Variable Format – published by AND , designed by Åbäke with Pierre Pautler – is an experimental sample book that considers the materiality of the page, binding, cover, spine, and differences in print and graphic reproduction. The book has been produced in twelve formats using different options of print on demand.
11” x 14”, pp 64, colour, newsprint, fold bound, printed by Newspaper Club
11” x 14”, pp 384, softback, colour, white coated paper, wire-o bound, printed by HP Magcloud
8.25” x 10.75”, pp 384, softback, colour, white coated paper, perfect bound, printed by HP Magcloud
8” x 10.5”, pp 600, softback, b&w, cream matte paper, perfect bound, printed by Espresso Book Machine
8” x 10”, pp 240, softback, colour, Proline uncoated paper, perfect bound, printed by Blurb
8” x 10”, pp 240, hardback with dust jacket, colour, Proline pearl paper, perfect bound, printed by Blurb 8.5” x 8.5”, pp 88, softback, colour, white text stock, saddle stitch bound, printed by Lulu
6” x 9”, pp 800, hardback with dust jacket, b&w, cream uncoated paper, perfect bound, printed by Lulu 5.83” x 8.27”, pp 80, softback, colour, Cyclus paper, saddle stitch bound, printed by AND recycled
5.5” x 8.5”, pp 740, softback, b&w, premium publisher grade, perfect bound, printed by Lulu
5” x 8”, pp 440, hardback with image wrap, colour, white uncoated paper, perfect bound, printed by Blurb 3” x 3.5”, pp 100, softback, colour, white coated paper, perfect bound, printed using iPhoto
During London Art Book Fair , AND and design collective Åbäke will discuss the creative potential of print on demand publishing with the launch of Variable Format.
September 23, 2012, 2pm
Whitechapel Gallery , London
Temporary Stedelijk (6)
temporarily manifest an alternative of showing art online to a diverse audience. The exhibitions show works of young artists connected to the city of Amsterdam. The artists telling their stories with their works are either working, living or educated in the capital of the Netherlands.
The URL www.temporarystedelijk.com was not owned by the great museum itself. Amber van den Eeden & Kalle Mattsson used it as a back door to sneak the stories of young artists on to the virtual stage of the Stedelijk Museum.
Temporary Stedelijk (6) with Radim Peško, Kalle Mattsson, Charlotte Markus, Anu Vahtra, Na Kim, Michael Schoner, Marc Philip, Alex Farrar.
Les Ephémeras de Schifferli
Les Ephémeras de Schifferli
est une composition réalisée par l’artiste
et le curateur Giovanni Carmine.
Christoph Schifferli est un collectionneur de livres d’artistes, de cartons d’invitations et de photographies de plateau de cinéma. Sa collection est un univers fait de papier et d’oeuvres imprimées dans lequel l’unicité d’une oeuvre ne revêt pas un caractère fondamental. Cette “composition” ou construction photographique est un hommage à sa passion et un psychodrame visuel de ses activités. Cette installation est également le portrait d’un ami, un display incongru et psychédélique ainsi que le “Blow Up” d’une collection.
13 Septembre – 27 Octobre 2012
HardHat , Genève
Aspen Magazine: 1965-1971
Aspen, Vol. 1, no. 1 (1965), Edited by Phillis Johnson, designed by George Lois, Tom Courtos, and Ralph Tuzzo © Aspen Magazine / The authors, Victoria and Albert Museum and Museu d’Art Contemporani de Barcelona (MACBA)
Aspen Magazine: 1965-1971 is an exhibition dedicated to Aspen, the influential 1960s magazine. Aspen featured contributions by prolific artists, musicians and writers including Peter Blake, William S. Burroughs, John Cage, Ossie Clark, Marcel Duchamp, David Hockney, John Lennon, Lou Reed and Yoko Ono.
Issued in a box, Aspen was one of the first multi-media magazines and became a time capsule of the period. Contributions included a Pop Art detergent box cover by Andy Warhol and David Dalton, a diary by John Lennon and a sewing pattern by Ossie Clark . Each distinctive issue had a different editor and designer who took complete control of the magazine. Aspen included posters, booklets, reels of Super 8 film, flexi discs, original artworks and phonographic recordings.
Aspen was conceived by Phyllis Johnson, a former editor for Women’s Wear Daily and Advertising Age, in New York and was inspired by Aspen, Colorado, a popular ski resort in the 1960s. While the first issue started with subject matter closely linked to the resort, it evolved into a document which captured the major artistic movements of the time.
The final issue of Aspen was published in 1971 and despite the short period in which it was published, the magazine paved the way for the future of art publishing with its ground breaking format. Alongside Aspen, a range of artist magazines from the 1960s to the present day will be shown.
September 11 – March 3, 2013
Whitechapel Gallery , London
Les plus beaux livres suisses 2011
Les plus beaux livres suisses distingue des réalisations particulièrement abouties dans la production et l’art du livre et attire en même temps l’attention sur les ouvrages qui expriment les tendances contemporaines.
L’intérêt porté au concours reste vif ; cette année, les designers, les éditeurs ou les imprimeurs ont envoyé pas moins de 392 livres que le jury, présidé par Manuel Krebs, a soigneusement examinés. Sur ce nombre, 27 titres ont été choisis pour être les plus beaux livres suisses 2011. Le jury évalue la conception, le graphisme et la typographie des ouvrages en privilégiant l’innovation et l’originalité. Il examine encore la qualité de l’impression et de la reliure, de même que les matériaux utilisés.
Le prix Jan Tschichold qui distingue des prestations hors pair dans l’art du livre, attribué indépendamment des livres présentés au concours, va pour la première fois à un imprimeur, Erich Keiser de l’imprimerie Odermatt à Dallenwil (NW).
Le jury distingue ainsi pour la première fois un spécialiste de la production du livre, soulignant par là l’importance du partenariat qui lie l’imprimeur, l’artiste et l’éditeur. Erich Keiser a une façon interdisciplinaire de considérer son travail entre édition, design et production, donnant ainsi leur chance à des produits non conventionnels et de grande qualité.
Exposition, 14 septembre – 16 décembre 2012
Centre culturel suisse , Paris
MISS READ 2012
MISS READ 2012 brings together for the fourth time the most important protagonists of artistic book publishing. With the artist book as an autonomous artistic work, artists use the linearity of the book as medium to tell visual stories, generate archives, depict collections, present research results, or even quite intentionally practice book piracy. The productive collaboration between artist, author, and designer often results in the creation of complex books that also enable a fresh perspective on the art.
September 14-16, 2012
abc art berlin contemporary , Berlin
The practical function of 12 networked publications
© INbook OUTbook IFbook, Emanuele De Donno, Giorgio Maffei,
viaindustriae, a+m bookstore, 2011
The pratical function of 12 networked publications with 4 books,2 posters and 1 chart – curated by Emanuele De Donno & designed by Mael Veisse – is an exhibition and publication focusing on democratic and open practices of artist’s publishing.
The exhibition, which has been conceived as an active process that will produce a catalogue, includes small publications, booklets, excerpts, files, and reproductions of the books displayed following the instructions of the artists; it is a program to create and incorporate a medium. The arrangement is a basic layout composed of 4 bookshelves that visitors can browse, 3 tables in the middle, 1 text on a wall, a wooden displayer with four “totally connected” artist’s books, two posters, one chart.
This platform is an ‘open’ structure, an in-progress medium, with sheets, plates, pictures and notes. It will also include an updatable and changeable publishing system, as well as a working site for a “free book”.
With Agency, Danielle Aubert /Maia Asshaq, Ariella Azoulay, A Constructed World, Joseph Beuys, John Cage, Critical Art Ensemble, Jeremy Deller, Vegetali Ignoti, Ben Kinmont, Gert Van Kesteren, Sol LeWitt, Bruno Munari, Richard Prince, Raqs Media Collective, Temporary Service, Stephen Willats, Erwin Wurm.
September 14 – October 21, 2012
&: Daviet-Thery , Paris
Electroshield, projet / réplique
Electroshield, projet / réplique, recherche iconographique menée par Benoit-Marie Moriceau , est initiée en 2008: un assemblage massif de sacs de toile reprend le système de protection des édifices patrimoniaux et des sculptures publiques déployés en temps de guerre ou lors de catastrophes naturelles, l‘empilement est recouvert d’une peinture noire dont la propriété consiste à bloquer les ondes électromagnétiques selon le principe appliqué de la cage de Faraday. Electroshield, joue ainsi sur le dédoublement de sa fonction protectrice, l’une physique et l’autre virtuelle et impalpable.
Electroshield, projet / réplique en 2011 , en collaboration avec BAT éditions , constitue à la fois la poursuite et la source: il s’agit de la présentation en volume d’une iconographie documentaire témoignant des différentes utilisations historiques des sacs de sable, fruit d’une investigation au sein d’archives, d’ouvrages et de sites internet y faisant référence. Sous la forme d’un stock de plaques de verres entreposé sur un pupitre de vitrier, le dispositif rejoue la variabilité d’adaptation de la pièce originale en lui appliquant des problématiques propres à l’iconographie et au temps de constitution de la collection. La superposition des vitres sur lesquelles apparaissent les images correspond à la stratification temporelle de la recherche.
Dans le cadre de la
Biennale de Belleville 2012
, Benoît-Marie Moriceau et Etienne Bernard ont été invités à réfléchir ensemble aux modalités de présentation de la pièce Electroshield, projet / réplique réalisée en 2011.
La réactivation de ce dispositif éditorial poursuivra un projet engagé collectivement à partir d’une iconographie documentaire mise en place par l’artiste. L’exposition réunira différents invités afin de l’”augmenter” en proposant de lui adjoindre des contributions de leur choix. L’espace en dessous de la pièce installée deviendra le lieu ressource d’une archive vivante et évolutive structurée par les participations extérieures.
19 septembre – 21 octobre 2012
galerie melanieRio , Paris
A Book by Night
A Book by Night – Objects from the library of Andreas Züst is a project by Samuel Bänziger and Mara Züst , with Habib Ahmed Afsar, Ivo Mendes Barão Teixeira , Beni Bischof , Gabi Deutsch , Daniel Gafner , Mariano Gaich , Estelle Gassmann , Peter Hutter and Nobert Möslang .
As consolidated as a book seems, each one consists of slumbering worlds, which, in the sense of an object with a body and soul, are waiting to get flipped through, to be looked at and read, felt and in its highest form, be transformed into the mind of the beholder and transmitted to the reader. Those “book worlds”, stacked spine next to spine in a library not only guide to different times, areas and intellectual worlds, but are also always in some way connected to the person, who looks at it. Without this counterpart, a book is no more than some paper and ink. With a counterpart, books can go far beyond. But in which form? To explore this, various artists and practical designers were invited to transform their perspective of one (or several) books of the library of Andreas Züst into an object. These objects, together with the corresponding books or book series are now presented to the public in a small circulating exhibition.
, Lavin, October 12-14, 2012
Corner College , Zurich, October 19-21, 2012
Alpenhof , Oberegg, October 27 – November 4, 2012
Another Pamphlet No. 4 – SCALELESS
If scale is familiar, the scaleless is unfamiliar.
The fourth issue of Another Pamphlet – Scaleless! – will consider the scaleless; the scaleless representation, the scaleless object, the scaleless process, the scaleless system, the scaleless attitude. Lacking an understandable relationship to something known; a measure, a body, a context – the scaleless resists quantification, challenges comprehension, and destabilizes conventions.
Scale is inherent in the experience of perception, and like all perceptual properties it is dynamic; objects we see oscillate between having ‘a sense of scale’ and being ‘out of scale’. Scale is paradoxically both persistent and fleeting, both objective and subjective.
Throughout the history of aesthetic practice, scale has been variously deployed as an operative design strategy – emphasizing scale to provide a stabilizing force from which to measure, repurposing ideas at different scales to challenge expectations, or deliberately denying scale to encourage multiple readings. Scale is a fundamental issue for architecture; it links the process of design to the process of building, leverages the systems of proportion, orders part to whole, and allows buildings to relate to one another. However, recent developments in modeling tools (the scalelessness of digital space), fabrication (the increasingly seamless translation of this scaleless digital space into physical space), and the homogenizing pressures of globalization (the loss of local context), have upset these traditional registers, leaving the status of scale increasingly uncertain and urgently in need of reformulation.
This issue suggests an emerging atmosphere of the scaleless; cultural, political, economic, material, and aesthetic. We embrace the complex ambiguity of the scaleless, seek out its untapped potential, and ask what is at stake for the discipline of architecture.
Contributions by Benjamin Critton, Julien de Smedt, Isaiah King, Mark Lee, Ryan Neiheiser, Jesse Reiser, Garrett Ricciardi, Julian Rose, Hilary Sample, Sam Stewart-Halevy, Giancarlo Valle, Jesus Vassallo.
Launch, September 13, 6pm
Printed Matter , New York
four questions from another pamphlet on Vimeo .
The Infinite Library – New Documents
Throughout the Institutions by Artists week, Vancouver artist-run centres and community partners will present special projects that link to the themes of the Convention.
New Documents – a publisher focusing on artists’ books by international contemporary artists- presents videos from The Infinite Library , an ongoing project by artists Haris Epaminonda and Daniel Gustav Cramer .
Begun in 2007, The Infinite Library is composed of an archive of over 50 books made through the recombination of pages from one or more found publications. Each book is dismantled, modified, and reorganized. Pictures and pages—momentarily out of order—are brought together to shape yet another whole. The concept for each new volume develops gradually, starting from the content of the original book and the associations that unfold in the process of making.
September 07 – October 27, 2012
New Documents , Vancouver
Again, A Time Machine – EDINBURGH
Again, A Time Machine , a Bookworks Touring Exhibition, reappears in Edinburgh with the presentation of Make the Living Look Dead, The Wanderer (The Storage) by Laure Prouvost and A Poster Project by Jonathan Monk .
For Make the Living Look Dead, a selection of artists were invited to make a new work on A4 paper as a contribution, intervention or fictionalisation for Book Works archive. Each work plays with notions of time, and exposes the fragility of coherence inherent in the archive. Contributions range from original discarded material to found objects or fictionalised letters, as well as new work masquerading as past proposals or future projections of sequels, panegyrics or unfinished work.
Particpating artists are: An Endless Supply , Martin John Callanan , Jeremy Deller , Mark Dion , Ruth Ewan , Luca Frei , Dora García , Beatrice Gibson and Will Holder , Liam Gillick , Slavs and Tatars , Eva Weinmayr , and many more…
This archival installation is accompanied by screenings of Laure Prouvost’s film The Wanderer (The Storage), first commissioned and shown at Spike Island; A Poster Project, a series of ten appropriated and reprinted posters by Jonathan Monk, commissioned by Book Works and participating venues on the touring show; and shown alongside artists’ books, posters and limited edition prints published by Book Works, and a showreel of images, film, video and sound recordings compiled by Karen Di Franco and James Brook.
September 15, 2pm, Book Works Director Jane Rolo will talk about the Again, A Time Machine project and the history of Book Works as a publisher and commissioning organisation, from distribution to archive.
October 18, 7pm, Bringing the Dead to Life, an evening of short readings by artists and writers, commissioned and hosted by Book Works, with Chad McCail, Francis McKee, Katrina Palmer, Francesco Pedraglio, Stephen Sutcliffe and Sarah Tripp. This event marks the Edinburgh book launch for Again, A Time Machine, edited by Gavin Everall and Jane Rolo.
September 15 – November 3, 2012
Edinburgh Printmakers , Edinburgh
Arefin & Arefin
Arefin & Arefin: The graphic design of Tony Arefin is a comprehensive survey of work by Tony Arefin (1962–2000), a graphic designer who emerged during the late 1980s as one of the most important figures in the British art world.
With his numerous catalogues for institutions such as the Serpentine Gallery, ICA, Chisenhale Gallery and Ikon itself, Arefin had achieved such art world dominance by the early 1990s that design critic Rick Poynor described him as ‘single-handedly processing the print needs of the entire British art scene’.
Comprising early publications from the YBA movement to seminal advertising campaigns for corporate clients such as IBM, the exhibition, curated by designer James Langdon , reveals the intuitive genius of Arefin’s work.
September 12 – November 04, 2012
Ikon Gallery , Birmingham
A full colour catalogue, including text by writer and curator Emily King and interviews with design critic Rick Poynor and Ikon Director Jonathan Watkins accompanies the exhibition.
EVERYTHING IS ALWAYS CHANGING ALL OF THE TIME
“What is essential here is the presence of the spirit of dialogue, which is in short, the ability to hold many points of view in suspension, along with a primary interest in the creation of common meaning.” Physicist David Bohm
With this “spirit” in mind, ROLU ’s attention is equally paid to thought and content, conception and reality. With their active engagement in a multitude of dialogs, they design like water – mixing ideas from the past, from each other, from memory, and from fantasy. Sampling from these different forms of inspiration, ROLU presents forms that are both familiar and completely new.
In Everything is Always Changing All of the Time , ROLU collaborates with Greek architect Andreas Angelidakis to create ambiguous spaces within space, where the work exists as ‘many points of view in suspension’. Sculptures function as dressers, chairs double as totems, forms serve as screens for video projection all contributing to their own unique dialoged and preserved for participation. Suddenly a Lygia Clark sculpture becomes a chest of drawers and a Helio Oiticica installation turns a chair into a room.
The work is a continuation of ROLU’s ongoing study of questioning when a design begins – is it invented or discovered. The works will be presented on Angeldakis’s Universal Exhibition Walls – which act as dividers, plinths and architectural elements.
September 7 – October 13
Volume Gallery , Chicago
The Mountain of Aubervilliers
In the frame of the european project Special Issue , dedicated to forms of “performed publication”, choreographers Rémy Héritier and Laurent Pichaud invited photographer Gilles Saussier , artist and writer Marcelline Delbecq , visual artist Mathieu Bouvier , graphic design studio officeabc , and Anne Kerzerho , head of studies at the CNDC school in Angers, to form the editorial board of a temporary publication, for a duration of 12 days.
Together, they decided to “perform” a journal : not a journalists journal but a journal of “journaliers”" (day laborers). News can wait. A journal with no dispatches, but the journal of 12 days dedicated to the production and sharing of certain practices of reading, description, translation, investigation, speculation. As many performative practices of information, techniques of elucidation, fictionalizing of the real, in short, ways of acting upon the narration.
They decided to name this journal “La Montagne d’Aubervilliers” (The Mountain of Aubervilliers). “The Mountain”, because a conference is held at the summit. Because news are carried there on men’s back, the step is slow, ascent takes time and favors exchange. Because under the avalanche of information, one must be able to get on one’s feet again. Because from a valley to another, echo carries the voice. And because Aubervilliers used to be called the “Plaine des Vertus” (Plain of Virtues).
La Montagne d’Aubervilliers will be a single-issue magazine, dated from September 10th to 22nd, 2012. Its daily publication will take place at the mountain refuge of Les Laboratoires d’Aubervilliers , every day according to the order of the day : September 10 at 10am, the 11th at 11am, the 12th at noon, etc., until the culminating point on the 22nd at 10pm.
The Moiré Effect
Ernst Moiré was a mysterious Swiss photographer whose career has been obscured by silence, documentary voids, and misinformation. So much of his life is shrouded in speculation and half-truths that he sometimes seems more like a phantasm than the flesh-and-blood figure who will forever be remembered as the inadvertent inventor of the blur that bears his name .
dispatched literary scholar and detective
to Zurich to investigate the reclusive figure’s life and work. Shaw published his initial findings in
Cabinet issue 7
, but the puzzle of Moiré continued to vex him, and it is only now, a decade later, that the full story of his continuing investigation can finally be told.
The Moiré Effect tracks the artist from his humble Alpine beginnings as the son of a postal clerk to his fateful founding of a Zurich photography studio in the 1890s and his subsequent role in the lives of a number of curious figures—including the legendary Dutch architect Mer Awsümbildungs, the theosophist philosopher Rudolph Steiner, and several members of the old and fiercely secretive Chadwick family.
Hailed by Harry Mathews as a “complex” and “excitingly” written book bound to “delight” and “entertain,” Shaw’s thriller takes readers on a journey through the elegant salons of Swiss palazzi and the dusty bowels of ancient archives, finally ascending to a mountainous conclusion as hair-raising as it is bedevilingly oblique.
© The Book Society, Seoul – Aye-Aye Books, Glasgow
On Reading, Nagoya-shi – Art Metropole, Toronto
Bookshop Index , a directory of independent art bookshops around the world.