With a text by Olaf Nicolai
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.
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.
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.
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
BUY
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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.
Following Marije de Wit’s work that shows her contemplative attitude towards sculpture, presentation, image, representation, abstraction, meaning and value, the works in There is so much thinking to be done keep introspecting their own status. The works are things just as much as they are interfaces in between things and thinking about what they are. Sculptural and painterly motifs that are self-invented, taken from ancient art and from the realms of advertisement, ask out loud whether they’re doodles, ornament or image.
As some works are shaped by trackable gestures – meaning that both what is shown and how it is made are equally on display – these works ask at what moment we decide when images are images. In line with De Wit’s belief that constantly refreshing our outlook is the most helpful thing to do, the works are placed in dense groups. This way they are put to work to hold each other in their active situation of perpetual contemplation.
The Time Machine booklet is an artist publication as well as a manual of the Installation “Time Machine”. A Machine at which visitors press a button and a cash receipt is printed as long as the button is pressed, telling how long they pressed the button. Each booklet is delivered with a unique cashreceipt pressed by the Artist Malte Bartsch in his studio in Berlin. The booklet is a co-work with Johannes Breyer from Dinamo Typefaces and is an artwork itself.
Editon of 500 pieces.
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Shellpunk
Tuesday 8th August 2017
From 7pm
Motto Berlin
In the beginning was the tent. Wandering like a nomad, on the steady quest for the oases of the mind, Jürgen Kleft has battled his way through woods, steppes and frozen wastelands, has scaled vertiginous mountain tops and swum through wild rivers, crossed turbid fords, discovered the jungle and finally came to squeeze outdoor fashion in the tight corset of urbanity. Newly released, Shellpunk is the first collection of this daredevil’s adventures.
Based in Vienna, the devoted student of nature Jürgen Kleft explores the secrets of equipment and planning, of improvisation and bricolage. Since five years he enquires into the ludic set between definition and value, between use and material of the mere object. In the face of a life-threatening August sun, he now dares the descent into the Berlin asphalt jungle.
„In the end, all creation is playing, and every game holds something creative – no matter how you put it, the productive element always prevails. This is why we renounce seriousness and irony, but have decided to rush forward following our spirit of discovery and our thirst for knowledge. Nothing is linear anymore!“
Published by Textem, the monograph takes you on a comprehensive tour through Kleft’s oeuvre; its title, Shellpunk, is programmatic. „In the course of our research we became aware of a very special gure, a phenotype. The book is about a maverick, a Gaulish village, a pure robustus – or as we call him, the Shellpunk. Neither has he ever read Being and Time, nor did he follow the advices of any lifestyle guidebooks. And, most of the time, he would prefer not to.“ Akin to the Shellpunk’s predilection for new, wild situations, Jürgen Kleft acts on his sculptures: they may still be sculptures, but in the first place they are equipment for exhibitions. As occupying is an emancipatory act, his artworks bear clear signs of use.
The very generous contributions from Ondrej Cikan, Nina Gross, Raphael Dillhof, Katharina Schaar, Philip Waldner, Fransa Routin und Nikolaus Maria Kohlberger permeate and enrich the artist’s work. With his mystic tracks, David Peschka bestows a sonic aura of wildness and wilderness on the world of Jürgen Kleft.