lundi 18 septembre 2017

Des mots, du carbone et des trous, MARIANNE HOLM HANSEN

Collin's Concise Dictionary, 1st Edition 1978 (elipse - edit - effusion), 2014
Modified Book, Carbon, 17 x 25 x 6 cm (closed)
« Marianne Holm Hansen works across media including writing, drawing, photography, video and new technologies. With a focus on interpretation, her work interrogates, employs, exploits and re-appropriates, organizing systems, established methodologies, behaviours and habits, to question how we come to experience things as we do and, to what extent, an awareness of this can open up the potential for alternative experiences to form. Essentially, her practice is an attempt to both understand and challenge existing perceptions — to uncover and interrogate the structures through which we are taught to operate, think and respond, and, in turn, to practically test how they may be used and applied, differently, to generate new ways of thinking and doing. 

Often responding to specific sites and situations, the development of the work itself includes aspects of independent studio practice, research, conversation, and collaboration. The latter most often takes place through residencies, commissioned events or self-initiated projects that provides a forum for exchange, development and public assessment of work and its ideas. In line with this she has, for the past 10 years, consistently collaborated with diverse institutions, museums, and galleries to produce workshops. Participatory projects and events that enable discussion, exchange and communal knowledge production across disciplines and themes. »


The Concise Oxford Dictionary, 4th Edition 1952 (hole and whole), 2014
Modified Book, 14 x 19 x 6 cm (closed)

The Concise Oxford Dictionary, 4th Edition 1952 (hole and whole), 2014
Modified Book, 14 x 19 x 6 cm (closed
The Concise Oxford Dictionary, 4th Edition 1952 (hole and whole), 2014
Modified Book, 14 x 19 x 6 cm (closed

The Concise Oxford Dictionary, 4th Edition 1952 (hole and whole), 2014
Modified Book, 14 x 19 x 6 cm (closed


Roget's Thesaurus, Everyman Edition 1982 (volition, knowledge, language), 2015
Modified Book, 15 x 23 x 5 cm (closed)

SOURCE: http://www.criticalm.org/ 

vendredi 7 juillet 2017

Lit de travail, Sophie Calle

COMME AU LIT. Commissariat de / Curated by Céline Huyghebaert et Pascaline J. Knight

«Aujourd 'hui associé à la vie privée, le lit était autrefois synonyme de vie publique. En France, à l'époque de Louis XIV, il n'était pas rare d'en posséder trois ou quatre selon leur utilité: lit de parade (où les maîtresses recevaient leurs visiteurs), lit de travail (où les femmes accouchaient), lit de justice (où le roi faisait ses assemblées formelles), etc.»
Source du texte: Pascale Bouchard, LE VISIBLE ET L'INVISIBLE CHEZ SOPHIE CALLE : VARIATIONS AUTOUR DU SEUIL, Mémoire de Maîtrise, 2012.

mercredi 5 juillet 2017

This person, Miranda July


« Je ne voulais pas échouer en tant qu’écrivaine, alors j’ai fait plusieurs autres choses d’abord, et j’ai essayé de glisser vers l’écriture quand j’avais le dos tourné. » 
Source: Miranda July, « Miranda July interviews James Franco », The San Francisco Panorama Book Review, San Francisco, McSweeney, numéro 33, 2009, p. 87.


mardi 27 juin 2017

Mémoire collective, Saskia Overzee & Amanda Butterworth

collectief geheugen (collective memory)
Saskia Overzee & Amanda Butterworth

This non-linear book called collectief geheugen (collective memory) is about the shared pool of knowledge and information in the memories of two or more members of a social group, passed from one generation to the next. It parallels the memory of a person who is better at recalling images than words.


 







The book is bound with a removable elastic band. This way the reader can play a part and make his or hers own story, by re-arranging the page's.
2016 - 90 x 260 mm - 48p - 50 exemplaires
HP Indigo print & lasercut

dimanche 25 juin 2017

Fragments d'intranquilité, Tim Hopkins

Tim Hopkins – The Book of Disquiet by Fernando Pessoa
2017 - Letterpress - 80 - 280mm x 202mm x 42mm


«The texts that make up The Book of Disquiet were found in a box in Pessoa’s room after his death, in bundles of manuscript and typescript fragments and in no fixed order. It consists of the everyday thoughts of a single character, Bernardo Soares.

The Half Pint Press edition of The Book of Disquiet takes 61 of the hundreds of fragments, and presents them on a variety of paper and non-paper ephemera (some found, some made). Each fragment was typeset by hand and printed by hand on an Adana Eight-Five tabletop letterpress in an edition of 80. The fragments are presented unbound and with no fixed order in a hand-printed box.

This edition responds to the original’s form, or lack of form, by restoring disorder to The Book of Disquiet: the fragments are to be picked out as the reader pleases. This reflects the origin of the text itself and also makes possible connections between fragments which may be less available in a bound, ordered edition; Soares was prone to letting his mind wander during long nights in his room and the book gives a sense of that wandering mind. This form also nods to a history of unbound books, in particular BS Johnson’s The Unfortunates and Marc Saporta’s Composition No 1


«It writes Soares’s ideas across the everyday detritus of a life lived, on objects as diverse as a postage stamp, a compliments slip, a booze label, a page of accounts and an internal transit envelope. Not all the objects are paper: the box includes a pencil (a single-paragraph fragment, one line letterpressed on each side of a hexagonal pencil), a lollipop stick and a matchbook. Some are beautiful, others grubbily everyday. Likewise the box, which is deliberately not a cloth-bound fine press production but instead hand-printed on a commercially-available stitched board box. Each fragment has its own dimensions and character, and each was approached as a separate project, choosing type size, layout and fragment length in response (though care was taken not to relate the content of text too closely to its format, to avoid being boringly literal and closing down meanings).

The impression is of a box of belongings, each with a value of some kind to the owner. Each may be kept because it’s beautiful, or important, or useful, or attached to a memory: the reader can’t know but the form invites the reader to imagine those reasons, and therefore to engage their imagination more fully in the work. There is a melancholy sense of sifting through the relics of a life lived, full of unreachable connections. The edition enriches and enhances the experience of reading Soares’s words, anchoring them in the quotidian, explicitly an abstracted literature of everyday existence. Occasionally the fragments are difficult to read, but the most important part of the book remains Pessoa’s words, made yet more atmospheric by making the experience of reading more physical and tactile.

It is a book and not a book, everyday and extraordinary, hand-made and machine-made, real and impossible.»



Source: MCBAPrize
Tim Hopkins: https://thebookofdisquiet.wordpress.com ; https://vimeo.com/215534505