Arquivo da categoria: arte como ideia

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Textes pour suite

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Lefevre Jean Claude
Textes pour suite
Rennes, Éditions Incertain Sens, 2013.
COLEÇÃO contendo os três volumes de Textes pour suite: Pennadoù da heul + Texte zur Folge + Teksty do dalszego ciagu / Texts as Follows

Pennadoù da heul (bilíngue bretão / francês)
[114 p.]
20,7 x 15,7 cm
ISBN 2-914291-05-1

Texte zur Folge (bilíngue alemão / francês)
[130 p.]
20,7 x 15,7 cm
ISBN 978-2-914291-58-3

Teksty do dalszego ciagu & Texts as Follows (bilíngue polonês / francês e inglês/ francês)
[90 p.]
20,7 x 15,7 cm
ISBN 978-2-914291-57-6

Trecho:

MARDI 25 JUILLET 1978, LONDRES.
Dernière exposition, assumée comme telle par André Cadere, chez Barry Barker, 37 Museum Street. À l’aide de mon appareil 6 × 6, photographie, avec son accord, le responsable à son bureau et prends un cliché de l’accrochage : trois vues* en noir et blanc, format 24 × 36, épinglées en ligne sur le seul mur disponible.
[LJC note 2004]
*Document publié en 1983, à l’initiative de LJC Archive dans une brochure non-périodique diffusée par Ghislain Mollet-Viéville et la galerie Durand-Dessert à Paris, puis dans le catalogue d’exposition de 1996, André Cadere, Unordnung herstellen, une publication du Kunstverein de Munich [Dirk Snauwaert, directeur] et du Landesmuseum Joanneum de Graz [Peter Weibel, curator]; photographie recadrée au format paysage.

https://www.sites.univ-rennes2.fr/arts-pratiques-poetiques/incertain-sens/fiche_ljc_coffret_textes.htm

Unconcealed

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Richard, Sophie
Unconcealed: the international network of conceptual artists 1967-77 : dealers, exhibitions and public collections / Sophie Richard.
London, Ridinghouse, 2009.
551 p. : il. p&b ; 24 cm.

Assuntos
Arte conceitual.
Arte — Detalhes Comercialização. Detalhes
Arte — Colecionadores e coleções.
Arte conceitual — Exposições.

ISBN : 9781905464173 (broch.)

Política: Ele não acha mais graça no público das próprias graças

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Antonio Dias (Antonio Manuel Lima Dias)
[Campina Grande/PB, 1944]

Política: Ele Não Acha Mais Graça no Público das Próprias Graças
João Pessoa, Universidade Federal da Paraiba, Núcleo de Arte Contemporânea, Funarte, [1979]

[44] p. : il. col.
29,5 x 21,5 cm
Produção gráfica Raul Córdula

Disponível em PDF: https://issuu.com/amir_brito/docs/antonio_dias

Obra adquirida com apoio da Fapemig, como parte do projeto de pesquisa Livros de Artista no Brasil

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In alphabetical order

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Ulises Carrión
In alphabetical order
Geneva, Boabooks, 2016
Brochura
48 p. + errata
14,8 x 21 cm
Offset
ISBN 978-2-940409-94-5

In alphabetical order é um fac-símile da revista seminal criada por Ulises Carrión e Cres,  publicado originalmente em 1979. Neste livro fotográfico – um dos poucos de toda carreira de Carrion – o autor é muito crítico sobre sua própria afiliação ao movimento de arte-correio. O livro apresenta uma série de fotografias de uma caixa de cartões de visita, que o autor justapõe com legendas espirituosas e pungentes: “People I’ve Met; Artists; Non-Artists; My best Friends – People I Love; People I Admire; There Has Been A Change in Our Relationship of Late.”

“Este meu livro é parte real e parte fantasia. O fato real é que eu amo listas de nomes, fichários,  sistemas de recuperação de informação, esse tipo de coisa. Não admira que eu tenha um arquivo em casa, Other Books and So Archive, que inclui uma coleção de livros de artista”.

In alphabetical order is a facsimile of the seminal magazine created by Ulises Carrión and Cres, originally published in 1979. In this photographic book – one of very few of Carrion’s entire practice – the author is very critical about his own affiliation with the mail art movement. The book presents a series a photographs of his calling card filing box, which the author juxtaposes with witty and poignant captions: “This book of mine is partly real facts and partly fantasy. The real fact is that I love lists of names, card indexes, information retrieval systems, that sort of thing. No wonder I have an archive at home, the Other Books and So Archive, which includes a collection of artist’s books.”

http://www.boabooks.com/

 

Twentysix gasoline stations, 2.0

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Michael Maranda (1966)
Twentysix gasoline stations, 2.0 /
26 gasoline stations, 2.0
[Toronto]: Parasitic Ventures Press, [2010].
[48] p.:
18 cm.
ISBN : 9780981326306 (broch.)

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“A reconstruction of Edward Ruscha’s Twentysix Gasoline Stations utilising only images available on the internet”[designed and edited by Michael Maranda].

Download a preview of the book here.

http://www.michaelmaranda.com/

Variable Piece #101, West Germany, March 1973

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Douglas Huebler (EUA, 1924-1997)
Variable Piece #101, West Germany, March 1973
New York, Hassla, 2015
28 p.
17.8 x 22.2 cm
500 ex.
ISBN 978-1-940881-06-5

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On December 17, 1972, Douglas Huebler took ten photographic portraits of the German photographer Bernd Becher. These portraits, together with a written statement, constitute Huebler’s Variable Piece # 101. The statement explains how the work was made: Becher was asked to pose, in the following order, as: “a priest, a criminal, a lover, an old man, a policeman, an artist, Bernd Becher, a philosopher, a spy, and a nice guy.” After two months Huebler reordered the original sequence of photographs and sent them to Becher, asking him to “make the ‘correct’ associations with the given verbal terms.” Becher’s reordered list of character types is listed on the statement as: “1. Bernd Becher; 2. Nice Guy; 3. Spy; 4. Old man; 5. Artist; 6. Policeman; 7. Priest; 8 Philosopher; 9. Criminal; 10. Lover.” The written statement explains all this. But more than a simple explanation, the statement is also constitutive of the work: “Ten photographs and this statement join together to constitute the final form of this piece.” Word and image combine, one playing off the other, to form Variable Piece #101.

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Publication

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Publication
David Lamelas
New York: Primary Information, 2016
5.75 x 8.25 inches
48 p.
Paperback
B&W
1.000 ex.
ISBN: 9780990689614

Publication é uma edição facsimile do livro de  artista de David Lamelas publicado em 1970. Possui contribuições de treze artistas e críticos internacionais que o artista escolheu devido à sua relação com práticas baseadas na linguagem. Produzido a partir de conversas com esses colegas artistas e escritores, o livro recolhe as suas respostas a três declarações fornecidas por Lamelas:
1. Uso da linguagem oral e escrita como uma forma de arte.
2. A linguagem pode ser considerada uma forma de arte.
3. A linguagem não pode ser considerada uma forma de arte.
Os textos variam do pragmático a humorístico ou filosófico.

 

 

Publication is a facsimile edition of the 1970 artist book by David Lamelas. It features contributions from thirteen international artists and critics who the artist chose due to their relationship to language-based practices. Produced from conversations with these fellow artists and writers, Publication collects their responses to three statements provided by Lamelas:

1. Use of oral and written language as an Art Form.
2. Language can be considered as an Art Form.
3. Language cannot be considered as an Art Form.

The texts range from pragmatic to humorous to philosophical. Publication was the primary work in Lamelas’ 1970 exhibition at Nigel Greenwood’s gallery in London; copies of the volume were displayed as a roundtable installation with the intention that visitors would continue the types of discussions within the book.

Many of the contributors were already exploring the book format as an alternative strategy for presenting conceptual work, and Publication provides a concise overview of artists’ and writers’ views on language-based art forms at the time. The artists and writers featured in this volume include Keith Arnatt, Robert Barry, Stanley Brouwn, Daniel Buren, Victor Burgin, Michel Claura, Gilbert & George, John Latham, Lucy R. Lippard, Martin Maloney, Barbara M. Reise, Lawrence Weiner, and Ian Wilson.

David Lamelas is an Argentinian artist who began exhibiting minimalist sculptures in the mid-1960s before quickly moving into conceptual art and work that examines the relationship between art and the exhibition space. In 1968, he received international acclaim with his installation at the 34th Venice Biennale, Office of Information about the Vietnam War on Three Levels: The Visual Image, Text and Audio, which brought updated news reports of the Vietnam War into the biennial. In the late 60s and into the 70s, issues of temporality and space began to factor into his work as he began making Structural films. More recently, Lamelas has brought together these themes in installations, films, and performances, while continuing to build upon his earlier sculptural practice.

http://www.primaryinformation.org/

Section 34, 2nd Set, 1983

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Ian Wilson
Section 34, 2nd Set, 1983
Toronto, Canada: Art Metropole / David Bellman, 1984
21,3 x 14 cm.
500 ex.
ISBN 0920956157

Livro de artista que consiste em uma única frase, “The know is unknown and unknown and known. that it is unknown is unknown and known and unknown.”, impressa em todas as páginas ímpares do livro.

Artists’ book composed of single statement, “The know is unknown and unknown and known. that it is unknown is unknown and known and unknown.”, printed on every right-hand page of book.