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”…
The White Review is a quarterly arts journal published in print and online specialising in artistically or educationally meritorious works of new or emerging artists and writers. Its aim is the promotion of the arts and literature and of advancing education in arts and literature.
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.
© pictures from ROLU blog
The Third Rail is a non-profit quarterly publication devoted to a discussion of art, politics, philosophy, and culture, featuring critical essays and reviews, interviews, literary arts, and artist center spread projects.
Royal Garden is an on-line shaggy magazine, a multidisciplinary production environment, a critical, theoretical and artistic exquisite cadaver…
Vegetal Passion sees the exhibition space as the natural milieu of works of art.
It’s Our Playground has imagined this 5th installment of Royal Garden as an ambiguous jungle in which visitors will find artists’ pieces, archival photographs and images gleaned from the internet, all shown side by side without any obvious hierarchy. Deftly mixing plants and works of art, works that involve plants and “exhibition plants,” this curatorial project takes a new look at gardening practices in institutional settings, which is increasingly a part of today’s reality. Indeed, while blogs are replete with images of plants, which are adopted for their graphic qualities, they have also invaded art galleries, for artists appreciate their formal values as well as their reference to both a domesticated nature and a questioning of the decorative function of artworks…
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.
The Artist as Curator, edited by Elena Filipovic, is a serial publication that examines a profoundly influential but still understudied phenomenon, a history that has yet to be written: the fundamental role that artists have played as curators. Taking the ontologically ambiguous thing we called “the exhibition” as a critical medium, artists have often in the process radically rethought the conventional form of the exhibition as such. This project is about precisely those exhibitions.
Two essays will appear in a loose booklet in each edition of Mousse Magazine over two years, before being published in book form at the end. Collectively, they will address twenty seminal artist-curated exhibitions, spanning a period from the postwar to the present.
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.
Coinciding with the 125th anniversary of National Geographic magazine, french artist Cyprien Gaillard has produced a pop up art edition as part of 032c #25. Assembled from images that span more than 40 years of the publication, Gaillard’s sculpture can be constructed by making three simple folds from left to right into the inside hinge of the magazine. This anachronistic monument is held together by tension alone; no glue is required.
Dieter Roth, Processing the World – du 14 décembre au 9 mars 2014, Frac Bretagne, Rennes – s’intéresse à la façon dont Dieter Roth, artiste particulièrement novateur de la seconde moitié du XXe siècle, construit son œuvre, dans une dynamique où chaque expérimentation en fait naître une nouvelle. À travers films, livres, archives, lieux d’une recherche singulièrement vivace mais aussi peintures, estampes, installations, Dieter Roth, Processing the World analyse les procédures de création de l’artiste et la manière dont il les pousse à leurs limites.
Qu’est-ce qu’un process, un processus ? On parle de process dans l’industrie comme d’une succession d’étapes de fabrication. Le processus, suite d’actions ou de procédés est directement lié dans la création d’une œuvre à la mise en place d’une relation au temps. Ces deux aspects sont présents chez Dieter Roth. D’un côté, il développe des systèmes dans ses livres ou estampes qu’il épuise par de multiples modifications, reprises, superpositions, destructions. De l’autre, il enregistre le réel construit à l’état brut.
Les processus mis en place chez Dieter Roth sont abordés à travers ses dessins et notes préparatoires, archives, livres, montrant par exemple l’exploration d’un même motif à travers des supports différents, mais aussi à travers ses œuvres en deux et trois dimensions. Les archives qui accompagnent les œuvres tiennent une part importante dans ce projet, témoins d’un esprit particulièrement vif.
En exposant avec précision plusieurs dispositifs inventés par Dieter Roth, depuis la phase de l’archive jusqu’aux œuvres proprement dites, l’exposition présente des séries d’œuvres qui nous font pénétrer à l’intérieur de ses méthodes de travail.
Mapping the contemporary art scene may seem impossible. It is nonetheless the aim of ORACULAR / VERNACULAR. Revolving around two seemingly opposite aesthetics, this exhibition offers a view into European and North-American processes. Charlotte Cosson and Emmanuelle Luciani have gathered new or overlooked works of art by Mathieu K. Abonnenc, Neïl Béloufa, Julie Béna, Michel Boisse, Bertrand Dézoteux, Marine Hugonnier, Dominique Hurth, Alex Israël, Ikonotekst Group, Kolkoz, Kapwani Kiwanga, Gareth Long, Benoît Maire, Shana Moulton, Falke Pisano, Sunita Prasad, Olivia Plender, Julien Prévieux, and Ryan Trecartin at MAMO – the Cité Radieuse, Marseille, December 15 – February 16, 2014.
Some of these artists engage scholar-like researches before translating them into mainly black & white works of art; others use synthetic colors, 3D modeling and harsh encrustations. Does this conflict of aesthetics – issued from minimal and conceptual art or from the Internet – really mean that these currents are contradictory? Their common points of interest seem to prove wrong…
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.
The Piracy Project is an international publishing and exhibition project exploring the philosophical, legal and practical implications of book piracy and creative modes of reproduction.
From December 6 to February 8, 2014, the Piracy Project collection will be housed at
Grand Union, Birmingham, with 150 modified, appropriated and copied books from all over the world. The collection, which is catalogued online, is the starting point for talks and work groups around the concept of originality, the notion of authorship and politics of copyright.
The Piracy Project is not about stealing or forgery. It is about creating a platform to innovatively explore the spectrum of copying, re-editing, translating, paraphrasing, imitating, re-organising, manipulating of already existing works. Here creativity and originality sit not in the borrowed material itself, but in the way it is handled.
documentation céline duval s’attache à saisir les représentations de toutes natures, depuis les gravures encyclopédiques jusqu’aux photographies diffusées sur des réseaux sociaux. Cette fabrique d’images en perpétuelle expansion s’associe à ce qu’elle nomme le devenir image du monde. Questionner, décoder, raconter, l’artiste nous propose de retrouver notre place perdue de regardeur dans cet océan visuel sans horizon.
Jusqu’au 14 décembre 2013, au Centre d’art Micro Onde, Vélizy-Villacoublay, Céline Duval présente L’Archipel des images, un ensemble de nouvelles oeuvres, photographies et publication dans une mise en scène conçue spécialement pour l’exposition.
The Last Books – a publishing house and performance project initiated by Philip Baber and Snejanka Mihaylova – published Cannon Magazine No.3 which comprises two texts by Peter Handke – a reprint of his 1986 novel Repetition and the first English edition of his long poem To Duration – published in two separate volumes.
GAGARIN, the Artists in their Own Words, is an artist’s magazine, entirely dedicated to the publication of especially written and unpublished texts by artists who are now working, anywhere in the world. Each issue contains a number of artists’ writings, if possible from an equal number of countries. The texts are published in their original language and alphabetical writing, with unabridged translations in English added. Advertising and visual material are deliberately kept out. GAGARIN is aimed at those who do not tend to wait until everything is accepted and synthesised and those who are prepared to leave the road to search for stimulating art and ideas while they are still fresh. GAGARIN does not restrict itself to a particular period or import and runs trough the codes that are applied in the world of art. Its orientation is artistic, documentary and historical. GAGARIN also aspires to provide an accurate source of information about the collaborating artists, using their own words.
A photograph of me crying early in the morning on the beach in the far rockaways that is placed onto the english wikipedia page for mood disorder and then used by various websites as a free stock
As the title said, “A photograph of me crying early in the morning on the beach in the far rockaways that is placed onto the english wikipedia page for mood disorder and then used by various websites as a free stock”, by David Horvitz, published by Shelter Press.
The Fox issue 4 is loosely a continuation of the 1970′s journal The Fox produced by the artist’s collective Art & Language, however this regenerated version deviates from the concerns of the past publication, instead holding a closer link to the ‘natural world’, particularly the urban fox as a medium through which to explore attitudes towards the city, culture, nature, labour, architecture and design.
Designed by Mathew Whittington and with contributions by Daniel Arsham, Federico Campagna, Mike Davis, Mabli Elliman, Paul Elliman, Kristen Gallerneaux Brooks, Valentijn Goethals, Bill Hutchison, Esther Leslie & Ben Watson, Tetsuo Mukai, Leonard van Munster, Melissa Pilon, and Hermione Spriggs, as well as a selection of re-published material from the 19th and 20th century. Launch December 14, 3-5pm, Wysing Art Centre, Cambridge, as part of X Marks the Bökship’s X-Operative.
The eleventh issue of F.R.DAVID, All distinctions are mind, by mind, of mind will be launched November 24, 4pm, Dexter Sinister, New York, with readings by Kendra Sullivan, David Reinfurt and Will Holder.
“All distinctions are mind, by mind, of mind” is comparative — making divisions and splits in order to read the design of rhetoric in the stories we tell about our fictional and professional selves. With Abra Ancliffe, Robert Ashley, Ricardo Basbaum, Michael Gazzaniga, Ken Jacobs, Shane Krepakevich, John Latham, Ezra Pound, Kendra Sullivan, Sergei Tret’iakov, Marina Vishmidt, Rebecca Wilcox & Sarah Rose and many more.