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).
© Artists’ Files, MoMA Library Stacks, 2013
How is artists’ printed matter collected and archived and how can such collections and archives be active, lively hubs of information and education for the medium, serving the specialist as well as the general public?
January 10, from 8pm, PrintRoom, Rotterdam, invites three key players – Charlotte Cheetham, Arnaud Desjardin, David Senior – in the field of independent artists’ publishing for a talk titled The Living Collection on collecting as an activity that moves beyond the limits of creating an archive. Each is a specialist in collecting printed matter and/or information on printed matter and archiving this in some physical or virtual format. Each in their own way extends their role as a collector by creating public projects and situations with and within the medium.
Reproduction Request (Half Letter) questions the relationship of proximity, distance, and mediation with series of small group shows that investigate reproduction as a form, and the various modes of dissemination and circulation for a given format. This project affords artists, curators, writers, and designers the opportunity to think about how particular artworks either lend themselves to duplication and dissemination or actively resist and disrupt easy reproduction. There will be no installation; the work in the shows will exist only as reproductions. The catalog is the show is the catalog.
The first exhibition, January 10 to February 7, 2014, COR&P, Columbus, with R.S. Beckman, Kate Bonner, Dante Carlos & Rolu, Munro Galloway, Nicholas Gottlund, Jessica Mallios, Ken Nurenberg, and Ed Steck, takes the form of a half-sized photocopied booklet or “zine”…
Publishing Class delves into the act of publishing as a critical art practice, both as a way to make things public – forming publicness – and as a form of dissemination beyond time and space constraints.
January 7, 2014, Dutch Art Institute in Arnhem, the Publishing CLass will be dedicated to the Whole Earth Catalog with a one-day exhibition and panel discussion with David Senior, Fucking Good Art, and others.
Since 2011, L.I.E (Library of Independent Exchange) have been inviting key proponents of “the book” to submit a list of ten important titles that form part of their personal book collections. The book L.I.E LISTS OF TEN BOOKS includes 20 contributions from Ed Ruscha, Katrina Brown, New Jerseyy, Olivia Plender, Charlotte Cheetham, Hans Ulrich Obrist, Jem Southam, Jeff Eaton, Benjamin Sommerhalder, Lionel Bovier, James Jenkin, OMMU, Marco Kane Braunschweiler, Layla Tweedie-Cullen, Jeremy Millar, Alec Finlay, Fraser Muggeridge, Torpedo Press, An Endless Supply, Axel Wieder. Book launch December 13, 6pm, L.I.E/Detroit Bristol.
In the attic of Oslo National Academy of the Arts, a unique collection had been lying forgotten, untouched by time. It consisted of rare graphic design journals, cases of metal and wood type, books, type catalogues and printing machines dating back to the last century. The exhibition A Form for History, until January 3, 2014, at Oslo’s R21 gallery, presents part of the typography archive and offers an exceptional glimpse of Norwegian graphic design history.
On show is a selection of books and printed titles from the archive; demonstrating a diverse visual field where modernistic expression developed in conjunction with lingering roots of art nouveau. The titles are accompanied with quotes from the archive, seeking to portray a varied cultural development where issues such as national style, a lack of high quality paper, The New Typography and the role of women have all been debated.
The large, red table, with two stairs that leads up to it, was imagined as both a reference to the attic which had been the archives hiding place for several years, as well as the often unapproachable aspect that history can hold. The table itself contains 20 articles, which as a whole presents both an insight into the industrial progress, as well as the development of visual expressions in Norway. Visitors are invited to bring home copies of the articles as a way to create their own selection of history.
Published on the occasion of the exhibition Ad Reinhardt at David Zwirner, New York, until December 18, the catalogue Ad Reinhardt, How to Look. Art Comics presents a comprehensive exploration of american painter and writer Ad Reinhardt’s cartoon works, which he created for various publications throughout his lifetime, most notably the progressive tabloid daily newspaper PM in which his “How to Look” series first appeared in 1946. Reinhardt’s comics shed light on the artist’s humorous insight into art history, politics, and culture, as well as his unparalleled critical sensibility as a painter and thinker.
Printed Matter, Inc. is the world’s leading non-profit organization dedicated to the dissemination, understanding and appreciation of artists’ books. Printed Matter’s new website, among other specific features, includes tables that let staff, artists, publishers, and every user curate groups of books and write critical essays about them.
Imagine a museum in which the portrait of Carlotta Valdes, an important prop in Alfred Hitchcock’s Vertigo, hangs on a wall next to the painted portrait of the title character of Otto Preminger’s Laura and opposite the uncanny portraits of the desired or murdered women in Fritz Lang’s Scarlet Street, George Cukor’s Gaslight, and Nicholas Ray’s Born to Be Bad. In an adjacent gallery, the visitor of this imaginary museum can contemplate the portraits of patriarchs that feature in films such as House of Strangers, Suspicion, Gilda, and Strangers on a Train. This is precisely the concept of this book.
The Dark Galleries deals with American (and some British) films of the 1940s and 1950s, in which a painted portrait plays an important part in the plot or the mise-en-scène. Particularly noir crime thrillers, gothic melodramas, and ghost stories feature painted portraits that seem to have a magical power over their beholders. Apart from an extensive introductory essay, this museum guide presents more than eighty entries on the artistic and cinematic aspects of noir painted portraits.
Film and book presentation, December 6, 2013, 8pm, Kask, Ghent.
Over a period of 10 years Erik Kessels has made many books and exhibitions out of the passion for vernacular and amateur photography. In the lecture “Storytelling with vernacular photography” – December 11, 5.30pm, Tre Oci, Venezia – he will highlight his latest projects and publications and give an insight in collecting and editing the photographs often found online or on flea markets from all over the world. Another subject of the lecture is the role of images in the time we live in and how you can look at these in other ways than simply consuming them.
The last instalment in Erik Kessels’ long running found photography book series, In Almost Every Picture #12, tells the story of a Moroccan wedding filmmaker with a knack for self-promotion. Larbi Laaraichi lives in Fez, where he’s been capturing the happiest days of people’s lives since the early Nineties. While videoing their big days, he also ensures that he gets a shot of himself in action. These images plaster the walls of his shop.
As well as amateur advertisements, these pictures tell the story of Larbi himself. Kessels has ordered the portraits chronologically, hinting at changes in Larbi’s life in almost every picture. We see changes in Larbi’s fashion taste, from the extremes of turn of the century stripy shirts to more demure contemporary clothing. And we see Larbi’s career path through his equipment: proudly wielding an old-school video camera to (a decade later) atop a stepladder with a slick, space-age camera.