© 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.
Printed Matter, Inc. is the world’s leading non-profit organization dedicated to the dissemination, understanding and appreciation of artists’ books. Printed Matter’s new website, among other specific features, includes tables that let staff, artists, publishers, and every user curate groups of books and write critical essays about them.
Coinciding with the 125th anniversary of National Geographic magazine, french artist Cyprien Gaillard has produced a pop up art edition as part of 032c #25. Assembled from images that span more than 40 years of the publication, Gaillard’s sculpture can be constructed by making three simple folds from left to right into the inside hinge of the magazine. This anachronistic monument is held together by tension alone; no glue is required.
Dieter Roth, Processing the World – du 14 décembre au 9 mars 2014, Frac Bretagne, Rennes – s’intéresse à la façon dont Dieter Roth, artiste particulièrement novateur de la seconde moitié du XXe siècle, construit son œuvre, dans une dynamique où chaque expérimentation en fait naître une nouvelle. À travers films, livres, archives, lieux d’une recherche singulièrement vivace mais aussi peintures, estampes, installations, Dieter Roth, Processing the World analyse les procédures de création de l’artiste et la manière dont il les pousse à leurs limites.
Qu’est-ce qu’un process, un processus ? On parle de process dans l’industrie comme d’une succession d’étapes de fabrication. Le processus, suite d’actions ou de procédés est directement lié dans la création d’une œuvre à la mise en place d’une relation au temps. Ces deux aspects sont présents chez Dieter Roth. D’un côté, il développe des systèmes dans ses livres ou estampes qu’il épuise par de multiples modifications, reprises, superpositions, destructions. De l’autre, il enregistre le réel construit à l’état brut.
Les processus mis en place chez Dieter Roth sont abordés à travers ses dessins et notes préparatoires, archives, livres, montrant par exemple l’exploration d’un même motif à travers des supports différents, mais aussi à travers ses œuvres en deux et trois dimensions. Les archives qui accompagnent les œuvres tiennent une part importante dans ce projet, témoins d’un esprit particulièrement vif.
En exposant avec précision plusieurs dispositifs inventés par Dieter Roth, depuis la phase de l’archive jusqu’aux œuvres proprement dites, l’exposition présente des séries d’œuvres qui nous font pénétrer à l’intérieur de ses méthodes de travail.
Mapping the contemporary art scene may seem impossible. It is nonetheless the aim of ORACULAR / VERNACULAR. Revolving around two seemingly opposite aesthetics, this exhibition offers a view into European and North-American processes. Charlotte Cosson and Emmanuelle Luciani have gathered new or overlooked works of art by Mathieu K. Abonnenc, Neïl Béloufa, Julie Béna, Michel Boisse, Bertrand Dézoteux, Marine Hugonnier, Dominique Hurth, Alex Israël, Ikonotekst Group, Kolkoz, Kapwani Kiwanga, Gareth Long, Benoît Maire, Shana Moulton, Falke Pisano, Sunita Prasad, Olivia Plender, Julien Prévieux, and Ryan Trecartin at MAMO – the Cité Radieuse, Marseille, December 15 – February 16, 2014.
Some of these artists engage scholar-like researches before translating them into mainly black & white works of art; others use synthetic colors, 3D modeling and harsh encrustations. Does this conflict of aesthetics – issued from minimal and conceptual art or from the Internet – really mean that these currents are contradictory? Their common points of interest seem to prove wrong…
Imagine a museum in which the portrait of Carlotta Valdes, an important prop in Alfred Hitchcock’s Vertigo, hangs on a wall next to the painted portrait of the title character of Otto Preminger’s Laura and opposite the uncanny portraits of the desired or murdered women in Fritz Lang’s Scarlet Street, George Cukor’s Gaslight, and Nicholas Ray’s Born to Be Bad. In an adjacent gallery, the visitor of this imaginary museum can contemplate the portraits of patriarchs that feature in films such as House of Strangers, Suspicion, Gilda, and Strangers on a Train. This is precisely the concept of this book.
The Dark Galleries deals with American (and some British) films of the 1940s and 1950s, in which a painted portrait plays an important part in the plot or the mise-en-scène. Particularly noir crime thrillers, gothic melodramas, and ghost stories feature painted portraits that seem to have a magical power over their beholders. Apart from an extensive introductory essay, this museum guide presents more than eighty entries on the artistic and cinematic aspects of noir painted portraits.
Film and book presentation, December 6, 2013, 8pm, Kask, Ghent.