Born in Toulouse in the 17th century, the art collector Pierre Crozat is at the origin of the “Recueil Crozat”. Consisting of reproductive engravings of paintings and drawings, with notes on the artists, this work is one of the first prototypes of the art catalogue. An innovative initiative, the Recueil Crozat opens up the way to a new book type then to its descendants in multiple formats down to the unclassifiable mutant.
“The catalogue and its hybrids” depicts editorial projects initiated by art centres – France, Europe and international – which reflect the diversity of the editorial offer related to the exhibition context.
These printed spaces of meetings and dialogues – between an art centre, a curator, an artist, a graphic designer and so on – especially question the book object as an alternative to the exhibition space. From the documentary object – the catalogue – to the composite printed formula – artist’s book – some of these publications therefore propose a more complex treatment of artistic creation projects, artworks and their documentation.
Source, trace or ephemeral extension, each of these printed experiments, reactivated at each reading, comprises an alternative living memory space, a new context for the existence of the work of art.
Art spaces therefore today offer the creators the conditions required for these editorial experimentations confronting the exhibition space and traditional documentation. Here is an excerpt.
October 28-30, 2011
École supérieure des beaux-arts, Toulouse
conception graphique: © officeabc 2011
extrait photogramme: Georges Franju, Les Yeux Sans Visage, 1959 (D.R.)
extrait livre: Raf Vallet, Mort d’un Pourri, Gallimard, Paris, 1972 (D.R.)
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