The Book Affair is a two day independent publishing fair held at the Library of San Lorenzo, Venice, May 30-31, 2013. The mission of The Book Affair is to act as a platform for engagement with and critical exploration of the artist’s book, and includes a series of conferences – with among others David Reinfurt & Stuart Bailey, and David Horvitz – and an exhibition organized with the idea of examining the production of books in contemporary art. The exhibition “Artist’s books. A parallel story”, curated by Giorgio Maffei, Italian curator and historian, uses the book media with the intention of offering a different way of conveying art history to the public.
Wandering is an annual journal discussing topics of urbanity and nature. The contributors are asked to engage in a conversation about wandering and/or hiking. Usually they invite other contributors and open up the range of both content and discourse. They are left free to interpret the subject matter in any form. Most of them hand in materials such as audio recordings, text files or images, which then are edited and put in sequence by the editorial team of Wandering.
Wandering No.2 contributors are Angie Keefer, Krist Gruijthuijsen, Hans Christian Dany, Ariane Müller, Marvin Taylor, Dennis Cooper, Jeanne Graff, Jorge And Angel Abreu, Megan Rooney, Bonny Poon, Clara Meister, Maria Loboda, Nikola Dietrich, Axel John Wieder, Gretchen Faust, Matthew Lutz Kinoy, Travis Boyer, George Rippon, Chelsea Cup, Buck Ellison, Dena Yago, Anina Trösch, Max Brand, Pippin Wigglesworth, Bea Schlingelhoff, Tobias Madison, Harald Lenzer, Barbi Markovic, Martin Ebner, Robin Watkins, Marco Bruzzone, Laura Preston, Aurélia Defrance, Phillip Zach, Daniel Cremer, Tiril Hasselknippe, Gertrud Sandqvist, Stewart Uoo, Ken Okiishi, Ei Arakawa, Beatrix Ruf, Helen Marten, Polly Staple, Max Pitegoff, Calla Henkel, Grayson Revoir, Gerry Bibby, Kerstin Cmelka, Ann Cotten, Colin Whitaker, Taocheng Wang, Vivian Ziherl, Yuri Manabe, Karl Holmqvist, Nick Mauss, Kris Lemsalu, Amy Egerdeen, Andrew Smith, Eleonore Meier, Todd Banhazl, Daniel Raj Koobir, Rafael Palacio Illingworth, Ilja Karilampi, André Cherigui, Aude Pariset, Jon Rafman, Martin Kohout, Keren Cytter, Caroline Busta, Martynka Wawrzyniak, Jordan Lord, Anicka Yi, Ruairiadh O’connell, Eric Sidner, Max Brand, Constantin Und Leopold Thun, Michelle Byrd, Adrian Williams, Suzie Zak, Amy Ball, Neal Moignard, Justin Apperley, John Beeson, Elvia Wilk, Erika Landström, Felix Riemann, Fabrice Stroun, Heike-Karin Föll, Hannah Weinberger.
Launch April 25, 2013, 7pm, Motto, Berlin.
The End(s) of the Library is a series of commissioned installations, lectures, performances, and workshops that consider the state of the library taking place at the Goethe-Institut New York Library. The contributors had addressed how previous library configurations have given way to new forms and revised values in the digital age, emphasizing the fact that the library is neither a monolithic system nor an abandoned utopia, but an ever-contested site demanding new readings of its organizational frameworks: an institution whose ends are without end.
The Serving Library is a cooperatively-built archive that assembles itself by publishing. Its house journal, Bulletins of The Serving Library, is produced as a composite printed/electronic publication released first online as a series of individual PDF “bulletins” from www.servinglibrary.org over a six-month period, then assembled, printed, and distributed twice a year in the United States and Europe. Each issue of the journal assembles around a loose theme.
As part of The End(s) of the Library, The Goethe-Institut New York Library is both sponsor and catalyst for the fifth issue, whose ostensible theme will be “Germany.” It will be compiled and edited during spring 2013 by The Serving Library’s founders, Stuart Bailey, Angie Keefer, and David Reinfurt, and will be launched at the Goethe-Institut New York Library at the start of the summer. In advance of this publication, The Serving Library’s archive of artifacts, variously drawn from previous issues of the journal and its forerunner Dot Dot Dot, will be on view at the Goethe-Institut New York Library from April 1 to June 21, 2013.
Acid – a surf-related publishing project for the curious minded – is the encounter of some skateboarders and the sea. It’s surfing seen through the prisms of exploration and everyday life. In this first issue, editors have navigated along the fringes of art, photography, philosophy or science, trying hard not to sound too serious and making you eager for a session. Featuring thieves, failed surf trips, what marketing people would call ‘stunning images’ plus many more stories and pictures that have nothing to do with jerseys, bikinis or stickers on noses.
TEXTS: GRAPHIC 2007—2011 is a collection of the text in GRAPHIC throughout 5 years since 2007 to 2011. This contains 422 interviews, 31 essays, and 160 designer’s comments with regards to contemporary issues in graphic design.
“If there is one common thread running through all the issues, it is the effort to highlight the graphic design process and mind-set by focusing on the independent approaches of its practitioners. Our main interest has been in the ways contemporary graphic design has been branching out, with each issue dedicated to figuring out how to record these changes. What sources do we look to for the energy that drives new currents in graphic design? In our case, we identified them in terms of two major themes in graphic design: “independence” and “expansion.” These are the links that join the different topics found in each issue.”
THE THING Quarterly is a periodical in the form of an object. Each year, four artists, writers, musicians or filmmakers are invited by the editors (Jonn Herschend and Will Rogan) to create a useful object that somehow incorporates text. This object will be reproduced and hand wrapped at a wrapping party and then mailed to the homes of the subscribers with the help of the United States Postal Service. THE THING’s current year of subscriptions (issues 18-22) began with an issue by filmmaker MIKE MILLS, and will continue with visual artist DAVID SHRIGLEY, followed by visual artist TAUBA AUERBACH, author BEN MARCUS, and visual artist JOHN BALDESSARI.
57 Cell is an alternative space. It is a publication featuring 3d modeled exhibitions that simulate inaccessible, nonexistent, or improbable environments. It is a collaborative project where artists develop environment ideas and project concepts specific to a series of works or notions of works. The exhibitions take form exclusively in publication and are not available for on-line viewing. 57 Cell is directed, curated and digitally modeled by Gregory Kalliche.
Initiales, revue produite et éditée par l’Ecole nationale supérieure des beaux-arts (ENSBA) de Lyon, esquisse les contours d’une galerie de “portraits en creux” en s’organisant autour de “figures-source”, existantes ou fictives. Des figures d’artistes, philosophes, écrivains, architectes ou cinéastes dont le dénominateur commun est qu’elles ont “fait école” dans leur discipline et au-delà, dans les champs qu’elles ont investis ou traversés. L’œuvre, la pensée mais plus encore les méthodes déployées, les pistes explorées (et parfois avortées) ou les réseaux créés par cette figure de référence servent de sous-texte ou de script à chacune des livraisons.
Réunissant, à partir d’une même figure, une série de contributions centrifuges, Initiales met ainsi en jeu un usage de la source et une expérience du temps qui ne sont ni ceux de l’historien ni ceux du scientifique, mais qui sont à l’œuvre dans le travail de l’art.
Revue de recherche et de création, Initiales fait le pari qu’une école d’art est aujourd’hui l’un des lieux les plus aptes à produire et organiser des formes et des pensées nouvelles, susceptibles de venir nourrir le débat et élargir le champ de l’art et de la pensée. Conçue et produite, tant du point de vue de ses contenus que d’un point de vue graphique, par et depuis l’ENSBA, et faisant intervenir de nombreux contributeurs extérieurs, c’est une revue d’école, mais dans l’exacte mesure où l’école est un lieu de passage, de rencontre et de collaboration avec de multiples acteurs qui lui sont aussi extérieurs.
Lancement de la revue le jeudi 23 janvier, 17h, à l’occasion du colloque Fluxus au Musée d’art moderne de Saint-Etienne Métropole; et le samedi 26 janvier, 17h, l’occasion du vernissage de l’exposition “INITIALES / G.M.” (GEORGE MACIUNAS) au 8 rue St Bon, Paris.
Why start a paper journal about books at a time when the internet is calling into question the average Westerner’s innate materialism, and at a time when the price of a book-as-object puts off devotees of free knowledge on the net? What is becoming of bound volumes today – that foundation of our society, those keepers of our history?
With the dematerialisation of editorial content, the practice of design within books is taking on an even more important dimension. Whether insignificant objects or works of art in their own right, books create through their different forms and stories a unique bond with those who read, consult and own them. This almost physical connection was the reason for creating The Shelf Journal.
Part place of worship and reflection for paper lovers, part experimental platform for designers, typographers and other graphic designers, The Shelf Journal explores the essence of our libraries’ charm: the limitless variations in form of this unique object.
Slide Shows, presented by Fillip, is a specially commissioned project by Charlotte Cheetham. Taking the form of an ongoing series of video presentations by publishers, designers, and artists, Slide Shows offers one possible cross section of a newly emergent landscape of contemporary art publishing.
After the 2012 Slide Shows series, Slide Shows is back with new contributions by Precinct, David Horvitz, Samuel Nyholm, Xavier Antin, mono.kultur, Booklet.
Upcoming in the following weeks: Cambridge Book, Cannon Magazine, The International Typographical Union (I.T.U.), 4478zine.
Candide is dedicated to exploring the culture of knowledge specific to architecture.
How is architectural knowledge generated, collected, presented, and passed on? Which forms of architectural knowledge can be observed? How can knowledge generated in reference to a specific task be applied to other contexts? Which experts, designers, and users, which institutions and organizations are involved? Which techniques, tools, and methods are instrumental?
Each issue of Candide is made up of five distinct sections. This framework responds to the diversity of architectural knowledge being produced, while challenging authors of all disciplines to test a variety of genres to write about and represent architecture.
Failure is an intrinsic part of experimentation, creativity and inconveniently, life. It’s said if you’re not failing often then you’re not trying hard enough. The beautiful screw ups, the happy accidents, the painful flaws and the Epic Fails are celebrated.
For Pie #04 – Failure the idea of failure was taken in all its variant forms and looked for the beauty, humour and wisdom gained from these unwanted mishaps.
Correspondances est née d’une intuition du matin. De celles qui t’éveillent et prennent de l’ampleur au fil du jour. L’idée était simple : questionner le rapport entre texte et image en faisant appel à 10 correspondants (5 auteurs, 5 illustrateurs) dont la participation, écrite ou dessinée, s’inspirerait de la contribution précédente.
Correspondances ne se veut pas être un énième recueil d’oeuvres mais d’avantage une affaire de points de vue. Correspondances est l’art de concevoir et de transmettre le fruit de ses réflexions à travers un véritable téléphone arabe sur papier où chaque correspondant s’inspire et inspire.
The global is but the local on world tour. On this tour the local is not preserving identity – be that cultural, political, or social, but it is (re-)inventing itself, as art, activism, or enterprise. The local even aims at becoming a global subject, without knowing what forces – be that swarm, viral, or whatever, this depends on.
The local is more or less ignorant about the www processes, but it is ready to get itself into anything – be that souvenirs, ruins, folklorisms, vernaculars, clichés, promises, romanticisms, naturalisms, exotisms.
Junk Jet N°6 is crazy about things of local time and place, in the form of objects, images, gifs, videos, sounds, architectures, or reflecting texts. Junk Jet comes with works from your localhost, or your local wifi kebab shop …
With contributions by 0100101110101101, Adam Cruces, Agathe Andre, Aids-3d, Alberto Bustamante, Alejandro Crawford, Aline Otte, Andreas Angelidakis, Angela Genusa, Angelo Plessas, Aude Debout, Aureliano Segundo, Blinking Girls, Caspar Stracke, Christine Nasz and Stefanie Hunold, Clement Valla, Cornelia and Holger Lund, Emilio Gomariz, ET AL., ETC., Francesca Gavin, Golgotha, Hugo Scibetta, Jennifer Chan, JODI, Jon Rafman, Julien Lacroix, Kareem Lotfy, Kim Asendorf, Laimonas Zakas, Louis Doulas, m-a-u-s-e-r, Metahaven, Neil McGuire, Nicholas O’Brien, Nilgün Serbest, Olia Lialina and Dragan Espenschied, Patrick Cruz, Sophia Al-Maria, Superpool, Tomas Klassnik.
Bulletins of The Serving Library #4 was produced under the auspices of the research program Dexter Bang Sinister. The program, devised by Angie Keefer, David Reinfurt & Stuart Bailey together with writer-critic-curator Lars Bang Larsen, was based on Lars’s just-completed PhD dissertation at the University of Copenhagen, A History of Irritated Material: Psychedelic Concepts in Neo-Avantgarde Art. In practice, a large part of the so-called research played out in the form of an exhibition set up to explore the notion of *black & white psychedelia*— halfway closing the doors of perception in order to get a better view.
Bulletins by Dexter Bang Sinister, Rob Giampietro, Malcolm Mooney and Jan Verwoert, Lars Bang Larsen, Albert Angelo, Rhea Dall and Charlotte Johannesson, The Digital Theatre, Hollis Frampton, Diedrich Diederichsen, Mark Beasley, and Francis McKee.
Mindgames, by Geirthrudur Finnbogadottir Hjorvar, published in collaboration with Werkplaats Typografie, incoporates metaphorical qualities depicting people and their relationships in an ongoing interchange between space, geometry, history, and meaning. This quadrangled story about shades and variations in co-dependence and sovereignty is inspired by a musician (John Lennon), a theorist (Henri Lefebvre), an author (Halldor Laxness), and a demented ruler of Rome (Caligula) – forming biographies that present portraits of associations rather than particular statements about individual lives. The publication was conceived as a way of enjoying information in the tradition of the autodidacts of the past – but in a style which is contingent to a reverence towards traditional modes of archiving the world.
A slideshow presentation – December 13, 2012, from 7pm, Motto, Berlin – addressing the sovereignty of the sign, and/or the independence of the phenomenon which had hitherto transported it, marks the official release of MINDGAMES – a publication conceived as abstract shapes, shrouded in words, to articulate a cross-dimensional plane of intrigue. The diagrams and images will describe the structures and concepts that occupied the mind of the author when creating the text. The presentation will include more than a hundred originally composed images and will be accompanied by a reading.
Shame is a recurring publication which observes and researches human feelings and the human body. Shame focuses on daily issues that easily pass by our attention and juxtaposes them to politics, design and art in printed form. This makes it look, at times, uncomfortable and embarrasing. Shame One was initiated and produced in the Jan van Eyck Academie, Maastricht, NL by visual artist Wolfgang Fuetterer and graphic designer Neda Firfova.
“OEI was started in 1999, as a magazine mostly for experimental poetry. We had been very interested in things like North American Language-writing, Brazilian concrete poetry, the investigative poetry of the ‘pataphysically oriented Toronto Research Group, and small-press adventures such as the French Orange Export Ltd. Since then we have moved closer to the art world, while also including a lot of philosophy, film and speculative sociology. And while also keeping our distances to all of this. Our latest issue is on sleep, withdrawal, attention, distraction, and the complex notion of “the contemporary”.
OEI has never been about “self-representation” through publishing. We have always been more interested in what the French media researcher Emmanuel Souchier has called “l’énoncé éditorial”, “the enunciation of editing and publishing”, an enunciation taking into account the constitutive preconditions of the enunciation: format, paper, montage, layout, typography, the tensions between text and image, proof-reading, binding, printing, etc.
So far we have published 58 issues of the magazine, and approximately 60 books within the publishing structure connected to OEI, OEI editör: mostly poetry and artist’s books, but also theory and poetics, posters, cd:s and dvd:s. Connected to our office in Stockholm is an exhibition space, OEI Colour Project, housing micro-exhibitions, lectures and readings.
But the magazine is the core of the project, and it is not an accidental occurrence if one of our most recent issues, #56–57, is a special issue on the notion of the magazine as an aesthetic medium, investigating many of its transformations and formal innovations since Stéphane Mallarmé’s La Dernière Mode in 1874. And we still believe in the transformative power of the magazine format, even if it has changed much in the thirteen years OEI has existed. (…) ” Jonas (J) Magnusson about Editing OEI
A Circular 2 – a journal edited by Pedro Cid Proença – features David Antin on Real Estate; a trio of short loops on song and sound by David Morris; Richard Hollis on Flags, Stars and Signs; Pedro Neves Marques on 1972; Dieter Roth’s Trophies Rotated by James Langdon; Patrick Coyle fake fancying, feigning, forging; an extract of Fugue by Roger Laporte; Wayne Daly and Sean Lynch in conversation; Adrian Piper’s To Art (Reg. Intrans. V.) and another instalment of Will Holder’s Middle of Nowhere.