UNIBZ Designfestival – Learning

19 settembre 2012

UNIBZ Designfestival  - Learning

September 20
7:30 pm Exhibitions’ opening:
10 Years of Design and Art Exhibition
Handdruck Exhibition
Compulsive Bodoni Exhibition
”Das kulturelle Erbe in Bildern” – “L´eredità culturale in immagini“

September 21
7:30 pm Workshops’ conclusion
12:00 pm Clubbing party with Transart

September 22
10:15 am – 5:00 pm Conference

Info: design-festival@unibz.it

Navid Nuur – Bored at the Museum

18 settembre 2012

Navid Nuur launched a new project in relation to the book “Bored at the Museum, Bored at the Studio.”


Episodes of art in Milan – Artists’ books and editorials from the Seventies. 1969-1980.

3 luglio 2012

Museo del Novecento, Milan, 28 June – 2 September 2012

Curated by Giorgio Maffei.

During the Seventies Milan was a crossroads for many varied artistic experiences. People, expressive styles and exhibition activities reshuffled the extraordinary inventions of the preceding decades with the urgent sense of renewal in the arts that was expressed in the city during those years.

Given the complexity of the genres and events in hand, narrating this period in art history through other media – such as artists’ books, magazines, posters, photographs, catalogues and documents – implied the anxious fear of incompleteness and the weighty responsibility of choices to be made.

The selection of materials was therefore often biased and partial, and linked to only some of the episodes that appeared to interpret the era best and aspired to an original process of renovation in artistic languages.

At this time, the intrusion of the “concept and ideas” into the concrete existence of art, accompanied by a cooling of emotional content, would substitute the aesthetic and perceptive value of the artwork or objet-d’art that had dominated the art scene in preceding decades.

The advent of Conceptual Art developed both critically and as movements such as Arte Povera, Arte Processuale, Minimal, Body Art, Fluxus. These movements tended towards a violent break with preceding expressive forms without yielding to the continuity of the artistic process. At the same time, Poetry and Literature maintained their inherent narrative function, but included visual elements with disconcerting aesthetic efficacy.

The rarefaction of the object therefore lent itself to a broadening of the disciplines and their fruitful intersection. Architects renounced the practical applications of their profession in favour of utopian projects in which they found a natural equivalent in figurative art. Radical Design overturned the tradition of construction and demolished its tight boundaries. The same process would assail the world of Cinema which, in its boldly experimental expressions, would go beyond cinema halls and enter into the world of art galleries.

The Seventies also represent the era in which social responsibility would be engaged. Political practice – which was sometimes subversive – generated an antagonistic trend that used, and often followed artistic languages. Through the organization of visual materials with a low technical quality but great expressive and communicative impact, the creative wing of this Counter-culture amalgamated ingredients, introducing new suggestive uses of music, graphics, cartoons, the body itself and sexuality – as well as new community based behavioral models to which aesthetic research is not estranged –, into art and civil society.

During these years artists tended to take advantage of any occasion to have printed material produced (and often produced it themselves) with the conscious ambition of pinning down ideas and defining theoretical frontiers and promoting their widespread distribution. The artist no longer accepted his role as a delegate and took control over the entire process, designing his own books and posters or curating his own journal. Artists found the necessary resources for the interpretation of each and every passage of this extraordinary game of invention thanks to protagonists of the art world such as gallerists, editors, critics, curators and collectors, who promoted this transformation by dismantling the now obsolete conformism of the gallery or museum.

Milan – equalled by only a few other cities during this historic period –, hosted and nurtured the events whose history is revealed by the printed works on exhibition here. Some of these editorial materials can be considered works of art (artists’ books), however often they are simply communications tools (catalogues, magazines, posters). This exhibition aims to create a visual dialogue that divides where the boundary between different editorial typologies and the different expressive means of their realization tends to evaporate in an unsettling inversion of genres and roles.

Vincenzo Agnetti, Libro quasi dimenticato a memoria, 1970.
Photo by Alessandro Lui

Book Launch, “Simone” by Invernomuto

1 giugno 2012

June 4th, 6pm
Museo del Novecento
Milano, Palazzo dell’Arengario
Via Marconi 1

See more here

Year Magazine

9 maggio 2012

YEAR is an annual magazine published by Komplot and David Evrard with the designers Pierre Huyghebaert and Uberknackig.

Year Magazine is published by Komplot (Brussels).

45’s Graphic Design

2 marzo 2012

A small batch of 45’s from the collection of our friend Luis.
The two color printing led the unknown designers to think their hardest and work creatively with the typography – to awesome results.
And incidentally, the songs are beautiful too.

This record reminds me an old Buick.

The progenitor of throw-ups.

Pure Genius.

The Milan Review of the Universe

29 febbraio 2012

The Milan Review is a semi-annual litmag which is vaguely thematic and definitely in English. It is distributed pretty much all over the world but conceived and printed in Italy. It includes only short stories and hand-made artworks, such as paintings, drawings, collages and the like. Every issue is radically different from the others in size, form, concept, shape, color and taste. It is almost certainly the best Italian-American literary journal in the world.

The Milan Review Of The Universe is the second issue of The Milan Review. 224 color pages inside a dark blue cover. Divided in twelve chapters, each named after a sign of the zodiac, each containing a short story and a portfolio by a different artist. The artists and the authors were paired arbitrarily.

The writers: Iphgenia Baal, Amie Barrodale, Chiara Barzini, Blake Butler, Matthias “Wolfboy” Connor, Seth Fried, Amelia Gray, Shane Jones, Robert Lopez, Clancy Martin, Francesco Pacifico, Lynne Tillman.

The artists: Massimiliano Bomba, Carola Bonfili, Milano Chow, TJ Cowgill, Joe DeNardo, Francesco de Figueiredo, Roope Eronen, Frédéric Fleury, Christy Karacas, Taylor McKimens, Brenna Murphy, Toony Navok.

Get your copy here

Poster exhibition in GRAPHIC SHOP

8 febbraio 2012

The first exhibition of GRAPHIC #20 Poster Issue holds until February 24, 2012 at GRAPHIC shop, PajuBookCity, Gyeonggi-do, Korea.

Each graphic designer and artist designed a poster that expresses personal social agenda. This project reviews the social function of posters. The actual issue of GRAPHIC consists of 22 folded posters and designers’ short commentaries.

Åbäke, Alex DeArmond, Anthony Burrill, Bart de Baets & Sandra Kassenaar, Bureau Mirko Borsche, Experimental Jetset, Jin Dallae & Park Woohyuk, Jin Jung, Kimm Kijo, Lawrence Weiner, Mark Owens, Metahaven, Moon Seungyoung, Paul Elliman, Paul Sahre, Pierre Bernard, Richard Niessen & Esther de Vries, Rumors, Scott King, Sulki & Min, Sung JaeHyouk, Workroom Press


Dead Ends and Cosmic Goals

21 dicembre 2011

The strive for perfection can make one reach for the stars, but prevent from getting the space suit on. This dilemma inspired a perfectionist designer to set herself a cosmic goal: trying to work without falling in ‘perfectioning’ things. This is a journey to a perfectionist mind, producing a free idea world in different mediums and in different levels of completeness. Simple ideas on complicated thoughts—and vice versa.

What is this thing with perfection? If you missed the exhibition, you’ll find more thoughts on the 350 book pages of research. Take a look!

MA thesis project on visual communication by Suvi Häring.









Secret Societies

5 dicembre 2011

Secret Societies (France, Bordeaux)
CAPC BORDEAUX until February 26, 2012

As a fervent supporter of the existence of reptilian humanoids, conspiracy theories of varying sophistication and – to finish it off – as a citizen of a country where the unique subject by the name of “mafia” controls one third of the real economy, I can only but agree with the assumptions around which the exhibition “Secret Societies” was developed: man is fascinated by secret societies, and they have existed forever, or at least since the beginning of society ‘s existence. Curated by Cristina Ricupero and Alexis Vaillant, the exhibition analyzes the general theme of the secret society observed from a novel prospective, that of contemporary art and its artists. Because of their habitual way of working, balanced on a thread of knowledge and the unknown, artists are perhaps the most well-equipped subjects in the exploration of the ideological limits of “transparency”, especially in a era inflated by constant “revelations”.