Four Eggs Theory is an exhibition – until May 10, Futura, Prague – and a book by Honza Zamojski. In an ideal world an ideal egg would be an ideally oval geometrical form with an ideally spherical yolk center surrounded by whites. After boiling our specimen and cutting it crossways, we would see a microscale model of the Earth’s orbit around the Sun. Both systems – the cosmic one and the human one – are closed and complementary, as the vitality of one of the parts depends on the other. Meanwhile, the space between the surface of the yolk and the shell, on a cosmic scale, is the sphere of influence between our planet its closest star. In the “Four Eggs Theory”1 the key element of illustrations is a synthetic image of half an egg – a closed system with a core and a surrounding atmosphere. This theory aims to describe an individual, though also, from a wider perspective, the cyclical and recurring process of the artistic creation of a Work. The Work is the key element of artistic Practice. At the same time, the theory described in the following text could be analyzed through an illustrating diagram. If we were to seek an analogy in our common knowledge, we ought to ask: Which came first, the chicken or the egg? …
©Hans Peter Feldmann, “Untitled”, 1976, 1976. Offset lithographie, coll. Frac Nord-Pas-de-Calais, vue d’exposition à la Villa du Parc, CAC Annemasse, photographie Aurélien Mole – Batia Suter, “Seat”, slideshow + chair, 2014, courtesy l’artiste, vue d’exposition à la Villa du Parc, CAC Annemasse, photographie Aurélien Mole.
The whole world, up to today explores, until May 30 at Villa du Parc, Annemasse, the use of the archive in contemporary art.
The constitution of archives and their presentation in museums began to appear in the art of the 1960s, taking the form of dispositifs (apparatuses) and installations, often on a monumental scale. Such works are based on the accumulation of homogenous documents whose singularity recedes behind the system in which they partake. Rather than highlighting novelty or the emancipatory virtues of the image – as in the case of collage before the war – the ambition of these works is, on the contrary, to reveal the unchanging features of our representations (stereotyped poses, banal motifs, etc.) and to emphasize their value as memorial and societal indicators…
With artworks by The Atlas Group, Bernd et Hilla Becher, Christian Boltanski, Frédéric Bruly Bouabré, Gérard Collin-Thiebault, Hanne Darboven, documentation céline duval, Hans Peter Feldmann, On Kawara, Christian Marclay, Batia Suter, Oriol Vilanova, Akram Zaatari. Curated by Garance Chabert & Aurélien Mole.
Romka is a collective photo album in which people from all over the world share the stories behind their most cherished photographs.
L’exposition Pliure est un essai sur le livre et “la somme infinie de ses possibles” (Blanchot). Elle donne à voir le potentiel du livre, en relation permanente avec le geste artistique, et de quelle façon l’art se transforme à l’épreuve du livre et le livre se transforme à l’épreuve de l’art. Dans l’exposition, le livre devient un laboratoire d’expériences esthétiques -et le canal même de ces expériences. Exposition ni rétrospective, ni historique, Pliure ne prétend pas embrasser tout un thème ou prouver une théorie mais essaie plutôt de montrer comment l’espace du livre provoque l’art.
Après le Prologue de l’exposition, les oeuvres contemporaines de l’exposition Pliure. Epilogue (La bibliothèque, l’univers), du 10 avril au 7 juin 2015 à l’École nationale supérieure des beaux-arts de Paris, s’allient notamment à une sélection d’oeuvres issues de la collection de l’école, et à un focus autour de l’éditeur Seth Siegelaub.
TELLS US WE’RE NOTHING. TELLS US WE’RE EVERYTHING. FLOWS IN BETWEEN is an exploration by design & art studio RO/LU and graphic designer Dante Carlos on themes about meditation, objects, and space. March 28 to April 26, 2015, The Center for Ongoing Research & Projects, Columbus.
“RO/LU: It seemed really easy to talk to you about the connections between spirituality and art. Sometimes it makes me uneasy to talk about this because spirituality has a lot of baggage as a term? Because it’s easily conflated with religion but, it doesn’t really have anything to do with that for me. There’s not a lot of separation between meditation and the work we do. They are different but, it’s nice to explore.
DANTE: The blurrier those distinctions are, the more interesting it becomes, but that’s the Gemini in me talking. But maybe we’re both comfortable and interested in talking about it because the projects we take on bleed into each other and the way we make work absorbs all the influence around us. Why should there be a distinction between something that is productive and something that is meditative or spiritual; or distinct from the rest of the universe rather than framing a part of it?” (…)
Inventory Press publishes books on topics in art, architecture, design, and music, with an emphasis on subcultures, minor histories, and the sociopolitical aspects of material culture.
Way Station extends the January 2015 exhibition by Shannon Harvey, Adam Michaels, and Levi Murphy at Grice Bench, Los Angeles. At once static and dynamic, the book presents a journey through a series of landscapes, juxtaposed with a steadily spinning furniture form—that of the primary exhibition component, a set of colorful benches featuring ergonomics designed to heighten and transform physical and mental awareness. The book provides a particularly associative experience for a reader seated on a Way Station bench, while maintaining interest far beyond this setting.
In The Canyon, Revise The Canon – Utopian Knowledge, Radical Pedagogy and Artist-run Community Art Space in Southern California – is the last book published by Shelter Press and edited by Géraldine Gourbe.
Before the onset of the social and cultural backlash that was brought on by the Reagan administration in the early eighties, Southern California was ripe territory for the genesis and development of emancipation movements for and by African Americans, Chicanos, pacifists, Marxists, feminists and homosexuals. Starting in the late sixties, these revolutionary waves particularly influenced practices such as performance art, video, installation and collaboration, which led to the construction of alternatives like artist-run spaces, non-profit spaces and artist-run community art spaces. In Santa Barbara, Los Angeles and San Diego, collaborative public action was constructed around utopian knowledge which was then redirected towards universities and art schools that favored the emergence of radical pedagogies. These other manners of experimental thinking, doing and teaching permitted artists to deconstruct certain canons that were inherited from European tradition and art history, and provoked a reexamination of “the American way of life”. In the Canyon, Revise the Canon.
Presentation by Géraldine Gourbe, April 2, 2015, 6:30pm, ICI Curatorial Hub, New York.
Bookspace: Collected Essays on Libraries focuses on the current development of library spaces as public institutions through the perspective of architects, writers, librarians, and readers. It addresses the architecture of modern public spaces, and the development of library collections in the age of digital information, in order to discuss the larger social context of libraries as institutions. It provides an insight into their management and how their functions are changing.
Nathalie Du Pasquier started drawing as soon as she met her husband George Sowden in 1979 in Milan. She was introduced to the world of design and shortly after, in 1981, became a founding member of the iconic postmodern design movement Memphis. From 1981 to 1987 she didn’t stop drawing. Every day she would draw a whole new modern world, from very small items like jewelry to entire cities. This world only existed in her head but would eventually be developed into real pieces for the Memphis exhibitions.
Don’t Take These Drawings Seriously is the first and definitive compilation of all the unpublished drawings from those years, which had been sitting in the drawers of Nathalie’s studio for over 30 years. Organized by the smallest objects to the biggest and divided into chapters, each with a text by Nathalie, it has been carefully edited and designed by Apartamento magazine’s co-founder Omar Sosa together with Nathalie Du Pasquier.
Don’t Take These Drawings Seriously is an excellent reference for future generations and a welcome document of an important period in modern design.
Spanning over fifty years, Ed Ruscha’s artistic production has been variously discussed under the rubrics of Pop Art and Conceptual Art. However, the remarkable diversity of Ruscha’s work eschews categoriza- tions whether historiographical or medium related. Ruscha’s example has been seminal not only in the field of painting, but also in printmaking, photography, graphic design, experimental filmmaking as well as architecture. It is this versatility and the interdisciplinary nature of Ruscha’s art that the International Symposium, March 11 & 12, 2015, at Centre Pompidou in Paris, intends to address.
With Ed Ruscha, Robert Dean (Studio Ruscha, Los Angeles), Lisa Turvey (Studio Ruscha, New York), Cécile Whiting (University of California, Irvine), Anne Mœglin-Delcroix (Université Paris 1 Panthéon-Sorbonne), Briony Fer (University College, London), Linda Norden (Malmö Art Academy, Lund University), Michel Gauthier (Centre Pompidou, Paris), Elizabeth A. Kessler (Stanford University, Palo Alto), Margit Rowell (art historian, Paris). The symposium is convened by Benoît Buquet (Université François Rabelais de Tours), Jean-Pierre Criqui (Centre Pompidou), and Larisa Dryansky (INHA/Université Paris-Sorbonne).
Stephan Keppel’s photographic work originates from marginal phenomena related to architecture, interiors and suburbs. He collects and arranges images and objects in order to engage them in a long-term relationship, resulting in a process which engages photography, reproduction and other supporting media. Entre Entree is a project about the Parisian suburbs and the city’s ring road, the Boulevard Périphérique, wherein Keppel conceives a fragmented and claustrophobic urban landscape, manifested through numerous black-and-white images of concrete facades, vegetation and the textures, shapes and materials that together form the entity of the city. Signing of the limited edition, March 5, 7pm, Le Bal, Paris.
Fantasies of the Library is a sequence of pages wherein the reader-as-exhibition-viewer learns—rather surprisingly, but with growing conviction— that the library is not only a curatorial space, but that its bibliological imaginary is also a fertile territory for the exploration of consequential paginated affairs.
Fantasies of the Library inaugurates the intercalations: paginated exhibition series conceived as a curatorial-editorial space enabling explorations of the book as a form of exhibition architecture in relation to other aesthetic practices in the Anthropocene.
Consisting of five pictures, the big format portfolio PASPIER N°1: «5 Ptohograhpies — 40 × 28 cm» presents the Ptohograhpies series Roches Mammifères — Dissimulaits, a naturalistic study of cheese in the process of molding.
From February 11 until May 2, 2015, Tensta konsthall, Stockholm, will show Frederick Kiesler: Visions at Work an exhibition of Frederick Kiesler’s genuinely transdisciplinary work. Frederick Kiesler (1890–1965) was an architect, artist, scenographer, pedagogue, theorist and – not least – a groundbreaking exhibition designer.
From the 1920′s constructivist-inspired theater exhibitions in Vienna and Paris and the early 1930′s acclaimed shop window presentations in New York City to the legendary scenography for Peggy Guggenheim’s Manhattan gallery Art of This Century (1942) and the collaboration with Marcel Duchamp, Kiesler paved the way for a dynamic view of the art experience.
Working with the monumental ‘The Shrine of the Book’ (1965) in Jerusalem, he extracted ideas and forms from his often reproduced ‘Endless House’, a visionary bio-morphic building where, to quote Kiesler himself, ‘all the ends meet’ . Underlying much of Kiesler’s work were his thoughts on the continual interaction between man and his natural and technological environments, as defined in the theory of correalism. Although Kiesler was a member of de Stijl, a close friend and collaborator of Duchamp, André Breton, Alfred H. Barr and several other key figures in the art of the 1900′s, as well as an influential teacher at Columbia University in New York, he is something of an unknown.
The exhibition will feature models and documentations of Kiesler’s designs for exhibitions, buildings, interiors, shop-windows, etc. from various periods. The exhibition will also include prototypes, including those of his Mobile Home Library and the mass-produced so-called correalist furniture, among others. The focus will be on Kiesler’s interest in the intersection between art and life and how this manifests in his works. The artist Céline Condorelli, who has a long-time interest in exhibition design and modes of presentation, will contribute to the project.
The exhibition Pliure. Prologue (La part du feu) (Fold. Prologue (The share of the fire)), January 30 to April 12, Fondation Calouste Gulbenkian, Paris, explores the significance of the book and “the infinite sum of its possibilities” (Blanchot). What can occur to a book when it is in permanent relation with an artistic gesture? How is art transformed in dialogue with a book and how is a book transformed by art? On these occasions, the book becomes a laboratory for aesthetic experiences, while leading towards such experiences by its very essence. This exhibition does not aim to be retrospective, historical, or to function as an anthology. Pliure does not claim to embrace an entire theme or to prove a definitive theory but it attempts to show how the realm of books has provoked art and continues to do so. The term “pliure” (fold) refers in part to an action (and even to a specific function in a former printing factory), but also to the trace left by this action and therefore to the fold or the crease this action imprints on the paper. As such, the fold synthesizes the act of doing and what has been done, it is at once a memory and the consequence of a gesture. With the fold, the book has two possibilities: it opens or it closes, reveals or hides. Thanks to the fold, something unexpected is the other side of the page and this is the characteristic mystery of the book.
The exhibition bring together approximately 40 works dating from the 16th to the 21st centuries: films, sculptures, installations, paintings and rare books, by Helena Almeida, Christian Boltanski, Lewis Carroll, Lourdes Castro, Geoffrey Chaucer, Rui Chafes, Claude Closky, d’Alembert, Raffaella della Olga, Diderot, Dürer, Marcel Duchamp, Olafur Eliasson, Hans-Peter Feldmann, Robert Filliou, Jean-Luc Godard, John Latham, Sol LeWitt, Richard Long, René de Lorraine, William Morris, Bruce Nauman, Alain Resnais, Ed Ruscha, Dayanita Singh, Michael Snow, François Truffaut, Maria Helena Vieira da Silva, Wolf Vostell, Lawrence Weiner and Francesca Woodman.
Pliure questions and enlarges our traditional perception of books and artworks, imbued with the strong belief that, as Mallarmé would say, “there is no explosion but a book.”
The ENSBA will receive the second part of this exhibition. Pliure. Epilogue (la bibliothèque, l’univers), 10 April to 7 June, 2015, Palais des Beaux Arts de Paris.
The Thing Quarterly is an object based publication. Each issue is conceived of by a different contributor. The object is reproduced, wrapped, and shipped to the subscribers.
Artist and graphic designer Brian Roettinger‘s issue 25 for The Thing Quarterly, Reproductions, is a massive catalogue raisonné that collects, documents and indexes the majority of his design work produced to date. The works, which are reproduced in black and white from photocopies, are not presented chronologically, nor is it clear, upon first inspection, which project is which: an early version is shown, sometimes just a sketch, and in some cases, the final printer proofs. Unlike a traditional monograph, Roettinger’s reimagined interpretation is a testament to the process itself, and underscores the poles of his approach, which is both visibly chaotic and meticulously organized. Launch, January 30, 8.30pm, Ace Hotel, Los Angeles.
198 Wood Joints (an inventory) is the first ever published compilation of wood joints technics of that size, presented in the guise of an impressive axonometric series created and realized by Elias Guenoun. The book ends with a postface by the author (an architect and architecture theoretician) depicting the origins and ambitions of the project. 198 Wood Joints is not only a useful and practical technical collection for wood workers, it is also a formal object with state of the art graphics (by the reknown French graphic designer Philippe Millot) recalling Conceptual Art series of the 70s in the US, such as Sol LeWitt cubicle permutations artworks for instance.
Reproduction of the floor piece Le Tapis (fair use) by Pierre Leguillon, consisting of a collection of graphically striking record sleeves designed by artists, surrounded by postcards from a large variety of art institutions showing objects on a monochrome background. On the backside all sources and credits are collected as found on the originals. Printed and hand folded in an edition of 600 copies. Published on the occasion of Leguillon’s solo exhibition The Museum of Mistakes: Contemporary Art and Class Struggle at Wiels, Brussels.
From December 4 to January 10, at Printed Matter in New York, Swiss artists Linus Bill and Adrien Horni will present an exhibition featuring a survey of their collaborative publications, as well as a newly-created wall piece. Stemming from their desire to challenge the perceived hierarchy of artistic mediums, their practice includes an active publishing element as well as sculptures and paintings that are often mutually-derived.
Linus Bill and Adrien Horni often begin their work together with the creation of a modest publication. The small-scale collages that make up the piece are handmade with paper, scissors and glue, as well as on copy machines, scanners, and iPhones. These ‘reproductions’ serve as a catalog for a show that does not yet exist. The artists then select works to scale up and re-create as full size canvas “paintings”, fulfilling the obligation of the Artist but in reverse.
In the case of their installation at Printed Matter they have engaged a similar set of concerns, though from another vantage point. Following the creation of a new staple-bound zine catalog, they have simply excerpted an image from the publication as a laser print collage with an added sticker. By maintaining the work’s size and giving the image a new context (now in an enormous frame), they re-assign the value of artwork and make it into something that is at once both an exemplary example of a wall-worthy artwork, and that seems to undermine that suggestion at the same time. In a concurrent exhibition at Nathalie Karg Gallery (Opening December 11), the small scale collages from the publication (and the framed piece at Printed Matter) are installed as the “original“ large scale paintings.
An additional survey of publications by Turbo Magazine, Horni’s ongoing publishing project, will also be on view as part of the installation.
Iron-cooked ham and cheese sandwiches, cailles en sarcophagi, explosive pissing beef balls; low, high, accessible, obscure, comical – food, like art, is served up in various guises, but whatever form it takes, it shares the common traits of being a stimulant as well as a necessity for living. Food and art also share a common space at the heart of Hato Press’s practice. Each day they serve up a communal afternoon meal, creating an opportunity to down tools and enjoy the moment. Now, with the book Cooking With Scorsese – a black-and-white trailer for a full colour feature to be published soon – they welcome you to join in this homage to both food, and to films that celebrate eating in all sorts of compelling ways.