Mecca – designed by Mathias Schweizer – is a free edition available at the Contemporary Art Center of Ivry – Crédac. Mecca gives indications on the stakes of the program the Crédac, it provides reviews, analyzes and comments on the work of the artists featured. It offers additional means: those of rereading and memory.
Mecca 6 is a non-exhaustive visual journey through ten years of Crédac programming (2003-2013). It is primarily a game based on iconography and memory, exhibition and collection. It is a visual promenade for the reader to make his way and build their own matches.
Des Savoirs Bouleversés – edited by Vincent Honoré, Anna Colin and Åbäke – is a publication inscribed in Unsettled Knowledge, a cycle of exhibitions which has explored the propensity for artists to engage with knowledge from fields beyond their own area of specialism. This book and additional instalment concludes the cycle by taking one further step into the relationship between art, knowledge and specialism as observed in the three exhibitions. It features the work of artists — Mathieu Kleyebe Abonnenc, Aurélien Froment, Goldin+Senneby, Louise Hervé & Chloé Maillet, Jochen Lempert, Marie Lund, Benoît Maire, Melvin Moti, Benjamin Seror, Simon Starling, and Claudia Triozzi — who wear several hats (scientist, historian, economist, storyteller) and are committed to bridging art and other specialised fields of knowledge. Their practice entails borrowing methodologies from distinct disciplines, infiltrating disparate subject areas and collaborating with agents from further afield in the interests of new forms, new languages, new questionings, and new readings.
The exhibition All Possible Futures explores speculative work created by contemporary graphic designers.
The premise of All Possible Futures originated in 2003 over a conversation between the curator of the exhibition, Jon Sueda, with a graphic designer, about the exhibition and the critical discussion of lost explorations built on speculation and uncertain ground. What would graphic design look like if the discipline supported such speculative practices as a legitimate area of enquiry?
The works in All Possible Futures embody a wide range of approaches to the idea of speculation. They encompass everything from self-generated provocations to experimental work created ‘in parallel’ with client-based projects to unique situations where commissions have been tackled with a high level of autonomy and critical investigation. They highlight different levels of visibility and publicness within the graphic design process.
Some projects were made for clients and exist in a real-world context, while others might otherwise have gone unnoticed: failed proposals, formal experiments, sketches, incomplete thoughts. In the spirit of the show’s title, the exhibition itself shifts and evolves over the course of the visitor’s experience. Some works are traces of pieces. Others must be manipulated or engaged with in order to become fully apparent.
Jon Sueda’s intention is that All Possible Futures asks more questions than it definitively answers, with the hope that it will function as a porthole into a universe of highly sophisticated work that has been striving to find a way out into the world.
The first catalogue raisonné of editions and multiples by Matt Mullican, Matt Mullican Editions 1985–2012, will be launched January 16, from 7pm, at Helga Maria Klosterfelde Edition in Berlin, with a special multiple realized by the american artist to accompany the publication.
Library of the Printed Web is a collection of works by artists who use screen capture, image grab, site scrape and search query to create printed matter from content found on the web. LotPW includes self-published artists’ books, photo books, texts and other print works gathered around the casual concept of “search, compile and publish”.
Library of the Printed Web presents evidence of a strong, emerging web-to-print-based artistic practice based on the search engine and other algorithmic operations. The collection is presented as a reference tool for studying shifting relationships between the web (as culture), the artist (as archivist) and print publishing (as a new/old self-serve schema for expressing the archive).
© Artists’ Files, MoMA Library Stacks, 2013
How is artists’ printed matter collected and archived and how can such collections and archives be active, lively hubs of information and education for the medium, serving the specialist as well as the general public?
January 10, from 8pm, PrintRoom, Rotterdam, invites three key players – Charlotte Cheetham, Arnaud Desjardin, David Senior – in the field of independent artists’ publishing for a talk titled The Living Collection on collecting as an activity that moves beyond the limits of creating an archive. Each is a specialist in collecting printed matter and/or information on printed matter and archiving this in some physical or virtual format. Each in their own way extends their role as a collector by creating public projects and situations with and within the medium.
The theme of the 26th International Biennial of Graphic Design Brno 2014 is education in the field of graphic design and visual communication. This thematically focused biennial will — through a wide range of exhibitions, lectures and accompanying programs — investigate the educational models of contemporary graphic design as well as the methods and approaches of individual tutors and schools. It will also look at the diversity of specific schools, the influence of architecture on education, and the relationship between theory and practice.
Exceptionally, the International Exhibition, a traditional part of the Brno Biennial, will leave aside the work of professionals to focus instead on work created by students. All works created in a school context between 1 January 2010 and 31 December 2013 are eligible for the International Exhibition. The application form is now available online.
The Postcard is a Public Work of Art, January 23 to March 1, 2014, X Marks the Bökship, London, is an exhibition of postcards realized by sixty artists based in Britain, such as Åbäke, Simon Cutts, Arnaud Desjardin, Karen Di Franco, Daniel Eatock, Ryan Gander, Sara MacKillop, Jonathan Monk, Stuart Whipps, etc.
The title of the exhibition is from a card first published close to twenty years ago by publisher and poet Simon Cutts, who has been making postcards at his imprint Coracle since 1975.
Verities is an independent biannual publication of thought, observation and reflection, giving equal focus to visual arts and literature. Verities explores new ways-of-seeing the most ordinary and overlooked situations, revealing the arresting and irrational in the everyday.
Verities N°3, An Issue of Class: “The irony of covering the subject in the medium, so often used to sell the inaccessible lifestyles of the few to the masses, does not elude us. So here is our attempt to discuss class in a time when class-consciousness has declined, inequality has become the norm, and disempowered people everywhere are invisible within their own national cultures”. With David Harvey, Dick Hobbs, Allan Sekula, Simon J. Charlesworth, Jonathan Olivares, Sut Jhally, Otto Snoek and Matthieu Lavanchy, Zaynab Dena Ziari, Kate O’Brien, Helen Cocker and Ziella Bryars.
Reproduction Request (Half Letter) questions the relationship of proximity, distance, and mediation with series of small group shows that investigate reproduction as a form, and the various modes of dissemination and circulation for a given format. This project affords artists, curators, writers, and designers the opportunity to think about how particular artworks either lend themselves to duplication and dissemination or actively resist and disrupt easy reproduction. There will be no installation; the work in the shows will exist only as reproductions. The catalog is the show is the catalog.
The first exhibition, January 10 to February 7, 2014, COR&P, Columbus, with R.S. Beckman, Kate Bonner, Dante Carlos & Rolu, Munro Galloway, Nicholas Gottlund, Jessica Mallios, Ken Nurenberg, and Ed Steck, takes the form of a half-sized photocopied booklet or “zine”…
The White Review is a quarterly arts journal published in print and online specialising in artistically or educationally meritorious works of new or emerging artists and writers. Its aim is the promotion of the arts and literature and of advancing education in arts and literature.
Publishing Class delves into the act of publishing as a critical art practice, both as a way to make things public – forming publicness – and as a form of dissemination beyond time and space constraints.
January 7, 2014, Dutch Art Institute in Arnhem, the Publishing CLass will be dedicated to the Whole Earth Catalog with a one-day exhibition and panel discussion with David Senior, Fucking Good Art, and others.
SHOW INFO websites document research into thirty-six Latin-alphabet typefaces and their (technical, cultural, social, artistic, commercial…) contexts. The websites were made by the second-year graphic design students of the Gerrit Rietveld Academie in autumn 2013, in an assignment conducted by Sam de Groot with Jakub Straka.
Curated by Jon Sueda, All Possible Futures – January 14 to February 13, 2014, SOMArts, San Francisco – explores the potential of graphic design and celebrates a questioning of boundaries regarding concepts, processes, technologies, and form.
What happens when graphic designers extend the boundaries of their discipline and initiate creative explorations built on risk and uncertain ground? Exhibited conceptual proposals, critical provocations, and experimental works that exist on the margins of graphic design or in parallel to professional projects, as well as proposals that were initially rejected by a client and remain unrealized, position All Possible Futures at the intersection of design and fine art.
Exhibiting designers includes, among others, Abake, Ludovic Balland, Daniel Eatock, Dexter Sinister, Jaan Evart, Experimental Jetset, Ed Fella, Jürg Lehni, Karel Martens, Metahaven, Mevis van Deursen, Radim Pesko, Project Projects, ResearchCenteredDesign, Sulki and Min, etc… To accompany the exhibition, the book All Possible Futures will be published by Bedford Press.
© pictures from ROLU blog
The Third Rail is a non-profit quarterly publication devoted to a discussion of art, politics, philosophy, and culture, featuring critical essays and reviews, interviews, literary arts, and artist center spread projects.
Royal Garden is an on-line shaggy magazine, a multidisciplinary production environment, a critical, theoretical and artistic exquisite cadaver…
Vegetal Passion sees the exhibition space as the natural milieu of works of art.
It’s Our Playground has imagined this 5th installment of Royal Garden as an ambiguous jungle in which visitors will find artists’ pieces, archival photographs and images gleaned from the internet, all shown side by side without any obvious hierarchy. Deftly mixing plants and works of art, works that involve plants and “exhibition plants,” this curatorial project takes a new look at gardening practices in institutional settings, which is increasingly a part of today’s reality. Indeed, while blogs are replete with images of plants, which are adopted for their graphic qualities, they have also invaded art galleries, for artists appreciate their formal values as well as their reference to both a domesticated nature and a questioning of the decorative function of artworks…
Since 2011, L.I.E (Library of Independent Exchange) have been inviting key proponents of “the book” to submit a list of ten important titles that form part of their personal book collections. The book L.I.E LISTS OF TEN BOOKS includes 20 contributions from Ed Ruscha, Katrina Brown, New Jerseyy, Olivia Plender, Charlotte Cheetham, Hans Ulrich Obrist, Jem Southam, Jeff Eaton, Benjamin Sommerhalder, Lionel Bovier, James Jenkin, OMMU, Marco Kane Braunschweiler, Layla Tweedie-Cullen, Jeremy Millar, Alec Finlay, Fraser Muggeridge, Torpedo Press, An Endless Supply, Axel Wieder. Book launch December 13, 6pm, L.I.E/Detroit Bristol.
In the attic of Oslo National Academy of the Arts, a unique collection had been lying forgotten, untouched by time. It consisted of rare graphic design journals, cases of metal and wood type, books, type catalogues and printing machines dating back to the last century. The exhibition A Form for History, until January 3, 2014, at Oslo’s R21 gallery, presents part of the typography archive and offers an exceptional glimpse of Norwegian graphic design history.
On show is a selection of books and printed titles from the archive; demonstrating a diverse visual field where modernistic expression developed in conjunction with lingering roots of art nouveau. The titles are accompanied with quotes from the archive, seeking to portray a varied cultural development where issues such as national style, a lack of high quality paper, The New Typography and the role of women have all been debated.
The large, red table, with two stairs that leads up to it, was imagined as both a reference to the attic which had been the archives hiding place for several years, as well as the often unapproachable aspect that history can hold. The table itself contains 20 articles, which as a whole presents both an insight into the industrial progress, as well as the development of visual expressions in Norway. Visitors are invited to bring home copies of the articles as a way to create their own selection of history.
Published on the occasion of the exhibition Ad Reinhardt at David Zwirner, New York, until December 18, the catalogue Ad Reinhardt, How to Look. Art Comics presents a comprehensive exploration of american painter and writer Ad Reinhardt’s cartoon works, which he created for various publications throughout his lifetime, most notably the progressive tabloid daily newspaper PM in which his “How to Look” series first appeared in 1946. Reinhardt’s comics shed light on the artist’s humorous insight into art history, politics, and culture, as well as his unparalleled critical sensibility as a painter and thinker.
The Artist as Curator, edited by Elena Filipovic, is a serial publication that examines a profoundly influential but still understudied phenomenon, a history that has yet to be written: the fundamental role that artists have played as curators. Taking the ontologically ambiguous thing we called “the exhibition” as a critical medium, artists have often in the process radically rethought the conventional form of the exhibition as such. This project is about precisely those exhibitions.
Two essays will appear in a loose booklet in each edition of Mousse Magazine over two years, before being published in book form at the end. Collectively, they will address twenty seminal artist-curated exhibitions, spanning a period from the postwar to the present.