Fabian Reimann uses the Whole Earth Catalog, first published in 1968 as a concise reference of tools for the improvement of the world and the self, as the starting point for the final issue of his own, visual-essay style Egozine “freeman’s journal”, now in its tenth year. His Another Earth Catalog, only interrupted once by a personal essay, consists of a continuous stream of images: reproductions of the Utopian visions of the late 1960s — including not only material published in the Whole Earth Catalog, but also of other visionary projects from the Cold War period and the dawn of Postmodernism. Fabian Reimann loosely maintains the five categories of the Catalog (Understanding Whole Systems, Shelter and Land Use, Industry and Craft, Communications, Community, Nomadics and Learning) and connects the visions of the late 1960s with current images that show developments which can be traced back to the fantasies of these earlier times.
Bulletins of The Serving Library #4 was produced under the auspices of the research program Dexter Bang Sinister. The program, devised by Angie Keefer, David Reinfurt & Stuart Bailey together with writer-critic-curator Lars Bang Larsen, was based on Lars’s just-completed PhD dissertation at the University of Copenhagen, A History of Irritated Material: Psychedelic Concepts in Neo-Avantgarde Art. In practice, a large part of the so-called research played out in the form of an exhibition set up to explore the notion of *black & white psychedelia*— halfway closing the doors of perception in order to get a better view.
Bulletins by Dexter Bang Sinister, Rob Giampietro, Malcolm Mooney and Jan Verwoert, Lars Bang Larsen, Albert Angelo, Rhea Dall and Charlotte Johannesson, The Digital Theatre, Hollis Frampton, Diedrich Diederichsen, Mark Beasley, and Francis McKee.
Présentation, le 20 décembre à 19h, Fondation d’entreprise Ricard à Paris, de la première monographie de l’artiste Raphaël Zarka et discussion en compagnie de l’artiste Yann Sérandour et des graphistes deValence à propos de la monographie de l’artiste, et plus généralement sur les rapports des artistes aux livres et leur travail avec les graphistes.
The Object Lessons is a book of short-stories by Francesco Pedraglio related to Nina Beier and Marie Lund’s work.
Part 1 — The Object Lessons is an exhibition.
Part 2 — The Object Lessons is a story inspired by an exhibition, considered through three parallel accounts told in the first, second and third person.
Part 3 — The Object Lessons is an exhibition inspired by the narratives, characters and artworks featured in a short story.
Nina Beier and Marie Lund’s exhibition in 2011 at Mudam Luxembourg took as a starting point a fictional text written by London-based curator Francesco Pedraglio, following the artists’ invitation to write a subjective text on their 2009 show at De Vleeshal in Middelburg. This text features two artists who, in the story, produce new works. The exhibition at Mudam is based on a new series of works taking their inspiration from the sculptures described in the story.
Brought together under the shared title The Object Lessons, the two exhibitions and the narrative that links them together are less the result of the implementation of a pre-ordained plan than the development of something akin to a sequence of echoes: an exhibition giving rise to a fictional text, itself engendering an exhibition. This development is emblematic of the pivotal place occupied by the interpretative process in the works of Nina Beier and Marie Lund, the production or activation of which regularly involve the intervention of other people. It is also representative of the way the two artists work together, especially gravitating around specific exhibition formats enabling them to combine individual and joint works.
Like Francesco Pedraglio’s text, which describes the encounter between two sculptors driven by the same concerns for the transitory nature of materials, albeit stone, the works in the show emphasise the different temporalities which overlap in the art work, from its conception to its possible destruction, by way of the time-frames of its display and its reading.
Avec Beauregard, le 5 juillet 2012, George Dupin et Jérôme Saint-Loubert Bié proposent un projet conçu comme un work in progress qui prend en compte la notion de chantier au sens large: d’une part, le Frac Bretagne représenté à travers ses activités, et de l’autre, le temps du chantier comme moment décisif entre un avant et un après, entre bilan et projet.
Sur une période de trois années, les artistes ont créé et réuni ensemble une vaste matière dont le statut oscille entre document, archive et œuvre, et dont la finalité est un livre. Celui-ci, de même que le chantier à ciel ouvert, expose son architecture interne.
L’un des principes de ce projet repose sur la manière dont sont reproduites les photographies : imprimées en négatif sur des feuilles noires avec de l’encre argent, les images se lisent en positif grâce à l’opacité de l’encre et à son pouvoir réfléchissant, amplifié lorsque l’on tourne les pages. Le recto des feuilles montre le chantier du nouveau bâtiment et alterne avec le verso, qui montre les bases de cette histoire : la collection, les réserves, la documentation sur les œuvres et les artistes, les archives des expositions et évènements passés, l’ancien site du Frac à Châteaugiron.
Deux expositions ont permis de montrer le matériau constitutif du livre, à savoir des documents et des feuilles d’imprimerie avec pour chacune de ces occasions un dispositif spécifique. Les photographies de ces expositions alimentent à leur tour le livre et en constituent la partie centrale.
Cet ouvrage – qui incarne donc la troisième occurrence de ce projet, présenté le 18 décembre 2012, 17h, Frac Bretagne, Rennes – tente une exploration subtile de l’histoire d’une institution, des liens entre la mémoire, la collection, les projets et la manière dont ceux-ci s’incarnent dans une architecture spécifique.
Join Cambridge Book – an art book collection and consultancy – & Arena – a collaborative tool for assembling information – for an open conversation about new information paradigms and small publishing enterprises, December 17, 5pm, at Harvard LABRARY Storefront, a pop-up space organized by the Harvard GraduateSchool of Design (GSD) and Library Test Kitchen.
In The Billboard Book Project (London), version three of Billboard Book series, British artist Jonathan Monk sets out with British designers OK-RM to design a very British-looking publication. All the more so because conventions of paper-folding and book-binding (adapted through an ingenious scheme of the designers), have been itemized — with the measurement “Royal” as a guide.
Jonathan Monk offers a third in his ongoing project of producing billboards which name the conditions of their own making, along with a book object, which neatly slices up the billboard and offers it in bound form. The “trick”, in each project, has been that Monk himself eschews designing his own work by choosing a design firms to articulate his own project.
OK-RM (Oliver Knight and Rory McGrath) are two designers who love the annals of Concept art, collecting facsimiles and originals of such 70s fare.
For their project to give visual shape to Monk’s idea (a billboard which talks about what went into it, and is offered also as a book), OK-RM turned to the hallowed conventions of — British — printing and binding. And the result is…Italian? In the wink of an eye, the great bookmakers of fifteenth century Venice call out to us, as OK-RM have chosen to turn individual versions of the billboard into books of diminishing shapes so that each billboard is offered in ever smaller classic book form. If you stack all the books on top of each other, in a kind of Origami way, the thing that emerges is nothing so much as a Fibonacci rhythm.
Colorado House, run by Charlotte Collin and Jana Papenbroock, is an independent publishing house specialised on printed and crafted matter with a particular focus on experiment, anthropology and process.
Times Vol. 1: The Puzzling Almanac is a pictorial atlas about the staging of memory and the disarray of taxonomy. 365 photographs from the early 19th to the early 20th century were assembled to collages, enabling the reader to browse through the unlikely associations between scientific inventions, ancient discoveries, and past current affairs. The juxtaposition of the stylized, historical photos conveys the ongoing mise-en-scène of reality and the poetic fiction of all systems of classification. Like an eternal inkblot test, what the reader makes of history is left to himself. The book can be read as an open puzzle from all directions, literally right to left, back to front, bottom to top, accomodating the reader’s own whim and perspective.
Mindgames, by Geirthrudur Finnbogadottir Hjorvar, published in collaboration with Werkplaats Typografie, incoporates metaphorical qualities depicting people and their relationships in an ongoing interchange between space, geometry, history, and meaning. This quadrangled story about shades and variations in co-dependence and sovereignty is inspired by a musician (John Lennon), a theorist (Henri Lefebvre), an author (Halldor Laxness), and a demented ruler of Rome (Caligula) – forming biographies that present portraits of associations rather than particular statements about individual lives. The publication was conceived as a way of enjoying information in the tradition of the autodidacts of the past – but in a style which is contingent to a reverence towards traditional modes of archiving the world.
A slideshow presentation – December 13, 2012, from 7pm, Motto, Berlin – addressing the sovereignty of the sign, and/or the independence of the phenomenon which had hitherto transported it, marks the official release of MINDGAMES – a publication conceived as abstract shapes, shrouded in words, to articulate a cross-dimensional plane of intrigue. The diagrams and images will describe the structures and concepts that occupied the mind of the author when creating the text. The presentation will include more than a hundred originally composed images and will be accompanied by a reading.
Shame is a recurring publication which observes and researches human feelings and the human body. Shame focuses on daily issues that easily pass by our attention and juxtaposes them to politics, design and art in printed form. This makes it look, at times, uncomfortable and embarrasing. Shame One was initiated and produced in the Jan van Eyck Academie, Maastricht, NL by visual artist Wolfgang Fuetterer and graphic designer Neda Firfova.
B.Books publishes bilingual art & design books. The first publication, Word.Book 1, Graphic Design Terms is due to be published in 2013. The bilingual English–French glossary is aimed at offering graphic designers and design students working internationally with the translation of specialist terms necessary to carry out their everyday work.
With the increasing international exchange and mobility of creative workers and students, unlike standard dictionaries, B.Books publications respond to the need of translating rapidly evolving vocabulary. The terms are offered in both languages, with definitions, illustrations and references to related terms, where necessary.
Compiled through using a wide variety of sources, both in print and online, Word.Books are working tools that evolve with their sector. Online forums will act as a digital extension of each publication thereby offering users the possibility to suggest and discuss terminology, definitions and also to add illustrations to complement their Word.Book.
“OEI was started in 1999, as a magazine mostly for experimental poetry. We had been very interested in things like North American Language-writing, Brazilian concrete poetry, the investigative poetry of the ‘pataphysically oriented Toronto Research Group, and small-press adventures such as the French Orange Export Ltd. Since then we have moved closer to the art world, while also including a lot of philosophy, film and speculative sociology. And while also keeping our distances to all of this. Our latest issue is on sleep, withdrawal, attention, distraction, and the complex notion of “the contemporary”.
OEI has never been about “self-representation” through publishing. We have always been more interested in what the French media researcher Emmanuel Souchier has called “l’énoncé éditorial”, “the enunciation of editing and publishing”, an enunciation taking into account the constitutive preconditions of the enunciation: format, paper, montage, layout, typography, the tensions between text and image, proof-reading, binding, printing, etc.
So far we have published 58 issues of the magazine, and approximately 60 books within the publishing structure connected to OEI, OEI editör: mostly poetry and artist’s books, but also theory and poetics, posters, cd:s and dvd:s. Connected to our office in Stockholm is an exhibition space, OEI Colour Project, housing micro-exhibitions, lectures and readings.
But the magazine is the core of the project, and it is not an accidental occurrence if one of our most recent issues, #56–57, is a special issue on the notion of the magazine as an aesthetic medium, investigating many of its transformations and formal innovations since Stéphane Mallarmé’s La Dernière Mode in 1874. And we still believe in the transformative power of the magazine format, even if it has changed much in the thirteen years OEI has existed. (…) ” Jonas (J) Magnusson about Editing OEI
La bibliothèque des Arts Décoratifs, à Paris, présente, jusqu’au 18 janvier 2013, Dieter Roth, larmes et livres, une sélection des livres d’artiste de Dieter Roth, en collaboration avec les Editions Periferia qui possèdent de nombreux originaux de ces livres publiés dans les années 60. C’est autour de ces publications et particulièrement de « DAS UR-TRÄNENMEER » (Die Box) et des livres utilisant la forme du journal, que cette exposition est organisée.
Au début de l’année 1970, Dieter Roth développe son goût pour l’écriture en publiant des aphorismes deux fois par semaine dans le « ANZEIGER DER STADT LUZERN UND UMGEBUNG », un journal gratuit de petites annonces publié à Lucerne.
Dans une interview il déclarait que ces pages d’encarts publicitaires étaient : “si brutales, (qu’elles) ressemblaient à un dépotoir ; je pensais que je devais y déposer une petite larme”.
Semaines après semaines entre mars 1971 et septembre 1972 des phrases comme : “une larme c’est l’équivalent d’un mot gentil”, “Est ce qu’un être humain peut voir quelque chose sans être ce qu’il voit ?” apparurent dans le journal, simplement signées DR.
Le journal rompt le contrat de publication après la parution de 114 (sur 248) “petites annonces” et ce, suite aux plaintes de lecteurs effrayés par ce qu’ils pensaient être des codes subversifs ou du moins des petites annonces qui n’annonçaient rien.
De ce projet Dieter Roth a conçu cinq volumes intitulés “Tränenmeer”. En 1973, Dieter Roth, utilisant du vrai papier journal , compilera ces encarts dans un livre d’artiste : « Le lac (mer) de larmes » : “Tränensee”.
L’exposition comporte deux volets. D’une part l’exposition de plus de cinquante exemplaires originaux des livres de Dieter roth. D’autre part une intervention à l’intérieur de la collection Maciet – encyclopédie par l’image conservée à la Bibliothèque – mettant en œuvre un dialogue entre les regards de Dieter Roth et Jules Maciet sur le monde.
Jules Maciet s’est attaché à compiler et coller des images, couvrant tous les domaines de la connaissance et des savoirs faire, dans des albums adoptant une classification thématique. Cette collection est le reflet de cette volonté philanthropique de partage et d’éducation de cette époque, mais aussi la conviction d’un homme du pouvoir de l’image…
A harbour city and the capital of New Zealand, Wellington is distinctive not only as the site of governance for a bicultural nation state, but also for the geographical location that determines its rich cultural character and enduring relationship to the ocean.
From the geographical and socio-political histories of Wellington, they extended connections to the port city of Liverpool through outsourcing and assemblage. Notions of distance, local matter in global circulation, and the fluidity of ocean waters inform and encapsulate the work that takes form as printed material.
“Today as our primary communication tools are online, publications have the potential to become deliberate sculptural objects, rather than simply a way to distribute information. This turns the making of a book into a building process and the construction of a space. In Watermarking, the book has become a structure that hosts various publishing practices.”
Reflecting the ongoing necessity of the ocean as a physical and geographical expanse in which industrial enterprises connect, printers from Wellington, Melbourne, Taipei, Rotterdam and finally Liverpool were invited to visualise this space within the pages of a publication, each imagining and inscribing the colour of their ocean.
A Circular 2 – a journal edited by Pedro Cid Proença – features David Antin on Real Estate; a trio of short loops on song and sound by David Morris; Richard Hollis on Flags, Stars and Signs; Pedro Neves Marques on 1972; Dieter Roth’s Trophies Rotated by James Langdon; Patrick Coyle fake fancying, feigning, forging; an extract of Fugue by Roger Laporte; Wayne Daly and Sean Lynch in conversation; Adrian Piper’s To Art (Reg. Intrans. V.) and another instalment of Will Holder’s Middle of Nowhere.
No Cash Value is an exhibition of and about cultural and fiscal Exchange that places the collective work of one American designer and two British designers inside of one Dutch project space. Colophon Foundry (Anthony Sheret & Edd Harrington, UK, and Benjamin Critton, US) will show works created specifically for this geography and exchange-scenario. No Cash Value looks to the Dollar ($), Euro (€), and Pound (£) as placeholders for, and abstract representations of, the United States, Netherlands, and United Kingdom.
Two typefaces—Value Sans and Value Serif—have been drawn for the occasion and will be available to the public starting on the evening of the show’s opening. Additional works will include objects as well as editioned prints and publications. A catalogue for the show will also be produced. Works will be for sale from $/€/£1.
December 14 – January 27, 2013
Oz gallery, Amsterdam
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
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 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.