tristesse engraved

november 2011

contents

page 3-7: lucia moholy

page 8-17: jaroslav rossler

page 18-25: marianne brandt

page 26-36: herbert bayer

page 37-38: irmãs brontë

page 39-53: shirley craven and hull traders

page 54: expired film - three perspectivespage 55-63: maggie zhangpage 64-79: daniel gonzalez fusterpage 80-89: andreas hering

page 90-101: jez riley french

page 102-111: janacek ota

page 112-122: kenneth townsend

page 123-124: by an unknown photographer

page 125-133: an archive # 2

page 134-140: a quiet position - edition one

lucia moholy(1894-1989)

In 1912, Lucia Schulz qualified as a German and English teacher and moved on to university, studying art history and philosophy in Prague. From 1915 to 1918,

she worked as an editor and copy editor for a number of publishing houses, including Hyperion and Kurt Wolff in Berlin. In 1919, she stayed in Heinrich Vogeler’s Barkenhoff (lit: Birch-tree cottage) in Worpswede near Bremen. She

published Expressionist literature under the pseudonym Ulrich Steffen. In 1920, she became editor of the publishing house Rowohlt in Berlin. The following

year, she married László Moholy-Nagy, who would go on to become a Bauhaus master. From 1922 to 1923, they worked together in the field of experimental

photography.

With her husband appointed to the Bauhaus Weimar in 1923, Moholy began an apprenticeship in one of its photography studios and at the same time

photographed objects produced in the Bauhaus workshops for publications. From 1923 to 1925, she worked as a freelance photographer at the Bauhaus Weimar, resuming the same post at the Bauhaus Dessau from 1925 to 1928. From 1925 to 1926, she studied photographic and printing techniques at the Akademie für grafische Künste und Buchgewerbe Leipzig (Academy of Visual Arts, Leipzig). Her important works from this period include a comprehensive photo series on the new Bauhaus Building and the Masters’ Houses in Dessau

for the press and for the Bauhaus Books, which established her as an authentic voice in the process of documenting the Bauhaus by 1928. During this period, she also produced photographs of objects made in the workshops and portrait

series of the Bauhaus’s teachers and friends.

After leaving the Bauhaus in 1928, she worked with the photographic agency Mauritius and was represented at the Deutscher Werkbund (German Work

Federation) exhibition Film und Foto in Stuttgart in 1929. She separated from her husband the same year. As the successor of Otto Umbehr (Umbo), she was hired as a specialist subject teacher for photography at Johannes Itten’s school in Berlin. In 1933, she emigrated via Prague, Vienna and Paris to London and

worked there as a portrait photographer and author. In the following years, she directed documentary films for numerous important archives and UNESCO

projects in the Near and Middle East. After relocating to Switzerland in 1959, she worked in publishing, focusing on art criticism and art education, and

participated in many exhibitions.

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bauhaus building 1926

masters house 1926

bauhaus building 1927

masters house 1926

jaroslav rossler(1902-1990)

Jaroslav Rössler (25 May 1902, Smilov – 5 January 1990, Prague) was a pioneer of Czech avant-garde photography and a member of the

association of Czech avant-garde artists Devětsil (Butterbur). From 1917 to 1920, Rössler studied in the atelier of the company owned by renowned Czech

photographer František Drtikol. Subsequently, he worked with the company as a laboratory technician. As a 21 years old, he began collaboration with the art

theorist Karel Teige, who assigned him to create typographic layout for magazines Pásmo, Disk, Stavba and ReD (Revue Devětsilu). While working on

these tasks, Rössler deepened his knowledge of photographic methods. In his works he utilized and combined the techniques of photogram, photomontage,

collage and drawing. The beginnings of his photographic work were influenced by Cubism and Futurism, but he also attempted to create the first abstract

photographs. In 1923, he became a member of the avant-garde association Devětsil.

In 1925, he went on a six month study visit to Paris. The same year he began working as a photographer in the Osvobozené divadlo in Prague. Before his

second departure to Paris, he co-worked as a commercial photographer with the pictorial magazine Pestrý týden.

In 1927, Rössler moved to Paris together with his wife, Gertruda Fischerová (1894–1976). Initially, he focused on commercial photography. He collaborated

with the experimental studio of Lucien Lorell, and worked on commissions for notable companies such as Michelin and Shell. However, later he found an

interest in the “street life” of Paris, which influenced his future stay in the city. During a demonstration, he encountered the protesters and took photographs of the event. Shortly after that he was arrested, and after a six-month imprisonment he was expelled from the country, in 1935. The alleged reason for his expulsion was his German-sounding surname. After his return from Paris, Rössler and his

wife resided in Prague, Žižkov. He opened a small photographic atelier, but difficulties associated with the management of the studio caused a significant

gap in his artistic work, lasting for almost two decades.

In the 1950s, he resumed his previous activities and again began experimenting with the camera and photographic techniques. He created so-called “prizmata” (prisms), photographs taken through a birefringent prism.

Additionally, he experimented with solarisation and explored the possibilities of the Sabatier effect.

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marianne brandt(1893-1983)

Marianne Brandt studied painting and sculpture at the Weimar Hochschule für Bildende Kunst from 1911 until 1918 with Fritz Mackensen, Richard

Engelmann, and Robert Weise. In 1919 Marianne Brandt (née Liebe)travelled to Norway, where she married the Norwegian painter Erkik Brandt in

Christiana. The Brandts lived in Norway and the South of France until 1922 before moving the following year to Weimar. In 1923 Erik Brandt returned

alone to Norway; the couple eventually divorced in 1935.At the age of thirty-one, Marianne Brandt enrolled at the "Bauhaus" in Weimar

in 1924. Marianne Brandt was in the metalworking workshop run by László Moholy-Nagy, who recognized and fostered her talent. The years 1924-29 saw

Marianne Brandt produce numerous designs in quick succession, which are numbered among the icons of "Bauhaus" design, such as her 1924 teapot and

sieve. From 1926 Marianne Brandt was deputy head of the metalworking workshop. In this capacity, Marianne Brandt was respnsible for collaborative

projects with industry. For the lighting firm of Körting & Mathiesen ("Kandem"), she designed nuermous lamps which were successfully produced,

including, notably, the 1924 hanging ceiling lamp and the 1928 "Kandem" table lamp she designed in collaboration with Hin Bredendieck.

At the "Bauhaus" metalworking workshop, Marianne Brandt worked with Christian Dell, Hans Przyrembel, and Wilhelm Wagenfeld. In 1929 Marianne

Brandt had a brief stint working in Walter Gropius' Berlin architecture practice. There she mainly designed furniture for mass production and

modular furniture while also working on the interior design of housing in Karlsruhe-Dammerstock.

Although she was extremely talented and successful at the "Bauhaus", Marianne Brandt never managed to establish herself as a self-employed industrial designer. Until 1932 Marianne Brandt was head of the design

division for the applied arts at the Ruppelwerke Metalware Factory in Gotha. After that Marianne Brandt again turned to painting and lived a very retired

life.In 1949 Marianne Brandt was invited to teach at the Hochschule der

Bildenden Künste in Dresden and from 1951 to 1954 she taught in East Berlin at the Institut für angewandte Kunst.

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herbert bayer(1900-1985)

At the age of nineteen Herbert Bayer took up an apprenticeship with the architect and designer Georg Schmidthamer in Linz, where he produced his

first typographic works. From 1921 Bayer worked at the Darmstadt artists' colony as assistant to the architect Josef Emmanuel Margold. In the same year

Bayer enrolled as a student at the Weimar Bauhaus, where he initially attended the pre-course under Johannes Itten followed by a workshop on

mural painting, lead by Wassily Kandinsky.In 1925 the artist completed his training with a final examination. Herbert

Bayer was appoined head of the newly created workshop for print and advertising at the Dessau Bauhaus, where they also produced the school's own printworks. In 1928 the artist left Bauhaus to focus more on his own artwork and moved to Berlin, where he worked as a graphic designer in

advertising and as an artistic director of an advertising agency called "Studio Dorland".

During his time in Berlin, the artist also devoted his time to the design of exhibitions, painting and photography and was art director of "Vogue"

magazine in Paris. In 1938 Herbert Bayer emigrated to the US, where he arranged the exhibition

"Bauhaus 1919-1928" at the New York Museum of Modern Art in the very same year.

In 1946 he moved to Aspen, Colorado, where he worked as a painter, graphic designer, architect and landscape designer. Furthermore, Herbert Bayer worked as an artistic consultant for several companies and institutions,

including the "Container Corporation of America", the "Atlantic Richfield Company".

He was also the design consultant for the Aspen cultural center and member of the art board for the information bureau of the United States of America. In

1974 the artist moved to Montecito, California.

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Latidos - Irmãs Brontë

prólogo: Prism and light

Latidos gathers a selection of stories with a shared, uncommon ways of perceiving the world. Sometimes

realistic and at other times delirious and poetic in tone, the authors journey through (briefly and fable-like) the

hidden spaces between science, religion, paganism, nature, history, mythology and aesthetics, in a

voracious curiosity and innocently available way of looking at the world. Crossing over borders

shamelessly, they are drawing pathways as if to attempt to understand the world. - Pedro Nora

The text above served as an introduction to the edition of Latidos published in Portugal in 2010. These stories

appear on a regular basis and in english for the first time in tristesse engraved.

Imbalance  

A whisper echoes throughout the mountain in misty days. The road hides, making access by car

impossible. Pedestrian paths are impassable because they become invisible. The mountain is isolated, and

the whisper is like the sound of a singular entity, keen to exhibit its individuality by separation from the world.

All animals are scared, and children hide close to the adults. Men lower their heads to face the soil, and

women enter a melancholic state. Sometimesthe mountain is isolated for days and the whisper

becomes a cry. Strange things happen then. One day the water of the river ran very slowly, almost stagnated, and another time it is said, that there was snow on the

borders of the roads less affected by the mist.

When the mist disappears, the green becomes astonishingly bright, the colours of the flowers are vivid

and the trees have more leaves and tastier fruits. All vegetation seems to have gained more strength, more life and energy. This part of the world is known for its

extraordinary natural beauty. There are seldomly tourists, and few are the inhabitants who remain there

all their lives.

shirley craven and hull traders

shirley craven:

Born in Hull in 1934 and trained at Hull College of Art and the Royal College of Art, Shirley Craven was the most original printed textile designer of her

generation.

After teaming up with Hull Traders in 1959, she played a pivotal role in the company for the next 20 years, creating over 40 arresting patterns. As colour and design consultant she was responsible for shaping their entire collection

and had complete artistic control.

Strongly graphic and visually inventive, Craven’s designs are impossible to pigeonhole. More like paintings than conventional furnishing fabrics, their bold

compositions, gigantic repeats and inspired colourways are unique in the history of pattern design. 

"All my work is based on abstraction," she reflects.

"Sometimes it is an abstraction of a feeling - joy, sorrow, anger or love - but an abstracted landscape is often an abstraction of a feeling as well."

Craven instinctively worked in series - her designs are like variations on a musical theme. With each collection she struck out in a new direction. The

improvisatory impulse - the desire to surprise - was a recurrent feature of her designs.

Craven’s designs were an immediate success, both critically and commercially. 'Le Bosquet' won a Design Centre Award in 1960, followed by 'Shape',

'Division' and 'Sixty-Three' in 1964 and 'Five' and 'Simple Solar' in 1968. These achievements are unmatched.

Shirley Craven flourished at Hull Traders, fulfilling her artistic potential and winning accolades for the firm.

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hull traders:

Launched in 1957, Hull Traders was co-founded by - and named after - Tristram Hull, a publisher and editor, in partnership with Stanley Coren. Initially acting

as agents, hand screen-printed textiles soon became their main focus and so Time Present Fabrics was born.

In 1959 Peter Neubert took over the company and appointed Shirley Craven as art director.

Hull Traders relocated from Willesden to Pave Shed Mill at Trawden, near Colne in Lancashire, in 1961.

Although modest in industrial terms, Hull Traders was a visionary enterprise where creativity flourished out of all proportion to its size. Artists and designers

contributed in equal measure and on equal terms. The pool of freelance designers was constantly refreshed.

Sculptor Eduardo Paolozzi and photographer Nigel Henderson, collaborating under the name Hammer Prints, played a prominent role at the outset, along

with textile designer John Drummond. Artist Ivon Hitchens was another notable early contributor.

The 1960s was a golden era for Hull Traders, with ambitious, ground-breaking designs by Shirley Craven and other gifted artist-designers, such as Peter

McCulloch, Doreen Dyall, Roger Limbrick and Trinidadian-born Althea McNish (Britain’s first and most distinguished black textile designer).

Although Hull Traders closed in 1980, their fabrics still look as fresh and exciting today as when they first appeared.

'tomotom' - the iconic cardboard furniture designed by Shirley Craven’s husband Bernard Holdaway - proved another huge success for Hull Traders.

Launched at the Ideal Home Exhibition in 1966 and sold by mail order, it epitomised the playful ebullience of the swinging 60s with its bright colours and

circular forms.

shirley craven - group of feathers 1957

shirley craven - teasel and briar rose 1957

shirley craven - red geranium 1957

shirley craven - november (fabric) 1967

roger limbrick - roundel (fabric) 1964

peter perritt - pintura (fabric) 1962

shirley craven - compass 1962

molly white - centrum (fabric) 1966

shirley craven - pascoe (fabric) 1960’s

shirley craven - kaplan (fabric) 1961

dorothy carr fabric 1960’s

doreen dyall - wild bloom (fabric) 1964

roger limbrick - pleasaunce (fabric) 1960-61

expired film - three perspectives

maggie zhangdaniel gonzalez fuster

andreas hering

the use of expired film, rolls of photographic film that has long exceeded its best before date, allows for an unpredictable

element in the images of even the most considered photographer

issue three of tristesse engraved featured several other photographers working in this medium.

to view or download find it here:

http://issuu.com/engravedglass/docs/tristesse_iengraved_ssue_three?viewMode=magazine

maggie zhang

photographs taken with a Minolta Srt 101

 http://1001nightsndays.tumblr.com/

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daniel gonzalez fuster

www.dfuster74.blogspot.com

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aandreas hering

With my photographs I try as much as possible to capture authenticity. To capture the authenticity and to communicate,

I use exclusively analog material. Since 2011 I concentrate entirely on Polaroid material. Through the use of old cameras and old film stock, I would like to move technology from the

past with images from the now into the future. AndI have no desire for perfection, but like to play with the

imperfection of the Polaroid material. For me, working with analog technology means a deceleration and a direct and

often costly confrontation with man and nature, which allows me my view of things in life present.

www.andreas-hering.cominfo@andreas-hering.com

jez riley french

through lenses # 2j

ota janacek(1919-)

Czech painter, book illustrator, sculptor and designer. Born in Pardubice in Bohemia. He studied graphic design at the Academy of Applied Arts in Prague

1938-41, and first made a reputation with drawings and paintings influenced by Modigliani. Afterwards he made numerous paintings and prints inspired by

natural forms, especially plants, including series of Paradises, Winter Gardens, Flora etc.; many of these have a Klee-like patterning. During 1955-7 he painted a series of quasi-Cubist views of towns and villages, but from 1960 turned more to themes derived from the inner structure of matter (Organisms, Cells etc.) or to

the stylised human figure (Ecce Homo). He has illustrated a large number of books, designed postage stamps, posters, textiles, jewellery, ceramics, acted as artistic adviser on several films, and made lithographs, woodcuts, drypoints, as

well as sculptures in wood and metal. He lives in Prague.

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kkenneth townsend

(1931-1999)

Kenneth Townsend managed to capture the humorous side of life through his art, drawings and writing.

He was based in Hastings and is known to have worked as a freelance designer for Hornsea Pottery, Chance Brothers (glass), Cuckoobird Productions (textiles) Merit (games) and James Galt & Co. Ltd (toys). He was also the art director for

Pickpocket Books from 1991-1998.

He exhibited his abstract art both at home and abroad and is represented in public collections in England, Scotland and Holland.

the above text is taken from:

www.kenneth-townsend.co.uk

the images of ‘menagerie’ series tiles are reproduced courtesy of robert higgins:

www.flickr.com/groups/1596576%40N21

‘remember remember’ game for galt toys

‘remember remember’ game for galt toys

‘remember remember’ game for galt toys

‘marble fun’ game for merit toys

‘menagerie’ tiles

hedgehog & fish tiles from the ‘menagerie’ series

robin and mouse tiles from the ‘menagerie’ series

owl and moose tiles from the ‘menagerie’ series

cat and ram tiles from the ‘menagerie’ series

pelican and lion tiles from the ‘menagerie’ series

by an unknown photographer

girl holding a spade

date and location unknown

an archive # 2

biblioteca de arte-fundação calouste gulbenkian, portugal

108-111: faculdade de ciencias, lisbon112-115: instituto superior tecnico, lisbon

qa quiet position

a series of collections representing aspects of the art of listening through field recording

each edition will be available online as a free download for a limited time

edition one: FIELD FEST is available now & features work by many of the artists who appeared at the FIELD FEST festival in

bruxelles, belgium, october 2011

aquietposition.tumblr.com

....a quietposition(listening through field recording -edition one:FIELD FEST)

FIELD FEST12th-15th October 2011Beursschouwburg - Q-O2

anne wellmer - manu holterbachjason khan - annea lockwoodmichael pisaro - else viaenepauwel de buck - toshiya tsunodamanfred werder - jez riley frenchpeter cusack - justin bennettlee patterson - pali meursaulteric la casa - martiensgohome mecha orga

Beursschouwburg Ortsstraat 20-28&Q-O2 werkplaatsKoolmijnenkaai 30-34 B-1080 T: +32 (0)2 245 48 24info@q-o2.be

field recording, in all its forms, has been through incredible creative growth in the last few decades & yet its essential power to engage us in the act & art of listening remains inextricably linked to its subtle simplicity, its ability to make us listen ever

more closely to the world in which we move by making us stop for a time....

in October 2011 Field Fest (curated by q-o2) brings together many artists /composers / musicians whose work involves various aspects of field

recording....this compilation offers you the chance to hear some small elements of that work. it should be noted however that much of the work in this area of music /

sound is not ideal for listening via computer speakers so please do listen via headphones or other speakers. I hope you will find these pieces enjoyable,

inspiring and thought provoking....thanks....jez riley french

a few seconds silence is placed between each track

0:00-8:00 | jez riley french - ‘resonances / residences’ (extract) 8:10-16:18 | pauwel de buck - ‘dead end environments, 2009’

16:28-22:58 | emmanuel holterbach - ‘bats & tv screen’ 23:06-29:11 | manfred werder - ‘2006/2 places a time (sound)’

29:24-34:24 | justin bennett - ‘istiklal resonance’34:34-43:56 | martiensgohome - ‘umtui’

44:05-49:53 | mechaorga - ‘05.50’50:06-1:00:06 | michael pisaro - ‘transparent city no.5’ (extract)

1:00:15-1:02:19 | peter cusack - ‘barnacles on an anthony gormley sculpture’ 1:02:31-1:08:35 | pali meursault - 'west bay'

1:08:45-1:13:18 | anne wellmer - ‘almabtrieb zum schachernhof’1:13:28-1:19:24 | annea lockwood - ‘a sound map of the housatonic river’ (excerpt)

1:19:34-1:27:19 | els viaene - ‘empty landscapes’1:27:29-1:29:43 | eric la casa - ‘liege 2: air pressure’

to listen click here

1. jez riley french - ‘resonances / residences’ (extract)

I capture moments, when i’m lucky. This track is an extract from two pieces I composed this year from untreated field recordings made during residencies in Italy, Japan & Korea. The sounds on this extract are small aqautic insects, ants eating an apricot & ballustrades in a small village - all of which were recorded with hand built contact microphones & hydrophones. the full length cd of ‘resonances di topolo / residences de lumiere’ will be released on engraved glass in october 2011

engravedglass.blogspot.com | jezrileyfrench.blogspot.com

2. pauwel de buck - ‘dead end environments, 2009’

a short description: dead end environments is the final mix a eponymous installation which was constructed out of the aural environment of the Belgian capital Brussels, accurately placed in a gallery space afterwardshttp://pauweldebuck.yolasite.com/

3. emmanuel holterbach - ‘bats & tv screen’ march 2011

All sounds are ultrasonic frequencies captured with a bat detector : sonar of bats in the courtyard of my home in Lyon, and my TV screen. No electronic, no manipulation, just a bit of editing. http://orbes.over-blog.com/

4. manfred werder: ‘2006/2’placesa time( sounds )

Actualization: ala1RECS&arsomnis, Tsonami, Manfred Werder. March 15, 2011 Valparaíso, Quebrada entre los cerros Barón y Placeres, Calle Julio Verne (continuación de Castro) Recording: ala1RECS&arsomnis

http://www.arsomnis.com/artesmusicales/manfred-werder--ala1recsarsomnis-marzo-2011/http://manfred-werder.blogspot.com/

5. justin bennett - ‘Istiklal Resonance’ recorded 2007 in Istanbul.

"Istiklal Resonance" is a remixed excerpt from the piece "The Well" which was recorded in Istanbul. It was made by taking the sound of crowds and street musicians walking along Istiklal Caddesi!and resonating it in large water containers. Although it became an abstract, musical sound in the process, it still for me reflects the enormous energy to be found on that street.for more information and a free download of the complete CD "The Well" see!http://spore.soundscaper.com/thewell.html

6. martiensgohome - ‘umtui’

martiensgohome is a sound collective who has been fooling around with recordings for more than 15 years. They present the resulting soundscapes every Thursday on radio campus Brussels (9:30 pm on 92.1 fm -!www.radiocampusbruxelles.org/).http://www.martiensgohome.net

7. mecha/orga - ‘05:50’

field recordings, manipulation and composition by Yiorgis Sakellariou, (Athens, June 2011)www.mecha-orga.com

8. michael pisaro - ‘transparent city no.5’ (extract)

taken from the wandelweiser edition double cd set ‘transparent city (volumes 1 & 2)

http://michaelpisaro.blogspot.com/http://www.timescraper.de/

9. peter cusack - ‘clicking barnacles on an anthony gormley figure, crosby beach, merseyside (another place, another lifeform)

http://favouritesounds.org/www.sounds-from-dangerous-places.org/

10. pali meursault - 'west bay'

recorded in dorset, UK / composed at La F* de B*, 2010

www.palimeursault.net

11.anne wellmer - ‘Almabtrieb zum Schachernhof’ (4’34”)

saturday morning I helped with the "alm-abtrieb": walking and running and shouting and hitting and talking and singing a herd of cows from the high alps back to the main farm house in the lower alps in preparation for the winter.

recorded with binaural mics in the morning of september 17 2011 near mittersill in austria. This excerpt was recorded two hours into the four hour walk, shortly before the cows start walking on a local high way and bring traffic to a standstill. An hour later as the cows leave the main road again the farmer's daughter and I collapse at the side of the street of pain and exhaustion. Somebody picks us up and brings us home. The same night we play a concert in mittersill. Two days later it snows.

12. annea lockwood - ‘a sound map of the housatonic river’ (excerpt)

excerpt from a sound installation ‘a sound map of the housatonic river’: the sources. The housatonic, a small american river which charles ives loved, rises in the berkshires, western massachusetts, and flows through connecticut to long island sound.

www.annealockwood.com

13. els viaene - ‘empty landscapes’

the track is part of a cd in progress. the working title is empty landscapes. this is the second track. it's the skin of a landscape slowly breaking open and slowly revealing the first layers underneath. the album sounds like the slow process of a landscape drawn on paper. from the very first lines to the very detailed and finished picture. something to discover in time. source material for this track: except for the tones everything is based on field recordings

‘binaural man’ photograph taken by peter cusack whilst recording his contribution for this release

14.eric la casa - ‘liege 2: air pressure’

recorded in factories of Liege harbour and edited in september 2010 - thanks to Alexandre Galant, Pierre-Charles Offergeld and médiatheque de Liège. With Cedric Peyronnet, we spent days recording sounds in Liège's harbour mapping this territory. This was one of the first variations when I started my studio editing. The final version, a collaborative work mixing our two sound approaches, will be finalized in late 2011.

http://ascendre.free.fr/

concept | design | photography by jez riley french published by engraved glass / . point series edition

aquietposition.tumblr.comengravedglass.blogspot.com all works p&c by the artists concerned

tristesse-engraved.blogspot.comengravedglass.blogspot.com

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to submit or suggest material, to be added to the email list for future issue or for any comments, please contact by emailing: tempjez@hotmail.com

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published by engraved glass / jrf

*all content is p&c by the artists involved

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