seen from Sweden
seen from United States
seen from Sweden
seen from Netherlands
seen from Austria
seen from United States
seen from China
seen from United States
seen from Argentina
seen from United States
seen from Finland
seen from Malaysia
seen from Japan
seen from Argentina
seen from Bulgaria
seen from France
seen from Malaysia
seen from United States
seen from Germany
seen from Türkiye
Books On Books Collection - Guy Bigland
AAA to ZZZ (2018) AAA to ZZZ (2018)Guy BiglandPerfect-bound paperback. H220 x W225 mm. 56 pages. Acquired from the artist, 6 July 2023.Photos: Books In Books Collection. Arranging all possible 3-character combinations of the letters of the alphabet in alphabetical order results in a mesmerizing display. Prolonged staring will lead the eye beyond the vertical and horizontal alphabetic patterns…
View On WordPress
Books On Books Collection - Masoumeh Mohtadi
Books On Books Collection – Masoumeh Mohtadi
“I AM SEEKING TO UNEARTH A SOLUTION BEYOND THE CONVENTIONAL SYSTEM OF LANGUAGE FOR MAKING CONNECTIONS.” Masoumeh Mohtadi Blindness (2020) Blindness (2020)Masoumeh MohtadiAltered paperback, Persian/Farsi translation of Blindness by José Saramago. H210 x W145 x D20 mm, ۳۱۸ (318) pages. Unique. Acquired from Bavan Gallery, 9 January 2021. As would be expected, the binding of this Persian trade…
View On WordPress
Bookmarking Book Art - Adam Smyth
Bookmarking Book Art – Adam Smyth
13 March 1911 (2019)
13 March 1911 (2019) Adam Smyth Perfect bound paperback. H175x W115 mm, 64 pages. Edition of 500. Acquired from Information as Material, 10 October 2020.
Although unremarkable in its production values, 13 March 1911 enters the collection as a brilliant composite with roots in OuLiPo, Grangerism and the collage technique, Walter Benjamin’s Illuminations and The Arcades…
View On WordPress
Books On Books Collection - Francesca Capone
Books On Books Collection – Francesca Capone
… we have a trick that we call language. Actually, we have many kinds of language, each of which is based on a formal system of codes and/or symbols through which we represent states of the world. Frank R. Wilson, The Hand (2000)
Weaving Language: Language is Image, Paper, Code & Cloth (2018)
Weaving Language: Language is Image, Paper, Code & Cloth (2018) Francesca Capone Perfect bound…
View On WordPress
Palette App + Poem from Weaving Languages
Francesca Capone
Francesca Capone es una artista que trabaja con el texto y la imagen como cruce interdisciplinar de lenguajes. Su obra se ha expuesto en Nueva York donde actualmente reside y trabaja. En su reciente exhibición «Oblique Archive», Francesa presenta una serie de impresiones con textos intervenidos en los que descontextualiza el sentido original y la legibilidad de las palabras. Nos habló sobre el proceso de su obra.
¿Cómo escoges los textos con los que trabajas? ¿Son escritos propios o te apropias de algo que ya existe?
Yo veo mi proceso como un mapeo de prácticas de escritura y de arte visual en una y en otra. Por ejemplo, los escritores leen e investigan normalmente, después digieren el material literario en un nuevo trabajo de su propia voz y estilo en la página. Yo he tomado la primera parte de este proceso, la investigación y lectura, y en vez de usar un proceso literario típico he cruzado los cables y uso un proceso pictórico, adaptando directamente el texto en imagen. Los textos que seleccioné para mi reciente exhibición “Oblique Archive” (Archivo oblicuo), en Peninsula Art Space en la ciudad de Nueva York, son de mi búsqueda de figuras que han trabajado en la intersección de escritura experimental y arte visual, tal como: John Cage, Gertrude Stein, Jenny Holzer e Isidore Isou. Los libros escogidos también incluyen otros trabajos que son parte, menos relacionada, de mi búsqueda; escribir esos filtros en mi proceso de pensamiento en un modo diferente pero igualmente influenciables, como la obra de Leslie Scalapino, Lorine NIedecker y Paul Auster.
¿La manera en que deconstruyes el lenguaje y los objetos (libros) es una forma de poesía visual?
Mientras continuo para investigar las intersecciones de arte visual y literatura, me he vuelto más consciente de este tipo de categorizaciones y sus implicaciones. Sí, el trabajo es visual, y sí, es poético, y claro puede ser llamado poesía visual; es solo un término que personalmente no usaría. Considero el trabajo para ocupar el espacio entre la escritura conceptual y el arte visual, específicamente arte post-internet. He creado un nombre para este tipo de trabajo: “Contemporary X”, el cual he inventado últimamente pero pienso que describe mejor el trabajo de este interdisciplinario cruce en este momento.
¿Qué te gusta leer y cuales son tu escritores preferidos?
Esta es una pequeña lista que incluye artistas visuales, curadores, poetas y críticos, de los cuales unos oscilan entre estas tres: Hansjörg Mayer, Eugen Gomringer, Rosmarie Waldrop, Emmett Williams, Guy de Cointet, Chis Kraus, Karl Holmqvist, Kenneth Goldsmith, Brad TRemel, Carline Bergvall, Natalie Czech, Erica Baun, Monica De La Torre, Hans Ulrich Obrist, Anni Albers y Dieter Roth.
¿Cómo te involucras con los movimientos literarios de Nueva York, si es que se puede hablar de alguno?
Como mencioné, estoy muy interesada en la escritura conceptual, aunque no solo se hace en NY. Escritores conceptuales viven y trabajan en Los Angeles también, y entre estas ciudades, así como internacionalmente en Berlín, Londres, Edimburgo, Santiago; me interesaría saber dónde más. En lo que va en Nueva York, no sé si hay un movimiento literario (aún) pero estoy conectada muy cerca con la gente que comenzó “Wendy’s Subway”, una comunidad para escritores de Brooklyn. Son un grupo increíblemente ambicioso y organizado de gente creativa y en el primer año de existencia han provado llenar el hueco en la escena literaria de la ciudad que mucha gente probablemente no sabía que existía. No puedo esperar a ver a donde moverán su monumento. Puedes consultar en: wendyssubway.com
Gracias por tu tiempo Francesca.
Inglés:
Francesca Capone is an artist who works with the text and image as a interdisciplinary intersection of languages. Her work has been exhibited in New York where she lives. In the recent exhibition «Oblique Archive», Francesca presents a series of prints with intervene texts in which she alterate the meaning, legibility and readibility of the words. She talked to us about the working process.
How do you choose the texts that you work with? Are they from your own writing or do you appropriate from writing that already exists?
I see my process as a mapping of writing practices and visual art practices onto one another. For instance, writers are typically researching and reading, then digesting those literary materials on the page into new written work in their own voice and style. I’ve taken the first part of this process, the reading and researching, and then instead of using more typical literary processes I’ve crossed the wires and instead use painterly processes at that point, directly adopting the writing into image. The texts I selected for my most recent exhibition Oblique Archive at Peninsula Art Space in New York City, are from my research on figures who have worked at the intersection of experimental writing and visual art, such as John Cage, Gertrude Stein, Jenny Holzer, and Isidore Isou. The selected books also include other works that are less directly a part of my research, writing that filters into my thinking process in a different way but are equally influential, like the writing of Leslie Scalapino, Lorine Niedecker and Paul Auster.
The way you deconstruct the language and the objects (books) is a form of visual poetry?
As I continue to research the intersections of visual art and literature, I’ve become more aware of these kinds of categorizations and their implications. Yes, the work is visual, and yes, it is poetic, and sure, it could be called visual poetry – it’s just not a term that I would personally use. I consider the work to be engaging the space between conceptual writing and visual art, specifically post-internet art. I’ve created a name for this kind of work, Contemporary X, which I’ve made up recently but I think is a better descriptor for work at this particular interdisciplinary crossroads at this point in time.
I like really much how you «refract» the text, some kind of visual effect alluding the physical light change, can you describe the process how did it occur to you?
I’m assuming that you are describing the Oblique Archive series of work, which were developed on a large bed scanner. This may seem like a jump, but I’m fascinated by the earliest form of both image or writing, neanderthal cave paintings - I love the way they express language in a narrative form as writing might do, but they also are entirely based in image. The most recent cave paintings found in Indonesia are 39,900 years old, and earliest ‘written forms’ as we know them weren’t developed until approximately 1500 B.C.E., so this notion of the connectedness of image and text far predates their separation into two sophisticated forms of expression. I had been playing with the physicality of moving texts around on the scanner bed, treating the source books like they were different brushes loaded with paint and the scanner bed like it was a canvas. The shapes that emerged from the language in the books began to read as image more and more depending on how I moved them. The formal elements of typography became enhanced to the point of almost unrecognizability. So you approach them as though they are image compositions but when you get close you realize they can be deciphered. I’m obsessed with this moment when the text becomes decipherable, when you realize this image is actually a symbol that means something other than it’s formal characteristics. John Cayley refers to this moment as the ‘catastrophic moment’ – I don’t know if it’s actually a catastrophe, but it certainly does warrant a sort of explosion of understanding within the brain.
What do you like to read and which are your favorites writers?
My process for taking in information is somewhere in between reading and looking. So here’s a short list, some of which include visual artists, curators, poets and critics as well as some who manage to be all three: Hansjörg Mayer, Eugen Gomringer, Rosmarie Waldrop, Emmett Williams, Guy De Cointet, Chris Kraus, Karl Holmqvist, Kenneth Goldsmith, Brad Troemel, Caroline Bergvall, Natalie Czech, Erica Baum, Monica De La Torre, Hans Ulrich Obrist, Anni Albers and Dieter Roth.
What literary movements are in NY and how do you involve in them, if there are?
As I’ve mentioned, I’m very interested in conceptual writing, though it isn’t only being made in NY. Conceptual writers are living/working in LA too, and in between, as well as internationally, Berlin, London, Edinburgh, Santiago, I’d be interested to know where else. As far as New York goes, I don’t know if it’s a literary movement (yet) but I am closely connected with the people who began Wendy’s Subway, a community space for writers in Brooklyn, NY. They are an incredibly ambitious and organized group of creative people, and in the first year of their existence they’ve proven to be filling a gap in the literary scene in NY that most people probably didn’t realize existed. I can’t wait to see where they take their momentum. More on them here: www.wendyssubway.com
Do you prepare something to drink or eat while you’re reading?
I find it difficult to read and eat simultaneously. If I’m consuming anything while reading, in the most ideal situation, it’s sunlight. I worship the sun!
Thanks for your time to answer this.
Imágenes de: francescacapone.com
These are amazing. Francesca Capone’s weavings inspired by Agnes Martin. See more over on SFMOMA’s blog, Open Space→
Local Tide
I am staying at a sublet and there is no wi-fi. There is no television. I sit in the living room, with the other temporary housemate, who I’ve only known a few weeks. Sometimes a record plays on low. We talk, with phones down, sitting across from each other. At first, we talked about how much we wanted wifi. Now, that doesn’t come up. He picks up the guitar sometimes and I watch his fingers on…
View On WordPress
