All of the pieces in this issue are concerned with the reactivation and relocation of historical material. Through institutional archives, amputated visual elements, distant sounds from the Lesser Antilles and de-funct bookshops, the common thread is exhumation. Ron Hunt’s text centres around monuments to Kazimir Malevich, Rosa Luxemburg and Walter Benjamin. While the Scandinavian Institute for Computational Vandalism’s foundingincludes Asger Jorn speaking some forty years after his death, alongside a digital modification of images from the Museum Jom in a manner reminiscent of his own vandalism’. James Bulley’s Music’ weaves a parallel narrative between the composer Daphne Oram and film-maker Geoffrey Jones, stitching together recovered field recordings, archival fragments and newly digitized photographs. Céline Condorelli and James Langdon discuss the politics of display, and the implications of the documentation and exhibition of artefacts detached from their original contexts. Rose Gridneff provides a brief account of the transportation of the collection of the former Nijhof & Lee Bookshop, from Amsterdam to Epsom, and the barren practicalities of working with such material. Ryan Gerald Nelson and David Whelan focus on archiving at a more individual scale; RGN on the detritus and off-cuts from his working process and DW on his own family history.
About Bricks from the Kiln
“The notion of this content being on or around graphic design relates to the fact that BFTK ultimately collects the kinds of writing that interests and excites us first and foremost as readers, and secondly as designers and typographers. The majority of the writing isn’t necessarily about graphic design or design criticism, but, given that both of our backgrounds are in graphic design, it can be seen through this lens. It’s certainly open-ended though, and deliberately so. Graphic design can sometimes be seen negatively as a kind of parasitic activity, in the way that it attaches itself to other disciplines. However that’s not the case for us. The way in which it can operate as a conduit that both shapes and carries material, and the proximity to other disciplines that it affords, is probably what drew us both to it as as field in the first place. Perhaps or around graphic design” isn’t exactly right, but it oddly seems at once more specific and more vague than terms like culture” or communication,” or even studies,” which are in the right ballpark but don’t sit quite right with us.” — Andrew Lister and Matthew Stuart, interviewed by Paul Bailey in the