Edition of 125
numbered

What did the generation that came of age during the sixties do for an encore? Many of the answers seemed to have slipped below the media’s plumb line. A Letter to My Father and My Unborn Son, a journal by Aram Saroyan with art by Gailyn Saroyan, takes us to the American bicentennial year, 1976, as the young poet and artist await the arrival of their third child in Bolinas, a small coastal village in rural Northern California. Here is the day-to-day journey of a young family–at once intimate, surprising, and funny.

Printed in Los Angeles, California
2018

Printed on the occasion of the inaugural exhibition of the same name, 23 – 27 Feb, 2017 at the Printed Matter, Inc. Los Angeles Art Book Fair, on the site of the Geffen Contemporary at MOCA.

In Support of Books is an exhibition of contemporary Bookends from an international assembly of Product, Object and Industrial designers. The project seeks multiple outcomes: to survey a single typology of design object; to share the references of its exhibitors; and to begin a series of inquiries into the objects associated with the reading, display, and appreciation of books. In Support of Books is accompanied by a printed catalog of the same name with photographs by Brian Guido & Julia Stotz, and essays by artist Erik Benjamins and Laura Houseley of Modern Design Review.

Participants:
Ini Archibong / OTHR (Basel, CH / New York, US)
Bazazas (New York, US)
Besler & Sons (Los Angeles, US)
Book / Shop (Oakland, US)
Marco Kane Braunschweiler (Los Angeles, US)
Building Block (Los Angeles, US)
Chen Chen & Kai Williams (New York, US)
Daniel Emma / Field (Adelaide, AU / Washington, DC)
Henry Julier (New York, US)
Cecilie Manz / Muuto (Copenhagen, DK)
Michael Marriott / Hato (London, UK)
Norma (Los Angeles, US)
Ouli (Los Angeles, US)
Alex Reed (Los Angeles, US)
Klemens Schillinger / Hem (Vienna, AT / Stockholm, SE)
Studio EO (Stockholm, SE)
Brendan Timmins (New York, US)
Visibility / Matter Made (New York, US)
Waka Waka (Los Angeles, US)
Wintercheck Factory (New York, US)
Wrk-Shp (Los Angeles, US)
Kenyon Yeh / Good Thing (Taipei, TW / New York, US)

Edited & Published by Norma, Los Angeles

Good Hugging
by Erik Benjamins

The Bibliophile & the Bookend
by Laura Houseley

Photography
Brian Guido & Julia Stotz

Printing
Paper Chase Press

1st Edition, 250

Norma, Studio for Objects, Moveables, and Spaces
2017

Terremoto 11

Curators On the Verge of a Nervous Breakdown
Curadores al borde de un ataque de nervios

Dorothée Dupuis (ed.)
Terremoto, Motto Books

Felix Gonzalez-Torres: Specific Objects Without Specific Form documents the groundbreaking retrospective curated by Elena Filipovic with the artists Danh Vo, Carol Bove, and Tino Sehgal that traveled to Wiels Contemporary Art Centre in Brussels, Fondation Beyeler in Basel, and MMK Museum für Moderne Kunst in Frankfurt in 2010 and 2011.

Selected Works 2007-2017 presents pixel based works by Mark Kuivanen made in a ten year time period. Elegantly printed with black Risograph ink on white paper, the subject matter of these works varies from planetary landscapes and surreal clip-art collages to abstractions and art historical references.

Edition of 100, hand numbered.

Buy it

– A performative re-enactment, or a wink and a nod to Job Koelewijn.

The book: Cleaning of the Rietveld Pavilion, dates back to 1992 and is available upon request in the Gerrit Rietveld Academie library in Amsterdam. The original action, a transitory one, took place on March of 1992, 25 or so odd years ago, and it consisted of a clean break with the past made by Dutch artist Job Koelewijn. He employed at the time his mother and three aunts: Cornelia, Jane, Greetje Koelewijn and Weimpje Koelewijn Vermeer, in the polishing, wiping and overall scrubbing of the small pavilion to the side of the Rietveld Academie.

The action can be seen as a tandem of images – the sobriety and functionality of the original Rietveld design, the cleanliness and beauty of the traditional Spakenburgian clothing the women are wearing while in the process of cleaning. A link to the artist’s past. It’s embodying and paying respect and doing that through a class of work, of maintenance and fighting entropy, which often goes unseen. It’s also critical in the most delicate of manners, juxtaposing the bodies of women with the embodiment of modernist architecture.

How can this work be reframed? Where can it come from, when one’s aunts and mother can’t perform the function? How did it stand up to scrutiny then, in the case of family, the womenfolk, performing it?

What was it a performance of?

What would it be a performance of today?

–

Printed at Printgarden Digitaaldruck Bv.

Action coordination, text and phtotos: Alina Lupu

Design: Till-Michael Hormann

Skinned and Detouched, a pair of artists books, are a portal to a single performative stage in the industrial production of two large scale sculptures, one of which is on show at Large Glass. The books, including writing by Jennifer Boyd, photography by Thierry Bal and design by Europa, imaginatively document the multiple embodiments and disembodiments involved in one moment in the production of the two works.

Skinned and Detouched document one stage in the production of two sculptures:

210 s t r e t c h e d aluminium fingers for Mechanoreceptor, Icicles (red, red) (triple spring, striple strip) were dipped in liquid PVC at Plastic Coatings in Kingswinford, West Midlands, UK, on Friday 16 February 2018.

40 spider crab shells (Maja Brachydactyla) and 56 brown crab shells (Cancer Pagurus) for Crustacean Satellites were vacuum metallised at Dual Metallising in Tyseley, Birmingham, UK, on Monday 29 January 2018.

—

Text by Jennifer Boyd

Photography by Thierry Bal

Design by Europa

Printed in Birmingham by Genie in an edition of 1000
Supported by Eastside Projects, Konrad Fischer Galerie and Large Glass
Published by Eastside Projects and Motto Books in 2018