But What Is To Become Of History? – Part 1 — by Jesse Hlebo

Syntaxtual creation results in a finished product one could consider ‘clean cut’, a result of its means of production. This type of creation is not without imperfection, the fragments that occur have to be sought out rather than existing in an openly visible manner. Documents, images, manuscripts, news items, personal correspondence, and the like, constitute things that formerly resided as physical and tactile medium’s, but now occupy an almost exclusively digital existence. This consolidation and transformation has resulted in the neglect of the archive, at least under the terms ‘archive’ has applied towards since the invention of the printing press (a space where objects deemed to be of historical worth are collected).  Papers containment of content in a fixed manner becomes one of its many attributes as a medium of historical reference, an attribute that is being reclaimed while simultaneously discarded in our present culture.

 

Articles of a particular personal and historical value (specifically, self-published books and ephemera, as well as other such small press) frequently employ the same devices that once occupied the space of distributing information to the majority, albeit in a corporate environment. Devices such as laser printers, Xerox machines, Risograph’s, offset presses, and fax machines are among the rapidly outdated vessels of popular information dissemination. That which once primarily belonged to the office and the commercial, have shifted in use to that of the artistic. These devices are a receding splinter of information disseminators in a world of near-instant communication and gratification. Though many of the devices are meant for near-perfect reproduction, sometimes on a mass scale, the reality is that the objects created with such machines and methods are not perfectly reproduced and as such occupy a unique space in the world.

 

Utilizing this consciously ‘unique’ method of production is not without the intention of making the form available to many people, but is in affect shifting the priority onto that of the objects value. The objects physical limitation and existence becomes its primary attribute, which is not to say that content becomes null, far from it, it is instead a visible recognition of the importance of the vessel in which content is contained. By not achieving what the digital world accomplishes so well, the print medium as a standard format of information containment and dissemination, drifts off into a place it has always known well, that of the remnant.

 

The loss of the historicity of content, due to its detachment from the physical, and therefore the limited rather than the unlimited, signifies a substantial shift in the way cultural materials are consumed. Previously the value, authenticity, and relevance of an object were procured from the knowledge that the creator had come in contact with that specific object. There is now only the content itself as a means of value, all other facets of the objects ‘aura’ have been lost. With the recent rise of self-publishing in certain artistic communities, a re-focusing on the importance and value of the ‘aura’ has taken place and thus sets the stage for the facets of this culture that will be further discussed.

Notes 05-31-2012 — by Pierre Le-Hors

“A trip, with its displacements in time and space can be the perfect way to frame a story”

 

Moyra Davey, The Wet and the Dry

 

This morning I was woken up around 5:30 by what I think was the sound of a crow. The sun was already above the horizon and a palid light, filtered through overcast skies streamed in through the windows above the bed. I closed the pane in order to dull out the sound but was unable to fall back asleep, the room was already too bright. I unplugged my phone from its charger on the bedside table, saw that it was 5:30, and spent the following two hours reading a series of wikipedia entries detailing the post-WWII years in Berlin.

 

The need to locate myself within a history is steadily becoming impossible to ignore.

 

Publications purchased in Paris and Berlin:

 

Selected Works from 2006 to 2011 by Salvatore Arancio

 

published by Innen in 2011

€ 6,00

 
 

In the Beginning it was Humid by Bastien Aubry and Dimitri Broquard

 

published by Nieves in 2011

 

€ 18,00

 

25.Sept – 14.Nov.2010 by Marieta Chirulescu

 

published by Kunsthalle Basel and Distanz Verlag in 2011

 

€ 19,90

 

Isolated Rooms by Mark Manders

 

published by Roma Publications in collaboration with the Art Institute of Chicago and the Renaissance Society at the University of Chicago in 2005

 

€ 40,00

 

Project Prints by Luigi Ghirri, edited by Elena Re

 

published by JRP Ringier in 2012

 

€ 45,00

 

Bilder Pictures by Hans-Peter Feldmann

 

published by Buchhandlung Walther König in 2002

 

€ 25,00

 

The Wet and the Dry by Morya Davey

 

published by Paraguay Press in 2011

€ 5,50

 

Tell Me What You Want, What You Really, Really Want by Jan Verwoert, edited by Vanessa Ohlraun

published by Sternberg Press and Piet Zwart Institute in 2010

 

€ 18,00

 

At Orly airport, leaving Paris for Berlin, I reluctantly allow 5 exposed + 5 unexposed rolls of film to pass through the x-ray machine at the security checkpoint. The security officers refuse to hand-check my film, threatening to deny me entry aboard, repeating that any film rated under 1600 ISO can pass through the x-ray unharmed. Nevertheless, my empty camera is pulled aside for further inspection after the machine fails to register its contents. I am happy to leave Paris, a city I perceive to be preoccupied with preserving its past. I have my film processed in Germany and hope for the best.

8 Ball Zine Fair: Q&A with Lele Saveri — by Troy Kreiner

Q&A with the Romano photographer who has one foot in Milan and the other in New York, Lele Saveri, the brain behind Brooklyn’s 2012 – 8 Ball Zine Fair.

 

 

Lele’s first ‘zine’ fair was an effort to save his admired Brooklyn Grand Billiards, which has been kickin’ for the past seven years. On June 3rd, starting at 2pm, every pool table, providing just enough light, was filled with publications from publishers and bookstore like Hassla, JSBJ, Pau Wau Publications, Ed Varie, Hamburger Eyes, et al. The collaboration between Italian artist Maurizio Cattelan and Italian photographer Pierpaolo Ferrari creates Toilet Paper Magazine, they had their own pool table showing off their latest issue alongside some older–rare, sold out issues.

 

Across the way from the drop-off ‘zine’ table was the special edition ‘zine’-set with contributors Peter and Andrew Sutherland, Maggie Lee, Lele Saveri, Jesse Hlebo, Weirdo Dave, Miyako Bellizzi, et al. Across the tables there was an emphasis on photography. Slow walking, quick gleaning, flipping from back to front, frozen margaritas and french fries; all for sensational paper. The proceeds went to Grand Billiards. 8 o’clock rolled around and the regulars commenced.

 

 

Why the name 8 Ball Zine fair?

FYI: its not a drug-related title. The name was a simple decision, we’ve been organizing parties in the pool-hall for about a year or so, and whenever someone was designing a flyer, we’ve asked to add an 8-ball- almost like a logo for the night. When we were choosing a name for the fair, that was the easiest.

 

What is a zine, what is a publication, what is the relationship between the two?

A Zine is a self-made publication which allows artists to show their work in whichever way they like– fast and in-expensive. A publication, whether it’s a book or some kind of a book-zine, its a collaboration between the artist and the publisher, someone who uses book-making to express his art. A Zine is more immediate, a publication is a step deeper.

 

Why did you choose the billiard hall for the 8 Ball Zine Fair?

I chose to have the 8-Ball Zine Fair at the billiard hall in order to help support the owners of the hall. In addition, the tables and the spot-lights worked perfectly for this purpose.

 

How where the vendors/distributors chosen for the 8 Ball Zine Fair?

I decided to go for publishers and bookstores that were one phone-call away. I only had 3 weeks to set everything up. I selected all the ones that mostly represented the sense of DIY and were the most “pure” and “true” to the artists and their work.

 

 

Why did you include a public/drop off table for artists work?

Because that’s the real meaning of a Zine Fair – show people’s work through self-published Zines.

 

In a global context, what is significant about independent publishing?

I think independent publishers as oppose to the more established ones, have more freedom to express themselves. There’s more dialogue between the artist and the designer, which displays the work in the closest way possible to what’s in the artist’s heads, without being burdened by the rules that more mainstream publishers have.

Globally, we live in blog-land, where book-makers have to be as creative as possible to make their product as attractive as they can to survive. And I think that’s exciting.

 

How do you think the internet plays a role in events like 8 Ball Zine fair?

Internet was very helpful for us. People spread the word and made the event sound very interesting, even without knowing what was going to happen (this was my very first zine fair). It is important for many people to see and touch with their hands in person, especially the books and zines that they’ve only seen online. It was also very beautiful to see many people who I’ve noticed being very active on the internet- almost as if their web posts suddenly had taken a physical form.

 

Do you have any future plans for events like 8 Ball Zine fair?

We’re trying to do an independent record-fair, but we’ll see if we can keep the billiard  hall open long enough!

 

For a moment of projection, what would you like to say to the people who could not experience this event?

Make things and support other people who make things.