The work of the Cyprus-born artist Haris Epaminonda, who currently lives and works in Berlin, comprises films, sculptures and installations that incorporate images and objects borrowed from various origins and epochs, staging multiple encounters, while cultivating an explicit relationship with the past. Pages of old books, vases or statuettes are put into relation through visual associations that form a fictional space.
For the exhibition VOL. XVI at le plateau in Paris, September 24 to December 6, the artist has devised an all-encompassing environment that occupies the cleared spaces with a series of cubicles, platforms and screens conceived both as sculptures and presentation devices. Including other elements, films and sound, the whole set exceeds the exhibition space itself with parallel and temporary appearances connecting the inside and outside of le plateau, shaping a kind of inhabited archipelago in constant evolution. By condensing the different angles of her approach, in which the idea of travelling and movement – in time and in space – plays a fundamental role, the exhibition as a whole will offer a unique opportunity for a simultaneously sculptural, spatial and filmic experience.
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.
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.
Take Me (I’m Yours) is a collective and interactive exhibition which brings together the work of forty-four international artists under the curatorship of Christian Boltanski, Hans Ulrich Obrist and Chiara Parisi. The exhibition, from September 16 to November 8, will turn the Monnaie de Paris’s 18th-century rooms into a venue for free and creative exchange, designed to unsettle the conventional relationship between a work of art and its viewer. Visitors are invited, even encouraged, to touch, use and take away the artists’ projects and ideas.
The exhibition curators, Christian Boltanski and Hans Ulrich Obrist, have taken the original principle which motivated them in 1995 at the Serpentine Gallery and brought it up to date.
With more than forty projects, the Paris exhibition is greater in magnitude and scope. The project sees the return of artists who took part in the first event (Christian Boltanski, Maria Eichhorn, Hans-Peter Feldmann, Jef Geys, Gilbert & George, Douglas Gordon, Christine Hill, Carsten Höller, Fabrice Hyber, Wolfgang Tillmans, Lawrence Weiner and Franz West), and has given rise to new collaborations (Etel Adnan & Simone Fattal, Pawel Althamer, Kerstin Brätsch & Sarah Ortmeyer, James Lee Byars, Heman Chong, Jeremy Deller, Andrea Fraser, Gloria Friedmann, Felix Gonzalez-Torres, Bertrand Lavier, Jonathan Horowitz, Koo Jeong-A, Alison Knowles, Angelika Markul, Gustav Metzger, Otobong Nkanga, Roman Ondák, Yoko Ono, Philippe Parreno, Sean Raspet, Takako Saito, Daniel Spoerri, Rirkrit Tiravanija, Amalia Ulman, Franco Vaccari, Danh Võ and the artists Ho Rui An, Felix Gaudlitz and Charlie Malgat from 89plus, the multiplatform international research project designed to map the generation born on and after 1989 by Hans Ulrich Obrist and Simon Castets. The exhibition is also an outlet for distributing issues of point d’ironie (agnès b.).
Displayed on the walls of the last factory in the centre of Paris, the exhibition is an opportunity to revisit the myth of the unique artwork and question its methods of production.
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.
Corita Kent was an activist nun who juxtaposed spiritual, pop cultural, literary, and political writings alongside symbols of consumer culture and modern life in order to create bold images and prints during the 1960s. Also known as Sister Mary Corita, Kent is often seen as a curiosity or an “anomaly” in the pop art movement.
Corita Kent and the Language of Pop – September 3 to January 3, 2016 at Harvard Art Museums, Cambridge, and February 13 to May 8, 2016, at San Antonio Museum of Art – positions Kent and her work within the pop art idiom, showing how she is an innovative contemporary of Andy Warhol, Ed Ruscha, and other pop art icons. The exhibition also expands the current scholarship on Kent’s art, elevating the role of her artwork by identifying its place in the artistic and cultural movements of her time.
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
After collage, the archive, and appropriation, the Villa du Parc, Annemasse, is devoting its summer exhibition, Constellating Images, from June 25 to September 20, to art practices that arrange images in constellations, images that are of different natures, provenances and periods. Appearing on the art scene in the first decade of this century, these practices are contemporaneous with the development of the internet, which has made an exponential access to images and a dehierarchized navigation possible thanks to search engines that reference and classify large bodies of information through keywords. And while similarities between the techno- logical tool (used daily) and artmaking can be seen, the choice of images in these works springs from a sensitive, differentiating selection and approach. The artists situate certain images within a multitude of signs and work to lend meaning and form to their particular grouping. Thus, from the continuous flow of images they strive to transpose, use, redefine, and extract plastic, material, and often tangible forms that are specific to contemporary art (paintings, video, installation, etc.)…
With artworks by Luis Jacob, Ryan Gander, Aurélien Froment, Alexandra Leykauf, Benoit Maire, Jonathan Monk, Sara VanDerBeek; with “The Infinite Library” by Haris Epaminonda and Daniel Gustav Cramer, and “Unpacking my Library, (re)composition” by Christophe Daviet-Thery.
A Circular 3, edited by Pedro Cid Proença with Fatima Hellberg, features Xavier Antin, Patrick Coyle, Helen DeWitt, Maël Fournier Comte, Charmian Griffin, Will Holder, James Langdon, Roger Laporte, Isla Leaver-Yap, Lisa Maruca, David Morris, Jean Shepherd, Rosalie Schweiker, Stefan Themerson, and Alex Waterman. Launch June 11, 6.30pm, Cubitt, London.
Endless House: Intersections of Art and Architecture, from June 27, 2015, to March 6, 2016, MoMA, New York, considers the single-family home and archetypes of dwelling as a theme for the creative endeavors of architects and artists. Through drawings, photographs, video, installations, and architectural models drawn from MoMA’s collection, the exhibition highlights how artists have used the house as a means to explore universal topics, and how architects have tackled the design of residences to expand their discipline in new ways.
The exhibition also marks the 50th anniversary of the death of Viennese-born artist and architect Frederick Kiesler (1890–1965). Taking its name from an unrealized project by Kiesler, Endless House celebrates his legacy and the cross-pollination of art and architecture that made Kiesler’s 15-year project a reference point for generations to come.
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.
In a time of previously unforeseen plurality, visibility and distribution, the value of the image has been elevated in its usefulness as a tool and simultaneously annihilated by its ease of multiplication and impossibility of ownership. Linus Bill & Adrien Horni seize this moment to reestablish the foundations and hierarchy of the image.
To create their raw material, they incorporate tools both analogue and digital – paper, scissors, glue, Xerox, scanner, iPhones, iPad and powerbooks, consumer printers, architectural printers and hi-end inkjet alike. Even if beginning on paper, these sketches soon become jpegs.
Eschewing the art world’s conscientious formula for creation / documentation / distribution, the artists approach their own process more like mail-order shopping. Flipping the idea of the catalogue on its head, Bill and Horni put the exhibition catalogue before the artwork, chronologically at least. The printed catalogue always precedes the works destined for the walls of the gallery or institution. The artists state that “The books are like catalogues from which we choose our next painting.”
The artist’s new book, their largest to date, Gemälde 2013 – 2017, (the years depict both the time frame of the source material and period to complete the paintings) is the foundation for the exhibition Gemälde 2015 at Galerie Allen in Paris, May 28 to July 26.
Know-How / Show-How Summer School in Sofia, June 29 – July 10
Booksfromthefuture Summer School in London, July 6-17
Werkplaats Typografie Summer School in Urbino, July 19-31
Typography Summer School in London, July 20-24
Asterisk Summer School in Tallinn, July 28 – August 6
GDA Summer Sessions 2015 in Detroit, August 1-16
Travelogue Summer School in Porto, August 3-8
Typography Summer School in New York, August 10-14
The Ventriloquist Summerschool in Oslo, August 10-15
Van Eyck Summer Design Academy in Maastricht, August 20-24
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.
© 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.
Marcel Broodthaers est un artiste polymorphe, poète, plasticien, réalisateur de films, photographe, qui a anticipé la réflexion sur les rapports entre l’œuvre d’art, le musée et le public.
Le Musée d’Art Moderne – Département des Aigles, à laquelle l’exposition à la Monnaie de Paris – du 18 avril au 5 juillet 2015 – est dédiée, s’inscrit dans le contexte de 1968 en Europe, marqué par la réflexion sur les changements de la société, de l’art et de ses institutions. Malgré lui, Marcel Broodthaers en devient l’un des acteurs majeurs. Il s’autoproclame “directeur” et “conservateur” du Musée d’Art Moderne – Département des Aigles, institution qui, durant quatre ans, entre 1968 et 1972, va interroger la valeur de l’œuvre d’art en soit et dans son contexte d’exposition. Un questionnement de la notion de musée et de son rôle que Broodthaers fait passer entre le ton de la fiction et de la réalité.
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? …