From February through July 2013, the exhibition space P! will conduct an extended inquiry into the nature and means of copying. Remakes vs knockoffs, transcription vs plagiarism, mimesis vs mimicry — the status of the copied act shifts from positive to negative and back again, depending on context and culture. Multiples of a religious or political icon extend their reach and efficacy, whereas a duplicated file, painting, handbag, or cityscape violates legal and ethical strictures. Questions of capital and power lie at the core: who owns the original vs who is producing the copy.

Offering counterpoints from disparate cultural positions, P! explores the copy through a cycle of events and exhibitions. The space’s location in Chinatown — only blocks from the daily trade of counterfeit luxury goods — informs and shapes these ongoing programs. For February 2013, P! reopens as a reading room: a series of book clubs and reading groups discuss topics ranging from Ancient Athens to Chongqing to Canal Street. Beginning in March 2013, P! presents a changing sequence of monthly exhibitions touching on historical and contemporary aspects of copying. Key in this constellation is the cross-pollination of works from different contexts of cultural production that resonate with and reference each other in unexpected ways. Activated by works and strategies that rupture the neutral space of display, the exhibitions perform the concerns of multiplicity and replication at hand.

Participants in the six-month cycle include Åbäke, Thomas Brinkmann, Katarina Burin, Marc Handelman, Ruba Katrib, Oliver Laric, Arthur Ou, Sara Greenberger Rafferty, Rich Brilliant Willing, Peter Rostovsky, Sarah

Schulman, Amie Siegel, Ben Smith, Société Réaliste, Superscript, Herb Tam, Niels Van Tomme, Nader Vossoughian, Xin Wang, and others.

Parallel to the exhibition cycle is a related project by Project Projects at the Museum of Art and Design entitled “Permanent Loan.” “Permanent Loan” consists of a museum of reproductions from museums, a physical meta-institution curated from preexisting collections throughout the world. The project culminates with a set of round-table discussions and public programs at mad in May 2013, organized by Project Projects, on questions of digital museum collections, technology, and copyright. “Permanent Loan” is on view at the Museum of Art and Design as part of the exhibition, “After the Museum: The Home Front 2013” from March 12 through May 26, 2013.

Permutation 03.x February–July 2013

P!334 布隆街

p-exclamation.org

334 Broome Street

纽约, 纽

约州

10002

info@p-exclamation.org

New York, NY 10002

In February 2013, P! transforms into a custom-made reading room, created by Rich Brilliant Willing. Investigating copying, translation, counterfeiting, and other gestures, the space hosts a public program of twice-weekly reading groups. These events juxtapose literary, journalistic, academic, and scientific readings from multiple cultural positions as a discursive groundwork for the subsequent exhibitions. Discussion group leaders include Sarah Greenberger Rafferty (Artist), Ruba Katrib (Curator, SculptureCenter), Sarah Schulman (Writer), Ben Smith (Editor-in-chief, BuzzFeed), editorial consultancy Superscript, Herb Tam (Curator and Director of Exhibitions, Museum of Chinese in America), Nader Vossoughian (Architectural historian & theoretician, nyit), and Xin Wang (Research assistant, Metropolitan Museum of Art). The texts discussed are available at P! for purchase or perusal, and will be collected into a bootleg catalogue-reader. The reading room is open to the public Thu – Sun, 12–6pm, and offers free wifi.

Rich Brilliant Willing is a contemporary lighting and furniture design manufacturer based in Manhattan. Overseeing every aspect of their unique process from design to assembly to distribution, rbw creates products that reinvent strangely familiar forms with novel materials and a conceptual approach. Rich Brilliant Willing was founded in 2007 by risd graduates Theo Richardson, Charles Brill and Alexander Williams. That same year rbw was named among the “Top 40” designers by I.D. magazine. Recent honors include the 2011 International Contemporary Furniture Fair ‘Best New Designer’ award and Forbes Magazine’s “30 under 30” working in Art & Design.

Permutation 03.1: Re-LearningFebruary 7–March 2, 2013

Opening Reception: Thursday, February 7, 6–8pm

Rich Brilliant WillingLogo #3 for P!, 2013

P!334 布隆街

p-exclamation.org

334 Broome Street

纽约, 纽

约州

10002

info@p-exclamation.org

New York, NY 10002

Moderated reading groups, which examine the multiple cultures and histories of copying, will take place Wednesdays and Saturdays from February 7 to March 2, 2013. These conversations are free and open to the public on a first-come, first-served basis. Participants are invited to read the texts beforehand in order to contribute to the discussions. Excerpts of each text will be available for reference online and at P! starting in February.

Saturday, February 9, 4–6pmBen Smith (Editor-in-chief, BuzzFeed) leads a discussion on Richard Dawkins’ The Selfish Gene

Wednesday, February 13, 6:30–8:30pm Sara Greenberger Rafferty (Artist) leads a discussion on The Deposition of Richard Prince in the Case of Cariou V. Prince et al

Saturday, February 16, 3–5pmNader Vossoughian (Architectural historian & theoretician, nyit) leads a discussion on Walter Benjamin’s The Arcades Project

Wednesday, February 20, 6:30–8:30pmEditorial consultancy Superscript (Molly Heintz, Aileen Kwun, Avinash Rajagopal, Vera Sacchetti) leads a discussion on Orhan Pamuk’s The Black Book

Saturday, February 23, 3–5pm“Copied in China”: Herb Tam (Curator and Director of Exhibitions, Museum of Chinese in America) and Xin Wang (Research assistant, Metropolitan Museum of Art) lead a discussion on a range of texts examining copying in historical and contemporary Chinese culture

Wednesday, February 27, 6:30–8:30pmRuba Katrib (Curator, SculptureCenter) leads a discussion on Michel Houellebecq’s The Possibility of an Island

Saturday, March 2, 3–5pmExhibition closing event with writer Sarah Schulman

Permutation 03.1: Re-LearningReading group schedule

P!334 布隆街

p-exclamation.org

334 Broome Street

纽约, 纽

约州

10002

info@p-exclamation.org

New York, NY 10002

Barry, Judith. For when all that was read was... so as not to be unknown. Published on the occasion of dOCUMENTA(13), from 9 June until 16 September 2012, Kassel, Germany. New York: P!, 2012.

Benjamin, Walter. The Arcades Project. Edited by Rolf Tiedmann. Translated by Howard Eiland and Kevin McLaughlin. Cambridge: Harvard University Press, 2002.

-------, Walter. Illuminations: Essays and Reflections. Edited and with an Introduction by Hannah Arendt. Translated by Harry Zohn. New York: Schocken Books, 1968.

Berger, John. Ways of Seeing. London: Penguin, 2008.-------, John. Photocopies. London: Bloomsbury. 1995.Bioy Casares, Adolfo. The Invention of Morel. Translated by Ruth L. C. Simms.

New York: New York Review of Books, 2003.Bloom, Harold. The Anxiety of Influence: A Theory of Poetry. New York: Oxford

University Press, 1973.Boone, Marcus. In Praise of Copying. Cambridge: Harvard University Press,

2010.Borges, Jorge Luis. Ficciones. New York: Grove Press, 1962.-------, Jorge Luis. Labyrinths: Selected Stories & Other Writings. New York:

New Directions, 1964.Boym, Svetlana. The Future of Nostalgia. New York: Basic Books, 2001. Calvino, Italo. Invisible Cities. Translated by William Weaver. New York:

Harcourt, 1974. Carter, Harry. A View of Early Typography up to about 1600. Introduction by

James Mosley. London: Hyphen, 2002.“Chongqing Architect Accused of Copying Zaha Hadid’s Beijing Building.”

South China Morning Post. N.p., 3 Jan. 2013. Web. 9 Jan. 2013.“Copycat Architects in China Take Aim at the Stars.” Spiegel Online. N.p.,

28 Dec. 2012. Web. 9 Jan. 2013.Dawkins, Richard. The Selfish Gene, 30th Anniversary Edition. Oxford:

Oxford University Press, 2006. Deleuze, Gilles. Difference and Repetition. Translated by Paul Patton.

New York: Columbia University Press, 1994.Eco, Umberto. Foucault’s Pendulum. Translated by William Weaver.

New York: Harcourt, 1989.Eisenstein, Elizabeth L. The Printing Revolution in Early Modern Europe.

Cambridge: Cambridge University Press, 1993.

Permutation 03.1: Re-LearningBibliography (in formation)

P!334 布隆街

p-exclamation.org

334 Broome Street

纽约, 纽

约州

10002

info@p-exclamation.org

New York, NY 10002

Forty, Adrian. Objects of Desire: Design and Society Since 1750. Dumfriesshire: Cameron Books, 1995.

Frayn, Michael. Headlong. London: Faber and Faber, 1999. Gaddis, William. The Recognitions. New York: Penguin, 1952.Goldsmith, Kenneth. Day. Great Barrington: Figures, 2oo3. Greenblatt, Stephen. The Swerve: How the World Became Modern. New York:

W.W. Norton, 2012.Hapgood, Susan, and Cornelia Lauf. In Deed: Certificates of Authenticity in Art.

Amsterdam: Roma Publications, 2011.Heidegger, Martin. Poetry, Language, Thought. Translations and Introduction

by Albert Hofstadter. New York: Harper & Row, 1971.Herodotus. The History. Trans. David Grene. Chicago: University of Chicago,

1987.Houellebecq, Michel. The Possibility of an Island. Translated by Gavin Bowd.

New York: Vintage International, 2005.Kerr, Philip. The Penguin Book of Lies: An Anthology. New York: Viking, 1990.Kinross, Robin. Modern Typography: An Essay in Critical History. London:

Hyphen, 2004.-------, Robin. Unjustified Texts: Perspectives on Typography. London: Hyphen,

2002.Krauss, Rosalind. The Originality of the Avant-Garde and Other Modernist

Myths. Cambridge; mit Press, 1985.Lambert-Beatty, Carrie. “Make-Believe: Parafiction and Plausibility.” October

129 (2009): 51-84.Laric, Oliver. Ancient Copies: Contributions to the History of Greek and Roman Art.

Lulu Books, 2010.Lessing, Gotthold Ephraim. Laocoön: An Essay on the Limits of Painting and

Poetry. Translated, with introduction and notes, by Edward Allen McCormick. Baltimore: John Hopkins Press, 1984.

Lethem, Jonathan. “The Ecstasy of Influence: A Plagiarism.” Harper’s Magazine. February 2007.

Levine, Anne-Marie. Reculer Pour Mieux Sauter. Vol. 1. New York: 2011.-------, Anne-Marie. Reculer Pour Mieux Sauter. Vols. 2-5. New York: 2012Long, Gareth. Don Quixote. New Haven: G. Long, 2006.Lopez, Jonathan. The Man Who Made Vermeer: Unvarnishing the Legend of

Master Forger Han van Meegeren. Orlando: Harcourt, 2008.McCarthy, Tom. Remainder. New York: Vintage Books, 2005.

P!334 布隆街

p-exclamation.org

334 Broome Street

纽约, 纽

约州

10002

info@p-exclamation.org

New York, NY 10002

Mihm, Stephen. “No Ordinary Counterfeit.” The New York Times Magazine. July 23, 2006.

Nagel, Alexander. Medieval Modern. New York: Thames & Hudson, 2012.Neurath, Otto. From hieroglyphics to Isotope: a visual autobiography. Edited by

Matthew Eve and Christopher Burke. London: Hyphen Press, 2010. Pamuk, Orhan. My Name is Red. Translated by Erdag Goknar. New York:

Vintage International, 2002.-------, Orhan. Other Colors: Essays and a Story. Translated by Maureen Freely.

New York: Vintage International, 2007.-------, Orhan. The Black Book. Translated by Maureen Freely. New York:

Vintage International, 2006.Petrovich, Dushko, and Roger White. Draw It with Your Eyes Closed: The Art of

the Art Assignment. Brooklyn, ny: Paper Monument, 2012.Pollan, Michael. The Botany of Desire: A Plant’s-eye View of the World. New York:

Random House, 2002.Prince, Richard. The Deposition of Richard Prince in the Case of Cariou V. Prince et

al. Edited by Greg Allen. Zurich Powerhouse Books, 2012.Price, Seth. “Dispersion.” Distributed History, 2002.Robertson, Lisa. The Weather. Vancouver: New Star, 2001.Saville, Peter. Designed by Peter Saville. Edited by Emily King. London: Frieze,

2003.Schnapp, Jeffrey T., and Adam Michaels. The Electric Information Age Book:

McLuhan/Agel/Fiore and the Experimental Paperback. New York: Princeton Architectural Press, 2011.

Sebald, Winifried Georg. The Rings of Saturn. Translated by Michael Hulse. London: Harvill, 1998.

“Seeing Double: What China’s Copycat Culture Means for Architecture.” The Guardian (blog). N.p., 7 Jan. 2013. Web. 9 Jan. 2013.

Smith, William. “Chinese Customs: In search of the new, banal figure of modernity, available from a Shenzhen art factory starting at $129,” in Invalid Format: An Anthology of Triple Canopy, Volume I. Edited by Triple Canopy. New York: Canopy Canopy Canopy, Inc., 2011.

Steiner, Barbara, and Julia Born. Julia Born, Title of the Show. Published on the occasion of the exhibition Title of the Show by Julia Born (inform 2008), from 8 October until 29 November 2009, at the Galerie für Zeitgenössische Kunst Leipzig. Berlin: Jovis-Verlag, 2009.

Stewart, Susan. On Longing: Narratives of the Miniature, the Gigantic, the Souvenir, the Collection. Duke University Press, 1993.

P!334 布隆街

p-exclamation.org

334 Broome Street

纽约, 纽

约州

10002

info@p-exclamation.org

New York, NY 10002

Stoppard, Tom. Arcadia. London: Faber and Faber, 1993.Thomas, Elizabeth with Project Projects. MATRIX/Berkeley: A Changing

Exhibition of Contemporary Art. Berkeley, ca: University of California, Berkeley Art Museum and Pacific Film Archive, 2009.

Topal, Hakan. “Trademarks and the Clash of Civilizations: Authentic versus Counterfeit.” Published in Going Public ‘06: Atlante Mediterraneo. Milano: Silvana Editoriale, 2006.

Vossoughian, Nader. Otto Neurath: The Language of Global Polis. Rotterdam: nai, 2008.

Weiwei, Ai. “With Regard to Architecture.” Ai Weiwei’s Blog: Writings, Interviews, and Digital Rants, 2006-2009. Cambridge: mit Press, 2011.

White, Roger. “A.P.” Paper Monument. Issue 1. New York: Paper Monument, 2007.

Widdicombe, Lizzie. “The Plagiarist’s Tale.” The New Yorker. February 13, 2012.

Winckelmann, Johann Joachim. Reflections on the Imitation of Greek Works in Painting and Sculpture. La Salle: Open Court, 1987.

Work in Progress: Selections from Urban China Magazine. Edited by Brendan McGetrick and Jiang Jun. Hong Kong: Timezone 8 Limited, 2009.

“Zaha Hadid Races To Finish A Building Before Copycats Get There First.” Co.Design. N.p., 8 Jan. 2013. Web. 9 Jan. 2013.

Rich Brilliant WillingLogo #3 for P!, 2013

P!334 布隆街

p-exclamation.org

334 Broome Street

纽约, 纽

约州

10002

info@p-exclamation.org

New York, NY 10002