Calendar Book will be on exhibition at Gallerie Lendroit in Rennes, France from January 18 – March 18, 2018. Please, save the date is curated by Marie Boivant. A translated press release is below. For a PDF with images click here. For more information about the exhibition click here.
Please Save The Date: Harold Ancart, Maurizio Cattelan and Pierpaolo Ferrari (Toilet Paper), Paul Chidester, Claude Closky, Jeanne Dunning and Hirsch Perlmann, Brendan Fowler and Andrea Longacre-White, Matthew Geller, General Idea, Dominique Gonzalez-Foerster (E Il topo), Jesse Harris, Sara MacKillop, Sophy Naess and Carmelle Safdie, Pierre-Guilhem, Marie-Amélie Porcher for Yvette et Paulette, Manuel Raeder, Colin Sackett, Matthieu Saladin, Patrick Sarmiento, Erica Van Horn, Marijke van Warmerdam, Lisa Young
Lisa Young, Calendar Book, 2003
The calendar reflects a cutting of time; as publication, it stands out as a tool for social coordination. But the peculiarity of this everyday object, which tends to be supplanted by digital forms but remains ubiquitous in our environment, is to be at once collective and personal: if it respects a “universal” grid and is mass produced, it is used for individual planning and can for this purpose to be personalized, handled and annotated by its owner, to the point that it may become the only witness of his timetable.
Many artists are interested in the calendar and the position it occupies in our everyday life, between practical tool, memory object, derivative, and advertising medium. Among a great diversity of approaches, this exhibition focuses on calendars designed by artists, printed in series and destined to be used; it thus presents ready-to-use calendars planned for be displayed in our interior, arranged in an office, or left in a drawer and consulted as needed. In all the case, they are supposed to accompany us on a determined time to come.
In the calendars presented at Lendroit editions, the artists have not hesitated to shake up conventions, the bouquet of flowers or the paradise landscape, the theme domestic animals or pinup see themselves revisited. Indications textual de rigueur on the calendar – name of saints, recipes, sayings or course of action for a period given – are, in the same way, diverted or replaced by other proposals, offbeat, cynical or critical. The often promotional function of the calendar and its use as product derivatives are also not forgotten and some artists exploit the ambiguous status whose object is then adorned.
Although the role of the calendar is to cut the time according to standards established – redefined and specified over the centuries – some calendars presented here include errors or irregularities, derogate from the rules formatting by proposing unlikely combinations and give rise to hybrid publications where cross codes that are a priori incompatible. Other set up a temporal grid unpublished, sometimes irregular, contracted or stretched to excess, giving a vision of dizzying future.
The selection of thirty calendars presented in the exhibition thus allows to observe how artists play with the form and iconography of this strange and familiar object, the way they deconstruct his codes and put to the day its imperfections, without ceasing to question its uses and its stakes both individual and collective. In doing so, they propose to infiltrate our daily and invite us to a replay of the time unprecedented.
Modifications or disturbances that artists or designers are subjecting their calendars – according to modalities and different contexts – evoke moreover the many revolutionary attempts or anarchists who have sought to shake this well-established model and with it, its anchoring in a western society strongly marked by Christianity. These displacements are then also the opportunity to remember that the calendar is not universal, that it differs according to times, countries, and every time, that its shape and its cutting result from a compromise between natural phenomena, cultural practices, practical realities and political contexts.
Marie Boivent, Curator, is a Lecturer at the University Rennes 2 Haute Bretagne. Their research focuses on artists’ publications, in particular artists’ magazines.
Lendroit éditions is a French publishing house, bookshop and exhibition space, dedicated to art, artists and print. As a publishing house, Lendroit explores editorial experimentation in order to produce singular works with artists. Within the context of collections or specific projects, we work with artists who experiment and create artwork in multiple formats, with printing methods adapted to their projects. The bookshop aims to show the diversity of artists’ editions through a selection of books, prints and multiples produced by domestic and international publishers. The exhibition space focuses on contemporary artistic and editorial practicing, favoring multifaceted works, on the occasion of both collective and solo exhibitions. The exhibition space is complementary of the bookshop and the print production.
Llewellyn Hensley, RISD MFA Graphic Design 2017, interviewed me as part of her thesis book Content Aware: Investigating Tools, Character & User Behavior. Drawn together by our mutual interest in repetitive and interative strategies, our conversation touched on systems of organization, finding the sublime in the everyday, and the rapidly changing medium of photographic practice. To read the entire interview, go to: http://lisa-young.com/Writing-and-Special-Projects.
Pleased to announce that my video “Drives” will be included in “Poetics of Verticality” at Spektrum Berlin. The exhibition highlights video that takes the perspective of drones, satellite imagery, bird’s-eye views, astral projections and Virtual Cameras. Screenings: August, 20th, 2017. Curated by Jake Sillen. spektrumberlin.de
The Sky at Moriarty: A collaborative project with Image in Context students at the Lesley University College of Art and Design. By Aaron Krach and Lisa Young
Available on Blurb!
The Moriarty Library at the Lesley University College of Art and Design (LUCAD) is sited in a former church. The church has stained glass windows that filter light from the heavens. Through the panes of leaded glass viewers can see the sky. We think of the sky as positioned outdoors, but the sky also exists within the space of the library, represented in landscape paintings and drawings, film and video stills, photographs, animation cells, and illustrated books. When we look at images of the sky we often think of beauty, nature, or spirituality. But what does a sky image represent, really? When we see images of the sky positioned in books, do we just admire them, or do we consider the source?
On October 11th, 2016, visiting artist Aaron Krach and Image in Context faulty lead 107 First Year students on a hunt to “find the sky” in books housed in the library collection. Students scanned images and created citations that were uploaded to a shared document. This crowdsourced activity produced a bound artist book containing every image sourced, including citation and the names of all participants. Additional projects included book flags in the library stacks, “flagging” the books where sky images were found, a site-specific installation of twenty-five digital prints of selected sky images, and a series of bookmarks featuring sky images that functioned as take-aways, dispersing the sky project throughout the LUCAD community.
To learn more about Aaron’s work, see aaronkrach.com.
So pleased to have been asked to lecture on my work and participate in senior multidisciplinary capstone critiques at Smith College! If you’re in Northampton on November 4th, please stop by my talk and say hello!
I had a great studio visit with some wonderful and insightful people on Friday evening! Thanks to everyone who attended and shared their thoughts on my works in progress.
Happy today for a mention in this review of the RISD Faculty Exhibition! See the entire article here.