tag:blogger.com,1999:blog-11704281504407505422024-03-04T20:21:09.754-08:00Friends with Books: Art Book Fair BerlinUnknownnoreply@blogger.comBlogger9125tag:blogger.com,1999:blog-1170428150440750542.post-36980525266168650152020-01-28T02:55:00.000-08:002020-03-12T12:04:45.608-07:00„Terrain Vague“ – ein Gespräch zwischen Barbara Buchmaier und Miriam Jung über das Fotografieren und Publizieren<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjufOle2WoO1gakDgCzOsNy-UwlXfRvGXjbU3bQ1V5SCVZUuXCeZLmIbH8D1qKhE0MSdbjrLwtKfeS6UofQ5pw4SRDzaXuwnhIGFChJ6V7qw8tM1VzM28_R_mpddaZFX2KX08w7aXfP9KE6/s1600/01FriendsWithBooks%25C2%25A9MiriamJung.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="800" data-original-width="600" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjufOle2WoO1gakDgCzOsNy-UwlXfRvGXjbU3bQ1V5SCVZUuXCeZLmIbH8D1qKhE0MSdbjrLwtKfeS6UofQ5pw4SRDzaXuwnhIGFChJ6V7qw8tM1VzM28_R_mpddaZFX2KX08w7aXfP9KE6/s320/01FriendsWithBooks%25C2%25A9MiriamJung.JPG" width="240" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: xx-small; text-align: left;">Stand Miriam Jung </span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: xx-small; text-align: left;">Friends with Books 2019</span></td></tr>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><b>Barbara
Buchmaier: Liebe Miriam, ich kenne Deine Fotografien vor allem aus Deinen
Publikationen, wie Du sie seit einigen Jahren regelmäßig auf Berliner
Kunstbuchmessen zeigst. Was war für Dich generell das entscheidende Moment oder
der Auslöser, um selbst zu publizieren, um eigene Fotografien in Heft- bzw.
Buchform zu zeigen? Gab es bestimmte Vorbilder oder eine bestimmte Beobachtung,
die Dich dazu inspiriert hat – 2012 hast Du ja damit angefangen. </b></span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Miriam Jung: Nachdem ich die Kamera
einige Jahre verbannt hatte, begann ich 2010 wieder zu fotografieren und habe erst
mal mit Inhalten und Formaten experimentiert. Ich hatte angefangen, mit
männlichen Modellen zu arbeiten und ging auch in die Dunkelkammer, aber konnte
mir nicht vorstellen, die Abzüge in einer Ausstellung zu präsentieren – also
mit der Wand als Ausstellungsfläche zu arbeiten. So kam ich ohne konkrete Vorbilder zum Buchformat, das mir die Möglichkeit gab, die Intimität des Ateliers
in den Buchraum zu übertragen.</span><br />
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">BB:
Wie bezeichnest Du Deine Publikationen? „Künstlerbücher“ (artists’ books)? Oder
benutzt Du auch andere Wörter dafür?<o:p></o:p></span></b></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">MJ: Ich benutze all diese Wörter:
Publikation, artist’s book, Künstlerbuch, Edition. Meistens sage ich jetzt
einfach nur Buch oder „meine Arbeit“. Einzig das Wort „Katalog“ benutze ich
nicht, denn darum handelt es sich eben ganz klar nicht.<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">BB:
In welcher Relation stehen die Fotografien, wie man sie in den Publikationen
sieht, zu den physischen (Baryt-)Abzügen, die es ja oftmals auch davon gibt?<o:p></o:p></span></b></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">MJ: Die Barytabzüge interessieren mich
erst mal als Einzelbild. Sie bieten einen Bildraum mit tiefen Schwärzen und
Gradationen der Körnung, der beim Druck (insbesondere, wenn man auf die Kosten achten
muss) verloren gehen kann. Dagegen kann ich im Buchformat das große
illusionistische Potenzial des Fotos für eine ganz neue Erzählung nutzen, was
mir extrem viel Spaß macht!<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">BB:
Das Buch als alternative Form der Ausstellung – Exposition – funktioniert ja
unter ganz anderen Bedingungen als ein dreidimensionaler Ausstellungsraum. Das
Buch-Machen ist ein ganz anderer Modus des (Sich-selbst-)Präsentierens und -Kuratierens,
des Bereitstellens der Bilder für die Betrachter/innen. Was interessiert Dich
daran?<o:p></o:p></span></b></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">MJ: Alle Prozesse
der Produktion, Publikation, Distribution und Vermarktung eines Buches übernehme
ich erst mal selbst. Diese Arbeitsbedingungen sind prekär, aber sie bieten ein
hohes Maß an Autonomie</span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"> und künstlerischer Freiheit. Alle
Formate, die ich verbinde (Buch, Fotografie und Druck), sind mit Konventionen belegt,
die ich berücksichtigen oder erweitern kann. </span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Vieles dreht sich bei mir um „Raum“,
den ich mir eröffne, nehme oder zur Verfügung stelle. Das Buch ist insofern meine
Ausstellung (und nicht der Katalog zur Ausstellung), die ich den Betrachter/innen
mit nach Hause geben kann.</span></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">BB:
Zu Deiner Vorgehensweise: Entstehen Deine Ideen für Fotografien und diese
selbst denn immer schon für eine bestimmtes imaginiertes Buch- oder
Ausstellungsformat – oder erst mal davon unabhängig?<o:p></o:p></span></b></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">MJ: Am Anfang stehen das Fotografieren
mit der Kamera (analoge Spiegelreflex oder Handy) und die Suche nach einem
Bild. Dieses Bild übernehme ich in der Regel vollständig und arbeite kaum mit
Bildausschnitten. Das Bild entsteht erst mal als Einzelbild, an dem mich etwas
interessiert, das zum Zeitpunkt der Aufnahme vielleicht etwas ganz anderes ist
als später, wenn ich es auswähle und für ein Buch oder einen Papierabzug verwende.<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">BB:
Dein fotografischer Ansatz scheint mir immer auch eine Art der (im Ansatz
vielleicht romantischen oder auch ethnografischen) „Selbsterkundung“ zu
beinhalten. Als würdest Du dir Fragen stellen wie: Wie weit kann ich gehen, wer
bin ich, wenn ich selbst die Kamera in der Hand habe? Was traue ich mich, wie
weit lassen andere das zu? Dies frage ich vor allem in Hinsicht auf Deine
Publikationen wie <i style="mso-bidi-font-style: normal;">Looking At</i> (2016),
in denen Du SW-Fotografien von nackten Männern zeigst ... Wie überhaupt kam die
Annäherung an das andere Geschlecht zustande? Und wie hast Du sie umgesetzt,
auch technisch ...? </span></b></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: xx-small;">Cover von <i>Looking At </i>(2016)</span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">MJ: Ich hatte angefangen, mich für
männlichen Akt zu interessieren – was er kulturell repräsentiert und vor allem,
wie er auf mich wirkt – und hatte dabei verstärkt das Gefühl, dass diese
Darstellungen nicht für mich, für mein Empfinden oder meinen Blick geschaffen
wurden. Innerhalb der Kunstgeschichte ist dabei auffällig, wie sehr der Penis
tabuisiert und vom Phallus ersetzt wurde. Außerhalb der Kunst, in den Bildwelten
von Kino, Pop, Werbung und auch in schwul kontextualisierten Magazinen hatte
ich denselben Eindruck gewonnen. Ich bin also mit einem großen Fragezeichen ins
Atelier gegangen: Wie entsteht ein Bild für mich, eines, das mich anspricht und
meinem Blick entspricht?</span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Ich arbeite mit Männern zusammen, die
sich im wahrsten Sinne sehr wohl in ihrer Haut fühlen und diese gerne zeigen.
Ich schaffe im Atelier einen Raum für einen Dialog zwischen dem Modell und mir
(keine Assistenten, natürliches Licht), bei dem sich das Modell nackt und üblicherweise
tiefenentspannt meinem Blick zur Verfügung stellt und ich mich, bekleidet und
hinter der Kamera, suchend vorantaste. Ich arbeite mit 50mm Festbrennweite, die
nur einen geringen Schärfebereich bietet. Die Fotosession ist ein Gespräch,
aber auch ein sehr physischer Akt. Nichts an dieser Konstellation erscheint mir
bislang als „normal“ und ich bemerke meine eigenen Konditionierungen und
Grenzen. Ich empfinde es als eine sehr machtvolle Position, „eines Menschen
Bild zu nehmen“ und frage mich immer, wieweit ich gehen kann.<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgv7G0fFWJ17hYYFj73D5Sz_Ba2iQMeIt2uMtigsmP25iSMSShGjExdW1mbM8mJHA214zkoZkBcDB496zyotJKTS16vlDRH9Jhy955WhVZpFqYrDx2c5bqHfqujXfYxtdBPSzwst5qFMuiI/s1600/03LookingAt%25C2%25A9MiriamJung.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><img border="0" data-original-height="1280" data-original-width="1600" height="256" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgv7G0fFWJ17hYYFj73D5Sz_Ba2iQMeIt2uMtigsmP25iSMSShGjExdW1mbM8mJHA214zkoZkBcDB496zyotJKTS16vlDRH9Jhy955WhVZpFqYrDx2c5bqHfqujXfYxtdBPSzwst5qFMuiI/s320/03LookingAt%25C2%25A9MiriamJung.jpg" width="320" /></span></a></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: xx-small;"><span style="background-color: white;">Innenseiten von <i>Looking At</i> (2016)</span></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><b>BB:
Wie waren die Reaktionen auf diese Publikationen? Zum Beispiel, als Du sie an
Deinem Tisch auf der <i>Friends with Books</i>
gezeigt hast? Welche Fragen kamen da?</b></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">MJ: Fast alle Bemerkungen bezeugen eine
große Intimität und Sensibilität der Fotos. Nicht selten kommt dann die Frage,
ob ich mit den Modellen Sex habe oder woher oder ob ich sie näher kenne. Manche
Männer äußern sich spöttisch, selbst Künstlerinnen und Künstler aus meinem
Bekanntenkreis fragen auch schon mal, wie mein Partner das wohl so alles
findet. Frauen freuen sich, dass die Fotos von einer Frau gemacht wurden, hin
und wieder sind es Künstlerinnen, die selbst mit männlichen Modellen arbeiten. <o:p></o:p></span></div>
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Deiner 2019 auf der <i style="mso-bidi-font-style: normal;">Friends with Books</i>
präsentierten Publikation sieht man wieder </span></b><b style="mso-bidi-font-weight: normal;"><span style="mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">SW-Fotografien</span></b><b style="mso-bidi-font-weight: normal;"><span style="mso-ascii-font-family: Cambria; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Cambria;">.
Diesmal hast Du<span style="mso-bidi-font-weight: bold;"> dich selbst als
Spiegelung im Bildschirm fotografiert, der jeweils Standbilder von amerikanischen
Kino-Produktionen wie </span></span></b><b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="mso-fareast-font-family: "Times New Roman";">American
Gigolo</span></i></b><b style="mso-bidi-font-weight: normal;"><span style="mso-fareast-font-family: "Times New Roman";"> (1980), <i style="mso-bidi-font-style: normal;">American Psycho</i> (2000) oder auch der TV-Serie <i style="mso-bidi-font-style: normal;">Sense8</i> (2015–2018) zeigt. Oft verschwimmen dabei Teile Deines
Körpers oder Deines Umraums mit dem des männlichen Protagonisten bzw. dem
Filmset. Wie kam dieses Konzept zustande und was sagt Du den Betrachter/innen
und dir selbst mit dem Titel </span></b><b><i style="mso-bidi-font-style: normal;"><span style="mso-ascii-font-family: Cambria; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Cambria;">the
aesthetics of narcissism</span></i></b><b><span style="mso-ascii-font-family: Cambria; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Cambria;"> (2018), den Du von dem gleichnamigen Aufsatz
der amerikanischen Kunsttheoretikerin Rosalind Krauss (veröffentlicht 1976 in
der US-Zeitschrift <i style="mso-bidi-font-style: normal;">October</i>) übernimmst?<o:p></o:p></span></b></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJ8GdAsySf2_4yiNdV9eVrMT73apa0ITTZko6XsFiPIFX89KWBnvnchGHM_IDUUzICKv2UlEU6m4ZnyEaB2nbOchWxHzekdX_Xo8j2FwuOw8dwL5lxCF9Lh3dNaD4oGotnfxm3y_pucvZd/s1600/06theaestheticsofnarcissism%25C2%25A9MiriamJung.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><img border="0" data-original-height="1280" data-original-width="1600" height="256" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJ8GdAsySf2_4yiNdV9eVrMT73apa0ITTZko6XsFiPIFX89KWBnvnchGHM_IDUUzICKv2UlEU6m4ZnyEaB2nbOchWxHzekdX_Xo8j2FwuOw8dwL5lxCF9Lh3dNaD4oGotnfxm3y_pucvZd/s320/06theaestheticsofnarcissism%25C2%25A9MiriamJung.jpg" width="320" /></span></a></div>
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<tr><td style="text-align: center;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg63nVj-iKMWAyZ6Se33tT2xZ1__pfvGprliWMOJ5VEiXSkmhFMQblim8Es-jt7HRdOgVMsOIOtOqXYQ6flmoIMrdKk3BjtykKWCcJa0ZweLL1x-iFjwF_5Kl_YZTfoxIirBW9Ea8Z-eoAR/s1600/07theaestheticsofnarcissism%25C2%25A9MiriamJung.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1280" data-original-width="1600" height="256" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg63nVj-iKMWAyZ6Se33tT2xZ1__pfvGprliWMOJ5VEiXSkmhFMQblim8Es-jt7HRdOgVMsOIOtOqXYQ6flmoIMrdKk3BjtykKWCcJa0ZweLL1x-iFjwF_5Kl_YZTfoxIirBW9Ea8Z-eoAR/s320/07theaestheticsofnarcissism%25C2%25A9MiriamJung.jpg" width="320" /></a> </span></td></tr>
<tr><td class="tr-caption" style="text-align: left;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-size: xx-small;">Innenseiten von the aesthetics of narcissism (2018) </span> </span></td></tr>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">MJ:
Wie meistens kamen auch hier verschiedene Einzelteile zu einem neuen Ganzen
zusammen. Die Fotos gehören zur Reihe <i>Man
In My Mirror</i> (2018), die ich auch schon als gerahmte Barytabzüge gezeigt
habe. Den
Titel von Rosalind Krauss habe ich mir humorvoll angeeignet. In ihrem Artikel
kritisiert sie, sehr verkürzt dargestellt, Positionen wie beispielsweise die
von Vito Acconci, die mit Video-Feedback arbeiten und eine Gleichzeitigkeit von
Aufnahme (des Künstlers) und reproduziertem (Selbst-)Bild herstellen als
geschichts-vergessen und narzisstisch, gefangen im Loop. Sie wirft ihnen vor,
das neue Medium nicht wegweisend sondern althergebracht (ebenso narzisstisch wie
Malerei) zu verwenden. Ich jedoch betrachte den Blick in den Spiegel, der in
meinem Fall ein Computerbildschirm ist, als eine adäquate und zeitgemäße
Befragung von Welt, und die Vieldeutigkeit, die in den Überlagerungen von Zeit-
und Raumebenen entstehen, als großartigen visuellen Schatz. Das Buch, in dem
auch ein Screenshot, Handyfotos und Fotos von Fotos aus der Dunkelkammer zu
sehen sind, ist für mich daher auch ein „Selbstportrait als Fotokünstlerin“ – aber
das ist nur eine Lesart von vielen.</span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><b><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">BB:
In </span></span><span style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; mso-fareast-font-family: "Times New Roman";">Hommage à L’Interrogation</span></i></span><span style="mso-bidi-font-weight: normal;"><span style="font-family: "times new roman" , serif;"> </span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; mso-fareast-font-family: "Times New Roman";">(2015) hast Du Deinen Fotos zum ersten Mal direkt Text
zugeordnet. Bis auf die Impressen und Deinen eigenen Text </span></span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="mso-bidi-font-weight: normal;"><span style="mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">in <i>Wanderlust</i></span></span></span><span style="mso-bidi-font-weight: normal;"><span style="mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"> </span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">(2014)</span></span></span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">, der, wie die Fotos, im Kontext einer Kanada-Reise
entstanden ist, sind Deine Publikationen ja sonst bisher immer reine „Bilderbücher“. </span></b></span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-weight: bold;">Für </span><i style="font-family: "helvetica neue", arial, helvetica, sans-serif; font-weight: bold;">Hommage à </i><i style="font-family: "helvetica neue", arial, helvetica, sans-serif; font-weight: bold;">L’Interrogation</i><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-weight: bold;"> </span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><b>hast Du eigene </b></span><b style="font-family: "helvetica neue", arial, helvetica, sans-serif;">Handy</b><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; mso-fareast-font-family: "Times New Roman";"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><b>fotos von gebrauchten, auf die Straße entsorgten Matratzen (und die oft daraus entstehenden Stillleben) aus dem Berliner Stadtraum mit einer abgewandelten Textarbeit von Lea Lublin (1929–1999) aus dem Jahr 1978 kombiniert. Anders als Lublin, die mit 25 Fragen eine “L’interrogation de la femme” betreibt, hinterfragst Du d</b></span></span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-weight: bold;">en Mann. Wie kam es dazu? Und wie gehst Du bei der grafischen Umsetzung vor?</span><br />
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<tr><td style="text-align: center;"><span style="clear: left; font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2WTYKykuIiMbrZb_hbU0EkH1d7DaYCPXva95-HBPX8vi4IIHuKH0HdOPyHd1hxxpAHPd22u82dpyaUFIPrxqKw1K9vXk75xQkxq5h7LhS88FPI1oQNkZkT9wrOWpTx4bwdvLXGXHY_ajs/s1600/10Hommagea%25CC%2580lInterrogation%25C2%25A9MiriamJung.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1280" data-original-width="1600" height="256" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2WTYKykuIiMbrZb_hbU0EkH1d7DaYCPXva95-HBPX8vi4IIHuKH0HdOPyHd1hxxpAHPd22u82dpyaUFIPrxqKw1K9vXk75xQkxq5h7LhS88FPI1oQNkZkT9wrOWpTx4bwdvLXGXHY_ajs/s320/10Hommagea%25CC%2580lInterrogation%25C2%25A9MiriamJung.jpg" width="320" /></a></span><br />
<span style="font-family: "helvetica neue", arial, helvetica, sans-serif; font-size: xx-small; text-align: left;">Innenseiten von Hommage à L'Interrrogation (2015)</span></td></tr>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">MJ: Lea Lublin hat damals mit allen
möglichen „Befragungen“ gearbeitet und ich fand ihr Stilmittel, sehr komplexe Themen
mit Ja-oder-Nein-Fragen zu untersuchen, bestechend gut und zeitlos aktuell. Es
ist eine Falle, in die man bereitwillig hineintappt, um dann zu bemerken,
welcher Sprengstoff in der Frage steckt: Ist der Mann ein soziales Opfer? Ja!
Nein! Ich wollte das Layout einer Zeitungsbeilage wie dem <i style="mso-bidi-font-style: normal;">SZ Magazin</i> aufgreifen und die Verbindung zwischen Überschriften und
Fotos übernehmen, die beim Blättern sofort hergestellt wird. So wird die
Matratze im Bild unwillkürlich zum „Mann“ und spielt mit den erwartbaren
Assoziationen. Die Auswahl der Schrifttype fand ich sehr schwierig, weil in ihr
die ganze lange Geschichte des (Zeitungs-)Drucks mitschwingt. Während ich
üblicherweise allein an der Gestaltung arbeite, war es hier die Grafikdesignerin
Lisa Pommerencke, die Layout und Schrift übernommen hat.</span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">BB:
In Deinem aktuellen Projekt, das Du mir als Entwurf am Rechner gezeigt hast, sind
SW-Fotografien verschneiter Straßen und Stadtlandschaften zu sehen, die Du mit
einem Zeitungstext über ein Verbrechen und die Suche nach dem oder der Täter/in
verknüpfen willst ...?<o:p></o:p></span></b></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">MJ: Der Arbeitstitel des Buches lautet <i style="mso-bidi-font-style: normal;">offene Enden</i>. Der reißerisch
geschriebene Text erzählt von einer jungen Frau, die wortlos ihre Familie und
ihr Umfeld verlässt und nach Jahrzehnten durch einen Zufall wiederentdeckt wird.
Den Text kombiniere ich mit Fotos (Doppelbelichtungen, teilweise
Selbstportraits), fotografiert in einer Zeit, in der ich im selben Alter war und
in derselben Region in Deutschland gelebt habe wie die beschriebene Person. <b style="mso-bidi-font-weight: normal;"><o:p></o:p></b></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">BB:
Du erwähntest die französische Autorin Annie Ernaux (* 1940), die sich als
„Ethnologin ihrer selbst“ bezeichnet und in den letzten Jahren unter anderem
mit <i style="mso-bidi-font-style: normal;">Die Jahre</i> (2017; franz. Original:
<i style="mso-bidi-font-style: normal;">Les années</i>, 2008) als „autofiktive
Autorin“ endlich auch in Deutschland sehr viel Aufmerksamkeit bekommen hat. Auf
welcher Ebene fühlst Du dich ihr verbunden?<o:p></o:p></span></b></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">MJ: In <i style="mso-bidi-font-style: normal;">Die Jahre</i> erstellt
Ernaux Bildbeschreibungen von Fotografien, auf denen sie selbst abgebildet ist,
und setzt sich von einem „Ich heute“ ins Verhältnis zu dem abgebildeten „Ich damals“.
Die Fotos dazu erscheinen aber nicht als „Beleg“ im Buch und es ist unklar, ob
es sie tatsächlich gibt. In <i style="mso-bidi-font-style: normal;">offene Enden</i>
zeige ich Fotos, die den Bericht über eine wahre Begebenheit untermauern und
verstärken. Es wird jedoch wohl nie ganz geklärt werden, was ich mit der Sache
zu tun habe ... Als „autofiktive Autorin“ würde ich mich auch selbst
bezeichnen. <o:p></o:p></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><b style="mso-bidi-font-weight: normal;"><span style="mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">BB:
Soweit ich verstanden habe, soll diese Publikation aufwendiger gestaltet werden
als die bisherigen ... Wie planst Du, dies umzusetzen? Hast Du eventuell vor,
an Verlage heranzutreten?</span></b><o:p></o:p></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">MJ: Ich denke seit diesem Jahr erstmals darüber nach, mit
einem Verlag zusammenzuarbeiten und bin bei der <i style="mso-bidi-font-style: normal;">Friends with Books</i> mit einigen Verleger/innen ins Gespräch
gekommen, deren Programm ich für mich passend finde. Gleich welcher Verlag,
würde dies allerdings nur mit einer Förderung gehen, die dann eine
umfangreichere Produktion, Auflage und ein neues Distributionssystem
ermöglicht. Ich möchte mich konkreter umschauen, wenn ich in Kürze den ersten
Dummy fertig habe!<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">BB: Vielen Dank für
unser Gespräch. Ich bin gespannt, in welches „Terrain Vague“ Du mit Deiner
Arbeit noch vordringen wirst. Viel Erfolg auch bei der Zusammenarbeit mit einem
Art-Book-Verlag.<o:p></o:p></span></b></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: x-small;">Berlin, 10.01.2020 <o:p></o:p></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: x-small;">(Verschriftlichung
eines Gesprächs aus dem November 2019)<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: x-small;">Barbara Buchmaier, * 1975, ist Kunstkritikerin und
Autorin und lebt in Berlin.<o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: x-small;">Miriam Jung, * 1976, ist Künstlerin und lebt in
Berlin.<o:p></o:p></span></b></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: x-small;">Alle Fotos: © Miriam Jung<o:p></o:p></span></div>
<!--EndFragment--><br />Vanessahttp://www.blogger.com/profile/05511376603919677776noreply@blogger.com0tag:blogger.com,1999:blog-1170428150440750542.post-26647946927432201272019-09-12T09:29:00.001-07:002019-09-13T07:01:27.814-07:00An interview with Elisabeth Tonnard<div class="MsoNormal">
Artist Elisabeth Tonnard interviewed by art critic Agnieszka Gratza.</div>
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<b>Agnieszka Gratza: </b><i>Could you tell me about your background and how you came to work with the artist book format?</i><br />
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<b>Elisabeth Tonnard</b>: My background is mostly literary; I studied
literary theory and comparative literature for my first degree in the Netherlands.
A study of the classics of Western literature: not very experimental at all.
There was no component in it on artist books or conceptual literature. After
that, I started writing myself but only with great difficulty. You study the
classics so much that at first you think, ‘There's so much out there already,
what can I contribute?’ As time went on, spontaneously I began making some
works that had a more visual component but they were literary and had to do
with language. My first book is the reworking of a poem by T.S. Eliot, ‘The Love
Song of J. Alfred Prufrock’. It's a series of poems I developed out of one
strophe by applying Tipp-Ex, the correction fluid, to the existing text and
seeing which meanings would come out when you covered up some parts. I could
turn the word ‘what’ into ‘hat’ by making the letter <i>w</i> white, for
example.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3f_vLoRP856OeJXotx6myxNipdvxW5XGdm5aZGXxHZNTxpxOzsNc7goNLUXH9_b6JT_l4JHMMyfosfKczENE12tEMtX05yw4n8T0IRcHt_X6JZUWgOAHuOjaGnbn059Hf6L-vM1cVftL7/s1600/Tonnard_FWB_01.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="591" data-original-width="427" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3f_vLoRP856OeJXotx6myxNipdvxW5XGdm5aZGXxHZNTxpxOzsNc7goNLUXH9_b6JT_l4JHMMyfosfKczENE12tEMtX05yw4n8T0IRcHt_X6JZUWgOAHuOjaGnbn059Hf6L-vM1cVftL7/s320/Tonnard_FWB_01.jpeg" width="231" /></a></div>
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Let
us go then, you and I</i>. Acquoy, 2003. Image courtesy Elisabeth Tonnard.</span></div>
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That work was made very quickly; I then spent two years
trying to get it published in Holland. It did not fit any literary publishing
house, nor any art publishing house. At the time I did not have much knowledge
of artist books at all. I knew artists but not artists working with books. I
come from a family of artists yet I've always kept away from art, focusing on
literature instead. After commenting on my work, an uncle who was an artist
suggested that I apply for a grant to publish this book myself. After two years
of trying to publish it with a publisher, I got a grant and I was able to
publish it myself. I
worked with a printer and a binder but I designed it, determined the content
and chose the paper.<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1vLdv5uIuN43q3kV6rUihP1Q-aK3Dv9rWLJ7LCzfvhqfVstZE6MvKwuqtxB8VCWQJ8qQPl8VzcLBFIvzsD4WAqQ3pWcpteOdMbQA10bMov30iFaz0YKQssM19y4C0LuKL4Sr0dp6ccEIN/s1600/Tonnard_FWB_02.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1067" data-original-width="1600" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1vLdv5uIuN43q3kV6rUihP1Q-aK3Dv9rWLJ7LCzfvhqfVstZE6MvKwuqtxB8VCWQJ8qQPl8VzcLBFIvzsD4WAqQ3pWcpteOdMbQA10bMov30iFaz0YKQssM19y4C0LuKL4Sr0dp6ccEIN/s320/Tonnard_FWB_02.JPG" width="320" /></a></div>
<div class="MsoNormal" style="margin-left: 36pt; text-align: center; text-indent: -18pt;">
<span style="font-size: x-small;">
<i>
Let
us go then, you and I.</i> Acquoy, 2003. Image courtesy Elisabeth Tonnard.</span></div>
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<br /></div>
<div class="MsoNormal">
<b>AG</b>: <i>Thinking about your wider publishing practice,
the books that you make are largely, if not exclusively, self-published in
Leerden, your home town. How do you go about publishing them?</i></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b>ET</b>: They are published wherever I am living. I
published some in Berlin and some in Rochester, New York when I lived there. It
works differently from book to book. I am currently working on a book I printed
myself and that I'm also binding myself, regrettably, I have to say, because
it's really too much work. I have a type of inkjet printer that I like to work
with. I never used any kind of letterpress or traditional printing press
techniques. I mostly have books printed at printing houses and most of the time
it's digital printing.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b>AG</b>: <i>Your catalogue of books lists over 40 items
that appeared between 2003 and 2018. Some books are published in limited
editions, others as open editions. What dictates whether they are one or the
other?</i></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b>ET</b>: It's sometimes a matter of what I felt like at
the time, I have to confess. It's also down to practical issues. I once made an
edition where I thought I would make 30 books and I got stranded at 29. For
technical reasons I wasn't able to make any more, so then it became an edition
of 29. On another occasion, I bought a stack of paper at the paper factory and
I could only make so many books out of that one stack. I like the idea of an
open edition in the sense that it is then not limited though in a practical
sense it may be. You can do it when you do a digital print run. You could make
a hundred copies, for instance, and if they're sold out you order more. But the
paper you used in the first instance or the printer may have changed, so it
ends up being different to the original run. Over the years I've found that
it's actually really inconvenient to keep a book available. You just want to go
on to the next project when it's sold out and not have to think ‘How did we do
that, again?’</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b>AG</b>: <i>Although technically you're not a publishing
house, it's very much a business that you manage yourself. You have a webshop
and you process orders. Nine of your titles are listed as sold out. The books
range in price from 0 euros for </i>The Invisible Book<i> which sold out
instantly to 985 euros for the special edition of </i>Song of Myself<i>, which
stands out because the other ones are much more reasonably priced. What is
special about it?</i> </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b>ET</b>: The special edition of that project I printed
myself. It's also quite large, A3-sized, and it comes in a portfolio. It's a
very limited edition of seven copies only. That all adds up to a higher price.
It's also the last copy that's left now. The price was actually raised. The
book version was printed by a printer as a cheap small paperback.<br />
<br />
<div style="text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_sEoM07MHwTXUqaqmGtDStF9BAxZiB7HbsNB_6sn9QJZsJUYtOA2uyrFj9hOysieIjtfHbhQLttboHCGVq49Dmtkw9RXBpN-tnMgPTIZVq5TzsxSHJ2K9hz3fjILYCq2yszLn-3-EFXeP/s1600/Tonnard_FWB_07.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1600" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_sEoM07MHwTXUqaqmGtDStF9BAxZiB7HbsNB_6sn9QJZsJUYtOA2uyrFj9hOysieIjtfHbhQLttboHCGVq49Dmtkw9RXBpN-tnMgPTIZVq5TzsxSHJ2K9hz3fjILYCq2yszLn-3-EFXeP/s320/Tonnard_FWB_07.jpg" width="320" /></a> <style>
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<div class="MsoNormal">
<div style="text-align: center;">
<span style="font-size: x-small;"><i>Song of Myself</i>. Leerdam, 2015. Image courtesy Elisabeth Tonnard.</span></div>
<br /></div>
<div class="MsoNormal">
<b>AG</b>: Song of Myself<i> was presented at Friends with
Books in 2015. It was at once installed, as part of the group exhibition </i><i><i>curated by Savannah Gorton,</i> </i>I
have always imagined that paradise will be a kind of library<i>, and presented
on a book stand alongside other books you've published. For me, one of the
appealing features of a number of your books is that they come in bound
versions that can also be deployed as installations. Could you explain how that
worked at Friends with Books?</i></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b>ET</b>: It was a special edition of the A3 sheets that
was shown there. I should first say a little bit about the content of the book.
It's called <i>Song of Myself: American Renaissance</i> and it's based on
Facebook status updates. The title is a quote from a poem by Walt Whitman. I
first found one by Edgar Allan Poe that read ‘Edgar Allan Poe likes his own link’. So I started collecting those updates by Edgar Allan Poe but then I
also thought of other authors from the time when he lived, the American
Renaissance: Walt Whitman, Emily Dickinson, Henry David Thoreau, Ralph Waldo
Emerson, Herman Melville, Nathaniel Hawthorne. I found it extraordinary to
think of all those authors doing these very shallow things. Just imagine Emily
Dickinson posting a photo of herself. But then what would they actually do if
they lived now? The installation at Friends with Books, which took place at the
Hamburger Bahnhof that year, was spread over a single wall. I really liked the
fact that I could install those sheets of the special edition as a grid on the
wall because where people post their updates on Facebook is also called ‘the
wall’. So it made sense to show it like that.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiChagx3IyqQy7LJq5F9NZeo-g1DWpUNaF1jHuu3FPlcJqnCSPIfd5vccK6mPsN-XFNbVcZ0v0IZQEGtwOSr5Ta5o2KZSI2JE9oLtf-o2E2iWn0o-krp-Prd6bC1bOWRXezLwcnGUkgI5-V/s1600/Tonnard_FWB_08.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1200" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiChagx3IyqQy7LJq5F9NZeo-g1DWpUNaF1jHuu3FPlcJqnCSPIfd5vccK6mPsN-XFNbVcZ0v0IZQEGtwOSr5Ta5o2KZSI2JE9oLtf-o2E2iWn0o-krp-Prd6bC1bOWRXezLwcnGUkgI5-V/s320/Tonnard_FWB_08.jpg" width="240" /></a></div>
<div style="text-align: center;">
</div>
<div style="text-align: center;">
<span style="font-family: "times new roman"; font-size: x-small;">Above and Below: <i>Song of Myself </i>(special edition). Leerdam, 2015. </span></div>
<div style="text-align: center;">
<div style="text-align: center;">
<span style="font-family: "times new roman"; font-size: x-small;">Installation view in the exhibition <i>I have always imagined </i></span><span style="font-family: "times new roman"; font-size: x-small;"><i>that paradise will
be a kind of library</i>, </span></div>
<span style="font-family: "times new roman"; font-size: x-small;"></span></div>
<div style="text-align: center;">
<span style="font-family: "times new roman"; font-size: x-small;">Friends with Books: Art Book Fair Berlin at Hamburger Bahnhof, Berlin, 2015. </span></div>
<div style="text-align: center;">
<span style="font-family: "times new roman"; font-size: x-small;">Images courtesy of Elisabeth
Tonnard. </span><span style="font-family: "times new roman"; font-size: x-small;"> </span></div>
<div style="text-align: center;">
</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_VMWZon0fbSytBDCq25VLdWyLbv4egZTfPq3t3x5poEEBcPhWj7z3hsKqJOrCC1Bh8VnN_Lb6DUgPg10B4avOatabAFpAkQXQ5sGFzoqwwQD2Il_-AG72aF9wL5LEbRNRUJQdv7CA19TV/s1600/Tonnard_FWB_10.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1200" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_VMWZon0fbSytBDCq25VLdWyLbv4egZTfPq3t3x5poEEBcPhWj7z3hsKqJOrCC1Bh8VnN_Lb6DUgPg10B4avOatabAFpAkQXQ5sGFzoqwwQD2Il_-AG72aF9wL5LEbRNRUJQdv7CA19TV/s320/Tonnard_FWB_10.jpg" width="240" /></a></div>
<br />
<b>AG</b>: <i>Your books strike me as both formally and
materially inventive in so far as you experiment with format, typography,
layout and even paper brand which all have a meaning you attempt to convey. </i></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b>ET</b>: I take this into consideration with every book.
At the Visual Studies Workshop in Rochester, New York, which is where I began
to learn about artist books, I worked with an archive – the Joseph Selle collection
of photographs – housed in the same building. I made a book out of that
collection called <i>Two of Us</i>. It combined digitized materials from the
archive in which I saw a pattern of doubles walking next to or behind each
other in the street with a poem by Baudelaire about seeing the same old man
several times over in the street and how uncanny that was. The double is a
literary motif, that of the doppelgänger. Going back to the materiality of the
book, <i>Two of Us</i> was designed as a novel, in other words not published or
printed on shiny coated paper that you see in an ordinary photo book, which
would have been great for showing the images. But I wanted the whole book to
have a literary feel, to look like a novel on the outside, with the kind of paper that evoked a novel. It also has text on the
same pages as the photographs.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJgltkvlJLvjvEmtHjhg9inYmpEVADEjslp_BB6fnLSAgqD5lqSQuJbsJWONiR6KahUFLzcoSBAne2v73iXpVC7KScaUYrGVwZ0j3nKvarzsSlxZf1xtLUaR9i_zsjb2MRD_hVJPGzr4VH/s1600/Tonnard_FWB_03.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="960" data-original-width="1111" height="276" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJgltkvlJLvjvEmtHjhg9inYmpEVADEjslp_BB6fnLSAgqD5lqSQuJbsJWONiR6KahUFLzcoSBAne2v73iXpVC7KScaUYrGVwZ0j3nKvarzsSlxZf1xtLUaR9i_zsjb2MRD_hVJPGzr4VH/s320/Tonnard_FWB_03.JPG" width="320" /></a></div>
<div style="text-align: center;">
<span style="font-family: "times new roman"; font-size: x-small;"><i>Two of Us</i>. Rochester, NY, 2007. Image courtesy
Elisabeth Tonnard.</span><style>
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<div style="text-align: center;">
<br /></div>
</div>
<div class="MsoNormal">
<b>AG</b>: <i>A collection of your poetry in Dutch recently
came out published by </i>het balanseer<i> in Ghent, not self-published in other
words. Is that the direction you're heading in or are you still excited by
self-publishing?</i> </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b>ET</b>: I will definitely keep self-publishing but I see
the poetry work that was published by that publisher as a separate thing.
Within the field of literature, at least in the Netherlands, it's definitely
not regarded very highly to self-publish. That means nobody wanted to publish
your poetry. It's best as a writer to publish through the regular channels and
in literary magazines. But for artist books that's different; I find that the
best work is self-published. Of course it's really developed now, much more
than when I first started. There are a lot of artist book fairs now where you
can see work. That wasn't so much the case when I started self-publishing. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b>AG</b>: <i>Joachim Schmid's name crops up in some of your book
projects, like </i>The Invisible Book<i>, </i>The Lovers<i> and </i>Joachim
Schmid Works,<i> but have you ever worked together or collaborated on a
project?</i></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b>ET</b>: We haven't been able to do that yet. We've
responded to each others' works. For instance, he made <i>E-Book</i>, based on
a letter he wrote to me. He left only the <i>e</i> letter and everything else
he made white, referencing my procedure with Tipp-Ex. He then photographed <i>e</i>s
in the cities we visited together. And then I published <i>Joachim Schmid Works</i>,
showing photographs of him working on that <i>E-Book</i>. He's known for never
taking any photographs, so it was a little joke on my part to show that he's
constantly taking photographs. But we haven't done an actual project together.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgU5vx3AIRchit9IlTw_zkVwqLGC4gtNU78PlKsOY0MZwaCbunnix6M-_21vPceFf3BUDGP8yMk89u0hs3rnusL3GixzFoyPYtyuSXltZaMd_4UjM4vk4l-T3_C5Z2OC0UybuEeyo3h8nxz/s1600/Tonnard_FWB_04.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="752" data-original-width="1076" height="223" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgU5vx3AIRchit9IlTw_zkVwqLGC4gtNU78PlKsOY0MZwaCbunnix6M-_21vPceFf3BUDGP8yMk89u0hs3rnusL3GixzFoyPYtyuSXltZaMd_4UjM4vk4l-T3_C5Z2OC0UybuEeyo3h8nxz/s320/Tonnard_FWB_04.jpg" width="320" /></a></div>
<div class="MsoNormal" style="margin-left: 36pt; text-align: center; text-indent: -18pt;">
<span style="font-size: x-small;"><i>Joachim
Schmid Works</i>. Leerdam, 2016. Image by Elisabeth Tonnard.</span></div>
<div class="MsoNormal" style="margin-left: 36pt; text-align: center; text-indent: -18pt;">
<br /></div>
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<span style="font-size: x-small;"><i>Joachim
Schmid Works</i>. Leerdam, 2016. Image by Elisabeth Tonnard.</span></div>
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<b>AG</b>: <i>Do you ever work collaboratively with people
on your books?</i></div>
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<b>ET</b>: I don't think so actually, other than with poets
who are already dead. (Laughs.)</div>
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<b>AG</b>: <i>Why is that? A book project, at least in my
experience of editing an artist book, can be a deeply collaborative experience,
for better or for worse. Because of the nature of that particular project, I
ended up working closely with all the contributors, the graphic designer, the
printer, the binder. And suddenly the project felt out of my control. </i></div>
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<b>ET</b>: That's exactly what I try to avoid though I do
collaborate with binders and printers. But I don't have them say how it should
be done. I ask for their advice and sometimes they have good ideas but I try to
keep it within my vision.</div>
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<b>AG</b>: <i>Would you say that's one of the advantages of
the artist book format? That you can go with your vision?</i></div>
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<span style="font-size: small;"><br /></span></div>
<span style="font-size: small;"><b><span style="font-family: "times new roman"; font-size: 10.0pt;">ET</span></b><span style="font-family: "times new roman"; font-size: 10.0pt;">: Yes, absolutely.
The advantages include speed, if you don't have to ask everybody what they
think. I made some of my books really quickly, in one night, and sent it off to
a printer. You can go as slow or as fast as you want, really. But the end result
is a coherent piece and not some sort of Frankenstein's monster book. </span></span><br />
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<div style="text-align: center;">
<span style="font-family: "times new roman"; font-size: x-small;"><i>Indirections #1-8</i>. Leerdam, 2018. Image courtesy of
Elisabeth Tonnard.</span></div>
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</div>
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<span style="font-size: x-small;"><i>Indirections
#1</i>, inside view. Leerdam, 2018. Image by Elisabeth Tonnard.</span></div>
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<span style="font-family: "times new roman"; font-size: 10.0pt;"> </span>
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Friends with Bookshttp://www.blogger.com/profile/02362899926976300893noreply@blogger.comtag:blogger.com,1999:blog-1170428150440750542.post-44577600312948723192018-10-17T13:14:00.000-07:002019-09-13T06:47:32.198-07:00<h2 style="text-align: left;">
<b><span lang="EN-GB"><span style="color: #444444; font-family: "times";">Marina Sorbello in conversation with Chiara Figone from Archive Books, Berlin</span></span></b></h2>
<div>
<b><span lang="EN-GB"><span style="color: #444444; font-family: "times";"><br /></span></span></b></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxZ4l3tN-wsBngy-VFXwIROJltkXcpGItwV1rOhVrJ2oAN7ejx6UZ95iV8vL8gXKEDccYisJep6F2W3RdgC8uZc8B_-QXcckXCV71temNg6J7v_SkXFvkWjhiGSKsgHYd1TkNA6OlrNqIu/s1600/Interview-Archive-Journal.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="color: #444444;"><img border="0" data-original-height="667" data-original-width="1000" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxZ4l3tN-wsBngy-VFXwIROJltkXcpGItwV1rOhVrJ2oAN7ejx6UZ95iV8vL8gXKEDccYisJep6F2W3RdgC8uZc8B_-QXcckXCV71temNg6J7v_SkXFvkWjhiGSKsgHYd1TkNA6OlrNqIu/s400/Interview-Archive-Journal.jpg" width="400" /></span></a></div>
<div>
<b><span lang="EN-GB"><span style="color: #444444; font-family: "times";"><br /></span></span></b></div>
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<b><span lang="EN-GB"><span style="color: #444444; font-family: "times";"><br /></span></span></b></div>
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<span style="color: #444444;"><b><span lang="EN-GB"><span style="font-family: "times";">MARINA SORBELLO: </span></span></b><span lang="EN-GB" style="font-family: "times";"><i>Archive is many things: publishing house, exhibition space, design studio... Tell me: how did you start and how would you define your work?</i></span><span lang="EN-US" style="font-family: "times";"><o:p></o:p></span></span></div>
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<span style="color: #444444;"><b><span lang="EN-GB">CHIARA FIGONE: </span></b><span lang="EN-GB">When Archive started, in 2009, we intended to launch a journal which would focus on artists using archives in their practices. Hence the name <i>Archive Journal</i>. Almost immediately, however, we realized that we were dealing with topics which would require the expansion of our publishing activity beyond the journal, and we started producing artists’ books as well as experimenting with other formats.</span><span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="color: #444444;"><span lang="EN-GB"><br /></span></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhq-8W8GkYnuFmjBdGF_R71PSVnlft4M8MoBFShztaYcDEv0OIXuYEqTymAEO5bS7vfjPMLWHh7Rg1MesBo9kG_saXGd7EsQJEKPDDi0y-rrCIv4tjz4pyieyMypNZ3DEUBIOubUR_3ZXzh/s1600/Interview-bookshop.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1068" data-original-width="1600" height="133" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhq-8W8GkYnuFmjBdGF_R71PSVnlft4M8MoBFShztaYcDEv0OIXuYEqTymAEO5bS7vfjPMLWHh7Rg1MesBo9kG_saXGd7EsQJEKPDDi0y-rrCIv4tjz4pyieyMypNZ3DEUBIOubUR_3ZXzh/s200/Interview-bookshop.jpg" width="200" /></a><br />
<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivX8lG9Rmb-Cw1RggjtrWKSSSfgw-n1eEnN9p9ZynFyt0N_Wo5fIt1Omimyper6qftZZN3fWcI8dWPYMYG_csKcOOv6qJB4-WHEyBm24ZCDSqbVOXRxA80Y-CKCJ0sua2O1tciNXjy6nYe/s1600/Interview-Dieffenbachstra%25C3%259Fe+31.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1160" data-original-width="1600" height="143" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivX8lG9Rmb-Cw1RggjtrWKSSSfgw-n1eEnN9p9ZynFyt0N_Wo5fIt1Omimyper6qftZZN3fWcI8dWPYMYG_csKcOOv6qJB4-WHEyBm24ZCDSqbVOXRxA80Y-CKCJ0sua2O1tciNXjy6nYe/s200/Interview-Dieffenbachstra%25C3%259Fe+31.jpg" width="200" /></a></div>
</td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div style="text-align: left;">
Archive Kabinett in Dieffenbachstraße, </div>
<div style="text-align: left;">
Berlin-Kreuzberg, 2009</div>
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<span style="color: #444444;">We consider artists’ books as a space of autonomy for artists. We are particularly interested in artists taking up the role of editors in order to assemble contents relevant to their research. So, artists also play a vital role in shaping Archive, as they work with and on content often differently than authors or academics do, especially in the relationship between text and image.</span></div>
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<span style="color: #444444;"><span lang="EN-GB">In addition, we publish anthologies and readers on a broad range of topics which nevertheless still revolve around notions of archives, as well as around the practice of film-making. Video as a medium has long been a central preoccupation of ours, and this preoccupation has also had wide-ranging impact on the way we produce books. As a medium, video has a unique relationship with time which needs to be reflected upon and addressed in the process of publishing a book. This not only means that books dealing with video need to interact with the experience of time imparted by the work itself – be it by reflecting it, explicitly calling it to attention or contrasting it through the experience of time imparted by reading the book – but also to address how the <i>production </i>of video work as a process leads to a different relationship with the book. Often, we address the impossibility of integrating the work itself into the book by integrating a lot of the materials artists collect and produce during the research phase of their work, which then become integral parts of the book’s content, and adds another dimension to how the artwork itself is understood.</span></span></div>
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<span style="color: #444444;">Shortly after we founded Archive, we opened our first location in Berlin, on Dieffenbachstrasse. There, Archive became a hybridized space, which served as a bookshop, but also as a library and a space for discussion and sharing, thus playing a very important role by allowing the creation of a network of relationships which have also influenced our editorial line. Quite a few of the books we have published were the result of relationships established through Archive Kabinett. The exhibition space is a more recent development, after moving to Müllerstrasse. A development which has allowed us to further explore the medium of exhibition and present contents across different formats. Archive defines itself through this methodology of working in parallel, organically engaging with the space of the book and the exhibition space.</span></div>
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<tr><td class="tr-caption" style="text-align: center;">Archive Müllerstraße, Berlin-Wedding 2017</td></tr>
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<b style="color: #444444;"><span lang="EN-GB">MS: </span></b><span lang="EN-GB" style="color: #444444;"><i>How do you choose the artists you work with? Do you accept proposals, or do you seek authors based on your own editorial research?</i></span></div>
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<span style="color: #444444;"><b><span lang="EN-GB">CF: </span></b><span lang="EN-GB">We do both. In some cases, we have contacted artists whose work we consider would be an important addition to our editorial line, but it has also worked the other way around, with artists contacting us because they felt Archive would be able to engage with and present their work in a measured and reflective way. Overall, the most important thing for a publisher is to remain committed to an editorial line, to establish a clear perspective. We thus often seek content which we feel would contribute in broadening and clarifying that perspective. As a publishing house, we not only think of our titles as individual works but also as participating in a broader web of meaning. We choose to publish works not only based on quality, but also on how they will engage with other titles we have published, on whether or not the works will benefit from the conceptual frame Archive provides and, vice versa, whether the title itself will add a layer of nuance to the network of concepts Archive considers its editorial line.</span><span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="color: #444444;"><b><span lang="EN-GB">MS: </span></b><span lang="EN-GB"><i>So if I understand correctly, the books you publish are co-edited by the artists and someone from the Archive team... by the way who is Archive, exactly?</i></span><span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="color: #444444;"><b><span lang="EN-GB">CF: </span></b><span lang="EN-GB">I always say “we” because Archive is an extremely fluid group. There are a few people, such as Paolo Caffoni and myself, who have been part of Archive from its inception, people that were based in Berlin only for some years and were instrumental in the making of Archive such as Nicola Guy, people that are with us since many years such as Lilia di Bella, Pia Bolognesi, Alima de Graaf and Annika Turkowski, but also people that started recently and are already making a difference such as Caroline Bourrit, Binta Diaw, Ines Juster, Fatou Kiné Diouf, and Gaia Martino. Broadly, Archive is a collective endeavour: at the moment there are nine of us working at Archive, but that number can fluctuate between two and ten at any given time. To function at its best, Archive would ideally need ten full-time people. This relative instability is partly a consequence of the absence of structural support, as lack of funding can mean we cannot afford having more people working on some projects. We are lucky in that people support us and participate in our activity on a voluntary basis. We wouldn’t be able to afford permanent positions such as Head of Publications or Editor in Chief for the journal.</span><span lang="EN-US"><o:p></o:p></span></span></div>
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<span lang="EN-GB"><span style="color: #444444;">While this is a situation which has, in a way, been imposed upon us, it must be acknowledged that it is a situation which we have exploited to our advantage: it means that we all participate in all the different facets of Archive, from shipment organization to editorial work, which encourages dialogue and collaboration, an ethos which has informed, and even defined, Archive.<o:p></o:p></span></span></div>
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<tr><td class="tr-caption" style="text-align: center;">Exhibitions Archive Müllerstraße</td></tr>
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<span style="color: #444444;"><b><span lang="EN-GB">MS: </span></b><span lang="EN-GB"><i>You mentioned the issue with lack of structural funding. Let us talk about finances: how do you fund your many activities?</i></span><span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="color: #444444;"><b><span lang="EN-GB">CF: </span></b><span lang="EN-GB">Funding is very difficult, partly because publishing in the art field is a very specific niche which is nevertheless regulated by much broader funding systems and markets. This makes it quite difficult to produce independently – and, in fact, we do not think of or refer to Archive as an “independent” publishing house – because the production of our publications is so tightly conditioned by the broader cultural system, specifically to the public funding system and to private donations. We could say that we are independent from certain systems when we think about what we should publish but on a production level we have to take into acount forms of dependency… To answer your question, finding ways to fund our many activities is a constant exercise in imagination and flexibility: we apply for public funding, prizes and grants, run a design studio, teach at institutions abroad, etc. In practice, it is impossible for us to compartmentalize different projects and practices, so we fundraise for Archive as a whole in order to finance projects and books. </span><span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="color: #444444;"><b><span lang="EN-GB">MS: </span></b><span lang="EN-GB"><i>You successfully completed a crowdfunding campaign last summer.</i></span><span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="color: #444444;"><b><span lang="EN-GB">CF: </span></b><span lang="EN-GB">Yes. It was our first, and probably last, crowdfunding campaign. Despite thinking it is an interesting model, we don’t consider it a sustainable fundraising solution. In terms of financial sustainability and independence, there are a lot of expenses that we cannot crowd-fund. A great example is running costs: as a publishing house, we were unable to write applications to cover rent, electricity, telephone bills, etc. Every publication needed to have its own funding, which is devoted specifically to it by the funding body. Running an exhibition space certainly allowed us to apply for different types of funding.</span><span lang="EN-US"><o:p></o:p></span></span></div>
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<span lang="EN-GB"><span style="color: #444444;">Last year, for example, Archive was one of the recipients of the Berlin project spaces award, which takes into account running costs, which rarely happens. This 30.000 Euro grant gave us the opportunity to focus on the program and, crucially, allowed us to develop a sustainable ecology between our publications and our exhibitions.<o:p></o:p></span></span></div>
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<span lang="EN-GB"><span style="color: #444444;">Unfortunately, this is not a grant that one can receive every year, which means that this year we couldn’t count on receiving comparable funding. This can actually become quite detrimental to our activities, because it means some of our attention is diverted towards funding applications and deadlines which is a much more exhausting process than one would expect. It is a vicious cycle in a way, because we lack the funds to ask for funds properly and efficiently, that is, to hire someone who would be uniquely devoted to writing grant applications…<o:p></o:p></span></span></div>
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<span style="color: #444444;"><b><span lang="EN-GB">MS: </span></b><span lang="EN-GB"><i>Ideally, in your opinion, how should or could the funding of small-scale publishing houses work? Do you have a vision?</i></span><span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="color: #444444;"><b><span lang="EN-GB">CF: </span></b><span lang="EN-GB">Firstly, small-scale publishing houses deal with the same issues the entirety of the publishing field deals with: scarcity and precarity of bookshops partially due to new online businesses, the decreasing popularity of print media despite increases in number of books being published, the lack of financial margin to deal with high costs of printing and shipment… In the cycle life of any book, there are obstacles at every turn.</span><span lang="EN-US"><o:p></o:p></span></span></div>
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<span lang="EN-GB"><span style="color: #444444;">These problems are exacerbated in small-scale publishing houses such as Archive because we cannot work with larger distributors due to the fact that we produce books which not only belong to a very specific niche, but also produce them in relatively small quantities. Additionally, online platforms such as Amazon has proven not to be very effective for publishing houses of our size, and, most importantly, selling through them provokes dissonances because, from an ethical perspective, Amazon’s system is not one we wish to support.<o:p></o:p></span></span></div>
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<span lang="EN-GB"><span style="color: #444444;">Finally, there are other difficulties tied to the fact that Archive publishes art books. From a practical perspective, publishing art books involves costs that one simply does not have to deal with when it comes to plain anthologies and text-based books. Beyond that, there is a lack of understanding of what publishing in the field of contemporary art actually is. It is not a for-profit business. It cannot be. On this last point, there has been some positive developments, notably with Berlin establishing a new award for publishers based in the city.<o:p></o:p></span></span></div>
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<span lang="EN-GB"><span style="color: #444444;">We think there are ways in which this situation can improve, however. Bookshops still seem like the best platform for publishers like us, as they provide a context in which each publication’s meaning is enriched by its proximity with other publications. Bookshops also allow for relationships between public and publications to form in a way that cannot be replicated online; many bookshops are also functioning as cultural places, hosting events and readings and thereby helping the contents in finding readership.<o:p></o:p></span></span></div>
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<span lang="EN-GB"><span style="color: #444444;">Ideally, small-scale publishers would work more collaboratively and function like networks or cooperatives do: sharing costs, resources, know-how, applying jointly for funding. We could share storage space, support distributors and people who would deal with funding for all members of the network. This seems like it would be a positive development, but there is no way to know if it would really work like that, especially considering the publishing field seems inexorably competitive…<o:p></o:p></span></span></div>
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<span lang="EN-GB"><span style="color: #444444;">It could also be interesting to see more cooperation, or at least exchange, between the academic and art worlds. Academic publishing has managed to achieve a kind of sustainability that the “independent” art publishing context lacks, but art books tend to circulate more outside of the boundaries of their own sector in a way that academic publications do not. More interaction along these lines seems to me like it would be mutually beneficial.<span style="font-size: medium;"><o:p></o:p></span></span></span></div>
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<span lang="EN-GB"><span style="color: #444444;">Berlin, October 2018</span></span></div>
Vanessahttp://www.blogger.com/profile/05511376603919677776noreply@blogger.com0tag:blogger.com,1999:blog-1170428150440750542.post-33076392650975886462018-10-17T12:50:00.001-07:002019-09-13T06:53:46.430-07:00<div class="separator" style="clear: both; text-align: center;">
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<span style="text-align: start;"><b><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Marina</span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"> Sorbello im Gespräch mit Andreas Koch, </span></b></span><b><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">von hundert, Berlin</span></b></h2>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: xx-small;"> Barbara Buchmaier and Andreas Koch at „based in berlin“ with a special "based in berlin" edition.</span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><b>Marina Sorbello:</b> <i>von hundert </i>ist ein Magazin, das in einer numerierten Auflage zweimal im Jahr erscheint. Insgesamt druckt ihr inklusive der Autoren und Freiexemplare nur 200 Stück. </span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Ihr seid quasi von anfang an bei Friends with Books dabei und das Magazin ist ein interessantes Beispiel wie man mit den Möglichkeiten und auch den Grenzen im Self-Publishing Bereich arbeiten kann. Mich interessiert zuerst wie</span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"> </span><i style="font-family: "Helvetica Neue", Arial, Helvetica, sans-serif;">von hundert</i><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">gestartet ist.</span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><b>Andreas Koch:</b> 2006 hatte ich die Idee eine kleine, aber kritische Zeitschrift zu gründen. Zu der Zeit gab es so etwas nicht in Berlin. Zwei Jahre zuvor hatte ich die Galerie (Koch und Kesslau) geschlossen und hatte neben meinen Tätigkeiten als Künstler und Grafiker, die mich immer begleiten, Kapazitäten frei. Es fehlte so etwas wie ein kritisches Modul. Ich hatte schon in den 1990ern für die Stadtzeitung <i>scheinschlag</i>eine Kolumne geschrieben, außerdem ein bisschen für die Spike oder auch die Obdachlosenzeitung<i>motz</i>. Damals teilte ich mir mein Büro mit Kito Nedo und wir veranstalteten im Sommer 2006 einen Workshop. Da waren Künstler und Kritiker dabei und wir kamen zu keinem richtigen Ergebnis, wozu ein Heft gut sein sollte. Kito und ich blieben übrig, Raimar Stange machte latenten Druck von außen und wir starteten mit einem reinen Review-Heft. Wir versammelten eine erste Redaktionsrunde, die dann als Gründungsredaktion noch lange im Impressum sichtbar blieb. Wir hatten jungen und ältere Autoren, Thomas Wulffen, Raimar Stange, Astrid Mania waren am Anfang dabei... Melanie Franke, meine jetzige Redaktions- und Herausgeberkollegin Barbara Buchmaier, oder auch Timo Feldhaus schrieben schon in der zweiten Ausgabe. Durch die kritische Prägung, aber auch durch die finanzielle Situation des Magazins haben sich mit der Zeit einige der Anfangsmitstreiter von der <i>von hundert</i>distanziert, auch Kito Nedo hörte nach vier Ausgaben auf. Seit ungefähr acht Jahren gibt es in der Mitte des Heftes einen Themenschwerpunkt.<o:p></o:p></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><b>MS: </b>Durch deine verschiedenen Berufe als Grafiker und Künstler, bist du nicht finanziell von <i>von hundert</i>abhängig...<o:p></o:p></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><b>AK:</b> Mir war aber wichtig, dass das Magazin eine kritische und finanziell unabhängige Stimme bleibt, deswegen gibt es keine Anzeigen. Das Geheimnis ist, es gibt keine Finanzierung. Das wenige Geld kommt durch den Verkauf herein. Vielleicht lege ich noch ein, zwei hundert Euro mit drauf... Als Kosten haben wir nur den Druck (ca. 800 Euro) ansonsten, und das ist der kritische Punkt, wird niemand bezahlt. Manche sagen, wir unterlaufen damit Autorenmarkt … dass wir die Honorare kaputtmachen. Professionelle Schreiber sagen oft, sie schrieben aus Prinzip nicht ohne Geld …<o:p></o:p></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><b>AK:</b> Ich finde die Kritik nicht berechtigt. Würden wir das nicht so machen, würde es <i>von hundert</i>nicht geben. Und damit würde etwas fehlen, finde ich. Ich finde das dieses Modell der “nicht-Finanzierung” manchmal absolut notwendig, auch meine Grafikarbeiten mache ich nicht nur immer für Geld. Meine Kunst erst recht nicht.<o:p></o:p></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Schreiben ist nicht nur eine Dienstleistung, sondern auch ein kritisches Werkzeug. Wir agieren eher als Künstler, die Texte enstehen aus der Lust oder Notwendigkeit sie zu schreiben und <i>von hundert</i>ist die geeignete Plattform, sie zu veröffentlichen oder überhaupt erst der Anlass, sie zu schreiben. Wir sind eine Nische, das ist klar. Wir verteilen keine Aufträge und auch in dieser Hinsicht wollten wir Unabhängigkeit fördern... da wir nichts bezahlen, kann ich niemandem sagen, schreib‘ bitte was über dies oder jenes… Klar können wir auch Texte ablehnen, das ist aber selten oder wir arbeiten länger gemeinsam mit dem Autoren an dem Text. Derzeit gibt es nach jeder erschienenen Ausgabe ein Redaktionstreffen, Barbara Buchmaier und ich bilden die Redaktion, zusätzlich mache ich Layout, Grafik und Vertrieb.<o:p></o:p></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><b>MS:</b> Nochmal zum Thema Geld ... Als Autorin bin ich auch auf der Suche nach einem Modell, wie man sich von dieser Dienstleistungsmentalität unabhängig machen kann … Wenn ich den Wert dessen was ich schreibe finanziell bemesse, habe ich schon keine Lust mehr, irgendwas zu schreiben und werde stumm. Vielleicht wäre es, wie Du sagst, ein Weg, dass man die Einkommensquellen diversifiziert und nicht mehr von nur einem System, z.B. dem Kunstbetrieb, abhängig ist.<o:p></o:p></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><b>AK: </b>Die Finanzierung des Kunstsystems ist über weite Teile genauso prekär, wie die des Journalismus. Mangelnde Finanzierung oder Miss-Finanzierung sind die Regel – genau wie auch im Musikbetrieb. Ich kann es mir leisten, für wenig oder kein Geld zu schreiben, da meine Arbeit als Grafikdesigner noch relativ gut bezahlt wird, obwohl ich auch da manchmal Sachen umsonst mache, weil ich Lust dazu habe. Diesen Konflikt gibt es immer. Das Magazin erscheint ungefähr alle sechs Monate, und nach jeder Ausgabe müssen wir wieder Kräfte sammeln.<o:p></o:p></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Zuerst gibt es ein Redaktionstreffen wo die Themen festgelegt werden, danach schicke ich eine E-Mail an den Autorenverteiler, zirka 200 Adressen. Davon sind etwa 30 Autoren aktiv und melden sich. Ein Thema, das wir gerade bearbeiten ist, Kunst und Immobilien, da bleibt es merkwürdig still. Richtig investigativer Journalismus fehlt im Kunstbetrieb, da wird es aber gerade erst interessant, ist allerdings auch mehr Arbeit.<o:p></o:p></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Wir drucken das Magazin digital und jedes Heft ist einzeln nummeriert, wie eine Edition. Dadurch, dass wir digital drucken, können wir auch kleinere Auflagen drucken. Ich wollte nie zu viele Hefte produzieren, weil ich wusste, Kunstmagazine verkaufen sich nicht besonders. Wir haben sechs Buchhandlungen in Berlin und jeder kriegt von mir 3 bis 10 Exemplare. Bei der Release-Party verkaufen wir maximal 50 Hefte. Dann gibt es Abos, ca. 30, und dann verkaufe ich auch hier im Büro ein paar. Manche Ausgaben sind vergriffen und nur online abrufbar.<o:p></o:p></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><b>MS:</b> Ich frage mich, wie du die Zeit für all' das findest!<o:p></o:p></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><b>AK: </b>Und ich bin auch Papa und spiele Golf, unterrichte manchmal... Das Thema Arbeit und Zeit ist übrigens auch ein Schwerpunkt von <i>von hundert</i>gewesen (Nr. 21 vom Juli 2014) … dort haben wir Statistiken veröffentlicht. Bei mir waren es damals es durchschnittlich 60 Stunden Arbeit pro Woche und weniger als sieben Stunden Schlaf… Mittlerweile arbeite ich aber nur noch 40 Stunden. Ich schaue nie Fernsehen, verliere keine Zeit in sozialen Medien... wir wohnen teilweise in eine Kommune mit 20 Erwachsene und 10 Kindern und teilen uns die Aufgaben wie z.B. das Kochen … so koche ich nur einmal die Woche mit zwei anderen Leuten. So macht es Spaß und man entspannt. Obwohl ich viel mache, habe ich eigentlich immer Zeit. Eine Woche hat ja 168 Stunden.<o:p></o:p></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><b>MS: </b>Wie siehst Du den derzeitigen Wachstum <span lang="IT">bzw. </span>Wandel in der Self-Publishing Branche, insbesondere im Kunstbetrieb?<o:p></o:p></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><b>AK:</b> Wir versuchen uns gerade mit andere Self-Publisher-Mitstreitern zu organisieren und haben gemeinsam die initiative DHL (drucken heften laden) gegründet, dort erscheint die Paper News, ein kleines Informationsblatt.<o:p></o:p></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Wir sind alle so ähnlich wie Projekträume organisiert und arbeiten „selbstausbeuterisch“ – deshalb haben wir uns als Magazin übrigens auch für den Projektraumpreis beworben.<o:p></o:p></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Es gibt keine großen Verdienstmöglichkeiten in dieser Branche für die kleinen Verlage. Übrigens verdienen auch die größeren Verlage nicht an dem Verkauf der Bücher, sondern an dem was ihnen die Galerien, Institutionen und Künstler bezahlen... die Druckindustrie befindet sich in einem großen Wandel und mit den neuen Möglichkeiten des Digitaldrucks kann man auch in kleinere Auflagen Bücher produzieren. Ich finde es aber wichtig, auf Papier zu lesen anstatt auf einem Bildschirm. Es ist eine andere Qualität des Lesens und auch des Finden.<o:p></o:p></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Zum Thema Finanzierung und Mangelfinanzierung der Self-Publishing Branche denke ich mittlerweile, dass es so etwas wie ein Grundeinkommen geben sollte. Oder aber hier speziell, ein ähnliches Modell wie die GEZ, wir brauchen ein Steuersystem, dass diese Branche und den gesamten Journalismus mittragen sollte. Wenn Großkonzerne wie Google, Facebook und Co. Steuern auf ihre Gewinne bezahlen würden, die dann wieder unter den Publizisten verteilt werden, könnte das eine gute Lösung sein, ansonsten wird der kritische und auch der literarische Journalismus aussterben. Die vierte Gewalt fehlt dann, und damit eines der wichtigsten Korrektive.</span><span style="font-family: "times new roman" , serif; font-size: 21pt;"><o:p></o:p></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Berlin, August 2018</span></div>
Vanessahttp://www.blogger.com/profile/05511376603919677776noreply@blogger.com0tag:blogger.com,1999:blog-1170428150440750542.post-75537294381818475132017-10-04T00:12:00.000-07:002019-09-13T07:02:32.656-07:00An Interview with Beatrix Pang of Small Tune Press<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: "helvetica";"><i>Beatrix Pang, founder of Small Tune Press, interviewed by Ingrid Chu, art critic and curator.</i></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipnXEZ52bLeR4FRCOkCNkEWmiUdtK56JF65xiDkRN45L3PDmA8oZ20DtBjsNBOoby7ZDNYxqKNNLossJd7npl_2LCUyN63-c8TUzJ4m7P_lIH54rm6Otmm8pnVCxftOMuiYehs8srex2ha/s1600/2011_vpchin_04.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="973" data-original-width="1466" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipnXEZ52bLeR4FRCOkCNkEWmiUdtK56JF65xiDkRN45L3PDmA8oZ20DtBjsNBOoby7ZDNYxqKNNLossJd7npl_2LCUyN63-c8TUzJ4m7P_lIH54rm6Otmm8pnVCxftOMuiYehs8srex2ha/s400/2011_vpchin_04.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><br />Susanne Burner, <span style="text-align: left;"><i>Vanishing Point: How To Disappear in China Without A Trace | 消失點:如何在中國無跡可尋 </i></span></span></span><br />
<span style="font-size: xx-small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="text-align: left;">(</span><span style="background-color: white; text-align: left;">Revolver, Berlin/Small Tune Press, Hong Kong, 2011)</span></span></span></td></tr>
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<span style="font-family: "helvetica"; font-size: 10pt;"><span style="color: #444444;"><b>IC</b>:</span> </span><i style="font-family: Helvetica; font-size: 10pt;">Why did you start Small Tune Press?</i></div>
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<span style="color: #444444; font-family: "helvetica"; font-size: 10.0pt;"><b>BP</b>:</span><span style="color: black; font-family: "helvetica"; font-size: 10.0pt;"> Small Tune Press began with my general interest in all things experimental
and not mainstream. I enjoyed reading and collecting comics, magazines, zines,
art books, flyers, posters, listening to weird stories, and watching cult
movies. I also learned a lot about producing images when I was studying
photography, but lacked the knowledge about their presentation and
dissemination. So, I got to know many international artists' works through
reading their artists' books in the school library, and then wondered if any
Hong Kong artists ever published books which could be read by other readers
overseas? After that, I co-published the debut issue of a photo magazine called
<i style="mso-bidi-font-style: normal;">KLACK</i>, and then </span><span style="color: black; font-family: "helvetica"; font-size: 10.0pt;">one year later</span><span style="color: black; font-family: "helvetica"; font-size: 10.0pt;"> I started Small Tune Press as a
response to create and develop a space for alternative artist publications.
Also, so I could give myself the time to gain more knowledge about printing,
production, and distribution.<o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEim0jyhmUu-8mXUWaPzd5_XLuX7EatTssI77AZ9v2TOEZoyRQ9Jgj1ODy7bLmE5kB21WQmedLJ3YNaycyq_q7L5vxjYWjvfQIIYmzhSi-DvCEZBWDjySKO-iTHoDuAGC_hg56Xebq7EFrEn/s1600/06_stp_studio_01_crop.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><img border="0" data-original-height="1159" data-original-width="1600" height="230" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEim0jyhmUu-8mXUWaPzd5_XLuX7EatTssI77AZ9v2TOEZoyRQ9Jgj1ODy7bLmE5kB21WQmedLJ3YNaycyq_q7L5vxjYWjvfQIIYmzhSi-DvCEZBWDjySKO-iTHoDuAGC_hg56Xebq7EFrEn/s320/06_stp_studio_01_crop.jpg" width="320" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: xx-small;">Beatrix Pang's art publication collection; <i>KLACK</i> magazine shown in cabinet</span><span style="background-color: white; font-family: "helvetica"; font-size: 10pt;"> </span></td></tr>
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<span style="font-family: "helvetica"; font-size: 10pt;"><span style="color: #444444;"><b>IC</b>: </span><i style="color: black;">Why is it important for the imprint to be Hong Kong based? </i><b style="color: black; font-style: italic;"><o:p></o:p></b></span></div>
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<span style="color: #444444; font-family: "helvetica"; font-size: 10.0pt;"><b>BP</b>: </span><span style="color: black; font-family: "helvetica"; font-size: 10.0pt;">There are various choices of paper and printing technique support
in Hong Kong that makes it a good place in terms of resources and for
experimentation. The area where my studio is located in the southern side of
Hong Kong Island is called Wong Chuk Hang. It also used to be a printing
district from the 1970s to the 1990s in Hong Kong, so where many printing
factories were located. After all these years a number of printing
houses still remain and run their businesses, as well as paper suppliers. This
is a great asset for Small Tune Press to be able to stay in the neighbourhood
and have them provide support for artists’ book production.<o:p></o:p></span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: xx-small;">Small Tune Press studio view</span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: xx-small;">Small Tune Press studio view</span></td></tr>
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<span style="font-family: "helvetica"; font-size: 10pt;"><span style="color: #444444;"><b>IC</b>: </span><i style="color: black;">I’ve seen Small Tune Press publications in many museums and art
bookshops, but you also participate in international art books fairs such as
Friends with Books this year. As platforms to share artist books have begun to
appear more frequently in Hong Kong and elsewhere, how do you see this developing in terms
of opportunities for artists and STP?</i><b style="color: black; font-style: italic;"><o:p></o:p></b></span></div>
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<span style="color: #444444; font-family: "helvetica"; font-size: 10.0pt;"><b>BP</b>: </span><span style="color: black; font-family: "helvetica"; font-size: 10.0pt;">It is exciting to see the blossoming of art book fairs everywhere!
These definitely provide platforms for many creatives to present and expose
their printed works in a rather friendly and autonomous environment. These
platforms also become a space to exchange and appreciate books for both authors
and readers alike, and in a less conventional environment than say a regular
library or a bookstore. <o:p></o:p></span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: xx-small;">Collection of Book Fair materials</span></td></tr>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;"><span style="font-size: 10pt;"><span style="color: #444444;"><b style="font-family: arial, helvetica, sans-serif; font-size: 10pt;">IC</b><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: 10pt;">: </span></span><i><span style="color: #444444; font-family: "arial" , "helvetica" , sans-serif;">Online platforms are becoming increasingly
popular, </span></i></span><span style="color: #444444; font-family: "arial" , "helvetica" , sans-serif;"><i style="font-size: 12px;"><span style="background-color: white;">but perhaps here more than elsewhere</span></i><i style="font-size: 10pt;"><span style="background-color: white;"> </span>they run the risk of censorship </i><i style="font-size: 12px;"><span style="background-color: white;">that remains an ongoing concern</span></i><i style="font-size: 10pt;"><span style="background-color: white;">. </span>What relationship if any do you have to digital publishing? How does
this affect your work and your your distribution methods if at all?</i></span></span></div>
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<span style="color: #444444; font-family: "helvetica"; font-size: 10.0pt;"><b>BP</b>: </span><span style="color: black; font-family: "helvetica"; font-size: 10.0pt;">Although Small Tune Press doesn't produce electronic publications,
the online social media channels have become a powerful tool to promote events
and information about the print publications. This allows for different ways to
describe and promote the book that in turn gets people to think more imaginatively
about the physical book even in the virtual space, and finally triggering the
desire to further explore its contents, learn more about its maker, and then
ideally purchase the book!<o:p></o:p></span></div>
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<span style="font-family: "helvetica"; font-size: 10pt;"><span style="color: #444444;"><b>IC</b>: </span><i style="color: black;">What do you see as the future for independent publishing in Asia?</i><b style="color: black; font-style: italic;"><o:p></o:p></b></span></div>
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<span style="font-family: "helvetica"; font-size: 10pt;"><span style="color: #444444;"><b>BP</b>:</span> Independent voices remain restricted and
obstructed in many places in Asia under different cultural, social, and
political circumstances. However, the people making books still find different
ways to experiment, express, and deliver their voices broadly. Resources are
still a critical issue to many developing Asian countries as well, especially in
terms of printing technology and available materials, not to mention the chances
to exhibit and distribute to overseas platforms, such art book fairs like Friends with Books. But the diversity of cultures and languages in Asia means that there are still
definitely many possibilities for exchange within and beyond the region that
can, and <i>are</i> being developed.</span><!--EndFragment-->
<br />
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<!--StartFragment--><i><span style="font-family: "helvetica"; font-size: 10pt;">Small Tune
Press (STP) is an independent art book and zine publisher founded in 2011 by
Beatrix Pang, a visual artist and cultural researcher based in Hong Kong.
Committed to providing opportunities for artists and creatives from various
backgrounds and disciplines, it produces experimental art books and zines in
different subjects and mediums for distribution in small editions. STP has also
been featured in a number of international art books fairs, exhibitions, and
programmes exploring the possibilities for publishing in generating new
knowledge around the recent art of Asia. </span></i><!--EndFragment--><br />
<i><span style="font-family: "helvetica"; font-size: 10pt;"><br /></span></i>
<i><span style="font-family: "helvetica"; font-size: 10pt;">All images courtesy of Small Tune Press.</span></i><br />
<div style="text-align: right;">
<span style="font-family: "helvetica"; font-size: x-small;">Ingrid Chu</span></div>
<div style="text-align: right;">
<span style="font-family: "helvetica"; font-size: x-small;">September 22, 2017</span></div>
<br />Friends with Bookshttp://www.blogger.com/profile/02362899926976300893noreply@blogger.com0tag:blogger.com,1999:blog-1170428150440750542.post-32042284933089023402016-09-13T08:20:00.000-07:002019-09-13T06:57:07.509-07:004 Fragen an Spector Books<!--[if gte mso 9]><xml>
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<h2>
<span style="mso-fareast-font-family: "Times New Roman";">4
Fragen an Spector Books</span></h2>
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Jan Wenzel im Gespräch mit Isabel
Podeschwa<br />
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzBNtMeH4GLGEKE0cLiBUlH76O7KrW7-SDbN0V9KGCnfYAT0De6VXokVsLjuNdidlZvciZgrhb9UblFsP9TmEjnjH0VDwHeVy3P1H7u59DMZTfBihlikGhCOpEfgmLHVS3uksZ69jkn5SH/s1600/189.0.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzBNtMeH4GLGEKE0cLiBUlH76O7KrW7-SDbN0V9KGCnfYAT0De6VXokVsLjuNdidlZvciZgrhb9UblFsP9TmEjnjH0VDwHeVy3P1H7u59DMZTfBihlikGhCOpEfgmLHVS3uksZ69jkn5SH/s320/189.0.jpg" width="240" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div style="text-align: left;">
<i>Art in the Times of Democracy</i>, hrsg. von </div>
<div style="text-align: left;">
GfzK Leipzig 2015.</div>
</td></tr>
</tbody></table>
<br /></div>
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<span style="mso-fareast-font-family: "Times New Roman";"><br /></span></div>
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<span style="mso-fareast-font-family: "Times New Roman";"><br /></span></div>
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<span style="mso-fareast-font-family: "Times New Roman";"><br /></span></div>
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<span style="mso-fareast-font-family: "Times New Roman";"><br /></span></div>
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<span style="mso-fareast-font-family: "Times New Roman";"><br /></span></div>
<div style="line-height: 150%;">
<span style="mso-fareast-font-family: "Times New Roman";"><br /></span></div>
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<span style="mso-fareast-font-family: "Times New Roman";"><br /></span></div>
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<br />
<br />
<br />
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<span style="mso-fareast-font-family: "Times New Roman";"><br /></span></div>
<div style="line-height: 150%;">
<span style="mso-fareast-font-family: "Times New Roman";">Spector
Books wurde im Jahr 2001 von Markus Dreßen, Anne König und Jan Wenzel gegründet
und hat über die Jahre eine verlegerische Praxis entwickelt, bei der das
Zusammenspiel von Bild, Text und Typographie mit konzeptueller Genauigkeit und
Erfindungsreichtum Räume für komplexe Inhalte bereitet. Ihre Publikation
"Liner Notes" aus dem Jahr 2009 hatte für viele in das Produzieren
von Büchern Involvierte Manifestcharakter. 2010 initiierten sie die Messe unabhängiger
Verleger in Leipzig mit dem programmatischen Titel "It's a book, it's a
stage, it's a public space" und förderten die Idee des Büchermachens
jenseits kalkulatorischer und inhaltlicher Kompromisse. Spector Books arbeitet
mit vielen Akteuren aus dem Zusammenhang der Hochschule für Grafik und
Buchkunst Leipzig und gibt mittlerweile ca. 50 Publikationen im Jahr heraus,
die zu zwei Dritteln außerhalb des deutschsprachigen Raums verkauft werden.</span></div>
<div style="line-height: 150%;">
<span style="mso-fareast-font-family: "Times New Roman";"><br /></span></div>
</div>
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<span style="mso-fareast-font-family: "Times New Roman";"><i style="mso-bidi-font-style: normal;">Eure publizistische Praxis ist motiviert
vom Interesse an unterschiedlichsten Transformations- und
Übersetzungsprozessen: Auf formaler Ebene arbeitet Ihr an einer Auflösung der
Linearität des Buches. In Bezug auf künstlerische Arbeiten seid Ihr an der
Emanzipation des Buches von seiner repräsentativen Dienerschaft interessiert.
Im Prozess der Entwicklung setzt ihr auf ein anderes Verständnis des
Zusammenwirkens von Grafikern, Autoren, Künstlern, Verlegern und entzieht
diesen Beziehungen die üblichen Hierarchien. Sind das die Mittel, Lebendigkeit
herzustellen, die Ihr für das Buch fordert? <o:p></o:p></i></span></div>
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<br /></div>
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<span style="mso-fareast-font-family: "Times New Roman";">Immer
wieder haben wir das Büchermachen mit anderen Formen kollektiven ästhetischen
Produzierens verglichen: mit dem Theater und dem Film vor allem. Wir verstehen
die Arbeit an einem Buch als einen dialogischen Prozess, in dem unterschiedliche
Perspektiven, unterschiedliche Erfahrungen und Ansätze zueinander in Beziehung
treten. Bei dem sowjetischen Literaturwissenschaftler Michail Bachtin findet
sich der Hinweis, dass es falsch sei, Bewusstsein nur im Singular zu verwenden,
denn der Erkenntnishorizont weitet sich durch die Verschränkung
unterschiedlicher "Bewusstseine". Bachtin arbeitet das an den
dialogischen Romanen von Fjodor Michailowitsch Dostojewski heraus. Für uns ist
ein Verlag der Ort eines solch dialogischen Produzierens. Und das Buch ist ein
Medium, in dem sich ein solcher Arbeitsprozess artikuliert: in seiner Form wird
der Aufeinanderprall dieser verschiedenen Perspektiven manifest – ablesbar. Das
wäre das, was wir als Lebendigkeit bezeichnen würden. <o:p></o:p></span></div>
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<i><br /> D</i><i style="line-height: 150%;">ie Protagonisten Eure</i><span class="Apple-style-span" style="font-style: italic; line-height: 150%;">r Publikationen, die Inhalte,
bekommen einen sehr würdigen Raum. Bei aller konzeptuellen Strenge ist der
Zugang empathisch. Einige Eurer Publikationen stehen im Zusammenhang des
Enzyklopädischen oder zeigen eine Affinität zur Tradition des Bilderatlas. Auch
wenn das nicht der Fall ist, passt bei Euch zwischen zwei Buchdeckel ziemlich
viel Welt.</span><br />
<br />
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<o:p></o:p></div>
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<tr><td class="tr-caption" style="text-align: center;"><div style="text-align: left;">
<i>Liner Note</i>s, hrsg. von Markus Dreßen, Lina Grumm, Anne König, </div>
<div style="text-align: left;">
Jan Wenzel, Leipzig 2009.</div>
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<i><span class="Apple-style-span" style="font-style: normal; line-height: normal;"><br /></span><span class="Apple-style-span" style="font-style: normal; line-height: normal;"><span class="Apple-style-span" style="font-style: normal; line-height: 24px;">Uns gefällt es, mit der Form des Buches zu arbeiten. Ulises Carrión beschreibt, dass das Buch in einem traditionellen Verständnis als Container fungierte, und das ein neuer Umgang mit dem Medium dort beginnt, wo man es als eine raum-zeitliche Sequenz versteht, eine Folge von Seiten, die zueinander in Beziehung treten. Uns interessiert in der Arbeit immer wieder auch die Frage, wie man das Buch und seine Formen anreichern kann mit Elementen aus anderen Medien. Der Film ist ins Medium Buch eingewandert, die Zeitschriftenkultur des 20. Jahrhunderts hat sich der Formenwelt des Buches eingeprägt und zur Zeit erlebt man, wie die digitale Kultur zu neuen Umgangsweisen mit diesem alten Medium führt. In gewisser Weise ist das Buch also doch ein Container - ein Container, in dem vieles Platz findet.</span></span></i></div>
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<i>Hat die Tatsache, dass die Independant Publisher Szene
ausgerechnet seit 2009 so boomt mit der Globalisierung und der zu dieser Zeit
nochmals enorm gewachsenen Bedeutung des Internets zu tun? </i><o:p></o:p></div>
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<span style="mso-fareast-font-family: "Times New Roman";"><span style="mso-fareast-font-family: "Times New Roman";">Ja, sicher – das Netz hat andere Öffentlichkeiten geschaffen. Selbst Bücher mit einer winzigen Auflage können heute über das Internet einer kleinen Gemeinde von Enthusiasten bekannt gemacht werden. Hinzu kommen die vielen Messen, die den sozialen Aspekt, der mit dem Büchermachen verbunden ist, in den urbanen Raum zurückbringen – auf den Messen werden Waren getauscht, Erfahrungen, Geschmacksurteile. Das Nebeneinander von hunderten von Buchverlagen ist letztlich auch eine große Performance: die Gesellschaft der Büchermenschen führt sich selbst und ihre Beziehung zum Buch auf. Aber wir sind sicher: ohne das Internet, ohne einen stetigen Informationsfluss über Neuerscheinungen, neue Messen und neue Läden würde es diese Messen, die immer auch ein Fest, eine Entgrenzung darstellen, unmöglich geben.<o:p></o:p></span></span></div>
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<span style="mso-fareast-font-family: "Times New Roman";"><span style="mso-fareast-font-family: "Times New Roman";"><i style="mso-bidi-font-style: normal;">Ihr habt höchste Ansprüche an Handwerk und praktiziert eine ungeheure formale Präzision. In den 70er Jahren war das bei vielen Akteuren, die vermutlich inhaltlich mit Euch große Übereinstimmungen haben oder gehabt hätten, nicht nur technisch schwieriger, sondern auch verpönt. Was ist seither passiert?</i><o:p></o:p></span></span></div>
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<span style="mso-fareast-font-family: "Times New Roman";"><span style="mso-fareast-font-family: "Times New Roman";">Wenn man Bücher macht, hat man auch eine Verantwortung gegenüber dem Medium. Wir haben oft betont, dass die Artikulation im Medium auch über die Wahl eines Papiers, über ein bestimmtes Format, oder die Art der Bindung möglich ist. Wenn man so denkt, heißt das auch, einen großen Respekt vor der handwerklichen Seite des Buches zu haben: wie ein Buch gemacht ist, ist dann ebenso wichtig, wie das, was in ihm steht. Es ist gut als Verlag Druckereien und Buchbinder zu haben, die einen ähnlichen Qualitätsanspruch wie wir besitzen. Denn Leidenschaft und Eigensinn ist oft auch eine Frage der Genauigkeit und des Differenzierungsvermögens.<o:p></o:p></span></span></div>
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<i>Die Meisterhäuser in Dessau</i>, hrsg. von Stiftung Bauhaus </div>
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Dessau, Leipzig/Dessau 2012.</div>
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(Das Gespräch wurde im November 2014 geführt.)</div>
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<!--EndFragment-->Vanessahttp://www.blogger.com/profile/05511376603919677776noreply@blogger.com0tag:blogger.com,1999:blog-1170428150440750542.post-71218604858699013062014-12-11T11:09:00.000-08:002019-09-13T06:56:41.811-07:00An Interview with Claudia de la Torre of back bone books<div class="western" lang="de-DE" style="line-height: 100%; margin-bottom: 0in;">
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<i><span style="font-family: "helvetica"; font-size: 12px;">Claudia de la Torre, founder of back bone books, </span><span style="font-family: "helvetica";"><span style="font-size: 12px;">interviewed</span></span><span style="font-family: "helvetica"; font-size: 12px;"> by </span><span style="font-family: "helvetica"; font-size: 12px; text-align: right;">Birgit Rieger, art critic.</span></i><br />
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<b>BR</b>:<b> </b><i>Can you tell us about the starting point of back bone books? </i></div>
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<b>CT</b>: back bone books is a self-publishing project which I founded in 2011 as part of my artistic practice. I started it because of the need to publish my own work, which often takes the form of a book. Learning by doing. As Paul Auster writes in a passage from From hand to mouth: “The-work-to-be-done-that-is-done-in-the-process-of-doing-it.”<br />
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<b>BR</b>:<b> </b><i>How would you describe your programme?</i><br />
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<b>CT</b>: Conceptual. I really put emphasis on why is it a book and not another thing. Every decision gives meaning to the book. The printed method, distribution and edition. Some books are unique, while others are printed on demand. I am an artist and not a graphic designer, so my approach to book-making is different, I guess. I make books because of the possibility of movement and intimacy they bring. Books have to be activated, there is a need for a user rather than just an observer. I do everything from scratch. The editing, distribution, conceptualization. In the last year I've been able to collaborate with people I deeply admire. I'd say Back Bone Books makes artist books or books in collaboration with artists.<br />
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<b>BR</b><i>: What is the title you are most proud of? How did you edit it?</i><br />
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<b>CT</b>: Each one of them is special in its own way. Some of them are set and done in one night, while others need patience and a longer "incubation" time. I personally feel attached to <i>Knaurs Lexikon Moderner Kunst</i>, because it is a round book. It is unique and exists as a part of a bigger work. I basically cut-out the information of the original lexicon, and each of the pages became "unique," reminiscent of a Modernist painting. The three-dimensionality of the book as an object is visible though the overlapping of images. Repetition makes the difference evident. I'm proud of the 25 books thus far, and more books are to come.<br />
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<b>BR</b><i>: In your artistic work you often deal with found material, found book pages, found book titles. You have a collection of analog photographs which you re-arrange and present in book form. In the book Headshot for example, you present photographs from your collection with shots from heads. Another book is called <a href="http://www.claudiadelatorre.com/index.php?/ten-unknown-gasoline-stations/" target="_blank">Ten (unknown) gasoline stations</a>. Where does your interest in found material come from?</i><br />
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<b>CT</b>: If I simplify things, I have a love for collections and rearrangements from my father. He has a very large collection of stamps and bills, and we used to spend hours together arranging and rearranging it. I feel like a DJ, sampling from every place just to do my own mix. In the act of putting things back together one can re-imagine them and be surprised by unexpected juxtapositions that bring new meanings. Headshot shots just came from my collection, while Ten (unknown) gasoline stations images come from a website with a purpose of getting information about things people upload.<br />
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<b>BR</b>: <i>You also seem to have an obsession for encyclopediae and lexica. For Farbnamenlexikon you took a colour lexicon edited in Germany in 1950, chose 50 descriptions found in the book, and combined them with 50 images from your photo archive. You also worked with <a href="http://www.claudiadelatorre.com/index.php?/knaurs-lexikon-moderner-kunst/" target="_blank">Knaurs Lexikon Moderner Kunst</a> and an encyclopedia for birds. Why lexica?</i><br />
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<b>CT</b>: A lexica as well as an encyclopedia–are books with a goal to organize information by means of language. What stays in? What is left outside? How is the world edited? – I'm interested in those kind of questions. I mean, how to order colour without the use of descriptions?<br />
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<b>BR</b>: <i>The book itself is in deep crisis. Do you think the future of the artist book is digital? Would digital versions be an option for your own production?</i><br />
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<b>CT</b>: I don’t think the book is in a deep crisis. I actually think that digital versions are just one more option, though screen will never beat paper. I'm actually at this time working on a book by the name of <i>Books you cannot read on a Kindle</i>.<br />
"The car is faster than the bicycle," said Eco, "but cars have not made bicycles obsolete and no new technological improvement can make a bicycle better than it was before. The idea that a new technology abolishes a previous role is much too simplistic."<br />
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<b>BR</b>:<b> </b><i>You live and work in Berlin and Mexico City. How do you divide your time between the two places?</i><br />
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<b>CT</b>: As an artist I'm pretty much flexible. So ideally, in summer I'm in Berlin and when it gets bitter cold I go to Mexico.<br />
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<b>BR</b>: <i>Let’s talk about the interaction with an artist book. Are your books made for viewing, a new reading experience, collecting? What is the experience that you want to achieve?</i><br />
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<b>CT</b>: I want the books to be activated, to get dirty, get lost and found again. No gloves, please!<br />
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<b>BR</b>: <i>What are you bringing to Friends with Books: Art Book Fair Berlin?</i><br />
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<b>CT</b>: I am bringing three new titles. I'm very excited about them! <i>Point Break</i>, which is a collaboration with the graphic designer Maxime Gambus. A book printed in Riso that you have to tear apart to create waves given by the white of the paper. <i>Zieglergasse 26/19</i>, which is back bone books’ first newspaper publication, containing photographs that Samantha Bohatsch took while living for some time in Vienna. I will also bring <i>Blind Booking</i> which is a fold-out poster book made in collaboration with Robert Hamacher. We went on a blind booking trip, ended up in Sardinia and discovered a new territory by getting lost, just as Christopher Columbus did.<br />
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<b>BR</b>: <i>You also do an intervention at the fair. What will it be about?</i><br />
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<b>CT</b>: It is a satellite work derived from a book I did for the exhibition <i>The Liberated Page</i>, which is now on view in Geneva. It is a site-specific work using Café Moskau’s atrium courtyard windows. It takes its starting point with the window being viewed as a white page, and the space is connected with footnotes extracted from diverse books as a medium.</div>
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<i>Claudia de la Torre is an artist born in Mexico City, she studied at State Academy of Fine Arts Karlsruhe and runs the independent publishing house Back Bone Books.</i></div>
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December 8, 2014</div>
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Birgit Rieger</div>
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Unknownnoreply@blogger.comtag:blogger.com,1999:blog-1170428150440750542.post-91837314915361130912014-12-10T11:25:00.000-08:002019-09-13T06:56:04.541-07:00An Interview with Helen Douglas of Weproductions<div class="western" lang="de-DE" style="line-height: 100%; margin-bottom: 0in;">
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<i>Helen Douglas interviewed by Birgit Rieger, art critic.</i><br />
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<span style="font-size: xx-small;">Helen Douglas and Telfor Stokes, </span><span style="font-size: xx-small;"><i>Chinese Whispers</i>, </span><span style="font-size: xx-small;">1976</span></div>
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<b>BR</b>:<i> Helen Douglas, you have made bookworks since 1972 and joined Weproductions in 1974. In the early days you and your partner Telfer Stokes produced paperbacks. Could you tell about your starting point?</i></div>
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<b>HD</b>: My own starting point was the investigation of image in relation to book. So for instance, <i>Threads,</i> published in 1974, developed from my exploration of thread threading within and through the book: front and back of the page/s in sequence. It did not involve photograph: I took the physical art work of threaded pages to the printers, who made page scale 1 to 1 line copy and printed offset.<br />
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When I began to collaborate with Telfer Stokes, the camera became the means, the vehicle of exploring image and book. It enabled tone and dimension in rendering the image on and illusionistically within the page, as well as constructing the page/s of the book. So for instance in <i>Chinese Whispers</i> the pages of the open spread are constructed as a corner cupboard and this becomes all part of the narrative sequence. What we thought of as happenings: happening in the book. The pea pod opening from the spine with the reader opening the spread, the cabbage pealed to the heart, the fingers leafing each leaf of the book.</div>
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<b>BR</b>: <i>Has your perception of what a good artist book is changed since then?</i></div>
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<b>HD</b>: Fundamental to my understanding of a good artist book is the concise use of the physical form of the book, its pages, paper and print in the shaping of the conceptual and visual expression of the artist: making something concrete whether as visual narrative and/or as fleeting visual poetics. Over the years the book has continually reinvented itself for my different expressive needs. As well as the codex form, the concertina and related scroll form have opened up possibilities for the shaping of visual narrative. So have the inextricably related areas of print, paper and binding.</div>
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<span style="font-size: xx-small;">Deuchar Mill, Helen Douglas’ home and production place</span></div>
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<b>BR</b>: <i>You have lived and worked in the countryside of Scotland for many years. Can you describe what your home is like?</i></div>
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<b>HD</b>: I live in the Scottish Borders, an area of Scotland traditionally known for sheep farming and wool – woven tweed and knitted – textiles. My home at Deuchar Mill, is in the Yarrow valley, renowned for its ballads and beauty. The hills around are steep, and grazed by sheep. Trees only grow in the gulleys and by the Yarrow River.<br />
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Telfer Stokes and I converted Deuchar Mill into a house and studio/workshop in the '70s. In the 1980s/90s we did all our own offset litho printing and pre-press camera work. This summer with much help from Angie and Si Butler, I got the Vandercook letterpress printing again.</div>
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<span style="font-size: xx-small;">Helen Douglas’ workshop</span></div>
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<b>BR</b>: <i>Nature is an important element in your artistic work. To which extend nature influences your way of book making?</i></div>
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<b>HD</b>: It was a choice to live in the countryside. The day to day living with nature all around me inevitably leads me to working with it. I find it wondrous. Out with the camera, I begin to be lead and something begins to grow. <i>Chinese Whispers</i> was the first published book to consciously bring in the spiral growth of nature in its shaping. <i>Clinkscale</i> in its accordian form, opened out to the expansive green field as an arm’s breath from the chest. In many ways this opening out to the open minutely interconnectedness of nature that I experience bodily has influenced how I work with the flow across the page. This way of working has also been inspired by Eastern looking, with their understanding of nature and their painting/hand scroll/book tradition. </div>
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<span style="font-size: xx-small;">Helen Douglas and Telfor Stokes, </span><span style="font-size: xx-small;"><i>Chinese Whispers</i>, </span><span style="font-size: xx-small;">1976</span></div>
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<b>BR</b>: <i>The book in itself is in deep crisis. Do you think the future of the artist book is digital?</i></div>
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<b>HD</b>: Yes, I do believe the book is in crisis. People say they love books, but nevertheless they are, more and more, buying digital. And that is only going to increase. Industrial printers, the underbelly of book production and publishing are going out of business. Printers will survive and so will books – as a niche specialist market, as a Fine Art. You could argue this is exactly where the world of book meets that of artist book. But when I began to make artist books, exploring the book as physical object and container for the visual we used industrial “non art” means such as offset, perfect binding, in contrast to the livre d’artiste tradition. The books were not conceived as limited editions, but part of the every day – and placed on bookshelves not collectors’ cabinets!<br />
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Now times have really changed. The boundaries between artist book and livres d’artiste have gone, traditions are merging and the digital is everywhere, with photography, computer, digital printing, to e digital. And artists working with code have a whole new medium for making art publications. While I can see this potential and would like to explore this further, I do believe my DNA in making is still with books, paper and print. </div>
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<b>BR</b>: <i>Do you still produce hand printed editions at Deuchar Mill? What exactly does this mean – “hand printed”?</i></div>
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<b>HD</b>: When in the late 1970s we set up our own workshop with the Vandercook letter press, offset litho press, and associated prepress dark room we never spoke or wrote about hand printed editions, although we did all the printing. It was our way of taking control of production and producing books in the most economic way we could.<br />
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By the late '90s with the digital revolution the computer (rather than dark room) became the means by which to originate, in colour, the manuscript book. In the same period, industrial offset litho printing costs came down (because of digital competition) and it was possible to print industrially once more.<br />
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However with industrial printing choices of paper began to become restricted – if I wanted to keep prices affordable – and I began to want more variety of paper, acknowledging also that the whole field of book publishing and artist books was shifting to an overt emphasis on the textural hand held feel of the book. In 2006 I began to experiment with making small digital archival ink jet printed editions in my studio, using fine light papers – unimaginable with offset – such as Chinese Xuan paper and Japanese Toshu. I conceived as these books as hand printed limited edition books, which is exactly what they are. I’m involved in every part of their making. The beauty of making these books, is I can make more experimental books without huge cost because I’m not producing a 1000 copies. The downside of all this is they are labour intensive to make and therefore more expensive to those who want to buy my work. </div>
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<b>BR</b>: <i>You do produce your own books and you collaborate with other artists. With whom do you work? </i></div>
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<b>HD</b>: I collaborated with Telfer Stokes for many years. This was an artistic collaboration of the deepest kind sparked by a shared visual and conceptual sympathy. I collaborated with the sound artist Zoe Irvine on Illiers Combray, a joint collaboration in that we spent time together when gathering material, but we then worked completely independently making our respective work, me the book, Zoe the sound CDs for the whole. My collaboration with writers has tended to happen later in the process of making. Marina Warner/A Venetian Brocade and Rebecca Solnit/Unravelling the Ripple. In both cases the writers were approached with my visual idea and much of the book fully formed. In this way they have worked to the visual concept, rather than the visual working to the text. </div>
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<b>BR</b>: <i>Do you collect artist books yourself? How do you interact with artist books? Store them? Use them?</i></div>
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<b>HD</b>: In the early days artists used to send each other books all the time, by post. So quite a collection has built up over years. I also used to buy artist books at book fairs, books I liked, books with a quality of something I wanted to know more about and perhaps achieve in my own work. Recently at fairs there is such a huge tidal sea of tables and books, I honestly feel rather overwhelmed. And don’t buy as much as I used to. I keep my artist books on a bookshelf and look at them, like I would a book.</div>
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<span style="font-size: xx-small;">Helen Douglas, <i>In Mexico in the Garden of Edward James</i>, 2014</span></div>
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<b>BR</b>: <i>What will you bring to Friends with Books: Art Book Fair Berlin?</i></div>
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<b>HD</b>: I will bring a range of Weproductions books that are still in print, as well as current recent work, also my new book <i>In Mexico in the Garden of Edward James</i>. I spent seven days exploring the fantastical, surreal Edward James’ Garden Las Posaz at Xilitla.<br />
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I don’t show scrolls at book fairs, for although related to my books they are too fragile and need more space. I like to show the span of my work, as often younger people, have no idea of the early books or the thinking that went into making them. Sometimes my stand can become a bit confusing because of different periods of books and different qualities of their making. But I stand behind them and I enjoy seeing what people are drawn to and what they might like to buy. I can learn a lot from just watching people looking at and handling my books. And I enjoy the conversations that can ensue in showing my work.</div>
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<i>Helen Douglas is an artist and publisher based in Scotland and practicing since the 1970s, renowned for her poetic visual narratives.</i></div>
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December 7, 2014</div>
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Birgit Rieger</div>
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Unknownnoreply@blogger.comtag:blogger.com,1999:blog-1170428150440750542.post-4113684143741664102014-12-01T06:26:00.000-08:002019-09-13T07:03:18.363-07:00Fünf Fragen an Céline Duval<div class="western" lang="de-DE" style="line-height: 100%; margin-bottom: 0in;">
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<i>Als Du anfingst mit Fotografien und Postkarten zu arbeiten, wusstest Du da schon, dass Du daraus eine verlegerische Tätigkeit entwickeln würdest, dass das Deine künstlerische Praxis werden würde?</i></div>
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Ich habe 1997 angefangen, Bilder zu sammeln, Bilder von Flohmärkten und aus Zeitschriften. Dieses Konvolut wurde dann zum Ausgangsmaterial meiner Bücher. So eine Sammlung anzulegen, war eine Entscheidung, die ich schon während des Studiums an der Kunsthochschule in Nantes getroffen habe, bei dem ich mit verschiedenen Umgangsweisen mit der Fotografie experimentierte. Ich habe dann sehr bald gedacht, dass das Verlegen das geeignete Mittel sein würde, verschiedene Ikonografien zu zeigen. Damals wusste ich nicht so recht, wie ich das anstellen sollte und ich brauchte Zeit, um mit Hilfe der Bilder die Welt zu entdecken. Ich habe dann gemerkt, dass die Bilder, die von den Menschen gemacht werden, ihren Inhalt schon mitbringen. Es reicht, sie anzusehen und dann entsprechend zu kombinieren, der Schnitt ist das Entscheidende, wie im Kino.<br />
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<span style="font-size: xx-small;"><i>Coeur, point et ligne sur plan, 2013</i></span></div>
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<i>Kanntest Du zu diesem Zeitpunkt den Bilderatlas „Mnemosyne“ von Aby Warburg?</i><br />
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Ich hatte damals noch nie von Aby Warburg gehört. 2001 dann hat mich dann Pierre Leguillon auf Warburgs Projekt hingewiesen, dass in Frankreich Dank der Publikation von Philippe-Alain Michaud „Aby Warburg et l’image en mouvement“ zugänglich wurde. Er sagte, dass ich eine Erbin seiner Vorgehensweise wäre, aber damals habe ich die Tragweite seines Projektes noch nicht begriffen, vor allem was das für die Kunstgeschichte bedeutete. Ich fühlte mich der Arbeit von Hans-Peter Feldmann näher, mit dem ich damals auch zusammengearbeitet habe.<br />
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<i>Du bist eine Bilderretterin, Du bietest Bildern familiären Anschluss, stellst sie in formale Zusammenhänge, auch über „Generationen“ hinweg. Du entwickelst oft unerwartbare Typologien, mal sind die Bezüge sehr direkt, manchmal eher assoziativ. Deine Haltung zu den Bildern wirkt weniger enthüllend als empathisch. Wenn Du Stereotypen aufzeigst – selten auch Abgründe -, dann passiert das nicht in einer denunzierenden Weise, sondern eher in einer Geste der Zuneigung. Meistens verbreiten Deine Bilder gute Laune. Ist der Titel einer Deiner Publikationen „Reculer pour mieux aimer“(„Distanz gewinnen, um besser lieben zu können“) übertragbar auf Deine Arbeitsweise?</i><br />
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Das ist alles sehr subjektiv und der Blickwinkel verändert sich ständig. Mein Vorgehen könnte insgesamt eher mit „Distanz gewinnen um besser zu verstehen“ beschrieben werden. Ich glaube es ist genau andersherum als Du es sagst: Je mehr Abstand ich gewinne, desto deutlicher lege ich die Mechanismen der Schaulust frei, die uns beherrschen und desto mehr beginne ich die Bilder zu verachten. Ich glaube, dass diese Ambivalenz in der Videoserie "<a href="http://www.lesallumeuses.net/" target="_blank">Les Allumeuses</a>, 1998-2011" deutlich wird, in der die gedruckten Bilder aus Zeitschriften in ihrer Materialität verschwinden und nur der Schnitt der Bilder in ihrer Abfolge sichtbar bleibt, weil sie mit der Videokamera gefilmt wurden. Ich versuche in meiner Arbeit vor allem zu verstehen, warum es uns dazu drängt, so viele Bilder zu produzieren.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlF1dPX7M179WSPpj1v1Ha7vOhDwyBsos1-eiNt8WClTtV_CsUgJwjrm3bdZzY-12fqRBt-0bM-vjGbztarkkDEWnc6pYGTvt0nECU50b0NbqkxdrasRAdBldZDz0oK4RvxS5UMEcJUmc/s1600/duval_STRATI-IMG.jpg" imageanchor="1" style="font-family: Times; font-size: medium; line-height: 16px; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlF1dPX7M179WSPpj1v1Ha7vOhDwyBsos1-eiNt8WClTtV_CsUgJwjrm3bdZzY-12fqRBt-0bM-vjGbztarkkDEWnc6pYGTvt0nECU50b0NbqkxdrasRAdBldZDz0oK4RvxS5UMEcJUmc/s1600/duval_STRATI-IMG.jpg" width="278" /></a></div>
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<span style="font-size: xx-small;"><i>La Stratigraphie des images, 2014</i></span></div>
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<i>Du hast angefangen, über Deine Publikationen hinaus, Ausstellungen zu machen und bedienst Dich dabei unterschiedlicher Präsentationsformen. Wirst Du weiterhin auf Papier arbeiten, Hefte und Bildsammlungen herausgeben?</i></div>
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Ja, ich habe übrigens seit September dieses Jahres drei neue Publikationen abgeschlossen und drei neue sind 2013 entstanden. Ich habe nur keine Zeit für Kommunikation und Vertrieb. Daher bin ich froh, dass ich in diesem Jahr bei „Friends with books“ in Berlin dabei sein kann. Das Papier bleibt mein bevorzugtes Medium, das Buch ist ein intimer Raum, mit dem die Hand einen unmittelbaren Kontakt herstellt. Es ist wichtig, dass wir nicht den direkten Kontakt zu unserem Körper verlieren.<br />
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<i>Eine letzte Frage: Machen Dich die Bilder, die bisher nicht zu Dir gefunden haben und die Tatsache, dass die Anzahl der Bilder, die produziert und verbreitet werden rasant zunimmt nervös?</i></div>
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Dieser morbide Drang, mit dem Smartphone alles festzuhalten ohne darüber nachzudenken - diese Welt der Bilder ist schwindelerregend und widert mich an. Ich kann selbst gar nicht mehr fotografieren. Ich habe, glaube ich, überhaupt keine Freude mehr an Bildern. Wir verlieren uns in dieser nicht enden wollenden Bilderflut, die nur das immer Gleiche mit sich bringt.</div>
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November 27, 2014</div>
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Isabel Podeschwa</div>
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