Spine Fragments—[binding waste, spine guard, gutter fragment, spine layer or spine cover]
During the late fifteenth century numerous manuscripts in monastic libraries were replaced with printed copies. Misprinted works, surplus paper and parchment were often used as spine linings for these new books. This reuse has therefore preserved texts that might otherwise have been lost to time. Each spine carries its own tale. A code hidden under the surface of a book.
Spine Fragments is part of "Emic Units" a project by Shibboleth. Emic Units is a series about the migration of ideas exploring how far the confines of meaning can be stretched geographically, historically, metaphorically and visually.
EU 1 contains fifty interpretations of the term shibboleth, a word to which no language can lay claim, a hard-to-falsify linguistic sign used to winnow identities in order to establish policies and borders.
Letterpress printed Kiss and Bite for A3/4 issue fifthsyllable
Kiss · impression as of paper against an inked printing surface that is extremely light. (𝘚𝘦𝘦 bite)
Bite · depression or indentation as of paper against an inked printing surface with a heavy impression weight. (𝘚𝘦𝘦 kiss)
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Subscription card produced for 'Place Stamp Here' at Centre des Livres d’Artistes (CDLA) curated by Jan Steinbach
Jan. 12th – Apr. 12th 2023
A selection of subscription forms, order sheets and related ephemera from the Centre des Livres d'artistes collection as well as invited artists and publishers.
A4xX is a work in the form of a collection, a free unlimited edition.
The less it costs to produce a work of art, the less power is ceded to economics.
We tend to devalue, without even realising it, anything that is offered for free.
Our aim is to change the paradigm, by making art accessible to all: creating the conditions for relationships, exchange and encounters, fostering free circulation and networks.
How? By experimenting outside of official circuits, which are more closed than ever now that celebrity and finance dominate the art world. By resisting art-as-spectacle and object-as-fetish. By breaking down the hyper-selective structures of dominant art.
That is the ambition of A4, an unlimited collective work. A participatory work, an active form of artistic practice by which artists, critics, writers, philosophers, designers, architects conceive and produce works on the theme of « art: free of charge »