Your browser does not support the video tag.
Your browser does not support the video tag.
Marco Cadioli - The Whirlpool
  • © ARSHAKE | ISSN 2283-3676
  • CONTACT
  • Login
Arshake
  • ABOUT US
    • ABOUT US
    • PROJECT
    • MEDIA/PARTNERSHIPS
    • CONTACT US
  • FOCUS
    • All
    • focus
    • From the Past
    • Interview
    Summer in a Solitary Book #12

    Summer in a Solitary Book #12

    Summer in a Solitary Book #11

    Summer in a Solitary Book #11

    Summer in a Solitary Book #10

    Summer in a Solitary Book #10

    Summer in a Solitary Book #9

    Summer in a Solitary Book #9

    Summer in a Solitary Book #8

    Summer in a Solitary Book #8

    Summer in a Solitary Book #7

    Summer in a Solitary Book #7

  • FRAME
    FRAME > MOBILE

    FRAME > MOBILE

    FRAME > SUIT

    FRAME > SUIT

    FRAME > Beach Day

    FRAME > Beach Day

    FRAME > Kellogs

    FRAME > Kellogs

    FRAME > Belonging

    FRAME > Belonging

    FRAME > Landscape Painting (Quarry day)

    FRAME > Landscape Painting (Quarry day)

    FRAME > Bee Colony Collaboration

    FRAME > Bee Colony Collaboration

    FRAME > Passport Photos

    FRAME > Passport Photos

    FRAME > Stain-Rainbow Forest 2.1

    FRAME > Stain-Rainbow Forest 2.1

  • VIDEO POST
    VIDEO POST > AIR

    VIDEO POST > AIR

    VIDEO POST > Sound Fossil III. Lines

    VIDEO POST > Sound Fossil III. Lines

    VIDEO POST > Wavescape for Walla

    VIDEO POST > Wavescape for Walla

    VIDEO POST > When the Sky Blooms with Sakur

    VIDEO POST > When the Sky Blooms with Sakur

    VIDEO POST > Oh my ( )

    VIDEO POST > Oh my ( )

    VIDEO POST > Unerasable Characters II

    VIDEO POST > Unerasable Characters II

    VIDEO POST > Second Self

    VIDEO POST > Second Self

    VIDEO POST > Sky Light

    VIDEO POST > Sky Light

    VIDEO POST > Fractal Cities

    VIDEO POST > Fractal Cities

  • SPECIAL PROJECT
    • CRITICAL GROUNDS
    • YOUNG ITALIAN ARTISTS
  • RESOURCES
    • ARCHIVIO
  • ARSHAKE’S BANNER
  • GAME OVER
  • EXTERNAL PROJECTS
  • GAME OVER • LOADING
  • BACKSTAGE | ONSTAGE
  • PERCORSI • 6 years of the Terna Prize
  • TEMPO IMPERFETTO
  • CALLS
  • ONLINE RESOUCES
  • it IT
  • en English
No Result
View All Result
  • ABOUT US
    • ABOUT US
    • PROJECT
    • MEDIA/PARTNERSHIPS
    • CONTACT US
  • FOCUS
    • All
    • focus
    • From the Past
    • Interview
    Summer in a Solitary Book #12

    Summer in a Solitary Book #12

    Summer in a Solitary Book #11

    Summer in a Solitary Book #11

    Summer in a Solitary Book #10

    Summer in a Solitary Book #10

    Summer in a Solitary Book #9

    Summer in a Solitary Book #9

    Summer in a Solitary Book #8

    Summer in a Solitary Book #8

    Summer in a Solitary Book #7

    Summer in a Solitary Book #7

  • FRAME
    FRAME > MOBILE

    FRAME > MOBILE

    FRAME > SUIT

    FRAME > SUIT

    FRAME > Beach Day

    FRAME > Beach Day

    FRAME > Kellogs

    FRAME > Kellogs

    FRAME > Belonging

    FRAME > Belonging

    FRAME > Landscape Painting (Quarry day)

    FRAME > Landscape Painting (Quarry day)

    FRAME > Bee Colony Collaboration

    FRAME > Bee Colony Collaboration

    FRAME > Passport Photos

    FRAME > Passport Photos

    FRAME > Stain-Rainbow Forest 2.1

    FRAME > Stain-Rainbow Forest 2.1

  • VIDEO POST
    VIDEO POST > AIR

    VIDEO POST > AIR

    VIDEO POST > Sound Fossil III. Lines

    VIDEO POST > Sound Fossil III. Lines

    VIDEO POST > Wavescape for Walla

    VIDEO POST > Wavescape for Walla

    VIDEO POST > When the Sky Blooms with Sakur

    VIDEO POST > When the Sky Blooms with Sakur

    VIDEO POST > Oh my ( )

    VIDEO POST > Oh my ( )

    VIDEO POST > Unerasable Characters II

    VIDEO POST > Unerasable Characters II

    VIDEO POST > Second Self

    VIDEO POST > Second Self

    VIDEO POST > Sky Light

    VIDEO POST > Sky Light

    VIDEO POST > Fractal Cities

    VIDEO POST > Fractal Cities

  • SPECIAL PROJECT
    • CRITICAL GROUNDS
    • YOUNG ITALIAN ARTISTS
  • RESOURCES
    • ARCHIVIO
  • ARSHAKE’S BANNER
  • GAME OVER
  • EXTERNAL PROJECTS
  • GAME OVER • LOADING
  • BACKSTAGE | ONSTAGE
  • PERCORSI • 6 years of the Terna Prize
  • TEMPO IMPERFETTO
  • CALLS
  • ONLINE RESOUCES
No Result
View All Result
Arshake
No Result
View All Result
Home News focus

Language as Discovery. New Forms of Artists’ Books in the 21st Century

Eugenia Battisti by Eugenia Battisti
05/05/2016
in focus

IMG_9296

Founded in 1985 as the result of a process of education and research into the most current art scene, the Museo Laboratorio di Arte Contemporanea (MLAC) from the outset has encouraged an experimental vision of a museum based on dialogue between academia and the art world, between creative process and scientific research.[1]

Today there remains an air of innovation in the museum, an environment geared to valorising and experiencing a new concept of curatorship and interdisciplinary art. Here, despite the changing historical perspective, students, artists and teachers have worked side by side to produce exhibitions of contemporary art, educational workshops, active readings and masterclasses.

March 2016 saw the inauguration of a fascinating exhibition curated by Giulia Tulino: Il linguaggio come scoperta. Nuove forme di libro d’artista nel XXI Secolo (Language as discovery. New forms of artists’ books in the 21st century). On this occasion, artists Lucia Crisci, Giuseppe Graziosi, Susanne Kressler, Alessandro Rosa and the Void group were invited to address a specific art form: the artist’s book.

Introducing the round table discussion, held after the vernissage and entitled Il libro d’artista dalle origini ai giorni d’oggi (The artist’s book, from its origins to the present day), Professor Claudio Zambianchi invited reflection on the difficulties inherent in the definition and historical contextualisation of this particular phenomenon.

IMG_9335 copia - Copia

He was followed by art collector Mauro Carrera, who referred by way of example to the definition of the Artist’s Book advanced in 1971 by the celebrated art critic Germano Celant, who observed shrewdly: “The artist’s book is essentially a synthesis of content and form; is the term ‘artist’s book’ correct today, or would it perhaps be better to call it a piece of art in the form of a book?”

The round table played a fundamental role in the exhibition, as during the discussion the reasons behind the spread and the success of the artist’s book emerged: for a very long time the form has represented an alternative medium to the classic mechanism of art distribution, and has been particularly favoured by artists seeking to present their work with a healthy dose of freedom and independence. During the debate, many questions arose concerning the interpretation and study of the potential and the possible variations of the form.

IMG_9333

The traditional format of the artist’s book, in which the graphic structure provides the frame for the artist’s work, has undergone various changes. As curator Giulia Tulino explains, in recent years the tendency has been towards cross-fertilisation between various techniques; and the work of the participating artists confirms this observation. We can cite Lucia Crisci’s work Rosato 2015, a tapestry created by assembling pages of magazines positioned purely according to colour; Susanne Kessler’s installation consisting of books painted with tar and hung from a large metal wheel, entitled Mobile Library 2015; and lastly the Void group’s sound performance, Noise is full of words 2012, based on voice reading software which converts the sounds produced by an electric guitar into words and text. These artists have drawn on many different mediums to create their works, evidence of the endless artistic ways of relating to a text or interpreting the idea of a book. We can thus observe how, in the world of contemporary art, the artist’s book has undergone further evolution: it has been dematerialised, deconstructed, made virtual or ultimately even integrated into a the work of art, becoming a part of it.


[1]The founder and creator of this museum, Professor Simonetta Lux, describes the cultural atmosphere that gravitates around the museum in her recent book. Simonetta Lux (ed.) Museo Laboratorio di Arte Contemporanea. MLAC Index 2000-2012, Gangemi Editore, Rome 2012.


images
(cover 1) Susanne Kessler, Mobile Library, 2015. (2) Void, Noise is full of Words, 2012 (3) Lucia Crisci, Rosato, 2015.
ShareTweetShareSend
Previous Post

Call for artists > RE-ENTERING THE ULTIMATE DISPLAY

Next Post

VIDEO POST > Memory Lane

Next Post

VIDEO POST > Memory Lane

CALLS

Call for submissions> MUSAE OPEN CALL FOR ARTISTS S+T+ARTS Residency
Calls

Call for submissions> MUSAE OPEN CALL FOR ARTISTS S+T+ARTS Residency

29/05/2023
Driving Energy Terna Award 2023
Calls

Driving Energy Terna Award 2023

22/02/2023
S+T+ARTS Prize 2023
Calls

S+T+ARTS Prize 2023

04/02/2023
RE:HUMANISM Art Prize: SPARKS AND FRICTIONS
Calls

RE:HUMANISM Art Prize: SPARKS AND FRICTIONS

01/02/2023

CRITICAL GROUNDS

Critical Gounds #13 – Massimo Maiorino, The Artist as Archaeologist.
Critical Grounds

Critical Gounds #13 – Massimo Maiorino, The Artist as Archaeologist.

08/07/2020
Critical Gounds #12 – Filiberto Menna «PROGETTARE» IL FUTURO
Critical Grounds

Critical Gounds #12 – Filiberto Menna «PROGETTARE» IL FUTURO

26/11/2019
Facebook Twitter Instagram

Arshake is a collaborative artistic project, blurring the borders between art, science and technology, information and production.

  • Focus
  • Video post
  • Frame
  • Special Project
  • Interview
  • Calls
  • Exhibitions

One more step - Check your email and click the confirmation link

© 2012-2023 – ARSHAKE

No Result
View All Result
  • ABOUT US
    • ABOUT US
    • PROJECT
    • MEDIA/PARTNERSHIPS
    • CONTACT US
  • FOCUS
  • FRAME
  • VIDEO POST
  • SPECIAL PROJECT
    • CRITICAL GROUNDS
    • YOUNG ITALIAN ARTISTS
  • RESOURCES
    • ARCHIVIO

© 2012-2023 – ARSHAKE

Welcome Back!

Login to your account below

Forgotten Password?

Retrieve your password

Please enter your username or email address to reset your password.

Log In
This website uses cookies. By continuing to use this website you are giving consent to cookies being used. Visit our Privacy and Cookie Policy.