PARSE # 3, and now # 4

With PARSE # 3 recently released – you can access it here – am now proofing issue # 4, which follows Valand Academy’s conference on Time, held in 2015. Among the contributors are Simon Critchley and Bruno Latour, as well as Marc Boumeester, Jason Bowman, Sonja Dahl, Gerhard Eckel, Atzu Amann y Alcocer and Rodrigo Delso Gutiérrez, The Otolith Group, Benedikte Zitouni and Valérie Pihet, Edgar Schmitz, Katleen Vermeir and Ronny Heiremans, Claire Louise Staunton and John Hill, Hanna Hallgren, Somaya El-Sousi and Jenny Tunedal, and Andy Weir.

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PARSE

Having communicated with Mick Wilson, as one of the editors of The Curatorial Conundrum, together with Paul O’Neill and Lucy Steeds, and having recently met him when he did a really interesting talk at the ICA, it was great to be invited to proof the online peer-reviewed journal PARSE, published by the Valand Academy, part of the University of Gothenburg. The issue I was asked to proof focused on notions of iteration, repetition and mediation and interpretation, which relates to some of my own interests. I will update the link when it goes live, but for now here the one to the editorial statement and the call for papers. Am looking forward to proofing contributions to the next issue following the conference on TIME.

What work on issue # 3 made me realise is that transfer from one set of conventions of referencing to another is often more time-consuming than proofing the actual text!

Two at Once

I spotted both The Curatorial Conundrum and Olivia Plender, Rise Early, Be Industrious at last weekend’s Offprint art book fair at Tate Modern. The former at both the stand of the Luma Foundation and MIT, the latter at Sternberg‘s.

It’s always surprising to finally hold something in your hands after having engaged with it so intensely for often quite a while via a computer screen. On screen everything is backlit and the sense of actual scale, physical weight, the feel and colour and bendiness of the paper, how it actually falls when you open the book, and how the cover relates to the book block, are removed from the actual encounter.

With both books I was very pleasantly surprised by their scale and the paper, and the actual weight, holding them in hand. I’d picked some copies of Olivia’s book up a while ago in Glasgow, but The Curatorial Conundrum I hadn’t seen yet. And one thing is clear, orange is the new black also in book design…

 

Blast from the past

Having worked with Douglas Gordon on a book when I worked at Artangel – Feature Film (1999) – I recently did some copy-editing and proofing work on an interesting take on publishing something in relation to one of his most complex works, entitled Pretty much every film and video work from about 1992 until now., owned by the Musée d’art moderne de la ville de Paris. Kay Pallister asked me to have a look at it, as I know Douglas’s practice quite well, having worked on his archive for a while in a long and distant past.

Using post cards the publication is:

  • An art book about an installation by Douglas Gordon that is by the artist considered as his major work.
  • The catalogue raisonné of a body of work.
  • The catalogue of an exhibition.
  • A game of 101 postcards.
  • A book-installation (that the reader can organize as he or she sees fit).

I received an image from it being on press today.

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