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An invitation card for Cyprien Gaillard’s exhibition at frac champagne-ardenne. The frac still send invitation cards, as many French instiution continue to do. Sometimes in very ambitious forms. If I am not mistaken, the graphic concept is by Gavillet & Rust, in charge of the frac champagne-ardenne’s graphic identity since 2008. The studio was originally established in 2001 as Gavillet & Rust by Gilles Gavillet and David Rust (1969-2014).
künstlerbücherkünstler
Aus Bibliotheken wird man klug. Zwei Ausstellungen, fast gleichzeitig, beide mit Büchern. Was ist eine Bibliothek anderes als eine katalogisierte Sammlung? Thomas Schlup
Villa Magica and friends: Season’s Greetings
Annual Season’s Greetings by Villa Magica, the Geneva-based label founded by Sylvie Fleury, John Armleder, and Stephan Armleder (aka The Genevan Heathen). Here and here some of the label’s music, LPs, and CDs. They also have or had a tumblr page.
Comment by User Thomas Schlup: “Leicht antropomorphe Katzen mit einem Mistelzweig auf einer vergnügten Rutschpartie wie es sie nur in England geben kann. Die Karte ist ein Nachdruck aus einer privaten Sammlung, und nun ist sie wieder gesammelt worden. Eine ganze Sammlung an Schriften – gesetzt, gedruckt, gestempelt, geschrieben. Die kleine Grüne Karte hat zwei eingeprägte Schneesterne. Die Lamettabäume funkeln prächtig.”
Announcement for Armand Schulthess: Rekonstruktion eines Universums
Announcement for a publication by Hans-Ulrich Schlumpf on Armand Schulthess who hung more than 1,000 inscribed panels in the trees and bushes of the 18,000 square meters of his chestnut woods in the Onsernone Valley in Ticino. Over a period of more than twenty years he transformed the woods into a philosophical garden that chronicled human knowledge and arranged it encyclopedically. Edition Patrick Frey
Comment by user Thomas Schlup: “Das Universum des Armand Schulthess im Onsernonetal. Ingeborg Lüscher hat uns etwas davon gerettet, Hans-Ulrich Schlumpf auch. Ein Buch ist daraus geworden. Der grosse Rest: Von verständnislosen Erben innert drei Tagen dem Erdboden gleichgemacht. In der Schweiz hat es keinen Platz für ‘Sonderlinge’. Was für ein garstiges Land.”
Peter Wiedenmeier
‘Wegen Schneefall abgesagt’ teilt uns Peter Wiedenmeier mit, auf einer nebelgrauen Fläche, die alles zudeckt. Die Kugelschreiberzahlen könnten Pegelstände bedeuten. ‘Elco’ für Schreibmaterialen und Couverts, schön geschwungene Schnüerlischrift. Die gedruckte Seite der Karte macht dann deutlich weniger her. Thomas Schlup
NO ISBN!
If a publisher is selling their books on their own and are not trying to place them in stores or libraries or with wholesalers, is an ISBN required? No, an ISBN is not required. Straight from the horse’s mouth. Thomas Schlup
They Printed It!
The message is the medium. A review of the exhibition. Thomas Schlup
Heidrun Holzfein, Mexico 68
“Between 2005 and 2007 I conducted a series of video interviews with activists of the 1968 student movement. MEXICO 68 investigates the significance and impact of the ‘68 student movement on Mexican society, politics and culture in general, and on the lives of the participants in particular. Conducted almost forty years after the fact, the 18 interviews with activists offer a diverse range of personal accounts, political and social analysis as well as reflections on the events that took place during that mythic year.” (Heidrun Holzfeind)
See also http://www.mexico68.net/. It’s the announcement for the publication by Kodoji Press.
Otto Sander liest Beckett
Otto Sander (1941-2013) war ein bedeutender Schauspieler (Theater und Film).
User Beitrag: “Der Satz bringt auf den Punkt, was ich mir an trostlosen Tagen denke. In simpler und fast poetischer Form Ausserdem sind Schrift und Hintergrundfarbe angenehm und passend. Die restliche Ausstellung ist wirklich interessant, fast überwältigend in ihrer Vielfalt. Gleichzeitig aber doch einheitlich in ihrer Form, sind die etlichen Einladungskarten eben”nichts Neues unter der Sonne.” Natalija L.
The Moderne Institute
A small selection of the invitation cards by The Modern Institute. Toby Webster established The Modern Institute in 1997 in Glasgow, in partnership with former Tramway and current Van Abbemuseum Director, Charles Esche, and writer and curator Will Bradley. For many years, The Modern Institute sent out these very simple, great, sometimes funny, sometimes conceptual announcements. The gallery’s logo was designed by Toby Webster, so were the cards, and in the very beginning, he hand fed them through a riso machine. As Matthew Marks’ invitation cards, they deserve a retrospective or being part of a design museum. Or both.
As many of the new young galleries established in the mid to late nineties, The Modern Institute (est. 1997) used their invitation cards to highlight individuality and as an innovative form of (self-)branding. Invitation cards could become an art project, and a space where art may happen – and is distributed worldwide for free. A similar strategy was adopted by other young up-and-coming galleries such as neugerriemschneider, Berlin (est. 1994), Gavin Brown’s Enterprise, New York (1994-2020), CFA Contemporary Fine Arts, Berlin (est. 1992), The Modern Institute, Glasgow (est. 1997), Meyer Riegger Galerie (est. 1997 in Karlsruhe, since 2008 also in Berlin) or Eva Presenhuber (Galerie Walcheturm 1989-1998/Galerie Eva Presenhuber).