In this paperback, questions regarding how to navigate in the present are not raised to generate an answer, a method, or a map, but rather as framing principles analogous to those of a logbook. On a voyage, a ship’s crew registers surroundings and important events in a manner such as this. The cargo contained within this edition is an assemblage of materials provided by over 60 practitioners from a variety of professions and personal backgrounds, and is therefore heterogeneous in terms of language, form and content. The resulting narratives emerge across the pages in the trails left by individuals and collectives of human beings as they move, teach, learn and unlearn, traversing the various apparatuses that determine their agency. In this way, the term navigation is activated, implicitly and explicitly on myriad levels such as the biographical, historical, epistemological, technological and the aesthetical.

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Edited by Hinrich Sachs, Kirke Hundevad Meng, Samuel Richter, Rikard Heberling.

With texts by Robin Curtis, Ellie Ga, Tim Ingold, Hana Jaber, Lisi Raskin, Mikkel Bolt Rasmussen, Lili von Wallenstein and Barbara Wien and contributions by Catalina Aguilera, Ehab Aljaby, Søren Andreasen, Isak Anshelm, Malou da Cunha Bang, Donatella Bernardi, Ludvig Briland, Anton Brolin, Dector & Dupuy, Marjolijn Dijkman, Tomas Kominis Endresen, Helena Fernández-Cavada, Yara Flores, Gideonsson/Londré,  Goldin+Senneby, Cecilia Grönberg, Karin Hald, Marcus Harrling, Mohomodou Houssouba, Jacob Grønbech Jensen, Sophie Jung, Oscar Lara, Lars Bang Larsen, Doris Lasch, Leonela Lilja, Cecilia Luzon, Toby Lynas, Jonas (J) Magnusson, Nanna Nordström, Mateusz Nowak, Kristoffer Ørum, Asier Perez, Daniel Pianetti, Falke Pisano, Gabriel Säll, Eran Schaerf, Jacques Henri Sennwald, Adam Shiu-Yang Shaw, Aron Skoog, Simon Starling, Jonathan Terry, Yusuke Toda, Hedda Viå, Gitte Villesen, Apichaya Wanthiang, Johan Widén, Filippa Wikner, Yun Yu, Klara Zetterholm.

Made possible thanks to the Royal Institute of Art as well as by private funders.

Extra-curricular is a reader of texts on and around the topic of self-organized learning, curriculum, experiments, and alternatives in graphic design education. Occurring both within and separate from existing institutions, these other forms of learning and organization question how such learning takes place, for whom, and the ideologies inherent in existing models, among many other things. An (admittedly) incomplete inventory inspired by the widespread activity and educational turn (or shift) in the field, this book aims to serve as a point of departure for further discussion and experimentation.

With contributions from: Adam Cruickshank, Chris Lee, Decolonising Design, Diego Bustamante, Katharina Hetzeneder, & Ariadna Serrahima (Parallel School Cali), Elisabeth Klement & Laura Pappa (Signals from the Periphery), Esther McManus, Evening Class, Francisco Laranjo, Jack Henrie Fisher, James Langdon, Joe Potts (Southland Institute), Kristina Ketola Bore & João Doria (The Ventriloquist Summerschool), Leigh Mignogna & Frances Pharr (Recreating a Women’s School), Mark Owens,  Robert Preusse, Till Wittwer, & Stefanie Rau (Parallel School Berlin/Brno), Sean Yendrys (A School, A Park), Silvio Lorusso, Sopie Demay & Clara Degay, Stuart Bertolotti-Bailey and David Reinfurt (The Serving Library), and Will Street (The Transparent School).

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Jacob Lindgren is a graphic designer, writer, and researcher based in Chicago. He is a partner of the studio Platform and publishes his own and other's work via the imprint Platform Editions. He organizes and participates in the self-organized learning group Open-End-Ed.”

Part how-to manual, part history, and part socio-political critique, Artist-Run Europe looks at the conditions, organisational models, and role of artist-led practice within contemporary art and society. The aim is to show how artist-run practice manifests itself, how artist-run spaces are a distinctive and central part of visual art culture, and how they present a complex, heterogeneous, and necessary set of alternatives to the art institution, museum and commercial gallery.

In a self-reflexive, critically questioning process, contributions discuss and analyse areas such as: What position do artist-run spaces occupy within the field of contemporary art today? Should they stand in opposition to or in parallel to other art-world structures? How is value ascribed to these often transitory practices, and is this value recognised within the field? How are these spaces organised? Can artist-run spaces develop and be sustained without the need to institutionalise? What do artist-run spaces add to the ecology of the civil society? What can we say about future (or hoped for) trajectories?

Such a publication is timely and unique, with case studies of spaces and projects: Triangle France, Transmission Gallery, Pallas Projects/Studios, Eastside Projects, Catalyst Arts, Pink Cube, Secession, Dienstgebaeude, Supermarket, 126 Artist-led Gallery, and The Artist-led Archive; and an expansive and detailed index of artist-run spaces in Europe. It will seek to develop and encourage discourse on the subject within the wider field of contemporary practice, be a source for academics and students, and act as a practical tool for those running or wishing to set up artist-run spaces.

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Contributors: Jason E. Bowman, AA Bronson, Noelle Collins, Valerie Connor, Mark Cullen, Céline Kopp & Alun Williams, Joanna Laws, Freek Lomme, Megs Morley, Gavin Murphy, Gavin Wade and Katherine Waugh.

Edited by Gavin Murphy & Mark Cullen (Pallas Projects Dublin)
Designed by WorkGroup, Dublin

-Letters from the Field Lab -

Can creative engagement be found or does it need to be distributed? And if we can find it how do we coax it out?

Educational pedagogies once taken for granted now slip easily between reality and fantasy; entering an altogether different realm of understanding and mode of existence.

Designer Lucas Maassen’s introductory workshops for Design Academy Eindhoven MA students provide hypothetical stages for students to experiment in performing the hierarchies of freethinking and free doing. In doing so their insecurities become transformative tools. Whether it’s a workshop wherein students force their bodies into physical disabilities while exploring method acting, or a weeklong survival camp spent in a cold fake church built by the Nazis; the experience drives a red flag into the hardened ground of established educational models.

This zine uses firsthand accounts of four of Maassen’s students as a means of analysis. Each of the workshops is critically engaged with through the emotional response of the participants, creating a snapshot of what this approach to education does to the individual and the lingering lessons they learnt.

Editor: Josh Plough
Contributors: Yi-Fei Chen, Alorah Harman, Diogo Rinaldi, Robin Weidner.
Design: Carolina Valente Pinto