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„Aufzeichnungen“ und Aufzeichnen
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華文
2016: Book Semiotics
2016: Heinzelmenschen
2014: A Traveler's Guide to 
         Ride-sharing
          (NOVEL/ ARTIST BOOK)

2013-2015: flip!
2010-2012: zusammenhang
2009-2010: silent years
2008: Materialpoesie
2007: flaschenpost
2007: abwesend, anwesend

Zeichnungen/ drawings/ 圖畫
Kalligrafie/ calligraphy/ 書法

book design/ 書籍設計



SFAI140 - November 2016 - Yung-shan Tsou from Santa Fe Art Institute on Vimeo.




credit: Dilara Akay

exhibition poster 

Book Semiotics: A Book of Boxes
— A Curatorial Work

When I met my fellow artists at the Santa Fe Art Institute, I was exhilarated by their creative capacity and the varied dynamics in their works. Early exchanges inspired a collective book project. As a premise we forged towards challenging the traditional format of bookmaking.

As a working parameter, a 16” square box conceptually serves as a page for a book and each artist was given a box to make a contribution to the project with. The artists were encouraged to develop their own narratives with their box considering this context.

How will we read this new sequence? How does the reading of this collective body of work change when offered the challenges of sculptural form and installation space? How does this extend or consider the historical format of books? What is my role as curator in defining these new relationships that will be produced?

Examining and challenging the established structure of what a box or book currently is incites liberation from functional or conventional expectation. The outcomes produced are considered, experimental and open.

If the boxes are considered book pages, my curatorial role engages actions of the editor. My role is to arrange the page order, to consider optimal layout, it binding, audience impact and how best to present this new work. During the photo documentation of the work, some complex characteristics in the boxes were revealed, which informed the installation direction. In this current exhibition scenario, the installing is site-specific. The concrete row of lights in front of SFAI echo the shape of the 16” box thus serves as the perfect pedestals for the art. The structure of the building contains the exhibition in the same way a binding protects the contents of a book. We have collectively reconsidered the format.

I am very grateful to be a SFAI artist in residence, which has afforded the opportunity to work on a book project with this creatively radical group of artists. Their contribution for the exhibition provides extended considerations to the book format vocabulary, and extends the possibilities in bookmaking. It inspires me to continue to rethink what a book can be and how reading can be experienced. Thank you to my fellow artist for engaging with me in this process and contributing so generously. I also hope all of our readers enjoy engaging with this work as much as I do.




Yung-shan Tsou
Edited by Jason Baerg
November 30th, 2016



 





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