Despite the impression given by its format and density, the central dossier of the bilingual Azimuts 40-41 – Design Research Journals. A Panorama has a quite modest objective: the provision of an initial survey of journals devoted to design research. Rather than approaching design research frontally, the editorial team has investigated one of the modes of expression favoured by research: the periodical, the supposed paragon and yardstick of academic excellence. However, as could be expected, this castling alone were insufficient to avoid all danger; fundamental issues concerning research made a rapid return to the surface. What place should be given to theory in an activity in which practice predominates in fact and by rights? Why in the field of research should writing replace actual practice? Can design research be solely descriptive or meta-descriptive and thus be reduced to a more or less scholarly commentary of practice? This led to the question: why should design research adopt the paradigm of scientific discourse when design can also be considered as being an artistic, technical, political, ethical or critical project?
Journals involved: AA Files, Ark & Arc, Back Cover, Collection, Communication & langages, Design et Culture, Design Issues, The Design Journal, Design Studies, Design Philosophy Papers, Digital Creativity, Dot Dot Dot, Emigre, Graphic, International Journal of Design, Information Design Journal, Journal of Design History, Mode de recherche, Oase, Terrain, Typography Papers, Visible Language, Wildproject.
With the development of technology and democratization of our communication tools, new kinds of language systems are created. In order for these systems to be compatible with the existing ones, we need an understanding of their basic mechanisms, what tools are at hand and how the increased complexity of technology, as well as the abstraction level, determines how we perceive the world. Our increasingly technological and globalized world has led to re-introduction of icon-based communication. The need of clarification over cultural borders cannot simply depend on the knowledge of an abstract language, but also the shared experience.
By combining an appropriated discourse with empirical experimentation, supervisors Samuel Nyholm and Tania Prill aim to establish a Master’s Studio for interdisciplinary studies of communication that focuses on the investigation and development of visual language systems.
The two-year study program, From Aleph to Eternity, at the HfK in Bremen, will be conducted in German and English, starts in october 2014 and results in a Master of Arts. Applications are accepted until the 15th of June.
The Asterisk Summer School will be back in Tallinn from july 27 and is now accepting applications from graphic designers, artists, theorists, critics, curators and others interested. This edition will focus on summer activities, taking a closer look at the relationship between work and play.
Asterisk is run by two freelance graphic designers, Laura Pappa and Elisabeth Klement who both studied at the Estonian Academy of Arts and the Gerrit Rietveld Academie. This year, tutors are designers Samuel Nyholm, Radim Peško, and Maki Suzuki from Åbäke.
Application deadline: June 1st, 2014.
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.
The Jan Van Eyck Academy Alumni Association is an open platform for theory, art and design built from the assembly of former researchers and participants of the Jan Van Eyck Academy, who are dissatisfied with the debilitating nature of the institutional field, and who reject the prevailing norms of commerce. The idea is to form a mobile framework for collaboration between designers, artists and theorists, one which will bring about a radical probing of disciplines by suspending their borders and provoking their mutual subversions, affirming the need for collective work and engaging in projects which open the possibilities of different domains, whether aesthetic, scientific, or political. They understand the Association as a project continually ‘in the making’: open-ended and multifaceted.
The Association invite you to join in Justifiable Versions of Events, July 20 to 26 in Berlin. They seek experimental proposals for exhibitions, symposia, interventions, actions, workshops, papers and performances, any of which can be used as nuclei for future collaborative work.
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.
Typography Summer School is a meeting place for graduates of graphic design, wanting to bridge the gap between student and professional and learn more about typography. The school brings together leading practitioners and participants to study, exchange ideas, and investigate the discipline.
As well as running a range of projects within typography with real clients and budgets, the school acts as a think tank encouraging research and dialogue. This environment provides a forum in which to discuss what typography is, its relevance in design history and the part it plays in today’s society. The school investigates the role of typographic design across ranging mediums, from books to film credits and posters to websites.
The 2014 tutors are Julian Bittiner, Neil Donnelly, Bob Gill, Francesca Grassi, Hilary Greenbaum, Geoff Han, Other Means, Fraser Muggeridge, & David Senior. Bringing together a range of varied tutors will offer each participant a unique experience to learn from and apply to their future work.
Applications are open until May 15, 2014.
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.
The theme of the 26th International Biennial of Graphic Design Brno 2014 is education in the field of graphic design and visual communication. This thematically focused biennial will — through a wide range of exhibitions, lectures and accompanying programs — investigate the educational models of contemporary graphic design as well as the methods and approaches of individual tutors and schools. It will also look at the diversity of specific schools, the influence of architecture on education, and the relationship between theory and practice.
Exceptionally, the International Exhibition, a traditional part of the Brno Biennial, will leave aside the work of professionals to focus instead on work created by students. All works created in a school context between 1 January 2010 and 31 December 2013 are eligible for the International Exhibition. The application form is now available online.
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.
The School for Design Fiction – organized by James Langdon, introduced November 8, 3-8pm, Galerie für Zeitgenössische Kunst, Leipzig – offers a short course in reading objects, environments and messages. Stimulated by the curious genre of design fiction, the programme asserts storytelling as the primary function of design.
A design fiction (to be read in the same register as science fiction) represents a designed object that — materially, functionally, or conceptually — cannot presently be realised. More speculative than a prototype, a design fiction does not necessarily require the potential ever to exist. It is a suggestive form that prompts us to reconsider our assumptions about — or operates as a critique of — existing objects. It may do this by projecting into the future, or into a parallel reality.
Lectures at the school will be centred around a collection of such narrative objects, each a newly commissioned artwork realised by a member of the faculty. These objects will be employed performatively, to visualise subjects including the discovery of the human brain’s innate mechanism for narrating experience; the legibility of the built environment; and strategies for continuing unfinished stories.
© 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
Fernand Baudin Students Publications / F B S P is a research project dedicated to contemporary forms of editorial practices. Initiated by members of Prix Fernand Baudin Prijs – Prize for the Most Beautiful Books in Brussels and Wallonia, it links the Belgian student’s context with the international independent publishing scene. It aims to create a common space between students and professionals, research and practice, thinking and making – through events, workshops and research publications. September, 25, 6pm, F B S P will launch its first publication This is not a most beautiful book award at Théophile’s Papers, Brussels.
“The Dirty Art Department offers itself as an open space for all possible thought, creation, and action.
It sees itself as a dynamic paradox, flowing between the pure and the applied, the existential and the deterministic, and the holy and the profane.
It is concerned with individuality, collectivity, and our navigation of the complex relationship between the built world and the natural world, and other people and ourselves.
It’s a place to build objects or totems, religions or websites, revolutions or business models, paintings, or galaxies.
The Dirty Art Department comes from a common background of design and applied art, it seeks however to reject the Kantian division between the pure and the applied arts.
Since ‘god is dead’ and ‘the spectacle’ is omnipresent, it sees the creation of alternative and new realities as the way to reconsider our life situation on this planet.
The Dirty Art Department is open to students from all backgrounds including designers, artists, bankers, skeptics, optimists, economists, philosophers, sociologists, independent thinkers, poets, urban planners, farmers, anarchists, and the curious.” Jerszy Seymour
The Jan van Eyck Academie is a site of encounters which had surpassed the sterile confines of academia and the consensual norms of market-oriented work, as it welcomed examinations and radical critiques of the spaces of artistic creation, theoretical inquiry and design, while also questioning the relations and boundaries between these fields. Building upon this experience, while at the same time surpassing its institutional limitations, the intention is to construct a platform for collaboration between theorists, designers and artists, by suspending the borders between their respective disciplines, by affirming the need for collective and experimental work, by engaging in projects which do not shy away from questioning the very possibilities of different domains, whether aesthetic, scientific or political.
Asterisk Summer School will take place in Tallinn, Estonia, from July 28 to August 4. The aim of the school is to introduce participants to different directions in the graphic design discipline and to expand the definition of graphic design practice. This includes exploring the different outputs design education could lead to – ones that differ from the common designer-client model. The participants are provided with the chance to experiment with various design methods and approaches and to get feedback from designers and artists from abroad.
The tutors at the summer school are designers and artists from abroad whose practices are directly linked to design but don’t always follow the classical definition of a designer. These tutors are Rebecca Stephany, Paul Elliman, Joris Kritis and Urs Lehni.
Application deadline: June 24, 2013.
Golden Spike Press is a collaborative publishing project founded and operated at the California Institute of the Arts, specialized in artists’ books and multiples, largely produced with Risograph Digital Duplicators.
A List of Students Enrolled In Post Studio Art, With Michael Asher At Calarts 1976–2008 consists of a list of students enrolled in Michael Asher’s Post Studio Art class at CalArts, semester by semester, from 1976 until 2008. The project, compiled and edited by Leslie Dick & Adriano Pedrosa, designed by Michael Ray-Von, is in memory of Michael Asher.
Post Studio Art met on Fridays to critique and discuss work presented by students. The class began at 10 AM and continued into the evening, often ending at 8 PM, 10 PM, and occasionally even later. The group continued the conversation until there was nothing more to say. By throwing out the clock, Michael Asher opened up a space for engaged consideration and questioning that proved fundamental to the thinking and practice of the artists and others who took part.
The list of students published here acknowledges the participants in a discourse, without attempting to describe or define the discourse. The book includes a short introduction and seven appendices.
The Master in Art Direction (MAAD) is part of ECAL/Ecole cantonale d’art de Lausanne in Switzerland. The programme focuses on contemporary editorial practices, it encourages students to create, commission, select and arrange content.
The MAAD motivates and puts emphasis on the work of “editing”: creating a sequence, editing and laying out content, via printed and/or virtual matter. What are the components of an identity of a label, a magazine, a website or an exhibition catalog?
The programme gives the opportunity for students to participate in a diverse range of experiences, from lectures, workshops to semester projects, in which they work with some of the best international experts. The two year programme ends with a master thesis and a practical project. The MAAD calls for curious, dynamic and ambitious students who are eager to explore the fields of photography, graphic design and type design. The online registration is open until 3 May 2013.
For the fourth year, the 2013 Summer School – set up by schools Werkplaats Typografie & ISIA Urbino – requires students or professionals in the field of design, or art related practices. They are calling for talented, inspiring, non-conventional candidates, with an authentic and critical mind, who don’t mind to work over summer, instead of sunbathing. During the two week workshop students will be guided by Karel Martens, Armand Mevis, Maureen Mooren and Leonardo Sonnoli. They will encourage them to work on a theme in relation to it’s specific context… Application deadline: May 20, 2013.
The HfG After School Club is an open platform to encourage and promote collaborative working structures. Once a year, during the lecture-free period of the HfG University of Art and Design Offenbach the dormant parts of the university are transformed into a student-organised workspace. The festival includes workshops, lectures, symposia, concerts and exhibitions. For one week aspiring design students will be able to attend six different workshops, each led by an internationally acclaimed designer… The second round of the festival will take place March 18-23 2013.