Roma - November 2020
Roma - November 2020
Roma - November 2020
'Tokyo Papers' comprises a collection of 41 monoprints created by Dutch graphic designer and
typographer Karel Martens between 2019 and 2020. In 2018, Martens received a package from
artist-curator Pierre Leguillon that contained filled-in Japanese forms which he had found at a
street market in Tokyo. Martens was intrigued by the collection of thin paper with a rectangular
black-blue layer of carbon on the back. In 2019 he started to print on these back sides, but
because the overprinting on the carbon layer caused unwanted damage, he switched to printing
them on the front sides as well. "The closing image is related to Tokyo in a different way," he
explains.
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Published with Na Kim's eponymous solo exhibition at the Seoul Museum of Art, which is
dedicated to letting children explore the artist's visual language through works in various
mediums, this book offers a better understanding of those works and her oeuvre as a whole. The
title, 'Bottomless Bag', is borrowed from the mysterious bag in the animated film 'Inside Out'. The
bag contains endless odds and ends belonging to the main character, which link her to her
memories. It also recalls the "Object Bag", which was widely used for educational purposes in
elementary schools in Korea during the 1980s. As such, the exhibition becomes Na Kim's bag
containing her collection of work.
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This year's edition is published in tandem with a long-term installation of The Serving Library's
collection of (mostly) framed objects at 019, an artist-run space in Ghent, Belgium. Apparently,
the sole common denominator of these objects - which range from paintings, photographs, and
LP sleeves, to a can of green paint, a German license plate, and a Ouija board - is that they
appeared as illustrations in an issue of 'The Serving Library Annual' _or one of its immediate
antecedents, 'Bulletins of The Serving Library' or 'Dot Dot Dot', sometime in the last 20 years. The
present volume depicts the entire collection at the time of writing, arranged in chronological order
of production.
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This publication appears in conjunction with an exhibition of work by Swiss painter Valentin
Carron at Mauvoisin Dam in Valais, Switzerland. For the eponymous exhibition, Carron focuses
on the image of the mule. The animal is an emblematic figure of effort, endurance, and
composure in many places around the world, but has a special significance for Valais, which had
a herd of over 2,000 mules as recently as the 1940s. While mules play a largely traditional role
today, they were once relied upon to transport cargo from valley to valley in this rugged Alpine
region. Carron pays tribute to this legacy by depicting the animal as a simple silhouette with bold
colours.
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With 'Invisible', a visual, photographic research project on the underwater seascapes of the
Calanques, Nicolas Floc'h set out to capture the state of the underwater seascapes at a given
point in time, between 2018 and 2020, by following the entire 162-kilometre coastline of the
Calanques National Park. The images, taken between 0 and -30 metres deep, in natural light and
with a wide-angle lens, present a panorama of the natural and man-made landscapes and their
transformations. The black-and-white photographs show the sea as it offers itself to the eye.
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In 'Lithium' Erik van der Weijde once again turns the camera on his son, who is now a teenager.
The photographs were taken between 2018 and 2019, capturing a pivotal time in their lives and
relationship. The series is partly set in Brazil, his son's home country, during their last year
together there, and also partly in their first year after moving to Europe. It is clear that transitions
and the gap between expectations and reality left their mark on this period.
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Around the year 1124, a community of Benedictines settled on the Wivina site at Groot-
Bijgaarden in modern-day Belgium. Archaeological research has uncovered the remains of five
consecutive churches and outbuildings there. The current chapel from 1924 is still intact. In 2011
interior architect Tom Callebaut led the transformation of this chapel into a contemporary space
for contemplation. Nine years later, photographer Geert Goiris was invited to visualize the
experience of this space, which is still a beacon of theology and reflection. A text by Herman
Lombaerts accompanies the series of images.
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