The Blank Book Makers catalogue, published by Boabooks, is meant to address the latest developments in artists’ book history. An amazing corpus of new works makes up a most dynamic overview. There are many books dealing with the topics such as emptiness, space, or the very substance of pages, and Izet Sheshivari and Ramaya Tegegne deemed it necessary to look at the influence of books that have been published in neighboring fields to that of the artist’s book or book-works publications, in order for them to better define their investigation for the Saloon du livre and the Blank Book Makers, In Memoriam Michael Gibbs in June 2012.
THE THING Quarterly is a periodical in the form of an object. Each year, four artists, writers, musicians or filmmakers are invited by the editors (Jonn Herschend and Will Rogan) to create a useful object that somehow incorporates text. This object will be reproduced and hand wrapped at a wrapping party and then mailed to the homes of the subscribers with the help of the United States Postal Service. THE THING’s current year of subscriptions (issues 18-22) began with an issue by filmmaker MIKE MILLS, and will continue with visual artist DAVID SHRIGLEY, followed by visual artist TAUBA AUERBACH, author BEN MARCUS, and visual artist JOHN BALDESSARI.
Fahrenheit 39 is an italian art book festival, March 8-10, 2013, in Ravenna. For it 3rd edition, you can apply for two workshops: BOOK LOGISTICA, Every year Thousands of feelings disappear for lack of concrete form, by WERKPLATS TYPOGRAFIE; & WHERE ABOUT?, Which spaces for a new publishing production? by MOUSSE Publishing/Magazine.
57 Cell is an alternative space. It is a publication featuring 3d modeled exhibitions that simulate inaccessible, nonexistent, or improbable environments. It is a collaborative project where artists develop environment ideas and project concepts specific to a series of works or notions of works. The exhibitions take form exclusively in publication and are not available for on-line viewing. 57 Cell is directed, curated and digitally modeled by Gregory Kalliche.
Book Machine – from February 20 to March 11, 2013, Centre Pompidou, Paris – is an event dedicated to the process of book production in the grandest sense. In essence, the commitment of the artist to the realization of their book or catalog is an extension of their body of work, and this results in the creation of what we call the artist’s book.
At the heart of this engagement and from the depths of the Forum at Centre Pompidou, there will be an atelier and office of production open to the public. Visitors will witness a daily array of visual artists, writers and designers creating their books. Around this production, there will also be a live feed projection of the printing process and visitors can attend various events, lectures, discussions, screenings and performances connected with the concept of the artist’s book.
A la fois poète, artiste, penseur révolutionnaire, directeur de revue et cinéaste, Guy Debord (1931-1994) a livré, avec ses archives, non seulement l’histoire d’une œuvre, mais aussi celle d’aventures collectives dont il se fit souvent le stratège.
L’exposition Guy Debord, un art de la guerre, du 27 mars 2013 au 13 juillet 2013 à la BnF, Paris – communiqué de presse – racontera la théorie, les pratiques et les combattants d’une lutte ininterrompue contre la société du spectacle.
Outre les manuscrits, tracts, affiches, documents préparatoires des films, photographies, œuvres de Guy Debord et de ses compagnons de route, l’exposition présentera l’ensemble inédit de ses fiches de lecture, centre permanent de l’ œuvre et miroir d’une vie. Autant de documents qui permettront de mieux comprendre le parcours d’un auteur dont les thèses continuent de porter le fer contre nos sociétés contemporaines.
Initiales, revue 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. Des figures d’artistes, philosophes, écrivains, architectes ou cinéastes dont le dénominateur commun est qu’elles ont “fait école” dans leur discipline et au-delà, dans les champs qu’elles ont investis ou traversés. L’œuvre, la pensée mais plus encore les méthodes déployées, les pistes explorées (et parfois avortées) ou les réseaux créés par cette figure de référence servent de sous-texte ou de script à chacune des livraisons.
Réunissant, à partir d’une même figure, une série de contributions centrifuges, Initiales met ainsi en jeu un usage de la source et une expérience du temps qui ne sont ni ceux de l’historien ni ceux du scientifique, mais qui sont à l’œuvre dans le travail de l’art.
Revue de recherche et de création, Initiales fait le pari qu’une école d’art est aujourd’hui l’un des lieux les plus aptes à produire et organiser des formes et des pensées nouvelles, susceptibles de venir nourrir le débat et élargir le champ de l’art et de la pensée. Conçue et produite, tant du point de vue de ses contenus que d’un point de vue graphique, par et depuis l’ENSBA, et faisant intervenir de nombreux contributeurs extérieurs, c’est une revue d’école, mais dans l’exacte mesure où l’école est un lieu de passage, de rencontre et de collaboration avec de multiples acteurs qui lui sont aussi extérieurs.
Lancement de la revue le jeudi 23 janvier, 17h, à l’occasion du colloque Fluxus au Musée d’art moderne de Saint-Etienne Métropole; et le samedi 26 janvier, 17h, l’occasion du vernissage de l’exposition “INITIALES / G.M.” (GEORGE MACIUNAS) au 8 rue St Bon, Paris.
Why start a paper journal about books at a time when the internet is calling into question the average Westerner’s innate materialism, and at a time when the price of a book-as-object puts off devotees of free knowledge on the net? What is becoming of bound volumes today – that foundation of our society, those keepers of our history?
With the dematerialisation of editorial content, the practice of design within books is taking on an even more important dimension. Whether insignificant objects or works of art in their own right, books create through their different forms and stories a unique bond with those who read, consult and own them. This almost physical connection was the reason for creating The Shelf Journal.
Part place of worship and reflection for paper lovers, part experimental platform for designers, typographers and other graphic designers, The Shelf Journal explores the essence of our libraries’ charm: the limitless variations in form of this unique object.
Clive Phillpot has been a tireless advocate for the artist’s book for more than 40 years, both as a critic, curator and editor, and in his tenure as director at the library of The Museum of Modern Art in the late 1970s, where he built the library’s collection of artist’s books and mapped out the field with influential essays that traced its ancestry and distinguished it from seemingly similar genres such as the livre d’artiste.
As he has delineated the genre: “Artists’ books are understood to be books or booklets produced by the artist using mass-production methods, and in (theoretically) unlimited numbers, in which the artist documents or realizes art ideas or artworks.” Also collaborating with Printed Matter and Franklin Furnace, among other places dedicated to the medium of the book, Phillpot helped raise awareness of artists’ books, endowing them with the critical credentials to enter the collections of museums.
Booktrek: Selected Essays on Artists’ Books since 1972 gathers for the first time Phillpot’s essays on the definition and development of artists’ books from 1972 to the present – historical texts, manifestos, catalogue entries and essays on works by Ed Ruscha, Sol LeWitt, Dieter Roth and Richard Long. Booktrek will prove an invaluable reference for all those interested in the evolution of the artist’s book, and offers a crucial account of the genre’s ascent.
February 20, 2013, 7pm, at Whitechapel Gallery in London, Clive Phillpot will share his experience of working in the field of artists’ books – considering the politics of publishing and the state of the medium today with Antony Hudek, curator and co-founder, Occasional Papers. Upcoming also, March 1 & 15, at Whitechapel Gallery, a seminar associated with the launch of Booktrek.
Slide Shows, presented by Fillip, is a specially commissioned project by Charlotte Cheetham. Taking the form of an ongoing series of video presentations by publishers, designers, and artists, Slide Shows offers one possible cross section of a newly emergent landscape of contemporary art publishing.
After the 2012 Slide Shows series, Slide Shows is back with new contributions by Precinct, David Horvitz, Samuel Nyholm, Xavier Antin, mono.kultur, Booklet.
Upcoming in the following weeks: Cambridge Book, Cannon Magazine, The International Typographical Union (I.T.U.), 4478zine.
The online exhibition Print Error / Publishing in the digital age proposes to highlight, in a critical, conceptual and experimental way, one of the most important contemporary phenomena: the radical transformation of print media and its impacts on transmission of information and preservation of contents.
Stéphanie Vilayphiou is a Brussels-based graphic designer, member of the collective Open Source Publishing. She is especially interested in sharing of knowledge, questioning its social accessibility and alternatives to copyright. Through commissioned and self-initiated projects she explores manipulation of text: typography, code, vocabulary, translation. She currently works, in the frame of the European research project Libre Graphics Research Unit, on the editing of a reader on the mutual relation between tools, practice and free culture in graphic design.
In The map or the territory she selected a controversial book, Michel Houellebecq’s “The map and the territory”, which became renown for its evident quotes from Wikipedia, non-acknowledged by the author nor by the publisher. She took the book’s digitized text and wrote a software filter, which looks for each sentence (or part of it) in Google Books, finding the same sequences of words in other books. Visually the book transforms then in a digital collage of quotations (whose context is maintained in the background), loosing even the last bit of originality.
Vilayphiou embodies her sharp irony within a functional mechanism, exploiting Google’s industrial collection of texts and smartly expanding the mediating properties of language through the networks.
Auto-Archive – a research project by Toby Huddlestone – shifts the archive from a post-event medium, to a structure that predicts and predetermines the outcome of an event.
It is a research project comprising presentation, discussion, exhibition, publication and review engaged with artworks that seem to archive their future outcome. Through their conceptual structure, each artwork attempts to predetermine their own outcome in some way – they set the parameters necessary in order to preempt what will be archived of them, thus providing a commentary into the future.
Auto-Archive Photocopy Show – january 25 – february 16, 2013, Time Share, London – is an exhibition comprising photocopies of works selected for the Auto-Archive project.
Using the photocopy as the exhibition medium, the works in this exhibition sit somewhere between raw research and re-appropriated artworks. Depending on artwork, the works will range from standard informational A4 prints to enlarged 1:1 artwork-size images, creating an ‘in-between exhibition’. Featuring Vito Acconci, Bas Jan Ader, Robert Barry, Dan Graham, On Kawara, John Latham, Peter Liversidge, Raimundas Malašauskas, Jonathan Monk, Gianni Motti, Bruce Nauman, PostDocument and more…
Candide is dedicated to exploring the culture of knowledge specific to architecture.
How is architectural knowledge generated, collected, presented, and passed on? Which forms of architectural knowledge can be observed? How can knowledge generated in reference to a specific task be applied to other contexts? Which experts, designers, and users, which institutions and organizations are involved? Which techniques, tools, and methods are instrumental?
Each issue of Candide is made up of five distinct sections. This framework responds to the diversity of architectural knowledge being produced, while challenging authors of all disciplines to test a variety of genres to write about and represent architecture.
4,492,040 is a facsimile reprint of a series of catalogs produced by curator Lucy R. Lippard. Drawn from material originally published between 1969 and 1974, 4,492,040 includes reprints of all four of the catalogs from Lippard’s hugely important “numbers shows” — a series of exhibitions named for the populations of the cities they were held in: 557,087 (Seattle), 955,000 (Vancouver), c.7,500 (Valencia, California), and 2,972,453 (Buenos Aires). As with the originals, 4,492,040 is made up of a collection of loose notecards containing statements, documentation, and conceptual works by each artist, to be rearranged, filed, or discarded at will. This new edition is supplemented by a new afterword by Lippard.
In collaboration with Afterall Books, New Documents presents a joint launch event for 4,492,040 and From Conceptualism to Feminism: Lucy Lippard’s Numbers Shows 1969–74 at the Vancouver Art Gallery, january 8, 2013, 7pm.
Failure is an intrinsic part of experimentation, creativity and inconveniently, life. It’s said if you’re not failing often then you’re not trying hard enough. The beautiful screw ups, the happy accidents, the painful flaws and the Epic Fails are celebrated.
For Pie #04 – Failure the idea of failure was taken in all its variant forms and looked for the beauty, humour and wisdom gained from these unwanted mishaps.
Metahaven – design and research studio – has come to define a new methodology in graphic design. The studio’s speculative practice privileges the vocabulary of graphic design as a means of knowledge production, using it as a tool to analyze organizational models and power structures. Investigating political and economic design—including nation branding and logo production—in relation to statehood, currency and information networks, Metahaven places particular emphasis on transparency and visibility.
The Amsterdam-based studio produces a continuous stream of research that rarely results in finite, codified work. They publish books and essays, organize conferences and collaborate with policy makers, concurrently working on new commissions while maintaining a variety of self-initiated projects. Recent activities have included a range of research, identity and product design for WikiLeaks, as well as proposals for the identity of Sealand, a self-proclaimed sovereign nation-state located on a platform built by the British seven miles off the English coast as part of a naval defense strategy during World War II.
Materials from both projects are included in Islands in the Cloud exhibition, alongside elements relating to a new cloud hosting enterprise based in Iceland. From January 20, 2013, MoMA PS1, New York.
Type Compass – Edited and designed by Luca Bendandi, Michael Brenner, Emilio Macchia – explores the past six years of the typographic landscape through developments in type design, typographic installations and works by graphic designers and typographers whose primary mode of image is the letterform. Type Compass is conceived as a work-notebook, with sketches and notes pages to let the reader’s imagination flow along the inspiration. Inspiration that comes from some of the best and most active independent type foundries and design studios around the globe. Many works included in the book are often challenging and deemed controversial; coupled with a 2-color Pantone layout and a compact format.
The work of Dieter Roth (Swiss, b. Germany, 1930–1998) encompassed everything from painting and sculpture to film and video, but it is arguably through his editioned work—prints, books, and multiples—that he made his most radical contributions. These experiments include the use of organic materials in lieu of traditional mediums, including book-sausages filled with ground paper in place of meat, and multiples of plastic toys mired in melted chocolate, as well as a dazzling array of variations on printed postcards.
Wait, Later This Will Be Nothing: Dieter Roth Editions – from february 17 to June 24, 2013, MoMA, New York – focuses on Roth’s incredibly innovative and prolific period from 1960 to 1975. The centerpiece of the exhibition is an expanded presentation of Snow (1963–69), a Roth artist’s book, a trove of insightful information about the artist’s creative process and plans for other works. A selection of handmade books, miniature volumes, and the newly acquired Literaturwurst (1961–69), considered Roth’s most radical experiment with the book format, will also be on view.
Portfolios: Michael Savona – Reinhard Schmidt – Olya Troitskaya – Michèle Champagne – Dante H Carlos
Correspondances est née d’une intuition du matin. De celles qui t’éveillent et prennent de l’ampleur au fil du jour. L’idée était simple : questionner le rapport entre texte et image en faisant appel à 10 correspondants (5 auteurs, 5 illustrateurs) dont la participation, écrite ou dessinée, s’inspirerait de la contribution précédente.
Correspondances ne se veut pas être un énième recueil d’oeuvres mais d’avantage une affaire de points de vue. Correspondances est l’art de concevoir et de transmettre le fruit de ses réflexions à travers un véritable téléphone arabe sur papier où chaque correspondant s’inspire et inspire.