Collective exhibition in Provincial Center of Arts and Design. Luz y Oficios, número 362, Habana Vieja, La Habana. October 2016


According to Ulises Carrión The artist's book is a work of art. A work of art that responds to special codes and languages, which are found in an intermediate space between the concepts of book and art. For some, it could be a work of art materialized in the form of a book, or perhaps a book whose communicative function has been replaced by an aesthetic intention. Whether from one or the other approach, the truth is that the artist's book has arrived to establish itself as yet another manifestation, such as painting, sculpture, engraving or those of more recent emergence and linked to new technologies.

Because it is a young expression pathway, since most theorists place its appearance in the 20th century, it could be said that it is still in the experimental phase. In this way it could be said that the diversity of artist's books is infinite. The very fact of belonging to two spheres gives it the possibility of being totally versatile. It can manifest itself in different ways, its message passes both through the textual content, when it is present, and through the plastic form of the object. As far as their morphology is concerned, they can range from editions in the form of codices, accordion or boxes, for example, and as far as their production is concerned, this can use industrial techniques, or manufacturing. Its serial or single work character; as well as the individual or collective authorship, the link between the magen and the text, the way in which reading takes place, are aspects that are in constant relation and decisively influence the appearance of multiple volumes such as those that are exhibited in this exhibition.

It is an exhibition that offers different points of view - national and foreign - about concrete and extra-artistic realities, as well as those that correspond to the universe of the book itself. Hybridization is one of the essential characteristics, which can be seen in the techniques and materials used, and in the intersection with other manifestations such as installation, video or performance.

This exhibition confirms that today the artist's book can be considered a legitimate way of expression and with a multidisciplinary character, since it is governed by the combinatorial nature of different traditional and contemporary artistic procedures. It is, in fact, an artistic domain whose limits are constantly expanding, which is in permanent movement, which does not adapt and which is transformed. In short, it is a type of infinite book.

Artists of the exhibition:

Tato Ayress (Chile), Carol Barton (USA), Sara Bodman (United Kingdom), Anyelmaidelin Calzadilla, Alberto Campos, Telma del Carmen (Argentina), Irina Cepero, Steven Daiber (USA), Max Delgado, Yerandee G. Durán, Rolando Estévez, A. Alexis García, Julien Gil, María Teresa González, Misael González Hernández, Jab


Hanoi Pérez Cordero, María Teresa González


Steven Daiber, Yerandee G. Durán, Pressure Making Project


[*] Jacqueline Maggi. "Where thou art-that-is home":"Because life is like that. It is full of contrasts, of small "footprints" that are successive, juxtaposed or contradict each other.  Because like steel, it can be hard, rough and aggressive. And because it is also soft, flexible and perishable like paper. These "Tiny Notes" are intimate expression, testimony, compilation and final summary!

[*] Steve Daiber. 56 years in collaboration with Cuban families ": " When I compared the Cuban food supply notebooks to the ration notebooks used by my father during World War II, the general answer I received was:"Yes, every foreigner relates this to rationing notebooks during the time of war" Imagine a stranger asking for the identity, address, name and date of birth of all members of his family and a list of the names of all the members of his family. The notebook provides the basic food to support a Cuban individual for 12 days of the month for 1 year. Everyone uses the notebook, which is the state's support for the basic needs of 20 percent of Cubans.

[*] Scott McCarney. "Hanging Index": Hanging Index” or "Marcadores colgantes" it is part of a series of books I began in the years ninety. Each volume is pre-cut and prepared for the place will spread with instructions for its new assembly. Each page is pulled up of the book to create ribbons tied to the central axis. So all the pages of the book spread vertically. The preparation is like a performance in the opening of the exhibition. At the end of the exhibition I request "to destroy" the book and to use the ribbons to cover other books in the collective exhibition."