CARRION, UlisesBiblio.com
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rif. 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
rif. 143753Mexico: Joaquín Mortiz 1970. First edition and only edition number 533 of 3000 copies of Carrión's second book a collection of six short stories employing the interior monologue by "perhaps Mexico's most important conceptual artist" Torre. Uncommon on the market: we were unable to trace any other copies for sale or at auction. Ulises Carrión 1941-1989 wrote De Alemania after his language and literature studies in France and Germany. In 1972 Carrión left Mexico and moved to Amsterdam where he founded the legendary Other Books and So bookstore and event space. He remains best known for his decisive role in defining and conceptualising the artistic genre artists' book through his manifest The New Art of Making Books 1975 "in which he extols the virtues of the book as a three-dimensional medium and convincingly refutes the idea of its being an accidental container of literature: 'A book is not a case of words nor a bag of words nor a bearer of words.' Arguing that if in the 'old art the writer writes texts . in the new art the writer makes books' Carrión urged writers and artists to take advantage of the possibilities that new printing technologies such as the mimeograph had to offer to bypass the market and to form alternate distribution networks by fostering communities of like-minded practitioners" Torre. Octavo. Original pictorial white wrappers printed in purple and black titles to spine and front cover in black and white. Extremities a little rubbed vertical creasing to spine the binding otherwise firm and unfaded slight spotting to top edge internally clean and fresh; a very good copy indeed. Mónica de la Torre "Ulises Carrión's The Poet's Tongue" in BOMB January 2013. unknown
rif. 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
rif. 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
rif. 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
rif. 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
rif. 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
rif. 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
rif. 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
rif. 796023 1 leaves mimeographed on rectos only. Small folio 288 x 187 mm. self-bound stapled. Warsaw: Galeria Remont 1977. One of Carrión’s rarest exhibition catalogues. The artist curated this show at the Galeria Remont in Warsaw a contemporary art space established by the Polish artist and filmmaker Henryk Gajewski b. 1948 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. Carrión had staged an exhibition called Contents at the gallery the previous December. The present exhibition’s title translates as “Other Books.” Gajewski and Carrión contributed essays to the catalogue both in Polish. The majority of the catalogue consists of an extensive list of artists engaging with the book form and their bookworks. They include Robert Altman John Armleder Daniel Buren Mirtha Dermisache Peter Downsbrough General Idea Michael Gibbs Klaus Groh Ian Hamilton Finlay Dick Higgins Douglas Huebler Alison Knowles Richard Kostelanetz Joseph Kosuth Anna Kutera George Maciunas Raul Marroquin Maurizio Nannucci Clemente Padin Dieter Roth Ed Ruscha Takako Saito Carolee Schneemann Mieko Shiomi Telfer Stokes Endre Tot Jiri Valoch Wolf Vostell Herman de Vries Lawrence Weiner etc. etc. Leaves 16-23 present Carrión’s selections of seminal books along with essays theorizing on bookworks and mail art. Among the bookworks shown we note: Carrión’s Looking for Poetry 1973 General Idea’s Manipulating the Self 1971 Hamilton Finlay’s Honey by the Water 1973 Huebler’s Location Piece 2 1970 Kosuth’s Notebook on Water 1965-66 1970 Maciunas’s Flux Paper Events 1976 Ruscha’s Every Building on the Sunset Strip 1966 Schneemann’s Up to and Including Her Limits 1974 Shiomi’s Spatial Poem 1976 and Weiner’s Various Manners and with Various Things 1976. Near fine copy; staples rusted. The pictorial wrappers added to some examples of this catalogue were never bound with the present copy. ⧠For more information on the Galeria Remont see the Museum of Modern Art in Warsaw’s website page “Art Prints of the Exchange Gallery” then the section on Gajewski and Galeria Remont. U. Carrión Quant aux Livres 2008 p. 209. Juan J. Agius & Ricardo Ocampo eds. Ulises Carrión: Books & More Catalogue Raisonné 2013 p. 116. unknown
rif. 8078Many black & white illus. Two large folded sheets 299 x 212 mm. folded unbound. Purmerend: Museum Waterland 1981. An uncommon exhibition flyer for a display of bookworks at the Museum Waterland co-curated by Ulises Carrión and Juan J. Agius. Both featured their own works along with those of François Bouillon Axel Heibel Diderick van Kleef Federico Sanguinetti Ben Sleeuwenhoek Ad Gerritsen J. H. Kocman Tom Ockerse Gèza Perneczky and Pawel Petasz. Several examples of each artist’s work are pictured. All the works displayed were drawn from Agius’s and Carrión’s personal collections. This catalogue’s text written by Alex A. M. de Vries is in parallel Dutch and English. De Vries pointedly notes “Two book-artists curated and arranged this exhibition in such a way that you will not see much of the usual mania for conservation which is being practised in most of the musea. This means that you will be able to take the books in your hands…This exhibition proves that artists’ books deserve to be shown more often and on large scale. And in an adequate way. The actual treatment like that of conservators in musea who like to take care of books as if they were dealing with radio-active material does not satisfy. A book ought to be in the hand of the reader.” Fine and fresh copy. ⧠U. Carrión Quant aux Livres 2008 p. 210. unknown
rif. 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
rif. 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
rif. 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
rif. 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
rif. 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
rif. 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
rif. 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
1997rif. 002836Geneve: Heros-Limite 1997. Book. Fine. Soft cover. 1st Edition. Original printed wrappers in transparent dust jacket. Texts collected by Juan J. Agius. Text in English and French. Introductions Anne Moeglin-Delcroix and Clive Phillpot. Overview of Carrion's critical writing and treatises on artists' books With a bibliography of books by Carrion. Limited first edition of 500 copies. 207 pp. 21 x 15 cm. Transparent dust jacket with tear and light wear else fine. Rare first edition. . Heros-Limite Paperback
rif. 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
rif. 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
rif. 9558Illus. throughout. 4 printed sheets orig. craft paper wrappers staple-bound. Hou Denmark: Egmont Højskolen Feb. 1979. A scarce exhibition catalogue dedicated to books with rubber-stamped illustrations curated by Ulises Carrión 1941-89. His introduction is printed in Danish and English: “Time pressures didn’t allow for a wide research but I believe that the show includes most if not all the significant artists in this field. Some available catalogues and anthologies have been included because they possess a reasonable coherence in character theme or intentions. These criteria rather than dictionary definitions were also applied when deciding what was to be considered as being ‘a book.’ The show includes quite a number of unbound works; in all cases however they consist of a series of loose works that have been put between the same covers and under a common name. Many of the included items were lent by Aart van Barneveld from the Stempelpaats in Amsterdam.” The exhibition featured the works of Anna Banana Luciano Bartolini Peter van Beveren Cozette de Charmoy Robert Jacks Ray di Palma Pawel Petasz Dieter Roth Ruedi Schill Gabor Toth Dick Walraven etc. A few of the pieces are illustrated. In fine condition. With the stamps of Niels Lomholt’s Lomholt Formular Press and the Other Books and So Archive on the verso of the first leaf. unknown
rif. 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
rif. 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
rif. 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
