Explorations in Indexing, the limited edition publication published by Index, is the outcome of an open-ended exploration into the idea of indexing. Meant to function partly as a self-promotional device, the book is a kind of visual manifesto for Jonty Valentine and Amy Yalland design studio. They are interested in indexes (as the most ‘motivated’ of semiotic signs) as they are interested in seeing their graphic design work as the outcome of an exploratory, observational or documentary process. This is evident in the (mostly found) visual and written content of the publication, but also in their play with the aesthetics of production; particularly in the binding, and the idiosyncratic material quality of stencil printing.
Art Handling in Oblivion – A Catalogue about Conspiracy, Theft, Possession and Heritage – assembles five art collections that have been stolen during wartime, either by regimes or organized individuals. Seizure of art is one of most hidden and underestimated objectives of war. Behind conquering campaigns lurk hidden stories of deprived cultural heritage and devastation of the enemy’s cultural identity. Bringing home the enemy’s treasures is first of all a tangible proof of strength and victory. The booty entails an enrichment of the very own culture and shifts the composition and reclassification of cultural heritage on a global scale. Most of the discussed collections have been found and restituted, others are still in hostile possession or missing.
The catalogue does not pursue to answer questions of restitution, but evokes discussion by contextualizing the objectives and procedures of wartime art looting.
On the occasion of Two or Three Things I Know About Provo / The Brno Edition, a small catalogue has been published, designed and edited by Experimental Jetset. The main part of the booklet consists of a short story written by Auke Boersma, a former member of the Provo movement. In this (previously unpublished) story from 1983, Boersma recalls the early days of Provo in an almost Pop Art way, comparing key members of Provo with vintage comic characters, while describing a surreal “dérive” through the city of Amsterdam.
Further included in the booklet is a 24-page section of photos by Johannes Schwartz, documenting the first edition of the exhibition, as took place in Amsterdam. There’s also a foreword by Experimental Jetset, as well as an afterword by Marek Pokorny, director of the Moravian Gallery.
Information about mail order: Moravian Gallery, firstname.lastname@example.org
Cannon Magazine No.2 content by Hugo von Hofmannsthal, Francis Ponge, Rainer Maria Rilke, Peter Handke, Heinrich von Kleist, Robert Walser, Jean-Philippe Toussaint, Peter Král, Emily Dickinson, William Faulkner, Wallace Stevens, Alberto Caeiro, Thomas Bernhard, Friedrich Hölderlin.
“There is an oblivion of all existence, a silencing of individual being, in which it seems that we have found all things. There is an oblivion of all existence, in which it seems that we have lost all things, a night of the soul in which not the faintest gleam of a star, not even the phosphorescence of rotten wood, can reach us.” Friedrich Hölderlin, Hyperion
For Projects 98, Slavs and Tatars will build upon their recent cycle The Faculty of Substitution, creating a new installation titled Beyonsence, which takes its name from a translation of zaum—the Futurist experiments with transrational language and poetry.
The collective’s first solo museum presentation in the United States, Beyonsence explores the potentiality of reversals and replacements as a means to retrieve histories and geographies from inherited ideologies. At The Museum of Modern Art, the concept of the antimodern will be examined through objects, text, and image. Deploying wit and unexpected juxtapositions to get at these issues, Slavs and Tatars make visible modernism’s rich complexities and varied manifestations in both the eastern and western hemispheres.
Slavs and Tatars is an international collective of artists, designers and writers active in Eastern Europe, Russia, Central Asia and the Middle East, dealing directly with history and geopolitics in the post-Cold War, globally connected moment. Self-described “archaeologists of the everyday,” the group, working in a variety of formats, pin their practice to a defined geographic region—that of Eurasia and, more precisely, the vast expanse stretching from the former Berlin Wall to the Great Wall of China. In this place where West physically meets East and a tangle of traditions and languages has converged, intersected and clashed for centuries, Slavs and Tatars center their inquiry. Traversing cultural and emotional registers, their installations, performances, public interventions, artists’ books, and editions often draw from archival sources, such as ancient Zoroastrian calendars, Persian road maps, and Azerbaijani cartoons from the early twentieth century, as much as they do contemporary pop songs and slang phrases. Dissatisfied by the limitations set by any one discipline, the group adopts a hybrid approach for their research and engagement.
August 15–December 10, 2012
MoMA, New York
Super Models is a case study, a trend report, a coded map, or series of casual conversations that seek to plumb the foundational structure of any art or design practice: its business model. This project started with a desire to understand the structure of a studio as a design problem in and of itself and to learn how the choices made in building that model define the work a studio produces.
How do designers make work outside of the normal scope of the commercial? How do they support their studios? What, ultimately, is the flow of capital that drives these practices as businesses? What is the relationship between criticism and, to paraphrase Aristotle, keeping the lights on?
In Super Models, a variety of approaches to these questions are explored through interviews with a diverse group of practitioners operating on the cusp of art and design.
Book Launch & Talk, with Babak Radboy,
Andy Pressman & Harry Gassel
July 12, 2012, 7pm
Bidoun, New York
In umool umool vol.10 – 2, 3, 4, 5… around 13 people inflicted by various positions are invited to describe their collaborative processes.
“What interests us is the “behind the scene” moments within a collaboration process. For instance the breadth linking together simultaneous improvisation through to a long-distance commission between two or three or four or five or even more people. We are curious about the methods of an evidently multi-individual constellation existing parallel to fake identities. Formally, this results with a space of 16 pages for each contribution to reveal experiences, anecdotes, decisions, results, negotiations etc., according to the depicted topic.”
HELP/LESS, organized by artist Chris Habib, includes over 180 books that explore the fluidity of authorship in artists’ books and multiples.
Including original artworks, book objects, prints and a tremendous selection of artists’ books, HELP/LESS looks to the various modes and methods of appropriation in contemporary art, including: plagiarism, re-authorship, identity subversion, copyism, substration, redaction, curation from the Commons, collective authorship, forgery, theoretical translation, narrative appropriation and reprography. The books gathered in the show represent many of the significant works that have, by choice or not, framed the conversation about fair use, derivation and the nature of contemporary practice. In the spirit of the books, ephemera and multiples it presents, HELP/LESS re-considers the exhibition space as an object to upset. It considers its viewers and featured artists accomplices.
July 14 – September 29
Printed Matter, New York
Reading Ed Ruscha focuses on the painter Ed Ruscha’s artistic interest in books, writing, and the act of reading as pursued by him over a period of five decades. Text and the written word appear in his works as motifs and symbols, or as actual objects in the form of books. A range of artistic means are used to explore and manipulate reading as a meaning-generative process.
Until October 14, 2012
Kunsthaus Bregenz, Bregenz
Uta Eisenreich Signals Ahead is a short production residency focusing on the language of signage in the locale. Uta Eisenreich is planning to develop a series of narrative acts that combine objects and words in a sequence designed for both play and book forms. She will be producing and recording object moments across the entire space of the gallery culminating in “A Performance in 5 Acts” and a set of material for James Langdon‘s next publication which follows on from his acclaimed BOOK in 2010.
July 13-28, 2012
Eastside Projects, Birmingham
For this talk by Stuart Bailey , as part of STEINBERG, SAUL. THE NEW YORKER. NEW YORK, 1945–2000. (HAROLD, WILLIAM, ROBERT, TINA, DAVID, EDS.) exhibition, the leading subjects will be Saul Steinberg’s bloodless relatives: The New Yorker and J.D. Salinger.
Stuart Bailey will keep both institutions, Salinger and The New Yorker, in mind and draw attention, at first piecemeal and then pointblank, to 1) the precarious relationship between literary medium and romantic value, 2) the nature of a design deposited by so many different people, and 3) how cantankerous attitude becomes form.
July 3, 7pm
YALE UNION (YU), Portland
The contemporary notion of the Museum tends progressively to become closer to the original. Nowadays is denoted, by some modern institutions, a growing reformulation and consequent adoption of some of the founding principles of the ancient institutions as the Museum Akademia / Library of Plato in Athens or the Musaeum at Alexandria. These were spaces mainly devoted to study and speculation and curiously were more related with printed matter rather than the mere display and accumulation of objects. In addition, publishing is taking a more determinant role within the institution, working as a new exhibition space or a new medium. A space opened to a new curatorial, artistic and institutional discourse.
Editing and Curating share a wide territory. Both work with material from other authors and both function as an aggregating and transforming practice. Both are reading “facilitators” and orienteers. In short, both work as a mechanism for structuring a speech given by several voices but with a common tone, set by the publisher or the curator.
The mus(a)eu(m) workshop will approach these matters and during 3 days (6,7,8 of July) a room at Fundação Serralves, in Porto, will simultaneously be the place for discussion, speculation, production and exhibition. The workshop will be held by Marco Balesteros and 14 invited participants.
Library Paper is an up-to-date representation of varied design/art practices from all around the world giving readers an insight into the artists thoughts.
Contributors include Alexander Lis, Arthur Ruppel, Alex Witjas, Bänziger Hug, Brian Metcalf, Chris Nosenzo, Doeller and Satter, Eric Hu, In Good We Trust, Joel Evey, Letra, Manuel Birnbacher, Marcel Kaczmarek, Mathias Ringgenberg, Part and Parcel, Studio SM and VLF.
Launch July 12, 2012
Beach London, London
Over the course of Unravel | Unauthorise | Upcycle – two workshops and a discussion event – different strategies and ideas will be introduced that enable participants to develop a publication and take it to print. Using Upcycle this Text by Gavin Wade as a starting point for thinking, this project offers the opportunity to learn new skills and put them into practice in a critical environment.
The discussion event with contributions from AND Publishing, An Endless Supply
and Gavin Wade seeks to unpick thinking around self publishing by interrogating the structures and systems that limit and subvert the flow of information and ideas.
Dates and locations : to be confirmed
Application deadline: Friday 6 July