NY Art Book Fair
It’s August and I’m already looking at the end of my time at NEW INC. I’ll move out of 231 Bowery by the end of this month. It’s been an intense year, a very good one, for lots of reasons. This studio space here and the incredible community in the New Museum’s incubator helped me focus on writing, teaching and special publishing projects — as Counterpractice. It’s the first time that I’ve opened up my studio to a wider range of non-client work, in a more formalized way (please, no more “side-projects”). The balance was never perfect but I’ve learned to stay alert for unexpected alignments and frictions. I’m learning from all of it. In May I was asked to be a contributing editor at Rhizome, so I now have another outlet for writing and developing special projects and extending my experimental publishing research.
After the launch of Printed Web 3 at Offprint London (and on Rhizome) at the end of May, I headed to Germany. I’d been invited by Olia Lialina to teach a one-week Library of the Printed Web workshop at Merz Akademie in Stuttgart, which was just coming to the end of asparagus season.
The students were excellent and we presented a mini collection of zines, postcards and printed matter to Olia for the school’s library.
This was my first LotPW workshop and creating a site-specific collection of materials in real-time is a beautiful format. I’ll use it again.
While I was there I gave my “Performing Publishing” talk at Stadtsbibliothek Stuttgart (the city’s new public library that feels like a set from the Matrix). This library knows how to make speakers feel welcome. No, this is not a rendering.
And then I was Paris-bound, where I had been invited by Fondation Galeries Lafayette to deliver a talk (“Making Public”) and conduct a two-day workshop for an awesome mix of artists, media critics, designers and curators (including Alessandro Ludovico, Raphael Bastide, Oliver Laric, Neil Cummings from Wolff Olins, Joachim Hamou and Nicolas Delaforge, a semantic web engineer). The scenario was to imagine how the new OMA-designed art institution opening in 2018 would treat the artifacts of artistic production, from archiving to publishing.
Making public became a kind of mantra for me while I spent the week in the Marais writing the talk and posing questions around posting, multiple publics, memory, temporality, poor media and physical space. I’d love to develop this talk into a broader text about the role of publishing for artists and art institutions.
In September I’m back at RISD. I’ll be full-time on a year-long term appointment, teaching the core design studio for graphic design juniors as well as Experimental Publishing Studio (this time as an undergrad elective). I’ll try to spend more time in Providence, which might be easier now without the need to rush back to my studio on the Bowery. I’ll be writing and designing and putting my fall projects together from Rhode Island, as much as I can.
— Paul Soulellis (@soulellis) July 26, 2015
In September I’ll participate in Yami-Ichi Internet Black Market at the Knockdown Center in Queens, and then you’ll find me in the zine tent at the NY Art Book Fair at MoMA PS1 (Sept 18–20).
All issues of Printed Web (1–3) will be available at both of these events (except the Chinatown Edition, which is sold out), as well as the first of my new Printed Web Editions — one-off artist project zines.
Also this fall — I’m developing the next issue of Printed Web, which will be a special commission for the International Center of Photography. This will be for the museum’s inaugural exhibition in their new location on the Bowery in early 2016. And in February, I’ll be back in Paris for the opening of L’image Inframince at xpo gallery, a show I’m curating around the current condition of the image on the network and in physical space.
Meanwhile, Library of the Printed Web continues to grow. Please direct all web-to-print projects my way for consideration! Someday, I’ll properly conserve these artifacts and develop a proper home for this collection. The works deserve to be treated better than my sorry bookcases at home.
- For the fair I’ve produced a special 4-page newsprint edition of “Search, compile, publish,” including a full inventory of Library of the Printed Web. I’ll be giving away 500 copies (free).
- A selection of items from Library of the Printed Web will be on display, including Fraser Clark’s Mona Lisa and my submission to Kenneth Goldsmith’s Printing the Internet project at Labor Gallery, Mexico City.
- 530 ($80), Las Meninas ($25) and Stripped ($45) will be available for purchase.
- At 12:49pm on Sept 20, 21 and 22 I will participate in David Horvitz’s Let Us Keep Our Own Noon, ringing one of 47 bells made from a melted 1742 French church bell.
I developed this collection of photographs earlier this year and struggled with the publication format. The images are interior views from Google Street View and depict the photographer and/or the camera’s reflection in mirror or glass. I ordered print-on-demand books from Blurb in several formats, trying different sizes and papers, but nothing felt right.
Finally, I’m self-publishing the 17 images as Las Meninas, a 32-page newsprint tabloid publication, nesting pages (edition of 50). Printed by Newspaper Club. I’m satisfied with the results. The format seems to fit the material perfectly.
Las Meninas will be available for purchase at Printed Matter’s 2013 NY Art Book Fair at MoMA PS1 (19–22 September). Look for me at the ABC/Library of the Printed Web table.
Digital newsprint (print-on-demand)
Edition of 50
Tabloid (289 mm x 380 mm)
View the entire publication on Flickr.
Please come say hello if you’re at MoMA PS1 for Printed Matter’s NY Art Book Fair this week (Friday through Sunday). I’ll be at the ABC Artists’ Books Cooperative table or floating around all weekend. The full boxed set of Weymouths, 273 Relics for John Cage (new second edition) and Stripped will be for sale at our table, along with lots of beautiful work by our 25 members from Germany, Austria, Netherlands, UK and USA.