Offprint Paris

October 31st, 2011

Mapping et autres légendes…

October 31st, 2011





Nouvelles Ruines, Chapitre 2, “Mapping et autres légendes…”
Pierre Vanni

À travers le prisme de la figure ruine, présente sur la territoire comme sur la carte, Pierre Vanni continue d’explorer les usages symptomatiques des nouveaux procédés cartographique de Google.
Pour cette exposition, il propose un travail de légende ( notice iconographique/construction d’une fiction) sous forme d’une bande dessinée, psychédélique, centrée sur la question du Mapping.
Le chapitre 2 de Nouvelles Ruines, édition, support de recherche, sera présenté à Croix Baragnon en écho à l’exposition du chapitre 1 remixé et présenté au Lieu Commun (18/11-18/12).
Seront également exposés les fruits du workshop “cf. Légendes” réalisé avec les étudiants en DSAA Communication Visuelle du Lycée des Arènes.

jusqu’au 10 décembre 2011
vernissage le 4 novembre, dès 18h30
Espace Croix Baragnon, Toulouse



art & project bulletins 1-156/september 1968 – november 1989

October 30th, 2011

art & project bulletins 1-156/september 1968 – november 1989

From the earliest days in 1968 when the bulletin appeared Under the title of « Architectural Research » the Small statement printed on the bottom of the front page rings out with the spirit of its time : « art & project plans to bring you together with the ideas of artists, architects and technicians to discover an intelligent form for your living and working space. Art & project invites you to participate in its exhibitions which will explore ways in which art,architecture and technology can combine with you own ideas »

This statement was to prove prophetic. The bulletin became well-known and as the gallery in Amsterdam grew,it attracted artists all over the world who wanted to contribute to or use the bulletin to explore their own work. It appealed to artists in the Conceptual Art movement to whom the bulletin was a way of conveying art ideas from the artists to the viewer/reader at a low cost : it did not have a value except for the ideas it contained ; bulletins were mailed free to an international mailing list or distributed from the gallery to visitors. The bulletins contained original material in a sequence which is determined by the arttist, but the viewer/reader can read the material in any order but the artist présents it as s/he thinks it should be. As Lawrence Weiner,who made five bulletins states « THEY (BOOKS)ARE PERHAPS THE LAST IMPOSITIONAL MEANS OF TRANSFERRING INFORMATION FROM ONE TO ANOTHER (SOURCE). …

Until December 23th 2011
Christophe Daviet-Thery, Paris

Posted in Art, Books, Exhibitions

Le catalogue et ses hybrides

October 30th, 2011

Le catalogue et ses hybrides, documentation: lecatalogueetseshybrides.tumblr.com

Benjamin Patterson – METHODS & PROCESSES/WHERE AND HOW DID YOU FIND THAT!

October 30th, 2011

À l’occasion de la réédition de Methods & Processes [1962] aux Éditions Incertain Sens, le Cabinet du livre d’artiste invite Benjamin Patterson, l’un des fondateurs du mouvement Fluxus, pour Where and how did you find that!, une exposition monographique et une série de performances.

Alliant poèmes-partitions et collages d’images de presse, Methods & Processes – ouvrage pionnier des expérimentations artistiques des années soixante – anticipe par sa forme et son contenu, des publications ultérieures telles que An Anthology de La Monte Young, Water Yam de George Brecht, ou encore les De-coll/age de Wolf Vostell. Sa structure faite de suites d’instructions, sa composition usant de la répétition comme de la rupture du discours, sa présentation en leporello permettant de jouer avec l’ordre des textes, la nature même des instructions données, tout concorde pour placer le lecteur, non dans la position habituelle du récepteur mais dans celle de l’acteur du texte.

3 novembre – 20 décembre 2011
Cabinet du livre d’artiste, Rennes

Posted in Art, Books, Exhibitions

The most widely read man in the world

October 30th, 2011

Matthew CARTER
The most widely read man in the world

Matthew CARTER (London, 1937) is one of the few designers whose work is used daily by millions of people. Readers of newspapers, typographers, computer users, they are all somehow in touch with his work. He has devoted more than forty years of his career to designing typefaces for print. He was also a pioneer in making letters for computer screens, with Verdana and Georgia for Microsoft as the most important examples…

Until December 30, 2011
Catapult, Antwerpen

Le secret des anneaux de saturne

October 28th, 2011

Le secret des anneaux de saturne
Frédéric Teschner Yann Chataigné-Tytleman Etienne Bernard Pierre-Yves Cachard Pierre-Jorge Gonzalez

Le design graphique est-il un outil critique ? Qu’est-ce qu’une pratique graphique contemporaine ? Le design graphique peut-il s’affranchir de la commande ? Ces trois interrogations fondent la recherche engagée de longue date par le graphiste Frédéric Teschner quand à la valeur d’usage du graphisme dans le champ de l’art et de son exposition.

Exposé à la Maison d’art Bernard Anthonioz, le projet Le Secret des Anneaux de Saturne explore les modalités de mise en place d’une exposition dont le matériau visuel et plastique est l’objet-livre. Frédéric Teschner est allé à la découverte du fonds documentaire conservé à la bibliothèque de la Maison d’art Bernard Anthonioz. En graphiste, il entendait moins y trouver un contenu littéraire ou théorique, qu’un contenu visuel. Il a glané, ici ou là, au gré des pages feuilletées, sur une couverture ou une carte postale, des images, des morceaux d’images avec lesquelles il a composé d’autres images qui se déploient dans l’exposition.

Conçu à l’occasion de l’exposition cet ouvrage est le premier consacré au travail de Frédéric Teschner. Deux textes, illustrés d’une riche sélection de travaux, explorent la pratique du graphiste. Celui du critique Yann Chateigné Tytelman y développe la question de l’exposition du graphisme comme expérience et processus artistiques tandis qu’une table ronde entre Étienne Bernard, Pierre-Yves Cachard, Pierre Jorge Gonzalez et Frédéric Teschner, organisée à l’occasion d’une Saison Graphique au Havre, en 2011, revient sur les relations entre son travail, l’architecture et l’espace public ainsi que sur la question du design graphique comme objet de médiation et de la relation à l’usage.

Lancement, 17 novembre 2011, 19h
Le Monte-en-l’air, Paris

Identity & The Serving Library

October 27th, 2011







Identity is an exhibition that charts the emergence and proliferation of graphic identity since the turn of the twentieth century, with particular reference to contemporary art institutions – museums, galleries, and so-called alternative spaces.

The period since the 1960s in particular has seen significant shifts in the perceived role of contemporary art in society, as well as the impact organizations displaying art have on economic and political infrastructures (and vice versa). “Identity” attempts to animate the typically fraught relationship between cultural and corporate spheres, as contemporary art institutions become increasingly preoccupied with their own image. How do changes in the graphic identities of art institutions over the last five decades reflect the shifting landscape of institutional policy and strategy? How does the conception of “identity” – through an organization’s use of graphic design, its marketing and branding – function to mediate between audience, artwork, and institution? …

The Serving Library is a long-term project conceived by Dexter Sinister with writer Angie Keefer. Founded on a consideration of how the role of the library has changed over time – from fixed archive through circulating collection to a point of distribution – the format has become an umbrella project for all of Dexter Sinister’s activities. It consists of: 1) an ambitious public website; 2) a small physical library space; and 3) a publishing program which runs through #1 and #2.

At Artists Space, The Serving Library constitutes a 1:1 model of the library space, conceived less as an active reading room, more as a mini-expo (The Serving Library welcomes offers regarding its eventual fixed home) that portrays how the institution will eventually appear and function. The physical library here comprises two collections, of books and artifacts, both drawn from ten years and twenty issues of Dexter Sinister’s house journal Dot Dot Dot. Each one of the artifacts served as original source material for an illustration accompanying an essay in an issue of the journal, and the bound books collate the most frequently cited works in Dot Dot Dot.

With the now defunct Dot Dot Dot as precedent, the online library, www.servinglibrary.org, distributes freely-downloadable “bulletins” – individual PDF essays and articles published in themed batches over six month periods and collected as a printed journal Bulletins of The Serving Library at the end of each season. The second issue of Bulletins will be published to accompany the Artists Space exhibition…

October 30 – December 18, 2011
Artists Space, New York

Dieter Roth visits Maastricht

October 25th, 2011

Dieter Roth visits Maastricht

On 31 October 1986 the artist Dieter Roth visited Maastricht and the Jan van Eyck Academie where he had an exhibition of his work. Roth was the first receiver of the Charles Nypels Prize, a new bi-annual award of 25.000 Guilders for innovation “in any area of design from a typographical and conceptual perspective”.

The symposium Dieter Roth visits Maastricht sets out to research and reconstruct a constellation that lead to the rather unorthodox decision to give the inaugural prize to the internationally renowned artist.
Established in honor of the dutch typographer Charles Nypels (1895–1952) the prize aimed to give recognition to Roth for his “epoch-making book objects”. Nevertheless it created quite a scandal across the Dutch design scene.
Exactly 25 years later, to the very day, the design department at the Jan van Eyck Academie has decided to revisit that peculiar moment.

The symposium Dieter Roth visits Maastricht will feature contributions by Corinne Diserens, Olaf Nicolai and Jan Voss.

- Corinne Diserens is a curator based in Paris, and Berlin. She is the former director of Musées de Marseille, Musée des beaux arts de Nantes, and Museion, Bozen/Bolzano. Currently she serves as president of the jury of Akademie Schloss Solitude, Stuttgart. Since September 2011 Corinne Diserens is the new director of the Ecole de recherche graphique (ERG), Brussels. In Marseille she has curated one of the last exhibitions of Dieter Roth before he died on June 5th, 1998.
- Olaf Nicolai is an artist based in Berlin. His work has been shown at museums and galleries worldwide, including documenta X in 1997 and the 49th and 51st Venice Biennale in 2001 and 2005. Currently he is teaching as professor for sculpture and the basic principles of three-dimensional design at the Academy of Fine Arts, Munich.
- Jan Voss is one of the founders and owners of the Boekie Woekie bookshop established as an artist-run initiative in 1986 in Amsterdam. He was a close friend and collaborator of Dieter Roth. Jan Voss accompanied him on his trip from Basel to Maastricht at the end of October 1986. Jan Voss is one of the initiators of the Dieter Roth Academy.

October 31, 2011, 10am – 5pm
Jan van Eyck Academie, Maastricht

Posted in Art, Graphic Design

Inventory Arousal

October 25th, 2011





Inventory Arousal is an artists’ book by American artist and publisher James Hoff with writer, editor, and archivist Danny Snelson. The book reassembles a set of reference texts originally gathered during a live, transnational editorial performance. An associative lecture given by Hoff in Oslo, featuring hundreds of images and hours of artists’ video, was mirrored by Danny Snelson in Tokyo, via Skype, who simultaneously extracted and manipulated a massive body of previously compiled texts concerning key avant-garde figures, publications, works, and movements that Hoff discussed. These sources included artist interviews, book reviews, magazine articles, memoirs, stock lists and blog posts. Acting as a quasi-transcript of this joint performance, Inventory Arousal reveals an unpredictable narrative formed along the predictable contours of collective history.

Posted in Art, Books

r/p/m by Paul Cullen

October 22nd, 2011

r/p/m by Paul Cullen
Publication design by Jayme Yen & Narrow Gauge. Photography by Asumi Mizuo. Essays by Richard Dale, Melissa Laing, Tessa Laird, Ruth Watson. Published by split/fountain.

In a time when there are plenty of attempts to highlight the ‘uniqueness’ of the book as an endangered object – to play-up its arty capabilities – to foster home-groups for the crafty book arts (which are not without their charms for anthropologists of the present) – here is a publication project which knows how to place the idea of the book-object precisely within the materialities of print history, while also letting it float on the currents and eddies of digital waterways. Shadowed by the virtual, and flecked by drifting data, r/p/m Paul Cullen enacts the knowledge that printed matter is all about organizational specifics, and particularities of effect. It relativizes the shuffle of text and image between the formats of magazine, catalogue, book, inventory, dossier. Propelled as it is by hypotheses, models, tests, charts, cross-sections, circulation systems, and theatres of scientific research, Paul Cullen’s art is well served by this publication, which dissects the book as object and distributional event through its adoption of the exposed spine and interchangeable, differently coloured, gatefold covers. (Allan Smith)

Launch October 27, 2011, 6pm
split/fountain, Auckland

Posted in Art, Books, Graphic Design

Hard Copy: Lectures & Talks

October 22nd, 2011

Hard Copy: Lectures, Talks & Book launch
Curated by: Delphine Bedel et Hard Copy
Guest Speakers: Bruno Ceschel, Clive Phillpot, Joël Vacheron.

Drawing a parallel between the emergence of artist books in the 60’s and the bible of DIY cyber and counterculture, the groundbreaking and thought-provoking ‘Whole Earth Catalog’ (1968–72), in relation to contemporary modes of self-publishing and distribution, this talk brings together international speakers to bring into question the significance publishing within artistic practice.

November 03, 2011, 6pm
Centre de la photographie, Genève

Posted in Art, Books, Graphic Design

Go Where Your Heart is

October 20th, 2011






Go Where Your Heart is
Nine excursions to the origins of Swiss design by Roland Früh

The nine excursions are initiated by this year’s winner of the Swiss Federal Design Award Roland Früh. The design mediator organized the excursions with the help of the participating award winners. The designers invite you to join them in their studio or to a place of particular interest, and they will explain about the background of their practice or a recent project…

Posted in Design, Graphic Design

PA/PER VIEW at Onomatopee

October 19th, 2011

Posted in Art, Books, Graphic Design

75 copies des feuillets de Super édités par le Cneai

October 19th, 2011

75 copies des feuillets de Super édités par le Cneai
2010-2011

De juin 2010 à mai 2011, le Cneai a accueilli quatre projets de Super (Commissariat partagé par Christophe Lemaitre et Élodie Henrion) : LES BORDS DISPERSÉS (juin 2010), POSTDOCUMENT (novembre 2010), ALBERS LEWITT COINTET (avril 2011), L’ÉCOMUSÉE DE L’HOMME MODERNE (mai 2011).
Mis de côté le cas Postdocument (Revue consacrée à la photographie d’exposition), Super a comme à son habitude invité un studio graphique à réaliser ses outils de communication ponctuelle pour chacun de ses projets avec le centre d’art.
La présente édition, designé par Alain Rodriguez, rassemble les publications éphémères de Leslie David, le Cruche Crew, OfficeABC, pour Super#12, Super#14, et Super#15, ainsi qu’un tirage DIY du 1er numéro de Postdocument (présenté au Cneai à l’occasion de Super#13).

Lancement le 21 octobre, 2011, 19h30
Salon Light #8, Paris

Posted in Books, Graphic Design

revue “Pyramide, Diapason, Roue crantée”

October 19th, 2011



is a magazine that is conceived as a collection. Instead of aiming exclusively to gather content that is specific to each of its individual numbers, the magazine is concerned with the multiple relations that arise among its issues. Its editorial line will be progressively unveiled through edited texts and documents, as well as the form that these will take.

is a biannual publication created, conceived, and realised by François Aubart,
Jérôme Dupeyrat, Charles Mazé & Coline Sunier, Camille Pageard, and edited by BAT.

Launch by Benjamin Seror
October 22, 2011, 6pm
Salon Light #8, Paris

The catalogue and its hybrids

October 19th, 2011

The catalogue and its hybrids

Born in Toulouse in the 17th century, the art collector Pierre Crozat is at the origin of the “Recueil Crozat”. Consisting of reproductive engravings of paintings and drawings, with notes on the artists, this work is one of the first prototypes of the art catalogue. An innovative initiative, the Recueil Crozat opens up the way to a new book type then to its descendants in multiple formats down to the unclassifiable mutant.

“The catalogue and its hybrids” depicts editorial projects initiated by art centres – France, Europe and international – which reflect the diversity of the editorial offer related to the exhibition context.

These printed spaces of meetings and dialogues – between an art centre, a curator, an artist, a graphic designer and so on – especially question the book object as an alternative to the exhibition space. From the documentary object – the catalogue – to the composite printed formula – artist’s book – some of these publications therefore propose a more complex treatment of artistic creation projects, artworks and their documentation.

Source, trace or ephemeral extension, each of these printed experiments, reactivated at each reading, comprises an alternative living memory space, a new context for the existence of the work of art.

Art spaces therefore today offer the creators the conditions required for these editorial experimentations confronting the exhibition space and traditional documentation. Here is an excerpt.

October 28-30, 2011
École supérieure des beaux-arts, Toulouse


conception graphique: © officeabc 2011
extrait photogramme: Georges Franju, Les Yeux Sans Visage, 1959 (D.R.)
extrait livre: Raf Vallet, Mort d’un Pourri, Gallimard, Paris, 1972 (D.R.)
Agrandir / Enlarge

Walter Benjamin Archives

October 18th, 2011

Walter Benjamin Archives

Né à Berlin en 1892, dans une famille juive assimilée, Walter Benjamin s’est suicidé à la frontière franco-espagnole le 26 septembre 1940, devant la menace d’être livré aux nazis et envoyé à la mort. C’est à l’un des philosophes et critiques les plus importants du XXe siècle que l’exposition Walter Benjamin Archives est consacrée ; son ambition est de montrer la manière dont le penseur allemand organisait, préservait et inventait ses propres archives, à mesure de ses recherches.

L’exposition rassemble des matériaux, des supports, des objets ou des écrits (manuscrits, tapuscrits, cartes postales, carnets de notes, enveloppes, tickets, photographies, coupures de presse, registres, fichiers, répertoires, carnet d’adresses, paperolles, etc.), qui témoignent tous d’une exigence constante chez Walter Benjamin : arracher à l’oubli une pensée en devenir et en organiser le sauvetage, qu’il s’agisse de sa propre pensée, de celle de ses proches ou de pans entiers de l’histoire négligés…

“Benjamin accordait une grande attention à la mise en forme graphique, à la construction de ses manuscrits. Il était attaché aux proportions et à l’architecture de la page autant qu’à la conception de ses essais et de ses livres. L’importance de l’aspect graphique fait partie des traits caractéristiques de l’écriture benjaminienne. Dans de nombreux manuscrits la norme linéaire est dépassée ; les mots et les groupes de mots y sont parfois agencés en rapport de figure. On trouve ces modèles visuels, ces schémas et ces diagrammes principalement dans les travaux préalables aux essais : ils sont des tentatives pour orienter l’écriture et la pensée.”

jusqu’au 5 février 2012
Musée d’art et d’histoire du Judaïsme, Paris

Posted in Art, Exhibitions

THE MUSEUM EXPERIENCE

October 18th, 2011

THE MUSEUM EXPERIENCE

Née à San Francisco au milieu des années 60, la culture psychédélique a tenté d’abolir les frontières de la conscience. Les groupes légendaires qui ont repoussé les limites de la perception sont légion : Jefferson Airplane, The Gratefull Dead, The Doors, The Jimi Hendrix Experience…. Ils se produisaient dans des salles mythiques tel le Fillmore West de Bill Graham. A ces musiciens avides d’expérimentation ont été associés d’emblée des artistes qui dessinaient les pochettes de leurs disques ou les affiches annonçant leurs concerts.

Si certaines de ces icônes, comme le visuel de l’album du Sergent Pepper des Beatles appartiennent aujourd’hui à l’imaginaire collectif, les créations des affichistes restent encore relativement confidentielles, en dépit de leur présentation dans plusieurs grands musées internationaux (Orsay, San Diego museum of art, musée des beaux-arts de Montréal…)

Particulièrement productifs et inventifs, ces graphistes ont pourtant su donner une véritable identité visuelle au mouvement en traduisant plastiquement les délires sensoriels des improvisations planantes des musiciens. Par l’utilisation de couleurs saturées, de contrastes discordants et d’un lettrage distordu fortement influencé par l’esthétique Art Nouveau, des créateurs comme Stanley Mouse ou Alton Kelley (membres tous deux de l’atelier des Big 5) ont largement contribué à tracer les contours d’un univers artistique original.

Avec une soixantaine d’affiches issues d’une collection privée, le musée des beaux-arts de Pau explore durant trois mois ce continent alternatif.

21 octobre 2011 – 30 janvier 2012
Musée des Beaux-Arts, Pau

Designers Are From Venus, Editors Are From Mars

October 17th, 2011

Designers Are From Venus,
Editors Are From Mars

Lecture and discussion by Sam de Groot, moderated by the ‘Generous Structures’ editors Binna Choi and Axel Wieder. In the context of “Publishing Class 2011/2012″ and the dutch launch of Casco Issues XII: Generous Structures.

Casco Issues is a magazine published by Casco, which explores recurring issues that emerge from its programme. It centres on artists’ and designers’ writings and other unconventional forms of publishing. The current edition focuses on “playfulness” as a value in critical cultural practice. As a playful inquiry, it positions alternative notions of playing against the grain of neoliberal ideologies of “lifelong learning” and “work as play”.

This evening opens up the retrospective dialogue between editor and designer often taking place behind doors and invites designer Sam de Groot, who collaborated with Julia Born and Laurenz Brunner for the design of ‘Generous Structures’, to speak about their design considerations and engage in dialogue with co-editors Axel Wieder and Binna Choi with his other design examples.

Sam de Groot says: “As designers I think we’re often shooting a bit in the dark. We think that certain formal decisions have specific implications/effects on the content but there is a lot of guessing and assuming involved and in the end there is usually not too much time for critical dissection of this during or after the process.”

October 20, 2011, 8pm
Dutch Art Institute, Arnhem

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