CARRION, UlisesBiblio.com
3 019 résultats
réf. 8622in: Anuario del Cuento Mexicano 1962 pp. 82-85. 308 1 p. & table of contents. Thick 4to pictorial softcover spine a little wavy & dampstained title on spine. Mexico: Instituto Nacional de Bellas Artes 1963. Early appearance of one of Ulises Carrión’s short stories this was his second appearance in Anuario del Cuento Mexicano. “El asalto” had been published the previous year in Revista Mexican de Literatura Nos. 11-12. A very good copy. ⧠Not recorded by Schraenen in Dear reader. Don’t read 2016. unknown
réf. 8355in: Revista Mexicana de Literatura Nos. 11-12 November-December 1962 pp. 17-22. 81 pp. & ads. 8vo printed wrappers lacking lower wrapper. Mexico City: 1962. Ulises Carrión’s first appearance in the experimental literary journal Revista Mexicana de Literatura 1955-65. A good copy; some chipping to the upper wrapper and marginal dampstaining to the final few leaves of text. ⧠G. Schraenen ed. Dear reader. Don’t read 2016 p. 255 as “Un Cuento”. unknown
réf. 8623in: Revista de Bellas Artes No. 8 March-April 1966 pp. 41-56. Black & white illus. throughout. 102 pp. & ads. 4to pink pictorial wrappers title on spine. Mexico City: 1966. Unrecorded by Guy Schraenen; a little-known Ulises Carrión 1941-89 contribution to one of Mexico’s literary journals. Foreshadowing his permanent move to Amsterdam he contributed this short story about a visit to the city with illustrations by Vicente Rojo 1932-2021. In the mid-1960s Carrión was studying in Paris or Achenmühle Germany. Near fine copy. ⧠Not in G. Schraenen Dear reader. Don’t read. 2016. unknown
réf. 9209in: Revista Mexicana de Literatura Nos. 9-10 September-October 1963 pp. 16-24. 60 1 p. & ads. 8vo printed wrappers minor staining to wrappers title on spine. Coyoacán Mexico City: 1963. Ulises Carrión’s second appearance in the experimental literary journal Revista Mexicana de Literatura 1955-65. A very good copy of this scarce issue edition of 2000 copies. ⧠G. Schraenen ed. Dear reader. Don’t read. 2016 p. 255. unknown
réf. 10316Black & white photographic print 169 x 169 mm. matted with beige paper captioned and initialed. Amsterdam: 1979. A rare signed photographic print; the same image depicting the artist’s “address archive” adorns the lower cover of Ulises Carrión’s artist’s book In Alphabetical Order 1979. In fine condition. Captioned on the bottom left and signed and dated to the right. From the collection of Guy Schraenen 1941-2018. unknown
réf. 8356in: Anuario del Cuento Mexicano 1961 pp. 60-64. 248 1 p. & index. Thick 4to pictorial softcover spine a little creased title on spine. Mexico: Instituto Nacional de Bellas Artes 1962. An early Ulises Carrión 1941-89 appearance in one of Mexico’s prestigious literary journals this one focused on short stories. With a concise biography of the author. A very good copy; some light wear to the spine. ⧠Not recorded by Schraenen in Dear reader. Don’t read 2016. unknown
réf. 10314Single paper sheet 291 x 158 mm. adhered to beige paper sheet hand-drawn grid & Letraset letters affixed signed & dated. Amsterdam: 1974. A Ulises Carrión language work combining Letraset lettering and a hand-drawn grid. In fine condition; faint bleeding in the corners from the adhesive. Titled in the artist’s characteristic hand in the bottom left and signed on the right: “U. Carrión / 74.” From the collection of Guy Schraenen 1941-2018. ⧠G. Schraenen Dear reader. Don’t read. 2015 pp. 110 & 111 pictured. unknown
réf. 10315Single paper sheet 290 x 160 mm. adhered to beige paper sheet Letraset lettering affixed signed & dated. Amsterdam: 1974. Heretofore undocumented language work by Ulises Carrión employing Letraset lettering with which he has created five vowel-consonant pairs. In fine condition. With the work’s title written in the bottom left in Carrión’s characteristic hand and signed on the right: “U. Carrión / 74.” ⧠Not in Dear reader. Don’t read. 2015. unknown
réf. 1141115 leaves printed on rectos only. 12mo lime green printed semi-stiff covers stitched. Geneva: Boabooks May 2016. From the colophon: "a b c presents a linguistic exercise handwritten in green ink on fifteen pages by Ulises Carrión in 1972." Printed and bound by Che Huber and Alexis Dos Santos and designed by Izet Sheshivari. As new. unknown books
réf. 10317Single sheet mounted on black craft paper printed in red & green perforated. Amsterdam: late 1970s. A compelling specimen of Ulises Carrión’s avid involvement with the Eternal Network: a complete sheet of his “Here & Now” stamps. In excellent condition. unknown books
réf. 8888Amsterdam: ca. 1979. An original collage made by Ulises Carrión 1941-89 and gifted to Maurizio Nannucci b. 1939 in support of Zona’s non-profit mission following the Zona Parolo & Suono festival 11-19 June 1979. Near fine; faint foxing. ⧠See G. Schraenen ed. Dear reader. Don’t read. 2016 pp. 120-23 for similar works by Carrión employing graph paper. unknown books
réf. 8889Amsterdam: ca. 1979. An original collage made by Ulises Carrión 1941-89 and gifted to Maurizio Nannucci b. 1939 in support of Zona’s non-profit mission following the Zona Parolo & Suono festival 11-19 June 1979. Near fine; very faint foxing and residue from the glue. ⧠See G. Schraenen ed. Dear reader. Don’t read. 2016 pp. 120-23 for similar collages by Carrión employing graph paper. unknown books
réf. 8086Card 150 x 106 mm. with text added by rubber stamp in red blue green and yellow ink. Amsterdam: 1976. One of the rarest pieces of ephemera created by Ulises Carrión’s bookstore and exhibition space Other Books and So. In 1975 the year of its founding the space had hosted shows for the Beau Geste Press Jiri Valoch Opal L. Nations and Eric van der Wal. For the present exhibition Carrión invited 200 artists who employed stamps in their work and displayed their pieces on the walls of Other Books and So when it was located at 227 Herengracht. In fine condition; nice impressions. From the collection of Guy Schraenen 1941-2018. ⧠Juan J. Agius ed. Ulises Carrión & The Big Monster 2014 pp. 38-39 pictured on p. 38 with a photograph of the exhibition. unknown books
réf. 1089086 1 p. 8vo 225 x 155 mm. orig. printed red semi-stiff wrappers title on spine. Cullompton Devon: Beau Geste Press 1973. First edition the deluxe version on vibrant multi-colored Strathmore Grandee paper of this scarce and early Carrión 1941-89 bookwork. Arguments was printed in a total edition of 400 copies 200 on Huntsman white cartridge and unsigned and 200 deluxe copies and signed on the verso of the title-page. Formed in 1970 by Felipe Ehrenberg Martha Hellion David Mayor Chris Welch and Madeleine Gallard the Beau Geste Press was instrumental in Carrión’s growing engagement with artists’ books. The scholar Zanna Gilbert recalls in the Beau Geste Press catalogue p. 405 that in 2017 Ehrenberg “commented that Carrión had never gotten his hands dirty with ink before visiting the Beau Geste Press.” In 1973 the Press published two of his books Arguments Autumn and Looking for Poetry/Tras la Poesía Winter. In the Getty Research Institute exhibition catalogue Artists and Their Books Books and Their Artists 2018 Gilbert describes the present bookwork: “Carrión humorously interrogates the structure and content of books and the literary devices used by authors and playwrights. The titular exchanges in Arguments are indicated only by the names of the participants with no reference to the actual content of their disagreements. The distinctly Anglophone names are arranged in various configurations on each page of the book leaving the reader to wonder about the substance of the disputes. Indeed as the ‘arguments’ play out across the gridded field of the typeset page the book increasingly becomes about the materiality of the text itself with Carrión adding symbols such as the ampersand or violating the names themselves—as when for example ‘Marion’ becomes ‘Mar ion’—resulting in ever more complex exchanges” p. 72. The book was beautifully typeset by Terry Wright a skilled printer who joined the Press in 1972; laid out by Mayor; and offset-printed by Ehrenberg. Each “Argument” is numbered by hand there are 25 in total with several misnumbered and corrected in this copy nos. 5 22 23 24. Carrión’s book concludes with an unnumbered page on translucent paper with the entreaty: “My name is Ulises / What’s yours ” A fine copy; spine a trifle sunned. ⧠Alice Motard ed. Beau Geste Press 2020 No. 48 pp. 186-91 illustrating both versions. J. J. Agius & R. Ocampo eds. Ulises Carrión: Books & More Catalogue Raisonné 2013 7. unknown books
réf. 713896 unnumbered pages. Thick 8vo 210 x 150 mm. semi-stiff printed wrappers. Geneva: Editions Héros-Limite 2005. The scarce second edition of Ulises Carrión’s famous Arguments 1st ed.: 1973 published by the Beau Geste Press. In the Getty Research Institute exhibition catalogue Artists and Their Books Books and Their Artists 2018 Zanna Gilbert writes about the first edition: “Carrión humorously interrogates the structure and content of books and the literary devices used by authors and playwrights. The titular exchanges in Arguments are indicated only by the names of the participants with no reference to the actual content of their disagreements. The distinctly Anglophone names are arranged in various configurations on each page of the book leaving the reader to wonder about the substance of the disputes.” As new. From an edition of 750 copies. ⧠U. Carrión Quant aux Livres 2008 p. 202. unknown books
réf. 9235Audiocassette tape printed labels on side A & B housed in a plastic case. Orig. red paper pictorial liner. Amsterdam: Time Based Arts 1984. Rare audiocassette of a Carrión sound work; unrecorded by WorldCat. It was originally recorded in June 1983 and then issued through Time Based Arts the following year. “Trios & Boleros 1983 was produced as a part of a series by a number of artists writers and composers. The Dutch public broadcasting company VPRO allocated broadcast time to individual unrelated productions under the umbrella title of ‘Art on the Radio the Radio as Art’. No mathematical text analysis here: Ulises narrates the history of the bolero defining the classic form identifying the origins and greatest interpreters. He notes the impact of Cuban and Caribbean music on the genre… “The lecture is delivered against the musical background provided by these artists whose music filled his home…The program closes with the lyrics ‘Caminemos tal vez veremos después Walk on maybe we’ll meet again.’”–Martha Hawley ”Jacaranda Ulises Carrión and Sound” in Martha Hellion ed. Ulises Carrión: ¿Mundos personales o estrategias culturales 2003 p. 89. Near fine; one of the cassette labels is partially coming loose. ⧠G. Schraenen ed. Dear reader. Don’t read. 2016 pp. 128 & 141. unknown books
réf. 9935Black & white illus. throughout. 16 pp. incl. wrappers. 4to printed wrappers staple-bound. Warsaw: Galeria Remont 1976. An extremely scarce exhibition catalogue published for Carrión’s first exhibition at Henryk Gajewski’s Galeria Remont. Gajewski b. 1948 the Polish artist and filmmaker founded this contemporary art space in a dormitory student club at the Warsaw University of Technology. The gallery operated from April 1972 to November 1979 hosting performance art exhibitions of photography stamp art and bookworks and many other events. This catalogue contains the artist’s celebrated manifesto “The New Art of Making Books” which had been published for the first time the previous year in Plural no. 41 in Spanish and Michael Gibbs’s Kontexts nos. 6-7 in English. Galeria Remont became one of Carrión’s most important international connections in the vast network of collaborators he formed. Following this show he curated another exhibition at the Warsaw space — Inne Ksiazki 8-30 May 1977 — and gave lectures and performances there related to mail and stamp art. Most of the text in the catalogue reproduces Carrión’s characteristic bold script. In a very frank artist’s statement he elucidates his pivot from Mexican literary wünderkind to avant-garde language artist: “After extensively publishing short stories and theater plays in Mexico U. C. began using language outside the mould of what is usually called literature. Since then rather than writing poems ‘in the form of’ an advertisement or a dictionary old literature under new masks he situates dictionaries phone-books ads or any other manifestations of language as autonomous structures. His aim is to reveal the beauty and richness of these structures regardless of their referential content. U. C. is still a writer — and he insists on calling himself such — who writes very little or doesn’t even write at all. This is a radical shift in attitude which enables U. C. to concern himself not only with verbal languages but also with any system of symbols he may come across. He presents such systems either in the form of a book or as a display on a wall.” A fine copy but for faint browning to the wrappers. ⧠Juan J. Agius & Ricardo Ocampo eds. Ulises Carrión: Books & More Catalogue Raisonné 2013 p. 116. unknown books
réf. 10113159 pp. & one leaf with index & colophon. Small 8vo 180 x 115 mm. orig. printed pictorial softcover spine worn author portrait on lower cover. Guaymas Mexico: Joaquín Mortiz August 1970. First and only edition of Carrión’s second book a collection of six short stories printed in a numbered edition of 3000 copies. In the 1960s Carrión 1941-89 was one of Mexico’s emerging literary talents; a number of his short stories had been published in leading journals and his first play El Gran Espectáculo was performed at the Casa de la Cultura de Tlacotalpan Veracruz to rave reviews. Following his studies in philosophy and letters at the Universidad Nacional Autónoma de México he spent time in France and Germany 1964-65 with the aid of scholarships learning both languages. Dissatisfaction with the Mexican literary world and local hostility toward the gay community drove Carrión to emigrate to Amsterdam in 1970 where he found a progressive and free-spirited milieu. From then on he conscientiously abandoned literature and fully dedicated his life and work to the visual arts in the form of books films social experiments performances mail art etc. This book represents the artist’s final moment as a traditional/conventional author preceding his conversion to experimental and avant-garde methods of communication. “In 1970 he published a second six-story collection De Alemania considered a more mature work. Here he has perfected the interior monologue which is the primary manner in which his characters disclose themselves. In some stories the salient characteristic is alienation but in others Carrión employs humor as a catalyst. Since such characteristics are not always mutually exclusive he does achieve a delicate balance between the two.”–Dictionary of Mexican Literature 1992 ed. Eladio Cortés p. 147. Very good copy internally fine; spine a little creased as with most copies. Housed in a cloth clamshell box. unknown books
réf. 8076Single sheet exhibition invitation torn into ca. two dozen pieces. Amsterdam: Pieter Brattinga Gallery 1981. One of Ulises Carrión’s rarest mail art projects with the original mailed envelope sent to the collector Tjeerd Deelstra b. 1937. As the artist intended explained below a small torn portion is not present. “In 1981 when the Print Gallery Pieter Brattinga invited Carrión to exhibit his work there Carrión thought of a response project in which he instructed participants to reconstruct in any way they desired the bottom half of an invitation which had been shredded. They were then to sign it and mail it back to the gallery. The lower section of the invitation included a definition of mail art which the artist had torn up and from which he had then removed a small fragment. This way the definition of mail art could never be reconstructed and the instruction given by the artist was impossible to accomplish. The project resulted in 243 responses in all sorts of formats; not only intervened letters but also objects. By making participants reconstruct the invitation the project had a cyclical component that was emphasized by having the word ‘feedback’ in its title. In this way Feedback Pieces takes one step further Carrión’s intentions to reformulate not only the artwork but also the communication system through which it travels.”–Aimé Iglesias Lukin “King Kong Archives: Ulises Carrión on Mail and Art” in Ulises Carrión: The Big Monster 2019 pp. 11-13 pictured. Both the envelope and torn-up invitation are in excellent condition. ⧠Juan J. Agius ed. Ulises Carrión & The Big Monster 2014 pp. 120-35 pictured. unknown books
réf. 8079Coated paper with black & white illus. Assen Netherlands: 1982. The rare promotional poster for one of Ulises Carrión’s experimental public installations; the present copy is in particularly fine condition and has not been folded or creased. Entitled The Robbery of the Year this exhibition was designed by the artist as a test of visitors’ self-restraint. A large diamond was placed on a cushion without any enclosure but with a single spotlight trained on it in an otherwise dark room. Visitors were invited to enter the room while a photographer took pictures of the space and the visitors. An expected theft failed to transpire and near the end of the exhibition the photographer was withdrawn. Soon thereafter the diamond disappeared. “De Diefstal van het Jaar was an exhibition of a diamond in which visitors are surreptitiously invited to steal the stone raising interesting questions about viewing and stealing a precious object worthy of public exhibition and evoking images associated with museum heists with subsequent analysis on issues such as the value and ownership of objects on display.”–Guy Schraenen ed. Dear reader. Don’t read. 2016 pp. 44 & 164 pictured. On his series of public experiments Carrión is quoted as saying: “In my work I use all kinds of materials objects processes and people as formal elements. The final result is only partially determined in advance and the process that leads to that point is influenced by all the factors mentioned above. It is a game without fixed rules and with no winners or losers.”–Guy Schraenen ed. “We have won! Haven’t we” 1992 p. 69. In excellent condition. unknown books
réf. 9143Port. on lower wrapper. 13 pp. 8vo printed wrappers staple-bound. Amsterdam: Boekie Woekie 2012. A facsimile of Before and After an unpublished typescript bookwork composed by Carrión in 1972. As suggested in Raul Marroquin’s note at the end of the publication this work may precede Sonnets. Fine; staples rusted. WorldCat locates no example in North America. unknown books
réf. 10311Two torn pieces of watermarked paper typewritten text mounted on black craft paper signed. Amsterdam: n.d. A signed “structure work” by Ulises Carrión. Fine; adhesive bleeding through the corners. Initialed in the bottom left corner of the left sheet. ⧠G. Schraenen Dear reader. Don’t read. 2015 pp. 110 & 116 pictured. unknown books
réf. 10312Two torn pieces of watermarked paper typewritten text mounted on black craft paper signed. Amsterdam: n.d. A signed “structure work” by Ulises Carrión. Fine; adhesive bleeding through the corners. The artist has initialed the bottom left corner of the left sheet. ⧠G. Schraenen Dear reader. Don’t read. 2015 pp. 110 & 117 pictured. unknown books
réf. 10313Two torn pieces of watermarked paper typewritten text mounted on black craft paper signed. Amsterdam: n.d. A signed “structure work” by Ulises Carrión. Fine; adhesive bleeding through the corners. The artist has initialed the bottom left corner of the left sheet. ⧠G. Schraenen Dear reader. Don’t read. 2015 pp. 110 & 117 pictured. unknown books
réf. 11413Black & white illus. throughout. 24 leaves printed on rectos only. Small 4to 210 x 152 mm. orig. pictorial wrappers. Amsterdam: Cres Publications & Agora Studio July 1978 but 1979. First edition of this scarce bookwork. Conceived by Ulises Carrión 1941-89 it was the "July-Special" edition of Cres a bi-monthly publication and produced in an edition of 400 copies. Although it is dated "July 1978" on the upper wrapper a correction slip in this copy states that it is correctly dated July 1979. "In Alphabetical Order consisted of a set of twenty-four black-and-white photographs of a small wooden index card holder with a label saying 'a-z.' In each photograph some of the cards are placed vertically so that they stand out from the others. They are clearly different each time. The type and size of the card holder suggests that the index cards record personal details. It could be the file of Ulises Carrión's friends although all the friendships are obviously not considered equal nor do they all belong to the same social group or cultural scene. The series showed the wide range of possible categories of a single human group that has been sorted in alphabetical order."-Javier Maderuelo "An Archive Is an Archive Is an Archive Is an Archive" in Guy Schraenen ed. Dear reader. Don't read. 2016 p. 58. Near fine copy; some minor creasing to the spine internally pristine. Photographs by John Liggins; layout by Thomas Gravemaker. unknown books
