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.


Green as Well as Blue as Well as Red

Green as well as blue as well as red.jpg

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.
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.)


Wild Blue Yonder

Wild blue yonder

Wild Blue Yonder
Lawrence Weiner
Moved Pictures / Printed Matter
Nova York, EUA
17,4 x 18,2
1000 ex.

Nota: Baseado no filme Wild Blue Yonder

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

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

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.”