The Typografische Monatsblätter is one of the most important journals to successfully disseminate the phenomenon of “Swiss typography” to an international audience. With more than 70 years in existence, the journal witnessed significant moments in the history of typography and graphic design.
30 Years of Swiss Typographic Discourse in the Typografische Monatsblätter examines the years 1960–90, that correspond to a period of transition in which many factors such as technology, socio-political contexts and aesthetic ideologies profoundly affected and transformed the fields of typography and graphic design. The book includes a large number of works from well-known and lesser-known designers such as Emil Ruder, Helmut Schmid, Wolfgang Weingart, Hans-Rudolf Lutz, Jost Hochuli and many others.
Printed Matter presents, from September 20 to 22, at MoMA PS1, New York, the eighth annual NY Art Book Fair, the world’s leading event for artists’ books, catalogs, monographs, periodicals, and zines showcased by more than 280 booksellers, antiquarians, artists, and independent publishers from more than twenty countries.
Among other special programming, The Classroom, a curated series of informal conversations, workshops, readings and other artist-led programs, is also an informal venue for artists, writers and publishers to feature new releases and present their publications. Participants include Tréy Sager with Badlands Unlimited (New York); Olof Olsson with Rollo Press (Switzerland); Linda Simpson with Peradam (New York); Elisabeth Tonnard and Chris Burnett with J&L Books (Scranton, PA); Amish Morrell with C Magazine (Canada); the curators of the Libros Mutantes Book Fair (Spain), etc.
An exhibition of book works by Bruno Munari, presented by Edizioni Corraini, will be housed in the courtyard dome. The exhibition includes a collection of rare and out-of-print artist and design books by the late Italian artist, offering a comprehensive survey of his influential career. Selections from the private collection of Giorgio Maffei will be on view as well…whole program on NY Art Book Fair 2013 website.
The Jan van Eyck Academie is a site of encounters which had surpassed the sterile confines of academia and the consensual norms of market-oriented work, as it welcomed examinations and radical critiques of the spaces of artistic creation, theoretical inquiry and design, while also questioning the relations and boundaries between these fields. Building upon this experience, while at the same time surpassing its institutional limitations, the intention is to construct a platform for collaboration between theorists, designers and artists, by suspending the borders between their respective disciplines, by affirming the need for collective and experimental work, by engaging in projects which do not shy away from questioning the very possibilities of different domains, whether aesthetic, scientific or political.
This Book is a Classroom is a publication about art education, self-organised institutions, and circular communication; edited and devised by Lucie Kolb & Romy Rüegger, Passenger books and HIT. Book launch, July 10 2013, 7pm, X Marks the Bökship, London.
“…We would like to learn, and we are working on a book. The room it offers is circumscribed and structured by the book‘s parameters: format, binding, jacket, title page, layout, preface, postface, table of contents, captions, cross headings, intertitles, annotations, editorial notes, appendix, blurb, names and accessories. This book is a classroom. We invite you to play this classroom together with us – a play to be played indoors or out, I wish to be a school – by a text or picture contribution; as a professor, student, guest, friend, reader, lecturer, listener, assistant, staff, animal, as equipment, materials, furniture, architecture or sound …” (Corinn Gerber, Lucie Kolb, Romy Rüegger)
Publishing, in its multiple manifestations, from catalogues to art books and magazines, is a space in which not only is something conveyed, but contents are developed and created.
The Book Society, a project devoted to the most experimental forms of production in publishing, involves creating a reading room in the Contemporary Art Museum of Villa Croce, Genova, where during 2013-2014 some of Europe’s most interesting publishing houses will be presented.
The second reading room, July 9, 6pm, is dedicated to Paraguay Press – the publishing house of castillo/corrales, the Paris co-operatively run exhibition and bookstore space – which will present a selection of their publications. Each project developed by Paraguay Press looks carefully into the pragmatics of publishing, and adapts each print-run and scope, deploys different printing devices, and considers various distribution strategies — according to the nature of each publication. All depart from an understanding of the space of the book, considered not as a medium of documentation nor a vector of promotion, but as an act of translation and the extension of artistic, critical and curatorial thinking into a graphic, mobile, democratic and durable form.
Since 2009, Gareth Long and Derek Sullivan have worked towards an on-going project to illustrate and translate Flaubert’s Dictionary of Received Ideas. Seated at an iteration of Long’s Bouvard and Pécuchet’s Invented Desk For Copying, a series of desk-sculptures pulled from the unfinished pages of Gustave Flaubert’s incomplete last novel, the two artists intend eventually to illustrate every entry in Flaubert’s posthumously published satirical dictionary – a text that contains 950 biting and surprisingly contemporary entries lampooning bourgeois French society of the time.
Flaubert had intended to include this text as part of the second half of the novel Bouvard and Pécuchet. Long and Sullivan’s project has them draw images copied from the Internet (the dilettante’s library of today, and one that parallels the vast library embedded within Flaubert’s novel) which brings the surprisingly contemporary platitudes up to date, and match Flaubert’s own caustic wit and meta-references with a disarmingly funny, charming (and sometimes school-boyish) sense of humour. Just as the desk-scultpures act as an illustration of the final moments of the novel, with Long and Sullivan seated at them, they too become a sort of extended illustration of the eponymous characters. A self-professed ‘crap drawer,’ Long’s lack of skill as an illustrator for the Dictionary is a form of illustration itself: his drawings are obviously those of an amateur, just as Bouvard and Pécuchet are destined to remain amateurs in each of their endeavours. And so, by ‘copying’ the two characters in the novel, Long and Sullivan’s drawing sessions contribute to the seemingly endless cycle of mimicry and citation taking place in the book.
Long and Sullivan have worked on The Illustrated Dictionary of Received Ideas through more than 23 illustrating sessions to date. Upcoming session, July 25, 2013, 5pm, The Power Plant, Toronto, as part of Postscript: Writing After Conceptual Art.
John Stezaker has been centrally influential in a number of developments in art over the last four decades; from Conceptual Art, New Image Art through to contemporary interest in the collage. Showing first as a part of the British Conceptual Art group in The New Art, 1972 (the first Hayward Annual), Stezaker’s interest in the concept soon gave way to a long-term fascination with the image, finding new aesthetic allegiances with the image through working with found photographs and printed matter. This fascination is translated into alterations, deletions, visual concordances and juxtapositions of disparate sources, intuitively creating new images, relationships, characters and meanings.
The selection exhibited during Les Rencontres d’Arles, until September 22, 2013, represents a cross section through the recent manifestations of ongoing collage series including Mask, Marriage, Muse and Film Still Collage, as well as the collections of image fragments (The Third Person Series). Additionally on show is the first production of a new venture—the making of film loops. These constitute discontinuous projections of different collections of photographic images. Horse consists of 3325 different still images of stallions taken between 1985 and 2005 and projected at 24 horses a second.
Les Siestes Electroniques élargissent leur champ d’intervention en éditant une revue baptisée Audimat. Une vraie revue, pas un magazine ni un programme du festival : des articles long format sur la musique, écrits par des contributeurs français ou étrangers, pas forcément issus de la presse spécialisée. L’idée est d’ébaucher en langue française un discours critique exigeant, sans être abscons, sur la pop music, son histoire, son écoute, sa diffusion dans le monde. Design: Maximage Société Suisse.
HANS LE MALIN est une publication qui questionne les pratiques de production d’éléments narratifs et leur déploiement dans l’espace médiatique. Pour ce faire, des méthodes d’investigation associées à la conception d’outils orientent l’écriture d’articles. L’enquête est un moyen d’accumuler et de réunir des indices mais aussi de formuler des hypothèses.
Les postulats en études sont confrontés lors d’entretiens avec des personnalités évoluant dans les champs de la recherche, du design, de la photographie ou du journalisme. Rassemblés en ligne, les contenus sont susceptibles d’être édités, imprimés, reliés et distribués lors d’un événement dédié à cette étape.
Présentation par Tanguy Wermelinger, le 22 juin 2013, 14h, 22RUEMULLER, Paris.
Under the title Reading Machines – unfolding books and archives – june 22 to september 8, 2013, Kunsthal Aarhus – the publisher Edition After Hand initiates a multiannual cooperation with the exhibition space on publications, research, exhibits and bookstore. The basis of the project is a series of switching actions between the exhibition and the book room, and a gradual unfolding of possible passages between contemporary art and poetry, which among other things can reflect linguistic and technological operations and their aesthetic effects.
With works by Henrik Have and Jan Bäcklund, publications from the Swedish journal/publisher OEI, and unfolds a book by Cecilia Grönberg and Jonas (J) Magnusson. The exhibition also features a library and reading room, bookstore, performance, discussion and publications.
Sky Arts Ignition: Memory Palace – june 18 to october 20, 2013, Victoria and Albert Museum, London – brings together a new work of fiction by the author Hari Kunzru with 20 original commissions from leading graphic designers, illustrators and typographers to create a multidimensional story. The way we read books is changing. Memory Palace explores how a story might be imagined in a different format – as a walk-in book.
With work by Âbäke, Peter Bil’ak, Alexis Deacon, Oded Ezer, Francesco Franchi, Isabel Greenberg, Hansje van Halem, Jim Kay, Johnny Kelly, Erik Kessels, Na Kim, Stuart Kolakovic, Frank Laws, Le Gun, Luke Pearson, Stefanie Posavec, Némo Tral, Henning Wagenbreth, Mario Wagner and Sam Winston.
Hari Kunzru’s story is set in a future London, hundreds of years after the world’s information infrastructure was wiped out by an immense magnetic storm. Technology and knowledge have been lost, and a dark age prevails. Nature has taken over the ruins of the old city and power has been seized by a group who enforce a life of extreme simplicity on all citizens. Recording, writing, collecting and art are outlawed…
The chosen practitioners work across a variety of fields, from comics and editorial illustration to advertising and typography. Each of the designers and illustrators worked on a different passage of text from the story, responding freely to the text. The resulting commissions vary dramatically in scale and format, from intricate hand-drawn works to large three-dimensional environments.
How to Shoplift Books (Come Rubare Libri), a new book by Californian artist David Horvitz, is a shoplifter’s users guide in both English and Italian. It details 80 ways in which one can steal a book. From the very practical, to the witty and romantic, the book reads like simple instructional text artworks by the conceptualists generation. A number of books were printed with error covers, which Horvitz has buried in Venice…
Since 1943, when Jan Tschichold proposed to honor the most beautiful Swiss books with an annual award, the competition for this title has become very popular and is heard of not only in Switzerland but around the world. A fact that is less well-known is that the title was not awarded between 1946 and 1948 and no books were submitted to it during this time.
This gap in the long-standing tradition of the award provided the background for
The missing years of the most beautiful Swiss books: 1946, 1947, 1948, a project by Corina Neuenschwander & Roland Früh, which consists in an exhibition, a series of lectures and a research project, that discussed book production and design in Switzerland – with a focus on this specific period, but also with regard to the present situation.
In the The missing years of the most beautiful Swiss books: 1946, 1947, 1948 book, Experts such as Jost and Ursula Hochuli, François Rappo, Andreas Schwab as well as many others explain in 14 concise statements their selection of “the most beautiful books” from these years. These authors contributed essays but also texts on their personal interest in and their relationship to books. International authors such as Robin Kinross, Yann Chateigné Tytelman, Severin Rüegg, Philipp Messner, Noah Stolz, Ulrike Meyer Stump and Patrick Gosatti wrote on more specific aspects, starting with the different aspects of book production and design. The book intends to contribute to the discussion among book experts and provides a contemporary commentary on the crucial elements and aspects of book production – now and then. Launch of the book June 22, 17:30, Corner College, Zürich.
La revue Initiales, produite et éditée par l’Ecole nationale supérieure des beaux-arts (ENSBA) de Lyon, esquisse les contours d’une galerie de “portraits en creux” en s’organisant autour de “figures-source”, existantes ou fictives.
Pour son deuxième numéro, la revue Initiales se penche sur une figure solaire qui irradie depuis les années 60 la côte Ouest des Etats-Unis : John Baldessari.
Conçue comme une “monographie augmentée” avec son architecture en trois chapitres qui s’intéresse aussi bien au contexte de production dans lequel travailla John Baldessari, qu’aux échanges qu’il orchestra, et aux méthodes (collage, montage), toujours d’actualité, qu’il initia ; avec sa voix off aussi, qui vient commenter après coup les choix parfois audacieux des contributeurs – critiques d’art, historiens, écrivains, artistes et même juriste – la revue Initiales procède par encerclement progressif et poursuit un seul objectif :réinitialiser cette figure qui a fait école dans son domaine et au-delà.
À l’occasion du lancement au Palais de Tokyo, le 5 juillet, 19h, Palais de Tokyo, Paris, la revue Initiales, en partenariat avec la galerie de Multiples, propose un accrochage de multiples de John Baldessari, dont le poster inédit inséré dans chaque numéro d’Initiales J.B. Ainsi qu’une table ronde qui réunira Emmanuel Tibloux et Claire Moulène, directeur de la rédaction et rédactrice en chef de la revue, les historiens de l’art Marie de Brugerolle et François Aubart ainsi que l’écrivain Fabrice Reymond.
At this year’s Art Basel, June 13–16, 2013, Printed Matter will present Learn to Read Art: A Surviving History of Printed Matter, Inc., an exhibition engaging the documented history of the organization as it intersects with the broader field of contemporary artists’ books.
Learn to Read Art: A Surviving History of Printed Matter, Inc. assembles a visually dense vitrine- and wall-based presentation featuring a broad range of material produced by the organization since its founding in 1976…
The 4th Independent Publishers and Zine Fair Vienna will be hosted June 28-30, 2013, by Kunsthalle Wien at Museumsquartier, with more than sixty local and international exhibitors and artists exhibiting, selling, and exchanging their works.
Alongside the exhibitors, ten artists (including Matthew Brannon, AA Bronson, Kerstin Cmelka, Sture Johannesson, David Jourdan, Stefanie Sargnagel, and others) will punctuate the fair with editions and interventions—some in the form of performances, some as prints, others as t-shirts. As a special exhibition, Hubert Winter, the Viennese gallerist, will curate a selection of art books and ephemera from his vast collection of works from some of the best-known ’60s and ’70s conceptualists. Parallel to the fair, a series of talks and discussions by a selection of expert speakers will touch on emerging practices and debates within zine culture, and will illuminate issues relating to independent publishing today.
The Most Beautiful Swiss Books recognizes excellence in the field of book design and production, as well drawing attention to remarkable and contemporary books by Swiss designers, printers and publishers. The Jan Tschichold Award 2013, which honours excellence in the field of book design, goes to the typographer and graphic designer François Rappo from Lausanne.
June 27-30 2013, The Most Beautiful Swiss Books will be exhibited at the Helmhaus, Zürich, alongside the simultaneous publication of the catalogue showcasing the competition. On the occasion of the exhibition opening, the Jan Tschichold Award winner will be presented his award. In the context of the exhibition, a book fair, presenting recent publications from small Swiss and European presses, will be held June 29.
In 1962, Gene Bernofsky, Jo Ann Bernofsky and Clark Richert were students at the University of Kansas in Lawrence. Gene and Clark developed a concept they called “Drop Art”. “Dropping” artworks from the rooftop of a loft space in Lawrence, they were making art a spontaneous part of everyday life in the face of a society they saw as increasingly materialistic and war-mongering. In 1965, they bought a small piece of land near Trinidad, Colorado and ?called their settlement Drop City. They were soon joined by other artists, writers and inventors, and they started building a community that celebrated creative work.
Drop City’s dazzling structures were based on Buckminster Fuller’s geodesic domes and the crystalline designs of Steve Baer, a pioneer in geometric structure and solar energy. The Droppers had little building experience, but they were full of ingenuity and exuberance. Drop City became a lab for experimental building and and inspired a generation of alternative communities…
Drop City, a new documentary, screenings, as part of:
Architecture on Film, July 9, 2013, 7pm, The Architecture Foundation, London
West of Center: Art and the Counterculture Experiment in America, 1965 1977, July 10, 2013, 7pm, Mills College Art Museum, Oakland
FIGURE is a Paris-based cultural journal featuring art, design, music, architecture, nature, photography, medias, gastronomy, style, sport and art de vivre investigations.
A year ago, editors Côme de Bouchony & Vincent de Hoÿm received a letter saying that they would trespass trademarks rights with the name Figure. They entered into negotiations for keeping their beloved name but the opposing party was not willing to agree to any compromises.
So they decided to make a clean sweep and get a fresh new name, and they have 51 possible new ones: 51 French words and expressions used by English speakers, compiled in this newspaper, a very limited collectors special edition, currently showed at Laurent Mueller gallery in Paris.