et du contexte avec lequel il dialogue.
Sainte-Victoire – Corporate Identity – May 15-31, 2013, Galerie de l’erg, Brussels – is the first exhibition project proposed by Musée des Erreurs, recently opened by the artist Pierre Leguillon, who’s always been concerned about building new tools dedicated to images and their dissemination.
The title of this exhibition refers to a statement in a letter Hamilton wrote in 1980: “My admiration for the work of Dieter Rams is intense and I have, for many years, been uniquely attracted towards his sensibility; so much so that his consumer products have to come to occupy a place in my heart and my conscioussness that the Mont Saint-Victoire did in Cezanne’s.”
The different identities gathered in Sainte-Victoire are presented in a way as to reflect into one another. Beyond singular identities, there is the idea of images from brands or corporate identity that is also at play. Between subjectivity, style and function, the designer also works at sculpting, shaping and interpreting the concept of the company he is working for. However, the shape this concept takes derives from inspiration mechanisms, cultural settings, reference searches, which in turn nourish different artistic practices and fields of creation. In view of that, the idea of « model », of « origins » ex nihilo explodes in favor of the ready-made: the creator is the one who chooses, finds, understands or subverts the way in which an object is first considered. Yet, these operations happen through a flux of multiple sources which the Musée des Erreurs is trying to crystallise…
The Playground Project, curated by Gabriela Burkhalter, is a richly illustrated exhibition exploring the history of postwar playground design and highlighting important examples of playgrounds from the 20th century. The survey focuses on the years between 1940 and 1980 as the most fruitful era in playground design and introduces outstanding achievements from Europe, the US, and Japan. More than 130 photographs, prints, plans, models, and books, along with eleven films and slideshows, will illustrate the exciting and inspiring history of playgrounds, from June 10, 2013, Carnegie Museum of Art, Pittsburgh.
Point of Sale operates as a functioning bookshop for the duration of less like an object more like the weather, March 24 to May 26, 2013, Hessel Museum of Art, New York.
The bookshop’s display structure is the result of a site-specific commission by Studio Manuel Raeder, which focuses on close collaborations with artists, designers, curators, theorists, and musicians in a wide range of formats that include exhibitions, publications, type design, and furniture design.
For Point of Sale, the Studio has designed a setting that can function simultaneously as a retail operation, reading room, and social space and has adapted existing structural elements from the Hessel Museum of Art.
The inventory of Point of Sale has been selected in relation to the concurrent spring exhibitions and their participant’s respective conceptual investments.
Point of Sale presents and circulates various art publishing efforts through processes of economic exchange, to activate the intersection between art, entrepreneurship, and publishing—particularly as it has occurred and continues to occur through CCS Bard’s expanded network. In this way, the bookshop as a site within the art institution’s infrastructure has become available for curatorial and economic intervention.
ROLU Reader, We Will Learn From These Things In Ways No One Could’ve Taught Us, will be launched at LA Art Book Fair, February 1-3, MOCA, Los Angeles.
Theophile’s Papers is a project dedicated to the diffusion of independent editors, fanzines, newspapers and magazines specialized in art, photography, typography, and illustration, with a focus on the promotion of emerging projects and artist books.
With his collection of publications, and displays designed by Valérian Goalec, Theophile travels to apartments, galleries, and book shops, where he helps people to discover new things in different places.
Artisan Social Designer, an Art & design gallery in Paris, welcomes Theophile’s Papers for Panorama n°15, november 30 to january 2.
In:quest of Icarus is a tragedy; a contemporary work written of and from a contemporary situation and drawing upon Greek myth to illuminate certain aspects of that situation. Norman Potter
Norman Potter (1923–1995) was an English designer and educator. In 1964 Potter co-founded the Construction School, an experimental design course at the West of England College of Art in Bristol, England. His bold programme de-emphasised specialization in design and encouraged practical collaboration between disciplines. The school’s brief history is burdened by resistance to Potter’s ideas at every level of the educational institution. Coloured by this, and his involvement in the student protests of 1968, Potter’s thoughts on the structure of design education became increasingly anti-authoritarian.
In:quest of Icarus is a complex and allegorical reflection on these experiences. Potter describes the work as concerned with ‘walls, barriers, both of languages and hardware; the codes people use to protect their identity and to make random experiences ordered and comprehensible; the occasional wisdom of foolishness; freedoms and imprisonments; and so forth.’ It is Potter’s only play, and has been performed only once, by students at the Construction School on 5 December, 1974.
Restaged by James Langdon, the work is here represented by participants at the Werkplaats Typografie and the Sandberg Institute.
The staging of the performance is integral. The design of the hall and props follows the visual language and apparatus of the typewriter, on which it was composed. The configuration of the hall itself is a representation of the typewriter, with the audience actively implicated in the position of the keys, described by Potter as ‘the alphabetic possibilities of the spoken and written language.’ The staging is prepared by the performers themselves, and the four day process of construction, rehearsal and performance together constitutes the work.
Forming the central part of this exhibition LA LETRA E ESTÁ POR DOQUIER are three newly developed display structures and three new furniture objects. The display structures are a continuation of the experiments carried out by Studio Manuel Raeder in how to construct display devices that deal with showing books or an archive.
LA LETRA E ESTÁ POR DOQUIER functions like a book that contains different stories and letters. Instead of pages, the display structures and furniture allow for textile designs, objects and books that Studio Manuel Raeder has designed in the past years to be juxtaposed next to found and used objects from various encounters during a research undertaken at Oaxacan handcraft workshops. This found objects include half finished barro negro pots (black ceramic) and tin can test prints amongst many other things.
EVERYWHERE also features three newly developed furniture / objects that collapse the borders of where the work of Studio Manuel Raeder begins and where the objects on display try to relate to local forms and methods of production.
November 22 – February 3, 2013
Centro de Diseño, Oaxaca
MAKERSANDFOUNDERS is an always expanding collection of video interviews with makers and founders from a variety of sources and perspectives.
Offprint Paris is an Art Publishing Fair focused on emerging practices in Art.
“We give special attention to the evolution of publishing/curating from traditional “spaces” (catalogues, artists books, photobooks, newspapers, but also museums and schools) towards new spaces and artists organizations (independent publishing, self publishing strategies, websites, blogs, social networks, activism, non institutional activities…).
We consider that the topic of “Publishing” can offer a stimulating hermeneutic to analyse the structure and development of the contemporary art world in a context of digitalization of cultures.”
15–18 November 2012
École nationale supérieure des beaux-arts, Paris
In a Manner of Reading Design, edited by Katja Gretzinger: What we perceive and think of as “true” is widely influenced by our knowledge—carrying with it implicit conceptions we are not aware of. Design, as a planned action, is necessarily both theory and practice. It brings together thinking and everyday objects and therefore ingrains itself in the contexts we are all living in. Yet, being largely unreflected on, design is likely to simply affirm societal norms instead of questioning them. If design aims at taking a critical stance, it needs to change its acquaintance with knowledge and develop its own discourse to understand the underlying conceptions that are at play.
The metaphor of the “blind spot” proposes the perspective of looking at what is implicit or unnoticed in our perception. By doing so, it seeks to open up common readings of what design is and can do. The montage of texts featured includes diverse voices and readings, meant to create a space in which debate can unfold, a debate that considers the impossibility of an unbiased position and as such reminds us of our dependence on the other in any conception—and any project design might aspire to.
Charles and Ray Eames were America’s iconic 20th century design couple; world famous for their pioneering furniture still in production today and furnishing the rooms of many 21st century homes.
Ray was trained as a painter and Charles as an architect. Together, they were designers who embraced a way of living where a design process both rigorous and playful was at the core of all they did.
The couple are particularly well known for their furniture design, less well known is the graphic design work which came out of the Eames Office. During their 40 year partnership, Ray and Charles spent the best part of their life designing exhibitions, making films and designing toys, which they considered a very serious pursuit. The exhibition Addressing the Need – until november 3, 2012, PM Gallery & House, London – examines their graphic contribution in all its forms, from exhibitions, advertisements, brochures, pamphlets, posters and timelines, presented in conjunction with some of their best-known furniture, films and toys.
This exhibition will feature graphic material never exhibited before, much of it very rare, serving to examine the rigorous thought processes of two designers working together to unite the structure and creativity of art and architecture and, ultimately, addressing the need in each of their projects.
Experimenting with the possibilities of technology preoccupied Charles and Ray Eames. This is exemplified in their seminal film ‘Powers of 10’ which explores the relative size of everything in the universe. The Eames Office produced 125 films in 28 years using filmmaking as a tool for problem-solving and finding it an ideal medium to clearly express complex and abstract ideas. This exhibition will include a small selection on these lesser known, but still highly influential projects.
During the NY Art Book Fair, The Classroom – a curated series of informal conversations, workshops, readings, and other artist-led programs, organized by David Senior – will engage visitors in lively conversation all weekend long.
Some highlights in the Classroom space include an interview with the designer Karel Martens, a screening of Matt Wolf’s short documentary on Joe Brainard, a talk with Luis Camnitzer, readings by Petra Cortright, Bob Nickas, Genesis Breyer P-Orridge, and Laurie Weeks and discussions by Jeanine Olesen with Johanna Burton and Emma Hedditch with Isla Leaver-Yap, talks with Terry Smith, Hito Steyerl and a rousing performance of The Electronic Information Age LP, an homage to McLuhan’s Medium is the Massage LP. Ongoing events include the acclaimed zine trade meet-up by Ryan Foerester, a documentation project by Carson Salter and Sandeep Buller, and a freaked-out time keeping device by Dexter Sinister and Erik Wysocan.
September 27-30, 2012
MoMA PS1, New York
Graphic #24 – The subjective tour guide to Amsterdam covers the interest of design/art scene on the city Amsterdam, especially in regard to its environmental aspects on design.
How culture and design can participate in a debate about the city? How can design be subversive and propose alternative uses/views on objects, infrastructure, politics in the city? For this issue, Graphic magazine suggests a subjective tour guide to Amsterdam to reveal these questions. Graphic have visited some Amsterdamers (not originally from the Netherlands), to look into how they interact with their city and what kind of topics they are working on as foreigners. Furthermore, Experimental Jetset were asked about their research into the Provo movement, an important anarchist movement which took place in Amsterdam over two years in the 60s. A section deals with the interconnected nature of economy and design, and how young designers in Amsterdam aspire to intervene in the economic reality we are currently in. As an extra, a map of designer-routes and locations in Amsterdam could provide a subjective guide for entrance to the city for visitors.
With contributions by Axel Kolthof, Bitcaves (Femke Herregraven, Nina Støttrup Larsen), Catarina Neves Ricci, Chris Lee, Experimental Jetset, FOUNDLAND, Henrik van Leeuwen, Jacqueline Schoemaker, John Simons, Katja Novitskova, Mediamatic (Abel van Gijlswijk), Michael Rock, Michiel Shuurman, Moonsick Gang, Our Polite Society (Jens Schildt), Paul Gangloff, Peter Bilak, Rory Hyde, Sachi Miyachi, UnDutchables (Colin White, Laurie Boucke), Warren Lee, Wineke Gartz, Yuri Veerman, 75B.
MISS READ 2012 brings together for the fourth time the most important protagonists of artistic book publishing. With the artist book as an autonomous artistic work, artists use the linearity of the book as medium to tell visual stories, generate archives, depict collections, present research results, or even quite intentionally practice book piracy. The productive collaboration between artist, author, and designer often results in the creation of complex books that also enable a fresh perspective on the art.
September 14-16, 2012
abc art berlin contemporary, Berlin
A Book by Night – Objects from the library of Andreas Züst is a project by Samuel Bänziger and Mara Züst, with Habib Ahmed Afsar, Ivo Mendes Barão Teixeira, Beni Bischof, Gabi Deutsch, Daniel Gafner, Mariano Gaich, Estelle Gassmann, Peter Hutter and Nobert Möslang.
As consolidated as a book seems, each one consists of slumbering worlds, which, in the sense of an object with a body and soul, are waiting to get flipped through, to be looked at and read, felt and in its highest form, be transformed into the mind of the beholder and transmitted to the reader. Those “book worlds”, stacked spine next to spine in a library not only guide to different times, areas and intellectual worlds, but are also always in some way connected to the person, who looks at it. Without this counterpart, a book is no more than some paper and ink. With a counterpart, books can go far beyond. But in which form? To explore this, various artists and practical designers were invited to transform their perspective of one (or several) books of the library of Andreas Züst into an object. These objects, together with the corresponding books or book series are now presented to the public in a small circulating exhibition.
“What is essential here is the presence of the spirit of dialogue, which is in short, the ability to hold many points of view in suspension, along with a primary interest in the creation of common meaning.” Physicist David Bohm
With this “spirit” in mind, ROLU’s attention is equally paid to thought and content, conception and reality. With their active engagement in a multitude of dialogs, they design like water – mixing ideas from the past, from each other, from memory, and from fantasy. Sampling from these different forms of inspiration, ROLU presents forms that are both familiar and completely new.
In Everything is Always Changing All of the Time, ROLU collaborates with Greek architect Andreas Angelidakis to create ambiguous spaces within space, where the work exists as ‘many points of view in suspension’. Sculptures function as dressers, chairs double as totems, forms serve as screens for video projection all contributing to their own unique dialoged and preserved for participation. Suddenly a Lygia Clark sculpture becomes a chest of drawers and a Helio Oiticica installation turns a chair into a room.
The work is a continuation of ROLU’s ongoing study of questioning when a design begins – is it invented or discovered. The works will be presented on Angeldakis’s Universal Exhibition Walls – which act as dividers, plinths and architectural elements.
September 7 – October 13
Volume Gallery, Chicago
Bookshop Index, a directory of independent art bookshops around the world.
The exhibition Bruno Munari: My Futurist Past aims to investigate the activity of one of the most complex, creative and multi-faceted figures of Italian 20th century art. It will analyse Bruno Munari’s aesthetic development from his initial Futurist phase (around 1927) to the post-war period (up to 1950) when, as one of the founders of the Movimento Arte Concreta, he became a point of reference for a new generation of Italian artists. It will also illustrate how his pioneering work exerted an influence that stretched far beyond the borders of his native country.
Bruno Munari began his career within the Futurist movement. From the very beginning, he was concerned with exploring the possibility of representing painting spatially through a continuous flow of forms rendered mutable through the incorporation of a temporal dimension, in accordance with the theories of Giacomo Balla and Fortunato Depero in their 1915 Manifesto ‘Futurist Reconstruction of the Universe’. Munari described the roots of his work as his ‘Futurist past’, and the movement’s ambitious scope certainly informed his kaleidoscopic career, leading him to work across a range of media and disciplines from painting to photomontage, sculpture, graphics, film and art theory. Indeed, his influences were extremely varied, also reflecting the aesthetics and sensibilities of movements such as Constructivism, Dada, and Surrealism… (press release)
September 19 – December 23, 2012
Estorick Collection of Modern Italian Art, London