The Library

Tonnard Library (1)

Elisabeth Tonnard
The Library
Leerdam/Holanda, 2015.
Digital print, exposed sewing
10,5 x 14,8 cm
56 p.
150 ex.

Este livro é uma biblioteca. As imagens são pequenas seleções de imagens de um catálogo documentando as perdas da Gemäldegalerie no Museu Kaiser Friedrich, o Museu Bode atual, em Berlim durante e após a Segunda Guerra Mundial. A Gemäldegalerie perdeu mais de quatrocentas pinturas, a coleção de escultura do museu perdeu cerca de um terço de seu acervo. A documentação fotográfica e os moldes de gesso permanecem como ecos fantasmáticos do que havia lá. A maioria das perdas ocorreu poucos dias antes e depois do fim da guerra, em maio de 1945, quando dois incêndios devastadores na torre de fuzis de Friedrichshain destruíram a maioria das principais obras de arte que haviam sido armazenadas lá para ficarem em segurança. A causa dos incêndios nunca foi explicada e tornou-se lenda. As pinturas a que se referem essas imagens estavam guardadas. Depois da fumaça, pensamos nesta biblioteca de livros desconhecidos.

 

 

 

This book is a library. The images in it are tiny selections from pictures in a catalogue documenting the losses of the Gemäldegalerie at the Kaiser Friedrich Museum, the present-day Bode Museum, in Berlin during and after World War II. The Gemäldegalerie lost over four hundred paintings, the sculpture collection at the museum lost about a third of its holdings. Photographic documentation and plaster casts remain as ghostly echoes of what was once there. The majority of losses occurred in the days just before and after the end of the war in May 1945 when two devastating fires in the Friedrichshain flak tower destroyed most of the major works of art that had been stored there for safekeeping. The cause of the fires was never explained and has become the subject of legend. Trapped in there were the paintings these images refer to. Out of the smoke we think up this library of unknown books.

Veja mais imagens aqui. See a short discussion by Sarah Bodman here. The book was nominated for the Révélation Jeunes Talents Livre d’Artiste by the ADAGP, France, 2016.

https://elisabethtonnard.com/

Lost in Space

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Andrew Dodds
Lost in Space
London, Book Works, 2005
Design: Valle Walkley
Offset
40 p.;
13,4 x 21 cm
1.000 ex.
ISBN: 978 1 870699 76 1

LostInSpaceSpread

‘And so, the moon returns nightly to haunt us like some Marie Celestis, carrying the ghosts of our dreams and aspirations’ – from the introduction

The moment of the first lunar landing, 20 July 1969, has become a monument – the documents, images and recordings now accessible to millions. But the actual site – the scene of the event, the footprints, abandoned objects, the Landing Module – remains preserved for millennia, vacuum packed in non-existent atmosphere.

J.G. Ballard described Project Apollo as ‘the last great act undertaken by the United States out of a sense of optimism.’ In Lost in Space Andrew Dodds draws on information from NASA archives, correspondence with specialists in the field and personally gathered ephemera, to find the objects abandoned at Tranquillity Base; objects invested with dreams and aspirations, now succumbed to obsolescence.

https://www.bookworks.org.uk/

Ilegal o que?

Frederico Floeter
Ilegal o que?
São Paulo, Descompasso Edições (ed. do autor), 2013.
Folder A3
29,7 x 42cm
Impressão digital

Ilegal o que?

Foldable A3 poster printed with a digital low-cost printer.

This project was developed from a page of a Portuguese dictionary found by chance whose main theme were words related to illegal acts.

One side of the poster shows a dictionary page and asks the reader “Illegal what?” with an experimental scanned type image. The other side consists of a Danilo Carneiro’s picture of a surveillance camera of São Paulo subway. The work relates the act of surveillance of everyday life and question what makes our acts been legal and illegal when it comes to our lives and bodies.

Ten Isometric Drawings for Ten Vertical Constructions

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Fred Sandback
Ten Isometric Drawings for Ten Vertical Constructions
New York City, USA: Lapp Princess, (1977), 2003.
[24] p.
15.3 x 15.3 cm
grampo
2000 ex.

Simple vertical lines on a three dimensionally grided field create surprisingly complex spatial relationships in this Lapp Princess Press publication, the first in a series.

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Writer and art critic Amy Baker founded Lapp Princess Press in 1977 with the goal to create artists’ books that could be purchased by the widest possible audience. Works were published in editions of 2,000 and sold for $3 each. Other than the uniform format (6 inches square), artists were given complete freedom in terms of the content. Sandback, who would later marry Baker, was the first artist invited. Eleven others followed between the years of 1977 and 1979, until Baker left to become executive publisher of Artforum. Other artists include David Shapiro, Chuck Close, Victor Burgin and Alice Aycock.

Número 4

capa4

Revista Número 4
São Paulo, Centro Universitário Maria Antonia (USP), 2003

Revista de crítica de arte. Surgiu em 2003, organizada por um grupo de jovens críticos de arte de formações diversas: Afonso Luz, Cauê Alves, Daniela Labra, Guy Amado, José Bento, Taisa Palhares, Thais Rivitti, Tatiana Blass e Tatiana Ferraz. Encerrou suas atividades impressas em 2010 com a décima edição.

Em parceria com o site do Forum Permanente, ela está online desde abril de 2006: http://www.forumpermanente.org/

O principal eixo de interesse da publicação gira em torno de questões da arte e da visualidade contemporâneas.

La Marelle ou Pie in the Sky

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Lawrence Weiner
La Marelle ou Pie in the Sky
Villeurbanne: Le Nouveau Musée / Institut d’Art Contemporain, 1990
[24] p.
brochura
offset, duas cores
20 x 20 cm
ISBN 2-905985-30-5

La Marelle ou Pie in the Sky foi publicado por ocasião de uma encomenda pública. Para a cidade de Villeurbanne, Lawrence Weiner fez uma instalação: três amarelinhas e inscrições no chão. A edição repete e repensa certos elementos da instalação urbana, organizados aqui de acordo com as restrições específicas do livro e a passagem de suas páginas.

La Marelle ou Pie in the Sky a été publié à l’occasion d’une commande publique. Pour la ville de Villeurbanne, Lawrence Weiner a réalisé une œuvre place Mendès-France : trois marelles et des inscriptions au sol. L’édition reprend et repense certains éléments de l’installation urbaine, organisés ici selon les contraintes propres au livre et au passage de ses pages.

Books on Books

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Books on Books
Jérôme Saint-Loubert Bié
Christophe Daviet-Théry
Photos, concept, and design by Jérôme Saint-Loubert Bié.
Text by Christoph Schifferli, Christophe Daviet-Thery, Jonathan Monk, and Jérôme Saint-Loubert Bié.
Paris, &; Christophe Daviet-Thery, 2011
English edition
11,5 x 16 cm (softcover)
260 p. (b&w ill.)
750 ex.
ISBN: 978-2-9539347-0-0

couverture-blog

A conversation about 12 artist’s books.

In september 2009, Christophe Daviet-Thery invited the swiss collector Christoph Schifferli to curate an exhibition at his gallery. The show was called “Books on Books” and presented 26 artists’ books that are, in some way or another, about books or their representation. The same year, in december 2009, Christophe Daviet-Thery asked to Jérôme Saint-Loubert Bié to take care of the catalog even if this book works independently from the exhibition. He invited Jonathan Monk and Yann Sérandour to have a conversation about 12 books (Bruce Nauman, Burning Sall Fires, 1968; Richard Prince, American English, London: Sadie Coles HQ and Cologne: Verlag der Buchhandlung Walther König, 2003; Wade Guyton, Zeichnungen für ein großes Bild, Cologne: Verlag der Buchhandlung Walther König, 2010; Jonathan Monk, Cover Version, London: Book Works, 2004; Mike Kelley, Reconstructed History, New York: Thea Westreich and Cologne: Gisela Capitain, 1990; Allen Ruppersberg, The New Five-Foot Shelf of Books, Brussels: Éditions Micheline Szwajcer & Michèle Didier and Ljubljana: International Centre of Graphic Arts, 2003; Claude Closky, Vacances à Arcachon, Paris: Éditions Galerie Jennifer Flay, 2000; Alejandro Cesarco, Dedications, New York: A.R.T. Press, 2003; Martin Kippenberger, The Happy End of Franz Kafka’s Amerika. Tisch Nr. 3, Sankt Georgen: Sammlung Grässlin, 1993; Matt Mullican, Matt Mullican, Valencia: IVAM Instituto Valenciano de Arte Moderno, 1995; Batia Suter, Parallel Encyclopedia, Amsterdam: Roma Publications, 2009; Yann Sérandour, Inside the White Cube: Overprinted Edition, Zurich: JRP|Ringier, 2009).

Jérôme Saint-Loubert Bié is an artist and book designer based in Paris. His work often combines photography with a site-specific approach and it is informed by his concurrent practice as a graphic designer. The central themes of his work focus on the reproduction of art works and the context of exhibition as essential conditions to the presentation and knowledge of art.
As a graphic designer, he specializes in exhibition catalogues and books by artists. He has worked with the following institutions and publishing houses, among others: Book Works, Centre Pompidou, Christophe Daviet-Théry, La Fabrique éditions, JRP|Ringier, Musées de la Ville de Strasbourg, Musée d’Art Moderne de la Ville de Paris, Le Point du Jour, Revolver, Verlag der Buchhandlung Walther König. He is also one of the founding editors of the independent journal Irrégulomadaire.
He has taught at Université de Paris-8 (fine arts and photography departments), Université de Paris-X (curatorial program Arts de l’Exposition), École Nationale Supérieure d’Art de Nancy (art department), and for 9 years at École des Beaux-Arts de Rennes, where he co-funded the master program in graphic design. He is currently a professor of graphic and publication design at École Supérieure des Arts Décoratifs de Strasbourg

http://www.lespressesdureel.com

Salvar

One Man Fantasia

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Silvan Kälin
One Man Fantasia
Recife, Aplicação, 2017
Offset
20 x 30 cm
72 p.
Idioma: português, inglês
ISBN: 978-85-66593-06-8

Outros detalhes: o livro foi feito artesanalmente. A versão da capa dura foi impressa em serigrafia com 6 cores. O miolo também foi impresso em 6 cores pantone, numa impressora offset bicolor, fora da linha

One Man Fantasia é sobre o projeto artístico do mesmo nome que o autor fez em parceria com o artesão de bonecos Josevaldo Barros. Em 2010 o autor fez encomendas para ele, pedindo interpretações de diversos personagens a partir de um molde de gesso de uma figura nomeada de One Man. Criaram uma coleção de 83 figuras, entendido como uma troca de imaginário entre universos e realidades distintas. A publicação foi concebida de um lado como documentação e livro de artista e ao mesmo tempo como livro de ilustração e diversão que pode alcançar um público mais amplo. O livro contém uma introdução ao projeto One Man, uma conversa entre artesão e artista e as fotografias dos bonecos, montados em cenários que criam relações e narrações associativas entre as personagens.

http://www.bancatatui.com.br//