Thursday 26.01.2012: Nico Krebs & Tayo Onorato @ Motto Berlin

AS LONG AS IT PHOTOGRAPHS
IT MUST BE A CAMERA

„As long as it photographs / It must be camera“ is a new double publication by Taiyo Onorato & Nico Krebs.

It deals with thoughts on the endless (im)possibilities of the photographic picture making process and the problems and solutions of the DIY camera community.

http://tonk.ch/

Rosa Barba: In Conversation With.

This book was published in conjunction with the exhibition “Rosa Barba” at Kunstverein Braunschweig and the CCA – Center for Contemporary Art Tel Aviv.
It collects four conversations between the artist and Sergio Edelsztein (Director CCA Tel Aviv), Hilke Wagner (Director Kunstverein Braunschweig), and writers and curators Kirsty Bell and Gil Leung.

Rosa Barba (*1972 in Agrigent, Italy; lives in Berlin) is an artist working extensively in the area of film. Besides narrative works on film, Barba also produces sculptural orchestrations that ultimately open up into a conceptual practice. Works such as Enigmatic Whistler (2009) or Invisible Act (2010) develop an almost multisen-sorial effect due to their special treatment of material, form, surface, light, and sound. The absence of a projected image causes the focus to shift to the material, thus heightening the sculptural effect.

D 20 €

Buy

Romka Magazine #6.

Some photographs are more important than others. Preserved memories of people you love and friends you have lost, places that shaped your understanding of the world and events that had a significant impact on your life. romka magazine is devoted to this one print that you keep in your wallet, on the desk at work or on your fridge door. Pictures of great sentimental value that gain their quality through the personal experiences they are connected to and not through form or content. It is not about your best pictures, but about your personal favorites.

In this issue of romka magazine, 69 professionals and amateurs from 33 countries share their photographic treasures and tell the stories behind them. For the first time, there are two special features as well: an illustrated short story by American author Paul Kwiatkowski and a collection of found photographs by London-based artist Steven Chandler. This issue’s heartwarming cover shot comes from Russian portrait photographer Evgeny Lebedev.

D 8,5 €

Buy

In The Beginning It Was Humid. Bastien Aubry – Dimitri Broquard.

Since a few years, Bastien Aubry and Dimitri Broquard do artistical work inspired by outsider art or the applied arts like handcrafts or ceramics. It appears as if they both don’t think much of rules and that they just spontaneously adapt their ideas. That makes their work fresh and full of expression. In the Beginning it was Humid – their fourth publication with Nieves – features a broad selection of their ceramic works from the last few year, and concludes with a short story by A.C. Kupper.

Bastien Aubry (1974) and Dimitri Broquard (1969) established the two-man design studio Flag in 2002. They work for art and cultural institutions, producing catalogues, artists books, magazines and posters. FLAG also creates drawings, illustrations for editorials and private projects. Both Broquard and Aubry respectively teach at art schools in Switzerland.

D 16€

Buy

Paper Rehabilitation Project: Blank Book #1

Made of paper from a warehouse of excess, rejected and damaged paper in Detroit.
Bound at a printing shop on the east side.
Designed by I.T.U. (Daniel Aubert and Lana Cavar) in collaboration with Maia Asshaq, Harry Burstyn and Pete Janutul.

162 pages; 81 blank sheets
Covers available in three colors.

D 10€

Buy

Wandering #1
With contributions from: Airen, Jean du Arc, David Aylers, Tenzing Barshee, Daniel Baumann, Bill Berkson, Bomec, Juliette Bonneviot, Max Brand, Stefan Buck, Caroline Busta, Kerstin Cmelka, Ann Cotten, Dari, Iris Därmann, Nikola Eschenbach, Fredi Fischli, Gregory Fong, Lars Erik Frank, Nina Franz, Dillon de Give, Lena Henke, Viggo Julsgard Jensen, Julia Jung, Nuri Koerfer, Wolf von Kries, Quinn Latimer, David Lieske, Ariane Müller, Silvio Do Nascimento, Eckhart Nickel, Niels Olsen, Aude Pariset, Danica Phelps, Sam Pulitzer, Roy Radich, Marta Riniker-Radich, Michele Robecchi, Jörg Harlan Rohleder, Sarah Colony Rose, Andreas Rosenfelder, Emanuel Rossetti, Vanessa Safavi, Emily Segal, Brandon Shimoda, Martin Schmitz, Chris Sharp, Queen of Sheba, Fabrice Stroun, Kate Sutton, Greg Parma Smith, Mark Soo, Julian Stalbohm, Rui Tenreiro, Uvid, Stewart Uoo, Hendrik Weber, Jean-Michel Wicker, Amelie von Wulffen, Adolf Wölfli, Dena Yago, Amy Yao, Anicka Yi.

Launch on the 26th of January, @ Motto Zürich, 7pm.

And screening of: Zazie dans le métro, Louis Malle
And music by: Florent/M + WTF

http://wanderingmagazine.tumblr.com/

How To Look Out. Marijn van Kreij.

Van Kreij’s play with appropriation and copying fits comfortably with our contemporary visual culture, where the immediate and endless reproduction of the image takes centre stage and no single image is ‘safe’ any longer. The artist questions this mechanism by returning to manual workmanship (drawing is the basis of Van Kreij’s artistic practice) and by partly concentrating on insignificant and meaningless pictures. Following in Van Golden’s tradition Van Kreij for example presents paintings that are based on the geometric patterns on the inside of envelopes. By magnifying these trivial things the artist intensifies our awareness of the fleeting visual structures that surround us all in daily life.

D 10€

Buy

Types We Can Make. ECAL.

Depuis le 8 septembre 2010 et jusqu’au 25 février 2011, l’ECAL/Ecole cantonale d’art de Lausanne présente «Types We Can Make» au MIT Museum/Compton Gallery. Cette exposition imaginée par l’ECAL en collaboration avec le Consulat de Suisse/swissnex Boston et le MIT Museum/Massachussets Institute of Technology offre une sélection de typographies contemporaines suisses. A l’occasion de cet événement, l’ECAL publie un livre de 150 pages.

Par le biais de cette exposition à la Compton Gallery du MIT Museum, produite avec le Massachusetts Institute of Technology (MIT), le Consulat général de Suisse et Swissnex à Boston, l’ECAL/Ecole cantonale d’art de Lausanne est fière de confronter la tradition suisse à une approche irréverencieuse plus contemporaine. Les deux d’ailleurs s’inscrivent parfaitement dans la ligne de ce qui a été fait à l’ECAL depuis l’arrivée en 1995 de Pierre Keller en tant que directeur. Notamment grâce à l’Unité de design graphique dirigée jusqu’en 2009 par François Rappo (présent dans l’exposition avec diverses fontes) et aujourd’hui responsable avec Pierre Fantys du Master in Art Direction lancé à l’automne dernier.
Cette exposition reflète totalement la politique instaurée dans cette école. On y trouve ainsi tout ce qui a permis d’hisser cette institution dans le club très select des dix meilleures écoles d’art et de design du monde. A commencer par la présence d’intervenants et professeurs de renommée internationale tels que Ludovic Balland, Cornel Windlin, Jonas Voegeli, NORM (Dimitri Bruni et Manuel Krebs). Des personnalités qui ont su dispenser leur savoir-faire tant en matière de Corporate Identity (fonte, logo, affiche…) que de design de caractères. L’apprentissage de la courbe qui va droit au but!

On y trouve également les travaux d’un grand nombre d’anciens étudiants qui ont pu expérimenter par eux-mêmes ou avec le concours de l’ECAL les différents champs de l’art typographique et les nombreuses applications qui en découlent. Qu’il s’agisse de la création pure de fontes comme celles d’Aurèle Sack, Nicolas Eigenheer, Philippe Desarzens, Mathieu Cortat, Emmanuel Rey, Jeremy Schorderet ou Ian Party. Du lancement d’un magazine tel que Sang Bleu par Maxime Büchi dont les qualités sont louées aux quatre coins du globe. D’un travail de recherche par David Keshavjee et Julien Tavelli mis en application dans l’ouvrage Typeface as program édité par JRP/Ringier et l’ECAL. De monographies d’artistes, de revues et magazines, voire même de logos comme celui réalisé pour RocNation du célèbre rappeur américain Jay-Z, par Gilles Gavillet et David Rust. De projets de scripting qui confinent au design interactif comme ceux initiés par Jürg Lehni et Alex Rich. De travaux de direction artistique par FAGETA composé d’Adeline Mollard et Philippe Egger pour Gestalten Verlag, d’Annina Mettler pour Das Magazin ou encore de Marie Lusa pour Migros Museum für Gegenwartskunst à Zurich. Sans oublier des affiches illustrées par Körner Union (formé de Guy Meldem, Tarik Hayward, Sami Benhadj) et Tatiana Rihs.
La scénographie réalisée par Alexis Georgacopoulos, responsable du Master en design de produit, met en lumière les typographies grâce à des affiches au format mondial (F4), qui est celui utilisé dans les rues en Suisse. Elles sont directement imprimées sur du carton «nid d’abeilles», un matériau rigide, léger et respectueux de l’environnement.

D 40€

Buy

Lines from the series After Modern History. Tramnesia.

After Modern History is a report on world events that re-edits the news of the day by linking together images according to a totally idiosyncratic perspective of pattern recognitions and typologies. After Modern History lifts photos from daily newspapers and re-organizes disparate, often atomized subjects into newly imagined affinities. For most people caught on the hard end of luck, the newspaper can be a lonely place. But in this second draft of history, bad news is no longer so isolated. There is no dateline.

Lines is a collection of newspaper clippings from the New York Times and the Wall Street Journal of people lining up.

D 8€

Buy



I.T.U. – International Typographical Union
Wednesday Jan 18th
start 7pm

Paper Rehabilitation Project, Series 1
Detroit Blank Book

The blank books in this first series of the Paper Rehabilitation Project are made of stock found at a warehouse of excess, rejected and damaged paper. Each book contains four different sheets and three different stocks for the covers – blue and gray with a linen finish, and a plum, with a sort of faux -leather finish. They were bound by Janutol Printing
on Detroit’s East side.
The paper in these books was probably originally purchased by printers for their clients, but for one reason or another it was not used as intended. It ended up on the scrap market at a high-volume paper recycler, where there was a small chance it would be bought by another printer, or more likely it would be shredded and sold (by weight) to a paper mill where it would become the recycled content in a new sheet of paper.
It took us a long time to learn of the existence of this paper. Printers, paper distributors, and even many paper recyclers are reluctant to speak of this kind of surplus paper, perhaps because it threatens the commodity status of ‘clean’ paper. We had the feeling that by having it bound into a book we were causing a minor disruption in the circulation of paper. We captured these sheets at this particular moment in time, while they were available, and made 600 books that we will never again be able to reproduce.

I.T.U. – International Typographical Union
Danielle Aubert, Maia Asshaq, Lana Cavar
http://internationaltypographicalunion.org/