Dear Manystuff followers, I created manystuff.org 10 years ago and now its time for me to take a break and redefine the project. manystuff.org will stay online, as an archive, which I hope will be useful. Thank you for your loyalty and I hope to see you very soon. I wish you a Happy New Year. Yours sincerely, Charlotte Cheetham.
Specimen, Le Feu Sacré
Au printemps 2012,
Thomas Bizzarri et Alain Rodriguez
conçoivent l’identité graphique de la maison d’édition
Le Feu Sacré
. Pour ce faire, le duo réalise deux caractères : le Feu, un alphabet au dessin géométrique original dont l’usage se limite aux couvertures des ouvrages, et le Thermidor, employé pour les textes courants des éditions.
Suite à la parution des trois premiers ouvrages de la maison, Fabien Thévenot (directeur de publication) envisage de publier un spécimen relatif au Thermidor — c’est-à-dire une démonstration des possibilités offertes par le caractère ainsi qu’une mise en valeur des enjeux formels et techniques qui l’accompagnent. Le studio de graphisme propose dès lors à l’artiste Ève Chabanon d’imaginer comment dépasser la vocation purement formelle d’un spécimen typographique, inversant au passage les rapports conventionnels établis entre leurs professions.
Conçu à partir d’un alphabet préexistant, le Thermidor relève d’un genre de caractère habituellement désigné sous le terme de « revival ». Les enjeux de sa conception induisent des notions de temporalité, d’appropriation et d’actualisation. Devenu sujet, le Thermidor est dès lors prétexte à invitations. Différents auteurs issus des champs de l’art ou du design se prêtent ainsi à l’exercice du Spécimen, permettant au caractère de revêtir des formes diverses en fonction des domaines invoqués. Parfois, certains auteurs franchissent les frontières présupposées de leurs disciplines, permettant des détours tant théoriques, littéraires qu’artistiques.
Le Spécimen n’est donc pas à proprement parler un ouvrage spécialisé sur la typographie ou sur la question de la « reprise », mais bien plutôt un recueil de textes que le lecteur est convié à ouvrir en fonction de ses propres points de curiosité.
Lancement le 16 décembre 2015, 18h30, Bibliothèque Kandinsky, Centre Pompidou, Paris.
The Chair Affair – publication
Of course: an interior constitutes a comfort zone. But when we zoom in closer on this interior, we can see how thighs are shifting on seats, how hands are caressing arms, how people snuggle up against the back of their chairs and how their feet curl around the legs. It is obvious: sitting is a physical pleasure: sitting is intimate. Could sitting even be driven by desire? And: what is the chair’s role in all of this?
Artist Margriet Craens and designer Lucas Maassen are not just intimate with each other. They also wondered to what extend chairs might get intimate, reflecting on the various chairs lucas Maassen had previously brought to life, letting them do yoga and having them sing or act in a comedy. Together they made The Chair Affair , a photo series of chairs that were involved with each other the way a person might get involved with their intimate partner (chair or person). Each chair (or person) has a particular character, which can sometimes lead to unsuspected combinations. Theatre-maker and actor Twan van Bragt, friend on a strictly amicable basis and a neutral party as such, has provided this intimacy with the necessary facts and fictions, which serve as captions to accompany the pictures.
Boooook: The Life and Work of Bob Cobbing
Boooook: The Life and Work of Bob Cobbing
is the first comprehensive overview of the life and work of the pioneering British concrete and sound poet
(1920–2002). Boooook addresses all aspects of Cobbing’s rich career, with new essays detailing his key roles in London Film-makers’ Co-op, Better Books, abAna, as well as his involvement in the Destruction in Art Symposium, Fylkingen, and his publishing imprint Writers Forum.
Edited by William Cobbing and Rosie Cooper – and illustrated with numerous reproductions of artworks, documents, posters, poems and film stills from the Bob Cobbing family collection – Boooook features contributions by Adrian Clarke, William Cobbing, Rosie Cooper, Arnaud Desjardin, Sanne Krogh Groth, Will Holder, Gustav Metzger, Marc Matter & Tris Vonna-Michell, David Toop, Steve Willey, Andrew Wilson and Maxa Zoller.
Launch, December 10, 8pm, San Seriffe , Amsterdam.
Audimat numéro 4
Audimat est une revue de critique musicale éditée par le festival Les Siestes Électroniques. Le projet : une écriture sur la musique libérée des contraintes d‘actualité et des formats de la presse périodique. Audimat veut rendre compte de la situation actuelle de la pop music, et l‘éclairer par son histoire. Il s’agit de recenser ce qui se passe, d‘aller s‘entretenir avec la musique et son évolution, de se plonger méthodiquement dans l‘expérience musicale, et dans ce qu‘elle implique sur le plan des médiations, de l’imaginaire, de la société, de la pensée, de l’affectivité.
Offprint Paris 2015
Offprint Projects is an independent publishing fair and forum that focuses on specific thematic areas in numerous locations; featuring publications on art, photography, design, experimental music, open culture and activism. Focusing on discerning practices in these fields, we aim to offer members of these communities a context in which they can maintain their integrity, their critical voice and their social role while dealing with external factors (the market, urbanism, press and communication). Acknowledging the qualitative and unique publishing practices, Offprint also seeks to bring a larger and dedicated audience into contact with these publishers, both online and offline. Crossing over between disciplines is an integral part of this process. From its origins, as an arts organization supporting artist projects as well as mounting the annual Offprint Paris publishing fair, Offprint stands for the legitimacy of our field and its discourses. At the same time, however, it aims to reconnect the arts with society; putting aside a market imperative for novelty in favour of art-based projects with broader social concerns. We strongly dismiss any use of art as a strategy for social discrimination. Finally, Offprint operates chiefly as a non-profit, with participants motivated by ideals, in order to promote invention and experimentation within the art world – and beyond.
Offprint Paris 2015 showcases more than 125 publishers from some 20 countries, from November 12 to 15, at Beaux-Arts de Paris.
PERFECT DOCUMENTS – Chaise Musicale
have the pleasure of announcing the creation of their publishing house:
Perfect Documents’ originality lies in the choice of its production as all the selected objects have the particularity to be “forgotten” objects. Until till now they remained buried in the state of project and were never fabricated for reasons that history will reveal for each new production. Sometimes left in the state of non-conclusive prototypes, these pieces are real historical documents that Perfect Documents aims to present to the public. Finally, these forgotten projects are the testimony of creative experiments by artists known to evolve outside the sphere of design in different activities.
The Chaise Musicale by Boris Vian, first piece of the collection highlights this concept.
The story behind the production of this chair by Perfect Documents is quite a singular one. Whilst flicking through the illustrated biography dedicated to Boris Vian in the BIZARRE magazine (éditions J.J. Pauvert at a bookstand in Paris), Thomas Mailaender discovers published a drawing and a photo of the writer’s chair. Curious of the form of this chair, the two founders of Perfect Documents got in touch with the Boris Vian estate to know more about this object without knowing that it was still there in the writer’s apartment in between his photographs, his jazz records and the pataphysics diplomas of the famous writer.
From Boris Vian’s original drawings that Perfect Documents was able to consult in the archive of his estate, and thanks to the numerous anecdotes told by Nicole Bertolt in charge of the artist’s artistic heritage, we discover that Vian had imagined a chair in the shape of a star, with slightly elevated seat in order to leave room for his large legs when playing the lyra-guitar. He then set out and made the chair using lengths of pine wood assembled by nails and held together by hemp rope.
Perfect Documents produced a facsimile named “Chaise Musicale” (musical-chair) in the Ateliers Antoine Daniel as an homage to the passion the artist devoted to music.
Tennis by Peder Alexis Olsson
Tennis , by Peder Alexis Olsson, is a poem in the form of a book, a border, a constellation, a figure, a chart of self-explanatory data, a power structure, a conflict, an apparatus, a grid, a sous rature, an inner and outer limit, a zero point, etc., which consists solely of a graphic representation of the lines of a tennis court, including the net, in the scale of 1:1. Throughout Tennis the narrative of the line is broken up in various paths, following the court in its entirety as it unfolds over 772 pages.
Tennis comes with an appendix including Peder Alexis Olsson’s notes for a lecture, “A Genealogy of the Line”, on the rules, history and language of Tennis, as well as an essay by the artist Yara Flores, “Harold and the Janus-Faced Line”, on the split personality of lines in the works of children’s book author Crockett Johnson.
LIVING PHOTOGRAPHS – Arthur Mole
In 1917, as the United States were entering World War I, the English photographer, Arthur Mole (1889-1983) created a new type of iconography, which proved useful to the promotion of American nationalism. With the help of his colleague, John D. Thomas, he created sprawling photographic compositions of American society’s symbols and emblems, by assembling and positioning thousands of men into the chosen shapes along the ground. The compositions included the American flag in the shape of a shield, the emblem of the Marines, the Statue of Liberty, and a profile portrait of Woodrow Wilson, among others.
The book Living Photographs brings together these avant-garde propaganda photographs, which Mole called «living photographs» even though the individual is rendered invisible in favour of the crowd.
The book also contains a section which showcases a series of reframings and enlargements of images contained within the photographs. By modifying the scale of the photographed bodies, which at times renders the images almost abstract, these reframings invite the reader to reinterpret Mole’s photographs.
The book is accompanied by Louis Kaplan’s essay titled «Photographic Patriotism: Arthur Mole’s Living Photographs».
UGO RONDINONE : I LOVE JOHN GIORNO
‘In the early 1960s, I had the good fortune of meeting a lot of artists. Andy Warhol, Jasper Johns, Robert Rauschenberg, John Cage, Trisha Brown and Carolee Schneeman. These artists and painters were the real influence on me, as a poet. Whether it was a performance or a painting, they did what arose in their minds, and made it happen. It occurred to me that poetry was seventy five years behind painting and sculpture and dance and music. I said to myself, if these artists can do it, why can’t I do it for poetry?’ John Giorno
UGO RONDINONE : I LOVE JOHN GIORNO – until January 10, 2016, Palais de Tokyo, Paris – is the first retrospective of the life and work of the American poet John Giorno (born 1936, lives and works in New York), a key figure of the American underground scene of the 1960s. The exhibition is conceived by Swiss artist Ugo Rondinone (born 1964, lives and works in New York) as a work in its own right. ‘I structured the exhibition in eight chapters, each representing a layer of Giorno’s multifaceted work. Taken as a whole, they reflect how he works and help us to understand the dual influences that American culture and Buddhism had on his life and art,’ Rondinone explains.
Giorno was an iconic character in Andy Warhol’s early films who found inspiration in the appropriation of found images by Pop artists and captured the real-life colloquial language of advertisements, television, newspapers and street slang. A leading figure in the lineage of the Beat Generation, he revived the genre of ‘found poetry’ and worked to make poetry accessible to all.
Structure Series – Philippe Weisbecker
Following Greenhouse Studies , Philippe Weisbecker’s attention was drawn to other architectural structures, the ones visible on the outer walls of early 20th century industrial buildings. They are made of steel or concrete beams assembled together and holding an apparatus of bricks and mortar. Even though these structures may appear very similar for their overall shape, they differ greatly in order to ensure the weight distribution necessary to the stability of the edifice. Structure Series is a sampler of some various structural beam combinations. It can be viewed as a book, spread by spread, or pinned on the wall, according to taste, the way a kid might stack up building blocks.
A collection of nine Kippenberger editions, one Boetti watch, a cigarette and yellow
In a play on the imprint’s focus on developing collectable objects, A collection of nine Kippenberger editions, one Boetti watch, a cigarette and yellow by Jonathan Monk appropriates the new InOtherWords publication to showcase a collection of his own: editions and multiples created by artists Martin Kippenberger and Alighiero Boetti.
Opus 1. The Artists Beginnings
Whenever we set out to tackle an artist’s oeuvre we generally try to trace the “decisive moments” – the turning points, the interruptions, the final work… There is one “key moment”, however, that seems virtually to guarantee the ultimate understanding of the oeuvre – its beginning, its Opus 1. It is not without some justification that the inception of the oeuvre or artistic activity is surrounded by myth and mystification. As will appear time and time again in Opus 1. The Artists Beginnings , the oeuvre and the Opus 1 are “constructions”. Whatever one regards as the oeuvre and whichever Opus 1 is pointed out, those choices are always based on a predetermined and well-defined image of the artists production.
VOL. XVI – Haris Epaminonda
The work of the Cyprus-born artist
, who currently lives and works in Berlin, comprises films, sculptures and installations that incorporate images and objects borrowed from various origins and epochs, staging multiple encounters, while cultivating an explicit relationship with the past. Pages of old books, vases or statuettes are put into relation through visual associations that form a fictional space.
For the exhibition VOL. XVI at le plateau in Paris, September 24 to December 6, the artist has devised an all-encompassing environment that occupies the cleared spaces with a series of cubicles, platforms and screens conceived both as sculptures and presentation devices. Including other elements, films and sound, the whole set exceeds the exhibition space itself with parallel and temporary appearances connecting the inside and outside of le plateau, shaping a kind of inhabited archipelago in constant evolution. By condensing the different angles of her approach, in which the idea of travelling and movement – in time and in space – plays a fundamental role, the exhibition as a whole will offer a unique opportunity for a simultaneously sculptural, spatial and filmic experience.
La Librairie & Voilà
Oraibi + Beckbooks , Geneva, brings together two bookshops in one common space, with the purpose of welcoming and promoting artists and art editors through a series of events and an international catalogue of publications. The selection of books—new and second-hand—covers cultural theory, art criticism, artists’ writings, monographs, exhibition catalogs, contemporary literature and poetry, with a focus on publications as a medium for art practice and discourse. A project by Géraldine Beck , Tiphanie Blanc and Ramaya Tegegne . Opening September 17, 2015, from 5pm.
On this occasion, and among others, launch of Voilà by Miriam Laura Leonardi . The French weekly paper VOILÀ was founded by Gallimard in 1931 and distributed until World War II. Amongst the contributors were writers such as Albert Londres, Joseph Kessel, Georges Simenon, the aviator Mermoz as well as photographer Henri Cartier-Bresson. A selection of articles addressing key events of the past as well as every day matters are reassembled and modified by Leonardi to highlight their ongoing relevancy; here reprinted in a new publication. While the orginal layout remains, words or sentences are rearranged to offer a more abstract but direct meaning. The contemporary speed of information is thus questionned through this new format allowing an accelerated reading of the original content.
Mould Map 4 Eurozone Spezial
Mould Map 4 Eurozone Spezial is a book about Europe and its possible futures featuring newly commissioned comics, art and graphics contextualised by features on both near-future speculative / design fiction and historical counterculture movements including; Huw Wahl on 60s inflatable art collective Action Space, Federico Pagello on Frigidaire Magazine and comics of the radical left in 70s Italy, a selection of activist ephemera from the stock of Mayfair dealer Carl Williams at Maggs Brothers, Ingo Niermann in conversation with Matilda Tjäder about the origins and development of the Sternberg Solutions series, Dunne & Raby and the use of illustration within their United Micro Kingdoms project and finally a selection of works from the 2014 White Cube exhibition by Gilbert & George — Scapegoating Pictures For London.
Statement and Counter-Statement: Notes on Experimental Jetset
Statement and Counter-Statement is the first-ever publication on the work of Experimental Jetset , documenting almost two decades of graphic design praxis. A pocket-sized paperback counting over 570 pages, the book should not be seen as monolithic monograph, but as a very loose, personal archive.
At the heart of the book are three textual contributions by Linda van Deursen, Mark Owens and Ian Svenonius. Linda van Deursen’s essay consists of a series of short observations, contemplating three historical photographs, while reflecting on the friction between modernism and the everyday. Meanwhile, Mark Owens explores the format of the three-piece rock band, mapping the formal and conceptual dimensions of the ‘power trio’, with a particular focus on post-punk aesthetics. Added to that, Ian Svenonius delivers a piece of pop-art fiction, starting with a 13-point program to destroy language, before derailing into a psychedelic interlude, ending with some notes on the appropriation of ‘cool’.
The book also contains two photographic chapters, both featuring a selection of work by Experimental Jetset. The first section (titled ‘Ex Situ’) shows a succession of printed matter as captured in actual size (scale 1:1) on the studio’s flatbed scanner, while the second section (‘In Situ’) documents site-specific pieces as installed in different environments around the world.
The paperback concludes with a index/glossary-like anthology of texts previously written by Experimental Jetset, as selected, edited and introduced by Jon Sueda. Consisting of short fragments from interviews, lecture notes and personal correspondence (including numerous never-before-published texts), this chapter functions as a cut-up collage of ever-changing (and ever-contradicting) ways of reasoning.
Open Books Volumes A – E
The Open Books project explores connections between printed objects and forms of exhibitions. It consists of a series exhibitions, events, and a publication that offer potential spaces to experiment with these interactions.
Open Books Volumes
documents this research as it goes along, questioning its own status as a catalogue. Each iteration gives birth to new content that complements the previous one. As a pile of books stacking up in a library, invariably connected to one another by their successive readings…
Volumes is a catalogue, a collection of captions, images, a series of invitations, a bookmark left in places where the editors would like someone to stop. Or is it the actual archiving of an object in real time? In any case, it is what accompanies, completes and supports a research, somewhere between an open book and an exhibition, with a permeability flowing constantly from one another.
Available from publisher Hato Press website, and during the London Art Book Fair and New York Art Book Fair .
IDOINE & PAPI CAMION
Sometimes a crow or a raven, in order to crack open a nut, will stop at a red light, put it on the road and, once the light turns green, expect cars to drive over the nut, leaving its content exposed. The context in which this bird lives, influences its ways of doing things, so to speak, opens possibilities and creates challenges.
Idoine is the will to share a curiosity and an appetite for modes of operation, conditions for its guests’ surfacing of tools and internal logic.
Idoine & Papi Camion is an interview realized on March 2nd, 2015 with Papi Camion between Paris and Pantin. Papi Camion was born in the early 1970s. He let go progressively over time of unnecessary matters. All he kept was a change of clothes, a passport and a van. Since then Papi Camion has pursued his activity, a non-project, i.e. doing nothing. Located in Place des Fêtes, in the heart of Paris, he assists the world like a hermit, finding his inner-rhythm in a fleeting movement.
Take me (I’m Yours)
Take Me (I’m Yours)
is a collective and interactive exhibition which brings together the work of forty-four international artists under the curatorship of Christian Boltanski, Hans Ulrich Obrist and Chiara Parisi. The exhibition, from September 16 to November 8, will turn the
Monnaie de Paris
’s 18th-century rooms into a venue for free and creative exchange, designed to unsettle the conventional relationship between a work of art and its viewer. Visitors are invited, even encouraged, to touch, use and take away the artists’ projects and ideas.
The exhibition curators, Christian Boltanski and Hans Ulrich Obrist, have taken the original principle which motivated them in 1995 at the Serpentine Gallery and brought it up to date.
With more than forty projects, the Paris exhibition is greater in magnitude and scope. The project sees the return of artists who took part in the first event (Christian Boltanski, Maria Eichhorn, Hans-Peter Feldmann, Jef Geys, Gilbert & George, Douglas Gordon, Christine Hill, Carsten Höller, Fabrice Hyber, Wolfgang Tillmans, Lawrence Weiner and Franz West), and has given rise to new collaborations (Etel Adnan & Simone Fattal, Pawel Althamer, Kerstin Brätsch & Sarah Ortmeyer, James Lee Byars, Heman Chong, Jeremy Deller, Andrea Fraser, Gloria Friedmann, Felix Gonzalez-Torres, Bertrand Lavier, Jonathan Horowitz, Koo Jeong-A, Alison Knowles, Angelika Markul, Gustav Metzger, Otobong Nkanga, Roman Ondák, Yoko Ono, Philippe Parreno, Sean Raspet, Takako Saito, Daniel Spoerri, Rirkrit Tiravanija, Amalia Ulman, Franco Vaccari, Danh Võ and the artists Ho Rui An, Felix Gaudlitz and Charlie Malgat from 89plus, the multiplatform international research project designed to map the generation born on and after 1989 by Hans Ulrich Obrist and Simon Castets. The exhibition is also an outlet for distributing issues of point d’ironie (agnès b.).
Displayed on the walls of the last factory in the centre of Paris, the exhibition is an opportunity to revisit the myth of the unique artwork and question its methods of production.