Millennium Magazines, a survey of artists’ magazines published since 2000, explores the various ways in which contemporary artists utilize the magazine format as an experimental space for the presentation of works and text. Throughout the 20th century, the activities of groups and collectives were often codified first in the informal context of a magazine or journal; this exhibition, drawn from the holdings of the MoMA Library, follows the practice into the 21st century. The works on view range from community-building newspapers to image-only photography magazines to conceptual projects. Methods of design, image-making, editing, printing, and distribution are examined, and there are obvious connections to the past lineage of artists’ magazines and smaller architecture and design magazines. This brief tour of contemporary artists’ magazines provides a view into these practices and represents MoMA Library’s effort to document and collect this medium.
February 20 – May 14, 2012
MoMA, New York
(…) The works in Ecstatic Alphabets represent a radical updating of the possibilities inherent in the relationship between art and language. In this exhibition, the letter, the word and the phrase are seen and experienced, and not necessarily read. Physicalized, transcribed into sounds, symbols, pictures or patterns, scrambled, or negated, language is freed from the page as well as from its received meanings, received forms, and, in some cases, the duties of communication altogether. Working with language has also created an opportunity for artists to move more freely among disciplines, and this exhibition includes work in a range of mediums by artists who are also poets, writers, performers, and graphic designers. Like earlier experiments in this vein, many of these recent works have an abiding connection to poetry, which runs like a subtheme through the exhibition, adding the ecstatic element to each works’ alphabetic plainness.
The exhibition will be divided into two sections, with the first featuring an abbreviated timeline of language in modern art created primarily from drawings, sculptures, prints, books, and sound works from the Museum collection. Artists in the historical section of the exhibition include: Carl Andre, Marcel Broodthaers, Henri Chopin, Marcel Duchamp, Ian Hamilton Finlay, John Giorno, Kitasono Katue, Ferdinand Kriwet, Liliane Lijn, Filippo Tommaso Marinetti, Bruce Nauman, Lawrence Weiner, and others.
Artists in the contemporary section of the exhibition include: Ei Arakawa/Nikolas Gambaroff, Tauba Auerbach, Dexter Sinister (David Reinfurt and Stuart Bailey), Trisha Donnelly, Shannon Ebner, Paul Elliman, Experimental Jetset, Sharon Hayes, Karl Holmqvist, Adam Pendleton, and Nora Schultz.
The exhibition will be accompanied by an artists’ book designed by Dexter Sinister which will be given away for free during the run of the exhibition.
May 6 – August 27, 2012
MoMA, New York
Each graphic designer and artist designed a poster that expresses personal social agenda. This project reviews the social function of posters. This issue of GRAPHIC consists of 22 folded posters and designers’ short commentaries.
Contributors: åbäke, Alex DeArmond, Anthony Burrill, Bart de Baets & Sandra Kassenaar, Bureau Mirko Borsche, Experimental Jetset, Jin Dallae & Park Woohyuk, Jin Jung, Kimm Kijo, Lawrence Weiner, Mark Owens, Metahaven, Moon Seungyoung , Paul Elliman, Paul Sahre, Pierre Bernard, Richard Niessen & Esther de Vries, Rumors, Scott King, Sulki & Min, Sung JaeHyouk, workroom press.
Mathias Augustyniak et Michael Amzalag occupent depuis le début des années 90 une place singulière dans le paysage du graphisme en France. Venus au graphisme en ayant attentivement étudié les travaux de Neville Brody, Peter Saville ou Malcom Garnett, et plus généralement la scène anglaise post-punk, ils ont développé au fil des années une recherche et une démarche qui consistent à placer le graphisme dans son contexte élargi. Au delà d’une position critique – analyse critique des signes et des icônes de la vie quotidienne et de la consommation, ils ont fait d’une réflexion sur les capacités propres du graphisme à communiquer sur luimême, l’objet principal de leur travail. Cette auto réflexivité passe par le dialogue avec les autres arts notamment ( Art contemporain, Opéra). Si le graphisme est un fil conducteur qui court entre les arts, M/M ont inventé à la fois un imaginaire et une « opérativité » pour le graphisme qui consiste à repenser l’espace entre la surface et la troisième dimension, entre les surfaces et les fonds , à redéfinir l’ornement contemporain, ainsi que la notion de style.
17 Janvier 2012, 20h15
Palais des Beaux-Arts, Bruxelles
ROLU 4 OMMU is four pieces of furniture, two large modular adaptable chairs, Chair 1 and Chair 2, as well as A Desk and A Desk Chair, that are part of a new design ROLU made for OMMU‘s store in Athens. Also produced in this project was a bookshelf that is based on a work by the artist Seth Price and a ladder.
Price’s essay Décor Holes came to be an important part of our thinking as these pieces started to emerge. The writing discusses, in part, the “sample” as it exists in modern music and questions it raises about ownership. We started to ask ourselves “When does something… become something else?” We wanted the work we produced for this project to have a theoretical basis that pointed towards language. We also wanted to think about motion. We like to use the term “sitting as seeing” to describe a philosophical ghost we are chasing. The forms of these pieces are, in a sense, like “visual samples.” They are based on shapes found in drawings the choreographer Trisha Brown made in the early seventies. These drawings contain a sense of motion and it’s easy to see their visual connection to dance but, they also look like typography… like a written language we don’t quite recognize. And so we ask ourselves: When does a dance become a drawing? When does a drawing become a chair? Can a chair act as a kind of choreographer? Maybe we’ll never know but we love how they turned out and hope you do too!
A two sided poster designed by Benjamin Critton for the release of ROLU 4 OMMU is available to download and print. A book about ROLU’s work designed by Benjamin Critton will be published by OMMU in 2012.
Artists’ books, which have testified to the complex relationship between figurative art and publishing ever since the historical avant-gardes, characterized much of the experimentation that took place in the ’60s and ’70s. In that chapter of history, they claimed the status of artworks, bringing to bear all the tools – writing, drawing, photography – capable of serving a form of expression based on conceptual thinking, elemental signs, narrative and action.
In that period, Allan Kaprow (1927–2006), taking a seemingly contradictory approach, repeatedly downgraded his books from the loftier category of art objects to that of tools aiding his main activity as a constructor of Happenings. In other words, he created a direct link between his events and books.
His “Activity Booklets”, as he termed them, were conceived as instruction manuals, instruments for understanding and experiencing the event through which the artist expressed himself.
The artist /author becomes the absolute master of his work, embodying all the different fields of expertise – content, illustration, graphics, distribution – that flow into the book. He is the sole protagonist of a “total book” in which a wide range of creative disciplines converge.
This book about Kaprow’s books, precisely because it is bibliographical, and not a work of criticism, presents the entire body of publications for the first time.
© Ben Kinmont, catalytic texts
“We are the social sculpture!…From one to another I am for you.”
New York City, 1991. 11 x 8 ½ inches, photocopy, printed recto only. Handed out on the street in New York City for the project I am for you, Ich bin für Sie.
de la main à la main: le tract comme contre-pouvoir esthétique
Un des principaux intérêts du tract comme support de l’art réside dans le fait qu’il est en tout point l’exact opposé de l’œuvre d’art, telle en tout cas que la décrivent encore aujourd’hui les défenseurs d’une certaine tradition esthétique. L’œuvre est raffinée et atemporelle, le tract est ordinaire et jetable ; l’œuvre est métaphysique, le tract est politique, l’œuvre est précieuse, le tract est cheap. « Toute œuvre, et particulièrement une très grande […], écrit Michel Haar en 1994, présente une cohésion, une unité organique si puissante qu’elle renvoie davantage à elle-même qu’à aucun étant dans le monde. » L’œuvre aspire à la grandeur et elle se doit d’être grandiose, le tract, lui, est modeste et fugace. L’œuvre d’art, continue Michel Haar, est « un assemblage matériel irremplaçable et subtil, fait suivant la vocation de chaque art, de pierre ou de couleur, de sonorités musicales ou de sonorités verbales ». Le tract est plutôt grossier, remplaçable car reproductible, imprimé sur du papier ordinaire par une technique plus ou moins industrielle. La place de l’œuvre d’art est dans un musée, tandis que le tract – ni de pierre, ni de couleur – se faufile discrètement, voire clandestinement au milieu de la foule.
Cette position délibérément marginale incite les artistes qui ont une pratique du tract à épouser et à assumer la fonction subversive qu’il joue – logiquement – dans l’art…
5 janvier – 18 février 2012
Cabinet du Livre d’Artiste, Rennes
YEAR is an annual magazine published by Komplot and David Evrard with the designers Pierre Huyghebaert and Uberknackig. YEAR is thought as a non-linear narrative inspired from the cause and effect paradigm or more. Its subjective approach, closely ingrained with the artists, curators and the experiences they raise, slips in commentaries or reports about different elements – exhibitions, interventions, conferences, books, objects…– that appear influential. YEAR is a choral publication of a kind of a scene and beyond. According to the principle of chain reaction YEAR addresses the journalistic model, organizing its content in the form of sequences. YEAR is a scene, an experimental constellation.
Initiated as a project at Werkplaats Typographie, Dries Wieuwaters began exploring a stencil based system originally designed by Joseph A. David. In 1876 David acquired the patent for a system that he had invented for sign-writers. With a universal stencil, all UPPERCASE, lowercase, numbers, punctuation, accents etc could be sourced from the grid of the stencil. Dries used this stencil or Plaque Découpée Universelle (PDU) and began an exploration into the liberties and restrictions of a unified grid.
This specimen catalogue explains the history of, and the reason behind the making of the PDU. It also contains an essay called “Le Système Typographique Imparfaite” which deals with the quest for a perfect system and it’s inherent flaws.
With this stencil every letter of the alphabet – including numerals, small caps, punctuation, … – can be constructed. Each stencil is send in a sturdy plastic protective wrapper and with a complimentary copy of the PDU Specimen.
The Graphic Design: Now in Production exhibition explores how graphic design has broadened its reach dramatically over the past decade, expanding from a specialized profession to a widely deployed tool. With the rise of user-generated content and new creative software, along with innovations in publishing and distribution systems, people outside the field are mobilizing the techniques and processes of design to create and publish visual media. At the same time, designers are becoming producers: authors, publishers, instigators, and entrepreneurs employing their creative skills as makers of content and shapers of experiences…
The Graphic Design: Now in Production catalogue and exhibition – with more than 250 artists and some 1,400 images – survey the vibrant landscape of graphic designers who have seized the means of production and are rewriting the nature of contemporary design practice. Charting a rich vein of activity that cuts across wildly diverse fields, Graphic Design: Now in Production chronicles the postmillennial scene of all-access design tools and self-publishing systems, the open-source nature of creative production, and the entrepreneurial spirit of the designer turned producer.
Part operating manual, part academic reader, and part sourcebook, the catalogue features writings by some of the field’s major thinkers, including Åbäke, Ian Albinson, Peter Bil’ak, Andrew Blauvelt, Rob Giampietro, James Goggin, Peter Hall, Steven Heller, Jeremy Leslie, Ellen Lupton, Ben Radatz, Michael Rock, Dmitri Siegel, Daniel van der Velden, Armin Vit and Bryony Gomez-Palacio, and Lorraine Wild. Freely mixing writing styles, from personal rants to the collective speak of Wikipedia, the book touches upon hundreds of topics.
Picking up where the design authorship debates of the 1990s left off, this catalogue examines the evolution of graphic design in an expanded field of practice. It considers myriad issues, such as the changing nature of reading and writing, self-publishing and clientless design, the persistence of the poster and the book in a screen-based culture, the designer’s voice in the age of crowdsourcing, the visualization of journalism, the ubiquity of branding, and the democratization of design tools and software. Sprinkled throughout are numerous bits—factoids, explanations, and tangents—exploring everything from fake Apple Stores to Adobe DPS, Ghanaian coffins to cultural analytics, Scriptographer to heraldry. …
Launch December 13, 2011, 7pm
Hochschule für Gestaltung, Offenbach am Main
une collaboration du groupe d’architectes radicaux italiens Superstudio
avec les étudiant-e-s du Master Espaces et communication de la HEAD.
Constituée de meubles, de films, de dessins, de photomontages et de textes, l’exposition montre les dispositifs imaginaires et critiques de Superstudio qui s’articulent selon trois temps ou stratégies : la première tient à la modification de la production du design et à l’intégration de notions qui paraissent apparemment éloignées des préoccupations du designer telles que le hasard ou le kitsch ou encore l’imprévu, l’imparfait, l’artisanat et les divers savoir-faire. Leur deuxième stratégie se rapproche de la pratique de l’art conceptuel et propose la disparition totale des objets espérant ainsi échapper au marché et à leur soumission au capitalisme. Enfin, la troisième tactique par laquelle opère Superstudio, la plus féroce, emprunte aux mécanismes fictionnels littéraires et notamment au mode dystopique. En décrivant une apocalypse latente, ils espèrent, en retour, soumettre le présent à ce même état critique. Cette méthode consiste à détourner les utopies de la Modernité en les acculant à leurs contradictions. Ces formes critiques ou « utopies anormales » décrivent des situations prétendument imaginaires qui visent à démanteler la production idéologique – prétendument réaliste, quoique utopique selon eux – d’un progrès technologique au destin moral, émancipatoire et bénéfique.
Design Project Room présente notamment l’oeuvre majeure de Superstudio « Le monument continu : un modèle architectural pour une urbanisation totale », réalisé entre 1969 et 1971. Ne retenant que la trame de l’architecture technologique, ils déploient – à travers une série de dessins, d’oeuvres à l’aérographe et de photomontages – une grille géométrique en continu. L’universalité du système de la grille est l’instrument essentiel de la transformation qu’ils entendent mener. En s’étendant à tout et partout, le carré, élément architectural basique, recouvre les villes et les paysages les plus variés, des chutes d’eau au désert, des surfaces au moindre objet ; il balaie toute hiérarchie et ramène à l’unité de l’expérience physique immédiate des environnements. La grille s’étend sur la terre et s’empare des éléments mobiliers : lit, armoire, table, etc., tous recréés ou créés spécialement pour l’exposition Surface radicale, elle fait surgir un « Be-In » au bénéfice de la vie, de la nature et de l’amour.
16 Décembre – 12 Février, 2012
Design Project Room, Genève
A Mobile Library adopts the function of a library while considering ways that publications, print media of all kinds, and the act of reading relate to contemporary art production.
This exhibition offers three different experiences of text: typographic design by Joseph Churchward and Kris Sowersby (in collaboration with graphic designer Duncan Forbes from The International Office); a reference library of loaned artists’ books and small press publications; a curated selection from graphic designer (and co-editor of The National Grid) Luke Wood’s library. Publications are essential to the way contemporary art is documented, circulated, promoted, and received. This exhibition suggests they represent a vital interface for contemporary art’s audience, and for its makers…
Until February 12, 2012
City Gallery, Wellington
This publication makes a corrective gesture. AWN Pugin’s 1836 book Contrasts presented a comparative analysis of what Pugin considered the glorious buildings of the middle ages and the detestable architecture of his own time. The etchings that illustrated this work originally appeared awkwardly paired on single pages. Here photocopies of 15 pairings from Contrasts are rotated 90 degrees and reproduced on facing pages, as part of an ongoing enquiry by the author into the book as an active site of display.
Published by Bedford Press
A library of books that have become friends and dear companions to our invited speakers. Each guest will be talking about one book chosen by him or her that is not in the college library yet, but will now become part of the new and growing “Library of Friends”.
December, 7, 2011, 6pm
Katharina Immekus (Artist, Leipzig),
will talk about: “KATALOG”, Katharina Immekus, Lubok 2011.
Zak Kyes (Graphic-Designer and Art-Director at the Architectural Association, London),
will talk about: “Blueprint for Counter Education”, Maurice Stein, Larry Miller, Doubleday 1970.
December 15, 2011, 6pm
Kai von Rabenau (Photographer and Editor of the magazine mono.kultur, Berlin),
will talk about: “McSweeney’s”, Issue 36, 2011.
Markus Dreßen (Graphic-Designer and Editor of the Magazine Spector Cut&Paste, Leipzig),
will talk about: Vitra, The Home Collection, 2006.
Academy of Visual Arts, Room 2.23, Leipzig
From the library of… is a series of small exhibitions that will be on display in the Torpedo bookshop.
“We invite private collectors, artists and curators who has an interest in printed matter to show a selection of their own book collections. First out is Geir Haraldseth, and his pick, from his impressive piles of art books and magazines, is Aspen Magazine.”
“Aspen Magazine might be considered the Holy Grail in contemporary art publishing. The magazine itself is elusive and rare, the inspiration for a number of publications, and the subject of several artists projects. The magazine in a box was published on quite an erratic schedule from 1965 to 1971, all in all producing ten issues. The editor and founder was Phyllis Johnson, a New York-based editor of fashion and design magazines, who ran the publishing house Roaring Fork Press, which published Aspen. Johnson envisioned a stylish magazine in a box, where different materials and media could be included. Here at Torpedo, we present the first two issues, the two most conventional ones, and the fourth issue, designed by Quentin Fiore and based on the writings on Marshall McLuhan. The box even contained excerpts from the then unpublished The Medium Is the Massage by McLuhan and Fiore…”
December 7 – 23, 2011
Torpedo Bookshop, Oslo
This year the Museum of Contemporary Art Leipzig presents the first solo exhibition in Germany by the Swiss-American graphic designer Zak Kyes. In collaboration with the curator, Barbara Steiner, the exhibition brings together a range of works by Kyes, as well as new ones by a host of collaborators that includes architects, artists, writers, curators, editors and graphic designers, presenting contemporary graphic design as a practice that mediates, and is mediated by, its allied disciplines.
December 10 – March 18, 2012
Galerie für Zeitgenössische Kunst, Leipzig