Anni Albers, “Material as Metaphor”, in Selected Writings on Design:

How do we choose our specific material, our means of communication? “Accidentlly.” Something speaks to us, a sound, a touch, hardness or softness, it catches us and ask us to be formed. We are finding our language, and as we go along we learn to obey their rules and their limits. We have to obey, and adjust to those demands. Ideas flow from it to us and though we feel to be the creator we are involved in a dialogue with our medium. The more subtly we are tuned to our medium, the more inventive our actions will become. Not listening to it ends in failure... What I am trying to get across is that material is a means of communication. That listening to it, not dominating it, makes us truly active that is: to be active, be passive. The finer we tuned we are to it, the close we come to art.

February, 25, 1982 Eva Hesse in conversation with Cindy Nemser:

Imagesappearcloserthantheyare!

Seripop: Yannick Desranleau & Chloe LumYannick Desranleau and Chloe Lum live and work in Montréal. In their installations, sculptures, prints and other interventions, they explore how material entropy affects the readings of a given work, through the implementation of strategies displaying diverse forms of mechanical contingency. They have exhibited in Canada and abroad, notably at Confederation Centre Art Gallery (Charlottetown, 2014), YYZ artists’ outlet (Toronto, 2013), The Blackwood Gallery (University of Toronto, 2012), Musée d’Art Contemporain de Montréal (Québec Triennial, 2011), Kunsthalle Wien (Vienna, Austria, 2010), BALTIC Centre for Contemporary Art (Gateshead, England, 2009), and Whitechapel Project Space (London, England, 2007). Their collaborative work is in many private and public collections, notably the Victoria & Albert Museum in London. www.seripop.com

Sonnenzimmer: Nick Butcher & Nadine NakanishiSonnenzimmer is the Chicago-based studio of Nick Butcher and Nadine Nakanishi. Their practice merges fine art, printmaking, graphic design, sound art, and publishing. Their work is rooted in investigation of idiosyncratic imagery, systems, and material. This is explored through many lenses—collaborative, experimental, and commercial in nature. Their work has been exhibited at the Museum of Contemporary Art Chicago and in the Art Institute of Chicago, and it can be found in collections of the Art Institute of Chicago, Design and Architecture Department; the Museum of Design Zürich, Plakatraum; and the University of Maryland, The Art Gallery. Sonnenzimmer’s artist’s books are also at home in such collections as the Stanford Art and Architecture Library and Vanderbilt University. www.sonnenzimmer.com

Curator: Julia V. HendricksonJulia V. Hendrickson, a native of East Liverpool, Ohio, is a freelance curator, editor, and writer. An art critic for Printeresting and Art In Print, she completed an MA in the History of Art from the Courtauld Institute of Art (London, 2012). She has written extensively on aspects of printmaking and print culture. Previously she served as the registrar and publications director at the Chicago gallery Corbett vs. Dempsey. Currently she lives in Austin, TX where she works as the Registrar at The Contemporary Austin. With Anthony Creeden, she also co-directs Permanent.Collection, an experimental exhibition space. www.juliavhendrickson.com

Essayist: Lauren WeinbergLauren Weinberg is a freelance writer and editor in Waterloo, Ontario. She previously worked as an editor at the Museum of Contemporary Art Chicago and spent six years as the Art & Design Editor of Time Out Chicago magazine. Lauren has also written articles and reviews for ARTnews, The Architect’s Newspaper, and the AIGA. She holds an MA in the History of Decorative Arts and Design from Parsons/Cooper-Hewitt, Smithsonian Design Museum (New York). @LDWeinberg

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Julia V. Hendrickson

I.

Work created in collaboration is inherently a conversation, and in a collaborative exhibition the dialogue is right in front of you. In fact, the thrilling part of collaborative work is that, more often than not, you’re also standing in front of the resolution. Two voices have spoken and the agreed-upon, ideally democratic, end result is what is left in their wake. A jib and a jab.

In Simultaneous, two collaborative duos comprise a quartet, a project based on mutual respect and interest. Like a tennis match, what-if’s are volleyed back and forth. Someone rushes the net. The other stays back for balance, for the long ball, for the chance to keep the match going.1 What you see (and hear, and touch) in Simultaneous is an echo of that banter. The aftermath of a passionate back-and-forth discussion that Chloe Lum with Yannick Desranleau

1 I am reminded of David Foster Wallace’s excellent essay in which he describes his heyday as a teenage tennis whiz kid in Central Illinois. After learning to play tennis with the handicap of the unpredictable Midwestern wind, and then being forced indoors to compete, he writes, “I’m thinking now that the wind and bugs and chuckholes formed for me a kind of inner boundary, my own personal set of lines.” Strength in the face of a fickle Midwestern wind still prevails. See David Foster Wallace, “Derivative Sport in Tornado Alley,” A Supposedly Fun Thing I’ll Never Do Again (New York: Little, Brown and Company, 1997), 15.

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(as the Montréal-based duo Seripop) and Nadine Nakanishi with Nick Butcher (as the Chicago-based duo Sonnenzimmer) have engaged in for the last eighteen months.2

A voracious, enthusiastic attitude toward making imbues the work of both Seripop and Sonnenzimmer. Each duo has a multi-varied, Renaissance-like approach to materials (the medium to use is the one that gets the job done); a boundless fascination with abstraction; and an expressive use of material, color, and movement through colorful space.

To use a more unconventional metaphor, for Seripop and Sonnenzimmer the image I continue to return to is one of parallel strings. I carry around a strong memory from a few years ago: Nick in the studio, holding up a silk screen with an abstract design, an open circle with a few

lines intersecting, cradling it under his arm, and playfully pretending to strum the air banjo. In many ways, because of music, these artists’ careers and their artistic output have moved in tandem and in dialogue for years. In the mid-to-late 2000s — while Chloe and Yannick toured the globe in the noise- rock group AIDS Wolf (The Lovvers LP, 2006; AIDS Wolf

vs Athletic Automaton - Clash of the Life-Force Warriors, 2006; Cities of Glass, 2008; March to the Sea, 2010; Ma vie banale avant-garde, 2011) and Nick performed solo throughout North America (The Complicated Bicycle, 2005; Bee Removal, 2009; Free Jazz Bitmaps Vol. 1, 2011; Free Jazz Bitmaps Vol. 2, 2015)— each duo gradually achieved world-wide recognition for their innovative screen-printed gig-posters, an essential component of the contemporary music industry.

2 I have admired the work of these four artists / two duos for many years now, and it is due to an unwavering diligence and tireless involvement in their respective communities that Simultaneous came about. The life of this exhibition has been the flow of ideas in and out and between all of us over the last year and a half. I am merely the conduit, translator, communicator, evolution-instigator.

AIDS Wolf Promo, 2008

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Over the last few years, putting AIDS Wolf behind them to focus on visual art, Chloe and Yannick have gradually pushed the scale of their work ever-larger, channeling their energies on provocative public works and immersive, room-sized installations. While their posters often boast a figurative, illustrative prowess, of late Seripop’s work has expanded to a kaleidoscopic pallet of pure, raw color: paper heavy and densely layered with matte ink. Pattern is their sandbox, used to stimulate confusion, disorder, and decay. They play joyfully in vibrant abstraction, swaths of crumpled paper arranged as if a Play-Doh machine extruded all the segments from one of Frank Stella’s colorful 1960s Protractor paintings.

In that same time, Nadine and Nick have emerged as complex and nuanced book designers, all the while maintaining an innovative printmaking and painting practice. They revel in delicate, pale hues and tones. They make use of ordered geometric shapes, often intersected by a dizzying splash of color or a scribbled line, a painter’s messy intervention in an organized world. With an unabashed reverence for Rauschenberg, Ryman, and Twombly, Sonnenzimmer moves nimbly between print processes, painting, weaving, audio composition, and animation.

II.

“[ T ]he Gestalt psychologists, referring among other things to the arts, emphasized that there are common connections in human nature, in nature generally, in which the whole is made up of an interrelationship of its parts and no sum of the parts equals the whole. Every science has to work with the whole structure.”3

— Rudolf Arnheim

3 Rudolf Arnheim, interview by Uta Grundmann, “The Intelligence of Vision,” Cabinet Magazine 2 (Spring 2001).

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In the 1925 film The Gold Rush, Charlie Chaplin’s down-and-out character, fantasizing about his ideal life (away from poverty and cold), invents a dinner party with a wealth of food and a bevy of beautiful women. In true charming Chaplin fashion, he entertains his guests with a dance. Two solitary bread rolls, skewered with salad forks, become a lively pair of feet prancing on the tabletop beneath his

animated face. With something as simple as a dinner roll, Chaplin trots, sashays, and high kicks his way into history. The film would not be complete without that famous pair of imaginary feet.

In fiction, a narrative’s forward motion is often achieved by the play of opposites—good and evil, Ahab and the whale, the dark and the light. Film often contains the same tropes: lead-ins and punch lines, Laurel and Hardy, blonde Madonna and brunette vixen. So too in a duet, two voices — harmonious or dissonant — propel a shared melody along.

Duos are not always opposites, of course, or in competition, but a singular element of a duo often supplements a strength or talent that the other lacks. 4 Chaplin needed two rolls to start the dance. Flint and steel can start a fire. The root of this exhibition is simul — at the same time, together. Lives in parallel. Two hands, two feet. Seripop and Sonnenzimmer share a similar belief at the core: that even as a duo, the creative power and independence of the individual is paramount. The individual must be allowed to work toward her/his strengths. The generative

4 The artist duo as a model maintains a strong foothold in contemporary art. Significant collaborative pairs often employ the ampersand to connect their names: Gilbert & George, Fischli & Weiss, Allora & Calzadilla. Others, like Lucky Dragons (and like Seripop and Sonnenzimmer) have just a singular identifier for their artistic practice.

Nick Butcher, Banjo Screen Solo, 2012

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spark lies with the singular ego, yet, the finished work is rarely ever about the individual.5

Yannick describes a typical installation process for a 2013 exhibition in Montréal, emphasizing, “we followed a ‘directed chance’ approach. We each worked more or less on our own side until a certain point. Shortly before we went to install in the gallery we combined the elements we each came up with.”6 In a 2014 interview, Seripop elaborates on their collaborative process:

Yannick: We try to talk about our work as ‘we’ or ‘us.’ We each work on things, merge it together and pick what we like or don’t like. We’re always pitching ideas on a daily basis. When we have a show coming up, we look at through [sic] ideas we wrote down and pick one. It doesn’t matter who came up with what.

Chloe: It’s a joint authorship. 7

Despite the nomenclature of the end result, it’s still important to these artists that they are seen as individuals. Chloe’s interests are connected to the history of art and architecture, and recently Le Corbusier has been a research topic. Yannick’s background leans more toward physics and philosophy; a lecture he gave in early 2014 cited the physical chemist Ilya Prigogine, the theoretical physicist Lee Smolin, and the philosopher Martin Heidegger as influences.

5 I refer to the singular “duo” throughout this essay, based on the same premise. “Duo,” a pair of people or things, is a collective noun that can be modified both in the singular and the plural, depending on the context. It relates to the charming category of singular nouns referring to plural subjects called “terms of venery,” such as a gaggle of geese, a school of fish, or kindle of kittens, all of which stem from the medieval text The Book of Saint Albans, from St. Albans Press, England, 1486.

6 Seripop, interview by Jessica Mensch, “‘What’s All The Fuss About?’” B O D Y, 29 May 2013, http://bodyliterature.com/seripop/ (accessed 9 November 2014).

7 Seripop, interview by Studio Beat, “Studio Visit: Seripop, Installation,” Studio Beat, 23 June 2014, http://www.studio-beat.com/studio-visit/seripop-installation-montreal-artists/ (accessed 12 November 2014).

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While they both consider themselves to be painters and printmakers, individually, Nadine and Nick have quite varied backgrounds and interests. Nadine often relies on her education in Swiss design and typography to inform her work, and cites modernist makers such as Anni Albers, Sophie Arp, and Gunta Stölzl as inspiration. Nick’s formal training is in screen printing and painting, and he pursues an independent musical practice in experimental jazz. When asked in a 2011 Art21 online interview about her creative process as an individual in relation to her collaborative work with Sonnenzimmer, Nadine responds,

When alone it’s like being a kid in a way, walking down the same path you always walk down going home, but then you get side-tracked and you find something amazingly new that you haven’t seen before, something you would share with your invisible super buddy. That’s the kind of thing I like to be connected to. […] When working with Nick, it’s very different because we usually have to put [ a project ] into a framework that honors many angles: Nick’s approach, my intentions, the functionality, the cultural notion of what’s expected.8

For Sonnenzimmer, the boon of solitude means a chance for inspiration, germination, and the growth of new ideas. The process of coming together grounds those ideas in conversation, and creates a place where defending an initial idea only strengthens the work.

8 Nadine Nakanishi, interview by Caroline Picard, “Fostering Pragmatism: An Interview with Nadine Nakanishi,” Art21 blog, 16 January 2011, http://blog.art21.org/2011/01/16/fostering-pragmatism-an-interview-with-nadine-nakanishi/ (accessed 12 November 2014).

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III. In 2010 Seripop, with the Toronto-based collective Exploding Motor Car, released a subversive docu-music-video titled How We Made: AIDS Wolf - Catholic For Rent.9 During a long, mundane tease of an intro, you enter a studio, meet the band members, watch them eat lunch, and then AIDS Wolf begins band practice. Reacting to a bad batch of tacos, Chloe’s character suddenly heads for the bathroom and chaos ensues. Born from some hellish legumes, cartoonishly terrifying fecal monsters (a feat of puppeteering) emerge from the bathroom and attack the band. A war of screaming, farting, and gratuitous sludge - slinging ensues, but ultimately the band outwits and defeats the puppet shit show.

This was my first introduction to Seripop. This over-the-top, Bataillean, campy performance has stayed with me throughout the genesis of Simultaneous, and I think it’s because I find it to be a perfect summation of how Chloe and Yannick view the creative process: ideas are extruded and in the end only waste remains. As Chloe remarks in an interview, “The lines between the two (production versus installation as performance) are blurred.”10 Seripop, having set aside musical performance to focus on their visual art practice, allows the process of making objects and then installing them to become its own kind of theatre.11 For Simultaneous, as with many of their installations, Seripop can only build an exhibition when they arrive in the space.12

9 How We Made: AIDS Wolf — Catholic For Rent, prod. Winston Hacking, dir. Brett Long and Winston Hacking, 7 min. 47 sec., Exploding Motor Car, 2010, digital video.

10 Seripop, interview by Jessica Mensch, B O D Y.

11 Yet, the vibrancy of their colors, and the completely overwhelming nature of their oversized and over-piled materials, means that walking through their installations is uncannily akin to a freeze-frame moment of suspended animation at a noise-rock show.

12 Of necessity I’m referring to Seripop’s installation in general terms. Their work in Simultaneous will be site-specific, reflexive in relation to the Center for Book and Paper Arts galleries, responsive to Sonnenzimmer’s contribution, and thus at the time of this writing has not yet been realized.

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Working with entropy as their objective (using materials like wheat-pasted paper, meant to decay over time), Seripop’s immersive process of creation allows them to create complex Rube Goldberg -like systems designed to fail. Counter to the pre - planned, staged aspect of a Goldberg machine (or Fischli & Weiss’ 1987 project, The Way Things Go), a love of contingency allows Seripop to treat an the act of installation as if it were an improvisation: all of the necessary elements are in place, and only the unexpected is possible. The walls could very well be the floor or ceiling. What they need is simply a plane, preferably two — anything to upend you upon entrance.

In Simultaneous, Sonnenzimmer employs a performative mode as well, pushing the limits of their own practice beyond any previous attempts at an immersive experience. For Sonnenzimmer, the performative space of the exhibition is ultimately a way to pay homage to a landscape, in the modernist spirit of Dada and Bauhaus. The natural world plays a vital role in the genesis of much of Sonnenzimmer’s abstract imagery, and here, as in their 2010 publication, Field Integration, “everything in and around the artwork contributes to the creation of a landscape for a viewer to stand in and connect to.” 13

Unlike Seripop, the kind of performance-landscape Sonnenzimmer seeks to enact here is one directed after the installation is complete. Much like an early Rauschenberg combine (such as Minutae, 1954, created with Merce Cunningham’s ballet in mind), Sonnenzimmer’s contribution to Simultaneous is the creation of a stage — or rather, a world—on and in which the viewer completes the work. S/he is asked to be both actor and audience. The installation consists of two large, colorful painting-tapestries which serve as “backdrops” against a far wall; a third lays claim to the floor. A unique house soundtrack, composed and produced by Sonnenzimmer, spins on record players. This can only be heard through wireless headphones paired with a costume: a hand - woven shawl-like outer garment, meant to be worn while wandering through the galleries. Finally

13 Nadine Nakanishi with Nick Butcher, Field Integration (Chicago: Sonnenzimmer, 2010), 4.

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the experience is directed by an absurd, Dada-inspired “script” in the form of an artist’s book, a narrative guide to be followed and read by the viewer, complete with a font (Sonnenzimmer Manuscript) designed specifically for this exhibition.

I V.

Starting from similar places of reference — as screen printers who force ink on to paper through a finely - woven mesh — Sonnenzimmer and Seripop have independently developed bodies of work wherein they investigate, as printmakers, the relationship between the materials of fabric and paper. Sonnenzimmer translates their own peaceful, complex language of abstract design to new surfaces, imbuing linen and canvas with vibrant systems of overlaid shapes. Seripop’s monumental screen printed paper installations subvert expectations of the possibilities inherent in a single material.

Whereas Sonnenzimmer typically investigates fabric as if it were a kind of paper (shaping, painting, and printing on it as a wall- hanging or floor piece), Seripop often creates large-scale installations that utilize paper as if it were fabric (draping and folding massive sheets with an ease that belies the fragility of the medium). The same thought process exists — to treat one material as if it were another — but with opposite and wildly varying results.

So, the challenge of an exhibition in a place called the Center for Book and Paper Arts has been taken up — to make work that has everything to do with book and with paper, and seemingly nothing at all. Each one of these artists has a mastery of the print medium but chooses, when necessary, to disregard its rules. If, traditionally, an edition is one work of art with one origin, endlessly reproducible from a single matrix, then in this performative exhibition the viewers become the substrate upon which the work endlessly imprints. At the same time, together, we experience Simultaneous. #

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Lauren Weinberg

One night, an opening reception for a Seripop exhibition got a little too rowdy. Seripop’s Montréal-based artists, Yannick Desranleau and Chloe Lum (both Canadian, b. 1978), have seen a lot — they also cofounded the noise-rock band AIDS Wolf, which performed from 2003 to 2012 — but they became aghast as inebriated arts administrators manhandled their installation.

“Now that we have distance — space and time away from that,” Lum mused several months later, “we’re like, ‘How can we set things up that are going to tempt people to fuck with the stuff ?’” Such nonchalance isn’t surprising if you remember that Seripop’s motto is, “We are interested in all types of failure.” While most of the art in Simultaneous isn’t meant to be touched, it embodies Lum and Desranleau’s willingness to give up control over their materials. The artists have courted entropy and the unexpected since they first collaborated, as musicians, almost fifteen years ago. “We like to be surprised by what we’re going to do,” explains Lum. “Every time something goes wrong, it’s always new potential for different modes of research and production.” When I interviewed Desranleau and Lum at their studio in September 2014, they made it clear their careers haven’t

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progressed from an art world–approved point A to point B. “I was kind of a bad kid. I dropped out of high school in grade 10, and I would sit and read Henry Miller or Kathy Acker in the woods,” said Lum as she and Desranleau graciously offered me tea and cookies. (Seripop are badass, but they’re still Canadian.)

Within a few months of meeting and deciding to play music together, the couple started making concert posters — a genre that also became a Sonnenzimmer speciality. Like Sonnenzimmer’s Nick Butcher (American, b. 1980) and Nadine Nakanishi (American/Swiss, b. 1976), Lum and Desranleau brought a fearless, experimental approach to poster design that was informed by their personal involvement in the music scene. But unlike their Chicago peers, they were fascinated by how their posters changed upon exposure to an urban environment, where they were eroded by the elements or vandalized. This tendency toward deterioration, which Seripop call the “performative aspect of materials,” influenced the more ambitious screen printed installations the pair created out of cheap paper obtained from Montréal’s industrial zones.

Finding a foothold in the contemporary art world was difficult. “We were really these nobodies. Doing noise-rock posters — we might as well have been doing ad campaigns for McDonald’s,” recalled Lum. Still, as Seripop strove to evolve their practice, they enjoyed advantages unique to Canadian artists: a plethora of artist-run and nonprofit spaces that allow work to flourish free from market pressures and funding for education that is generous by American standards. (Desranleau is pursuing an MFA, and Lum, a degree in art history, at Concordia University.) Montréal’s low cost of living has given them additional freedom. While Sonnenzimmer maintain a design and print studio, Seripop gave up commissioned projects. Aided by Montréal’s ample supply of studio space, the duo has focused instead on complex mixed-media installations, which now incorporate polyurethane foam, vinyl, fabric, wood, metal, and found objects.

A couple of years ago, Lum and Desranleau decided to preserve the traces of use and time on their materials by recycling them into new work. Though they always kept their

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artistic and musical practices separate, the two believe this technique emerged from their experiences in bands: AIDS Wolf cut up and recombined its own music into new compositions, and on tour, they learned how to make the most of meager resources.

“When you’re doing DIY music, you’re the only one who’s investing in it,” said Lum. “No one else gives a shit, so you do it, or it doesn’t exist. You [develop] all these habits of making something from nothing, and making things happen.” When Seripop could not afford the cast objects they wanted in an installation, they simply substituted couch cushions they found in a Dumpster — and have since reused them at least five times.

Desranleau and Lum are no longer bandmates, but collaboration remains as crucial to Seripop’s practice as it is to Sonnenzimmer’s. Being a duo “fuels the work,” emphasized Desranleau. He and Lum often take on different tasks to complete a project, but they consider their complementary skills less important than their never-ending dialogue, as they constantly exchange — and argue about — ideas.

It’s hard to imagine Seripop outside Montréal — just as Sonnenzimmer seem inseparable from Chicago’s cultural community. Yet Lum and Desranleau expect to leave once they graduate from Concordia, and are unfazed by the prospect of continuing their educations somewhere else. Ever philosophical, Lum told me they’re trying to be open to change, “not only embracing chance and contingency in the gallery, but in our own life.” !

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Nick Butcher

&

Nadine Nakanishi

&Simultaneous: Seripop and Sonnenzimmer is the end result of a year-and-a-half-long trans-national creative and logistical endeavor initiated by Sonnenzimmer and made possible by the unrelenting collaboration and support of Columbia College Chicago’s Center for Book and Paper Arts, curator Julia V. Hendrickson, the Illinois Arts Council, the Québec Government Office in Chicago, and of course Seripop’s Yannick Desranleau and Chloe Lum. Since opening our studio in 2006, cultural production has sat in the front and center of our practice. Whether through the lens of design or our own personal artwork, it has remained crucial for our growth to take an inclusive approach to art making. Seripop’s work continues to be an inspiration, just as it was eight years ago, when we shared the common medium of the poster. Strangely enough, our paths have diverged, yet remained parallel; for Seripop, through greater institutional exposure and material exploration, and for us, through our own brand of cultural corralling and an expansion of form. Having the opportunity to not only initiate, but sculpt this exhibit has proven to be a new milestone in our short career. As our palette grows, we hope to continue to plant the flag of independent culture as a sign posts for those artists who perhaps land in between, or sit in, two worlds simultaneously.

This publication was produced on the occassion of the exhibition

Simultaneous: Seripop + Sonnenzimmer

February 12 – April 11, 2015

Curated by Julia V. Hendrickson

The Center for Book & Paper Arts Columbia College Chicago1104 South Wabash, Floor 2Chicago, Illinois 60605T / 312-369-6630colum.edu/bookandpaper

Publisher: SonnenzimmerDesign: SonnenzimmerEditor: Julia V. HendricksonTexts: Julia V. Hendrickson, Lauren Weinberg

All artwork © 2015 the artistsAll texts © 2015 the authors

First printing, edition of 250 HP Indigo, 4-color process, printed on 100# Text Finch Opaque Smooth White by Lowitz & Sons, ChicagoScreen printed dustjacket on French Paper by Sonnenzimmer, ChicagoTypefaces: Sonnenzimmer Manuscript, NotCourier Sans, Belwe

Thanks: Nick Butcher, Jessica Cochran, Anthony Creeden, Yannick Desranleau,

David Jones, Julia V. Hendrickson, Kheira Issaoui-Mansouri, Kerith Iverson, Chloe Lum, Karsten Lund, Nadine Nakanishi, Gina Ordaz, April Sheridan, Jordan Tobin, Marilyn Propp, Lauren Weinberg, Stephen Woodall

Support & Funding: Columbia College Chicago, Illinois Arts Council, Québec Government Office in Chicago, Conseil des arts et des lettres du Québec, Canada Council for the Arts

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About the GalleryThe Center for Book & Paper Arts (CBPA) is affiliated with the Interdisciplinary Arts Department within the School of Media Arts at Columbia College Chicago. The CBPA is one of the largest and most comprehensive book art facilities in the world. The CBPA is dedicated to furthering knowledge and appreciation of book art, including letterpress & offset printing, bookbinding, papermaking, and artists’ books. The CBPA works to preserve historical techniques while promoting research and innovations in the media of book and paper arts.

Tip-in: Gallery view of Simultaneous: Seripop + Sonnenzimmer,February 2015

Gallery view of Seripop’s (Yannick Desranleau and Chloe Lum) installation, at the Center for Book and Paper Arts, Columbia College Chicago, 2015

Gallery view of Sonnenzimmer’s (Nick Butcher and Nadine Nakanishi) installation, at the Center for Book and Paper Arts, Columbia College Chicago, 2015