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 in 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.
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 school was founded by Fraser Muggeridge, joined by a visiting practitioner each day, from specialised areas of typographic design practice and educators at distinguished design schools.
The 2013 tutors in London – July 22-26 & July 29 – August 2 – are APFEL (A Practice for Everyday Life), Europa, Ken Garland, James Langdon, OK-RM, Other Means and David Pearson.
The 2013 tutors in New York – August 12-16 – are Julian Bittiner, Bob Gill, James Goggin, Geoff Han, Mary Voorhees Meehan, Other Means and Mark Owens.
Applications are open until May 1.
Fahrenheit 39 is an italian art book festival, March 8-10, 2013, in Ravenna. For it 3rd edition, you can apply for two workshops: BOOK LOGISTICA, Every year Thousands of feelings disappear for lack of concrete form, by WERKPLATS TYPOGRAFIE; & WHERE ABOUT?, Which spaces for a new publishing production? by MOUSSE Publishing/Magazine.
Book Machine – from February 20 to March 11, 2013, Centre Pompidou, Paris – is an event dedicated to the process of book production in the grandest sense. In essence, the commitment of the artist to the realization of their book or catalog is an extension of their body of work, and this results in the creation of what we call the artist’s book.
At the heart of this engagement and from the depths of the Forum at Centre Pompidou, there will be an atelier and office of production open to the public. Visitors will witness a daily array of visual artists, writers and designers creating their books. Around this production, there will also be a live feed projection of the printing process and visitors can attend various events, lectures, discussions, screenings and performances connected with the concept of the artist’s book.
Join Cambridge Book – an art book collection and consultancy – & Arena – a collaborative tool for assembling information – for an open conversation about new information paradigms and small publishing enterprises, December 17, 5pm, at Harvard LABRARY Storefront, a pop-up space organized by the Harvard GraduateSchool of Design (GSD) and Library Test Kitchen.
In:quest of Icarus is a tragedy; a contemporary work written of and from a contemporary situation and drawing upon Greek myth to illuminate certain aspects of that situation. Norman Potter
Norman Potter (1923–1995) was an English designer and educator. In 1964 Potter co-founded the Construction School, an experimental design course at the West of England College of Art in Bristol, England. His bold programme de-emphasised specialization in design and encouraged practical collaboration between disciplines. The school’s brief history is burdened by resistance to Potter’s ideas at every level of the educational institution. Coloured by this, and his involvement in the student protests of 1968, Potter’s thoughts on the structure of design education became increasingly anti-authoritarian.
In:quest of Icarus is a complex and allegorical reflection on these experiences. Potter describes the work as concerned with ‘walls, barriers, both of languages and hardware; the codes people use to protect their identity and to make random experiences ordered and comprehensible; the occasional wisdom of foolishness; freedoms and imprisonments; and so forth.’ It is Potter’s only play, and has been performed only once, by students at the Construction School on 5 December, 1974.
Restaged by James Langdon, the work is here represented by participants at the Werkplaats Typografie and the Sandberg Institute.
The staging of the performance is integral. The design of the hall and props follows the visual language and apparatus of the typewriter, on which it was composed. The configuration of the hall itself is a representation of the typewriter, with the audience actively implicated in the position of the keys, described by Potter as ‘the alphabetic possibilities of the spoken and written language.’ The staging is prepared by the performers themselves, and the four day process of construction, rehearsal and performance together constitutes the work.
Initiated by members of Fernand Baudin Prize, this event aims to focus on research and reflexion around editorial practices, and brings together students from different superior art schools everywhere in Belgium. This event corresponds to a current and general regain of interest in editing, also visible in most superior art schools: new classes?and Master specialized in editorial practices. More than another “most beautiful book award”, this event offers a less hierarchical and competitive model, and implies a real participation and reflexion of the students at many levels, from the event’s conception and organization to the exhibition, lectures, discussions and round tables taking place during the event.
Fernand Baudin Students Publications 2013 – The Tools Issue will happen in March 2013, during the international art book fair Paper/View in Brussels – connecting students and professional (common and divergent) problematics and practices.
“One year ago, we started the QUESTIONS/QUESTIONS project with the aim of giving some editorial space to students who graduated in 2011. Although we would have liked to have published it earlier, we believe that the interest of the projects that we have assembled is independent from the date of their publication. But there is a lot more that can be criticized or questioned. For example, the limitation to a certain audience of the call to contributions, which probably leaves a lot of good things out. That said, we are very happy with what we have been able to bring together.
The design and the editorial options follow from the desire to focus on the content — showing things that can’t be found on the Web or to emphasize particular aspects of the projects. We hope that this publication can become a humble source of reflexion for graphic designers — our selection has been influenced by the aim to combine, as much as possible, different horizons and ways of thinking about graphic design…”
Students: Rafaela Drazic, Benedetta Crippa, Benjamin E. Critton, Anne De Boeck and Laura Bergans, Caterina Giuliani, Filimonas Triantafyllou, Anna Craemer, Caroll Maréchal, Karoline Swiezynski, Laurie Robins, Alban-Paul Valmary, Manon Pavlowsky, Célia Castelo, Anh Truong, Laurens Teerlinck, Loraine Furter, Hester Barnard, RISD Graphic Design MFA Class of 2011, Bastien Bouvier, Agathe Demay, Michèle Champagne, Anja Groten, Simona Kicurovska, Maarten Kanters, Valentin Barry, Erik Hartin, Sophie Demay, Pedro Cid Proença, Afonso Martins, Maël Fournier-Comte, Astrid Seme, Nell May.
Contributors: Marco Balesteros, Annelys de Vet, Thierry Chancogne, Oliver Klimpel, Catherine Guiral, Harmen Liemburg, Uta Eisenreich, Europa (Paul Tisdell, Mia Frostner & Robert Sollis, CA&D alumni 2007), François Rappo.
Platform for Pedagogy lectures – Archives and Activism, Project Projects: As of 10.15.12, Negotiate: Exhibitions and Social Space
Platform for Pedagogy is a group that publicizes and promotes public lectures, symposia and related cultural events in and around New York City. Their aim is to cultivate cross-disciplinary lecture attendance and open institutions to larger and more diverse publics.
Archives and Activism, October 12, 2012
This symposium addresses a range of issues attendant upon archives’ evolving relationships with activism and social justice, ownership and participatory archives, and what emerging technologies mean for the practice.
Project Projects: As of 10.15.12, October 16, 2012
Adam Michaels, Prem Krishnamurthy, and Rob Giampietro will speak about their multidisciplinary practice at design studio Project Projects. Combining a conceptual focus, a critical approach to visual form, and an expansive sense of the possibilities of contemporary design practice, the studio engages in varied modes of production across a wide range of media and scales.
Negotiate: Exhibitions and Social Space, October 17, 2012
With Axel Wieder, curator and writer; response by Felicity Scott, Columbia University GSAPP. Axel Wieder has taken part in numerous exhibitions and together with Jesko Fezer and Katja Reichard, he founded the “Pro qm” bookstore in Berlin, which is also a venue for experimental events in the field of art and urbanism
TM RSI SGM 1960–90, Research Archive Beta, is derived from an exhaustive research on the Typographische Monatsblätter (TM) focussing on the issues from 1960 till 1990.
The Typographische Monatsblätter was one of the most important journals to successfully disseminate the phenomenon of ‘Swiss typography’ to an international audience. With more than 70 years in existence, the journal witnessed significant moments in the history of typography and graphic design. Its contributors include some of the most influential designers. Although the issues before 1960 are extremely rich in revealing the development of modernist typography, the years 1960–90 correspond to a period of transition in which many factors such as technology, socio-political contexts and aesthetic ideologies, profoundly affected and transformed the fields of typography and graphic design. From this general turbulence, new forms emerged and new models were explicitly manifested. The examination of the Typographische Monatsblätter during these specific years enables a greater understanding of the development of late 20th century typography and graphic design.