Wednesday, May 11, 2016
Thursday, April 28, 2016
Seest, Thomas (ed), Leporello #1 - 11, Lamgbortistan: Copenhagen, Denmark, 2005 [slipcase by Lina Bjorn]
|David Bellingham, Leporello #5, |
Sections (through apertures in branches and leaves).
|Cecilie Nusselein Gravesen, Leporello #8, Sailors Piano|
|Jakob Wegener, Leporello #7, side 1|
|Jakob Wegener, Leporello #7, side 2|
|Janne Hoem, Leporello #10, side 1|
|Janne Hoem, Leporello #10, side 2|
|Lina Bjorn, Leporello #1|
The two street artists Goddog and Sanair collaborated on this book with each contributing one side and their abstracted styles mesh beautifully, and coupled with the lavish and sparkly gold ink used in the printing and you have a very compelling object. As regards how the book got its name, its simple Or (gold) and Noir (black). For further information check out the print studio Sanair runs with Goddog and Rinst in Avignon: La Generale Minerale
4 pages at 9" x 12.5" and extended 4ft 1.5".
|Back of book.|
A smart accordion that mimicks the vacation booklets with their strips of souvenir postcards. Here the conceptual artist, Bill Burke uses this format to draw attention to something that he's really got his knickers-in-a-twist about and that's the incredible power and influence certain curators and collectors wield in the art world. He has even gone so far as to make little dolls of famous curators, and to name museums after famous curators and collectors. So, this arty adulation could be a savvy career move, but as to whether it achieves any results — well, this probably is better left to the art historians. On the other hand it could make him some enemies and that's a strategy that could also be useful to him as well. But first and foremost this work is a kind of conceptual joke and as with all conceptual jokes you never quite know whether you should take it seriously or just ignore it completely.
7 pages at 6.25" x 4", fully extended 2ft 4".
"My Mother was hysterical.
'There are snipers on rooftops killing people.
They are targeting photographers. Don't come!'"
Fortunately for us Laura El-Tantawy did not take her mother's advice, and after a number of years living abroad working as a journalist and photographer, she felt compelled to go back 'home' to Egypt, to witness the revolution, to be there and participate in this incredible moment. On the books' inside covers she includes a very compelling text in which she details the journey home, what she saw and experienced in the streets, the brutality and the beauty, and what she found was profoundly moving and this publication is imbued with that charge.
I too, know something of the incredible excitement that the revolution generated in the beginning, as myself and my Egyptian-born wife sat glued to the TV for weeks following each twist and turn as the revolution played itself out — truly remarkable and memorable days!
El-Tantawy's expressionist photographic style works well with her writing style and the two blend perfectly in this little accordion that packs on oversized punch. However, I want the artist to have the final say about what she was felt she was doing in going out there, "I was working on my own, not representing any publication and without any influence outside my belief their story had to be told. "Who will hear our story? Who will get our dead children's rights back?"
Double-sided, 16 pages at 6" x 4.25", extended 4ft 3". This book and others by El-Tantawy available here: LAURA EL-TANTAWY