terça-feira, 31 de julho de 2012

Arno Fabre

La chambre d'Etienne ou Du discours de la servitude volontaire, 2010
installation - fresque, vidéo et sondage

Aux murs d'une des pièces de la Maison La Boétie (arbitrairement décrétée être la chambre d’adolescent d’Etienne de La Boétie), j'ai recopié l'intégralité du Discours de la servitude volontaire (manuscrit de Mesme, en moyen français) : 58 351 caractères, 48 m2, 67 lignes, 1167 mètres, 12 marqueurs noirs, 16 jours d'écriture. Nous plaçant ainsi physiquement au cœur du texte et l’embrassant dans sa totalité, nous pouvons en faire une expérience singulière et troublante, dans un calme introspectif. 

sábado, 28 de julho de 2012

Mike Joyce

swissted is an ongoing project by graphic designer mike joyce, owner of stereotype design in new york city. drawing from his love of punk rock and swiss modernism, two movements that have absolutely nothing to do with one another, mike has redesigned vintage punk, hardcore, and indie rock show flyers into international typographic style posters. each poster is sized to the standard swiss kiosk dimensions of 35.5 inches wide by 50 inches high and set in berthold akzidenz grotesk medium, all lowercase. every single one of these shows actually happened.

Moyra Davey

by Moyra Davey
104 pages, softcover
Numbered edition of 200

Copperheads is an artist's book which documents the most ubiquitous, although possibly least noticed, portrait in the United States: Abraham Lincoln's visage adorning the American penny which was introduced by the US Mint in 1909 on the occasion of Lincoln's centennial.


Bern Porter

terça-feira, 10 de julho de 2012

Michael Snow

Trecho de uma entrevista:

DD: Cover to Cover (1975) is not only considered your best artist’s book, but is widely thought of as the best artists’ book, ever.

MS: Well, I certainly go along with that. (Laughs) The Nova Scotia College of Art and Design began a press with Kasper Konig as the director, and they put out some really wonderful things, which were mostly artists’ statements about their work. I was asked to do something, which was very nice but I thought, I don’t want to do that. I want to do a work. I didn’t want something about my work, but something that was an example of it. So, I proposed it to them and began looking at books for their, well, bookishness. One thing is that the pages are two-sided. There’s always an ‘other’ side. That led me to the idea of having two cameras take a subject, placing one image on one side, and the other camera’s view on the opposing side, exactly the same size. Then, you get a true physical contact with the two-dimensionality of photographs, and you experience the compression that’s involved in photography, which mostly vanishes in the face of the realism of it. Just that basic formal principal led to a variety of things – the recto-verso, for example. The whole story is of me leaving my house and driving someplace, which was the Isaacs Gallery, to pick up a copy of the book. So, the book is presented as a fait accompli by showing the book to the reader.

Para ler a entrevista completa: http://www.magentamagazine.com/10/features/michael-snow

Vídeo mostrando o livro: http://youtu.be/cdvjlJx1E1w 

Augusto de Campos

Linguaviagem, 1967
Poemcube by Augusto de Campos
250 x 255 mm folded. 

Unfolds to cube shape (250 mm square, 255mm high) with three letters screenprinted on each side - the outer sides in blue, the inner sides in green. The three letter groupings are LIN / GUA/ VIA / GEM. Therefore the letter groups combine (as is printed on one page) to make Lingua : Tongue / Via: Via/ Linguagem: Language and viagem : voyage. One of de Campos' most successful and famous poems and a beautiful poetry object/sculpture. Printed in an edition of 100 for the Brighton Concrete Poetry Festival,1967.

segunda-feira, 2 de julho de 2012

Cris de Paris

Os registros de pequenos ofícios da rua, os vendedores ambulantes, reunidos em álbuns de estampas, são precursores dos livros ilustrados e dos quadrinhos. O título é uma referência ao pregão, repetido pelo camelô, e que era gravado em madeira, em letras góticas, na mesma matriz da imagem. Acima, livros populares vendidos no tabuleiro, da mais antiga série de "Cris de Paris", gravura sobre madeira, colorida à mão, cerca de 1500.

Michel Melot,  L´Illustration, Histoire d'un Art. Skira, 1984,  p. 104