Wednesday 27 March 2013, 7pm
Meeting at Banner Repeater
Reading extract from Counter Intelligence
Counter Intelligence is a catalogue of self-published and autonomous print creations from the hands-on exhibition of zines, comics, pamphlets and other self-produced print at the 121 Centre, Brixton in 1995 organised by Jason Skeet & Mark Pawson.
Reviews 250 titles, plus short essays looking at specifics of autonomous self-publishing as well as placing this activity in a wider context; Autonomy, Dialectics of desk-top-publishing, Cultural Noise, Appropriate Scale Publishing, Price No Object/ Priceless Objects, Postal Pleasure, Refusing regularity, A Zinester Rants, The Free Information Network, E-zinesand computer bulletin boards, Autobio Comix, and a Non-exhaustive resources section.
The COUNTER INTELLIGENCE exhibition was also shown at Gavin Brown’s enterprise in New York and included in Hans-Ulrich Obrist’s 1996 live-life/life-live project. A vital doccument of its time.
We will be reading an 8 page extract reprinted by Mark Pawson for the Reading Group. Pick up a copy from Banner Repeater and X Marks the Bökship.
Size A4 / 28 pages
Artists’ Magazines, An Alternative Place for Art
By Gwen Allen
Published by MIT Press, 2011
Wednesday 13 March 7 – 9pm at X Marks the Bokship
Reading Chapter 7: Artists’ Magazines in the 80s.
Magazine publishing is an exercise in ephemerality and transience; each issue goes out in the world only to be rendered obsolete by the next. To publish a magazine is to enter into a heightened relationship with the present moment. During the 1960s and 1970s, magazines became an important new site of artistic practice, functioning as an alternative exhibition space for the dematerialized practices of conceptual art. Artists created works expressly for these mass-produced, hand-editioned pages, using the ephemerality and the materiality of the magazine to challenge the conventions of both artistic medium and gallery. In Artists’ Magazines, Gwen Allen looks at the most important of these magazines in their heyday (the 1960s to the 1980s) and compiles a comprehensive, illustrated directory of hundreds of others.
Among the magazines Allen examines are Aspen (1965–1971), a multimedia magazine in a box—issues included Super-8 films, flexi-disc records, critical writings, artists’ postage stamps, and collectible chapbooks; Avalanche (1970-1976), which expressed the countercultural character of the emerging SoHo art community through its interviews and artist-designed contributions; Art-Rite (1973-1978), an irreverent zine with a disposable, newsprint format; Real Life (1979-1994), published by Thomas Lawson and Susan Morgan as a forum for the Pictures generation; 0 to 9 (1967–1969), a mimeographed poetry magazine founded by Vito Acconci and Bernadette Meyer; FILE (1972–1989), founded by the Canadian collective General Idea, its cover design a sly parody of Life magazine; and Interfunktionen (1968–1975), founded to protest the conservative curatorial strategies of Documenta. These and the other magazines Allen examines expressed their differences from mainstream media in both form and content: they cast their homemade, DIY quality against the slickness of an Artforum, and they created work that defied the formalist orthodoxy of the day. (A work by John Baldessari from the late 1960s shows a photograph of Artforum, captioned “THIS IS NOT TO BE LOOKED AT.”) Artists’ Magazines, featuring abundant color illustrations of magazine covers and content, offers an essential guide to a little-explored medium.