Does ex­h­bit­tion and art stuff pub­li­ca­tion stuff writes about de­sign cu­ra­tor teaches lcc, cam­ber­well

lets talk about 3 pro­jects

1. de­sign, art di­rec­tion

brus­sels mu­seum (villa em­pain)

villa in brus­sels from the 30s, re­fur­bished and is now do­ing art shows build­ing is a non-neu­tral con­tainer filled with mar­ble and stuff, in­ter­est­ing to see how cu­ra­tors work with that Work with tex­tures, colours from the build­ing

Repetitiion in french this means both Repetitiion and re­hearsal peo­ple were mov­ing art­works dur­ing the show, al­ways left one room empty so things could move

sent in­struc­tions to cu­ra­tor and pho­tog­taer on how to doc­u­ment the show

type­face by radim pesko, Larish neue http://​www.radim­pesko.com/​fonts/​lar­ish-neue

DECOR

what does it mean to em­brace the dec­o­ra­tive as a fun­da­men­tal part of art shiny pa­per that catches the light, adds to the pre­cious­ness of the ex­hi­bi­tion type­faces: some sort of cop­per­plate Grilli Type: https://​www.gril­li­type.com/​type­faces/​gt-hap­tik se­ries of pub­li­ca­tions and ex­h­bit­tions

as­so­ci­a­tions https://​vimeo.com/​85442044

2. Open Books

ex­plores con­nec­tions be­tween printed ob­jects and ex­hi­bi­tions pub­li­ca­tion is built from the re­search that leads up to the cor­rex­pond­ing show. spi­ral bound so it can grow with the pro­ject Vol­umes (Chapters) a. pri­marir re­search b. stuff that was pub­lised as a leaflet fro the show c. cat­a­logue d. archiv of teh sec­ond ex­hibiton in paris a year later e. in­vited 9 artists to help with the lat chap­ter, sent them each books that chal­lenge the form of the books. They re­turned con­tri­bu­tions

aslo did a live edit of the chap­ter at x marks the book­ship. things were made, per­formed, read.

first showhired a li­brar­ian every day each per­son had to or­der the books every morn­ing peo­ple were en­cour­aged to mark a page in the book and the li­brar­ian had to doc­u­ment what was go­ing on. Marked pages were copied and obund into a new book whihch was then added to the echi­bi­tion - reader takes an ac­tive role

fac­ing pages­james lang­don stu­art whipps ex­am­in­ing the re­la­tion­ship be­tween two fac­ing pages in a bookalso made this into a per­for­mance

the fam­ily of man

pitch for slow mo­tion

3. ser­pren­tine gallery mem­ory marathon

Visual es­say type thing

  1. pro­gramme for teh lec­ture se­ries try­ing to an­tic­i­pate what is go­ing to happe WAR­BURG this ger­man art histroian who made plates of dif­fer­ent im­ages that were some­how re­lated as a tech­ing tool, changed the way we un­der­stand art hisy­ory mne­musyne at­las the war­burg in­stitue

idea of sto­ries in your we­ork where does it coe from probs comign from me, when­ever i work on a book i try to bring sto­ry­telling into it. My books of­ten don’t start with the ti­tle page. It comes from film and other stuff im in­ter­ested in. I’m in­ter­ested in think­ing about the booka as a film, that’s why im amk­ing films of me flick­ing through books see if its dif­fer­ent than a pfd bridges bewtweeen film mak­ing and art and de­sign and per­for­mance

theme of col­lab­o­ra­tion, do you con­tact peo­ple you dont knwo, is it peo­ple you know from col­lege etc for most of my pro­jects i try to get the per­fect per­son to help me with it. I al­ways try to in­vite peo­ple to col­lab­o­rate. MOst in­ter­est­ing col­lab­o­ra­tions hap­pen with peo­ple who ahve dif­fer­ent skillsets and come from a dif­fer­ent back­groud. 1+1 = 3 and stuff. GIves you con­fi­dence to com­mit time and re­cources. EVen for teac­ing I bring in peo­ple to write briefs