Almanac/Artist's book consisting of 3 sets of 5 books each (serialized and signed in pencil):
From the true to the painted
*Printed on January 9, 2020 at Appograf, Barcelona. Cover made of 325g/m2 Triplex Wood cardboard. Interior with three types of paper: 60g/m2 white carbonless paper, 60g/m2 bible paper and carbon paper, in black, white and red. A sewn paperback binding has been used for the grouping of the whole upright. The 60g/m2 white carbonless paper is a paper widely used for personalized delivery notes, invoice slips, order forms, delivery slips, work orders, technical service reports and many pads for document transactions between companies. It is characterized by being coated with chemical products that allow an immediate self-limiting or transfer of the content to be recorded. The passage of time and temperature variables will probably end up affecting its chemicals and it will end up self-combusting and gradually, little by little, a black stain will spread. The images contained in the covers will be altered by the continuous contact with the carbon paper that protects them.
On the other hand, the 60g/m2 bible paper will maintain what is printed on it. The use of this paper is a conscious gesture.
This edition is somewhere between the status of an artist's book, a publication and a notebook. A set of sheets that, a priori, propose two apparently different parallel paths. One, conscious 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 analyzed. Thus, through an alternating vision between factual 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, are established and function - between the hands of whoever manipulates it - as a strange intertwined device, as a device of strange and variable interlacing that, in its producing, crossed and ambiguous, articulate a unified instant, like a Philippine knife, to later, immediately or in future consultations, unravel other possible routes.
Exterior (book covers)
They are different covers because of the title but also because of the footnotes that are written in each one of them, each note is different. In the space of the spine in each of the five books there are different quotes 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 from archives of royalty-free documentation have also been used. Images hybridize between the status of reliable documentation and "speculative" photo/montage.
Texts by collaborating artists
Vicente Vázquez. Notes on each of the five covers of the book. Pedro G Romero. "Járnvid". Text written ex profeso for the publication.
Esperanza Collado. Black screen: metaphysics in cinema. Text from her doctoral thesis "Paracinema La desmaterialización del cine en las prácticas artísticas".
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 "before the image", the photos are taken on my work desk. That the photocopied text forms a collage and this becomes an image, is a conscious gesture of the content of the text and by extension with the publication itself.
Another Text. "Gestural text; chromatic text": As mentioned at the beginning of the document, the use of self-heating paper will absorb the text and the printed images over time. Gradually they will end up forming in their interior a total black stain; what we understand as a new text but also a new image. At the same time, the tracing papers used are intended to turn their manipulation into a new possible writing; writing/gesture. A trace-writing-trace at the moment of its manipulation, so once the charcoal passes through 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 parts of the consulted book to his hands. This, added to the self-combustion of the self-heating paper, are the factors that make us think of the possibility that the book "speaks/writes"... of its own manipulation process and beyond the consultation itself. Finally, as an anecdote: the choice of the colors of the tracing paper (white, black, red) is intended as a nod (by the author) to the work of the supramatist Kazimierz Malewicz.
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