Scroll down and keep scrolling – October 10, 2015, to January 17, 2016, Ikon Gallery, Birmingham – is the most comprehensive exhibition of Fiona Banner’s work to date, re-presenting key early projects alongside recent and unseen works that span a period of 25 years. “It is not a survey – more of an anti-survey,” says the artist, “A survey suggests something objective, historical, and fixed. This is subjective; nothing else is possible.” Throughout the exhibition Banner revisits her work with intensity and humor.
Publishing is central to Banner’s practice and she often produces books through her own imprint The Vanity Press. For the artist the act of publishing is itself performative, and this exhibition at Ikon will display a wide archive of previously unseen publications and ephemera. In addition, the artist will also publish a major new book to accompany the exhibition, typeset in a new font created by the artist and entitled Font. Font is an amalgamation of typefaces Banner has worked with previously, and will be used throughout the museum for the duration of Banner’s show.
From September 18 to October 31, 2015, Font will also be on view at Frith Street Gallery in London, and will be available to download on www.fionabanner.com from 17 September.
No Reading No Cry! – September 5 to 30, 2015, Open Graphic Art Studio – Museum of the City of Skopje, Macedonia – is an exhibtion curated by Mark Pezinger Verlag with Darko Aleksvoski, Felicia Atkinson, Andrew Gannon, Romain Gandolphe, Katrin Herzner, Florence Jung, Florian Köhler, Mikko Kuorinki, Darko Petrusev, Astrid Seme, Yann Vanderme and the Macedonian Artists’ Books Library*
“I’m never stocking them again, never! It’s been bedlam! I thought we’d seen the worst when we bought two hundred copies of the Invisible Book of Invisibility. Cost a fortune, and we never found them.“ This is how the manager of Flourish and Blotts, the bookstore in the book/film “Harry Potter” complains about the “Invisible Book of Invisibility”. This book about the power of invisibility is itself, of course, invisible. As manager of a bookstore invisibility is indeed frustrating, but from an artist’s perspective invisibility can encourage the viewer to re-imagine how we engage presence, memories or documentation. Following this idea Mark Pezinger Verlag brings 11 artists together that work along the margins of what a book is, how the book and its content disappear and when it can only be visualized through imagination.
As a physical counterpart to the exhibition the Macedonian Artists’ Books Library brings together artist’s books from various publishers that are normally hard to be accessible in Macedonia. With 1:1, 1%ofOne Verlag, Back Bone Books, Ben K. Voss, Black Pages, BoaBooks, Edition Fink, Edition Taube, FuckingGoodArt, Gloria Glitzer, Harpune Verlag, Good Press Gallery, Humboldt Books, Kodoji Press, La Houle, Michalis Pichler Unlimited, More Publisher, Nieves, Section7Books, Sergej Vutuc, Shelter Press and Soybot.
Corita Kent was an activist nun who juxtaposed spiritual, pop cultural, literary, and political writings alongside symbols of consumer culture and modern life in order to create bold images and prints during the 1960s. Also known as Sister Mary Corita, Kent is often seen as a curiosity or an “anomaly” in the pop art movement.
Corita Kent and the Language of Pop – September 3 to January 3, 2016 at Harvard Art Museums, Cambridge, and February 13 to May 8, 2016, at San Antonio Museum of Art – positions Kent and her work within the pop art idiom, showing how she is an innovative contemporary of Andy Warhol, Ed Ruscha, and other pop art icons. The exhibition also expands the current scholarship on Kent’s art, elevating the role of her artwork by identifying its place in the artistic and cultural movements of her time.
Primary Information is reprinting the seminal book, Fantastic Architecture, making the book widely available for the first time since it was originally published: first in 1969 by Droste Verlag in German (with the title Pop Architektur) and later in 1970 by Something Else Press as Fantastic Architecture.
Edited by Dick Higgins and Wolf Vostell, this artist’s book/anthology includes diverse contributions from a range of influential artists and architects of the 60s era addressing utopian architecture, public sculpture, and common space. Higgins and Vostell’s deft approach and design made Fantastic Architecture one of the iconic artist publications of its time. Using vellum pages for their editorial captions, Higgins and Vostell allowed the spreads by each artist to flow untouched, creating a visual page turner that eschews didactic explanation and reductionism in favor of a miasma of text, image, and material intervention that demands the reader experience the book as its being read.
Taken as a whole, the publication showcases broad concerns and approaches to architecture and public sculpture at a time when attitudes towards both were changing to reflect the political and economic concerns of the time.
Contributors include Ay-O, Joseph Beuys, Pol Bury, Eric Buchholz, John Cage, Philip Corner, Jan Dibbets, Robert Filliou, Buckminster Fuller, Raoul Hausmann, Richard Hamilton, Michael Heizer, Bici Hendricks, Geoffrey Hendricks, Jan Herman, Dick Higgins, K.H. Hoedicke, Hans Hollein, Douglas Huebler, Milan Knizak, Addi Koepcke, Alison Knowles, Franz Mon, Claes Oldenburg, Dennis Oppenheim, Dieter Roth, Gerhard Rühm, Carolee Schneemann, Kurt Schwitters, Daniel Spoerri, Frances Starr, Jean Tinguely, Lawrence Weiner, Ben Vautier, Wolf Vostell, and Stefan Wewerka.
From Life’s a Beach by Martin Parr, Aperture, 2012
The London Art Book Fair 2015, September 10-13, Whitechapel Gallery, London
WIELS Art Book Fair 2015, September 11-13, Wiels, Brussels
Artists Print IV, September 11-13, Brass, Brussels
VOLUME 2015, September 11-13, Artspace, Sydney
NY ART BOOK FAIR, September 18–20, MoMA PS1, New York
The Tokyo Art Book Fair, September 19-21, Kyoto University of Art and Design, Tokyo
2015 Vancouver ART/Book Fair, October 17-18, Vancouver Art Gallery, Vancouver
Offprint Paris, November 13-15, Paris
Friends with Books, December 11-13, Hamburger Bahnhof, Berlin
Compost is a general interest magazine that gathers diverse material: essays, sports, comics, crafts, interviews, travels, literature, gastronomy and architecture amongst other topics. Its aim is to combine factual information with multiple layers of textures and atmospheres. Edited by Juan Ignacio Moralejo, designed by Benjamin Critton Art Dept.
Authors don’t write books. They write on pages or on screens, but not the ones readers will hold. Their texts need proofreaders, editors, typographers, graphic designers, paper makers, printers, binders, as well as softwares, presses, and other machines before they become books. Yet sometimes, authors do make books. Maybe this doesn’t seem so unusual today, and it has become harder to understand what it means for a text to pass from the body of the author to that of the composer setting up letters and characters, and to leave the world of language for the space of the sheet of paper. There’s a world of difference when the hand that writes also prints and the materiality of the text measures itself to the surface of the page, inscribing, covering, scratching, cutting into it.
Between the early 1970s and the mid 1980s, Orange Export Ltd. was a peculiar adventure in French publishing, where such an experiment was conducted. Raquel, who was first of all a painter, and Emmanuel Hocquard first decided to publish a book together, Le Portefeuil using silkscreen. Then they developed their imprint with a group of poets, writers and artists – friends who gathered in Raquel’s house, in the suburbs of Paris. Her studio became the workshop where the books were made, meaning: conceived, written, typeset, printed and bound, by hand, by Hocquard himself. A few copies at a time.
What’s left from that enterprise is not only an impressive collection of titles – in which feature almost the whole French poetry scene of the 1970s and early 1980s. It’s also a way of conceiving books through their making; and a passion for this physical process so strong that we end up wondering: what if this was the production line of happiness? How far are the pragmatics of publishing and the dynamics of friendship related? How to deal with a public, when you know you can only print 9 copies of a book a day? If, as Hocquard wrote, printing books meant learning again how to write, should we now, connecting Orange Export Ltd. to our screens and keyboards, learn again how to read? On view from June 26, at at castillo/corrales, Paris.
After collage, the archive, and appropriation, the Villa du Parc, Annemasse, is devoting its summer exhibition, Constellating Images, from June 25 to September 20, to art practices that arrange images in constellations, images that are of different natures, provenances and periods. Appearing on the art scene in the first decade of this century, these practices are contemporaneous with the development of the internet, which has made an exponential access to images and a dehierarchized navigation possible thanks to search engines that reference and classify large bodies of information through keywords. And while similarities between the techno- logical tool (used daily) and artmaking can be seen, the choice of images in these works springs from a sensitive, differentiating selection and approach. The artists situate certain images within a multitude of signs and work to lend meaning and form to their particular grouping. Thus, from the continuous flow of images they strive to transpose, use, redefine, and extract plastic, material, and often tangible forms that are specific to contemporary art (paintings, video, installation, etc.)…
With artworks by Luis Jacob, Ryan Gander, Aurélien Froment, Alexandra Leykauf, Benoit Maire, Jonathan Monk, Sara VanDerBeek; with “The Infinite Library” by Haris Epaminonda and Daniel Gustav Cramer, and “Unpacking my Library, (re)composition” by Christophe Daviet-Thery.
A Circular 3, edited by Pedro Cid Proença with Fatima Hellberg, features Xavier Antin, Patrick Coyle, Helen DeWitt, Maël Fournier Comte, Charmian Griffin, Will Holder, James Langdon, Roger Laporte, Isla Leaver-Yap, Lisa Maruca, David Morris, Jean Shepherd, Rosalie Schweiker, Stefan Themerson, and Alex Waterman. Launch June 11, 6.30pm, Cubitt, London.
Endless House: Intersections of Art and Architecture, from June 27, 2015, to March 6, 2016, MoMA, New York, considers the single-family home and archetypes of dwelling as a theme for the creative endeavors of architects and artists. Through drawings, photographs, video, installations, and architectural models drawn from MoMA’s collection, the exhibition highlights how artists have used the house as a means to explore universal topics, and how architects have tackled the design of residences to expand their discipline in new ways.
The exhibition also marks the 50th anniversary of the death of Viennese-born artist and architect Frederick Kiesler (1890–1965). Taking its name from an unrealized project by Kiesler, Endless House celebrates his legacy and the cross-pollination of art and architecture that made Kiesler’s 15-year project a reference point for generations to come.
A 2010 archeological study found that the prehistoric Gwion Gwion paintings in Australia, whose chromatic vividness contrasts with their age and their exposure to sun and rain, are inhabited by “living pigments.” A symbiotic biofilm of red cyanobacteria and black fungi sustains a process of permanent self-painting, while also etching the pictures deeper into the quartz wall. The texts commissioned for the reader respond, from a variety of disciplinary perspectives, to an idiosyncratic temporality and economy—or ecology—of signification. Descending from an inscrutable past to the same extent that they are made now, in a radical contemporaneity, the Gwion Gwion are examined as an allegorical metabolism that generates new articulations of “art” and “life,” contamination and purity, prehistory and modernity, bacterial and human colonies, lost knowledge and scientific advancement—collaborative relations between antonyms, altered schemas of “origin” and “identity.”
InOtherWords imprint was founded by Oliver Knight & Rory McGrath of design studio OK-RM. InOtherWords creates books as collectable objects in close collaboration with artists, writers, institutions, galleries, and other cultural ventures.
Their first publication, One Language Traveller, accumulates objects created by Danish artist FOS, as if the book were a cabinet of curiosities. United on the pages of the book, the sculptures speak to each other in a new vocabulary of form. One Language Traveller is ring bound, sits in a reflective slipcase and is finished in an array of paper.
Launches, May 15, 6pm, at Printed Matter in New York; and May 20, 7pm, at Donlon Books in London.
In a time of previously unforeseen plurality, visibility and distribution, the value of the image has been elevated in its usefulness as a tool and simultaneously annihilated by its ease of multiplication and impossibility of ownership. Linus Bill & Adrien Horni seize this moment to reestablish the foundations and hierarchy of the image.
To create their raw material, they incorporate tools both analogue and digital – paper, scissors, glue, Xerox, scanner, iPhones, iPad and powerbooks, consumer printers, architectural printers and hi-end inkjet alike. Even if beginning on paper, these sketches soon become jpegs.
Eschewing the art world’s conscientious formula for creation / documentation / distribution, the artists approach their own process more like mail-order shopping. Flipping the idea of the catalogue on its head, Bill and Horni put the exhibition catalogue before the artwork, chronologically at least. The printed catalogue always precedes the works destined for the walls of the gallery or institution. The artists state that “The books are like catalogues from which we choose our next painting.”
The artist’s new book, their largest to date, Gemälde 2013 – 2017, (the years depict both the time frame of the source material and period to complete the paintings) is the foundation for the exhibition Gemälde 2015 at Galerie Allen in Paris, May 28 to July 26.
Know-How / Show-How Summer School in Sofia, June 29 – July 10
Booksfromthefuture Summer School in London, July 6-17
Werkplaats Typografie Summer School in Urbino, July 19-31
Typography Summer School in London, July 20-24
Asterisk Summer School in Tallinn, July 28 – August 6
GDA Summer Sessions 2015 in Detroit, August 1-16
Travelogue Summer School in Porto, August 3-8
Typography Summer School in New York, August 10-14
The Ventriloquist Summerschool in Oslo, August 10-15
Van Eyck Summer Design Academy in Maastricht, August 20-24
Allan Kaprow (1927–2006) is considered to be the founding father of the Happening, of Environments and Activities: terms that he continued to redefine throughout his career.
With a wide selection of images, Posters – edited by Alice Dusapin and Christophe Daviet-Thery, published by Christophe Daviet-Thery and Walther König, designed by Coline Sunier & Charles Mazé – documents Kaprow’s posters, a lesser-known side of his work, produced between 1953 for his first show at the Hansa Gallery, New York and 1996 at Kunsthalle Palazzo, Liestal.
Most of these posters were designed by Allan Kaprow and are characterized by their aesthetic quality, the earliest ones in particular a combination of hand-lettered text and drawings and the later ones of photographs and typographic text in a minimalist style.
More than merely advertising Happenings or Activities, these posters act as scores/tools for the participants to the Happenings and as everyday objects that blur the boundaries between art and life.
Launch May 5, 6pm, Librairie Yvon Lambert, Paris.
Paper Planes, by Sjoerd Knibbeler, consists of 16 paper models of aircrafts that have never made it past the drawing board. Sjoerd Knibbeler was able to recreate these models based on information, technical drawings and ‘artist impressions’, which he predominantly found online. Some of these aircraft designs are over 80 years old and if they have failed as physical aircrafts, they still fly around the world as ideas – in the virtual form of data. In this publication these models are combined with texts and drawings, and turned into a 4 meter long leporello, which folds back to an A4 book with a hardcover sleeve.
“I asked architects to send me important images that show the basis of their work. Images that are in their head when they think. Images that show the origin of their architecture. In this book we find 44 individual “musées imaginaires”. The most unique architects living today each present up to ten images to explain the autobiographical roots of their oeuvre. The images are explanations, metaphors, foundations, memories and intentions. They are poetic and philosophical avowals. They reveal a personal perspective on thoughts. They show the roots of architecture and expectations concerning projects. Conscious and unconscious. The biographies are written by the architects themselves. The images are small, legible and interpretable as icons. As individual collections, they present a personal view of an individual world, while as a whole they provide a universal view of the perceptible origin of contemporary architecture.” The Images of Architects, edited by Valerio Olgiati.
With Architects David Adjaye; Manuel and Francisco Aires Mateus; Alejandro Aravena; Ben van Berkel; Mario Botta; Alberto Campo Baeza; Adam Caruso and Peter St John; David Chipperfield; Preston Scott Cohen; Hermann Czech; Roger Diener; Peter Eisenman; Sou Fujimoto; Antòn Garcìa-Abril; Go Hasegawa; Jacques Herzog and Pierre de Meuron; Steven Holl; Anne Holtrop; Junya Ishigami; Arata Isozaki; Toyo Ito; Bijoy Jain, Studio Mumbai; Momoyo Kaijima and Yoshiharu Tsukamoto, Atelier Bow-Wow; Christian Kerez; Hans Kollhoff; Winy Maas, MVRDV; Peter Märkli; Jürgen Mayer H.; Richard Meier; Glenn Murcutt; Ryue Nishizawa; Valerio Olgiati; John Pawson; Cecilia Puga; Smiljan Radic; Richard Rogers; Kazuyo Sejima; Jonathan Sergison and Stephen Bates; Miroslav Šik; Àlvaro Siza Vieira; Eduardo Souto de Moura; Robert Venturi and Denise Scott Brown; Peter Wilson, Bolles + Wilson; Peter Zumthor.
MacGuffin is a new and unusual design & crafts magazine. It features fabulous stories about the life of ordinary, often anonymously designed things. Each biannual edition takes an object and explores the manifold stories it generates. Like the MacGuffins in Hitchcock films, these things are not the main characters, but the plot devices that set the story in motion.
MacGuffin N° 1 is all about the amazing backstage stories that revolve around our beds: cookie-cut Airbnb bedrooms, customized Do-it-Yourself beds, neat nightingale nests, copulating skyscrapers, instable flowerbeds and deflated airbeds are investigated by writers, critics, designers, craftsmen and photographers like Sam Jacob, Chris Kabel, Noriko Kawakami, Arnoud Holleman, Steven Heller, Wouter Vanstiphout, Madelon Vriesendorp and Labadie/Van Tour.
© BBella Bas & Robin Lopvet for Cosmos Arles Books
Offprint London, May 22-25, Tate Modern (Turbine Hall), London
Multiple Art Days #1, May 22-24, Maison Rouge, Paris
MISS READ 2015, June 26-28, Akademie der Künste, Berlin
Cosmos Arles Books, July 6-11, Rencontres d’Arles, Arles
Exercises in seating is a project by Max Lamb. From April 12 to 19 in Milano, the exhibition of furnitures will illustrate Max Lamb’s continuous examination of his material landscape and manifold modes of production. The accompanying publication is published by Dent-de-Leone.