Month: April 2012

” L’un des buts de mon livre a trait à la fabrication d’un objet fait en série. Le produit fini a un aspect très commercial, très professionnel. Je n’ai pas de sympathie pour tout le domaine des publications imprimées à la main. […] Une fois que j’ai décidé tous les détails ó photos, maquette, etc. ó ce que je veux vraiment c’est un vernis professionnel, un fini nettement mécanique. […] Je n’essaie pas de créer un livre précieux en édition limitée, mais un livre à grand tirage qui soit de premier ordre (1). ”

– Edward Ruscha

Bibliography

– Johanna Drucker, The century of Artists’ Books, Granary Books, New York City, 1995

– Lewis Blackwell, The End of Print: The Grafik Design of David Carson, Laurence King, 2000

– Anne Moeglin-Delcroix, Esthétique du livre d’artiste, Jean-Michel Place, 1997

– Anna Sigridur Arnar, The Book as Instrument: Stéphane Mallarmé, The Artist’s Book, and the Transformation of Print Culture, The University of Chicago Press, 2011

– Sabine Kost, To Destroy is to Create, To Create is to Order: Zerstörung als kreative Gestaltungsmethode, Merz Akademie, 2009

– Elena Carotti Palazzo Bonaguro, Vanished paths : crisis of representation and destruction in the arts from the 1950s to the end of the century, Charta, Milano, 2000.

– Gianni Jetzer Manuela Kraft Barbara Casavecchia Boris Groys, Under destruction, Distanz, Berlin, 2010.

– Bernard Lafarhue, L’art de l’éphémère, PUP, France, 2006

– Lewis Blackwell, The End of Print: The Grafik Design of David Carson, Laurence King, 2000

– Stephen Bury, Artists’ books:the book as a work of art, Scolar Press, England, 1963-1995

– Riva Castleman, A century of artists books, MoMa, New York, 1994

– Steven Clay, When will the book be done?, Granary Books, New York, 2001

– Pie Books, Cover to cover book & editorial design, Books Nipan, 1991

– Robert Flynn, Donna Stein, Artists’ books in the modern era 1870-2000 the Reva and David Logan collection of illustrated books, Fine Arts Museums of San Francisco, 2001

– Joan Lyons, Artists’ books a critical anthology and sourcebook, Visual Studies Workshop Press, New York, 1995

 

– Monika Faber, Infinite Ice, The Arctic and the Alps from 1860 to the Present, Hatje Cantz Verlag, Germany, 2008

 

Abstract 03.04.2012

The aim of my project is to show how the destruction is needed in order to have a cycle in life. To illustrate that, I want to portray how nature and animals evolve in time. Starting from the Ice Age to the future, I want to show how animals and nature regenerated, evolved and adapted.

Today, global warming is a major factor in the natural cycle. Climate is changing faster than the scientist can predict it. Natural catastrophes as tsunami, earth-quakes or hurricanes are going to happen more often than before. The winter is getting shorter, the temperatures as the sea level are increasing, islands are going to disappear.

The problem today is not about natural catastrophes that destroy the environment but about destroying human kind. Nature as animals will always regenerate or adapt, as we saw after the several ice ages. Are humans going to be able to adapt with the nature itself and not the other way around?

In order to show this cycle of life, I will create a fantasy animal that evolve from the ice age to the future. By changing his characteristics with the climate or the natural environment is living into. Additionally to this fantasy aspect, I would like to represent a more realistic point of view. By picturing how the glaciers are disappearing, how the ice is melting as the sea level is increasing for exemples. Animals as nature need destruction in order to create new species or regenerate.

Humans are changing the planet every day but at the end, nature is the one being in control. Nature is never going to be an exctint specie, but human kind might.