In case the colder weather isn’t enough for you to have a delicious excuse to stay in and cozy up with a good book, this season’s reading list will give you a few more
reasons to do it. From the latest collaborative publications to online reading, through author debuts and even D.I.Y. fold-outs, O Fluxo leaves you with a few suggestions for you to curl up with over the cold months of hibernation. Happy reading!
It’s a great month for Jean Boîte éditions publishing house as they just got launched two new titles and in which we start over. First comes up #artselfie, a publication subsequently activated in collaboration with New York based collective DIS, as an aggregator mode of art-tourism and documentation. #artselfie project emerged in 2012, right as the recent photographic phenomenon known as the selfie reached it’s tipping point. #artselfie includes an introdution by Douglas Coupland (author of Generation X: Tales for an Accelerated Culture) as well as a discussion between DIS and Simon Castets (director of the Swiss Institute in New York and co-founder of the 89+ project). Overall, #artselfie allows to experience how significant – and suductive – this viral phenomenon is.
The second appearence from Jean Boîte éditions it’s nothing more nothing less than a printed documentation of one of O Fluxo’s dearest projects. I’m talking about Hyper Geography, a tumblr based continuous chain of overlapping looping posts created by the australian artist Joe Hamilton. Designed for screens, Hyper Geography is an assambled arrangement of images that immerses us in a unique and mental infinitium landscape. Now, after almost four years of its online release, the artist concieved with Jean Boîte éditions a monumental landscape in a book. Pages are not meant to be turned anymore but to unfold over four meters long, like the map of a new unexplored world.
Overflowing Emotions is a collaborative graphic short created by the Belgian artist Yannick Val Gesto and his longtime buddy Leon Sadler. They used to do collaborative drawing/ collage based works and magazines in the past. However, their work as changed, Leon is going more in the direction of paintings and Yannick’s work has evolved more into digital collages, installation, video etc. Although their work changed, they never loose touch, so they felt the desire to do a collaborative publication again but within their current mindset. Leon have been working on a fast technique with paint, fluids and other various materials that create a very appealing “gel” like effect which is also presented in this publication. When it comes to Yannick’s works, he presents a dense collection of heavy digital collages that try to capture the immense amount of visual information that he manage and collect. His pieces function as a raw and unstoppable approach about “found” content by grasping the “not giving a fuck” attitude people have when creating fan-art meme-like imagery and by keeping these ideals framed within strong compositions. Overflowing Emotions is available for download as a 17 pages PDF and will also be released soon as a 28 pages A4 physical print at Famicon Express, (limited only to 50 copies).
Art Post-Internet Catalogue
This PDF catalogue portraits the exhibition Art Post-Internet curated by Karen Archey and Robin Peckham for the Ullens Center for Contemporary Art in Beijing during spring 2014 and becomes available for download at post-inter.net. Titled Art Post-Internet: INFORMATION/DATA and planned and executed collaboratively with Berlin design office PWR Studio, this digital publication broadens the purview of the exibition both geographically and conceptually, reaching new audiences and rejoining the online intellectual milieu in which it was first conceived.
The fisrt thing you’ll notice when you download this PDF is that it comes with a unique pre-cover stating the faux-edition-number, your ip-adress as well as time and place of the download and weather conditions at said place and time. This information is also stored online for future use.
Trust Magazine Issue 01 – Flexibility
Enveloped by a strong sense of a manufactured and collectible object, Trust Magazine Issue 01 gathers a good portion of the current contemporary semantic field. Conceived entirery by Federica Cornelli, Trust Magazine is an annual independent handmade bookazine which aims to showcase contemporary artists by commissioning artworks, essays, poetry and other engagements in wider contemporary discourses as a response of a chosen topic. In this issue, Trust Magazine is centered around the theme ‘Flexibility’, a notion perfectly applied to editor’s clarification about publishing: “(…) I’ve always been more interested in the therapeutic side of what a publication can be, and how important the the content will always be: so important that there should be no rush in the process of producing it”. The main theme ‘Flexibility’ is also very perceptable in the main content of the publication where Federica gave total freedom to the artists, while proposing a chance to do something which might be new to them, like a visual artist becoming temporarily a journalist or a musician producing a series of images, and so on. In this sense, you’ll able to find haiku poetry created by Rafaël Rozendaal or visual artwork created by James Ferraro alongside some interviews and essays in order to mix the peculiarities of a magazine, a book and probably for its ideology, a fanzine.
Trust Magazine tries to be a diary of our generation more in terms of the honesty of the making process, but it is also a platform which tries to engage creative people in the production of a new piece of work, with just a concept, and ask them to respond to it. The aim is to have a printed and collectable artifact which reminds the reader of an exhibition, such as the arrangement of artworks in an gallery.
1994 marked the beginning of the great era of the mega-raves which brought thousands of people from all over Switzerland and beyond to the Gugelmann site in Roggwil near Langenthal. 1994 was also the year in which Netscape launched Navigator, the browser which popularised the World Wide Web. It was one of those moments in which a certain constellation of subcultural social and technological developments becomes the stuff of mainstream culture and a mass media phenomenon. Twenty years on, it is this moment which provides us with the occasion for Megarave-Metarave, a project that follows a number of the threads which link the present to the early web and the rave culture of the 1990s. And it seems that is not a matter of retro style or revival: what is central is precisely something that breaks through the logic of linear time — the idea, often associated with technological innovation, that something of the future is already here and now. This publication appears as part of a collaboration between the Kunsthaus Langenthal and WallRiss. It accompanies and complements the exhibitions and programme of events held in the two institutions in the autumn of 2014.
The book is designed by Huber/Sterzinger and includes artists’ pages by MSHR, Kari Altmann, Metahaven and Olia Lialina+Dragan Espenschied commissioned for the occasion, as well as some essays from Sadie Plant, Nicolas Brulhart, Domenico Quaranta and installation views of the exhibitions at Kunsthaus Langenthal curated by Raffael Dörig and WallRiss curated by Nicolas Brulhart, Lauris Paulus and Sylvain Menétrey.
Idea Mag nº 366
Visual Communication in the Post-Internet Age
At first glimpse, it’s impossible not to be impressed with the overwhelming combination of Randim Pesko‘s iridescent typeface with Rafaël Rozendaal‘s gradient composition in the front cover of this number of Idea Mag. But overall, you’ll not be only amazed with the front cover, there’s plenty material inside that will catch your eyes instantly. And even if it’s a little hard to deduct the theoretical grounding due to the fact that most of the texts are written in Japanese, this magazine is mainly visual and certainly will make the treats for any visual consumer. Idea Mag nº 366 it’s like a compendium about the Visual Communication in the Post-Internet showcasing some of the most referenced creatives whose works relies on digital production or that in some way use the internet as a major communication tool. The most visual side of this publication it’s the first part which stars with some 30 pages centered on Rafaël Rozendaal’s pieces, followed by a quirky selection of visual works from some familiar names like Adam Ferriss, Anthony Antonellis, Joe Hamilton, Kim Laughton, OKFocus, as well as Norman Orro and Pootee Moore who mentioned some of their work presented here at O Fluxo. The second part digs more into print design, starting with an insight on illuminating graphics exhibition, followed by some unfolded pages designed by So Hashizume about All Possible Futures exhibition, passing through metropolitan infographics, typography and a marvelous yellow paged section designed by Sulki and Min and focused on Aaron Nieh (Taipei) work. O Fluxo also appear in the nº 367 of Idea Mag in a supplement of this one alongside some work of V5MT as well as an excellent congregation of Japanese poetry related illustrations from 1945 to 1969.
You Are Here – Art After the Internet
(networked) Every Whisper is a Crash on my Ears
“(ò_óˇ)” it’s the only thing that appears stated on the last page, providing a perfect closure that in some way sums up the all-around stream of content presented at (networked) EVERY WHISPER IS A CRASH ON MY EARS. Edited and published by London’s Arcadia Missa, this very diversified anthology tracks a wide range of documentation from a six-month exhibition programme under the same name as well as some extra archival material that compliments each exhibition. It records the exhibitions themselves and the conversation and production that occurred around the artists’ work – such as interviews, essays, press realeases, installation photos, video shots, prose, poetry, emails, extracts from other longer pieces of fiction – material which itself is not reducible to just context. Expect to flick wit and intensity throughout the 318 grayscale pages showcasing diverse material from 45 contributing artists. Interviews between Daniel Rourke and Dora Budor and Maja Cule, texts by Elvia Wilk, Huw Lemmey and Marina Vishmidt and Neil Gray as well as artworks by Eloïse Bonneviot and Asta Meldal Lynge and from the following exhibitions: Dora Budor & Maja Cule – ‘Dear D+M’; Amalia Ulman – ‘ETHIRA‘; Holly White & Megan Rooney – ‘Ocean Living – The Skyscraper in the Sea’; Harry Sanderson – ‘Unified Fabric‘; Bunny Rogers, Jill Magid, Jasper Spicero & Emma Talbot – ‘Random House’. Add in some super engaging mish-mash layouts, .rtfs, spreadsheets, spam, Facebook posts, Twitters, iMingle, projectors, Macbooks, PCs and iPhones – all of which makes (networked) EVERY WHISPER IS A CRASH ON MY EARS a serious blisteringly map of creative developments bound by a book of extreme documentary character. A+
Excursus I – IV
Not clashing from the spirit of gathering content and following a similar line of the last title presented here, comes this 128-page publication documenting a two-year, four-part exhibition and program series that took place at the Institute of Contemporary Art, University of Pennsylvania in Philadelphia. Curated by Alex Klein and designed by Mark Owens, Excursus I – IV catalogue brings together a selection of relevant material from the four programs of ICA’s Excursus initiative carried out by four of the most interesting game-changers inside the publishing realm: Reference Library, East of Borneo, Ooga Booga, and Primary Information. Based on the idea of an excursus – an exposition or digression from a primary text– each invited artist-in-residence, whose work focus the archive and various forms of publication, operated and re-imagined ICA’s space in order to create a platform for intimate programming, alongside an online residency blog-driven website designed by Other Means. Each part of the Exrcusus program was delineated by a single “identity” system, using specific furniture and diferent typefaces on each event poster risographs, cooperating on the basis of a common visual language between them with a clearly defined signature. This catalogue wrapped up all that and other subject matter in a very engaging and comprehensive structure, which joined in such a pleasent format, you just wanna carry out this publication wherever you go!
Almost a Centimeter
The book Almost a Centimeter is the result of Make Your Own Press, a collective effort of 5 professors and 16 students from 3 distinct academies in the Baltic and Nordic region, and 5 visiting lecturers and critics, invited because of their outstanding efforts in the field of artist book making and publishing. Final result of “Make Your Own Press”, the collaborative KUNO network project between students and teachers from the Bergen Academy of Art and Design, Jutland Art Academy, and Estonian Academy of Arts. The project concentrated on the history and publishing of artist’s books and on the critical study of the present day issues in art publishing. Almost a Centimeter was launched in the framework of a public seminar at Kumu Art Museum on April 4, 2014. The book consists of six sections each reflecting on various aspects of what it takes to realize a publication. Six teams made a 16-page section, each reflecting on various aspects of what it takes to realize a publication: The Author, The Editor, The Designer, The Printer, The Distributer, and The Reader.
HITS is such an adorable piece! I mean, it takes a certain ingeniously humoristic level to compile a big part of the Dutch photographic duo’s conceptual greatness into such a tiny book (8,5 x 12 cm). Published by Fw and designed by Hans Gremmen, this small 190-page catalogue coincided with WassinkLundgren‘s (Thijs groot Wassink and Ruben Lundgren) first major solo debut titled “One Group Show” that took place at the ever-amazing Foam in Amsterdam from January 25th to March 17th, 2014. HITS is a collection of the duo’s outcome created between 2005 and 2013, taken from and interpreted “through the eyes of Google Images” – like they designate. With a preface by Sean O’Hegan (art critic for the Guardian), HITS also features texts by Mercel Bem, Diane Smyth among others. Throughout “One Group Show” exhibition’s documentation, insight texts and reviews from other subsequent WassinkLundgren’s photobooks, this publication gives a general idea of the duo’s work magnitude, thrown in a wonderfully conceived slice of ink on paper.
I’ve long admired Yngve Holen’s work and this “in-flight magazine” shows quite why he’s so highly regraded by digging into the artist’s influences sphere. Put up by the Berlin based graphic designer Per Törnberg, ETOPS was launched in the occasion of Holen’s ‘Extended Operations’ show at Rogaland Kunstsenter in Stavanger, Norway and it features a collection of images of air travel culled from Instagram, an interview with an anonymous pilot and contributions by independent curator and writer Agatha Wara and the director of Rogaland Kunstsenter, Geir Haraldseth. Extended Operations and the accompanying acronym ETOPS relates to the regulations concerned with the maximum distance a plane can travel, allowing twin-engine planes to travel trans-Atlantic distances. These advances in technology and their concomitant regulations have had an incredible impact on our contemporary society, and similar changes in technology and our use of technology are presented here as part of Holen’s interests. The instagram imagery is presented alongside a subtle juxtaposition of some 3D glitched scans, displayed as 3D-printed smartphonesculptures in the exhibition. Overall, ETOPS focus on the airline industry and how information is transported, the impact of technology on our everyday lives, and the materials developed to envelop our fleshy vessels and transport us through the air.
In the Time of Our Mediated Lifes
Titled ‘In the Time of Our Mediated Lifes’, this is the result of Olya Oleinic‘s thesis at The Royal Academy of Art (KABK). Designed by Kasper Pyndt, this publication showcase Olya’s main focuses on contemporary meditation and how this influences generate different ways of thinking and working. Inspired by this, Kasper Pyndt decided to use one of the most generic browser fonts there is: Arial, of course, alongside a recurrent use of drop shadow which refers to its status in the most operating systems where it is used as a strong visual treat to separate windows and to create a sense of layered hierarchy throughout the pages. ‘In the Time of Our Mediated Lifes’ also features some Olya’s takes on the work of artists like Rafael Rozendaal and Jon Rafman, as well as on some sci fi movies like Minority Report or Videodrome, measuring artists+technology, imaginated future technology in cinema, issues of authorship and her background and motivation behind the main concerns exposed in this publication.
At the beginning, when I mentioned DIY fold-outs, I was being serious. If you like (and understand) spanish, Covabunga studio invite you to look for the poetics of guided communication that gives us QuickType. Random Verses sent at random, without pretense, who happen to be full of meaning statementsThrough the new QuickType keyboard built into the system, the user has the ability to create phrases from predefined patterns based on their own chat histories. Personal user preferences, his writing and also his mood are used by QuickType to configure a user’s profile. This is an extremely useful information for any business or sociological study. Go ahead and download our files, print, cut, fold and create your own iP(h)O(n)ESIA.