MONACO MAGAZINE: ISSUE 6

November 29th, 2012

Monaco is a magazine that, instead of reviewing or previewing, is devoted to sharing ideas and information about things that haven’t happened, and maybe never will: artworks that are impossible to realise, projects that haven’t got off the ground, the beginnings of ideas, or research that is still ongoing. The aim is not to catalogue or archive these projects, instead they are considered as starting points—for future projects, or for conversations—as readers become contributors and contributors become readers.

Monaco issue 6 contributors: Zayne Armstrong, Jennifer Bailey, Bianca Baldi, Catherine Borra, Vittorio Brodmann and Elise Lammer, Oscar Carlson, Olivier Castel, Rosie Cooper and Ariella Yedgar, Winnie Cott, Danielle Dean, Arnaud Desjardin, Jenifer Evans, Eva Fàbregas, Babak Ghazi, Emma Hart, Dominique Hurth, Tim Ivison and Julia Tcharfas, Kazimierz Jankowski, Atalya Laufer, Ian Law, Aki Nagasaka, Kathy Noble, Rachel Pimm and Jessica Rose, Paul Simon Richards, Manuel Shvartzberg, Lena Tutunjian, Charles Veyron.

Launch November 29, 2012, 7pm
David Roberts Art Foundation, London

Posted in Art, Periodicals

Theophile’s Papers PANORAMA n°15

November 29th, 2012

Theophile’s Papers is a project dedicated to the diffusion of independent editors, fanzines, newspapers and magazines specialized in art, photography, typography, and illustration, with a focus on the promotion of emerging projects and artist books.
With his collection of publications, and displays designed by Valérian Goalec, Theophile travels to apartments, galleries, and book shops, where he helps people to discover new things in different places.
Artisan Social Designer, an Art & design gallery in Paris, welcomes Theophile’s Papers for Panorama n°15, november 30 to january 2.

In:quest of Icarus

November 27th, 2012

In:quest of Icarus is a tragedy; a contemporary work written of and from a contemporary situation and drawing upon Greek myth to illuminate certain aspects of that situation. Norman Potter

Norman Potter (1923–1995) was an English designer and educator. In 1964 Potter co-founded the Construction School, an experimental design course at the West of England College of Art in Bristol, England. His bold programme de-emphasised specialization in design and encouraged practical collaboration between disciplines. The school’s brief history is burdened by resistance to Potter’s ideas at every level of the educational institution. Coloured by this, and his involvement in the student protests of 1968, Potter’s thoughts on the structure of design education became increasingly anti-authoritarian.

In:quest of Icarus is a complex and allegorical reflection on these experiences. Potter describes the work as concerned with ‘walls, barriers, both of languages and hardware; the codes people use to protect their identity and to make random experiences ordered and comprehensible; the occasional wisdom of foolishness; freedoms and imprisonments; and so forth.’ It is Potter’s only play, and has been performed only once, by students at the Construction School on 5 December, 1974.
Restaged by James Langdon, the work is here represented by participants at the Werkplaats Typografie and the Sandberg Institute.

The staging of the performance is integral. The design of the hall and props follows the visual language and apparatus of the typewriter, on which it was composed. The configuration of the hall itself is a representation of the typewriter, with the audience actively implicated in the position of the keys, described by Potter as ‘the alphabetic possibilities of the spoken and written language.’ The staging is prepared by the performers themselves, and the four day process of construction, rehearsal and performance together constitutes the work.

November 29, Kunstverein, Amsterdam
November 30, December 1 & 2, Stedelijk Museum, Amsterdam

Notes from the Cosmic Typewriter

November 27th, 2012


Dom Sylvester Houédard, Figuur, 1964. Courtesy Ruth & Marvin Sackner Archive of Concrete and Visual Poetry

Notes from the Cosmic Typewriter – The Life and Work of Dom Sylvester Houédard – the first book since the early 1970s devoted to the extraordinary British Benedictine monk, scholar, translator, concrete poet and artist Dom Sylvester Houédard (1924–92) – offers a broad and richly illustrated introduction to this major artistic and theological figure.

Besides many of Houédard’s ‘typestracts’ – the concrete poems produced entirely with his Olivetti typewriter – this book also includes examples of his lesser-known ‘poem-objects’, a selection of key texts, as well as never-before-published performance scores. In both his spiritual views and artistic output, Houédard stands out as a model of insatiable curiosity, building around him a vast network of enlightened poets, visual artists, performers, musicians and thinkers of all faiths and walks of life.

Posted in Books, Graphic Design

Fernand Baudin Students Publications 2013

November 27th, 2012

Fernand Baudin Students Publications 2013 – a yearly event dedicated to editorial productions by students in Belgium – needs your support.

Initiated by members of Fernand Baudin Prize, this event aims to focus on research and reflexion around editorial practices, and brings together students from different superior art schools everywhere in Belgium. This event corresponds to a current and general regain of interest in editing, also visible in most superior art schools: new classes?and Master specialized in editorial practices. More than another “most beautiful book award”, this event offers a less hierarchical and competitive model, and implies a real participation and reflexion of the students at many levels, from the event’s conception and organization to the exhibition, lectures, discussions and round tables taking place during the event.

Fernand Baudin Students Publications 2013 – The Tools Issue will happen in March 2013, during the international art book fair Paper/View in Brussels – connecting students and professional (common and divergent) problematics and practices.

L’Atlas Mnémosyne (Écrits 2) – Aby Warburg

November 26th, 2012

Aby Warburg (1866-1929) a laissé une oeuvre inachevée et fragmentaire, dont la plus grande partie est encore inédite dans sa langue originale même. Au croisement de l’histoire de l’art, de la philosophie, de l’anthropologie et de la psychologie historique, les recherches d’Aby Warburg ont marqué profondément plusieurs générations d’historiens de l’art (de F. Saxl à E. Wind, en passant par E. Panofsky et E. Gombrich) et contribué à donner à la discipline certains de ses principaux fondements méthodologiques.

La collection – publiée par les éditions de L’écarquillé, dirigée par Maurizio Ghelardi (École Normale de Pise), Susanne Müller (Université de Bâle), Roland Recht (Collège de France) – qui a vu le jour l’année dernière avec Miroirs de faille se poursuit avec la parution de L’Atlas Mnémosyne, l’œuvre majeure et la plus fascinante d’Aby Warburg.
Cette collection se propose de mettre à la disposition du public francophone un certain nombre d’essais et de notes en partie inédits, et d’apporter ainsi un éclairage nouveau sur tout un pan des recherches de Warburg, en apparence fort éloigné du champ de la culture figurative de la Renaissance. Elle entend contribuer à repenser l’oeuvre d’une des figures qui ont le plus profondément marqué notre tradition culturelle et figurative.

Si Aby Warburg a été le premier à définir une méthode d’interprétation iconologique, s’il a créé une bibliothèque des sciences de la culture unique au monde, l’innovation décisive qu’il a introduite dans le champ épistémologique de l’histoire de l’art est bien Mnémosyne : oeuvre absolument originale et unique, dont l’ambition n’est rien moins que de poser les fondements d’une grammaire figurative générale, et qui ouvre des perspectives dont la portée n’a pas encore été totalement mesurée. Par la complexité des problèmes auxquels s’est confronté Warburg face à cet immense corpus d’images, c’est l’attention de l’ensemble des sciences humaines qu’il a attirée sur son oeuvre.
Resté inachevé à la mort de l’auteur, ayant mobilisé l’énergie intellectuelle et physique de ses dernières années, Mnémosyne peut être considéré comme l’aboutissement de toutes ses recherches. Il constitue le plus ambitieux corpus d’images jamais réuni, dont la genèse et l’évolution sont liées à une pratique discursive et à un mode de transmission du savoir que préconisait Warburg, mais qu’il convient aussi d’examiner sous l’angle de ses relations avec le problème de la mémoire et avec sa bibliothèque.

Présentation, 26 novembre 2012, 18h
INHA, Galerie Colbert, Paris

Posted in Art, Books

Bookhorse

November 23rd, 2012


Bookhorse is a publishing initiative based in Zurich,
run by graphic designer Lex Trüb.

Posted in Books, Graphic Design

Royal Garden

November 23rd, 2012

Royal Garden is an on-line shaggy magazine, a multidisciplinary production environment, a critical, theoretical and artistic exquisite cadaver…

In Playtime (1967) Jacques Tati describes a modern world made of huge empty corridors, offices mazes, large exhibition halls … His alter ego Monsieur Hulot spends at the a Royal Garden an evening punctuated by his own catastrophes. The futuristic world quickly turns into a hellish labyrinth. Wrapped in the loop as an arrow drawn in red neon above the door, one has to turn himself in order to exit and enter again. In this film the Royal Garden is a metaphor of paradise.

Royal Garden is the in-between, the a-side, the towpath, the alternate, the flow, the connection. The ideal squatting base to explore freely the possibilities offered by this new medium, to escape the diktat of the formalism and to highlight key issues of art today: communication and connection.
Born in 2008, Royal Garden is an extension on the virtual mode of the artistic project of Crédac.

Posted in Art

Publishers of the Month: Spector books

November 21st, 2012

Spector books are Publishers of the Month at X Marks the Bökship.

The title of their new book – Sounds Like Silence. John Cage – 4’33” – Silence Today – and the exhibition it documents is ambiguous. On the one hand, silence effectively “sounds” — or as Cage put it, “There is no such thing as silence.” On the other hand, sound needs silence in order to be heard. Even if complete silence does not exist, every sound implicitly conveys the notion of silence: there is no presence without absence. The double meaning of Sounds Like Silence therefore touches upon the central issues at stake in this project: what do we hear when there is nothing to hear; to what extent do we long for silence; and how much silence can we cope with — provided it even exists?
John Cage’s 4’33” (four minutes, thirty-three seconds) premiered on August 29, 1952. This book presents new theoretical writings and artistic works referring to this groundbreaking work, together with original scores and the composer’s own variations, derivatives, and sequels of the “silent piece” in the years from 1962 to 1992.

November 22 – December 22, 2012
Launch & Talk, November 22, 6 – 9pm
X Marks the Bökship, London

Posted in Art, Books, Graphic Design

Dubuffet typographe

November 21st, 2012

Dubuffet typographe s’inscrit à la suite de différents projets de Pierre Leguillon qui, depuis une quinzaine d’années, “réactive” des oeuvres majeures de l’art du XXe siècle qu’il juge paralysées dans les carcans de l’histoire.
A partir de nombreuses photos prises dans différentes archives privées et publiques (notamment la Fondation Dubuffet à Paris, la Bibliothèque Kandinsky du Centre Pompidou, l’IMEC à Caen), Pierre Leguillon propose autant de “recadrages” dans l’ oeuvre de Jean Dubuffet (1901 – 1985) et au sein de ses ephemeras : invitations, affiches, catalogues, livres d’artistes, tracts, logotypes, billets de spectacles, pochettes de disques ou correspondance.

A partir d’un film, Pierre Leguillon dresse un inventaire subjectif de formes typographiques qui semblent avoir échappé au patient travail de catalogage qu’initia Dubuffet dès 1964 avec la publication du Catalogue des Travaux. Il montre aussi comment le procédé de reproduction mécanique de l’écriture manuscrite, faisant de chaque caractère une image, et non plus une empreinte, interroge aujourd’hui le « devenir image » de tout caractère typographique affiché sur nos écrans. Au texte, encore frappé au plomb par la machine à écrire, se substitue sa propre image. Contrairement au plomb, cette image ne doit plus être rangée dans une casse, et Dubuffet déjà, inventait des formes typographiques non-standard.

Exposition
30 novembre – 19 janvier 2013
art3, Valence

Conférences
22 novembre 2012, 18h30, Les Arts Décoratifs, Paris
7 février 2013, 20h, Palais des Beaux-Arts, Bruxelles

Again, A Time Machine: from distribution to archive

November 20th, 2012

Again, A Time Machine: from distribution to archive is produced in response to, and as an extension of, the touring exhibition in six parts, Again, A Time Machine (2011-12). Playing with time and words, and structured around the confluence of archive and distribution, this book presents an assemblage of material that extends Book Works’ touring exhibition.

Specifically engaging with the circuits of practice that have materialised in the form of books, writing, magazines, language, spoken word, performative research and archival practice, contributors include: A Estante, An Endless Supply, AND, Banner Repeater, Claire Makhlouf Carter, Eastside Projects, Maria Fusco, Dora García, Melissa Gronlund, Sam Hasler, Stewart Home, Ian Hunt, Jonathan Monk, Apexa Patel, Mark Pawson, Bridget Penney, Pil & Galia Kollectiv, Plastique Fantastique, Sarah Pierce, Laure Prouvost and Rory Macbeth, Publish And Be Damned, John Russell, Slavs and Tatars, Spike Island, Barry Sykes, The Serving Library, The Showroom, Torpedo, Ubuweb, Marina Vischmidt, McKenzie Wark, White Columns and X Marks the Bökship – in the form of: artists’ pages, exploratory interviews, new writing, and a range of publisher and project space responses to the questions: Why Distribute? Why Archive?

November 24, 2012, 2pm, Torpedo Bookshop, Oslo
December 13, 2012, The Showroom, London

Posted in Art, Books

Thoughts on a Book

November 16th, 2012

The Most Beautiful Swiss Books competition was established to promote and reward top-quality book design in Switzerland. It was established at the behest of the famous typographer and designer Jan Tschichold in 1943. The competition is open to graphic designers, publishers and printers. An internationally staffed jury, currently chaired by Manuel Krebs, selects the most beautiful Swiss books each year.
The awarded books become part of an exhibition which travels to various cities around the world. When the books stop off in London this November, they will be exhibited at the Thoughts on a Book event.

The event this year will take a closer look into one of the awarded books: Directory by Ari Marcopoulos and Benjamin Sommerhalder. Both the artist and the designer/publisher will give a talk about their collaboration, showcasing their process of working together.

November 29, 2012, 7:30pm
The Horse Hospital, London

Posted in Books, Graphic Design

Terribly awesome photobooks

November 15th, 2012

For several years, Paul Kooiker and Erik Kessels have organized evenings for friends in which they share the strangest photo books in their collections. The books shown are rarely available in regular shops, but are picked up in thrift stores and from antiquaries.
The group’s fascination for these pictorial non-fiction books comes from the need to find images that exist on the fringe of regular commercial photo books. It’s only in this area that it’s possible to find images with an uncontrived quality.
What’s noticeable from these publications is that there’s a thin line between being terrible and being awesome. This constant tension makes the books interesting.
It’s also worth noting that these tomes all fall within certain categories: the medical, instructional, scientific, sex, humour or propaganda.
In Terribly awesome photobooks, Paul Kooiker and Erik Kessels have made a selection of their finest books from within this questionable new genre.

Posted in Art, Books, Photography

The Fat-Fat Club

November 15th, 2012

The Fat-Fat Club is a visual essay by Aude Debout & Caroline Lollo on the materiality of the book as a system. By using the central fold as a layout excuse, the reader is invited to create one image starting from two. Easy-to-digest book of an imaginary club of powerful symbols involving important people and buildings, it simply aims to amuse with a certain irony by re-portraying them as fat food hybrids.

Posted in Art, Books, Graphic Design

THE LETTER E IS EVERYWHERE

November 14th, 2012

Forming the central part of this exhibition LA LETRA E ESTÁ POR DOQUIER are three newly developed display structures and three new furniture objects. The display structures are a continuation of the experiments carried out by Studio Manuel Raeder in how to construct display devices that deal with showing books or an archive.
LA LETRA E ESTÁ POR DOQUIER functions like a book that contains different stories and letters. Instead of pages, the display structures and furniture allow for textile designs, objects and books that Studio Manuel Raeder has designed in the past years to be juxtaposed next to found and used objects from various encounters during a research undertaken at Oaxacan handcraft workshops. This found objects include half finished barro negro pots (black ceramic) and tin can test prints amongst many other things.
EVERYWHERE also features three newly developed furniture / objects that collapse the borders of where the work of Studio Manuel Raeder begins and where the objects on display try to relate to local forms and methods of production.

November 22 – February 3, 2013
Centro de Diseño, Oaxaca

MAKERSANDFOUNDERS

November 13th, 2012

MAKERSANDFOUNDERS is an always expanding collection of video interviews with makers and founders from a variety of sources and perspectives.

Xavier Antin, Learning With Errors

November 13th, 2012

Xavier Antin is interested in the history of the production (and the reproduction) of objects, when it involves a glitch, or an accident. He always creates a production process in which accidents occur, like clues of a narrative underlying the work process. Sometimes he takes the chain of production backwards, like in one of his most recent projects entitled Five Conversations. In conversations with the production managers of highly specialised companies, he dismantled processes leading to the production of objects such as chairs or billiard tables. He supervised the production of ersatz pieces, cubes that synthesize all the intrinsic qualities of the objects, though devoid of any functionality, extended to abstraction: a conversational cube. As if he were attempting to operate a deflection of the industrial production tool.

For Learning With Errors, he displays a series of prints, in dialogue with the five cubes. More than the result of a derailment, they are the result of an attempt of pushing the limits of the ordinary means he often uses, like a standard A4 laser printer. Hence, the production of a series of A1 formats (8 times A4, which is the printer’s required format), including all the physical traces of an entire mechanics of errors – that could be seen as “strayings” or “uncertainties”. Thus, a series of hybrid objects emerge, oscillating between painting and instant serial reproduction, becoming a surface area structured by the constraints of limited production processes: a production process grid. A grid that could directly suggest the graphic designer’s page-layout grid, or more symbolically, the emblem of the modernist myth according to Rosalind Krauss (“…a structure, and one moreover that allows a contradiction between the values of science and those of spiritualism to maintain themselves within the consciousness of modernism…” from Rosalind Krauss: “Grids”, October 9, 1979). Or even, the laborious quest for a reason, perhaps a function.

The arrangement of cubes and prints in the space examines how an object or surface is drawn, “designed” by its history, its process and its production context. Accordingly, William Morris casts a long shadow over this system, a nineteenth century artist, initiator of the Arts and Crafts movement, printer and publisher, master of decorative art (famous for his textile and tapestry patterns), in addition to being a writer and political thinker. Tutelary figure on the construction of a social utopia of design, he advocated the autonomy of the individual vis-à-vis the means of production and championed the democratization of art and its know-how. An idea of design, that the contemporary liberal economy seems quite unconcerned by.

November 17 – January 12, 2013
Galerie Crèvecoeur, Paris

Perspecta 45: Agency

November 10th, 2012

Architecture has always been intimately intertwined with its social, political, and economic contexts; major events in world history have had correspondingly dramatic effects on the discipline. The Great Depression, the fall of the Berlin Wall, and Hurricane Katrina, for example, were all catalysts for architectural response and resulted in a diversification of the architect’s portfolio. Yet far too often, architects simply react to changes in the world, rather than serving as agents of change themselves.

Perspecta: The Yale Architectural Journal is a student-edited peer-reviewed academic journal published by the MIT Press and Yale School of Architecture, Yale University since 1952.
This issue, Perspecta 45: Agency – edited by Kurt Evans, Iben Falconer & Ian Mills; designed by Zak Jensen & Mylinh Trieu Nguyen – takes a broader view, using the concept of agency to explore the future of architecture. The retreat from liability, the barricade of theory, and the silos of specialization have generated a field that is risk-averse and reactive, rather than bold and active. Instead of assuming that architects can only throw up their hands in despair, the editors of this issue of Perspecta invite them to roll up their sleeves and get to work.
Prominent architects, scholars, and artists investigate how architects can become agents for change within their own discipline and in the world at large.

Contributors include Eeva-Liisa Pelkonen, Nader Tehrani, Ines Weizman, Jaime Lerner, Urban-Think Tank, Stefano Boeri, Peter Eisenman, Michael Osman, Darryl Collins, Vann Molyvann, Enrique Ramirez, Rania Ghosn, Victor van der Chijs, Bjarke Ingels, Jan Kempenaers, Andrew Shanken, Keller Easterling, Timur Galen, Perspecta 45 & Pierluigi Serraino, Thomas Auer, Joshua Vanwyck & Erik Olsen, Preston Scott Cohen, and Ariane Lourie Harrison.

Common Room

November 9th, 2012

Common Room is an architectural practice, publishing imprint, exhibition space, and collaborative platform based in New York City and Brussels. Common Room is comprised of architects Lars Fischer, Todd Rouhe and Maria Ibañez, and graphic designer Geoff Han.

Posted in Architecture

The End(s) of the Library

November 9th, 2012


©David Horvitz

The End(s) of the Library is a series of commissioned exhibitions and a discursive program with Julieta Aranda, Fia Backström & R. Lyon, David Horvitz, Christian Philipp Müller, and The Serving Library taking place at the Goethe-Institut New York Library for a period of eight months. The contributors will address how previous library configurations have given way to new forms and revised values in the digital age, emphasizing the fact that the library is neither a monolithic system nor an abandoned utopia, but an ever-contested site demanding new readings of its organizational frameworks: an institution whose ends are without end.

The End(s) of the Library situates itself at a moment when libraries are experiencing a profound paradigm shift. Historically, the library has positioned itself as a physical site to collectively exchange books, an alternative to market-based systems, as well as a heterotopic social space preserved for the public good. Yet with the rise of digital distribution, experience-driven information providers, and evolving notions of the public sphere, libraries face new questions about their identities. Rather than idealize the library in crisis by offering a nostalgic look at its past or recuperative speculation about its future, the invited artists propose a number of divergent positions from within the library, showing it to be a site of infinite invention.

Posted in Art, Books, Exhibitions

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