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Posted October 8, 2015 by anapcordeiro in Uncategorized

Pecha Kucha talk at the NY Art Book Fair

(presented within the Conference Session organized and moderated by Tony White, held at PS1 MoMA on September 28th, 2012)

I’m starting with a project being developed in Hong Kong. This is what Anna Gleeson emailed me about her newspaper:

“Ha Wan Pao is a community project. It’s an excuse for a reclusive artist-illustrator type, who’s always working alone – to get out of the house and meet some kindred spirits. I am really am interested in other people’s craftmanship or their creative processes across a wide range of stuff. So far I’ve enjoyed interviewing people who are just at the beginning of their creative project or people whose project is not a profession but a fun thing to do. They have a sense of play that I would like to always keep in my own creative practice (whatever that is) and which seems like the opposite of careerism.”

Now I’d like to bring your attention closer home. Master printer Barbara Henry has given us another dimension for reading Walt Whitman. What she sees in the poem Leaf of Faces is what printers with type under their skin – like Whitman himself – would see: typefaces. From this perspective, she printed a Leaf of Faces with words literally expressing character from typeface design, thus combining the essence of the word with its body. I also learned from Barbara that the title “Leaves of Grass” is a wordplay with the trade: the word “grass” was a slang used in printshops such as Whitman’s to refer to the day-to-day paper & ink job flow.

To contrast, here is a wordless play with mankind’s troubles over means of transportation. Weatherproof from Lisbon artist Catarina Leitão employs ease and grace into our clumsy ways of moving and coping with the human body’s lack of proper tools for traveling.

Speaking of traveling:
About a hundred years ago in the heart of the driest back lands of Brazil, there was a charismatic and violent peasant hero who had been betrayed and beheaded in battle against a ridiculously large military force, having his head kept in public display for decades. Flávio Luiz recaptured his hardy essence in a post-apocalyptic scenario of struggle for access to water sources. The hero here is set against hi-tech elitist corrupt powers armed with futuristic proton guns, but keeping as his weapon of choice a good old fish knife.

In a more European note, I’m now going to read an excerpt of British writer Nancy Campbell’s statement:

“In 2010 I was appointed Writer-in-Residence at the Upernavik Museum in Greenland. I found in the oral traditions of the Arctic a reflection of my own concerns with poetic temporality and transience.
How to Say I Love You In Greenlandic is an introduction to this evocative Arctic language. Each of the 12 letters of the Greenlandic alphabet is represented with a single word. These 12 words form a concise romantic narrative as well as a lesson in linguistics: as in contemporary Arctic life, the denouement is caused by the disappearance of the ice.”

A Very Valentine is part of a 24 years-long series of Valentine’s Day offerings by Roni Gross, aka Zitouna Press. Type composition and colors embodied Gertrud Stein’s poem “Valentine to Sherwood Anderson” in a way that makes me literally hear the words with my eyes. Synesthesia is the proper word for this phenomenon, but I can also equate it with skilled use of emotions.

And for our education, here are some Informational Pamphlets lavishly printed with the kind of knowledge that makes me wonder what can be possibly not worth knowing as long as there are skill and will involved. Here is a list of previous topics Sarah Nicholls has kindly enlightened us with:
Pie Is an Ancient Practice
Weasels and Their Habits
The Adoration Aside, There Are Dangers to Being a R&B Heartthrob
A Guide to Leisure Activities for Introverts
Escapism for Amateurs

And speaking of escaping, Theo Ellsworth intelligent innocence was a balm to my edgy nerves and mind. Years ago the blog I had, along with any networking tools I touched, were hacked by someone who refused to meet me in a place where body language could be evident. Being simultaneously stalked and rejected made me cringe the whole of the keyboard apparatus.

Then Sleeper Car came along and made me smile again, with its characters part machine part animal part man, and yet wearing in their sleeves something to call a spirit, a soul that will still take birth in the messy ordeals of a time with too much information and not enough sense.

Posted September 28, 2012 by anapcordeiro in NY Art Book Fair