Sobre colecaolivrodeartista

Coleção especial de Livros de Artista da EBA/UFMG, iniciada em novembro de 2009, localizada em Belo Horizonte/MG.



George Brecht
28 p.
21.7  x 30 cm
Offset, black-and-white
250 ex.
Editor: Moritz Küng

Published in the framework of the exhibition ‘Selección Natural – This is the Cover of the Book’ CCL – Blanquerna, Madrid
February 8 to April 9, 2017
Curated by Moritz Küng


Fluxus artist George Brecht (born New York 1926 – died Cologne 2008) is one of the originators of the ‘participatory’ art movement, in which artwork can only be experienced through the active involvement of the viewer. He is also widely considered to be an important precursor to conceptual art. In his ‘Book’ he describes the specific nature of each single page, in a gesture that renders the printed matter a tautological object. Brecht originally conceived his book in 1964, but did not publish it until 1972, the year he moved to Cologne. This reprint aims to make this thought-provoking and witty artists’ book available again in an affordable version that accurately follows the original layout.

The Library

Tonnard Library (1)

Elisabeth Tonnard
The Library
Leerdam/Holanda, 2015.
Digital print, exposed sewing
10,5 x 14,8 cm
56 p.
150 ex.

Este livro é uma biblioteca. As imagens são pequenas seleções de imagens de um catálogo documentando as perdas da Gemäldegalerie no Museu Kaiser Friedrich, o Museu Bode atual, em Berlim durante e após a Segunda Guerra Mundial. A Gemäldegalerie perdeu mais de quatrocentas pinturas, a coleção de escultura do museu perdeu cerca de um terço de seu acervo. A documentação fotográfica e os moldes de gesso permanecem como ecos fantasmáticos do que havia lá. A maioria das perdas ocorreu poucos dias antes e depois do fim da guerra, em maio de 1945, quando dois incêndios devastadores na torre de fuzis de Friedrichshain destruíram a maioria das principais obras de arte que haviam sido armazenadas lá para ficarem em segurança. A causa dos incêndios nunca foi explicada e tornou-se lenda. As pinturas a que se referem essas imagens estavam guardadas. Depois da fumaça, pensamos nesta biblioteca de livros desconhecidos.



This book is a library. The images in it are tiny selections from pictures in a catalogue documenting the losses of the Gemäldegalerie at the Kaiser Friedrich Museum, the present-day Bode Museum, in Berlin during and after World War II. The Gemäldegalerie lost over four hundred paintings, the sculpture collection at the museum lost about a third of its holdings. Photographic documentation and plaster casts remain as ghostly echoes of what was once there. The majority of losses occurred in the days just before and after the end of the war in May 1945 when two devastating fires in the Friedrichshain flak tower destroyed most of the major works of art that had been stored there for safekeeping. The cause of the fires was never explained and has become the subject of legend. Trapped in there were the paintings these images refer to. Out of the smoke we think up this library of unknown books.

Veja mais imagens aqui. See a short discussion by Sarah Bodman here. The book was nominated for the Révélation Jeunes Talents Livre d’Artiste by the ADAGP, France, 2016.

Lost in Space


Andrew Dodds
Lost in Space
London, Book Works, 2005
Design: Valle Walkley
40 p.;
13,4 x 21 cm
1.000 ex.
ISBN: 978 1 870699 76 1


‘And so, the moon returns nightly to haunt us like some Marie Celestis, carrying the ghosts of our dreams and aspirations’ – from the introduction

The moment of the first lunar landing, 20 July 1969, has become a monument – the documents, images and recordings now accessible to millions. But the actual site – the scene of the event, the footprints, abandoned objects, the Landing Module – remains preserved for millennia, vacuum packed in non-existent atmosphere.

J.G. Ballard described Project Apollo as ‘the last great act undertaken by the United States out of a sense of optimism.’ In Lost in Space Andrew Dodds draws on information from NASA archives, correspondence with specialists in the field and personally gathered ephemera, to find the objects abandoned at Tranquillity Base; objects invested with dreams and aspirations, now succumbed to obsolescence.

Ten Isometric Drawings for Ten Vertical Constructions


Fred Sandback
Ten Isometric Drawings for Ten Vertical Constructions
New York City, USA: Lapp Princess, (1977), 2003.
[24] p.
15.3 x 15.3 cm
2000 ex.

Simple vertical lines on a three dimensionally grided field create surprisingly complex spatial relationships in this Lapp Princess Press publication, the first in a series.


Writer and art critic Amy Baker founded Lapp Princess Press in 1977 with the goal to create artists’ books that could be purchased by the widest possible audience. Works were published in editions of 2,000 and sold for $3 each. Other than the uniform format (6 inches square), artists were given complete freedom in terms of the content. Sandback, who would later marry Baker, was the first artist invited. Eleven others followed between the years of 1977 and 1979, until Baker left to become executive publisher of Artforum. Other artists include David Shapiro, Chuck Close, Victor Burgin and Alice Aycock.

Número 4


Revista Número 4
São Paulo, Centro Universitário Maria Antonia (USP), 2003

Revista de crítica de arte. Surgiu em 2003, organizada por um grupo de jovens críticos de arte de formações diversas: Afonso Luz, Cauê Alves, Daniela Labra, Guy Amado, José Bento, Taisa Palhares, Thais Rivitti, Tatiana Blass e Tatiana Ferraz. Encerrou suas atividades impressas em 2010 com a décima edição.

Em parceria com o site do Forum Permanente, ela está online desde abril de 2006:

O principal eixo de interesse da publicação gira em torno de questões da arte e da visualidade contemporâneas.

La Marelle ou Pie in the Sky


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

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.