Dieter Roth, Processing the World – du 14 décembre au 9 mars 2014, Frac Bretagne, Rennes – s’intéresse à la façon dont Dieter Roth, artiste particulièrement novateur de la seconde moitié du XXe siècle, construit son œuvre, dans une dynamique où chaque expérimentation en fait naître une nouvelle. À travers films, livres, archives, lieux d’une recherche singulièrement vivace mais aussi peintures, estampes, installations, Dieter Roth, Processing the World analyse les procédures de création de l’artiste et la manière dont il les pousse à leurs limites.
Qu’est-ce qu’un process, un processus ? On parle de process dans l’industrie comme d’une succession d’étapes de fabrication. Le processus, suite d’actions ou de procédés est directement lié dans la création d’une œuvre à la mise en place d’une relation au temps. Ces deux aspects sont présents chez Dieter Roth. D’un côté, il développe des systèmes dans ses livres ou estampes qu’il épuise par de multiples modifications, reprises, superpositions, destructions. De l’autre, il enregistre le réel construit à l’état brut.
Les processus mis en place chez Dieter Roth sont abordés à travers ses dessins et notes préparatoires, archives, livres, montrant par exemple l’exploration d’un même motif à travers des supports différents, mais aussi à travers ses œuvres en deux et trois dimensions. Les archives qui accompagnent les œuvres tiennent une part importante dans ce projet, témoins d’un esprit particulièrement vif.
En exposant avec précision plusieurs dispositifs inventés par Dieter Roth, depuis la phase de l’archive jusqu’aux œuvres proprement dites, l’exposition présente des séries d’œuvres qui nous font pénétrer à l’intérieur de ses méthodes de travail.
Mapping the contemporary art scene may seem impossible. It is nonetheless the aim of ORACULAR / VERNACULAR. Revolving around two seemingly opposite aesthetics, this exhibition offers a view into European and North-American processes. Charlotte Cosson and Emmanuelle Luciani have gathered new or overlooked works of art by Mathieu K. Abonnenc, Neïl Béloufa, Julie Béna, Michel Boisse, Bertrand Dézoteux, Marine Hugonnier, Dominique Hurth, Alex Israël, Ikonotekst Group, Kolkoz, Kapwani Kiwanga, Gareth Long, Benoît Maire, Shana Moulton, Falke Pisano, Sunita Prasad, Olivia Plender, Julien Prévieux, and Ryan Trecartin at MAMO – the Cité Radieuse, Marseille, December 15 – February 16, 2014.
Some of these artists engage scholar-like researches before translating them into mainly black & white works of art; others use synthetic colors, 3D modeling and harsh encrustations. Does this conflict of aesthetics – issued from minimal and conceptual art or from the Internet – really mean that these currents are contradictory? Their common points of interest seem to prove wrong…
documentation céline duval s’attache à saisir les représentations de toutes natures, depuis les gravures encyclopédiques jusqu’aux photographies diffusées sur des réseaux sociaux. Cette fabrique d’images en perpétuelle expansion s’associe à ce qu’elle nomme le devenir image du monde. Questionner, décoder, raconter, l’artiste nous propose de retrouver notre place perdue de regardeur dans cet océan visuel sans horizon.
Jusqu’au 14 décembre 2013, au Centre d’art Micro Onde, Vélizy-Villacoublay, Céline Duval présente L’Archipel des images, un ensemble de nouvelles oeuvres, photographies et publication dans une mise en scène conçue spécialement pour l’exposition.
The Fox was a short-lived critical journal and magazine published in New York in 1975 and 1976 by the American chapter of British conceptual art group Art & Language; only three issues were ever published. The Fox was primarily text based and rooted in recent experimental conceptual practices. It also had a highly critical and articulate voice on a number of art- and society-related problems: education, the power of money and value in art, institutions and their functions, and autonomy.
Re: The Fox, a curatorial project by Arnaud Desjardin and The Everyday Press, with John Slyce, November 15 to December 21, 2013, UNIT/PITT Projects, Vancouver, proposes a limited facsimilé reprint of the three issues of The Fox, accompanied by a number of historical documents, ephemera and other printed matter belonging to the period. Using some of the texts originally published in The Fox, a series of readings and group discussions will be staged in order to test and argue the relevance, resonance and acuity of those ideas today.
The Fox was originally printed with metal type on cheap newsprint, for this reissue the text was completely re-typeset and the layout design recreated digitally for all three volumes. This was done in order to be able to produce cheap printed copy through the current digital presses and/or office printing technologies.
The ultimate aim of Re: The Fox is to produce as a form of live historical bootlegging where authenticity is not a marketable gimmick but a political problem of transmission from one generation to the next.
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.
La quatrième classe (The fourth class) is an exhibition curated by Jérôme Dupeyrat, with among other artists Robert Barry, Daniel Buren, Jonathan Monk, Julien Nédélec, Conny Purtill, Nick Thurston, and many more… November 23 to December 21, 2013, Florence Loewy by artists, Paris.
Published for the first time in 1905, the universal decimal classification (UDC) is a knowledge classification system widely used in libraries. In itself rational and comprehensive, this system has nonetheless exhibited a kind of anomaly: the 4th class was transferred without being re-attributed, and is “currently unoccupied”. Although the 4th class doesn’t have a concrete usage in libraries, it is not strictly speaking non-existent, but more precisely vacant. In other terms, it exists by virtue of its potential, though remaining empty of any substance which might make this existence tangible.
According to an analogous logic, the exhibition La quatrième classe brings together diverse artistic propositions linked to books and publishing (artists’ books, pageworks, works making reference to books, creations with libraries or bookshops as sites) which have in common the fact that they make concrete discrete or inframince realities whose existence is borne of absence and the substance of a void…
Trapped in the closet is a project curated by Luca Lo Pinto using as conceptual starting point the Frac Champagne-Ardenne collection of works of art.
Over the last decade there has been renewed attention, within the international curatorial debate, of exactly what it means to curate a collection, interpret it and what is the significance of a collection of contemporary art for an institution in the Twenty-First Century…
Trapped in the closet treats Frac Champagne Ardenne not for what it is but for what the collection appears to be conversing with the works not as objects but as images. Each work in the collection will be reproduced on a separate page made in collaboration with a graphic designer. This meta-collection will be presented inside a library: 788 pages, corresponding to the number of works, will be placed within 788 different books, according to a free association between the book and the work itself…
A meta-exhibition of a meta-collection in a meta-physiscal context. With no exporation date.
Talk by Luca Lo Pinto, october 30, 6.30pm, bibliothèque Carnegie, Reims.
For this permanent commission, An Invocation: Five hundred and thirty books from Southend Central Library, from october 30 at Focal Point Gallery, Essex, and using the distinctive furniture, fabrics and materials from the existing Modernist library building, Mike Nelson will construct a display system to house a series of books selected by the artist from the current Southend Central Library catalogue. The project will focus on books earmarked for replacement or removal before the library relocates to the new building, interspersed with key texts that have influenced the artist’s work to date.
The publication, designed by Fraser Muggeridge studio, uses the material from the collection to accompany this project.
The starting point for this transcript of four lectures, all held in Leipzig in 2010, is a public art work that Olaf Nicolai installed in Paris in 1998. By exploring and combining a broad spectrum of topics that relate to the theme of the labyrinth, Labyrinth. Four times through the labyrinth serves as both, a reference system to Nicolai’s work as well as an independent source book dealing with labyrinthian matter ranging from the minotaur to the floorplans of IKEA.
Exhibition and Book Presentation with Olaf Nicolai, Jan Wenzel & Sadie Plant – who translated the German version into English – September 21, 8.30pm, Pro qm, Berlin.
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.
Dear Lynda… uncovers Lynda Morris’ ongoing contributions to contemporary art since the 1960s as curator, writer, art historian, and patron. The exhibition – September 21 to November 16, 2013, Eastside Projects, Birmingham – presents her encounters and close collaborations with a remarkable group of artists of our time through artworks, publications, posters, invitation cards, and correspondence taken from her personal archive and collection. The roster of collaborators and accomplices includes Gilbert & George, Konrad Fischer, Joseph Beuys, Gerhard Richter, Richard Hamilton, John Baldessari, Art & Language, Marcel Broodthaers, Andre Cadere, David Lamelas, Bernd and Hilla Becher, Jeff Wall, Gustav Metzger, Jeremy Deller, and Lucy McKenzie. This body of material reflects the social, political, and cultural context of Morris’ activities concerned with issues of perception, conceptual art, and resistance in art and politics.
In relation to the exhibition, Extra Special People has invited artist and archivist Karen Di Franco – September 21, 11am, part of Archive This, An Afternoon Symposium – to lead a practical toolkit session on working with archives. Archives can take many forms and scales: some are formed of digital files, some of physical objects; some hold internationally significant information while some house nonsensical fragments. They can speak of personal relationships and institutional processes, of historic moments and current trends.
In this informal event Karen will give tips for best practice when working with physical and digital archives and will share some of her experiences of developing exhibitions and publications from various collections and archives.
Books of Copies, a project by San Rocco, is an online database comprised of images that can be copied in order to produce architecture. As such, Books of Copies are receptacles of a collective form of knowledge that can provisionally be called “architecture”. Books of Copies are organized according to a precise set of rules and are produced by a multitude of producers. Books of Copies are based on an inherently derivative and collective effort, starting with the zero-degree act of accumulation of formal knowledge, namely “collecting”. Exhibition, September 10 – October 2, 2013, AA School of Architecture, London.
The exhibition PAGINATIONS & MACHINATIONS – with Joseph Grigely, Dorothy Iannone, Aaron Flint Jamison, Allen Ruppersberg and Mrzyk & Moriceau, September 14 to October 31, 2013, Air de Paris, Paris – presents works whose form is a hair’s breadth short of that of the book. Destined to be brought together – like these pages – they relate an encounter (Dorothy Iannone), which maybe happens in the Air de Paris space (Mrzyk & Moriceau) or when the visitor is invited to trigger things there (Allen Ruppersberg). So different strategies – of assemblage, binding, reproduction and printing – are summoned up by these forms of existence of the page. Forms which, far from being static, are variable, like Joseph Grigely conversations (pigment prints, book, sticker). The work on show here by Aaron Flint Jamison reminds us of the origin or the mechanically printed destiny of the others in the show: of pages and machines, of intersecting stories, brought together by physical acts even as they themselves relate acts of separation and reunion, of disappointment and happiness, of connections that are disconnected then reconnected and reread.
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.
Lawrence Weiner: Written on the wind – september 21, 2013 to january 5, 2014, Stedelijk Museum, Amsterdam – is a comprehensive survey of works on paper by Lawrence Weiner, one of the most culturally engaged artists of our time.
The exhibition comprises an extensive survey of nearly 300 drawings produced over a fifty-year period. The exhibition takes visitors on a journey through the artist’s remarkable trajectory in drawing— from cartoons, notebooks, and otherwise unseen working material and sketches, together with formal works on paper. The exhibition is narrated by his gestural graphics, leading the viewer into the sensibility of Weiner’s oeuvre. Many works contain his initial thoughts and ideas that are often seen transformed into the artists sculptural works using language. Drawing is at the origin and underlines his entire production; the exhibition itself is organized as if it were a drawing in and of itself, as the exhibition has been composed by the artist in a specially designed architectural installation.
In Paris, New York, London, and Los Angeles, show posters for concerts with all-star lineups have been tempting passersby and drivers to attend Madison Square Garden or the Bowery Ballroom, L’Elysee Montmartre or the Wiltern. The months and days of these concerts are listed but not the years, spelling errors are spotted-choice exclusions that add to the growing doubt that these dream acts will ever grace the stage all together on one night. Double-take on these worn posters and you’re not even sure if they’re coming up or something missed and legendary from long ago, but posted in public space, the anticipation is real. Upon closer inspection we see that these epic concert announcements are actually paintings of lineups that only exist in the imagination of artist Andre Saraiva. The artist returns to The Museum of Contemporary Art, Los Angeles, until october 8, 2013, for an installation of these painted announcements, visual evidence of the buzz that signs can create when circulated in the streets.
John Stezaker has been centrally influential in a number of developments in art over the last four decades; from Conceptual Art, New Image Art through to contemporary interest in the collage. Showing first as a part of the British Conceptual Art group in The New Art, 1972 (the first Hayward Annual), Stezaker’s interest in the concept soon gave way to a long-term fascination with the image, finding new aesthetic allegiances with the image through working with found photographs and printed matter. This fascination is translated into alterations, deletions, visual concordances and juxtapositions of disparate sources, intuitively creating new images, relationships, characters and meanings.
The selection exhibited during Les Rencontres d’Arles, until September 22, 2013, represents a cross section through the recent manifestations of ongoing collage series including Mask, Marriage, Muse and Film Still Collage, as well as the collections of image fragments (The Third Person Series). Additionally on show is the first production of a new venture—the making of film loops. These constitute discontinuous projections of different collections of photographic images. Horse consists of 3325 different still images of stallions taken between 1985 and 2005 and projected at 24 horses a second.
Under the title Reading Machines – unfolding books and archives – june 22 to september 8, 2013, Kunsthal Aarhus – the publisher Edition After Hand initiates a multiannual cooperation with the exhibition space on publications, research, exhibits and bookstore. The basis of the project is a series of switching actions between the exhibition and the book room, and a gradual unfolding of possible passages between contemporary art and poetry, which among other things can reflect linguistic and technological operations and their aesthetic effects.
With works by Henrik Have and Jan Bäcklund, publications from the Swedish journal/publisher OEI, and unfolds a book by Cecilia Grönberg and Jonas (J) Magnusson. The exhibition also features a library and reading room, bookstore, performance, discussion and publications.
Sky Arts Ignition: Memory Palace – june 18 to october 20, 2013, Victoria and Albert Museum, London – brings together a new work of fiction by the author Hari Kunzru with 20 original commissions from leading graphic designers, illustrators and typographers to create a multidimensional story. The way we read books is changing. Memory Palace explores how a story might be imagined in a different format – as a walk-in book.
With work by Âbäke, Peter Bil’ak, Alexis Deacon, Oded Ezer, Francesco Franchi, Isabel Greenberg, Hansje van Halem, Jim Kay, Johnny Kelly, Erik Kessels, Na Kim, Stuart Kolakovic, Frank Laws, Le Gun, Luke Pearson, Stefanie Posavec, Némo Tral, Henning Wagenbreth, Mario Wagner and Sam Winston.
Hari Kunzru’s story is set in a future London, hundreds of years after the world’s information infrastructure was wiped out by an immense magnetic storm. Technology and knowledge have been lost, and a dark age prevails. Nature has taken over the ruins of the old city and power has been seized by a group who enforce a life of extreme simplicity on all citizens. Recording, writing, collecting and art are outlawed…
The chosen practitioners work across a variety of fields, from comics and editorial illustration to advertising and typography. Each of the designers and illustrators worked on a different passage of text from the story, responding freely to the text. The resulting commissions vary dramatically in scale and format, from intricate hand-drawn works to large three-dimensional environments.
At this year’s Art Basel, June 13–16, 2013, Printed Matter will present Learn to Read Art: A Surviving History of Printed Matter, Inc., an exhibition engaging the documented history of the organization as it intersects with the broader field of contemporary artists’ books.
Learn to Read Art: A Surviving History of Printed Matter, Inc. assembles a visually dense vitrine- and wall-based presentation featuring a broad range of material produced by the organization since its founding in 1976…