April 29th, 2013

The image of the “blue planet”, a new perspective of the earth as seen from the outside, is one of the most popular images in history. This image, more than any other, has shaped the popular notion of the age of the “whole world” and globalization, from a worldwide society linked by the Internet to the current debate on the climate. Using artworks and materials from cultural history, the exhibition will critically explore the application of ecological-systemic concepts to society, politics, and aesthetics.

The exhibition The Whole Earth – until July 1, Haus der Kulturen der Welt, Berlin – is one of the first to explore the history of the photograph of the “blue planet”, and reflects in a comprehensive way the power of the Whole Earth Catalog

Books &Foam

March 27th, 2013

©Display: Terribly awesome photobooks, Paul Kooiker & Erik Kessels, Art Paper Editions

Books &Foam – March 28 to May 26, 2013, Foam, Amsterdam – will be placing a large selection of photography books from the Netherlands in the spotlight with special presentations to shed light on the design process, with installations, book signing sessions and a selection of recent international photo books.
Among others, visitors will gain insight into the design process of six yet-to-be-published photo books. Showing the first ideas and sketches, email correspondence between photographer and designer, dummies and test prints provide an associative view into the design process… Dutch and international experts from the world of photography have also been invited to provide a ‘curated bookshelf’, containing their choices for the five best photo books of 2012…

The Independent Group: Parallel of Art & Life

March 13th, 2013

Parallel of Life and Art, 1953

The Independent Group met at the original ICA in Dover Street from 1952-5. Celebrated today as the so-called Fathers of Pop, they worked with art, science, technology and popular culture. From horror films to theories of evolution, modern architecture to Marilyn Monroe, this group project worked beyond traditional boundaries and conventional disciplinary areas.
The exhibitions organised by the group were highly innovative, both in terms of layout and the range of objects displayed. The Independent Group shows introduced the new age of modernity and mass culture to the gallery space. Reflecting the Group’s collage mentality, new technology and high end design were juxtaposed with avant-garde art.

The exhibition The Independent Group: Parallel of Art & Life – March 27 – June 9, 2013, Institute of Contemporary Arts, London – will include paintings, drawings and photographs by John McHale, Magda Cordell, Nigel Henderson, Eduardo Paolozzi and Richard Hamilton, alongside related designed objects and ephemera from the Independent Group. Evoking the ICA’s original home in Dover Street in the 1950s, the exhibition will be designed to give viewers a sense of ‘The Home of the Avant Garde’ which first attracted this collection of creative practitioners. In addition, a two day conference will bring together leading researchers, practitioners and curators who are working on aspects of the Independent Group. The aim will be to consider ways in which the Independent Group have been, and continue to be, exhibited.


March 9th, 2013

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.


February 15th, 2013

Werker 3 – Bilderkritik 2

February 11th, 2013

Werker Magazine is a contextual publication about photography and labour that inquires into the possibility of formulating a contemporary representation of work. Werker takes its name from the Worker Photographers (1926-39), fascinating by their political use of photography based on self-documentation, self-publishing and image critique.
Werker 3 – Bilderkritik 2 – February 24, The Showroom, London – will be an afternoon event where the method of ‘Bilderkritik’ (image critique) will be explored in relation to images from the Domestic Worker Photographer Network…

Posted in Art, Photography


December 14th, 2012

Theophile’s Papers PANORAMA n°15

November 29th, 2012

Theophile’s Papers is a project dedicated to the diffusion of independent editors, fanzines, newspapers and magazines specialized in art, photography, typography, and illustration, with a focus on the promotion of emerging projects and artist books.
With his collection of publications, and displays designed by Valérian Goalec, Theophile travels to apartments, galleries, and book shops, where he helps people to discover new things in different places.
Artisan Social Designer, an Art & design gallery in Paris, welcomes Theophile’s Papers for Panorama n°15, november 30 to january 2.

Terribly awesome photobooks

November 15th, 2012

For several years, Paul Kooiker and Erik Kessels have organized evenings for friends in which they share the strangest photo books in their collections. The books shown are rarely available in regular shops, but are picked up in thrift stores and from antiquaries.
The group’s fascination for these pictorial non-fiction books comes from the need to find images that exist on the fringe of regular commercial photo books. It’s only in this area that it’s possible to find images with an uncontrived quality.
What’s noticeable from these publications is that there’s a thin line between being terrible and being awesome. This constant tension makes the books interesting.
It’s also worth noting that these tomes all fall within certain categories: the medical, instructional, scientific, sex, humour or propaganda.
In Terribly awesome photobooks, Paul Kooiker and Erik Kessels have made a selection of their finest books from within this questionable new genre.

Posted in Art, Books, Photography


November 13th, 2012

MAKERSANDFOUNDERS is an always expanding collection of video interviews with makers and founders from a variety of sources and perspectives.

Offprint Paris

November 9th, 2012

Offprint Paris is an Art Publishing Fair focused on emerging practices in Art.

“We give special attention to the evolution of publishing/curating from traditional “spaces” (catalogues, artists books, photobooks, newspapers, but also museums and schools) towards new spaces and artists organizations (independent publishing, self publishing strategies, websites, blogs, social networks, activism, non institutional activities…).
We consider that the topic of “Publishing” can offer a stimulating hermeneutic to analyse the structure and development of the contemporary art world in a context of digitalization of cultures.”

15–18 November 2012
École nationale supérieure des beaux-arts, Paris


October 25th, 2012

©William Wegman, Reading Two Books

OFFPRINT, November 15-18, 2012, Paris
KIOOSK, November 17-18, 2012, Kraków
PA/PER VIEW, November 24-25, 2012, Porto
ROOKIE, December 6-8, 2012, Poznan


October 24th, 2012

Jusqu’au 9 décembre, Le Bal, à Paris, présente le travail de Paul Graham, figure majeure de la scène photographique britannique contemporaine, et propose deux conférences, Autour des livres de Paul Graham.

Au-delà du livre de photographie, Nicolas Giraud, 24 octobre, 20h
L’imprimé est toujours un outil ambigu pour le photographe, un objet qui oscille entre le catalogue, l’archive et l’espace d’exposition. Chez Paul Graham, le livre de photographie est poussé dans ses retranchements, jusqu’au point de basculer.
S’ils s’inscrivent dans une généalogie qui comprend les publications de William Eggleston ou Garry Winogrand, les livres de Paul Graham se nourrissent aussi d’influences littéraires et des expérimentations du livre d’artiste. En traversant cette bibliothèque singulière, nous verrons comment l’espace du livre permet à Paul Graham de neutraliser tout conflit entre l’objectif et le subjectif par un subtil jeu éditorial entre les images et leur agencement.

“Elliptical Narrative” – Le récit, l’histoire et le livre de photographie, Gerry Badger,
7 novembre, 20 h
Gerry Badger établira une distinction entre le “récit” (narrative) et “l’histoire” (story). En utilisant le mot “histoire” pour décrire des récits simples et linéaires, Badger libère le « récit » et lui permet de prendre une acception très large qui inclut la photographie– avec l’expression “récit elliptique” (elliptical narrative). Il reviendra sur les expérimentations des photographes du collectif japonais Provoke avec Takuma Nakahira et sa “déconstruction radicale du récit”, mais aussi sur le livre Metal de Germaine Krull, où le lecteur est invité à construire lui-même la séquence des images. La notion de narration elliptique permettra également de mettre en écho les livres de Robert Frank et William Klein avec ceux de Paul Graham.

Posted in Books, Photography

Construire l’image: Le Corbusier et la photographie

October 23rd, 2012


Le Corbusier (1887-1965) souhaitait apporter à ses contemporains une nouvelle façon de penser à la fois l’habitat, l’urbanisme et l’art: proposer des conditions de vie nouvelles pour un homme nouveau.

La photographie est bien sûr à la base de la diffusion de son oeuvre architecturale, mais l’exposition Construire l’image: Le Corbusier et la photographie ne se limite pas à la représentation photographique des réalisations de Le Corbusier. Dans son cas, la photographie mérite en effet d’être envisagée dans une perspective bien plus large : il est ici question de la photographie autant comme outil de représentation, de promotion ou de diffusion que comme moyen de recherche artistique et plastique.

Durant toute sa vie, Le Corbusier a fait de l’image des usages différenciés. Ses voyages ont été pour lui l’occasion de réunir de nombreux documents qu’il a utilisés dans son travail d’architecte, d’urbaniste, de théoricien et de plasticien. Il a puisé dans ce vaste répertoire iconographique pour illustrer ses écrits et ses expositions, développant des stratégies de communication innovantes. Il a supervisé la documentation de ses ouvres avec un œil exigeant et aiguisé, qui en fait parfois un véritable co-auteur de certaines photographies consacrées à son architecture. Par ailleurs, Le Corbusier a lui-même expérimenté cadrages et jeux de lumière dans son travail photographique personnel, encore largement inédit. La découverte récente de milliers de négatifs permet ainsi de restituer son processus créatif et de le confronter à sa pratique picturale.

Pour l’architecte, la photographie a ainsi servi à la fois de notes de travail et d’outil de recherche plastique. Au-delà de son propre travail de création, Le Corbusier a aussi été un des premiers à construire consciencieusement et systématiquement son image et celle de son œuvre à travers la photographie, en s’appuyant sur le travail de plusieurs photographes de renom.

jusqu’au 13 janvier 2013
Musée des beaux-arts, La Chaux-de-Fonds


October 9th, 2012

Pour sa 9ème édition le Salon Light met en scène rencontres et dialogues avec cinquante éditeurs et libraires indépendants, et trois journées de recherches et de performances sur la pratique éditoriale. Les acteurs de la micro-édition occupent un champ d’expérimentation multimodale et se jouent des frontières artistiques, comme des déterminations théoriques. Directement liées aux techniques de création et de diffusion de l’information les plus novatrices, les pratiques éditoriales ouvrent le champ de l’art et de ses frontières : sciences humaines, graphisme, son, poésie… Une nouvelle génération de curateurs s’est constituée sur le modèle de l’éditeur indépendant, qui s’adapte de manière dynamique aux mutations du monde contemporain où les rôles de l’édition (auteur, éditeur, graphiste, collectionneur, photographe, conservateur, libraire, lecteur) sont tour à tour joués par les mêmes. Une nouvelle route de la soie est ainsi empruntée par un nombre grandissant d’acteurs animés du désir de rompre avec un art qui fait du profit et souhaite réinventer un art complexe qui véhicule du savoir et se démarque naturellement du produit de luxe. Le Cneai renouvelle pour le Salon Light#9 la forme du salon en un véritable espace d’exposition des pratiques éditoriales.

19-21 octobre 2012
Palais de Tokyo, Paris

MARIANNE WEX – An Exhibition

October 6th, 2012

In some circles, Marianne Wex is famous for not being famous enough, in other circles she’s a sociological footnote, and in still other circles, she does not exist. Historical novelty is no more acceptable here than anywhere else, but every so often, some less-known work comes speaking to us so loudly that we rouse ourselves from the present torpor to plunge into the past tense.
Marianne Wex spent the early 1970s in Hamburg, Germany taking clandestine and banal photographs of men and women in public space. Then she reached out further and made photographs of advertisements, reproductions of Classical and Egyptian statuary, soft-core pornography, and stills from TV and film media, and herded all of it into categories: men standing, women standing, men sitting, women sitting, etc., and affixed those categories onto cardboard panels. These panels are not innocents. At the center of them is an argument about how we create and present ourselves, and the degree to which gender-specific conditioning and hierarchies are reflected through everyday pose, gesture, and pre-verbal communication. Though Marianne Wex’s photographic series was made explicitly for the middle of the 1970s, its fixations—self-representation and the performance of identity and gender—have not tired.

October 12–December 15, 2012
YALE UNION (YU), Portland

Dark and Stormy II

September 30th, 2012

DARK AND STORMY is the manifestation of Rustan Söderling and Bart de Baets’ writers block. It is a medium for vulnerable pen pals, caught in a web of potential beginnings and never-endings.
While DARK AND STORMY quotes, recycles, and tears apart existing work it also features new original writing. Although it may be slightly high brow at times, plenty of it comes straight from the gutter. DARK AND STORMY never aims to conclude, just to engage. By staying ambiguous about the source of its content DARK AND STORMY questions its own authenticity. It aspires to inspire artists in the hope they’ll make better work, write best-sellers or earn the occasional trophy. A silly and somewhat pretentious statement perhaps. So, in case DARK AND STORMY doesn’t live up to your expectations and fails to improve your oeuvre, consider becoming a contributor. Till then, we ask the reader to cut us some slack and enjoy the ride, since it’s only six pages, anyway.

Many of the contributors of DARK AND STORMY have died or – if they keep at it like this – won’t be around for much longer. But don’t let that spoil your fun. DARK AND STORMY’s editorial staff will live on, no matter how hard they push themselves. Younger editors will rise and contribute great work.

Contributors to Dark & Stormy II are Downtown Ace, Steve Anglesey, Bart de Baets, Marlon Brando, Richard Brautigan, Julia Künzi, Joris Kritis, Joseph Minion, Daniel Nørregaard, Flann O’Brien, Wolfgang Petersen, Andrija Puharich, Jonas Sætervik, Jim Thorell, Rustan Söderling and Kurt Vonnegut.

Launch October 4, 2012, 6pm
San Serriffe, Amsterdam

Bad Day Issue 14

September 28th, 2012

Bad Day is a biannual cross-cultural interview magazine founded in Toronto.
Issue 14 features Agnès B., Roman Coppola, Francis Upritchard, Whit Stillman, Venus X, d’Eon, Eunice Lee and Sam De Groot, with a porfolio by Michael Schmelling, and editorials by Jason Nocito and Leonard Greco.

Launch, September 28, 7pm
Steven Alan, New York


September 16th, 2012


September 10th, 2012

MISS READ 2012 brings together for the fourth time the most important protagonists of artistic book publishing. With the artist book as an autonomous artistic work, artists use the linearity of the book as medium to tell visual stories, generate archives, depict collections, present research results, or even quite intentionally practice book piracy. The productive collaboration between artist, author, and designer often results in the creation of complex books that also enable a fresh perspective on the art.

September 14-16, 2012
abc art berlin contemporary, Berlin

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