Bedford Press is a private press and publisher located in London. Established as an imprint of AA Publications Ltd, the press aims to establish a more responsive model of small-scale publishing, nimble enough to encompass the entire chain of production in one fluid activity, from initial commission to the final printing.
The press includes a print workshop located in Bedford Square equipped with a Ricoh Priport DX 4640PD on which some of the editions are printed. The products of the press include publications as well as ephemera such as pamphlets, posters and limited edition prints.
Bedford Press was initiated by the Architectural Association in 2008. Bedford Press editions are available through AA Publications'
website.
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Sixty-six objects from Ryan Gander’s collection make up his major new works Fieldwork 2015 (2015) and Fieldwork 2016 (2016). Each object passes by a window, one after another, on a constantly looping conveyor belt. A National Trust sign protecting ‘Culturefield’, a chess set, a pair of dead pigeons, a kitchen sink. Found, fabricated, everyday and exceptional, these objects may represent the richness of our existence, mapping its totality one object at a time. Through this work and a series of writings, Fieldwork serves as a reader to Gander’s on-going and ever-evolving practice.
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Contributions by Can Altay, Dennis Atkinson, Ricardo Basbaum, Janna Graham, Lawrence Abu Hamdan, Annette Krauss, Maria Lind, Ute Meta Bauer, Christian Nyampeta, Emily Pethick, Filipa Ramos, Louise Shelley, Eva Wisniewska and others
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‘Auto-destructive art is a comprehensive theory for action in the field of the plastic arts in the post-second world war period. The action is not limited to theory of art and the production of art works. It includes social action. Auto-destructive art is committed to a left-wing revolutionary position in politics, and to struggles against future wars.’
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Contributions by Åbäke, Fran Betters, Susan Bielstein, Sam Davis & Benjamin Chaffee, Nico Dockx, Yona Friedman & Jean-Baptiste Decavèle, Ryan Gander, Benjamin Robert Haydon, Ben Kinmont, Zak Kyes, Tara Lane, João Penalva
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Architecture Without Content is architecture reduced to its very perimeter. Only the economy of the envelope determines the success of the building. Its radical frugality does not make it less critical. Economy of means is the weapon of choice to express its ideology. Architecture Without Content finds its roots in the Big Box. Architecture Without Content is too big to ignore.
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Photography has become content, instantly uploaded and peer-reviewed in ‘likes’. The Construction of an Image assumes the opposite stance wherein Dutch photographer Bas Princen takes a single image – Ringroad, Houston – to deconstruct and discuss in detail. By studying one photograph, time is given over to process to enable insight into the mind of the photographer and to make manifest the chronology of a project’s conception to its realisation.
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Photographs by Giovanna Silva
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Essays by Rachel Berger, Max Bruinsma, Emmet Byrne & Metahvaen, Catherine de Smet, Emily McVarish.
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By Radim Pesko
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Learning From Critical Experiments in Education
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