The Closed Book

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Michelangelo Pistoletto
The Closed Book: A Project for Artforum
photography by Ari Marcopoulos

Artforum
Vol. 27, No. 7 (March 1989)
26.5 x 26.7 cm.
153 p.

Salvar

For Publication

Dan Graham
For Publication
New York, Marian Goodman Gallery, 1991
27.5 x 22.5 cm

Reprint of the 1975 publication from Otis Art Institute Gallery, Los Angeles, which was itself a reprint of Graham’s pageworks of the 1960’s : including “Schema,” “Figurative,” “Information,” “March 31, 1966,” “Detumescence,” Magazine / Advertisments,” “Homes for America,” “Side Effects / Common Drugs,” “Likes,” “A Computer – Astrological Dating – Placement Service,” “Time Extended / Distance Extended,” “Income (Outflow) Piece,” “Proposal for Aspen Magazine,” and “Proposal for Art Magazine.”

… Through the actual experience of running a gallery, I learned that if a work of art wasn’t written about and reproduced in a magazine it would have difficulty attaining the status of ‘art.’ It seemed that in order to be defined as having value, that is as ‘art’, a work had only to be exhibited in a gallery and then to be written about and reproduced as a photograph in an art magazine. Then this record of the no longer extant installation, along with more accretions of information after the fact, became the basis for its fame, and to a large extent, its economic value.

From one perspective, the art object can be analyzed as inseparably connected to the institution of the gallery, or museum; but from another perspective it can be seen as having a certain independence, as it belongs also to the general cultural framework which the magazine is part of. Magazines specialize in a way which replicates other social economic divisions. Any magazine, no matter how generalized, caters to a certain market or specific audience in a particular field. All art magazines are directed to people who are involved in the art world professionally in one way or another. Furthermore, the art magazine itself is supported by advertisements which with one or two exceptions, come from art galleries who are presenting exhibitions. It follows that in some way the advertisers have to be taken care of in that their shows have to be reviewed and made a matter of record in the magazine. Thus these shows and works are guaranteed some kind of value and can be sold on the market as ‘art’. The fact that sales do take place yields enough money for the gallery to purchase more advertisements in art magazines and to sustain the art system in general.


If ‘Minimal’ art took its meaning from the notion that the gallery is an objective support, by comparison ‘Pop’ art took its meaning from surrounding media-world of images. ‘Pop’ wished to undermine the notions of quality in fine art by using mass-produced-cultural content. Since it fed its pictures through the magazines back into popular culture, ‘Pop’ art also made an ironic comment about popular culture to itself. What ‘Pop’ pointed out was that the information media, such as magazines, could be used dialectically with the art system. That is, a work could function in terms of both the art language and the popular language of the media at the same time, commenting upon and placing in perspective the assumptions of each. I designed works for magazine pages which would both be self-defined and would relate through their context, to the surrounding information on the other printed pages …

— excerpt from “My Works for Magazine Pages ‘A History of Conceptual Art,'” by Dan Graham, 1985

Disponível em PDF: http://issuu.com/amir_brito/docs/for_publication?e=1780285/10308997

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Feuilleté

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Julien Nédélec
Feuilleté
Brest/França, Zédélé, 2013
48 p.
11,5 x 18,5 cm
ISBN 978-2-915859-43-0
700 ex.

Feuilleté é um livro branco cujas páginas mantêm o traço indelével das impressões digitais de Julien Nédélec, uma vez que cada cópia do livro foi folheado pelo artista com seus dedos sujos de tinta.Com tiragem de 700 exemplares, cada exemplar deste livro é único.

Esta nova edição de Feuilleté segue a primeira edição publicada em 2008, que está  esgotada. Concebido como o anterior, com a diferença que o número de páginas é maior e possui uma nova encadernação.

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Feuilleté est un livre blanc dont les pages conservent la trace indélébile des empreintes digitales de Julien Nédélec, puisque chaque exemplaire du livre aura été feuilleté par l’artiste et ses doigts salis par de l’encre. Tiré à 700 exemplaires, chaque exemplaire de ce livre est de fait unique.

Cette nouvelle édition de Feuilleté fait suite à une première édition publiée en 2008, aujourd’hui épuisée. Conçue comme la précédente, elle présente un nombre de pages augmenté et une nouvelle reliure.

S’il fallait résumer le travail de Julien Nédélec en quelques mots, on pourrait affirmer qu’il se situe quelque part entre Raymond Hains, l’OuLiPo et Claude Closky. Raymond Hains, tout d’abord, pour cette propension à manipuler le langage, transformer le sens en non-sens – ou tout au moins en un sens différent –, s’amuser des renversements sémantiques et continuellement brouiller les pistes. L’OuLiPo, ensuite, constitué dans les années soixante par Raymond Queneau et le mathématicien François Le Lionnais, en raison de son goût pour les séries, les ensembles, les suites complexes et plus généralement les mathématiques. Claude Closky, enfin, pour le jeu permanent, la recherche constante du décalage. Antoine Marchand (Revue 02)

http://www.editions-zedele.net/feuillete-ne.html
http://www.julien-nedelec.net/wordpress/index.php/feuillete/