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In a library, when nothing is in its designated place, we can assertively speak of disorder, not to mention complete chaos. Through this displacement, objects – sources of knowledge – become inaccessible and consequently, the whole institution seems to crumble down, unable to fulfill its mandate of providing orderly access to information.

Thankfully, at the Koerner library, the disorder seems to be contained within the walls of the AHVA Library Gallery. From the silence of the library, we enter a noisy room punctuated by a number of works that at first sight appear to have little in common – individual pieces of creative labour confined to a singular space – in a way, a microcosm of the library itself which houses millions of disparate items under one roof.

But as we begin to explore, certain common dimensions become apparent in the way these different pieces are articulated – there is a subtle fascination with the ‘behind the scenes’ (from the underlying structure – to the private – to the inaccessible) and an impulse to (re)stage it.

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in the mystery of the hour/a coded message:/qrliyctesbtisrovqfvcfkfqiezcq 1.361 kw/m2/ all farewells are sudden is a mechanical sculpture, created by Nathan McNinch, whose very apparatus is not concealed from the viewer, with wires and rock-weights helping to mobilize the intricate drawing tools; this apparent simplicity, however, obscures the meticulous workings of such a machine. Standing in front of the work, one can’t help but wonder what is the purpose of this curious invention – is what the machine produces art or is the structure itself the art work. If the former is true, then, perhaps, we as viewers are transgressing the secret boundaries of production by witnessing the magic being done.

In An ideological question about the fifth type of subject that is induced by an amorous encounter. (and now, the marine subject), Ali Ahadi ponders the philosophical question of whether a fifth hybrid type of subject, non-existent in Alain Badiou’s theory, can actually be born. While the question and the possible answers are posited, the viewer remains on the outskirts of meaning as any closer access to the problem (the question that is projected onto a TV screen) and to its potential solution (supposedly located in books) is denied, as the TV is facing a wall, letting us glimpse its transmission only through a mirrored reflection, and the books, displayed in the shelving unit, are defamiliarized as their title-bearing spines are also turned towards the wall. The viewer is quite literally behind the scenes, excluded from the action while being directly implicated in it.

Nelly César’s installation, To my dear world obsessed with penetration 3, invites the visitor into a private sphere reminiscent of an office or a studio environment. The mini-room within a room is open for public interaction. What from a distance looks like a vibrant and ordinary working space, turns into a staged battlefield of symbols – Holes against paper, text, images of shapes and the space itself. Here, the hole-puncher activity takes on a different dimension.

In the next piece, while you are not offered to analyze inkblots and no other evident psychological test is underway, you do not know whether you are an outsider or part of the experiment as an involved participant. Kevin Day’s 4 channel sound installation, Rorschach Conversation on Pattern Recognition, strategically puts the visitor in an awkward position of either staying on the fringes and eavesdropping on a strange conversation or placing oneself centre-stage (in the middle of 4 human-height plinths with speakers), trying to make sense of what is being said as bits of forum exchanges are circulated anew, transcribing the virtual, typed language into that of the spoken everydayness.

Erika Petro lets the viewer consider her personal documents concerning a legal name change; while it is obvious that such an undertaking has public repercussions, as now everyone will have to refer to her by the new name, there is a certain element of indiscreetness which makes this personal matter a case of public importance. As if in a real promotional attempt akin to branding, the new official name is staged as a glowing pink neon sign spelling out Lux Petrova – after all, even small private affairs are of big institutional concern.

In Symbiosis, Yan Luo provides a lens through which the exterior landscape is restaged as part of the interior space by projecting a digital image of what is outside the gallery window onto a wax screen whose transparency and structure bring to mind a real window. This installation can be viewed from both sides, letting the viewer appreciate the delicate nature of the work and to feel the pulsation of the projection from behind, to notice the subtle changes that are not perceptible when looking at the seemingly still image from the front.

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The exhibition space is often simply a blank canvas onto which the artistic innovation is projected, but in this case, there is much more to be said about the echoes between the context and the works. McNinch manages to call up a sense of wonder, Ahadi alludes to the solidified and intangible states of knowledge embodied in books and theory, César explores power through volumes and collections of paper – the medium of authority par excellence, Day plays around with language and its intricate ways of both uniting and ostracizing, Petro begins to construct an unconventional archive, Luo makes an alluring connection between the interior space and the outside world – the library and what it is made up of – the narratives from without.

In a space where nothing is in its place, one may certainly find disorder, but upon consideration of this exhibition, one also perceives that even in the space where everything is in its place, what lies ‘behind the scenes’ may be in complete disarray. Through these individual installations, even the most orderly of places, the library, becomes a questionable entity whose highly utopian and democratic principles are considered from a different angle, seeking to put new perspectives in order.

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The Regional Assembly of Text is a captivating space, also an X-Op of sorts; it is local, vibrant, artistically nostalgic, quiet, vintage, and somewhat of a secret garden. Aside from offering letter writing events, providing a button-making station and selling book-making kits, this small stationary/paper/gift store also houses the Lowercase Reading Room – an even smaller space within a room full of pretty typewriters, wooden pencils, retro designs, soft papers and unique cards….

This space reminded me of some other initiatives that I have come across before in the virtual world, namely the Art House Co-Op which “is an independent Brooklyn-based company that organizes global, collaborative art projects” and the Brooklyn Art Library which is associated with it. While not necessarily unique conceptually, this Vancouver space definitely breathes its own air and casts its own colourful shadows on the neighbourhood.

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The Lowercase Reading Room blog provides plentiful coverage of the items on display in the room, so instead of lengthy descriptions of what I saw in this lovely little space, I will just mention a few books that reflect the playful mood of the collection.

“It’s My Sketchbook” by Rebecca Dolen and “Helpful Notes About Each of the Following Topics” by Brandy Fedoruk . These two books, both made by the founders of the space, are quite exciting to read.

“It’s My Sketchbook” is a whimsical journey or rather a collection of adorable and strange illustrations including Ballerina Man, Ribbon Man, Mr. Mitten, jar- man  and lazer eye bum dogs among other bizarre characters.

In “Helpful Notes About Each of the Following Topics”, in a mini  paper -folder, you will find  set of square flash cards with advice and ideas on many topics including Mistakes, Memories, Sincerity, Change, Interruptions, Loud Noises, Courage, Logic, and Collecting:

COLLECTING

1. Small is best.
2. Doughnuts should be kept outside if necessary.
3. It is possible to collect collections if one so desires.
4. Household objects that happen to be multiples already don’t always qualify. Eg. Forks.
5. Moving, melting & dripping are unfavourable characteristics.

Another book by Brandy Fedoruk that I quite enjoyed was “How to Mail a Postcard” :

And yet another favourite of mine was this mini-book with a page designating “further reading” (this must be an academic speaking in me):

Each book is full of inspiration and is a vivid representation of what self-publishing culture is like – full of ordinary as well as uncanny words and images. Perhaps one day, I will make my own mini book and will contribute it to the ever-growing collection of the Lowercase reading room…

For more images, see photos on Flickr.

Lowercase Reading Room from Alternative Library Spaces on Vimeo.

The lowercase reading room, “one of the richest collections of unusual zines and artist-made books in the country,” is located at 3934 Main Street in Vancouver, BC. Assembled from the combined collections of Jo Cook, Rebecca Dolen and Brandy Fedoruk, the reading room houses over 1,000 books in a 9′ x 3′ space at the Regional Assembly of Text, a gift store of hand-made textual oddities. Open seven days a week from noon until 5 pm, the reading room provides a quiet place to read or research the endless possibilities for self-publishing. There are full-colour comics, photocopied grocery lists, zines about personal obsessions and enthusiasms. There are pamphlets and manifestos, the rude and crude and X-rated, alongside lovingly handstitched books with fur-lined covers. An afternoon of browsing may uncover books about holidays from hell, brochures about the end of the world, a survey zine about New Year’s resolutions and a quiz about toast.

A little blurb about yourselves…. and how you decided to collaborate

We met while attending the Emily Carr Institute of Art and Design, where we collaborated on a number of projects and curated a series of book shows together.  After graduating in 2003 we decided to put our minds & hands to work. We opened The Regional Assembly of Text in August of 2005 and have been busy ever since running the shop and designing & building products in our studio. 

How did the idea of a reading room come about?    

The space itself was calling for something intimate and unique. Previously a storage closet, the lowercase is home to hundreds of zines and self published books. It features the former collections of the (over)view gallery and cyclops library, with a cozy little sitting area, all in a space measuring less than 9 by 3 feet.  It is ever expanding, taking donations and also additions that we continue to collect from artists, zine fairs and through trading. 

What was the impetus/inspiration for the name of the reading room?

It came to Rebecca in a dream.

What do you think are the challenges/advantages of integrating the reading room within a specialty store? 

Because our store is mostly text themed, the lowercase reading room is a fitting & well loved addition to the space.  Just like our monthly letter writing nights, we like to have the reading room as another free activity/space open to the public.  

What is the philosophy/mandate/purpose of the reading room?

We love having a space open to the public showcasing our diverse collection of books.   It is there for enjoyment, inspiration & creative expression.  It is a space for people to browse, read and flip through pages upon pages of self published stories.   It is also a place for people to bring their zines to be read and enjoyed by others.

How do you receive contributions? Do you have calls for ‘artists’ or is it open to anyone all the time?

If you happen to make books, they are always welcome on the shelves of the lowercase reading room.

Are you seeking to expand the space in the future; how would you deal with the growing number of items? 

Even though the lowercase reading room in a tiny space, it is the perfect venue and can continue to accommodate the submissions we are lucky enough to receive.  A great deal can be done with a small space… and it is a rewarding challenge. 

Do you have a catalogue of items in the collection and what form does it take? How do you keep record of what you have? 

Unfortunately the reading room is not catalogued.  It is arranged by size & shape of the books for the most part, and by how they fit on the shelves we have.   We try to thank each and every person who is kind enough to donate, and then find a space for it.  We also have a blog that we update occasionally with information about new acquisitions. 

What is the scope of the collection on an international scale?

There are artist books and zines from all over the place in there.

Do you collaborate with any other similar organizations or have connections with other like minded libraries and reading rooms?

Not really.  Our reading room is very introverted. 

You have exhibitions of certain publications from time-to-time, how do you select what to show?

Every couple of months we change around our feature wall and curate a little show based on whim or highlighting books from a launch we’ve had.   

What are the most memorable incidents that have happened in relation to the reading room/ or most interesting comments that have been made about it.

Each year we have a book & beer launch in December.  Over the past few years it has grown into quite an anticipated and lively event.  Each artist we choose publishes a new book of their choice and with it, designs a beer label.  We brew a batch of beer and each book sold comes with a limited edition beer and artist label.  It is a fun pre holiday gathering and also nice to promote and support local book artists. 

What is the most rewarding part of creating and maintaining this space?

We love when people are surprised and baffled by the lowercase reading room, just as much as we love when someone comes to spend an entire afternoon in there on a rainy day. 

What unique items would a randomly browsing visitor likely find in your collection? Do you have any favourites?

There are miniature books, recipe books, books about heartache & adventures.  There are books with titles like:  “Bats want my girlfriend”, “Boobs & the Milk Cart” & “My Shirt is a Lady”.  There are books made out of old slides, out of napkins, out of wood.  There are books that are screen printed, photocopied, letter pressed, handwritten.  There are one of a kind books, limited edition books and mass produced books.  

CAUSA, active since 2003, is interested in independent curatorial projects that inquire into the nature of culture and history. Having had a chance to hear both David and Meirion speak at a special meeting of the Contemporary Art Gallery (CAG), I was very happy to learn that they believe there is a need for more artists to use books and to create networks between libraries, making them visibly important once again.

During this CAG encounter, David Bellman, an independent research curator and an art historian, very outspoken and critical in regards to cultural and social trends, voiced his suspicion of the concept of “old fashioned” in an era where everything is overthrown so suddenly. Perhaps, it  is not a coincidence then that the bibliographic exhibition is CAUSA’s current conceptual output, considering that a citation is always referencing a ‘thing’ of the past, but a ‘thing’ that might still be of currency nonetheless. Curiously enough, in Bellman’s description of the project, the emphasis on ‘fashion’ seemed to be a recurrent theme, as he stated that “libraries are not exempt from fashion”, alluding to particular biases in each library collection.

Close Connections: A Bibliographic Exhibition, however, is not meant to encompass all of CAUSA’s concerns; instead, it zooms in on one specific area of interest – the changing artistic landscape of 1970s, where artists were engaged in critical inquiry and in the development of new conceptual and environmental perspectives. The inspiration for the show came from the 955,000 exhibition that took place at the Vancouver Art Gallery in 1970 and was globally recognized as an important artistic event where text and context played out their meanings side by side.

What emerged is an exhibition in 4 parts whose diverse traces could be found at the Emily Carr University of Art + Design Library, University of British Columbia Art + Architecture + Planning Library, the Central Branch of the Vancouver Public Library, and Vancouver Art Gallery Library. Each institution was seen as a unique archive of information, referencing a number of identified artists whose bibliographic record was being re-inscribed in a new context. Elucidating this research project is an accompanying card with the names of all the selected artists (purposely listed in an almost-alphabetical order):

Carl Andre, Vito Acconci, Giovanni Anselmo, Art & Language, David Askevold, John Baldessari, Iain Baxter&, Bernd & Hilla Becher, Joseph Beuys, Marcel Broodthaers, Stanley Brouwn, Daniel Buren, Alan Charlton, Hanne Darboven, Luciano Fabro, Dan Flavin, Hamish Fulton, Gilbert & George, Dan Graham, Hans Haacke, Donald Judd, On Kawara, Joseph Kosuth, David Lamelas, Barry Le Va, Sol LeWitt, Richard Long, Gordon Matta-Clark, Mario Merz, Robert Morris, Bruce Nauman, Richard Serra, Michael Snow, Keith Sonnier, Ed Ruscha, Robert Smithson, Lawrence Weiner, Stephan Willats, Ian Wilson.

Next to the card, one would find a selection of publications related to the above artists or lists of bibliographic records from the library in question; a sample of the bibliography can be viewed on Artspeak’s website, a space where an extension of this exhibition simultaneously took place in the form of Finite + Infinite exhibition in 3 parts. While Finite + Infinite part of the show could be said to be more visual in nature, Close Connections was not as densely textual as could be anticipated. CAUSA made an excellent use of display cases at each library space and curated captivating book and ephemera displays. At the Art + Architecture + Planning library at the Irving K. Barber Learning Centre, for example, CAUSA showcased a unique catalogue produced by Lucy Lippard for the  955,000 exhibition as well as intriguing minimalist text-works by a number of other internationally recognized artists (in fact, this display might be still up, despite the exhibition’s official end date). At the Emily Carr University of Art + Design Library, selected publications were exhibited in the Library Window Gallery, main floor display case and mezzanine reading room, where they were simply showcased on a table, allowing for direct interaction with the materials.

In choosing different display methods for the retrieved publications (even though these could often be affected by the preservational and administrative restrictions of the particular institution) and in presenting their findings on-site rather than in a single gallery space, CAUSA created micro-exhibitions that each told an incomplete story of a specific time period as well as specific artists. Many interesting reflections can be drawn from such a study, depending on what perspectives one brings to the table.

From an art perspective, it re-contextualizes a past practice, reviving and re-formulating it, while vicariously commenting on the present state of the arts. From the Library and Information Science perspective, it sheds light on incredible value of certain collections, celebrates the print in a largely digital age, points to the evident gaps in collection management and the possibility of bridging these gaps through inter-library networks of resources. From an Educational perspective, one could say that it intrigues and insights intellectual curiosity, inspires and challenges information literacy at both textual and visual levels, and creates interdisciplinary oases that integrate literature, curatorial practice, art, history, and theory.

From CAUSA’s perspective, more similar projects are needed to activate spaces and knowledge, which, perhaps, can be achieved by creating alternative library spaces in the form of such specialized displays. This position is reflective of CAUSA’s broader vision and philosophical ruminations as expressed by David Bellman. At the CAG, Bellman mentioned that he is concerned with the lack of specialized knowledge and the demise of connoisseurship on the cultural front. With public libraries wanting to reach out to the broader audiences and to get as many people in as they can, with e-books focusing mostly on contemporary issues and with specialized libraries losing funding and support, Bellman fears that there is going to be a great gap in the future education.

While these concerns are realistic, it is worth believing that projects such as the Close Connections will continue to emerge and will thus contribute to further reflections on the nature of knowledge, intellectual and cultural values as well as education within cultural institutions and beyond, while simultaneously connecting different institutions so that they may communicate and act upon issues of dire importance.

For a comprehensive visual documentation of the exhibition, you may browse through the images on the Artspeak’s Finite + Infinite page (you have to press “previous” or “next” below the current image to view additional photos).

Richmond Art Gallery (RAG), particularly familiar to me from 2003 to 2008, when I intermittently volunteered and then worked there as a gallery attendant, has undergone many transitions and the most memorable are those of space reallocations. At the beginning, I remember there being a little stand with publications near the greeting desk, at the front of the gallery; later on, there was a reading room organized in a specifically designated area near the offices (which at one point used to house artworks for rental); since the Olympics, however, this space has been repurposed and it is now a multi-media space, named the Hope-Smith Art Lounge, with fewer books and more interactive components.

Nostalgically speaking, I was saddened by this conversion, always insisting that galleries are the transmitters of culture and critical reflection, I was reluctant to see an imposing tv screen and an activities table that occupied the majority of the space, while a cabinet with some neatly laid out books lined one of the walls (instead of an overflowing, huge, wall-to-ceiling bookshelf !!!). I quickly realized, however, that I was being closed minded; considering the fact that the Richmond Art Gallery is a community space and it has a large family and  immigrant-visitor demographics, it is perhaps most suitable to allocate the space to a variety of literacies and activities.

According to Kathy Tycholis, the Education and Public Programs Coordinator, it seems the transition from the reading room to the current space was organic in a sense that more interactivity was desired from both the visitors and the staff. As a result, new programs were integrated such as the 10-minute artist videos, which can be viewed both on the website and in the Hope-Smith Art Lounge.  Tycholis highlighted that podcasts and videos are very popular with the public as are the more community oriented art historian and artist talks (these are often advertised through the website, the library, and the local Recreation and Culture guide, resulting in high attendance rates).  While most of the self-directed and hands-on learning is meant to take place in the Hope-Smith Art Lounge, depending on the exhibition, RAG often provides more space for interacting with books, documents, and media. For instance, for the upcoming February exhibition, the Fantasy Gardens, which will narrate the history and destruction of a curious Richmond landmark through drawings and photographs, the central area of the gallery will be used to display historical records and documents from the archives, further complementing and developing the show’s thematic explorations.    

As for the Hope-Smith Art Lounge, this space is flexible and gets updated with new materials and art-stations in accordance with every new show. A variety of publications, including books and magazines, is borrowed from the Richmond Public Library (RPL): some are for adults, some for children, some for the less knowledgeable and some for more informed public. This initiative of integrating materials from the local public library is a great marketing strategy for both cultural organizations. Tycholis mentioned that the Richmond Public Library is a great partner in that it distributes flyers for the Richmond Art Gallery events and even holds storytime on topics related to current exhibitions and in line with the Family Sunday activities offered by the RAG. This collaborative effort is an excellent way to advocate for cultural and intellectual development of children and their families who get exposed to and encouraged to attend a wide range of art shows presented by the gallery. While Tycholis pointed out that creating more connected and integrated programming with the Richmond Public Library has always been in consideration, it is difficult to collaborate extensively, as the RPL plans much further ahead.  When asked about the fate of the many exhibition catalogues and publications that the gallery receives regularly, Tycholis said that they serve to inform the gallery staff, following which they might get donated, used for gifts or recycled. The RAG publications, however, are filed and preserved, but not publicly accessible as a whole.

This example of an alternative reading room turned into a multi-media area is of course not unique to the Richmond Art Gallery, in fact, it seems to be the general tendency for the majority of art spaces on an international scale. On a similar note, the Museo Universitario de Arte Contemporaneo (University Museum of Contemporary Art) in Mexico City, also known as MUAC, has integrated an Experimental Space for the Construction of Meaning (EECS) to encourage learning and exploration. It is difficult to predict what shape these multi-dimensional spaces will take on in the next decade, but there is a definite sense of constant reevaluation and reconsideration of resources, technologies, and approaches to learning which is a great positive, even though, to my great disappointment, it might mean a temporary move away from print materials. But, perhaps, it is early to despair, I think print will shortly be making a comeback and there will once again be growing room for the physical objects and their borderless narratives.

Coming up: articles on the CAUSA exhibition, L. Camnitzer exhibition, and Fillip library…

“Each book is a collection in itself – a treasure house of memories associated with the inspirations behind its creation. As an object to be collected, the book accumulates yet more memories, tracing through a history of ownership, of acquisition and exchange. Every book invites the reader to follow their imaginations and travel beyond the physicality of the pages. The library is thus a collection of collections, one that always refers beyond the system that organizes it to the world’s stories, histories, and images.”

 ______________________________________________

This epigraph does not draw on writings of influential philosophers or theorists of the past century, but rather these lines are the reflection of an individual who takes the task of collecting and disseminating histories very seriously,  taken from a September 17, 2006 two-page press release announcing the opening of Centre A’s in-house library.

Centre A, otherwise known as Vancouver International Centre for Contemporary Asian Art, located at
2 West Hastings Street in Vancouver (in close proximity of Chinatown), opened its doors in 1999. Ever since its inauguration, Centre A has served as an important meeting point for dialogues about Asia in a city whose modern history is as much an Asian history as any other; or maybe, a better way to describe it would be to say that Vancouver’s modern history has been greatly shaped by Asian culture which has in its turn altered, fermented and blossomed anew. It has been a very fertile process and one worth exploring through exhibition programming as well as through the relevant literature to better understand our own city, Vancouver, Asian culture in its various forms, its impact on the world, and the global influences that have transformed Asia.

The library was initiated by Joni Low, Centre A’s gallery coordinator at the time, and the first event to welcome the visitors to the library was the Library Tea Party that took place on September 23, 2006. Zheng Shengtian, one of the founding board members, is another person who contributed many volumes to this special library.

The accumulation of materials in the library began with a generous donation of Finlayson family from Victoria which became known as the Finlayson Collection.This informal collection served as a base structure for the library that currently houses about 1634 items, ranging from exhibition catalogues and artist monographs to reference materials and historical accounts.

The library is an organic entity that is constantly expanding and receiving new items from a variety of sources; the most common additions being the travel-items, books that are brought back by various gallery members from trips to Asia including the Shanghai, Hong Kong and Guangzhou Biennales as well as the Seoul International Media Art Biennale among others.

What makes Centre A and its special collection particularly unique can be glimpsed through the centre’s mandate which stresses the importance of  promoting understanding of contemporary Asian art through  preservation and dissemination of works and materials pertaining to its history and current development both inside and outside of Asia.

Since the contemporary Asian art, as we commonly know it today, mostly dates back to the avant-garde Chinese artists prominent during the 1980s, the field is relatively new and cannot be considered without references to Asian art history and history all together, and thus it is extensive in its scope. It is of little surprise then that while documenting current practices of Asian artists, the library also provides room for books on traditional Chinese and Japanese art such as brush painting or works with religious content (e.g. Zen or Buddhist art). In addition to this, Centre A houses an archive and a collection of artist files. More information about these resources can be found here:

http://www.centrea.org/index.cfm?go=site.index&section=page&tag=library

As traveling constitutes a significant part of keeping Centre A current and engaged with the newest developments in Asian art, Debra Zhou, the Assistant Curator at Centre A, has shared an insightful anecdote regarding one of her trips. During a recent stay in Hong Kong, Debra visited the Asia Art Archive (AAA), which boasts one of the largest collections on contemporary Asian art. To Debra’s surprise however, while the overall holdings of this institution were impressive, AAA (as most other institutions in Asia, according to her understanding) did not collect material on Asian art outside of Asia.  This small piece of information was an important discovery, indicating that Centre A fulfills a significant gap dividing Asian art from Asia and from abroad.

This anecdote in its turn, can be further deepened by another one, that of  Debra’s encounter with  Joanne Birnie Danzker, Director of Frye Art Museum in Seattle, who has mentioned that the scope of Centre A’s library collection is so impressive that it should be locked up and preserved, as a rare gem,  stowed away from carefree browsing.  There is definitely a good reason for making such a strong statement as many of the books in the collection are rare.

Being a Centre for Asian art is a challenging task in itself, not only because it is a very extensive field containing astonishing amount of resources dating back to many centuries but more importantly because the geographical contours of “Asia” are hard to define and theorize.

What this means for those browsing through the library is that they can find a wide range of items covering a broad spectrum of Asian art. For instance, you could come across a very specific material dealing with a particular Asian artist working either in Asia, North America or elsewhere in the world, or a book with a topic that somewhat marginally relates to Asian culture – such as Fred Herzog’s Chinatown’s documentation.  The library also has a special shelf dedicated to Centre A’s publications that is more approachable and conjures up a reading-room atmosphere next to the traditional library shelves.

To point out significant issues in the field of contemporary Asian art, Debra Zhou and Jacquelyn Ross, the library coordinator, have kindly shared some of their favourite volumes in the collection:

Rhee, Wonil, Peter Weibel and Gregor Jansen, eds. Thermocline of art: new Asian waves. Trans. David Hatcher, David Mao and Jaeeun Gwak. Karlsruhe: Center for Art and Media, 2007.

Kazakhstan, Korea, India, Lebanon, Uzbekistan, Indonesia, Afghanistan, Japan, China, Laos, Singapore, Taiwan, Thailand, Hong Kong, Vietnam, Israel, Tibet, Pakistan and Myanmar are just some of the places featured in this publication which seeks to expand the geographical borders of “Asia”.

Kortun, Vasif et al. How latitudes become forms: art in a global age. Ed. Michelle Piranio. Minneapolis: Walker Art Center, 2003.

A beautiful publication which consists of a collection of essays on globalization. Not only varied in content, covering a range of contexts including Japan, India, Turkey, South Africa, Argentina and even Cuba, it is much more than an exhibition catalogue. Each page is ‘emphatic’ in its presentation, with a selection of lines that are literally highlighted on each page, as if calling the reader’s attention to particular passages; at other times, certain parts of the text  are ‘blacked out’ as if to delimitate the focal area by blocking out the unnecessary. This book is as textually rich as it is visually engaging.

Murakami, Takashi ed. Little boy: the arts of Japan’s exploding subculture. New York: Japan Society, 2005.

This volume was meant to accompany an exhibition presented at Japan Society Gallery in New York in 2005 and it marked third and final installment of the Superflat exhibition series incorporating high and low art. This bilingual publication in English and Japanese explores Japanese “geek” culture which mixes detailed graphics, new technologies, commercial design and apocalyptic imagery. This catalogue is bursting with images and captures attention with its unusually themed chapters. For instance Chapter 2 entitled “The Salvation of the Girl as Small Self: the Art of Banana Yoshimoto, Yoshitomo Nara, and Girl’s Photography” (p. 216-225), intricately links lyrical literature, painting of cute extremes and ‘photography of the everyday’ in one fluid block of meaning.

If you decide to visit the library, here is what to expect. The library is situated in the midst of a flexible exhibition spaces that allows for diverse programming; so while browsing for books, you will be able to observe the current installation and reflect upon the distant murmur of occasional visitors.

Using Booxter cataloguing software, the library provides an easy and visually captivating searching experience for its visitors who are welcome to use a specially designated Mac computer for their library-browsing. Through this library catalogue you may find records on exhibition catalogues (publications on group exhibitions), artist monographs (publications on individual artists’ work or solo exhibitions), art history and criticism books as well as other literature (this may include fiction, historical accounts, testimonies or biographies). Magazines and reference books are not part of the catalogue and can be browsed in their respective sections; Centre A is currently subscribed to Yishu and Art Asia Pacific magazines which line one shelving unit of its library. If you decide to browse the shelves directly, you will find that exhibition catalogues are organized by publication region (country).  While browsing the library catalogue, you will also discover that some materials are published in specific Asian languages (with a distinction made between simplified and traditional Chinese) and many are bilingual; a number of publications are available in French.  Besides the title, author, ISBN, hard or soft cover format indication, publisher, date of publication, number of pages and library location, the catalogue also provides descriptions of the material which can include a summary or an excerpt from the work as well as useful notes about the publication.

Who will really enjoy making a visit to this place? I will start a small list which does no real justice to the breadth of materials that can be found on the shelves of this library and that extends beyond the obvious designation of the resources which can provide ample information for artists and curators:

• Manga fans and Lomography enthousiasts – While a reading room full of comics and “How to – HOLGA manuals” cannot be promised, you can be sure to find something that will be to your taste here. Take for example the Little boy series, studying Japan’s super-flat aesthetic, that skillfully combines elements of graphic design, literature and popular culture while underlining the heavy weight of history left behind by the atomic bomb.
• Vintage-avantgardists searching for ideas and inspiration – Perhaps you like sewing or you are just a fashionable individual who likes to mix and march some very incongruous elements; or maybe you are a designer that is tired of those typical floral patterns that seem to be proliferating everywhere these days. Looking for something original? Have you ever considered the wide range of unique designs that can be found in a 1958 publication on the folk arts of Japan?
• Future ambassadors – Being culturally versed is essential to every diplomat, especially to those conducting business in Asia. To be truly diplomatic it is important to understand that Asia has many faces and that geographically speaking, it is very extensive and fluid. Exhibition catalogues are an excellent source of both textual and visual information that is able to illustrate cultural specificities more vividly.
• Students with a penchant for Asian languages – It is believed that one of the best ways to improve one’s conversational skills in a new language is to listen to or watch foreign movies with subtitles; then what better way to advance one’s reading and vocabulary building than by reading an original and consulting its translation as a reference? Bilingual catalogues are a very unique learning tool that helps to grasp cultural parallels and linguistic subtleties.

In short, the library would prove particularly useful for those interested in history and present of Asian art, Contemporary art and art in Vancouver. The range of materials would not only contribute to an understanding of particular regions or the local art scene, but it would also demarcate global flow of ideas and influences, strengthening our appreciation of international exchanges and culturally diverse art.

It is also worth mentioning that as part of its future programming, Centre A plans to have book talks that will engage the local community by highlighting particular publications and fostering discussion around the themes and topics raised within. In the virtual space, Jacquelyn Ross, the library coordinator, has developed a blog that is meant to be an online extension of the library catalogue, providing access to information about Centre A’s resources to anyone, anywhere, anytime.

http://centrealibrary.wordpress.com/

[ About Madeline Smith ]

I am an artist, mostly I paint. I got my Bachelor of Fine Arts several years ago and have volunteered and worked at other galleries in the past few years. I chose to volunteer at the CAG because I liked the size of the institution and their mandate: what is shown here and what the CAG is about in general. I chose to volunteer in the library because I have always enjoyed libraries, the organization of information and the quiet kind of work that is involved with them. Also you come across all sorts of neat stuff.

[ Library Experiences ]

I use the public library a lot. I usually look for specific books in the library’s online catalogue and order them in to my local branch. I do like to browse around the main branch when I get the chance but usually I use the online catalogue.

When I use the public library usually I am looking for something specific while at the CAG library I like to pick up whatever catches my eye and see where it takes me.

[ Volunteer Responsibilities ]

When I volunteer in the CAG library most of the time I enter materials into the database. Usually it is books but it can sometimes be other things – CDs, brochures and book works. When entering items into the library a lot of details must be included about the item. Content is important but also size, how many images and all the numbers associated with the book (ISBN, Library of Congress, and DDS). Other tasks I perform are labeling and organizing the collection of ephemera.

[ Using CAG Library ]

The CAG library is easy to use if you know what you are looking for. The database has almost a dozen different searchable fields such as artist, title, author, year, place, etc. If you are in the library without a specific artist or author in mind then searching is a little bit trickier. The material is arranged by exhibition location not subject or year. The library is a great place to browse around and come across something unexpected. Using the database could bring you to a specific book and from there you could look at the other items from the same institution box to get a sense of a curatorial mandate.

[ Materials in the Library ]

The CAG library primarily consists of art books: exhibition catalogues, artist monographs and book works. There are also ephemera and artist files which consist of show flyers, bios, images and other tid bits.

[ Favourite Items]

I have come across a lot of interesting items. Some are interesting as objects, for example sciencefictionsciencefair is an exhibition catalogue that is packaged like a science project, complete with manila office envelopes, blueprints and a contents list. Others materials have some great articles. One of the first books I entered into the library Unfinished Business: Photographing Vancouver Streets 1955 to 1985 has a lot of interesting articles about Vancouver’s history and the aesthetics of the city translated via the camera. Finally, of course there are always tons of intriguing and interesting art. I always enjoy large artist monographs. They give you a chance to look at how an artist’s tastes and practices have evolved or changed over the years. The great thing about working in this library is that I get to see a lot of work that otherwise wouldn’t be available: smaller galleries all over Canada with smaller shows by emerging artist that just don’t get much exposure in magazines, newspapers and even online.

[ Special Space ]

This is a great library for research. If you are looking for information on a specific artist, especially a lesser known or local artist there will be a lot of material in this library that you wouldn’t be able to find in other libraries.

[ Ideal Public ]

The CAG library would be useful for students, art, art history and curatorial students especially. This is also a great place for anyone who likes to read and learn about art. At this library you will be introduced to all sorts of artists and institutions that you probably haven’t heard of. This library isn’t about Picasso and Monet it is about the emerging artists, many of whom are Canadian, showing in galleries in Winnipeg, Regina and Victoria not London and New York. This is a library that anyone passionate about new and cutting edge art and art theory would enjoy visiting.

[ Interdisciplinary Resource]

Art is always worth learning about, no matter what you are studying or are passionate about.

To learn more about Madeline Smith and her work, go to:

http://madelinebsmith.com/

This finding was rather surprising because I knew of the creative minds behind this innovative project, the Street Lab, from their development of The Storefront Library in Boston a few years ago.

This new project, The Uni, which is meant to be “a portable, urban reading room and venue for learning”, is an exceptional idea that is long overdue or perhaps extremely timely for all global cities.

Image courtesy of the Uni Project

Consisting of 144 open-faced cubes designed with maximum flexibility in configuration, this multifaceted and mobile structure is an attempt to accommodate a variety of “street-level learning experiences” in places where daily interactions  happen, namely parks and plazas as well as in spaces where extra community resources are needed , for instance in the underserved neighborhoods.

This educational resources is not an isolated project, its main goal is to create multiple partnerships with various institutions such as non-profit organizations, galleries, museums and universities in order to provide an urban venue with a wide range of programming ranging from readings, small-scale film screenings, talks, hands-on workshops and a variety of classes.

At all other times, the Uni will fulfill the role of an outdoor reading room furnished with carefully thought through “mini-collections” of curated books, focusing on different community needs, but also including such general broad categories as children’s picture books, poetry, short stories and essays, art books and reference titles. The expectation is that each cube will be curated by a librarian, an author, a teacher or a bibliophile who would be able to contribute their expertise and passion for a specific subject matter, making each mini-set unique and exciting.

For example, one curator is already working on a cube dedicated to the origins, history, and use of knots—this cube will include a rope and cleat board for practicing basic bends, cleats, and hitches.

Designed and constructed under the guidance of Höweler + Yoon Architecture and Professor J. Meejin Yoon of MIT’s School of Architecture and Planning, the first Uni is scheduled to make its public appearance this fall in NYC and following that, in Boston in 2012.

Image courtesy of the Uni Project

While the project is well underway, with more than 50% of funds collected, there is still a great need for contributions towards this educational cause; donations are being currently accepted to help with the finalization of the first Uni. If a monetary donation is not something you can afford at this time but would still like to contribute, consider donating some new or gently-used books to the Uni’s currently developing library collection.

Not only is this Uni-cube structure meant to engage the community and to orchestrate informal learning between users and their surroundings, but it is also bridging institutional divides and creates additional spaces for programming that is otherwise very restrictive both financially and physically. I think this is an amazing project that deserves much support, as it opens up endless possibilities for collaboration and could serve to integrate different disciplines and teaching approaches, reaching a wider audience and encouraging active cultural participation around the city.

Contemporary Art Gallery Library from Alternative Library Spaces on Vimeo.