Muriel Cooper worked across four decades at the Massachusetts Institute of Technology in overlapping roles as a graphic designer, teacher, and researcher. Spanning the transition from print, to early explorations of digital typography, to fully evolved information environments, Cooper’s tenure at MIT maps onto one of the most dynamic periods of the school’s technical, conceptual and theoretical development.
As the first Design Director of the MIT Press, Cooper established a comprehensive publishing program and designed books like The Bauhaus (1969) and Learning from Las Vegas (1972). As co-founder of the Visible Language Workshop, she taught experimental printing, tested large-format Polaroid photography, and integrated video systems in MITs Department of Architecture. And at the MIT Media Lab, she developed some of the earliest computer interfaces and educated a generation of designers. Throughout, her approach remained consistent: creating tools and systems for rapid feedback, dissolving boundaries between design and production, and restlessly seeking out new problems.
The exhibition Messages and Means: Muriel Cooper at MIT, organized by David Reinfurt and Robert Wiesenberger with Mark Wasiuta, will take place at Arthur Ross Architecture Gallery, Columbia University, New York, from February 25 to March 28, 2014.
Oraibi – librairie itinérante et structure curatoriale basée à genève – invite l’artiste et designer Clémence Seilles, accompagnée de The Estate of Matt Montini, à produire un dispositif de présentation d’une sélection de livres, du 14 au 16 février 2014, à Rosa Brux, Bruxelles. Choisis parmi son catalogue, les ouvrages s’articulent autour des sources littéraires et artistiques d’un psychédélisme revisité, paneuropéen et francophone : livres anciens, raretés, poésie surréaliste, manifestes, revues psychédéliques, catalogues d’exposition, littérature, publications récentes et inédites.
Livre Imaginé – Dans Cinquante Ans d’Ici is a group exhibition – curated by Niekolaas Johannes Lekkerkerk – on the future of the book and other variable formats with AND Publishing & Åbäke, Xavier Antin, Ruth Beale, Nina Beier & Marie Lund, Elena Damiani, Aurélien Froment, Ryan Gander, David Jablonowski, Laurie Kang, Boris Meister, Klaus Scherübel, Sebastion Schmieg & Silvio Lorusso. March 12 to April 19, Les Territoires, Montréal.
The exhibition posits the book – as both thing, container and idea – against the backdrop of some recent and ongoing discussions that address the probable demise of the bound volume in conjunction with the emergence of digital reading devices. As the title of this exhibition already implies, a somewhat speculative approach towards the subject is taken insofar any productive attempt at summation of the debate has resulted in stances taken on either side, but quite obviously avoided closure as the situation undoubtedly remains open–ended.
Dans le cadre de la table ronde L’édition comme reflet d’une expérience, le 14 février, 18h30, à Mains D’Œuvres, Saint-Ouen, “Information Room” est une exposition de publications qui questionnent l’enregistrement, le commentaire et le prolongement de projets artistiques. Du catalogue au livre d’artiste, en passant par l’ouvrage théorique ou le carnet de recherches, ces entreprises éditoriales, aux intentions, formes et formats variés – parfois composites ou ambiguës – incarnent des expériences de mise en tension d’une idée et de sa trace, du geste et de sa captation, d’un objet et de sa représentation, de l’espace d’exposition et de l’espace du livre, de l’oral et de l’écrit.
As is the Sea is an anthology of texts written by Critical Writing in Art and Design students at the Royal College of Art. This a pocket book – encompassing memoir, art criticism, fictional narrative, drama and cultural analysis – draws us through the ocean’s strata, from the sunlit surface to the darkest abyss. With a foreword from Philip Hoare and nine illustrations, including a postcard insert, from students and alumni of the Royal College of Art.
Codex – until March 29, 2014, Wattis, San Francisco – is an exhibition-manifesto conceived by Pierre Leguillon during a residency in San Francisco. As an artist and book collector, Pierre Leguillon found himself within the stacks of the Prelinger Archive, an “appropriation friendly” library whose organization conceives of its holdings as a “landscape of ideas”, classifying subjects both spatially and conceptually.
This project evolved from a collective inquiry which, given the fanatical desire to digitalize every book, was based on the premise the library has now been “flattened”. The codex (book or block of wood in Latin), which first appeared during the Roman Empire between the 1st and 2nd centuries AD, was the earliest form of a bound book.
Replacing the scroll, it permitted linear reading and made it possible to hierarchize the content of a text through direct access to the desired page. Why, in an era of digital databases, online libraries, and the development of new digital media, bring the codex back into two dimensions, into screen format? And why continue to imitate the space of the traditional book by retaining page numbers, by simulating turning pages, etc.?
The irreversible act that consists in taking books into the picture plane is found throughout the entire history of Western art and seems a recurring motif in the most recent contemporary art.
The exhibition Codex is designed as a living organism and offers a series of events in connection with the selected works, composed of screenings, lectures, and exchanges that will also make it possible to “perform” the book, to see it manipulated and, interpreted, either live or at the cinema, through words and gestures.
A school for design fiction, a project by James Langdon, employs the curious genre of ‘design fiction’ to assert storytelling as the primary function of design, assuming that every artefact has the potential to express the character of the culture that produced it.
The publication A School for Design Fiction documents and expands on the founding of the school through a series of imagined scenarios. These include a drama at the printer for architect Augustus Pugin in 1836, the history of the universe as observed on an English hillside in 1937, the first human trial of split brain surgery in California in 1961, and a Scottish speech synthesis studio in 2013.
Book presentation, January 24, 7pm, Galerie für Zeitgenössische Kunst, Leipzig.
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.