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.
Le catalogue et ses hybrides / The Catalog’s Mongrels is a proposal of one possible way to document/trace the same name exhibition.
The exhibitions The Catalog and its hybrids – curated by Charlotte Cheetham – introduced publishing projects reflecting the diversity of publications that are associated with the exhibition context… The catalog of the project, designed by officeabc, tries to embody its own statement…
All informations about the project:
These printed sites of encounter – a format of interaction between an art space (art center, gallery, museum…), a curator, an artist, a graphic designer, a theorist… – question, particularly, the potential of the book object to be an alternative to the exhibition space.
From a documental object – the catalogue – to a composite printed form – the artist book – some of these publications offer a more complex treatment of the documentation of artistic production and curatorial practices.
A source, trace or extension of the ephemeral, each of these printed experiences, which are reactivated at each new reading, constitute an alternative space of living memory, a new context for the existence of a work of art.
- Introduction & Promenade (Charlotte Cheetham)
- A kind of bibliography The Catalog and its hybrids
– An extract of the The Catalog and its hybrids collection
- Seth Siegelaub: to exhibit, to publish… (Jérôme Dupeyrat)
- A case of tic, tac, toe et Notes about a flyer (officeabc)
• a tumblr bookmark
• sticker Museum of Museum
• cards “teaser/clue to a catalogue”
Typography: Devanture par Sarah Kremer
Translation: Mafalda Dâmaso & officeabc
Print: Print it
A project supported by Toulous’up, label et bourse de la ville de Toulouse.
For now, Le catalogue et ses hybrides / The Catalog’s Mongrels is also on sale at Librairie du Palais de Tokyo (Paris), Florence Loewy Books by artists (Paris), & : Christophe Daviet-Thery (Paris), THEOPHILE’S PAPERS (Bruxelles), Motto Berlin (Berlin).
For the fourth year, the 2013 Summer School – set up by schools Werkplaats Typografie & ISIA Urbino – requires students or professionals in the field of design, or art related practices. They are calling for talented, inspiring, non-conventional candidates, with an authentic and critical mind, who don’t mind to work over summer, instead of sunbathing. During the two week workshop students will be guided by Karel Martens, Armand Mevis, Maureen Mooren and Leonardo Sonnoli. They will encourage them to work on a theme in relation to it’s specific context… Application deadline: May 20, 2013.
Lange Liste 79–97, by Christian Lange, documents the everyday life of family Lange using meticulously kept cash books. Gisela Lange, the mother of the designer, gathered endless accounts of groceries, taxes, parties, leisure activities, clothes or presents with an exact price index. To complement the cycle of this everyday life narratively, the first 18 years of life, from 1979 to 1997, were analyzed and summarized in appropriate categories. Brief explanations and interviews with protagonists of the list illustrate important moments. A series of family photos, pictures of products, certificates and receipts add to the family`s archive. With its 12.051 items, Lange Liste 79–97 grants a detailed impression of the hidden desires, pleasures and losses of a family’s household kept in two different political and economical systems…
©photo Céline Chip et Léna Araguas, Ensba Lyon, 2013
Seule ou prise dans une série, flanquée ou non d’une légende, bordée par un texte où s’affichant sans parure, l’image se présente le plus souvent à nous éditée (terme entendu ici dans un sens étendu, celui que recouvrent les différentes acceptions du terme anglais edit).
C’est cette question de l’image éditée qui est au centre du présent recueil – lequel rassemble des textes et documents originaux, rares ou devenus indisponibles – et qui a inspiré son titre, Seule ou Accompagnée.
S’éloignant des protocoles d’organisation stricts qui régissent le plus souvent les anthologies, ce recueil est d’abord un catalogue de gestes éditoriaux. Enquêter, copier, traduire, transcrire, collectionner, prélever, sélectionner, déplacer, recadrer, remettre en circulation, couper, légender, monter sont autant d’opérations qui sont ici documentées en même temps qu’elles sont mises en pratique. Ces gestes ont partie liée avec une culture visuelle élargie, qui s’étend de la littérature au cinéma, de la théorie à l’entertainment, du photojournalisme à la science-fiction, de la télévision à la presse à grand tirage. Ils nous racontent en la rejouant la romance de l’image et du texte.
Seule ou Accompagnée est le fruit d’un atelier de recherche éditoriale mené depuis 2011 par Jean-Marie Courant, Jill Gasparina et Catherine Guiral avec les étudiants du master Design de l’Ensba Lyon.
Dans un premier temps, l’atelier a pris la forme d’un séminaire de recherche au sein duquel a été menée une exploration bibliographique et théorique. Ce premier atelier était ouvert à l’ensemble des étudiants du master et a été accompagné d’octobre 2011 à janvier 2012 par un cycle de conférences. Dans un second temps, il s’est agit d’éditer certains contenus que ces premières recherches avaient mis au jour et de les rassembler dans un volume, qui a pris la forme du présent ouvrage. S’il rend compte des premières recherches menées en atelier, il les prolonge et les augmente aussi, rejouant d’une manière singulière une romance pourtant souvent interprétée.
Seule ou Accompagnée sera présentée le 2 mars à 14h, dans le cadre de Crystal Maze IV — 1 + 2 + 3 = 3, au Centre Pompidou, Paris.
The exhibition space P!, New York, will conduct an extended inquiry into the nature and means of copying. Remakes vs knockoffs, transcription vs plagiarism, mimesis vs mimicry — the status of the copied act shifts from positive to negative and back again, depending on context and culture. Multiples of a religious or political icon extend their reach and efficacy, whereas a duplicated file, painting, handbag, or cityscape violates legal and ethical strictures. Questions of capital and power lie at the core: who owns the original vs who is producing the copy.
Offering counterpoints from disparate cultural positions, P! explores the copy through a cycle of events and exhibitions.
Permutation 03.2: Re-Place, from March 8 to April 14, 2013, is the second exhibition of P!’s six-month cycle on copying focuses on replicas, remakes, and recurrences. Margaret Lee’s uncanny storefront display juxtaposes graphic backdrop painting with simulated fruit, while Oliver Laric premieres a new Mandarin version of his distributed video essay, Versions (2009–onward). London-based collective Åbäke captures plaster molds for a Danish/Chinese Pieta in “hacked intaglio”, and Amie Siegel’s Berlin Remake (2005) approaches East German filmic precedents as contemporary scores for reprise and re-performance. The presentation of these disparate works at P! establishes frameworks for considering authenticity and origination across a variety of cultural contexts.
In the 1960s and 1970s, the artist Ed Ruscha created a series of small photo-conceptual artist’s books, among them Twentysix Gas Stations, Various Small Fires, Every Building on the Sunset Strip, Thirtyfour Parking Lots, Real Estate Opportunities, and A Few Palm Trees. Featuring mundane subjects photographed prosaically, with idiosyncratically deadpan titles, these “small books” were sought after, collected, and loved by Ruscha’s fans and fellow artists. Over the past thirty years, close to 100 other small books that appropriated or paid homage to Ruscha’s have appeared throughout the world.
VARIOUS SMALL BOOKS, Referencing Various Small Books by Ed Ruscha collects ninety-one of these projects, showcasing the cover and sample layouts from each along with a description of the work. It also includes selections from Ruscha’s books and an appendix listing all known Ruscha book tributes…
©Joseph Beuys & Ken McMullen: Word Works (1972). Courtesy Ken McMullen / George Brecht: Entrance to Exit (1965). Courtesy Re:voir / Morgan Fisher: The Wilkinson Household Fire Alarm (1973). Courtesy Morgan Fisher / David Gatten: Film for Invisible Ink, case no. 323: ONCE UPON A TIME IN THE WEST (2010). Courtesy David Gatten / Liza Béar: Earthglow (1983). Courtesy Liza Béar
The screening Image, Text, Time: Typography in Artists’ Film and Video – selected by Fraser Muggeridge and Will Rose, during Publish and Be Damned 2013, March 2, Institute of Contemporary Arts, London – brings together artists’ films and videos in which typography plays a central role. The screening will look at how typography has been used to shape new aesthetic relationships between image, text and time, and how viewing moving image might be considered as a process of reading as well as looking.
©Dominique Hurth, diagrams, 2013
Saturday 23, 7pm, at Scriptings, Berlin, join for an evening of live presentations by some of the contributors to the publication We would like to learn, and we are working on a book. This book is a classroom. and others, including Paolo Caffoni, Dominique Hurth, Achim Lengerer, H.I.T, Lucie Kolb, Romy Rüegger.
Paolo Caffoni on a series of publications called 150 hours. The publications in question consist of preparatory teaching notes for the education of workers, housewives and the unemployed, developed in Italy in the 1970s. The signing of the metalmeccanici (engineering workers) employment contract in April 1973, brought an important period of trade union struggles to an end. As a result, 150 hours of paid work were allotted to workers every three years for “educational and cultural” use.
Dominique Hurth, Séance de lecture. In the format of exhibitions, readings and publications, Hurth explores in a nonlinear manner, historical narratives that are present in localities, words and images. Séance de lecture explores in images and texts her current work on the physical manifestation of a book in an exhibition space, the materiality of writing and syntax, and the physicality and performativity of reading, looking subjectively at Stéphane Mallarmé and Herbert Bayer.
Lucie Kolb, Romy Rüegger and Achim Lengerer in conversation about the publication We would like to learn, and are working on a book. This book is a classroom. are taking a look at the book as medium and different modes of authorship connected to it. The space of the book is circumscribed and structured by its parameters: format, binding, jacket, title page, layout, preface, postface, table of contents, captions, cross headings, intertitles, annotations, editorial notes, appendix, blurb, names and accessories, thus creating authorship(s) consisting of varying roles and producing horizontal connections within the reading. With H.I.T. MUSIC & visuals.
The HfG After School Club is an open platform to encourage and promote collaborative working structures. Once a year, during the lecture-free period of the HfG University of Art and Design Offenbach the dormant parts of the university are transformed into a student-organised workspace. The festival includes workshops, lectures, symposia, concerts and exhibitions. For one week aspiring design students will be able to attend six different workshops, each led by an internationally acclaimed designer… The second round of the festival will take place March 18-23 2013.
Publishing as (part-time) Practice highlight graphic designers who are also publishers, and pursue a discussion of the designer’s changing professional role as both author and publisher.
At Motto Charlottenborg, February 20, 6pm, there will be an exhibition of a fine collection of books from Danish and Swedish small-scale publishers. Louise Sidenius (Internationalistisk Ideale, Monade), Matilda Plöjel, Mattias Jakobsson & Peter Ström will talk about small-scale publishing initiatives, as well as similarities between the Danish and Swedish independent publishing scenes.
Publishing as (part-time) Practice small tour will continue March 16–17 in Leipzig during It’s a Book, it’s a Stage, it’s a Public Place; and April 20 in Oslo, at Torpedo Books / Grafill.
Beat Book Covers is a compilation of front covers of various editions of books by Jack Kerouac, William S. Burroughs, Neal Cassady, John Clellon Holmes, and David Goodis books.
Allen Ruppersberg, American pioneer of Conceptual Art, began exhibiting in Los Angeles in the late 1960s, along with fellow artists John Baldessari, Ed Ruscha, and William Leavitt. This was a generation of artists whose practice attempted to bridge the distance between art and life through artistic languages which employed everyday objects such as magazines, commercial ads, postcards, and records. Since the beginning, Ruppersberg’s work displays an affinity for the written word and printed materials, and explores consumer society and mass media in a manner that is both playful and critical.
For High Line Billboard in New York, until February 28, Allen Ruppersberg presents You & Me, a collection of colorful posters never before shown in this configuration or scale. Similar posters have been featured in his work since the 1980s, and are typically seen on the streets of Los Angeles, where they promote neighborhood events such as wrestling matches, carnivals, and religious gatherings. Allen Ruppersberg appropriates the distinctive background onto which he lays his peculiar form of spontaneous poetry. Arranged side by side on a grid to cover the entire surface of the 25-by-75-foot billboard, the posters display the many combinations of the words “you” and “me” with verses and absurd linguistic associations that can be read in different orders, allowing for unexpected connections between words and ideas.