Mi libro es su libro

Lawrence Weiner
Mi libro es su libro: selección de textos y obras traducidas
Ciudad de México, Alias, 2008
14 x 21,5
123 p.

Mi Libro es su libro é uma compilação de escritos, peças e entrevistas traduzidas para o espanhol por vários artistas. A capa desta edição foi desenhada pelo próprio Weiner, que também selecionou o título do livro, que parafraseia uma conhecida obra sua dos anos oitenta, intitulada Mi casa es su casa. Lawrence Weiner nasceu no Bronx, Nova York, em 1942. Ele é uma figura central na arte conceitual do final dos anos 1960. Ele escreveu Statements, seu primeiro livro, em 1968, uma pequena compilação de textos que descreviam projetos e instruções para o leitor, e que é considerado um dos primeiros textos da corrente conceitual. A sua obra consiste frequentemente em textos que recorrem a jogos semânticos e gramaticais; instalações de linguagem nas paredes têm sido seu principal meio. Ele também se aventurou em vídeo, cinema, escultura, performance, arte sonora e design gráfico.


http://librosdeartista.upv.es/portfolio/mi-libro-es-su-libro-seleccion-de-textos-y-obras-traducidas/

If In Fact There Is A Context

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Lawrence Weiner
If In Fact There Is A Context
100 Notizen – 100 Gedanken / 100 Notes – 100 Thoughts : No. 008
Alemanha, Hatje Cantz Verlag, 2011
10,5 x 15 cm
[24] p.
ISBN: 978-3-7757-2857-7

As a prelude to the 2012 exhibition, dOCUMENTA (13) and Hatje Cantz are publishing a series of notebooks, 100 Notes – 100 Thoughts, that is comprised of facsimiles of existing notebooks, commissioned essays, collaborations, and conversations. The series is edited by Bettina Funcke.

For this series, artist Lawrence Weiner (b. 1942) has made an artist’s book in exactly the same format (A6) and with the same number of pages (24) as his first contribution to documenta 5 in 1972, curated by Harald Szeemann. The partly handwritten instructions, statements, definitions, poems, and pictograms give an insight into his artistic practice and—as eloquently as poetically—transfer his ideas around dOCUMENTA (13) into language. A central figure in Conceptual art from its beginnings, Weiner works in a wide variety of media including video, books, performance, and installation.

http://www.mottodistribution.com/shop/publishers/documenta-13/100-notizen-100-gedanken-100-notes-100-thoughts-no-008-lawrence-weiner-if-in-fact-there-is-a-context.html

https://www.lttds.org/blog/blog.php?id=3868370088409537509

La Marelle ou Pie in the Sky

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Lawrence Weiner
La Marelle ou Pie in the Sky
Villeurbanne: Le Nouveau Musée / Institut d’Art Contemporain, 1990
[24] p.
brochura
offset, duas cores
20 x 20 cm
ISBN 2-905985-30-5

La Marelle ou Pie in the Sky foi publicado por ocasião de uma encomenda pública. Para a cidade de Villeurbanne, Lawrence Weiner fez uma instalação: três amarelinhas e inscrições no chão. A edição repete e repensa certos elementos da instalação urbana, organizados aqui de acordo com as restrições específicas do livro e a passagem de suas páginas.

La Marelle ou Pie in the Sky a été publié à l’occasion d’une commande publique. Pour la ville de Villeurbanne, Lawrence Weiner a réalisé une œuvre place Mendès-France : trois marelles et des inscriptions au sol. L’édition reprend et repense certains éléments de l’installation urbaine, organisés ici selon les contraintes propres au livre et au passage de ses pages.

Green as Well as Blue as Well as Red

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Lawrence Weiner
Green as Well as Blue as Well as Red
Brest : Éditions Zédélé, 2012 [Jack Wendler, Londres, 1972]
17 x 12 cm
100 p.
Brochura
ISBN 978-2-915859-37-9

Publié avec le soutien de / published with the support of:
Centre national des arts plastiques (Cnap)

Lawrence Weiner is one of the pioneers of conceptual art according to which language is the best medium for art. That is why printed matter plays an essential role in his work, from the design of his own catalogues to his proper artist’s books: fifty since 1968.

Lawrence Weiner was one of seven artists included in the well-known publication/exhibition known familiarly as the Xerox Book that was published in New York in 1968 by Seth Siegelaub and John W. (Jack) Wendler. This Xerox Book was one of the auguries of conceptual art. In the same year Siegelaub, with assistance from the Louis Kellner Foundation, published Weiner’s first artist book: STATEMENTS. A few years later, in 1971, Siegelaub’s erstwhile partner Jack Wendler left New York and moved to London. He soon presented his first exhibition, which took the form of a printed card by Lawrence Weiner, and by the beginning of the next year had his own exhibition space. In addition, in 1972, he published Weiner’s ninth artist book: GREEN AS WELL AS BLUE AS WELL AS RED. As Weiner has said: THE BOOK CAME ABOUT BECAUSE OF AN EXHIBITION OF THE WORK AT JACK WENDLER’S GALLERY IN LONDON. I ASKED JACK IF HE WOULD MAKE A BOOK & AND HE SAID YES. HE FOUND A PRINTER & THE BOOK WAS MADE. This simple statement is at one with the kind of book that was published. GREEN AS WELL AS BLUE AS WELL AS RED was, like its eight predecessors, a container for terse verbal information. (It was not until his twelfth book, in 1973, that Weiner introduced photographs into his books.) When asked for two or three lines about the origins of this book, Weiner stated: THERE IS NOTHING TO SAY. A BOOK IS A BOOK FOR ALL THAT. Subsequently he added: THE BOOK IS ABOUT ITS CONTENTS. PERHAPS NOT AT ALL ABOUT THE SHELF IT FINDS ITSELF ON. And finally, given that this is a ‘little red book:’ (PERHAPS IT IS JUST BY CHANCE THAT IT LOOKS LIKE ONE OF MAO’S BOOKS.)

http://www.editions-zedele.net/reprint/green-as-well.html

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Livros mobiliam uma sala, mesmo: Lawrence Weiner sobre livros de artista

livros_mobiliam_uma_sala-1
Livros mobiliam uma sala, mesmo: Lawrence Weiner sobre livros de artista
Lawrence Weiner

plataforma par(ent)esis
coordenação editorial: Regina Melim
tradução: Amir Brito Cadôr
revisão: Jorge Menna Barreto
projeto gráfico: Giorgia Mesquita
1.000 cópias
2014

Livros mobiliam uma sala, mesmo: Lawrence Weiner sobre livros de artista trata-se de uma apresentação realizada por Lawrence Weiner no Symposium on Artists’ Books, patrocinado pelo Dia Foundation e pela Printed Matter, em Nova Iorque, em 1989. Segue abaixo um fragmento:

“O primeiro livro que eu fiz era chamado “Declarações” (Statements) – quero dizer, o primeiro livro a ocupar algum lugar. (…) O livro foi mal encadernado, de modo que agora, se alguém quiser ler, ele será destruído, o que é até engraçado. Além de mal encadernado, foi muito mal impresso. Mas aconteceu, circulou.”