This issue of GRAPHIC covers best book competitions that judge the “beauty” of the contending books. A total of eight competitions or events are included: national competitions (from the Netherlands, France, Belgium, and Sweden as well as the best-known one, The Most Beautiful Swiss Books) that reflect the book culture of their respective countries; Best Book Design From All Over the World held in Germany, which is the most representative international competition; Walter Tiemann Prize which is a unique competition focusing on typography; and Beautiful Books in Korea, which was held for the first time to select Korean books with good design.

As the titles suggest, the purpose of these competitions is to select the most beautiful books from each country. This means we can look at current trends in book design by examining them, which is the starting point of this issue. We hope the biggest benefit is that it provides a comprehensive overview of the criteria of a “beautiful” book sought by each competition.

The key sentence that penetrates the theme of this issue should be “What does a beautiful book mean to you?”, which is the question we presented to every interviewee. Of course, the intention was not to get the best answer but to collect various ideas on the qualities of a “beautiful book” from this ambiguous question. This question is also directed at ourselves and our readers, with the goal of prompting renewed reflection on book design by reading the answers and asking ourselves the same question at the same time.

Every text (such as interviews or comments from juries and designers) is, in fact, linked to this question. While the interviews with the organizers of the competition explain the unique cultural background of selecting “beautiful books,” the jury’s commentaries provide aesthetic justifications for it by summarizing why a particular book is beautiful. The comments from the designers strenuously reflect current trends, which equate the design process to book design itself.

It was only with the generous cooperation from the organizers and jurors of the competitions and the designers that this issue of GRAPHIC could be published. We would like to convey our sincere gratitude to every contributor.
Price: 20 Euro

Share |

Herito Nr. 4. Art is changing (a) place

Herito – a bilingual English-Polish quarterly – is a new initiative by the International Cultural Centre. It is our hope that it will come to be a unique forum for discussions on heritage, culture, our times, and the future. As a periodical it will focus on issues of locus and related reflections, on space and its various meanings, and on the geography of the imagination and of memory. The pretext for the topics it undertakes to examine is Central Europe, which has a heritage of experience and cultural dilemmas that are at once unique and highly relevant to contemporary debate.
Price: 6 Euro

Share |

Poems by Yvonne Rainer

Poems is a collection of never before published poetry by choreographer and filmmaker Yvonne Rainer. Full of wit and candor, Poems offers a window into the life and mind of one of America's greatest living artists. A selection of images curated by Rainer accompanies the writing as well as an introduction by poet and critic Tim Griffin.

"Since the early ‘60s, no artist has explored
the boundaries of the idea that ‘Art imitates
life’ more fully than Yvonne Rainer.” — Artforum

"Here a simple, steady cadence provides
procedural measure for simple, pared-down
words, [plain] yet elegant turns that move
the eyes forward, across, and down the page.”
— Tim Griffin,“Keep moving: the poems of Yvonne Rainer”

Relevante Bücher: 
Yvonne Rainer
Click the images below for bigger versions:
Yvonne Rainer
Badlands Unlimited, 2011, 978-193644010-8
Share |

Candide - Journal for Architectural Knowledge - No.4

Auszug aus dem Editorial:
Die Suche nach einer verlässlichen Ordnung des Wissens gehört seit jeher zu den zentralen Anliegen der Architekturtheorie. Um nicht im Treibsand sich wandelnder Geschmacksvorstellungen und Produktionsbedingungen unterzugehen, führt diese Suche notwendigerweise zu den Gegenständen, die uns den Eindruck von Dauer und Beständigkeit vermitteln. Nichts liegt daher näher als das Wissen der Architektur im Sinne eines Objektwissens zu verstehen. Doch die Objekte der Architektur sind widerspenstig. Ihr Bestand ist gewaltig. Ständig kommen neue Exemplare hinzu, deren ausgeprägte Individualität den Aufbau systematischer Klassifizierungssysteme durchkreuzt. Dennoch gibt es in der Architektur kaum einen prominenteren Begriff als den der Typologie. Er ist getragen von der Vorstellung unwandelbarer Ideal-, Ur- und Archetypen sowie dem Versprechen, der gewaltigen Objektbestand könne nach stilistischen und funktionalen Übereinstimmungen sortiert und in eine beständige Ordnung überführt werden.

ISSN: 1869-6465
ISBN: 978-84-92861-83-5

18,50 Euro

Share |