{"id":9395,"date":"2016-04-04T01:05:00","date_gmt":"2016-04-04T01:05:00","guid":{"rendered":"http:\/\/a-desk.org\/2016\/04\/04\/conversing-online-with-alex-gifreu\/"},"modified":"2017-09-20T00:19:06","modified_gmt":"2017-09-20T00:19:06","slug":"conversing-online-with-alex-gifreu","status":"publish","type":"post","link":"https:\/\/a-desk.org\/en\/magazine\/conversing-online-with-alex-gifreu\/","title":{"rendered":"Conversing online with Alex Gifreu"},"content":{"rendered":"

\"Alex_G_1.jpg\"
\nAlex Gifreu is not your average designer. To talk about design with him is to talk about everything but design. His professional practice knows no bounds. Frontiers are dissolving all the time. They appear, disappear, ever in flux. Co-founder of the graphic studio Bis<\/em>,along with Pere \u00c1lvaro, and founder of the editorial Cru<\/a> with 43 artist\u2019s publications to date. He has published monographs by artists like Dora Garc\u00eda, Ignasi Aball\u00ed, Mabel Palac\u00edn, Jakob Kolding, Oriol Vilanova, I\u00f1aki Bonillas, Carlos Pazos, Pepo Salazar and Salvador Dal\u00ed, amongst others, and is responsible for graphic projects for Documenta 13, Manifesta 8, FRAC Bourgogne, Tate Liverpool, Centre Pompidou-Metz, Fundaci\u00f3 Tapies, Fundaci\u00f3 Mir\u00f3, Venice Biennale, S\u00e3o Paulo Art Biennial and the Reina Sof\u00eda. A key figure, when defining the function of graphic design applied to art as a means to \u201corder the ideas of others on paper.\u201d Clear and convincing. For him, the book is an extension of the work itself. <\/p>\n

Five o\u2019clock in the afternoon in Amsterdam. I call him on Skype. He responds from Figueres. Behind him a wall of books and objects that extend beyond the screen. A distance of 1.408 km, and a difference of 10 degrees; I\u2019m not surprised he\u2019s wearing a t-shirt. The connection is good there are no pixels, no frozen faces nor metallic voices. There\u2019s music in the background that comes and goes. It\u2019s John Lydon he clarifies. Without further ado, to the sound of PiL, I begin.<\/p>\n

How many books do you have?<\/strong><\/p>\n

Over 20.000, although rather than books I prefer to talk about volumes. <\/p>\n

Which would you take to the grave<\/strong><\/p>\n

Ulysses<\/em> by Dora Garc\u00eda. It\u2019s a great piece, a copy of James Joyce\u2019s Ulysses<\/em> published by Penguin in 1969, cut perfectly at a precise angle. It refers to censorship and restriction of liberties. \u00a0<\/p>\n

Your involvement with self-publishing does it go a long way back?<\/strong><\/p>\n

In the summer of 1982, I edited my first publication. I was 11 years old. With my pocket money, I bought foreign newspapers like the Bild<\/em>\u00a0or Gazzetta dello Sport<\/em>. I cut images out of them because I liked the effect of the four-colour printing on the pink paper of the Gazzetta<\/em>. It was called Naranjito, la revista del Mundial 82<\/em>.\u00a0 It was my counter chronicle. That\u2019s where it all began. From there I passed on to fanzines. The most famous one is the fanzine I made with Jordi Mitj\u00e0\u00a0Pus de iaia<\/em> (Granny\u2019s pus).).<\/p>\n

From there to conceiving a work in the format of a book?<\/strong><\/p>\n

In 1997 I made a publication called Tipograf\u00edas Inflamables<\/em>. I sent fonts I\u2019d designed to 30 designers in 11 countries, from the United States to Australia, and they had to design a page with one of them. Months later along with Jordi Mitj\u00e0 we made TPS<\/em>, the initials for \u2018tipoesia\u2019 (typo-poetry). We illustrated his poems with my fonts. And this was before Cru.<\/p>\n

What is an artist\u2019s book?\u00a0<\/strong>\u00a0<\/p>\n

The artist\u2019s book doesn\u2019t exist. If you look in the dictionary, the definition of a book is a collection of sheets joined with a cover. Whereas, I\u2019d ask you the question: what is art? It\u2019s clear that since Duchamp anything is art; and since Beuys anybody is an artist. It is impossible to define what an artist\u2019s book is when we can\u2019t define who is or isn\u2019t an artist or what is or isn\u2019t art. More than an artist\u2019s book I like to talk about publications conceived as pieces of work. In the sense, the work doesn\u2019t exist in any physical format other than a publication. <\/p>\n

Why was Cru born?\u00a0<\/strong>\u00a0<\/p>\n

Cru was a need. Cru was born because I saw the work of some of my artist friends who, at that time, had no publications about their work. A page would appear in collective publications but made no sense. I believed in their work and thought that if I didn\u2019t publish them, at that point, nobody would. We were in our early twenties. <\/p>\n

The punk philosophy, \u201cdo it yourself\u201d?<\/strong><\/p>\n

Now it\u2019s easy to publish but in the 90s it wasn\u2019t, and it cost a fortune. We\u2019d learnt from the DIY philosophy of the shabby fanzine with photocopies. But it had to be taken one step further. The first Cru came out in 2000, and it\u2019s by Jordi Mitj\u00e0. It\u2019s a box made of steel marked with a letter punch. You open it and find inside a sculpture of cast aluminium, accompanied by a CD of music that Jordi made at that time, six screen-prints and a book with pages from a dictionary where all the words are crossed out except for the definitions of Loop <\/em> and Culture<\/em>. There is a large quantity of crossed-out pages that contribute nothing. After the second one, I decided they all needed to be A5 in format. I planned it with the idea of a collection. Over time, I realised that limiting all the projects to the same format didn\u2019t make sense. I opted to adapt the format of the publication, to the nature of the project.
\nIs there a guiding theme behind \u201ca Cru”?<\/p>\n

Is there a guiding theme behind \u201ca Cru”?<\/strong><\/p>\n

No. The only guiding theme could be the hand of the designer, but there is no design, the endeavour is always to be aseptic. For I believe that the design shouldn\u2019t compete with what it is showing, it has to stay on a second plane, to comply with premises that can be optimum legibility, order, composition but never, never be over and above the work of the artist. I can\u2019t bear over-designed things and much less tendentious ones. My aim is that they age well. I\u2019m satisfied when I pick up a book I did 15 years before, and my face doesn\u2019t crumple with embarrassment. <\/p>\n

Taking design into another context and giving it a twist; sound familiar<\/strong>\t<\/p>\n

Definitely! At the beginning when they commissioned me to do a poster I thought of it as the cover of a record. If they commissioned me to do the cover of a record, I thought of it as the page of a book. If they commissioned me to do a book I thought of it as a calendar. I never did the job I was supposed to do so much as turned what I was expected to do on its head. I interpreted the basic parameters of design and extrapolated them to another context; I was very proud of this way of doing things. I\u2019m never satisfied with the work I\u2019ve done, but I like this capacity to turn things around. To do something, by proposing something else. It is the negation of the established. The contradiction. It\u2019s \u201cI don\u2019t know what I want, but I know how to do it\u201d. <\/p>\n

Artists, designers, editors, do the roles matters?<\/strong><\/p>\n

It\u2019s really a relation of symbiosis. They are three characters working side by side. In the publication of the artist, the artist must take the lead as she has the most specific role. The role of the designer is to place all the skills acquired in the service of the artist. To seek out the optimum solution for the reproduction of their work, be it in the selection of papers, systems of printing, or the format. For example, in the case of Sin principio\/Sin final <\/em> by Ignasi Aball\u00ed, we assessed how to reproduce the exhibition on a scale of 1:1 in the publication. In the end, we decided that the pieces that didn\u2019t fit in the publication would be published as life-size details, or we’d reproduce life-size books wherever the pieces we wanted to show appeared. <\/p>\n

Many designers present themselves as artists\u2026<\/strong><\/p>\n

For many designers, design is art, but not for me. Design is function. I can\u2019t bear designers that present themselves as artists; I also don\u2019t like designers that make their work prevail over what they are showing and they impose their design upon what is being published. I like to pass unnoticed. I believe good design is the design you don\u2019t see. <\/p>\n

But for some reason, you are interested in working with art\u2026 <\/strong><\/p>\n

What\u2019s interesting with art is something lies behind it. It\u2019s not like the painting of the eighteenth century that sought for a faithful realism to the last detail and valued virtuosity. Now an idea applies. Since the concept began to be applied, the idea has become irreplaceable. The conception of a piece is personal. It pisses me off when a witticism is confused with an idea. There are those who think they have an idea and in reality, it is a witticism, and this means the art is of little interest. <\/p>\n

One of the great satisfactions of my work is being able to work with artists because one really learns. If you stop learning best just to disappear. For example, in the case of Dora Garc\u00eda each of her projects is different, calling for a different solution. Now we\u2019ve abandoned the format of the book, and we\u2019re making newspapers with a massive print run of 25,000 copies as she considers this is the ideal format to show her work. We\u2019ve made three. Dora is a great artist, a great researcher; I\u2019m always discovering new worlds, new people through her. <\/p>\n

What are you seeking with your publications?<\/strong><\/p>\n

In the end, what you want is that whoever holds it in their hands enjoys it. It\u2019s important because you are stealing time from their life, dedicated to looking at something you have made. That someone lends you their time, is amazing. <\/p>\n

How do you see digital editions?<\/strong><\/p>\n

In the 90s Net.art was talked about, but who\u2019s making Net.art 20 years later? Since David Carson foresaw The End of Print<\/em> in 1994, a debate began about the disappearance of books and they\u2019re still there, stronger than ever. I don\u2019t know, holding in your hands the weight of a book, the texture, different papers, colour, everything. It\u2019s like having sex or watching porn on the Internet. I prefer the former. <\/p>\n

What do you feed off?<\/strong><\/p>\n

To be honest, I don\u2019t look at what other designers do. Each time I have something to do I analyse what has fallen on my desk. From there I look for the optimum solution. Are there people who have interested me, and interest me? Yes, many. Marcel Duchamp, Gordon Matta-Clark, Chris Burden, Dora Garc\u00eda, Mabel Palac\u00edn, Danny Lyon, Tacita Dean, William Klein, Christian Marclay, El Lissitsky, Anri Sala, Jean-Michel Basquiat, Richard Kern, Man Ray, Hugo Ball, Kurt Schwitters, Piero Manzoni, Jo\u00e3o Onofre, Mike Kelley, Paul McCarthy, Mark Leckey, Miroslaw Balka, Raoul Hausmann, Dan Graham, Marc Nagtzaam, Jeremy Deller, Asier Mendizabal\u2026<\/p>\n

Your five key designers<\/strong> <\/p>\n

If we\u2019re focussing exclusively on graphic design, people like Rudy Vanderlans, Neville Brody, Vaughan Oliver, Aleksandr Rodchenko or Jamie Reid have at some point brightened up my life.<\/p>\n

What state of health is design in today?<\/strong><\/p>\n

Everything I see is pretty much a remake, and I\u2019ve become a bit of a stickler, nothing interests me. Today to create is to recycle. Perhaps it\u2019s something to do with the weakness of current thinking and the lack of critical spirit, but that is quite another subject. In the last twenty years, have you seen anything that you haven\u2019t seen before? You can say yes, but if you analyse it, you will soon find its point of departure. It lacks originality and its own language. <\/p>\n

As you mention remakes, lately I\u2019ve seen a lot of appropriation of Bauhaus\u2026<\/strong><\/p>\n

Nor do I believe in the chemically pure design that Bauhaus defended. Everything influences you.<\/p>\n","protected":false},"excerpt":{"rendered":"

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