Ben Patterson
Methods & Processes
Rennes: Incertain Sens, 2011
18,5 x 27 cm / 27 x 126 cm (aberto)
12 p. (p&b il.)
ISBN: 978-2-914291-46-0
Gilbert & George
‘Oh, the Grand Old Duke of York’
Köln, Germany: Oktagon Verlag, 1996
offset-printed
staple bound
black-and-white
11.2 x 8.3 cm.
[unpaginated]
edition size 900
unsigned and unnumbered
ISBN 3896110071
A quaint artists’ book in flip-book format that pictures a young Gilbert & George descending a staircase.
“This work was first published in 1972 as a catalogue of the Kunstmuseum Lucerne.”
Laurent Marissal
PINXIT 1997-2003
Rennes: Incertain Sens, 2005
[226] p.
offset p&b
22 x 14 cm.
1000 exemplares
ISBN 978-2-914291-18-3
Verão de 1993, o pintor Laurent Marissal é empregado como agente de vigilância no museu Gustave Moreau. De abril de 1997 a janeiro de 2002, ele fez desta alienação o material de sua prática. Ele usa para fins pictóricos seu tempo de trabalho vendido ao Ministério da Cultura.
Ele desvia a força de trabalho vendida ao museu, se apropria desse tempo meio de subsistência e transforma-o em tempo meio de existência. Esta desalienação, cujo princípio primordial é a recuperação do tempo materializada em ações relacionadas com a sua prática: pintar, escrever, ler …Inverno de 1998, ele abriu uma seção sindical da CGT, ferramenta administrativa para implementar o seu projeto pictórico: modificar realmente as condições, o tempo e o espaço de trabalho.
“Été 1993, peintre, Laurent Marissal est employé comme agent de surveillance au musée Gustave Moreau. D’avril 1997 à janvier 2002, il fait de cette aliénation la matière de sa pratique. Il utilise à des fins picturales le temps de travail vendu au ministère de la culture.
Il détourne sa force de travail vendue au musée, se réapproprie ce temps moyen de subsistance et le transforme en temps moyen d’existence. Cette désaliénation, dont le principe privilégié est le recouvrement du temps, se matérialise dans des actions liées à sa pratique : peindre, écrire, lire…
À son insu, le musée rémunère une production dont il n’aura pas la jouissance. Ce rapt est systématisé.
Hiver 1998, il ouvre une section syndicale CGT, outil administratif, pour concrétiser son projet pictural : modifier réellement les conditions, le temps et l’espace de travail.
http://www.sites.univ-rennes2.fr/
George Brecht
Notebooks. Volumes I – III.
Verlag der Buchhandlung, Walter Konig, Cologne, 1991.
23 x 31 cm.
Editado por D. Daniels com a colaboração de Hermann Braun.
Cada volume com inúmeras figuras e fac-símiles de esboços.
Encadernação em espiral.
Volume 1: Maio – Setembro 1958 (104 p.)
Volume 2: Outubro 1958 – Abril 1959 (166 p.)
Volume 3: Abril – Setembro 1959.
O editor Walther König publicou em 1991 os três primeiros volumes da edição das notas manuscritas, cartas, desenhos, instruções de projetos, esboços de composição e partituras. A edição oferece uma visão diferenciada e genuína dos primeiros dias do Fluxus e o surgimento dos happenings.
George Brecht (1926- 2008) foi um dos primeiros artistas Fluxus. Em 1958-1959 estudou com John Cage em Nova York e participou das primeiras ações do Fluxus. Em 1965 ele se mudou para a França, em 1970 foi para Dusseldorf e em seguida para Colônia, na Alemanha. Além de objetos de arte, realizou também filmes, livros e composições. Participou da Documenta 5, 6 (1977) e 8 (1987), trabalhou em conjunto com John Cage, Dick Higgins, Patrick Hughes e Robert Filliou.
fonte: amazon
Kenneth Goldsmith
The Weather
Make Now Press, 2005
120 p.
Language: English
ISBN: 978-0974355429
Poetry. “Kenneth Goldsmith is without doubt the leading conceptual poet of this time. His poetry, which draws from Fluxus, Dada, and conceptual art traditions, is clever and self aware. With now classics such as FIDGET, SOLILOQUY, and DAY (all available from SPD), he has made poetry out of the mundane and when reading his work one is forced to reconsider the stakes and the measurements of aesthetic practice. THE WEATHER, a collection of weather reports, is one more test of poetry. And what is most striking about this book is that it aces the test. There is something wonderfully celebratory and shockingly pleasant and stimulatingly interesting about reading day after day of weather gone by”–Juliana Spahr.
Dick Higgins (Cambrigde, Inglaterra, 1938-1998).
Twenty-six Mountains for Viewing the sunset from
Music scores and instructions for performance
New York, Printed Editions, 1981
34 p.
28 x 21.5 cm.
p&b; offset; brochura.
Idioma: Inglês
ISBN:0914162-54-3
“This is a cycle of twenty-six one-minute pieces for dancers and chamber ensemble,
notated in an easy-to-play graphic notation.” D.H.
Dick Higgins
Variations on a Natural Theme for Orchestra
Music scores and instructions for performance (twenty-eight variation)
New York, Printed Editions, 1982
36 p.
33.5 x 28 cm.
black and brown
This work for standard orchestra is intended to be performed direct from the graphic notation. The orchestral parts are superimposed over a set of twenty-eight visual images made from photographs of a female nude, interpreted according to a set of very explicit instructions, to minimize any improvisatory tendency. D.H.
Sol LeWitt (Hartford, EUA- 1928-2007)
Squares with sides and corners torn off
New York, John Weber Gallery, 1977.
Illustrated in black-and-white. No text.
14 x 14 cm.
[32] p.
Kenneth Goldsmith 1961 EUA
Sports
Make Now Press (July 29, 2008)
Paperback: 120 pages
Language: English
ISBN: 978-0981596211
Poetry. SPORTS, the last of Kenneth Goldsmith’s American trilogy (THE WEATHER, TRAFFIC, and SPORTS), is a complete radio transcription of the longest nine inning Major League Baseball game on record. As with the rest of the trilogy, Goldsmith’s exact parsing of language is used to articulate an unfolding narrative. Nothing is left out: in SPORTS we hear every utterance and stumble of the announcers as well as each ad broadcast during the game. It is said that in a normal two and a half hour baseball game, approximately eight minutes of action occurs; this game–the New York Yankees vs. the Boston Red Sox from August of 2006–lasts nearly five hours, doubling the language, leaving the broadcasters a seeming eternity to fill with a parade of endless statistics and in-booth repartee. As the narrative grinds on and the hours pass, a claustrophobic sense of despair descends upon the booth. “Tomorrow?” asks one broadcaster. “I think we’re all writing opuses for tomorrow.”
Gilbert & George
Lost Day
Köln, Germany: Oktagon Verlag, 1996
black-and-white
8 x 10 cm.
900 ex.
ISBN 3896110098
A quaint artists’ book in flip-book format that pictures a young Gilbert & George smoking a cigarette aside a river. Originally photographed in 1972, realized, and edited by Hans Ulrich Obrist, in 1996.
