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Artist's Book Yearbook 2003-2005 - Book Arts - University of the ...

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Editions F. Despalles was started 20 years ago by<br />

Françoise Despalles and Johannes Strugalla in<br />

Paris (France) and Mainz (Germany) as a<br />

printing, publishing and distribution house for<br />

graphics, paperworks and artists’ books. At <strong>the</strong><br />

same time, Editions F. Despalles serves as a<br />

bridge between France and Germany,<br />

publishing authors and artists who might be<br />

quite known at home but would easily remain<br />

unknown in <strong>the</strong> o<strong>the</strong>r country. Bilingual<br />

editions are a speciality <strong>of</strong> Editions F. Despalles’<br />

programme. In addition, Johannes Strugalla is<br />

an artist, typographer, and author himself.<br />

Ziemlich gedichtkopfkissen is a text by <strong>the</strong> Austrian<br />

author Friederike Mayröcker, published here<br />

for <strong>the</strong> first time, including <strong>the</strong> first translation<br />

into French (presque oreiller poème). The unusual<br />

images Friederike Mayröcker creates in her<br />

texts are accompanied by monochrome<br />

etchings by Monique Frydman that point<br />

towards what lies beyond words. The<br />

typography by Johannes Strugalla transforms<br />

<strong>the</strong> texts into visual structures – readable<br />

images that do not illustrate <strong>the</strong> text, but add<br />

ano<strong>the</strong>r dimension.<br />

Zinnober/Cinabre is a book with images and texts<br />

by Johannes Strugalla. In a meditative mood,<br />

Johannes Strugalla reduces his visual<br />

vocabulary to black vertical lines, drawn with<br />

a bamboo pen, creating a certain rhythm and<br />

tension. These lines meet with pages <strong>of</strong> pure<br />

rich vermillion and yellow. The texts were<br />

written parallel to <strong>the</strong> visual work in French<br />

and German. Here <strong>the</strong> artist/author plays with<br />

linking different levels <strong>of</strong> reality.<br />

The next artist <strong>of</strong> 13 + is Barbara Fahrner.<br />

She has been working with artists’ books for 23<br />

years. She is an artist, an author, a philosopher,<br />

a scholar. To her, writing is drawing, drawing is<br />

writing. In her work, text and image cannot be<br />

separated. For Leuchte Barbara Fahrner took a<br />

text by Georg Büchner, Lenz and re-wrote it,<br />

using a method called “oulipo” (a term that<br />

refers to “Ouvroir de la littérature potentielle”:<br />

workshop for potential literature). In doing<br />

this, every word is substituted by ano<strong>the</strong>r,<br />

following certain rules, and <strong>the</strong> new text<br />

generated creates ano<strong>the</strong>r sense that sort <strong>of</strong> lies<br />

behind <strong>the</strong> original text. (The book includes a<br />

dictionary to re-translate to <strong>the</strong> original text.)<br />

56<br />

Leuchte Barbara Fahrner<br />

The project which Barbara Fahrner has realised<br />

during <strong>the</strong> last 5 years with <strong>the</strong> help <strong>of</strong> her son,<br />

Markus Fahrner, and his wife, Fitnad Aboudye -<br />

Fahrner, is as large as manifold. The title Zweite<br />

Enzyklopädie von Tlön (Second Encyclopaedia <strong>of</strong><br />

Tlön) refers to a novel by Jorge Luis Borges,<br />

where he says: “In a hundred years time some<br />

one will find <strong>the</strong> hundred volumes <strong>of</strong> <strong>the</strong><br />

Second Encyclopaedia <strong>of</strong> Tlön”.<br />

Zweite Enzyklopädie von Tlön Barbara Fahrner<br />

Barbara Fahrner’s Encyclopaedia shows <strong>the</strong><br />

whole range <strong>of</strong> her thoughts, material, and<br />

artistic techniques she uses: little sheets <strong>of</strong><br />

paper with notes and sketches, long texts<br />

written by herself, quotations from different<br />

authors throughout <strong>the</strong> ages, exquisite<br />

drawings and prints on precious papers, hand<br />

writing and type setting, all sorts <strong>of</strong> collage,<br />

kept in envelopes and document files. This<br />

encyclopedia does not pretend to include <strong>the</strong><br />

whole world, although it shows <strong>the</strong> world’s<br />

complexity in every part. It is not a bibliophile<br />

beautiful book. Instead, it is a presentation <strong>of</strong> a<br />

concept <strong>of</strong> world perception, that asks and<br />

demands from <strong>the</strong> reader a new understanding<br />

<strong>of</strong> <strong>the</strong> traditional, re-reading what seemed to be<br />

well known, experimenting with <strong>the</strong> order <strong>of</strong><br />

image and text.

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