María Virginia Jaua
"Another curious fact: the word "personage" comes from the mask per sonare, a mechanism that permitted not only the manifestation of "self-representation", but also conceived to enable sound, to make the voice more powerful and audible. [...] What we nowadays know as image, comes from "imago". And the two words are not only linked in the same origin. In Rome "imago" allowed the possibility to reproduce the face of any recently deceased nobleman. After dying, only patrician families owned the "right" to the "image", having the privilege of its reproduction and exhibition along the streets of the city." MVJ
The project Serán ceniza…, of which this book is a part, was presented in 10 December 2010, at Navio Vazio (Porto, Portugal), for the exhibition Navio Vazio (g): Os lábios inclinados para a mão os desenhar – Amizade. Na Solidão partilhada esboçam-se possibilidades de estar com o outro, a project by Isabel Carvalho, with the participations of María Virginia Jaua and Tara McDowell.
2011 / 12 x 17 cm / 40 p. / b/w / Eng
"The painter R.B. Kitaj once wrote of the “safe-household” that Jess, an artist, shared for many years in San Francisco with Robert Duncan, a poet—two men who are something like cult figures in American art and poetry circles. Kitaj’s curious neologism is evocative and worth lingering on, for it is both right and wrong, though not for the reasons we might expect. Duncan and Jess’s household was a made place, a conscious imagining and inhabiting of the terms of one’s life." TMcD
The project Householders, of which this book is a part, was presented in 10 December 2010, at Navio Vazio (Porto, Portugal), for the exhibition Navio Vazio (g): Os lábios inclinados para a mão os desenhar – Amizade. Na Solidão partilhada esboçam-se possibilidades de estar com o outro, a project by Isabel Carvalho, with the participations of María Virginia Jaua and Tara McDowell.
2011 / 12 x 17 cm / 40 p. / b/w / Eng
Edition of 10 units of the poster collection from the first year's programming of Navio Vazio, conceptualized by Isabel Carvalho and Pedro Nora. In addition to this collection, there is also a selection of posters from publisher's catalogue.
2011 / 29,7 x 42 cm / posters / b/w and color / Pt
Latidos gathers a selection of stories with shared uncommon look over ways of perceiving the world. Sometimes realistic and other times recurring to a delirious and poetic tone, the authors follow thru, briefly and fable-like, the hidden spaces between science, religion, paganism, nature, history, mythology and aesthetics, in a voracious curiosity and innocently available way of looking the world. Crossing over borders shamelessly, they are drawing pathways which are like attempts to understand the world.
2011 / 10.5 x 18 cm / 116 pp. / b/w / Pt
Concept – Isabel Carvalho
With the collaborations of Julieta Aranda, Rosa Barba, Carolina Caycedo & Chaveli Sifre Vulcánica, Andrea Echeverri & Milagros Jaramillo, Carla Fernandez, María Virginia Jaua, Adriana Lara,
Judi Werthein and Carla Zaccagnini.
Encantadoras de Serpientes [Snake Enchanters] is a notebook
on emancipation, created for the exhibition CGEM, curated by
María Inés Rodríguez , in MUSAC (Léon, Spain).
Snake / enchanters / present in this book / personal statements / about emancipation, / to be read / as chants / of enchantment.
That by the chant / interiorized / by the body, / the singing of the chant / is / reflection, rejection, / convulsion and action, / fulfilling / the personal / in the social / – IC
2010 / 24 x 31.5 cm / 108 p. / b/w and color / Es
Many are the reasons for one to have as an activity a task that is apparently useless. Activity, in a sense that a task is sistematically repeated with the seriousness of a commitment with oneself or with society.
In the past – driven by the concrete side of things, or illuded by more serious solicitations – I said to myself that this activity didn't have any interest, it barely satisfied me. Suddenly I found myself with the urge to restart inconclusive experiences. I realized that this is one of the few activities that entertain and elude me. And the illusion is good. – IC
2008 / 21 x 21 cm / 40 p. / b/w and color / Pt
Texts by Isabel Carvalho, Isabel Duarte (Voca), José Bártolo, Marco Balesteros, Maria João Macedo (Voca), Paul Buck, Pedro Nora, Ricardo Nicolau, Sofia GonçalvesThe “Impossuível”* talks were held at the Navio Vazio, in the city of Porto, between 29 April and 8 May, 2010. A group of artists, designers, curators and art & design critics were invited to share with the public a choice of books from their own private libraries. The texts collected in this book are the reflections that took shape in these encounters.
* This is a word coined by one Portuguese poetess Natália Correia to describe another, Florbela Espanca. The word is a portmanteau that blends the Portuguese words for “impossible” (impossível) and “possessable” (possuível).
2010 / 12 x 16.5 cm / 140 p. / b/w / Pt / Eng
Vítor Silva Cravo
For the historian, territory and geography are subjective realms of time and memory, able to transform everything. To draw a map of these transformations allows the description of the "posthumous life" of both the forms of culture and the artistic manifestations, while observing a personal subjective cartography of thought. The historian is the one that pursuits the time fluxes, morphology and "mnesic waves" in order to describe and assemble – according to a "law of good neighborhood" – the hypothesis of a more complete "iconology of intervals", capable of clarify the condition and the existence of "human culture destiny". VSC
2010 / 12 x 17 cm / 40 p. / b/w and color / Pt
What was "ugly", as understood by Heller in his seminal essay "Cult of the Ugly", became beautiful, institutionalized and desirable. What is the new "ugly"? Or, to put it in other way, how can Design reinvent itself?
2010 / 12 x 17 cm / 16 p. / b/w / Pt
Ana Carvalho and BF
Papores is a botanic example of unique features and complex classification. It is considered, since its discovery in the beginning of the 17th Century, the biggest botanical enigma. Primary obstacles to its study result from the impossibility of applying rigorous, scientific methodologies and classification systems. This is because Papores are plants without fixed morphological features, which would
allow its submission to classification.
2010 / 43,2 x 29,7 cm / poster / color / Pt
Texts by IC and Ricardo Nicolau
The place for existences as heavy as books are the public libraries – without a user card, no letter of permission to justify the visit; It shouldn't exist more books circulating than public libraries to store and keep them. The private library can only be justified by gathering place of open books - still unread - and sparkling books - those who survive all readings. The exemplary library is an oral one, in which books are read, chewed and swallowed, used and integrated, where people are the books and these without people to read them, are useless.
2010 / 21 x 29,7 cm / 4 p. / b/w / Pt
The heart didn't work any longer. It was not seen by anyone, and people started to question if it could be kept in a basement, or hidden between the head and the lungs. It seemed that our guide wanted to keep that secret to himself. IC
2009 / 50 x 70 cm / poster / b/w / Pt
Collaborators: ATLAS projectos, Dayana Lucas, Isabel Carvalho, João Alves Marrucho and Pedro Nora
Between 1 June and 15 August, 1909 it were published in Portugal, by the editors Grácio Ramos and Pinto Quartim, 6 issues of the anarchist publication Ámanhã [Tomorrow].
In the editorial of the first issue, the editors described the publication as a "popular rationalist magazine, willing to cut with the past, with no fear of disrespecting idols, gods or dogmas." During Amanhá's short life themes such as education, free-love, work, libertarian pedagogy, atheism and property were discussed along it's pages.
2009 / 23 x 29.7 cm / 80 p. / b/w / Pt
Poster by BF after “Ne coupez pas nº 4” from Jean Claude Moineau (c.1966), for the exhibition "O que é urgente mostrar" [What to Show Now] curated by José Manuel Bártolo in collaboration with Centro de Estudos Multidisciplinares Ernesto de Sousa..
[...] O Que é Urgente Mostrar [What to Show Now] is an exhibition of posters involving nine Portuguese designers who were faced with the challenge of expressing their urgent message by picking a poster among Ernesto de Sousa’s works to which they then had to associate a poster of their own creation. Through a process of dialogue, identification or confrontation between two forms of contemporariness, it is the poster’s own class, its function and place in the present time that is questioned, through the reflection on the letterings and the messages, continuities and ruptures, promoted by designers of different generations.[...] José Manuel Bártolo.
2009 / 48 x 68 cm / poster / color / Pt
[...] One day, after participating in a Ouija board game at some neighbors house, she started to write four books simultaneously, leaded by the spirit of another woman, in an ancient language with modern traces, out of use for more than two hundred years. When this case became known, the long enquiries, made by curious people – skeptical spiritualistic people – bothered her. The questions asked were about her writing and how the two women communicate. She explained that the other woman was a writer from the 17th century, who died prematurely at the hands of an indian tribe – reason why she was not able to write her own books.
Her wish was, she said, to give voice to the real writer and keep the people's attention away from her. She considered herself nothing but a mere scribe. So well she erased herself that no book was signed by her. The other woman was the only to take the merit for having written some of the most popular examples of the classics of literature. The many books they wrote together, in a curious pact of happiness, were peculiar.[...] IC
2009 / 16 x 10.5 cm / 68 p. / b/w / Pt
Time that “was”, sometimes, has been the ant-time, which was divided into millions and millions of parts. About this nothing can be done. I was looking for time in its plenitude, and that is why I committed myself with that time which would bring me novelties --joy and knowledge. Sound based measured time were the first I renounced to. Still today I lament the sounds of sirens and bells of the factories, churches, schools, hospitals with horrible howls. I cant forgive those who remind me of the time that other have opted for.
2009 / 10,5 x 16 cm / 64 p. / b/w / Pt
“We’re on a visit to Airotiv. And yet, Airotiv is an invented name for a location that exists in New Zealand at the antipode of Vitoria in the Basque Country, Spain. The exact antipode of Vitoria is actually located in the South Pacific Ocean, about 500 km off the coast of Canterbury. We chose the city of Christchurch, in Canterbury’s coast, because it is geographically the closest city to being in antipodal relation to Vitoria. The things from Airotiv, which we can now observe, do not necessarily express the unfamiliarity of this location, but rather a series of coincidences, repetitions, recognizable events. These things are documents of things that actually occurred in the early 1930's, and are happening, once again, now. In fact, Airotiv is where we find ourselves in this very moment, in Vitoria.” André Guedes
The Airotiv Papers was published in the context of Airotiv, a solo show by André Guedes at Centro Cultural Montehermoso in Vitoria, Spain, 2009.
It is formed by an appendix of archive pictures and the re-publishing of four texts previously released in New Zealand: ‘The Sugarbag Years’ (1974) by Tony Simpson, ‘The Heyday of the One-Act Play 1930-1945’ (1984) by John Thomson, ‘Rabbits’ (1932) by Violet Targuse e ‘Port Supermarket Checks Out’ (2008) by Ian Steward.
The edition is published in association with The Physics Room (Christchurch, New Zealand).
2009 / 18.5 x 28.5 cm / 96 p. / p/b / Eng / Esp / unavailable
Edited by: Isabel Carvalho, Lígia Paz, Pedro Nora
Texts by: Brendan Byrne, Clare Thornton, David Riff, Debra Savage, Dmitri Vilensky, Esther Leslie, Frederikke Hansen, Isabel Carvalho, João Alves Marrucho, João Sousa Cardoso, João Teixeira Lopes, Jorge Louraço, Katharina Schlieben, Kirsten Forkert, Lígia Paz, Marina Vishmidt, Mário Moura, Mark Hutchinson, Marta Bernardes, Paul Buck, Sønke Gau, Vitor Silva, W.A.G.E.
“For the modern consciousness, the artist (replacing the saint) is the exemplary sufferer. And among artists, the writer, the man of words, is the person to who we look to be able best to express his suffering. [...] As a man, he suffers; as a writer, he transforms his suffering into art. The writer is the man who discovers the use of suffering in the economy of art—as the saints discovered the utility and necessity of suffering in the economy of salvation.”
Susan Sontag – “The artist as an exemplary sufferer”, Against Interpretation (London: Vintage, 1994 [1st ed. New York: Farrar Straus & Giroux, 1966]).
The texts that we’ve gathered in "The Economy of the Artist" present critical analyses of culture policies, of institutions and of the very thought structure of the cultural agents of the environment in which the artist is the living centre. Sometimes the form of questioning of the precarity of the artist milieu is presented as an individual action, other times as the result of a collective conscience that stems from associative actions. These twenty texts comprise essays, interviews, reflections, and even biographical accounts. The order in which they are presented does not reflect any sort of hierarchy between them. All of them present viable propositions that aim to contribute to a public reflection and discussion. There’s a vantage point in this collection due to the fact that it presents a diverse, heterogeneous analysis of the complexity of the arts-economy relationship, which we learn is more alike than different in Portugal, the United States, the United Kingdom, Switzerland, Denmark, and other places, mirroring, or so we believe, a global reality.
2010 / 16 x 22.5 cm / 408 p. / b/w / Pt / Eng
[...] By two o’clock, marked in an improvised sundial (a stick in the sand), reflected in a tin can that someone had brought in their overcoat’s pockets, we were dozens, maybe a hundred in that beach, everyone with sunglasses on, laying down, belly up. Some laid their heads against the legs, the arms, the bellies, the backs, the shoulders of the ones next to them. Some held their hands together. The dark, thick mass we made up was similar to the wet, fresh tar on roads…
2009 / 14 x 20 cm / 36 p. / color / Pt / Eng
To eventual readers:
Jotta Dossier is a book exercise on ventroloquism: two people with commas, Ana Jotta (artist) and Ricardo Nicolau (curator), alternatively speaking through each other's mouth; it is also the endpoint of an exhibition, and a rough copy of Joseph Cornell's Duchamp Dossier. The book presents images collected by Ricardo Nicolau while preparing s/he is her/e — Ana Jotta's most recent exhibition —, with texts by these same authors, graveyards of names, lists of titles, stolen quotes, anagrams and simetrical words.
2009 / 22 x 30 cm / 192 p. / b/w / Pt / Eng / unavailable
A project by Isabel Carvalho
Erotic feminine chronicles written by anonymous authors. Second Volume.
"[...] This reminds us the tradition of the work done on the side, under anonymous identity or using pseudonymous, that many writers have used in order to be economically able to develop their own personal "voice". This borderline work has its unique value. I am delighted to be able to contribute to the publication of the present cultural residue." IC
2009 / 10 x 12 cm / 32 p. / b/w / Pt
[...] the hypothesis that sustains the texts gathered here is that design, unintentionally, serves a neo-liberal ideology. This may seem like a paradoxical claim, unfair even, since never before have so many designers worried about politics as today. Never before have so many projects attempted to solve, by the use of design, the social and humanitarian problems of the world – leading some to inquire (with scarce irony) if designers don't flush, by nature, left. However, the road to hell is paved with good intentions, and it is precisely when design makes every effort to be political, that it serves more effectively the neo-liberal agenda. [...]
Although most has been written in the beginning of 2008, the texts collected in this anthology were published since 2004 in The Ressabiator blog (ressabiator.wordpress.com). They are a selection of texts dealing with design's political issues, but also with culture and public funding.
2008 / 12 x 16.5 cm / 96 p. /b/w / Pt / unavailable
Interview by BF editors to Paul O’Neill and Mick Wilson.
After a brief and amicable encounter with Paul O’Neill in Bristol, the BF editors decided to send him this questionnaire on artistic communities, a study object that he has explored in his multifaceted activities. This email conversation was also extended to Mike Wilson, who made a significant contribution to the discussion. The visual essay that acts as a complement to the text was created by the editors.
2008 / 13.5 x 21 cm / 24p. / b/w / Pt / Eng / unavailable
Nim-Jo Chung in collaboration with BF
"In this video, the figure, me, is alone and there is no one to film, so I simply put the camera on the floor, pointing toward the sun and walked away from it until I or it was out of sight. When the loop occurs, as with all loops it’s a repetition, but curiously it’s also is as if the figure has traversed the whole globe only to appear from behind the camera and repeat the same endless journey. There is no narrative closure. There is only a slightlyspeededup, comical but for me “helllike” scenario of eternal reoccurrence." Nim-Jo Chung
2008 / 30 x 42 cm / poster / color / Pt / Eng / unavailable
Participants of the exhibition “A River Ain’t Too Much To Love” Poems by Ana Manso, André Romão, António Bolota, Gonçalo Sena, Isabel Ribeiro, Pedro Barateiro, Pedro Neves Marques e Renato Ferrão.
The publication uses the exhibition “A River Ain’t Too Much to Love” - part of “part-ilha” exhibition, Spike Island, Bristol, UK - as a starting point by inviting the participating artists to write a poem about Bristol’s river, the Avon. The resulting work is more than a simple documentation of the exhibition; it is a facilitator of new creation in its own right using a creative process that is, in the greater part, unfamiliar to these particular artists.
2008 / 60 x 42 cm / poster / color / Pt / Eng / unavailable
Isabel Carvalho and Clare Thornton (ed.)
Minor Breast is a collaboration between artists Isabel Carvalho and Clare Thornton. The project has developed through their shared interests in community, collective production and a desire to get to the very heart of the matter. Minor Breast is a collection of contemporary reflections and strategies for surviving lost love, heartbreak and getting through moments of crisis. Gathered through an international female network of friends, family and contacts, Minor Breast focuses on asymmetries, relationships, sharing of intimacy and feminism. It seeks to be a creative and honest public platform. Participants were invited to share with us the advice that got them through. Whether passed on by another or learned through direct experience we sought creative and poetic contributions to surviving the hardest of times and navigating the interwoven highs and lows of life/love/work.
2008 / 11.5 x 16.5 cm / 48 p. / b/w / Pt / Eng / unavailable
António de Sousa
Texts by João Paulo Sousa
“The ever growing acceleration that characterizes our era is still another factor that leads to the devaluation of reflection, as reflection is a process that needs time. It ends by being replaced by publicity or, even more so, by that extreme form of contemporary ethos know as divulgation. That is to say, the works are but merely divulged, named, publicized, in the midst of a vast magma tide in which everything looks the same, everything becomes uniform. More importantly, in which nothing is entitled to a genuine critical reception, capable to question its constitutive processes and to effectively address a latent spectator, by presenting possible meanings. With increasingly less and less time to dedicate to any object (a time that becomes useless, with no thickness, unable to dwell in memory), our era witnesses an endless chain of novelties, the new one erasing the last, as if only that which we insist in calling the present had an effective ontological condition. So it’s not surprising that we find very clear signs of tiresomeness and of overload in what one could call, according to modernity’s pigeonholing logic, the art world.” João Paulo Sousa
2008 / 13 x 17.5 cm / 24p. / b/w and color / Pt / Eng / unavailable
Project by Isabel Carvalho
Texts by Calhau, Isabel Carvalho, Mário Moura, Lígia Paz and Luis Eustáquio
“Taking in account all my experiences in relation to artist-run spaces – as foundermember or guest artist, regular spectator or sheer parasite to spaces whose management is necessarily temporary – I think that this kind of spaces behave like “castles”, i.e., they are physical, concrete and real transpositions of the ambitions of those who conquer them and make them their own territory. In the precise moment any given space is found, occupied and turned into a workable unit, a dream is embodied in it, through it, as well as a will of changing (whether consciously or not) the context in which it is embodied. As time goes by and, consequently, throughout the successive inner and outer changes of the dynamising group or individual, it is only to be expected that the “castle” goes under some degree of transfiguration, and a new moment begins. During the whole process, the best aspect of it all is to believe strongly enough to erect such a “castle”. The worst, though, is to forget that that will was once tangible.” Isabel Carvalho
2008 / 14 x 10,5 cm / 80 p. / b/w / Pt / Eng / unavailable
Project by Isabel Carvalho
Introductory texts by Ana Butshke, Lígia Paz and Wanda
Collection of erotic feminine fantasies written by anonymous authors. "Fantasies (in whichever format) allow an individual search of one's own sexuality - the shades, limitations, exploration of its secrets and most hidden desires - to be an experience in itself very satisfactory of self-knowledge and individual growth. This is because before we are two (3, 4, 5, ...) we are one." Wanda
2007 / 15 x 20 cm / 72 p. / b/w / Pt / unavailable