Publish or Perish by Rod Malin

Packet is a collaborative, self-published art magazine produced biweekly in Brooklyn, NY. Subscriptions and issues of Packet Biweekly are available here. Packet is Chris Nosenzo, Christine Zhu, and Nicole Reber. The Packet archive is now held at MoMA, New York City. Listen to Packet on Air on Know-Wave here.

http://bookworm-project.tumblr.com/post/132148328915/farah-khelil-captions-print-on-dibondand-wood antoine lefebvre editions is the publishing structure and nom de plume of artist publisher Antoine Lefebvre. Lefebvre holds a PhD in Fine Arts from the Sorbonne where he teaches. He created La Bibliotheque Fantastique (2009-2014), a publishing structure for artistsâ&#x20AC;&#x2122; books that was shown in several countries and acquired by numerous libraries and museums, such as the MoMA, Kunst bibliothek and Centre Pompidou. Lefebvre curates and publishes for a small number of emerging artists from around the world and contributes to make their work visible. https://www.moma.org/interactives/exhibitions/2014/vigo/ http://offprintlondon.com/ http://indexartbookfair.mx/museojumex.html David Horvitz was born in California in 1982 and recently moved from Brooklyn to Los Angeles. He has a BA from the University of California, Riverside, and a MFA from Bard College. Recent solo exhibitions include: Blum & Poe, Los Angeles; Jan Mot, Brussels; Dawid Radziszewski Gallery, Warsaw; Peter Amby, Copenhagen; Kunsthal Charlottenborg, Copenhagen; and Chert, Berlin. Recent group exhibitions include Ocean of Images, New Photography, MoMA, 2015-2016; EVA International 2014, Glasgow International 2014; The Kitchen; and the New Museum. Recent artistâ&#x20AC;&#x2122;s books include Mood Disorder (2015; New Documents); The Distance of a Day (2013; Motto Books & Chert) and Sad, Depressed, People, (2012; New Documents).

! MoMA: A lot of people describe the renaissance in artists' books (and records, tapes, etc) as "nostalgia" for the physical thing but I don't think that quite captures it... Are artists using print because it's more tactile? Because it's a stable and archival way to present information? Because they are interested in its design features? PS: All of those ideas are at play, like tactility, speed of consumption and the pleasures of physical archives. But there’s another thing at work, and while it’s not a new idea, it is happening in new ways: community. The exchange and distribution of these physical formats is happening in places like Printed Matter, and in the explosion of art book fairs and other events like Internet Yami-Ichi, where people are enjoying the power of face-to-face contact and a supportive, real-time environment. I don’t think these places are popular because they’re replacing digital networks or social media in any way; rather, they’re being celebrated as alternative ways to extend networks and social relations into physical space. If anything, digital networks are directly fueling this real-time renaissance by enabling people to discover (and then broadcast) new communities. These are places where inclusivity and diversity is encouraged. These are artist-controlled places. These are self-publishing spaces.

http://www.artzines.info/

sessa.website instagram.com/p/BBDcQUvzMdj http://benoit.broisat.free.fr/ davidhorvitz.com

bookworm-project.tumblr.com farahkhelil.free.fr

printedweb.org http://laartbookfair.net/form/

Paul Soulellis is a New York-based artist, designer and publisher. He founded his research-based graphic design and publishing studio Counterpractice in 2014, as an inaugural member of NEW INC at the New Museum. He is a contributing editor at Rhizome and teaches at Rhode Island School of Design. Paul is the founder of Library of the Printed Web, an expanding physical archive devoted to web-to-print artistsâ&#x20AC;&#x2122; books, zines and other printout matter. Through Library of the Printed Web, Paul publishes Printed Web, a semi-annual print-on-demand publication of web-to-print art and discourse. Printed Web 3 launched as a server directory on Rhizome and as physical artifacts at Offprint London at the Tate Modern in 2015. Paul graduated from the College of Architecture, Art and Planning at Cornell University.

! Farah Khelil (b. 1980, Carthage, Tunisi) graduated from the Tunis Institute of Fine Arts and holds a PhD (2014) in Art and Sciences of Art, Paris I PanthĂŠon-Sorbonne. She lives and works between Paris and Tunis. Recent exhibitions include Undercurrent Projects, New York (2014 and 2016); Galerie A.Gorgi, Tunis (2015); Es Baluard Museum of Modern and Contemporary Art, Palma de Mallorca (2015); and the Palais Abdellia, Tunis ( 2014).

Nicole is half-Polish, and can speak fluently. In 2012, she published a photo book of her time living with her Polish family called Za Nami, A 32 page full color photo book taken in Poland.

Bound by elastic so you can put your favorite pictures on your wall.

https://www.mottodistribution.com/site/?p=40932 Farah Khelil & antoine lefebvre editions, mo’jam al arabeia, 108 pp., 2 postcards, 2 inserts, Open spine binding, B/W offset on Munken Cream 80g 500 copies. Produced by A.GORGI Gallery.

Born in 1980 in Bonneville, France, Benoit Broisat lives and works in Paris. His work has been exhibited in the Musée d’art moderne de la ville de Paris, the Museum of Contemporary Art, Tokyo, the 9th Lyon bienniale, the Serpentine Gallery, London, the Galerie nationale du Jeu de paume, Paris, the CaixaForum, Barcelona and the Mori Art Museum in Tokyo.

https://www.printedmatter.org/ catalog/42209 Transmitter is a collaborative curatorial initiative, focusing on programming that is multidisciplinary, international and experimental, founded in 2014 by Rob de Oude, Carl Gunhouse, Sara Jones, Rod Malin, Tom Marquet and Mel Prest. Save Ask for Transmitter's price range http://www.transmitter.nyc/ 4.2 of 5 stars 5 reviews "Témoin" is a French word with a rich polysemy. In English, its various accepted meanings cannot be translated in a single word. First, a "témoin" is a witness (someone who witnesses something or someone who testifies in a trial). But it is not necessarily a person. A "témoin" can also be a signal (like a warning light on a dashboard) or an object. In a more specific situation, "témoin" also designates the baton sprinters pass on in a relay. My use of the word "témoin" as a title combines these different meanings: Les témoins are objects that witness some events and then can be used as evidences after someone passed them on. Sessa Englund, graduated from SUNY Purchase School of Art+Design with a BFA in Visual Arts 2013. Sessa works and lives in NYC and Sweden. Recent projects include Cura (Tangled Hierarchy) and Cura (Epistemic Two Step) which examines the role of artist as curator. Sessa is currently working on it's third installment, scheduled to open in late fall 2016. Press mentions include New York Times, Hyperallergic, and Art F City. Recent selected group exhibitions include The One Minute Film Foundation Archive, The Wrong Biennale, "KunstKunstKunst" at Chashama, Salon Zurcher - FIAC fair, "Two x-show" at City Bird Gallery, "Fireworks" at The Java Project, "Cura (Tangled Hierarchy) at Fireworks Gallery.

Sad, Depressed, People David Horvitz Vancouver: New Documents; 2012 (pdf) Public Sex Acts David Horviz New York: The Holster; 2008 (pdf) How to Shoplift Books/Come Rubari Libri David Horvitz Venice: Automatic Books; 2013 (pdf) Three_Digs_A_Skull (pdf) Clement Valla Published by Library of the Printed Web, 2015

All of my instagram feed as key chains , $2 per key chain, buy it and I'll delete the original forever

the space between us (-->), 2015 (ios app) So we started a gallery. #disclaimergallery @disclaimergallery

ROOMSERVICE is hosting 'Cura (Epistemic Two Step)', conceived by Sessa Englund and the second rendition of a recurring semi-annual exhibition that examines the position of artists who curate.

Cura, as an exhibition emerges from the reality that artists today use curation not only as a form of organization within their communities, but also as an inseparable part of their artistic practice. Is the traditional role of the academic curator necessary, or is a new role emerging from the shifting landscape of artists as organizers of their community? At Cura we will explore these questions by making visible new networks that exist between artists, curators and their collaborators.

Sad Mugs, 2009 - on going Porcelain, manual photo transfer, tears The photos printed onto these mugs were collected by me over the span of five years. They show me crying in front of my laptop at various stages. At first these photos were taken without any purpose in mind, it was purely an act of seeking comfort, however after the first two years of this I realized that I had acquired a library of over 600 photos of myself. These images were then transferred onto ceramic mugs and which are for sale at legitimatehumanaspirations.biz for $12.99 a piece. Machine washable.

Cura seeks to explore the status quo that exists in and beyond the hierarchies of the art world. The concept will be executed in a series of exhibitions, accompanying articles, and a retrospective that will span the next three years. The first rendition ran for two days at Firework Gallery and featured the work of Lucia Love, Jen Hitchings, and Sessa Englund, along with the writing of Stephan Faught.

Required Reading: Paul Soulellis on Experimental Publishing [Rhizome] Poor Media on Demand: All the files of Printed Web 3 Making Public â&#x20AC;&#x201C; talk at Fondation Galeries Lafayette, Paris Search, Compile, Publish

La Bibliothèque Fantastique is a publishing structure for artists’ books whose books are free and downloadable from the Internet so that everyone can print them at home. Most of these books are exclusive productions. The others are reprints of works that are important to me. The purpose of LBF is to offer a perspective on books expressed by books themselves. Its works are made of excerpts of other works, through pages, sentences and words meetingin a stroke of good fortune. La Bibliothèque Fantastique is a minimalist publisher in the sense that all the superfluousness has been removed. Indeed, the books of LBF have no predetermined physical existence, they exist in a state of potentiality on the web, waiting to become. They cost nothing; you can get them without spending a penny. They have no ISBN either,

because they are works of art. They have no color, so that they can be printed in any printer. That is what LBF books do not have, which is almost more important than what they do. My approach is conceived of as a negative versus that which is habitually proposed by the market spectacular society. The purpose of LBF is to show various poetic singularities, as opposed to the flashy commodities that feed our society. What the LBF books do have is above all a great freedom of content, revealing an expansive and global conception of art. They contain all forms of expression usually found in print, i.e., drawing and photographs, as well as essays,novels, journalistic investigations and so on. Transmitter presents: Painting: More or Less.. 10/30/2015 - 12/06/2015 Opening: 10/30, 6 - 9pm Open on weekends, 1pm - 6pm 1329 Willoughby Avenue, 2A Brooklyn, NY 11237 (L-train to Jefferson Ave.)

a zine shop operated in a Williamsburg Brooklyn,subway station with Alldayeveryday a mediacompanyforclients like American Express, SephoraandUrban Outfitters.

>>>>

The first Salon “anti-Aufklärung”* was organized at the Générale en Manufacture a squat in Sèvres in March 2015. The

second edition of the Salon will be host by Le Point Éphémère in Paris the 25th, 26th and 27th of March 2016.

Placed on a rotating pedestal in room full of publications on tables, the

"anti-Aufklärung" submarine becomes an instrument to discover the depths of the self-publishing world. Through monumental installations, performances and readings, the public will discover the gems of self-publishing world straight out of the abyss that the lights of powerful spotlights no longer reach. A few dozen exhibitors will be present, and sometimes the murmurs of the crowd will be broken by actions taken and virulent voices. Designed as an exhibition rather than an alignment of books on tables, the salon’s team encourages the invited self-publishers to invade the walls with their publications to

fill the entire s

https://www.facebook.com/events/237595933249739/ http://openspacebaltimore.com/pmf/ Open Space is thrilled to present PMF VI, the Sixth Annual Publications & Multiples Fair, taking place March 28th and 29th, 2015 at the Baltimore Design School. This annual exposition provides the opportunity to admire, collect, and discuss artist publications, prints, and objects produced in multiple.

For several months, I've been carrying hundreds of inkjet prints in my pockets. These images were taken from various video sequences showing the conflict between Israel and the Palestine I previously recorded on TV. Each second of the videos leaded to 25 still pictures I printed and cut. Through this process, the news images, usually immaterial and intangible, were given a materiality, a new body made of paper and ink. I could put them in my pocket; I could manipulate and circulate them. Like a protester who holds the portrait of a missing person (martyr or prisoner), I could use these ersatz to summon a distant reality within the realm of my own experience.

Nicole Reber (b.1989) is a New York based artist working within sculpture, painting, collage, and language. Recent exhibitions of her work have taken place at Black and White Project Space, Knockdown Center, and Kimberly-Klark. She has spoken at MoMA PS1 and Printed Matter, and is a co-editor of Packet, a biweekly arts publication that has published over 70 issues in the past 3 years. The complete Packet archive was recently acquired by the MoMA Library. Nicole has a BFA in Writing for Publication, Media and Performance, Pratt Institute, 2011.

As Lafuente points out in Self-Organized, “We live in a time when the structures that historically made it possible to develop a critical relationship to artistic practice, together with the social and political models that supported them, are being dismantled. Because of this, it is now imperative to think of new modes of organization that are neither inherited, nor imposed."

TRANSMITTER & GUEST SPOT @ THE REINSTITUTE PRESENTS: SELF-ORGANIZED — AESTHETIC POLITICS OF THE ARTIST RUN July 18, 2015 through September 5, 2015

Témoin n°1 (Gant d'un cow-boy du Colorado), page du National Geographic et gant, 2009 Témoin n°2 (Drapeau du Grand Palais), page du magazine Trois couleurs et drapeau, 2009, 450 X 600 cm Témoin n°3 (Casquette d'un chercheur à Tinité-et-Tobago), page du National Geographic et casquette, 2009 Témoin n°4 (Pin's d'un trader au New York Stock Exchange), page du magazine Marianne et pin's, 2009 Témoin n°5 (Chemise de Michel Houellebecq), page du magazine Le Point et chemise, 2010 Témoin n°6 (Tore conçu par un mathématicien japonais), page du magazine Aera et tore, 2010, ∅ 12 cm Témoin n°7 (Débardeur d'une victime de l'ouragan Gustav), page du magazine Le Point et débardeur, 2011 Témoin n°8 (Parasol d'une échoppe de Phnom-Penh), page du magazine A nous Paris et parasol, 2011 Témoin n°9 (Balle de baseball de Tokyo), page du magazine Aera et balle, 2012 Témoin n°10 (Bassine de plastique rose d'Ayutthaya), page du Time magazine et bassine, 2014 Témoin n°11 (Vêtements d'une fillette en Amazonie), page du journal Le Monde, débardeur et short, 2015 Témoin n°12 (Caillou de La Réunion), page du magazine Newsweek et caillou, 2015

https://docs.google.com/document/d/1axXoQg3tZM9-cVT74igs66MG0FOnEZYzL9BjWdlyuCY/edit

Experimental Publishing Studio

The definition of artistic activity occurs, first of all, in the field of distribution. —Marcel Broodthaers Publish or Perish focuses on artists who align their practice with varied modes of content distribution and circulation, often experimenting with new forms that promote accessibility, collaboration, and engagement with others. Publishing, broadly defined to include books, zines, PDFs, and other digital content, is a central component of their artistic repertoire. These works often defy conventional aesthetic hierarchies in counterpoint to prevailing market conditions. In an over-saturated and over-built culture, notions of ascribed value continue to expand, as some published works take on increasing value as they move through different channels of distribution and are absorbed into institutional and private collections. However, as economic challenges relate directly to issues of cultural over-abundance, our perspective regarding the value placed on art is also challenged, thus recontextualizing production into what Edgardo Antonio Vigo calls the "unmaking" of art objects. Ultimately, as self-publishing becomes more prominent as a tool in the pursuit of autonomy, so too does its intrinsic ideology of the selforganized.

Publish or Perish 1 April - 8 May 2016 BenoĂŽt Broisat Sessa Englund David Horvitz Farah Khelil + Antoine Lefebvre editions Nicole Reber Paul Soulellis Transmitter Gallery co-organized with Arts & Sciences Projects

transmitter.nyc