Design 11 Publications in Random Order
Sampled Papers 1
This project seeks to take a new approach to traditional user manuals based on sampling, a musical production technique that is very common in hip-hop. Sampling (and resampling) is a working process that takes pieces from different elements and combines them to create a unique and new item. This technique extracts these pieces from their natural habitat to de-contextualise them; it chops them up, changes, deforms, serialises and combines them with a view to generating a new message.
We live in a world bloated with data, images, videos, news, messages and constant inputs. We live in a world where collective forms of sharing knowledge generate a massive amount of information that is constantly doing the rounds. And just like hip hop lifts portions of audio to compose, this user manual has been scanned and compiled with these elements that do the rounds, such as photos, articles, chats or illustrations, which redefine or complement the content. The outcome is a sampled manual.
David Heofs & Gonzalo Hergueta
Vimana Book es un libro transparente concebido sin papel ni tinta, utilizando hojas de PMMA perforadas por un plotter de corte. Este proyecto trata de explorar los límites del libro como objeto y su fragilidad, tanto material como narrativa. Ofreciendo una mirada a lo desconocido en forma de ilustraciones y textos codificados en jeroglíficos –utilizando el vehículo volador de la antigua literatura de la India, las vimanas, como medio y concepto. El libro tiene enlaces a tres canciones compuestas por Emelvi que ilustran las atmósferas sonoras de cada uno de los tres capítulos que componen la pieza.
Vimana is a transparent book that has been conceived without paper or ink, by using PMMA sheets carved by a cutting plotter. This project tries to explore the limits of the book as a medium, and it́s fragility, both materially & narratively. By offering a glance into the unknown in the shape of illustrations and texts coded in hieroglyphics.
Throughout recent months our realities have changed drastically, with the coronavirus taking centre-stage in the quarantine world tour that has so quickly made its way across the globe.
And with every tour comes its accompanying merchandise (even the uncomfortably apocalyptic science-fiction ones). In the hopes of producing something positive from a situation so negative, and of coming together in times that pull us apart, this t-shirt – now available on @everpresshq – was designed in collaboration with Pedro Mata Nogueira → 31,00 €.
Available until May 12
Virtual Vertigo – NXS issue #5
NXS#5 Virtual Vertigo examines the challenges of the digital extension of reality and its shadowy underbelly for the self.
Daily digitally mediated interactions have made human perception more and more relative. Engaging with your friend’s avatar lookalike, FaceTime’s video chat applying its attention correction function, or talking on the phone with eerily human sounding virtual assistants literally make our senses deceive us.
Virtual Vertigo investigates questions such as: what emotional effects might a computer-communicated reality precipitate? How is the user’s behavior influenced after returning to the physical world from those layers of lifelike experience? Which ethical pillars should be kept high? And: are we able to restore our understanding of the structure of reality in a new form of find ways to resist manipulation?
With contributions by:
Manuel Arturo Abreu (DO)
Giusy Amoroso (IT)
Galit Ariel (IL)
Ash Baccus-Clark (US)
Cibelle Cavalli Bastos (BR)
Karolien Buurman (NL)
Amber Case (US)
Harriet Davey (UK)
Daphne Dragona (DE/GR)
Mat Dryhurst (UK)
Friederike Hantel (DE)
Holly Herndon (US)
Bailey Keogh (US)
Baptiste Kucharski (FR)
Kim Laughton (UK)
Sean Mahoney (UK)
Shawn Maximo (CA/US)
Florian Mecklenburg (DE)
Katja Novitskova (EE)
Fr. Bertie Pearson (US)
Douglas Rushkoff (US)
Tamar Shafrir (IL)
Crida Festival editorial → [140 x 250mm, 24 pages]. Speculative and critical design: New ways of reusing abandoned places. → 7,99 €
2020 Magazine, Issue 0
2020 is an annual magazine that serves as a guide for the year that’s about to start. This, 0, is our first issue. A yearbook made from different perceptions about what’s to come in this year. Taking the idea from the fashion calendar, 12 authors from different branches are presenting their vision about the ideas, images and trends for the year that have been developed from the year before. An exercise about the immediate future from 12 different perspectives, one for each month. Every year, the magazine will be presented in a completely different way, adapting each publication to the moment we’re living and covering a whole decade, from 2020 to 2029.
Andrey Kasay, Mantrasse, Manuel Donada
THE BEST FROM THE WEST – Andrey Kasay
This is a collection of the best works by Andrey Kasay, a Russian visual artist based in Moscow, by the summer of 2019. His metaphoric, surreal and crazy illustrations and animated videos are based on a satiric look at contemporary society. Since 2010 he took part in various group exhibitions and had solo shows in Europe, Asia, North and South America. He worked with brands like MTV, Nike, Red Bull, CNN, Washington Post, New Yorker, Adidas; and was featured by VICE, WIRED, Juxtapoz and It’s Nice That. 170 x 230 mm, 200 pages Edition of 300 copies ISBN 978-989-54589-1-2 Stolen Books // Published March 2020
THE TREE AS AN ANTENNA TO A SPIRITUAL REVOLUTION – Mantraste
“I wanted to pay homage to all the trees for a long time, so I picked sticks in my village, drew the memories of my childhood by sight and crumpled the paper pulp that shaped the fruits of my spirit. How many have found enlightenment through a tree?” 190 × 250 mm 32 pages 2 color risography printing on Fedrigoni Arena Rough 90g paper. 2 color silkscreen cover printed by Telmo Chaparra (Stolen Prints) on Pop Set Fawn 170g paper. Each copy comes with a 2 color risograph print by the artist, size approx. 300 x 410 mm, printed on Munken Print White 90g. Limited edition of 100 copies, signed and numbered.
SOLIN SALA RA – Manuel Donada
It is not talking about the origin of this book, because this book, infinite, varied, diverse, always similar and always different, perpetual and changing, has existed from all eternity. Nothing has been discovered, everything has been found. But in the heart of this artifact everything changes, everything is transformed, everything evolves. These pages have not existed at any time or any place, the message itself has an origin and the magic emanating from each of its pages can never be trained. At this point, there is nothing to do. It would be lovely to wait for the revolution of an admirable science. This book is dedicated, in part, to all those punks of sectarian mentality and false morals, those who feed the annihilation of the individual and those who are part of a camouflaged class, who die of fear and grief with the idea of being isolated. To all those who do not violently reject the supporters of an absurd and pestilent elite. To the loose dogs of abstract camaraderie that obstructs the spiritual, individual and cosmic revolution. To the victims of the revolution block, accomplices of permanent repression, duck-faced corpses and wild manners, all obstacles of the universal protest. 245 x 310 mm, 96 pages 978-989-54589-2-9 Stolen Books
Chus Martínez, Ignacio Vidal-Folch, Enrique Vila-Matas y Guillermo Santomà
Me parece muy sugestivo tu propósito de buscar en la abundancia de la casa Cerralbo los errores más interesantes, las incongruencias, lo ausente, precisamente lo que falta. Ese interés lo asocio a un vago y antiguo deseo tuyo de desaparecer. Deseo paradójicamente asociado a tu hiper-presencia: cuanto más desapareces, más estás. El anhelo de la desaparición era una forma tuya de estar, de super-estar… de superstar.
Si en lugar de ir a París, finalmente, al estilo de Herzog, vas caminando al Cerralbo a ver las obras de Santomá, yo te acompañaré, tenlo por seguro. A ti te cae a la vuelta de la esquina. Y a mí más lejos, pero desde mi poblado, puedo llegar a caballo, buscando el ritmo del Jinete de Moreau.
Guillermo Santomà is an artist based in Barcelona. In a few words, he could be described as being interested in how a space is affected by the production of elements vaguely similar to furniture as well as by chromatic interventions. It seems that the force that motivates his interest in the house of the marquis is driven by the question: how does the social space of a reactionary mind look? The question is a sensitive one because we tend to ascribe the practice of art to liberal values, even though there are plenty of historical examples of artists who by no means share such principles. Yet Santomà’s intervention adds another twist: the artist is not only interested in how politics shapes character and how character shapes taste, but also how, then, taste shapes the body. Do ultra-conservatives sit in chairs similar to the liberals’?
I read his insistence on placing his work there as act to study the nature of transformation, of the relation between human agency and power, as well as nature (present in all the materials) and technology (as in all of us in relation to the space and its objects). The different works he decided to introduce in the palace act as the containers of the main problem the house and its past poses to us and our time: the importance of the simultaneous representation of existing and non-existing phenomena. How can art or an artwork sustain a double vision between the tangible and the intangible?
Does anybody know if the toilets at the palace of Cerralbo are gender neutral?
Un conjunto de capas y capas de literatura oblicuas y entrelazadas a cargo de Chus Martínez, Ignacio Vidal-Folch, Enrique Vila-Matas así como del propio Guillermo Santomà. Todo ello acompañado de las fotografías de José Hevia y Rafa Castells que documentaron la intervención que tuvo lugar durante 2019 en el Museo Cerralbo de Madrid producida por Side Gallery y Etage Projects.
Editorial Mark Yareham
Editorial portfolio for the photographer Mark Yareham, which collect, his work from recent years. [210 x 297 mm]. → Contact @enric.pe for buy it.
Viral Bodies – NXS issue #3
NXS issue #3 Viral Bodies investigates the changing concepts of gender and identity norms in the digital space, and open the discussion to many possible speculations and to their real world implications. Kicking off the issue with a starting piece by Reba Maybury, over 20 fellow contributors explore social conventions, share intimate moments and experiences of pain, love, hate and fear. They delve into authenticity in the non-human sphere, they code accidental bigotry on the internet. Science fiction writer Alan Dean Foster blurs the lines of reality, transmitting what is real and what not in a dystopian society. Political art critic Penny Rafferty unravels the minds of tech giants while artistic researcher Addie Wagenknecht questions the diffusing lines between virtual technology and working bodies in reality.
With contributions by:
Reba Maybury (UK)
Dario Alva (ES)
Josefin Arnell (SE)
Jonathan Castro (PE)
Lois Cohen (NL)
Jesse Darling (UK)
Vita Evangelista (BR)
Alan Dean Foster (US)
Jahmal B Golden (US)
Sophie Hardeman (NL)
Manique Hendricks (NL)
Gui Machiavelli (BR)
Mary Maggic (US)
Simone C.Niquille (CH)
Norman Orro (EE)
Clara Pacotte (FR)
Pinar & Viola (NL & FR)
Penny Rafferty (UK)
Addie Wagenknecht (US)
Melek Zertal (DZ)
Lil Miquela (US)
Indiana Roma Voss (NL)
Algorithmic Anxiety – NXS issue #4
NXS #4 Algorithmic Anxiety explores the spectrum of algorithmic authority over our lives (whether perceived or not). The contributors question or reveal the inconspicuous influence of algorithms, in their various forms, on our behavioral patterns, emotions, and self perceptions of our position in the world.
Are algorithms really rational and only virtual? Are they better than we are in drawing up a reflection of ourselves? Can they predict our future selves? The intangibility and unclarity of the effects of algorithms on our lives can lead to the uncanny feeling of a loss of control, a sense of frustration and anxiety. Are we at risk of losing our agency to act and think, of being increasingly controlled and programmed through social credit systems, surveillance, and Big Data rankings? Are we on the path towards digitally structured totalitarianism? Control, as well as influence, over future decisions and actions, are after all the goal of pre-emptive algorithmic systems and forms of government. What does that mean for the conception of the autonomous self?
With contributions by:
Benjamin Edgar Gott