Isla Leaver-Yap assesses the conditions for artists who remake their own work"

Leaver-Yap brings the discussion towards Remaking and assesses the condition for it, as it is above mentioned. They touch on some technical criteria for "legitimate" an artist's remade work. It was quite curious to read this text because I didn't know that remaking could be something enlarged discussed in the art field. And by all means, it seems something arbitrary and very academic. I could follow the text easily, however, what linked all the dots was the last paragraphs which Leaver-Yap explains a little bit more about what they value on considering a valid remade work: purposefully reflection, some commercial matters (regarding the art market.), and time. The latter being quite important which connects with the concept of "self-historicization", and so forth "historicization" itself. I thought they were pretty interesting and relevant terms to think about and to understand more beyond the remaking practice. Because if this hiatus of time is so important for it (past-present), considering a specific time frame in history, the material reality of all things, it is to consider particular thoughts and some changes in between that shape reality and consequently, people's lives.

However, the text and also the discussion surrounding remaking seem very specific towards some kind of artist and their practice. It is very centered on a medium/large art market and exhibition circuit, because for an artist to remake a work, based on the criteria mentioned, it is needed that they need to have a great repertoire of works and to be in this circuit for some time. Also, fits in some academic terms. So, if we will bring this theme outside this, what is going to be left for us to consider a remake? Does that matter? It only seems that everything is valid and all those discussions went down the drain. 

The following images are some of my annotations while I was reading this text.

- document and upload reflection (ok)

Requiem for Pompeii is a project that Izu began in 2015, “in collaboration with Fondazione Fotografia Modena, dedicated to the Campanian city destroyed by the eruption of Vesuvius in 79 AD and buried under ash and rock. The excavations brought to light not only buildings but also the exact forms of the bodies of the inhabitants at the moment of their deaths, captured by making casts of the gaps left by their frames under the hardened layer of detritus.”

The photographer “aim is not to document the remains of Pompeii, but, by emphasizing the idea of what was left behind the day after the eruption of Vesuvius, to transmit the atmosphere – in part wonderment, in part destruction – given off by the ruins.”

Placing the plaster bodies alone in a vast environment of nature and ruins is quite impactful. The simplicity of showing a single body alone in contrast with the great landscape is a smart choice to transmit the disaster and those sudden deaths of Pompeii’s inhabitants. Pain and loneliness echo from a huge distance, from the moment when the event happened to nowadays. And led me to think of what were these people thinking when they were about to die? Maybe this open space for reflecting and imagining the feelings, the thoughts is something that I aim to look for in this project from now on. 

The fact that the inhabitants of Pompeii are just a reproduction made out of plaster is a material alternative for use in this project as well. 

Here is the link for more information: http://pompeiisites.org/en/pompeii-and-beyond-en/kenro-izu-requiem-for-pompei/

“Over 300 items, including statues, wall paintings, vases, relief panels, gems, incunabula, and pictures, cover a chronological span of 3,500 years, from the Bronze Age to the present day. The tale is told as an immersive and involving experience in the rooms of the Scuderie del Quirinale, a transfigured setting for archaeological reconstructions with objects of everyday use and works of video art.

“The themes explored include archaeological problems like the examination of contexts, the use of plaster casts, the analysis of social and religious customs, and the study of economic and cultural connections in the ancient Mediterranean world.”

I thought really interesting the parallel of what this exhibition tried to do. I didn’t know that another ancient city was a place for a volcanic catastrophe, as it was in Pompeii. 

After reading and seeing the images of this exhibition, it opens my mind to explore not only what happened in Pompeii exactly, but to imagine other stories (in other cities) of these sudden deaths caused by natural catastrophes. And also, imagining their remains and how they would possibly look like. 

Here is the link for more information: http://pompeiisites.org/en/exhibitions/pompeii-and-santorini-eternity-in-a-day/

Remembering this catastrophe lighted up and guided me to decided what to do on this project. The fact of all Pompeii’s life was frozen forever has something quite tragic and also something quite poetic. Not by the death of thousands of people, but from a moment when everything has its duration of a beginning and an ending, to a moment when everything stop in time. Dying alone or with someone doesn’t really matter; the hopes, the joys, the sadness also doesn’t matter, but they echo until today. 

I like the idea of nature controlling everything and being unpredictable. The cycle of her destroying her own place to giving birth to another beginning is quite beautiful. 

Video art was also called “expanded cinema” because it seemed to be an extension of moving images, but introducing different languages such as theatre, performances, photography, painting, etc, being very disruptive in the way of making videos at the time.  This dynamic “challenged the role of the passive spectator", and it was also a way to document performances. 

The etymology of the word video is quite interesting. It comes from the Latin verb 'videre' which means "to see". Thus, video art means "to see art". I found it very beautiful and deep. 

This is a very introductory video, which was important to have a general idea of what it is about. And there are plenty of references regarding artists who started with this practice, the ones who continued and the ones who are related somehow to it. Some examples: Nam June Paik, Shigeko Kubota, Joan Jonas, Joseph Beuys, Martha Roster, Carolee Schneemann, Allan Kaprow, Eleanor Anton, Vito Acconi, Bruce Nauman, Anthony McCall, Dara Birnbaum, Hélio Oiticica, Ernst Caramelle, Howardena Pindell, Petra Cortright, Isaac Julien, Cory Arcangel, Guy Ben Ner. These are clues to find out a little bit more about video art. 

The relation I could relate to this film and this project is how Haneke is able to tell the story through digital media. We follow and dive deep into the characters’ intimate life by seeing them using the internet (via chat, email, Instagram, Facebook, etc) and revealing themselves. 

It is a nice interesting film that I could remember as a reference to the project’s online part. 

I found two interesting things that Kenneth Goldsmith points out in this video. 

The first one is how we think in a digital way even when we are producing in an analog way. And, the second is the idea of, according to him, “it’s a mistake to think that mainstream culture like that actually cares about what you’re doing, you’re interesting. You might be entertainment for a night but in no way does that open up the practice to cultural embrace or even cultural change on any significant level.”

I think these two things could be a guide for orienting myself better in what to work on this project. Maybe joining both, or working them separately. The way our minds are in this post-internet moment, and how it is the artistic practice on the internet. Both themes intriguing very much, and they have been very present in my reflections somehow. 

Many literary critics and scholars, and even psychologists have been studying this narrative mode since the 19th century. Thus, there is a vast material for further readings. The closest contact that I had with those theoretical discussions was in a video by Mellory Ferraz who wrote her final graduation thesis about the stream of consciousness. Here is the link for the video where she shares more information about this method: https://www.youtube.com/watch?v=eqslIuJc3o0

Also, I have been reading random books that this method is present, and which I am enjoying very much. 

In this project, I have been questioning myself the way I use the internet and how it is connected sometimes with a succession of different thoughts (by assimilation) and feelings. The capacity of the internet being so fast, and consequently allowing us to use it in an unbridled way, opens up a broader space for wandering and distractions. And, it gets in conflict with the idea of being productive, almost a machine. The guilt we carry within us is quite evident. 

For what I am willing to do in this project, this song would add an extra layer to it.

Because he interweaves with those different media, his works become extremely powerful, full of different layers of comprehension and textures.

It is quite interesting the projection of his round graphic paintings in a vast space. They remind me of Len Lye’s works but way less colorful. This idea of destroying the work to create another one is fascinating (as we did in the Believing is Seeing project). He used to burn and scratch some slices of his paintings when he was a painter and a sculptor. He also used to paint on the glass slide cases and projecting them. Seeing all the images juxtaposing each other creates a surprising and intriguing effect on the screen.

In this video, we can have an idea of what his works look like. 

YOUNGBLOOD, G. (1970) 

“The [1973] event consisted of nine participants (including the artist Bill Viola and the curator David Ross) meditating with their backs to the audience. A row of nine video monitors positioned between the meditators and the audience allowed spectators to view the faces of the performers on closed-circuit television while shadows of the public animated the wall behind. 

Those participating in meditation were provided with sensors to monitor the alpha waves generated by their brain activity. When a certain level of neuronal energy was achieved, the sensors triggered the transmission of pre-recorded quotations from Plato’s Dialogues to headphones worn by each performer.”

I like the way the participants are interacting. The ones who are being recorded; and the ones who are seeing the recording, and are projecting their shadows on the wall. These have a sort of “presence without being seeing”. The use of the shadow as a projection is quite clever. 

Downey also worked with what he called ‘invisible architecture’, a term he defines as “an attitude of total communication within which ultra-developed minds will be telepathically cellular to an electromagnetic whole”. 

Plato Now, and his other works, presents a well-developed concept sustained by many theoretical discussions about the relationship we have with information. I like how complex and well-developed his sketch from this work is; how every detail is thought carefully and arbitrarily. It is intriguing the change of the title from “Plato revisited” to “Plato Now”. The first one coveys more as an idea of a re-enactment of Plato’s Cave; the second conveys that this platonic idea of image and truth never let to be part of our society. It has been intrinsically present for us, a canon. 

sources:
https://himexhibition.wordpress.com/portfolio-2/performance-art/v-influences/the-tanks-julian-downey-plato-now/
https://www.tate.org.uk/whats-on/tate-modern/exhibition/juan-downey
https://hyperallergic.com/411469/juan-downey-radiant-nature-los-angeles-contemporary-exhibitions-2017/
https://www.youtube.com/watch?v=Aa4RIyDatO8&feature=emb_title

I really enjoy seeing Stauber’s works. They always look so glitchy, trippy and funny. I like the simple songs with the VHS quality. Here in this website, he explains his process, how he transforms online animation (MS Paint and Adobe Premiere) giving an analogue aspect for it by using a VHS recorder: https://imgur.com/gallery/U6umr

The Tanks provide a permanent gallery for live art, performances and a film and video work from the Tate collection. There is also a programme of new commissions of works made for the specific spaces.

The Tanks were previously used to store oil when the gallery was a power station. These huge circular spaces in the foundations of the Blavatnik Building have kept their rough, industrial feel to now house new art. No longer generating electricity, the Tanks generate ideas, creative energy and new possibilities for artists and audiences. These raw, industrial, subterranean spaces, each measuring over thirty metres across and seven metres high are the world’s first museum galleries permanently dedicated to exhibiting live art, performance, installation and film."

Jonas plays with the audience as well. The image of them or everything that surrounds them is reflected creating a sort of interaction. Space also becomes a spectator and a participant. 

The first two paragraphs talk about her famous Mirror Pieces and the way Jonas relates to the mirror conceptually, unconsciously, and philosophically. I separate some quotes, I found them interesting: 

“Mirrors and poetry, as well as myth and fairytales, refract reality in unexpected ways”

“Mirrors can collapse or confuse the distance between performer and audience and disrupt visual frameworks.”

She also tells us the influences she had on Jorge Luis Borges’ texts. And, how his writings became part of the text read at the beginning of Mirror Piece I.  “I don’t change the language, but rather I change the context, which opens up the text to different possibilities of meaning. I don’t illustrate; I juxtapose.”

For me, these photographic series are so strong and even shocking. Ana Mendieta always works with the exploration of women bodies confronting the issues present in feminist discussions. I think in these two works, she goes deeper in questioning the beauty patterns, and the photographs are a reflection of it. 

https://icamiami.org/collection/ana-mendieta-untitled-glass-on-face-1972/

https://icamiami.org/collection/ana-mendieta-untitled-glass-on-body-1972/

TATE (2018) Does Performance Art Need to be Experience Live?. [Online video] Available at: https://www.youtube.com/watch?v=-5ObKMT27_0&feature=emb_title [Accessed: 20 February 2021] 

TATE (n. d.) Expanded Cinema. [Online] Available at: https://www.tate.org.uk/art/art-terms/e/expanded-cinema [Accessed: 20 February 2021]

MONOSKOP (2021) Expanded Cinema. [Online] Available at: https://monoskop.org/Expanded_cinema [Accessed: 21 February 2021] 

TATE (2009) What is Expanded Cinema?. [Online video] Available at: https://www.youtube.com/watch?v=lDJqA6jOXYw&feature=emb_title [Accessed: 20 February 2021]

TATE (2012) Aldo Tambellini | The Tanks. [Online video] Available at: https://www.youtube.com/watch?v=CwLJtAeYy3k&feature=emb_title [Accessed: 20 February 2021] 

Byrne, D. (2008) Talking Heads - Once in a Lifetime (Official Video). [Online video] Available at: https://www.youtube.com/watch?v=5IsSpAOD6K8&feature=emb_title [Accessed: 20 February 2021]

TATE (2012) Juan Downey - Plato Now | The tanks. [Online video] Available at: https://www.youtube.com/watch?v=Aa4RIyDatO8&feature=emb_title [Accessed: 21 February 2021] 

Stauber, J. (2018) Peppermint. [Online video] Available at: https://www.youtube.com/watch?v=MtTBqIAQ434 [Accessed: 20 February 2021] 

Stauber, J. (2018) MS Paint ANIMATION PROCESS. [Online video] Available at: https://imgur.com/gallery/U6umr [Accessed: 20 February 2021]

TATE (n.d.). The Tanks. London: Tate Modern. Available at: https://www.tate.org.uk/visit/tate-modern/tanks 

KULTURHUSET STADSTEATERN (2010) Mirror Piece I: Reconfigured (1969/2010). [Online video] Available at: https://vimeo.com/77162791 [Accessed: 21 February 2021]

Trotman, N. (n.d.) Joan Jonas Mirror Piece I. [Online] Available at: https://www.guggenheim.org/artwork/24749 [Accessed: 21 February 2021]

Jonas, J. (2018) Mirror mirror: Joan Jonas on the fairytales that have cast a spell over her 50-year career. [Online] Available at: https://www.theguardian.com/artanddesign/2018/mar/22/joan-jonas-exhibition-tate-modern-london [Accessed: 21 February 2021]

ICAMIAMI (n.d.) Ana Mendieta Untitled (Glass on Face), 1972. [Online] Available at: https://icamiami.org/collection/ana-mendieta-untitled-glass-on-face-1972/ [Accessed: 21 February 2021] 

ICAMIAMI (n.d.) Ana Mendieta Untitled (Glass on Body), 1972. [Online] Available at: https://icamiami.org/collection/ana-mendieta-untitled-glass-on-body-1972/[Accessed: 21 February 2021] 

Oursler, T. (n.d.) [Online] Available at: https://tonyoursler.com/ [Accessed: 21 February 2021]

Youngblood, G. (1970) 

I found quite interesting zines which approach political themes. It is an alternative to spread information without relying on mainstream media. And a way to educate and engage people. It is very punk and outrageous for those who are comfortable in their reactionary zone. 

The way information is displayed on this zine seems to have a very condensed research, but at the same time very carefully chosen. It is a guide, though. Citing other people that talk about the theme is very important as well. 

I like the instructions of getting and carrying the zine. You can do whatever you want with it, choose to give just one page to someone, glue, put in your pocket, but the main thing is to make the information available. 

I am not not sure yet what I am willing to approach in this project, but something like this zine (and so many others) is to be considered. 

The movement “carried out numerous public interventions, published three zines, two anthologies, several opuscules and varied publication, and developed a broad audience”.

The group dig into independent publication exploring a variety of media such as visual poetry, essay, cartoon, collage, graphic narrative, photography, rubber stamp, typewriting, drawing, and photocopy. This use of different forms really interests me, I think they give dynamism to the work, but at the same time consistency. 

The design of the publications also caught my attention. They know what, when and how to do theirs: they are very clean, neat and straightforward when needed, and full of visual and written information when also needed. The use of typography and how the images are displayed on the paper are amazing! “Escracho”, by Eduardo Kac, makes me feel intrigued to see what is inside of it.

Also, the way of using different covers by different publication is interesting. They have a common theme, but the thing is how each one explores it.

The decision of playing with the mainstream, normative and conservative pornography at the time as in “24” and “Margô Na Pensão”, both by Eduardo Kac, is smart. I think it sometimes creates an ambiguity of what is the transmitted message to the audience. Appropriating the opposite, oppressive side is an interesting and a strategic way to subvert them. 

And the group subverted not only the content (pornography) itself, but also the form. “Que vai fazer?” is an example of this. Kac working with colored photocopies when everybody was forbidden. The response and resistance to the military dictatorship is present from nose to tail in The Movimento de Arte Pornô. 

In this post, they present to us some of examples of biographical zines publication, such as the works of Eloisa Aquino, Siue Moffat, Marya Errin Jones, Ann Shen.

What interests me the most is this amazing thing independent publications are able to do: educate, engage, inform and spread the peripheral information that constitutes something overlooked (a person, a historic moment, an artistic movement, etc). For me, it is quite important to have people bringing new narratives to a particular theme. Recently many discussion are being rethink and bring it to life mostly because of how education is structured in a very conservative and colonial position. 

Ann Shen writes something that I connected with as a main intention of making this kind of work: “In art school, and in life, you’re constantly challenged to be something that might be someone else’s idea of what’s right and good, “I started to realize that the truly remarkable people in life often stepped outside the bounds of what was expected of them—and I wanted to celebrate that with this zine.” 

“Contributors included Guillaume Apollinaire, Louis Aragon, Walter C. Arensberg, Céline Arnauld, Hans Arp, Pierre Albert-Birot, André Breton, Jean Cocteau, Jean Crotti, Robert Desnos, Paul Dermée, Paul Éduard, Albert Gleizes, M. Goth, Max Jacob, M. Laurencin, René Magritte, Pierre de Massot, E.L.T. Mesens, Francis Picabia, Man Ray, Georges Ribemont-Dessaignes, Erik Satie, Walter Serner, Phillipe Soupault, Tristan Tzara, Edgard Varèse, Marius de Zayas, a.o.”

Since this project is going to be a collaborative work between me and Rob, I have been interested in researching for some collaborative independent publications. The 391 is one of them that interests me. The composition of the magazine's cover and its name caught my attention for their minimal use of text and image. I have no idea of what are the contents for each publication, but I feel intrigued just by what the dadaist showed to us. 

The link for a pdf version of the issue 13, Paris, Jul, 1920: https://monoskop.org/images/0/0e/391_13_1920.pdf

issue 5, New York, Jun, 1917: https://monoskop.org/images/8/87/391_5_1917.pdf

This poem talks about Lee’s father experiences of immigrating to another place after passing through political imprisonment and torture. Later, his father scared from prison and went with Lee to Indonesia where was not a very good place for them, because it was at a war at the time and anti-chinese sentiment began to foment the place. Lee felt quite animosity, hostility and aggression directed to his physical being.

Immigrant Blues impacted me because it relates a lot of many immigrants experiences and also my grandma and her family’s. The language barrier, the generational pain of immigrate to somewhere else and not be welcome and the feeling of not belonging to this place and anywhere else, they are all so accurate, even that I don’t have any experiences directly to this topic. 

The following verses are the ones which I impacted me the most: 

“The same old story from yesterday morning

about me and my son.

It’s called “Survival Strategies

and the Melancholy of Racial Assimilation.”

It’s called “Psychological Paradigms of Displaced Persons,”

called “The Child Who’d Rather Play than Study.”

[…]

It’s an ancient story from yesterday evening

called “Patterns of Love in Peoples of Diaspora,”

called “Loss of the Homeplace

and the Defilement of the Beloved,”

called “I want to Sing but I Don’t Know Any Songs.””

All the works they have done so far are so beautiful such as Cápsulas and the 2020 and 2021 Chinese calendars. The present of the red colour is something that caught my attention. Even that every publication is different than other, they follow a certain consistency because of the colour choice. Every editorial project is so well thought and also gathering different artists with different aesthetics in each publication. Giving voice to new artists is something very interesting and important, and not a bigger aesthetic choice overcomes their works is also very important and which I like about O Quiabo.

Here ara the links for their instagram and store https://www.instagram.com/oquiabo/
https://oquiabo.minestore.com.br/

I could relate a lot to this interview and even the zine and the experiences of being an Asian woman are related to identity and self-identity. Also, I have been following Ing Lee, I like the way she approaches themes and her illustrations because of the colours and the trace. "A Boneca" is just one of her works that brings this theme about being Asian or Asian descendant outside Asia.

https://www.instagram.com/_wonori/

The chorus of this song represents this feeling of not belonging or not feeling sufficient in a love relationship (mainly in an interracial one): "Your mother wouldn't approve of how my mother raised me / But I do, I think I do / And you're an all-American boy / I guess I couldn't help trying to be your best American girl". It's due to being from a different racial background and how the world still spins around in a white imaginary. An imaginary of racialized people not having only white references to mold their perspective about love relationships and life. 

Since I decided to work with the linguistic barrier, I thought it would be interesting to research the route of my grandma's immigration to Brazil. 

http://www.discovernikkei.org/pt/nikkeialbum/albums/105/slide/?page=2

What calls my attention to independent publications is the variety of people producing their things. Selo Pólvora gathers racialized people to talk about experiences about the Asian diaspora in Latin America which deviates a little bit from the groups and collectives I have been researching on. The main theme they approach is connected to identity and I thought it is an interesting reference to keep for this project and/or many others. 

https://www.instagram.com/selopolvora/

How the artist is able to represent clearly, even though abstractly, the experience of someone who is immigrating to another place with a different language. The linguistic barreer and implications of communicating and expressing oneself used to create social and emotional hierarchies are quite similar to what I am willing to approach in this project. 

Visually, the organize chaos of colours and words, and the fragmentation of some of them, called my attention. I truly like this choice of representing this theme, because it also is related to identity or the loss of identity, as the text mentions. 

"Viewing Nina’s work, the element that stood out to the studio was her use of colour which “felt slightly naive to us,” says Philipp, “that doesn’t mean we didn’t take them seriously, rather it inspired us to use a large type size for the text, something you might do for a children’s book.” Additionally, colour is used as a visual hook throughout the book, with several techniques utilised that will have designers on the tip of their toes. Each of these applications has a reason, however, such as solid colours “for higher contrast” on divider pages, as well as printing with six colours on its cover, “the ultramarine spot colour is amazing!”

"The shapes used by the artist in her works also became a focal point for the designers, who mirrored these forms and filled the negative space with text, using “them as the element that holds the content together,” Philipp points out. “These shapes appear from the spine to the end sheets and create an interesting flow for the interior.”

The idea of respecting the relationship between the artist's work and the additional text is what most fascinated me, creating a horizontal relationship between image and text. Also, using the shapes of Springer's to add the text, in this case, is also a way to maintain consistency and value the artist's work. And, the visual result is very solid. At first, I thought the text would be too hard to read because of the format chosen by Hubert & Fischer. However, it's very neat and fluid. 

Since some of the publications in this project is basically text, this reference is a guide for composing and giving another level of composition for text in publications. 

Nina Rike Springer's work is available at Hubert & Fischer's website: https://hubertfischer.com/work/i-believe-i-can-fly

“I am always trying to find new ways of slowing down the reader. To slow them down enough to get a sense of wonder about what’s actually happening,” Sam tells It’s Nice That. “In this instance, it means taking apart the reading experience to such a degree that it creates doubt about how it works. I usually do this by breaking down the form and structure of words or playing with grammatical rules.”

"He also hopes that the project, in slowing down the reader, will make us more thoughtful about our choice of words. “I worry about how we treat words, especially definitions, as a waste product of our opinions. I worry about what happens when two cultures use the same word but have completely different assumptions over its meaning,” he explains. Sam alludes to the increasing difficulty in verifying meanings of sentences in a line from the book: “Fantasy has been mistaken as fact, jokes have been reported as news and literature itself has sometimes slipped into trivia.” And for the designer, this “fluidity of meaning” has only accelerated alongside screen culture."

Dictionary Story is a very interesting and beautiful work. The approach to language, the alphabetization of oneself through language express visually the intention of the artist. How playful, intriguing and even overwhelmed this work can be as well. It's a nice reference to have for the break of the rules of the text composition. 

The book has some intense poems by a self-perception of oneself and the way some poems are composed in this book is very interesting. For me, poetry is very challenging to read and to fully comprehend in any language. Because it should read as a form to contemplate the text, not just run our eyes through it. And it might take a while. In this case, when poetry is display in different compositions, it turns the text more dynamic and intriguing. Tiniacos knows how to diversify one composition to other according to what each poem means. 

For this project, use this book as a reference to expand the possibilities of using text and words and how playful it can be. 

What calls my attention to Shanzhai Machine is the action of transforming a word into a concept and then transform it into an object. This is something to consider in the I do, I undo, I redo project. The minimalistic approach to make these objects is also very inspiring to be a visual reference. 

I also like the idea of redefining and reframing some expressions used to feed xenophobia or other types of prejudice. 

The pieces were produced with plaster mould and made from the artist's Pikachu toys". (free translation based on the artist's text) 

As Shanzhai Machine, Pocket Monster is an interesting work that represents a media as a concept and also as an object. Ing Lee is one of the Brazilian artists who approaches Asian diaspora, immigration and the experiences of being Asian-descendant in Brazil. 

The movement of rethinking expressions, symbols and objects is intriguing to see on her works. And how they are translated visually is also intriguing. 

"Cut-up is performed by taking a finished and fully linear text and cutting it in pieces with a few or single words on each piece. The resulting pieces are then rearranged into a new text, such as in poems by Tristan Tzara as described in his short text, TO MAKE A DADAIST POEM."

I remembered this technique when I was thinking about how a linguistic barrier could be portrait. The cut-up would elevate the feeling of incomprehension since it opens up a space for cutting parts of the text freely and fearless and for the rearrangement of it. 

"The images in the book are only of one artwork, shot from different angles and there is only one complete image of Parabolika in the entire publication".

"The designers aimed to create an art book that played with static nature of print and typography to give a sense motion throughout. "We kept everything on the edge, but had to ensure each page was still legible. It was tricky to find the right balance and it took us several tryouts to get it right." 

It is quite interesting to know more details of this Hubert & Fischer's publication. I found it very impressive that the designers could work with one Stefan Rohrer's work and make it out of an entire publication. The choice of the curvy and wavy grid and composition also called my attention to what the designers aim to do: make the publication consistent from nose to tail. And the care they had with the legibility of the text but trying to maintain the concept of the parabolic is also very nice. The result is beautiful with the colours and the whole composition of it. 

Also, available at Hubert & Fischer website: https://hubertfischer.com/work/parabolika