#gaberbocchus press

[garadinervi]

Raymond Queneau, (1947), Exercises in Style, Translation and Preface by Barbara Wright, Cover design by Stefan Themerson, Gaberbocchus Press, London, 1958 [The Lilly Library Online Exhibitions, Lilly Library – Indiana University Libraries, Indiana University, Bloomington, IN]

[polishwomenartists-sztukakobiet]

Franciszka Themerson, Calligramme VIII (Bird), 1960. Courtesy of the Collection Themerson Estate.

@abwwia

A multidisciplinary artist, Franciszka Themerson was at the forefront of Poland’s filmmaking avant-garde, and worked in illustration, theater, graphic design, and painting. She relocated to London in 1940 to work for the Polish government-in-exile as a cartographer and illustrator. By 1948, Themerson and her husband Stefan Themerson established the experimental publishing house Gaberbocchus Press. Themerson built her artistic practice alongside work on book design and illustration for Gaberbocchus Press’s publications.

In the series referred to as “Calligrammes,” Themerson poured enamel paint onto her canvases, which she drew on with a variety of implements, including knives, sticks, and her fingers. Dwelling on the human condition, Themerson embraced a variety of materials, techniques, and styles in what she has described as “bi-abstract pictures.”

[drawdownbooks]

Mr. Rouse Builds His House / Available at www.draw-down.com / A tiny book that tells the story of Mr. Rouse, a man who has decided to build himself a house. Inevitably, the process is much longer and more detailed than Mr. Rouse could ever have envisioned. This quirky tale, originally published in 1950, takes readers through the process of choosing building types and making all kinds of decisions. With a blend of absurd poetry and pragmatism, Mr. Rouse contends with building materials, transportation, lighting, and plumbing. Stefan and Franciszka Themerson were Polish avant-garde artists and filmmakers who in the 1940s fled to London, where they worked on a huge range of creative projects. In 1948, they founded the influential Gaberbocchus Press, publishers of Kurt Schwitters, Jankel Adler, and Alfred Jarry, among others. By Stefan Themerson and Barbara Wright, with drawings by Franciszka Themerson. Published by Tate Publishing #design #typography #illustration #MrRouse #FranciszkaThemerson #books https://www.instagram.com/p/BnOVFwmByCq/?utm_source=ig_tumblr_share&igshid=4wksatorb4q6

[imm-blog1]

MESSAGIO GALORE TAKE XII

a duration of sound poetry & similaria edited, reärranged & constraducted by jwcurry & realized through the combined auditoria of jwcurry Alastair Larwill Georgia Mathewson Brian Pirie 7 PM 21 octo 12 at Common Ground Art Gallery 3277 Sandwich Street, Windsor ___________________________________________________________________________

part 1

1. Scraptures: 12th Sequence, bpNichol (Canada, 1967?); source: photocopy from TORONTO LIFE (issue # & editor unknown, Toronto, 1968). & on the 12th "day", humanity stuck its heads up from the muck & goo, took a look around in its state of ignorant grace, & knew but lustful fear. arrangement dedicated to Jan Svankmeyer. full quartet

2. WELTWEHE, August Stramm (Germany, 1914); source: KROKLOK #3 (ed.dom sylvester houédard, London, UK, Writers Forum, 1972). Stramm’s scope is nothing less than cosmic in this, his most extreme narrative composed almost solely of verbs, fuelled & shaped by the battlefields he wrote in & the ciphers he wired his poems home through. solo

3. SIX-FOUR, Alastair Larwill (Canada, 2o1o); source: unpublished manuscript. accumulative disintegrational polysyllabicism formulated as an audio illustration in a discussion of articulational deliberateness with its dedicatee, Rob Read. full quartet

4. Generations, bpNichol (Canada, 1988); source: bpNichol, gIFTS The Martyrology Book(s) 7 (&) (Toronto, Coach House Press, 199o). Nichol’s numerical interpolations distract & enact a simultaneous metanarrative between his given text & what’s given through his interferences with it. solo

5. Againful Deployment, jwcurry (Canada, 1981?); source: monograph (Ottawa, 1cent, 2oo1). a "sound poem for an assemblyline of voicings" spiralling outta the conch into yr cochnea. full quartet

6. Salmon River Soliloquy, David UU (Canada, 1973); source: David UU, High C (Toronto, Underwhich Editions, 1991). a rather straightforward poem siding with the fishes. solo

7. anacyclic poem with two shouts DHARMATHOUGHTS STUPAWARDS, dom sylvester houédard (England, 1966); source: KROKLOK #1 (ed.dom sylvester houédard, London, Writers Forum, 1971). "for the artists protest committee for their call from losangeles for a tower against the war", an anagrammatic poem in 3 vowels & 4 consonants. duo: curry/Mathewson

8. " BREATH IS ", bill bissett (Canada, 1966?); source: bill bissett, fires in th tempul OR TH JINX SHIP ND OTHR TRIPS (Vancouver, Very Stone House, 1966). one of bissett’s concrete scattertexts, here divided into a demonstration of the logic inherent in his more radical field compositions. duo: curry/Larwill

9. Oiseautal / Super-Bird-Song, Raoul Hausmann (France, 1918?) & Kurt Schwitters (England, 1946?) respectively; source: Raoul Hausmann & Kurt Schwitters, PIN and the story of PIN (London, UK, Gaberbocchus Press, 1962). brought together by the 1st world war & separated by the 2nd, both friends independently came to write short works based on birdsound. this interlineated arrangement by curry (2oo9?) is a step toward A Visit to the Aviary, a short suite of related material from various sources. duo: curry/Pirie

1o. THREE/FOUR: OF TIME, bpNichol (Canada, 1985); source: 5e echanges internationaux de poesie contemporaine, ed.Julien Blaine (Tarascon, France, L’A.G.R.I.P.P.A., 1988). the 3rd in Nichol’s "TIME" series "for the 4 Horsemen", this one targetting the structure of the waltz for vigorous interrogation. full quartet

11. Calling The Vegetable Collected, jwcurry (Canada, 2oo8); source: monograph (2nd ed, Ottawa, 1cent, 2oo8). hocketed statements that build multiple syntactic paths as the fragments first cohere, then disintegrate. full quartet

12. GLiNE OR EXTRATERRESTRIAL OCCURRENCES, Vaughn Bodé (USA, 1972?); source: Vaughn Bodé, JUNKWAFFEL no.3 (Berkeley, The Print Mint, 1972). Bodé’s 5pp comic relieved of its graphic anchor, its text no less rich in its significtions despite the lack of signposts. solo

13. KNOTS, jwcurry (Canada, 1982?); source: The (Almost) Instant Anthology ’88, ed.Beverley Daurio, Daniel Jones & bpNichol (Toronto, Meet The Presses, 1988). excerpts from a "translation into concrete poetry" of R.D.Laing’s lineated neuroses trackings, subsequently unreknotted & strung out as a schizologue for 2. duo: Larwill/Mathewson

14. The Tibetan Memory Trick, traditional/arranged by Howard Kaylan, Ian Underwood & Mark Volman (USA, 1974); source: Flo & Eddie, ILLEGAL, IMMORAL AND FATTENING (Canadian pressing, Columbia Records Limited, 1975). spontaneous insertion into KNOTS above. everyone in the band gets put through this one for articulational, breathing & body memory development. full quartet.

15. AGATHA! WAKE UP! I’M CURED!, Richard Beland (Canada, 1992?); source: unpublished manuscript. Beland’s language lines are as plastic as his visual lines, this short prose morphing from sense to sound to resense with every step. solo

16. MUSHY PEAS, Steve McCaffery & bpNichol (England, 1978); source: Steve McCaffery & bpNichol, IN ENGLAND NOW THAT SPRING (Toronto, Aya Press, 1979). 6 pp of drawn optophonetics as visual field for improvisation. duo: curry/Larwill

17. sounds’ favorite words, Paul Haines (Canada, 1986), as quoted in full in an extract from Haines’ Jubilee; source: Paul Haines, Secret Carnival Workers (Toronto? H Pal Productions, 2oo7), with reference to Michel Contat’s reading on Haines’ DARN IT! (USA, American Clavé, 1994). hijacked as a footnote of manysorts. Jubilee ends "Unrelatedly, there was a recital of whisk the morning of 17 July after a night the cats had raised hell on the front lawn, a group of robins fallen by the side of the hedge as though meeting on a street corner and – now headless to prove it – plumb run out of things to say, but still prettier representations of events than the sparrows the exact size of erasers stacked up with the heads on. // Which of course are words apart." solo

part 2

18. TOTEM ÉTRANGLÉ, Antonin Artaud (France, 1964?); source: KROKLOK #2 (ed.dom sylvester houédard, London, Writers Forum, 1971), with reference to Antonin Artaud/trans.Helen Weaver, Selected Writings (New York,Farrar Straus And Groux, 1976). "For years I have had an idea of the consumption, the internal consummation of language by the unearthing of all manner of torpid and filthy necessities." (Artaud in a letter to Henri Parisot, 22 sep 45). 18 of these sound cycles excised (by Artaud) from elsewhere in his writings (Here Lies; Insanity and Black Magic; The Return of Artaud, Le Momo; To Have Done with the Judgement of God; Van Gogh, The Man Suicided by Society) & formally linked as a suite. full quartet

19. ma meeshka mow skwoz, Mike Patton (USA, 1995); source: monograph (San Francisco, privately published, 1995), with reference to Mr.Bungle, disco volante (USA, Warner Brothers Records Incorporated, 1995), with music by Trey Spruance. Patton’s drawn optophonetic text yields "extended range" vocalics that’re all but buried in this complex piece of high-impact chamber music. a chance to hear the relentless trajectory of the text on its own. solo

2o. East Wind, bpNichol (Canada, 1979?); source: Four Horsemen, The Prose Tattoo (Milwaukee, Membrane Press, 1983). a gridtext deployed through overlaid extended breathlines, vowels blowing consonants all over the place. full quartet

21. The Multiples, Steve McCaffery (Canada, 1981); source: abs TruCt heh GarBagt, editor unknown (an insert in CABINET #1, USA, Immaterial Incorporated, 2ooo), transcribed by Rob Read (Canada, 2o11?). a multiplicity of mispronuncimicated masticatiums of eaneming, the contrast between what you seam to be hearing & what are here seming to be. duo: curry/Mathewson

22. A Letterklankbeelden Poem, I.K.Bonset (Holland, 192o); source: Imagining Language An Anthology, edited by Steve McCaffery & Jed Rasula (2nd ed, Cambridge, USA, MIT Press, 2oo1). with line lengths (mainly) one letter long, Bonset – among other things, a type designer – was simultaneously & independently investigating notions of optophonetics similar to Raoul Hausmann’s with diacritic modifiers. terse. solo

23.SIZERZ, Steve McCaffery (Canada, 1976); source: THE CAPILANO REVIEW #31 (ed.Steven Smith & Richard Truhlar, North Vancouver, 1984). severe elemental hocketing coupled with ordered layerings subjected to consistent randomizations. full quartet

24. roses that, d.a.levy (USA, 1966); source: UKANHAVYRFUCKINCITI BAK, ed.Robert J.Sigmund (Cleveland, Ghost Press, 1968). "for gene" (presumably Fowler), a cyclic concrete poem in linear form pumping ackackfire into the imperialism of semantic politics. solo

25. IT CAN’T HAPPEN HERE, Frank Zappa (USA, 1964); source: Mothers Of Invention, FREAK OUT! (USA, Verve Records, 1965), transcribed & arranged by jwcurry (2oo7). a somewhat remented barberchopping routine that only seems to leave metre & tonality behind, part 2 of Help, I’m A Rock, featuring Georgia Mathewson as Suzy Creamcheese ("You blew your mind on too much koolaid"). full quartet

26. BALLADS OF THE RESTLESS ARE, bpNichol (Canada, 1967?); source: monograph (2nd ed. Ottawa, Curvd H&z, 2oo6). "two versions/common source" of elemental theme & variations presented as comparative simultaneities in a "quartet for 2 voices" [curry]. duo: curry/Larwill

27. A Little Valentine, Steve McCaffery (Canada, 1977); source: Steve McCaffery, research on the mouth (Toronto, Underwhich Editions, 1978?), transcribed & arranged by jwcurry & Sheena Mordasiewicz (2o12). a trystcycle built for 2 interpenetrates itself to become a relentless rush toward simultaneous climax. duo: curry/Larwill

28. Pieces Of Stop, bpNichol (Canada, 1978); source: as 2o above. "for Greta Monach", an extremely literal approach to the score that casts the reversed expectations of its sound envelopes into stark relief. full quartet

29. auf dem land, ernst jandl (Austria, 1968?); source: konkrete poesie deutschsprachige autoren, ed.eugen gomringer (reprint? Stuttgart, Philipp Reclam, 198o). an "utter zoo" octupletted & arranged as simultaneous nouns’n’sounds. duo: curry/Larwill

3o. GLASS ON THE BEACH, Richard Truhlar (Canada, 1978?); source: Owen Sound, Beyond The Range (Toronto, Underwhich Editions, 198o), transcribed by jwcurry from a trio (Michael Dean, Steven Smith, Richard Truhlar) recording at The Music Gallery in Toronto, 18 august 1979, with additional parts adapted from 2 manuscript scores courtesy of Truhlar. extended vocal waveforms with buried shards. full quartet ___________________________________________________________________________

with Big Thanks to Gustave Morin for causing it, Jenny Kimmerly for the programmes, Jarrod Ferris for filming, Kung To for rehearsal space, Chris (dunno yr last name) & Sergio Forest for the fantastic homemade onion rings &, ‘fcourse, the band for the pleasure & hard work

front cover: bpNichol, Pieces Of Stop (28), rescored by jwcurry (bottom: lettering by curry) rear cover: dom sylvester houédard, anacyclic poem with two shouts DHARMATHOUGHTS STUPAWARDS (7) ___________________________________________________________________________

see also:

announcements: www.flickr.com/photos/48593922@N04/8078983925/ www.citywindsor.ca/residents/Culture/Mackenzie-Hall/Pages… pagehalffull.com/pesbo/2012/10/12/sunday-oct-21-messagio-… issuu.com/uwindsorlance/docs/thelance-85-16 (down on p.6) www.flickr.com/photos/48593922@N04/8152980663/

photographs: www.flickr.com/photos/pearlpirie/8119045118/ www.flickr.com/photos/pearlpirie/8119033749/ www.flickr.com/photos/pearlpirie/8119034091/ www.flickr.com/photos/pearlpirie/8119046498/ www.flickr.com/photos/pearlpirie/8119034923/ 2.bp.blogspot.com/-utKD_y6vO8c/UIgX0FXlbYI/AAAAAAAAAL8/kA…

Posted by jwc 3o2 on 2012-10-31 04:32:03

Tagged: , quadrabet

The post MESSAGIO GALORE TAKE XII appeared first on Good Info.

[fuerademargen]

Viaje a través de «Arte & álbum»

Fiel a su cita de marzo, la revista semestral Fuera [de] Margen pone en la calle un número más (y con este van quince traducidos, veinticuatro en francés). En esta ocasión todo gira entorno a la cuestión «Arte & álbum», el poder subversivo y cuestionador de la exploración artística planeando sobre el libro y las literaturas gráficas. Artistas, ilustradores, diseñadores y editores contemporáneos que contribuyen a renovar lenguajes y levantar los límites expresivos entre álbum, cómic y libro-arte, puestos en el punto de mira de este sumario. Al frente de todos ellos Jérémie Fischer, con su ilustración de cubierta, señalando el libro como un segmento más dentro de ese continuo que es la actitud exploratoria de los artistas.

Los contenidos del monográfico abordan temas como la obra «fuera de campo» de Kveta Pacovská, el vanguardismo editorial de los '60 con Stefan y Franciszka Themerson en el sello londinense Gaberbocchus Press, el arte de ilustrar del diseñador Isidro Ferrer, la abstracción de formas y ritmos en los códigos narrativos de Gianpaolo Pagni, además de los catálogos indómitos y provocadores de las editoriales Belleza Infinita en España y Éditions Matière en Francia, también una interesante entrevista mantenida con el artista plástico y autor de álbumes infantiles Paul Cox y las reflexiones de la ilustradora coreana Suzy Lee sobre el oficio creativo del autor de álbumes.

A esto se suman el artículo «El arte de hacer ver» ahondando en los juegos de artista y en ese «todo creativo» que es el álbum concebido como obra de arte en sí misma, firmado por François Gouyou-Beauchamps, así como la panorámica de Liliane Cheilan sobre la evolución de las prioridades artísticas en obras y autores de cómic en «¿Dice Vd. "noveno arte"?».

Por si esto fuera poco, añadimos dos sorpresas finales: los comentarios al libro Another history of the children's picture book: from soviet Lithuania to India, el cual nos descubre una etapa de la historia de la literatura infantil desconocida para nosotros, y la obra ganadora en la sección para ilustradores noveles [Ópera Prima], que se titula «Ombre» y la firma Blanca Vázquez.

Como habéis podido comprobar, una ocasión más para descubrir nuevas obras y autores desconocidos, facetas renovadas de viejos temas y sorprendernos como niños con el campo que abren los monográficos FdM.

Disponible por suscripción en fuerademargen@pantalia.es

Boletín de suscripción: 23 € dos monográficos anuales.

Oferta especial para suscriptores: 10 € cada número atrasado.

También en nuestra lista de librerías.

[englishmodernism]

The Shapes of the River Gwen Barnard The Thames as interpreted by Eugene Walter with lithographs by Gwen Barnard. It could have been published yesterday, but was actually issued in 1955 by the Gaberbocchus Press, way ahead of its time. #riverthames #shapesoftheriver #thames #gwenbarnard #modernism #midcenturymodern #graphicdesign#letterpress

[jareckiworld]

Gaberbocchus Press “Themerson & Themerson”

[thesupervision-blog]

So-called Ephemera — Stuart Bertolotti-Bailey

“As the name suggests, ephemera is designed for — and often on — the spur of the moment. Like a telegram, it isn’t really meant to last, so it’s somewhat paradoxical that this sort of material has been carefully archived for posterity.”

“The first is an expanded idea of what publishing — literally making things public — could mean: not only magazines and books, or PDFs and websites, but equally readings, performances, films, animations, and even talks like the one you’re listening to right now.”

“Kippenberger, he said,vsimilarly conceived his work as an endless chain, in the sense that each new piece became the premise for making the next: a painting painted as one of a series to be exhibited in a gallery to be advertised by a poster to be collected into in a book of posters to be announced by a postcard and so on and so on. Kippenberger also once asserted that he’d rather be a comma than a full stop. Wonderful.”

“Kippenberger worked without any sense of hierarchy between media, so painting and postcard were on equal terms in this unusually egalitarian body of work.”

“The Gaberbocchus mandate was always to pass on past and present ways of thinking at odds with the mainstream, and to this end they were pointedly provocative.”

“obligatory headshot that accompanies the Guardian profile: the camera at arm’s length angled sharply upwards to snap a barely legible selfie, subverting the stereotype to the extent that attitude trumps image.”

“20. That different people have different purposes is an empirical matter of fact. (A.J. Ayer) 22. It is a fact that human beings do not solve problems unless they are put to them in a very drastic way. (J.D. Bernal)”

“It isn’t,” I agreed. “All the same, I’m used to it that, when I open a book, I can tell at once, without reading a word — ‘O, this is a novel; and that one is a play. Here is pure mathematics and there is a musical score. This is a dictionary, that is a telephone book, and that other one is a volume of poetry.’ Now because of unjustified setting all that is no more possible, something essential has been destroyed.”

“And third, the real postscript here is that nothing is sacred, conditions are always prone to change, new axes are always opening up, and when they do, perspectives and requirements change, too.”

“Froshaug’s tinkering with the obstinate materiality of moveable metal type mirrored Themerson’s tinkering with the graphic atoms of language. Both were out to embody intrinsic relationships to constructive ends, and this project was an ideal opportunity to align form and content, technics and ethics.”

“Stefan was always out to convey the unmediated truth of a situation — and usually did so by forging a third route between two orthodox poles. Given the sort of close reading and looking we’ve been concerned with here, this might sound like a strangely inflated claim to make. But if we conceive of a contrary “untruth” as synonymous with the total mediation typical of today’s advertising, marketing, and propaganda, then the rogue ethos that marks the legacy of Gaberbocchus Press and their ilk remains a much-needed beacon for artists, designers, writers, and hybrids working today.”

[rahzizi-blog1]

Bertrand Russell, The Good Citizen's Alphabet, Gaberbocchus Press, 1953

[garadinervi]

Raymond Queneau, (1947), Exercises in Style, Translated from the French by Barbara Wright and Chris Clarke, with a contribution by Ben Marcus, Blake Butler, Amelia Gray, Jesse Ball, Harry Mathews, Lynne Tillman, Shane Jones, Jonathan Lethem, Enrique Vila-Matas and Frederic Tuten, New Directions, New York, NY, 2013 [Cover: original design by Stefan Themerson for Gaberbocchus Press (1958)]

[drawdownbooks]

Biography Of A Publishing House / Available at www.draw-down.com / In 1948 Stefan and Franciszka Themerson founded the #Gaberbocchus Press in #London. Over a period of three decades this #publishinghouse produced over 60 titles, and although the couple’s work clearly has roots in the international avant-garde of the interbellum, they maintained a high level of independence in all of their activities. Their publications are characterised by improvised techniques and materials, as well as by experiments with word and image (“not best-sllers, but best-lookers.” Eccentric, original, and expressive of the identity of its contents, each book contains a distinct combination of text, image, design, materials. This volume pays tribute to the rare phenomenon that was Gaberbocchus, and is fully illustrated with book cover designs and layouts. A wonderful addition to the library of those collecting #booksaboutbooks, book and #publishinghistory, and artists working with the #bookform. Designed by #PietGerards / Text in Dutch and English

[garadinervi]

Raoul Hausmann & Kurt Schwitters, Pin and Story of Pin, Gaberbocchus Press, London, 1962. Design: Anna Lovell

[garadinervi]

Stefan Themerson, Apollinaire's lyrical ideograms, Gaberbocchus Press, London, 1968

[drawdownbooks]

Mr. Rouse Builds His House / Available at www.draw-down.com / A tiny book that tells the story of Mr. Rouse, a man who has decided to build himself a house. Inevitably, the process is much longer and more detailed than Mr. Rouse could ever have envisioned. This quirky tale, originally published in 1950, takes readers through the process of choosing building types and making all kinds of decisions. With a blend of absurd poetry and pragmatism, Mr. Rouse contends with building materials, transportation, lighting, and plumbing. Stefan and Franciszka Themerson were Polish avant-garde artists and filmmakers who in the 1940s fled to London, where they worked on a huge range of creative projects. In 1948, they founded the influential Gaberbocchus Press, publishers of Kurt Schwitters, Jankel Adler, and Alfred Jarry, among others. By Stefan Themerson and Barbara Wright, with drawings by Franciszka Themerson. Published by Tate Publishing #design #typography #illustration #MrRouse #FranciszkaThemerson

[drawdownbooks]

10% OFF EVERYTHING w/ code “NOIR17” — Ends tonight at midnight / www.draw-down.com / Mr. Rouse Builds His House / A tiny book that tells the story of Mr. Rouse, a man who has decided to build himself a house. Inevitably, the process is much longer and more detailed than Mr. Rouse could ever have envisioned. This quirky tale, originally published in 1950, takes readers through the process of choosing building types and making all kinds of decisions. With a blend of absurd poetry and pragmatism, Mr. Rouse contends with building materials, transportation, lighting, and plumbing. Stefan and Franciszka Themerson were Polish avant-garde artists and filmmakers who in the 1940s fled to London, where they worked on a huge range of creative projects. In 1948, they founded the influential Gaberbocchus Press, publishers of Kurt Schwitters, Jankel Adler, and Alfred Jarry, among others. By Stefan Themerson and Barbara Wright, with drawings by Franciszka Themerson. Published by Tate Publishing #design #typography #illustration #MrRouse #FranciszkaThemerson

[drawdownbooks]

Mr. Rouse Builds His House / Available at www.draw-down.com / A tiny book that tells the story of Mr. Rouse, a man who has decided to build himself a house. Inevitably, the process is much longer and more detailed than Mr. Rouse could ever have envisioned. This quirky tale, originally published in 1950, takes readers through the process of choosing building types and making all kinds of decisions. With a blend of absurd poetry and pragmatism, Mr. Rouse contends with building materials, transportation, lighting, and plumbing. Stefan and Franciszka Themerson were Polish avant-garde artists and filmmakers who in the 1940s fled to London, where they worked on a huge range of creative projects. In 1948, they founded the influential Gaberbocchus Press, publishers of Kurt Schwitters, Jankel Adler, and Alfred Jarry, among others. By Stefan Themerson and Barbara Wright, with drawings by Franciszka Themerson. Published by Tate Publishing #design #typography #illustration #MrRouse #FranciszkaThemerson