TRINN TAMM. A STACK OF BOOKS - Rollo Press, 2011
”[…] BOMB redesigned its website to highlight this vast resource of conversations between artists. This dynamic web platform will provide BOMB’s growing online audience, now more than two million strong, with unprecedented and free access to an ever-expanding cultural dialogue. Optimized for mobile devices, the site will accommodate diverse modes of accessing and distributing content, enabling BOMB to reach an even broader audience.”
”[…] Left, then, is a term denoting an absence; and this near non-existence ought to be explicit in a new thinking of politics. But it does not follow that the left should go on exalting its marginality, in the way it is constantly tempted to—exulting in the glamour of the great refusal, and consigning to outer darkness the rest of an unregenerate world. That way literariness lies. The only left politics worth the name is, as always, the one that looks its insignificance in the face, but whose whole interest is in what it might be that could turn the vestige, slowly or suddenly, into the beginning of a ‘movement’. Many and bitter will be the things sacrificed—the big ideas, the revolutionary stylistics—in the process. […]” - T. J. Clark
"New website and APP…"
Tokyo Olympic Games. Commemorative stamps designed by Sebastião Rodrigues in 1964.
"Museu Coleção Berardo will publish a new book on the occasion of Carla Filipe’s new exhibition da cauda à cabeça [from tail to head]. Binded in hardcover and containing close to 250 pages, this book brings together a selection of items related to the project presented by the artist in the museum, and includes a series of photographs of the installation itself." - Museu Coleção Berardo
Codex is the title of an exhibition-manifesto conceived by Pierre Leguillon during a residency in San Francisco. As an artist and book collector, Leguillon found himself within the stacks of the Prelinger Archive, a local independent research library that houses 19th and 20th century historical ephemera, periodicals, maps, and books.
Founded by Rick and Megan Prelinger in 2004, the unique organization of this “appropriation friendly” library conceives of its holdings as a “landscape of ideas,” classifying subjects both spatially and conceptually.
This project evolved from a collective inquiry which, given the fanatical desire to digitalize every book, was based on the premise the library has now been “flattened.” The codex (book or block of wood in Latin), which first appeared during the Roman Empire between the 1st and 2nd centuries AD, was the earliest form of a bound book.
Replacing the scroll, it permitted linear reading and made it possible to hierarchize the content of a text through direct access to the desired page. Why, in an era of digital databases, online libraries, and the development of new digital media, bring the codex back into two dimensions, into screen format? And why continue to imitate the space of the traditional book by retaining page numbers, by simulating turning pages, etc.?
The irreversible act that consists in taking books into the picture plane is found throughout the entire history of Western art and seems a recurring motif in the most recent contemporary art.
The exhibition Codex is designed as a living organism and offers a series of events in connection with the selected works, composed of screenings, lectures, and exchanges that will also make it possible to “perform” the book, to see it manipulated and, interpreted, either live or at the cinema, through words and gestures. […]” - wattis.org
John Baldessari, Two Voided Books, 1990. Collection of of Ninah and Michael Lynne.
The purpose of an artist’s a postcard is to express an idea, aesthetic and intellectual, specifically and exclusively in the form of a postcard, that could be actually postable, even when made of wood, or bone, or steel. The exhibits are not merely postcard-sized paintings, but instead they engage individually with the form and purpose of the postcard. The exhibition’s title ‘The Postcard is a Public Work of Art’ is taken, with the approval of both artists, from a postcard of 1996 designed by Simon Cutts and printed by David Bellingham at his Glasgow imprint WAX366. To accompany the exhibition we are producing a publication of a boxed-postcard catalogue, drawn from Hans Ulrich Obrist’s breakaway catalogues Hotel Carlton Palace Chambre 763 in Paris in 1993 and Take Me (I’m Yours) at the Serpentine Gallery in London in 1995. This form was itself inspired by the work of Lucy Lippard in the 1970s. Our postcards-of-the-postcards are an extension of this idea.
O mito do contemporâneo
Many artists, photographers, and graphic designers who are creating artist’s publications for the first time in this century are using the internet as a collaborative community, and creative publication ideologies are in flux. Many of these artists are attempting to re-categorize, rename or even…
Print screens from Armin Linke’s Alpi (2011) and from Paul Labadie’s Swiss Banks (2013).
"How much does it cost to produce a magazine?Paying our authors and everyone else involved in the process is important, and authors’ honorariums amount to around €7,000–8,000 (US$9,600–11,000) per issue. Working with great designers, printers, binders and lithographers, our biggest expense, costs about €13,000–16,000 (US$17,900–22,000) per issue. We offer free shipping in Europe, and charge €4 (US$5.50) for shipping outside of Europe, which is less than actual shipping price, paying a difference of about €4,000 (US$5,500). For a print run of 3,500 copies, the cost per issue comes to more than €7 (US$9.60). This is part of the reason for our fairly high cover price of €16/US$20.But expenses don’t end with printing the hardcopy edition. We have significant web development costs, over €40,000 (US$55,000) to date. This includes development of our initial crowd-funding site, the payment system, the online editing system that streamlines our collaboration with contributors from all over the world, the actual website, the back-end system, and the eBook export system. Of course, there are also expenses such as the office rent and my own time, which is something I am willing to invest into the magazine." - Peter Biľak, State of the Magazine, worksthatwork.com