The exhibition space P!, New York, will conduct an extended inquiry into the nature and means of copying. Remakes vs knockoffs, transcription vs plagiarism, mimesis vs mimicry — the status of the copied act shifts from positive to negative and back again, depending on context and culture. Multiples of a religious or political icon extend their reach and efficacy, whereas a duplicated file, painting, handbag, or cityscape violates legal and ethical strictures. Questions of capital and power lie at the core: who owns the original vs who is producing the copy.
Offering counterpoints from disparate cultural positions, P! explores the copy through a cycle of events and exhibitions.
Permutation 03.2: Re-Place, from March 8 to April 14, 2013, is the second exhibition of P!’s six-month cycle on copying focuses on replicas, remakes, and recurrences. Margaret Lee’s uncanny storefront display juxtaposes graphic backdrop painting with simulated fruit, while Oliver Laric premieres a new Mandarin version of his distributed video essay, Versions (2009–onward). London-based collective Åbäke captures plaster molds for a Danish/Chinese Pieta in “hacked intaglio”, and Amie Siegel’s Berlin Remake (2005) approaches East German filmic precedents as contemporary scores for reprise and re-performance. The presentation of these disparate works at P! establishes frameworks for considering authenticity and origination across a variety of cultural contexts.
In the 1960s and 1970s, the artist Ed Ruscha created a series of small photo-conceptual artist’s books, among them Twentysix Gas Stations, Various Small Fires, Every Building on the Sunset Strip, Thirtyfour Parking Lots, Real Estate Opportunities, and A Few Palm Trees. Featuring mundane subjects photographed prosaically, with idiosyncratically deadpan titles, these “small books” were sought after, collected, and loved by Ruscha’s fans and fellow artists. Over the past thirty years, close to 100 other small books that appropriated or paid homage to Ruscha’s have appeared throughout the world.
VARIOUS SMALL BOOKS, Referencing Various Small Books by Ed Ruscha collects ninety-one of these projects, showcasing the cover and sample layouts from each along with a description of the work. It also includes selections from Ruscha’s books and an appendix listing all known Ruscha book tributes…
©Joseph Beuys & Ken McMullen: Word Works (1972). Courtesy Ken McMullen / George Brecht: Entrance to Exit (1965). Courtesy Re:voir / Morgan Fisher: The Wilkinson Household Fire Alarm (1973). Courtesy Morgan Fisher / David Gatten: Film for Invisible Ink, case no. 323: ONCE UPON A TIME IN THE WEST (2010). Courtesy David Gatten / Liza Béar: Earthglow (1983). Courtesy Liza Béar
The screening Image, Text, Time: Typography in Artists’ Film and Video – selected by Fraser Muggeridge and Will Rose, during Publish and Be Damned 2013, March 2, Institute of Contemporary Arts, London – brings together artists’ films and videos in which typography plays a central role. The screening will look at how typography has been used to shape new aesthetic relationships between image, text and time, and how viewing moving image might be considered as a process of reading as well as looking.
©Dominique Hurth, diagrams, 2013
Saturday 23, 7pm, at Scriptings, Berlin, join for an evening of live presentations by some of the contributors to the publication We would like to learn, and we are working on a book. This book is a classroom. and others, including Paolo Caffoni, Dominique Hurth, Achim Lengerer, H.I.T, Lucie Kolb, Romy Rüegger.
Paolo Caffoni on a series of publications called 150 hours. The publications in question consist of preparatory teaching notes for the education of workers, housewives and the unemployed, developed in Italy in the 1970s. The signing of the metalmeccanici (engineering workers) employment contract in April 1973, brought an important period of trade union struggles to an end. As a result, 150 hours of paid work were allotted to workers every three years for “educational and cultural” use.
Dominique Hurth, Séance de lecture. In the format of exhibitions, readings and publications, Hurth explores in a nonlinear manner, historical narratives that are present in localities, words and images. Séance de lecture explores in images and texts her current work on the physical manifestation of a book in an exhibition space, the materiality of writing and syntax, and the physicality and performativity of reading, looking subjectively at Stéphane Mallarmé and Herbert Bayer.
Lucie Kolb, Romy Rüegger and Achim Lengerer in conversation about the publication We would like to learn, and are working on a book. This book is a classroom. are taking a look at the book as medium and different modes of authorship connected to it. The space of the book is circumscribed and structured by its parameters: format, binding, jacket, title page, layout, preface, postface, table of contents, captions, cross headings, intertitles, annotations, editorial notes, appendix, blurb, names and accessories, thus creating authorship(s) consisting of varying roles and producing horizontal connections within the reading. With H.I.T. MUSIC & visuals.
The HfG After School Club is an open platform to encourage and promote collaborative working structures. Once a year, during the lecture-free period of the HfG University of Art and Design Offenbach the dormant parts of the university are transformed into a student-organised workspace. The festival includes workshops, lectures, symposia, concerts and exhibitions. For one week aspiring design students will be able to attend six different workshops, each led by an internationally acclaimed designer… The second round of the festival will take place March 18-23 2013.
Publishing as (part-time) Practice highlight graphic designers who are also publishers, and pursue a discussion of the designer’s changing professional role as both author and publisher.
At Motto Charlottenborg, February 20, 6pm, there will be an exhibition of a fine collection of books from Danish and Swedish small-scale publishers. Louise Sidenius (Internationalistisk Ideale, Monade), Matilda Plöjel, Mattias Jakobsson & Peter Ström will talk about small-scale publishing initiatives, as well as similarities between the Danish and Swedish independent publishing scenes.
Publishing as (part-time) Practice small tour will continue March 16–17 in Leipzig during It’s a Book, it’s a Stage, it’s a Public Place; and April 20 in Oslo, at Torpedo Books / Grafill.
Beat Book Covers is a compilation of front covers of various editions of books by Jack Kerouac, William S. Burroughs, Neal Cassady, John Clellon Holmes, and David Goodis books.
Allen Ruppersberg, American pioneer of Conceptual Art, began exhibiting in Los Angeles in the late 1960s, along with fellow artists John Baldessari, Ed Ruscha, and William Leavitt. This was a generation of artists whose practice attempted to bridge the distance between art and life through artistic languages which employed everyday objects such as magazines, commercial ads, postcards, and records. Since the beginning, Ruppersberg’s work displays an affinity for the written word and printed materials, and explores consumer society and mass media in a manner that is both playful and critical.
For High Line Billboard in New York, until February 28, Allen Ruppersberg presents You & Me, a collection of colorful posters never before shown in this configuration or scale. Similar posters have been featured in his work since the 1980s, and are typically seen on the streets of Los Angeles, where they promote neighborhood events such as wrestling matches, carnivals, and religious gatherings. Allen Ruppersberg appropriates the distinctive background onto which he lays his peculiar form of spontaneous poetry. Arranged side by side on a grid to cover the entire surface of the 25-by-75-foot billboard, the posters display the many combinations of the words “you” and “me” with verses and absurd linguistic associations that can be read in different orders, allowing for unexpected connections between words and ideas.
Werker Magazine is a contextual publication about photography and labour that inquires into the possibility of formulating a contemporary representation of work. Werker takes its name from the Worker Photographers (1926-39), fascinating by their political use of photography based on self-documentation, self-publishing and image critique.
Werker 3 – Bilderkritik 2 – February 24, The Showroom, London – will be an afternoon event where the method of ‘Bilderkritik’ (image critique) will be explored in relation to images from the Domestic Worker Photographer Network…
TEXTS: GRAPHIC 2007—2011 is a collection of the text in GRAPHIC throughout 5 years since 2007 to 2011. This contains 422 interviews, 31 essays, and 160 designer’s comments with regards to contemporary issues in graphic design.
“If there is one common thread running through all the issues, it is the effort to highlight the graphic design process and mind-set by focusing on the independent approaches of its practitioners. Our main interest has been in the ways contemporary graphic design has been branching out, with each issue dedicated to figuring out how to record these changes. What sources do we look to for the energy that drives new currents in graphic design? In our case, we identified them in terms of two major themes in graphic design: “independence” and “expansion.” These are the links that join the different topics found in each issue.”
Drawing influence from other programs of this type in Switzerland, Germany, Belgium and the Netherlands, the Most Beautiful Books—Australia & New Zealand biennial award program has been established to recognise excellence and innovation in contemporary book design and production in Australia and New Zealand. MBBANZ operates on an open submission basis: books may be submitted by designers, publishers or printers, but also by readers, retailers and others. Entries close March 1. 2013 Jury: Peter Corrigan, James Langdon, Denise Whitehouse, Warren Taylor, Layla Tweedie-Cullen.
There was an empty room in the back of the Werkplaats Typografie. One day, that void has been pushed out of the two doors. In 2012 eighteen people had to find that space somewhere else.
During six separate excursions, throughout Arnhem and the Netherlands, they explored the potentialities of the destruction and construction of new lands, they travelled far in order to look back, they tried to escape to freedom in a dead-end, they cancelled a day, and they finally found nowhere-man in nowhere-land. They searched for the room that they had lost, or for the conditions and materials with which to rebuild it, and in doing so began to expand the walls of the school along a whole new set of trajectories and possibilities.
Cosmic mental therapy (in the realm of the necessary decision) – launched february 7, 7pm, Motto, Berlin – is a collection of texts – edited by Noah Venezia and Stefano Faoro with support from Maxine Kopsa – that were gathered through the past year as the Werkplaats Typografie participants of Year 12 and Year 13 collectively attempted to identify, destroy or run from established sovereignty in an attempt to search for something new.
L.I.E (Library of Independent Exchange), a temporary arts reference library, presents, at The Newbridge Project, Newcastle, until February 15, L.I.E Outpost Crate No.1, featuring a selection of titles from L.I.E’s permanent collection, 3 Script works, as well as twenty ’10 Favourite Books’ lists, with contributions from Ed Ruscha, Katrina Brown, New Jerseyy, Olivia Plender, Charlotte Cheetham, Hans Ulrich Obrist, Jem Southam, Jeff Eaton, Benjamin Sommerhalder, Lionel Bovier, James Jenkin, OMMU, Marco Kane Braunschweiler, Layla Tweedie-Cullen, Jeremy Millar, Alec Finlay, Fraser Muggeridge, Torpedo Press, An Endless Supply, Axel Wieder.
Bold Italic is an entire day related to graphic design with lectures and presentations. The guests of the Bold Italic 2013 edition – March 14 in Gent – are Peter Nencini, Adrian Shaughnessy on the life & work of Herb Lubalin, Francois Chastanet about urban documentaries & teaching lettering, Rick Poynor on the life and work of Dom Sylvester Houédard, and Cox & Grusenmeyer.
Typography Summer School is a meeting place for graduates of graphic design, wanting to bridge the gap between student and professional and learn more about typography. The school brings together leading practitioners and participants to study, exchange ideas, and investigate the discipline.
As well as running a range of projects within typography with real clients and budgets, the school acts as a think tank encouraging research and dialogue. This environment provides a forum in which to discuss what typography is, its relevance in design history and the part it plays in today’s society. The school investigates the role of typographic design across ranging mediums, from books to film credits and posters to websites.
The school was founded by Fraser Muggeridge, joined by a visiting practitioner each day, from specialised areas of typographic design practice and educators at distinguished design schools.
The 2013 tutors in London – July 22-26 & July 29 – August 2 – are APFEL (A Practice for Everyday Life), Europa, Ken Garland, James Langdon, OK-RM, Other Means and David Pearson.
The 2013 tutors in New York – August 12-16 – are Julian Bittiner, Bob Gill, James Goggin, Geoff Han, Mary Voorhees Meehan, Other Means and Mark Owens.
Applications are open until May 1.
ROLU Reader, We Will Learn From These Things In Ways No One Could’ve Taught Us, will be launched at LA Art Book Fair, February 1-3, MOCA, Los Angeles.
En écho au travail de Pierre Faucheux (1924-1999), graphiste et directeur artistique dont la production fleuve s’étend des années 1950 aux années 1990, Crystal Maze IV – ’1+2+3=3′ – Notre distraction favorite – exposition, projections, lectures, 21 février – 11 mars 2013, Centre Pompidou, Paris – proposé par l’Agence du doute (Catherine Guiral, Brice Domingues, Jérôme Dupeyrat) est un labyrinthe où se rencontrent des objets, des images et des voix. Sur le principe du montage, ce dispositif réunit des créateurs dont les œuvres sont la trace d’un désir visuel trouvant satisfaction dans l’usage et le dépaysement des images. (+ d’infos sur Crystal Maze I, II & III)
La proposition est enrichie de conférences, discussions et programmation de films, qui composent tous ensemble un Crystal dont le spectateur est invité à observer les facettes.
L’agencement de ces créations et les différents évènements qui accompagnent cette proposition mettent en évidence une culture visuelle et des procédés communs à un ensemble de graphistes, d’artistes, de photographes, de cinéastes, dont les travaux s’étendent du tout début du XXe siècle jusqu’à aujourd’hui et peuvent faire l’objet de rapprochements, parfois inattendus, tant sur le plan formel que conceptuel.
Il ne s’agit pas de mettre à jour des emprunts (qui, lorsqu’ils existent, sont souvent réciproques), ni d’établir des généalogies entre les pratiques mais de montrer ce que des travaux dont le rapprochement est parfois évident, parfois forcé, peuvent avoir de références communes ou de procédés partagés et comment ils constituent ensemble un pan de notre culture visuelle contemporaine.
Les contours de cette culture visuelle ont été identifiés à partir du travail du graphiste Pierre Faucheux, en particulier ses “écartelages” et le travail réalisé avec son atelier pour les couvertures du Livre de Poche. Ces travaux sont souvent sous-tendus par des emprunts iconographiques et des procédés tels que la déchirure, le découpage, le collage, le montage, la colorisation : autant d’opérations graphiques et plastiques qui dépaysent les images pour les offrir à d’autres registres et pour lesquelles le travail de Pierre Faucheux constitue une matrice inépuisable…