(((

((( is conceived of not only as a poetry collection and an artist book, but also as a series of actions, a sculpture, an installation, a living object, and a verbal ecosystem. The poetic voyage of (((, recounted in a concrete yet mysterious, abstract yet bodily language, is proposed here in a trilingual English–Italian–French edition. In the spirit of Uitgeverij’s editorial approach, this will allow readers from different parts of the world to discover in their own ways how ((( explores some of the author’s recurring themes through highly innovative poetic and narrative processes: the effects of war on children; technology and surveillance systems; immaterial and unknown phenomena; human emotions and non-human manifestations of nature via undefined objects and bodies, animals, and cosmological landscapes. The three parentheses of the title hint at multiple layers that are opened and never closed: ((( seeks to push language out of its verbal and human boundaries, towards unobservable territories. The genre of this book, although stemming from poetry in the sense of Dichtung, that is, concentration of meaning in highly dense verbal structures, is eminently queer, as it escapes identities and definitions. Through its multidimensional, intense, and surprising writing architecture, ((( explores new conceptual and emotional possibilities in the 21st century, confirming poetry and post-genre writing as powerful forms of inquiry in the contemporary era.

ARTIST BOOK IN THE CONTEXT OF RELATIONSHIP OF GRAPHIC DESIGNER AND AUTHOR

The book is an object that has been intertwined with man for centuries, transferring knowledge and thought. It has been shaped with the possibilities brought by the age in every period of history, its form and structure has changed. The ideological structure, understanding of art and culture of the period also contributed to the evolution of the book. However, the book has always been the object that conveys the writer's thought. With the developing technological developments, production increased and new branches of profession were needed. The graphic designer formed in line with this need has become the person who shapes the form and form of the book. The art movements and ideological thinking infrastructure offered by the 20th and 21st centuries have also influenced graphic designers. In this context, it also changed the role of the designer. Now the designer has reached the position of the person who not only conveys the thought demanded by the customer but also presents his own world view with the product created. Within the scope of the research, the development of the book over the centuries has been evaluated. The effects of the author and graphic designer who constructed the book on book design were discussed. In the last chapter, the subject of the designer as a writer is examined with examples. Keywords: Book, book object, design as author

Tracking the Loving Gaze

Tracking the Loving Gaze is a futile attempt to follow, map and capture the way cherished personal photographs are viewed. The authors asked 30 people to look at a preselected photograph that held a special meaning for them, while using an eye tracker. The raw visual data from this process---heat maps, focus maps and scan paths---became the foundation of a body of work that includes darkroom prints, short videos and a limited-edition artist book. Apart from exploring the invisible viewing processes of personal photography, this article introduces the concepts of the detached and the invested viewer, as well as the corresponding concepts of the cold and the loving gaze.

Hybrid Family: Interview with Maja Smrekar

Maja Smrekar is a visual artist addressing current phenomena in contemporary society. Her earlier works often touch upon the mundane permeated by stereotypes of popular culture, the future as understood through fiction, and the ethical aspects of human interventions in nature and natural processes. In 2014, she began performing her continuous work K-9_topology, in which she analyses the causes and consequences of human domination on the planet, and questions the self-evidence of the anthropogenic mentality. During the following four years, this artistic research and extremely interdisciplinary action led her to deeply explore the relationship between a human and a dog. Individual elements of the project were introduced through performance, installation, artist book, and photography. The following interview focuses on this segment of her work; on her reflections on the relationship between a human and an animal; and on certain important social contexts that define her work. Keywords: contemporary art, human-dog relation, performance art, posthumanism, wildlife domestication

Visions, Wars, and Utopias of the Russian Avant-Garde

While the aspiration to harmony, utopian in its essence, became a distinctive feature in the particular vein of modernist aesthetics, interested in constructive principles, which came to the fore after the October Revolution in the early 1920s, another line, which will interest me the most in this essay, had been predominant during 1912-17, and developed in quite a different direction, striving for dystopia, dissonance, and the absurd. The metaphor of war in the pre-revolutionary avant-garde was paradigmatic to the concept of innovation and directly linked to the rather symbolic “destruction” of previous achievements. A deeper understanding of avant-garde ideology—on social, political, and aesthetic levels—appears when contextualized in relation to World War i. Natalia Goncharova’s series of lithographs Misticheskie obrazy voiny [Mystical Images of War] (1914), Pavel Filonov’s artist book Propeven o prorosli mirovoi [Canticle of World Flowering] (1915), Olga Rozanova’s linocut portfolio Voina [War] (1916), and Aleksei Kruchenykh’s album of collages Vselenskaia voina [Universal War] (1916) were among the most profound artistic responses to the war. These unique works represent three different artistic explorations of the theme, as reflected in neoprimitivist, futurist, and suprematist aesthetics.

Edición de un livre d´artiste. Compartir nuevos espacios / Edition of a livre d’artiste. Share new spaces

En este documento se trata de exponer los elementos y circunstancias que concier- ne a la edición de un Libro de Artista, como obra que es de Arte contemporáneo, centrando los comentarios a lo que concierne a la producción de la obra, al igual que se intenta abordar las fases relativas a la difusión y una posible comercialización del trabajo.Edition of a livre d’artiste. Share new spacesThis article tries to expose the elements and circumstances that concern the edition of an Artist Book, as a work that is of contemporary Art, focusing the comments on what concerns the production of the work. It is also intended to address the phases related to the dissemination and possible commercialization of work

Modernism, Feminism and Science Fiction: Words as Silence, Language as Rhymes by Marwa Arsanios

Abstractis an artist book published in 2012 by Lebanese contemporary artist Marwa Arsanios, included in her

Introduction to İsmail Saray's Leonardo da Vinci

Aiming to contextualize Turkish artist İsmail Saray's artist book Leonardo da Vinci (1976), this text centers around the artist's educational formation and the early years of his artistic practice between the years of 1973–1980, when he was based in Turkey. Tracing key moments in this period including his participation in the Paris Biennial of 1977, the Yeni Eğilimler [New Trends in Art] exhibition of 1979 in Istanbul as well as his guest appearance in the exhibition Sanat Olarak Betik [Book as Art] organized by the conceptualist artist collective Sanat Tanım Topluluğu. This essay also gives a glimpse of the conditions under which artists were operating at the time, heavily influenced by the political developments in Turkey. The dematerialization of Saray's practice is traced through the artist books and his production on paper, including correspondence that led to the production of his artworks by fellow artists elsewhere, a phenomenon that awaits further investigation.