The New Public – a graphic kick-off

January 31st, 2012


©Metahaven ©Lupo&Burtscher

Museion Passage presents the project by the designer Martino Gamper, set to change the look and role of the ground floor of the Museion and open it up to the public and external events.
The opening of “Museion Passage” will also see the presentation of a project involving four European graphic design companies – H I T, Lupo&Burtscher, Metahaven and NORM – which created a series of posters for the ground floor of Museion on the theme of “The New Public”. Using the advertising medium of the poster and employing different techniques, the companies created personal interpretations of the theme of the new museum-going public.

Rein Wolfs (guest curator), Martino Gamper, Angelika Burtscher (Lupo&Burtscher), Daniel van der Velden (Metahaven) and Emanuela De Cecco (faculty of Arts and Design, Free University of Bolzano) will be taking part in a panel discussion exploring the meaning of the word “public” in the art world, the relation between art and design and the theme of communication with the public.

February 2, 2012, 7.30 pm
Museion, Bolzano

Posted in Art, Design, Graphic Design

Le double et son modèle

January 27th, 2012

Double mixte 2
Le double et son modèle

Double mixte est un cycle d’expositions proposé par Thierry Chancogne dont le principe consiste à inviter un graphiste à travailler avec un tiers pour construire une exposition. Il s’agit d’expérimenter les formes de coexistence possibles entre le graphisme et d’autres domaines de l’expérience ou de l’expression. il s’agit d’exposer le graphisme en tant que médiation.

Prenant au pied de la lettre l’intitulé du projet, cette deuxième édition voit le duo de graphistes officeabc (Brice Domingues et Catherine Guiral) proposer à Marie Clément-Welles, artiste, et Arnaud Daffos, designer, une collaboration autour de la question du double et de son modèle.

Le quatuor s’invente pour l’occasion une identité commune, sorte de créature chimérique quadricéphale qui produira une série de pièces et dispositifs – sculptures, installations, vidéos, éditions…
Un scénario sert de trame à l’exposition faisant des acteurs, théoriciens et artistes invités, tour à tour les modèles et leurs doubles. Une histoire prétexte à multiplier les originaux, à manipuler les figures de substitution du réel, questionnant inlassablement la distance entre une chose et sa copie, convoquant les sosies, les jumeaux et les faux-jumeaux, les notions de simulacres, de reproductions fidèles ou infidèles…

Un catalogue produit lors du montage de l’exposition sera édité pendant l’exposition ; réplique de celle-ci sans en être la copie conforme, il en proposera une nouvelle lecture poursuivant ce jeu d’écho entre écart et confusion.

Avec la participation de Alexandru Balgiu, Xavier Bouyssou, Marcelline Delbecq, Jérôme Dupeyrat, Alexandre Giroux, Fabien Guiraud, Vincent Lalanne, Christophe Lemaitre, Fabrice Mabime, Hélène Meisel, Josué Rauscher, Pierre Vanni.

11 février – 8 avril 2012
galerie Arko, Nevers

Visages

January 26th, 2012





Visages,
une exposition collective et une publication dirigées par Joseph Ghosn avec les dessins de Charles Berberian, Theo Ellsworth, Charles Burns, Philippe Dupuy, Sammy Harkham, Frédéric Fleury, Blutch, Frédérique Rusch, Paul Hornschemeier, Caroline Andrieu, Nine Antico, Serge Clerc, Frédéric Poincelet, Antoine Marquis, Julien Carreyn, Emmanuelle Pidoux, Fanny Michaëlis, Ludovic Debeurme, Michael Deforge.

“On ne regarde jamais assez les visages dessinés, les figures qui traversent une case, une page et les regards qui les habitent. La bande dessinée, pourtant, est un art de la représentation, du visage restitué, réinventé, mais toujours fidèle à lui-même, à sa vérité. Ou alors à la vérité telle que la perçoit le dessinateur. Les visages, donc, sont ces pièces centrales qui font que l’on reconnaît un personnage, une figure, immédiatement. La tension est toujours là, dans ce qui dessine l’ovale d’un visage, la souplesse ou la dureté d’un regard : le visage, donc, est bien l’ultime frontière de la bande dessinée – et du dessin, d’où qu’il provienne. C’est pour cela qu’en écho à une idée de la galerie 12mail (exposons de la bande dessinée), la seule réponse qui sorte et s’impose est celle de montrer des visages, d’accrocher des regards plutôt que de montrer des planches qui ont leur place dans des livres plutôt que sur des murs.” …

A l’occasion de l’exposition, 12Mail éditera une publication gratuite conçue par Laurent Fétis, éditée à 1000 exemplaires, regroupant les visuels de l’exposition sous forme de posters détachables.

3 février – 30 mars 2012
12MAIL, Paris

the Institute of Savage Archives

January 23rd, 2012


©åbäke

The Institute of Savage Archives

This exhibition will feature over thirty contemporary works of art, all offering an original and singular archiving system, in form as well as content. The idea is to go beyond the usual scientific or historical classifications in order to inventory new means for collecting, restoring or consulting documents. Each savage archive creates its own institution, its own classifying methods, its own categories, functions and uses…

Participating artists : Åbäke, Eva Aeppli, BertilleBak, AndreaCera, CollectiveJukeBox, Silvie&Chérif Defraoui, Patrick Everaert, Christoph Fink, Ryan Gander, Joana Hadjithomas & Khalil Joreige, Susan Hiller, Christoph Keller, Mike Kelley, Alexandre Lenoir, Matt Mullican, Daphné Navarre, Anna Oppermann, Dan Peterman, Julien Prévieux, Kit Rangeta, Michael Riedel, Alain Rivière, Ian Simms, Jules Spinatsch, Tatiana Trouvé, Patrick Van Caeckenbergh, Franz Erhard Walther, Tamara de Wehr & Joshua Burgr.

A space of documentation gathers a selection of publications, audiovisuals and documents dedicated to the project and to the exposed artists. This space is invested by Åbäke and transformed as the Victoria & Alferd Museum – Investigation office of the Institut of Savage Archives.

February 17 – May 28, 2012
Villa Arson, Nice

ARCHIZINES in Milan

January 20th, 2012

ARCHIZINES exhibition

From photo-copied and print-on-demand newsletters such as Another Pamphlet, Scapegoat and Preston is My Paris, to magazines such as Mark, Spam and PIN-UP – ARCHIZINES celebrates and promotes the recent resurgence of alternative and independent architectural publishing from around the world.

The exhibition, curated by Elias Redstone, originated as an online project and showcases 60 architecture magazines, fanzines and journals from over 20 countries. From Australia and Argentina to the UK and USA, these independent publications are reframing how people relate to their built environment – taking comment and criticism out of just an architectural arena and into everyday life. The titles also provide platforms for architectural research and debate, and demonstrate the residual love of the printed word and paper page – providing an antidote to digital publishing. Made by architects, artists and students, they add an important, and often radical, addition to architectural discourse. Each magazine is available to read in the exhibition along with video interviews with their creators talking about their work.

An accompanying catalogue, published by Bedford Press, further explores the relationship between architecture and publishing.

January 26 – February 23, 2012
Lecture February 23,
Spazio FMG per l’Architettura, Milan

FERNAND BAUDIN PRIZE – AWARDS 2011

January 20th, 2012

The Fernand Baudin Prize – Awards 2011

The Fernand Baudin Prize has been initiated by several graphic artists-teachers who work in the book world.
The Prize wishes to privilege above all the singular points of view of several books and the coherence of the interactions between the various creators of the book: designer, publisher and printer-binder. In the same way, the Prize wishes to highlight those aspects which are particularly remarkable, whether graphic, abstract or technical.

For this fourth edition of the Fernand Baudin Prize, Urs Lehni was the president of the jury and 7 books were awarded the title of “Prize-winner of the 2011 Fernand Baudin Prize”:

- Moments d’espace – Moments of Space, Joëlle Tuerlinckx, Secession, design by Thomas Desmet & Joëlle Tuerlinckx
- Louie Louie, cneai= & Ecole Superieure des Beaux-Arts d’Angers, design by Cataloged (Coline Sunier et Charles Mazé)
- Spectres, ASP Publishers, design by Luc Derycke BVBA
- Molla Nasreddin, JRP Ringier, design by Boy Vereecken
- L.J. Baucher, J.P. Blondel, O. Filippone, Ministère de la Communauté française de Belgique et Faculté d’architecture de la Cambre, design by Manuela Dechamps Otamendi
- Carrara, Aglaia Konrad, Roma Publications, design by Roger Willems & Aglaia Konrad
- Growth, Sternberg Press, design by Boy Vereecken

Posted in Books, Graphic Design

Hocus Pocus : Twilight in My Mind

January 19th, 2012


©officeabc

Hocus Pocus : Twilight in My Mind
d’Alexandra Midal

Le film Hocus Pocus rend hommage au réjouissant livre De l’assassinat considéré comme l’un des beaux-arts (1827) de Thomas de Quincey. Il y inventa la « Société des Connaisseurs en Meurtres » dont les membres, « zélateurs de l’assassinat » se réunissaient pour observer la condamnable activité de meurtrier sous un angle esthétique. Hocus Pocus est un film de « thriller-fiction » qui présente une histoire de la tricherie, de la magie et du design à l’aune du crime. Walter Benjamin a décrit le bourgeois comme s’il s’agissait d’un criminel et le flâneur comme un détective, Thomas de Quincey a considéré que le meurtrier est un artiste, Oscar Wilde a affirmé qu’il n’y a pas de morale dans l’art et Alfred Hitchcock comme Edgar Allan Poe ont décrit le crime comme un art, Hocus Pocus pose l’hypothèse selon laquelle le designer et le critique seraient autant meurtrier que détective et que le design dépasse l’opposition entre bien et mal. Assumer une telle rupture avec « la moraline » du design est d’autant plus nécessaire qu’elle a structuré son histoire et son objet…

21 janvier, 2012, 10h30
Le Nouvel Odéon, Paris

Crime helps to reconsider everything through new parameters beyond morality. As with philosopher Vilèm Flusser who claims that: “You must choose between being a saint or a designer,” and gives in a negative dimension related to the use of ruse and perfidy, I would add: are tricks, or even crime, a valid perspective to reconsider design and design history, and can such a thing as the aesthetics of crime be considered?
And as a reference to Thomas de Quincey’s On Murder Considered as one of the Fine Arts, can crime, deceit or treachery, remarkably missing from the designers’ vocabulary, be questioned ? Can criminality provide us with a valid perspective to reconsider and perhaps rewrite design history?
The house of the first serial killer of the USA sanctifies the most recent technological innovation and without publicly evealing any of it, the only clue being a lone electric cable running from the street into the house. Fascinated by the potential of industrial aided murder, one can acknowledge that Holmes has taken the full measure of the progress.
If Holmes’s attitude shows an incredible confidence and understanding of the technologies of his time, nothing can silence the extremely morbid use he has made of it. One can even wonder whether this amoral position wouldn’t be a notion strictly related to the Modernity, as described by historian Reyner Banham: « The history of mechanization is an extremist story, else, it would have never taken place. The fact that many of those extremists might have not been recognized or simply referenced, does not diminish what so ever the extent of their contribution.  ».
Indeed, Holmes, and the whole depicted anti-hero of this film can surely be registered in the history of paroxysm brought up by Banham.
In a nutshell, Walter Benjamin considered bourgeois as criminals, and strollers as detectives. Thomas de Quincey regarded murderers as artists. Oscar Wilde said there was no morality in art; Alfred Hitchcock and Edgar Allan Poe considered crime as an art. Let’s see if historians and critics aren’t simultaneously murderers, detectives, and artists?

À propos d’un éphéméraméride…
officeabc (Catherine Guiral & Brice Domingues)

“L’affiche qui est un éphéméra fonctionne comme un éphéméride, une grille invisible permet de placer un sticker-annonce selon le mois et le jour de la projection du film.
Nous avons choisi de penser aussi cette affiche comme un «aimant» qui a attiré trois éléments: la clé de Joseph Bramah, le buste d’Houdini, et en fond un photogramme extrait du film Houdini Le Grand Magicien (réal. Marshall, 1954).

Le fond représente une vue de sous la banquise, une espèce de figure de cristallisation et aussi de noyade. Par dessus, le buste de Mr H est repris d’une célèbre revue de magie des années 50, Genii The Conjuror’s magazine. Si on y regarde de plus près, le buste est gravé des initiales chiffrées RKO 589. Un code qui va permettre de décrypter, un peu, la planche de stickers. Enfin, la clé de Joseph Bramah, ce serrurier connu pour l’invention de la serrure à pompe, déclarée inviolable: les serrures et clés Bramah étaient aussi ces défis lancés aux magiciens escamoteurs; mais la forme même de celle que nous avons choisi évoque tout autre chose. Elle nous a fait penser aux bobines de films, à la boucle également.

Convoquer ces trois éléments c’est raconter l’histoire inconnue de ce qui nous plaît dans Hocus Pocus: le prestige, le crime, le design. Et ensuite de les assembler selon un ordre particulier mais qui ne s’impose pas, qui laisse libre court à une forme de lecture imaginative, en boucle.…

La planche de stickers présente le dossier RKO 589, script du film Now You See It, jamais tourné mais retrouvé par l’archiviste Steven Bingen dans les cartons des Studios RKO. Le script était écrit par Fulton Oursler, un ami d’Houdini qui l’avait notamment aidé dans sa campagne contre les magiciens-charlatans. C’est ainsi la seule archive, à notre connaissance, d’un film-to-be écrit par un proche du prestidigitateur.

À côté de ce dossier, qui sert de lien avec l’affiche, les stickers qui présentent les différentes projections d’Hocus Pocus, passées et à venir. Ils sont comme ces cartes promotionnelles qu’on trouvait dans les halls de cinéma et chacun reprend des photogrammes issus directement de ces même cartes. Des photogrammes de films qui rappellent le détective, le leurre et la fable (Histoire sans Fin, Sirène du Mississippi, Baisers Volés, Le Voleur…)

Un grand espace reste libre sous le script, c’est l’introduction d’Hocus Pocus, comme une manière de teaser écrit. L’idée d’associer le script en tant que script, et ce texte comme une sorte d’amorce, c’est encore une fois créer des associations d’éléments qui nous plaisent beaucoup. Et rappeler aussi ce joli tour d’illusion qu’Alexandra Midal crée avec ce projet, faire de la théorie visuelle où les films ne sont plus des films mais de beaux prétextes.”

Posted in Art, Design, Graphic Design

SUPERSTUDIO/backstage

January 18th, 2012

SUPERSTUDIO/backstage

The exhibition documents Superstudio activity from 1966 to 1978 with a series of photographic images from the Toraldo di Francia archive, which documents research activity that stretched the boundaries of architecture to encompass other artistic practices, viewing the project not only as a work which could solve problems, but also as a tool for investigating and learning.
Together with the numerous photographs, objects from the Histograms series (Istogrammi 1969) will be on display: lithographs, original lamps, Superstudio films and publications…

Until February 26, 2012
Luigi Pecci Centre for Contemporary Art, Prato

The Feeling of things

January 18th, 2012

The collective exhibition The Feeling of Things takes as its point of departure the work and spirit of the inventor, artist, designer, writer, illustrator, graphic designer and teacher, Bruno Munari, “a Peter Pan with the calibre of a Leonardo”, to borrow Pierre Restany’s words.

By shifting and developing, in everyday life, his continuous research into the circulation and instability of forms, signs, colors, light, words, and images, he never ceased to combine imagination and method, logical and intuitive inventiveness, within an approach that focused on the essentialness of things. From the early Futurist paintings of the 1930s to the unreadable books, from the useless machines to the talking forks, from the original xerographies to the high-tension structures of the 1990s, Munari played all his life with categories and disciplines – using conspicuously limited means – in an attempt to blend them into a single radical and generous art praxis, urging everyone to develop their own curiosity and creativity.

For all this, this exhibition, which is more forward- than backward-looking, is not seeking so much to emphasize his legacy and his influences, as to set his work back in motion, in terms of ideas and forms, in the midst of other art practices. It thus brings together on the same level paintings, prototypes, multiples, design objects, books and games produced by Munari, and works of artists of different generations and nationalities, sharing an attitude and a spirit informed by playfulness, sincerity, spareness, and poetry…

With Lenka Clayton and Michael Crowe, Isabelle Cornaro, Julien Crépieux, Robert Filliou, Martino Gamper, Ryan Gander, Mark Geffriaud, Ray Johnson, Chitti Kasemkitvatana, Cyrille Maillot, Bruno Munari, Emilie Parendeau, The Play, Bruno Persat, Pratchaya Phinthong, Chloé Quenum, Clément Rodzielski, Fred Sandback, Mieko Shiomi.

Until February 26, 2012
Le Plateau / Frac Ile-de-France, Paris

In the context of the exhibition, the first issue of Messy Sky – an expansive publication, fluid and adjustable edited by the artists Chitti Kasemkitvatana and Pratchaya Phinthong – hosts the publication “The Feeling of things” gathering amongst others contributions by the invited artists, designed by Coline Sunier and Charles Mazé. This issue is freely downloadable during the time of the exhibition.


Posted in Art, Design, Exhibitions

100 Years of Swiss Graphic Design

January 18th, 2012

100 Years of Swiss Graphic Design showcases the diversity of contemporary visual culture as well as revealing the fine lines of tradition that extend between works from different epochs. The show reveals that, while it is impossible to identify a single individual style in Swiss graphic design, a certain common approach is certainly to be found. The striking quality of the works, the way in which they are securely rooted in handcraft, as well as precision and reduction to essentials are the characteristics of this approach. Graphic works from Switzerland reflect international tendencies as well as local characteristics. They are accompanied by irony and wit.

This exhibition is a colorful cross-section through one hundred years of visual everyday culture. The chronological link is formed by a continuous frieze made up of 100 posters from the period between 1912 and 2012. The poster has been able to retain its relevance as a medium over this entire period, so that the range extends from classic masters of poster art to designers from the younger generation. The show reveals that, despite changes in needs, aspirations and techniques over the course of time, graphic design always circles around similar themes: the field of tension between art and graphic design is manifested, the dialogue between graphic design and photography…

February 10 – June 3, 2012
Museum für Gestaltung, Zürich

PORTFOLIOS: Louisa Gagliardi – Thomas Desmet

January 18th, 2012

Louisa Gagliardi


Thomas Desmet


Posted in Graphic Design

PAPER REHABILITATION PROJECT, SERIES 1 & 2

January 16th, 2012

Posted in Art, Books, Graphic Design

In Numbers: Serial Publications by Artists Since 1955

January 16th, 2012

In Numbers: Serial Publications by Artists Since 1955

In Numbers is a survey exhibition of the often-overlooked genre of serial publications produced by artists around the world from 1955 to the present day.
From the rise of the small press in the 1960s, followed by the correspondence art movement, where artists exchanged art by post, to the DIY zine culture in the 1980s and early 1990s, professional artists have always seized on the format of magazines and postcards as a site for a new kind of art production.
In Numbers is the first survey to define a neglected artform that is neither artists’ book nor ephemera, but is entirely its own unique object. The publications are by young artists operating at the peripheries of mainstream art cultures and established artists looking for an alternative to the marketplace. The publications are artworks, often idiosyncratic and produced in collaboration, and they do not feature news items, criticism, or reproductions of artworks.

Approximately 30 publications will be shown at the ICA in vitrines and on the walls, beginning with Wallace Berman’s Semina. The survey includes Eleanor Antin’s 100 Boots, a series of postcards featuring 100 Wellington boots in unusual places; Amokkoma by Klaus Baumgartner, Carston Höller and Johannes Lothar, each issue incorporating doctored elements of historic texts – The Origin of the Species and the diaries of Kafka and Che Guevara; KWY by Christo and others; Fluxus; Art-Language; Raymond Pettibon’s Tripping Corpse; Maurizio Cattelan’s Permanent Food; Dieter Roth’s Gesammette Werke; and Living and Loving by Aleksandra Mir with Polly Staple.

The diversity of the publications is reflected in the backgrounds of the producing artists and in the wide range of techniques, nationalities and media; the survey does not attempt to be exhaustive, but simply to define the genre’s contours and identify certain thematic threads.

January 25 – March 18, 2012
Institute of Contemporary Arts, London

Posted in Art, Books

Black Transparency One (The Letters)

January 15th, 2012







Black Transparency One (The Letters)
A reading by Metahaven accompanied by images of their recent design work at Tensta konsthall.

Transparency used to be a high modernist ideal, perfectly suited to design objects and institutions. More recently, transparency has become a loose set of strategies and tactics to scrutinize and expose the existing order—the behavior and secrets of governments, corporations and other organizations. The techniques and methods deployed by the new transparency are: leaks, investigative journalism and database hacks. Together, they form a departure from the modern paradigm of the glass house.

This new “black transparency” is vigilant, eclectic, immediate and often humorous. From the revelations of WikiLeaks to the actions of Anonymous, it is more insurgent than institutional, and more civic than corporate.
In Black Transparency, Metahaven investigates, questions, proclaims and illustrates design principles of this new unofficial movement, as well as surveys its significance for architecture and design.

The presentation at Tensta Konsthall takes the form of a reading accompanied by images and is part of their forthcoming book project Black Transparency—comprised of not just a print publication, but also talks, blog posts, articles and events.

January 22, 2012, 2pm
Tensta Konsthall, Spånga, Stockholm

Posted in Graphic Design

Manifesto

January 15th, 2012

Manifesto

To say that the end result is what counts is just not true. Especially in design. Rather, a good designer is more concerned with the process; that winding, potholed road he embarks upon every time he gets a new job.
“Manifesto.” is an ongoing project that leaves the final result to one side so as to focus on the creative process. It brings together under one roof the personal manifestos of some of today’s smartest and most renowned international designers.
Whilst some of these statements are very well known, others have been prepared exclusively for the project: some are programmatic pieces of writing, some are detailed work manuals, all are passionate tributes to graphic design, creativity and the design culture.

With Max Bruinsma et al., Anthony Burrill, Allan Chochinov, Delaware, Daniel Eatock, Experimental Jetset, Ken Garland, Bob Gill, Miltor Glaser, Stefan Sagmeister, Erik Kessel, Enzo Mari, Bruce Mau, Mike Mills, Bob Noorda, Peter Nowogrodzki, Bre Pettis & Kio Stark, Slavs and Tatars, Filip Tyden & Gemma Holt & Massimo Vignelli.

January 19 – February 17, 2012
Talk, Ken Garland & Albert Folch, January 19, 7pm
Otrascosas de Villarrosàs, Barcelona






Cneai de Paris: 12 cartes blanches

January 13th, 2012


12 sérigraphies cartes blanches
au Cneai de Paris

Pour accompagner les travaux de la maison Levanneur sur l’île des Impressionnistes à Chatou, le Cneai de Paris a proposé en 2011, sur un mode ouvert et réactif de “cartes blanches”, une série d’actions sur les pratiques de publication.
Dans le cadre de son départ de la rue Weiss, le cneai= propose un affichage des 12 sérigraphies réalisées dans le cadre des 12 invitations “cartes blanches”, le 27 janvier 2012 dès 18h.

Guy de Cointet, Olivier de Bouchony (avec Christophe Lemaitre) pour Super #14 / Albers LeWitt Cointet; Illustration (after a portrait of Friedrich Schleiermacher by A Constructed World and after the wall painting Language Is Not Transparent,1970 by Mel Bochner), Yann Sérandour, pour l’exposition Une traduction d’une langue à une autre / A Translation from One Language to Another; Louie Louie, François Aubart et Camille Pageard, Graphisme de Coline Sunier et Charles Mazé pour l’exposition Louie Louie; Open Books II — Umberto Eco, Le Nom de la rose, Graphisme de Pierre Vanni, pour Open Books II

Posted in Art, Graphic Design

ARTISTS’ BOOK NOT ARTISTS’ BOOK

January 11th, 2012



ARTISTS’ BOOK NOT ARTISTS’ BOOK

An exhibition featuring books that are, and/or, are not, artists’ books.

With work by Chris Burden, Ira Cohen, Richard Meltzer, John Baldessari, Seth Price, Michelangelo Pistoletto, Richard Hell, Tina Lhotsky, Sue Williams, Tom Sachs, Richard Prince, William Gibson, David Wojnarowicz, Dara Birnbaum, Jim Shaw, Ed Ruscha, Sean Landers, and others (not to mention, Various, Anonymous, and Unknown).

January 18 – February 12, 2012
Boo-Hooray, New York

Posted in Art, Books

The Order of Things

January 11th, 2012

The Order of Things
Mikko Kuorinki

The desire to classify the world has always been a need for mankind: We collect, reflect and sort the things. Michel Foucault extensively wrote about this phenomena in his book The Order of Things: An Archaeology of the Human Sciences, one of the core works that anchor the French Structuralist school of thought. The Finnish artist Mikko Kuorinki interpreted Foucault’s title literally and put all words of the book in alphabetical order: From A to Zoophytorum. In the tradition of conceptional art, Kuorinki reordered knowledge that is already available. He decomposed a text to an alphabetical material – and composed at the same time a new text, which offers us a very unusual view into the thinking of the French philosopher. Designed by Astrid Seme.

Launches
January 11, 2012, CAC, Vilnius
January 28, Kunst Halle Sankt Gallen

Posted in Art, Books, Graphic Design

Journal du Salon Light #8 – Supplément

January 11th, 2012


© Pierre Vanni



Journal du Salon Light #8 – Supplément

Prolongement et documentation du Salon Light #8, le Journal est un gratuit complété à postériori par un Supplément.

Contenu du Supplément:

- Trace/archive des tables de recherches qui ont eu lieu durant le salon.

Avec Véronique Bacchetta (Directrice du Centre d’édition contemporaine, Genève), Jérôme Dupeyrat (Doctorant en esthétique, éditeur et enseignant en histoire de l’art contemporain), Lynn Harris (AND publishing), Christophe Lemaitre (artiste), Jurgen Maelfeyt (Art Paper Edition), Francis Mary (Éditions KEYMOUSE), Alexandra Baudelot (Rosascape, directrice artistique), Christophe Daviet-Thery (éditeur et libraire), Céline Duval (documentation céline duval), Constance Moréteau (doctorante et enseignante en histoire de l’art contemporain), Elise Parré (artiste, enseignante), Bibliothèque Générale (Jean-Marie Courant & Alexandru Balgiu, éditeurs), Mathieu Copeland (curateur), Marcelline Delbecq (artiste), Victor Guégan (doctorant en histoire de l’art et du graphisme), Jérôme Saint Loubert-Bié (artiste, graphiste), Yann Sérandour (artiste), Sylvie Boulanger (cneai=).

Thèmes abordés: Les nouveaux enjeux, formats et pratiques contemporaines de l’édition indépendante et du livre d’artiste; Les contextes et expériences de distribution, collection et exposition du livre d’artiste; “les curiosités éditoriales”.

- Spector Books, lauréat du prix the publisher=

- Entretien, par Jérôme Dupeyrat, avec Benjamin Thorel, Sylvie Boulanger et Charlotte Cheetham.

Direction éditoriale : Sylvie Boulanger et Charlotte Cheetham
Conception graphique : Pierre Vanni

Le lancement du Supplément du Journal du Salon Light #8 sera célébré par l’intervention de Bibliothèque Générale (Jean-Marie Courant, Alex Balgiu & Marie Proyart) sur La pratique du papier.

27 janvier 2012, 18h
La Pratique du Papier : Projections, 20h
Cneai de Paris


Art & Recherche

January 10th, 2012

Forum et colloque international art et recherche

L’ambition de ce colloque qui, sous des formes multiples, sollicitera les arts visuels et les autres arts, est donc de faire le point, au sens optique et intellectuel du terme, sur le nouveau paysage de la recherche artistique tel qu’il se dessine en France et à l’étranger…

8-10 février 2012
École nationale supérieure d’architecture de Paris-Belleville

Posted in Art, Design, Graphic Design

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