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

 ow do we choose our specific material, our means of communication?
H
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.
Eva Hesse in conversation with Cindy Nemser:

February, 25, 1982

Seripop: Yannick Desranleau & Chloe Lum

Yannick Desranleau and Chloe Lum live and work in Montral. 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), Muse
dArt Contemporain de Montral (Qubec 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 Nakanishi
Sonnenzimmer 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 lensescollaborative, 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 Zrich, Plakatraum; and the University of Maryland,
The Art Gallery. Sonnenzimmers artists books are also at home in such
collections as the Stanford Art and Architecture Library and Vanderbilt
University. www.sonnenzimmer.com
Curator: Julia V. Hendrickson
Julia 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 Weinberg
Lauren 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
Architects 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

Images
appear
closer
than
they
are!

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, youre 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-ifs 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 backand-forth discussion that Chloe Lum with Yannick Desranleau

1 I am reminded of David Foster Wallaces 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, Im 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 Ill Never Do Again (New York: Little, Brown and Company, 1997), 15.

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(as the Montral-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 multivaried, 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
AIDS Wolf
it under his arm, and playfully
pretending to strum the air
Promo, 2008
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
2000swhile Chloe and Yannick
toured the globe in the noiserock 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.

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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.

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 Seripops 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 Stellas 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 painters 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 Chaplins down-andout 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
Nick Butcher,
simple as a dinner roll, Chaplin
Banjo Screen Solo, 2012 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 narratives forward
motion is often achieved by
the play of oppositesgood and
evil, Ahab and the whale, the
dark and the light. Film often
contains the same tropes: leadins and punch lines, Laurel
and Hardy, blonde Madonna and
brunette vixen. So too in a
duet,
two
voicesharmonious
or dissonantpropel 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 simulat 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.

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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 Montral, 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:

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 dont like.
Were 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 doesnt matter who came up with what.
Yannick:

Chloe:

Its a joint authorship.7

Despite the nomenclature of the end result, its still

important to these artists that they are seen as individuals.
Chloes interests are connected to the history of art and
architecture, and recently Le Corbusier has been a research
topic. Yannicks 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, Whats All The Fuss About? B O D Y, 29 May 2013,

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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).

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 Stlzl as inspiration. Nicks 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 its 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 havent seen before, something you would
share with your invisible super buddy. Thats
the kind of thing I like to be connected to. []
When working with Nick, its very different
because we usually have to put [a project] into
a framework that honors many angles: Nicks
approach, my intentions, the functionality,
the cultural notion of whats 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/fosteringpragmatism-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-musicvideo 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, Chloes 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 its 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 WolfCatholic 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.

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12 Of necessity Im referring to Seripops 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 Sonnenzimmers contribution, and thus at the time of this
writing has not yet been realized.

Working with entropy as their objective (using materials

like wheat-pasted paper, meant to decay over time),
Seripops 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 twoanything 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 Sonnenzimmers
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
Cunninghams ballet in mind), Sonnenzimmers contribution
to Simultaneous is the creation of a stageor rather, a
worldon 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 artists book, a narrative
guide to be followed and read by the viewer, complete with
a font (Sonnenzimmer Manuscript) designed specifically for
this exhibition.

IV.
Starting from similar places of referenceas screen
printers who force ink on to paper through a finely-woven
meshSonnenzimmer 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.
Seripops 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 existsto treat one material as if it were
anotherbut 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 upto 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. Seripops Montral-based artists,
Yannick Desranleau and Chloe Lum (both Canadian, b. 1978),
have seen a lotthey also cofounded the noise-rock band
AIDS Wolf, which performed from 2003 to 2012but they
became aghast as inebriated arts administrators manhandled
their installation.

Now that we have distancespace and time

away from that, Lum mused several months
later, were like, How can we set things up
that are going to tempt people to fuck with
the stuff?
Such nonchalance isnt surprising if you remember that
Seripops motto is, We are interested in all types of
failure. While most of the art in Simultaneous isnt meant
to be touched, it embodies Lum and Desranleaus 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 were going to do, explains
Lum. Every time something goes wrong, its 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 havent

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progressed from an art worldapproved 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 theyre still Canadian.)
Within a few months of meeting and deciding to play music
together, the couple started making concert postersa
genre that also became a Sonnenzimmer speciality. Like
Sonnenzimmers 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 Montrals
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 McDonalds,
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.) Montrals low cost of living has given them
additional freedom. While Sonnenzimmer maintain a design and
print studio, Seripop gave up commissioned projects. Aided by
Montrals 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.

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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

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 youre doing DIY music, youre the

only one whos investing in it, said Lum.
No one else gives a shit, so you do it, or it
doesnt 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 Dumpsterand have since reused them at
least five times.
Desranleau and Lum are no longer bandmates, but collaboration
remains as crucial to Seripops practice as it is to
Sonnenzimmers. 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 exchangeand argue aboutideas.
Its hard to imagine Seripop outside Montraljust as
Sonnenzimmer seem inseparable from Chicagos 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 theyre 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 Chicagos Center for Book and
PaperArts, curator Julia V. Hendrickson, the Illinois Arts
Council, the Qubec Government Office in Chicago, and of
course Seripops Yannick Desranleau and Chloe Lum. Since
opening our studio in 2006, cultural production has satin
thefront 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. Seripops 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 forus, 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.

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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 Chicago
1104 South Wabash, Floor 2
Chicago, Illinois 60605
T / 312-369-6630
colum.edu/bookandpaper
Publisher: Sonnenzimmer
Design: Sonnenzimmer
Editor: Julia V. Hendrickson
Texts: Julia V. Hendrickson,
Lauren Weinberg
All artwork 2015 the artists
All 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, Chicago
Screen printed dustjacket on French Paper
by Sonnenzimmer, Chicago
Typefaces: 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,
Qubec Government Office in Chicago,
Conseil des arts et des lettres du
Qubec, Canada Council for the Arts
SZ014

Tip-in: Gallery view of Simultaneous:

Seripop + Sonnenzimmer,February 2015
About the Gallery
The 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.