More information (in spanish) here.
Civic City Cahier series
"The Civic City Cahier series is now available, including the out-of-print editions 1 and 2 by Margit Mayer and Gui Bonsiepe. The books are distributed worldwide through Amazon for Kindle and on the iBookstore for Apple devices. A free Kindle reader app is also available for most smartphone and tablet platforms." bedfordpress.org
"The starting point was the red box, which we used in the same proportions as the original box, but instead of filling it with letters, we decided to leave the box empty, as an abstract form (or an empty plaza). And instead of IN the box, we placed the letters EP outside the box – or better said, underneath the box. That way, the red box becomes a “raised plateau” (to quote the Smithsons), hovering above the word. On the one hand, the red box becomes an empty, abstract shape (“a pre-entry space, in which there is time to re-arrange sensibilities”), on the other hand the box remains an integral part of the logo (in the sense that it is still a very iconic shape). It’s almost an inside-out logo.
Regarding the other meaning of the word EP (‘Extended Play’), we also believe that the logo refers to that. In a way, the letters are projecting themselves out of the box – they are extending. The red box becomes a place, or a plaza, that doesn’t enclose information, but propels it outwards.” Experimental Jetset
"At a time when the dematerialisation of the art object and the emphasis on its contextualisation within space were such popular themes, Seth Siegelaub radicalised his research by exploring a new dimension, that of art’s potential reproduction.
The importance of Siegelaub’s curatorial work lies in the new conceptual aesthetics he presented to the public. The role of the curator – which Siegelaub himself had defined as akin to that of a playmaker(2) – began to take shape in this context. Despite the fact that the late Sixties were a time characterised by radical forms of social contestation, the impulse towards finding new spaces and devices for art display was not born out of a critical challenge of the status quo, but rather, as the outcome of a wider range of possibilities, in an age of economic and financial growth. Central to this trend were the developments within the media, such as the increase of television viewership and its revolutionary impact on society’s perception of reality.” Lorenzo Benedetti
"Curated by Jon Sueda of the San Francisco design practice Stripe SF, and in collaboration with CCA’s Graphic Design and Graduate Design programs, this is the second in a series of Wattis Institute exhibitions that integrate the Wattis with CCA’s faculty and curriculum.
The Way Beyond Art is a new series of exhibitions at the CCA Wattis Institute for Contemporary Arts in which each show focuses on one of the non–fine arts programs at CCA, from Architecture to Design, Writing, Illustration, Film, and Visual and Critical Studies. The program offers opportunities for forward-thinking artists, designers, architects, writers, scholars, and other creative practitioners to come together, and it looks forward to stimulating unconventional conversations around cultural production today.”
“The Way Beyond Art: Wide White Space will focus in particular on graphic designers who create innovative identities for exhibiting institutions, forge unique collaborations with curators, and launch their own exhibition-based initiatives.”
Wattis Institute (San Francisco, January 20–February 5, 2011)
The exhibition’s website.
"Wide White Space was the name of a radical art space in Antwerp Belgium that, though it existed for only a decade, came to define contemporary art in the late 1960s and early 1970s. This exhibition likewise aims to investigate the possibilities for how empty space, whether the white cube or the blank page, can be transformed into something more complex." Interview with Jon Sueda, the curator.
via Printed Matter
“Learn to Read Art: A Surviving History of Printed Matter, Inc. assembles a visually dense vitrine- and wall-based presentation featuring a broad range of material produced by the organization since its founding in 1976. Borrowing its name from a text by Lawrence Weiner, ‘Learn to Read Art’ has been used variously by Printed Matter starting in the early 90’s, including for past exhibitions curated by former Director AA Bronson. The exhibition puts on view material from the Printed Matter Archive that was damaged during basement flooding following Hurricane Sandy in 2012.”
Protesters run as riot police fire teargas during a protest at Taksim Square in Istanbul on June 11, 2013. (Osman Orsal/Reuters) | Watch Live
"Graphic Design and Art Direction by Zak Group for 8th Berlin Biennale for Contemporary Art."
"The Fondazione Prada presents between 1 June and 3 November 2013 at Ca’ Corner della Regina in Venice an exhibition entitled “When Attitudes Become Form: Bern 1969/Venice 2013” curated by Germano Celant in dialogue with Thomas Demand and Rem Koolhaas. In a surprising and novel remaking, the project reconstructs “Live in Your Head. When Attitudes Become Form,” a show curated by Harald Szeemann at the Bern Kunsthalle in 1969, which went down in history for the curator’s radical approach to exhibition practice, conceived as a linguistic medium. […]
A scientific volume of more than 600 pages is published to coincide with “When Attitudes Become Form: Bern 1969/Venice 2013.” It includes the complete collection of photographs, many previously unpublished, taken by photographers during the exhibition in Bern (Claudio Abate, Leonardo Bezzola, Balthasar Burkhard, Siegfried Kuhn, Dölf Preisig, Harry Shunk and Albert Winkler); a preface by Miuccia Prada; an interview-essay by Germano Celant; two dialogues with Thomas Demand and Rem Koolhaas; as well as contributions by internationally recognized historians, theoreticians, curators and critics (Gwen L. Allen, Pierre Bal-Blanc, Claire Bishop, Benjamin H.D. Buchloh, Charles Esche, Boris Groys, Jens Hoffmann, Chus Martínez, Glenn Phillips, Christian Rattemeyer, Dieter Roelstraete, Anne Rorimer, Terry Smith, Mary Anne Staniszewski, Francesco Stocchi, Jan Verwoert).”
"Two main axes comprise the backbone of the site. Buck-Morss’ constellations of selected images frame a spatial and associative navigation, while her texts follow a more traditional, linear structure. These two axes are then hyperlinked: clicking an image within a constellation scrolls the page to its position within the corresponding text, and closing a text panel brings the corresponding constellation back to the fore. Visually and structurally interwoven, the site’s navigation itself reflects the interactive dialogue between image and text." projectprojects.com
"As with a line, every story needs a beginning. However, with a project that is as extensive as the development of the new graphic identity of the Whitney, there are many beginnings. So the question is simply – how to begin this story?" experimentaljetset.nl/archive/whitney-museum-identity
"Two years ago, Museum staff began a thoughtful internal dialogue regarding the Whitney’s graphic identity and selected the design studio Experimental Jetset to develop an approach which embraces the spirit of the Museum while serving as a visual ambassador for our new building. The result is a distinctive and inventive graphic system that literally responds to art—a fundamental attribute of the Whitney since its founding in 1930. This dynamic identity, which the designers refer to as the “responsive ‘W’”, also illustrates the Museum’s ever-changing nature. In the upcoming years it will provide an important point of continuity for members, visitors, and the public during the transition to the new space." whitney.org/NewIdentity
Self-publishing, independent publishing and experimental publishing in Spain.
All The Knives, Any Printed Story on Request catalogue
"With ‘All the Knives’, they propose a performative exhibition with very minimal presence, perhaps a chair, a table, a box in an otherwise seemingly empty space. The content of this exhibition is in a state of standby until a member of the audience enters. Performers/invigilators welcome the visitor into a world of stories for which printed graphic items and conversational situations are the catalysts. The show is a collection in constant flux, gathering stories of objects which usually are present in a gallery space or people’s pockets.
All the Knives is an exhibition by Åbäke, Yaïr Barelli, Jochen Dehn, Dirk Elst, Aurélien Froment, Vladimir Ivaneanu, Sally O’Reilly, Matt Rogers and Adva Zakai.” z33.be
"Visual essay of Karel Martens’ studio, published on the occassion of the exhibition KM at ginza graphic gallery (Tokyo, Japan). With texts by David Senior and Karel Martens. Photography: Johannes Schwartz. Editing and Design: Julie Peeters & Karel Martens."
"Part of what makes these logos indeed “not hardcore" is that, despite the use of what is supposed to be some kind of anarchic “X”, the rest of the typography and graphics are too pretty and stylish and family friendly. So we went in the complete opposite direction: awkward, ugly, hard to read, and aiming to please no one. Hardcore? Maybe still not. But it works as an experiment in bursting the trend and seeing what comes out of it."