Books of Copies, a project by San Rocco, is an online database comprised of images that can be copied in order to produce architecture. As such, Books of Copies are receptacles of a collective form of knowledge that can provisionally be called “architecture”. Books of Copies are organized according to a precise set of rules and are produced by a multitude of producers. Books of Copies are based on an inherently derivative and collective effort, starting with the zero-degree act of accumulation of formal knowledge, namely “collecting”. Exhibition, September 10 – October 2, 2013, AA School of Architecture, London.
“The Dirty Art Department offers itself as an open space for all possible thought, creation, and action.
It sees itself as a dynamic paradox, flowing between the pure and the applied, the existential and the deterministic, and the holy and the profane.
It is concerned with individuality, collectivity, and our navigation of the complex relationship between the built world and the natural world, and other people and ourselves.
It’s a place to build objects or totems, religions or websites, revolutions or business models, paintings, or galaxies.
The Dirty Art Department comes from a common background of design and applied art, it seeks however to reject the Kantian division between the pure and the applied arts.
Since ‘god is dead’ and ‘the spectacle’ is omnipresent, it sees the creation of alternative and new realities as the way to reconsider our life situation on this planet.
The Dirty Art Department is open to students from all backgrounds including designers, artists, bankers, skeptics, optimists, economists, philosophers, sociologists, independent thinkers, poets, urban planners, farmers, anarchists, and the curious.” Jerszy Seymour
The exhibition PAGINATIONS & MACHINATIONS – with Joseph Grigely, Dorothy Iannone, Aaron Flint Jamison, Allen Ruppersberg and Mrzyk & Moriceau, September 14 to October 31, 2013, Air de Paris, Paris – presents works whose form is a hair’s breadth short of that of the book. Destined to be brought together – like these pages – they relate an encounter (Dorothy Iannone), which maybe happens in the Air de Paris space (Mrzyk & Moriceau) or when the visitor is invited to trigger things there (Allen Ruppersberg). So different strategies – of assemblage, binding, reproduction and printing – are summoned up by these forms of existence of the page. Forms which, far from being static, are variable, like Joseph Grigely conversations (pigment prints, book, sticker). The work on show here by Aaron Flint Jamison reminds us of the origin or the mechanically printed destiny of the others in the show: of pages and machines, of intersecting stories, brought together by physical acts even as they themselves relate acts of separation and reunion, of disappointment and happiness, of connections that are disconnected then reconnected and reread.
Typojanchi, Seoul International Typography Biennale, August 30 to October 11, 2013, is an international exhibition of typography to explore various intersections of the art of visible language and other cultural disciplines.
Typography has a dual identity: it is as much an art of language as a visual art. Typojanchi 2013 is devoted to the literary potentials of typography in the overlap of the two realms.
Rather than merely visualizing a given text, contemporary typography has come to actively engage in the production and distribution of the text. Exploring the themes traditionally reserved for literary studies such as conditions, conventions and nature of writing, typography itself becomes a form of literature. Meanwhile in literature itself, there is an experimental tradition of non-verbal—visual and material—devices. From concrete poetry to the OuLiPo group, metafiction and visual writings, the formal investigations have helped widen the boundaries of literature, inspiring many typographic designers. In addition, the widespread digital production and network technology have had a deep impact on the way we write, share and read texts, fundamentally transforming its nature and status. All these have contributed to the changing status of the text, from a solid common ground for communication to a more intangible and transient clouds in the air.
Typojanchi 2013 attempts to read and write the new text emerging from the shaking tradition of literary culture, examining the conditions and possibilities of the super-expanded, super-fluid, super-dynamic and super-sensitive text.
Lawrence Weiner: Written on the wind – september 21, 2013 to january 5, 2014, Stedelijk Museum, Amsterdam – is a comprehensive survey of works on paper by Lawrence Weiner, one of the most culturally engaged artists of our time.
The exhibition comprises an extensive survey of nearly 300 drawings produced over a fifty-year period. The exhibition takes visitors on a journey through the artist’s remarkable trajectory in drawing— from cartoons, notebooks, and otherwise unseen working material and sketches, together with formal works on paper. The exhibition is narrated by his gestural graphics, leading the viewer into the sensibility of Weiner’s oeuvre. Many works contain his initial thoughts and ideas that are often seen transformed into the artists sculptural works using language. Drawing is at the origin and underlines his entire production; the exhibition itself is organized as if it were a drawing in and of itself, as the exhibition has been composed by the artist in a specially designed architectural installation.
In Paris, New York, London, and Los Angeles, show posters for concerts with all-star lineups have been tempting passersby and drivers to attend Madison Square Garden or the Bowery Ballroom, L’Elysee Montmartre or the Wiltern. The months and days of these concerts are listed but not the years, spelling errors are spotted-choice exclusions that add to the growing doubt that these dream acts will ever grace the stage all together on one night. Double-take on these worn posters and you’re not even sure if they’re coming up or something missed and legendary from long ago, but posted in public space, the anticipation is real. Upon closer inspection we see that these epic concert announcements are actually paintings of lineups that only exist in the imagination of artist Andre Saraiva. The artist returns to The Museum of Contemporary Art, Los Angeles, until october 8, 2013, for an installation of these painted announcements, visual evidence of the buzz that signs can create when circulated in the streets.
The Social Life of the Book is a collection of commissioned texts dealing with books, and how they engage with the circulation of ideas and the agency of social situations. It brings together artists, publishers, writers, designers, booksellers, etc. who consider books less as finished objects or forms but for their disruptive potential and their ability to produce new relationships, new publics and new meanings.
It develops as a series of 16-page, saddle- stitched signatures. In its contents as well as its distribution, the series aims to entice readers into a particular attention not only to printed material as such, but also to the ecosystem of knowledge writing, publishing and distributing form together.
The last issue, SLOB (The Social Life of the Book) #4: Kinesics of the Page, by Avigail Moss, is now available.
Addressing parallel questions, SLOR #01 – Everybody Knows This Is Nowhere plays off its format and inaugurates the new series The Social Life of the Record, a series of original texts by musicians, fans, critics, collectors, dealers, label owners etc. — reflecting on recording, releasing, listening to, filing, flipping and DJing records today.
The Typografische Monatsblätter is one of the most important journals to successfully disseminate the phenomenon of “Swiss typography” to an international audience. With more than 70 years in existence, the journal witnessed significant moments in the history of typography and graphic design.
30 Years of Swiss Typographic Discourse in the Typografische Monatsblätter examines the years 1960–90, that correspond to a period of transition in which many factors such as technology, socio-political contexts and aesthetic ideologies profoundly affected and transformed the fields of typography and graphic design. The book includes a large number of works from well-known and lesser-known designers such as Emil Ruder, Helmut Schmid, Wolfgang Weingart, Hans-Rudolf Lutz, Jost Hochuli and many others.
Printed Matter presents, from September 20 to 22, at MoMA PS1, New York, the eighth annual NY Art Book Fair, the world’s leading event for artists’ books, catalogs, monographs, periodicals, and zines showcased by more than 280 booksellers, antiquarians, artists, and independent publishers from more than twenty countries.
Among other special programming, The Classroom, a curated series of informal conversations, workshops, readings and other artist-led programs, is also an informal venue for artists, writers and publishers to feature new releases and present their publications. Participants include Tréy Sager with Badlands Unlimited (New York); Olof Olsson with Rollo Press (Switzerland); Linda Simpson with Peradam (New York); Elisabeth Tonnard and Chris Burnett with J&L Books (Scranton, PA); Amish Morrell with C Magazine (Canada); the curators of the Libros Mutantes Book Fair (Spain), etc.
An exhibition of book works by Bruno Munari, presented by Edizioni Corraini, will be housed in the courtyard dome. The exhibition includes a collection of rare and out-of-print artist and design books by the late Italian artist, offering a comprehensive survey of his influential career. Selections from the private collection of Giorgio Maffei will be on view as well…whole program on NY Art Book Fair 2013 website.
The Jan van Eyck Academie is a site of encounters which had surpassed the sterile confines of academia and the consensual norms of market-oriented work, as it welcomed examinations and radical critiques of the spaces of artistic creation, theoretical inquiry and design, while also questioning the relations and boundaries between these fields. Building upon this experience, while at the same time surpassing its institutional limitations, the intention is to construct a platform for collaboration between theorists, designers and artists, by suspending the borders between their respective disciplines, by affirming the need for collective and experimental work, by engaging in projects which do not shy away from questioning the very possibilities of different domains, whether aesthetic, scientific or political.
This Book is a Classroom is a publication about art education, self-organised institutions, and circular communication; edited and devised by Lucie Kolb & Romy Rüegger, Passenger books and HIT. Book launch, July 10 2013, 7pm, X Marks the Bökship, London.
“…We would like to learn, and we are working on a book. The room it offers is circumscribed and structured by the book‘s parameters: format, binding, jacket, title page, layout, preface, postface, table of contents, captions, cross headings, intertitles, annotations, editorial notes, appendix, blurb, names and accessories. This book is a classroom. We invite you to play this classroom together with us – a play to be played indoors or out, I wish to be a school – by a text or picture contribution; as a professor, student, guest, friend, reader, lecturer, listener, assistant, staff, animal, as equipment, materials, furniture, architecture or sound …” (Corinn Gerber, Lucie Kolb, Romy Rüegger)
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, a project devoted to the most experimental forms of production in publishing, involves creating a reading room in the Contemporary Art Museum of Villa Croce, Genova, where during 2013-2014 some of Europe’s most interesting publishing houses will be presented.
The second reading room, July 9, 6pm, is dedicated to Paraguay Press – the publishing house of castillo/corrales, the Paris co-operatively run exhibition and bookstore space – which will present a selection of their publications. Each project developed by Paraguay Press looks carefully into the pragmatics of publishing, and adapts each print-run and scope, deploys different printing devices, and considers various distribution strategies — according to the nature of each publication. All depart from an understanding of the space of the book, considered not as a medium of documentation nor a vector of promotion, but as an act of translation and the extension of artistic, critical and curatorial thinking into a graphic, mobile, democratic and durable form.
Since 2009, Gareth Long and Derek Sullivan have worked towards an on-going project to illustrate and translate Flaubert’s Dictionary of Received Ideas. Seated at an iteration of Long’s Bouvard and Pécuchet’s Invented Desk For Copying, a series of desk-sculptures pulled from the unfinished pages of Gustave Flaubert’s incomplete last novel, the two artists intend eventually to illustrate every entry in Flaubert’s posthumously published satirical dictionary – a text that contains 950 biting and surprisingly contemporary entries lampooning bourgeois French society of the time.
Flaubert had intended to include this text as part of the second half of the novel Bouvard and Pécuchet. Long and Sullivan’s project has them draw images copied from the Internet (the dilettante’s library of today, and one that parallels the vast library embedded within Flaubert’s novel) which brings the surprisingly contemporary platitudes up to date, and match Flaubert’s own caustic wit and meta-references with a disarmingly funny, charming (and sometimes school-boyish) sense of humour. Just as the desk-scultpures act as an illustration of the final moments of the novel, with Long and Sullivan seated at them, they too become a sort of extended illustration of the eponymous characters. A self-professed ‘crap drawer,’ Long’s lack of skill as an illustrator for the Dictionary is a form of illustration itself: his drawings are obviously those of an amateur, just as Bouvard and Pécuchet are destined to remain amateurs in each of their endeavours. And so, by ‘copying’ the two characters in the novel, Long and Sullivan’s drawing sessions contribute to the seemingly endless cycle of mimicry and citation taking place in the book.
Long and Sullivan have worked on The Illustrated Dictionary of Received Ideas through more than 23 illustrating sessions to date. Upcoming session, July 25, 2013, 5pm, The Power Plant, Toronto, as part of Postscript: Writing After Conceptual Art.
John Stezaker has been centrally influential in a number of developments in art over the last four decades; from Conceptual Art, New Image Art through to contemporary interest in the collage. Showing first as a part of the British Conceptual Art group in The New Art, 1972 (the first Hayward Annual), Stezaker’s interest in the concept soon gave way to a long-term fascination with the image, finding new aesthetic allegiances with the image through working with found photographs and printed matter. This fascination is translated into alterations, deletions, visual concordances and juxtapositions of disparate sources, intuitively creating new images, relationships, characters and meanings.
The selection exhibited during Les Rencontres d’Arles, until September 22, 2013, represents a cross section through the recent manifestations of ongoing collage series including Mask, Marriage, Muse and Film Still Collage, as well as the collections of image fragments (The Third Person Series). Additionally on show is the first production of a new venture—the making of film loops. These constitute discontinuous projections of different collections of photographic images. Horse consists of 3325 different still images of stallions taken between 1985 and 2005 and projected at 24 horses a second.
Les Siestes Electroniques élargissent leur champ d’intervention en éditant une revue baptisée Audimat. Une vraie revue, pas un magazine ni un programme du festival : des articles long format sur la musique, écrits par des contributeurs français ou étrangers, pas forcément issus de la presse spécialisée. L’idée est d’ébaucher en langue française un discours critique exigeant, sans être abscons, sur la pop music, son histoire, son écoute, sa diffusion dans le monde. Design: Maximage Société Suisse.
HANS LE MALIN est une publication qui questionne les pratiques de production d’éléments narratifs et leur déploiement dans l’espace médiatique. Pour ce faire, des méthodes d’investigation associées à la conception d’outils orientent l’écriture d’articles. L’enquête est un moyen d’accumuler et de réunir des indices mais aussi de formuler des hypothèses.
Les postulats en études sont confrontés lors d’entretiens avec des personnalités évoluant dans les champs de la recherche, du design, de la photographie ou du journalisme. Rassemblés en ligne, les contenus sont susceptibles d’être édités, imprimés, reliés et distribués lors d’un événement dédié à cette étape.
Présentation par Tanguy Wermelinger, le 22 juin 2013, 14h, 22RUEMULLER, Paris.
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.