Other Forms will present recently published books plus an ad-hoc stack of incendiary broadsheets and performance scripts at Index Art Book Fair, February 2–7, in Mexico City / DF.
While many of these voices assert accounts of a cohesive international squatter movement, the anthology, when taken as a whole, tells a more complex story about constellations of movements and practices, intensely engaged with local conditions that have developed as people have struggled to survive, express themselves, carve out zones of autonomy and resistance, and push back against the dominance of capitalism in the city.
Whether or not the book will kill the building, as Victor Hugo claimed, books have historically manifested one of the strongest trajectories of that death drive which seeks to kill the aura of singularity which the architectural object, among others, is so often claimed to signify.
Alan Smart of Other Forms presents projects, practice and the book Making Room: Cultural Production in Occupied Spaces at The Sandberg Institute Dirty Art Department, Amsterdam, 10 December, 2015.
It is, then, in the potentials for excess and inefficiency, as much as any designed flexibility, that formats take on degrees of “openness”.
Last Unused Combinations assembles a set of collectively edited texts and collaged images, alongside an essay, in order to conjure at the borders of sense a new militant modernism.
Other Forms will present a trio of recently self-published books, along with an ad-hoc stack of incendiary broadsheets and performance scripts, at the NY Art Book Fair, September 18–20 at MOMA PS1, Long Island City, Queens.
The design of Scapegoat investigates what constitutes a formal identity for a journal. Within a minimal framework, every typological element of the publication — typeface, body, header, image, annotation, folio, etc — is experimentally reformulated with each issue, to iterate a mutable coherence that skips the conventional fixities of editorial form.
Responding to the coincidence of a newly designed interior gallery space with a new online space, we developed the gallery’s identity in the figure of an empty and flexible box: referring both to the gallery’s physical “white cube” and the box structure of HTML.
I’m mostly trying to use machine software (underline styles) to show holes between words and the raveling/unraveling of letters as words, as opposed to an image or representation of embroidery. But it’s hard to find the right path, maybe because thread, weaving etc is already so foundational to typography.
Theorizing architecture is complicated — productively or not — by a preponderance of overlapping linguistic references entangling the terms used to describe how texts are constructed and made to carry meaning, and the ways that objects and images are produced and used to make space.
What began as a commission for a poster announcing a set of readings and performances became a conversational exercise between writing and printing.
JVE A is an institutional error, periodically moving to different places, and acquiring multiple meanings for its acronym, in the continually reshaped attempt to find frames for a heterogeneous and polemic set of practices.
Sheets on top of sheets were affixed in growing stacks. New statements, urgent and backward looking, at the borders of sense, conjured old militancies.
Writing Together is a collective writing workshop event that tests the limits of the production of sense in disjunction, recombination and assemblage.
The museum, as modern secular-sacred edifice, exists simultaneously as a space of appearance and a material support for cultural production.
Language spun out — words and phrases, redeemed from an anterior future, are inscribed again as material for as-yet unused combinations.
The first phase of the Recombinant Text Project was staged during the 2014 meeting of the Squatting in Europe Research Kollektiv (SqEK) at the occupied social center Forte Prenestino in Rome.