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.
Over a period of 10 years Erik Kessels has made many books and exhibitions out of the passion for vernacular and amateur photography. In the lecture “Storytelling with vernacular photography” – December 11, 5.30pm, Tre Oci, Venezia – he will highlight his latest projects and publications and give an insight in collecting and editing the photographs often found online or on flea markets from all over the world. Another subject of the lecture is the role of images in the time we live in and how you can look at these in other ways than simply consuming them.
The last instalment in Erik Kessels’ long running found photography book series, In Almost Every Picture #12, tells the story of a Moroccan wedding filmmaker with a knack for self-promotion. Larbi Laaraichi lives in Fez, where he’s been capturing the happiest days of people’s lives since the early Nineties. While videoing their big days, he also ensures that he gets a shot of himself in action. These images plaster the walls of his shop.
As well as amateur advertisements, these pictures tell the story of Larbi himself. Kessels has ordered the portraits chronologically, hinting at changes in Larbi’s life in almost every picture. We see changes in Larbi’s fashion taste, from the extremes of turn of the century stripy shirts to more demure contemporary clothing. And we see Larbi’s career path through his equipment: proudly wielding an old-school video camera to (a decade later) atop a stepladder with a slick, space-age camera.
Any Part, Any Form is a follow up to London-based graphic designer Radim Peško’s Informal Meetings, a collection of photographs made during travels and wanderings to different places. This volume brings back found compositions and situations where seemingly unremarkable encounters between space, architecture and water suggest their own stories.
The Piracy Project is an international publishing and exhibition project exploring the philosophical, legal and practical implications of book piracy and creative modes of reproduction.
From December 6 to February 8, 2014, the Piracy Project collection will be housed at
Grand Union, Birmingham, with 150 modified, appropriated and copied books from all over the world. The collection, which is catalogued online, is the starting point for talks and work groups around the concept of originality, the notion of authorship and politics of copyright.
The Piracy Project is not about stealing or forgery. It is about creating a platform to innovatively explore the spectrum of copying, re-editing, translating, paraphrasing, imitating, re-organising, manipulating of already existing works. Here creativity and originality sit not in the borrowed material itself, but in the way it is handled.
documentation céline duval s’attache à saisir les représentations de toutes natures, depuis les gravures encyclopédiques jusqu’aux photographies diffusées sur des réseaux sociaux. Cette fabrique d’images en perpétuelle expansion s’associe à ce qu’elle nomme le devenir image du monde. Questionner, décoder, raconter, l’artiste nous propose de retrouver notre place perdue de regardeur dans cet océan visuel sans horizon.
Jusqu’au 14 décembre 2013, au Centre d’art Micro Onde, Vélizy-Villacoublay, Céline Duval présente L’Archipel des images, un ensemble de nouvelles oeuvres, photographies et publication dans une mise en scène conçue spécialement pour l’exposition.
The Last Books – a publishing house and performance project initiated by Philip Baber and Snejanka Mihaylova – published Cannon Magazine No.3 which comprises two texts by Peter Handke – a reprint of his 1986 novel Repetition and the first English edition of his long poem To Duration – published in two separate volumes.
GAGARIN, the Artists in their Own Words, is an artist’s magazine, entirely dedicated to the publication of especially written and unpublished texts by artists who are now working, anywhere in the world. Each issue contains a number of artists’ writings, if possible from an equal number of countries. The texts are published in their original language and alphabetical writing, with unabridged translations in English added. Advertising and visual material are deliberately kept out. GAGARIN is aimed at those who do not tend to wait until everything is accepted and synthesised and those who are prepared to leave the road to search for stimulating art and ideas while they are still fresh. GAGARIN does not restrict itself to a particular period or import and runs trough the codes that are applied in the world of art. Its orientation is artistic, documentary and historical. GAGARIN also aspires to provide an accurate source of information about the collaborating artists, using their own words.
Pierre Faucheux (1924-1999) a été l’une des figures majeures de l’édition française au lendemain de la Seconde Guerre mondiale. Renouvelant largement ce champ du design graphique, il traversa la seconde moitié du XXe siècle en y laissant des empreintes multiples qui sont autant d’expérimentations revisitant les avant-gardes ou s’inscrivant dans les courants artistiques de son époque. En marge de son atelier, il développa un travail visuel constitué de collages et d’”écartelages” photographiques. Enfin, il consacra également sa carrière à l’architecture, en s’associant aux projets de divers architectes ou en élaborant des aménagements muséaux et des scénographies d’expositions.
Faucheux concevait l’architecture comme une écriture et la mise en livre comme un travail architectural : écrire l’espace et être un architecte du livre, tel fut le grand écart qu’il se proposa de tenir tout au long de sa carrière. À partir de cette notion d’écart, qu’il fit sienne à la suite de Charles Fourier puis des surréalistes, L’écartelage ou l’écriture de l’espace d’après Pierre Faucheux, sous la direction de Catherine Guiral, Brice Domingues & Jérôme Dupeyrat, propose d’approfondir la connaissance critique du travail de Pierre Faucheux tout en le situant parmi les acteurs de son époque et en regard des références historiques et culturelles qui permettent de comprendre les divers aspects de son œuvre.
A photograph of me crying early in the morning on the beach in the far rockaways that is placed onto the english wikipedia page for mood disorder and then used by various websites as a free stock
As the title said, “A photograph of me crying early in the morning on the beach in the far rockaways that is placed onto the english wikipedia page for mood disorder and then used by various websites as a free stock”, by David Horvitz, published by Shelter Press.
The Fox issue 4 is loosely a continuation of the 1970′s journal The Fox produced by the artist’s collective Art & Language, however this regenerated version deviates from the concerns of the past publication, instead holding a closer link to the ‘natural world’, particularly the urban fox as a medium through which to explore attitudes towards the city, culture, nature, labour, architecture and design.
Designed by Mathew Whittington and with contributions by Daniel Arsham, Federico Campagna, Mike Davis, Mabli Elliman, Paul Elliman, Kristen Gallerneaux Brooks, Valentijn Goethals, Bill Hutchison, Esther Leslie & Ben Watson, Tetsuo Mukai, Leonard van Munster, Melissa Pilon, and Hermione Spriggs, as well as a selection of re-published material from the 19th and 20th century. Launch December 14, 3-5pm, Wysing Art Centre, Cambridge, as part of X Marks the Bökship’s X-Operative.
The eleventh issue of F.R.DAVID, All distinctions are mind, by mind, of mind will be launched November 24, 4pm, Dexter Sinister, New York, with readings by Kendra Sullivan, David Reinfurt and Will Holder.
“All distinctions are mind, by mind, of mind” is comparative — making divisions and splits in order to read the design of rhetoric in the stories we tell about our fictional and professional selves. With Abra Ancliffe, Robert Ashley, Ricardo Basbaum, Michael Gazzaniga, Ken Jacobs, Shane Krepakevich, John Latham, Ezra Pound, Kendra Sullivan, Sergei Tret’iakov, Marina Vishmidt, Rebecca Wilcox & Sarah Rose and many more.
Simple Pleasures is an artist book by the Los Angeles based photographer Zoe Ghertner. Between the two bright red card covers, Ghertner has composed a group of measured still lives. The brightly colored painted wooden shapes and their equally colorful backgrounds playfully tease the viewer’s sense of scale, dimension and space.
The Fox was a short-lived critical journal and magazine published in New York in 1975 and 1976 by the American chapter of British conceptual art group Art & Language; only three issues were ever published. The Fox was primarily text based and rooted in recent experimental conceptual practices. It also had a highly critical and articulate voice on a number of art- and society-related problems: education, the power of money and value in art, institutions and their functions, and autonomy.
Re: The Fox, a curatorial project by Arnaud Desjardin and The Everyday Press, with John Slyce, November 15 to December 21, 2013, UNIT/PITT Projects, Vancouver, proposes a limited facsimilé reprint of the three issues of The Fox, accompanied by a number of historical documents, ephemera and other printed matter belonging to the period. Using some of the texts originally published in The Fox, a series of readings and group discussions will be staged in order to test and argue the relevance, resonance and acuity of those ideas today.
The Fox was originally printed with metal type on cheap newsprint, for this reissue the text was completely re-typeset and the layout design recreated digitally for all three volumes. This was done in order to be able to produce cheap printed copy through the current digital presses and/or office printing technologies.
The ultimate aim of Re: The Fox is to produce as a form of live historical bootlegging where authenticity is not a marketable gimmick but a political problem of transmission from one generation to the next.
The publication The Letter E is Everywhere is published in conjunction with the same name exhibition which consists of display structures and furniture pieces as well as books, prints, objects and textiles designed by Studio Manuel Raeder, juxtaposed with other objects found during an exploration of local handcraft production in Oaxaca. The exhibition also features furniture pieces developed as a result from this research, in collaboration with Oaxacan artisans, and objects whose production converses between craft and design practice: industrial, mass-produced popular objects, handicrafts, and furniture pieces from popular design.
The exhibition and catalogue propose an open narrative through the objects on display and question the position contemporary design plays in the dialogue between people and every day objects. At the same time, it reflects the approach that Manuel Raeder and his studio have about their practice, where design is used as a tool that is constantly reconsidered and customized.