[stampa: Heavy Industry Publications], 1971, 17,8x14 cm., brossura, pp. (72), copertina ti-pografica. Libro d’artista con 58 immagini fo-tografiche in bianco e nero di vinili provenienti dalla raccolta personale dell’artista. Fotografie di Jerry Mc Millan. Tiratura di 2.000 esemplari non numerati. [Bibliografia: Engberg - Phillpot 2001; pp. 74-75 volume I; B15 volume II]. € 900
“(...) Has images of a record album cover on the left and the record it housed on the right.
The effect is of paired squares and circles.
It seems almost to be a blending of the two little book by Bruno Munarithet appeared in English...He has said thet after Crackers, Records is one of his least favorite books.
He was also printing it at the same time as another book, and book, and felt like he was overdoing it...” (Siri Engberg - Clive Phillpot)
48. SCHMIT Tomas (Thier 1943 - Berlino 2006), Aus der Welt der Welt - Band 1. Das gute Duen-ken [Dal mondo del mondo - Parte 1 - Il buon pensiero], Berlin, edizione a cura dell’autore, [stampa:
stampa in ciclostile], 1970 [17 luglio], 15x14 cm., brossura fresata, pp. 272 n.n., compresa la co-pertina, copertina con titoli in nero su fondo chiaro. Libro d’artista costituito da 149 disegni n.t. di cui 16 a piena pagina; una una serie di frammenti incollati alle pagine (8 frammenti di carta, 1 di velina rossa, 2 fili di refe neri incollati al recto e al verso di una pagina), 14 pagine con una croce stampa-ta in rosso, 2 piccoli segnalibri di carstampa-ta. Il testo si presenstampa-ta come un compendio di giochi di parole e poesie concrete. Tiratura dichiarata di circa 410 esemplari di cui 15, non dichiarati, per i collezio-nisti, con allegati disegni originali. Esemplare nella tiratura ordinaria. Edizione originale. € 1.200
“Cara gente dal 17 luglio 1970 finalmente c’è un buon pensiero, ce l’ho fatta da solo, come al solito. Per-ché evito il più possibile sia la burocrazia che le tecniche industriali. PerPer-ché preferisco lavorare qualche mese e poi guadagnare un sacco di soldi piuttosto che spiegare a qualche editore la guerra nervosa con il successo di veder vendere alla metà un libro così buono, costato appena un quarto del prezzo”.
49. THEK Paul (Brooklyn, New York 1933 - New York City 1988), A document made by Paul Thek and Edwin Klein, Amsterdam, Stedelijk Museum, [stampa: Offsetdrukkerij C. Chevalier N. V.], 1969, 30,7x41,1 cm, brossura, pp. [128], volume interamente illustrato con immagini fotografiche in bianco e nero stampate a piena pagina di oggetti casuali adagiati su due pagine dell’Interna-tional Herald Tribune: cordoncini, punti e graffette metalliche, elastici, bottiglie di vino, cartoline, pagine di riviste pornografiche e libri d’anatomia, mozziconi di sigaretta e fotografie di Wim Davits, Edwin Klein, Tom Lenders, Max Natkiet e Jean-Paul Vroo. Libro d’artista edito in occasione della mostra tenutasi allo Stedelijk Museum di Amsterdam nel maggio del 1969. € 450
50. ULRICHS Timm (Berlino 1940), Fernsehen in nahsicht. Statistik des Fernsehbildes (1968), Göttingen, Verlag Udo Breger, [stampa: Gerhard Münch Offset und Buchdruck - Göttingen], 1970 [ottobre/dicembre], 16,4x21 cm., brossura fresata, pp. 106 n.n., copertina illustrata con una imma-gine fotografica in bianco e nero. Libro d’artista interamente illustrato con sequenze di linee e pun-tini. Con un testo di presentazione dell’artista. Tiratura di 1000 esemplari. Prima edizione. € 150
51. WARHOL Andy [Andrew Warhola] (Pittsburgh 1928 - New York 1987), Andy Warhol’s Index (Book). With the assistence of Stephen Shore, Paul Morrissey, Ondine, Nico (…). Several photo-graphs by Nat Finkelstein. Factory Fotos by Billy Name, New York - Toronto, Random House, “A Black Star Book”, 1967 [dicembre], 27,3x21,5 cm., legatura editoriale in cartoncino, pp. 72 n.n., copertina illustrata in nero e argento. Libro d’artista pop-up, interamente illustrato con fotografie b.n. contenente vari oggetti: 1) castello e cavalieri; 2) fisarmonica; 3) aeroplano; 4) molla e disco di cartone; 5) prisma “magico” con spago; 6) “fotodisco” di Lou Reed; 7) foto ripiegata con inserti di carta a colori: 8) Lattina di succo di pomodoro in cartone; 9) foglietto in carta leggera con la firma di Warhol a stampa; 10) un palloncino macerato. Attaccatura di due pagine dovuta alla macerazione del palloncino, difetto “originale” che si riscontra in tutte le copie del libro. Applicato in copertina il bollino giallo con il prezzo. [Bibliografia: Bury 2015: pp. 48-49; Crone 1972: pag. 331 n. 419]. € 1.500
52. WEINER Lawrence (New York, Bronx 1942 - 2021), Statements. Lawrence Weiner, New York, The Louis Kellner Foundation/Seth Siegelaub, [stampa: Offset], 1968, 17,7x10 cm., bros-sura, pp. (64), libro d’artista con copertina tipografica, contenente 24 dichiarazioni di Lawrence Weiner stampate al solo recto (12 “General Statements” e 12 “Specific Statements”). Primo libro d’artista di Lawrence Weiner. Tiratura di 1000 copie. [Bibliografia: Bury 2015: pag. 53; Moeglin Delcroix 2011: pag. 191 e 436; Joosten - Roettig 2018: pp. 142-143; Jurgerek - Koller - Federer - Stadler 2018: pag. 146; Lailach 2005: pag. 167; Mantura 1974: pag. 421; Schwarz 1989; n.1 pp.
10-11, pag. 126, pp. 136-139; Roth - Aaron - Lehmann 2017: pp. 291-292]. € 1.500
“Statements is divided into «General Statements» and «Specific Statements». The two sections reflect the transition from painting as a work process that is necessarily concentrated on a specific object to a linguistic representation of the use of materials in general. However this classification is not as distinct as would seem. Apart from a few precise measurements in the «specific state-ments», there is little that distinguishes them from the general ones, and since the dimensions are not delivered from specific givens but are purely arbitrary, they do not detract from the general applicability of the statements. (...) The statements are printed in blocks and the lines are broken at random, so that the division of the words is often unconventional. This lends the works an object-like appearance, not in the illustrative fashion of visual poetry, but rather in reference to the indipendent materiality of the written word...”. (Dieter Schwarz).
53. WEINER Lawrence (New York, Bronx 1942 - 2021), 10 works, [Paris], Yvon Lambert Editeur, [1971], 17x10,9 cm, brossura, pp. [88], copertina tipografica, libro d’artista contenente una serie di 40 dichiarazioni dell’artista stampate al recto in inglese e tradotte al verso in francese. Tiratura di 1.000 copie. [Bibliografia: Bury 2015: pag. 186; Jurgerek - Koller - Federer - Stadler 2018: pag. 146;
Lailach 2005: pag. 167; Roth - Aaron - Lehmann 2017: pag. 294; Schwarz 1989: n. 4; pag. 155]. € 180
“In 10 WORKS, Weiner uses only adverbial propositions, adverbs of place that do not stand in iso-lation but are associated with a conjuction to form an idiomatic expression. The meaning of “DOWN AND OUT” is not equivalent to the meaning of “down” and “out” taken separately. Weiner under-mines the figurative reading by presenting the words from front to back, then from back to front, thus insisting on their materiality (“DOWN AND OUT. / OUT AND DOWN.”), and then repeating the conjunction (“AND DOWN AND OUT. / AND OUT AND DOWN.”). This additive conjunction introdu-ces the idea of progression and formally balanintrodu-ces the composition. The words are organized accor-ding to principles of modernist art, such as parallelism and symmetry, but in language art, the formal arrangement it not autonomous; it signifies In consequence, these works deconstruct a strategy of modernism by reading its argumentliterally rather than formalistically. The figurative meaning of the expressions reverts to their literal meaning since the French version runs parallel to the English one.
A reading results that is contingent on the situation, which refers to the gallery space in which the book was presented and therefore compels the reader to perform a “mental ballet.”. (Dieter Schwarz).
54. WEINER Lawrence (New York, Bronx 1942 - 2021), A primer. Ein Elementarbuch, Kassel, documenta GmbH, 1972, 14,6x10,5 cm, brossura, [84], libro d’artista con copertina tipografica, contenente 40 dichiarazioni dell’artista stampate al recto in lingua inglese e tradotte in tedesco al verso. Tiratura di 2.000 copie. [Bibliografia: Jurgerek - Koller - Federer - Stadler 2018: pag. 146;
Lailach 2005: 167; Schwarz 1989: n. 8]. € 150
55. WEINER Lawrence (New York, Bronx 1942 - 2021), Having been done at, Torino, Editions Sperone, 1972, 17x11,2 cm, mezza tela editoriale con piatti in cartoncino, pp.[112], libro d’artista con copertina tipografica contenente una serie di 24 dichiarazioni di Lawrence Weiner. Testo origi-nale inglese stampato da pag. [1] a 56] e traduzione in italiano di Cesare Scaglia impressa nel verso contrario da pag. [112] a pag. [57]. Tiratura di 1.000 copie. [Bibliografia: Moeglin - Delcroix 2011: pp.
195 e 436; Lailach 2005. pag. 167; Mantura 1974: pag. 421; Schwarz 1989: n. 7, pag. 159]. € 450
“The works in HAVING BEEN DONE AT are presented as emblems, i.e. each work is placed as
“inscriptio” at the top of the page with an accentuating and generalizing, “subscription” at the bot-tom of the page. Thus, the top might read “HAVING ROLLED BEFORE INCARCERATION” and the bottom, “Having rolled well before.” The space in between where the “pictura” belongs is blank and initially implies and allegory about the construction of the work itself. Allegory, as used here, is not a literary genre but the generalized erection of a non-specific structure, in contrast to the imme-diate application of a metaphor. The title, HAVING BEEN DONE AT with its complement, “Having been done to,” emphasizes the distinction between an action external to its object (at) and one that attacks its object (to). Concepts like “incarceration,” “mutilation,” “relegation,” “binding,” are infor-med with an ambiguity that places the book in the political context of the activism and political vio-lence rampant in western Europe and the United States in the early seventies.” (Dieter Schwarz)
56. WEINER Lawrence (New York, Bronx 1942 - 2021), And / or: green as well as blue as well as reed, London, Jack Vender Editor, 1972, 17x12 cm., brossura cartonata editoriale, [100], copertina tipografica con titolo stampato in giallo su fondo rosso, libro d’artista contenente una sequenza di 10 dichiarazioni dell’artista. Tiratura di 1.000 copie. [Bibliografia: Bury 2015: pag. 188; Delcroix 2011: pag. 196 e 436; Lailach 2005: pag. 167; Schwarz 1989: n. 9, pp. 155-157]. € 200
“AND/OR: GREEN AS WELL AS BLUE AS WELL AS REED also deals with adverbial expression that are mechanically reversed (“MORE OR LESS / LESS OR MORE”) and, in a second stage, negated as well for instance, “IN LIEU OF / OF LIEU IN, “ “NOT IN LIEU OF / NOT OF LIEU IN”.
Since these structures interrelate the names of colors, they can be read as a commentary on the tendency, current in the early seventies, to treat painting “analytically” or “Fundamentally” without, however, basically revising the questions that had already been raised in the sixties by such artists ad Ryman, Palermo, Richter or Toroni. Against this background, Weiner’s work presents colors within a relational system in which positions can be occupied and then abandoned again because content is only allocated to them arbitrarily and temporarily. Similarly , the meaning of the newly constituted language phrases is a pproduct of their relation to their neighbors and not of their referentiality. Making a visual system like painting readable and presenting its features (including material, treatment, etc.). as signifiers is one reading of this book.”. (Dieter Schwarz)
57. WEINER Lawrence (New York, Bronx 1942 - 2021), Within forward motion. Innerhalb vorwärtsgerichteter Bewegung, Bremerhaven, Kabinett der aktuelle Kunst, 1973, 17x11,1, brossura, pp. [54] ([1-26] - [2] - [29-54]), libro d’artista con copertina tipografica contenen-te una serie di dichiarazioni di Lawrence Weiner. Testo originale inglese stampato da pag. [1] a [26] e tradu-zione in tedesco impressa nel verso contrario da pag.
[54] a pag. [29]. Tiratura di 500 copie. [Bibliografia:
Lailach 2005: pag. 167; Schwarz 1989: n. 10]. € 180
58. WEINER Lawrence (New York, Bronx 1942 - 2021), Towards a Reasonable End. Auf ein vernünftiges Ende zu., Bremerhaven, Kabinett für aktuelle Kunst, in cooperation with Berliner Künstlerprogramm des DAAD., 1975, 16,7x11, brossura, [70], libro d’artista con copertina fotogra-fica virata in rosa illustrato con 4 immagini fotografiche in bianco e nero scattate da Larry Williams e AZW (Alice Weiner). Testo originale inglese di L. Weiner stampato da pag. [1] a [34] e traduzione in tedesco di Jürgen Wesseler stampata nel verso opposto da pag. [70] a pag. [36]. Tiratura di 700 copie. [Bibliografia: Lailach 2005: pag. 167; Schwarz 1989: n. 14, pp. 163-166]. € 180
“The entwinement of temporal and narrative structure plays an important role in TOWARDS A REASONABLE END. Basically any sequence of elements, the pages of a book, the frames of a film, even montage, can be interpreted in narrative terms. Narrative functions as reference to the real context of a recipient, to the use of the book. The conjunction “AND THEN…,” which links the works in the book, is a terms used by film editors to introduce a new sequence. It is not imperative; it inquires about what comes next. The first of the book’s three movements, which contains the sequence, “AND THEN… WITH NO END IN VIEW,” presents a specific thought and also leads - “AND THEN…” - to the next one, namely to a photograph of two women apparently talking about a book that one of them is holding. The pictures places the content of the book in the context of a conversation; the statics of the photograph contradicts the subject matter of motion.
This dualistic opposition is broken up by the rhetorical question, “Within a forward motion does dialogue become dialectic?”, and the no less rhetorical question, “Within a forward motion does dialogue become dialectic”. The photographs assume meaning as metaphors of the structure of the book and not as elements of a plot. In the second movement the question reads, “Within a forward motion does dialectic become material?”, and the reply, “Within a forward motion does dialectic become material.” The dialectical structure becomes a material experience in the pro-cess of reading, not only as an idea but as a construction. This leads to the question in the third movement, “When in motion is material dialectical?”, and its answer, “Within motion.” Here a di-stinction is made between material in the act of motion as opposed to material that is embedded in the context of motion, to wit, the autonomous motion of the material in the book as opposed to motion within a wider context. The dialectics of Weiner’s work does not constitute a self-suf-ficient entity whose inherent motion is the object of investigation; rather, it changes within the variation that govern the context which it functions and to which it contributes.” (Dieter Schwarz)
59. WILLIAMS Emmett (Greenville, South Carolina 1925 - Berlino 2007), The Voy Age, Stuttgart - Lon-don - Reykjavík, Edition Hansjörg Mayer, [stampa: Stuttgart], 1975, 17x17 cm., brossura, pp. [252]. ibro d’artista costituito da una sequenza di lettere inquadrate in cornice nera che vanno progressivamente riducendosi di dimensione fino a scomparire: in quarta di copertina è disegnata su carta millimetrata la mappa del “viaggio”. Tiratura dichiarata di 1.000 copie. Esemplare firmato dall’artista al frontespizio.
Traccia di ossidazione al margine esterno della copertina. [Bibliografia: Anne Moeglin Delcroix, «Esthétiq-ue du livre d’artiste, Paris, Le mot et le reste / Bibliothèq«Esthétiq-ue Nationale de France, 2011: pag. 89]. € 350
“«The voy âge» (ainsi imprimé, 1975). Une «traversée» dont l’deée est venue à l’auteur lors d’un séjour au bord de la mer et qui se transforme en «un voyage à travers l’espace intérieur d’un poème». Le lecteur qui ouvre le livre et en tourne les pages voit del lettres groupées par trois qui forment, parfois phonétiquement, des mots et des phrases. Ces lettres prennent place dans un carré dont les côtés sont parallèles à ceux de la page et dont la taille décroît à mesure qu’on avan-ce dans le livre, tandis que simultanément il se vide de mots. Dans les dernières pages, le carré, devenu très petit, est blanc mais continue de diminuer jusqu’a disparition complète. À la fin du livre, un tableau mystérieux sur papier millimétré, ou sont distribuées des cases noires selon une formule qui échappe au lecteur, est légendé «Map of THE VOY AGE»...” (Anne Moeglin Delcroix).
60. ZAZA Michele (Molfetta, Bari 1948), Naufragio euforico - Euphoric wreck, Milano, Ed. Diagramma, 1974, 17x23,8 cm, brossura con alette ripiegate, pp. [56], copertina illustrata con un’immagine di sfon-do virata in grigio, 24 tavole in bianco e nero con ritratti fotografici di Michele Zaza e dei propri genitori.
Libro d’artista stampato in 250 copie, esemplare n. 52 firmato a penna rossa dall’artista. [Biblio-grafia: Dematteis - Maffei 1998: pag. 215, n. 2.919; Moeglin-Delcroix 2011: pag. 327, pag. 436]. € 450
“Dans deux livres de Michele Zaza, «Naufragio euphorico» (1974) et «Dissidenza ignota» (1973) où un vieil homme et une vieille femme, en vérité le père et la mère de l’artiste, jouent avec lui les personnages de scénarios mystérieux, des visions et apparitions dans un miroir entretien-nent la confusion entre les images d’un rêve et le pressentiment de la mort (...). Il arrive, en effet, que les «vies d’artistes» racontent aussi la mort des autres. Un nombre significatif de livres narratifs traitent, explicitement ou non, de la disparition d’un proche”. (Anne Moeglin-Delcroix)
BUCHHOLZ - MAGNANI 1993: BUCHHOLZ Daniel - MA-GNANI Gregorio, «International Index of Multiples from Duchamp to the Present», Tokyo - Köln, Spiral / Wacooal Art Center - Verlag der Buchhndlung Walther König, 1993 BURY 2015: BURY Stephen, «Artists’ books. The book as a work of art 1963 - 2000», London, Bernard Quaritch, 2015 BUTIN - GRONERT 2004: BUTIN Hubertus - GRONERT Stefan, Gerhard Richter. Editions 1965 - 2004. Catalogue Raisonné, Dallas, Museum of Art, 2004
CALLE 2008: CALLE Bob, Christian Boltanski artist’s books 1969 - 2007, Graulhet, Êditions 591, 2008
CELANT 2019: CELANT Germano, + spazi. Le Gallerie To-selli, Milano, Johan & Levi, 2019
COTENI - LOMBARDI - MICHELLI 2005: COTENI Paolo - LOMBARDI Ada - MICHELLI Carla, Giuseppe Chiari. Le scelte trasgressive, Napoli, Ulisse & Calipso Edizioni Me-diterranee, 2005
CRONE 1972: Rainer Crone, «Andy Warhol», Milano, Maz-zotta, 1972
DEMATTEIS - MAFFEI 1998: Liliana De Matteis - Giorgio Maffei, «Libri d’artista in Italia 1960 - 1998», Torino, Regio-ne Piemonte Assessorato alla Cultura, 1998
DOBKE - KELLEIN 2004: DOBKE Dirk - KELLEIN Thomas, Dieter Roth, Books & Multiples, Catalogue Raisonne, Ham-burg - London, Edition Hansjörg Mayer, 2004
ENGBERG - PHILLPOT 1999: ENGBERG Siri - PHILLPOT Cli-ve, Edward Ruscha: Editions 1959-1999 Catalogue Raison-ne, Minneapolis-New York, Walker Art Center, 1999, 2 volumi FLAY 1992: FLAY Jennifer, “Christian Boltanski. Catalogue.
Books, Printed Matter, Ephemera 1966 - 1991. Edited by Jennifer Flay with commentaries by Günter Metken”, Köln - Frankfurt am Main, Verlag der Buchhandlung Walther König - Portikus, 1992
JOOSTEN - ROETTIG 2018: JOOSTEN Andrea - ROETTIG Petra, Künstlerbücher / Artists’ books. Die Sammlung / The Collection, Hamburg, Hamburger Kunsthalle, 2018 JURJEVEC-KOLLER - FELDERER - STADLER 2018:
JURJEVEC-KOLLER Gabriele - FELDERER Brigitte – STA-DLER Eva Maria, Sweethearts. Die Bibliothek als Kunst-sammlung, Berlin - Boston, Walter de Gruyter GmbH, 2018 LAILACH 2005: LAILACH Michael, «Printed Matter. Die Sammlung Marzona in der Kunstbibliothek», Berlin, Kunst-bibliothek Staatliche Museen, 2005
LEWITT - KOENIG 1990: LEWITT Sol - KOENIG Walther,
«Sol Lewitt Books 1966 - 1990», Frankfurt A. M. - Koln, Portikus - Verlag der Buchhandlung Walther Koenig, 1990
LEWITT - LEGG 1978: Alicia Legg (a cura di), «Sol Lewitt», New York, The Museum of Modern Art, 1978
MAFFEI - DE DONNO 2009: MAFFEI Giorgio - DE DONNO Emanuele, «Sol Lewitt artist’s books», Foligno, Edizioni Viaindustrie, 2009
MANTURA 1974: MANTURA Bruno (a cura di), Contempo-ranea, Roma, Incontri Internazionali d’Arte, 1974 MOEGLIN DELCROIX 2011: MOEGLIN - DELCROIX Anne,
«Esthétique du livre d’artiste. Una introduction à l’art con-temporain», Paris, Le Mot et Le Reste / Bibliothèque Natio-nale de France, 2011
NANNUCCI 2016: AA.VV., Maurizio Nannucci. Editions and Multiples 1967/2016, Foligno, Viaindustrae Publishing, 2016
OPEN BOOK 2004: ROTH Andrew, The Open Book. A hi-story of the photographic book from 1878 to the present, Götheborg, Hasselblad Center, 2004
PARR - BADGER 2006: PARR Martin - BADGER Gerry, The Photobook. A History, London, Phaidon, 2006-2008, 3 volumi
PHILLPOT - LAUF 1994: PHILLPOT Clive - LAUF Corne-lia, Artist/Author Contemporary Artists’ Books, New York:
D.A.P. Distributed Art Publishers, 1994
POLKE 2017: POLKE Sigmar, Sigmar Polke. The editions aud der Sammlung / from the collection Kunstraum am Limes, Berlin, me Collectors Room, 2017
RENNERT - TITZ 2020: RENNERT Susanne - TITZ Susanne, Die Kassettenkataloge des Städtischen Museums Mönchengladbach 1967 - 1978. The box catalogues of the Städtisches Museum Mönchengladbach 1967 - 1978, Mönchengladbach - Köln, Museum Abteiberg - Verlag der Buchhandlung Walther und Franz König, 2020
ROTH - AARONS - LEHMANN 2017: ROTH Andrew - AARONS Philip E. - LEHMANN Claire, Artists who make books, London Phai-don, 2017
RUHÉ 2001: RUHÉ Harry, Stanley Brown a chronology, Amster-dam, Tuja Books, 2001
SCHWARZ 1989: SCHWARZ Dieter, Lawrence Weiner books 1968 - 1989. Catalogue Raisonné, Köln, Verlag der Buchhandlung Wal-ther König, 1989
SIEGELAUB 2016: COELEWIJ - MARTINETTI 2016: COELEWIJ Leontine - MARTINETTI Sara, Seth Siegelhub beyond conceptual art, Amsterdam, Stedelijk Museum, 2016
TONINI - MADERUELO 2014: TONINI Bruno - MADERUELO Xa-vier, «Sol LeWitt: libros. El concepto como arte», Santander, Archi-vo Lafuente / Ediciones la Bahia, 2014
BIBLIOGRAFIA
Finito di stampare il 25 Marzo 2022 tiratura di 100 copie numerate
copia n.
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