intervals and forms of stones of stars investigates a Nordic man-made beach landscape. Located near Copenhagen, Køge Bay Beach Park is a 7-kilometer-long recreational area reclaimed from the sea. While highly planned and regulated, the idea was to create a landscape that looked like wild nature. The book is a reflection of this anthropocene biotope, its botany, and its cultural context. Through a series of cameraless photographic registrations, Buhl maps the biotope’s flora, fauna, and particles and draws connections between the characteristics of the site and its photographic representation. Her photographs are inspired by the cameraless photographic works of W. H. Fox Talbot (1840s) and A. Strindberg (1890s); images created without a photographic lens, only by use of light and light sensitive surfaces. In the photographs, dust particles resemble the night sky and the wings of an insect look like a topographical map. The book contains the series of full-page photographs as well as a text of field notes and two conversations, with N. Bubandt, Professor of Anthropology, Aarhus University and with L. Gallun, Assistant Curator of Photography at MoMA, New York.

Nanna Debois Buhl is a visual artist who lives and works in Copenhagen and New York. She participated in The Whitney Museum’s Independent Study Program, New York (2008-09), and received her MFA from The Royal Danish Academy of Fine Arts (2006). Her practice is a continuous investigation of historical and cultural knowledge through botany, animal life, imagery, and architecture. Her work has been exhibited at institutions such as the Pérez Art Museum, Florida; SculptureCenter, New York; Art in General, New York; The Studio Museum, Harlem, New York; MSU Museum of Contemporary Art, Zagreb; Lunds Konsthall, Sweden; ARKEN Museum of Modern Art; Kunsthal Charlottenborg; Kunsthallen Brandts; Museum for Contemporaty Art, Roskilde; and Herning Museum of Contemporary Art, Denmark.

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Published on the occasion of Emily Wardill’s exhibition “Matt Black and Rat” at Bergen Kunsthall.

Featuring production stills and images from the exhibition, this book also includes new texts by philosopher Michael Marder, critic and writer Kirsty Bell, and a conversation between Martin Clark and Emily Wardill.

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Gay Area Telephone Directory is an artefact from another age. It is an exact facsimile of an American telephone directory published in December 1983 by Gay International Inc. and targeted at a queer population. The phonebook is a now-obsolete format, but before mobile phones and the internet every household had one by the landline. This queer directory featured listings and advertisements for businesses friendly towards or catering to lesbian and gay men at a time when such visibility was a rare and possibly dangerous thing. 1983 was a watershed year for LGBTQ people. The first HIV/AIDS cases were reported barely two years before, marking the beginning of the health crisis that would go on to kill more than half a million (primarily LGBTQ) people within the next ten years. In addition to serving as a portrait of a community and its culture at a crucial stage of development, Gay Areas Telephone Directory stands as a time capsule of lost generation(s) felled by AIDS.

Originally published in 1983 by Gay International Inc. Facsimile edition

Slipcase design by Joe Gilmore

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With a text by Olaf Nicolai

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Natalia LL. Consumer Art and Beyond
Edited by Agata Jakubowski
Published by CSW Zamek Ujazdowski

Language: English
Pages: 182
Size: 16 x 22.5 cm
Weight: 380 g
Binding: Softcover
ISBN: 9788365240262

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Parker Ito’s multi-media work often suggests the movement between the real and the virtual, and between photography and painting. Along with operating a prolific studio, Ito also focuses on the way images and artworks circulate online. In 2016, he created a series of works in which he repaints photographs of flowers, a classic subject in the history of painting. Some are based on found images, others on photographs Ito took himself; all combine materials that give it a tactile quality—at once rough and polished—that may, or may not, translate in documentation.

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T9 (short for ›text on 9 keys‹) is a predictive text technology developed in 1995. It was designed to optimize text entry on 3×4 numeric cell phone keypads commonly used at that time. On these standard 12-key layouts the number keys from ›2‹ to ›9‹ are assigned to a group of three to four letters each. In T9, a sequence of single keystrokes is matched against a stored dictionary. Words associated to the entered sequence of numbers are then presented to the user to choose from. Coincidentally and inherent to the working principle of T9, one sequence of keystrokes can potentially represent many different words. This guide book compiles an incomplete and subjective selection of these so-called ›textonyms‹ to be found in the English language. It exposes the collateral poetry, incidental truisms, and semantic comedy that are latently lurking in encoding and compression technologies like T9.

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Type Life
Issue #1: Special Lab

The inaugural issue is a special about the Lab. In this Research & Development department, we explore new ideas for future fonts. Two of the most recent additions to the Lab are showcased here. The first one named BRRR is a playful wide Grotesk with a great deal of disruptive details. A spin-off from Simplon Mono, it was initially created to design a poster series for Swiss artist Simon Paccaud. KRSNA started out as a custom version of NewParis Skyline, made for two vinyl record sleeeves by Geneva-based musician Grace Core. This experimental typeface abandons the convention of a continuous baseline and introduces a three-storey space where the letters can sit at the top, center or bottom, with the remaining space filled by bars and spikes. The resulting word images are captivating patterns with logo-like qualities. Type Life reveals how BRRR and KRSNA came into being by depicting preliminary sketches, evolutionary steps, and photos of experiments made during trips. Reproductions of the very first applications show the fonts in context.

An underlying theme in Type Life #1 is the confrontation of opposites. Systematic typography is interspersed with footloose lettering, accurate vector shapes are shown side by side with drippy comic blackletter. Highbrow clashes with subculture when an icon of the Swiss International Style gets remixed with graffiti. Past meets present also in the typeface designs that always and inevitably are contextualized in history. The digital is contrasted with the analog, the local with the cosmopolitan, the abstract with the personal. On a formal level, all of this is represented by the combination of uncoated newsprint and glamorous spot colors. The minimal but nevertheless unique color palette featuring Pantone neon pink and yellow along with silver and black is a defining element of the publication’s identity.

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TSAR 16
LVMH Le Vermino Helvétique
by Charlotte Krieger and Agathe Zaerpour
Around the work of Simon Paccaud

With contributions from:
Stéphane Kropf, Stéphanie Serra, et Joël Vacheron.

136 pages
22.5 × 30 cm
Français / English
Softcover with hand painted cover
Color Offset
ISBN 978-2-9700842-5-9
First edition 2017
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The Marble Index is an extensive presentation of Marit Foelstads video works. 25 images from each video gives a strong visual presentation of each piece. With more than 400 pages, the books is considererd as one of the most implemented art books of a norwegian artist. The book also contains newly written essays by Robert C Morgan, magnus haglund, and Joakim Borda. Marit Foelstad has through a series of exhibitions on the norwegian map, marked herself as one of norways most important artists.

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