Since five years, two schools with a course in Graphic Design, Werkplaats Typografie (ArtEZ), Arnhem, The Netherlands and ISIA Urbino, Italy, joined together to set up an international Summer School. The sixth edition will take place from July 20th till August 1st in the renaissance town of Urbino.
The supervisors during the two week workshop will be Karel Martens, Armand Mevis, Maureen Mooren and Leonardo Sonnoli and the call for application is dedicated to (young) professionals and students in the field of (graphic) design, and surrounded practices (like writing, photography, illustration, publishing), or art, architecture and theory related practices.
It doesn’t matter how old you are, where you’re from, what your background is, what your interests are, how much experience or education you had. This Summer School offers an opportunity for anyone who is talented, inspiring and a non-conventional thinker and maker. Candidates, with an authentic, open and critical mind, who are interested to learn, to explore and re-think their own work in a unique context and who don’t mind working over summer are welcome to apply.
First published in 1970 and long out of print, visionary artist Robert Filliou’s essential primer Teaching and Learning as Performing Arts has now been reprinted in its entirety by Occasional Papers. Along with extensive writing by Filliou, the book includes interviews with numerous artists close to him, such as Joseph Beuys, George Brecht, John Cage, Dorothy Iannone, Allan Kaprow and Diter Rot.
This edition is an exact facsimile of the original, in order to preserve its highly inventive bilingual (English/German) layout and idiosyncratic composition.
March 13, from 7pm, at Whitechapel Gallery, London, the launch will be the occasion to a conversation with Clive Robertson, who worked extensively with Filliou, recordings of Filliou’s performance-lecture, The Gong Show, and a presentation by artist Richard Demarco, followed by an in conversation with co-founder of Occasional Papers Antony Hudek.
The Jan van Eyck go club, a project by artist Christophe Lemaitre, was an aesthetics club that materialised in the form of a Go club. It was conceived as an artwork for the public sphere and took place from January to December 2012 in a space at the Jan van Eyck Academie. The Book of Go is a diptych which extends and explores the issues addressed by the Jan van Eyck go club. The first of the two project’s parts, subtitled The Cognition of Forms, is a split screen-print (Text and pictures) which can be folded like a book, a painted book. Initially an attempt to define what is a shape at the game of Go, what is the concept of a territory, the text considers Go as a morphogenetic process and attempts to re-think Go as a perceptive experience rather than a game. Stated as a work of art on its own right, this first Book serves as a preface to the second, yet to come.
L’appellation “Op art”, qui trouve son origine dans l’abréviation de l’expression “optimal art”, s’impose en Europe dans les années 60. Ce mouvement artistique renoue avec l’abstraction géométrique en cherchant à créer des jeux optiques et des effets d’illusions pouvant s’inscrire à la surface de la rétine.
L’exposition Op & Post-op Editions – du 8 mars au 12 avril, 2014, Florence Loewy by artists…, Paris – associe des éditions et des livres d’artistes de Tauba Auerbach, Sigrid Calon, Philippe Decrauzat, François Morellet, Dan Walsh.
Mark Pezinger Verlag is an artist-run publishing house, founded in 2009 and based in Vienna and berlin. the collective (Astrid Seme, Karsten Födinger, Natalie Obert and Thomas Geiger) works beyond conventional structures to explore further possibilities for the artist book. the publications that have been realized are ranging from books to sound works and from one-offs to higher editions.
The exhibition Mark Pezinger works both ways – From Performance to Publication focuses on the performative dimensions of Mark Pezinger Verlag and offers the oppurtunity to experience the publishing house as an economical, social and dynamical sculpture. March 14 to May 4, 2014, FRAC Provence-Alpes-Côte d’Azur, Marseille.
‘Fresh anarchy’ is a way to describe the work of Dutch photographer Jaap Scheeren. With his own, slightly absurdistic, style he investigates the coherence between reality and photography. By doing so Scheeren developed a visual world in which he follows its own intuition, logic and rules. Always with a humorous twist. Jaap Scheeren Cut Shaving, The Xerox Edition combines for the first time all of Schereen’s work. The publication explores ways of reproducing photography, photo books and visual archives, resulting in a a fresh and anarchistic publication that is not just documenting Scheeren’s oeuvre, but also becomes part of it.
Harun Farocki Diagrams. Images from Ten Films, edited by Benedikt Reichenbach, attempts to map a visual approach to one of the world’s foremost documentary and essay filmmakers, Harun Farocki. Unlike the many other, more theoretical publications about his work, this book operates with still images beyond an illustrative or documentary purpose. By means of repetition, interruption and displacement, the configurations pursue specific movements within each film, taking into account mechanisms of order and open-endedness that are characteristic for Farocki’s work in general. “Diagrams” traces the dynamics of ten of Farocki’s films and presents them along with each film’s complete commentaries, dialogues and intertitles, celebrating their major critical gesture: the exposition of mediality.
Talk & screening, with Harun Farocki and Anselm Franke, March 6, 2014, 7pm, Arsenal – Institute for Film and Video Art, Berlin.
Oraibi – librairie itinérante et structure curatoriale basée à genève – invite l’artiste et designer Clémence Seilles, accompagnée de The Estate of Matt Montini, à produire un dispositif de présentation d’une sélection de livres, du 14 au 16 février 2014, à Rosa Brux, Bruxelles. Choisis parmi son catalogue, les ouvrages s’articulent autour des sources littéraires et artistiques d’un psychédélisme revisité, paneuropéen et francophone : livres anciens, raretés, poésie surréaliste, manifestes, revues psychédéliques, catalogues d’exposition, littérature, publications récentes et inédites.
Livre Imaginé – Dans Cinquante Ans d’Ici is a group exhibition – curated by Niekolaas Johannes Lekkerkerk – on the future of the book and other variable formats with AND Publishing & Åbäke, Xavier Antin, Ruth Beale, Nina Beier & Marie Lund, Elena Damiani, Aurélien Froment, Ryan Gander, David Jablonowski, Laurie Kang, Boris Meister, Klaus Scherübel, Sebastion Schmieg & Silvio Lorusso. March 12 to April 19, Les Territoires, Montréal.
The exhibition posits the book – as both thing, container and idea – against the backdrop of some recent and ongoing discussions that address the probable demise of the bound volume in conjunction with the emergence of digital reading devices. As the title of this exhibition already implies, a somewhat speculative approach towards the subject is taken insofar any productive attempt at summation of the debate has resulted in stances taken on either side, but quite obviously avoided closure as the situation undoubtedly remains open–ended.
Dans le cadre de la table ronde L’édition comme reflet d’une expérience, le 14 février, 18h30, à Mains D’Œuvres, Saint-Ouen, “Information Room” est une exposition de publications qui questionnent l’enregistrement, le commentaire et le prolongement de projets artistiques. Du catalogue au livre d’artiste, en passant par l’ouvrage théorique ou le carnet de recherches, ces entreprises éditoriales, aux intentions, formes et formats variés – parfois composites ou ambiguës – incarnent des expériences de mise en tension d’une idée et de sa trace, du geste et de sa captation, d’un objet et de sa représentation, de l’espace d’exposition et de l’espace du livre, de l’oral et de l’écrit.
As is the Sea is an anthology of texts written by Critical Writing in Art and Design students at the Royal College of Art. This a pocket book – encompassing memoir, art criticism, fictional narrative, drama and cultural analysis – draws us through the ocean’s strata, from the sunlit surface to the darkest abyss. With a foreword from Philip Hoare and nine illustrations, including a postcard insert, from students and alumni of the Royal College of Art.
Codex – until March 29, 2014, Wattis, San Francisco – is an exhibition-manifesto conceived by Pierre Leguillon during a residency in San Francisco. As an artist and book collector, Pierre Leguillon found himself within the stacks of the Prelinger Archive, an “appropriation friendly” library whose organization conceives of its holdings as a “landscape of ideas”, classifying subjects both spatially and conceptually.
This project evolved from a collective inquiry which, given the fanatical desire to digitalize every book, was based on the premise the library has now been “flattened”. The codex (book or block of wood in Latin), which first appeared during the Roman Empire between the 1st and 2nd centuries AD, was the earliest form of a bound book.
Replacing the scroll, it permitted linear reading and made it possible to hierarchize the content of a text through direct access to the desired page. Why, in an era of digital databases, online libraries, and the development of new digital media, bring the codex back into two dimensions, into screen format? And why continue to imitate the space of the traditional book by retaining page numbers, by simulating turning pages, etc.?
The irreversible act that consists in taking books into the picture plane is found throughout the entire history of Western art and seems a recurring motif in the most recent contemporary art.
The exhibition Codex is designed as a living organism and offers a series of events in connection with the selected works, composed of screenings, lectures, and exchanges that will also make it possible to “perform” the book, to see it manipulated and, interpreted, either live or at the cinema, through words and gestures.
A school for design fiction, a project by James Langdon, employs the curious genre of ‘design fiction’ to assert storytelling as the primary function of design, assuming that every artefact has the potential to express the character of the culture that produced it.
The publication A School for Design Fiction documents and expands on the founding of the school through a series of imagined scenarios. These include a drama at the printer for architect Augustus Pugin in 1836, the history of the universe as observed on an English hillside in 1937, the first human trial of split brain surgery in California in 1961, and a Scottish speech synthesis studio in 2013.
Book presentation, January 24, 7pm, Galerie für Zeitgenössische Kunst, Leipzig.
Mecca – designed by Mathias Schweizer – is a free edition available at the Contemporary Art Center of Ivry – Crédac. Mecca gives indications on the stakes of the program the Crédac, it provides reviews, analyzes and comments on the work of the artists featured. It offers additional means: those of rereading and memory.
Mecca 6 is a non-exhaustive visual journey through ten years of Crédac programming (2003-2013). It is primarily a game based on iconography and memory, exhibition and collection. It is a visual promenade for the reader to make his way and build their own matches.
Des Savoirs Bouleversés – edited by Vincent Honoré, Anna Colin and Åbäke – is a publication inscribed in Unsettled Knowledge, a cycle of exhibitions which has explored the propensity for artists to engage with knowledge from fields beyond their own area of specialism. This book and additional instalment concludes the cycle by taking one further step into the relationship between art, knowledge and specialism as observed in the three exhibitions. It features the work of artists — Mathieu Kleyebe Abonnenc, Aurélien Froment, Goldin+Senneby, Louise Hervé & Chloé Maillet, Jochen Lempert, Marie Lund, Benoît Maire, Melvin Moti, Benjamin Seror, Simon Starling, and Claudia Triozzi — who wear several hats (scientist, historian, economist, storyteller) and are committed to bridging art and other specialised fields of knowledge. Their practice entails borrowing methodologies from distinct disciplines, infiltrating disparate subject areas and collaborating with agents from further afield in the interests of new forms, new languages, new questionings, and new readings.
The exhibition All Possible Futures explores speculative work created by contemporary graphic designers.
The premise of All Possible Futures originated in 2003 over a conversation between the curator of the exhibition, Jon Sueda, with a graphic designer, about the exhibition and the critical discussion of lost explorations built on speculation and uncertain ground. What would graphic design look like if the discipline supported such speculative practices as a legitimate area of enquiry?
The works in All Possible Futures embody a wide range of approaches to the idea of speculation. They encompass everything from self-generated provocations to experimental work created ‘in parallel’ with client-based projects to unique situations where commissions have been tackled with a high level of autonomy and critical investigation. They highlight different levels of visibility and publicness within the graphic design process.
Some projects were made for clients and exist in a real-world context, while others might otherwise have gone unnoticed: failed proposals, formal experiments, sketches, incomplete thoughts. In the spirit of the show’s title, the exhibition itself shifts and evolves over the course of the visitor’s experience. Some works are traces of pieces. Others must be manipulated or engaged with in order to become fully apparent.
Jon Sueda’s intention is that All Possible Futures asks more questions than it definitively answers, with the hope that it will function as a porthole into a universe of highly sophisticated work that has been striving to find a way out into the world.
The first catalogue raisonné of editions and multiples by Matt Mullican, Matt Mullican Editions 1985–2012, will be launched January 16, from 7pm, at Helga Maria Klosterfelde Edition in Berlin, with a special multiple realized by the american artist to accompany the publication.
Library of the Printed Web is a collection of works by artists who use screen capture, image grab, site scrape and search query to create printed matter from content found on the web. LotPW includes self-published artists’ books, photo books, texts and other print works gathered around the casual concept of “search, compile and publish”.
Library of the Printed Web presents evidence of a strong, emerging web-to-print-based artistic practice based on the search engine and other algorithmic operations. The collection is presented as a reference tool for studying shifting relationships between the web (as culture), the artist (as archivist) and print publishing (as a new/old self-serve schema for expressing the archive).