Stiftung Buchkunst (German foundation for book design) and einBuch.haus launch new cooperation with an exhibition on the winners of the 2022 Sponsorship Prize for Young Book Design

The designers Verena Mack, Ondine Pannet together with Artmann&Duvoisin and Aleksandar Živković, who were awarded the 2022 Sponsorship Prize for Young Book Design, will be honoured with an exhibition.

The three award-winning works, associated performance videos, choreography drawings, photographic works and art prints as well as award-winning sponsorship prize projects from previous years will be on display.
Each a strong design statement in its own right, the works of this year’s awardees invite a change of perspective through their interplay:

Verena Mack
Nonbinary Future

Artmann&Duvoisin, Gestaltung: Ondine Pannet (Bureau Est)
Umzug in eine vergleichbare Lage

Aleksandar Živković
Was bleibt vom Opelaner ohne Opel-Werk?

Verena Mack, Nonbinary Future, 2022

Verena Mack
Verena Mack studies Art at the Hochschule für Gestaltung Offenbach since 2018. She works as an Illustrator, Animator and Tattoo Artist. Her work consists of strong geometric forms and characters which often fill the whole format. She likes to address political subjects like environmentalism, sexism, hierarchical structures and questions of gender. Her colorful illustrations seem to communicate the often serious subjects with a sense of humour and irony.

Artmann&Duvoisin, Umzug in eine vergleichbare Lage, RpB Verlag, Köln, 2021

A four-piece ensemble translates radio news from the first spring of the pandemic into physical movement. They are transcripts of news reports, brief descriptions of stage settings plus commentaries and footnotes. If this dance and spoken word performance was a critical examination of current events via actual news bulletins and the body’s physical responses to them, then you could say the accompanying booklet explores the performative possibilities of the double-page spread, the two-dimensional stage as it were.

Artmann&Duvoisin
As a duo, ensemble and in collaboration with artists of different media, we have been developing pieces, installations and publications based on dance, text and painting since 2015. We focus our gaze on structures against which we initially feel powerless–be it the nuclear family, housing conditions in our neighborhood, our belonging to a community that denies people their right to asylum or our complicity with neoliberal structures–and develop exercises for other conditions on this basis.
We understand our practice as documentary in a synopsis of everyday experience with physically and medially experienced contemporary events, which we process in an overlapping of text, voice and movement. In the ensemble Artmann&Duvoisin the dancers Diana Treder, Ophelia Young, Anne-Lene Nöldner Samuel Duvoisin and Elsa Artmann work
together with the video artist Ale Bachlechner, the graphic designer Ondine Pannet and the musician Annie Bloch.

Ondine Pannet
Graphic designer Ondine Pannet lives in Paris and is part of Bureau Est Leipzig/Paris with Lisa Petersen, Sebastian A. Schmitt, Marie Schuster and David Voss. The graphic design studio works primarily for institutions in the cultural sector and conceives, among other things, the visual design of books, magazines and exhibitions. Bureau Est’s work has won numerous national and international awards.

Aleksandar Živković, Was bleibt vom Opelaner
ohne Opel-Werk?, 2021

“The abiding impression is of a global corporation beating a surreptitious retreat.” GM’s axeing of its Opel plants in Bochum was a long and drawn-out saga, dragging on for several years before they were shut down completely in 2014, by which time demolition had already begun. This book sets out to explore the frame of mind of those who, after decades of loyal service, were left feeling disillusioned with their employer. A particularly key section is the interviews with former employees. Headed “Gartengespräche” (“Garden Conversations”) and accompanied by photographic portraits

Aleksandar Zivković
Aleksandar Živković studied communication design at the Düsseldorf University of Applied Sciences. He obtained his Master’s degree at Dortmund University of Applied Sciences and Arts in Editorial Design (“Buchlabor” [book lab]).

In terms of content, he likes to deal with social or societal issues. He likes to interfere, mediate and recombine, swap things in their function and strip away the respect for the original purpose of a design. In his work, he likes to play with extraneous content – whether transdigital or analogue – rearranging and reordering it. He enjoys re-forming narratives and preparing content in such a way that a new audience enjoys it.
For Aleksandar Živković the book is a space and he sees himself as the architect its content. Furthermore, signage and visual identity are other passions of his.

Together with his colleague Alexander Staudt, several new book projects are in the planning stage. During their time together at the “Buchlabor”, they have already collaborated on magazine and book projects, which was a lot of fun.

(Photo credit: © Stiftung Buchkunst / Pixelgarten)

Stiftung Buchkunst

11 am – 3 pm (Tuesday, Wednesday)
11 am – 6 pm (Thursday, Friday)
11 – 4 pm (Saturday)

einBuch.haus / Florastraße 61, 13187 Berlin

info@einbuch.haus

Nina Prader (Lady Liberty Press) and Malte Spindler (Lucky Punch Press) present new micro book editions from the series Gumball Universe at einBuch.haus.

Contributing artists are:
Tine Fetz
Sophia Hirsch
Katharina Kamp
Johannes Mundinger
Esther Samuels-Davis
Claudia de la Torre

Red Gumball machines are the basis of the interactive group exhibition Micro Books — Gumball Universe. The gumball machines become micro museums and book dispensers. The capsules do not distribute gum but the smallest books in the universe.

In this rendition, artist book publishers and intergenerational visitors are invited to take the micro-book as a format and concept under the magnifying glass and thereby, become a part of Gumball Universe.

Why Gumball machines? They are nostalgic machines. Everyone knows them from the urban neighborhood. By now, they are a dying species—like kiosks, newspaper stands, or advertising pillars.

Gumball Universe positions the mechanical dispensers in a new cultural context as culture dispensers. In contrast to digital reality, the Zine-O-Mats distribute artwork. Zines are artist books. Zines stand for empowerment, gift economies, and solidarity.

On June 11th, the first Micro Book Symposium will take place in Berlin which will magnify the international phenomenon of “micro books”. An artist publisher panel shapes the discourse on the small books in the gumball machines and micro book publishing practices at large.

Micro Books – Gumball Universe

Ed. Nina Prader
Lady Liberty Press & Lucky Punch Press, 2022

44×63 mm, 100 pp
Risograph print: Lucky Punch Press
Graphic Design: Malte Spindler
Edition of 100

Gumball Universe is a project and joint venture by Nina Prader and Malte Spindler, exploring how independent publishing can take the
smallest forms with big messages. For three years, Prader and Spindler have shared their love for gumball machines and independent
micro-publishing.

From the first solo gumball machine on the facade of a museum to nomadic installations at various art book fairs and exhibitions.
The next destination is einBuch.haus. Unfolding once more with more artists, more machines, and more micro books than ever
before. The universe is dynamic and ready to amaze you with the smallest books.

Nina Prader
Nina Prader is an artist, writer, curator between Vienna and Berlin. Born in Washington D.C., USA (1990), she studied at the Museum School of Fine Arts in Boston (TUFTS University) and the Slade in London (UCL). She received her M.A. in Critical Studies at the Academy of Fine Arts, Vienna. Her work focuses on printed matters and independent publishing, focusing on art, community, and education. She runs Lady Liberty Press, a publishing label for art, printed matters, content & monuments.

Malte Spindler
Lucky Punch Press is an experimental risograph printing studio run by Die Brueder’s Malte Spindler, who is a designer and photographer. We produce and publish zines and artprints in our secret back-room in Berlin and serve as printing source for a vivid community of international artists to create publications the world never asked for.

Tine Fetz
Tine Fetz works as an illustrator and comic artist in Berlin.
Next to diverse publications and magazines, she draws comic strips for the weekly newspaper Jungle World and her own projects. She studied visual communication and illustration in Münster and Jerusalem from 2007 until 2012. Today she designs the book covers and illustrations for many magazines. Tine teaches drawing workshops with teenagers.

Sophia Hirsh
Sophia Hirsch is an artist and comic illustrator. She studied fine art at the Kunsthochschule Weißensee and Bezalel Academy in Jerusalem.
During her masters in Editorial Design at the Kunsthochschule Burg Giebichenstein, she held a scholarship at the Rosa-Luxemburg-Stiftung. She has had solo and group exhibitions at the Gallery Neurotitan (Berlin), Urban Spree Gallery (Berlin), and in the Kunsthalle Wilhelmshaven. She paints large-scale murals, often site-specific in Belgrad, Istanbul, and Sankt Petersburg. Since 2012, she develops comic short stories as well as participative art projects for the memorial site Sachsenhausen and the Archiv der Jugendkulturen in Berlin. She received prizes and fellowships in 2013 for the Förderpreis des Berliner Kunstverein, 2019 the travel grant iPortunus for an Urban Art Project in Serbia, and in 2020 she was chosen as a finalist for the comic prize Leibinger Stiftung.

Katharina Kamph
Katharina Kamph studied fine arts at the Academy of Fine Arts in Braunschweig. Since finishing her master’s class in 2010, she lives and works in Berlin. She presents and develops paper objects, performances, and collaborative works in the context of exhibitions, festivals, workshops, and collaborative projects. She is a founding member of the initiative N-leben and active in the working group Minimal Travel in Berlin. In the frame of the Kunsthalle Below Summer Residency, she facilitates performative book arts. Her newest solo exhibitions were Ovoid (Planet) 2021 at io lux Projektraum, Berlin and Timaios 2018 at the Galerie einBuch.Haus, Berlin. In Germany she has participated in festivals such as 48h Neukölln, Berlin 2021; altonale, Hamburg 2021+20 and Pop Up, Worms, Rhineland 2016.

Johannes Mundinger
Johannes Mundinger paints murals, creates installations, and exhibits paintings in galleries and museums. Born 1982, in Offenburg, Germany, he studied in Münster and Brussels and is based in Berlin as a resident artist at the Urban Spree gallery. Mundinger’s work can and could have been seen in many places like Paris, Moscow, or Jerusalem. He won the jury prize of the Berliner Kunstverein, in 2013.

Esther Samuels-Davis
Esther Samuels-Davis was born and raised in Catskill, a small town in upstate New York. In 2005 she moved to Oakland, California to study at California College of the Arts, where she concentrated in printmaking and illustration. After school Esther worked as a letterpress printer at Carrot and Stick Press until 2013 when she moved to Berlin. There Esther put her focus into writing and illustrating books. Since moving she’s interned for puppet maker Georg Jenisch, helped to organize the Hungry Eyes Zinefest, and illustrated for theater productions at Acker Stadt Palast, Literally Speaking Berlin, and the podcast Love and Radio. Her drawings and prose can be found in Maker’s Magazine and were featured on the Maker’s Movement blog. Esther’s first published picture book, Togetherverse, was published in October 2019 by Taotime Verlag.

Claudia de la Torre
Claudia de la Torre (1986, Mexico City) studied Fine Arts at the ENPEG ‘La Esmeralda in Mexico City, and holds a masters degree by the Kunstakademie Karlsruhe (Silvia Bächli class). Since 2011 director of the publishing house backbonebooks, having published more than 89 titles and editions.
She has been awarded several scholarships and grants including the Shannon Michael Cane Fellowship – Printed Matter NYC (2018). National Fund for the Arts (FONCA), México (2017), Kunststiftung Baden-Württemberg (2016), Frida Kahlo scholarship for woman artists DAAD, Germany (2016) and the Baden-Württemberg Stiftung (2016).
de la Torre has been teaching artist books workshops in several places such as the Kunstakademie Karlsruhe, HKDM Freiburg and the École Supérieure des beaux-arts de Nîmes, France. Her work is part of diverse collections including the Thomas J. Watson at the Metropolitan Museum of Art (NYC), the Faber Birren Collection of Books on Color – Yale Library, and the MoMa (NYC).

11 am – 3 pm (Tuesday, Wednesday)
11 am – 6 pm (Thursday, Friday)
11 – 4 pm (Saturday)

einBuch.haus / Florastraße 61, 13187 Berlin

info@einbuch.haus

In parallel to the Berlin festival MaerzMusik, Laure Catugier is invited by the gallery einBuch.haus to present her first monograph entitled Architecture is Frozen Music, gathering her artistic work of the last ten years. Presented in the form of an e-book (digital book) accompanied by a limited edition book object, this editorial project is a collaboration with Naima Editions (Paris/Berlin).

On this occasion the artist presents the long-term project Architecture is frozen music, a series of videos made during artistic residencies in Egypt, Czech Republic, Iran, Japan, Russia and Poland. Each video is built from photographs taken in their respective places, questioning the architectural forms of modernism. They are accompanied by a soundtrack elaborated most of the time in partnership with local sound artists. Moreover, one of them with whom Laure Catugier is used to working, the Japanese violinist Marie Takahashi, will perform a sound improvisation on the evening of the opening. The exhibition will also host images from the films in a variety of sizes and media (wood, blue back paper, aluminum dibond).

Press

Kolumne: Architecture is frozen music – Eine Ausstellung von Laure Catugier – Kunstleben Berlin – das Kunstmagazin (kunstleben-berlin.de)

Laure Catugier (1982, Toulouse, France)

lives and works in Berlin. She graduated from the École d’Architecture de Toulouse and the École des Beaux-Arts de Toulouse. As an artist with a background in architecture, Catugier’s work conveys the geometric language of modernism. Through diverse media such as photography, video or performance, she questions the perception and representation of spatiality. She examines the functionality of modernist architecture and urban spaces and researchs on the global standardisation of construction.

Since 2015, she has obtained several residency grants in Germany, Austria, Japan, Iran, Czech Republic, Russia, Egypt, Bolivia and Taiwan. She is the winner of the International Celeste Prize, as well as scholarships from the Goldrausch Künstlerinnenprojekt Berlin, the Pilecki Institute Warsaw and the Stiftung Kunstfonds Bonn. In 2021, she was the winner of a public art installation in a future subway station in Toulouse.

Her work has been exhibited internationally (selection) :
Total Museum (Seoul); In Sonora Festival (Madrid); Artum Foundation (Warsaw), Centraltrack Gallery (Dallas, US); Galerie Weisser Elefant, German-Japanese Cultural Center and Korean Cultural Center (Berlin); Institut Français (Düsseldorf); Jeune Création at the Galerie Thaddeus Ropac and Voltaire Mécénat Emerige (Paris); OXO Tower (London); Festival des Artes Binnar (Porto) and Arte Fiera Bologna.

Upcoming: solo show at the White City Center Liebling Haus (Tel Aviv).

laurecatugier.com

This first monograph by Laure Catugier explores the study she has been conducting for years on the spread of modern architectural standards on an international scale.
It is a hybrid publication: a digital book (EPUB), containing critical texts and travel diaries (sound and visual), and a printed, folded book object.

The title Architecture is frozen music evokes the idea of a partition, a staff where the lines indicate the pitch of the sound. The structure of the book is freely inspired by ‘Lines: A Brief History’ (Routledge, 2016) in which the anthropologist Tim Ingold develops the idea that “a study of men and things is a study of the lines of which they are made”. Walking, writing or creating is, according to him, part of a “factory of lines”.
In concrete terms, the book will include an analysis of the work through critical texts, visual and sound diaries. These “travel” or “residence” notebooks will present visual, sound and dreamlike motifs along straight, curved and broken lines. The collection of forms, materials, colors and volumes built up over the years by the artist will be associated with the stories and sketches that accompanied their genesis. The idea is to propose several paths through the whole composition, and thus to make us feel the correspondences, the ineptitudes, the movement that inhabits these forms, between equivocal symbols and banal everyday objects. The artist’s book completes an aspect that the e-book cannot satisfy: the spatial experience. Indeed, in this work, playing with visual perception is a fundamental aspect, and it only works if you move in space.

The book object is built on the “Open Form” theory of the Polish modernist architect Oskar Hansen. The issue here is to avoid any hierarchy, which is why there is neither beginning nor end, nor reading direction: the usual order of the book is reversed.
Inside a folded cardboard cover, the pages overlap, creating threads through the crossing and superimposition of lines. The vision is thus disturbed by unexpected “collages”.

GET YOUR COPY

Architecture is frozen music
Laure Catugier
Publishing house: Naima Editions, 2022
Edited by : Naima Editions, Agathe Lacroix, Manon Piel, Laure Catugier
Graphic Design : Maycec

E-BOOK
Text contribution: Livia Tarsia In Curia, Elise Girardot, Natasha Chuk
EPUB; English
ISBN : 978-2-37440-115-7
Translation: Claudio Cambon
Proofreading: Gareth Davies

PRINTED ARTIST BOOK
Folded Book Object
15 x 19cm, Munken paper 150g (cover), 70, 90g(inside)

Conception: Laure Catugier
Printed by À LA MAISON, Paris
ISBN : 978-2-37440-167-6
Singed and numbered

This artist book has been co-published within the program Exercising Modernity organised by the Pilecki Institute Berlin.
With the kind support of the Bureau des arts plastiques of the French Institute Germany and the French Culture Minister,  OFFCITY, Paradubice, Czech Republic, and the Marc Fassiaty Video Fund, Paris.

Naima Editions explores the possibilities offered by digital and printed formats in the field of contemporary art and its borders with other practices, whether they be cinematographic, literary, documentary, living or theoretical.
The editorial line of the Berlin office has been built up over the last few years through encounters with artists or institutions who, faced with new issues related to the distribution or archiving of their work, have been curious and open to experimentation. We have thus been able, with thoughtfulness and appetite, to imagine answers to best present archives of militant experimental cinema, artists’ videos, performance art, exhibition mediation programs, and audio works.
The digital books produced by Naima Editions allow us to include films in their entirety (in a format adapted to screens such as tablets, laptops…), as well as film excerpts to illustrate the texts. It is also sometimes relevant and fruitful to link a soundtrack to images and/or text.

www.naimaunlimited.com

Bezirksamt Pankow/ Amt für Weiterbildung und Kultur, Fachbereich Kunst und Kultur.

11 am – 3 pm (Tuesday, Wednesday)
11 am – 6 pm (Thursday, Friday)
11 – 4 pm (Saturday)

einBuch.haus / Florastraße 61, 13187 Berlin

info@einbuch.haus

To sum up the project series ‘ein Buch in Form einer Ausstellung’ in 2021, we are going to publish our first catalogue.

In the catalogue, there is a short essay titled ‘A look at the 1960s: remarks on the concept of “a book in the form of an exhibition”’ written by a Berlin-based curator and art historian, Regine Ehleiter, whose research focuses on exhibition history, artists’ publications and conceptualism.

Together with the catalogue launch, we will re-present six artist books & artworks by NANA & FELIX, Gloria Glitzer, Kyoungtae Kim, Mareike Jacobi, David Horvitz and An Onghena.

Group exhibition opening & Catalogue Launch
Thursday, 25. Nov. 18 – 22 hr

einBuch.haus
Florastr. 61,
13187 Berlin

ein Buch in Form einer Ausstellung, 2021
einBuch.haus, 2021

Text: Regine Ehleiter
English Translation: Nicholas Grindell

140 x 195mm, 56pp; German, English
Risograph and digital offset print
Cover attached an envelope with six previous exhibition flyers
Edition of 100

NANA & FELIX, Gloria Glitzer, Kyoungtae Kim, Mareike Jacobi, David Horvitz and An Onghena

Stiftung Kunstfonds and das NEUSTART KULTUR-Programm

1 – 7 pm (Thursday, Friday)
12 – 5 pm (Saturday)

and by appointment

einBuch.haus / Florastraße 61, 13187 Berlin

info@einbuch.haus

werkboek
An Onghena & Jivan van der Ende

“You are holding this publication in your hands. After opening its cover, you browse through the pages. Are you aware of its weight, the sturdiness of the paper, the different feel of the smooth riso? The publication is a landscape that the artists have created for you, and by becoming both a reader and a spectator, you are invited to go for a walk through the presented scenery. You are the traveler, the wanderer, the discoverer, moving through the pages out of which this landscape is built. (…)”

– Poot, Joyce, Hands Turning Pages (touching me, touching you), 2021. Text contribution by Joyce Poot in werkboek.

werkboek is a collaborative project between An Onghena and Jivan van der Ende that combines the playful, impulsive, and detail-oriented quality of both their practices. Starting from video registrations of the two artists working their way through books, the publication shows the hands of Onghena touching and folding the paper. In this way the publication shows the relation between the hands of the reader and the paper, and could even function as an instructive guide to its reader(s).

To emphasise the performative aspect and its collaborative nature, Onghena and Van der Ende created a metal tool which facilitates a collaborative performative reading. The publication is placed in the tool while the two readers take place on opposite sides from the publication. Only together they can flip through the publication, following the instructions of Onghena’s riso-printed hands. Do you dare to fold?

werkboek
An Onghena & Jivan van der Ende

Textual contribution: Joyce Poot
Publisher: kabinet.studio, Antwerpen, 2021.
48p, risoprinted in black ink
Edition of 50 + 10 artist / performance editions
Price: 25 euro
ISBN: 9789464447156

Paraphrase /ˈpærəfreɪz/
1.1. expresses the meaning of something written or spoken, using different words, especially to achieve greater clarity.
1.2. is a restatement of the meaning of a text or passage using other words.

In her research about artist books, An Onghena explores the form and status of books in different contexts. For Onghena, books and paper are a working partner rather than a tool to use for drawing, writing, or painting. Onghena turns the concept of ‘a book’ inside out, to approach new directions and give different meanings to the book.

In the exhibition Paraphrase /ˈpærəfreIz/ Onghena introduces her research by a video of the work Performance for the book. This performance was developed in 2017 during her one-year artist residency at Jan van Eyck Academie in Maastricht, The Netherlands. Performance for the book shows the ability of an enlarged piece of paper that transits into a dance and ends up as a sculpture. It shows the love for paper and the ambiguity of this material. This performance functions as a visual experiment to give life and meaning to the paper, and to acknowledge its own important role.

Starting from Performance for the book the exhibition shows new sketches, drawings and works by the artist dating from 2018 until 2021. Following this, Onghena launches her new artist book werkboek in collaboration with Jivan van der Ende. This publication can be seen as a reading tool with a performative and collaborative element, between the two artists as well as the two readers.

An Onghena 

In an attempt to better understand the world and the unknown, An Onghena explores the boundaries between art and science. With a subtle sense of humour and flirting with the fictitious, she integrates her experience in the applied arts into an autonomous artistic practice. In line with this she focuses in some works on the status of the artist book and analogue technologies, as seen against the backdrop of increasing digitization. In all her works, Onghena endeavors to activate the viewer of her work.

An Onghena (b.1992, Belgium) received her MA Graphic Design and thereafter her MA of Research in Art & Design at Sint Lucas Antwerp. She was artist-in-residence at the Jan Van Eyck Academy, Maastricht and laureate of Toegepast20 in Z33. Recently her work was seen in Remodeling Graphic Habits, nr 86 at The Art Center, Sarasota, Florida; Figures and Routines at Sea Foundation, Tilburg. In 2019 Goldberg Galerie hosted the solo exhibiton Bring out into the open. The work Performance for the book has been performed in various fairs and exhibitions from Europe to the United States.

Stiftung Kunstfonds, das NEUSTART KULTUR-Programm

1 – 7 pm (Thursday, Friday)
12 – 5 pm (Saturday)

and by appointment

einBuch.haus / Florastraße 61, 13187 Berlin

The artist, An Onghena will be present at the exhibition opening.
An artist talk starts at 7 pm.

*Please have a negative test or complete vaccination for the event. Kindly wear a mask inside the space.

info@einbuch.haus

Wie man Bücher klaut
David Horvitz

Edition Taube & Mark Pezinger Books, 2019

How to shoplift books
Edition Taube, 2019
15.5 × 10.55 cm, 84 pp
1 color, paberback, edition of 1000/500

Language: English, French, Spanish, German, Italian, Chinese, Greek, Dutch, Brazilian Portuguese, Lithuanian, Danish, Korean, Georgian, Hebrew, Romanian, Swiss German, Russian, Japanese, Maltese, Kosovo Albanian, Hindi, Turkish, Serbian (Cyrillic), Serbian (Latin), Estonian, Hungarian, Icelandic, Swedish, All 28 versions

ISBN 978-3-945900-20-8 (English)

How to shoplift books by David Horvitz is a comprehensive guide on how to steal books. From the very practical, romantic and to the most imaginative, it gives 80 detailed instructions on how one can steal a book. Since 2013, the book has been released in 26 languages with the artist giving translators the liberty to change sentences to culturally more appropriate ones.

Take the original English instruction “Put the book inside a super sized soda cup and walk out pretending to drink the soda.” for example. In Portuguese, the super sized soda cup is changed to a giant bottle of guarana, while in Germany it is translated to a Döner(Kebab). Each language edition carries witty instructions that lets readers soak in the cultural and contemporary context rather than a dictionary definition.

At einBuch.haus, readers are invited to view all different language editions of How to shoplift books and peek into other cultures. In the main exhibition space, the German edition Wie man Bücher klaut from Edition Taube will be in focus with instructions printed on colorful silkscreen sheets and selected objects from the book displayed that might tempt visitors to perform some of the micro-performances described within the book.

*The publication of How to shoplift books originated as a conversation Horvitz hosted at the 2011 New York Art Book Fair in David Senior’s Classroom series. Following the release of the first edition in 2013, the artist then collaborated with Jan Steinbach and Edition Taube to turn the book into a cultural translation pro­ject, collaborating with translators and publishing houses all over the world.

David Horvitz

Playful and poetic, the works of David Horvitz (Los Angeles, 1982), an ocean romantic, based in Los Angeles, California, meddle with the systems of language, time and networks, hyper-paced Zoom calls, emails, and images transmitted through screens. Eschewing categorization, his expansive nomadic body of work, traversing the forms of photographs, word of mouth and physical movement or distribution, artist books, performances, memes, mail art, sound, rubber stamps, gastronomy, weather, travel, walks, and watercolour, is presented through examining questions of distance between places, people and time in order to test the possibilities of appropriating, undermining or even erasing this distance.

As lullabies imprinted in our head, Horvitz deploys art as both object of contemplation and as viral or systemic tool to effect change on a personal scale. David Horvitz makes fictions that insert themselves surreptitiously into the real. Shifting seamlessly pebbles often possess a naturally frosted finish.

Jan Steinbach

On the occasion of the current exhibition ‘How to shoplift books’ at einBuch.haus, David Horvitz and Jan Steinbach were invited to talk about the ongoing artist book project ‘How to shoplift books’.

If you have any questions to artists or publisher, please write to info@einbuch.haus.

Online Artist Talk
Thursday. 23 Sep. 8 – 9 pm (CEST) 
ZOOM ID: 891 5052 0905

Stiftung Kunstfonds, das NEUSTART KULTUR-Programm and Senate Department for Culture and Europe.

1 – 7 pm (Thursday, Friday)
12 – 5 pm (Saturday)

and by appointment

einBuch.haus / Florastraße 61, 13187 Berlin

info@einbuch.haus

For the group show A.ssemble and the event Asian Artbook House, einBuch.haus collaborates with four ‘Books & Gallery’ platforms (Yourmind, On Reading, nos:bookspace, pon ding) located in Asia and exhibits selected books and prints.

Each platform has chosen one artbook for the exhibition and coincidentally the four artists’ works are collage-based. In this exhibition, the seemingly random, cluttered objects and their individual imagery interact effectively with each other, creating a harmonious assemblage in our subconscious.

In the background of developing this project lies the ongoing restrictions on gatherings and travel bans due to the pandemic. Our opportunities to visit other continents or experience different cultures have been scarce and so too in art. However, unlike us, artworks can travel relatively freely. By bringing together artworks from different platforms in Asia to einBuch.haus in Berlin, ‘A.ssemble’ reminds us the importance of being open, the beauty of harmony and that we can interact regardless of restrictions.

einBuch.haus is a place for everyone. The platform is open to creatives and curators who specialise in artists’ books, for example, as well as to anyone who is interested in books. By presenting artists’ books in its media-specific mobility and accessibility, people from different backgrounds and countries are welcome to participate.

* The project Asian Artbook House (original title: Asian Artbook Club) was first conceptualised by Yourmind (Seoul, South Korea) in Feb.2021.

3MM, Yejou Lee, Yesung Eng, 2020

3MM, FRAME, IN & OUT (DOMUSONG #1, 2, 3) 

DOROTHY

Series12, 12 

“Series 12″ consists of twelve folio-books titled consecutively from 1 to 12. Each title consists of a number of “copies” genuinely hand-traced by the artist from her original drawings, producing an edition size limited by its corresponding title.

The total price of each edition is the same. The price of each copy is the above price divided by the edition number.

Son Ni

Son Ni (b.1984), born and raised up in Taipei, Taiwan. The artist primarily focuses in drawings, draws and re-draws, edits and re-edits in the pool of drawings. Son Ni founded nos:books in 2008, making a balance between drawing and publishing. Her works are published by nieves, Lagon, dmp editions, and are exhibited in the US, UK, France, Switzerland and Japan. Her major books include The Calabash, The Great Fall, The Sun’s Shadow, Series 12, The Well Tempered Us. Her books are collected in Thomas J. Watson Library of the MET Museum, and MoMA Library in the US.

DIS-or-DER 

Order, disorder, dis-or-der. The essence of things is chaos, while objects are put in the wrong place.

Seeing the existence of every object as an inspiration, this book seeks to reorganise subconscious through the wastes/treasures from the warehouse that had been abandoned for seven years. After the subconscious reorganisation, these objects invite you to experience the pre-existing chaos within them and decode a new aesthetics.

Featuring 93 daily / non-daily scenes of unknown timeframes and dimensions, a photo book of abandoned objects is composed. 26 zuihitsu (loosely connected personal essays and fragmented ideas) on the selected objects from multiple perspectives such as psychology, popular culture, occult, and sociology further encourage you to liberate your imagination and digest the content in your own way.

SUPER ADD Studio

Founded in 2012 by Cotton disco, SUPER ADD Studio is an artist and art studio in Taipei, specialize in installation art and creative-direction. Studio practices new ideas via images, spaces, installations, campaigns, curation, text, act and films, explores entertaining concept through art services and experiences.

Yourmind (Seoul. S.Korea)
On Reading (Nagoya, Japan)
nos:bookspace (Taipei, Taiwan)
pon ding (Taipei, Taiwan)

1 – 7 pm (Thursday, Friday)
12 – 5 pm (Saturday)

and by appointment

einBuch.haus / Florastraße 61, 13187 Berlin

info@einbuch.haus

Pattern Book
Mareike Jacobi

The “Pattern Book” is a central work in Mareike Jacobi’s art practice. In sequences similar to a flip book, the artist arranges variations of geometric patterns into a book. The basis of these patterns is an aleatoric principle of form-finding developed by the artist herself. Changes of direction or the coloring of surfaces can lead to new interpretations of the images. The “Pattern Book“ is a compilation of the first drawings Mareike Jacobi made using her own form-finding process. It therefore represents an important reference for the artist’s serial work.

Text by Elisabeth Pichler

Revolver Publishing, 2020
18x18cm, 158 pages;
German/English

*There is a special edition with Flummis on the occasion of the exhibition.

Mareike Jacobi explores the possibilities she finds within self-limitation, asking herself what is actually more confining–the framework she has narrowly defined or, even the limits of her own imagination?

Jacobi’s graphic works are based on an aleatory form-finding process: using a complex set of rules, the artist defines intersections in a grid by using a die. From this basis she creates variations of geometric patterns. It is an interaction of chance, conscious decisions, and unconscious preferences. Mareike Jacobi’s serial work resembles a line of thought that takes different directions and yet finds its way back to the starting point. Patterns are repeated, modified, developed further–sometimes translated into objects or installations, revealing references to related contexts such as play, architecture, or ornament.

The drawings and objects on view in the exhibition “The Unexpected Can Occur as Long as It Follows the Logic of Things” are based on patterns that can also already be found in the artist’s book “Pattern Book”. In the exhibited drawings, the artist adds at least one more rule to the set of rules for generating these patterns. The titles of these works refer to the supplemented rules: “Bei ungeraden Zahlen die Form im Feld schwarz malen” or “Bei einer 6 oder 5 bleibt das Feld frei”. In the installation “Spontane Unordnung” the artist translates shapes from a two-dimensional drawing into three-dimensional objects–Flummis, which due to their different angles and surfaces can jump in different directions and may be used by the visitors of the exhibition. The work “o.T. (Schiebepuzzle)” also actively involves the visitors of the exhibition: by shifting the individual picture elements, new form contexts are created again and again. Is there a correct solution or are all outcomes of equal value?

The ability to recognize patterns is part of the basic cognitive equipment of humans. Jacobi is interested in the possibilities in this process–the moments in which a decision could turn out one way or the other.

Mareike Jacobi

Mareike Jacobi makes drawings. She creates her works with an aleatory form-finding process. Following predefined rules, the drawings are executed almost automatically by the artist. Jacobi is interested in how her conscious decisions, unconscious preferences or something like her personal handwriting appear within this narrowly defined framework. She associates the visual pattern with the concept of “pattern of thought”.

Jacobi lives and works in Berlin. Her work has been shown at SaRang Building in Jogjakarta, Indonesia (2017), Berlin Weekly (2018), Haus am Kleistpark, Berlin (2019) and at the Berlin Paper Positions (2020), among others. In 2019 she was a stipendiary of the Goldrausch Künstlerinnen Projekt. In 2020 her artist book “Pattern Book” was published by Revolver Publishing in Berlin.

SUN. 20. June. 15 – 16 hr
An artist talk by Mareike Jacobi at einBuch.haus & ZOOM (DE)
https://zoom.us/j/91508448004

As part of the exhibition programme, Mareike Jacobi will talk about the artist book ‘Pattern Book’ published by Revolver Publishing
The artist talk runs in German.
For our Readers, who can’t visit einBuch.haus in person, we are going to stream the event via ZOOM.

Stiftung Kunstfonds and das NEUSTART KULTUR-Programm

1 – 7 pm (Thursday, Friday)
12 – 5 pm (Saturday)

and by appointment

einBuch.haus / Florastraße 61, 13187 Berlin

info@einbuch.haus

The Serial Composition
Kyoungtae Kim

Hezuk Press, 2018
29.7x21cm, 16 pp

Edition: 300

Kyoungtae Kim applies a ‘Serial Compositions’ technique to display a fresh visual perception through the eye of a camera. Serial Compositions makes it difficult for the viewer to know what the actual image or form of an object is, because of the extreme close-up photos of A4 book-size white leaflets.
By using his Focus Stacking* technique, Kim’s images show equally distributed focus points on the objects, creating an illusion to the viewers as if they are looking at a graphic image rather than a photograph

In the exhibition at einBuch.haus, the images from the book ‘The Serial Composition’ becomes more abstract within the DIN A4 format, the actual size of the book object. The physical parts of the printed book, including the cover, pages, fore-edge and its binding, appear very unrealistic or rather graphic. It challenges our visual perception and at the same time attempts to newly transform the visual images shot through the lenses of a camera.

*Focus Stacking: a digital image processing technique which combines multiple images taken at different focus distances to give a flat perspective image without a vanishing point.

Kyoungtae Kim is a photograph artist based in Seoul, South Korea. Kim is interested in the way he observes and perceives the structure of objects or spaces. His work is a process of establishing experiences from observing objects.

He was recently received 11th Doosan Yonkang Artist Award, 2020. Including the solo show ‘Dropping to the Surface(2019)’, Kim’s work has been shown at various exhibitions including the Venice Biennale of Architecture (2018), SeMa, Nam-Seoul Museum of Art, Seoul, Ilmin Museum of Art and Kukje Gallery. Kim has also collaborated with Studio Ossidiana(NL), Team Thursday(NL), RAAAF(NL), IDEA Magazine(JP)

Since 2020, the work ‘Papers and Concrete, 2017’ is part of the collection at National Museum of Modern and Contemporary Art, Korea.

@kyoungtae.eh.kim

A photograph artist, Kyoungtae Kim is sharing his insights and artistic approach on the artwork ‘Serial Compositions’.

Please turn on the English subtitle in the setting.

Stiftung Kunstfonds und das NEUSTART KULTUR-Programm

1 – 7 pm (Thursday, Friday)
12 – 5 pm (Saturday)

and by appointment

einbuch.haus / Florastraße 61, 13187 Berlin

info@einbuch.haus

Friday, 16. April, 13 – 21 hr

A visit to the exhibition for the soft opening is possible between 1-9pm by booking an appointment.
There will be 16 appointment slots of 30 minutes each. You can register for this as a group of up to 3 people.
Since einBuch.haus also acts as a bookstore, proof of a negative test result is not necessary.

Bliss
Gloria Glitzer, 2021

21×29,7cm, 36 pages

Offset + UV varnish on 135g/m²
coated paper, saddle stitched brochure

Open Edition,
Creative Commons – BY NC SA 3.0

Hey Bliss!

You say the misery has ended and you love your body as it is. This is very healing and I would like to ask you if you would like to be friends with me? Do you feel like it?
Then I am not alone and have company and we can form
a community where we take care of each other.

You are really like the sunrise.
Don’t you ever have doubts?
I do. I try very hard, but sometimes I feel weak, I have fears, and I don’t feel fit, fit, fit, enough for anything. Just look at me: my body is the product of my work and is becoming more and more the mirror of our society.

Work-life-balance:
Hahahaha when will the collapse come?

Times are just challenging.
But Bliss, please tell me, isn’t there departure, love and being free only for you?

Text: Gloria Glitzer

Gloria Glitzer understands publications as free and safe spaces in which self-determined political and aesthetic questions are negotiated and social communities are defined through publishing as an artistic practice. The publications never refer only to themselves, but reflect critically, ironically, sometimes strikingly and sometimes enigmatically on art, society, the feeling, the object, the ego and always great comrades-in-arms, from music and art. Gloria Glitzer’s publications celebrates their work and wants to express gratitude to them.

Gloria Glitzer is a publisher and avatar of the artists Franziska Brandt and Moritz Grünke. Founded in 2007, Gloria Glitzer develops, creates, and publishes artzines and artists’ books. Gloria Glitzer also runs the Risograph printing and design studio We make it and hosts the Herbarium Riso, a public library dedicated to stencil printed artists’ publications.

Since 2015 Moritz Grünke is co-organizer of the Miss Read Festival at HKW, Berlin.

Their various projects confronts us with the roots of the self-­publishing. The urge for self-enactment, visibility, accessibility and democra­tization of art and information. But also the low and no budgets, and the need for accessible machines and processes.

gloriaglitzer.de
@gloriaglitzer

Online Artist Talk via Zoom with Gloria Glitzer

13 Mar. 2021 / 15 – 16 hr

—
We have additionally made an artist talk with Gloria Glitzer.
Please switch on the English subtitle on the setting.

Stiftung Kunstfonds and das NEUSTART KULTUR-Programm

1 – 7 pm (Thursday, Friday)
12 – 5 pm (Saturday)

and by appointment

einBuch.haus / Florastraße 61, 13187 Berlin

info@einbuch.haus

SEL2020HEL Diary

NANA & FELIX, 2021
NO ISBN

12 filebinders,
each approx. 35x235x170mm

All together in protective case:
approx. 460x235x170 mm

Materials:
Digital prints, Inkjet Prints, Pen on paper, file binder, protective case

Editions of 30 + A.P 2
numbered and signed

The artist book, and exhibition, SEL2020HEL Diary chronicles the year 2020. Documenting the making of a yearlong series of date paintings in which the daily air quality readings of Helsinki and Seoul translate into colour, the diary mixes personal events with global, unfolding as a one-year time-scape.

Every morning of the year 2020, we monitored and recorded the air quality readings of the previous day in both of our home cities, Seoul and Helsinki. Based on this data we painted two monochromatic paintings, amounting to a total of 732 paintings, or, 366 pairs. The canvas on the left represents Seoul and the one on the right, Helsinki. We then painted the corresponding date so that it extends over both canvases, tying both the paintings and the cities together. Through this gesture, we try to give a concrete form, acrylic paint on canvas, to something as abstract as air quality data. The completed installation is a calendar of the year 2020, a colour-chart landscape that is made of, and portrays, the air pollution of the total 366 days of the year.

The exhibition we present at einbuch.haus concentrates on the artist book-diary that we, in tandem with the paintings, have been preparing during the year. Starting as an act of documentation, the diary quickly came to embody the more personal side of the project, filled with personal remarks next to political; climatic observations next to economical.

A year ago, as we were about to start the working process, we knew that the project would demand full dedication of the entire year, entailing near complete social isolation. What we did not know was that a global pandemic would force pretty much the entire world into similar conditions. In an odd and surprising way, SEL2020HEL became a documentation of a pandemic – seen through air quality.

TEXT: NANA & FELIX

NANA & FELIX

Over the years, Nana & Felix have developed a distinctive working method, creating artworks under larger, themed projects. Each separate body of work has its own sub-theme that both supports and challenges the main project. This dialectical approach stems from their situation of living between two countries and cultures. All their projects are conditioned by, and reflect on this duality; a sense of never entirely belonging and being trapped in between.

This constant effort of untangling results in works that draw parallels between their situation and the surrounding world. Through a mix of parody, irony, and contradiction the artist duo portrays the global world they were born into. They actively borrow, appropriate, and rework ideas of traditional and cultural imagery, mixing them up with referents found in modern and contemporary art.

www.nana-felix.com
@nanaandfelix

Stiftung Kunstfonds, das NEUSTART KULTUR-Programm and Arts Promotion Centre Finland.

Vorspiel Transmediale & CTM 2021

1 – 7 pm (Thursday, Friday: 11, 12. Feb)
1 – 7 pm (Tuesday – Friday : 15 – 26. Feb)
12 – 5 pm (Saturday)

and by appointment

einbuch.haus / Florastraße 61, 13187 Berlin

info@einbuch.haus

Oncesoap, A-Z
Kelly Moonkyung Choi, 2020

28 pages, Perfect binding+
Paper: Munken Pure Rough 170 g/m²

edition of 1 copy
+2 artist’s proofs

Risograph Printing:
Cover, A, B, E, F, G, J, L, P, R, T, U, V, W, Z
– Corners, Seoul, Korea, 2018
C, D, H, I, K, M, N, O, Q, S, X, Y
– We make it, Berlin, Germany, 2020

Published on the occasion of the exhibition‚ “Oncetype” at einbuch.haus, Berlin, Germany

Oncetype
Kelly Moonkyung Choi, 2018 – ongoing

280 letters
Alphabet A to Z, Numbers,
Exclamation Mark and peace symbol

Size is variable.
Each object is unique.

Materials:
Oil, natural colourants, sodium hydroxide and purified water

Oncesoap
Kelly Moonkyung Choi, 2018, 2020

Limited-edition risograph
Munken Pure Rough 170g/m2
420 × 297 mm
Signed and numbered
Edition: 25

Graphic designer Kelly Moonkyung Choi’s typography project “Oncetype” is an art project that gives new functions to wooden printing type that has lost its original position today.

“I started collecting them one by one because I liked the clunkiness of the wooden printing type and the feeling of holding it by hand. On the raised edges of the letter shapes, the solidly hardened ink residue still remains along with the dust. Is it a scar from the printing process, a wound that’s been transported from place to place after being used, wandering around here and there? I feel sorrow for the scars all over the types. Looking at the wooden type in my hand, I can feel the harsh noises of the print shop that was busy at the time, and the strong smell of the printing ink. The typecutter’s delicate workmanship and the typesetter’s busy hand movements also flash across my eyes. Although I’m from the digital typography generation, my heart goes to old printing types that seem to be alive. I’m particularly attracted to the rebellious and experimental typography of those days when there were many physical limitations and constraints.”

Kelly Moonkyung Choi mixes natural ingredients such as polygonum indigo, paprika, and gardenia into a soap solution to create multicolored and vibrant patterns, using improvised hand movements. Soap type, produced like casting letters one by one, evokes images of its colorful use back in the day, unlike the dull and monotonous appearance of the unused type today. Like life, soap type will disappear someday.

The artist captures the splendidness of “Oncetype” in photographs, then brings these images into the computer, applying new colors to them. Every color of the original material is replaced by a Risograph ink, and the type is recreated as prints. The prints created in this way, named “Oncesoap”, may last a little longer than the “Oncetype” soap.

Kelly Moonkyung Choi is a graphic designer with an interest in the visual images obtained from the manual process. In 2015, she participated in “Typojanchi” as a curator of “Book Bricks”. She had a solo exhibition, “Gutenberg Bubble”(Factory2, 2018) and several group exhibitions such as “Art+Work”(Art Center White Block, 2018) and “Typojanchi”(Culture Station Seoul 284, 2019) She currently works and teaches at Paju Typography Institute.

Saturday, 5. December
3 – 4 pm

The graphic designer, Kelly Moonkyung Choi will give a talk about her ongoing art project ‘Oncetype’ via ZOOM. The talk runs English.

ZOOM ID 936 9815 8886

Senate Department for Culture and Europe

1 – 7 pm (Thursday, Friday)
12 – 5 pm (Saturday)

and by appointment

einbuch.haus / Florastraße 61, 13187 Berlin

info@einbuch.haus

Aphelion
Robert Steinmüller

BUCH und Grafik, 2019

13,5cm x 19,5cm, 1152 pages

First Edition
Signed and numbered
Edition: 20
out of stock

Second Edition
Signed and numbered
Edition: 16
out of stock

Third Edition
Signed and numbered
Edition: 14
out of stock

*The book ‘Aphelion’ has been awarded by Stiftung Buchkunst for the ‘Förderpreis für junge Buchgestaltung’ 2020.

“A book of epic depth – it makes the infinite of space tangible with your hands.”
– Stiftung Buchkunst

The universe is unfathomable. It’s beyond our human imagination. And yet it is our ‘outer space’ in which our earth orbits the sun somewhere – our solar system. It’s tiny compared to the rest of the universe. And yet vast.

Can this ratio be made measurable? What happens if you transfer the aphelion of all eight planets to the sun in one book? How many pages does this book have? Can you turn the pages? And above all, which emptiness will fill these endless book pages?

If you open the book, the reader will see nothing but stars. Just the sun can be spotted on the first page. In the footer, a continuous quotation begins that accompanies the entire book as a voice from the off. The reader wanders through the firmament and the book pages and indeed – there they are – the eight planets of our solar system! Distributed in distance and space. For example, when the ribbon page marker marks the earth, it’s amazing to see the enormity of the panorama, because around 85 percent of the more than 1,100 book pages, are still in front of the reader.

An adventure! An experiment! A concept to fathom and break up the medium of the book.

With excerpts from Carl Sagan’s “A pale blue dot” and “Cosmos”.

Thursday 15. Okt
19 – 22 Uhr

The artist talk has been postponed, but the designer will be present in the exhibition opening.

Saturday. 24. Oct
15 – 16 hr

Due to the current situation, we’ve postponed our artist talk to 24. October and as in a virtual format.
The talk runs in English.

ZOOM Meeting ID: 997 9332 8104
Password: EINBUCH14

1 – 7 pm (Thursday, Friday)
12 – 5 pm (Saturday)

and by appointment

einbuch.haus / Florastraße 61, 13187 Berlin

info@einbuch.haus

IN BETWEEN – OUVRAGE À LA CARTE
Claudia Schmitz

OUVRAGE À LA CARTE, 2017

translucent paper, paper, embossing, prints, paper-staples
11,3 x 21,5 x 1 cm

edition of 100.

Schmitz reactivates waste by recycling found plastic bags into wind-activated sculptures. Collecting abandoned plastic bags, she re-forms them as windsocks, windbags, and pneumatic sculptures. Installed in different cities (Berlin, New York, Budapest, Hong Kong and others), they serve as three-dimensional, moving silver screens for her video projections. Projected onto the half-transparent, moving surfaces, the videos take on a reality of their own and create a completely new variety of space – a new layer of reality on the intersection of a changing local urban everyday reality, documentation, video reality, and sculpture.

In Between shows images from the Mediterranean, creating deeply ambiguous impressions of leisure and drowning, referencing the recent refugee crisis, but referring in a much wider sense to the feeling of a life with access to privilege versus existence without privilege: About moving and breathing space as opposed to being closed off in an airless space, about options and empowerment as opposed to being reduced to strugggle for the barest necessities of survival. It is about privilege and waste, abundance and misery, about geographic as well as social borders. It returns the city’s waste to the citizens in the form of free, public art.

“My work starts where the media intersect. I am not interested in the modernity of technology as such but in its capacities for creating new imaginary dimensions.”

As a time-based media artist, Claudia Schmitz explores paradigms of media
translation – as a solo artist and in collaborative projects.
By passing through temporary stages, by discarding and re-inventing themselves, her pieces explore oscillating stages of being and non-being, of existence inside and outside the image. Relying on the spectators to trigger them, many of her pieces discuss the extent and possibilities of participation.

www.cces-claudiaschmitz.de

Download press file

The installation view at einbuch.haus.

1 – 7 pm (Tue. – Fri.)
11 am – 4 pm (Sat.)

einbuch.haus / Florastraße 61, 13187 Berlin

info@einbuch.haus

Global Swarming -Theoretical Fun 

Residency Programm: 25 – 30. May
Exhibition with Open Studio: 28 – 30, May

ANDPRESS collective occupied the gallery at einbuch.haus from May 25-30, 2020 for our first show addressing individual and collective authorship and ways of working. Using an open, playful, experimental process, the theme of swarming will be explored and result in a publication and exhibition, expanding the page to space and vice versa.

Swarming is a collective behaviour exhibited by entities which gather together and synchronise their activity towards a common intention without any central coordination involved. It triggers interdisciplinary approaches connecting sociological, biological, mathematical, philosophical and artistic perspectives.

What can we learn from this phenomenon in order to address group dynamics in collaborative (artistic) processes? And which possibilities does the medium of the book and its production techniques and materials open to reflect such processes? Drawing from our diverse tool-boxes of individual creative methods, our research process will become the material itself for our exhibition and publication. Together, we hope to challenge ideas of hierarchy, authorship, coordination, dependency and group intelligence. And have some theoretical fun along the way.

Participating artists
Christine Cheung, Sarah Duby, Kuo-Wei Lin, Anna Gestering, Chien-Wei Liu, Eleni Mouzourou, Elisa Purfürst, Agnes Tam, Ting Tsou.

ANDPRESS is an artist run self-publishing collective based in Berlin and Kyoto. We created ANDPRESS out of the desire to support the production, publication and distribution of printed matter and paper-based work with others in a community setting.

Our platform brings together people with diverse artistic practices, working experimentally in the visual arts, design, performance etc. We aspire to build synergies based on mutually supportive relationships enabling us to collaborate through shared material and intellectual resources.

We focus on artistic approaches to book-making. A large part of our interest lies in the awareness of materiality and in a playful exploration of the medium’s possibilities. We engage in a broader understanding of the medium which challenges categorization in distinct book types and genres and welcomes hybrid forms.

ANDPRESS is initiated by Aki Makita and Eleni Mouzourou.

Members:
Christine Cheung, Sarah Duby, Anna Gestering, Kuo-Wei Lin, Chien-Wei Liu, Aki Makita, Marialena Marouda, Eleni Mouzourou, Elisa Purfürst, Agnes Tam, Ting Tsou.

The virtual exhibition ‘To Spread Deterritorialised Flight by erikA/Elisa Purfürst @ANDPRESS’is on view now.

28, May. 14 – 15hr

During this workshop, ANDPRESS members Eleni Mouzourou and Ting Tsou will introduce „Swarming Exercises“, a collection of text-based and visual scores addressing mental and/or physical ways of relating to the phenomenon of swarming. After folding and binding your own copy of Swarming Exercises booklet, we will experiment and practice a selection of scores in a small group.

* Fee: Free
* max. 4 people
* The workshop is the only for adult.

* Please make sure to wear a face mask for participation.

*Instructors*

ELENI MOUZOUROU
My practice explores perception as an active process through which the multitude of experiences of being in the world can be distilled through the senses in order to generate and share new knowledge. My starting points are often small units of study such as the plants of a small public park, an isolated incident in a no-man’s land, a specific tree type or two maps of the same city.
www.elenimouzourou.net

TING TSOU
Ting Tsou is a curator, researcher, and writer based in Berlin and Taipei. Her current research interests are the transdisciplinarity and the presentation/representation in a curatorial situation.

28, May. 16 – 17hr

For one hour, ANDPRESS members Elisa Purfürst and Christine Cheung will host an online game using a collective etherpad in which participants can free associate together in one document, creating a collective word document.

Elisa and Christine will direct the traffic of the free associative word game. Visitors are welcome to drop in and out as they like. The collective words created will be printed and on display at the gallery.

The workshop result can be seen here.

*Instructors*

ELISA PURFÜRST
Elisa Purfürst/erikA is a video artist and film editor. They are queer and feminist, playful and thorough and they experiment with audio&video, documentary formats and performance and paper and words and voice and collages. They are a video poet. They are in the growing.

CHRISTINE CHEUNG
My work has dealt largely with collective memory and perceived mythology through the visual representation of places, and conscious and unconscious states which relate to our surroundings. Questions of freedom, daily anxieties, and the impermanence of life are addressed in a wide range of ephemeral images and works, whether through gestural painting and drawing, found objects or other mediums, revealing a fluidity of identity.

Thur. 28.May
Workshop: 14 – 15 hr
16 – 17 hr
Vernissage: 19 – 22 hr

Fri. 29. May 13 – 19 hr
Sat. 30. May 11 – 16 hr

einbuch.haus / Florastraße 61, 13187 Berlin

info@einbuch.haus

PROTEST STENCIL TOOLKIT(REVISED EDITION)
AUTHOR: PATRICK THOMAS

LAURENCE KING, GB, 04/2019

210 X 297MM, 112 PAGES
PAPERBACK
42 STENCILS

ISBN: 9781786273710

#AKTIVISMUS
Patrick Thomas
Berlin, March 2020

Conceived for the presentation of the artist’s publication PROTEST STENCIL TOOLKIT, #AKTIVISMUS is an interactive graphic environment that maps —and connects the viewer with— contemporary/historical protest graphics and current affairs.

Content from social media and anonymous vernacular material is scrambled with news headlines and historical documentation resulting in visual narratives, more thematic than chronological, that immerse the public in a bombardment of information that demands a call for action. #AKTIVISMUS #ACTIVISM #ARTIVISM

Patrick Thomas is a graphic artist, author and educator.
He studied at Central Saint Martins and the Royal College of Art in London before relocating to Barcelona in 1991. He currently lives and works in Berlin, Germany.

He has exhibited his limited-edition silkscreens across five continents, where many are now held in private and public collections. He has lectured and held many workshops worldwide, extensively in the UK and Spain. In 2005 he published Black & White, a compilation of his work for the International Press. In 2011 he published Protest Stencil Toolkit (Laurence King Publishing, UK). A revised edition was released in April 2019.

In April 2018 he was interviewed on BBC Radio 4 Front Row about his public installation Breaking News in Liverpool for RRU News. The project has since been shown in London, Manchester, Seoul, Novi Saad and Italy.

Since October 2013 he is a professor at Staatlichen Akademie der Bildenden Künste Stuttgart. He is a member of Alliance Graphique Internationale and in Spring 2019 he was invited for a seven week residency at Deutsche Akademie Rom Villa Massimo, the German Academy in Rome.

info@patrickthomas.com

Instagram: @xpatrickthomas
www.patrickthomas.com

Please watch the vidoe, to get to know the behind story of Patrick’s #AKTIVISMUS exhibition and what the William Morris’ willow prints mean for the artist, how the QR codes and the book Protest Stencil Toolkit encourage you to take action.

Download File

1 – 7 pm (Tue. – Fri.)
11 am – 4 pm (Sat.)

einbuch.haus / Florastraße 61, 13187 Berlin

info@einbuch.haus

Fictive Appearance 

Schtaig Hauner, 2020
NO ISBN

Image: “Fake Appearance” (2018) by Yotaro Niwa
Design: Yuto Takamuro
Text: Beate Brauner, Yotaro Niwa

20,5 x 29,7 cm; 88 pages; English, Deutsch
Laminate cover(UNIQUE EDITION), offset print.

Edition: 100

‘Fictive Appearance’ is a work composed of a book and a spatial installation. The installation relates to the book, and the book relates to a previous installation.

This unusual collaboration between a graphic designer and a fine artist calls the meaning of the visual into question. The analog and digital, primarily two-dimensional, work of the graphic designer contrasts with the primarily three-dimensional work of the fine artist. In this dialogue, merging their varied approaches, they go through dozens of processes, dealing with multiple dimensions and various media.

The book, exhibited in 2020, was developed by graphic designer Yuto Takamuro and is based on a single photograph of the installation work ‘Fake Appearance’ (2018) by artist Yotaro Niwa. The book deals with a collection of image fragments, which are enlarged to up to ten thousand times their original size. As the photograph is continuously subdivided, its original message is lost: what remains is pure image, free of subtext, and goes far beyond the original intention of the artist.
Through the special design of the page layout and the unique type of bookbinding, multiple layers in various combinations can be viewed simultaneously. The book is an instrument in which visual images are reconstructed. The collection of fragments of all the extended and mass-produced images leaves the purest visual reality to the viewer, differing with how each book is viewed.

Taking inspiration from the book, the new spatial installation of Yotaro Niwa also leads the visitors back to experiencing the physical space. One medium used to construct the installation is the book contents itself. Large format prints and small snippets are combined with some of the same and similar objects as those used in ‘Fake Appearance’. In order to connect the many individual pieces with one another, materials with various plastic properties have been used, such as plaster, cement and lamination film.

The installation ‘Fake Appearance’, on which the book was based, was created in Taipei in 2018. Its subject matter was a complex bricolage, a search for analogies between different visual languages from the fields of natural science and fashion, and included objects from nature and plastic materials that the artist had found on site. The images are examples of visual impressions from everyday urban life and reflect human perception: something that is both extended and limited by modern technology and media.

‘Fictive Appearance’ leads the viewer’s perception in an undefined direction – an aim that is nevertheless impossible to achieve. Perception is individual and can neither be deliberately guided nor comprehended. What is left behind by the dialogues between the graphic designer and the fine artist? What do we actually see?

* The exhibition is held as part of Transmediale & CTM Vorspiel 2020.

Yotaro Niwa

Yotaro Niwa’s work essentially consists of installations that are intended for a specific location in a specific time. In most cases, he creates spatially complex forms from materials that he finds on site, including local everyday items, garbage, organic objects and image fragments. His art practice examines the border between nature and civilization. He enables the building of an unexpected network of analogies by looking at the natural order and the human-made order from an alternative perspective.

yotaroniwa.com

Yuto Takamuro

For the graphic designer Yuto Takamuro, the potential of the visual experience is an eternal topic that he is constantly thinking about. From the designer’s point of view, familiar perspectives are always to be questioned in order to delve deeper into the materials. For him, the purest and most radical form of design lies beyond what has already been shaped and understood. It is about getting closer to what is beyond the conception. His design does not fit into an already generalized definition, but embodies a purer type design that doubts and updates the definition itself.

yutotakamuro.com

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1 – 7 pm (Tue. – Fri.)
11 am – 4 pm (Sat.)

einbuch.haus / Florastraße 61, 13187 Berlin

info@einbuch.haus

Claudia de la Torre’s works often start from a book. She examines the structure and relationship between the surfaces and forms – the book covers, titles, the layout of the individual pages. By means of appropriation and dé- tournement, her work often takes the form of an artist book, a library or an archive. How is our knowledge of the world organized, classified and archived? What are the underlying systems of our knowledge? How do we approach what we learn of the world? For her new work ‘Cities in Flight or The Satellite Variations’, de la Torre takes James Blish’s science fiction novel as a starting point to examine the structure of story-telling and to build up a parallel narrative to the one evident in the story.

By stressing words in the existing storyline, de la Torre develops a parallel world that overlays the pre-existing utopia laid out in the book. Claudia de la Torre suggests one of the boundless possibilities of how the words connect to each other, the variations being almost as infinite as space. She applies the principle of improvisation to a system whose conjunctions are usually ruled by grammar and by a logic reliant on meaning. The words the artist selects are like tones played from a scale that is prescribed by Blish’s selection of words (not forgetting the voices of the readers). While side A of the record reflects a storyline deliberately composed by the artist, side B is constructed by chance of words spinning in an orbit, forming arbitrary alliances. Both storylines captured on the respective sides of the record create a parallel universe spinning around Blish’s story – just as a satellite spins around Earth.

Claudia de la Torre

Berlin-based artist and publisher Claudia de la Torre (1986, Mexico City) studied Fine Arts at the ENPEG ‘La Esmeralda in Mexico City, and holds a masters degree by the Kunstakademie Karlsruhe (Silvia Bächli class). Since 2011 director of the publishing house backbonebooks, having published more than 89 titles and editions.

She has been awarded several scholarships and grants including the Shannon Michael Cane Fellowship – Printed Matter NYC (2018). National Fund for the Arts (FONCA), México (2017), Kunststiftung Baden-Württemberg (2016), Frida Kahlo scholarship for woman artists DAAD, Germany (2016) and the Baden-Württemberg Stiftung (2016).

de la Torre has been teaching artist books workshops in several places such as the Kunstakademie Karlsruhe, HKDM Freiburg and the École Supérieure des beaux-arts de Nîmes, France. Her work is part of diverse collections including the Thomas J. Watson at the Metropolitan Museum of Art (NYC), the Faber Birren Collection of Books on Color – Yale Library, and the MoMa (NYC).

backbonebooks.net

Saturday, 07. Dec 2019,
2 pm

Artist Talk by Claudia de la Torre

Connected to the exhibition ‘Cities in Flight, or the Satellite Variations‘, Claudia de la Torre will give a talk about the book on display at einbuch.haus. She will also introduce selected editions of backbonebooks to share her knowledge and experience of art bookmaking & publishing.

‘SIDE A’ Book Launch
together with an artist talk

SIDE A has been composed from words out of ‘Cities in Flight’ a four volume Sci-Fi Novel written by James Blish between 1950 and 1962 and published in 1970.

Science Fiction envisions alternative worlds, it opens up new possible realities. This book represents one amongst a potentially unlimited range of possibilities that words and its combinations have to offer.

de la Torre selected each word, page after page words arrange themselves into new constellations of sentences, creating a coherent narrative.

A book is a place. This book is a site-specific work, only possible within this story. This constellations manifest themselves as shapes within the white page, the words floating.

While the word choice is intentional, the black shapes appear as a result of her selection, functioning as arrows pointing into a new direction. she often think about how the pages of the book rub each other, overlapping and creating new layers charged with meaning.

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1 – 7 pm (Tue. – Fri.)
11 am – 4 pm (Sat.)

einbuch.haus / Florastraße 61, 13187 Berlin

info@einbuch.haus

Until now „I“ am looking for houses. While on the move „I“ meet people. „I“ become the narrator and „I“ reveal my stories in the different houses in Blue House, Blaues Haus (Seoul, 2016), Blue House, Blaues Haus (Berlin, 2017), Red House, Rotes Haus (Seoul, 2017) and in einbuch.haus White House, Weißes Haus (Berlin, 2019). In this work „I“ am trying to remove the boundaries between past, present and future or forge links between them using the same but yet different stories from the book
< Weißes Haus > beyond the physical space of the book.
In < Weißes Haus > „I“ adapt both of those works in a changed manner written as well as in the form of sounds and performances.

In < Weißes Haus > book, where all letters have disappeared, I discover another „I“ that silently and without a word only observes. My „I“ wants to stage writings and sounds within the stories of the two < Weißes Haus > works in a paradoxical manner. They seem to coexist, but yet the writings and sounds that differ from each other separate and gather.
This ambivalent „I“ is living in two different spaces filled with writings and sounds. Berlin and Seoul, the two cities „I“ live in, would shake me again and again and cause dizziness inside me. When I think about it, I am standing right in the middle of the sounds of those both cities. They pretend to help each other only to impede each other. Carrying these incomplete feelings and memories inside of me and being an existence that is a component of this world I myself am one of the sounds of this world, that I am going to show in < Weißes Haus >.

In the opening performance, I am also going to show how the ambivalent feeling of one’s own self coming to the surface naturally and one’s own existence fading away at the same time emerges in < Weißes Haus >.

Text: Mikyung Song

Mikyung Song(1980, Korea) studied in Seoul and currently lives in Berlin. She is a multi-media artist based in both cities and utilizes the traditional instrument „Piri” videos, multi-sound installations and performances in her works that are based on Eastern philosophy, ancient stories and community research. Completing a 5 year program of study and practice she became holder of the ‚Important Intangible Cultural Asset‘-Certificate No. 1 for participating as a musician in the Royal Ancestral Ritual at the ‚Jongmyo-shrine (Jongmyo Jeryeak)‘ and through the completion of a 10-year program she gained the ‚Intangible Cultural Asset‘-Certificate No. 17 for her comittment and participation in the regional traditional farmers music ‚Nongak‘.

She exhibited at the Nam June Paik Art Center, Gyeonggi Museum of Art, im Gyeonggi Creation Center, Space Mass, Space Loop, Placemak, Open School, Gahoedong 11-1 (Korea), Tianjin Normal University (China), A Score of the Note (Netherlands), and in the NON Berlin, Jüdisches Museum Berlin (Germany). She took part in the Japan Hana Art Center Residency-project (Japan, Geyonggi Cultural Foundation), the Nomadic Residency-project (Iran, Arts Council Korea) and the Gyeonggi Creation Center-Residency-program.

mikyungsong.com

White House

09. November 2019. Saturday 2 pm

10. October 2019. Thursday, 8 pm

Performer
Mikyung Song

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einbuch.haus and nomadelab

GyeongGi Cultural Foundation

1 – 7 pm (Tue. – Fri.)
11 am – 4 pm (Sat.)
closed on Sunday and Monday

einbuch.haus /Florastraße 61, 13187 Berlin

info@einbuch.haus

On the occasion of MISS READ: Berlin Art Book Festival 2019, einbuch.haus is presenting five selected art books, which were each introduced through respective exhibitions at einbuch.haus. 

einbuch.haus plays a role in showcasing experimental books in the field of arts and design. The basic criteria of choosing the ‘einBuch’ series are with the following question: ‘Can the book be seen as an object, a performance or even an exhibition?’. This answer will unfold throughout the daily programmes consisting of performances and pop-up exhibitions at MISS READ 2019. 

*einBuch #1 – 8 will show next to the pop-up exhibition table.
*Each artists will be present at MISS READ 2019 to introduce their work (except Sunday event).

The Book as Performance

03. May, 5 – 9 pm
einBuch #2
Yan Gi Cheng: Bookface

Performance
The way of the Selfie
7 pm

The Book as Object

04. May, 12 – 3 pm
einBuch#3
Katharina Kamph: Timaios

04. May, 4 – 7 pm
einBuch#4
Rollbuch: Octo

The Book as Exhibition

05. May, 12 – 3 pm
einBuch#5
Sun S. Jaegal & Ryan Smith: Line of Death

05. May, 4- 7 pm
einBuch#7
John Harten: PUBLIC FOLDER #3 – Golden Record

*
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HKW- Haus der Kulturen der Welt,
John-Foster-Dulles-Allee 10, 10557 Berlin

info@einbuch.haus

On each of the 365 days of 2018, the artist made one painting on a wood piece. Each piece’s shape is the same, designed to fit together with each other forming larger wood sculptures. The painting’s colours were determined by a dice throw. The painting process conjures emergent phrases akin to musical phrases and are expressions of an ongoing ritual or dialogue.

For this exhibition, the pieces are presented assembled into ‘time/location’ sculptures, grouped according to the different locations in which the artist spent time while travelling. There is also a selection of videos documenting the pieces at the time and place they were painted.

The work blurs the lines between our common conceptions of what constitutes ‘a painting’, ‘a drawing’, ‘a sculpture’, ‘a book’, ‘a diary’. While each piece is any of these, the totality of the work rests on the viewers capacity to grasp the work (the year) as a whole while accepting the fact that there is no one absolute way of doing so.

ilan katin works in a variety of mediums and contexts such as books, paintings, murals, street art, video installation and live video performances both solo and in collaboration with others. His images are primarily abstract. Drawing heavily from music and modern conceptions of form, he seeks to create rituals from properties that emerge through repetition.

ilankatin.com

Self Rules 

22. February 2019. Friday, 8 pm

A seven minute performance where the artist will assemble the pieces resulting from the last week of 2018 and place the resulting sculpture accompanied by an audio collage of the artist’s reflections about the project.

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2 – 7 pm (Sat – Sun)

einbuch.haus / Winsstraße 42, 10405 Berlin

info@einbuch.haus

In order to celebrate 40 years of the Voyager Golden Record this art book project reflects 120 artistic interpretations and four essays on the compelling multi-layered idea of this iconic data disk – a medium between album, atlas and archive.

The book focuses specifically on the images stored on the Golden Record, unveiling the approach of mapping the world for the eyes of the other in general and in this context questioning the role of images and photography in particular.

The heart of the exhibition will be a video/sound installation of the limited book edition. This edition comes with two vinyl records featuring several sound pieces linked to the book concept and specific contributions. The main part is a sound piece that contains all images of the book encoded to audio sound, as a technical link back to the Golden Record itself. The sound will be read out and decoded by a spectrographer application and displayed as images on a screen.

* The exhibition is held as part of Transmediale & CTM Vorspiel 2019.

Since his study of photography and art in Essen and Cologne John Harten, born 1977, deals with the elements and formal vocabulary of the photographic image and the interrelation of images. If in large panel pictures, artist books (Public Folder/Personal Folder) or record sleeves (Magazine) he works and researches on the question how content and meaning is created and evolved by formal aspects inside or in relation between images and how this can be transmitted, read and seen.

public-folder.com
magazine.mu

Black Ocean – Blue Sea
PUBLIC FOLDER #3 / Ltd Edition Live

25. January 2019. Friday, 8 pm

Performers
John Harten and Jens-Uwe Beyer

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2 – 7 pm (Sat – Sun)

einbuch.haus / Winsstraße 42, 10405 Berlin

info@einbuch.haus

Daily Calendars are used by earlier generations and occasionally seen these days, but they looked fresh and intriguing to us.

The date can be checked from various sources. However, daily calendars enable you to “feel” how each day starts and ends through your eyes and hands.

ORDINARY PEOPLE wished to convey the value of the Daily Calendar, which are losing their places. Thus, they designed 365 graphics for each 365 days. This might give excitement for someone to begin a day with, and it might give a joy for someone to peek into a graphic design studio’s doodle pad.

Composed in a new perspective and touch, ORDINARY PEOPLE hope this daily calendar to be the beloved item by our generation.

Ordinary People

ORDINARY PEOPLE is a graphic design studio based in Seoul.

All of them were in the same university and major. In 2006, as a graphic design student, they gathered and started the project “we make posters“.

In the process of this project, they became a graphic design studio naturally. Now they are doing self-projects such as “Everyday graphic calendar“, “1xn—Print Screen“, “24OPEN“, also doing various commercial projects with National Museum of Modern and Contemporary Art Korea, Asia Culture Center, SM Entertainment and many others.

www.ordinarypeople.kr

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3 – 7 pm (Thurs-Sun)

einbuch.haus / Winsstraße 42, 10405 Berlin

info@einbuch.haus

Line of Death surrounds the idea of authorship and glitch within a physical space. Taking on two views of the author and the phenomenon, archived footage from YouTube tech channels, describing a peculiar phone glitch is played in the corner of the gallery. The phenomenon is then extrapolated across the gallery into physical materiality varying in natural and man-made mediums.

On the opposite side of the room, there’s a reference book listing the source footage and material of the videos featured in the exhibition. After the show ends, the work is contorted and photographed multiple times and presented as a publication, which will be distributed at einbuch.haus in April 2019.

“Samsung’s 2016 flagship smartphones seem to be plagued by unnecessary problems. First, it was the Galaxy Note 7’s exploding battery that caused the OEM grief, and now, it’s been the pink line issue of the Galaxy S7 edge.
For the unfamiliar, Galaxy S7 edge users have been reporting a defect in the handset, which causes a strange pink line to appear on the device’s screen. Users all over the world have encountered this bizarre problem and took to several online forums to voice their annoyance.
Now, Samsung has come forward and acknowledged the issue per reports. According to Tweakers, a Dutch blog, the representatives of Samsung Benelux have accepted the presence of the “purple stripe.
“

Samsung Acknowledges Galaxy S7 Edge Pink Line Issue, January 2017
(https://www.techtimes.com/articles/194479/20170126/samsung-acknowledges-galaxy-s7-edge-pink-line-issue-promises-repair.htm)

“It wouldn’t be the launch of a first-generation Apple product without a few hiccups — who can forget Antennagate and Bendgate? — and the iPhone X is no different. A handful of users report that a mysterious and inextinguishable green line has appeared on their device’s display.
We can at least speculate on one part of that. iPhone Xs have a new diamond sub-pixel pattern in their displays, and as such all green sub-pixels appear in lines, while red and blue alternate.”

Mysterious ‘green line of death’ appears on some iPhone X displays, Techcrunch November 2017 (https://techcrunch.com/2017/11/10/mysterious-green-line-of-death-appears-on-some-iphone-x-displays/)

Sun S. Jaegal and Ryan Smith

After meeting at Royal College of Art in 2013, Ryan and Sun have been attempting to physicalise digital ephemera. In the days of heavy duty data, they continue breaking down small hidden details in the everyday, often referring to experimental writing narratives, screen behaviours and authorship of the Internet. With the interest in the new aesthetic of the glitch and appropriation methods, they look at the relationship of author and technology. Previous works, Times and Ritual of Mechanical Reproduction looked at how scanners can be manipulated into a system, creating generative visuals. Their aim of this show is to further their studies of modern and past technology by bringing screen phenomena to physical space.

hearthesun.com
ry-an.co.uk

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11 am – 7 pm

einbuch.haus / Winsstraße 42, 10405 Berlin

info@einbuch.haus

The exhibition sheds light onto the peculiar personality of the Rollbuch; – its unique character between timelessness,
sensuality and its supposed conceptual design confronting “digital” habits of perception.

The impact of the Rollbuch as a medium is as manifold as the book’s mechanism is simple; it is all about its inherent dynamics, the motion of the content itself, and the “pageless” continuity of its storyline. The dial empowers the viewer to control the pace of the narrative; with just a very slight movement of the hand they may accelerate, slow down, halt or even invert the flow of the story. This aspect of control contrasts with the inability to skip over since the entire storyline is printed onto one single and seemingly endless page. That means, the viewer’s attention is forced onto the present sequence, whereas the past needs to be remembered, and the future is foreseen.

Often, viewers/readers experience a certain meditative effect; the medium seems to softly force them into contemplation and towards themselves, rather than their attention being dispersed, as often happens when interacting with digital information channels. Beyond that, the Rollbuch keeps revealing surprising aspects of both storytelling and perception, a process that is nourished by each of the artists who contributes their particular understanding of it.

In conclusion, we may say that the Rollbuch (seemingly by its own choice) has turned out an artistic endeavour rather than “a product”, and keeps gaining momentum as a particle of current “analogue culture”, – all of which we invite you to investigate in the exhibition at einbuch.haus.

Rollbuch

For us, the Rollbuch irradiates sensuality and timelessness, it extends the world of classical books, – even more so during a time of ever-present touchscreen aesthetics. That is also why the look and feel of our books are subject to constant refinements; the interplay of wood and paper types we use, and the way in which the object is supposed to wear and age.

Where from?
The technical mechanism of our book was still found within millions of roll film cameras just two decades ago. We were working on a children’s book, as we had the idea of creating a “book with an endless page within a winding-box”. What we hoped for was a new and fluid reading experience. Our desire to build a convenient, book-sized object after a few weeks yielded our first “Rollbuch”.

Where to?
To share the Rollbuch with artists who are inspired by its format, so far has been the most rewarding part of our journey. To bring a small diversity of these beautiful objects into reality is what constantly motivates us, and we are always happy about requests for collaboration. – The list of planned editions is growing steadily.

rollbuch.com

The carnival of the animals, inspired by the composer Camille Saint-Saëns

17. November 2018, 2 – 6 pm

6 participants illustrate their interpretations of the music piece Camille Saint-Saëns – The Carnival Of Animals on a paper roll, listening to the composing while working.

Each artist will take care of a specific chapter of the composition, therefore they will have approx. 1-2 meters out of the whole paper band to dedicate for this. By the end of the day, we will achieve one final art – all together. This piece will be scanned and printed, so that every participant will get their own paper roll in Feb 2019.

Music List of ‘The Carnival of the animals’ by Camille Saint-Saëns
Introduction and Royal March of the Lion, Hens and Roosters, Swift Animals, Tortoises, The Elephant, Kangaroos, Aquarium,
Characters with Long Ears, The Cuckoo in the Depths of the Woods, Aviary, Pianists, Fossils, The Swan, Finale

Instructor: Ann-Christin Müller / Rollbuch

Workshop costs: 60 Euros
(including printed paper roll, the Rollbuch box is not included)

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11 – 19 Uhr

einbuch.haus / Winsstraße 42, 10405 Berlin

info@einbuch.haus

“What is that which always is and has no becoming; and what is that which is always becoming and never is?” – Plato, 1892: 28*

Katharina Kamph’s Timaios serves as a direct reference to Plato, who provides the first description of the Platonic solids in the creation myth Timaios. The protagonists Timaios, Socrates, Kritias and Hermokrates philosophise about the origin of the world. In his lecture on natural philosophy, Timaios explains why the cosmos is shaped by two factors: reason and necessity. Since God must have created the cosmos optimally, the nature of the world is made up of four fundamental elements, whose ultimate symmetry and thus beauty imperatively explain their existence. Plato associates the basic forms with the four elements: tetrahedron – fire, octahedron – air, icosahedron – water, hexahedron – earth. The dodecahedron stands for the cosmos itself.

Paul Schatz, a german mathematician, artist, and inventor, discovered in 1929 that the dodecahedron can be subdivided into two star bodies and a cube-belt, more specifically into movable inverted bodies or kaleidocycles. Kamph’s Timaios is shaped in the form of a kaleidocycle and filled with several tetrahedrons. Plato’s question about the origin of the World is brought into the context of an artistic object conceived by Paul Schatz added with tetrahedrons, that can be turned around forever and ever.

In her works Katharina Kamph deals with fundamental questions of artistic activity. What is art and what can art do? In the invitation to fold one’s own work of art, Kamph explores with Timaios the relationship between art, authorship and copyright. Her work pays homage to the D-I-Y thought, which cultivates the belief in oneself as the driving force of all change. D-I-Y promotes techniques and knowledge of self-empowerment, self-organisation and improvisation of amateurs.

* Source:
Plato, The Dialogues of Plato, vol. 3 (The Republic, Timaeus, Critias) (Jowett ed.) [1892] Oxford University Press, Page 28

Katharina Kamph

In 2010, Katharina Kamph gained her master’s degree at the Braunschweig University of Fine Arts and works freelance in Berlin. She expresses her mistrust in established authorities and traditional models. Kamph encourages a playful examination of geometry, philosophy and mythology. The process oscillates between repetition, imitation, appropriation and remixing. Her work extends to collaborative processes, communication and the objects of art.

http://kamph.net

Dein Timaios falten

03. November 2018, 2 – 4 pm

Each participant will build and get his/her own small movable sculpture.

In Katharina Kamph’s Timaios hides a paper sculpture. The D-I-Y (do it yourself) booklet contains cut sheets with line drawings and construction forms for several tetrahedrons (equilateral triangular pyramids). Cut out and folded, they can be stacked according to the nested doll principle. A container cut from the booklets envelope can hold the nested tetrahedrons and form a kaleidocycle (a closed ring of six triangular pyramids).

Instructor: Katharina Kamph

• It is suitable for adults and teenagers from the age of 12 who, with patience and a calm hand, like fiddly things.
• All tools and materials are provided.

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11 am – 7 pm

einbuch.haus / Winsstraße 42, 10405 Berlin

info@einbuch.haus

‘Bookface’ is a performance and installation art work which collapses boundaries between book arts and performance so as to formulate a hybrid space. It is a contemplation on the notion of a collective narcissism fervent in contemporary society in both virtual and physical environments. Through the rise of platforms such as Facebook, subjectivity has become a multiplicity of perceptions, with the internet and social media as an arena for formulating alter egos and distorted impressions of our identities. This work stages an event as a subtraction and formalisation to certain phenomena of the modern gaze. It explores the trauma and beauty of the digital domain, and it´s multiplicity of narratives depicting identity, mortality, loss and love.

‘Bookface’ seeks to illustrate the displacement and the continual deferred replacement from the church to the internet and our search for meaning through the  collective body. Through the use of anamorphic selfie masks in book form, it seeks to illustrate our appropriation of the internet as a way of absurdly masking ones true identity.

Yan Gi Cheng

Yan Gi Cheng was born in England, in 1981, to parents of Hong Kong dissent. He worked as a professional Designer for Hussein Chalayan creating high tech fashion and video artworks before completing his M.A. in Sculpture at Central Saint Martins, London. His broad art practice is an ongoing investigation into the convergence of book arts and performance art centering around transnational identity, contemporary philosophy, religious mythology and geographical landscape as a space for historical renegotiation,. In his practice he often questions traditional forms of history making as well as cultural norms.

www.yan-gi-cheng.com

Fünf Masken Statt Einer

04. October 2018. Thursday, 7:30 pm

Yan Gi Cheng with Honi Ryan, Yuko Ishida, Jwana Ribeiro da Silva, Dmitry Povernov

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11 am – 7 pm

einbuch.haus / Winsstraße 42, 10405 Berlin

info@einbuch.haus

The majority of books we read today still have a similar form: sheets of paper with a cover. However, creators in the field of bookmaking attempt to extend the bookís function in physical, optical and psychological ways.

The concept ‘Exhibitions as Books’ was first suggested by Seth Siegelaub (1941-2013) as an alternative to the traditional exhibition space. As a curator, he asked artists to participate in well-known projects such as the Xerox Book and July, August, September 1969. Unlike Siegelaubís curated conceptual art projects, ‘Two Pages’ runs solely on a random, self-generated system.

‘Two Pages’ invites a creative/team in one city to become an initial contributor. This first participant proposes the next creative/team in the same city who in turn invites the following one and so forth. Each sketchbook has a theme and participants are encouraged to freely respond in relation to it on their given two pages.

‘Two Pages’ began in November 2012. Six years later, there are 23 completed sketchbooks and four currently in progress. ‘Two Pages’ has been graced by over 550 international artists, designers, illustrators, photographers and architects. The sketchbooks have travelled to 38 cities including London, New York, Paris, Seoul, Barcelona, Tokyo, Athens, Helsinki, Berlin, Stockholm, Santiago, Milan, Riga, Lisbon, Amsterdam, The Hague, Antwerp, Buenos Aires and Sydney.

Following the main concept of ‘einbuch.haus’, where a single book is exhibited to read alongside related materials, Two Pages: A physical book in the making presents the Berlin Sketchbook (2014) with the theme ‘Q. What would you change?’. The 26 participants of the sketchbook are the result of a self-generated chain of creative people or teams based in Berlin.

In addition, a new collaborative experiment between ‘Two Pages’ and ‘einbuch.haus’ explore ways for new visual narratives. This time, there is no sketchbook to pass on, instead, the participants’ response to the image ‘Two Page by Jan Tschichold’ was displayed directly in the gallery space, questioning the format of publishing.

Through Two Pages: A physical book in the making, ‘einbuch.haus’ suggests rethinking the performative process of bookmaking and reading. The exhibition leads the audience to explore an unpredictable journey of how a book starts and ends.

Two Pages (Konstantinos Trichas and Dionysis Livanis)

‘Two Pages’ is a series of sketchbooks shared by artists, illustrators and designers around the world. The sketchbooks build a chain of creatives who inhabit the same city or place. ‘Two Pages’ is centred around the recording, spreading and exchanging of ideas which takes place throughout the hand-to-hand journey of each book.

http://twopagesproject.com 

After-Page

15. September. 2018. 2 – 5 pm

Two Pages and einbuch.haus invites you to a creative workshop as part of the “Two Pages: A physical book in the making” exhibition. Though a series of discussions and hands-on design experimentation we will explore the concept of publication in terms of content and form.

The workshop will be lead by Konstantinos Trichas http://trichas.com(designer, MA RCA) and Dionysis Livanis http://artcantchangetheworld.com(Creative Director and Photographer), curators of Two Pages project.

Though a series of discussions and hands-on design experimentation we will explore the concept of publication in terms of content and form.

In the workshop, we will provide a selection of short texts that relate or reference “change”.

Each participant will choose one text and will create a “publication” that can take any form (zine with one or multiple pages, bounded or unbounded, folded into a 3d structure, displayed onto the wall or on the street, etc).

Apart from the texts, we will also provide some visual materials that can be used for reference or as raw ingredients. There will be a selection of basic design tools (pens, tapes, coloured papers, scissors, etc) but please make sure to bring your own materials.

*The workshop runs in English.

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Frau Kim

11 am – 7 pm

einbuch.haus / Winsstraße 42, 10405 Berlin

info@einbuch.haus