An array of drawings and prints reveal graphic designer and illustrator Karl Nawrot’s aesthetic sensibility as a curious union of the macabre and the childlike. These monochrome pictures are various: elementary graphics made with crude stencils and other drawing devices and the occasional distorted figure.
The exhibition Karl Nawrot: Mind Walk #I – April 19 – May 18, 2013, Eastside Projects, Birmingham – suggests narrative paths through this material, presenting Nawrot’s work as an expanded comic.
THIS BOOK is an investigation series of Zurich based performance artist Veronika Spierenburg asking different people about their book projects by contacting them on Skype. The aim of the talks is to reflect current book production in the art field and to get a deeper understanding of motivations behind productions.
THIS BOOK (1), April 4, 7pm, Corner College, Zurich will have as guests Loraine Furter, Thijs Wassink, Matthew Vollgraff, Haemmerli, Ari Marcopoulos, Michael Günzburger. For THIS BOOK (2), May 3, 7pm, at Corner College, guests will be Banu Cennetoglu, Rafael Rozendaal, Manuel Raeder, Fabrice Stroun, San Seriffe.
Veronika Spierenburg has also regularly been visiting the Art Library in the Sitterwerk, in St.Gallen, for the day since 2010. She often works in a site-specific manner, as she also did in the Sitterwerk, 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. Then she reduced in collaboration with the Graphic Designer Simone Koller this selection further to a specific compilation, which is now—simultaneous to the exhibition—being published as an artist’s book: In Order of Pages, Kodoji Press, Baden.
The exhibition Between Handle and Blade – May 05 – June 23, 2013, Sitterwerk, St.Gallen – consists of individual interventions that examine the book as subject matter or refer to it in a broader sense. The focal point of the exhibition will be a three-meter-tall reading wheel made of metal. This object thus makes reference to the engineer Agostino Ramelli (1531–1600). Ramelli drew the plan for a mechanical reading aid around 1588, which was published along with 194 construction drawings in the book Le diverse et artificiose machine and is today considered to be a classic on the engineering of the sixteenth century. In the exhibition, the parallel reading and looking at individual book pages by means of the reading wheel becomes a direct reference to the publication by Veronika Spierenburg…
© Solveig Robbe
Le travail de Céline Duval, qui signe sous le nom d’artiste documentation céline duval, se nourrit souvent de photographies d’amateurs. Son regard collecte, rejette ou garde, classe et hiérarchise, met en relation puis élabore un scénario en images. Le livre figure parmi ses formes d’expression privilégiées.
En 2011, invitée par Didier Schulmann, conservateur à la Bibliothèque Kandinsky – Musée national d’art moderne Centre Pompidou, elle découvre les photographies familiales de Vassily Kandinsky, léguées en 1981 par la veuve du peintre, Nina.
Kandinsky a joué un rôle important dans la formation du regard de Céline Duval : très vite, cette dernière imagine à partir de ces archives photographiques une version toute personnelle de Point et ligne sur plan, l’ouvrage théorique du peintre qu’elle préfère.
En janvier 2013, la publication “cœur, point et ligne sur plan” voit le jour. Entre l’univers pictural de Kandinsky et les photographies intimistes qu’elle a sélectionnées pour faire ce livre, Céline Duval organise un flux d’analogies formelles, du tableau à la photographie, de la vie sociale à la vision intérieure…
Lancement du livre le 6 avril 2013, dès 17h, Florence Loewy Books by artists, Paris.
Mock-ups in Close-up, Architectural Models in Film 1919 – 2012, a constantly growing film project by architect Gabu Heindl and film-theorist Drehli Robnik, is a collection of excerpts from an increasing number of narrative films that feature architectural models. In chronological order (from 1927 to 2010), the two-hour long video includes classics as well as recent American comedies and more obscure material.
Some of the models figure quite prominently in the films, others appear more randomly. Without using narration, the compilation attempts to push the inclusion of all mock-ups to the extreme – until traction occurs, or until history (including that of architecture and its applications) again becomes relevant through the archives of randomness: history as an image of the Cold War or the fluidity of labor, as a power play of masculinity and the scale of the models themselves.
The compilation does not primarily deal with “films about architecture”. Rather, it offers a section through an all-inclusive film history which, in the project’s re-writing, appears to be obsessed with showing models in a variety of contexts: be it on the fringes or in the center of a scene, models pop up in love stories, thrillers, psychological dramas, comedies or sci-fi . The list of filmmakers who could not resist to either pan over or to focus on architectural models includes Fritz Lang, Francis Ford Coppola, Stanley Kubrick, Tim Burton, Steven Spielberg, Ben Stiller, the Farrelly Brothers, and Wes Anderson.
The End(s) of the Library is a series of commissioned installations, lectures, performances, and workshops that consider the state of the library taking place at the Goethe-Institut New York Library. The contributors had addressed how previous library configurations have given way to new forms and revised values in the digital age, emphasizing the fact that the library is neither a monolithic system nor an abandoned utopia, but an ever-contested site demanding new readings of its organizational frameworks: an institution whose ends are without end.
The Serving Library is a cooperatively-built archive that assembles itself by publishing. Its house journal, Bulletins of The Serving Library, is produced as a composite printed/electronic publication released first online as a series of individual PDF “bulletins” from www.servinglibrary.org over a six-month period, then assembled, printed, and distributed twice a year in the United States and Europe. Each issue of the journal assembles around a loose theme.
As part of The End(s) of the Library, The Goethe-Institut New York Library is both sponsor and catalyst for the fifth issue, whose ostensible theme will be “Germany.” It will be compiled and edited during spring 2013 by The Serving Library’s founders, Stuart Bailey, Angie Keefer, and David Reinfurt, and will be launched at the Goethe-Institut New York Library at the start of the summer. In advance of this publication, The Serving Library’s archive of artifacts, variously drawn from previous issues of the journal and its forerunner Dot Dot Dot, will be on view at the Goethe-Institut New York Library from April 1 to June 21, 2013.
Books &Foam – March 28 to May 26, 2013, Foam, Amsterdam – will be placing a large selection of photography books from the Netherlands in the spotlight with special presentations to shed light on the design process, with installations, book signing sessions and a selection of recent international photo books.
?Among others, visitors will gain insight into the design process of six yet-to-be-published photo books. Showing the first ideas and sketches, email correspondence between photographer and designer, dummies and test prints provide an associative view into the design process… Dutch and international experts from the world of photography have also been invited to provide a ‘curated bookshelf’, containing their choices for the five best photo books of 2012…
Point of Sale operates as a functioning bookshop for the duration of less like an object more like the weather, March 24 to May 26, 2013, Hessel Museum of Art, New York.
The bookshop’s display structure is the result of a site-specific commission by Studio Manuel Raeder, which focuses on close collaborations with artists, designers, curators, theorists, and musicians in a wide range of formats that include exhibitions, publications, type design, and furniture design.
For Point of Sale, the Studio has designed a setting that can function simultaneously as a retail operation, reading room, and social space and has adapted existing structural elements from the Hessel Museum of Art.
The inventory of Point of Sale has been selected in relation to the concurrent spring exhibitions and their participant’s respective conceptual investments.
Point of Sale presents and circulates various art publishing efforts through processes of economic exchange, to activate the intersection between art, entrepreneurship, and publishing—particularly as it has occurred and continues to occur through CCS Bard’s expanded network. In this way, the bookshop as a site within the art institution’s infrastructure has become available for curatorial and economic intervention.
Golden Spike Press is a collaborative publishing project founded and operated at the California Institute of the Arts, specialized in artists’ books and multiples, largely produced with Risograph Digital Duplicators.
A List of Students Enrolled In Post Studio Art, With Michael Asher At Calarts 1976–2008 consists of a list of students enrolled in Michael Asher’s Post Studio Art class at CalArts, semester by semester, from 1976 until 2008. The project, compiled and edited by Leslie Dick & Adriano Pedrosa, designed by Michael Ray-Von, is in memory of Michael Asher.
Post Studio Art met on Fridays to critique and discuss work presented by students. The class began at 10 AM and continued into the evening, often ending at 8 PM, 10 PM, and occasionally even later. The group continued the conversation until there was nothing more to say. By throwing out the clock, Michael Asher opened up a space for engaged consideration and questioning that proved fundamental to the thinking and practice of the artists and others who took part.
The list of students published here acknowledges the participants in a discourse, without attempting to describe or define the discourse. The book includes a short introduction and seven appendices.
Fernand Baudin (1918-2005) was a belgian typographer, or “typographiste” as he liked to call himself. Teacher, author and lecturer, his extensive study focused on the history and teaching of writing and publishing.
Drawing from Fernand Baudin’s collection kept in the rare books and manuscripts section at the Université libre de Bruxelles, this Dossier Fernand Baudin – published for the fifth edition of the Fernand Baudin Prize, prepared by Coline Sunier & Charles Mazé, and launched on the occasion of PA/PER VIEW, at WIELS, Brussels, March 22, 7.30pm – gathers texts written or translated by Baudin, previously unreleased or published in various journals, or read in conferences, covering a period going from 1958 to 1998. Presented in a chronological order, this selection of texts conveys a panorama of his various activities, the ideas he developed and advocated, and gives a glimpse on the network of friendly and professional relationships Baudin established during his entire career.
Through their chronology and the history they depict, the facsimiles naturally offer an insight on the technical evolutions in the field of the graphic industry, a particular concern for Baudin. When taken as a whole, they allow highlighting Fernand Baudin’s position on the role of writing in the printing process, from the author’s draft to the final, published edition via all the intermediary stages. Specifically created for this publication, Fernand Baudin Bille and Fernand Baudin Feutre are digital interpretations of Baudin’s “ballpoint pen” and “felt pen” handwriting.
This Dossier Fernand Baudin refers to the Dossiers prepared by Fernand Baudin for the Association des Compagnons de Lure between 1969 and 1975. These Dossiers include documents and contributions selected by Baudin. Each opus is dedicated to a single subject or a single theme, such as writing or layout. In Dossier Layout (1972), Baudin gathers and annotates a selection of working documents sent by graphic designers and typographers. This method was employed in a separate section of the Dossier, to present the nine books awarded this year with a Fernand Baudin Prize.
Acid – a surf-related publishing project for the curious minded – is the encounter of some skateboarders and the sea. It’s surfing seen through the prisms of exploration and everyday life. In this first issue, editors have navigated along the fringes of art, photography, philosophy or science, trying hard not to sound too serious and making you eager for a session. Featuring thieves, failed surf trips, what marketing people would call ‘stunning images’ plus many more stories and pictures that have nothing to do with jerseys, bikinis or stickers on noses.
Überknackig Bureau (Ismaël Bennani, Orfée Grandhomme, Pacôme Beru)
Traven T. Croves (Andrew Lister & Matthew Stuart) (pic: with Maxime Harvey & Stefan Thorsteinsson)
Kasper-Florio (Larissa Kasper & Rosario Florio)
EUROGROUPE (Laure Giletti & Gregory Dapra)
From artists’ books, magazines, and museum catalogues to opening announcements, advertisements, and event scores, printed matter has long been a dynamic element of art discourse and practice. But these materials, ephemeral by nature, have not always been preserved. Today, with our unprecedented access to information—virtual, downloadable, on-demand—there is a renewed interest in print’s material dimensions and the ways publication can be both a historical resource and a platform for art-making.
Excursus is a multifaceted initiative at the Institute of Contemporary Art, Philadelphia, in which artists, designers, publishers, and other cultural producers whose work engages the archive and publication are invited to create a platform for more intimate programming, alongside an online residency.
For Excursus IV, Primary Information has been invited to delve into ICA archive and to reflect on its contemporary potential. Through an engagement with ICA’s own critical history of publishing, Primary Information’s project will unfold over the coming weeks with a series of events in the installation and interventions on the Excursus website…
Ray Johnson (1927-1995) was a seminal Pop Art figure in the 1950s, an early conceptualist, and a pioneer of mail art. His preferred medium was collage, that quintessentially twentieth-century art form that reflects the increased (as the century wore on) collision of disparate visual and verbal information that bombards modern man. Integrating texts and images drawn from a multiplicity of sources — from mass media to telephone conversations — Johnson’s innovativeness spread beyond the confines of the purely visual. He staged what Suzi Gablik described in Pop Art Redefined as perhaps the “first informal happening” and moved into mail art, artist books, graphic design, and sculpture, working in all modes simultaneously. Johnson not only operated in what Rauschenberg famously called “the gap between art and life,” but he also erased the distinction between them. His entire being – a reflection of his obsessively creative mind – was actually one continuous “work of art.” His works reflect his encyclopedic erudition, his promiscuous range of interests, and an uncanny proto-Google ability to discover connections between a myriad of images, facts and people…
Walter Benjamin: Piet Mondrian 63–69 is a video presented in conjunction with Recent Writings by Walter Benjamin, a forthcoming book by New Documents.
In 1986, Walter Benjamin, the influential philosopher and art theoretician, reappeared and delivered this lecture on Piet Mondrian at the Marxist Center in Ljubljana. In this lecture, entitled Mondrian 63, Benjamin presents several works of the abstract artist ranging in date from 1963 to 1996, and questions the theme of original/copy…
The Independent Group met at the original ICA in Dover Street from 1952-5. Celebrated today as the so-called Fathers of Pop, they worked with art, science, technology and popular culture. From horror films to theories of evolution, modern architecture to Marilyn Monroe, this group project worked beyond traditional boundaries and conventional disciplinary areas.
The exhibitions organised by the group were highly innovative, both in terms of layout and the range of objects displayed. The Independent Group shows introduced the new age of modernity and mass culture to the gallery space. Reflecting the Group’s collage mentality, new technology and high end design were juxtaposed with avant-garde art.
The exhibition The Independent Group: Parallel of Art & Life – March 27 – June 9, 2013, Institute of Contemporary Arts, London – will include paintings, drawings and photographs by John McHale, Magda Cordell, Nigel Henderson, Eduardo Paolozzi and Richard Hamilton, alongside related designed objects and ephemera from the Independent Group. Evoking the ICA’s original home in Dover Street in the 1950s, the exhibition will be designed to give viewers a sense of ‘The Home of the Avant Garde’ which first attracted this collection of creative practitioners. In addition, a two day conference will bring together leading researchers, practitioners and curators who are working on aspects of the Independent Group. The aim will be to consider ways in which the Independent Group have been, and continue to be, exhibited.
ALMA GESTES – le 15 Mars, à partir de 19h, Rosa Brux, Bruxelles – rassemble des artistes, designeur-es, théoricien-nes, critiques d’art invité-es à exposer une liste de documents et d’ouvrages issus de leurs bibliothèques personnelles.
Avec Dorothée Baumann, Delphine Bedel, Juliana Borinski, Charlotte Cheetham et Pierre Vanni, Eva Fabbris, Marie Frampier, Jean-Baptiste Ganne, Benjamin Hugard, Pierre Leguillon, Balthazar Lovay, Ceel Mogami de Haas, Nicolas Moulin, Raphaelle Müeller, Florence Ostende, Marie Reinert, Gilles Rotzetter, Fabrice Samyn, Frédéric Wecker.
Tout en évitant l’écueil que peuvent représenter les anthologies constituées de livres de prédilection, chacune des listes explore diverses formes d’énonciations, allant du geste manifeste à la collection monomaniaque, en passant par des agencements dont l’heureux hasard raccommode les thèses les plus antagonistes. Tels des portraits composites, chaque inventaire dresse autant de points de vue sur les pratiques des personnes invitées, autant de discours plurivoques à recomposer.
Dans un geste similaire au principe qui a vu naître ce projet, l’exposition emprunte son titre à la première œuvre littéraire du philosophe français Alain Badiou. Livre qui expose les tribulations de divers personnages embarqués dans une pluralité de mondes possibles à partir desquels ils tentent de construire leur propre langage. Une bibliothèque apparaît comme une promesse qui, au-delà des savoirs réifiés, patiemment glanés et listés, présage avant tout des actions dont on sera dans l’avenir capable.
The Master in Art Direction (MAAD) is part of ECAL/Ecole cantonale d’art de Lausanne in Switzerland. The programme focuses on contemporary editorial practices, it encourages students to create, commission, select and arrange content.
The MAAD motivates and puts emphasis on the work of “editing”: creating a sequence, editing and laying out content, via printed and/or virtual matter. What are the components of an identity of a label, a magazine, a website or an exhibition catalog?
The programme gives the opportunity for students to participate in a diverse range of experiences, from lectures, workshops to semester projects, in which they work with some of the best international experts. The two year programme ends with a master thesis and a practical project. The MAAD calls for curious, dynamic and ambitious students who are eager to explore the fields of photography, graphic design and type design. The online registration is open until 3 May 2013.
Sture Johannesson‘s practice enriches politically-confrontational artistic strategies with experimental graphic design and anti-disciplinary actions aimed at Sweden’s systems of social engineering. Such corrosive methods have led to long periods of isolation and ostracization from the mainstream art world, a history that has made him one of the most legendary and important Swedish artists alive today.
The exhibition Sture Johannesson: In Memery – March 16 to May 25; 2013, Index, Stockholm – focuses on the breaking point that occurred in the late 1960s when Johannesson’s work moved away from the genre of Psychedelic Art and began experimenting with computer-generated graphics.
It was in the framework of psychedelia — a misunderstood artistic movement influenced by the counter-revolutionary and generational turbulences of the period, which suffered from association with hippie clichés — that Johannesson first became interested in digital drawings. Information systems and cybernetics were a logical development of psychedelia’s interest in self-organization, the technology of the drug, and media that proposed forms of artistic production able to ‘turn on’ and ‘off’ within or outside of established institutional frames that seek to ideologically regulate the social body. They worked towards dissolving the hierarchical and behavioral relations of a bureaucratized mass society, contributing to more egalitarian and interdependent relations, which could improve, for instance, the standard of living…
Each year Werkplaats Typografie organises its “Best Books” selection, where every participant chooses a book according to a specific criteria. The criteria for the most recent selection derived from a discussion with Kobe Matthys from Agency, Belgium. The resulting publication collects conversations and meetings with and around books with Kees Beentjes, Katherina Bornefeld, Tamara Henderson, Harmen de Hoop, Oliver Ibsen, Colter Jacobsen, The Librarian at Arnhem’s Public Library, Henk Pel, Seth Siegelaub, Matthew Stadler, Joëlle Tuerlinckx, and Ashleigh Young. …………. book will be launched March 16, from 5pm at San Serriffe in Amsterdam.
COPY & REPEAT is an exhibition of contemporary artistic reflections on the subject of reproduction and the related techniques. The exhibition catalogue – launched March 7, 7 pm, Kunsthalle der Sparkasse Leipzig – is documenting the work of all the participating artists and reflects the project in its entirety. Each chapter of the book appears as if they were torn from a different origin, and as such the entirety looks like a compilation of copies. Only their representational quality and sampling disclose to what extent book formats create a visual kind of content. Additional reference material of the art works is shown to question the “origin” and compiled a glossary out of several sources.