Under the title Reading Machines – unfolding books and archives – june 22 to september 8, 2013, Kunsthal Aarhus – the publisher Edition After Hand initiates a multiannual cooperation with the exhibition space on publications, research, exhibits and bookstore. The basis of the project is a series of switching actions between the exhibition and the book room, and a gradual unfolding of possible passages between contemporary art and poetry, which among other things can reflect linguistic and technological operations and their aesthetic effects.
With works by Henrik Have and Jan Bäcklund, publications from the Swedish journal/publisher OEI, and unfolds a book by Cecilia Grönberg and Jonas (J) Magnusson. The exhibition also features a library and reading room, bookstore, performance, discussion and publications.
Sky Arts Ignition: Memory Palace – june 18 to october 20, 2013, Victoria and Albert Museum, London – brings together a new work of fiction by the author Hari Kunzru with 20 original commissions from leading graphic designers, illustrators and typographers to create a multidimensional story. The way we read books is changing. Memory Palace explores how a story might be imagined in a different format – as a walk-in book.
With work by Âbäke, Peter Bil’ak, Alexis Deacon, Oded Ezer, Francesco Franchi, Isabel Greenberg, Hansje van Halem, Jim Kay, Johnny Kelly, Erik Kessels, Na Kim, Stuart Kolakovic, Frank Laws, Le Gun, Luke Pearson, Stefanie Posavec, Némo Tral, Henning Wagenbreth, Mario Wagner and Sam Winston.
Hari Kunzru’s story is set in a future London, hundreds of years after the world’s information infrastructure was wiped out by an immense magnetic storm. Technology and knowledge have been lost, and a dark age prevails. Nature has taken over the ruins of the old city and power has been seized by a group who enforce a life of extreme simplicity on all citizens. Recording, writing, collecting and art are outlawed…
The chosen practitioners work across a variety of fields, from comics and editorial illustration to advertising and typography. Each of the designers and illustrators worked on a different passage of text from the story, responding freely to the text. The resulting commissions vary dramatically in scale and format, from intricate hand-drawn works to large three-dimensional environments.
How to Shoplift Books (Come Rubare Libri), a new book by Californian artist David Horvitz, is a shoplifter’s users guide in both English and Italian. It details 80 ways in which one can steal a book. From the very practical, to the witty and romantic, the book reads like simple instructional text artworks by the conceptualists generation. A number of books were printed with error covers, which Horvitz has buried in Venice…
Since 1943, when Jan Tschichold proposed to honor the most beautiful Swiss books with an annual award, the competition for this title has become very popular and is heard of not only in Switzerland but around the world. A fact that is less well-known is that the title was not awarded between 1946 and 1948 and no books were submitted to it during this time.
This gap in the long-standing tradition of the award provided the background for
The missing years of the most beautiful Swiss books: 1946, 1947, 1948, a project by Corina Neuenschwander & Roland Früh, which consists in an exhibition, a series of lectures and a research project, that discussed book production and design in Switzerland – with a focus on this specific period, but also with regard to the present situation.
In the The missing years of the most beautiful Swiss books: 1946, 1947, 1948 book, Experts such as Jost and Ursula Hochuli, François Rappo, Andreas Schwab as well as many others explain in 14 concise statements their selection of “the most beautiful books” from these years. These authors contributed essays but also texts on their personal interest in and their relationship to books. International authors such as Robin Kinross, Yann Chateigné Tytelman, Severin Rüegg, Philipp Messner, Noah Stolz, Ulrike Meyer Stump and Patrick Gosatti wrote on more specific aspects, starting with the different aspects of book production and design. The book intends to contribute to the discussion among book experts and provides a contemporary commentary on the crucial elements and aspects of book production – now and then. Launch of the book June 22, 17:30, Corner College, Zürich.
La revue Initiales, produite et éditée par l’Ecole nationale supérieure des beaux-arts (ENSBA) de Lyon, esquisse les contours d’une galerie de “portraits en creux” en s’organisant autour de “figures-source”, existantes ou fictives.
Pour son deuxième numéro, la revue Initiales se penche sur une figure solaire qui irradie depuis les années 60 la côte Ouest des Etats-Unis : John Baldessari.
Conçue comme une “monographie augmentée” avec son architecture en trois chapitres qui s’intéresse aussi bien au contexte de production dans lequel travailla John Baldessari, qu’aux échanges qu’il orchestra, et aux méthodes (collage, montage), toujours d’actualité, qu’il initia ; avec sa voix off aussi, qui vient commenter après coup les choix parfois audacieux des contributeurs – critiques d’art, historiens, écrivains, artistes et même juriste – la revue Initiales procède par encerclement progressif et poursuit un seul objectif :réinitialiser cette figure qui a fait école dans son domaine et au-delà.
À l’occasion du lancement au Palais de Tokyo, le 5 juillet, 19h, Palais de Tokyo, Paris, la revue Initiales, en partenariat avec la galerie de Multiples, propose un accrochage de multiples de John Baldessari, dont le poster inédit inséré dans chaque numéro d’Initiales J.B. Ainsi qu’une table ronde qui réunira Emmanuel Tibloux et Claire Moulène, directeur de la rédaction et rédactrice en chef de la revue, les historiens de l’art Marie de Brugerolle et François Aubart ainsi que l’écrivain Fabrice Reymond.
At this year’s Art Basel, June 13–16, 2013, Printed Matter will present Learn to Read Art: A Surviving History of Printed Matter, Inc., an exhibition engaging the documented history of the organization as it intersects with the broader field of contemporary artists’ books.
Learn to Read Art: A Surviving History of Printed Matter, Inc. assembles a visually dense vitrine- and wall-based presentation featuring a broad range of material produced by the organization since its founding in 1976…
The 4th Independent Publishers and Zine Fair Vienna will be hosted June 28-30, 2013, by Kunsthalle Wien at Museumsquartier, with more than sixty local and international exhibitors and artists exhibiting, selling, and exchanging their works.
Alongside the exhibitors, ten artists (including Matthew Brannon, AA Bronson, Kerstin Cmelka, Sture Johannesson, David Jourdan, Stefanie Sargnagel, and others) will punctuate the fair with editions and interventions—some in the form of performances, some as prints, others as t-shirts. As a special exhibition, Hubert Winter, the Viennese gallerist, will curate a selection of art books and ephemera from his vast collection of works from some of the best-known ’60s and ’70s conceptualists. Parallel to the fair, a series of talks and discussions by a selection of expert speakers will touch on emerging practices and debates within zine culture, and will illuminate issues relating to independent publishing today.
The Most Beautiful Swiss Books recognizes excellence in the field of book design and production, as well drawing attention to remarkable and contemporary books by Swiss designers, printers and publishers. The Jan Tschichold Award 2013, which honours excellence in the field of book design, goes to the typographer and graphic designer François Rappo from Lausanne.
June 27-30 2013, The Most Beautiful Swiss Books will be exhibited at the Helmhaus, Zürich, alongside the simultaneous publication of the catalogue showcasing the competition. On the occasion of the exhibition opening, the Jan Tschichold Award winner will be presented his award. In the context of the exhibition, a book fair, presenting recent publications from small Swiss and European presses, will be held June 29.
In 1962, Gene Bernofsky, Jo Ann Bernofsky and Clark Richert were students at the University of Kansas in Lawrence. Gene and Clark developed a concept they called “Drop Art”. “Dropping” artworks from the rooftop of a loft space in Lawrence, they were making art a spontaneous part of everyday life in the face of a society they saw as increasingly materialistic and war-mongering. In 1965, they bought a small piece of land near Trinidad, Colorado and ?called their settlement Drop City. They were soon joined by other artists, writers and inventors, and they started building a community that celebrated creative work.
Drop City’s dazzling structures were based on Buckminster Fuller’s geodesic domes and the crystalline designs of Steve Baer, a pioneer in geometric structure and solar energy. The Droppers had little building experience, but they were full of ingenuity and exuberance. Drop City became a lab for experimental building and and inspired a generation of alternative communities…
Drop City, a new documentary, screenings, as part of:
Architecture on Film, July 9, 2013, 7pm, The Architecture Foundation, London
West of Center: Art and the Counterculture Experiment in America, 1965 1977, July 10, 2013, 7pm, Mills College Art Museum, Oakland
FIGURE is a Paris-based cultural journal featuring art, design, music, architecture, nature, photography, medias, gastronomy, style, sport and art de vivre investigations.
A year ago, editors Côme de Bouchony & Vincent de Hoÿm received a letter saying that they would trespass trademarks rights with the name Figure. They entered into negotiations for keeping their beloved name but the opposing party was not willing to agree to any compromises.
So they decided to make a clean sweep and get a fresh new name, and they have 51 possible new ones: 51 French words and expressions used by English speakers, compiled in this newspaper, a very limited collectors special edition, currently showed at Laurent Mueller gallery in Paris.
Young, Fresh and Relevant is a yearly open submission journal with the aim of carving a space for writing within the visual arts. YFR hopes to be accessible for a new generation of young (in their practice rather than age) artists who may never have had their writing published, as well as aiming to attract practitioners who are more familiar with the Art Writing / publishing scene.
The Letter E is Everywhere – June 6 – August 9, 2013, Archivo Diseño y Arquitectura, México – works as a book that contains different stories, letters, texts and images unfolding into space. Instead of pages, the display structures and furniture pieces allow books, prints, objects and textiles designed by Studio Manuel Raeder, to be juxtaposed with other objects found during an exploration of local handcraft production in Oaxaca. The exhibition also features three furniture pieces developed as a result from this research, in collaboration with Oaxacan artisans.
The Letter E is Everywhere is shaped by the objects mentioned earlier, and by the display structures developed especially for the exhibition. The exhibition presented in Archivo adopts pieces from its collection, focusing on objects whose production converses between craft and design practice: industrial, mass-produced popular objects, handicrafts, and furniture pieces whose form-function relation appears as rustic, but nevertheless shows much attention to detail and technique. The exhibition proposes an open narrative through the objects on display and questions the position contemporary design plays in the dialogue between people and every day objects. At the same time, it reflects the approach that Manuel Raeder and his studio have about their practice, where design is used as a tool that is constantly reconsidered and customized.
Postdocument is a publication focused on exhibition photography, produced by the art historian Remi Parcollet with the artists Aurélien Mole and Christophe Lemaitre. Postdocument always gathers a collection of pictures made by amateurs or professional photographers, each image presented next to an extended caption. For each new issue, the selection and the organization of the gathered exhibition views is realized in connection with one amongst the 16 permanent caption entries.
Postdocument #5 will be presented June 8, 6pm, castillo/corrales, Paris, taking advantage both of the project space current exhibition ending the same day and its glass windows. The chosen entry this time is “Copyright”. This Postdocument #5 is the first one silkscreen printed.
Asterisk Summer School will take place in Tallinn, Estonia, from July 28 to August 4. The aim of the school is to introduce participants to different directions in the graphic design discipline and to expand the definition of graphic design practice. This includes exploring the different outputs design education could lead to – ones that differ from the common designer-client model. The participants are provided with the chance to experiment with various design methods and approaches and to get feedback from designers and artists from abroad.
The tutors at the summer school are designers and artists from abroad whose practices are directly linked to design but don’t always follow the classical definition of a designer. These tutors are Rebecca Stephany, Paul Elliman, Joris Kritis and Urs Lehni.
Application deadline: June 24, 2013.
What to Expect from a Graphic Designer is a discussion that will take place May 28, 2013, 6pm, Spike Island, Bristol, hosted by designer James Langdon with members of London-based design studio Europa. Using examples of past projects, they will discuss working collaboratively with artists from both technical and creative perspectives, with plenty of opportunities for questions and conversation.
L’architecte britannique, Peter Cook – en conférence publique le 27 mai, 2013, 18:00, EPFL, Lausanne – fonde en 1961 le mouvement Archigram, revue avant-gardiste d’architecture, avec Ron Herron, David Green, Warren Chalk, Dennis Crompton et Michael Webb. Ils inventent une architecture en prise directe sur la société de consommation et la communication à la manière du Pop art dont ils reprennent les couleurs acidulées, l’ironie désarmante, l’intérêt pour la culture populaire et banalisée.
Avant tout théoricien de l’architecture, Peter Cook développe ses projets comme une série de tentatives successives qui évitent de se scléroser dans une proposition définitive. Il veut revenir aux fondements de l’architecture moderne et remet la vie au cœur de la cité, développant ainsi l’idée d’une circulation dans laquelle vient se greffer des cellules. Celles-ci se pluguent les unes aux autres. La walking city par exemple est itinérante et suit les flux de l’événement et de la circulation de l’information.
Archigram fut une source d’inspiration pour le mouvement high-tech, notamment le centre Pompidou (1977) de Piano et Rogers, ainsi que le travail de Norman Foster, Gianfranco Franchini, ou aujourd’hui certaines réalisations de Future Systems.
Experimental Jetset updated their website with old stories, new works and early interviews.
The artist Veronika Spierenburg has regularly been visiting the Art Library in the Sitterwerk, St.Gallen, since 2010 where she became the “collector of the collection”. Individual pages of books from the Art Library, of which she has recorded a total of some 30,000, are her personal inventory. She then reduced in collaboration with the graphic designer Simone Koller this selection further to a specific compilation, published as an artist’s book, In Order of Pages, simultaneous to the exhibition Between Handle and Blade, which consists of individual interventions that examine the book as subject matter or refer to it in a broader sense.