Tuesday, September 1st
Please join us for the launch of Carriage by Matty Davis and Ben Gould. Davis and Gould are joined by contributors to the book, Will Arbery, Joey Johnston, Luke Joyner, and Jade Thacker, for a performative reading of the publication.
A sneak peek screening of Eryka Dellenbach’s film Schroon Lake, which captures performance research for Carriage on a frozen lake, will stream for 72-hours from the start of the launch.
This event is co-hosted with Wendy's Subway, NYC and takes place on Zoom, at 6:30 PM CST / 7:30 PM EST.
About the book
About Schroon Lake
Eryka Dellenbach (she/they) is a Brooklyn-based and Chicago-bred filmmaker, choreographer, performer and teaching artist. Her embodied films and multidisciplinary performance works mine consent, power, beauty and terror through choreographies of designed sensation. They have worked with a broad range of dance and performance artists including Atsushi Takenouchi, Tino Sehgal, Blair Thomas Puppet Theatre, Tori Wränes and Amanda Gutierrez. Eryka has presented work at Movement Research at the Judson Memorial Church, Anthology Film Archives, Gene Siskel, Roulette Intermedium, Virginia Commonwealth University, Intuit Outsider Art Museum, Links Hall, No Nation Gallery, and the Shiryaevo Bienalle of Contemporary Art in Samara, Russia. In 2020 she had her first exhibition at Caravaglia Studio (NY) entitled 'Aftermath & Intimacy' with artist Selva Aparicio. Eryka earned a bachelor’s degree in Cultural Anthropology from the University of Illinois at Chicago, and a master’s degree in Film from the School of the Art Institute of Chicago. They are a moving celluloid film instructor at MONO NO AWARE, a HEKLER collaborator, and work freelance as a performer, filmmaker and misc. laborer.
Monday, March 9th
“It may well be that print and nationalism are axiological or co-ordinate, simply because through print a people sees itself for the first time. The vernacular in appearing in high visual definition affords a glimpse of social unity coextensive with vernacular boundaries. And more people have experienced this visual unity, of their native tongues, via the newspaper than through the book.” - Marshall McLuhan, The Gutenberg Galaxy: The Making of Typographic Man
National Letters: Languages and Scripts as Nation-building Tools, the recently released anthology published by Letter Books and UMPRUM, travels through the episodes of the past in which letters, languages, and scripts played an important role in creating nation states and national identities. Through four case studies (Turkey, Israel, Georgia, Ethiopia), the main body of the book explores four languages and nations which were each, against all odds and for various reasons, able to develop and maintain their writing system throughout their entire history, up to the founding of their nation state.
Marek Nedelka, editor and designer of National Letters, will be at Inga to talk about the making of the book and to share some of the most interesting clippings and facts from the process. Followed by open discussion.
Published by Letter Books and UMPRUM (Academy of Arts, Architecture & Design in Prague). Contributions and texts by Rusudan Amirejibi–Mullen, Ivo T. Budil, Birol Caymaz, Tomáš Garrigue Masaryk, Marek Nedelka, William Safran, and Emmanuel Szurek.
Postcard letterings by Jan Horčík, Seb McLauchlan, Anežka Minaříková, and Jan Novák.
Sunday, January 19th
The Detroit Printing Co-op: The Politics of the Joy of Printing
By Danielle Aubert
Published by Inventory Press
Building on in-depth research conducted by Danielle Aubert, a Detroit-based designer, educator, and the author of Thank you for the view, Mr. Mies, this book explores the history, output and legacy of the Lorraine and Fredy Perlman and the Detroit Printing Co-op in a highly illustrated testament to the power of printing, publishing, design, and distribution.
In 1969, shortly after moving to Detroit, Lorraine and Fredy Perlman and a group of kindred spirits purchased a printing press from a defunct militant printer and the Detroit Printing Co-op was born. The Co-op would print the first English translation of Guy Debord’s Society of the Spectacle and journals like Radical America, formed by the Students for a Democratic Society; books such as The Political Thought of James Forman printed by the League of Revolutionary Black Workers; and the occasional broadsheet, such as Judy Campbell’s stirring indictment, “Open letter from ‘white bitch’ to the black youths who beat up on me and my friend.”
Fredy Perlman was not a printer or a designer by training, but was deeply engaged in ideas, issues, processes, and the materiality of printing. His exploration of overprinting, collage techniques, varied paper stocks, and other experiments underscores the pride of craft behind these calls to action and class consciousness.
Typography, Automation, and the Division of Labor: A Brief History
By J. Dakota Brown
Published by Other Forms
“Typography was born in the mass-production mechanism of the printing press. It has thus always been implicated in automation—and, thereby, in the distinctly modern dynamics of overwork, underemployment, and runaway production.” In this compact illustrated essay, J. Dakota Brown reinterprets the history of graphic design by situating it in the history of capitalism. Beginning in the early industrial era, Typography, Automation, and the Division of Labor: A Brief History traces the rise of the design professions alongside the gradual fragmentation and decline of the printing trades. Along the way, Brown re-reads the trajectory of the modernist “machine aesthetic” as a series of historically-specific reactions to the changing economic and technical realities of typographical practice. This dual contribution to labor history and design history incorporates the crisscrossing perspectives of design professionals and production workers, modernists and postmodernists, bosses and union reps, and materialist thinkers from Adam Smith to El Lissitzky.
Monday, January 6th
What is your relationship with our shared commons, the soil? Using our body tools of fingers, nose, and sight, we will access different soils' capacity to filter our urban environment's contaminated water and air and support our plants, animals and fungi. In this workshop, we will prepare slides with local soil samples and peer into a microscope to observe microorganisms and fungal threads. The short film: 'Soil Listen' by Katarzna Guzowska (2011) will be screened. Copies of Nance Klehm's new book, The Soil Keepers: Interviews with Practitioners on the Ground Beneath Our Feet, along with other publications, tinctures, and items will be available for purchase.
Nance Klehm has been an ecological systems designer, landscaper, horticultural consultant, and agroecological grower for almost three decades. Her approach is centered on instigating change by activating already existent communities, and her work demonstrates her lifelong commitment to redefining the way human populations coexist with plant and animal systems on this planet. She just release her first book, The Soil Keepers: interviews with practitioners on the ground beneath our feet Terra Fluxus, 2019. www.socialecologies.net
Photo by Rowdy Lee Dugan for Hyperobjects - Mineral
Monday, December 16th
Susan Snodgrass is a Chicago-based critic and editor. Much of her writing is devoted to alternative models of critical practice and artmaking, whether exploring new genres of public art or contemporary art in former Eastern Europe. She is a 2018 recipient of a Creative Capital/Andy Warhol Foundation Arts Writers Grant for her blog, In/Site: Reflections on the Art of Place, which explores art, architecture, and urbanism. She has written for both print and online publications for over thirty years, most notably for Art in America where she was a corresponding editor, and ARTMargins Online, devoted to contemporary on the global margins, for which she is coeditor. She has contributed articles to numerous other periodicals, including most recently Textile: Cloth and Culture and THE SEEN. Her current curatorial projects focus on the architecture of Ken Isaacs.
Published in Chicago, IL by Half Letter Press, 2019, with partial support from the Graham Foundation for Advanced Studies in the Fine Arts.
Thursday, November 14th
Bricks from the Kiln #4
Edited by Natalie Ferris, Bryony Quinn, Matthew Stuart
& Andrew Walsh‐Lister
Bricks from the Kiln circulate a transcription of Edgar Wind’s 1960 Reith Lecture ‘The Mechanization of Art’, complete with annotations / insertions / interruptions from BFTK#4 guest editors Natalie Ferris and Bryony Quinn. Preorders of BFTK#4, due for release in early 2020, will also be available.
BFTK#4 is published as event / publication, existing initially as a series of presentations and live events taking place across 2019/20, before being transcribed and supplemented as a printed issue. Event One took place at LCC in London on 5 June 2019 and featured a lineup of talks, readings, performances, papers and scores by Sophie Collins, J.R. Carpenter, Florian Roithmayr, James Langdon, Rebecca Collins, Karen Di Franco and James Bulley. Forthcoming events include an evening of talks and screenings by Maria Fusco and Joyce Dixon at Talbot Rice Gallery, Edinburgh in January 2020; and a presentation of material by Phil Baber in Amsterdam, also scheduled for early 2020.
peak picture pixel pile
by James Langdon
Designed and edited by James Langdon and Jacob Lindgren
Published by Inga, peak picture pixel pile is a book of photographs processed to look like their own histograms. Using Ansel Adams’s Zone System—a system developed by the photographer in the 1930s and 1940s for black and white photography in which the exposure of the negative, its chemical processing, and final printing are numerically calibrated, resulting in a kind of analog metadata—the book looks to photographs of mountains, Adams’s quintessential subject, to explore what it means when an image looks like itself in the abstract (in its histogram, or the graph representing the distribution of color values in the image).
The Dark Glow of the Mountains (Gasherbrum – Der Leuchtende Berg) is a TV documentary made in 1984 by German filmmaker Werner Herzog. It is about an expedition made by freestyle mountain climber Reinhold Messner—who features in or influenced contributions to both publications—and his partner Hans Kammerlander to climb Gasherbrum II and Gasherbrum I all in one trip without returning to base camp. The film is not so much concerned with showing the climb itself or giving guidelines on mountaineering, but seeks to reveal the inner motivation of the climbers. “Are these peaks and mountains not a quality buried deep within us?” Run time: 45 minutes
Monday, October 28th
Amalgam is a transdisciplinary journal that explores the intersection of typography, language, and the visual arts. Amalgam Op. II features essays, artworks, and transcripts around the theme of alternative modes of practice. The contributions in this issue range from an essay on artist billboards by Benjamin Duvall, two conversation with AATB (Andrea Anner and Thibault Brevet) and Kia Tasbihgou, a speculative essay around the origins of all languages and the sun symbol by Lara Schoorl, extracts from Mindwalks by Karl Nawrot, and a map of queer zines by Nate Pyper, with contributions from John Tipton, AATB (Andrea Anner and Thibault Brevet), Hanna Bergman (The Reading School), Laura Csocsan, Benjamin Duvall, Robin Fuller, Jerome Harris, Jeffery Keedy, Karl Nawrot, Nate Pyper, Charlotte Rohde, Lara Schoorl, Leila Seyedzadeh, Tamar Shafrir, Kia Tasbihgou, Ramon Tejada, and Till Wittwer. The launch event will include readings from the journal by Lara Schoorl and Nate Pyper. More info: www.amalgam.online/
Monday, October 14
Micah Schippa: email@example.com,—a wave, a particle, a waterfall? a psychedelic amalgam of flesh and prism—micahschippa.com
Sunday, August 18th
Avid Readers is an experiment in reprinting. Avid Readers is a script for the performance of a collective reading. It is an elliptical construction of a theme in print. Avid Readers reproduces not only words but also the typographic form of words in print. A poetics of reproduction demands that nothing is enlarged or reduced but precisely reprinted at an original scale. This is not a game exactly, it’s an adherence to the facts we are assembling. We read together not as a ritual but rather as the lucid collective enunciation of the texts assembled.
Avid Readers 4 — A Lecture on Reading — has to do with reading, with how to read and with the appearance and militant organization of the words we read together. Copies of Avid Readers 4 will be available in addition to Other Forms titles and Inga’s stock.
August 4th, 2019