This weekend Nero will be part of First Issue – Self-Publishing Book Fair for Design and Art, a new event focused on art publishing that will open in Frankfurt in conjunction with the Frankfurt Book Fair.
Now, after App Store and E-Book, we are returning to print. Parallel to the Frankfurt Book Fair, young designers, artists and authors will display printed publications and artfully crafted collectibles which are created, published and sold by themselves. Pioneers of the self-publishing scene from all over Europe will speak at the conference.
Dead or alive? Few other branches predict their own demise as often as the book industry. Yet despite the pessimistic “book-is-dead” lament of many experts, countless new books are again being published this year. Now, parallel to the Frankfurt Book Fair, First Issue is being launched that shows that young designers and artists are again intensely involved in printing and paper.
Dirty Armada is a book about a lifelong passion edited by Claudio Roccehtti (musician, performer). It’s a collection of Italian metal bands’ logos, that Rocchetti has been gathering since he was 12 years old and which is still expanding. It’s a book full of pure beauty and metal thrill, a visual study of decades of true underground. The book includes two essays by Marcello Crescenzi and Ezio Sabbotigh that lead the readers into the memories of that period and give a name to the people that helped to create that metal imagery. At the end of the post you can read an excerpt from Marcello Crescenzi’s essay.
The book will be out the 1st October 2011. From here you can preorder Dirty Armada at the discounted price of 14€ instead of 18€ (just until the 25th of September).
Opening: March 9 2011, 6.30 p.m.
March 10 – April 2 2011
Istituto Svizzero – Via Vecchio Politecnico 3 (Centro Svizzero), Milan
Today the Milan branch of the Istituto Svizzero di Roma presents “Types We Can Make”, an exhibition curated by ECAL – Ecole cantonale d’art de Lausanne, introducing a selection of contemporary typographical characters designed in Switzerland –a country that has always been at the vanguard in this particular context.
On show the fonts by Ludovic Balland, Matthieu Cortat, Phillippe Desarzens, Nicolas Eigenheer, Gilles Gavillet & David Rust, NORM (Dimitri Bruni and Manuel Krebs), Ian Party, Emmanuel Rey, Jeremy Schorderet, Jonas Voegeli and Cornel Windlin amongst others; a selection that offers an overview of the trends in Swiss typography over the past 5 years. Following its preview at the MIT (Massachussetts Institute of Technology), the exhibition comes to Milan accompanied by a publication entitled Types We Can Make: A Selection of Contemporary Swiss Type Design.
Born 35 years ago punk continues to influence most art and cultural forms, from music to literature, from visual arts to fashion. No exhibition or publication has yet been devoted to the artistic dimension of this movement in itself, even less with a truly international scope. EUROPUNK wishes to fill this particular lack.
From 21 January to 20 March 2011, the French Academy in Rome – Villa Medici will present the exhibition EUROPUNK, the visual culture of punk, 1976-80 trying to focus on the wealth of punk culture in Europe in the second half of the 1970s, showing the revolutionary change of imagery created by graphic designers, illustrators, image makers and agitators. It doesn’t want to tell once more the story of the musical influences of this movement that has surprised and shocked millions of young people, but to show the works of those artists who, while strongly denying they were making art, did want their images to change the world.
The exhibition is curated by Éric de Chassey, director of the French Academy in Rome, in collaboration with Fabrice Stroun, independent curator associated with the Mamco of Geneva, which will host the exhibition in the summer 2011. Four artists have been invited to conceive site specific projects for the Roman venue: Francis Baudevin, Stéphane Dafflon, Philippe Decrauzat and Scott King.
International Live-Media festival
January 20/21/22, 2011 Palazzo Re Enzo – Bologna
What remains, after a decade exploring the unique constellations, the thickening and blending of the geography of sounds and moving images; after wandering through the wakes of performativity, following ancient procedures of a floating audiovisual region in the edges of systems and disciplines?
This is the direct question of this new edition of Netmage, as part of an indirect and continuing research in the field of live media. After a decade of exploration it is the time to verify the evolutions and reactions, the revolutions and delays of sounds and moving images in the age of web culture. This is the reason why the program of Netmage 11 combines, without prejudices and surmounting disciplines, the old tradition of expanded cinema and the new expression of digital images, the evolution of sounds from the minimal experimentations of digital music at the turn of the millennium to the explosion of noise of the last years. This is also the reason why we consider Netmage, in its turn a hybrid exhibition/program that questions itself, urges and entertains as well, one of the most interesting festivals in the european panorama.
Here are some excerpts from the program:
Corvée by Sam Griffin
26 November 2010 – 15 January 2011
Gallery Vela – 38 Langham Street
The secret of corporate aesthetics is the power of elimination, the celebration of the efficient, the eradication of excess: abstraction as camouflage, the search for a Corporate Sublime.
Rem Koolhaas, Junkspace
The view from the top of 30 St “Gherkin” Mary Axe is a vista worthy of Caspar David Friedrich. Man appears as an insignificant but critical cog in the flow of capital, as it ascends the glass elevators of the Lloyds building, floats in a hedonistic fog lubricated by speculative financing in the bar of Tower 42, and watches the Pinnacle ascend to the heavens from its Bishopsgate pit. James Rosenquist’s Swimmer in the Econo-Mist beckons from beyond the lobby doors of Deutsche Bank, as Pret refuels assistants between meetings and commutes. Architecture gives wipe-clean form to corporate rapture – framing the heavens and reflecting the sky – whilst lobbies overflow with trees, high-tech and breezeway suburban designs, connoting the ecological order of “vest-pocket“ urban parks, in high-rise office buildings.
Contemporary artists are the perfect late-capitalist workers – freelance, mobile, with no pension and personal responsibility for their overheads: intensely self-motivated entrepreneurs acting in their own material interest. Museums emerge as Frankensteinian cut-n-shuts of office, shopping mall, restaurant and lobby space. Does an adoption of the architectonics of businesses work as a sweetener to corporate philanthropy? Did MoMA’s 2004 renovation really do away with an indoor sculpture garden, in favour of further canapé space and the ‘enchantment of a bank after hours’?