Between 1932 and 1936 five edition of the cahier Abstraction Création: Art non-figuratif was published in Paris by the eponymous association, uniting all movements who worked abstractly. The magazine not only formalised a new tendency for language in visual art, but also became a form of explicit self-promotion and opposition against the growing force of figurative Surrealism, led by André Breton. Two minimal yet clear criteria needed to be fulfilled to become a member of the association: you had to be an artist and work non-figuratively. This resulted in a list of members of long-forgotten artists mingled with names such as Kandinsky, Mondrian, Calder, Delaunay, Van Doesburg and Brancusi.
With the cahier Abstraction Création: Art non-figuratif, most of the members handed in documentation of work along with self-written texts. Those writings were visions about their own work, detailed explanations of the documentation, short viewing instructions, epistles about the true meaning of abstract art, essays on the relation between abstract art and evolution, straight forward explanations why a locomotive is not a work of art, and a poem about God being a copycat.
The publication of the cahier in English is the initiative of artist Riet Wijnen. During the launch, May 15 at the Stedelijk in Amsterdam, artist and designer Will Holder will lead a small audience through the museum’s galleries, stopping at paintings and sculptures made by contributors of Abstraction Creation: Art non-figuratif, and reading excerpts of their writings.
Oraibi Bookshop is an on-going curatorial project based in Geneva and run by graphic designer & artist Ramaya Tegegne and curator Tiphanie Blanc. From May 9 to 30, at Officin in Copenhagen, Oraibi presents Asger Jorn and the international situationist, a selection of books which will focus on Asger Jorn and his relationship with the French avant-garde and the international situationist movement. For the event, Oraibi has invited Danish editorial project Internationalistisk Ideale (Marie Kølbæk Iversen and Louise Hold Sidenius) to make a print and video display focusing on Jorn’s publication “La Langue Verte et la Cuite” from 1968, known in Danish as ‘tungebogen’ – the ‘tongue book’.
De:, a project by Rollergirl, is a series of exhibitions and publications, presenting a cross section of all styles and genres of current international photography. For each installment, the work of talented young photographers from one cultural capital is presented in another major city. Introducing their work to new audience and catalyzing cultural exchange. The first edition was De: Amsterdam, showing photography from Amsterdam in Lausanne, 2006. The following edition was, De: Paris, presenting Paris-based photographers in Amsterdam, 2011.
De: Stockholm, the third edition of the project , printed using only 3 spot colors Red, Green and Blue, will show a selection of images made by Stockholm-based photographers Brendan Austin, Thobias Fäldt, Marcus Harrling, Linda Hofvander, Inka and Niclas, Klara Källström, Björn Larsson, Hanna Ljungh, Märta Thisner, Lars Tunbjörk, Erik Undehn. Opening and book launch, May 22, 6pm, ArtLigue, Paris.
The Allen Ruppersberg Sourcebook: Reanimating the 20th century is a unique collection of original source material edited by conceptual artist Allen Ruppersberg from his extensive archives of texts, images, films, records and ephemera influential to his practice over the past four decades. Focusing on nine projects by the artist from 1978 to 2012, the Sourcebook offers an exclusive insight into Ruppersberg’s thinking, and a practice sparked by his interest in 20th century popular culture and pre-digital materials.
The Sourcebook series is dedicated to contemporary artists’ personal perspectives on social, political, and cultural issues. For the second Sourcebook in the series, Allen Ruppersberg has mined his archives, stored between his family home in Cleveland and his studio in Los Angeles. Delving into the influences and research that has impacted him, the artist has assembled various selections from this material, reprinting key texts by Allen Ginsberg and Marshall McLuhan, among others, and reproducing album and magazine covers from his collection. All together, these ephemeral and pre-digital materials open new perspectives on the way the American century underpins the artist’s practice.
Discussion & Book Signing, May 31, 2014, 7 pm, 192 BOOKS, New York.
The Asterisk Summer School will be back in Tallinn from july 27 and is now accepting applications from graphic designers, artists, theorists, critics, curators and others interested. This edition will focus on summer activities, taking a closer look at the relationship between work and play.
Asterisk is run by two freelance graphic designers, Laura Pappa and Elisabeth Klement who both studied at the Estonian Academy of Arts and the Gerrit Rietveld Academie. This year, tutors are designers Samuel Nyholm, Radim Peško, and Maki Suzuki from Åbäke.
Application deadline: June 1st, 2014.
Booksfromthefuture Summer School is a ten-day summer workshop in London, July 7-18, on book design that focuses on self-initiated, practice-based inquiry. Participants of the programme will each design a section of the 1884 science fiction novel Flatland: A Romance of Many Dimensions, to be published by Booksfromthefuture in collaboration with designer Dante Carlos. In this setting, thinking and making will be experienced simultaneously rather than as separate phases of the design process. As a re-imagining of story and format, participants will discover both individual and collaborative methods that blend research and practice into a single act. Application deadline 20 May 2014.
“Pourquoi ne pas reconstruire notre incapacité à voir ?” s’interroge Robert Smithson dans son fameux texte “Incidents of Mirror-Travel in the Yucatán”, publié en septembre 1969 dans le magazine Artforum. Cette question servira de fil rouge à l’exposition ANTI-VISION – du 17 mai au 21 juin, See Studio, Paris – conçue à partir d’un choix de publications et d’éditions d’artistes issues de la collection BLOOM.
La série complète des numéros d’Artforum où Robert Smithson fit paraître huit grands articles avant son décès accidentel en 1973, introduira à ce questionnement sur l’ “anti-vision” et la “vision négative”, qui a alimenté diverses stratégies artistiques depuis la fin des années 1960. L’exposition réunira un ensemble de livres d’artistes et d’affiches, de documents imprimés et de revues, de catalogues d’expositions et d’envois postaux, dont certains rares et recherchés par les bibliophiles.
Lining the walls of the Galerie Allen, Paris, May 15 – June 14, the images of Laëtitia Badaut Haussmann from the Maisons françaises, une collection series affirm their strange uniqueness. Drawn from a larger selection, they originate from a collection of the decoration magazine Maison Française, dating from 1971 to 1989. From them, the artist has extracted adverts that she treated in a specific way. After converting them to black and white, she removes any trace of text or symbol that reveals their commercial purpose. While the formats vary, the printed area is the same for each of the images in the series. Using subtraction and, therefore, reversing the process of production for advertising images, Laëtitia Badaut Haussmann offers a smoothing and an equalisation of all the selected images. Sometimes still readable when they are presented as a single object, they are more complex when the information load is greater. In those in which the meaning was governed by the commercial necessity of the advert (selling a model object, as much as a model life), in getting rid of the brand and the slogan, the images have nothing to sell except themselves and their rapprochement in the exhibition space offers an unsuspected potential narrative.
The Internet Archive is a digital library of Internet sites and other cultural artifacts in digital form. Like a paper library, they provide free access to researchers, historians, scholars, the print disabled, and the general public.
As part of the Internet Archive Tumblr Residency program, Re Production of Tangible Things, by Gijsbert Wouter Wahl, brings ephemera obsessively combed from the databases out into intertwined chapters. The archive has been pictured, and the images, out of their original positions in files and books, become part of a new territory from which you can drill back into sources that may otherwise have remained invisible.
The Jan Van Eyck Academy Alumni Association is an open platform for theory, art and design built from the assembly of former researchers and participants of the Jan Van Eyck Academy, who are dissatisfied with the debilitating nature of the institutional field, and who reject the prevailing norms of commerce. The idea is to form a mobile framework for collaboration between designers, artists and theorists, one which will bring about a radical probing of disciplines by suspending their borders and provoking their mutual subversions, affirming the need for collective work and engaging in projects which open the possibilities of different domains, whether aesthetic, scientific, or political. They understand the Association as a project continually ‘in the making’: open-ended and multifaceted.
The Association invite you to join in Justifiable Versions of Events, July 20 to 26 in Berlin. They seek experimental proposals for exhibitions, symposia, interventions, actions, workshops, papers and performances, any of which can be used as nuclei for future collaborative work.
In the 19th century public galleries opened to provide access to art for the enjoyment and education of all members of society. At this time, it was common for paintings to be displayed close together from floor to ceiling to create a ‘salon hang’, named after exhibitions held in the Salon Carré of the Louvre, the national museum of France. This arrangement was often guided by instinct rather than a planned concept, and could transform the gallery goer’s impression of the exhibited paintings.
BP Spotlight: Source, until September 14 at Tate Britain in London, highlights similarities between the mass display of art in a salon hang and the ability of 21st century digital and social media platforms such as Tumblr and Instagram to present large numbers of images in a single location online. Digital artworks created in response to the display are presented alongside Tate collection works, selected for the visual qualities they share with images created for these contemporary platforms.
The rise of social media along with the mass distribution and consumption of images is transforming how we communicate visually. Images can be easily accessed, they are repeatedly re-used and presented out of context, and the source of the image is immediately replaced. This alters how origin, meaning and content might be read, raising questions about the value of originality and authenticity of the image’s original source.
THE PARTICLES (of White Naugahyde) is the first publication of a play by William Leavitt. Leavitt is one of the pioneers of conceptual art in Los Angeles, helping significantly to establish the genre in the late 1960s and the 1970s. His works make use of narrative elements drawn from LA architecture and popular culture as well as from the movie and television industries. The artist works in various media, including sculpture, painting, drawing, photography and theatre.
Framed as a sitcom setting, the narrative of THE PARTICLES (of White Naugahyde) tells the story of a family auditioning for a NASA program, which sends them to a newly planned space colony. The demanding admission process makes them live in a security-free community in the desert together with other applicants. These two weeks in the desert result in anxiety and anti-social behavior among the participants.
Book launch and conversation with William Leavitt, Ann Goldstein, Niels Olsen, and Fredi Fischli, April 16, 2014, 6pm, as part of the opening of William Leavitt’s solo exhibition, Sidereal Time, in Zürich.
The book Almost a centimeter is the result of Make Your Own Press, a collective effort of 5 professors and 16 students from 3 distinct academies in the Baltic and Nordic region, and 5 visiting lecturers and critics, invited because of their outstanding efforts in the field of artist book making and publishing.
The book emerged from a course that recognizes the explosion in artist book making all around the world, especially in lieu of the less than terminal death of print predicted now for many years. This resurgence of print was something the group wanted to aid, particularly in their region, by giving a younger generation a course that presented all the steps necessary in taking a book from its concept, through its relation to historical antecedents, design, paper and color selection, the printing process, and finally distribution and acting as a temporary publishing house.
Six teams made a 16-page section each reflecting on various aspects of what it takes to realize a publication: The Author, The Editor, The Designer, The Printer, The Distributer, and The Reader.
The light whistles and flashes red. Guided by ferrite metal. Passage still takes place in electricity. A heat engine that reproduces its own parts when they break down. Is it money or is money just thought. Lost inside everything. Resonance of a dead car battery. No one to speak the car. The shade that threatens to return to life. The closer I get to you. Lower front strut brace. Left passenger door window, glass regulator channel run. Door handle pull cable. Window trims in topaz-pearl, silver birch, steel grey, rust. Mineral deposits of salt, broken glass, dust. Fables in which all things are alive and give signs. Voices that imitate the sounds of the press or the blacksmith. Paint shop agates. Signal red. Amber and ruby tail lights. Pulsing, reminiscing. Gestural, phonetic. Songs from clouds of ash, smoke and soot. A very seductive scent. People noticing their own language. Walk about and become what is happening. Carried away on an endless belt. Grounded or in flight. Indicators will let you know. The history of those feelings. When it was in the air.
Project investigates the possibilities for developing a critical position in contemporary architecture. Publishing both visual and written work, the goal of Project is to provide a platform for disseminating ideas. Each issue includes an insert devoted to visual presentations of contemporary projects. The journal also features writing in several formats: polemical essays by architects and critics; extended conversations with significant figures in the field; long-form critical writing; and short readings of provocative images and projects. Project focuses on publishing young architects who take strong positions and engage in debate and critical evaluation of the field.
Issue Three includes contributions from common room & Kim Förster, Reinier de Graaf (OMA/AMO), Neil Denari, Edward Eigen, Formless Finder, Adam Fure, John May, Magnus Nilsson, Valerio Olgiati Architect, Pezo von Ellrichshausen, Lola Sheppard (Lateral Office), Jill Stoner, Tom Wiscombe and more… Launch April 9, from 7pm, at common room, New York.
Typography Summer School is a meeting place for graduates of graphic design, wanting to bridge the gap between student and professional and learn more about typography. The school brings together leading practitioners and participants to study, exchange ideas, and investigate the discipline.
As well as running a range of projects within typography with real clients and budgets, the school acts as a think tank encouraging research and dialogue. This environment provides a forum in which to discuss what typography is, its relevance in design history and the part it plays in today’s society. The school investigates the role of typographic design across ranging mediums, from books to film credits and posters to websites.
The 2014 tutors are Julian Bittiner, Neil Donnelly, Bob Gill, Francesca Grassi, Hilary Greenbaum, Geoff Han, Other Means, Fraser Muggeridge, & David Senior. Bringing together a range of varied tutors will offer each participant a unique experience to learn from and apply to their future work.
Applications are open until May 15, 2014.
Rietveld Berlin is a temporary school, organized by the Graphic Design program of the Gerrit Rietveld Academie, Amsterdam. Since the beginning of March, the students of Rietveld Berlin have discussed, evaluated and defined what their workspace could and should be, and have set it up accordingly. To present these accumulated thoughts and results, they will open up their studio to host an evening themed around the designer’s/artist’s workspace this coming Tuesday, April 8, 2014.
To go along with the presentation of their studio, and to open up the discourse, they have invited several designer’s/artist’s to participate with “studio-selfies”—small videos of their studios.
Our material world is made up of a succession of layers; generation by generation, work by work, each new layer is informed by and created in dialogue with the existing material strata. The food we eat, the spaces we occupy, the written and visual media we engage with, the songs we listen to, the art we spend time with, the films we watch, and the objects we live with were all informed by past material culture and, in turn, will influence future creative decisions. The objects presented in Source Material exemplify the material foundation from which creative work is made today.
Source Material – April 8 to 12, Kaleidoscope Project Space, Milano – presents the objects, keepsakes, and references that have had a pivotal effect on the work of fifty-four creative minds from the fields of architecture, art, cuisine, design, fashion, film, and music, such as Erwan & Ronan Bouroullec, Thomas Demand, Konstantin Grcic, Jürg Lehni, Mike Meiré, Mike Mills, Harsh Patel, Benjamin Sommerhalder, Wendy Yao, etc… Found within the contributors’ everyday working or living environments, these objects are stepping-stones for the creative process.
Images: Massimo Torrigiani, Leggio; Marco Velardi, Disegnare Colorare Costruire, book series curated by Bruno Munari; Jürg Lehni, A Guide to Architecture in Southern California by David Gebhard, Robert Winter; Andrew Stafford, Scale furniture.
The one-day event Art-Information: Editorial Strategies, Text-based Formats, Publishing Contexts, April 26, at ICA in London, looks at acts of publishing within contemporary art and curatorial practice. Guest contributors Stuart Bailey, Dr Ruth Blacksell, Dr Jo Melvin, Dr Lucy Mulroney, and Alun Rowlands will draw on a rich variety of engagements, setting current practices against the alternative lineages of Pop and Conceptual Art. Presentations range from considerations of the various format and distribution strategies used by magazine editors and curators, to discussions of publishing, editorship and layout in (and as) practice.
Through these, contributors will highlight specific issues such as the appropriation of trade publishing channels and editorial design vocabulary; the significance of typographic layout in progressions from passive ‘looking’ into active ‘reading’; requirements for reader participation and responsibility; and the shifting notion of archival and open work within the interactive and networked platforms of digital publishing.
For the exhibition New Reproductions, David Maljkovic has created an extensive display of his work which provides a new reading of his artistic practice and the exhibition format itself.
The show presented six new reproductions of previous projects by the artist, and deals with conceptual strategies and utopian references past and present. It included animation, slide projection and collage, as well as sculptures as reconfigured objects.
The artist book New Reproductions, published in conjunction with the exhibition, designed by Åbäke, is a dense object in which the textual contributions function as poetic and fictional response to the artist’s collaged 48 images. Here, Maljkovic provides a certain utilitarian take on re-reading, remembering, incompleteness, and exhaustion as artistic positions in order to assemble filiations between works separated by time span and by his changing ideas.