In its piece called Digital Video Effect: “Spills”, Seth Price borrowed some home video footage shot by Joan Jonas around 1971, featuring Richard Serra, Robert Smithson, Nancy Holt and Jonas herself, talking with dealer Joe Hellman.
Price subjected the archival material to an invented digital video effect that made the footage appear to alternately spill across the black video screen and then itself be entirely obscured by oozing blackness. Displayed on a new TV/DVD player still in its own cardboard packaging, the work was like an object you could trip over, or look down on. It is a piece about the archive and the artwork, about concealment and visibility, as well as the liquidity of both digital culture and historical material.
Peep-Hole Sheet is a quarterly of writings by artists. Each issue is dedicated solely to one artist, who is invited to contribute with an unpublished text whose content is completely free in terms both of subject and format. The texts are published in their original language, with accompanying translations in English. Peep-Hole Sheet is meant for those who believe artists are catalysts for ideas all around us, and who want to read their words without any filter. Over time it aspires to build up an anthology of writings that might open new perspectives for interpreting and understanding our times.
Peep-Hole Sheet Issue #21, Ok, Just Send Me the Bill, by Seth Price, is a “fictionalized adaptation” taken from the audio of Price’s work. It was written in the same year, and laid it out so as to resemble an old book, with stills from the video as illustrations. Price altered the conversation, framing it within a kind of minimalist American style of fiction writing, together with oddball excurses and ‘glitches.’ Published here in its original format, the piece is a reflection on artworks and market and the passing of time that creates a temporal short-circuit, very much speaking to our moment, and questioning the role of the artist at play.
Flaneur presents one street per issue. The magazine embraces the street’s complexity, its layers and fragmented nature with a literary approach. It creates a meaningful correlation between places, stories, people and objects that aren’t necessarily related. The magazine is aware of its subjectivity. It wants to say: “This could be Georg-Schwarz-Straße”.
Flaneur issue 3, Rue Bernard, Montreal, will be launched June 27, from 6pm, in Berlin, and July 4, from 6pm, in Montreal.
During its fifty-four issue run, spanning nearly three decades, ARK was an influential presence in British cultural life. A magazine created by students at the Royal College of Art in London, ARK attracted international attention for its often bold and fast-changing design as well as the extraordinary cast of writers and artists who contributed to its pages, including Ralph Rumney, Lucio Fontana, Alison and Peter Smithson, Toni del Renzio and Reyner Banham, as well as college students and staff.
ARK: Words and Images from the Royal College of Art Magazine 1950-1978 is an anthology the magazine ARK. It includes original material from the magazine, selected and introduced by students on the Critical Writing in Art and Design MA programme at the RCA today. Also featured, in full colour, are all the covers of ARK and an index of the magazine’s contents. This new publication will offer a vivid overview of changing attitudes and approaches to art and design in Britain in an age of considerable flux.
Symposium & Book launch, June 25, Royal College of Art, London.
Ixiptla is a new biannual journal, initiated by the artist Mariana Castillo Deball, about trajectories of Anthropology.
The Nahua concept of ixiptla derives from the particle xip, meaning “skin”, coverage or shell. A natural outer layer of tissue that covers the body of a person or animal, the skin can be separated from the body to produce garments, containers for holding liquids or parchment as a writing surface.
Originally a Nahua word, ixiptla has been understood as image, delegate, character, and representative. Ixiptla could be a container, but also could be the actualization of power infused into an object or person. In Nahua culture, it took the form of a statue, a vision, or a victim who turned into a god destined to be sacrificed. Without having to visually appear the same, multiple ixiptlas of the same god could exist simultaneously. The distinction between essence and material, and between original and copy vanishes.
This edition of Ixiptla is focused on the trajectory of objects collected and produced by archeologists – plaster molds, facsimiles, drawings, photographs, and scale models -, in an attempt to capture and replicate material evidences left by time; these objects emerge from a specific moment in time, producing a doppelgänger of the original milieu, which then takes its own course. For this first issue, a group of anthropologists, archaeologists, artists, and writers have been invited to reflect on the role of the model, the copy, and reproduction in their areas of research and practice.
New issues: The Exhibitionist #9- E.R.O.S. issue 4 – Apartamento issue #13 – The Travel Almanac no. 7 – TOO MUCH Issue 5 – May n° 12
The Exhibitionist is as a journal by curators, for curators, in which the most pertinent questions on exhibition making today would be considered and assessed. Modeled after the iconic French film journal Cahiers du cinéma, the journal is meant to serve a critical role in understanding current curatorial practices through a number of editorial formats focused specifically on the critical and historical importance of exhibitions.
The Exhibitionist #9, featuring Christopher Lee on the cover, introduces, among others, a new long-form section titled “Rigorous Research”; for this first installment, Italian curator and writer Germano Celant addresses the evolution of exhibition spaces in the 19th and 20th centuries, and certain seminal exhibitions that established new standards by reacting to the existing models of design and display.
E.R.O.S. is dedicated to the subject of desire. It covers a wide range of fields, drawing together often disparate disciplines under the auspices of each issue’s theme. Alongside newly commissioned work, E.R.O.S. contains excerpts, reproductions and reappraisals.
E.R.O.S. issue 4 contributors are John Baldessari, Sami Jalili, Federico Campagna, Emma Jones, Mark Fisher, Sharon Kivland, Ed Atkins, Patrick Staff, Andrew Calimach, Saul Newman, Simon Critchley, AA Bronson, Jamie Sutcliffe, Dan Walwin, Luke Burton, Franco ‘Bifo’ Berardi, Richard Wentworth.
Apartamento is an everyday life interiors magazine. A place in print about people, not just objects. Apartamento features the homes and lives of creative people, both established and emerging, from all over the world. It understands interior design as a means of personal expression, showing how people arrange their homes and the solutions they find to the same problems that everyone has. Apartamento puts forward a fresh and simply crafted aesthetic. It cares about the way people live and their relationships to the places they live.
Apartamento issue #13 features Wes Anderson, Anissa Helou, Joel Chen, Rafael Horzon, Jack Pierson, Faye Toogood, Marie Honda, Richard McConkey, Jean-Charles de Castelbajac, Adel Husni Bey & Mirella Clemencigh, Arturo Rhodes, Fabiola Alondra, Bernhard Willhelm, Andy Rementer & Margherita Urbani, Oscar Tusquets Blanca, Peter Shire. With The Girards, a special supplement about the legacy of Alexander Girard & Humor Furniture Graphic a portfolio by Luciano Consigli.
The Travel Almanac is a Berlin- and New York- based print publication focusing on traveling & temporary habitation, addressing an increasingly mobilized creative community, it is the first publication of its kind to speak to this sophisticated generation of travelers.
Contributors for The Travel Almanac Issue no. 7 are Gia Coppola, Ryan McGinley, Christophe Lemaire, David Chipperfield, Cordula Reyer, Phil Collins.
TOO MUCH gathers thoughts about cities, the people who live in them, and the changes affecting our society and our environment. It’s a magazine about romantic geography.
TOO MUCH Issue 5 is about looking at the body in space, and ways in which we have biologically and socially entered into the built environment, and how we are then changed into the process. With contributions by Francis Upritchard, Hidemasa Yatabe, Manabe Daito, Cara Phillips, Naoki Ishikawa, Shinya Aota, Madeline Gins, Ari Marcopoulos, Fala, Yayako Uchida, Takashi Homma, Fumihiko Maki, Arata Isozaki, Hiroshi Hara, Kengo Kuma and Nagao Nishikawa.
May is a bilingual (French/English) quarterly publication conceived as an experimental platform for new forms of criticism. May proposes to examine matters pertaining to the field of contemporary cultural production through the publication of essays, exhibition reviews and interviews with international contributors varying from scholars to critics, artists, writers and curators.
May n° 12 is the third and final section devoted to the 1990s in France, with contributions by Georges Rey, Florence Bonnefous, Éric Troncy, Yves Aupetitallot, Elein Fleiss, Dominique Gonzalez-Foerster, Bernard Joisten, Jean-Luc Vilmouth, Olivier Zahm, Nicolas Bourriaud, Renaud Jerez, Roy Genty, Annie Godfrey Larmon, Nick Mauss, Neil Beloufa, Jacob King, Vincent Normand, Damon Sfetsios, Elise Duryee-Browner, Jana Euler.
Project investigates the possibilities for developing a critical position in contemporary architecture. Publishing both visual and written work, the goal of Project is to provide a platform for disseminating ideas. Each issue includes an insert devoted to visual presentations of contemporary projects. The journal also features writing in several formats: polemical essays by architects and critics; extended conversations with significant figures in the field; long-form critical writing; and short readings of provocative images and projects. Project focuses on publishing young architects who take strong positions and engage in debate and critical evaluation of the field.
Issue Three includes contributions from common room & Kim Förster, Reinier de Graaf (OMA/AMO), Neil Denari, Edward Eigen, Formless Finder, Adam Fure, John May, Magnus Nilsson, Valerio Olgiati Architect, Pezo von Ellrichshausen, Lola Sheppard (Lateral Office), Jill Stoner, Tom Wiscombe and more… Launch April 9, from 7pm, at common room, New York.
Verities is an independent biannual publication of thought, observation and reflection, giving equal focus to visual arts and literature. Verities explores new ways-of-seeing the most ordinary and overlooked situations, revealing the arresting and irrational in the everyday.
Verities N°3, An Issue of Class: “The irony of covering the subject in the medium, so often used to sell the inaccessible lifestyles of the few to the masses, does not elude us. So here is our attempt to discuss class in a time when class-consciousness has declined, inequality has become the norm, and disempowered people everywhere are invisible within their own national cultures”. With David Harvey, Dick Hobbs, Allan Sekula, Simon J. Charlesworth, Jonathan Olivares, Sut Jhally, Otto Snoek and Matthieu Lavanchy, Zaynab Dena Ziari, Kate O’Brien, Helen Cocker and Ziella Bryars.
The White Review is a quarterly arts journal published in print and online specialising in artistically or educationally meritorious works of new or emerging artists and writers. Its aim is the promotion of the arts and literature and of advancing education in arts and literature.
Royal Garden is an on-line shaggy magazine, a multidisciplinary production environment, a critical, theoretical and artistic exquisite cadaver…
Vegetal Passion sees the exhibition space as the natural milieu of works of art.
It’s Our Playground has imagined this 5th installment of Royal Garden as an ambiguous jungle in which visitors will find artists’ pieces, archival photographs and images gleaned from the internet, all shown side by side without any obvious hierarchy. Deftly mixing plants and works of art, works that involve plants and “exhibition plants,” this curatorial project takes a new look at gardening practices in institutional settings, which is increasingly a part of today’s reality. Indeed, while blogs are replete with images of plants, which are adopted for their graphic qualities, they have also invaded art galleries, for artists appreciate their formal values as well as their reference to both a domesticated nature and a questioning of the decorative function of artworks…
The Artist as Curator, edited by Elena Filipovic, is a serial publication that examines a profoundly influential but still understudied phenomenon, a history that has yet to be written: the fundamental role that artists have played as curators. Taking the ontologically ambiguous thing we called “the exhibition” as a critical medium, artists have often in the process radically rethought the conventional form of the exhibition as such. This project is about precisely those exhibitions.
Two essays will appear in a loose booklet in each edition of Mousse Magazine over two years, before being published in book form at the end. Collectively, they will address twenty seminal artist-curated exhibitions, spanning a period from the postwar to the present.
Coinciding with the 125th anniversary of National Geographic magazine, french artist Cyprien Gaillard has produced a pop up art edition as part of 032c #25. Assembled from images that span more than 40 years of the publication, Gaillard’s sculpture can be constructed by making three simple folds from left to right into the inside hinge of the magazine. This anachronistic monument is held together by tension alone; no glue is required.
GAGARIN, the Artists in their Own Words, is an artist’s magazine, entirely dedicated to the publication of especially written and unpublished texts by artists who are now working, anywhere in the world. Each issue contains a number of artists’ writings, if possible from an equal number of countries. The texts are published in their original language and alphabetical writing, with unabridged translations in English added. Advertising and visual material are deliberately kept out. GAGARIN is aimed at those who do not tend to wait until everything is accepted and synthesised and those who are prepared to leave the road to search for stimulating art and ideas while they are still fresh. GAGARIN does not restrict itself to a particular period or import and runs trough the codes that are applied in the world of art. Its orientation is artistic, documentary and historical. GAGARIN also aspires to provide an accurate source of information about the collaborating artists, using their own words.
The eleventh issue of F.R.DAVID, All distinctions are mind, by mind, of mind will be launched November 24, 4pm, Dexter Sinister, New York, with readings by Kendra Sullivan, David Reinfurt and Will Holder.
“All distinctions are mind, by mind, of mind” is comparative — making divisions and splits in order to read the design of rhetoric in the stories we tell about our fictional and professional selves. With Abra Ancliffe, Robert Ashley, Ricardo Basbaum, Michael Gazzaniga, Ken Jacobs, Shane Krepakevich, John Latham, Ezra Pound, Kendra Sullivan, Sergei Tret’iakov, Marina Vishmidt, Rebecca Wilcox & Sarah Rose and many more.
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.
Offprint Paris is an art publishing fair for emerging practices in art. Over four days, it gathers institutional and independent publishers from all over the world featuring publications by contemporary artists, graphic designers, photographers, publishers, bookdealers, museums, art schools, curators and antiquarians.
Released in conjunction with Issue 18 of Fillip magazine, the booklet Slide Shows documents the specially commissioned Web video project on the landscape of international art publishing and design, curated by Charlotte Cheetham and produced by Fillip. Originally taking the form of a series of video presentations by publishers, designers, and artists, Slide Shows offers one possible cross section of a newly emergent field of book production. This publication documents the project, serving as a pocket reference to each of the profiles included in the series. After the pocket guide, the project will culminate in a printed volume that will document each slideshow, available in 2014.
Slide Shows booklet includes contributions by 4478zine, And publishing, Xavier Antin, Booklet, Cambridge Books, Cannon Magazine, Charlotte Cheetham, An Endless Supply, David Horvitz, Int. Typo. Union, James Langdon, mono.kultur, Samuel Nyholm, Occasional Papers, Oslo Editions, Precinct, Michalis Pichler, Elias Redstone, David Senior, split/fountain, Eva Weinmayr, Wendy Yao; and two new slideshows by Erik Kessels and Grotto are now available on the Slide Shows tumblr.
© Arnaud Desjardin, The Every Day Press
LE BAL Books week-end, September 6-8, 2013, Paris
The London Art Book Fair, September 13-15, 2013, London
MISS READ, September 19-22, 2013, Berlin
NY ART BOOK FAIR, September 20-22, 2013, New York
The Tokyo Art Book Fair, September 21-23, 2013, Tokyo
Unseen Book Market, September 26-29, 2013, Amsterdam
Vancouver Art/Book Fair, October 5-6, 2013, Vancouver
Salon Light #10, October 5-6, 2013, Paris
Third Issue, October 11-12, 2013, Frankfurt
OffPrint Paris, November 14-17, 2013, Paris
KIOOSK vol.2, November 16-17, 2013, Kraków
Sprint, November 29-December 1, 2013, Milano
Rookie Book Fair, December 7-8, 2013, Poznan
LA ART BOOK FAIR, January 31 – February 2, 2014, Los Angeles
Fahrenheit 39, March 7-9, 2014, Ravenna
The Social Life of the Book is a collection of commissioned texts dealing with books, and how they engage with the circulation of ideas and the agency of social situations. It brings together artists, publishers, writers, designers, booksellers, etc. who consider books less as finished objects or forms but for their disruptive potential and their ability to produce new relationships, new publics and new meanings.
It develops as a series of 16-page, saddle- stitched signatures. In its contents as well as its distribution, the series aims to entice readers into a particular attention not only to printed material as such, but also to the ecosystem of knowledge writing, publishing and distributing form together.
The last issue, SLOB (The Social Life of the Book) #4: Kinesics of the Page, by Avigail Moss, is now available.
Addressing parallel questions, SLOR #01 – Everybody Knows This Is Nowhere plays off its format and inaugurates the new series The Social Life of the Record, a series of original texts by musicians, fans, critics, collectors, dealers, label owners etc. — reflecting on recording, releasing, listening to, filing, flipping and DJing records today.
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.
Les Siestes Electroniques élargissent leur champ d’intervention en éditant une revue baptisée Audimat. Une vraie revue, pas un magazine ni un programme du festival : des articles long format sur la musique, écrits par des contributeurs français ou étrangers, pas forcément issus de la presse spécialisée. L’idée est d’ébaucher en langue française un discours critique exigeant, sans être abscons, sur la pop music, son histoire, son écoute, sa diffusion dans le monde. Design: Maximage Société Suisse.