Paulo Bruscky

 envelope com intervenções 

 cartão postal, 1977

 cartão postal

assembling magazine editada por Brsucky, formada pelo envio de cartões postais

Nelson Leirner

 

Autor: Nelson Leirner, prêmio APCA de 1975. Técnica de reprodução: xerox.
Encomendado e recusado pela APCA.

Moacir dos Anjos - Nelson Leirner: O Engenheiro que perdeu seu tempo29/6/2002

Entrevista realizada por Moacir dos Anjos, Agnaldo Farias e Adolfo Montejo Navas, nos dias 29 e 30 de julho de 2002, na cidade do Rio de Janeiro.

[...]

AF - Deixe-me então falar de um outro prêmio que você recebeu. Em 1975, você foi escolhido, pela APCA [Associação Paulista dos Críticos de Arte], como melhor desenhista do ano. E cabia a você, como premiado, fazer um trabalho reproduzível que serviria de prêmio para todos os outros laureados. Você fez um trabalho em xerox, o que contrariou as expectativas dos dirigentes da APCA, que terminaram vetando o seu trabalho. Existiu ai também uma tentativa de burlar, de ferir expectativas?

NL - Nesse caso, não. Muitas vezes eu faço as coisas de forma proposital, mas em outras ocasiões a coisa é inconsciente ou fruto do acaso. Eu não achava que eles iam se negar a entregar aos outros laureados o prêmio que eu criei; não achava que eles iam me devolver o trabalho. Eu decidi fazer o trabalho em xerox, como poderia ter feito em offset, porque essa era a discussão do momento: a utilização dos então novos meios tecnológicos na arte contemporânea. Havia uma série de artistas - Julio Plaza, Regina Silveira, Carmela Gross, eu próprio - trabalhando dentro desse universo, que incluía o xerox, o Super 8, o vídeo. Hoje são tecnologias obsoletas, mas naquele momento não. Fiz um trabalho em xerox simplesmente por já estar trabalhando com essas técnicas. Interessava-me o meio em que eu ia fazer e mandar o trabalho. Não me interessava ser recusado. Ser recusado foi uma decorrência inesperada. Embora num outro contexto, surpresa semelhante aconteceu, por exemplo, em relação ao trabalho O Porco, ainda em 67. Eu simplesmente não podia saber, de antemão, se o júri iria aceitar ou recusar o trabalho, que foi enviado como qualquer outro para o Salão [de Arte Moderna de Brasília] com o desejo de ser aceito. Só vim a pensar em fazer a pergunta ao júri sobre os critérios de aceitação do trabalho depois que recebi a noticia da seleção. Foi aí que tive a idéia. Mas até enviar o trabalho, foi tudo muito normal. Preenchi a ficha de inscrição e mandei o trabalho querendo que fosse aceito. Não mandei para ser recusado. 

[...]

Entrevista completa em  http://www.nelsonleirner.com.br/

Michel Francois

Plié, offset print on multi-offset, 120 grams, A1 (59.4 x 84.1 cm. /23.4 x 33.1 inches) folded to A4 (29.7 x 21 cm. /11.7 x 8.3 inches), edition 100, signed and numbered, 2014

€ 60,-

_____________________________________________

SUNDAY is an editorial project published on a bi-monthly basis. A standard format was developed specifically for this project, in which an artist is invited to conduct an intervention, re-think a work, or make an adaptation.
SUNDAY is a cross between a publication, an artist’s edition, a multiple, and an exhibition.
A foldable exhibition platform, a poster-like monograph, an artwork edition, .........
An A1-size poster folded to A4 size, a colophon, bundled in an envelope.

The Small Utopia. Ars Multiplicata

The exhibition The Small Utopia. Ars Multiplicata opened a month ago at the Fondazione Prada in Venice, and continues until November 25th. Curated by art historian and critic Germano Celant (whose dedication to the subject of artists' books, multiples, records and video dates back at least forty years), the exhibition appears to be the largest and most comprehensive ever mounted on the subject. Covering a period of 75 years, beginning in the early 20th century and continuing until 1975, the show features over six hundred works in an exploration of "the idea of uniqueness in art and in its perception, through the multiplication not just of the objects themselves but also of the different means used for its distribution, from artist’s books to magazines and from experimental cinema to radio."

The sprawling exhibition includes Andy Warhol's Brillo Boxes and Heinz Tomato Ketchup Boxes, Man Ray's Obstruction and Cadeau, Arman's Ordures au Naturel and Poubelle, Joseph Beuys' Felt Suits and Sled, a recreation of the European Fluxus Mail-Order Warehouse, Marcel Duchamp's Boîte-en-valise (three copies) and most (if not all) of the Readymades, Richard Hamilton's The Critic Laughs (again, three copies), several cans of Manzoni's Merde d'Artista, Pyramid by Roy Lichtenstein, ten Oat Flowers by Meret Oppenheim, Wedding Souvenir by Claes Oldenburg (enough slices to produce a full cake!), a whole stack of his Geometric Mouse and London Knees. Also included are collections such as the Nouveaux Realistes’ suitcase, Seven Objects in a Box, Fluxus ephemera, Futurist fashion, Bauhaus books and hundreds of other classics.























Mais em http://artistsbooksandmultiples.blogspot.com.br/2012/08/the-small-utopia-ars-multiplicata.html

Seth Siegelaub

Uma coleção de publicações de Seth Siegelaub dos anos 1960 até o início dos 1970 está disponível em formato PDF, com a permissão de Siegelaub:

A lista completa de títulos:

Carl Andre, Robert Barry, Douglas Huebler, Joseph Kosuth, Sol LeWitt, Robert Morris, Lawrence Weiner (also known as the "Xerox Book"), 1968
Seth Siegelaub, editor
A book exhibition in which each of the 7 artists were asked to make a 25-page work on 8 1/2" x 11" paper, which was then photocopied and printed.

January 5-31, 1969
1969
Seth Siegelaub, editor
A group exhibition of the work of Robert Barry, Douglas Huebler, Joseph Kosuth and Lawrence Weiner in which the exhibition was the guide to the catalogue.

March 1969, 1969
Also known as "One Month"
Seth Siegelaub, editor
A group exhibition of North American and European artists in which each artist was asked to make a work on an assigned day during the month of March 1969. The participating artists were Carl Andre, Mike Asher, Terry Atkinson, Michael Baldwin, Robert Barry, Rick Barthelme, Iain Baxter, James Lee Byars, John Chamberlain, Ron Cooper, Barry Flanagan, Dan Flavin, Alex Hay, Douglas Huebler, Robert Huot, Stephen Kaltenbach, On Kawara, Joseph Kosuth, Christine Kozlov, Sol Lewitt, Richard Long, Robert Morris, Bruce Nauman, Claes Oldenburg, Dennis Oppenheim, Alan Ruppersberg, Ed Ruscha, Robert Smithson, De Wain Valentine, Lawrence Weiner, and Ian Wilson.

Catalogue for the Exhibition
Burnaby, British Columbia: Centre for Communication and the Arts, Simon Fraser University, 19 May - 19 June, 1969
Seth Siegelaub, editor
A group exhibition which took place in different parts of the University using the communication and other facilities between 19 May - 19 June 1969, and whose catalogue was only made available after the exhibition was over. As part of the exhibition a symposium was held by a "conference line" telephone hook-up between some of the participating artists in Burnaby, Ottawa and New York. The participating artists were Terry Atkinson and Michael Baldwin, Robert Barry, Jan Dibbets, Douglas Huebler, Stephen Kaltenbach, Joseph Kosuth, Sol LeWitt, N.E. Thing Co. Ltd., and Lawrence Weiner.

July, August, September 1969. Juillet, Août, Septembre 1969. Juli, August, September 1969, 1969
Seth Siegelaub, editor
An exhibition in which 11 artists each made a work in a different part of the world between July - September 1969, and for which the trilingual catalogue (in English, French and German) served as the guide to the location and description of each work. The participating artists were Carl Andre in The Hague, Robert Barry in Baltimore, Daniel Buren in Paris, Jan Dibbets in Amsterdam, Douglas Huebler in Los Angeles, Joseph Kosuth in New Mexico, Sol LeWitt in Düsseldorf, Richard Long in Bristol, N.E. Thing Co. Ltd. in Vancouver, Robert Smithson in Yucatan, and Lawrence Weiner in Niagara Falls.

18 PARIS IV.70, 1970
Michel Claura, editor
An exhibition and tri-lingual catalogue (French, English and German) selected, organized and edited by Michel Claura in Paris. The exhibition took place at a temporary space on the rue Mouffetard in Paris during the month of April 1970. The participating artists were Ian Wilson, Lawrence Weiner, Niele Toroni, Robert Ryman, Edward Ruscha, Richard Long, Sol LeWitt, David Lamelas, On Kawara, Douglas Huebler, François Guinochet, Gilbert & George, Jean-Pierre Djian, Jan Dibbets, Daniel Buren, Stanley Brouwn, Marcel Broodthaers and Robert Barry.

The United States Servicemen's Fund Art Collection, 1971
Seth Siegelaub, editor
A card folder with 18 leaves bound with a metal clasp. 18 BW ill.
A fund-raising collection catalogue for the USSF, an organization set up to promote free speech within the US military, and which was especially engaged in anti-Vietnam War activity by means of the funding and support of G.I. newspapers and cultural actions. The collection, in which each artist agreed to give 50% of the sale of an artwork to the USSF, included the work of Keith Sonnier, Robert Morris, Robert Smithson, Robert Murray, Robert Huot, David Diao, Gene Davis, Al Held, Robert Ryman, Alex Hay, Lawrence Weiner, Sol LeWitt, Alex Katz, Robert Barry, Douglas Huebler, De Wain Valentine, Carl Andre and Joseph Kosuth.

The Artist's Reserved Rights Transfer And Sale Agreement, 1971
Seth Siegelaub and Robert Projansky
downloadable in English, French, German, Italian

Os arquivos em PDF podem ser baixados no site da Primary Information, uma editora que tem publicado reedições de livros importantes, como a série Great Bear Pamphlets, da Something Else Press.

Art & Project Bulletins

ART & PROJECT BULLETINS 1968-1989

The exhibition will be at the Gallery  October 27th 2011

January 21th 2012.

Art is to change what you expect from it
Seth Siegelaub

A unique opportunity to purchase a complete set of this important archival document direct from the original source: 156 issues in 50 complete sets, boxed in a specially constructed acid-free box (320 x 460 x 60 mm) and released by Adriann van Ravesteijn and Geert van Beijeren, the founders of Art & Project in Holland who issued the bulletin over a period of 21 years.

From the earliest days in 1968 when the bulletin appeared Under the title of « Architectural Research » the Small statement printed on the bottom of the front page rings out with the spirit of its time : "Art & Project plans to bring you together with the ideas of artists, architects and technicians to discover an intelligent form for your living and working space. Art & Project invites you to participate in its exhibitions which will explore ways in which art,architecture and technology can combine with you own ideas".

This statement was to prove prophetic. The bulletin became well-known and as the gallery in Amsterdam grew,it  attracted artists all over the world who wanted to contribute to or use the bulletin to explore their own work. It appealed to artists in the Conceptual Art movement to whom the bulletin was a way of conveying art ideas from the artists to the viewer/reader at a low cost: it did not have a value except for the ideas it contained ; bulletins were mailed free to an international mailing list or distributed from the gallery to visitors. The bulletins contained original material in a sequence which is determined by the arttist, but the viewer/reader can read the material in any order but the artist présents it as s/he thinks it should be. As Lawrence Weiner, who made five bulletins states "THEY (BOOKS) ARE PERHAPS THE LAST IMPOSITIONAL MEANS OF TRANSFERRING INFORMATION FROM ONE TO ANOTHER".

The importance of the bulletins as an archival source on the period is unrivaled, both through the quality of the original pageworks and the calibre of the artists involved all the key artists from this period contributed one and often more bulletins : Robert Barry made four, Stanley Brown made seven, Jan Dibbets six, Hamish Fulton three, Gilbert & George four, Douglas Huebler four, Sol Lewitt five, Richard Long seven, and Allen Ruppersberg two.

From Daniel Buren’s transparent bulletin to Sol Lewitt’s beautiful bulletin folded into 48 small squares, from Bas Jan Ader’s final bulletin mailed during his last work in which he died to Gilbert & George’s fragile double portrait,thèse issues are a unique moving international artwork that stands apart from anything else in this period in its breath of artists included and quality of original work involved. It is increasingly included in exhibitions concerned with Conceptual Art and its influences.The complete set is of prime interest to major private collectors and muséums and libraries concerned with the artists involved with the bulletins. These 156 issues encapsulate an era.

In response to increasing interest, Art & Project have decided to release from their own stock of original bulletins 50 strictely limited sets – no further sets will be issued. To achieve this aim and to complete these 50 sets only, each set will contain 7 reprints (clearly marked) and 149 original bulletins. The production of the reprints has been overseen by Adriaan van Ravesteijn (who produced the original bulletins) working with the original printer, thus the reprints are of identical quality to the originals. Each set will also include a new complete full inventory of all the bulletins prepared by Art & Project.
(via http://davietthery.wordpress.com/2011/09/)

3° Simpósio de Integração das Artes Visuais

 Evento que acontece nos dias 15, 16 e 17 de junho de 2011 no prédio de Artes Plásticas/ Visuais da UDESC. Av. Madre Benvenutta, 2007 Itacorubi - Florianópolis - SC

 

Este ano o tema é publicações de artistas. Participarei de uma conversa com a Regina Melim na quinta.

 

As edições Andante participam da mesa de publicações. A programação completa está no blog do evento.

Artzines

Papier Gaché invites you to par­ti­cip­ate in Fan­zines! is a fest­ival ded­ic­ated to fan­zines and self-​​published books in Octo­ber 2011, at the Mar­guer­ite Duras Pub­lic Lib­rary in Paris…[read more at artzines]