Investigating forms of presentation of the Artist’ Book.

The book on the table. /// The closed archives. /// The book in a box. /// The open archives. ///
The book on the shelves. /// The book underfoot. /// The book on the ground.
/// The book in an intimate space. /// The book as installation. /// The book in a working space. ///
The book as an object to walk around. /// The book as a concept for a space.

close

research results # 04.




Onderzoeksresultaten #4. Onderzoeksresultaten #4. Onderzoeksresultaten #4. Onderzoeksresultaten #4. Onderzoeksresultaten #4. Onderzoeksresultaten #4. Onderzoeksresultaten #4. Onderzoeksresultaten #4. Onderzoeksresultaten #4. Onderzoeksresultaten #4. Onderzoeksresultaten #4. Onderzoeksresultaten #4. Onderzoeksresultaten #4. Onderzoeksresultaten #4. Onderzoeksresultaten #4. Onderzoeksresultaten #4. Onderzoeksresultaten #4. Onderzoeksresultaten #4. Onderzoeksresultaten #4. Onderzoeksresultaten #4. Onderzoeksresultaten #4. Onderzoeksresultaten #4. Onderzoeksresultaten #4. Onderzoeksresultaten #4. Onderzoeksresultaten #4.

Report of fourth presentation [in]visible-project

Fourth presentation and at the same time the first in 2010 took place on Saturday 9th of January. Outside it was really cold, a severe wind was blowing and snowfall was expected. Fortunately a lot of people took effort to join the beginning of the new stage: all the rooms of Archief Synergie got visited well. This time there were at least 9 participants. Three ‘usual’ ones and the 7 involved with the Masterclass that was offered by Kunstenaars & Co (Artists & Co). The participants brought in a great variety of new works. Their enthusiasm spoke volumes. Hereby follows a report of a cheerful afternoon.

read more.hide content.

Visual artist Marinus van Dijke, living and working in Zeeland, has displayed a loose-leaf edition based on the theme of snow in a small sideroom. Before approaching the actual book the visitor has to pass three snowcurtains, all placed behind eachother. According as the visitor comes closer the book itself becomes more and more visible. The spectator literally disappears behind the snowcurtain. In these curtains some structures of snowcrystals have been cut out in order to strenghten the icy athmosphere. The book may be looked at and went over, the pages may be left at random as if considered a whirl of snow. From his childhood Marinus van Dijke is interested in the landscape of the dunes. His further life he kept on observing it, changing and reshaping it meanwhile. On small tables some objects have been displayed that can be found in the dunes, finally leading to a table with a book based on the theme. The water-containing case-bottle that accompanied the artist during his former journeys has become weather-beaten and covered over in the meantime and has been put to it. On the wall, exposed to daylight, hangs a calendar containing pictures of a tree in different seasons, titled ‘for a while’. Printed on newspaper that will change colour because of lightfall. Hanging above the heater the curling of the paper will be encouraged.

Participant Jan Dibbets will be known to a lot of people. Already in the seventies he made his reputation with so called shiftings in perspectives and photoassemblings. For this presentation he limited oneself in simply showing his correspondence with Archief Synergie. It all can be seen in 4 modest glass-cases fit in leaden frames. At first not meant to bring in from a museum-like point of view. In which the strenght of the restriction has been made visual: within the contexts of the investigation an enrichtment. The contents of the letters still remains unreadable and a further explanation fails. Finally leading to the presentation of 2 booklets that have been published earlier by the artist. Both coming from his archives. Just the cover can be looked at, the inside is not showing one’s hand. All according to this thoughts the website isn’t giving any information at all about the person and his work.

The Masterclass was kept in November and December in cooperation with Kunstenaars & Co, specialized in coaching of artists. After its call 25 applications came in. After a selection they invited 20 people to take part in the 5 days of the Masterclass. Successively these subjects got a chance: an overview of the sixties and seventies – being the startingperiod of the artists’ book -, artists’ books and how to preserve them nowadays, a discussion of works and vision by the participants and finally a visit at the CODA-museum in Apeldoorn. Curator of the museum Lotte Menkman gave further explanation about conditions of presenting and preserving. On the last day of the Masterclass 7 participants were invited to give their vision on the ‘in-visible’-project. In this stage of investigation the results will be showed.

Master’ for this occasion, visual artist and former teacher at the artschool AKI Uwe Poth shows some of the unique books he made during several years. Some of them are in the collection of the Stedelijk Museum in Amsterdam. He situated them in a classical way on the large green reading-desk. The drawers are partly open, in order to show the most vulnerable copies. In which it looks like if they are made especially for these drawers. The piece of furniture is used in optimal form in this way. Uwe tells about his coming to The Netherlands from Germany in the beginning of the eighties. His first meetings with people he put into a book: everyone having a contribution. In this way it is giving a good image of the time. Present in a prominent way is a book containing woodcuts wherein a story will be told just by pictures, texts are lacking. Another book is titled ‘two and a half hours writing’, containing literally a reproduction of this act.

Entering the rooms the visitor will be confronted with the work of fashiondesigner Allan Vos. On a table the plan is spread out. Starting point is a cartboard box with non-selected works: booklets, mostly containing skratches of the mind and collected items. However not to be looked at by anyone: 2 glass-plates cover it all. Allan does have the wish to share his world of thought with others. From this archives or let’s say: from this sketch-situation, a ‘motherbook’ will be abstracted that has links out of it: to a reconstruction f.i., or a commercial edition. After each stage of selecting the collection will be more compressed. Selecting and throwing away all superfluous facts, with pain in the heart, in order to come step-by-step from the whole to almost nothing. The results at the very end are unknown, the proces itself will give answer.

In the background the installation made by graphic designer Ingrid Scheinhardt can be observed: 49 forcing selfportraits in black and white, all equal in value, thereby showing the basic emotions and branches out of them. All portraits contain codes. In an accompanied sheet they can be read after. They haven’t been ordered arbitrarily. The 7 basic emotions start in the upper left corner with a neutral expression, thereby in a diagonal way showing the other stages. Beneath the photographs an edition of that specific expression has been piled up. The visitor can arrange his/her own collection. Because each way of selecting will be different every time a unique combination will be formed at random. Also the thickness of the book is variable. In front of the installation a solid desk has been placed in order to keep to date the administration. An assistant is taking care of the gathering of the sheets and is controlling if there won’t be any doubles in it. The change is in the grey steel moneybox.

Egge Altena is working as a visual artist and also as a librarian. Over the years she noticed that she wanted to have her paintings more touchable. To have them apart from the wall in fact. That’s why she is having the wish to try to make them more three-dimensional. In her investigations concerning presentation forms of books she has made a simple wooden construction that mostly looks like a triptych: books can be showed without any fuss. Egge wants to have it as easy as possible. Just 2 screws are necessary to assemble the construction. For this occasion she created an almost similar book inspired by American writer and father of the Beat Generation William Burroughs: identical in experience but every time a bit different. A more-or-less repeat. It therefore has the title: ‘Invocations’. Although ‘Surrender’ as a title would have been more appropriate afterwards, according to the artist.

In the back of the rooms of the archives Anouk van Reijen and Vera van Duuren, calling themselves Wilhelmina Ontwerp, are busy with arranging their collection. Recently they sent 80 parcels containing a basic design of a paper-dress to friends and aquaintances with the question to reshape this contemporary piece of clothes within a personal view. This afternoon the results will be shown. The dresses are worn and the makers can mix directly with the public. It will turn out to be a splendid act of changing clothes. Some made a phantasy-design, others applied the meaning of the word ‘book’ concrete. With texts and pictures about this subject they manifest themselves literally as an ‘open book’. As a tangible evidence of this happening the creations will be photographed and afterwards they will be published into a book. Originals will be destroyed, traces cleared. Visitors dressed in paper dresses, moving around the tables and installations in the rooms: a joyful and surprising part of the afternoon.

Vesta Kroese is moving on the verge of visual arts and architecture. She built up her installation in an almost hidden corner of the archives, in a small corridor. She likes to occupy herself with these kind of lost places. Questioning ‘Where to read a book?’ she created a collection of books that she piled up out of blanc dummies that corresponds with the sizes of the archives. With these unwritten books as a base and chipboard bookshelves she made a piece of furniture that can be klimbed at. Until the seiling or further. An installation where you can walk in endlessly. The bookcase can also be experienced as a useful object. It offers the opportunity to have a look at the surroundings from a different perspective. The theme of ‘reading the surroundings’ is a repeating element in her work. Earlier Vesta wrote an essay called ‘Dyslexisch landschap’ (Dyslexian landscape), about the experience of space from another point of view. Whenever you normally start from the lack of contexts in written charakters according to dyslexia, now she started from the lack of contexts in pictures. ‘Blindness in images’, to call it in that way.

Central element in the work of illustrator and designer Linda Willemszoon is the love between people. She gets the inspiration out of love-letters. With the simple question: ‘Do you collect letters?’ she knew to bring in a whole collection. For this presentation she made a series of love-letters visual on a roller-blind. A conversation between an unknown Dutch man and a Maroccan woman in the sixties. As the story is unrolling itself, more or less can be read how the relationship is developing in time. The letters have been written in several languages, sometimes the charakters seem to be carelessly written and more exuberant. Or does it just look like that? The desk brought in for the presentation belongs to her grandparents and contains their correspondence, a calligraphic cabinet. On top there is a glass-plate, covered with blue circles. They refer to the deepblue ball of glass that is standing on them. Just like they have been run out of it. On this ball in a fast tempo the SMS-messages that she received with her mobile phone lighten up. Daily announcements that dissappear directly normally spoken. In this enstranging way getting a deeper sense.