Nicolás Robbio
N®
editor/curador: Adriano Pedrosa
designer: Leandro da Costa.
San Juan, Porto Rico : Instituto de Cultura Puertorriqueña, 2009.
[52] p.
21,5 x 15 x 0,6 cm.
Impressão em offset
400 exemplares.
Esta publicação faz parte de uma série de livros de artista publicados para a 2da Trienal Poli/Gráfica de San Juan: América Látina y el Caribe, 18 de abril – 28 de junho, 2009, organizada pelo Instituto de Cultura Puertorriqueña.
Jesús ‘Bubu’ Negrón
Mi otro trabajo = My other job
editora: Beatriz Santiago Muñoz
desenho e diagramação: Abdiel Segarra e Minga de Cielos.
San Juan, Porto Rico : Instituto de Cultura Puertorriqueña, 2009.
[48] p.
20 x 20 x 0,4 cm.
Impressão em offset
300 exemplares.
Texto em espanhol e inglês.
Esta publicação faz parte de uma série de livros de artista publicados para a 2a Trienal Poli/Gráfica de San Juan: América Látina y el Caribe, 18 de abril – 28 de junho, 2009, organizada pelo Instituto de Cultura Puertorriqueña.
The book portraits, literally, Bubu Negrón’s other job as a gardener beyond art making. Through a series of drawings and texts depicting real life experiences,the publication moreover exposes the conflicts this double-activity produced in certain groups and spheres of the art world.
Mario García Torres
9 at Leo Castelli
editor e curador: Jens Hoffmann
Fotografia: Mario Garcia Torres
edição de texto: Lindsey Westbrook
design: Stripe/Jon Sueda.
San Juan, Porto Rico: Instituto de Cultura Puertorriqueña, 2009.
46 p.
20,5 x 14 x 0,5 cm.
Impressão em offset
750 exemplares.
Esta publicação faz parte de uma série de livros de artista publicados para a 2da Trienal Poli/Gráfica de San Juan: América Látina y el Caribe, 18 de abril – 28 de junho, 2009, organizada pelo Instituto de Cultura Puertorriqueña.
Em 1968 aconteceu a exposição “9 at Leo Castelli,” organizada pelo artista Robert Morris a partir de suas ideias sobre “Anti-Form,” um ensaio publicado na revista Artforum naquele ano. As obras escolhidas por Morris abordavam o material, o processo e o próprio local. A mostra deveria apresentar obras de Giovanni Anselmo, William Bollinger, Eva Hesse, Stephen Kaltenbach, Bruce Nauman, Alan Saret, Richard Serra, Keith Sonnier e Gilberto Zorio. (http://artforum.com/)
Tony Cruz
Como guardar un parking = How to save a parking space.
San Juan, Porto Rico : Instituto de Cultura Puertorriqueña, 2009.
[122] p.
15,5 x 16,5 x 1 cm.
Impressão em offset
300 exemplares
Esta publicação faz parte de uma série de livros de artistas publicados para a 2da Trienal Poli/Gráfica de San Juan: América Látina y el Caribe, 18 de abril – 28 de junho, 2009, organizada pelo Instituto de Cultura Puertorriqueña.
El tiempo, lo cotidiano, y las acciones repetitivas, como lo son el rellenar, el vaciar, el reparar o la repetición de líneas, son ideas recurrentes en mi trabajo. Representar en dibujo la distancia entre mi residencia y la casa de mis familiares, o bien el cálculo de la cantidad de veces que me llevo la mano a la boca al fumar un cigarrillo, -ambos dibujados en lápiz sobre la pared-, más que un acto de mensura, son para mi una manera de dar forma a la experiencia de trasladarse de un punto a otro, o bien un gesto repetitivo de una acción cotidiana.
Como el ejercicio de caminar, identificar y documentar, una serie de formas hechas con objetos cotidianos mediante meras acciones de un individuo en función de reservar estacionamiento. Lo que resultó en una publicación titulada Como guardar un parking, que recoge esta forma y en la cual añado una serie de dibujos que proponen el uso de éstos mismos objetos para otras funciones.
En mis trabajos, generalmente dibujos, prefiero utilizar pocos recursos materiales y visuales. Me interesan los materiales que me son de fácil acceso, como la plastilina para niños, -que he utilizado para “reparar” grietas en un edificio deteriorado-, o el pigmento en polvo de construcción, -con el que queda registrado el movimiento de una bola en un campo de baseball durante un partido-. (via http://cargocollective.com/tonycruz-portafolio/)
Juan Araujo
Brazil unbuilds
editor: Juan Araujo e Ariel Pintos
diseño: Ariel Pintos.
San Juan, Porto Rico: Instituto de Cultura Puertorriqueña, 2009.
[16] f. : il. color.
28,5 x 22 x 1,5 cm.
Livro sanfonado, impressão offset,
tiragem de 370 exemplares, numerados.
Apropriação do livro de Philip L. Goodwin – Construção brasileira: arquitetura moderna e antiga, 1652-1942 = Brazil builds: architeture new and old, 1652-1942. Nova Iorque: Museu de Arte Moderna, 1943. 198p.
Esta publicação é parte de uma série de livros de artista publicados na ocasião da “2da Trienal Poli/Gráfica de San Juan: América Latina y el Caribe”, de 18 de abril a 28 de junho de 2009, organizado pelo Instituto de Cultura Puertorriqueña.
Felipe Ehrenberg.
Codex Aeroscriptus Ehrenbergensis: a visual score of iconotropisms = una partitura visual de iconotropías
Atlanta: Nexus Press, 1990
43 x 30 cm.
500 ex.
Stiff paper cover, printed on double leaves folded at fore-edge.;
English and Spanish
Binding Side stitching
Offset
“For this book (which, like many other codices, should ideally be read like a detective novel) I have laid out my best beloved stencils. With these I seek to offer viewers various clues that you may unravel the wondrous and dramatic events surrounding the life of this artist, another witness to the end of a century. This work is also intended to serve as a musical score, perhaps to be composed by someone wishing to recreate the background music of our daily histories.”
Colophon
“The images are all stencils drawn and hand-cut by the author, reduced to size and intervened on a Mita DC-1656 electrostatic photocopier.”
Fonte imagens: http://publications.newberry.org/aztecs/s5i5.html
Richard Long
South America
Brest : Éditions Zédélé, 2012 [Konrad Fischer, Düsseldorf, 1972]
[36 p.]
12,8 x 12,8 cm
ISBN 978-2-915859-36-2
Publié avec le soutien de / published with the support of:
Konrad Fischer Galerie (Düsseldorf)
Centre national des arts plastiques (Cnap)
Centre d’art Passerelle (Brest)
One of the most important British artists, Richard Long is a sculptor and photographer whose work derives from walking through nature during long, often solo hikes all over the world. Since 1971, his books, generally of words and/or photographs, which he designs, keep track of his walks, more like a new work rather than reporting.
His third book, South America which is unique because of its square shape, shows only drawings: a small number of stylized motifs (sun circle, silhouette of a condor, spiral, etc) were drawn during a hike across South American with natural materials found onsite (pebbles, gold dust, etc) under circumstances that a short legend describes. These sketches are printed twice, once in positive (black on white) and once in negative (white on black), on the front and back of the same page. A connection is thus established between the drawings and photographic prints, by alluding to positive and negative images.
An unpublished text by Richard Long is inserted in the book:
‘SOUTH AMERICA’ was made on the first big overseas journey Hamish Fulton and I made together. We landed in La Paz and travelled in Bolivia, Peru and Chile for almost two months. I had pre-conceived the idea for a book, but not the particular places or images it might contain. We travelled by hitch-hiking cars and communal trucks, on buses, on trains, by taxi, and by walking and climbing. We had a free and adaptable itinerary, often changing our plans on impulse or by circumstance. This fitted the general idea for the book, so that the great variety of places for the drawings occurred naturally, by chance, along the way. It is a book about movement, time, space, luck and opportunism. I had not seen the moon ‘upside down’ before. The positive/negative printing of the drawings comes from the characteristic of Indian weaving, and the cover drawing was influenced also by the traditional patterns of the blankets etc. we saw in the local markets.
— Richard Long, Bristol, March 6, 2012
http://www.editions-zedele.net/reprint/south-america.html
Abraham Cruzvillegas
Ink & Blood: 1968–2009
San Juan [Porto Rico], Trienal Poligráfica, 2009
serigrafia sobre papel
caixa de papelão, 23 x 32 x 5 cm
conjunto de 41 peças, dimensões variáveis
It was in 1968 that Cruzvillegas was born, and this is furthermore the year of the oldest poster presented in the set Ink & Blood, 1968–2009. In this work, 41 posters and flyers created by social movements between 1968 and 2009 were reproduced in various formats on different kinds of paper, reflecting the diversity of their original contexts. Cruzvillegas based his work on extensive research into printmaking materials from around the world, used as a communication tool by groups related to social causes. This initial research gave rise to a collection of pieces related to Latin America, gathered in Ink & Blood, 1968–2009. For his work, the artist has chosen formats, slogans and languages that serve various agendas of the left – such as agrarian reform, the struggle for political freedom, and resistance to North American intervention (Cecília Rocha)
http://doobjetoparaomundo.org.br/artista/abraham-cruzvillegas/
nk & Blood can be seen as a non-official portrait of Latin America and as a monument to the resistance movements in the region from 1968 to 2009. It is also a tribute by Cruzvillegas, an artist recognised by the art world, to the often anonymous artists who designed the original posters and slogans. Considered as a kind of monument, it is significant that the work is neither solid in its materiality nor fixed in its configuration, as are most official monuments. Instead it is fragile and mobile. These material characteristics relate to the resistance groups themselves: their vulnerability, their temporary existence and their ability to adapt, change and manoeuvre to further their goals (via http://www.tate.org.uk )
Leandro Katz (Buenos Aires, Argentina, 1938)
Self Hipnosis
New York: Viper’s Tongue Books, TVRT Press, 1975
Pages: [18] p.
Dimensions: 25 x 20 cm.
Edition size: unknown
On each page of this book one of eighteen identical photographs of a single billboard in Curacao advertising “Hipnotismo” is laid out next to a Mayan numeral and its Arabic counterpart. Beneath these visual pairings runs a text composed when the artist was back in New York under the influence of Severo Sarduy, Roland Barthes, Guy Debord, Charles Ludlam and especially Raoul Vaneigem.
“The photographs for this piece were taken in a period of thirty-six seconds during a trip to the island of Curacao, where Papiamento – a tropicalization of cold-weather languages – is spoken. There I read the work of Sylvanus G. Morley, whose obsession with the American past I swear made me scribble Mayan numerals in my sleep off the ground and into the night very possibly after a cabalistic formula to be used the next evening in the local roulette. […] ” (L.K.)
imagens: http://daskunstbuch.at
site do artista: http://www.leandrokatz.com/
Título: Museu do Homem do Nordeste
Autor: Jonathas de Andrade
Editora: Mousse/Tijuana
Local de publicação: Berlim/São Paulo, 2013
édition bilingue (anglais / portugais)
19,2 x 28 cm (brochura, encadernação espiral)
50 p. (ill.)
ISBN: 978-989-98213-1-2
L’œuvre de Jonathas de Andrade Souza (né en 1982 à Maceió, Brésil, vit et travaille à Recife) se fonde sur des recherches historiques, textuelles et photographiques. À partir d’un processus de documentation d’une précision quasi-anthropologique, l’artiste développe des installations conceptuelles qui mettent au jour l’amnésie culturelle frappant un certain nombre de réalités sociales, politiques, culturelles et idéologiques du monde contemporain.
http://www.lespressesdureel.com/
https://cargocollective.com/jonathasdeandrade/cartazes-para-o-museu
