Stage 2016

Friday, June 10th, 2016

17.30 Rrréplica
meeting / encounter / clash of rebellious / disobedient / unruly publishers / editors / printers and duplicators México.

Réplica springs from two distinct traditions: the strategies of production and distribution developed by political editors oppressed under authoritarianism; and the groups of artists working through networks to take their work directly to the streets, avoiding market restrictions.

Classic authoritarian rule spanned for much of the 20th century in Mexico. The access to the press was controlled by the government, punishing print shops that serviced nonconforming workers and students. In this oppressive background, mimeograph printers had their baptism by fire, when student subversion and governmental repression marked a historic peak in 1968. Art schools and homes became printing headquarters for combative materials -often remarkable for their graphic quality.

Artist collectives in Mexico have a long-standing tradition that goes back to the late 19th century: it was a common practice of Modernist and Nationalist movements alike. After the political crisis of 1968, artists changed their forms of production and distribution, carrying on strategies traditionally used by political organizations, in order to take art to the streets and subvert market logics. This was done by the organization of groups and the establishment of local networks.

The shift to a market economy in the late 80s, caused dramatic unrest and painful adjustments in Mexico. A number of small printing houses started using Xerox machines and digital duplicators as means of production and started employing recycled and donated inputs. Réplica is a direct answer to this latter development of independent publishers in Mexico.

Each house associated in Réplica works in very specific ways, owing to the concrete set of conditions that allow their very existence. The interest for duplicators in Latin America goes beyond aesthetic influences from hegemonic cultural centers. However, Latin American artists may have been affected by the frictions at the heart of the modes of artistic productions in the West.

Borrowing from the history of dissent and art in Mexico, Réplica encompasses each member’s specific identity and aims to discuss the nature of technologies, such as the digital duplicator, and the modes of organization it allows. Réplica stands to create spaces of dialogue and exchange.

18.30 Paul Soulellis
Search, Compile, Publish

In “Search, Compile, Publish” Soulellis presents new rubrics for understanding appropriation, printing, and publishing as artistic practice.

19.15  Publishing as Artistic Practice (Sternberg Press)
Book Launch

What does it mean to publish today? In the face of a continuously changing media landscape, institutional upheavals and discursive shifts in the legal, artistic and political fields, concepts of ownership, authorship, work, accessibility and publicity are being renegotiated. The field of
publishing not only stands at the intersection of these developments but is actively introducing new ruptures. How the traditional publishing framework has been cast adrift, and which opportunities are surfacing in its stead, has been explored by recent publishing concepts emerging from the experimental literature and art scene, where publishing is often part of an encompassing artistic practice.

Panel Presentations chaired by Eleanor Vonne Brown, featuring
Hannes Bajohr: Post-Digital Literature and Print-on-Demand Publishing
Annette Gilbert: Publishing as Artistic Practice. An Introduction
Michalis Pichler: Seriosity Dummies from Fragments. Life and Opinions of a Real Existing Artist
Studio Pandan | Pia Christmann & Ann Richter: Making the Invisible Visible: A Note on the Design
Eva Weinmayr: Library Underground – A Reading List for A Coming Community


Saturday, June 11th, 2016
CONCEPTUAL POETICS DAY

12.30 Cordula Daus Toponymisches Heft N° 3 (Fantôme Verlag)

The upcoming edition of the transdisciplinary journal is devoted to the entire spectrum of expression of seismic mediums. Benevolent observers, seaground sediments, hotel walls and logs give account of an almost forgotten experiment: when does an event begin; can it be felt? How can we write a tremor? In the interests of accuracy, we shall dub this branch of knowledge seismolology.

13.00 Michalis Pichler Introducing CPD

appropriation, unboring boring, détournement, objet perdu, erasure poetry, or writing through … what is it that makes the post-naive today so appealing?

13.15 James Sherry (Roof Books) A History of Roof Books and Its Concepts

Roof Books and Segue Foundation have been at the forefront of innovative and experimental writing for nearly 40 years. James Sherry, editor of Roof Books and founder of Segue Foundation, discusses the history of Roof from its origins in the New York School at Naropa Institute, to its affiliations with the emergence of language writing, to its current editorial policy supporting a larger ecology of literary styles and tendencies that includes European and American avant garde, conceptual and flarf poetry, identity poetics of many kinds, and environmental and ecopoetics.

13.40 Matvei Yankelevich (Ugly Duckling Presse)
Saliva: Moscow Conceptualism and the Reclamation of Poetry

14.00 Franz Thalmair, Lois Bartel
Lorem Ipsum Dolor Sit Amet (Revolver)

Lorem ipsum Dolor Sit Amet is the third in a series of books investigating the act of writing in the context of visual arts. Its starting point is the so called filler text which—in the field of publishing—is commonly used to demonstrate the graphic elements of a document or visual presentation. Replacing meaningful content that could be distracting with placeholder text may allow viewers to focus on visual and/ or structural aspects of writing such as font, typography, and layout.

14.20 Franz Thalmair, Bernhard Cella, Haris EpaminondaStefan Riebel, Ignacio Uriarte
Possible Content for 18 Pages (Revolver)

Possible Content for 18 Pages is a multiple series of exhibitions and publications reflecting upon the act of writing at the intersection of linguistic, visual, physical and spatial communication. Flusser’s essay The Gesture of Writing provides the foundation for the wide-reaching investigation involving around 40 artists, writers and researchers. The original typewritten manuscript of this texts provides not only the thematic but also the formal-aesthetic structure of the overall project.

15.20 Elizabeth Lebon, Izet Sheshivari
200 Memories (Boabooks)

15.40 Hank Schmidt in der Beek
Die Enzyklopädie der grossen Geister (Institut für moderne Kunst Nürnberg)

16.00 Eugen Gomringer, Annette Gilbert, Thomas Thiel (Bielefelder Kunstverein)
nichts für schnell-betrachter und bücher-blätterer (Kerber Verlag), Gomringer &

Eugen Gomringers Gemeinschaftsarbeiten mit bildenden Künstlern: Diese Publikation erscheint anlässlich des 90. Geburtstags von Eugen Gomringer, einem »Vater« der konkreten Poesie. Die Begegnung mit Werken der konkreten Kunst ließ ihn 1944 vom Sonette-Verfasser zum Konstellationen-Hersteller werden und prägt seine Poesie bis heute. Der Katalog dokumentiert Gomringers bisher weithin unbekannte Gemeinschaftsarbeiten mit bildenden Künstlern, darunter u. a. Günther Uecker, Max Bill und Anton Stankowski. Diese Arbeiten, die in der Intensität des Gesprächs zwischen Kunst und Literatur ihresgleichen suchen, eröffnen eine neue Facette im Œuvre Gomringers und im Dialog der Künste.

Ausgehend von seinem Werk thematisierte 2015 im Bielefelder Kunstverein die Gruppenausstellung Gomringer &  mit zeitgenössischen KünstlerInnen sowie LyrikerInnen die Aktualität von Sprache und Text im künstlerischen Schaffen.

17.10 Cia Rinne
Notes for Soloists, Sounds for soloists

Notes for soloists (OEI Editör, 2009) is marked by a aural way of dealing with language. Working for seven years on the final publication, this acoustic feature has led her to experiment with the performativity of the text both in readings and collaborations with artists and sound designers. The partnership with Sebastian Eskildsen, sound designer at the Copenhagen Royal Theatre, gave birth to the sound work Sounds for soloists (2011-12).

17.20 Arno Auer, Kevin Rittberger
Wirr singt das Volk (Textem)

In Wirr singt das Volk sind nationalistische, menschenfeindliche und stark vereinfachte Ideologien von PEGIDA und der Neuen Rechten zu einem Dialog verarbeitet, der sich aus unterschiedlichen literarischen sowie journalistischen Texten und Redebeiträgen speist.

17.40 León Muñoz Santini
El paisaje infantil del terror moderno tiene peces voladores/The Child Landscape of Modern Horror has Flying Fishes. (gato negro)

It’s a book of financial poetry: a compilation of one year of entire bank accounts and financial records. It is part of a larger project of publishing ones entire financial life.

18.00 Hannes Bajohr, Gregor Weichbrodt
I Don’t Know (0x0a), Erotica (0x0a)

Hannes Bajohr and Gregor Weichbrodt present 0x0a, a writer’s collective for digital conceptual literature, and some of their titles, including I Don’t KnowErotica, and a new series of translations of conceptual literature.

18.30 Paul Soulellis
Library of the Printed Web

Founded by Paul Soulellis in 2013, Library of the Printed Web (@printedweb) is a physical archive and publisher of web-to-print artists’ books, zines and other printout matter. The project articulates network culture as printed artifact, characterized as an accumulation of accumulations — much of it print-on-demand. Printed Web #4 (2016) launches at Miss Read with work by Wolfgang Plöger, Elisabeth Tonnard, Eva and Franco Mattes, Christopher Clary, Molly Soda, Lorna Mills, Travess Smalley, Anouk Kruithof and Angela Genusa, and a new text by Rhizome Artistic Director Michael Connor, “Folding the Web.”

+ SURPRISE GUESTS


Sunday, June 12th, 2016

12.00 Between mainlands: A sketch for the future (Autoedita con Alegría & Calipso Press)

Speakers: Eva Parra, curator of the current issue, Martín La Roche & Dong Young Lee, both contributors and artists. With the presence of Alex Zamora, the Chief editor of Autoedita con Alegría and IED Visual graphic designer, Marian Garrido, visual school academic coordinator.

13.00 Chiara Figone, Paolo Caffoni (Archive Books)
From Moving Images to Printed Matter (Chris Marker)
display & research area

For a few years Archive Books has been working on the transposition of film and moving image onto printed matter through collaborations with artists, curators and our students in publishing and editorial design at NABA – New Academy of Fine Arts in Milan. It is within these contexts and practices that we developed an interest in the editorial work of photographer, artist and filmmaker Chris Marker, as well as that of editors Michele Mancini and Giuseppe Perrella in their anthological publications Architecture of Vision, 1986, and Corpi e Luoghi, 1982, on the work of directors Michelangelo Antonioni and Pier Paolo Pasolini, respectively. From the so-called “trilogy of the memory” collaboration with Alain Resnais to the travelogues and the Petite Planète series of travel guides designed and edited by Marker himself, Chris Marker’s work exhibits a continuous modulation of forms and themes across various media.

Archive Books presents at Miss Read a selection of materials curated in collaboration with the students and our colleague at NABA Céline Condorelli. The students borrow Marker’s technique of commentaires to investigate the visual representation of distant and forthcoming realities in print and on screen, as well as the meanings of both publishing and filmmaking as methods for the research and circulation of images. The project is supported by Perspektive – Fonds für Zeitgenössische Kunst und Architektur.

A special project organised by Archive Books with a project space in the exhibitor area.

13.30 Beti Žerovc
When Attitudes Become the Norm – The Contemporary Curator and Institutional Art (Archive Books)

When Attitudes Become the Norm is a collection of essays and interviews by art historian and theorist Beti Žerovc on the topic of curatorship in contemporary art. Žerovc examines curatorship in its broader social, political and economic contexts, as well as in relation to the profound changes that have taken place in the art field over the last century. She analyses the curator as a figure who appears, evolves, and participates in the institutionalisation of contemporary art and argues that with the curator institutional art—art designed to fit the art institution’s space and needs—achieves its fullest expression.

The first part of the book establishes the historical and contextual framework for understanding the phenomenon of curatorship and outlines the range of the contemporary art curator’s powers and activities. In later essays, Žerovc analyses the rapid global spread of curatorship, discusses politicised left-leaning contemporary art as a genre that has developed in explicit connection with curators and art institutions, and questions the possibilities of the social and political objectives attached to exhibitions and other curatorial projects. In the last part of the book, Žerovc investigates the character and ambiguities of the curator as an artist and the curated contemporary art exhibition as an artistic medium, as an event, and as a ritual. She draws comparisons between the contemporary role of art institutions as commissioners and producers of art and the similar role played in the past by the aristocracy and the Church and makes connections between contemporary art events and religious ritual. Her analysis thus seeks to counter the treatment of these aesthetic productions as autonomous creations and to foster a more critical view of the role art institutions play within the broader social system.

14.00 BLUEPRINT: Collecting artists’ books?
Presentations, Discussion, Q&A Organised in cooperation with Zentrum für Künstlerpublikationen, Bremen (Deutsch & Englisch)

Anne Thurmann-Jajes (Zentrum für Künstlerpublikationen Bremen), Tony White (Metropolitan Museum of Art, New York), Béatrice Hernad (Bayerische Staatsbibliothek) Eva Linhart (Museum Angewandte Kunst, Frankfurt a. M.)

Experts for artists’ books with different backgrounds – coming from an archive, a museum, a library, an academy, or being an artist – will speak about questions around collecting artists’ books: about how to collect, strategies of collecting, economics of the genre, the different value systems, and the cross-linked system of dealers, artists, and collectors.

16.00 Andreas Seltzer
Der Sendermann / The Transmitter Man (Fantôme Verlag)

In Deutschland gibt es 40 Kriminalmuseen und polizeihistorische Sammlungen, die Einsichten in die Verfasstheit von Norm und Ordnung und den Verstößen gegen sie bieten.
Andreas Seltzer hat einige von ihnen besucht und macht aus seinen Berichten „Übungen für den kalten Blick“.

16.30 The Paths of the Praxis (Alt Går Bra)

Lecture about art praxis and production based on French philosopher Michel Clouscard’s treaty Les Chemins de la Praxis (The Paths of the Praxis–no English translation)

17.00 Urban Subjects (Sabine Bitter, Jeff Derksen, Helmut Weber), Oliver Gembella, Sandra Schäfer, Stefan Römer
The Militant Image Reader (Edition Camera Austria), Front, Field, Line, Plane: Researching the Militant Image (adocs)

Together with the collective Urban Subjects, Camera Austria will introduce two of their latest publications. Front, Field, Line, Plane: Researching the Militant Image (adocs, 2016) questions how struggles of political and social nature and also state violence are represented, mediated, and circulated through images. The Militant Image Reader (Edition Camera Austria, 2015) brings together diverse texts from theorists and artists who speculate on the relationship between artistic representation and societal change today.

18.00 The Interjection Calendar (Montez Press)

18.30 Silvia Bianchi and Ricardo Juárez
spanish self-publishing zine growth

The co-curators of the Madrid Art Book Fair, will give a lecture about how the Spanish Self-publishing zine growth in the last seven years. Libros Mutantes is a Spain-based independent project focused on the relation between publishing and Visual Arts.