La Langue Verte Et La Cuite. Etude Gastrophonique sur la marmythologie musiculinaire Turin: Jean-Jacques Pauvert Editeur, 1968. Heavy 4to. Publishers cloth, dustjacket well preserved. Complete with original slipcase. 343 pages. Only light wear to jacket and overall an exceptional fine copy First edition of “Den rå og den kogte tunge”…
ARTISTS MAGAZINE. – Aagaard Andersen, Gunnar. – Peter Louis Jensen. – Lene Adler Petersen. – Hans-Jørgen Nielsen. – Per Kirkeby. – Thygesen, Erik m. fl. (ed.): . ta’ BOX nr 1, 2, 3 and 4. Ultra-rare and important Fluxus Zone North / Avant-Garde Art publication – 1st (and only) edition…
The magazine as a museum or a folded exhibition on paper: Pist Protta made and designed by artists, and always edited by the same core of three artists sometimes with guests: Åse Eg Jørgensen, Jesper Fabricius and Jesper Rasmussen. Pist Protta has been published since 1981, and is being the oldest still ongoing visual art periodical in Scandinavia. Every publication is different from the others as regards the design and form, because with every issue there is often experiments with size, layout. paper quality, printing method, graphic effects, punch outs, fouldouts etc. in an attempt to create every number of the periodical with an original expression – or even as a work of art on its own. The content varies from very mixed issues with a lot of different material taken from visual art, litterature, cinema, music (and very often with inserts of original prints) to more thematic issues with a more homogeneous composition. Among the theme numbers there have been such publications about experimental cinema, experimental musical scores, concrete poetry, anamorphoses, hands, the white colour, Berlin, London, New York, interior installations, typography, text and landscape painting
Questionable if anything more interesting regarding to Artists Books, Avant Garde Art, Magazine Art etc ever was published in the Northern Hemisphere?!
Danish graphic artist, filmmaker and photographer Jytte Rex has throughout her career also produced some very fine photo books with photographs, drawings, photo collage and otherwise adapted photography. ‘Jeg har ikke lukket et øje’ is maybe her best and most integrated photo book so far. Chosen as one the 28 most important Danish photo books for the catalogue and exhibition ’28 Danish Photographic Books’ (2006) in connection with exhibition ‘The Open Book’ by The Hasselblad Centre (2004)
This book presents a collection of 200 black and white photographs and 100 lines of words gathered by the artist spanning the years from 1968 to 1989. The images were captured as entries in a photographic sketchbook and are represents in pairs that demonstrate visual congruities in form and shading. Opposite the photographs, textual phrases appear in Danish, Icelandic, English, and Swedish. The words have lodged themselves in the artist’s consciousness after appearing in newspapers, in conversations and on TV, rearranging themselves over time. Influenced by Alison Knowles’ work The Big Book, which was conceived as a locus for contemplating personal evolutions, this book maps out the circuitous development of memory over time. The translations from Danish into other languages are by Alison Knowles, Anna Sjödahl, and Rúrí
COLONEL: Zoom N°148. “Le Magazine de l’Image”. Theme Iran : les photos détruites par Khomeiny – Hatami vu par Roger Mauge – Emmanuel Angelicas, Siam, par Max Pam and With an article on Colonel. ORIGINAL PHOTOGRAPH of Colonel taped to cover Danish-French artist Thierry Geoffroy, born 1961
Since I was very young, until my early thirties, I had serious problems in opening and reading any letters I received.
Letters would stay on my table for weeks before I found the courage to open them, and during this time my sense of guilt would grow and grow.
Most of the time, when I finally opened the letters, it was too late to answer them and my sense of guilt was worse than ever.
I kept every single letter, from the first notes received from my mother, in I965, up to the time I left Belgrade for ever in I979.
I decided to chronologically write down the first sentence from all of these letters, without noting the name of the senders.
When finished, I was astonished to see how it was possible to trace all my life just by reading the text created by all these first lines.
Later I heard that Marcel Duchamp, on receiving a letter, opened, answered, and immediately burnt the letter he’d received.
Jean Tinguely never opened or answered any letter, and every Christmas he made a ritual of burning unopened envelopes, which sometimes included important information, and even checks.