Este blog tem como objetivo divulgar o acervo da Coleção Livro de Artista da Universidade Federal de Minas Gerais, a primeira coleção em uma biblioteca de universidade pública no Brasil. Em atividade desde novembro de 2009, o acervo possui mais de 1.500 livros de artista, além de obras de referência, revistas especializadas e revistas de artista. Atualmente este é o maior acervo público de livros de artista da América Latina.
Joachim Schmid Art Addicts Anonymous
Berlin, Edition Fricke & Schmid, 1993
9 x 14 cm
[8] p. + 12 postais
ISBN: 3-927365.23-8
In keeping with the established format of 12-step programs, 12 different postcards with testimonials of former art addicts were sent anonymously from 12 different cities to approximately 100 art world figures (including artists, critics, and curators) and a number of museums, galleries, and art magazines in seventeen countries over the course of one year.
Joachim Schmid Erste allgemeine Altfotosammlung Berlin: Fricke & Schmid, 1991. 63 p. : 21 x 14,5 cm + 1 fotografia colorida. Texto em alemão Impressão em offset Inclui uma fotografia Polaroid carimbada, acondicionada em bolso plástico na parte interna da contracapa do livro. Exemplar número 305/400.
First General Collection of Used Photographs Year in and year out an unimaginable number of photographs are produced worldwide. Virtually every day each of us enlarges this gigantic mountain of photographs, without giving the consequences a second thought. But while photography seems a harmless leisure pursuit, the chemicals contained in all photographs pose enormous dangers to our health. What‘s more, photographs in such quantities increase visual pollution and undermine our thinking power—to say nothing of the moral dangers they pose for our children. In these conditions it would be best if we stopped making photographs altogether—but in many cases this is hardly possible. Therefore, it is essential to professionally dispose of all photographs once they are no longer needed. Experts from East and West have warned us for decades about the impending, catastrophic consequences of the photo boom, but their pleas have fallen on deaf ears among those responsible in industry and politics. Today billions of used photographs are stored improperly in homes and businesses, waiting for desparately needed recycling facilities. The Institute for the Reprocessing of Used Photographs, privately founded in 1990, offers a clear path out of this seemingly inescapable situation. The Institute maintains all facilities necessary to professionally reprocess photos of all kinds—or, in hopeless cases, dispose of them ecologically. We collect used, abandoned and unfashionable photographs in black and white or color, including instant photographs, photobooth strips, entire photo albums, contact sheets, test strips, negatives and slides, as well as damaged and shredded items, in both small and large quantities. Remember, used photographs do not belong in the household garbage—they need special disposal. Many photographs can serve a new and useful purpose after reprocessing. For the sake of our environment, send your used photographs to the Institute for the Reprocessing of Used Photographs. Participation in this recycling program is guaranteed free of charge!
Joachim Schmid
Kunst gegen Essen
Berlin: Fricke & Schmid, 1996.
8 p. + 9 figurinhas il. color.
21 x 15 cm
Impressão em offset
500 exemplares.
Fólios grampeados
Inclui 9 figurinhas, acondicionadas em um envelope colado na parte interna da contra-capa.
“A concise reflection on art, economy, and food, published on the occasion of an exhibition which was held in an Italian restaurant in Berlin and for which I received payment in food and wine”. via https://www.lumpenfotografie.de/
Publicado durante uma exposição na “Fotogalerie Aroma”, Berlim, em julho de 1996.
Joachim Schmid Lambe Lambe Barcelona/México, Editorial RM, 2014
Offset
brochura 18.5 x 13 cm
120 p.
Three series of portraits, based on street photographers’ discarded negatives found in the streets of Belo Horizonte between 1992 and 2002; published by Editorial RM, Barcelona and Mexico City in 2014.
The portraits in this book were made by anonymous “lambe-lambe” photographers in the streets of Belo Horizonte, Brazil, and were not intended to be seen by a larger audience. Their initial function was for private clients who were in need of portraits for various administrative purposes. The photographers had the habit of discarding their negatives in the streets where I collected this treasure. The photographers worked with extremely simple equipment and they processed film and paper quickly disregarding any archival considerations. Despite or maybe even because of the seemingly artless process the images are striking and powerful. As a group they form a randomly composed collective portrait of the population of a city, and they are documents of an era gone by, replaced by the clean process of digital photography that does not leave any trash in the street.
Joachim Schmid
Tausend Himmel
London, Photographers’ Gallery, 2007
offset, colour
10.5 x 14 cm
64 p.
softcover, perfect bound
1.000 ex.
ISBN 9780907879794
The pictures in Tausend Himmel (Thousand Skies or Thousand Heavens) are a small selection from a vast collection. At first glance they appear to be photographs of clouds, of the sky, and of helicopters. In fact, they are photographs of sounds – the sounds of helicopters. I took them to help me deal with a hearing condition called hyperacusis. After more than a year and two thousand photographs later, I had nearly stopped noticing why I started taking them. I guess, in this way, the exercise could be considered a complete success.
The book was published to co-incide with a presentation of Tausend Himmel, a multi-channel digital photo installation, as part of the exhibition Joachim Schmid. Selected Photoworks 1982–2007 at The Photographers’ Gallery.
[64] p.: color.
15 x 10,5 cm.
Impressão em offset.
Brochura.
Texto em inglês.
400 ex.
Quando fiz minha primeira viagem ao Brasil em 1992, cheguei a Belo Horizonte, uma cidade tão grande quanto Berlim mas que a maioria das pessoas fora do Brasil nunca ouviram falar. Numa praça pública no centro desta cidade, encontrei uma série de negativos em preto e branco. Os fotógrafos que faziam esses retratos trabalhavam na praça usando um equipamento extremamente simples: uma caixa de madeira que servia tanto de câmera quanto de câmara escura. Na frente de um dispositivo tão simples, as fotografias foram tiradas com essa caixa e reveladas dentro dela. Os clientes obtiveram seus retratos depois de alguns minutos. Os negativos foram descartados. Eu coletei esses negativos e os imprimi. O título desse trabalho é Belo Horizonte, Praça Rio Branco. Em 1993 fiz um trabalho semelhante, Belo Horizonte, Parque Municipal.
Originalmente estes retratos foram tomados para vários fins administrativos, carteira de de identidade, carteira de mototrista e assim por diante. As pessoas que estão bem de vida podem obter os seus retratos em estúdios, e as pessoas que não podem pagar por retratos de estúdio vão para a praça. Os fotógrafos não dão instruções para as pessoas retratadas. Eles tomam simples retratos frontais, diretos.
Quando voltei para Belo Horizonte este ano os fotógrafos tinham se mudado para outra praça. E eles tinham abandonado sua técnica primitiva. Eles trabalham em cores usando câmeras de 35 mm. Depois que as fotografias são tiradas eles correm para o laboratório mais próximo para obter a tira de filme revelada e impressa. Os clientes pegam seus retratos cerca de meia hora depois de terem sido tomados. Os negativos ainda são descartados. Durante a minha estadia em Belo Horizonte, levantei-me muito cedo todas as manhãs antes que os limpadores de rua começassem a trabalhar, fui até a praça e coletei todos os negativos que encontrei. O resultado é Belo Horizonte, Praça Rui Barbosa.
When I made my first trip to Brazil in 1992 I arrived in Belo Horizonte, a city as big as Berlin that most people have never heard of outside Brazil. In a public square in the center of this city I found a series of black-and-white portrait negatives. The photographers who made these portraits worked in the square using extremely simple equipment: a wooden box that served both as a camera and a darkroom. In front of a simple backdrop, photographs were taken with that box and developed inside it. The clients got their portraits after few minutes. The negatives were discarded. I collected these negatives and printed them. The title of that work is Belo Horizonte, Praça Rio Branco. In 1993 I made a similar work, Belo Horizonte, Parque Municipal.
Originally these portraits were taken for various administrative purposes, ID cards, driving licenses, and so on. People who are well off get their portraits taken in studios, and people who cannot afford studio portraits go to the square. The photographers do not give directions to the people depicted. They take plain, frontal, straightforward portraits.
When I returned to Belo Horizonte this year the photographers had moved to another square. And they had abandoned their primitive technique. They work in colour now using 35 mm cameras. After the photographs are taken they run to the nearest lab to get the strip of film developed and printed. The clients pick up their portraits about half an hour after they were taken. Negatives are still discarded. During my stay in Belo Horizonte I got up very early every morning before the street cleaners start to work, walked to the square and collected all the negatives I found. The result is Belo Horizonte, Praça Rui Barbosa.
