Public Collectors consists of informal agreements where collectors allow the contents of their collection to be published and permit those who are curious to directly experience the objects in person.
Public Collectors is founded upon the concern that there are many types of cultural artifacts that public libraries, museums and other institutions and archives either do not collect or do not make freely accessible. Public Collectors asks individuals that have had the luxury to amass, organize, and inventory these materials to help reverse this lack by making their collections public.
The purpose of this project is for large collections of materials to become accessible so that knowledge, ideas and expertise can be freely shared and exchanged.
Paper Blog booklet consists of sample findings (or excerpts from publications) that were originally posted on the Public Collectors blog (publiccollectors.tumblr.com). These images are a selection pulled from nearly 650 images and scans posted between September 2009 and November 2010.
Public Collectors on Tumblr is intended as a casual, more personal supplement to the main Public Collectors website. It is a place for small things and for fragments of much larger things.
A HACKER SCREENING SERIES
Curated by Pirateturk
Organized by Laurel Ptak
The title FREE KEVIN is an appropriated slogan that was originally used by the hacker community in the 1990s to protest the arrest of Kevin Mitnick, a legendary hacker who at the time was the most wanted computer criminal in United States history.
FREE KEVIN is an ongoing and roving screening series from a collection of 15.4 GB of downloaded films and documentaries depicting hackers and related computer culture from the 1980s-2000s. A range of material including blockbuster films, educational television programming, and documentaries produced within the hacking community will be presented in various cities worldwide in order to stimulate dialogue around issues of intellectual property and open culture…(all info).
Counter-print.co.uk is dedicated to the promotion and sale of Art and Design related material. Often out of print or hard to find, we aim to celebrate both forgotten gems as well as those heralded designers that we all admire.
DIASPAR is forty-five reactions to randomness generated by internationally recognised experts from dozens of different fields. These articles overlap each other in complex ways, drawing lines of connection that crosshatch into a map which must be navigated as a labyrinth. It slowly explains itself as you travel through it, but there is no end (or beginning).
With contributions by: Mark Amsler (language and literature), Anonymous (librarian), Brian Boyd (literature), John Brooks (microbiology), Arthur Buehler (religious studies), Cristian Calude (mathematics and computer science), David Carradine (timber research engineering), Pip Cheshire (architecture), Michael Dinneen (computer science), Anna Gardner (art), Peter Gilderdale (calligraphy and graphic design), Mat Goddard (evolution and natural selection), Max Harris (law), King Tong Ho (photography), Maarten Hoogerland (quantum physics), Humphrey Ikin (sculpture and furniture design), Ruth Irwin (interdisciplinary ethics and philosophy), Joel Lauterbach (probation, corrections and social work), Bill Manhire (poetry), Scott Parkins (quantum optics), John Raine (forensic engineering), Natalie Robertson (photography), Kim Sinclair (art direction of films), Mike Steel (mathematics), Veronica Strang (environmental anthropology), Jonty Valentine (graphic design), Luke Wood (graphic design), Oliver Woods (political science), Ian Yeoman (tourism futurology)
Launch: December 3, 2010
Split Fountain, Auckland
Before Viktor there was Hektor, a relatively simple spray-can output device driven by two motors. Invented in collaboration with the engineer Uli Franke, it made its debut as Jürg Lehni’s art-school graduation project at the Ecole Cantonale d’Art de Lausanne (ECAL) in 2002 and has performed regularly ever since.
Far from being a closed mechanical device — a black box between creative impulse and output — the concern of Hektor (and now Viktor) is the nuanced interaction between the user and the technologies of communication. The drawing machine Viktor is an amalgam of digital and mechanical technologies. A collage of tools, all of which were invented for other general and specific uses.
In response to the position of such technologies, Lehni together with Alex Rich started an ongoing e-mail correspondence about various devices, systems and technologies with which their work had a resonance. Lehni and Rich constructed an archive, one that they came to call A Recent History of Writing & Drawing and which inspired their installation at the Institute of Contemporary Arts, London (2008).
Upending assumptions that any one kind of communication is more authentic, more direct or more valid that any other, A Recent History of Writing & Drawing finds meaning, texture and poetry in the most unlikely places.
Things to Say (Viktor) is the first in a series of collected drawings produced in collaboration with invited guests to perform with Viktor every Thursday evening at the ICA throughout the duration of the exhibition
Investissant une caravane, ICI est un espace destiné à se faire l’écho de diverses activités de l’école supérieure des beaux-arts de Toulouse (conférences, workshops, projets pédagogiques, etc.) par une programmation éditoriale.
ICI envisage l’édition comme une pratique ou comme un territoire pouvant faire l’objet de recherches et de démarches artistiques. Celles-ci peuvent relever aussi bien du champ des arts plastiques et des arts visuels que de celui du design et du design graphique. Tout en étant attentif aux spécificités de chaque pratiques éditoriales, ICI aborde l’art édité dans une vue d’ensemble, permettant de s’apercevoir que les diverses parcelles de ce territoire sont reliées par une topographie commune.
Le travail d’Éric Watier prend principalement la forme d’imprimés et de publications : photocopies, livres, affiches, tracts, cartes postales. Ces éditions sont souvent “sans apprêts, sans atours, rêches au regard – même si, et il n’y a pas de contradiction dans cette attitude, [Éric Watier] porte une grande attention à leurs formats, à la qualité des papiers qu’il utilise” (Didier Mathieu). Elles donnent à voir et à lire de courts textes descriptifs, des paysages “avec retard”, des inventaires, etc., tout en résultant d’une réflexion sur les modes de production et de diffusion, à l’ère du numérique en particulier.
Jusqu’au 14 décembre 2010
ICI, École supérieure des beaux-arts, Toulouse
PRE-SPECIFICS: ACCESS X!
GET ACCESS TO THE “X” IMPOSED BY DESIGNED CULTURE!
ONOMATOPEE 52: RESEARCH PROJECT
PRE-SPECIFICS: ACCESS X! not only showcases luring products, spaces and concepts by contemporary artists, designers, architects and others, but actually also provides insight into their strategies. The exhibition featured both sensory works and accountable strategies and motivations. The accompanying publication offers further notions into designed culture’s X: its productive conditions and modes of mediation.
Over recent years, ‘Design’ has progressed into a collective term for various activities of research, conceptualisation, production and even criticality. As ‘Design’ became synonymous to widespread professional authority, ‘Design’ became the name for physically imposed control and personally imposed power at large
The research project PRE-SPECIFICS: ACCESS X! offers you both a rich scope of forms of “X” as an instrumental toolbox to engage the “X” in our designed culture, offering ACCESS to X!
Onomatopee commissioned a variety of proposals, first of all to map out to what extent the addressed ‘design’ practice touches upon conditions of such a type of production and, second, to situate X in practice by means of a newly produced work.
Contributors: Platform for Pedagogy, Uglycute, Olaf Nicolai, Dexter Sinister, Joana Meroz / Andrea Bandoni / Saron Paz , Unfold, Metahaven, Lust, Claire Fountaine, Société Réaliste, Ryan Gander, Åbäke, Dave Hullfish Bailey and Florian Conradi / Michelle Christensen.
Akademie Neu is a new series of events and discussions around contemporary art, publishing and exhibition making, designed to connect to those interested in contemporary visual art in Southend.
For this event, designer Fraser Muggeridge has been invited to discuss his varied and eclectic practice.
8 December 2010, 5.30pm
Focal Point Gallery, Southend-on-Sea
How to carry the world on one’s back?
Curator: Georges Didi-Huberman
In the visual arts, the Mnemosyne Atlas of images, composed by Aby Warburg between 1924 and 1929, and yet left unfinished, remains for any art historian – and even for any artist today – a reference and an absolutely fascinating case-study.
Warburg completely renewed our way of understanding images. He is to art history what Freud, his contemporary, is to psychology: he opened the understanding of art to radically new questions, those concerning unconscious memory in particular. Mnemosyne is his paradoxical masterpiece and his methodological testament: it gathers all of the objects of his research in an apparatus that is also a reaction to two fundamental experiences: that of madness, and that of war. It can therefore be considered a documentary history of the Western imagination (as such, the inheritor of the Disparates and the Caprichos of Goya) and as a tool for understanding the political violence of images in history (comparable, as such, to a collection of Desastres).
ATLAS. How to carry the world on one’s back? is an interdisciplinary exhibition which crosses the 20th and 21st centuries by taking the Mnemosyne Atlas as its point of departure.
In spite of the differences of method and content which might separate the research of a historian-philosopher from the work of a visual artist, what is striking is their common heuristic — or experimental — method when based on a montage of heterogeneous images. We discover that Warburg shares with the artists of his time the same passion for an operating visual affinity, which makes him the contemporary of avant-garde artists (Kurt Schwitters or László Moholy-Nagy), of photographers of the “documentary style” (August Sander or Karl Blossfeldt), of avant- garde filmmakers (Dziga Vertov or Sergei Eisenstein), of writers who employed literary montage (Walter Benjamin or Benjamin Fondane), or even surrealist poets and artists (Georges Bataille or Man Ray).
The ATLAS exhibition was not conceived to bring together beautiful artifacts, but rather to understand how certain artists work – beyond the question of any masterpieces – and how this work can be considered from the perspective of an authentic method, and, even, a non-standard transverse knowledge of our world… More informations here.
END NOTE: Tanya Leighton and Archive Kabinett invite you to consider the role that publications play in an artist’s practice.
The first chapter of End Note, on view at Tanya Leighton Gallery, includes work that uses existing publications, manuscripts, book collections, and archives as sources for reinventing the word or image, and examines the extended life of the printed form.
The second part of the exhibition, on display at Archive Kabinett, considers alternative approaches to presenting publications. Download press release.
Participating artists: Ayreen Anastas & Rene Gabri, Nina Beier & Marie Lund, Melanie Bonajo & Kinga Kielczynska, Pavel Büchler , Andreas Bunte, Daniel Gustav Cramer & Haris Epaminonda, Simon Denny, Jason Dodge, Karl Holmqvist, Christodoulos Panayiotou, Dan Rees, Rupert Smyth , Megan Francis Sullivan, Erik van der Weijde, Jean-Michel Wicker, XYM and contributing artists from the pilot issue of SOMETHING BLUE (edited and designed by Neue Alte Brücke / Mark Dickinson)
Expansion & Collapse is an ongoing collaborative project between Fay Nicolson and Oliver Smith exploring processes of acquiring, organising and displaying visual research. Within this project we trace relationships between traditional sites for storing information (libraries, archives and shelving systems) and new digital, networked and compressed sites for accessing ‘knowledge’- making connections between schematic and architectural, real and hypothetical spaces.
Postdocument est une publication centrée sur la photographie d’œuvres d’art en situation d’exposition. Disponible sous forme de fichier pdf téléchargeable et imprimable gratuitement, elle présente une organisation d’images réalisées par des amateurs ou des professionnelles accompagnées d’une légende développée. Le premier opus de Postdocument est consacré aux « Stacks » de Donald Judd.
Les « entrées » qui servent à renseigner (non pas les œuvres ni les artistes mais) les photographies détermineront une par une chaque nouveau numéro ; pour ce 1er numéro, l’entrée qui filtre et rassemble les photographies d’exposition est l’œuvre (ou titre de l’œuvre) : les stacks, de donald judd.
Postdocument est un projet de Rémi Parcollet, Aurélien Mole et Christophe Lemaitre.
“The Last Zine Sezession will be a commemoration of the “book-fair age”;
it was great while it lasted, but we feel the end is nigh.”
December 12, 2010
Bad Day is a quarterly arts and culture publication based in Toronto, that focuses on Canadian and International artists.
“Our name is meant to subvert a negative concept through the positive impact of art; good things are found in the pages of a Bad Day.”
Release of the books, made during the workshop named “(dis-) array”,
about artist books, by HGB Leipzig (Academy of visual arts) students.
November 26, 2pm
CODEX, exposition de projets éditoriaux audacieux.
CODEX, an exhibition of audacious editorial projects (english intro).
Une proposition d’Hypertexte & Manystuff / A proposal by Hypertexte & Manystuff
Prochainement/upcoming: Crystal Maze video
The Dor is an ever-growing digital archive of out of print artist books. Eventually, it will culminate in an online database of hard to find artists books, which users may page through and print on demand. Currently, it finds form as a temporary office, where loaned titles are scanned, documented, and sometimes reprinted. Visitors may also contribute to this ever-growing library of titles. The project is made possible by collaborations with book collectors, artists, curators and friends. More PDFs on Issuu.
The Artist as an Instigator of Changes in Social Cognition and Behaviour – publication & conversation
Stephen Willats’ major essay The Artist as an Instigator of Changes in Social Cognition and Behaviour is re-issued for the first time by Occasional Papers. Published in 1973 by Gallery House, London – where Willats was Director of the Centre for Behavioural Art – and long out of print, the paper includes rigorous analyses of social forms of artistic production and descriptions of a number of projects by the artist.
A conversation between Stephen Willats and Stuart Comer
to celebrate the publication
Wednesday 1 December, 7pm
Raven Row, London
Workshop in collaboration with Motto, Roland Früh and students from ECAL Lausanne and Head Geneva, as part of a long-term research project developed by Sara De Bondt and Catherine de Smet on the histories and historiography of graphic design: the workshop is the first in a series aimed at compiling a reader on graphic design history to be published by Occasional Papers for a one-day conference at St Bride Library, London, in May 2011.
Join Catherine de Smet, Roland Früh and Sara de Bondt
after the workshop to celebrate the launch
of the second edition of The Form of the Book Book,
edited by Sara De Bondt and Fraser Muggeridge
Wednesday 1 December, 6pm