One Thousand Books is an experimental art book festival in Copenhagen celebrating the dynamic and rapidly growing independent publishing scene to the Danish and international public. In 2013 and 2014 One Thousand Books took place inside a REMA1000 supermarket.
The aim of One Thousand Books is to showcase books as accessible yet elaborate art objects and to serve as a platform where actors in the field of book making can meet, connect and share ideas and perspectives on current issues in the frame of publishing, editing and exhibiting books.
One Thousand Books is a project by Lodret Vandret, founded by Johan Rosenmunthe and Flemming Ove Bech. Lodret Vandret ({adj.} vertical, {adj.} horizontal) is a collaborative platform for independent publishing and exhibition making based in Copenhagen, Denmark. Collaboration is at the very core of our practice both when working with individual artists and on group projects.
Magali Avezou is a curator based in London.
She studied photography at Central Saint Martins and London College of Communication.
Curatorial projects include Murmur as part of Flowers Gallery London Summer Show (July 2016), This is here, a performative exhibition at St Bartholomew the Great church (October 2015) and 26 Caledonian road, a site-specific show in a former Italian deli (March 2016).
In 2015, Magali Avezou created a r c h i p e l a g o, a platform for artistic and curatorial projects. The first one is an on-going research project on contemporary artists working within the form of the book. Through researching works internationally on a rolling basis and displaying them within exhibition contexts, the project aims to give a survey of production in this field and to foster reflection on the book form and the place of images in contemporary culture.
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Image captions
(Cover) Joachim Schmid, OTB 2016, Kunsthal Charlottenborg
(1-4) OTB 2013/2014, Rema 1000 supermarket
(5) Meriç Algün Ringborg, The Concise Book of Visa Application Forms, 2009
(6) Meriç Algün Ringborg, The Library of Unborrowed Books, Section I, Stockholm Public Library, 2012
(7-24) OTB 2016, Kunsthal Charlottenborg:
(7) Pist Protta
(8) Lugemik
(9-10) ECAL:MAAD
(11-12) Forlaget Emancipa(t/ss)ionsfrugten
(13) Gottlund
(14-15) Shelter Press
(16) B-B-B-Books
(17-18) Études
(19-20) Self Publish, Be Happy
(21) Théophile's Papers
(22) Kodoji Press
(23-24) Officin
One Thousand Books 2016. An overview
Lodret Vandret is a collaborative platform for independent publishing and exhibition making based in Copenhagen. Among other projects, they organise One Thousands Books, a fair and festival dedicated to art and artists' books. In the previous two editions, the fair was set up in a REMA 1000 supermarket, while this year they decided to accompany the selling event with a seminar and an exhibition focussing specifically on the relationship between artists’ books and how to display them.
The
seminar day took place on April 21st
at Overgaden
Institute of Contemporary
Art and
addressed two main issues: the difficulty of displaying books in a
satisfactory and critically engaged way, and the fetishism attached
to the medium.
The
first speaker, the art historian
Jérôme
Dupeyrat,
highlighted a constitutive paradox lying behind the intention of
treating artists’ books as subjects of exhibition. First, artists’
books are sequential objects whose content can’t be simultaneously
displayed; secondly, they are conceived for an individual experience
– an aspect that the exhibition space, open to more than one
person, contradicts. Eventually, they are originally an exhibition
device in itself, allowing the diffusion and circulation of artistic
work through a non-expensive and mobile item. In the ‘70s, artists’
books were seen as an alternative to traditional galleries,
responsive to an ethic of removing mediation in order to reach a
broader audience. Some artists sold their works as fanzines for $2 in
supermarkets. Nevertheless, this “democratic†value attributed to
the medium never really blossomed, its main audience having remained
a middle-class and highly educated one.
In
a thoughtful talk, Merete Jankowski, director and curator at
Overgarden, questioned the validity of dedicating exhibitions or fair
spaces to artists’ books in regard to the limited public that this
seems to rally. In her first-hand experience of hosting an artists’
book fair in Overgarden along a few years, she observed an audience
composed of a closed, self-referential group of visitors that found
in the fair a sense of community over what she calls “a fetishismâ€
for the object at stake. She subsequently decided to put an end to
the event, being for this accused – as she self-ironically reported
– “to have killed a babyâ€.
Among
the open issues she raised is the function of artists’ books in a
digital age, as well as whether and how they can actively participate
to an understanding and reflection on contemporary culture.
To
further that thought, it is relevant to look at the development that
other media experienced in the past. When photography emerged as a
medium able to depict reality in an accurate way, painting didn’t
disappear; instead it shifted in forms and contents to explore new
possibilities. Can’t we imagine the same phenomena happening with
artists’ books in the digital age, shifting from being a mediator
of artistic instances to being the artistic instance itself, with its
own specificities (the mobility of the object, the page and its
narrative implications, the interactive possibilities of the digital
realm, and so on)?
Merete
Jankowski's critic towards the veneration for artists’ books is
rooted in the idea that what she calls a quasi “religiousâ€
phenomenon results in a lack of critical thinking towards the works
that are produced and shown, that is, a certain superficiality.
The
“sexiness†pointed out by Merete Jankowski might be an existing
issue for part of the production that doesn’t engage critically
with the contemporary. However, many artists experiment and reflect
through works in book format. A good example is Meriç
Algün Ringborg, who was invited to present her work at the seminar.
Meriç Algün Ringborg is a Turkish artist based in Sweden who works
often with books, either producing them or integrating them in her
installations. From her experience of applying for a visa when
immigrating to Sweeden, she created
The
Concise Book of Visa Application Forms (2009),
an hand-bound encyclopedia-like book consisting of all the visa
application forms in the world. By doing so, she highlighted the
often inquisitive, and sometimes absurd, questions included in these
forms such as “Have
you engaged in any other activities that might indicate that you may
not be considered a person of good character?â€.
Her work is a reflection on globalisation, illustrating the hidden
structures traveling and moving depend on. The exhibition strategy
she uses is also an enlightening example of the possibilities that
the exhibition format can open on the mediation of artists’ books.
The
Concise Book of Visa Application Forms
was shown in a small room inside the gallery, where only one person
at a time was allowed, and asked to sit on an uncomfortable chair to
browse the book laying on an office-like desk. Through this setting,
Meriç
mirrored the distressful experience of applying to be accepted in a
new country and chose the book as the main tool for the activation of
a complete experience for the visitor.
In
her serial work The Library of
Unborrowed Books (2012
- ongoing),
she displays all the books that, in a specific library, have never
been requested by anyone. By doing so, she highlights cultural
differences between the audiences’ interests in the libraries she
chose to explore and invites the visitor to actually get in contact
with the discarded volumes. In both cases, the message is sent out in
a very straightforward way, boosted by the choice of presenting the
books in their apparent simplicity and thus enhancing their inner
meaning and complexity.
As
Jérôme
Dupeyrat
stated,
an exhibition often reaches a wider audience than an artists’ book
itself, as per the more open context that it provides and the
exposure it benefits of. This is a key element when one comes to
consider artists’ books audience and how to address its diffusion.
The
physical relation between the reader and the object is obviously
essential to the experience of artists’ books. To show them as
untouchable pieces, protected behind a glass, indeed fosters the very
risk of fetishising them; but the alternative looser and more open
displaying formats that are commonly in use today are not free from
internal contradictions and blind spots.
In
his intervention,
Jérôme
Dupeyrat described
an exhibition where the visitor can browse and read the books as a
library or a bookshop. However, bookshops rarely accommodate original
artists’ books for obvious questions of space, display
specificities, sizes, prices and fragility of the object. When
libraries do, the access to artists’ books is usually limited and
requires a good knowledge from the reader to be able to reach and
read them. Fairs are probably the most open context for meeting this
art form, being able to give an overview of contemporary production
in this field and allowing a direct relation between the reader and
the book. However, if fairs select a number of publishers, as
libraries and bookshops select books, it’s also true that these
contexts rarely produce a critical discourse in order to mediate this
often abscond object. Moreover, they often showcase a quantity of
books that might be pretty overwhelming for the visitors (both
amateur beginners and experts) and in conditions that are not
precisely appropriate for book reading.
On
another level, an exhibition displaying videos would probably not be
compared to a film bank. The distinguishing element of an exhibition
lies in the curatorial approach that informs it, as well as in the
mediation purpose attached to it. By presenting a selection of works
of art within a critical discourse, the exhibition fosters and shares
knowledge on a specific field with a wider audience. Art exhibitions
have taken many forms and need constant renewal to create better
mediation strategies and adapt to shifting audiences. Why would an
exhibition where it’s made possible to read or browse a proposed
selection of books become “a kind of library� Can’t it be
conceived in an unusual and imaginative way, as an original space and
experience for the visitor to encounter the work?
Being
by definition temporary, an exhibition also allows to implement a
communication format that might attract attention, useful to reach a
wider audience than the happy-few mentioned earlier.
Some
examples brought by another lecturer invited at the seminar - the
Belgian publisher, editor and designer of books Luc
Derycke
- are especially interesting in this regard. On the occasion of a
book fair he took part to, he decided
to set-up a sale where only the book covers were displayed behind a
desk and the visitor, if interested in one of those, would be orally
explained about its content. The
visitor would not have the option of browsing the book before buying
it. The procedure had a great success, creating mystery about the
works, while playing on the “erotical†level denounced by Merete
Jankowski. However, it served as a didactic moment, making the
information related to the books, as well as their contents,
accessible and understandable also to a public less informed about
artists’ books.
As
stated by Bernhad Cella in the book No-ISBN published by Konig this
year, these set-ups allow for a broader entry, which doesn’t
request previous knowledge from the audience.
On
Saturday April 23rd,
the Festival opened the second part of the event, an exhibition and
fair taking place in the galleries of Kunsthal
Charlottenborg. One Thousand Books had
invited 13 publishers to create an exhibition related to the content
of the books they were selling there. The publishers, carefully
selected, have independently chosen to show books from their
catalogue that would best project in the space. The books were
displayed on a long shelf across the main gallery and the
corresponding art installation were exhibited in the space.
The
show worked well, as it created a dialogue between the two and
enticed the visitor to look for the connections. However, in this
case the books were not the subject of the exhibition as such, but
the referent to which a three dimensional installation responded.
Hence, this strategy raises several issues. First, in this context,
the book retrieved its documentation function, abandoning its status
of artwork in itself. Second, the experimental exhibition displayed a
series of independent works without a clear thread connecting them,
which prevented it from creating a coherent discourse addressing the
visitor.
On the overall, the seminar, exhibition and fair organised by One Thousand Books raised interesting questions relating to art audiences, the function of the exhibition format and the nature and status of artists books in the contemporary. Examples like the displays by Meriç Algün Ringborg or the experiments in blind sales by Luc Derycke give interesting orientations to reflect on communication strategy towards mediating artists books, either in a gallery space or a fair.
Website
onethousandbooks.orglodretvandret.com