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PiY
Publish it Yourself
is an event focusing on self-published photobooks

PiY is being held 9-11 September 2011, at Maison d’art Bernard Anthonioz in Nogent sur Marne

Laurence Vecten shows her selection of books, compiled in a catalogue.
This year PiY is focusing on artists Preston is my Paris, their work and publications.

Various events punctuate the week-end :
– a workshop with Preston is my Paris
– a workshop with Boehm Kobayashi
– a talk with Frédéric Teschner, Preston is my Paris, Boehm Kobayashi, Laurence Vecten, moderated by Rémi Coignet
– OFF-PiY : books out of the selection

If you wish your book to be presented in OFF-PiY,

publishityourself (at) gmail.com

PiY
Publish it Yourself
une exposition de livres de photographie auto-publiés.

PiY a lieu les 9, 10 et 11 Septembre 2011 à la Maison d’art Bernard Anthonioz, à Nogent sur Marne.
Laurence Vecten y présente une sélection de livres de photos auto-publiés, consignée dans un catalogue.
Dans cette deuxième édition, l’accent est mis sur le travail et les publications du duo d’artistes Preston is my Paris.

En marge de cette sélection, différents évènements ponctuent le week-end :
– un workshop de Preston is my Paris
– un workshop avec Boehm Kobayashi (avec le Bal)
– une conférence avec Frédéric Teschner, Preston is my Paris, Boehm Kobayashi, Laurence Vecten, modérée par Rémi Coignet
– OFF-PiY : la présentation de livres hors sélection

publishityourself (at) gmail.com

see also LOZ, Laurence Vecten’s blog

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Behind the Zines : Self-Publishing Culture

Editors: R. Klanten, A. Mollard, M. Hübner
Release Date: March 2011
Format: 24 x 28 cm
Features: 240 pages, full color, softcover
ISBN: 978-3-89955-336-9
Behind the Zines introduces a cutting-edge selection of international zines and examines their role as a catalyst in the evolution of media and graphic design today. The book presents the broad range of existing zines that combine thought-provoking content with compelling design: from project-oriented portfolios and (pseudo) scientific treatises to playrooms where creatives can run riot and publications in which the printing process significantly influences aesthetics. It not only describes the key factors that distinguish various zines, but—through interviews with people involved in their production and distribution—also sheds light on various strategies for this evolving media form.
Social networks are dominating today‘s headlines, but they are not the only platforms that are radically changing the way we communicate. Creatives such as designers, photographers, artists, researchers, and poets are disseminating information about themselves and their favorite subjects not via predefined media such as Twitter or blogs, but through printed or other self-published projects—so-called zines. Those who publish zines are mostly interested in sole authorship, namely that all components including text, images, layout, typography, production, and distribution are firmly in the hands of one person or a small group. At their best, the results convey a compelling and consistent atmosphere and push against the established creative grain in just the right way. They provoke with surprising and non-linear food for thought. In short, zines are advancing the evolution of today‘s media.

With a cutting-edge selection of international examples, Behind the Zines introduces the broad range of zines that exists today. These include zines that function as a new kind of project-oriented portfolio to showcase a self-profile or document an exhibit. While some act as (pseudo) scientific treatises to call the reader‘s attention to a specific topic, others serve as playrooms for creatives to run riot and express themselves and communicate with each other in a space that is free from editorial restrictions.

The book examines the key factors that distinguish various zines. It introduces projects in which the printing process significantly influences aesthetics or in which limited distribution to a small, clearly defined target audience becomes part of the overall concept.

Behind the Zines not only documents outstanding work, but also shows how the self-image of those who make zines impacts the scene as a whole. Through interviews with people involved in zine production and distribution, the book sheds light on various strategies for this evolving media form.

“The greater involvement with self-publishing has made me more skeptical of the scene in general. While it’s very conforting that self-publishing , small publishing, independent publishing, or whatever you want to call it is exeprencing a healthy boom right now, it brings back memories of a certain phase in the mid to late nineties when everyone became a DJ for a year or two – and swapped their MK2 for a skateboard once they lost interested.

So, at a time when big arts fairs invite small publishers to sell their wares and big publishers do books on small publishers, we are obviously experiencing the peak of a trend. Well, every peak is followed by a trough, so we are likely to see a decrease in production and projects, or, according to Sam de Groot in an e-mail exchange on the pros and cons of participating in aforesaid art fair: “I predict we’ll lose our all-stars status in the great self-publishing bubble burst of 2012″. But, well, after all we were part of it”. Urs Lehni

Thanks Maxime!

Abigail Reynolds

Tower Bridge 1946 / 1979 (2005)
26 x 22 cm. Cut and tiled vintage book plates
(with detail)

I collect second hand tourist guides. Within the century of printed photographs that they contain, I search for plates that have been printed at similar scale, taken from a similar view point.

When I find a near match between book plates, I cut and fold the pages into a new single surface. The dates written on each work give the publication dates of the books I have used. Whichever has been used as the ‘base’ image is listed first.

The patterns I use to cut the two book pages into one single surface are such that all of both sheets of paper are preserved. If you were to fold all the flaps in or out, the entirety of each image will be seen. The act of folding one image into the other pushes them out into three dimensions in a bulging time ruffle.

The Universal Now works operate as a resurrection of the unregarded book plates and forgotten photographers that have stood in the same places at a different times, bringing these moments into a dialogue and into the present. The Universal Now takes its title from debates about time continuum in quantum physics.

Piccadilly Circus New Years Celebrations 1951 / 1961 (2008) 39 x 28.5cm
Cut and tiled vintage book plates

The Universal Now: Big Ben 1935 / 1982 (2008)
24.5 x 18cm
, Cut and tiled vintage book plates

Cyrille Weiner

“La valeur des villes se mesure au nombre des lieux qu’elles réservent à l’improvisation” Siegfried Kracauer, Rues de Berlin et d’ailleurs, 1964

Le ban des utopies, 2007

album japonais Moleskine, 60 pages pliées en accordéon, tirages jet d’encres pigmentaires, tampons d’encre

édition limitée à soixante exemplaires, pour Cheminements 2008 Le paysage comme terrain de jeux, Centre de photographie de Lectoure

Peter Zumthor

080919094643-peter-zumthor-atmospheres

KIRKHäUSER
ISBN/EAN : 9783764388416
175 x 240 mm, 76 p.
2008

R0011104

Dans cette publication basée sur une conférence donnée le 1er juin 2003 dans la Grange des arts au château Wendinghausen, Peter Zumthor définis en neuf chapitres le processus d’observation et les références qu’il a à l’esprit quand il crée l’atmosphère de ses maisons.
Les images des espaces et des bâtiments qui l’affectent sont aussi important que la musique ou les livres qui l’inspirent.
De la composition au choix des matériaux en passant par le traitement des dimensions et de la lumière cette poétique d’architecture permet au lecteur de récapituler ce qui importe vraiment dans le processus de conception.

R0011108

La magie du réel

R0011110

La lumière sur les choses

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