CARRION, UlisesABAA
3 019 résultats
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
réf. 9675105 6 pp. Small 4to 200 x 146 mm. orig. printed pictorial softcover minor wear to spine title on spine. Mexico: Ediciones Era 1966. First and only edition of Carrión’s first published book. In 1966 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 learning both languages. La muerte de Miss O consisting of six short stories — La muerte de Miss O Y el olvido… Las palabras Graciela y yo El asalto and Como la serpiente — was lauded in an effusive review published in El Colegio de México’s Diálogos: Artes Letras Ciencias humanas. “La muerte de Miss O. 1966 a collection of six stories in which he fluctuates between psychological and realistic prose is perhaps his most well-known and highly acclaimed work. Skillfully employing the interior monologue somewhat reminiscent of both Marcel Proust and William Faulkner Carrión creates vivid and engaging characters whose psychological self-expression is tinged with realism.”––Eladio Cortés ed. Dictionary of Mexican Literature 1992 p. 147. In very good condition; small crease to corner of the upper cover and minor shelfwear to edges. Price sticker to recto of first blank leaf. Housed in a cloth clamshell box. ⧠Juan J. Agius & Ricardo Ocampo eds. Ulises Carrión: Books & More Catalogue Raisonné 2013 pp. 22-23. Reviewed in Diálogos: Artes Letras Ciencias humanas Vol. 2 No. 6 12 October-November 1966 p. 31. unknown books
réf. 11037Single A4 sheet printed & stamped on one side. Amsterdam: 1978. Scarce flyer announcement of the artist’s utopian vision of a free artist-run postal system called E.A.M.I.S. and operated from his Other Books and So bookstore in Amsterdam. Referring to himself as the “Post Master” Carrión writes eight point describing the network the final item on the flyer reads: “By usin sic. the E.A.M.I.S. you support the only alternative to the national bureaucracies and you strengthen the international artists community.” “Carrión conceived a support other than the official postal system to deliver letters and packages. It was based on the erratic distribution of the mail by people traveling around. As Postmaster of E.A.M.I.S. he set up the rules and services of this alternative system in 8 points as the concept of the project. It was mimeographed on a DIN A4 sheet and distributed and included in the program of the International Artists’ Meeting at the Galeria Remont Warsaw in April 1978 for the first time…A couple of months later as the project came to an end 24 letters and parcels were distributed and reached their addresses while 9 others remained undelivered.”–Juan J. Agius ed. Ulises Carrión & The Big Monster 2014 pp. 64-65 pictured on p. 64. In fine condition. unknown books
réf. 9232Many black & white illus. 15 leaves printed on rectos only except for one leaf. Small folio 295 x 210 mm. pictorial wrappers fastened with black plastic clasps. From verso of the first leaf: Amsterdam: Agora Studio Sept. 1980. A rare exhibition catalogue printed in an edition of 200. Carrión 1941-89 devised this as a retrospective of his works and communications with his collaborators for which he investigated the use of names and addresses. This catalogue with the introduction in parallel Dutch and English is fully illustrated with reproductions of Carrión’s earlier works and performances including pieces such as Arguments 1973 Homage to Van Gogh 1975 and The Muxlows 1978. A near fine copy of this scarce catalogue; some sunning at the edges. WorldCat records just five examples in North America. ⧠Quant aux Livres / On Books 2008 p. 210. unknown books
réf. 8080Single A4 sheet printed on both sides illus. on recto. Amsterdam: 1982. Rare flyer for the lone film made by Ulises Carrión 1941-89. In the years after the closing of Other Books and So the artist focused much of his efforts on video works eventually founding Time Based Arts a gallery dedicated to supporting video artists. On the verso Carrión describes the film which was “originally produced for the International Media Meeting organized by the Agora Foundation in Maastricht from 19 to 25 April 1982.” “Ever since his participation in the activities of the In-Out Center Carrión along with other Amsterdam artists shared an increasing interest in the possibility of film and video to document their numerous ephemeral activities and to work with the question of time…Carrión found in the language of film a support for his questioning of narrative widening the possibilities beyond what was previously limited to literature…In his only film the record of a performance The Death of the Art Dealer 1982 Carrión transfers into performance and film the type of processes he had applied to the literary text. Holding a small television set showing a 1940s film by Max Ophuls Carrión moves to the right or left to the rhythm of the movements of the characters in the film. The soundtrack is that of the original film but the narrative itself is ignored. Instead what one observes is a fairly unnoticed and typically forgettable structural aspect. In a way Carrión’s movements are like the parentheses and punctuation marks that he had previously used to strikethrough text in his pieces on certain literary works.”–Joao Fernandes “Art as Subversion: Make and Remake to Make Anew” in Dear reader. Don’t read. p. 45. Pristine copy. ⧠Guy Schraenen ed. Dear reader. Don’t read. 2016 pp. 128 130-31 pictured. unknown books
réf. 7894Unpaginated. Square 4to 247 x 204 mm. printed covers with flaps as issued. Mexico City: Taller Ditoria 2007. First printed edition of Ulises Carrión's typewritten manuscript of the same name. Carrión 1941-89 added handwritten punctuation to this work but it was never realized during his lifetime. Entirely letterpress-printed this book is now scarce on the market. It was co-produced by Martha Hellión one of the founders of Beau Geste Press. Near fine. This is a beautifully designed book printed on several special papers from a numbered edition of 600. ⧠Juan J. Agius & Ricardo Ocampo eds. Ulises Carrión: Books & More Catalogue Raisonné 2013 pp. 78-79 pictured. Guy Schraenen ed. Dear reader. Don't read. 2016 p. 84. unknown books
réf. 8133Amsterdam: 1977. The black version of this postcard distributed by Ulises Carrión for his Definitions of art exhibition held at Other Books and So in March 1977. Recipients were asked to respond with their definition of art on the verso. Carrión received 367 answers which were all displayed in the artist’s bookshop. From the recto: “A show called ‘Definitions of art’ will be held at OTHER BOOKS AND SO Herengracht 227 Amsterdam from 1st March to 26th March 1977. Everybody is invited to participate regardless of profession sex age etc. … “Just write your definition of what art is on the back of this card put it in an envelope and send it back to Other Books and So. The show will consist of all the cards received and a selective catalogue will be published. The original idea for this show is by H. W. Kalkmann.” In excellent condition. ⧠Juan J. Agius ed. Ulises Carrión & The Big Monster 2014 pp. 40-49 where a number of returned cards are shown including ones sent by Michael Snow Dorothy Iannone Herman de Vries Herve Fischer Genesis P. Orridge Horacio Zabala Jean Degottex Robert Filliou Martha Wilson John Baldessari Jackson Mac Low Carolee Schneemann Ben Vautier etc. unknown books
réf. 8134Amsterdam: 1977. The blue version of this postcard distributed by Ulises Carrión for his Definitions of art exhibition held at Other Books and So in March 1977. Recipients were asked to respond with their definition of art on the verso. Carrión received 367 answers. From the recto: “A show called ‘Definitions of art’ will be held at OTHER BOOKS AND SO Herengracht 227 Amsterdam from 1st March to 26th March 1977. Everybody is invited to participate regardless of profession sex age etc. … “Just write your definition of what art is on the back of this card put it in an envelope and send it back to Other Books and So. The show will consist of all the cards received and a selective catalogue will be published. The original idea for this show is by H. W. Kalkmann.” In excellent condition. ⧠Juan J. Agius ed. Ulises Carrión & The Big Monster 2014 pp. 40-49 where a number of returned cards are shown including ones sent by Michael Snow Dorothy Iannone Herman de Vries Herve Fischer Genesis P. Orridge Horacio Zabala Jean Degottex Robert Filliou Martha Wilson John Baldessari Jackson Mac Low Carolee Schneemann Ben Vautier etc. unknown books
réf. 1141019 pp. Square 4to printed wrappers staple-bound. Geneva: Boabooks 2016. From the colophon: "rrr reproduces nine pages typewritten by Ulises Carrión in 1972." Printed and bound by Che Huber and Alexis Dos Santos and designed by Izet Sheshivari. As new unknown edition size. unknown books
réf. 10308Single paper sheet 350 x 222 mm. mounted on black craft paper letterpress-printed signed in lower left corner. Amsterdam: 1975. A signed Ulises Carrión print adapted from a 1972 typewritten work. Near fine; minuscule tear on the left side inoffensive sunning. Inscribed in the lower left corner: “U. Carrión ‘75.” From the collection of Guy Schraenen 1941-2018. unknown books
réf. 1122470 pp. Small 4to 210 x 160 mm. pictorial semi-stiff wrappers title on spine. Amsterdam: VOID distributors 1980. The essential compendium of Ulises Carrión’s polemical essays; printed in an edition of 500 by Hetty Huisman’s VOID Distributors. His trailblazing theories and beliefs about artists’ books and mail art remain influential to this day. “The New Art of Making Books” first published in Plural no. 41 1975 is frequently cited by contemporary book artists. The book includes his most important essays: “The New Art of Making Books” “From Bookworks to Mailworks” “Rubber Stamp Theory and Praxis” “Rubber Stamp Art” “Mail Art and the Big Monster” “Table of Mail Art Works” “Personal Worlds or Cultural Strategies” “Bookworks Revisited.” Each has printed notes in the margins providing clarifications or revealing Carrión’s latest views on a subject. Fine copy. This book is now rather rare on the market. ⧠John Held Jr. ed. Mail Art: An Annotated Bibliography 1991 6–”Highly recommended.”. unknown books
réf. 7901Several illus. 46 133 pp. 8vo blue printed softcover perfect-bound. Brooklyn NY: Ugly Duckling Presse 2020. Handsomely printed re-publication of Ulises Carrión’s 1972 classic Sonnets. Fully reprinted here in the 1972 bookwork Carrión devised 44 variations on Dante Gabriel Rossetti’s sonnet “Heart’s Compass.” With insightful essays and contributions by Veronica Gerber Bicecci Annette Gilbert Monica de la Torre Michalis Pichler Heriberto Yepez India Johnson and Felipe Becerra. As new. Published through In-Out Productions in an edition of 200 copies the first edition of Sonnets is now very rare. unknown books
réf. 10310Single purple paper sheet 295 x 210 mm. mounted on beige paper collaged yellow pieces of paper with ms. text in ink & graphite signed. Amsterdam: 1977. A Ulises Carrión language work with manuscript text on the collaged strips of paper. In fine condition; adhesive in corners bleeding through the paper. Inscribed in the lower left corner: “Ulises Carrión ‘77.” From the collection of Guy Schraenen 1941-2018. ⧠G. Schraenen Dear reader. Don’t read. 2015 pp. 110 & 115 pictured. unknown books
réf. 1117720 leaves. Small 8vo 178 x 115 mm. orig. black printed dust-jacket perfect-bound. Geneva Switzerland: Ateliers Typographiques Héros-Limite 1995. The very rare second edition of Carrión’s beguiling bookwork composed of bound wallpaper samples one of the artist’s lesser-known books due to its rarity. The 1973 first edition published by the artists’ space In-Out Center was made in an edition of 50 numbered copies. The present work is one of 52 copies 26 of which are lettered A-Z the rest numbered 27 to 52; our copy is no. 42. This book is part of a series of re-publications that Juan J. Agius an executor of Carrión’s estate undertook to replicate the increasingly scarce and fragile bookworks Ulises Carrión 1941-89 created in the 70s. Under the imprint of Editions Héros-Limite in Geneva Agius produced second editions of Mirror Box 1st ed.: 1979 Looking for Poetry / Tras la Poesía 1st ed.: 1973 Arguments 1st ed.: 1973 and the present bookwork. ”In Ulises Carrión’s bookworks the ellipsis of the literary text is accompanied by an ellipsis of the narrative as can be seen in the listing of names or the identification of characters that are not linked by any narrative relationship within a story…In Tell me what sort of wall paper your room has and I will tell you who you are 1973 Carrión cuts out and binds together a set of wallpaper samples typing on them the name of the room in which each will appear. The names start in the first person my room then identify the members of his family and relations my parent’s room my sister’s room my uncle’s room my wife’s room my teacher’s room finally reaching a progressive lack of differentiation of the person to whom the room with the specific wallpaper belongs your room a room …’s room. The subtlety of this bookwork is apparent not only in the readymade of the wallpapers but also in the suggestion of a narrative that does not require a text for its construction: the simple association of the identities of the rooms’ owners in the first person informs us that the narrator has a teacher a wife etc. The progression of these identifications suggests a leaving of the family home to enter the world the framework of so many narratives found in short stories novellas and novels. The new art of making books permits the insinuation of a story without resorting to text or narrative…”–João Fernandes “Art as Subversion: Make and Remake to Make Anew” in Guy Schraenen ed. Dear reader. Don’t read. 2016 p. 41 analyzing the 1st ed. In excellent and fresh condition. The first edition is unrecorded on WorldCat and we find only three copies of the second in North American institutions. ⧠Juan J. Agius & Ricardo Ocampo eds. Ulises Carrión: Books & More Catalogue Raisonné 2013 25 pictured. unknown books
réf. 1141212mo magenta printed semi-stiff covers stitched. Geneva: Boabooks May 2016. From the colophon: "the drum presents a linguistic exercise handwritten in black ink 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. 10309Single purple paper sheet 298 x 209 mm. mounted on beige paper collaged yellow pieces of paper with ms. text. signed. Amsterdam: 1977. Manuscript collage language work by Mexican artist Ulises Carrión. He contributed a version of the piece to the magazine Kontexts it appears in issue 5 1974. Near fine; adhesive in corners bleeding through. Signed in the lower left corner: “Ulises Carrión ‘77.” From the collection of Guy Schraenen 1941-2018. With thanks to Rich Dana Sackner Archive Project Coordinator Librarian at the University of Iowa Special Collections who confirmed the appearance of this work in Kontexts issue 5. The Sackner Archive holds the editorial files for Kontexts including original contributions like Edgardo Antonio Vigo JH Kocman Carrión Felipe Ehrenberg Bob Cobbing Clemente Padin Jiri Valoch etc. ⧠G. Schraenen Dear reader. Don’t read. 2015 pp. 110 & 114 pictured. unknown books
