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Artists in their Own Words, is an artist’s magazine, entirely dedicated to the publication of especially written and unpublished texts by artists who are now working, anywhere in the world.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.
La quatrième classe (The fourth class) is an exhibition curated by Jérôme Dupeyrat, with among other artists Robert Barry, Daniel Buren, Jonathan Monk, Julien Nédélec, Conny Purtill, Nick Thurston, and many more… November 23 to December 21, 2013, Florence Loewy by artists, Paris.
Published for the first time in 1905, the universal decimal classification (UDC) is a knowledge classification system widely used in libraries. In itself rational and comprehensive, this system has nonetheless exhibited a kind of anomaly: the 4th class was transferred without being re-attributed, and is “currently unoccupied”. Although the 4th class doesn’t have a concrete usage in libraries, it is not strictly speaking non-existent, but more precisely vacant. In other terms, it exists by virtue of its potential, though remaining empty of any substance which might make this existence tangible.
According to an analogous logic, the exhibition La quatrième classe brings together diverse artistic propositions linked to books and publishing (artists’ books, pageworks, works making reference to books, creations with libraries or bookshops as sites) which have in common the fact that they make concrete discrete or inframince realities whose existence is borne of absence and the substance of a void…
Offprint Paris is an art publishing fair for emerging practices in art. Over four days, it gathers institutional and independent publishers from all over the world featuring publications by contemporary artists, graphic designers, photographers, publishers, bookdealers, museums, art schools, curators and antiquarians.
The Most Beautiful Swiss Books competition was established to promote and reward top-quality book design in Switzerland. The awarded books become part of an exhibition which will stop off in London during Thoughts on a Book. The event this year, November 22, 2013, 7pm, Open School East, London, will take a closer look into one of the awarded books: Trix + Robert Haussmann, edited by Fredi Fischli and Niels Olsen (Studiolo). Both the architects, Trix & Robert Haussmann, and the editors will give a talk about their collaboration, showcasing their process of working together.
Untitled (September magazine), by artist Paul Elliman, takes the form of a 600 page glossy magazine, completely absent of any editorial text, and comprised instead only of cropped and juxtaposed images collected by Elliman over many years. The publication conveys in itself a kind of text spelled out in body shapes, signs and gestures. “In photographed fragments, the body seems both to correspond to the shapes of letters and to assume writing’s inanimate agency. Or maybe another spirit altogether is communicated by the perverse range of images, a secret map of the inner territory of language conducted by the body”.
Launch, November 8, 7pm, San Serriffe, Amsterdam.
The Significance of the Photographic Image in a Filmic Context, by Paulius Petraitis, will be launched November 7, 2013, 6pm, at X Marks the Bökship, London.
Most recent debates about the impact of digitalization on photography either advocate a rupture between analog and digital, or deny that there are any differences at all. The present project, however, wants to emphasize the continuity of several cultural aspects without denying the differences between the two ways of image-making. Paulius Petraitis’ text follows a trajetory around a less focused relation in film and photography and adds both to the so-called “classic” understanding of photographic images, as well as rejecting any rupture in the current cultural perception of photography.
LA DÉRIVE – Chapter I, November 17, 2013 – during Offprint, an Art Publishing fair – November 14-17, Beaux-Arts de Paris – invites the visitors to take various paths within the large and rich landscape of independent publishing in art and design. As advocated by La Dérive (in English Drift) of Guy Debord, the program is built around several specific ambiances, highlighted: the main idea being to let go of expectations and habits and to just wander among pleasant encounters… With contributions by Ramaya Tegegne, Erik van der Weijde, Jan Wenzel, Postdocument, De Stihl, and Etienne Robial.
Arguably, Rogério Duarte is “the genius behind the geniuses” (Narlan Mattos) of Brazil’s 1960–70s counter-cultural and avant-garde efforts. Thus, it comes as no surprise that key figures in the fields of design, music, art, and cinema, such as Glauber Rocha, Hélio Oiticica, Gilberto Gil, and Caetano Veloso, have provided the posterity with a vast catalogue of testimonies that leave no doubt as to the crucial role that Rogério played in the emergence of what is known today as the Tropicália movement, or Tropicalism.
Yet, despite the growing interest that the Brazilian counter-culture of that time encountered on the international stage during the past two decades, Rogério’s work has remained almost unknown to a broader public.
Marginália 1 was developed by the designer Manuel Raeder and the artist Mariana Castillo Deball over a period of four years. It is the first in-depth survey of Duarte’s practice, and the first time that a selection of his poems and texts have been translated into English.
This Is Your God, by Piero Glina, is a two volume publication which celebrates the 25th anniversary of the cult classic They Live by John Carpenter. The first volume includes an exact replica of a magazine prop as seen in the movie, containing the iconic typography with all its flaws and special characteristics. The second volume shows the places the words came from.