Events > Art Fair

15 - 20 Jun. 2005

Art Basel 36

Artists
AA Bronson, Christian Marclay, and Daniel Olson
Curator
Lionel Bovier
Participant
Printed Matter
In this Series

13 - 18 Jun. 2001
Art Basel 32

12 Jun. 2002
Art Basel 33

18 - 23 Jun. 2003
Art Basel 34

16 - 21 Jun. 2004
Art Basel 35

14 - 18 Jun. 2006
Art Basel 37

13 - 17 Jun. 2007
Art Basel 38

04 - 08 Jun. 2008
Art Basel 39

10 - 14 Jun. 2009
Art Basel 40

15 - 19 Jun. 2011
Art Basel 42



Art Metropole attends Art 36 Basel, the worlds leading international contemporary art fair. Teaming up with Printed Matter, from June 15 – 20, 2005 to display a rich cross section of contemporary artists’ books from our two organizations.

Art Metropole and Printed Matter are also pleased to announce the launch of a new fundraising edition called Slip Mats by Christian Marclay at Art 36 Basel. A pair of custom-made dj turntable slip-mats, each dye-printed with a photogram of the artist’s hand, is published in an edition of 300 pairs, with 50 copies signed and numbered by the artist.

Art Metropole also launches their annual Basel Shopping Bag multiple, this year designed by AA Bronson, as well as Sixty-Nine (69) a special limited edition catalogue listing of publications by Daniel Olson, designed by Daniel Olson.

Artists’ books are receiving unprecedented attention at this year’s Art Basel, with a special exhibition, Artists’ Books, curated by Lionel Bovier. If you are in Basel, please come by Stand 100, Hall 1.0, situated in the lobby to Art Unlimited, say hello, and have a look at.

Art Metropole thanks the Canada Council for the Arts, the Ontario Arts Council, the City of Toronto through the Toronto Arts Council, as well as private donors for their support.


AA Bronson, born Michael Tims, Vancouver, British Columbia, Canada, 1946 -.

American sculptor, installation artist and musician. He studied at the Massachusetts College of Art in Boston in the late 1970s, and whilst on an exchange programme to New York he began presenting performances involving experimental music. His early visual work played on his interest in music: his Record without a Cover, released in 1985 by Recycled Records in New York, was a recording of his music distributed to record shops in the normal manner but bearing the instructions that it should not be placed in any kind of sleeve or cover. The Beatles (1989; see 1998 exh. cat., p. 24) destroys the possibility of sound altogether, consisting as it does of a pillow crocheted from cassette tape of the entire Beatles back catalogue. The relationship between sound and non-sound, and between objects brought together in unexpected combinations, are central concerns in Marclay’s work. Black and White (1992; see 1998 exh. cat., p. 43) is one in a series of composite images made by sewing LP covers together to make hybrid figures, echoing the scratching and sampling of his earlier sound work. In the installation Echo and Narcissus (1992; Jerusalem, Israel Mus.), 14000 CDs cover the gallery floor so that the viewer walks over them, their purpose as music recordings warped into a shiny surface, with the only sound being the viewers’ footsteps. Marclay’s practice purposefully straddles both gallery-based visual art and pop music, exploring ways of disrupting our perceptions of sound and identity using techniques of collage, scratching, misplacement and surprise.

Born in California to Canadian parents in 1955, Daniel Olson completed degrees in mathematics and architecture before obtaining a Bachelor of Fine Arts in 1986 from the Nova Scotia College of Art and Design Halifax) and a Master of Fine Arts in 1995 from York University (Toronto). Olson’s work – which includes sculpture, multiples, installation, photography,performance, audio, video and artist’s books – has been exhibited widely, including shows at the Contemporary Art Gallery (Vancouver), the Art Gallery of Ontario (Toronto), the Musée national des beaux-arts du Québec (Québec), Galerie Optica (Montréal), and the Canadian Cultural Centre (Paris). Olson has published numerous artist’s books and multiples, most of which have been available at Art Metropole in Toronto, where he is also represented by Birch Libralato. Since 2001 Olson has been living and working in Montreal. Solo exhibitions include Twenty Minutes’ Sleep, Contemporary Art Gallery (Vancouver, 2005); Other Conditions, Modern Fuel (Kingston, 2005); Unknown Seventies Artists, Galerie TPW (Toronto, 2005); and I’m Not There (1955), Goethe Institute (Dublin, 2004). Olson has exhibited in group exhibitions such as Aural Cultures, Walter Philips Gallery (Banff, Alberta, 2005); Frottements: Objets et surfaces sonores, Musee national des beaux arts de Quebec, (Quebec, 2004); In Light (video projections by eight artists), Art Gallery of Ontario, (Toronto, 2004); and Promise, Contemporary Art Gallery (Vancouver,2001).

Founding director of JRP Ringier Publishing.

Printed Matter is the world’‘s largest non-profit organization dedicated to the promotion of publications made by artists. Founded as a for-profit alternative arts space in 1976 by artists and artworkers, Printed Matter reincorporated in 1978 to become the independent non-profit organization that it is today. Originally situated in Tribeca, Printed Matter moved to SoHo in 1989 where for twelve years the book displays and artists’ projects in the large storefront windows contributed to the artistic and intellectual vibrancy of the neighborhood. In 2001 Printed Matter relocated to Chelsea, where it continued to foreground the book as an alternative venue – or artistic medium – for artists’ projects and ideas. Finally, in December of 2005 Printed Matter moved into our current storefront location in Chelsea with big windows and greatly increased display and exhibition space. Recognized for years as an essential voice in the increasingly diversified art world conversations and debates, Printed Matter is dedicated to the examination and interrogation of the changing role of artists’ publications in the landscape of contemporary art.

Printed Matter’‘s mission is to foster the appreciation, dissemination, and understanding of artists’ publications, which we define as books or other editioned publications conceived by artists as art works, or, more succinctly, as “artwork for the page.” Printed Matter specializes in publications produced in large, inexpensive editions and therefore does not deal in “book arts” or “book objects” which are often produced in smaller, more expensive editions due to the craft and labor involved in their fabrication.

To promote public awareness of and access to artists’ books, Printed Matter maintains a public reading room where over 15,000 titles by 6,000 international artists are available for viewing and purchase. In addition to being a wholesale and retail distribution hub for artists’ books, Printed Matter offers a free consulting service to libraries, art institutions, and art professionals involved with artists’ books throughout the world. Printed Matter presents a range of educational programs for the public from talks to student groups by staff members to in-store lectures and readings by artists, critics, and curators. These educational initiatives are complemented by our internationally recognized exhibitions program and publishing program.

Images

1: AA Bronson at the Art Metropole/Printed Matter booth.
2: AA Bronson and Andrew Zealley.
3: AA Bronson and Lucy Pullen.
4: Publisher and curator Lionel Bouvier perusing the Art Met booth.
5: Paul P and Mark Selwyn.
6: AA Bronson, all business at the collaborative booth between Art Met and Printed Matter Inc.

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