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A writer, contrary to the popular opinion, does not write books. A writer writes texts.
Ulises Carrion (The New Art of Making Books, 1973)

'culturepreneur'
Simon Ford (Art Futures, in: Art Monthly, 1999, nr.223)

Now what, for want of a better expression, has been labelled 'artist's book' since the early 1970's, has generally taken its form and size from the pamphlet rather than the book, and as a work of art it is related to the modest booklet much more than to the imposing tome. The word 'book' may seem overstated for publications that are often thin, a fortiori when it is only a single folded sheet in a lightweight cover, or a few loose sheets in a folder, or a brochure simply stapled together, or a ring binder containing just a few pages, or merely an empty dust jacket. In general, these publications have more in common with tracts, post cards, and other small printed matter than with the bound work that has a certain thickness and which we call a book. The artists are the first to prefer using the more neutral word, 'publication', (...)
Anne Moeglin-Delcroix (Little Books & Other Little Publications, 2001)

Tijdschriften worden nooit gemaakt voor mensen die er later een boek over schrijven.
Hans Renders

The archive is the site where past and future become reversible.
Boris Groys (The Loneliness of the Project, 2002, p. 21)

Kunstzeitschriften berichten in Wort und Bild über Kunst. Künstlerzeitschriften tun das in der Regel nicht. Sie dienen vielmehr dazu, die Text- und Bildbotschaften der Künstler direkt zu verbreiten - als periodisch erscheinende Auflagenobjekte.
Jurgen O. Olbrich (Kunstzeitschriften - Zeitschriftenkunst)

(...) impending doooom (...)
Michel Vuijlsteke (blog, entry 22.07.2004)

Doortrekken naar de geschiedenis is wel amusant maar niet echt relevant.
J.V.

Formal art criticism must be judged as organized power.
Les Levine (The information fall-out, Studio International, 1971, p. 267)

Artists' books are distinguished by the fact that they sit provocatively at the juncture where art, documentation, and literature all come together. Indeed, one of the characteristics of the field is its mongrel nature.
Clive Phillpot (Artist/Author : Contemporary Artists' Books, 1998)

Artists' books are a hidden and under-exploited library resource whose further development is being threatened by its perceived irrelevance in an age of cost-cutting and conservatism. The example of a type of library material thought by many to be of marginal concern makes it possible to examine many of the fundamental issues of contemporary art and contemporary librarianship. At each stage of the collection management process the artists' book is the exception that proves (or disproves?) the rule.
Simon Ford (Artists' Books in UK & Eire Libraries, ALJ, 1993, nr. 1, p. 22)

Artists' books are at once traditional (centred on the book) and radical (deconstructing the book). Libraries should similarly be at once traditional (centred on knowledge, its production, storage and retrieval) and radical (deconstructing knowlegde, highlighting areas of uncertainty, exposing contradictions and providing alternatives).
(Simon Ford, Artists' Books in UK & Eire Libraries, ALJ, 1993, nr. 1, p. 22)

Art magazines play a crucial part in the distribution of art: they are where we find out about it, see it represented, find opinions, are informed about what we can see and what we have missed and, most importantly, develop a sense of the contemporary moment.
Lisa Le Feuvre (Art Monthly, 2004, nr. 278)

Oxford is wonderful.
Anonymous

Een museum is verinnerlijkte openbare ruimte / A museum is internalised public space.
Paul Robbrecht

De mens (...) is een doorzichtig en onbepaald wezen, dat zich moet uitdrukken via zekere gedragingen en dat als gevolg daarvan uiterlijk - voor de anderen - veel meer omlijnd en gepreciseerd wordt dan hij innerlijk is. Hieruit komt een tragische wanverhouding voort tussen zijn geheime onrijpheid en het masker dat hij zich opzet in zijn omgang met de anderen. Er blijft hem niets anders over dan zich innerlijk aan dat masker aan te passen, alsof hij werkelijk diegene is die hij schijnt te zijn.
Witold Gombrowicz (Pornografie, voorwoord Franse/Duitse uitgave, 1962/1963)

Oostende was voor de Engelsen de eerste, dichtsbij gelegen plaats op het continent: het buitenland.
Eric de Kuyper (Villa Zeelucht, p. 9)