Kim Kim Press: 2016

2016년 11월 26일 토요일

Kim Kim Gallery in UE8_Unlimited Edition 8 / 제8회 언리미티드 에디션 -서울아트북페어 2016

https://www.facebook.com/photo.php?fbid=1337353729608628&set=pcb.1337354032941931&type=3&theater

https://www.facebook.com/photo.php?fbid=224610151283969&set=pcb.224610244617293&type=3&theater

Nov. 2016

Seoul

2016년 10월 19일 수요일

Unlimited Edition 8 / 제8회 언리미티드 에디션 -서울아트북페어

http://unlimited-edition.org/

언리미티드 에디션은 2009년 1회를 시작으로 매년 진행되어 온 아트북페어, 독립출판의 시장입니다. 일반적인 홍보와 거리를 두는 독립출판과 그 제작자들이 일년에 한 차례 각자의 목소리로 자신의 책에 대해 말하고 판매하는 시간입니다. 작가/제작자와 관람자가 ‘직접 판매 부스’를 매개로 만나고, 자발적으로 만들어진 책들이 그해 어떻게 존재하고 있는지 조망할 수 있습니다.

アンリミテッドエディションは、2009年から毎年開催されているアートブックフェア、独立出版の市場です。一般的な広報活動を行わない独立（インディペンデント）出版団体とその作家が、一年に一度、自分の声で自分の本を語り販売する時間を提供しています。作家／つくり手と来訪者が「直接販売ブース」を媒介として出会い、自発的に作られた本が今年どのように存在しているのかを一望のもとにします。

2016년 8월 18일 목요일

Kim Kim Press will be @ 언리미티드 에디션 UNLIMITED EDITION -SEOUL ART BOOK FAIR 2016

언리미티드 에디션

언리미티드 에디션(UNLIMITED EDITION)은 2009년 1회를 시작으로 매년 진행되어 온 아트북페어, 독립출판의 시장입니다. 일반적인 홍보와 거리를 두는 독립출판과 그 제작자들이 일년에 한 차례 각자의 목소리로 자신의 책에 대해 말하고 판매하는 시간입니다. 작가/제작자와 관람자가 ‘직접 판매 부스’를 매개로 만나고, 자발적으로 만들어진 책들이 그해 어떻게 존재하고 있는지 조망할 수 있습니다.

제8회 언리미티드 에디션
-서울아트북페어 2016

11월 25~27일

주최: 유어마인드
공동주관: 유어마인드, 일민미술관

UNLIMITED EDITION is an annual art book festival showcasing small-scale and independent publications. Since its first event in 2009, the ever-growing number of visitors reached up to 15,000 people during the whole event last year. UNLIMITED EDITION aims to encourage the creators to visualize and discuss their practices and possible futures among others throughout the event.

November, 25~27th, 2016

Organized by YOUR MIND

Hosted by YOUR MIND, Ilmin Museum of Art

http://unlimited-edition.org/#application

2016년 7월 11일 월요일

2016 Busan Art Book Fair 부산아트북페어

https://www.facebook.com/shopmakers/?fref=nf

July 2016

Busan

2016년 6월 28일 화요일

2016 Busan Art Book Fair: FROM THE MAKERS

제1회 FROM THE MAKERS

프롬더메이커즈(FROM THE MAKERS)는 독립출판을 주제로 부산에서 처음으로 열리는 책 시장입니다. 전국에서 발행되는 다양한 독립출판물을 창작자(제작자/작가)가 직접 판매, 홍보하며 창작자와 관람객이 만나 책을 매개로 함께 즐기는 축제의 장입니다.

다양한 창작자들로부터 나온 ‘개인의 세계’가 담긴 독립출판물들을 통해 독립출판이 존재하는 방식을 이해하는 시간이 될 것입니다. 독립출판물 이해를 돕기 위한 프로그램이 준비되어 있어 독립 출판물을 처음 접하는 분들께도 유익한 시간을 전해드립니다. 정형화된 시스템에 얽매이지 않고 자신만의 방법으로 독립출판 및 창작활동을 하고 있는 창작자들을 알리고 응원하는 바람 또한 담고 있습니다. 부산에서 처음 열리는 독립출판 페어에 많은 관심과 응원 부탁드립니다.

장소: 아트소향(부산시 해운대구 센텀중앙로 55

주최: 부산독립출판연구소(BSPL)

후원: 한국문화예술위원회, 부산광역시, 부산문화재단

http://m.blog.naver.com/summerbooks/220758770460

마켓 – 프롬 더 메이커즈

2016. 7. 9(토) – 7. 10(일) 오후 12시 – 7시

전국 70여팀의 독립출판 창작팀이 참여하여 자신의 책을 직접 판매, 홍보하는 책 시장입니다.

http://fromthemakers.kr

July 206

Busan

2016년 5월 21일 토요일

ㅊ chiut

Seoul
May 2016
https://www.facebook.com/photo.php?fbid=10207647797125998&set=a.3170323930039.140390.1023714741&type=3&theater

2016년 5월 19일 목요일

Zinefest

오늘 첫번째 zine <토킹픽쳐블루스> 도착.

이번 주말에 열리는 진 캠프에도 오시고 6월4일 열리는 진 페스트에도 오시고,

진도 투척해 주시기 바람.

https://www.facebook.com/bittna?fref=nf

May 20th 2016

Seoul

https://www.facebook.com/Zinefest/photos/pcb.1709641332624547/1709640772624603/?type=3&theater

제1회 페스트Ⓐ 참가
진을 만드는 사람들(진스터zinester)이 모이는 ‘진페스트Ⓐ’ 1회가 문래동 ‘뉴마트’에서 열립니다.
–
‘진zine’이란 개인이나 집단이 이윤을 목적으로 하지 않고, 기획부터 집필, 출력과 제본까지의 과정을 스스로(DIY) 해서 만든 출판물을 말합니다. ‘진페스트Ⓐ’는 국내외의 다양한 진을 소개하는 동시에, 진스터들이 서로의 진을 교환하고 판매할 수 있는 장이 되기를 희망합니다.

2016년 6월 4일 (토) 오후 1시~8시
문래동 뉴마트(서울시 영등포구 문래동4가 23-19번지 1층)

–
참가 안내
<열람용 진을 보내주실 경우>
1. 구글 독스로 신청서를 작성해 제출합니다.http://goo.gl/forms/ZQJSzNSJcg (신청마감: 5/23 월 자정)
2. 열람용 진 1권을 우편으로 보내주세요. (서울시 영등포구 문래동4가 23-19번지 1층)
당일에 직접 가지고 오실 분은 그렇게 해주셔도 됩니다. 아니면 당일에 참가하지 않고, 열람용 진만 보내주셔도 좋습니다. 보내주신 진은 진페스트가 끝난 후, 진 라이브러리에 보관됩니다.
3. 참가비는 없습니다.
4. 교환이나 판매를 하고 싶은 진은 당일에 직접 들고 와주세요. 부스는 따로 없으며, 자연스럽게 돌아다니면서 교환이나 판매 해주시기 바랍니다. 작은 의자나 깔개를 가지고 오셔도 좋습니다.
5. 참가자에게는 ‘진스터’ 뱃지를 나눠드립니다. 뱃지는 진을 교환하거나 판매 중인 제작자를 가리킵니다.

<그냥 놀러오고 싶은 경우>
따로 신청하지 않으셔도 됩니다. 그냥 오셔서 진페스트를 함께 즐겨요!
작은 공연과, 10분만에 만드는 진 워크숍이 예정되어 있습니다.

*나누어 먹을 수 있는 간식은 언제나 환영입니다.

문의
http://zinefest.xyz/
zinefesta@gmail.com
https://www.facebook.com/Zinefest/photos/a.1700844570170890.1073741827.1699521423636538/1700843183504362/?type=3&theater

2016년 5월 5일 목요일

Kim Kim Press Certificate

April 2016
Namyangju City

2016년 3월 15일 화요일

The Talking Picture Blues Book Launch

Photos by Stefan Ettlinger

Kim Kim Gallery's pictorial book about The Talking Picture Blues (Kunstsaele, Berlin 2013/14, Songwon Art Center, Seoul 2015) exhibit to be presented at third and final opening of "Der Schattern des Körpers des Kutschers", from 7 p.m. 11th March 2016 @ Kunstsaele Berlin

Designed & edited by Clemens Kruemmel

Published by Kim Kim Press

ISBN 978-89-956464-8-9 (93650)

190X265.6mm, Black & white

@ the 3rd phase of our exhibition, 'Der Kutscher', with a PERFORMANCE by Dominique Le Parc, a VIDEO PERFORMANCE by Stefan Ettlinger and NEW WORKS by Michael Dreyer, Svenja Kreh, Michalis Pichler, Sigune Siévi and Xiaopeng Zhou.

"Der Schatten des Körpers des Kutsches" - arranged by Clemens Krümmel.

Participated Artist : Monika Baer, Michael Dreyer, Stefan Ettlinger, Katja Eydel, Moritz Fehr, Franz John, Svenja Kreh, Dominique Le Parc, Michalis Pichler, Zilla Leutenegger, Alvin Lucier, Gregory Maass & Nayoungim, Achim Mohné, Karin Sander, Sigune Siévi, Rolf Walz, Xiaopeng Zhou.

16.01.2016 - 16.04.2016

Vernissage 'Der Schatten' - 15.01.2016
Vernissage 'Der Körper' - 12.02.2016
+++ Vernissage 'Der Kutscher' - 11.03.2016 +++

2016년 3월 12일 토요일

The Talking Picture Blues Book Launch

Kim Kim Gallery's pictorial book about The Talking Picture Blues (Kunstsaele, Berlin 2013/14, Songwon Art Center, Seoul 2015) exhibit to be presented at third and final opening of "Der Schattern des Körpers des Kutschers", from 7 p.m. 11th March 2016 @ Kunstsaele Berlin

https://www.facebook.com/photo.php?fbid=10207660344285651&set=a.1327807154253.2046341.1203151772&type=3&theater
https://www.facebook.com/events/567235810106903/

http://kimkimgallery.blogspot.kr/2016/03/the-talking-picture-blues-book-launch.htmlMarch 2016
Berlin

Talking Picture Blues Book design draft

2015

Paris

Index

1 Pierre Klossowski in: L’Hypothèse du Tableau Volé (Raúl Ruiz, F 1978)

2 Clemens Krümmel, Difficulty, wall print, 2015

4 Hyangro Yoon

6,7 Le Petit Journal, Paris, France, ca. 1905, courtesy Melton Prior Institute, Düsseldorf, Germany

8,9 Moritz Fehr, „Mojave – A Person Was Here“, 2013, stereoscopic video, Ambisonic, surround sound, 22’40“

10 Harpokrates, Deity of Silence Gallery Academy of Fine Arts, Vienna (photo by the author)

11 Franz John, Interzone, An interactive time travel CD-ROM through the fortifications of the former Berlin was (www.i-n-t-e-r-z-o-n-e.de). Screen shot from video material accompanying the installation on view at Songwon Art Space, Seoul, 2015.

12 Stefan Ettlinger, composite carbon drawing, 2011

13 Moving pictures storyteller, taken from: Kintop, Jahrbuch zur Erforschung des frühen Films, Basel, Switzerland / Frankfurt/M., Germany, vol. 5, 1996

14 Le Petit Journal, Paris, France, ca. 1905, courtesy Melton Prior Institute, Düsseldorf, Germany

15,16 Katsuhiro Otomo, Winsor McCay, Villard de Honnecourt, Hyangro Yoon, Shane Simmons

17 Viola Rusche, Franz John, Francesco Colonna, Shane Simmons

18 Hieronymus Hei, „Bänkelsänger am Nadelberg in Basel“, 1832, Illustration from „Bänkelsang und Moritat“, exhibition catalogue, Graphic Arts Collection, Staatsgalerie Stuttgart, Germany, 1975,

19 Dean Ellis, cover liiustration for Ray Bradbury, The Illustrated Man (first published 1951), 1969 Bantam edition.

20 A scrapbook

21 Peter Blegvad, Empatheen, from his comic strip series „Leviathan“ serialized in the „Independent on Sunday“, London, UK

22 Winsor McCay, „Common Sense“, editorial illustration, published ca. 1915.

23 Chris Ware, Touch Sensitive, iPad app for McSweeney’s (now defunct)

24 point it, Traveller’s language kit, first edition 1992, (c) Dieter Graf – „You may be fluent in four languages but sometimes you could find yourself "off the beaten track" where you can´t communicate. point it^®, with 1300 items to which you can indicate, is the answer. Everyone in the world will understand you. This passport-sized assistant is used not only by tourists but also by UN peacekeeping forces, Olympic athletes and speech therapists. The book is the result of the author´s extensive travels in the five continents. Edition since 1992: 2,000,000.“ (Ad text for the eponymous app, present day)

26 Henry Flynt (henryflynt.org) reads "From Culture to Veramusment" at Walter De Maria's loft, New York, USA, February 28th, 1963 (pictured in the back: Vladimir Mayakovsky), photo by Diane Wakoski

27, 28 Etoki picture scroll recitals, from: Victor H. Mair, Painting and Performance. Chinese Picture Recitation and Its Indian Genesis, Honolulu, Hawaii, 1988

29 „In the autobiography Harpo Speaks (1961), Harpo Marx recounts how Chico found him jobs playing piano to accompany silent movies. Unlike Chico, Harpo could play only two songs on the piano, "Waltz Me Around Again, Willie" and "Love Me and the World Is Mine," but he adapted this small repertoire in different tempos to suit the action on the screen. He was also seen playing a portion of Rachmaninoff's "Prelude in C# minor" in „A Day at the Races“ and chords on the piano in „A Night at the Opera“, in such a way that the piano sounded much like a harp, as a prelude to actually playing the harp in that scene.“ (Wikipedia)

30 Jayme Yen, Banner for “Talking picture blues (voices rising)”, Seoul, 2015

31 Harpo Marx; his claxon stick. – „Arthur "Harpo" Marx (born Adolph Marx; November 23, 1888 – September 28, 1964) was an American comedian, film star, mime artist and musician, and the second-oldest of the Marx Brothers. In contrast to the mainly-verbal comedy of his brothers Groucho and Chico, Harpo's comic style was exclusively visual, being an example of both clown and pantomime traditions. He wore a curly reddish blonde wig, and never spoke during performances (he blew a horn or whistled to communicate). He frequently used props such as a horn cane, made up of a lead pipe, tape, and a bulbhorn, and he played the harp in most of his films.“ (Wikipedia) – cf. Wayne Koestenbaum, The Anatomy of Harpo Marx, University of California Press 2012, „… a luxuriant, detailed play-by-play account of Harpo Marx’s physical movements as captured on screen. Wayne Koestenbaum guides us through the thirteen Marx Brothers films, from The Cocoanuts in 1929 to Love Happy in 1950, to focus on Harpo’s chief and yet heretofore unexplored attribute—his profound and contradictory corporeality. Koestenbaum celebrates the astonishing range of Harpo’s body—its kinks, sexual multiplicities, somnolence, Jewishness, ‚cute’ pathos, and more. In a virtuosic performance, Koestenbaum’s text moves gracefully from insightful analysis to cultural critique to autobiographical musing, and provides Harpo with a host of odd bedfellows, including Walter Benjamin and Barbra Streisand.“

32 Jayme Yen, Flyer for “Talking picture blues (voices rising)”, Seoul, 2015

33 Margaret Mead, pointing downwards in an Aristotelian way, Raphael, vessel

34 Moritz Fehr, „Mojave – A Person Was Here“, 2013, stereoscopic video, Ambisonic, surround sound, 22’40“, “Talking picture blues (voices rising)”, Seoul, 2015

35 Picture story recital, from: Victor H. Mair, Painting and Performance. Chinese Picture Recitation and Its Indian Genesis, Honolulu, Hawaii, 1988

36, 37 Francesco Colonna, Hypnerotomachia Poliphili

38 Fritz Schwegler, Effeschiade; Public picture storyteller, Southern Italy, 1980s

39 Fritz Schwegler (1935–2014). „Born in the Swabian town of Breech near Göppingen, Germany, Schwegler was first apprenticed as a joiner to his father. He then traveled through the whole of Europe for three years, where he visited 21 cities. As an artist, he first appeared as an iconoclastic, uncanny creator of image collages and spoken performances, entitled "Effeschiaden", "Effeschiadiana", "Effeschiaturen", "Moritafeln", "Zehnerschaften", "Viererreihen" and "Urnotizen", which were also accompanied by photographs and film sequences.“ (Wikipedia)

40 Carl Arnold Kortum (1745-1824), Jobsiade, 1836 edition

41 Katsuhiro Otomo, Homage to Winsor McCay’s „Little Nemo“ comic strips.

42 Villard de Honnecourt, a 13th-century artist from Picardy, in northern France. He is known to history only through a surviving portfolio of 33 sheets of parchment containing about 250 drawings dating from the 1220s/1240s, now in the Bibliothèque Nationale (MS Fr 19093), Paris, France. The great variety of subjects (religious and secular figures suitable for sculpture, and architectural plans, elevations and details, ecclesiastical objects and mechanical devices, some with annotations), makes it difficult to determine its purpose. Other subjects such as animals and human figures also appear. The traditional view, since the discovery of the portfolio in the mid-19th century, is that Villard was an itinerant architect/mason/builder, but there is no evidence of him ever working as an architect or in any other identifiable profession. Nonetheless, it is clear from his drawings that he was interested in architecture and that he traveled to some of the major ecclesiastical building sites of his day to record details of these buildings. His drawing of one of the west facade towers of Laon Cathedral and those of radiating chapels and a main vessel bay, interior and exterior, of Rheims Cathedral, are of particular interest.

43 Harlan Tarbell, Chalk Talk Stunts, first published 1926

„A chalk talk is a monologue presentation done while the speaker draws. It is usually done with chalk, hard crayon, or pastel. The chalk talk method of teaching focuses on the blackboard and the lecture's voice and also the activities to be precise the physical activities. This method can be preferred for presenting lectures and talks. This method have some characteristics which the presenter does not want the viewers to loose. The dominant is ‚eyes‘ and the magical communication that exist whenever the presenter have a nice lecture.“ (Wikipedia)

44 Austin Osman Spare, plate from the Book of Pleasure (self-love).the psychology of ecstasy, 1913

45 Alice Creischer, ”Alle Tage Jericho” / „Ich die Posaune“ 1982, mobile storytelling device.

„Eine Stadt ist kein Ort sondern ein Zustand. Wenn ich durch die Stadt gehe, dann wechsle ich andauernd die Zustände aus, in denen ich mich befinde, so wie man in einen alten Dia Apparat bedient. Man nimmt die Dias nacheinander vom Tisch und steckt jedes einzeln in den Schlitten, den man vor die Projektionsbirne schiebt. Man lehnt sich ein wenig zurück, verschränkt die Hände hinter den Kopf und schaut. Das Wechseln von Zuständen ist eine Tätigkeit, und die Zusammenstellung aller Zustände in ihrer Gesamtheit wäre eine gigantische Beschäftigung, eine kannibalische Beschäftigung, die alles verschlingt oder ignoriert, bis dass sie sich endlich erschöpft, sich sein lässt und nichts mehr behauptet, als... Wenn ich durch die Stadt gehe und rede, könnte ich annehmen, dass ich sehr mächtig bin. So, wie man sich fühlt, wenn man eine riesige Kaugummiblase allein Kraft der eigenen Lungen, aus dem eigenen Mund, in die Welt hineinbläst. Man könnte sich vorstellen, dass diese riesige Blase die ganze Stadt erdrückt und dass nur ich allein durch die Straßen gehe, die sich um mich dehnen müssen. Aber diese Herrlichkeit ist zu Ende, wenn ich wieder einatmen muss.“ (Alice Creischer, Erpresserbriefe an die Geisteswelt, Berlin 2005)

46, 47 Hyangro Yoon

48–53 The Grand Moving Mirror of California, Los Angeles, USA "The Velaslavasay Panorama in Los Angeles, California, is a historic exhibition hall, theatre and garden dedicated to the production and presentation of unusual visual experiences.Not that many years ago, a photo copy of the 1853 script for The Grand Moving Mirror of California, landed on the doorstep of the Velaslavasay Panorama, to the attention of museum director Sara Velas. The script had been recently rediscovered in storage at the Saco Museum in Saco, Maine and was sent by moving "panoramaniac" Peter Morelli. The painted scroll no longer existed, just the script. What better place than the Velaslavasay Panorama and what more talented person than Sara to take up the challenge of bringing this performance back to life? It was a perfect match. Sara Velas, along with a diverse team of very talented people, set out to recreate the moving panorama, The Grand Moving Mirror of California. They didn't stop at merely creating the painting with the cranking apparatus, narration and music (a Herculian task by itself). They went on to create other accompanying pieces in the spirit of 19th century moving panorama performances: flyers, miniature panorama souvenirs, a display of Gold Rush artifacts and a logo reminiscent of 19th century engravings.“ For more information visit the museum's website. www.panoramaonview.org

54 Ben Katchor, Picture Recital, New York City, USA, ca. 2010.

55 Romana Schmalisch, Mobile Cinema – „‚Mobile cinema‘ is an apparatus which the artist demonstrates in various cities, accompanying the screenings by experimental lectures.’Mobile cinema’ is a reconstruction of a film prop from Alexander Medvedkin’s film ‚The New Moscow‘ (1938), consisting of a projection and viewing table. Using this bizarre device – which is a strange blend of an urban model, cinema and plate camera — the principal character of the film, a young engineer, presents his designs and urban visions for the new city on his way to Moscow. Similar to this movie character, Romana Schmalisch travels to various places with the «Mobile Cinema» and presents some of her films. Her works is the research on urban space, the changes of urban space and the social changes that come with them.“

56 „Neo benshi“ performance, New York, USA, ca. 2005.

57 A Walter Benjamin lecture. cf. https://vimeo.com/61669696

58 The Museum of American Art exhibits Alfred H. Barr’s Pedigree of Modern Art in China, ca. 2010.

59 René Magritte, „L’homme au journal“, 1928, Tate Gallery London, UK – „Artists, being creative individuals, tend to experiment with different tools and apply, combine and exploit various techniques in their work. Stereoscopy has not escaped them either. Stereoscopic drawings can be found within most early technical articles about stereoscopy, but mainly for the purpose of illustration and idea communication rather than artistic composition. In the middle of the 20th century, painters technically aware of the effects of binocular vision in the human visual system have undertaken the tedious task of painting two stereoscopic canvases instead of one. René Magritte (1898-1967) with his ‚L’Homme au Journal‘ (1928) appears to have executed a quasi-stereo painting, but did not further exploit the possibilities.“ (Efstathios Stavrakis – Margrit Gelautz, „Stereo Painting: Pleasing the Third Eye“, Technical University of Vienna, Journal of 3-D Imaging, UK (2005), 168; 20-23.