Oraibi + Beckbooks, Geneva, brings together two bookshops in one common space, with the purpose of welcoming and promoting artists and art editors through a series of events and an international catalogue of publications. The selection of books—new and second-hand—covers cultural theory, art criticism, artists’ writings, monographs, exhibition catalogs, contemporary literature and poetry, with a focus on publications as a medium for art practice and discourse. A project by Géraldine Beck, Tiphanie Blanc and Ramaya Tegegne. Opening September 17, 2015, from 5pm.
On this occasion, and among others, launch of Voilà by Miriam Laura Leonardi. The French weekly paper VOILÀ was founded by Gallimard in 1931 and distributed until World War II. Amongst the contributors were writers such as Albert Londres, Joseph Kessel, Georges Simenon, the aviator Mermoz as well as photographer Henri Cartier-Bresson. A selection of articles addressing key events of the past as well as every day matters are reassembled and modified by Leonardi to highlight their ongoing relevancy; here reprinted in a new publication. While the orginal layout remains, words or sentences are rearranged to offer a more abstract but direct meaning. The contemporary speed of information is thus questionned through this new format allowing an accelerated reading of the original content.
Statement and Counter-Statement is the first-ever publication on the work of Experimental Jetset, documenting almost two decades of graphic design praxis. A pocket-sized paperback counting over 570 pages, the book should not be seen as monolithic monograph, but as a very loose, personal archive.
At the heart of the book are three textual contributions by Linda van Deursen, Mark Owens and Ian Svenonius. Linda van Deursen’s essay consists of a series of short observations, contemplating three historical photographs, while reflecting on the friction between modernism and the everyday. Meanwhile, Mark Owens explores the format of the three-piece rock band, mapping the formal and conceptual dimensions of the ‘power trio’, with a particular focus on post-punk aesthetics. Added to that, Ian Svenonius delivers a piece of pop-art fiction, starting with a 13-point program to destroy language, before derailing into a psychedelic interlude, ending with some notes on the appropriation of ‘cool’.
The book also contains two photographic chapters, both featuring a selection of work by Experimental Jetset. The first section (titled ‘Ex Situ’) shows a succession of printed matter as captured in actual size (scale 1:1) on the studio’s flatbed scanner, while the second section (‘In Situ’) documents site-specific pieces as installed in different environments around the world.
The paperback concludes with a index/glossary-like anthology of texts previously written by Experimental Jetset, as selected, edited and introduced by Jon Sueda. Consisting of short fragments from interviews, lecture notes and personal correspondence (including numerous never-before-published texts), this chapter functions as a cut-up collage of ever-changing (and ever-contradicting) ways of reasoning.
The Open Books project explores connections between printed objects and forms of exhibitions. It consists of a series exhibitions, events, and a publication that offer potential spaces to experiment with these interactions.
Open Books Volumes documents this research as it goes along, questioning its own status as a catalogue. Each iteration gives birth to new content that complements the previous one. As a pile of books stacking up in a library, invariably connected to one another by their successive readings…
Volumes is a catalogue, a collection of captions, images, a series of invitations, a bookmark left in places where the editors would like someone to stop. Or is it the actual archiving of an object in real time? In any case, it is what accompanies, completes and supports a research, somewhere between an open book and an exhibition, with a permeability flowing constantly from one another.
Available from publisher Hato Press website, and during the London Art Book Fair and New York Art Book Fair.
Sometimes a crow or a raven, in order to crack open a nut, will stop at a red light, put it on the road and, once the light turns green, expect cars to drive over the nut, leaving its content exposed. The context in which this bird lives, influences its ways of doing things, so to speak, opens possibilities and creates challenges.
Idoine is the will to share a curiosity and an appetite for modes of operation, conditions for its guests’ surfacing of tools and internal logic.
Idoine & Papi Camion is an interview realized on March 2nd, 2015 with Papi Camion between Paris and Pantin. Papi Camion was born in the early 1970s. He let go progressively over time of unnecessary matters. All he kept was a change of clothes, a passport and a van. Since then Papi Camion has pursued his activity, a non-project, i.e. doing nothing. Located in Place des Fêtes, in the heart of Paris, he assists the world like a hermit, finding his inner-rhythm in a fleeting movement.
Scroll down and keep scrolling – October 10, 2015, to January 17, 2016, Ikon Gallery, Birmingham – is the most comprehensive exhibition of Fiona Banner’s work to date, re-presenting key early projects alongside recent and unseen works that span a period of 25 years. “It is not a survey – more of an anti-survey,” says the artist, “A survey suggests something objective, historical, and fixed. This is subjective; nothing else is possible.” Throughout the exhibition Banner revisits her work with intensity and humor.
Publishing is central to Banner’s practice and she often produces books through her own imprint The Vanity Press. For the artist the act of publishing is itself performative, and this exhibition at Ikon will display a wide archive of previously unseen publications and ephemera. In addition, the artist will also publish a major new book to accompany the exhibition, typeset in a new font created by the artist and entitled Font. Font is an amalgamation of typefaces Banner has worked with previously, and will be used throughout the museum for the duration of Banner’s show.
From September 18 to October 31, 2015, Font will also be on view at Frith Street Gallery in London, and will be available to download on www.fionabanner.com from 17 September.
No Reading No Cry! – September 5 to 30, 2015, Open Graphic Art Studio – Museum of the City of Skopje, Macedonia – is an exhibtion curated by Mark Pezinger Verlag with Darko Aleksvoski, Felicia Atkinson, Andrew Gannon, Romain Gandolphe, Katrin Herzner, Florence Jung, Florian Köhler, Mikko Kuorinki, Darko Petrusev, Astrid Seme, Yann Vanderme and the Macedonian Artists’ Books Library*
“I’m never stocking them again, never! It’s been bedlam! I thought we’d seen the worst when we bought two hundred copies of the Invisible Book of Invisibility. Cost a fortune, and we never found them.“ This is how the manager of Flourish and Blotts, the bookstore in the book/film “Harry Potter” complains about the “Invisible Book of Invisibility”. This book about the power of invisibility is itself, of course, invisible. As manager of a bookstore invisibility is indeed frustrating, but from an artist’s perspective invisibility can encourage the viewer to re-imagine how we engage presence, memories or documentation. Following this idea Mark Pezinger Verlag brings 11 artists together that work along the margins of what a book is, how the book and its content disappear and when it can only be visualized through imagination.
As a physical counterpart to the exhibition the Macedonian Artists’ Books Library brings together artist’s books from various publishers that are normally hard to be accessible in Macedonia. With 1:1, 1%ofOne Verlag, Back Bone Books, Ben K. Voss, Black Pages, BoaBooks, Edition Fink, Edition Taube, FuckingGoodArt, Gloria Glitzer, Harpune Verlag, Good Press Gallery, Humboldt Books, Kodoji Press, La Houle, Michalis Pichler Unlimited, More Publisher, Nieves, Section7Books, Sergej Vutuc, Shelter Press and Soybot.
Primary Information is reprinting the seminal book, Fantastic Architecture, making the book widely available for the first time since it was originally published: first in 1969 by Droste Verlag in German (with the title Pop Architektur) and later in 1970 by Something Else Press as Fantastic Architecture.
Edited by Dick Higgins and Wolf Vostell, this artist’s book/anthology includes diverse contributions from a range of influential artists and architects of the 60s era addressing utopian architecture, public sculpture, and common space. Higgins and Vostell’s deft approach and design made Fantastic Architecture one of the iconic artist publications of its time. Using vellum pages for their editorial captions, Higgins and Vostell allowed the spreads by each artist to flow untouched, creating a visual page turner that eschews didactic explanation and reductionism in favor of a miasma of text, image, and material intervention that demands the reader experience the book as its being read.
Taken as a whole, the publication showcases broad concerns and approaches to architecture and public sculpture at a time when attitudes towards both were changing to reflect the political and economic concerns of the time.
Contributors include Ay-O, Joseph Beuys, Pol Bury, Eric Buchholz, John Cage, Philip Corner, Jan Dibbets, Robert Filliou, Buckminster Fuller, Raoul Hausmann, Richard Hamilton, Michael Heizer, Bici Hendricks, Geoffrey Hendricks, Jan Herman, Dick Higgins, K.H. Hoedicke, Hans Hollein, Douglas Huebler, Milan Knizak, Addi Koepcke, Alison Knowles, Franz Mon, Claes Oldenburg, Dennis Oppenheim, Dieter Roth, Gerhard Rühm, Carolee Schneemann, Kurt Schwitters, Daniel Spoerri, Frances Starr, Jean Tinguely, Lawrence Weiner, Ben Vautier, Wolf Vostell, and Stefan Wewerka.
From Life’s a Beach by Martin Parr, Aperture, 2012
The London Art Book Fair 2015, September 10-13, Whitechapel Gallery, London
WIELS Art Book Fair 2015, September 11-13, Wiels, Brussels
Artists Print IV, September 11-13, Brass, Brussels
VOLUME 2015, September 11-13, Artspace, Sydney
NY ART BOOK FAIR, September 18–20, MoMA PS1, New York
The Tokyo Art Book Fair, September 19-21, Kyoto University of Art and Design, Tokyo
2015 Vancouver ART/Book Fair, October 17-18, Vancouver Art Gallery, Vancouver
Offprint Paris, November 13-15, Paris
Friends with Books, December 11-13, Hamburger Bahnhof, Berlin
Authors don’t write books. They write on pages or on screens, but not the ones readers will hold. Their texts need proofreaders, editors, typographers, graphic designers, paper makers, printers, binders, as well as softwares, presses, and other machines before they become books. Yet sometimes, authors do make books. Maybe this doesn’t seem so unusual today, and it has become harder to understand what it means for a text to pass from the body of the author to that of the composer setting up letters and characters, and to leave the world of language for the space of the sheet of paper. There’s a world of difference when the hand that writes also prints and the materiality of the text measures itself to the surface of the page, inscribing, covering, scratching, cutting into it.
Between the early 1970s and the mid 1980s, Orange Export Ltd. was a peculiar adventure in French publishing, where such an experiment was conducted. Raquel, who was first of all a painter, and Emmanuel Hocquard first decided to publish a book together, Le Portefeuil using silkscreen. Then they developed their imprint with a group of poets, writers and artists – friends who gathered in Raquel’s house, in the suburbs of Paris. Her studio became the workshop where the books were made, meaning: conceived, written, typeset, printed and bound, by hand, by Hocquard himself. A few copies at a time.
What’s left from that enterprise is not only an impressive collection of titles – in which feature almost the whole French poetry scene of the 1970s and early 1980s. It’s also a way of conceiving books through their making; and a passion for this physical process so strong that we end up wondering: what if this was the production line of happiness? How far are the pragmatics of publishing and the dynamics of friendship related? How to deal with a public, when you know you can only print 9 copies of a book a day? If, as Hocquard wrote, printing books meant learning again how to write, should we now, connecting Orange Export Ltd. to our screens and keyboards, learn again how to read? On view from June 26, at at castillo/corrales, Paris.
A 2010 archeological study found that the prehistoric Gwion Gwion paintings in Australia, whose chromatic vividness contrasts with their age and their exposure to sun and rain, are inhabited by “living pigments.” A symbiotic biofilm of red cyanobacteria and black fungi sustains a process of permanent self-painting, while also etching the pictures deeper into the quartz wall. The texts commissioned for the reader respond, from a variety of disciplinary perspectives, to an idiosyncratic temporality and economy—or ecology—of signification. Descending from an inscrutable past to the same extent that they are made now, in a radical contemporaneity, the Gwion Gwion are examined as an allegorical metabolism that generates new articulations of “art” and “life,” contamination and purity, prehistory and modernity, bacterial and human colonies, lost knowledge and scientific advancement—collaborative relations between antonyms, altered schemas of “origin” and “identity.”
InOtherWords imprint was founded by Oliver Knight & Rory McGrath of design studio OK-RM. InOtherWords creates books as collectable objects in close collaboration with artists, writers, institutions, galleries, and other cultural ventures.
Their first publication, One Language Traveller, accumulates objects created by Danish artist FOS, as if the book were a cabinet of curiosities. United on the pages of the book, the sculptures speak to each other in a new vocabulary of form. One Language Traveller is ring bound, sits in a reflective slipcase and is finished in an array of paper.
Launches, May 15, 6pm, at Printed Matter in New York; and May 20, 7pm, at Donlon Books in London.
Allan Kaprow (1927–2006) is considered to be the founding father of the Happening, of Environments and Activities: terms that he continued to redefine throughout his career.
With a wide selection of images, Posters – edited by Alice Dusapin and Christophe Daviet-Thery, published by Christophe Daviet-Thery and Walther König, designed by Coline Sunier & Charles Mazé – documents Kaprow’s posters, a lesser-known side of his work, produced between 1953 for his first show at the Hansa Gallery, New York and 1996 at Kunsthalle Palazzo, Liestal.
Most of these posters were designed by Allan Kaprow and are characterized by their aesthetic quality, the earliest ones in particular a combination of hand-lettered text and drawings and the later ones of photographs and typographic text in a minimalist style.
More than merely advertising Happenings or Activities, these posters act as scores/tools for the participants to the Happenings and as everyday objects that blur the boundaries between art and life.
Launch May 5, 6pm, Librairie Yvon Lambert, Paris.
Paper Planes, by Sjoerd Knibbeler, consists of 16 paper models of aircrafts that have never made it past the drawing board. Sjoerd Knibbeler was able to recreate these models based on information, technical drawings and ‘artist impressions’, which he predominantly found online. Some of these aircraft designs are over 80 years old and if they have failed as physical aircrafts, they still fly around the world as ideas – in the virtual form of data. In this publication these models are combined with texts and drawings, and turned into a 4 meter long leporello, which folds back to an A4 book with a hardcover sleeve.
“I asked architects to send me important images that show the basis of their work. Images that are in their head when they think. Images that show the origin of their architecture. In this book we find 44 individual “musées imaginaires”. The most unique architects living today each present up to ten images to explain the autobiographical roots of their oeuvre. The images are explanations, metaphors, foundations, memories and intentions. They are poetic and philosophical avowals. They reveal a personal perspective on thoughts. They show the roots of architecture and expectations concerning projects. Conscious and unconscious. The biographies are written by the architects themselves. The images are small, legible and interpretable as icons. As individual collections, they present a personal view of an individual world, while as a whole they provide a universal view of the perceptible origin of contemporary architecture.” The Images of Architects, edited by Valerio Olgiati.
With Architects David Adjaye; Manuel and Francisco Aires Mateus; Alejandro Aravena; Ben van Berkel; Mario Botta; Alberto Campo Baeza; Adam Caruso and Peter St John; David Chipperfield; Preston Scott Cohen; Hermann Czech; Roger Diener; Peter Eisenman; Sou Fujimoto; Antòn Garcìa-Abril; Go Hasegawa; Jacques Herzog and Pierre de Meuron; Steven Holl; Anne Holtrop; Junya Ishigami; Arata Isozaki; Toyo Ito; Bijoy Jain, Studio Mumbai; Momoyo Kaijima and Yoshiharu Tsukamoto, Atelier Bow-Wow; Christian Kerez; Hans Kollhoff; Winy Maas, MVRDV; Peter Märkli; Jürgen Mayer H.; Richard Meier; Glenn Murcutt; Ryue Nishizawa; Valerio Olgiati; John Pawson; Cecilia Puga; Smiljan Radic; Richard Rogers; Kazuyo Sejima; Jonathan Sergison and Stephen Bates; Miroslav Šik; Àlvaro Siza Vieira; Eduardo Souto de Moura; Robert Venturi and Denise Scott Brown; Peter Wilson, Bolles + Wilson; Peter Zumthor.
© BBella Bas & Robin Lopvet for Cosmos Arles Books
Offprint London, May 22-25, Tate Modern (Turbine Hall), London
Multiple Art Days #1, May 22-24, Maison Rouge, Paris
MISS READ 2015, June 26-28, Akademie der Künste, Berlin
Cosmos Arles Books, July 6-11, Rencontres d’Arles, Arles
Exercises in seating is a project by Max Lamb. From April 12 to 19 in Milano, the exhibition of furnitures will illustrate Max Lamb’s continuous examination of his material landscape and manifold modes of production. The accompanying publication is published by Dent-de-Leone.
Four Eggs Theory is an exhibition – until May 10, Futura, Prague – and a book by Honza Zamojski. In an ideal world an ideal egg would be an ideally oval geometrical form with an ideally spherical yolk center surrounded by whites. After boiling our specimen and cutting it crossways, we would see a microscale model of the Earth’s orbit around the Sun. Both systems – the cosmic one and the human one – are closed and complementary, as the vitality of one of the parts depends on the other. Meanwhile, the space between the surface of the yolk and the shell, on a cosmic scale, is the sphere of influence between our planet its closest star. In the “Four Eggs Theory”1 the key element of illustrations is a synthetic image of half an egg – a closed system with a core and a surrounding atmosphere. This theory aims to describe an individual, though also, from a wider perspective, the cyclical and recurring process of the artistic creation of a Work. The Work is the key element of artistic Practice. At the same time, the theory described in the following text could be analyzed through an illustrating diagram. If we were to seek an analogy in our common knowledge, we ought to ask: Which came first, the chicken or the egg? …
L’exposition Pliure est un essai sur le livre et “la somme infinie de ses possibles” (Blanchot). Elle donne à voir le potentiel du livre, en relation permanente avec le geste artistique, et de quelle façon l’art se transforme à l’épreuve du livre et le livre se transforme à l’épreuve de l’art. Dans l’exposition, le livre devient un laboratoire d’expériences esthétiques -et le canal même de ces expériences. Exposition ni rétrospective, ni historique, Pliure ne prétend pas embrasser tout un thème ou prouver une théorie mais essaie plutôt de montrer comment l’espace du livre provoque l’art.
Après le Prologue de l’exposition, les oeuvres contemporaines de l’exposition Pliure. Epilogue (La bibliothèque, l’univers), du 10 avril au 7 juin 2015 à l’École nationale supérieure des beaux-arts de Paris, s’allient notamment à une sélection d’oeuvres issues de la collection de l’école, et à un focus autour de l’éditeur Seth Siegelaub.
Inventory Press publishes books on topics in art, architecture, design, and music, with an emphasis on subcultures, minor histories, and the sociopolitical aspects of material culture.
Way Station extends the January 2015 exhibition by Shannon Harvey, Adam Michaels, and Levi Murphy at Grice Bench, Los Angeles. At once static and dynamic, the book presents a journey through a series of landscapes, juxtaposed with a steadily spinning furniture form—that of the primary exhibition component, a set of colorful benches featuring ergonomics designed to heighten and transform physical and mental awareness. The book provides a particularly associative experience for a reader seated on a Way Station bench, while maintaining interest far beyond this setting.
In The Canyon, Revise The Canon – Utopian Knowledge, Radical Pedagogy and Artist-run Community Art Space in Southern California – is the last book published by Shelter Press and edited by Géraldine Gourbe.
Before the onset of the social and cultural backlash that was brought on by the Reagan administration in the early eighties, Southern California was ripe territory for the genesis and development of emancipation movements for and by African Americans, Chicanos, pacifists, Marxists, feminists and homosexuals. Starting in the late sixties, these revolutionary waves particularly influenced practices such as performance art, video, installation and collaboration, which led to the construction of alternatives like artist-run spaces, non-profit spaces and artist-run community art spaces. In Santa Barbara, Los Angeles and San Diego, collaborative public action was constructed around utopian knowledge which was then redirected towards universities and art schools that favored the emergence of radical pedagogies. These other manners of experimental thinking, doing and teaching permitted artists to deconstruct certain canons that were inherited from European tradition and art history, and provoked a reexamination of “the American way of life”. In the Canyon, Revise the Canon.
Presentation by Géraldine Gourbe, April 2, 2015, 6:30pm, ICI Curatorial Hub, New York.