To mark the launch of Please Come to the Show, edited by Museum of Modern Art Bibliographer David Senior, Occasional Papers invites Berlin-based Bar Vulkan – June 10, from 6:45 pm, at Institute of Contemporary Arts in London – to host an evening devoted to celebrating the exhibition invitation card, a key yet often overlooked element of exhibition-making.
David Senior selected a wide range of exhibition-related ephemera – invitations, flyers and posters from the 1960s to the present (overview on pleasecometotheshow.tumblr.com ) – and presents them here as an historically overlooked but integral aspect of exhibitions. Often the first point of contact between the audience and artist, such items form part of an essential lexicon for graphic designers, curators, art historians and anyone interested in the event-based nature of showing art.
Filled with full-colour reproductions of numerous examples from the MoMA collection, the book includes new essays by Gustavo Grandal Montero, Will Holder, Antony Hudek, Angie Keefer, Clive Phillpot, David Senior and Suzanne Stanton.
“There’s more to life than books, but not much more”, says the song, with an unmistakable, ambiguously seductive, voice. Åbäke, Corinn Gerber, Laure Giletti, Jp King, Chris Lee, Anouk Pennel, Patricia No, and Benjamin Thorel, all agree with this bold statement. As artists, writers, publishers, printers, curators, graphic designers, researchers and many combinations of these disciplines, they are “making books”: engaging in the production, invention and circulation, in the selling and buying, writing and reading of paperbacks, catalogues, journals, ’zines, websites and text documents. Questioning the scope and value of this activity is what’s at the core of this book, that presents itself as a subjective lexicon, proposing keywords for contemporary publishers and book freaks.
A book about – What’s more to life than books, co-published by Art Metropole, Paraguay Press and Publication Studio, is the result of a seminar that was called There’s more to life than books, but not much more.
Multi-City-Launch June 14, 2014, at Publication Studio, 11am, in Portland; at Art Metropole, 2pm, in Toronto; at Studio Feed, 2pm, in Montreal; at castillo/corrales, 8pm, in Paris.
“Art institutions are inevitably institutional, dependent on architecture and reliant on compromise. Yet this ‘institutionality,’ which we know to regard with a critical eye, can also be an asset, offering both a methodological and material grounding, community, and resources. Because museums cannot continuously rebuild and restructure themselves when confronting this dialectic with regard to both programming and exhibition making, the question becomes how to, at least temporarily, adopt another model or logic, while also resisting rehearsed tactics or resorting to spectacle. Excursus is one response.”
Excursus I – IV documents a two-year, four-part exhibition and program series at the Institute of Contemporary Art, University of Pennsylvania in Philadelphia. Curated by Alex Klein and designed by Mark Owens, the 128 page catalogue operates at the intersection of art, publishing, the archive, and the social, and features contributions from Reference Library, East of Borneo, Ooga Booga, and Primary Information.
Purchase the catalogue at Draw Down.
It all started when Beni Bischof began publishing laser-copied artist’s magazines in 2005 as an independent means of distributing his drawings, collages, and texts. The speed of production suited his impetuous, prolific output. It was not long before he found an additional, three-dimensional outlet for his obsessions by adding sculpture, painting, and installations to his repertoire. Often using everyday objects, Bischof creates bizarre objects whose coherence he reinforces with plaster and paint. He applies similar techniques of combining, reassembling, and reworking to images appropriated from fashion magazines, trivial literature, LP covers, and the like, overpainting them and modifying them digitally or even mechanically.
Psychobuch presents an extensive and unusual survey of Beni Bischof’s oeuvre. It is a wildly rampant, multimedia conglomerate, held together by a dense network of recurring themes and motifs. The elaborate book is both an overview of Beni Bischof’s output to date and an artist’s book in its own right. Book launch, June 2, 6 pm at Galerie Milieu in Bern, and June 3, 6pm, at Kunst Halle Sankt Gallen.
Between 1932 and 1936 five edition of the cahier Abstraction Création: Art non-figuratif was published in Paris by the eponymous association, uniting all movements who worked abstractly. The magazine not only formalised a new tendency for language in visual art, but also became a form of explicit self-promotion and opposition against the growing force of figurative Surrealism, led by André Breton. Two minimal yet clear criteria needed to be fulfilled to become a member of the association: you had to be an artist and work non-figuratively. This resulted in a list of members of long-forgotten artists mingled with names such as Kandinsky, Mondrian, Calder, Delaunay, Van Doesburg and Brancusi.
With the cahier Abstraction Création: Art non-figuratif, most of the members handed in documentation of work along with self-written texts. Those writings were visions about their own work, detailed explanations of the documentation, short viewing instructions, epistles about the true meaning of abstract art, essays on the relation between abstract art and evolution, straight forward explanations why a locomotive is not a work of art, and a poem about God being a copycat.
The publication of the cahier in English is the initiative of artist Riet Wijnen. During the launch, May 15 at the Stedelijk in Amsterdam, artist and designer Will Holder will lead a small audience through the museum’s galleries, stopping at paintings and sculptures made by contributors of Abstraction Creation: Art non-figuratif, and reading excerpts of their writings.
Oraibi Bookshop is an on-going curatorial project based in Geneva and run by graphic designer & artist Ramaya Tegegne and curator Tiphanie Blanc. From May 9 to 30, at Officin in Copenhagen, Oraibi presents Asger Jorn and the international situationist, a selection of books which will focus on Asger Jorn and his relationship with the French avant-garde and the international situationist movement. For the event, Oraibi has invited Danish editorial project Internationalistisk Ideale (Marie Kølbæk Iversen and Louise Hold Sidenius) to make a print and video display focusing on Jorn’s publication “La Langue Verte et la Cuite” from 1968, known in Danish as ‘tungebogen’ – the ‘tongue book’.
De:, a project by Rollergirl, is a series of exhibitions and publications, presenting a cross section of all styles and genres of current international photography. For each installment, the work of talented young photographers from one cultural capital is presented in another major city. Introducing their work to new audience and catalyzing cultural exchange. The first edition was De: Amsterdam, showing photography from Amsterdam in Lausanne, 2006. The following edition was, De: Paris, presenting Paris-based photographers in Amsterdam, 2011.
De: Stockholm, the third edition of the project , printed using only 3 spot colors Red, Green and Blue, will show a selection of images made by Stockholm-based photographers Brendan Austin, Thobias Fäldt, Marcus Harrling, Linda Hofvander, Inka and Niclas, Klara Källström, Björn Larsson, Hanna Ljungh, Märta Thisner, Lars Tunbjörk, Erik Undehn. Opening and book launch, May 22, 6pm, ArtLigue, Paris.
The Allen Ruppersberg Sourcebook: Reanimating the 20th century is a unique collection of original source material edited by conceptual artist Allen Ruppersberg from his extensive archives of texts, images, films, records and ephemera influential to his practice over the past four decades. Focusing on nine projects by the artist from 1978 to 2012, the Sourcebook offers an exclusive insight into Ruppersberg’s thinking, and a practice sparked by his interest in 20th century popular culture and pre-digital materials.
The Sourcebook series is dedicated to contemporary artists’ personal perspectives on social, political, and cultural issues. For the second Sourcebook in the series, Allen Ruppersberg has mined his archives, stored between his family home in Cleveland and his studio in Los Angeles. Delving into the influences and research that has impacted him, the artist has assembled various selections from this material, reprinting key texts by Allen Ginsberg and Marshall McLuhan, among others, and reproducing album and magazine covers from his collection. All together, these ephemeral and pre-digital materials open new perspectives on the way the American century underpins the artist’s practice.
Discussion & Book Signing, May 31, 2014, 7 pm, 192 BOOKS, New York.
Booksfromthefuture Summer School is a ten-day summer workshop in London, July 7-18, on book design that focuses on self-initiated, practice-based inquiry. Participants of the programme will each design a section of the 1884 science fiction novel Flatland: A Romance of Many Dimensions, to be published by Booksfromthefuture in collaboration with designer Dante Carlos. In this setting, thinking and making will be experienced simultaneously rather than as separate phases of the design process. As a re-imagining of story and format, participants will discover both individual and collaborative methods that blend research and practice into a single act. Application deadline 20 May 2014.
“Pourquoi ne pas reconstruire notre incapacité à voir ?” s’interroge Robert Smithson dans son fameux texte “Incidents of Mirror-Travel in the Yucatán”, publié en septembre 1969 dans le magazine Artforum. Cette question servira de fil rouge à l’exposition ANTI-VISION – du 17 mai au 21 juin, See Studio, Paris – conçue à partir d’un choix de publications et d’éditions d’artistes issues de la collection BLOOM.
La série complète des numéros d’Artforum où Robert Smithson fit paraître huit grands articles avant son décès accidentel en 1973, introduira à ce questionnement sur l’ “anti-vision” et la “vision négative”, qui a alimenté diverses stratégies artistiques depuis la fin des années 1960. L’exposition réunira un ensemble de livres d’artistes et d’affiches, de documents imprimés et de revues, de catalogues d’expositions et d’envois postaux, dont certains rares et recherchés par les bibliophiles.
The Internet Archive is a digital library of Internet sites and other cultural artifacts in digital form. Like a paper library, they provide free access to researchers, historians, scholars, the print disabled, and the general public.
As part of the Internet Archive Tumblr Residency program, Re Production of Tangible Things, by Gijsbert Wouter Wahl, brings ephemera obsessively combed from the databases out into intertwined chapters. The archive has been pictured, and the images, out of their original positions in files and books, become part of a new territory from which you can drill back into sources that may otherwise have remained invisible.
THE PARTICLES (of White Naugahyde) is the first publication of a play by William Leavitt. Leavitt is one of the pioneers of conceptual art in Los Angeles, helping significantly to establish the genre in the late 1960s and the 1970s. His works make use of narrative elements drawn from LA architecture and popular culture as well as from the movie and television industries. The artist works in various media, including sculpture, painting, drawing, photography and theatre.
Framed as a sitcom setting, the narrative of THE PARTICLES (of White Naugahyde) tells the story of a family auditioning for a NASA program, which sends them to a newly planned space colony. The demanding admission process makes them live in a security-free community in the desert together with other applicants. These two weeks in the desert result in anxiety and anti-social behavior among the participants.
Book launch and conversation with William Leavitt, Ann Goldstein, Niels Olsen, and Fredi Fischli, April 16, 2014, 6pm, as part of the opening of William Leavitt’s solo exhibition, Sidereal Time, in Zürich.
The book Almost a centimeter is the result of Make Your Own Press, a collective effort of 5 professors and 16 students from 3 distinct academies in the Baltic and Nordic region, and 5 visiting lecturers and critics, invited because of their outstanding efforts in the field of artist book making and publishing.
The book emerged from a course that recognizes the explosion in artist book making all around the world, especially in lieu of the less than terminal death of print predicted now for many years. This resurgence of print was something the group wanted to aid, particularly in their region, by giving a younger generation a course that presented all the steps necessary in taking a book from its concept, through its relation to historical antecedents, design, paper and color selection, the printing process, and finally distribution and acting as a temporary publishing house.
Six teams made a 16-page section each reflecting on various aspects of what it takes to realize a publication: The Author, The Editor, The Designer, The Printer, The Distributer, and The Reader.
The one-day event Art-Information: Editorial Strategies, Text-based Formats, Publishing Contexts, April 26, at ICA in London, looks at acts of publishing within contemporary art and curatorial practice. Guest contributors Stuart Bailey, Dr Ruth Blacksell, Dr Jo Melvin, Dr Lucy Mulroney, and Alun Rowlands will draw on a rich variety of engagements, setting current practices against the alternative lineages of Pop and Conceptual Art. Presentations range from considerations of the various format and distribution strategies used by magazine editors and curators, to discussions of publishing, editorship and layout in (and as) practice.
Through these, contributors will highlight specific issues such as the appropriation of trade publishing channels and editorial design vocabulary; the significance of typographic layout in progressions from passive ‘looking’ into active ‘reading’; requirements for reader participation and responsibility; and the shifting notion of archival and open work within the interactive and networked platforms of digital publishing.
For the exhibition New Reproductions, David Maljkovic has created an extensive display of his work which provides a new reading of his artistic practice and the exhibition format itself.
The show presented six new reproductions of previous projects by the artist, and deals with conceptual strategies and utopian references past and present. It included animation, slide projection and collage, as well as sculptures as reconfigured objects.
The artist book New Reproductions, published in conjunction with the exhibition, designed by Åbäke, is a dense object in which the textual contributions function as poetic and fictional response to the artist’s collaged 48 images. Here, Maljkovic provides a certain utilitarian take on re-reading, remembering, incompleteness, and exhaustion as artistic positions in order to assemble filiations between works separated by time span and by his changing ideas.
Informational Affairs is an ever growing index of books collected by Folder Studio.
Né d’une série d’invitations par ricochet, Side Effects est un échange artistique international mené par Laura Kuusk, artiste estonienne, et Pascale Riou, théoricienne de l’art française. Cette collaboration est née d’un questionnement commun sur l’activité artistique, le travail à-côté, la pluriactivité, le faire-avec, le choix, l’accident. Pour cette exposition, Museum of Museum réalise l’ouvrage de médiation intitulé Le Syndrome de Stendhal.
En 1826, sortant de la basilique Santa Croce de Florence en Italie, Stendhal manqua de s’évanouir, ébranlé physiquement et psychologiquement par la puissance de cette oeuvre humaine. Il venait de ressentir puis d’exprimer ce que l’on nommera par la suite le syndrome de Stendhal, syndrome dû au dépaysement, dû aussi et surtout à l’intense émotion provoquée par la confrontation aux oeuvres d’art.
Les récits d’expériences de rencontre avec l’art sont multiples, ils expriment les représentations que l’on se fait de l’art, des artistes, de la création, les mythes qui y sont rattachés, et participent à l’écriture de l’Histoire de l’Art.
Museum of Museum (MoM) met en exergue cette histoire par la restitution de quelques-unes de ces expériences narrées, et suivant le modèle des maîtres de la biographie d’artiste – illustres prédécesseurs tels que Pline l’Ancien, Giorgio Vasari ou Carlo Ginzburg – par l’écriture des biographies des artistes participants à l’exposition Side Effects.
Prenant le parti d’aborder l’oeuvre par l’étude de la vie de l’artiste, MoM fonde ses récits sur des témoignages oraux et de la documentation diverse : catalogues d’exposition, interviews issues de magazines spécialisés, sites issue des internets.
En s’appuyant sur l’oeuvre littéraire préexistante des grands auteurs, MoM propose des biographies possibles, une lecture parmi d’autres du travail des artistes. Cette lecture se base sur leur vie et les expériences artistiques, mettant l’accent sur les anecdotes, sur ce qui entoure la création et y participe finalement.
The Fernand Baudin Prize is awarded every year for the most attractive editions and beautifully crafted books in Brussels and Wallonia. This is the fifth time the prize has been awarded and now a new, additional concept is being introduced: a book club.
Once a month, at various cultural locations, the Fernand Baudin Prize provides an opportunity to share and exchange ideas and opinions about books. The idea is simple: bring along a book and introduce it to the others. Give a short presentation, exchange opinions about the design, read an excerpt aloud, add a personal anecdote or an in-depth analysis: all stories and contributions are welcome. The book club embraces everyone: every reader or booklover, professional as well as amateur writers and all manner of book producers. Upcoming rendezvous, April 23, 2014, 6.30pm, Beursschouwburg, Brussel.
Chapters I-XXX is a book published in conjunction with the exhibitions of the artist Haris Epaminonda (Chapter IV at Fondazione Querini Stampalia, Venice & Vol. XIV at Galleria Massimo Minini, Brescia).
In tracing some of the notions and narratives embedded in Chapters, a 16 mm film shot in Cyprus in 2012, the idea of making a book came about as an exercise, or rather an experiment, to deconstruct the film into some of its subject matters. Embarking on a new set of associations between image and subject, source and information, meaning and abstraction, this book is both a document and a memory map, tracing the beginnings of a thought, a time, an image, a place.
The book aims at being a sort of encyclopedia, regardless of the impossibility of such a task. The reference material of the artist’s latest film Chapters is collected in these 30 posters. Printed in two copies each, they constitute a limited run edition of 60 signed posters.
131 Variations, a project by Fleur van Dodewaard, is a reinterpretation of Sol Lewitt’s 122 Variations of Incomplete Open Cubes. Assisted by two mathematicians Lewitt succeeded in visualizing 122 variations on an open cube that was defined only by its edges. What distinguished these from ordinary 12-edged cubes was that only between 3 and 11 edges were visible, meaning that to obtain an image of the full cube the beholder had to complete the three-dimensional form in the mind. In his quest, Lewitt discovered 122 ways of leaving the cube unfinished.
Fleur van Dodewaard set about recreating and photographing the piece seeking to produce an exact copy. But in the process things went wrong: some cubes went missing, others appeared double and previously unknown variants arose. With her 131 Variations Fleur van Dodewaard demonstrates that the 122 variations listed and presented by Lewitt did not represent an exhaustive spectrum of all conceivable possibilities. Accordingly, the “failure” consciously introduces moments of arbitrariness, inconsistency and irrationality into this aleatory process to allow for an element of coincidence, thereby challenging mathematical logic.
131 Variations seeks to debate the issues of authenticity, appropriation and reproduction, while challenging the role of photography as a medium to represent reality. Exhibition until April 5, Hauser gallery, Zürich; Book launch, March 30, 4pm, Foam, Amsterdam.