“The Dirty Art Department offers itself as an open space for all possible thought, creation, and action.
It sees itself as a dynamic paradox, flowing between the pure and the applied, the existential and the deterministic, and the holy and the profane.
It is concerned with individuality, collectivity, and our navigation of the complex relationship between the built world and the natural world, and other people and ourselves.
It’s a place to build objects or totems, religions or websites, revolutions or business models, paintings, or galaxies.
The Dirty Art Department comes from a common background of design and applied art, it seeks however to reject the Kantian division between the pure and the applied arts.
Since ‘god is dead’ and ‘the spectacle’ is omnipresent, it sees the creation of alternative and new realities as the way to reconsider our life situation on this planet.
The Dirty Art Department is open to students from all backgrounds including designers, artists, bankers, skeptics, optimists, economists, philosophers, sociologists, independent thinkers, poets, urban planners, farmers, anarchists, and the curious.” Jerszy Seymour
Printed Matter presents, from September 20 to 22, at MoMA PS1, New York, the eighth annual NY Art Book Fair, the world’s leading event for artists’ books, catalogs, monographs, periodicals, and zines showcased by more than 280 booksellers, antiquarians, artists, and independent publishers from more than twenty countries.
Among other special programming, The Classroom, a curated series of informal conversations, workshops, readings and other artist-led programs, is also an informal venue for artists, writers and publishers to feature new releases and present their publications. Participants include Tréy Sager with Badlands Unlimited (New York); Olof Olsson with Rollo Press (Switzerland); Linda Simpson with Peradam (New York); Elisabeth Tonnard and Chris Burnett with J&L Books (Scranton, PA); Amish Morrell with C Magazine (Canada); the curators of the Libros Mutantes Book Fair (Spain), etc.
An exhibition of book works by Bruno Munari, presented by Edizioni Corraini, will be housed in the courtyard dome. The exhibition includes a collection of rare and out-of-print artist and design books by the late Italian artist, offering a comprehensive survey of his influential career. Selections from the private collection of Giorgio Maffei will be on view as well…whole program on NY Art Book Fair 2013 website.
The Jan van Eyck Academie is a site of encounters which had surpassed the sterile confines of academia and the consensual norms of market-oriented work, as it welcomed examinations and radical critiques of the spaces of artistic creation, theoretical inquiry and design, while also questioning the relations and boundaries between these fields. Building upon this experience, while at the same time surpassing its institutional limitations, the intention is to construct a platform for collaboration between theorists, designers and artists, by suspending the borders between their respective disciplines, by affirming the need for collective and experimental work, by engaging in projects which do not shy away from questioning the very possibilities of different domains, whether aesthetic, scientific or political.
This Book is a Classroom is a publication about art education, self-organised institutions, and circular communication; edited and devised by Lucie Kolb & Romy Rüegger, Passenger books and HIT. Book launch, July 10 2013, 7pm, X Marks the Bökship, London.
“…We would like to learn, and we are working on a book. The room it offers is circumscribed and structured by the book‘s parameters: format, binding, jacket, title page, layout, preface, postface, table of contents, captions, cross headings, intertitles, annotations, editorial notes, appendix, blurb, names and accessories. This book is a classroom. We invite you to play this classroom together with us – a play to be played indoors or out, I wish to be a school – by a text or picture contribution; as a professor, student, guest, friend, reader, lecturer, listener, assistant, staff, animal, as equipment, materials, furniture, architecture or sound …” (Corinn Gerber, Lucie Kolb, Romy Rüegger)
Since 2009, Gareth Long and Derek Sullivan have worked towards an on-going project to illustrate and translate Flaubert’s Dictionary of Received Ideas. Seated at an iteration of Long’s Bouvard and Pécuchet’s Invented Desk For Copying, a series of desk-sculptures pulled from the unfinished pages of Gustave Flaubert’s incomplete last novel, the two artists intend eventually to illustrate every entry in Flaubert’s posthumously published satirical dictionary – a text that contains 950 biting and surprisingly contemporary entries lampooning bourgeois French society of the time.
Flaubert had intended to include this text as part of the second half of the novel Bouvard and Pécuchet. Long and Sullivan’s project has them draw images copied from the Internet (the dilettante’s library of today, and one that parallels the vast library embedded within Flaubert’s novel) which brings the surprisingly contemporary platitudes up to date, and match Flaubert’s own caustic wit and meta-references with a disarmingly funny, charming (and sometimes school-boyish) sense of humour. Just as the desk-scultpures act as an illustration of the final moments of the novel, with Long and Sullivan seated at them, they too become a sort of extended illustration of the eponymous characters. A self-professed ‘crap drawer,’ Long’s lack of skill as an illustrator for the Dictionary is a form of illustration itself: his drawings are obviously those of an amateur, just as Bouvard and Pécuchet are destined to remain amateurs in each of their endeavours. And so, by ‘copying’ the two characters in the novel, Long and Sullivan’s drawing sessions contribute to the seemingly endless cycle of mimicry and citation taking place in the book.
Long and Sullivan have worked on The Illustrated Dictionary of Received Ideas through more than 23 illustrating sessions to date. Upcoming session, July 25, 2013, 5pm, The Power Plant, Toronto, as part of Postscript: Writing After Conceptual Art.
HANS LE MALIN est une publication qui questionne les pratiques de production d’éléments narratifs et leur déploiement dans l’espace médiatique. Pour ce faire, des méthodes d’investigation associées à la conception d’outils orientent l’écriture d’articles. L’enquête est un moyen d’accumuler et de réunir des indices mais aussi de formuler des hypothèses.
Les postulats en études sont confrontés lors d’entretiens avec des personnalités évoluant dans les champs de la recherche, du design, de la photographie ou du journalisme. Rassemblés en ligne, les contenus sont susceptibles d’être édités, imprimés, reliés et distribués lors d’un événement dédié à cette étape.
Présentation par Tanguy Wermelinger, le 22 juin 2013, 14h, 22RUEMULLER, Paris.
The Letter E is Everywhere – June 6 – August 9, 2013, Archivo Diseño y Arquitectura, México – works as a book that contains different stories, letters, texts and images unfolding into space. Instead of pages, the display structures and furniture pieces allow books, prints, objects and textiles designed by Studio Manuel Raeder, to be juxtaposed with other objects found during an exploration of local handcraft production in Oaxaca. The exhibition also features three furniture pieces developed as a result from this research, in collaboration with Oaxacan artisans.
The Letter E is Everywhere is shaped by the objects mentioned earlier, and by the display structures developed especially for the exhibition. The exhibition presented in Archivo adopts pieces from its collection, focusing on objects whose production converses between craft and design practice: industrial, mass-produced popular objects, handicrafts, and furniture pieces whose form-function relation appears as rustic, but nevertheless shows much attention to detail and technique. The exhibition proposes an open narrative through the objects on display and questions 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.
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.