arts

Article It’s All in the Reading

Déirdre Kelly Independent Artist, 30121 Venezia, Italy; [email protected]



Received: 2 December 2019; Accepted: 27 January 2020; Published: 10 February 2020


Abstract: It seems inherent in the nature of contemporary artist’s book production to continue to question the context for the genre in contemporary art practice, notwithstanding the medium’s potential for dissemination via mass production and an unquestionable advantage of portability for distribution. Artists, curators and editors operating in this sector look to create contexts for books in a variety of imaginative ways, through exhibition, commission, installations, performance and, of course as documentation. Broadening the discussion of the idea of the book within contemporary art practice, this paper examines the presence and role of book works within the context of the art biennale, in particular the Venice Art Biennale of which the 58th iteration (2019) is entitled ‘May You Live In Interesting Times’ and curated by Ralph Rugoff, with an overview of the independent International cultural offerings and the function of the ‘Book Pavilion’. Venetian museums and institutions continue to present vibrant diverse works within the arena of large-scale exhibitions, recognising the position that the book occupies in the history of the city. This year, the appearance for the first time, of ‘Book Biennale’, opens up a new and interesting dialogue, taking the measure of how the book is being promoted and its particular function for visual communication within the arts in Venice and beyond.

Keywords: artists’ books; artists’ publications; book works; publishing; Venice Art Biennale; Venice; Book Biennale; The Library; book

1. Introduction ... there is one thing that reading will never be and that is something new. Simon Ford, The Art of Reading1

From the prehistoric advent of image making, the development of handwriting into codices, volumes and manuscripts, and the revelation of the printed book, to e-books of the present, reading has provided a route in the development of visual language and communication. Yet, where the artist’s book fits into this historiography has always been a matter of much debate.

The danger has always been to think about artists’ books as a medium in and of itself that should be understood in isolation from other modes of expression. Christophe Cherix(2013, p. 4)

In today’s world of competing technologies, the flexibility of the book as a format to absorb change and its ability to re position are what make it such a dynamic medium in which, to reflect on, respond to and simply become practice and artefact. Whether engaging with viewers in gallery, library, bookshop or indeed any other location, the book is a primary medium for the artists’ imagination in exploring the limitless range of function and form.

1 See: http://www.artandarchitecture.org.uk/stories/ford_reading.html.

Arts 2020, 9, 19; doi:10.3390/arts9010019 www.mdpi.com/journal/arts ArtsArts 20202020,, 99,, 19 19 2 2of of 18 18

Nowhere is artistic intention more concretely wed to the circumstances of its production andNowhere reception is artistic than intentionin the field more of concretelypublishing wed. Whether to the circumstances a limited edition of its artist’s production book, and a tradereception publication than in printed the field in of a publishing. run of 10,000, Whether a compact a limited disk, edition or a website artist’s book,that reaches a trade millions,publication the printednumber in of a projects run of 10,000, published a compact by artists disk, is orat aan website all-time that high. reaches Never millions, before havethe number so many of artists projects taken published an interest by artists in manipulating is at an all-time their high. representations Never before in have print. so many artists taken an interest in manipulating their representations in print. Cornelia Lauf (1998, p. 67) Cornelia Lauf(1998, p. 67) This paper looks to broaden the discussion of the idea of the book within contemporary art through lookingThis paper at the looks presence to broaden and role the discussionof book works of the wi ideathin the of the context book of within the art contemporary biennale. By artexamining through thelooking assimilation at the presence and presence and role of bookthe book works at within the current the context Venice of theInternational art biennale. Art By examiningBiennale and the collateralassimilation events and in presence the wider of thelocality book of at Venice the current itself, Venice the city International in which I work Art Biennale and live and as an collateral artist, writerevents and in the curator, wider localitywe can of come Venice to itself,understand the city the in which ways Iin work which and producers live as an artist,and publishers writer and operatingcurator, we in canthis comeexpanding to understand and influential the ways sector in whichcreate producerscontext and and dissemination publishers operatingfor the book, in this in andexpanding through and exhibition, influential installation sector create, performance context and and documentation. dissemination for the book, in and through exhibition,For many, installation, the International performance Art andBiennale, documentation. Venice, now in its 58th edition represents a primary arenaFor for many,artists theand International curators on a Art global Biennale, scale. Venice,The exhibition, now in its which 58th editiontakes place represents over a aperiod primary of sevenarena formonths, artists is and without curators doubt on a globalone of scale.the broa Thedest exhibition, exposés which of contemporary takes place over practice a period with of attendanceseven months, at the is withoutprevious doubt Biennale one ofin the2017 broadest register exposed as éovers of contemporary615,000 visitors practice and the with 2019 attendance event set toat surpass the previous this. BiennaleEntitled in‘May 2017 You registered Live In as Intere oversting 615,000 Times’, visitors it takes and the terms 2019 of event reference set to surpassfrom a counterfeitthis. Entitled curse, ‘May at Youa moment Live In when Interesting the digital Times’, diss itemination takes terms of of fake reference news and from ‘alternative a counterfeit facts’ curse, is corrodingat a moment political when discourse the digital and dissemination the trust on of which fake newsit depends: and ‘alternative ‘It will not facts’ have is a corrodingtheme per political se, but willdiscourse highlight and a the general trust on approach which it to depends: making ‘Itart will and not a view have of a themeart’s social per se, function but will as highlight embracing a general both pleasureapproach and to makingcritical thinking. art and aThe view Exhibition of art’s socialwill focus function on the as work embracing of artists both who pleasure challenge and existing critical habitsthinking. of thought The Exhibition and open will up focus our onreadings the work of ofob artistsjects and who images, challenge gestures existing and habits situations’ of thought (Rugoff and 2019).open upThe our use readings of the term of objects ‘reading’ and images,is here being gestures applied and situations’ in broad terms, (Rugo ffas2019 noted). The by useClive of Ph theillpot term (2003):‘reading’ is here being applied in broad terms, as noted by Clive Phillpot(2003): TheThe act act of of reading reading has has been been stretched stretched from from reading reading a literary a literary work, work, to reading to reading a map, a map, to readingto reading a painting, a painting, to reading to reading a city, a city, but but in inessence essence it applies it applies to tothe the decoding decoding of ofwriting. writing. SinceSince 1982, 1982, Clive Clive Phillpot Phillpot (curator, (curator, author, author, and andlibrarian, librarian, Chelsea Chelsea School School of Art, ofUK Art, and UKMoMA, and NewMoMA, York) New has York)tried to has define tried a to location define for a location artists’ books for artists’ within books the greater within art/book the greater milieu. art/ bookThis diagrammaticmilieu. This diagrammatic overview, visualised overview, as a visualised ‘fruit’ version as a ‘fruit’in 1980s version and further in 1980s distilled and further in 2003, distilled is still ina useful2003, ispoint still aof useful reference point having of reference provided having the fluid provided term the‘verbi-visual’ fluid term ‘verbi-visual’(Figure 1). (Figure1).

(a) (b)

FigureFigure 1. (a) CliveClive Phillpot.Phillpot. 19821982 diagram, diagram, Twentysix Twentysix Gasoline Gasoline Stations Stations that that shook shook the the world: world: The The Rise Riseand Falland of Fall Cheap of BookletsCheap Booklets as Art; (b )as Clive Art; Phillpot. (b) Clive 2003 Phillpot. diagram, 2003 Outside diagram, of a Dog, Outside Gateshead: of a BalticDog, Gateshead:Centre for ContemporaryBaltic Centre for Art. Contemporary Art.

RalphRalph Rugoff, Rugoff, curator curator writes writes that that ‘May ‘May You You Live Live In In Interesting Interesting Times’ Times’ is is to to be be formulated formulated in in the the beliefbelief that that human human happiness happiness depends depends on on substantive substantive conversations, conversations, because because as as social social animals animals we we are are drivendriven to bothboth create create and and find find meaning, meaning, and and to connect to connect with others.with others. From theFrom objectives the objectives of the biennale: of the

Arts 2020, 9, 19 3 of 18

Arts 2020, 9, 19 3 of 18 Arts 2020, 9, 19 3 of 18 ... to underscore the idea that the meaning of artworks are not embedded principally in objects but in biennale: … to underscore the idea that the meaning of artworks are not embedded principally in conversations—firstbiennale: … to underscore between the artist idea and that artwork, the meaning and thenof artworks between are artwork not embedded and audience, principally and laterin objects but in conversations—first between artist and artwork, and then between artwork and betweenobjects dibutfferent in conversations—first publics (Rugoff 2019 between). So, how arti arest theseand artwork, conversations and then initiated between within artwork the arena and and audience, and later between different publics (Rugoff 2019). So, how are these conversations whataudience, role does and the later artist’s between book playdifferent in this publics connectivity? (Rugoff 2019). So, how are these conversations initiated within the arena and what role does the artist’s book play in this connectivity? initiatedBelow within are a selectionthe arena ofand ‘conversations’ what role does onthe o artist’sffer in book the curated play in centralthis connectivity? pavilion of the Giardini: Below are a selection of ‘conversations’ on offer in the curated central pavilion of the Giardini: presentedBelow in are isolation a selection in a glassof ‘conversations’ case, ‘The Encyclopedia on offer in the of curated Invisibility’ central by pavilion Tavares of Strachan the Giardini: makes presented in isolation in a glass case, ‘The Encyclopedia of Invisibility’ by Tavares Strachan makes referencepresented to in the isolation Encyclopaedia in a glass Britannicacase, ‘The Encycl (1768).opedia The notion of Invisibility’ of encyclopaedia, by Tavares shelvedStrachan volumes,makes reference to the Encyclopaedia Britannica (1768). The notion of encyclopaedia, shelved volumes, oncereference represented to the anEncyclopaedia investment inBritannica enlightenment (1768). and The education notion of butencyclopaedia, is now somewhat shelved redundant volumes, in once represented an investment in enlightenment and education but is now somewhat redundant in once represented an investment in enlightenment and education but is now somewhat redundant in thethe age age of theof the Internet Internet and and Wikipedia. Wikipedia. Growing Growing up in up the in Bahamas, the Bahamas, formerly formerly a British a British colony, colony, Strachan the age of the Internet and Wikipedia. Growing up in the Bahamas, formerly a British colony, cameStrachan to understand came to understand the historical the naturehistorical of encyclopaedianature of encyclopaedia as a tool of as imperial a tool of conquest imperial andconquest power Strachan came to understand the historical nature of encyclopaedia as a tool of imperial conquest overand knowledge—a power over knowledge—a signal of cultural signal domination. of cultural Strachan’sdomination. large Strachan’s single volumelarge single of 15,000 volume entries of and power over knowledge—a signal of cultural domination. Strachan’s large single volume of describes15,000 entries people, describes places, people, objects, places, concepts, objects, artworks, concepts, and artworks, scientific and phenomena scientific phenomena not to be found not to in 15,000 entries describes people, places, objects, concepts, artworks, and scientific phenomena not to thebe Encyclopaedia found in the Encyclopaedia Britannica, a personal Britannica, re-writing a personal of history,re-writing selected of history, printed selected pages printed from which pages are be found in the Encyclopaedia Britannica, a personal re-writing of history, selected printed pages includedfrom which in the are large included scale in collage the large works scale surrounding collage works the surrounding display case the (Figure display2). case (Figure 2). from which are included in the large scale collage works surrounding the display case (Figure 2).

Figure 2. Tavares Strachan. The Encyclopedia of Invisibility, 2018 (white). Leather, gold leaf, archival FigureFigure 2. 2.Tavares Tavares Strachan. Strachan. TheThe EncyclopediaEncyclopedia of Invisibili Invisibility,ty, 2018 2018 (white). (white). Leather, Leather, gold gold leaf, leaf, archival archival paper white maple and felt. paperpaper white white maple maple and and felt. felt. JesseJesse Darling’s, Darling’s, Epistemologies Epistemologies areare presentedpresented in purpose made made vitrines. vitrines. The The ‘Shamed ‘Shamed Cabinet’ Cabinet’ Jesse Darling’s, Epistemologies are presented in purpose made vitrines. The ‘Shamed Cabinet’ withwith spindly spindly legs, legs, which which seem seem to to buckle buckle underneathunderneath its weight, contains contains a astack stack of of archival archival binders binders with spindly legs, which seem to buckle underneath its weight, contains a stack of archival binders withwith contents contents resembling resembling compactly compactly filed filed documents, docume butnts, whichbut which are in are fact in cast fact concrete. cast concrete. The ‘Limping The with contents resembling compactly filed documents, but which are in fact cast concrete. The ‘Limping Cabinet’ similarly contains opened out ring files with blocks of concrete inserted. These Cabinet’‘Limping similarly Cabinet’ contains similarly opened contains out opened ring files out with ring blocksfiles with of concreteblocks of inserted. concrete Theseinserted. cabinets These of cabinets of curiosity both form part of a larger installation, ‘The Ballard of St Jerome’, presented at curiositycabinets both of curiosity form part both of form a larger part installation, of a larger in ‘Thestallation, Ballard ‘The of StBallard Jerome’, of St presented Jerome’, atpresented Tate Britain at Tate Britain in 2018. Set in the library, the tale of St Jerome’s kindness and compassion towards a inTate 2018. Britain Set in in the 2018. library, Set in the the tale library, of St Jerome’sthe tale of kindness St Jerome’s and kindness compassion and towardscompassion a ferocious towards lion, a ferocious lion, who then becomes his faithful companion, inspires Darling in this work to explore whoferocious then becomes lion, who his then faithful becomes companion, his faithful inspires compan Darlingion, inspires in this work Darling to explore in this howwork meaning to explore and how meaning and value are assigned through the dynamics of power and also includes other valuehow aremeaning assigned and through value are the assigned dynamics through of power the anddynamics also includes of power other and playful also includes sculptures other and playful sculptures and drawings (Figure 3). drawingsplayful sculptures (Figure3). and drawings (Figure 3).

(a) (b) (a) (b) Figure 3. Jesse Darling. 2018. Epistemologies. (a) Shamed Cabinet; (b) Limping Cabinet. FigureFigure 3. 3.Jesse Jesse Darling. Darling. 2018.2018. Epistemologies.Epistemologies. ( (aa)) Shamed Shamed Cabinet; Cabinet; (b ()b Limping) Limping Cabinet. Cabinet.

Arts 2020, 9, 19 4 of 18 Arts 2020, 9, 19 4 of 18

Chinese artist Yin XiuzhenXiuzhen presentspresents aa usedused bookshelfbookshelf mademade ofof recycledrecycled materials.materials. Each item ofof used clothing is archived as one book, making it a unique piece tellingtelling its own story. The books with contrasting soft textiles from all around the world are compacted together, referenced byby the buttons and label size onon thethe spine.spine. Conceived as a library library,, the work on show is justjust oneone ofof 3030 bookshelvesbookshelves whichwhich revealreveal allall thethe garments,garments, whenwhen viewedviewed fromfrom thethe rearrear (Figure(Figure4 ).4).

(a) (b)

(c)

Figure 4. (a) Yin Xiuzhen.Xiuzhen. 2009–2013. Bookshelf Bookshelf No.7; ( b) detail; ( c) viewed from the rear.

Shilpa Gupta’s, ‘For in youryour tonguetongue II cannotcannot fit’fit’ (2017–2018),(2017–2018), invitesinvites individualindividual participationparticipation withinwithin aa multi-pointmulti-point soundsound installationinstallation whichwhich addressesaddresses thethe violenceviolence ofof censorship.censorship. Described as a ‘symphony‘symphony ofof recordedrecorded voices’,voices’, 100100 speakersspeakers andand microphones,microphones, speakspeak oror singsing thethe wordswords ofof 100100 poetspoets whowho havehave beenbeen imprisonedimprisoned forfor theirtheir work,work, thethe correspondingcorresponding verse printed on paper waiting to be readread (Figure(Figure5 ).5). Although Although not not in thein formthe form of a book,of a book, this work this drawswork thedraws viewer the in,viewer towards in, atowards personal a sensorypersonal experience sensory experience of pages, readingof pages, and reading understanding. and understanding.

Arts 2020, 9, 19 5 of 18 Arts 2020, 9, 19 5 of 18

FigureFigure 5. 5.Shilpa Shilpa Gupta.Gupta. 2017–2018. For For in in your your tongue tongue I cannot I cannot fit. fit.

WithoutWithout being being confined confined to to the the numerousnumerous defi definitionsnitions of of what what an an artist’s artist’s book book can can be, be,2 the2 the work work highlightedhighlighted here here aims aims to identifyto identify and and reference referenc idease ideas of ‘bookness’, of ‘bookness’, where where artists artists are exploringare exploring ground usingground mechanisms using mechanisms of all aspects of all of aspects the book of the as book interpreted as interpreted and re-presented and re-presented in relationship in relationship to their individualto their individual practice and practice experience and experience of the world. of the A world sensibility. A sensibility expounded expounded by the artist by the Les artist Bicknell: Les Bicknell: The book is a symbol of power and knowledge, a tool which communicates directly; it is The book is a symbol of power and knowledge, a tool which communicates directly; it is a a form that is understood in these terms. Repositioning its context and redirecting its form that is understood in these terms. Repositioning its context and redirecting its purposepurpose challenges challenges these these very very notions. notions. The The work work becomes becomes a question a question rather rather than than an answer, an 3 collaborationanswer, collaboration in the mind in the and mind hand and between hand between maker and maker reader and/ viewer.reader/viewer.3 ThereThere are are a numbera number of of diverse diverse contextscontexts evident here, here, which which present present books books within within installations installations instrumentalinstrumental in in creating creating dialogue dialogue with with thethe viewer,viewer, dealing dealing with with powerful powerful ideas ideas through through meaningful meaningful experience.experience. An An interaction interaction whichwhich seemsseems to be an important important objective objective for for curator curator Ralph Ralph Rugoff Rugo whoff who statesstates that that ‘Ultimately, ‘Ultimately, Biennale Biennale Arte 2019 2019 aspires aspires to to the the ideal ideal that that what what is most is most important important about aboutan anexhibition exhibition is is not not what what it itputs puts on on display, display, bu butt how how audiences audiences can can use use their their experience experience of the of the exhibitionexhibition afterwards, afterwards, to confrontto confront everyday everyday realities realities from from expanded expanded viewpoints viewpoints and withand newwith energies.new Anenergies. exhibition An should exhibition open should people’s open eyes people’s to previously eyes to previously unconsidered unconsidered ways of beingways of in being the world in the and thusworld change and theirthus change view of th thateir view world’ of that (Rugo world’ff 2019 (Rugoff). 2019). ThisThis is is certainly certainly within within the the scope scope ofof ‘Assembly’‘Assembly’ by by Angelica Angelica Mesiti, Mesiti, a three-channel a three-channel video video work work installedinstalled in in the the Australian Australian pavilion. pavilion. AssemblyAssembly takes takes as as its its starting starting point point the the poem poem ‘To ‘To Be BeWritten Written in in Another Tongue’ by David Malouf. Angelica Mesiti’s Venetian ‘assembly’ room, presents an Italian Another Tongue’ by David Malouf. Angelica Mesiti’s Venetian ‘assembly’ room, presents an Italian parliamentary stenographer transcribing Malouf’s text; scenes of typing, keyboard, printed text, parliamentary stenographer transcribing Malouf’s text; scenes of typing, keyboard, printed text, signs signs and symbols, images of gesture around the theme of transliteration. ‘Assembly’ mimics page and symbols, images of gesture around the theme of transliteration. ‘Assembly’ mimics page turning turning and other aspects of the book, as audiences are absorbed in watching multiple screens, andtesting other our aspects abilities of the to book,read images as audiences simultaneously. are absorbed Mesiti in expresses watching amultiple desire for screens, a high testinglevel of our abilitiespublic to interaction read images with simultaneously. the work which Mesiti will tour expresses Australia a desire after the for Biennale a high level has ofended public (Figure interaction 6). withOn the entering work whichor leaving will tourthe installation, Australia after audience the Biennale members has are ended handed (Figure a printed6). On booklet entering which or leaving can theonly installation, be read in audience the light membersof day, and are after handed the event. a printed It is this booklet small, whichprinted can and only distributed be read folio in the that light of day,is the and key after to the the videos’ event. content—text, It is this small, diagram printed and and notation—providing distributed folio that a isphysical the key context to the and videos’ content—text,interpretation diagram which will and remain notation—providing with the audience a for physical the duration. context4 and interpretation which will 4 remain with the audience for the duration. 2 Silvie Turner and Ian Tyson provide a comprehensive list of definitions by different artists, curators and writers in (Turner and Tyson 1994, p. 4). 2 3Silvie See: Turner https://www.nua.ac.uk/about-nua/meet-our-staff/les-bicknell/. and Ian Tyson provide a comprehensive list of definitions by different artists, curators and writers in 4( Turner See: andhttps://www.labiennale.org/en/ar Tyson 1994, p. 4). t/2019/national-participations/australia. 3 See: https://www.nua.ac.uk/about-nua/meet-our-staff/les-bicknell/. 4 See: https://www.labiennale.org/en/art/2019/national-participations/australia. Arts 2020, 9, 19 6 of 18 Arts 2020, 9, 19 6 of 18

FigureFigure 6. 6.Angela Angela Mesiti. Mesiti. 2019. Assembly. Assembly. Australia Australia Pavilion. Pavilion.

It mayIt may aspire aspire to to have have the the longevity longevity ofof ‘Covering‘Covering Letter’ (2012) (2012) at at the the Indian Indian pavilion, pavilion, where where the the artistartist Jitish Jitish Kallat Kallat has has chosen chosen to to present present thethe letterletter written by by Mahatma Mahatma Gandhi Gandhi to toAdolf Adolf Hitler Hitler in July in July 19391939 imploring imploring him him to chooseto choose peace peace in anticipationin anticipation of of World World War War II. TheII. The type type written written words words of theof the letter areletter projected are projected into a curtain into a ofcurtain descending of descending mist; creating mist; creating a cascade a cascade of words of words flowing flowing through through a shaft a of lightshaft which of light the audiencewhich the isaudience directed is to directed walk through, to walk through, reading elements,reading elements, as the ascending as the ascending text dissipates text alldissipates around. An all occasionaround. An for occasion open reading for open and reading self-reflection and self-reflection of a ‘... letter of a from ‘... letter the pastfrom destinedthe past to destined to carry its message into our turbulent present, well beyond its delivery date and intended carrydestined its message to carry into its ourmessage turbulent into our present, turbulent well present, beyond well its deliverybeyond its date delivery and intended date and recipient.’intended 5 recipient.’5 recipient.’Continuing with ‘conversations’ from the principal national participating pavilions, the artist Continuing with ‘conversations’ from the principal national participating pavilions, the artist Cathy Wilkes, presents her ‘creations’ which ‘occupy’ the six rooms of the UK pavilion. As objects Cathy Wilkes, presents her ‘creations’ which ‘occupy’ the six rooms of the UK pavilion. As objects are placed around the entire space, from floor skirting level, to hanging from the ceiling, only a small are placed around the entire space, from floor skirting level, to hanging from the ceiling, only a small number of visitors are allowed at any one time. There are two sets of folded pages laid out upon an number of visitors are allowed at any one time. There are two sets of folded pages laid out upon an ephemeralephemeral table’ table’ like like structure, structure, presented presented atat readingreading level height height but but blank, blank, empty empty of ofwhat what we we might might considerconsider visual visual content content (Figure (Figure7). 7).

FigureFigure 7. 7.Cathy Cathy Wilkes.Wilkes. 2019. British British Pavilion. Pavilion.

CliveClive Phillpot Phillpot identifies identifies a distinctiona distinction between between ‘primarily ‘primarily visual visual books books or or books books for for looking looking at’ at’ and ‘primarilyand ‘primarily verbal verbal books books or books or books for reading’: for reading’: WhatWhat I’m I’m getting getting at at is is that, that, if if we we acceptaccept thatthat reading is is ‘the ‘the decoding decoding of of writing’, writing’, the the other other activityactivity we we engage engage in in with with books books byby artistsartists is looking. looking. Thus, Thus, simplistically, simplistically, we we read read artists’ artists’ books,books, but but we lookwe atlook artists’ at artists’ bookworks. bookwo Myrks. ongoing My preoccupationongoing preoccupation with the identificationwith the of bookworksidentification is of over bookworks the nature is over of those the nature books of that those are books artworks, that are designed artworks, to designed be looked to at, andbe designed looked at, specifically and designed page specifically by page, versopage by by page, recto, verso opening by recto, by opening, opening to by constitute opening, an integratedto constitute flowing an integrated whole. ( Phillpotflowing whole.2013, p. (Phillpot 248) 2013, p. 248)

5 See: https://jitishkallat.com/works/covering-letter/.

5 See: https://jitishkallat.com/works/covering-letter/. Arts 2020, 9, 19 7 of 18 Arts 2020, 9, 19 7 of 18 Arts 2020, 9, 19 7 of 18 Wales in Venice features the work of Sean Edwards in ‘Undo things done’ described as ‘a poetic Wales inin VeniceVenice featuresfeatures thethe workwork ofof SeanSean EdwardsEdwards inin ‘Undo‘Undo thingsthings done’done’ describeddescribed asas ‘a poetic enquiry into place, politics, and class intertwined with personal histories’ and presented at Santa enquiry intointo place, place, politics, politics, and and class class intertwined intertwined with with personal personal histories’ histories’ and presentedand presented at Santa at MariaSanta Maria Ausiliatrice, a former convent. The installation comprised largely autobiographical works Ausiliatrice,Maria Ausiliatrice, a former a convent.former convent. The installation The installation comprised comprised largely autobiographical largely autobiographical works exhibited works exhibited with sensitivity to the traces that remain of the building’s past, presented through live withexhibited sensitivity with sensitivity to the traces to that the remaintraces that of the rema building’sin of the past, building’s presented past through, presented live performance,through live performance, radio broadcast, handmade quilt, film work and digital print as well as an artist’s radioperformance, broadcast, radio handmade broadcast, quilt, handmade film work andquilt, digital film printwork as and well digital as an artist’s print book.as well This as bookan artist’s work, book. This book work, ‘Llanedeyrn’ (2019), is described as a ‘wordless art work’ placed casually in ‘Llanedeyrn’book. This book (2019), work, is described‘Llanedeyrn’ as a (2019), ‘wordless is described art work’ as placed a ‘wordless casually art inwork’ the roomplaced encouraging casually in the room encouraging visitors to leaf through. Flicking through the pages, thus activating the work, visitorsthe room to encouraging leaf through. visitors Flicking to throughleaf through. the pages, Flicking thus through activating the thepages, work, thus the activating reader encounters the work, the reader encounters black-and-white images of the housing estate where Sean Edwards grew up. black-and-whitethe reader encounters images black-and-white of the housing images estatewhere of the Seanhousing Edwards estate grewwhere up. Sean The Edwards book depicts grew theup. The book depicts the estate in daytime, as deserted, empty of life; a quietness which connects back to estateThe book in daytime, depicts the as deserted, estate in emptydaytime, of as life; deserted a quietness, empty which of life; connects a quietness back to which the atmosphere connects back of the to the atmosphere of the exhibition space and installation (Figure 8). exhibitionthe atmosphere space of and the installation exhibition (Figurespace and8). installation (Figure 8).

Figure 8. Sean Edwards. 2019. ‘Llanedeyrn’ artist’s book shown by gallery assistant. FigureFigure 8.8. Sean Edwards. 2019. ‘Llanedeyrn’ artist’s book shown by gallery assistant. The reader can peruse an artist’s book with the almost certain assurance that he or she is The readerreader can can peruse peruse an artist’san artist’s book book with thewith almost the almost certain assurancecertain assurance that he or that she ishe responding or she is responding to the work in a state which completely corresponds with the intention of the artist toresponding the work into a the state work which in completely a state which corresponds completely with corresponds the intention ofwith the the artist intention (Phillpot of 2013 the, p.artist 56). (Phillpot 2013, p. 56). (PhillpotThe entrance2013, p. 56). hall of the Romanian pavilion features ‘White Library—Memories of Absence’, The entrance hall of the Romanian pavilion features ‘White Library—Memories of Absence’, by by artistThe Belu-Simionentrance hall Fofãinaru the Romanian (Figure9). pavilion More white features books, ‘White blank Library—Memories pages on wooden of bookshelvesAbsence’, by artist Belu-Simion Fãinaru (Figure 9). More white books, blank pages on wooden bookshelves scaled scaledartist Belu-Simion to fit in the alcove,Fãinaru part(Figure of a 9). site More specific white installation books, blank which pages takes on wooden the form bookshelves of an uninhabited scaled to fit in the alcove, part of a site specific installation which takes the form of an uninhabited domestic domesticto fit in the interior. alcove, Thepart interpretation of a site specific material installation suggests which that takes ‘Belongs the form Nowhere of an uninhabited and to Another domestic Time interior. The interpretation material suggests that ‘Belongs Nowhere and to Another Time (part 1)’ (partinterior. 1)’ placesThe interpretation the viewer in material an ‘in-between suggests space that of a‘Belongs non-specific Nowhere and transnational and to Another culture Time’, touching (part on1)’ places the viewer in an ‘in-between space of a non-specific and transnational culture’, touching on issues issuesplaces ofthe displacement, viewer in an migration‘in-between and space the of nomadic. a non-specific and transnational culture’, touching on issues of displacement, migration and the nomadic. of displacement, migration and the nomadic.

Figure 9. Belu-Simion Fãinaru. 2019. White Library—Memories of Absence. FigureFigure 9.9. Belu-Simion FFãinaru.ãinaru. 2019. White Library—Memories of Absence.

Arts 2020, 9, 19 8 of 18 Arts 2020, 9, 19 8 of 18

The same theme is explored in ‘Written by Water’ mixed media installation created by Marco The same theme is explored in ‘Written by Water’ mixed media installation created by Marco Godinho for the Luxembourg Pavilion. This piece is composed of two back to back videos of the Godinho for the Luxembourg Pavilion. This piece is composed of two back to back videos of the artistartist walkingwalking through through the the landscape, landscape, through through cemeteries cemeteries and and along along the seashore,the seashore, whilst whilst reading reading from Belles-lettres andfrom tearing and tearing the pages the pages of a French of a French translation translation of Homer’s of Homer’s ‘ ‘Belles-lettres’’, the remainder, the remainder of the of book, the itsbook, cover its and cover tattered and spine,tattered visible spine, through visible a through narrow slit a narrow in the gallery slit in wall. the gallery An adjacent wall. gallery An adjacent tells a narrativegallery tells of refugees a narrative moving of refugees from South moving to North from across South the to Mediterranean,North across the most Mediterranean, of whom have most never of encounteredwhom have thenever sea, encountered its enormity the expressed sea, its inenormity a third video,expressed this timein a third of exercise video, books this time that of have exercise been bathedbooks that in sea have water, been battered bathed in by sea the water, waves, battered presented by the on awaves, slope, presented the roof of on the a pavilion,slope, the appearingroof of the topavilion, have been appearing washed to up have like been bodies, washed clothing up like or storiesbodies, on clothing the shore or stories and left on out the to shore dry (Figureand left 10out). Into additiondry (Figure there 10). is In a text addition project there which is a takes text proj literallyect which the idea takes of ‘conversations’,literally the idea as of explicitly ‘conversations’, talked aboutas explicitly by Rugo talkedff (2019 about)—a by new Rugoff text (2019)—a every day, new for 100text days,every printedday, for onto100 days, a t-shirt printed and wornonto a by t-shirt the invigilatorand worn presentby the atinvigilator the exhibition present who at actively the exhibition attempts who to engage actively with attempts the visiting to engage public, with to elicit the reactionvisiting andpublic, dialogue to elicit relating reaction to and themes dialogue within relating the artwork. to themes within the artwork.

(a) (b)

FigureFigure 10.10. ((aa)) MarcoMarco Godinho.Godinho. 2019.2019. Written byby Water;Water; ((bb)) detail.detail.

AA ‘List‘List ofof lists’,lists’, anan indexindex ofof thingsthings thatthat havehave disappeared,disappeared, oror thatthat areare absent,absent, withdrawnwithdrawn oror otherwiseotherwise nono longerlonger inin existence,existence, flowsflows onon paperpaper waveswaves fillingfilling thethe floorfloor ofof thethe librarylibrary spacespace inin PostPost hochoc (after(after this)this) byby DaneDane MitchellMitchell andand hostedhosted inin thethe PalazzinaPalazzina Canonica,Canonica, formerformer headquartersheadquarters ofof thethe NationalNational ResearchResearch Council Council for for Marine Marine Sciences Sciences (CNR-ISMAR), (CNR-ISMAR), the the New New Zealand Zealand Pavilion Pavilion (Figure (Figure 11). The11). onlyThe soundonly sound in the library,in the whichlibrary, for which this occasion for this hasoccasion been emptied has been of itsemptied significant of its collection significant of books,collection manuscripts of books, manuscripts and maps of and Venice maps and ofthe Venice lagoon and dating the lagoon back dating to the 16thback century,to the 16th is thatcentury, of a printeris that placedof a printer on a raised placed stand on a in raised the centre stand of thein the floor. centre Over of the the duration floor. Ov ofer the the exhibition, duration a of list the of titlesexhibition, are being a list churned of titles out, are itembeing after churned item, out, the enormityitem after of item, which, the is enormity evident byof thewhich, accumulation is evident by of paperthe accumulation which becomes of almostpaper impossiblewhich becomes to read. almost Words impossible can be glimpsed to read. through Words waves can of be paper glimpsed folds: ‘extinct’,through ‘banned’,waves of ‘lost’,paper ‘past’, folds: ‘former’, ’extinct’, ‘obsolete’, ‘banned’, ‘discontinued’; ‘lost’, ‘past’, ‘former’, language ‘o whichbsolete’, refers ‘discontinued’; to things of anotherlanguage time, which censored, refers to removed, things of hidden. another The time, reader censored, encounters removed, this hidden. list in a placeThe reader dedicated encounters to the transmissionthis list in a place of knowledge, dedicated theto the empty transmission library shelves of knowledge, underlining the empty the sense library of loss, shelves abandoning underlining the viewerthe sense to determineof loss, abandoning their own relationshipthe viewer to to determ an invisibleine their past. own Further relationship to this, ato series an invisible of electronic past. transmissionFurther to this, posts a series in the of form electronic of trees transmission relay the growing posts list in inthe sync form with of thetrees printer relay atthe specific growing locations list in aroundsync with Venice: the printer hospital, at university,specific locations remembrance around garden Venice: and hospital, the Arsenale, university, places remembrance all chosen for garden their relationshipand the Arsenale, to ideas places of invisibility, all chosen transformation for their relation andship loss. to ideas of invisibility, transformation and loss.

Arts 2020, 9, 19 9 of 18 Arts 2020, 9, 19 9 of 18 Arts 2020, 9, 19 9 of 18

(a) (b) (a) (b) Figure 11. (a) Dane Mitchell. 2019. Post hoc, New Zealand Pavilion; (b) detail. Figure 11. (a) Dane Mitchell. 2019. Post Post ho hoc,c, New New Zealand Zealand Pavilion; Pavilion; ( (b)) detail. detail. The aspiration that artistic action can promote change is intrinsic also to the dialogue with PalazzoThe Rota aspirationaspiration Ivancich, that that artisticthe artistic Republic action action of can Northcan promote promote Macedonia change change is Pavilion, intrinsic is intrinsic an also installation to also the dialogueto the and dialogue withperformance Palazzo with RotaPalazzoentitled Ivancich, ‘SubversionRota Ivancich, the Republic to Red’the Republic by of NorthNada ofPrlja. Macedonia North The Macedonia pr Pavilion,incipal installation, Pavilion, an installation an ‘The installation Collection: and performance and She performance does entitled What ‘SubversionentitledShe wants ‘Subversion untitled to Red’ bytoII’, Red’ Nadareferences by Prlja. Nada Thesignificant Prlja. principal The prarincipaltworks installation, installation,from ‘Thethe former Collection: ‘The Collection: Yugoslavia She doesShe and does What MOCA What She wantsSheMuseum wants untitled of untitled Contemporary II’, references II’, references significantArt Skopje; significant artworks sculptural ar fromtworks works, the from former dynamic the Yugoslavia former compositions Yugoslavia and MOCA on and Museum geometric MOCA of ContemporaryMuseumshaped metal of Contemporary plinths, Art Skopje; which sculptural includeArt Skopje; works,a series sculptural dynamic of book compositionsformsworks, taken dynamic from on geometric historiccompositionsal shaped volumes on metal andgeometric plinths, cast in whichshapedconcrete include metal (Figure plinths, a series12). which of book include forms a taken series from of book historical forms volumes taken from and historic cast inal concrete volumes (Figure and cast 12). in concrete (Figure 12).

(a) (b) (a) (b) Figure 12.12. (a) NadaNada Prlja.Prlja. 2019. The The Collection: Collection: Sh Shee does does What What She She wants wants untitled II; (b) NorthNorth MacedoniaFigure 12. ( Pavilion,Pavilion,a) Nada PalazzoPalazzoPrlja. 2019. RotaRota The Ivancich.Ivancich. Collection: 2019. Opening She does performanceWhat She wants ‘round untitled table’ discussion. II; (b) North Macedonia Pavilion, Palazzo Rota Ivancich. 2019. Opening performance ‘round table’ discussion. Nada PrljaPrlja recountsrecounts memories, memories, connections connections with with other other artists artists and and relationship relationship to materials, to materials, as key as tokey leftist toNada leftist thought Prlja thought recounts and and the memories, the notion notion of connectionsof solidarity solidarity that withthat underpin underpinother artists the the work,and work, relationship the the theoretical theoretical to materials, andand visualvisual as approachkey to leftist toto which thoughtwhich can can and be foundbethe found notion in a seriesin of a solidarity series of essays of thatessays in the underpin accompanying in the theaccompanying work, soft the cover theoretical soft booklet, cover and referred booklet, visual to asapproachreferred an Artbook, to to as which an one Artbook, of can the be many one found of publications the in many a series publications accessible of essays at accessible thein the Book accompanying at Pavilion the Book (Figure Pavilion soft 13 cover). (Figure booklet, 13). referred to as an Artbook, one of the many publications accessible at the Book Pavilion (Figure 13).

Arts 2020, 9, 19 10 of 18 Arts 2020, 9, 19 10 of 18

Arts 2020, 9, 19 10 of 18

(a) (b)

FigureFigure 13. 13.(a) ( Booka) Book Pavilion. Pavilion.(a) 2019. 2019. NorthNorth MacedoniaMacedonia Pavilion, Pavilion, catalogued catalogued( bfor) forthe the Biennale Biennale Library; Library; (b) Book(Figureb) Book Pavilion, 13. Pavilion, (a) Book books books Pavilion. donated donated 2019. by by participatingNorth partic Macedoniaipating artists,artists, Pavilion, Venice Venice catalogued Biennale Biennale 2019. for 2019. the Biennale Library; (b) Book Pavilion, books donated by participating artists, Venice Biennale 2019. DesignedDesigned by Britishby British architect architect James James Stirling, Stirling, the the ‘Book ‘Book Pavilion’ Pavilion’ is is located located within within the the Giardini Giardini area of thearea Biennale ofDesigned the Biennale alongside by British alongside the architect independent the independentJames Stirling, International International the ‘Book cultural Pavilion’ cultural offerings. offerings.is located When When within it wasit thewas builtGiardini built in in 1991, the building1991,area of the the building was Biennale surrounded was alongside surrounded by the trees, independent by nowtrees, thenow International 30metre the 30metre long cultural long glass glass andofferings. and metal metal When structure structure it was stands built stands in on a on a sparse area of ground, isolated and outward looking, as distinct from the other pavilions. The sparse1991, area the of building ground, was isolated surrounded and outward by trees, looking, now the as 30metre distinct long from glass the and other metal pavilions. structure The stands rounded rounded ends of the building and the lack of doors create a feeling of security within the space. endson of a the sparse building area of and ground, the lack isolated of doors and create outward a feeling looking, of securityas distinct within from the other space. pavilions. Further nauticalThe Further nautical references are found, in the purpose designed, deep set lacquered wood bookshelf referencesrounded are ends found, of the in building the purpose and the designed, lack of deepdoors setcreate lacquered a feeling wood of security bookshelf within which the space. runs the whichFurther runs nautical the lengthreferences of the are room, found, for in thethe displapurposey of designed, books donated deep set by lacquered participating wood artists bookshelf and length of the room, for the display of books donated by participating artists and architects in the architectswhich runs in the Biennale.length of Atthe the room, invitation for the of displa the appointedy of books curator, donated all kindsby participating of publications artists which and Biennale. At the invitation of the appointed curator, all kinds of publications which may range from mayarchitects range in fromthe Biennale. Pavilion At catalogues the invitation to selectedof the appointed titles for curator, reading all by kinds participating of publications artists, which are Pavilionpresentedmay cataloguesrange here from as to archive,Pavilion selected arranged catalogues titles for in readingalphabeticalto selected by participating ordertitles withfor readingtheir artists, country by are participating references. presented (Figure hereartists, as 14). archive,are arrangedpresented in alphabetical here as archive, order arranged with their in alphabetical country references order with (Figure their country 14). references. (Figure 14).

(a) (b)

Figure 14. (a) Book Pavilion.(a) 2019. Biennale di Venezia, Giardini;(b ()b ) detail. FigureFigure 14. 14.(a )(a Book) Book Pavilion. Pavilion. 2019.2019. Biennale Biennale di di Venezia, Venezia, Giardini; Giardini; (b) ( bdetail.) detail. Contributions to the ‘Book Pavilion’ are subsequently transferred to the Biennale Library which sinceContributionsContributions 2009 has been to to the an the ‘Bookintegral ‘Book Pavilion’ Pavilion’part of the areare Cent subsequentlysubsequeral Pavilionntly transferred transferred at Giardini. to toItthe theis Biennale worth Biennale noting Library Library that which The which sinceBiennalesince 2009 2009 has Library has been been is an openan integral integral all year part part round of of the the irrespective CentralCentral Pavilion of ongoing at at Giardini. Giardini.Biennales: It Itisarchitecture, isworth worth noting noting visual that that arts,The The cinema, dance, photography, music, or theatre. It is now one of the main libraries of contemporary BiennaleBiennale Library Library is openis open all all year year round round irrespective irrespective of ongoing ongoing Biennales: Biennales: architecture, architecture, visual visual arts, arts, art in Italy, with more than 153,000 volumes and 3000 periodicals; preserving all catalogues and cinema,cinema, dance, dance, photography, photography, music, music, or or theatre. theatre. It is now now one one of of the the main main libraries libraries of contemporary of contemporary bibliographic material relating to Biennale activities.6 art inart Italy,in Italy, with with more more than than 153,000 153,000 volumes volumes andand 3000 periodicals; periodicals; preserving preserving all allcatalogues catalogues and and bibliographicThe opening material week relating of the Biennale to Biennale particularly, activities. holds6 a frenzied atmosphere with the multitude bibliographic material relating to Biennale activities.6 of eventsThe openingand exhibition week of openings the Biennale to attract particularly, press and holds media, a frenzied collectors atmosphere and curators with thein particular.multitude The opening week of the Biennale particularly, holds a frenzied atmosphere with the multitude Thereof events is a and drive exhibition within the openings cultural to sector attract to press maximi andze media, opportunities collectors for and visitors curators to interact in particular. at this of eventsThere andis a drive exhibition within openingsthe cultural to sector attract to press maximi andze media,opportunities collectors for visitors and curators to interact in particular.at this There is a drive within the cultural sector to maximize opportunities for visitors to interact at this 6 See: https://www.labiennale.org/en/venues/biennale-library. 6 See: https://www.labiennale.org/en/venues/biennale-library.

6 See: https://www.labiennale.org/en/venues/biennale-library. Arts 2020, 9, 19 11 of 18 important occasion, to meet and exchange. This generates a deluge of all nature of printed matter includingArts 2020 books,, 9, 19 catalogues, booklets, cards, leaflets, masks, badges, stickers, bags and rubber11 of stamps18 around the production of exhibitions with some evidence of a conscious move towards print-free important occasion, to meet and exchange. This generates a deluge of all nature of printed matter communication with USB keys being offered or Q codes available for PR information. including books, catalogues, booklets, cards, leaflets, masks, badges, stickers, bags and rubber stampsParadoxically, around thethe Japaneseproduction Pavilion of exhibitions produced with an some elaborate evidence multi-layered of a conscious publication move towards for Cosmo Eggs,print-free a coexistence communication through convergingwith USB keys resonances being offered and or dissonances, Q codes available collaboration for PR information. between an artist, a composerParadoxically, an anthropologist the Japanese and an architectPavilion togetherproduced trying an elaborate to imagine multi-layered a possible ecologicalpublication symbiosis for betweenCosmo human Eggs, anda coexistence non-human. through A spiral-bound converging re A4sonances book in and both dissonances, English and collaboration Japanese uses between a variety of papersan artist, sizes a andcomposer plastic an sleeves, anthropologist a representation and an architect of the project together and trying its research to imagine and a development possible in theecological form of symbiosis a facsimile: between exercise human books, and non-human. photographs, A spiral-bound musical scores, A4 book statistics in both English tables, and a music fingeringJapanese chart, uses a a calendar variety of detailing papers sizes the productionand plastic sleeves, process, a andrepresentation a large fold-out of the project map—more and its than mereresearch documentation and development of this complexin the form project, of a facsimil the resultinge: exercise publication books, photographs, can be located musical somewhere scores, statistics tables, a music fingering chart, a calendar detailing the production process, and a large in Phillpot’s ‘verbi-visual’ strand providing a rich resource of material, scraps and textures for the fold-out map—more than mere documentation of this complex project, the resulting publication can viewer/reader to engage with, challenging their ‘existing habits of thought’ as how we might read an be located somewhere in Phillpot’s ‘verbi-visual’ strand providing a rich resource of material, scraps imageand or textures view a text.for the This viewer/reader rupture in structureto engage and with,/or challenging fragmentation their in ‘existing the information habits of thought’ that we receiveas is alsohow played we might out inread Heirloom an image (Danish or view Pavilion), a text. This the rupture accompanying in structure booklet and/or usingfragmentation divided in page the and imageinformation layouts to that re-present we receive the splitis also screen played device out in used Heirloom in ‘In Vitro’,(Danish a filmPavilion), that features the accompanying two women in a worldbooklet that using has gonedivided underground page and image after layouts an ecological to re-present disaster. the split screen device used in ‘In Vitro’, aThe film parallel that features stories two are women presented in a world alternating that has fromgone underground one screen to after another. an ecological The book’s disaster. designer, Alexis Mark,The parallel worked stories closely are with presented the artist alternating Larissa from Sansour one andscreen curator to another. Nat MullerThe book’s devising designer, ways to accentuateAlexis Mark, this to worked and fro closely structure with embellished the artist Lariss througha Sansour the formalismand curatorof Nat black Muller and devising white photography ways to in printaccentuate (Figure this15). to and fro structure embellished through the formalism of black and white photography in print (Figure 15). In contrast, the Portuguese Pavilion representation is publicized by a single sheet folded paper In contrast, the Portuguese Pavilion representation is publicized by a single sheet folded paper leaflet (Figure 16). leaflet (Figure 16).

FigureFigure 15. 15.Larissa Larissa Sansour. 2019. 2019. Heirloom. Heirloom.

FigureFigure 16. 16.Antunes, Antunes, Leonor. Leonor. aa seam,seam, aa surface,surface, a hinge, or or a a knot. knot. Portuguese Portuguese Pavili Pavilionon leaflet leaflet opened opened out. out.

Arts 2020, 9, 19 12 of 18

Arts 2020, 9, 19 12 of 18 Memorable for its marked simplicity in announcing the exhibition, ‘a seam, a surface, a hinge, Memorable for its marked simplicity in announcing the exhibition, ‘a seam, a surface, a hinge, or a knot’, Leonor Antunes’s, site specific, large scale abstract sculpture, responding to the location of or a knot’, Leonor Antunes’s, site specific, large scale abstract sculpture, responding to the location Palazzo Giustinian Lolin. of Palazzo Giustinian Lolin. AnkersentrumAnkersentrum (surviving (surviving in in the the ruinous ruinous ruin) is is large large scale scale installation installation which which fills fillsthe German the German Pavilion,Pavilion, the the structure structure composed composed of of sculpturalsculptural and sonic sonic elements, elements, reflected reflected in the in thedelivery delivery of of availableavailable resource resource materials materials in in thethe form of of a vinyl a vinyl LP LPrecord, record, scroll scroll through through digital presentation digital presentation and and a publicationpublication designed designed to to enhance enhance and and expand expand on onthe the experience experience (Figure (Figure 17). 17Also).Also entitled entitled ‘Ankersentrum’,‘Ankersentrum’, the publicationthe publication is importantly is importantly described described as ‘an as essential ‘an essential part of part the artisticof the contribution’artistic to thecontribution’ pavilion. It to contains the pavilion. poems, It contains drawings, poems, photographs drawings, photographs and texts by and Natasha texts by Süder Natasha Happelmann Süder and otherHappelmann artists addressingand other theartists main addressing concepts the of containmentmain concepts and of isolation,containment graphically and isolation, presented graphically presented through plays on the reading of image and text by designer Maziyar through plays on the reading of image and text by designer Maziyar Pahlevan. It is published by Pahlevan. It is published by Archive Books, founded in Berlin 2009, whose publishing manifesto Archive Books, founded in Berlin 2009, whose publishing manifesto reads as ‘an ecosystem where reads as ‘an ecosystem where authors, translators and editors work to build lines of communication 7 authors,with translators diverse publics.’ and7 editors work to build lines of communication with diverse publics.’

FigureFigure 17. 17.Natasha Natasha Süder Süder Happelmann. Happelmann. 2019. 2019. An Ankersentrum,kersentrum, German German Pavilion. Pavilion.

‘Sun‘Sun & Sea & Sea (Marina)’ (Marina)’ by by Lina Lina Lapelyte, Lapelyte, VaivaVaiva Grainyte and and Rugile Rugile Barzdziukaite Barzdziukaite (Lithuanian (Lithuanian Pavilion)Pavilion) won thewon Golden the Golden Lion awardLion award for best for National best National participation participation in the 2019in the Biennale, 2019 Biennale, a performance a performance work (opera), 70 min long which takes place on an artificial beach crowded with work (opera), 70 min long which takes place on an artificial beach crowded with people. The opera people. The opera is sung in English by performers and volunteers, while being watched from above is sung in English by performers and volunteers, while being watched from above by a ‘chorus’ of by a ‘chorus’ of people. The opera’s full libretto is published in a special-edition vinyl LP catalogue people.accompanied The opera’s by texts fulllibretto on the mythology is published of the in asea special-edition by curator Lucia vinyl Pietroiusti; LP catalogue although accompanied they have by textschosen on the vinyl mythology here, a Q of code the seais available by curator inside Lucia for access Pietroiusti; to a digital although player they version have (Figure chosen 18). vinyl The here, a Q codevinyl iscatalogue, available designed inside for by access Åbäke, to awas digital conceived player partially version (Figureas an opportunity18). The vinyl for catalogue,local designedcollaboration, by Åbäke, screen-printed was conceived in Venice partially by asinmates an opportunity of the male for prison local of collaboration, Santa Maria screen-printedMaggiore. in VeniceThere by is inmatesan increasing of the trend male which prison sees of artists Santa from Maria the Maggiore. Biennale wanting There isto aninteract increasing with Venetian trend which sees artistsorganisations, from the a consciousness Biennale wanting that the to interactBiennale with has roots Venetian in this organisations, particular place a consciousness and that there that is the Biennalealso haslife taking roots inplace this alongside, particular which place is and not that‘outside’ there of is art. also Since life the taking 2017 place Biennale, alongside, the artist which Mark is not ‘outside’ of art. Since the 2017 Biennale, the artist Mark Bradford has been collaborating with Rio Tera di Pensieri cooperative for training in the women’s prison, a number of diverse publications resulting from this relationship. 8 7 See: https://www.labiennale.org/en/art/2019/national-participations/germany.

7 See: https://www.labiennale.org/en/art/2019/national-participations/germany. 8 See: https://www.rioteradeipensieri.org/en/process-collettivo/. Arts 2020, 9, 19 13 of 18

BradfordArts 2020, 9 ,has 19 been collaborating with Rio Tera di Pensieri cooperative for training in the women’s13 of 18 prison, a number of diverse publications resulting from this relationship.8

Figure 18. Sun & Sea (Marina). 2019. Lith Lithuaniauania pavilion pavilion press press desk. desk.

2. Collateral Collateral Venice Venice The past five five years have seen a significant significant increase increase in in what what are are referred referred to to as as ‘Collateral ‘Collateral Events’, Events’, considered to be on a level with the Biennale Biennale itself, itself, exploiting exploiting every every type type of of building building around around Venice, Venice, from palaces to disused commercialcommercial buildings.buildings. Hillary, The Hillary Clinton emails, is curated by Francesco Urbano Ragazzi, who who chose chose Teatro Teatro Italia, aa formerformer theatre theatre and and cinema cinema converted converted into into a supermarket, a supermarket, for the for exhibition. the exhibition. Ragazzi Ragazzi was excited was excitedby the idea by the of connectingidea of connecting commercial commercial activity to activi art andty to culture art and in culture the context in the of dailycontext life of (Figure daily life19). (FigureFor this 19). installation, For thislocated installation, on the located old theatre’s on the balcony old theatre’s overlooking balcony the overlooking rows of foodstu theff rowss below, of foodstuffsNew York artistbelow, Kenneth New York Goldsmith artist presentsKenneth 60,000Goldsm pagesith presents of Hillary 60,000 Clinton’s pages email of documentationHillary Clinton’s in emaillarge whitedocumentation volumes, available in large for white consultation, volumes, displayed available in for a room consultation, mimicking displayed the oval oinffi cea inroom the Whitemimicking House the... ovalknowing office thatin the some White people House would … beknowing enthusiastic, that some some people not even woul noticingd be enthusiastic,, ... texts some can also not evenbe found noticing lining,… texts the top can of also the supermarketbe found lining display the top units. of the Conveniently supermarket the display accompanying units. Conveniently publication theis on accompanying sale at the supermarket publication checkout, is on sale beside at the supermarket the umbrella checkout, stand, an all-importantbeside the umbrella reference stand, to the an all-importantmodes of distribution reference applied to the bymodes Ed Ruscha of distribu whention marketing applied by his Ed seminal Ruscha artists’ when book, marketing Twentysix his 9 seminalGasoline artists’ Stations, book, in 1963. Twentysix Gasoline Stations, in 1963.9

(a) (b)

Figure 19. ((a)) Kenneth Goldsmith. 2019. Hi Hillary,llary, The Hillary Clin Clintonton Emails. Display; Display; ( (b)) detail. detail.

89 See:Kenneth https://www.rioteradeipen Goldsmith. 2019. Hillary,sieri.org/en/process-collettivo/. The Hillary Clinton Emails. Available online: http://www.zueccaprojects.org/project/ 9 Kennethhillary/. Goldsmith. 2019. Hillary, The Hillary Clinton Emails. Available online: http://www.zueccaprojects.org/project/hillary/.

Arts 2020, 9, 19 14 of 18

Arts 2020, 9, 19 14 of 18 The artist and writer Edmund de Waal extends an invitation to ‘Come and sit and read’ in the new temporaryThe artist and library writer he createdEdmund for de theWaal city, extends a ‘library an invitation of exile’ whichto ‘Come contains and sit 2000 and booksread’ in written the new temporary library he created for the city, a ‘library of exile’ which contains 2000 books written by authors who have been forced into exile. On the walls of the ‘library’ at the Ateneo Veneto is a by authors who have been forced into exile. On the walls of the ‘library’ at the Ateneo Veneto is a list list of lost or erased libraries of the world from Alexandria to Sarajevo (Figure 20). The exhibition of lost or erased libraries of the world from Alexandria to Sarajevo (Figure 20). The exhibition entitled ‘Psalm’ takes place both at the Ateneo Veneto, a 16th century meeting place and historical entitled ‘Psalm’ takes place both at the Ateneo Veneto, a 16th century meeting place and historical seat of learning, and the Jewish Ghetto, a place of plurality of languages and cultures, a place of seat of learning, and the Jewish Ghetto, a place of plurality of languages and cultures, a place of constant translation. ‘Psalm’ was punctuated by a programme of events and readings involving Casa constant translation. ‘Psalm’ was punctuated by a programme of events and readings involving House of Words delleCasa Parole delle Parole ( (House of )Words) a group a group of writers of writers that meet that periodicallymeet periodically in Venice. in Venice. These These very very public collateralpublic collateral events provide events provide further opportunityfurther opportun for potentiality for potential encounters; encounters; opening opening up to new up audience,to new whetheraudience, supermarket whether supermarket shoppers or shoppers passing or tourists. passing tourists.

FigureFigure 20.20. Edmund de de Waal. Waal. 2019. 2019. Psalm, Psalm, Ateneo Ateneo Veneto. Veneto.

3.3. Book Book Biennale Biennale NotNot toto bebe confusedconfused withwith thethe previouslypreviously disc discussedussed Book Book Pavilion, Pavilion, the the 58th 58th edition edition saw saw the the appearanceappearance ofof ‘Book‘Book Biennale’.Biennale’. The brainchild of of ‘b-r-u-n-o’, ‘b-r-u-n-o’, in in collaboration collaboration with with Giovanna Giovanna Silva, Silva, BookBook Biennale Biennale waswas bornborn outout ofof aa desiredesire to dialog dialogueue with with the the International International Art Art Biennale, Biennale, to togive give a a presencepresence to to the the book, book, capitalising capitalising onon aa particularparticular moment in in the the cultural cultural calendar. calendar. BookBook Biennale Biennale isis a question we we either either pose pose or or try try to toanswer, answer, a crisp a crisp blank blank page, page, an interview, an interview, a avaporetto ride ride in in the the heatwave, heatwave, a abookmark, bookmark, a phone a phone number number you you might might want want to call, to call,a train a train ticket, ticket, a afriend of of a a friend friend who who has has heard heard about about it, it, a abear, bear, a aworkshop, workshop, an an artists’ artists’ book, book, a way a way to toenrich enrich one’s one’s biennalebiennale experience, experience, oror toto escapeescape from it, a booksh bookshopop that that you you have have probably probably spent spent time time in, in, or orhave have peeredpeered into into while while passing passing by, by, a tool a tool to lookto look at what at what it means it means or does or does not mean not mean to be to a publisher be a publisher today. 10 10 today.The ‘b-r-u-n-o’, project was initiated in 2013, by Giacomo Covacich and Andrea Codolo, simply The ‘b-r-u-n-o’, project was initiated in 2013, by Giacomo Covacich and Andrea Codolo, simply conceived as a journey with the book as a companion. Venice was chosen as a location for the conceived as a journey with the book as a companion. Venice was chosen as a location for the graphic design studio and bookshop because of its links to the history of the book and because graphic design studio and bookshop because of its links to the history of the book and because of the of the unprecedented concentration of artistic and cultural activity at the level of production of unprecedented concentration of artistic and cultural activity at the level of production of print and print and related materials. ‘Open Book Launch’ programmed 10 short interventions, dialogues, related materials. ‘Open Book Launch’ programmed 10 short interventions, dialogues, proposed by proposed by artists, curators and graphic designers involved directly in the participating national artists, curators and graphic designers involved directly in the participating national pavilions, with pavilions,contributions with from contributions the Danish, from Italian, the Danish, Lithuanian, Italian, and Lithuanian, Luxembourg and pavilions Luxembourg and, significantly, pavilions and, significantly,Mousse Publishing Mousse Publishingwho are responsible who are responsible for extens forive extensive number numberof publications of publications that include that include the theNordic, Nordic, Iraqi, Iraqi, Kosovo, Kosovo, Korean, Korean, New New Zealand, Zealand, Malt Maltese,ese, Mexican, Mexican, Albanian Albanian and and Chilean Chilean Pavilions. Pavilions. TheThe presentations presentations covered covered thethe relationshipsrelationships involved involved in in catalogue catalogue design design and and delivery, delivery, development development andand production production as as well well as as examining examining distinctions distinctions and and overlaps overlaps between between catalogues catalogues and and artists’ artists’ books. Mostbooks. publications Most publications were printed were by printed ‘Grafiche by Veneziane’, ‘Grafiche Veneziane’, the principal the off setprincipal printer offset in Venice, printer the shortin Venice, the short and numerous deadlines, making rapport between, graphic designer publisher and

1010 See: See: https: https://www.bookbiennale.org/.//www.bookbiennale.org/.

Arts 2020, 9, 19 15 of 18 Arts 2020, 9, 19 15 of 18 printerand numerous even more deadlines, important. making By contrast, rapport the between, evening graphic culminat designered with publisher David Horovitz’s and printer 10 evenmin performance,more important. ‘Bookmark’, By contrast, filmed the eveningmaking an culminated edition of with bookmarks, David Horovitz’s printed and 10 mindistributed performance, there ‘Bookmark’,and then (Figure filmed 21). making an edition of bookmarks, printed and distributed there and then (Figure 21).

(a) (b)

Figure 21. ((aa)) Book Biennale 2019; (b)) David Horovitz. 2019. 2019. Bookmark.

The Book Biennale project continues with ‘Flicks b books’,ooks’, a series of film film projections taking place over three eveningsevenings inin the the bookshop, bookshop, shorts shorts/films/films that that contain contain books books or whereor where the the narration narration of the of filmthe filmtakes takes the book the book as starting as starting point; point; each presentation each presen thoughttation thought of as a progressiveof as a progressive ‘reading’. ‘reading’. Book Biennale Book Biennalealso includes also aincludes podcast anda podcast an online and presence an online using presence Instagram using called Instagram ‘Index Book’, called documenting ‘Index Book’, the documentingindexes and structural the indexes elements and structural of the biennale elements publications. of the biennale ‘b-r-u-n-o’ publications. are committed ‘b-r-u-n-o’ to continue are committedwith Book Biennale,to continue through with aBook fluid Biennale, and open through approach a influid the and use ofopen open approach space; hoping in the touse add of toopen the space;variety hoping of possible to add platforms to the includingvariety of thosepossible yet toplatforms be discovered including or invented. those yet to be discovered or invented.Whilst there is currently no annual artists’ book fair in Venice, previous one-off events such as The BookWhilst Affair, there 2013 is and currently Scuola Internazionaleno annual artists’ di Graficabook fair in in 2011 Venice, aroused previous momentary one-off interest, events such but the as TheBook Book Biennale Affair, does 2013 seem and to Scuola offer promiseInternazionale of a new di andGrafica alternative in 2011 approach.aroused momentary interest, but the Book Biennale does seem to offer promise of a new and alternative approach. 4. Venice Bound 4. VeniceArtists, Bound writers, calligraphers, printers, bookbinders and graphic designers can all be found in the city, operatingArtists, writers, at the levelcalligraphers, of idea, production printers, bookbi and distribution,nders and graphic which makes designers Venice can a specialall be found location in thefor thecity, book operating and by at extension the level the of artists’idea, production book. The occasionand distribution, of the Biennale which has makes become Venice an engine a special for locationproduction for ofthe new book work and and by allextension kinds of the publishing, artists’ book. a driving The occasion force that of is the nurtured Biennale by has ‘historical’ become and an ‘physical’engine for conditions. production The of new Marciana work Libraryand all iskinds the cornerstoneof publishing, of the a driving history force of the that book. is nurtured Constructed by ‘historical’in 1537, it now and holds ‘physical’ about conditions. 1,000,000 items. The Marciana Venice is also Library the place is the where cornerstone Aldus Manutius of the history founded of the the book.Aldine Constructed Press; his small in 1537, portable it now books holds (enchiridia) about 1,000, revolutionised000 items. Venice personal is also reading the place and are where considered Aldus 11 Manutiusto be the predecessor founded the of Aldine the modern Press; paperback. his small portable books (enchiridia) revolutionised personal readingThe and painter are considered and poet, to Emiliobe the predecessor Isgrò made of his the firstmodern erasures paperback. of books11 in 1964, in Venice, this theThe reference painter and for hispoet, retrospective Emilio Isgrὸ at made Fondazione his first Cini erasures San Giorgio, of books curated in 1964, by in Germano Venice, this Celant. the referenceThe installation for his has retrospective been designed at toFondazione give the visitor Cini the San sensation Giorgio, of curated entering by a largeGermano book. Celant. Isgrò writes: The installation has been designed to give the visitor the sensation of entering a large book. Isgrὸ writes: The theme I addressed for this exhibition in Venice, the city where I made the first erasures Thein 1964, theme inevitably I addressed focuses for this on language.exhibition That’sin Venice, why the I thought city where I had I ma to resortde the tofirst the erasures biblical intradition 1964, inevitably as interpreted focuses in Mobyon language. Dick, Melville’s That’s why wonderful I thought novel. I had Visitors to resort to to the the exhibition biblical tradition as interpreted in Moby Dick, Melville’s wonderful novel. Visitors to the

11 See: https://marciana.venezia.sbn.it/la-biblioteca.

11 See: https://marciana.venezia.sbn.it/la-biblioteca.

Arts 2020, 9, 19 16 of 18

Arts 2020, 9, 19 16 of 18 will enter Melville’s erased text—‘the belly of the whale’, that is also, the belly of media exhibition will enter Melville’s erased text—‘the belly of the whale’, that is also, the belly of language that smothers with noise its real, desperate silence.12 media language that smothers with noise its real, desperate silence.12 TextText explodes explodes ontoonto the wall, wall, words words printed printed as asimage image on wallpaper. on wallpaper. Books Books are laid are open, laid open,but butdisplayed displayed in intransparent transparent cases, cases, so sounavailable unavailable to toleaf leaf through. through. However, However, a digital a digital screen screen shows shows scrollingscrolling book book pages, pages, a a di differentfferent way way ofof viewingviewing/re/readingading his books with with text text erasures. erasures. Invention Invention and and interventionintervention in in the the design design of of exhibition exhibition layoutlayout andand the use of of new new technology technology seeks seeks to to impact impact on on the the depthdepth of of experience. experience. AtAt the the Punta Punta della della Dogana, Dogana, ‘Luogo‘Luogo ee Segni’,Segni’, curatedcurated by by Martin Martin Bethenod, Bethenod, Director Director of of Palazzo Palazzo GrassiGrassi and and Mouna Mouna Mekouar, Mekouar, features features a numbera number of bookof book works. works. Taking Taking its titleits title from from a painting a painting by Carolby RamaCarol (1974), Rama ‘Luogo (1974), e Segni’‘Luogo features e Segni’ 100 featur workses from 100 theworks Pinault from Collection. the PinaultDhikr Collection.(Incantation) Dhikr is the work(Incantation) of Etel Adnan is the (1978), work an of artist’s Etel Adnan book, pastel,(1978), watercolouran artist’s book, and ink pastel, on Japanese watercolour paper, and displayed ink on in a glassJapanese case paper, and constructed displayed to in show a glass the leporellocase and fullyconstructed opened, beautifullyto show the positioned leporello acrossfully opened, the centre ofbeautifully the space. positioned Writing is across mixed the with centre drawing of the andspace. drawing Writing is is mixed mixed upwith with drawing the writing. and drawing “To write is ismixed to draw,” up with says the the writing. poet. Adnan’s “To write work is to stands draw,” at says the the point poet. of intersectionAdnan’s work between stands at image the point and text.of Theintersection line, the sign between (writing, image in other and text. words) The runs line, through the sign her (writing, work; ideas in other at heart words) of the runs exhibition throughwhich her alsowork; features ideas workat heart by of Anri the exhibition Sala in collaboration which also features with Ari work Benjamin by Anri Meyers, Sala in musiciancollaboration and with composer. Ari TheBenjamin Breathing Meyers, Line (2012),musician three and leporello composer. books The presented Breathing on custom-madeLine (2012), three shelves, leporello transcribes books the relationpresented between on custom-made time and space. shelves, Each corresponds transcribes to the a time relation (a tempo): between the ‘livingtime time’,and space. that of Each breath andcorresponds breathing, to the a ‘musicaltime (a tempo): time’ and the the ’living ‘counted time’, and that measured of breath tempo’ and breath of Tchaikovsky’sing, the ‘musical ‘Path time’étique’. and the ‘counted and measured tempo’ of Tchaikovsky’s ‘Pathétique’. There is no doubt here that the book in its many creative forms is given parity with other types of There is no doubt here that the book in its many creative forms is given parity with other types work in the collection.13 of work in the collection.13 The Querini Stampalia Foundation is another fixed point of reference in Venice. Maria Teresa The Querini Stampalia Foundation is another fixed point of reference in Venice. Maria Teresa Sartori’s work ‘The Sound of Language’ which is part of the museum’s collection is included in the Sartori’s work ‘The Sound of Language’ which is part of the museum’s collection is included in the current exhibition, ‘Dire il tempo’ (Telling the time). The 11 audio books contain sound recordings of current exhibition, ‘Dire il tempo’ (Telling the time). The 11 audio books contain sound recordings of poems,poems, literary literary extracts extracts in in di differentfferent languageslanguages whichwhich have been been reworked, reworked, leaving leaving accent accent and and length length ofof words, words, rhymes rhymes and and metre metre unalteredunaltered makingmaking it possiblepossible to to listen listen to to the the sound sound of of each each individual individual languagelanguage in termsin terms of ‘pureof ‘pure sound’, sound’, freed freed from itsfrom original its original meaning meaning (Figure (Figure22). The 22). Querini The isQuerini celebrating is 150celebrating years of what150 years it refers of what to as it ‘conservingrefers to as ‘con theserving future’. the Curated future’. by Curated Chiara by Bertola, Chiara the Bertola, exhibition the 14 integratesexhibition the integrates use of its the library, use of house, its library museum, house, and museum contemporary and contemporary galleries. galleries.14

FigureFigure 22. 22.Maria Maria TeresaTeresa Sartori.Sartori. 2008. The The Sound Sound of of Language. Language.

12 12 See: See: https: https://www.cini.it/eventi/emilio-isgro.//www.cini.it/eventi/emilio-isgro. 13 13 ‘Luogo ‘Luogo e Segni’. e Segni’ Available available online: onli ne:https: https://www.palazzograssi.it/en/exh//www.palazzograssi.it/en/exhibitionsibitions/current/luogo-e-segni/./current/luogo-e-segni/. 14 14 See: See: http: http://www.querinistampalia.org.//www.querinistampalia.org.

Arts 2020, 9, 19 17 of 18 Arts 2020, 9, 19 17 of 18

The ScuolaScuola Internazionale di GraficaGrafica has had a presence in Venice sincesince thethe 1960s1960s overover whichwhich timetime itit hashas amassedamassed aa collectioncollection ofof overover 500500 artists’artists’ books,books, manymany ofof whichwhich werewere producedproduced byby artistsartists participatingparticipating in the artist in residenceresidence programmeprogramme coordinated by Artistic director Matilde Dolcetti, inin respectrespect of of “ A“A little little art art form form which which has greathas great breath, brea hiddenth, hidden in its discreetin its discreet appearance appearance”. Artists’”. Artists’ book courses, book firstcourses, established first established in the 1960s, in the are 1960s, now held are bynow invited held internationalby invited international artists, supported artists, by supported didactic use by ofdidactic the collection use of the and collection by an events and by and an exhibitionsevents and programmeexhibitions programme and focused and around focused the around SG gallery the 15 (FigureSG gallery 23). (Figure 23).15

Figure 23.23. PiercyPiercy Siobhan.Siobhan. Packard, PD. KoendersKoenders Caroline.Caroline. 2019. Visiting Visiting guest artists, ScuolaScuola InternazionaleInternazionale didi Grafica.Grafica.

5. Conclusions We findfind ourselvesourselves inin aa periodperiod wherewhere artistsartists areare combiningcombining oldold andand newnew technologies,technologies, movingmoving between pre-digital printers, photocopiers, photographyphotography and the typewriter to desktopdesktop and onlineonline publishing.publishing. ForFor many,many, the the book book is is a a ‘new’ ‘new medium ‘medium to to be be appropriated appropriated and and exploited exploited as aas ‘tool’ a ‘tool’ with with an abilityan ability to embrace to embrace technological technological changes. changes. The now The familiar now familiar digital world digital has world amplified has theamplified number the of entrynumber points of entry and variedpoints multiplicityand varied multiplicity of options onof ooptionsffer to artistson offer working to artists in publishing,working in productionpublishing, andproduction distribution, and distribution, for control and for independencecontrol and independence of the creative of process. the creative The flexibilityprocess. The of book flexibility formats of tobook absorb formats change to absorb and re-positioning change and re-positioning are what make are it awhat dynamic make medium. it a dynamic medium. Our current current moment moment appears appears to tobe bemuch much like like the thefirst firstcenturies centuries of movabl of movablee type, a type, cusp. a Just cusp. as Justmanuscript as manuscript books bookspersisted persisted into the into Gutenberg the Gutenberg era, era, books books currently currently exist exist in in multiple multiple formsforms simultaneously:simultaneously: as paperbacks, audiobooks, EPUB downloads, and, in rare cases,cases, interactiveinteractive digitaldigital experiences ((BorsukBorsuk 20182018,, p.p. 244). The 58th58th VeniceVenice InternationalInternational ArtArt BiennaleBiennale withwith itsits plethoraplethora ofof bookbook relatedrelated events,events, exhibitionsexhibitions and printedprinted matter has been a litmuslitmus testtest forfor evaluatingevaluating the placeplace ofof thethe artists’artists’ bookbook withinwithin artart practicepractice andand curatorship.curatorship. Within thethe currentcurrent 20192019 Biennale,Biennale, curatorcurator RalphRalph RugoRugoff,ff, hashas instigatedinstigated ‘conversations’,‘conversations’, withwith bookworksbookworks inin manymany casescases creatingcreating aa powerfulpowerful experienceexperience inin termsterms ofof engagingengaging audience harnessing therein the power to changechange ideas.ideas. The dynamism of the book in all its many forms,forms, mediummedium ofof practicepractice andand artefact,artefact, is herehere integratedintegrated withwith otherother modesmodes ofof expressionexpression inin aa greatgreat varietyvariety ofof diversediverse contexts, in particular reference, to the arena of the library. Be it within exhibition, installation,installation, performance, documentation or or dissemination of of ideas, ideas, there there is is little danger of of artists’ books beingbeing consideredconsidered asas aa mediummedium inin isolation.isolation. By its very nature, the book definesdefines itsits ownown spacespace but requires time and interest beyond the casual, whether to be found in gallery, library, bookshop or indeed any other location. The care and deliberation of the curator is felt as museums and 15 See: https://www.scuolagrafica.it/.

15 See: https://www.scuolagrafica.it/.

Arts 2020, 9, 19 18 of 18 but requires time and interest beyond the casual, whether to be found in gallery, library, bookshop or indeed any other location. The care and deliberation of the curator is felt as museums and institutions continue to present vibrant diverse works within the arena of large-scale exhibitions; recognising the special place the artists’ book holds that cannot be fulfilled by other media. Modern print and modes of publishing offer immense potential, encouraged by the meeting and cross-fertilisation of many different forms of expression. Artists continue to present works that encourage institutions to keep pace and a dialogue with the contemporary, to leave behind the limitations of definitions and raise questions through the diffusion of ideas and methodologies and look for answers in a diversity of media within which the book form remains stalwart. The book in all its many manifestations is alive and well and will always be of our time.

Funding: This research received no external funding. Acknowledgments: The author would like to acknowledge that all the images included within this article are published thanks to the kind permission of the photographers and artists concerned. Conflicts of Interest: The author declares no conflict of interest.

References

Borsuk, Amaranth. 2018. The Book. Cambridge: MIT Press. Available online: http://www.amaranthborsuk.com/ publications/the-book/ (accessed on 2 December 2019). Cherix, Christophe. 2013. Foreword. In Booktrek. Edited by Clive Phillpot. Zurich: JRP Ringier, Dijon: Les Presses Du Réel. Lauf, Cornelia. 1998. Cracked Spines and Slipped Disks in Artist/Author, Contemporary Artists’ Books. New York: D.A.P. Inc. Phillpot, Clive. 2003. Diagram: Outside of a Dog. Gateshead: Baltic Centre for Contemporary Art. Phillpot, Clive. 2013. Booktrek. Zurich: JRP Ringier, Dijon: Les Presses Du Réel. Rugoff, Ralph. 2019. May You Live in Interesting Times. Available online: https://www.labiennale.org/en/art/2019/ 58th-exhibition (accessed on 24 September 2019). Turner, Silvie, and Ian Tyson. 1994. Facing the Page: British Artists’ Books: A Survey 1983–1993. London: Estamp.

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