As both noun and verb, book and exhibition, CATALOG recasts the deconstructed components of finished design projects as new work. The result is an exhibition that is an exploded book, and a book that is a collapsed exhibition.
CATALOG represents the work of Yale School of Art MFA candidates Lauren Adolfsen, Juan Astasio Soriano, Keri Bronk, Benjamin Critton, Lauren Francescone, Brendan Griffiths, Bona Han, Sara Hartman, Hank h. Huang, Zeynab Izadyar, Zakary Jensen, Zachary Klauck, Michael Mikulec, Mylinh Trieu Nguyen, Lindsay Nordell, Ji-Eun Rim, Sally Thurer, and Brian Watterson.
May 9–15, 2011
Yale School of Art, New Haven
WaWaWorkshop, 5 jours d’apprentissage et d’usage typographique, sur le thème du Futura.
Lancement du workshop par la conférence de Michel Wlassikoff dans le cadre de la parution de Futura, une épopée typographique, par Michel Wlassikoff & Alexandre Dumas de Rauly, retraçant l’histoire et les utilisations du caractère, ainsi que ses enjeux politiques et culturels. Monument typographique, cette étude est publiée aux éditions Norma.
L’Amuse-Bouche is a student-run French language magazine for the francophone community at Yale that focuses on prose, poetry, French history and culture, politics, and reviews of French films and theater productions. The purpose of this organization is to showcase the creative work of students of French at Yale and to provide timely discussions about cultural issues relating to France and the francophone countries. It is hoped that this publication will provide a central core to bring together faculty and students at Yale who are interested in the French language.
Jean-Marc Ballée, Mathias Schweizer, M/M Paris, Laurent Fétis
The exhibition focuses on graphic arts during the 2000-2010 decade, presenting a selection of works conceived by graphic designers and oriented towards contemporary creation: visual arts, photography, theater, dance, literature, music, fashion… There is a wide variety of works commissioned to graphic designers. It may be an artist’s monograph, a theater season brochure or a fashion show invitation card. Graphic designers often use different types of media, from paper to video screens, creating documents that contribute to enriching the library’s collections. Posters, books, catalogs, disk sleeves, multimedia items, internet websites are used to promote various works, festivals or shows. Graphic design so contributes to supporting contemporary creation.
However, is contemporary creation favourable to graphic creation? In this context, which part does the graphic designer play? Is he/she an underling or an actor? For the last few years, new practices have been developing that cause new types of interactions. What about graphic designers who realise personal creations?
The exhibition focuses on the different topics mentioned above and most of all on choices and constraints that justify or transform the notion of « graphic object ».
With Antoine & Manuel, Atelier de création graphique, Jean-Marc Ballée, Change is good, Paul Cox, Ronald Curchod, Laurent Fétis, Hey Ho, M/M Paris, Fanette Mellier, Philippe Millot, Jean-Marie Courant, Jérôme Saint-Loubert Bié, Mathias Schweizer, Frédéric Teschner, and many more…
April 27 – June 6, 2011
BnF François-Mitterrand, Paris
“The very idea of collecting, exhibiting and distributing self-published work really makes us happy! Book on the Fritz is an exhibition format dealing with self-publishing in all different shapes and variations. We started the project because we wanted to create an output for self-published projects coming from people whose work we find interesting.
Considering the event itself to be a kind of periodical, one of our aims is to organize it as many times as we can with as many different participants as achievable. In the end Book on the Fritz is a social gathering where we can all meet up.”
Participants: Siri Ahmed Backström, Burning Hell, Byggstudio, Lisa Carlsson, Medium Rare, Eller med a , Alexandra Falagara, Åsa Frölander, Maja Hammarén, Lars Hedelin, Kim Hiorthøy, Conny Karlsson, Sonja Nilsson, Samuel Nyholm, Marie O’Connor, Jeff Olsson, Pol Perez, Plaquette, PWR PAPER, Jalmar Staaf, Anders Stockman & Robert Ågren (Varv), Kajsa Sundin & Matilda Roos, Nille Svensson, Toey Toeytoey
April 29 – May 1, 2011
Gallery Steinsland Berliner, Stockholm
“No medium is as efficient as graphic work, because in it everything can be combined. For the printer graphic is crossover: printing on an earlier print. Take for example the trunk of a tree. First there is the veneer lathe: it reveals the interior of the tree as a pattern on a wooden sheet. Like the pages of a book these sheets are stacked together to form a board of plywood. On this book we printed a cover. Printing on building materials has major advantages. You can use a tablecloth to reinforce the table. For Rik we made printed trophies, which stand on the mantelpiece without additional support. Or on a rack. Joist hangers have perforations. The carpenter doesn’t know but the pattern qualifies as graphic work. Fold the steel braces and you can use it to support a tabletop instead of joists.”
The Mobile Museum is a traveling museum, with contents contributed by people from all over the world (thats you). We welcome contributions from different backgrounds – whether your an artist, designer, illustrator, photographer or someone else we want to here from you.
Unlike a conventional Museum the collection is always changing, evolving depending on its location, with the location itself dictating the theme.
Publishing Class presents: Book–Store–Utopia
With Axel Wieder, Benjamin Thorel & Luca Frei
Who is publishing for whom, who speaks and who listens? Publishing Class is a two year programme designed for the Dutch Art Institut/MFA Artez by Casco – Office for Art, Design and Theory, delving into the act of publishing through and within artistic practice in close examination of publishing’s social and political role. It is a class on publishing but also on the notion of the ‘class’ who publishes, especially in response to the time when artistic publishing has seen an upsurge in activity and interest in spite of the impending dematerialization of publishing. Each monthly session consists of a daytime workshop and evening public lecture(s) by our guest(s).
For the fifth session, Axel Wieder of Pro Qm (Berlin), Benjamin Thorel of Section 7 (Paris) and Luca Frei, a Malmö and Berlin based artist joins the class with a day-long workshop looking at different approaches to community, collectivity and space in relation to the production distribution and reception of the Publishing Class’ project.
Axel Wieder, Benjamin Thorel and Luca Frei will give presentations on their respective practices which share a common engagement with exploring space via the distribution of books and publishing, as well as the possibilities of production emancipated from the usual demands of power, profit and public.
Lecture: April 18, 2011, 19.30-21.00
Dutch Art Institute, Arnhem
As a major figure of the German Pop Art artist initiative called Capitalist Realism, which culminated in the famous catalog raisonée Grafik des Kapitalistischen Realismus by René Block in 1971, Brehmer worked for decades on the inversion of the capitalist economy of knowledge production by decoding its forms of visual nomination. His reflection on the means of formalization in a context of public display enabled the political to take place without publicising itself as ‚political’. His expropriation of western concepts of typography, cartography, thermography and colour theory reveal the ways in which a visual appearance is implicated in economics. The political is situated between an image and its appearance in a magazine, a display, a film and in an exhibition space. It is from this interstice, that we need to ask ourselves what is it that makes today’s images so different, so appealing? … (english text : Artnews.org )
March 31 – June 12, 2011
Centro Andaluz de Arte Contemporáneo, Sevilla
Through examples from the 1970s, 1980s and 1990s to new publications, the show aims to present an overview of the reception of a relatively recent critical art form. This wide variety of material, which ranges from exhibition catalogues to artists’ monographs, reference books, dealer’s lists and booklets, not only constitutes the accepted secondary literature on artists’ books; it reflects the intersection of art and publishing, and shows how this subject has been appraised and understood over a significant period of time.
The question of the boundary between art and books is relevant to this exhibition. In one respect, publishing is an essential aspect of art: magazines, exhibition catalogues, ephemera and invitation cards connect the real and symbolic economy of visual art; if this production and diffusion of printed matter mediates and reproduces art, it also often becomes an art form in its own right.
Within this context, Desjardin’s index or catalogue of information will in turn become a new book printed during the period of the exhibition, and the gallery will become the location for the production and distribution of this new piece of printed matter, appropriately named the ‘Book on books on artists books’.
18 April – 11 June 2011
Focal Point Gallery, Southend-on-Sea
Cabinet is an award-winning quarterly magazine of art and culture that confounds expectations of what is typically meant by the words “art,” “culture,” and sometimes even “magazine.” Like the 17th-century cabinet of curiosities to which its name alludes, Cabinet is as interested in the margins of culture as its center. Presenting wide-ranging, multi-disciplinary content in each issue through the varied formats of regular columns, essays, interviews, and special artist projects, Cabinet’s hybrid sensibility merges the popular appeal of an arts periodical, the visually engaging style of a design magazine, and the in-depth exploration of a scholarly journal.
With its fortieth issue, released in January of this year, Cabinet celebrated ten years of publication. We are using the occasion as a way of thinking both retrospectively and prospectively about some keywords that have been important to us in framing our project. These themes include amateurism, curiosity, pranks, the ordinary, deception, attention, the ethics of listening, and more. This all-day symposium gathers a diverse group of extraordinary writers and thinkers to help us sift through these keywords and to allow us to ask questions about Cabinet’s successes and failures. The symposium will be followed by a reception during which there will be a number of short readings (five minutes each) from Cabinet’s first decade.
9 April 2011, 10 am–6:30 pm
Princeton University, New Jersey
SUPER#14 – ALBERS LEWITT COINTET
Une proposition de Christophe Lemaitre. Super#14 est une exposition qui tente d’esquisser une manière de rassembler – tel un collage presque – Josef Albers, Sol LeWitt et Guy de Cointet, au travers d’objets en marge de la pratique de ces trois personnalités : pochettes de disque devenues objets de collection d’artistes, wall drawings pour amateur, accessoire scénique re-contextualisé au cneai.
7 – 23 avril 2011
conférence: 9 avril, 16h
Cneai de Paris, Paris
The Highlights began as a response to the journalistic bent in art reviews, offering artists an outlet to engage in uncon– ventional criticism. Since that time, we have enlarged the format to include experimental text and digital media projects. These works are an extension of the artists’ own practice and consist of image-based essays, original videos, interviews, as well as fictional, virtual, biographic, and diaristic writing. All completed projects are stored permanently in the online archive where they are available for browsing.
Depuis une bonne quinzaine d’années, si ce n’est plus, les recherches sur le graphisme ne cessent de s’intensifier. On voit se développer des discours différents, parallèles et complémentaires, sur cet objet aux facettes multiples. Les approches les plus variées se répandent sur les supports de diffusion, imprimés ou numériques, constituant ainsi une base stimulante de réflexions et d’échanges.
L’avènement du numérique a pu influer sur le nombre de textes produits et propagés ; il a surtout donné aux graphistes – en France et partout ailleurs – la possibilité bienheureuse de découvrir et d’inventer ou de contribuer à l’apparition d’autres pratiques, d’autres approches, et leur a permis de constater leur appartenance à une communauté professionnelle de dimension internationale.
Ainsi, l’actualité du graphisme en 2011 est faite de contradictions fortes…