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.
Trapped in the closet is a project curated by Luca Lo Pinto using as conceptual starting point the Frac Champagne-Ardenne collection of works of art.
Over the last decade there has been renewed attention, within the international curatorial debate, of exactly what it means to curate a collection, interpret it and what is the significance of a collection of contemporary art for an institution in the Twenty-First Century…
Trapped in the closet treats Frac Champagne Ardenne not for what it is but for what the collection appears to be conversing with the works not as objects but as images. Each work in the collection will be reproduced on a separate page made in collaboration with a graphic designer. This meta-collection will be presented inside a library: 788 pages, corresponding to the number of works, will be placed within 788 different books, according to a free association between the book and the work itself…
A meta-exhibition of a meta-collection in a meta-physiscal context. With no exporation date.
Talk by Luca Lo Pinto, october 30, 6.30pm, bibliothèque Carnegie, Reims.
For this permanent commission, An Invocation: Five hundred and thirty books from Southend Central Library, from october 30 at Focal Point Gallery, Essex, and using the distinctive furniture, fabrics and materials from the existing Modernist library building, Mike Nelson will construct a display system to house a series of books selected by the artist from the current Southend Central Library catalogue. The project will focus on books earmarked for replacement or removal before the library relocates to the new building, interspersed with key texts that have influenced the artist’s work to date.
The publication, designed by Fraser Muggeridge studio, uses the material from the collection to accompany this project.
L’agence du doute is a collective founded by Catherine Guiral, Brice Domingues, and Jérôme Dupeyrat. One of its modes of transmission is a display device called a Crystal Maze, which combines the forms and principles of the conference, the montage, the screening, the exhibition and the edition.
The agence thus pratices a research dedicated to books, edition and everything that possibly connects to it through diverse reflections be it literature, graphic design or cinema.
Ceci tuera cela? L’édition d’architecture comme contre-archive: située à la confluence de la transmission (dans le temps) et de la communication (dans l’espace), l’architecture résiste à son archivage érudit. Victor Hugo prophétisait que l’imprimé républicain tuerait le monument ecclésial ; mais qu’en est-il de l’édition d’architecture à l’âge des traitements de données et des villes connectées ?
À partir de leurs expériences de chercheurs, le 7 novembre, à 19h, au Centre Pompidou, Paris, les Éditions B2 et trois de ses auteurs évoqueront la documentation qui, par le texte et l’image, balise la temporalité de la recherche, de la rédaction et de l’édition — mais aussi celle de la diffusion et de la transformation…
Released in conjunction with Issue 18 of Fillip magazine, the booklet Slide Shows documents the specially commissioned Web video project on the landscape of international art publishing and design, curated by Charlotte Cheetham and produced by Fillip. Originally taking the form of a series of video presentations by publishers, designers, and artists, Slide Shows offers one possible cross section of a newly emergent field of book production. This publication documents the project, serving as a pocket reference to each of the profiles included in the series. After the pocket guide, the project will culminate in a printed volume that will document each slideshow, available in 2014.
Slide Shows booklet includes contributions by 4478zine, And publishing, Xavier Antin, Booklet, Cambridge Books, Cannon Magazine, Charlotte Cheetham, An Endless Supply, David Horvitz, Int. Typo. Union, James Langdon, mono.kultur, Samuel Nyholm, Occasional Papers, Oslo Editions, Precinct, Michalis Pichler, Elias Redstone, David Senior, split/fountain, Eva Weinmayr, Wendy Yao; and two new slideshows by Erik Kessels and Grotto are now available on the Slide Shows tumblr.
The School for Design Fiction – organized by James Langdon, introduced November 8, 3-8pm, Galerie für Zeitgenössische Kunst, Leipzig – offers a short course in reading objects, environments and messages. Stimulated by the curious genre of design fiction, the programme asserts storytelling as the primary function of design.
A design fiction (to be read in the same register as science fiction) represents a designed object that — materially, functionally, or conceptually — cannot presently be realised. More speculative than a prototype, a design fiction does not necessarily require the potential ever to exist. It is a suggestive form that prompts us to reconsider our assumptions about — or operates as a critique of — existing objects. It may do this by projecting into the future, or into a parallel reality.
Lectures at the school will be centred around a collection of such narrative objects, each a newly commissioned artwork realised by a member of the faculty. These objects will be employed performatively, to visualise subjects including the discovery of the human brain’s innate mechanism for narrating experience; the legibility of the built environment; and strategies for continuing unfinished stories.
Public School started in September 2007 as a non-profit project aiming to make public recordings of live events in the Israeli scene, and became a blog, Pax Israeliana, that documented forgotten books about design, art and architecture.
The Pax Israeliana Index of Israeli Modernism is a reference index of modernist works and terms from the golden age of Israel, found online, quoted and scanned from a variety of books, catalogs and magazines. The collection aims to define a time period when the young state of Israel was shaping its identity, trying to free itself from the Levant, and artists, architects, musicians, filmmakers and designers helped establish Israel’s perception in the eyes of the western world as a peace-seeking modern country by studying and showcasing their work abroad and embracing European Modernism.
Dubuffet Typographe/r is a tribute by the artist Pierre Leguillon to the French artist Jean Dubuffet (1901–1985) and to the typographic strategies with which Dubuffet achieves, on a visual level, his plan to destroy language through books and lithographs.
Dubuffet Typographe/r investigates the former wine-dealer’s professional acumen, demonstrated by Dubuffet’s creation of Art Brut and culminating in the management of an entire staff working to promote, document, and archive his activities. In the light of today’s obsession with self-promotion, Dubuffet can be understood as a forerunner of artists such as Jeff Koons or Damien Hirst. Once again, Leguillon’s approach follows seemingly marginal paths, which ultimately prove to be unexpectedly revelatory. Travelling to public and private archives such as la Fondation Dubuffet in Paris, the Bibliothèque Kandinsky at Centre Pompidou or to IMEC in Caen, Leguillon has photographed ephemera such as invitations, posters, catalogs, artist’s books, flyers, tickets, and record sleeves. These images were then used to execute a “recadrage” (re-framing) of Jean Dubuffet and his activities. Like a meticulous “detective”, Leguillon shows us how “for each project, Dubuffet invented a new way of writing and composing text—quite possibly by simply improvising. By this, he rejected the standardization as imposed by the printing process and typing, an education he himself went through. In books and lithographs, Dubuffet thoroughly sabotaged writing and typography (l’écriture) by fragmenting and distorting it, thus achieving, on a visual level, his plan to destroy language”.
©Andy Warhol Photographs, Robert Miller Gallery, 1987
John Cheim is known to many as one half of influential New York gallery Cheim & Read. However, what is less well known is that Cheim has produced and designed a number of important artist publications over the last 30 years including monographs on Louise Bourgeois, Alice Nell, Jack Pierson and Bruce Weber, to a name a few.
The presentation Design by John Cheim – October 15 to November 17, 2013, Institute of Contemporary Arts, London – sheds light on Cheim’s career as a book designer, known for precise, clear layouts combined with rich photographic reproductions. Having studied at Rhode Island School of Design, Cheim’s books have become highly prized among collectors of rare artists’ publications and this display aims to explore his work for the first time.
The About Mark Pezinger catalog not only gives view into the publicistic and personal universe of the publishing house Mark Pezinger Verlag but also assembles and unites the variety of individuals to a self-portrait of a publisher:
“…once I am adressed as Mark Petzinger, then again I am reading about a Mark Petziger or Mark Penzinger and lately I even found myself in an announcement as publisher Max Pezinger. Am I displeased by such confusion? On the contrary! Meanwhile I take pleasure in my comrades Petziger, Petzinger, Penziger and Peziger; they keep my a certain company – better that only one Pezinger are many of them. That thought was cause to the current publication: at my request, friends and companions created a portrait of their personal Mark Pezinger in their individual way. These contributions, transformed by me into advertisements, are the substratum to the originated magaziner …”
Aby Warburg: the History of Art as a Scene, a lecture by Philippe-Alain Michaud – October 18, 2013, 2pm, Museum voor Moderne Kunst, Arnhem – is organized in the context of the DAI theory seminar Anarcheologies.
Aby Warburg (1866-1929), the great German art historian, founder of the school of iconology, accomplished a drastic displacement of the concepts, on which his discipline has founded its main principles. This displacement has not so far been analysed in its ultimate consequences. In his studies of the Renaissance Warburg is not trying anymore to interpret or analyze the visual facts of the past, but rather to reactivate it, substituting therefore one meaning of the notion of representation to another. This is not a question of knowledge anymore, but rather a question of presence. To understand this shift, one has to come back to the journey Warburg made in 1895 to Arizona, where he attended the Hopi rituals, and to the consequences of this journey – that is the invention of a new method in history of art, borrowed from the recently born technology of film.
© Arnaud Desjardin, The Every Day Press
LE BAL Books week-end, September 6-8, 2013, Paris
The London Art Book Fair, September 13-15, 2013, London
MISS READ, September 19-22, 2013, Berlin
NY ART BOOK FAIR, September 20-22, 2013, New York
The Tokyo Art Book Fair, September 21-23, 2013, Tokyo
Unseen Book Market, September 26-29, 2013, Amsterdam
Vancouver Art/Book Fair, October 5-6, 2013, Vancouver
Salon Light #10, October 5-6, 2013, Paris
Third Issue, October 11-12, 2013, Frankfurt
OffPrint Paris, November 14-17, 2013, Paris
KIOOSK vol.2, November 16-17, 2013, Kraków
Sprint, November 29-December 1, 2013, Milano
Rookie Book Fair, December 7-8, 2013, Poznan
LA ART BOOK FAIR, January 31 – February 2, 2014, Los Angeles
Fahrenheit 39, March 7-9, 2014, Ravenna
“One Saturday afternoon in the winter of 2009, after visiting Trinity College Library in Dublin, I bought a notebook in a bookstore off College Green. For several years now, I have been collecting alphabet books, that is, books with letters for titles, and in Dublin I decided to start keeping a record or, if you will, a log of these occasional searches. To begin with, I wrote down bibliographic details and cataloged the travels — either my own travels or the shipping history of the book in question — as well as the expenditures involved in finding and acquiring this or that item, but soon my entries became less rigorous. The notebook has a convenient, expandable inner pocket where I keep receipts, and on the inside cover I’ve penciled the following inscription: A, B, C, D, Etc. ”
Alphabet Books, a lecture by Louis Lüthi, October 5, 2014, 8pm, San Serriffe, Amsterdam.
Martine Syms, writer, designer and publisher
Zak Group, design and art direction
Jordy van den Nieuwendijk, illustrator
PIN–UP Interviews is a compilation of over 50 of the interviews from PIN–UP magazine, the New York-based biannual architecture and design magazine, since its first issue was published in 2006.
Included in PIN–UP Interviews are the architects David Adjaye, Shigeru Ban, Ricardo Bofill, David Chipperfield, Zaha Hadid, Junya Ishigami, Rem Koolhaas, Peter Marino, Richard Meier, and Ettore Sottsass; artists Daniel Arsham, Cyprien Gaillard, Simon Fujiwara, Boris Rebetez, Oscar Tuazon, Andro Wekua, and Robert Wilson; and designers Rafael de Cárdenas, Martino Gamper, Rick Owens, Clémence Seilles, Hedi Slimane, and Bethan Laura Wood…
Walter Benjamin was an influential philosopher and art theoretician, best known for his 1936 essay “The Work of Art in the Age of Mechanical Reproduction”. In 1986 — many years after his tragic death — Walter Benjamin reappeared in public with the lecture Mondrian ’63–’69 organized by the Marxist Center in Ljubljana. In recent years, Mr. Benjamin has been an associate of the Museum of American Art in Berlin, giving interviews and publishing articles internationally.
Recent Writing collects nine essays by Walter Benjamin written between 1986 and 2013. Augmented with interviews and an extensive bibliography, these texts cover art, originality, museums, and art history, among other subjects.
The starting point for this transcript of four lectures, all held in Leipzig in 2010, is a public art work that Olaf Nicolai installed in Paris in 1998. By exploring and combining a broad spectrum of topics that relate to the theme of the labyrinth, Labyrinth. Four times through the labyrinth serves as both, a reference system to Nicolai’s work as well as an independent source book dealing with labyrinthian matter ranging from the minotaur to the floorplans of IKEA.
Exhibition and Book Presentation with Olaf Nicolai, Jan Wenzel & Sadie Plant – who translated the German version into English – September 21, 8.30pm, Pro qm, Berlin.
In the mid-1990s, Stuart Bailey interviewed Richard Hollis as part of his undergraduate thesis on Modernism in the UK. He subsequently became Hollis’s assistant, working with the designer at his home over a period of two years.
The talk The Truth About Hollis – September 26, 7pm, Artists Space, New York, as part of Richard Hollis exhibition – centers on Bailey’s insight into Hollis’s approach to graphic design, and the impact felt on the discipline due to social and technological developments. Stemming from Hollis’s writings on the historical shift towards visual communication as marketing, Bailey expands on how the material qualities of Hollis’s work can serve as heuristics towards a deeper understanding of his discipline.