Desjardin Arnaud, Hrsg.
London (Großbritannien) / -): The Everyday Press, 2014
(Flyer, Prospekt) 12 unpag. S., 27,4x10,6 cm,
Blätter lose ineinander gelegt, im blauen Pappumschlag mit betitelnden Sticker auf Vorderseite und Blindprägung auf Rückseite, in bedrucktem Briefumschlag, Geschenk von Arnaud Desjardin, www.theeverydaypress.net
ZusatzInformation: In 1926 Max Ernst published a portfolio of prints entitled 'Histoire Naturelle’ (34 collotypes published by J. Bucher, with an introduction by Hans Arp) which were based on experiments using the technique of frottage (or rubbing) and depict a kind of mysterious, natural world of strange and fantastic landscapes, rocks, or creatures emerge from experimental procedures but give the precision of scientific illustrations.
Arnaud Desjardin purchased one of these very rare portfolios, drawn to it by the fact that it was damaged by a purple fungus which had been eating away at the paper. He saw a strange beauty given by the mould, adding to the original textures in true, surrealist style. He set about creating a 'new' work which is ‘Mouldy Modern’, featuring both the original Ernst plates and mould- in equal measure- to magical effect!
Stichwort: Moderne, Schimmel, Surrealismus
Desjardin Arnaud, Hrsg.
the book on books on artists books
London (Großbritannien) / -): The Everyday Press, 2011
(Buch) 230 S., 24x17 cm,
erschienen zur Ausstellung at the Bloomberg Space London, Text in Englisch, eingelegt eine Karte mit handschriftlichem Text. Geschenk von Arnaud Desjardin, www.theeverydaypress.net
ZusatzInformation: The Bloomberg website says of the project:
For Comma 38, artist and publisher Arnaud Desjardin will exhibit new, old, rare, and popular books while running an active printing press in Bloomberg Space. His COMMA commission, part of an ongoing project titled The Book on Books on Artists' Books, is intended to create an active and participatory review of current and historical practice. This exhibition is about both the display of books on artists' books and the production of a book about the books displayed. He intends to print a first edition, a book of books, a critical anthology and source book, alongside which a large range of books on artists' books will be displayed in a series of vitrines.
Artists' books have normally been sold and distributed through small networks of bookshops and galleries that often produce lists of available titles in printed form. The advent of the Internet has meant that information online has changed the nature of this documentary evidence. Desjardin's unique and extraordinary combination of display and production makes an exhibition that actively engages in both the making and disseminating in real time. The books themselves become both vehicles for information and documents that testify for artistic activity in its own right.