Publication by Vicente Vázquez (produced as part of the exhibition project "De lo cierto a lo pintado" by the Nordés Gallery). 2020
3 sets of 5 books each (serialized and signed in pencil by the artist):
De lo cierto a lo pintado
*Printed on January 9, 2020 in Appograf, Barcelona. Triplex cardboard cover. Wood 325g/m2. Interior with three types of paper: white carbonless paper 60g/m2, Bible paper 60g/m2 and carbon paper, in black, white and red. For the grouping of the whole upright has been used a sewn paperback. The 60g/m2 white carbonless paper is widely used for personalised delivery notes, invoice books, order books, delivery notes, work orders, technical service parts and many notebooks for documentary transactions between companies. It is characterized by being coated with chemical products that allow for immediate self-setting or transfer of the content to be recorded. The passage of time and temperature variables are likely to affect its chemicals and it will eventually self-combust and gradually spread a black stain. The images contained in the covers will be altered by continued contact with the carbon paper that protects them.
On the other hand, the 60g/m2 bible paper will maintain the print on it. The use of this paper is a gesture, totally conscious.
This edition has the status of an artist's book, the usual publication and the notebook. A set of sheets that, a priori, pose two apparently different parallel paths. One, aware of the process that constitutes it as such, that is, as a publication and, the other, in which the object of study chosen for the exhibition is analysed. Thus, through an alternate viewpoint between reliable data and artistic speculation, between the subjective and the self-referential of all the agents involved - be they machines or humans, in association with the different supports and materials used in the printing process - they are established and function - in the hands of those who manipulate them - as a strange and variable interlacing device that, in its production, crossed and ambiguous, articulates a unified moment, like a Filipino knife, to later, immediately or in future consultations, unravel other possible routes.
Exterior (book keepers)
They are covered differently by the title but also, because of the footnotes that are written on each of them, each note is different. In the spine space in each of the five books there are different quotations or definitions that try to expand the title used for each book.
The photographic images that appear in the books are different. They are documentation of the trips made between Rome and Madrid. Images hybridize between the status of reliable documentation and "speculative" photo/montage.
Texts by collaborating artists
Vicente Vazquez. Notes from each of the five covers of the book. Pedro G Romero. "Járnvid". Text written ex profeso for publication.
Esperanza Collado. Black screen: metaphysics in the cinema. Text belonging to his doctoral thesis "Paracinema The dematerialization of cinema in artistic practices".
Pablo Fidalgo (the blank pages of the publication are reserved for him, there he will write/transfer (in his own handwriting) his text in each of the books.
Other contributions: G. Didi Huberman. Photographic captures of two sections of his book "in front of the image", the photos are made on my work desk. That the text photocopied as a collage and this becomes an image, is a conscious gesture of the text content and by extension with the publication itself.
Other Text . "Gesture text; colored text": As mentioned at the beginning of the document, the use of tracing paper will, over time, absorb the text and the printed images. Gradually they will end up forming a total black stain inside; what we understand as a new text but also a new image. At the same time, the tracing papers used are intended to convert their manipulation into a new possible writing; writing/manipulation. A trace-writing-trace in the moment of its manipulation, so once the charcoal passes to the fingers of the person who makes a consultation, his gestures, will end up leaving a trace, consequently the person who manipulates it, will end up taking to his hands parts of the consulted book. This, added to the self-combustion of the self-heating paper, are the factors that make us think about the possibility that the book "speaks/writes"...of its own manipulation process and beyond the consultation itself. Finally, as an anecdote we can say that: the decision of the colours of the tracing paper (white, black, red) want to be a wink (on the part of the author) to the work of the supramatist Kazimierz Malewicz.
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