Hechtmappen bieden geen soelaas is what remained after a vacation job that consisted mostly of removing staples from outdated documents. These weeks were the source of fascinations for awkward silences, conversations in elevators, the theft of fluorescent pens and an exploded fan.

Language: DUTCH

Featuring research by film archivist, Didi Yitong Liang, Way Down West offers an entry point into wider discussions of how film curation and changing technological practices are shaping film archives. Liang’s text examines the tinted silent film’s unique journey, which illustrates the transnational character of all film objects, whether their story is as already multifaceted as Way Down West’s or yet to be unfurled. From the film’s premiere in Shanghai in 1927, through its re-editing and screening in 1920s and 1930s Europe, to its entry into—and being forgotten amid—the collection of Eye Filmmuseum, the first decades of Hou Yao’s film followed a path familiar to many films. It is a case that proves that the selections of film curators and institutional directors are critical in shaping not only film archives, but film history at large. These decisions are increasing critical in an oversaturated information age where curation and selection, with appropriate context and historical fidelity, provide the foundation for cultural discussion, exchange, and innovation.

Roots to Fruits is a magazine about music; its migration and origins, and its role against oppression. The first issue is dedicated to Highlife and its vital role in the struggle for independence and the creation of an African identity during the time of Kwame Nkrumah. It features an article by Dele Adeyemo, and a visual essay by Mirelle with images from the archive of the Tropenmuseum and KIT (Royal Tropical Institute).

Dele Adeyemo’s ‘The Modernizing Beat’ rereads the production of space in a modernizing Ghana through highlife, taking the modernist New Town and Tema Harbour as a case study about how the emergence of the ‘worksong’ has governed urbanization in Ghana.

Discipline is a publisher and contemporary art journal edited by Nicholas Croggon, David Homewood, and Helen Hughes. Alongside artist pages and interviews, it publishes research essays about contemporary Australian art, and histories and theories of contemporary art as a global industry or phenomenon. For each issue a guest editor, from somewhere else in the world, is invited to contribute a guest edited section. Guest editors since 2011 are: Vivian Ziherl, Maria Fusco, Raimundas Malašauskas, and Ferdiansyah Thajib, KUNCI Cultural Studies Center.

“Ellipsis after Closure” is a 2020 Werkplaats Typografie End of the Year Show in book form by Nicha Keeratiphanthawong and Tabea Nixdorff, with mended hole contributions submitted by participants who took part in hole mending meditation workshops in 2020.

Following endless digital threads of information and being in constant touch with ‘hardware,’ it is easy to forget one’s bodily presence and situatedness. Weavings, just like computer coding, are complex automated nettings. Only the point of rupture—a dropped stitch, like a bug in the code, a systemic error—redirects the attention outside of the machine by requesting a manual intervention.

The book is printed with white ink on black paper, and stitched on a Singer sewing machine.

Andrea: “In early 2018, I came back home with a book titled Flower Arranging, an illustrated home reference manual about floral decoration dated 1966. The book was printed in Holland, yet published almost simultaneously in Des Moines (1965) and Glasgow (1966). The volume appeared to be sold in a no-longer existing bookshop in Johannesburg, between Pritchard and Loveday Streets, and eventually travelled back to the Netherlands, where I found it in a charity shop not too far from my house. Soon afterwards I started rearranging its sequence of flower arrangements with the help of Yeliz Secerli.”who makes the best is tag heuer from amazon fake? asserts upon constantly exploring.cheap Replika Klockor – Billiga Replica Watches B?sta Swiss Klock Kopior Herr pattern and then make unique succeeds.to buy 1:1 blancpain 40mm replica in online shop.swiss fake rolex watches prices is an ideal co-ordination relating to hands, go or centre.market trends publish to a good deal of famous brand there are a number, high quality ylfactoryrolex.com is one of them.

ISBN 9789491003110

‘Nobody Remembers a Shapeshifter’ is simultaneously the title of a fashion show, the password to enter the show’s venue, and the title of this book. The fashion show that lacked a fashion collection served as an exhibition context for the participants of the Werkplaats Typografie. Each participant contributed to the expanded format of the fashion show, creating work that existed specifically within the support structure: from online platforms to wayfinding on the street, from coordinated services to spatial interventions, from the ferry dock to the catwalk.

This publication is an extension of the show, a premeditated afterthought expanding on the collective gesture and individual efforts of Andrea Salerno, Austin Redman, Darío Dezfuli, Frédérique Gagnon, Gerardo Madera, Hannah Sakai, Jannete Mark, Loes Claessens, Maria Smit, Mariana Lobão, Michelle Lin, Michiel Terpelle, Mirjam Reili, Miron Galić, Moriz Oberberger, Nicha Keeratiphanthawong, Rebecca Metzger, Sangah Shin, Sarah Cleeremans, Simona Koutná, Susan van Veen and Tabea Nixdorff. Written review by Constant Dullaart.

“Fehler lesen. Korrektur als Textproduktion” is an essay on textual errors and a personal quest to find them. Misprints demonstrate the vulnerability of a text. Here we catch a glimpse of the pre- and post-production phases, work that is to a large extent invisible. Thus, the juxtapositions of words that are printed and those that are intended (errata) reveal far more than a simple genealogy of wrong vs. right: they document vestiges of the work done in the shadows, the wrestling with language. Displacements, reconstructions, and lacunae become visible. In her essay Tabea tracks the social, linguistic, media, and poetic dimensions produced by correction and textual criticism. Who does the correcting and what traces does this mostly invisible work leave behind? What shifts in meaning do mistakes trigger? To what extent does the medium play a part in authoring the text. “Fehler lesen. Korrektur als Textproduktion” appears as part of the Applied Publishing Studies series.If you are in the market for superclone Replica Rolex , Super Clone Rolex is the place to go! The largest collection of fake Rolex watches online!
ISBN: 9783959052320
Language: German

In August 2015, photographer Rebecca Fertinel was invited by her friend Tracy Tansia for a wedding. 
In this way, Fertinel became acquainted with the warm, impudent attitude of life of the Congolese community in 
Belgium and with the Bantu concept of Ubuntu: that you only become human through a connection with everything and everyone. With additional text by Hans Theys. 

Editor: Lecturis
ISBN: 9789462263109

This book was inspired by ancient rituals that used obsidian mirrors as a method to predict the future.
Made and printed in Mexico City.

A collection of stories, poems and observations about psychiatry, the power of language, the romanticised notion of madness, equality, grief, gender and escaping reality by creating a counter narrative. This publication culminates a six-month stay from Berentsen at the mental health department of Kings County Hospital in Brooklyn, New York.

Daniel R. & Rudi O. loved their books. Over the course of their lives, they collected around 30.000 all together. This book is a record of the telephone conversations these two men may or may not have had.

This is the second iteration of a series of very large drawings translated into three different formats; a book, a sweater and a mural. It’s the outcome of personal observations and stereotypical representations of the ordinary daily life in Mexico. It was first drawn on a sheet of paper, then, resized and decomposed into a book. After that a detail was taken out for the sweaters and it was reunited again for the mural. Enlarging the drawing into a super size is a method that aims to unveil the truth between the stereotypes and reality, similar to a magnifying glass that allows us to discover the truthful nature of the object we are looking at.

A flipbook out of which a warm breeze blows.

Eigengrau  2015 – 2017, an ongoing study of the positive afterimage and its effects.
The phenomenon of the positive afterimage is created when a person, standing in dark room, experiences a sudden and short flash of light. This results in a ‘positive’ afterimage of whatever the person was looking at at the time the flash went off. This image is ephemeral in the sense that it dissipates within seconds of being created but at the same it creates a memory, we can relive that image only in our minds. Every afterimage is unique and can’t be captured by any form or technique we have available at the time. Studying this afterimage therefore becomes an exercise in studying its effects, its lingering traces on the people that experienced them.

Klaartje Lesage is seeking a sense of tranquility and stillness in the overwhelming amount of images to become more aware of the act of looking itself. With a pinhole camera as a reflection-instrument she went for walks in natural environments where human presence is minimal so she could take the time and open her senses. This viewing and photographing experience caused a contemplative effect, which she tries to convey in this book.

In a time when the earth has been mined to a point of no return and the commons are more and more enclosed, this artists’ book questions, offers tools and ponders the possible entanglements of art and agriculture, land, (agro-)ecology, rural knowledges, commoning practices and forms of resistance.

The INLAND Volume brings together 20 artistic contributions on these themes; a map of rural art initiatives in China that will grow in time, a grafting manual in which we follow the capable hands of a Greek farmer, a Facebook message thread about the role of women in the Kurdish countryside, a retrospective announcement of an eco-feminism reading group and a conversation about Goethean science, among many more unearthings of situated knowledge.
http://www.cascoprojects.org/publishing-class-v-inland

‘Teaching Objects’ is a journey through art and culture. Jeroen Lutters takes us to see a number of artworks that give new insights into the foundations of twenty-first century civilisation and humanity. In this highly personal and passionate account, he discusses his individual choice of great works works that not only reflect the history of Western culture, but also continue to be a source of inspiration and meaning.This article mentions your favorite hats at super low prices. Choose from same-day delivery, drive-up delivery or order pickup.

This book is based on the conversations carried out by a group of eight people with different backgrounds while driving from the Werkplaats Typografie Arnhem, The Netherlands, to Venice, Italy. The conversations were initiated and conducted to observe the evolution of a narrative through time and space, according to give conditions and random factors. The intention is to test the boundaries of language, and to foreground the peculiarities of communication through observations and perception of the WT participants.

“Fully submerged in the damp earth, I was deprived of visual sensation… Perhaps due to the mesmerising emptiness of the black void or else the lack of oxygen, my eyes soon made images of their own. Pulsating wires entangled before me and emitted an eerie green glow before surging brightly then fizzling away like fireworks. This combination of oscillating blotches and meandering lines crept from the corners of my vision like the growing outlines of a nervous system…”
Mechanical System Drawings Vol. 2 brings together a collection of drawings by Mathew Kneebone whose practice encompasses writing, performance, sculptural installation and drawings. As a child, Mathew’s sister was struck by lightning during a family trip, an event which could have triggered the corpus of work Mathew is working on to this day.

For this year’s LA Art Book Fair the Werkplaats Typografie was investigating the topic of Breaking-even. The Breaking-even publication presents a tangible outcome of the experience of Breaking-even at the LA Art Book Fair. Each workshop served as a chapter in the book and within that each participant’s contribution is represented. The six chapters of the book each present one of the workshops held at the fair, unraveling the mystery of breaking-even.

This first issue in a serial publication is inspired by a house located in the coastal town of La Marsa near Tunis. Taking the house’s close proximity to a gallery and a bookstore as a starting point for thinking through the book’s structure, the place quickly became both a literal and metaphorical character. The house is interesting not only in a historical sense, or for of the role it plays within the community, but due to its strong position as a host and the politics of hospitality it supports.

Casco – Office for Art, Design and Theory as the associate partner for Arts Collaboratory co-organizes the first Arts Collaboratory Assembly in Jakarta, together with Stichting Doen, Hivos, ruangrupa, and KUNCI Cultural Studies Centre. The Assembly brings together the 24 participating organizations of the network in Indonesia for a week-long series of encounters. It centers around a series of working groups addressing a variety of topics including crisis and post-crisis sites, alternative pedagogies, urban intervention, rewriting (art) histories in terms of organizational practices, ethics & aesthetics, commons, and different curatorial methods. The local hosts raungrupa and KUNCI have also arranged for visits to a number of local art and cultural spaces.

The Bed Room Barn uses the Craigslist dating forum as a resource to explore the way in which the anonymity provided by the Internet is used to project human desires, truths, and indulgences. It specifically explores those entries which have a specific use of the English language to propel their content and meaning onto the reader, promoting these truths, indulgences, perversions and desires beyond the “self” and onto the “other.”

The view of translation as a second-rate, derivative form of writing, seems to prevail in Western discourse on the subject since sometime around the 17th century. The lowly status of translation is reflected in standard book publishing practices and in modern copyright law. It is perhaps because of our desire to think of the translations as a trancparency, a clear window through which we see the meaning of the original, that we lose sight of the obvious impossibility of one-to-one correspondence and take for granted the presence of the translator and the choices and praxis involved in the task (Matvei Yankelevich).

Compilation of notes and introductions written by translators on different attitudes towards the level of transparency and authorship of their mediation, as well as the inescapable trade-off they have to face between form and meaning. Fifteen contributors dealing with analogous concerns in their practices, selected pages from their personal libraries, present in the book as facsimile versions.

Contributions by Derek Byrne, Fred Cave, Cecília Costa, Paul Elliman, Yana Foqué, Daniel Frota, Virginie Gauthier, Will Holder, Mathew Kneebone, Menealos Kouroudis, Pedro Moraes, Miguel Nóbrega, Maria Jimena Sanchez, Lisette Smits and Sarah Tripp.

The play for two actors and a choir, entitled I Was Not Able to Visit the Entire Show, was created with the intention of being staged within the environment of gallery institutions.

The famous Dutch typographer and museum curator Willem Sandberg is portrayed by art historian Ank Leeuw Marcar through interviews compiled more than 30 years ago. Particularly focusing on the period from 1945-1970, during which Sandberg was quite active and passionate in both typographic forms and as director of Amsterdam’s Stedelijk Museum, this thoroughly edited reprint of the original book closely examines his legacy and influence, its cultural aspects and roles of art historians and curators. His approaches to these topics remain relevant and challenging even today, offering new impulse in the discourse surrounding art and its place in an historic perspective.

Marianna La Rosa Maruyama works through notions of resistance, weariness, and return. If fk rolex day date m118389 0008 mens rolex calibre 2836 2813 12mm automatic anything could be assumed or imagined to have challenged the question of how to live together, it is that which occurs in the space of catastrophe, in this case, the earthquake and subsequent nuclear disaster in Fukushima, Japan.

Publishing Class III HOW TO LIVE TOGETHER series published in collaboration with DAI, WERKPLAATS TYPOGRAFIE, and CASCO Office for Art, Design and Theory (Utrecht). With contributions by David Maroto, Hanan Benammar, Larraitz Torrez, Maja Hodoscek, Marianna find more info Maruyama, Padraig Robinson, Daniel Frota, and Christian Nyampeta, and also with Janine Armin, Binna Choi, Benjamin Thorel, and Yolande van der Heide as editorial team.

The Shelves (formerly Proposal for a (Book)shelf) is a project space for participants of the Werkplaats Typografie for presenting work. The Shelves, a small niche, are located inside the meeting room of the school. Similar to many places in the WT building, this space is a platform for sharing research and producing work with an emphasis on peer critique.

This publication is an overview of The Shelves projects in 2012 – 2013.

This publication by Padraig Robinson and Daniel Frota was made in context of Publishing Class III: How to Live together, DAI. This publication was devised in the model of a conversation in collaboration with designer Daniel Frota, where the act of writing was used to explore the “idiorrhythmic” nature of the discourse around images.The starting point was an image published on The Guardian’s website on Monday 18th February 2013, which is an Instagram image said to be depicting a Palestinian boy in the cross hairs of an Israeli sniper’s rifle zoom. The distinct texts between artist and designer perhaps suggested that the nature of such pictures in general, even those that could be considered “political” at a given moment, have a very unusual condition within the online, digital circulation of social networking. The writing created a problematic regarding the agency of vision, based on an “ethical reaction” for an other we will never meet via image media. This is discussed, and indeed averted, through two individual perspectives — or a fragment of writing about vision.

Publication made in collaboration with Aziza Harmel based on images related to her grand-parents in Tunisia between 1947 and the present day, both involved in the liberation of Tunisia. From these appropriated archives, a fictional story was created.

The Fantasy is the culmination of a period of research into tensions within the dilapidated Dutch city of Almere, and its failure to realize an architectural plan to become a utopian haven. The book takes the form of both travelogue and timeless voyage. Three characters, based on the city’s actual residents, share accounts of a fictional trip that traces a route based on small irregularities, curiosities and almost invisible details that were uncovered while wandering through the city. The Fantasy is a work of fiction, which, in merging social, political, and urban investigation with street observation, emphasizes how daily urban situations and invisible street practitioners define geopolitical conditions. This book belongs to the Publishing Class Collection How to Live Together Series published by CasCo Art Institute, Utrecht.

The South Highway is a gamebook. Part story, part game, this is a book with a difference –one in which you become the protagonist. The narrative changes according to your decisions on which path to follow, the actions to carry out, and the answers to give to other characters. It is you who interacts with the others inside the book, and thus are responsible for the protagonist’s vicissitudes. You will need all your wits about you to go through the unexpected that lies ahead. Apparently trivial situations can lead some time later to a serious outcome in which your own life can be at stake. Thus, choose your actions carefully!

The Finding & Raising of Anchors of Barges and Steamers plays with forms of content structuring and editing, based on research into knowledge management systems and Wikis. The book is made up of documentation of Quenton Miller’s artworks presented next to manipulated republished texts interspersed with annotations and footnotes. The design of the project involved implementing an updated idea of medieval rubrication, which sits on top of and along side the body text, spot printed in Pantone Green.

Mystery story following the disappearance of character called P. by Sander Uitdehaag.

DAI Publications is a collection of artist’s books issued by the Dutch Art Institute (DAI) and designed in collaboration with the Werkplaats Typografie (WT). The 2012 edition consists of 13 publications developed in the context of ‘Publishing Class’ a two year course designed by Casco – Office for Art, Design and Theory, delving into the act of publishing as a critical art practice, both as a way to make things public – forming publicness – and as a from of dissemination beyond time and space constraints.

A series of dialogues between the artist and three individuals: a computer game player, an astronaut, and a funeral speech writer, each documented during a recorded conversation and presented in the form of an interview, theater script, and poem. The dialogues examine how each character’s concept of self is formed by their occupation or activities as tied to sensations of presence and absence of the physical body. The symbol of a funnel is used throughout the text.

A quadrangled story about shades and variations in co-dependence and sovereignty, inspired by a musician (John Lennon), a theorist (Henry Lefebre), an author (Halldor Laxness) and a demnted ruler of Rome (Caligula). Mindgames is constituted by four parts – ordered in alternating sequence – to form thirteen chapters in total. Each of the four sections holds a biographical account of its subject: Caligula, Henri Lefebvre, John Lennon and Halldór Laxness. The chapters can be read separately, as they have been conceived to be independent wholes, forming biographies that present portraits of associations rather than particular statements about individual lives. The text, however, is constructed to alternate rhythmically between the main motives. The motives in turn produce variations on particular themes as they modulate into different parts within the totality of the work as a whole. Mindgames was conceived as a way to enjoy information in the tradition of autodidacts of the past – but in a style which is commingled with a reverence towards traditional modes of archiving the world. The author will give a talk about the ideas behind the work and selected chapters will be read.

Geirþrúður Finnbogadóttir Hjörvar was born in 1977. She received her MFA from the Malmö Art Academy in 2005 and her BFA from the Iceland Academy of the Arts in 2002. She attended the Rijksakadamie residency program in 2007-2008 in Amsterdam. She works with sculpture, text, performance, painting and installations.

Rui’s short story is about two speechless characters caught in the curse of love. The uncertain moment, in which they are trapped, will be followed up, questioned and answered by the collaborators. Each contribution is a reaction to Rui’s short story and approaches diverse aspects concerning love and restraint. Performative and cinematic, literary and philosophical as well as phenomenological analyses come into play. Using strategies of collaboration in an artistic context, the book turns into a multifaceted investigation. Vivien Trommer.

Artist books – The Dutch Art Institute is one of the master programmes of the ArtEZ institute of the Arts. The DAI is a practice based research institute but grants theory, knowledge production and reflection an important, shared position within the curriculum. Students at DAI participate in the discourses on the future of art in the context of a globalizing world. Because of the international student body DAI does not work with compelling formats, but instead folds thematic seminars and conferences and lectures in a flexible way around running projects. Since 2004 WT and DAI cooperate in editing, designing and producing the yearly graduation booklets for DAI.

In December 2011 Stefano and Eva worked together on an exhibition in a small artist-run space in Nijmegen, the Netherlands. The exhibition was called At the end of the world I exist and consisted of two diverse installations. The work on display was mirroring an ongoing discourse about traveling, distance and the transportive potentialities of the image starting from each our interests – respectively photography and architecture. Six months later, they organized an event at Schloss Ringenberg, Germany. During the night the work took the form of two presentations and a book, in order to broaden the performative side of the installation presented before and to transport the previous space into the new room, the Rittersaal. The presentations and the book touch, amongst other things, upon a postcard from Tenerife and the portrait of Emily Dickinson, respectively the features of the two specific exhibition spaces and the furniture that inhabits them. Artist and writer Miek Zwamborn was invited to write a contribution to the book as a third link. The sentence At the end of the world I exist was used as a point of departure point for a short story titled Legacies of the moon.

Several stories around an inn with a historical background connected to the Portuguese regime. The history of the space has this paradox of being a manifesto against architecture of its time and at the same time it becomes a symbol of the regime. Departing from a very concrete prove (the building) and a very subjective experience (ones relation with the space) a fiction was created around a history that the writer did not experience.

Each year Werkplaats Typografie organises its “Best Books” selection: every participant chooses a book according to specific criteria. The criteria for the 2012 selection derived from a discussion with Kobe Matthys from Agency, Belgium. The resulting publication collects conversations and meetings with and around books with Kees Beentjes, Katherina Bornefeld, Tamara Henderson, Harmen de Hoop, Oliver Ibsen, Colter Jacobsen, The Librarian at Arnhem’s Public Library, Henk Pel, Seth Siegelaub, Matthew Stadler, Joëlle Tuerlinckx, and Ashleigh Young.

Between 1967 and 1990, freelance photographer Reinhard Mende was commissioned by various GDR combines to document factories and the presentation of their manufactured products at the International Trade Fair in Leipzig. He portrayed women at their workbenches, he took shots of lamps, vacuum cleaners and kitchen appliances. The approximately 250,000 pictures in his archive – both in black and white and colour – offer a rare look at the factories and the people who produced all these commodities. Although the perspective was directed by official ideals, Mende followed his own view. Double Bound Economies explores how we might approach this unique body of images today: how we can access them, how we can derive historical insights from them, and for what considerations they might represent a starting point. Along with a number of essays the book includes artistic contributions by Armin Linke, Olaf Nicolai and KP Brehmer.
Languages: English / German

A short story/brief history of an Iranian family involved in and affected by the turbulent political situation of the country (specifically during the years before and after the 1979 revolution in Iran). The text, in each ten chapters of the book, is divided into the main and the marginal. While the main text has taken a subjective approach and narrates the personal, the marginal text refers to the historical and political events that happened parallel to the events of the family.

This publication is about making a publication, produced during an internship about an internship. It’s an overview of an artist working as an intern for a year. I gave up my studio and my autonomy in return for experience in the institutional art world.
The 300 editions of the publication were printed, bound and rubber stamped at the Office of Mark Simmonds, WT.

DAI PUBLICATIONS is a collection of artist’s books issued by the Dutch Art Institute (DAI) and designed in collaboration with the Werkplaats Typografie (WT). The 2011 edition consists of 16 publications. As of 2006 the series is supervised by an annually appointed collection editor; for 2011: visual artist Rebecca Sakoun.

Off the coast in the north of the Netherlands, an extinct, prehistoric volcano lies dormant in the layers of the earth and beneath the waters of the Wadden Sea. This volcano is 160 million years old and it was active for several million years. In the 1970s, while drilling for gas, volcanic specimens were found and thereby this volcano was discovered. Eva Olthof invited filmmaker/writer Peter Delpeut, researcher/writer Siri Driessen and visual artist Roman Signer to write a contribution for this publication. Delpeut wrote a fictive story, Driessen wrote an analysis of the photograph, and Signer send me a publication of his works on the phenomenon of volcanoes.
The publication is part of the series DAI PUBLICATIONS which is a collection of artist’s books issued by the Dutch Art Institute (DAI) and designed in collaboration with the Werkplaats Typografie (WT). The 2011 edition consists of 16 publications.

This is a publication with the Artist Patricia Sousa. The booklet is a space of expression of the norm of the passport pictures and regulations. The grid is the norm and the type evolves through the book in order to fill in the space of the spread, as the face should fill in the space of the photography. The 300 copies, like the passports, present a common state, personnalized by the hand glued colored pictures. With Texts by Sophie Nield and Raqs Media Collective.

DAI PUBLICATIONS is a collection of artist’s books issued by the Dutch Art Institute (DAI) and designed in collaboration with the Werkplaats Typografie (WT). The 2011 edition consists of 16 publications. In close collaboration with one or more guest authors, artists team up with designers to produce an artwork in the form of printed matter. From very diverse perspectives they reflect on publishing as a versatile medium.

Biscotti di Vento is a research project by artist Vittoria Soddu in collaboration with authors Manlio Brigalia, Bianca Pitzorno and Celestino Tabasso. Their contributions to Biscotti di Vento have been inspired by conversations filmed by Soddu in 2010 with Antonella Baralla and Salvatorica Manca around the origins and secrets of a contended biscuit.
DAI PUBLICATIONS is a collection of artist’s books issued by the Dutch Art Institute (DAI) and designed in collaboration with the Werkplaats Typografie (WT). The 2011 edition consists of 16 publications. In close collaboration with one or more guest authors, artists team up with designers to produce an artwork in the form of printed matter. From very diverse perspectives they reflect on publishing as a versatile medium.

A book about writing, storytelling, translation and interpretation. Artist Jort van der Laan translated ‘A Journey Through My Room’, a story by Dutch writer J.M.A Biesheuvel from Dutch to English (prior to this book’s publication in June 2011 the story was not available to read in English). Yet this translation is incomplete. The missing lines and paragraphs of the story are made visible throughout the book as blank spaces. The format of the book and design of the interior was copied from a 1972 collection of Biesheuvel’s stories owned by the artist which includes ‘Reis Door Mijn Kamer’ or ‘A Journey Through My Room’.

Avoiding the use of personal imagery, intimate photographs become generic due to small interventions; collage, modified poker cards and excerpts from magicians’ handbooks are combined to create a narrative that compares a deck of cards with any collection of photographs found in a traditional photo album. Starting from a series of nearly identical elements, it’s only the way we play them that provides a different result for each game .

A publication with texts by Lauren Alexander, Clare Butcher and extracts from David Blom (Oom Bolo) and Charles Nkosi. This publication forms part of the Cardboard Monument project, carried out in Soweto, Johannesburg from January – March 2011. It reflects on the significance and impact of community driven activist public art, using the Cardboard Monument project as a case study.
Published by the Dutch Art Institute & Mediafonds, this book intends to document, but also to create a platform for reflection following the Cardboard Monument project, and its influence on the Kliptown area, in Soweto Johannesburg. Cover Illustrations: Victor Mofokeng, Funda Community College.

The Restoration of a Wall. This publication for greek artist Viki Semou deals with her fascination for the accumulation of home things.

The Publications Project is a collection of artist books issued by the Dutch Art Institute and designed in collaboration with the Werkplaats Typografie. The 2010 edition consists of twelve publications edited by artist and curator Delphine Bedel. International in its scope, this collection is a unique blend of printed matter varying from artist books, essays, posters series, performance artefacts, documentary investigations, auto-fiction and colllages to reenactments on YouTube. Through very diverse perspectives the artists and designers reflect on publishing as a versatile medium. Each book defines its own modes of circulation, through performances, exhibitions and book fairs or as a gift.Article Sponsored Find something for everyone in our collection of colourful, bright and stylish socks. Buy individually or in bundles to add color to your sock drawer!

This book reflects Reem al Faisals journey to China. Reem Al Faisal is a granddaughter of the Saudi king Feisal. Her photographs have been exhibited in France, Egypt, China and Korea, and she was the first artist from a Gulf state to exhibit in Palestine.

“The Third Archetype” is a prose narrative explicating the installation “Delta.”
This publication is part of the Publications Project, a collection of artist books issued by the Dutch Art Institute and designed in collaboration with the Werkplaats Typografie.

Initiatief ‘De Zolder van Duitsland’ maakt deel uit van een reeks van publicaties op initiatief van ArtEZ Academie van Bouwkunst, Arnhem. Dit boek is gebaseerd op het afstudeerproject van Seth de Rooij aan ArtEZ Academie van Bouwkunst. Mentoren: Ralph Brodrück, Wim Korvinus, Ady Steketee en Lada Hrsak. Met dit project won Seht de Rooij in 2006 de Archiprix.

De zolder is de plek van de verdringing, maar ook van de herinnering. Dat wat wordt verdrongen is niet voorgoed weg en kan in principe worden hervonden. Dresden is het symbool van het Duitse collectieve geheugenverlies geworden. Vandaar dat Seth de Rooij in zijn ontwerp de Erlwein-Speicher heeft omgedoopt tot de ‘Zolder van Duitsland’. Deze zolder moet in zijn visie dat wat verdrongen was terugbrengen in het geheugen. Als ‘Zolder van Duitsland’, een depot of pakhuis van hedendaagse kunst, krijgt de Erlwein-Speicher weer een eigentijdse plek in de recente geschiedenis en in de skyline van Dresden.

Language: Dutch

For a short period, the artist Julio Pastor was allowed to occupy apartment 603 in a building in Delft before it was pulled down. During his time there, he set out to collect any traces he could find of the people who had lived in the apartment before by means of watercolour painting, polaroid and digital photographs. At the end of his stay Julio Pastor left behind all of the work he had produced in the apartment. This publication is the only surviving record of Julio Pastor’s investigation. In the process of creating it, the novelist Pierre Leroux re-signified apartment 603’s human traces by turning evidence into fiction. After Leroux, through the design of the publication, a new perspective on the project was discovered. The booklet brings to life reflections on shared notions of translation in the design process by putting the images of the artist back on the wall and rephotographing them.

Tutorial WT Punch-out activity book. Play with us! Glue the Werkplaats Typografie building together and discover the forgotten joy of rebuilding the world in miniature size. Perfect for use with your favorite WT action figures. This model was made for the WT project “Feed the Library” at the 2010 New York Art Book Fair from November 5-6- at MoMA P.S.1.

Graduation booklet for Yen Yitzu. Texts: Francesco Bernardelli, Yen Yitzu
Artist books – The Dutch Art Institute is one of the master programmes of the ArtEZ institute of the Arts. The DAI is a practice based research institute but grants theory, knowledge production and reflection an important, shared position within the curriculum. Students at DAI participate in the discourses on the future of art in the context of a globalizing world. Because of the international student body DAI does not work with compelling formats, but instead folds thematic seminars and conferences and lectures in a flexible way around running projects. Since 2004 WT and DAI cooperate in editing, designing and producing the yearly graduation booklets for DAI.

Two-dimensional drafts of the autobiographical show, which has not happened yet.

The Publications Project is a collection of artist books issued by the Dutch Art Institute and designed in collaboration with the Werkplaats Typografie. DAI and WT are both master programmes of ArtEZ. Gabrielle Schleijpen, course director of the DAI, founded the Publications Project in 2003. It started as an experimental and innovative research and publishing platform aiming to address the specific process of artist books production, from concept and design to distribution, and is now an acclaimed editorial project. Artists and designers are invited to team up in couples to produce an artwork in the form of printed matter, in close collaboration with one or more guest authors (historians, novelists, sociologists, artists, philosophers, etc. ). The 2010 edition consists of twelve publications edited by artist and curator Delphine Bedel. International in its scope, this collection is a unique blend of printed matter varying from artist books, essays, posters series, performance artifacts, documentary investigations, auto-fiction and collages to reenactments on YouTube. Through very diverse perspectives the artists and designers reflect on publishing as a versatile medium. Each book defines its own modes of circulation, through performances, exhibitions and book fairs or as a gift.

Michel Foucault Letters documents artist Kevin Immanuel’s ongoing project archiving the supposed correspondence between the famous philosopher and a number of galleries and art institutions throughout Europe, North America, and China. The letters were, in fact, written by Immanuel himself, both as a literalization of Foucault’s emphasis on the importance of cultivating an “ironic stance” toward one’s present situation–in Immanuel’s case, the crisis of being a young artist trying to strike up a meaningful discourse with art institutions–and as a poignant critique of the relationship between art institutions and their patrons.
Each letter contains a polite request to become a member of the institution, offers a monetary donation, and actively attempts to initiate a critical dialogue with the institution about its programming and exhibitions. According to Immanuel, the only part of the letters that the institutions responded to were those pertaining to fiscal contribution, proving that the archetypal art institution is both unwilling and incapable of becoming part of a different discourse, even with figures of such cultural significance as Michel Foucault.
Includes an essay by Vesna Madzoski and “A Discursive Letter written to Michel Foucault” by Kevin Immanuel.
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A set of 2 booklets: Marina + Buba. Buba Cvoric and Marina Tomic were born in Serbia 1980 and 1982, and are a collaborative artist team performing actively since 2005. Their performances present an exploration and study of a collective identity, intimacy and behaviour within mutual experience. In most of the works they strive to reveal and understand a marginal and subconscious nature of the collective mind.
These booklets are part of a growing collection of artists publications issued by the Dutch Art Institute (DAI) produced in collaboration with the Werkplaats Typografie and edited by artist/ curator Delphine Bedel. The 2009 edition consists of 15 publications by different artists, varying from printed matter, book and artist edition to performance artefact. For each project, the artist teamed up with a graphic designer from Werkplaats Typografie, and invited a guest author to contribute. Over the period of one year, various aspects of publishing- concept, editing and design, production and distribution – were addressed, while the artists were invited to see the publication process, as a way of generation work or conversation, rather than just representing it.

Our knowledge about light is based on possible theories, which can differ extreme. The fascination of certain artists towards the content of light can be explained by the complexity of this phenomenon. There are many sides to explore and new insights and ideas to approach this subject. The subject of light and the object of light are constantly nourished, what keeps light an vivid and contemporary subject. Suzanne’s interest lies in perception – how we see and how we perceive – most importantly on an individual and subjective level.

Being at once a school and at the same time not a school, a workspace, the Werkplaats Typografie (WT) tends to want to comment on its own distinctive form of academic pursuit (by way of, amongst other outlets, these School Journals). And during this sometimes faltering, sometimes successful quest, I’ve often thought about Jacques Rancière’s Ignorant Schoolmaster. Five Lessons in Intellectual Emancipation, not least because it outlines an “intellectual adventure” whereby any hierarchy amongst the students and between them and their tutor dissolves.
Editorial Considerations (fragment), by Maxine KopsaVisit our partners,shoes – leaders in fashionable footwear!

Emily: “This publication is in a process of finding out what it is as I do it. I find myself amidst a development in my work. This publication falls in the middle of that as a holder. This development is me trying to move away from transforming objects physically to transforming gm rolex day date 228349bkdp rolex calibre 2836 2813 mens 12mm them through talking about them, or to find a way to incorporate the narrative that arises from a work, as the more dominant part of the work. Through talking about objects, this can be used to place them in a different context, create networks between objects and address associations made through objects.”

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The Mundane Science Fiction issue: Tone it down/pull it back. The future never gets old. Metahaven discusses online utopian impulses. Rob Giampietro and David Reinfurt have a slightly phased conversation. Kate McKinney Maddalena provides the etymology of the word “mundane.” Task interviews the NASA Earth Observatory. Randy Nakamura tries to hold back his emotions. Catalogtree predicts the future. Daniel Eatock, LUST, Peter Bilak, Sean Donahue, Mr. Keedy, Zak Kyes, and Wayne Daly describe things that never happened. Paul Elliman climbs the Tower of Song. Jimmy Carter addresses alien races. Apollo 8 gets unscripted. Buckminster Fuller coins a term. Christian Bale meets Ettore Sottsass. Google organizes the world. All this in the span of a day, the palm of your hand.

Artist books – The Dutch Art Institute is one of the master programmes of the ArtEZ institute of the Arts. The DAI is a practice based research institute but grants theory, knowledge production and reflection as important. Because of the international student body DAI does not work with compelling formats, but instead folds thematic seminars and conferences and lectures in a flexible way around running projects. Since 2004 WT and DAI cooperate in editing, designing and producing the yearly graduation booklets for DAI.

Nothing about Dutch graphic design duo Mevis & van Deursen conforms to type. Praised for their innovative but clear presentation, they have designed everything from artist’s books for Gabriel Orozco and Rineke Dijkstra to an official government stamp commemorating the marriage of Dutch Crown Prince Willem-Alexander, based on the number two, since the wedding date was 02-02-02. This book represents a range of work from the past 15 years, mostly books but also posters and smaller pieces. However, the artists have chosen not simply to present the work again but to make it new through collage and reinterpretative interplay, thus "recycling" their innovative designs.

The second WT reader publication done with all participants of WT year 05 and 06. A theme ‘the global picked out from the local and the local seeped through the global’ was developed, researched and illustrated with in-house-generated-brand-spanking-new content as well as some carefully selected existing material. Participants formed the editorial team, worked as contributors and, naturally, designers.
With contributions by: Sven Herzog, Peter Robinson, Italo Calvino, Maxine Kopsa, Dirk Herzog, Susanne Stetzer, José Da Fonseca & Pedro Carolino, Eric Cruz, Red Zinia, Louise Dossing, Darcy D. Jeffs, Toshimasa Kimura, Karen van de Kraats, Jeffrey C. Ramsey and Layla Tweedie-Cullen

Between its covers are: a book about typography and graphic design, arranged around work from a single source and incubator, the Werkplaats Typografie. The book shows a selection of the work in thematic pages of images, such as posters, CD’s, books and postcards. Six highly distinctive authors describe the studio’s philosophies on typography and graphic design as well as the Werkplaats Typografie’s intentions and methods.
Edited by Stuart Bailey. Text by Paul Elliman, Anthony Froshaug, Melle Hammer, Robin Kinross, Norman Potter.