3/11/2023 0 Comments Debord memoires![]() ![]() Each book is hand-made, thread bound using traditional Japanese techniques, with 19 photo- micrographs of snow crystals that were shot by the artists during snowstorms between 20. ![]() The story reveals the significance of the book wrapped in a threadbare kimono under the snow. The package is tied with red and white cords, each one with a small paper flag inscribed with a question from the title. A hand crafted bass wood Japanese box houses a unique signed photograph inkjet on gampi paper, hand coated with encaustic, under which the book is found wrapped in an indigo vintage kimono fabric. Mike & Doug Starn Ani-San, samukaro? Omae samukaro?, 2007/2008Ĥ0 pages with 19 B&W Illustrations, each wrapped in a unique vintage kimono fabric each having one photograph from the book on gampi paper with encaustic, signed and numbered housed in a bass wood box. The meaning in the book is made up by the interplay of the shapes, colours, and formats. The only text in the book is a statement by the publisher. This issue, which Munari himself called The Unreadable Book, features red and white paper geometrically cut up. Contributers included Buckminister Fuller, Willem Sandberg, Wim Crouwel, Marc Chagall, Bruno Munari, Dieter Roth and countless others. Produced in irregular intervals beginning in 1953, Kwadraat Blad or Quadrat Print was a series of printing experiments executed by Steendrukkerij De Jong & Co. Designed by Munari, and published by De Jong as one of their Quadrat-Print limited edition series, this artists' book has pages made of four different types of paper, which are then cut into various designs. An unreadable quadrat-print by Bruno Munari., 1953 The black layer contains fragments of text, maps of Paris and London, illustrations of siege warfare, cheap reproductions of old masters and questions such as 'How do you feel about the world at the moment, Sir?' The coloured layer contains freefloating ink splashes, lines created by a matchstick loaded in ink, and a Rorschach inkblob.īruno Munari De Kwadraat-Bladen - The Quadrat-Prints - Le feuilles-Cadrat - Die Quadrat-Blatter. These sometimes connect images and text, sometimes cover them, and sometimes are seemingly unconnected. The second layer is printed using coloured inks, splashed across the pages. The first is printed with black ink, reproducing found text and graphics taken from newspapers and magazines. The second section, 'December 1952', quotes Huizinga, and the third, 'September 1953', quotes Soubise. our fate will be to become the first living people to enter the new life. The first section is called 'June 1952', and starts with a quote from Marx: Let the dead bury the dead, and mourn them. ![]() Credited to Guy-Ernest Debord, with structures portantes ('load-bearing structures') by Asger Jorn, the book contains 64 pages divided into three sections. Spine ends lightly worn.The book is a work of psychogeography, detailing a period in Debord's life when he was in the process of leaving the Letterists, setting up Lettrism International, and showing his 'first masterpiece', Hurlements en Faveur de Sade (Howling In Favour Of Sade), a film devoid of imagery that played white when people were talking on the soundtrack and black during the lengthy silences between. White card wrappers housed in original Viks Grade 2 sandpaper jacket. "The book speaks secret languages made out of the words and pictures everyone already knows," wrote Greil Marcus "turning a page is like waking from a dream or falling into one." An uncommonly well-kept example of perhaps the quintessential Situationist publication. The violent cutting-out and cutting-up of the textual appropriator mirrors the famous sandpaper cover of the first edition - the printer's own idea - designed to leave its mark on every other book it touches, and on the fingertips of every reader. Jorn's colored ink splotches overlay the borrowed elements, drawing connecting lines between some words and images, nearly obliterating others. A fragmentary collage of snippets and hints and half-lines, photographs and comic strip panels, vigorously detourned and spirited out of their old context into a new one of Debord's own designing. Rare first edition of the confrontational and abrasive collaboration between two founding members of the Situationist International. (Copenhagen): L'Internationale Situationiste, 1959. ![]()
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