DENMARK - Thomas HVID KROMANN
Chercheur, Center for Manuscripts and Rare Books, The Royal Library Danemark, Copenhague.
WELCOME HAND /10
2016, Bom Dia Boa Tarde Boa Notte
Prix : 25 €
Published to celebrate the 100 years of The Constitutional Act of Denmark, which gave workers, servants and assistants the right to vote: The democracy welcomes hands. Glossy disorientation, close-up photographs of tools. The book isn’t bound, but placed in a transparent plastic bag – questioning what a book is; maybe leaving it up to the hands to decide?
ENTER AT YOUR OWN RISK INCOMPOOP UNSELECTED WORKS 1996-2016 /11
Prix : 26 €
Artists’ book or catalogue? It certainly looks like the latter, but Bonnesen’s tongue-in-cheek-attitude is striking. The 454 art works, whose titles often contains puns, are alphabetically arranged, including the epilogue and the list of errata. Even the press release is, although not physically, part of the book: a list with objections (and fewer praises) of the book. As a hybrid of two opposing uses of the book of/as art, artist’s book and catalogue, this specific book represents a stimulating uncertainty.
ASE EG JORGENSEN
KOMPENDIUM 26 2016 TEKST OG TEKSTIL TEXT AND TEXTILE /12
2016, Space Poetry
Prix : 7 €
Kompendium no. 26 is part of Åse Eg’s on-going material, visual and linguistic investigations in her Compendium-series. The pamphlets in the series are very modest, in some ways connected to the conceptual tendencies of the artist’s book of the 1960s and 1970s, as well as the zine-culture. And in diametric opposition to many fancy artists’ books published by galleries and museums today. The idea in Kompendium no. 26 is simple, but striking: the similarity between text and textile: the text as a visual ornament and textile as an (almost readable) kind of text.
NANNA DEBOIS BUHL
BOTANIZING ON THE ASPHALT /13
Prix : 47 €
Botanizing on the Asphalt is an artist’s book as artistic research. Buhl insists in this book (and in some of her other books) on a collaborative attitude, i.e. dialogue with specialists from other fields. The cyanotype used in this book is a kind of aesthetic Verfremdung of everyday objects, refreshing our eyes. It’s not about conclusions and art works – but of a more tentative attitude and presenting examples of artefacts.