Section 34, 2nd Set, 1983

Section 34, 2nd Set, 1983.jpg

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.

 

January 5-31, 2012

E2P5-01

Michalis Pichler
January 5-31, 2012
Berlin: Greatest hits, 2012.
[12 p.]
21 x 17,5 cm.
400 exemplares.
xerografia

In 1969 Seth Siegelaub organized an exhibition (and publication) with the title January 5 – 31, 1969, one of the first exhibition projects of conceptual art, with the participation of Robert Barry, Douglas Huebler, Joseph Kosuth and Lawrence Weiner.

Back then there was already talking about a so-called “linguistic turn” that had been taken place in the visual arts and in consequence led to idea art. Nevertheless one could hardly deny, that those artistic/poetic strategies are being reused and radicalised around the turn of the millennium and recently.

January 5 – 31, 2012 is gathering some of these positions, presenting Craig Dworkin, Kenneth Goldsmith Jonathan Monk and Michalis Pichler.

http://www.g-r-e-a-t-e-s-t-h-i-t-s.com/index_en.html

Reality

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Jarosław Kozłowski
Reality, (1972) 3rd Printing 2014.
Matt’s Gallery / X Marks the Bökship

“REALITY “ is based on Immanuel Kant’s Critique of Pure Reason. It is a precise copy of the third subchapter of The Transcendental Power of Pure Judgement (Analysis of Principles) from Doctrine of Elements (part II, section 1). “REALITY” means reality.

. , : ; – ( ) / / ” “ ! ? … ­– or punctuation – is something which escapes conformation with metalinguistic reality and which does not constitute either its representation nor its description (in written language).

Although we commonly refer to punctuation marks, these notations have no meaning external to themselves. They do not have any models in meatalinguistic reality and themselves do not model any elements of that reality. They have no designates, while, simultaneously, not being void, they are therefore neutral vis-à-vis metalinguistic reality.

. , : ; – ( ) / / ” “ ! ? … ­create reality which is e q u i v a l e n t   to metalinguistic reality. In a sense they are the only “REALITY” reality of ‘Jarosław Kozłowski ‘.

Con-Text, Bunkier Sztuki, 2009

NOW

downsbrough_now_2010
Peter Downsbrough
NOW
Rennes, Incertain Sens, 2010
dos carré cousu collé
offset noir & blanc et une couleur
[32p.]
21 x 14,5 cm
1000 ex.
2-914291-39-6

NOW was first published as part of my exhibition at the PWSSP (today the Władysław Strzemiński Academy of Fine Arts and Design) in Łódż, Poland, from 6 – 22 June 1986. The book was printed by silkscreen at the school’s print department, as access to offset was not possible at the time. The school censor allowed us to print 49 copies “for in-school use” with the obligatory inclusion of the colophon on page 3:

Państwowa Wyższa Szkoła Sztuk Plastycznych w Łodzi
Pracownia sitodruku – Maciej Nowakowski
Nakład 49 egzemplarzy
DO UŻYTKU WEWNĘTRZNEGO
O Peter Downsbrough
1986

State School of Fine Arts in Łodż
Silkscreen studio – Maciej Nowakowski
Printed in 49 copies
FOR IN-HOUSE USE
By Peter Downsbrough
1986

Due to technical conditions only 3 copies were useable. It is now being republished in offset by Editions Incertain Sens, 2010, using the original mechanicals.

Peter Downsbrough

GLOSSARY

English – Polish
NOW :  TERAZ
THIS :  TO
TO :     DO
RECAST :  PRZETAPIAĆ
OR :  ALBO

Polish – English
OBRAZ : IMAGE
I : AND
W : WITH
NOWY [NOW/Y] : NEW
A : AND
TO : THIS
DO : TO

now_interieur3_petitenow_interieur4_petitenow_interieur1_petitenow_interieur2_petite

Robin Redbreast’s Territory

dibbets_12942%5B1%5D

Jan Dibbets
Robin Redbreast’s Territory
Zédélé, 2013
1ª edição: Seth Siegelaub, New York e Walther König, Köln, 1970
12,1 x 18,3 cm
32 p.
Brochura
ISBN 978-2-915859-45-4

Texto in holandês, inglês, francês e alemão

dibbets_getimage

O livro Roodborst Territorium/ScuIptur (1969) de Jan Dibbets, é um documento fotográfico e projetual sobre um trabalho que não é possível ser visto na sua totalidade e que não pode ser recomposto senão através de documentos. A ideia de Dibbets, que consiste em fazer depender sua “escultura” de um pássaro em voo, não é possível senão através de imagens que possibilitam sua existência sensível e acreditável, existência que consiste na variação de forma de uma região a partir da ideia da captura e delimitação das fronteiras espaciais, fronteiras estas delimitadas e indicadas por 5 estacas de madeira onde descansa o pássaro entre os voos. A delimitação destas fronteiras é relativa porque a noção de território se origina na biologia e na ecologia do sistema ao qual o pássaro pertence. O pássaro, nos seus deslocamentos, voa entre as estacas dos 5 pontos diferentes num parque de Amsterdã, configurando seu território biológico. Se o livro apresenta a elaboração e a execução, dando detalhes sobre o procedimento, o tempo registrado, o trabalho material mesmo não deixa traços a não ser no livro.

Julio Plaza, O livro como forma de arte II, 1986

Robin Redbreast’s Territory  is a book documenting a 1969 installation in an Amsterdam park by Jan Dibbets, who observed and highlighted the movements of a robin through a series of photographs. The book, published in 1970, is Dibbets’ only Artist’s book.

After learning about the habits of robins, Jan Dibbets decided to extend the territory of one robin, setting new boundaries with poles that the bird would perch on; in this way, the robin participated in the artist’s ‘Drawing in Space’.

The book’s left-hand pages feature photographs and topographical surveys, alongside handwritten notes by the artist, which are rendered in three other languages (English, French and German) on the right-hand pages.

After giving up painting in 1967, Jan Dibbets began creating ephemeral installations in nature and taking photographs of them. The act is not an end in itself for the artist: his preoccupation is with preserving the meaning of the work, because ultimately what is important is not the reality of the installation but the idea that inspired it.

Robin Redbreast’s Territory is the 6th book to be published in the Reprint collection curated by Anne Moeglin-Delcroix and Clive Phillpot.

“Early in his development Jan Dibbets used the camera to provide a different, specifically monocular, perspective on the world, literally through his ‘perspective corrections’, but also by other means such as the series of photographic panoramas that led to the Dutch Mountains works.

At the same time he was developing the concept of Robin Redbreast’s Territory / Sculpture which ‘was part of a number of ideas which involved our eco-system, a word which hardly existed at that time’. The book’s text describes how Dibbets obtained an insight into the habits of the common European robin through his reading of a book on the subject, even though he was ‘not interested in biological facts,’ but rather ‘with the frontiers of the visual arts.’

Dibbets’s idea was to harness his new understanding of the habits of the robin to his notion of drawing in space and his desire to visualise ecological systems. However, he ‘realised that there was no way to share it with others’ until ‘the idea of the book came along’ thereby establishing an appropriate means.

He had been working with the gallerist and publisher Seth Siegelaub in 1969: ‘I told Seth about it. He immediately was very enthusiastic and after I delivered him all the material, he took care of everything. I only worked with Seth.’

So it was that this example of the book as artwork came about, whereby understanding of the entirety of the work is only possible by means of the artist’s book.” (Text inserted in the book)

http://www.editions-zedele.net/reprint/robin-rebreasts-territory-sculpture_jan-dibbets.html