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.
The Book Affair is a two day independent publishing fair held at the Library of San Lorenzo, Venice, May 30-31, 2013. The mission of The Book Affair is to act as a platform for engagement with and critical exploration of the artist’s book, and includes a series of conferences – with among others David Reinfurt & Stuart Bailey, and David Horvitz – and an exhibition organized with the idea of examining the production of books in contemporary art. The exhibition “Artist’s books. A parallel story”, curated by Giorgio Maffei, Italian curator and historian, uses the book media with the intention of offering a different way of conveying art history to the public.
Design, l’anthologie, d’Alexandra Midal, est une anthologie consacrée à l’histoire et la théorie du design en langue française, et s’adresse à tous ceux qui se demandent – puisque “tout est aujourd’hui affaire de design” – ce que cette discipline recouvre, quels débats et problématiques elle soulève et dans quels flux elle s’inscrit. Même si des thèmes tels que l’industrie, la standardisation, la démocratie, le style, les matériaux ou les relations entre art et design, sont récurrents et permettraient d’articuler une lecture thématique de l’histoire, la chronologie a été privilégiée. Elle permet de suivre les inflexions du design au gré des mouvements de l’histoire et du contexte avec lequel il dialogue.
Sainte-Victoire – Corporate Identity – May 15-31, 2013, Galerie de l’erg, Brussels – is the first exhibition project proposed by Musée des Erreurs, recently opened by the artist Pierre Leguillon, who’s always been concerned about building new tools dedicated to images and their dissemination.
The title of this exhibition refers to a statement in a letter Hamilton wrote in 1980: “My admiration for the work of Dieter Rams is intense and I have, for many years, been uniquely attracted towards his sensibility; so much so that his consumer products have to come to occupy a place in my heart and my conscioussness that the Mont Saint-Victoire did in Cezanne’s.”
The different identities gathered in Sainte-Victoire are presented in a way as to reflect into one another. Beyond singular identities, there is the idea of images from brands or corporate identity that is also at play. Between subjectivity, style and function, the designer also works at sculpting, shaping and interpreting the concept of the company he is working for. However, the shape this concept takes derives from inspiration mechanisms, cultural settings, reference searches, which in turn nourish different artistic practices and fields of creation. In view of that, the idea of « model », of « origins » ex nihilo explodes in favor of the ready-made: the creator is the one who chooses, finds, understands or subverts the way in which an object is first considered. Yet, these operations happen through a flux of multiple sources which the Musée des Erreurs is trying to crystallise…
Dialog der Schrift is a symposium and accompanying exhibition, May 23-25, 2013, Muthesius Academy of Art and Design, Kiel. Lecturers out of the areas of design, philosophy, literature and language will examine the act of reading from new perspectives.
With Ludovic Balland, typographer; Paulus M. Dreibholz, typographer und publisher; Oswald Egger, author, poet, philosopher; Dr. Theresa Georgen, art historian; Dr. Annette Gilbert, literary scholar; Hansje van Halem, graphic designer; Prof. Dr. Manfred Sommer, philosopher; Walter Pamminger, chemist, book designer, author, graphic-collector, theoretician.
The Book Society is a project devoted to the most experimental forms of production in publishing, in its multiple manifestations, from catalogues to art books and magazines, is a space in which not only is something conveyed, but contents are developed and created.
The Book Society involves creating a reading room in the Contemporary Art Museum of Villa Croce, Genova, the first one being dedicated to Book Works, which presents a selection of their artists’ publications, alongside a short film about Book Works, posters by Jonathan Monk, and other printed matter drawn from their recent touring project Again, A Time Machine.
May 9, 2013, from 12.00pm, Book Works organizes a day of events with among others, at 6pm, a talk about the overlapping roles of Artist/Editor/Publisher with Jane Rolo, Paul Sammut and Francesco Pedraglio (artist, curator and editor).
Les Plantes Fantômes is a weekly planner made by the French design group Viele Stuck. In addition to taking care of your organizational needs, Viele Stuck asked several artists to contribute responses to the topic “phantom plants.” The result is dynamic calendar system filled with original art and poetic text.
The Playground Project, curated by Gabriela Burkhalter, is a richly illustrated exhibition exploring the history of postwar playground design and highlighting important examples of playgrounds from the 20th century. The survey focuses on the years between 1940 and 1980 as the most fruitful era in playground design and introduces outstanding achievements from Europe, the US, and Japan. More than 130 photographs, prints, plans, models, and books, along with eleven films and slideshows, will illustrate the exciting and inspiring history of playgrounds, from June 10, 2013, Carnegie Museum of Art, Pittsburgh.