PIERRE MOLINIER
Cabinet

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A boxed edition containing a selection of reproductions of, and writings about, the work of Pierre Molinier.

First published in a limited edition, in 1993, by Cabinet, UK. Edited by Martin McGowan and Andrew Wheatley; texts by various contributors; blind embossed cloth bound box containing: A3 poster/broadsheet, B&W, double-sidedand; A6 postcard– B&W, double-sided; A4 text pages– various coloured stock.

Design by SecMoCo, produced along with the founders of Cabinet.

CABINET
Edition, publicity material

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SecMoCo worked on various design elements for the aesthetic and intellectual powerhouse that is Cabinet on many of their early projects and exhibitions. Here is a selection of publicity material for various artists, and an edition (Pierre Molinier), from that period.

For more on this site on orphan drift and Pierre Molinier go to:
http://www.secmoco.com/index.php/orphan-drift/
http://www.secmoco.com/index.php/pierre-molinier/

O[RPHAN] D[RIFT>]:Cyberpositive
Cabinet

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First edition published in 1995 by O[rphan] D[rift>]/Cabinet Editions (with support from Nick Land), on the occasion of the exhibition/installation at Cabinet, Brixton, London, in 1995.

Edited by Maggie Roberts; 448pp; 130×200 mm; 1x B&W image; 2-colour soft cover;
ISBN 0-952-58240-6; Anti copyright.

Design: O[rphan] D[rift>]/Secondary Modern (SecMoCo as was).

Contributors:
. Asked– Alec Dippie, Fred Evans, Simon Josebury, Suzanne Karakashian, Tom Louichon, Nick Land, Suhail Malik, Rob Maze, Ranu Mukherjee, Dan O’Hara, Sadie Plant, Maggie Roberts, Kurt Vildgren.
. Unasked– J.G Ballard, Georges Bataille, Greg Bear, Hakim Bey, Kathryn Bigelow, William Burroughs, Pat Cadigan, Mike Davies, Manual DeLanda, Maya Deren, Giles Deleuze, Marguerite Duras, Philip K. Dick, Mark Downham, William Gibson, Felix Guattari, Stanislau Lem, Jean-Francois Lyotard, Mike McGuire (juno reactor), Mute Magazine, Thomas Pynchon, Anne Rice, Serge (total eclipse), Stelarc, Neil Stephenson, Tsuyoshi Suzuki (prana), Unnatural Publications.

Having worked on the design for many of the Cabinet projects since its early formation, SecMoCo was pleased to have the opportunity to design, layout and produce– along with with Maggie Roberts, Suzanne Karakashian and Ranu Mukherjee– what has proven to be a highly prescient publication. Published in the same year as the hyper-stimulation of the second Virtual Futures conference (May 25–28, University of Warwick) it can be seen as an indicative marker of the creative and intellectual work going on in that particular historical moment – to theorise the political and cultural implications of the very dawning of a highly networked global information system and the human–digital relationship within it.

The publication has been subsequently reprinted by Cabinet. Here, below, is the information on this from the Cabinet website, where you can buy copies of the reprint and you can also find images of the exhibition/installation in 1995.

‘0(rphan)d(rift>) cyberpositive is an experimental sci fi novel, collectively authored by a group of asked and unasked contributors and edited by OD’s Maggie Roberts. It was published in 1995 with support from Nick Land and Cabinet Editions, serving as our manifesto and as the catalogue for the debut exhibition of the same name. It came together in the spirit of much of our visual work, bringing together processes of sampling and looping as well as the Burroughs cut up technique, referring to a breakdown and reordering of language from a post apocalyptic POV.’
http://www.orphandriftarchive.com

0(rphan)d(rift>) cyberpositive
1995
448pp. 13 x 20 cm
Published by Cabinet Editions / Openmute
Reissue 2012 and 2015
ISBN 13: 9781906496807
£15.00 (2019 reissue)
For orders please email art@cabinetltd.demon.co.uk

GLAM: THE PERFORMANCE OF STYLE. TATE Liverpool

SecMoCo were delighted to be approached by the judicious Darren Pih (Curator, Tate Liverpool) with the offer of a dream job – to design the catalogue to accompany the exhibition GLAM: The Performance Of Style (at Tate Liverpool, UK and later Schirn Kunsthalle, Frankfurt, Germany). Through an ambitious collection of works and artefacts, it’s drive was to conceptually locate the early 1970’s glam pop style phenomenon in the context of the high /low cultural interchange within the artistic milieu of the time.

The design of the catalogue was an attempt to convey this shrewd engagement with the period whilst resisting the (admittedly very tempting) urge to indulge in the use of glitter, kitsch and overtly ‘bad-taste’ fonts. To revert to such a swift design short-hand would have been to do a disservice both to the the complexity of the creative activity of the time, and this contemporary re-appraisal of it. The design also included a detailed illustrated timeline of the art, culture and politics of the time.

First Published September 2013 by Tate Publishing, UK. Edited by Darren Pih; 215 x 255 mm; 192pp, thread sewn; 4-colour images throughout; 4-colour, 8 page soft cover (inc flaps)

Context from the Tate website:
GLAM: The Performance Of Style is the first book to fully examine the serious cultural influence of one of the twentieth century’s most excessive and exciting pop movements. ‘Glam’ emerged in the early 1970s and remains one of the most instantly recognisable but critically derided stylistic phenomena of twentieth century art and cultural history. Known mostly through the music of the era… the style was also evident in other art forms through its acquaintance with theatrics, artifice, myth and androgyny.

Covering a range of subjects including fashion, music, film, gender in performance and postmodernism, the book moves beyond a nostalgic reception and will reveal the under-acknowledged exchange between avant-garde art and the extravagant style, tracing the glam sensibility to performance and installation art, and to painting and sculpture’.

Context from Noddy Holder (Slade), reviewing the exhibition for The Guardian 20.02.13:
‘You can see Marc Bolan’s leather hat in a glass case. I couldn’t believe how small it was: I knew he was a small man, but this hat is really tiny’.