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catalogue 2012 – doverodde book arts festival IV


Doverodde Book Arts Festival IV On the margins Catalogue 2012

Limfjordscentret Doverodde Købmandsgård Fjordstræde 1 • Doverodde • DK-7760 Hurup Thy • Denmark www.bookarts-doverodde.dk


Introduction: The best of all books by Nancy Campbell Artists in the themed exhibition: ‘On the margins’ May 17th-August 5th 2012: Akker, Greetje van den Andersen-Nærum, Birgit Aranti, Ilse Ballegaard, Karen Kirstine Battenburg Press, Lucy May Schofield Battenburg Press, Sylvia Waltering Beadle, Joan Beaufonts, Jonathan Hitchen Bellingham, Mark Birkkjær, Birgit Daa Björk, Alf Borgen, Renate Bossenbroek Bouchard, Anne Butler, Jacqueline Caková, Katarina Christensen, Hanna Munch Cradock-Watson, Jane Dalum, Birgit Degn, Martin Dietrich, Kirsten Elgerot, Sara Ensixteen Editions, Mike Nicholson Ernst, Josephine Eve, Tony Fleming, Nick Fox Ash Press, David Jury Fyfe, Jan Ginsberg, Tatiana Grupo Gralha Azul Hart, Nancy Holden, Regitze Howard, Caitlin Eirlys Hue, Régine Hyslop, Jane Johansen, Anne Marie Johansen, Gittemarie Judd, Hilary Kunz, Lucas Laimer, Marianne Lawton, Sarah Jane Lee, Sophie Lindhardt, Birthe Juel MADE Mahler, Hanne Marker, Inger Mønster Matthiesen, Hanne

Millar, Ruth Mirbach, Klaus von Ohlen, Ahlrich van Pedersen, Anita Pettersen, Tommelise Haldrup Piggins, Maureen Plake, Bernd W. Platt, Susan Ralphs, Annabel Robinson, Sonya Shaw-Williams, Ruth Tubbing, Mieke Verdenius, Lies Winkworth, Sandra Yeo, Jesvin Zebrowski, Ewa Monika Zimmermann, Karen Stand participants May 18-20th 2012: Ambeck Design, Mette-Sofie D. Ambeck Campbell, Nancy Forening for Boghaandværk Hansen, Gert Holstborg, Arne Mayann, Henning Tannebæk Otto, Otto Dettmer Music Music in a Garden Exhibitions May 22-June 24th 2012: PAPIERS...pliés, reliés, envoyés... – Anne Bossenbroek Bouchard Limfjord Lines – Nancy Campbell Guest of Honour 2012: Søren Ryge Thank you


The best of all books Welcome to the Fourth Doverodde Book Arts Festival. Since the Book Arts Center was founded at the Limfjordscenter in 2009 the festival has become a keenly anticipated fixture in the international book arts calendar. This year the event is organized by award-winning book artist Mette-Sofie D. Ambeck, with support from Liz HempelJørgensen, Karin Nikolaus, and a dedicated team of volunteers. The theme of this year’s festival is ‘On the margins’ (in Danish, ‘Udkant’). The nineteenth-century American artist William Morris Hunt described the margins as ‘the best part of all books’, saying that a blank margin has ‘the soothing influence of a clear sky in a landscape.’ The association between the borders of the page and the land is especially apposite in Doverodde, a place separated from the mainland by the waters of the Limfjord. The festival draws book artists and book lovers from around the world to this peaceful harbour village at the edge of Europe. For one weekend, a marginal space becomes a medial point where we can experience a wide range of contemporary book arts: inventive examples of illustration and typography, altered books and mail art, and works demonstrating traditional papermaking, bookbinding and printmaking techniques. Visitors can meet the makers and browse their books in the Pakhus, or see an installation of prayers and greetings by Anita Pedersen and Gunnar Stefansson in the Tower. Artist-led workshops will give everyone an opportunity to try their hand at book and paper crafts, by creating concertina books, tunnel books and pop-ups, Japanese kirigami cards and Danish woven paper hearts. The Limfjordcenter provides something for all the senses, with musical performances by the trio ‘Music in a Garden’ from Kassel, Germany, and local group ‘Dover Djazz’ – not to mention the aroma of cakes and coffee coming from the book café. In addition to this exciting programme of events, this year sees the first Book Arts Symposium, a forum for formal discussion of the genre. We welcome distinguished artists Maureen Piggins and Ewa Monika Zebrowski from Canada to give keynote addresses, and look forward to the debates initiated by the speakers. Nancy Campbell Writer-in-Residence Doverodde Book Arts Festival IV


A woman’s heavens (2000-2011).

Greetje van den Akker Greetje van den Akker greetjevdakker@gmail.com www.greetjevdakker.exto.nl P: (+31) 7 0322 3309 Gevers Deynootweg 1296 • 2586 HP Den Haag • The Netherlands

A woman’s heavens The work is made of cardboard with a cover of silver paper; a book containing mixed media drawings about a woman who experiences a lot of pain, hardship and difficulties in her life. Most of these will be familiar, but some will be regarded as extreme. The title therefore is: A woman’s heavens. Size: h: 31cm • w: 30cm • d: 2·5cm Technique: cardboard, silver leaf, paper and mixed media on paper.

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On the Margins (2012).

Birgit Andersen-Nærum

Birgit Andersen-Nærum www.artguidedenmark.dk/BirgitAndersen-Naerum P: (+45) 4580 2736 Nærum Gadekær 6, st.th. • DK-2850 Nærum • Denmark

On the Margins In my work it is the harsh contrast to my own safe place, which is of the essence. At the same time a symbol of the insecurity and terror that pervades thousands of people’s everyday lives and makes their existence hopeless. Size: h: 26cm • w: 36cm Technique: mixed media collage.

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Forestillingers magt – Udkanten af sindet (2011-12).

Ilse Aranti Ilse Aranti ilsearanti@gmail.com www.ilsearanti.dk P: (+45) 8659 0577 • M: (+45) 6177 4012 Mosevej 7 • Mårup • DK- 8305 Samsø • Denmark

The power of imaginations – On the margin of the mind In my artwork I try to express the experience of being human, and how we see ourselves and the world. In this particular artwork I focus on the power of our imaginations. With our collective and learned imaginations and thoughts about ourselves and about others, we lock ourselves into cages of consciousness. These confining, collective and individual concepts and emotions lie on the margins of the mind. At these margins, we have only a little contact with our inner being, which actually holds what we really possess…infinite freedom, joy and strength. Size: h: 55cm • w: 42cm • d: 28cm Technique: mixed media, handmade paper, metal wire, basket & a rock.

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Travel Book No. 35, Fanø (2010)

Karen Kirstine Ballegaard

Karen Kirstine Ballegaard kkballegaard@gmail.com www.karenballegaard.dk Tinnetvej 47 • DK-7173 Vonge • Denmark

Travel Books: No. 35, 38 & 39 / Rejsebøger: nr. 35, 38 & 39. My ongoing project of making Travel Books has recently involved residencies on the margins of Denmark; where the land meets the sea and where only a few people live their daily life – but where a lot of tourists arrive in summertime. These locations were the northern point of Jutland and the islands Fanoe and Hirsholm. What’s happening in these locations where nature is strong and people are small in number? What’s important to people, what’s in the local newspaper and what do people talk about? Some of the material in my books is found both on locations near the sea and in such local newspapers. Size: (No. 35) h: 15cm • w: 15cm • l: 250 cm Technique: mixed media.

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All the News that’s fit to Print (April 2012).

Battenburg Press Lucy May Schofield babl@lucymayschofield.co.uk www.lucymayschofield.co.uk M: (+44) (0)77 7576 2230 4 Canbrian House • 60 Wood Road • Manchester M16 8BL • England

All the News that’s fit to Print 75 years ago Homer Collyer was found dead in an armchair in the 5th Avenue Brownstone mansion he shared with his brother Langley. The NYPD emptied the house of 130 tons of refuse including 1 horse’s jawbone, 25 thousand books, 14 pianos, 5 dressmaker’s dummies, several guns and 15 year’s worth of daily newspapers. 19 days later they discovered Langley’s body less than 10 feet from where his brother had died, suffocated under the weight of his collapsing hoardings. Size: h: 59·7cm • w: 37·4cm Technique: letterpress printed broadsheet.

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Orlando (Spring 2012).

Battenburg Press

Sylvia Waltering s.waltering@mmu.ac.uk www.battenburgpress.tumblr.com M: (+ 44) (0)77 4778 2297 United Kingdom/Germany

Orlando Sylvia Waltering’s Orlando presents the marginalia found in one complete copy of Orlando: A Biography by Virgina Woolf. The original text of Woolf’s novel has been completely removed and the resulting book presents only the comments, writings and scribbles found in the margins of the original paperback. Size: h: 20·6cm • w: 13cm Technique: perfect bound, soft cover.

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the things we left unsaid: Vol 2 (2012).

Joan Beadle Joan Beadle j.beadle@mmu.ac.uk United Kingdom

the things we left unsaid: Vol 2 A Book showing images from a journey. Photographs taken while travelling. Photographs of places between places, journeying through and past unknown edge lands, places which are on the edges and margins of that which is central to us, peripheral, glimpsed but unseen landscapes. A Book remembering the words in between, the things we left unsaid. Size: h: 12cm • w: 12cm Technique: digital printing.

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Pale noise (March, 2012).

Beaufonts

Jonathan Hitchen jonathanhitchen@me.com www.beaufonts.com P: (+44) 16 1881 6360 4 Reeves Road • Chorlton-cum-Hardy • Manchester M21 8BT • UK

Pale noise Pale noise is a sequence of twenty-six moiré drawings made with the processing programming language. The traditional Japanese binding positions the centre of these images at the edge of the page; their uniformity diffuses as the pattern spreads towards the margin. Size: h: 27·6cm • w: 20·3cm Technique: processing script, two-colour Risograph, donated bible paper, laser-etched GF Smith Gmund Alezan, GF Smith Plike endpaper, typeset in Futura.

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I only want what I can’t have (August, 2011).

Mark Bellingham Mark Bellingham mb10uk@yahoo.com www. markbellingham.blogspot.co.uk United Kingdom

I only want what I can’t have This personal book explores the way in which an image is made, fragmented and lost both physically and mentally. The ideas were formed around the recent death of my Mother and also the end of a personal relationship. I wanted to capture the feeling of loss and the information we are left with when something ends. There is a mix of images including images of roses from my Mother’s garden and the trees she could see from her sitting room window. There are also images of a bullfight in Barcelona, a spectacle that also has just ended. Also exhibiting: Cuba Ether (2010) & Trappings (2009). Size: h: 20cm • w: 25cm Technique: photography

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Flyvende Sommer (2012)

Birgit Daa Birkkjær

Birgit Daa Birkkjær birgitbirkkjaer@mail.dk www.betulapress.dk P: (+45) 8634 4840 • M: (+45) 2127 2457 Skovskadevej 8 • DK-8400 Ebeltoft • Denmark

Flying Summer / Flyvende Sommer Is the poetic Danish expression for the way little spiders travel in late summer. They begin by crawling out to the edge of a leaf, for example, and spinning a thin thread. When it is long enough, even the slightest breath of air is enough to catch it and lift the spider into the air to float away. As this has always been a metaphor for freedom, courage and faith to me, my book is an invitation to go to the edge and seek adventures… Size: h: 4·5cm • w: 8·5cm Technique: Photoshop, laser printed on Fabriano drawing Paper 120gsm (Acid free), cut by hand, metal bead ending in a thread is hand sewn to its leaf, and all leaves are finally gathered by a metal screw.

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Vanneberga 1:4 (2012).

Alf Björk Alf Björk alfbjork@hotmail.com www.alfbjork.com P: (+46) 448 1932 • M: (+46)7 0848 1962 Vanneberga 3116 • S-28834 Vinslöv • Sweden

Vanneberga 1:4 Naturally, from a global perspective I myself am on the margins, but if you reverse the angle I am at the natural centre. Instead of seeing ‘my place on earth’ as an outpost, I turn it all around and see it all from where I live – Vanneberga 1:4 – which is the centre and origo of my own concept of the world. My origo is where I live and operate. With ever-new impressions and vistas the distance between the centre and margins decreases. Size: h: 2cm • w: 22cm Technique: drawing

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UDKANTSDANMARK (March 2012).

Renate Borgen

Renate Borgen renateborgen@gmail.com www.renateborgen.blogspot.com P: (+45) 3254 2550 Prinsessegade 93 st.th. • DK-1422 Copenhagen K • Denmark

On the Margins of Denmark / Udkantsdanmark The idea is to get the viewer involved by writing a short piece, making a drawing or adding something else which they find appropriate to describe life on the margins of Denmark. Size pages: h: 13cm • w: 13cm | Cover: h: 15cm • w: 15cm Technique: mixed media: paper, board, a CD-ROM sleeve, acetate, prints and canvas tape.

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TALLINN, HISTORIQUE, MARGINALE (February 2012).

Anne Bossenbroek Bouchard Anne Bossenbroek Bouchard abossen@dds.nl www.annebossenbroek.wordpress.com P: (+31)3 4353 2675 Arnhemsebovenweg 13 • 3971 MA Driebergen • The Netherlands

TALLINN, HISTORY, MARGINAL Tallinn is an amazingly well-preserved city, never destroyed. The walls date from the Middle Ages and the towers and belfries are well-restored gems… Yet suddenly, around a corner, behind a junction box, a different language: traces of a marginal existence, secretive, revealing itself sparingly. Is it an appeal from those who don’t recognise themselves in this city, a questioning of the established order? Or is it, quite simply, life? Size: h: 24cm • w: 11·5cm | Open: h: 48 • w: 67cm Technique: alternative construction.

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Under the Skies of Ahmedabad (April 2012).

Jacqueline Butler

Jacqueline Butler j.a.butler@mmu.ac.uk P: (+44) (0)16 1232 7827 15 Whalley Road • Whalley Range • Manchester M16 8AD • UK

Under the Skies of Ahmedabad Whilst preparing for a residency in Ahmedabad, India I began to familiarize myself with the location and the city by viewing and exploring the city through satellite images from Google Earth. Google Earth offers views of cities and streets in great detail, they appear tantalizingly close and yet the experience is strangely alienating. What I became interested in were images beyond the map, at the margin, images that reveal how it feels to live in the city, the emotional experiences that make up the ritual of the everyday. This is a different kind of map; not ‘reality’ modeled on spatial information but on lived experience of space and place. Size: h: 21cm • w: 27cm Technique: pamphlet stitch bound book (open spine) with slip cover Giclee print on archive watercolour paper.

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Robby Wild (Notes of Seclusion and Desolation). (2009).

Katarina Caková Katarina Caková cakovak@gmail.com www.katarinacakova.blogspot.com P: (+42)19 0804 2717 Krakovska 9 • 04011 Kosice • Slovakia Robby Wild (Notes of Seclusion and Desolation) While part of everyday life, there are things that we still do not notice, our lack of understanding pushing things to the margins… In the handmade artists’ book Robby Wilde (inspired by a novel based on a true story) a paranoid schizophrenic boy feels disconnected and alone, the isolation being the worst thing of all. I selected sections distilling the story’s essence and illustrated them symbolically... ‘I think back to one of the early astronauts, when he was beaming descriptive messages back to the listening Earth. At one point he said: “We are moving towards darkness all the time.” Unlike him, I’m not moving anywhere. Darkness is moving towards me all the time.’ (Voices of Robby Wilde) Size: h: 15cm • w: 23cm Technique: original prints (linocut, intaglio, silkscreen and lithography).

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Assistens Kirkegård (March 2012).

Hanna munch christensen

Hanna Munch Christensen HCH@kb.dk • privat@exitstudiet.dk M: (+45) 5614 2169 • M: (+45) 5230 5505 Solrød byvej 40E • DK-2680 Solrød strand • Denmark

Assistens Kirkegård / Assistens Cemetery (Copenhagen). Illustrations by Jørgen Bispelund Knudsen & poem by Klaus Høeck. My inspiration has been the Assistens Cemetery – you cannot reach a margin further away than that. It is the last resting place. Size: h: 36cm • w: 28cm Technique: the book has a hardboard cover with an exposed spine. The covers are painted with acrylic and have an embossed cross on either side. The cover of the box is a painted canvas with a black canvas border.

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Shoreline (April 2012).

Jane Cradock-Watson Jane Cradock-Watson jcradock_watson@me.com www.janecradock-watson.com P: (+44)(0)20 8399 5300 • M: (+44)(0)79 4102 5958 29 Manor Drive • Surbiton • Surrey KT5 8NE • United Kingdom Shoreline My books are sensual. Their subject matter is primarily focussed on the conceptualisation of the garden and the landscape. Nature is so evocative of the human condition. The book in its materiality and physical properties are integral to its reading, providing the reader with an intimate and sensory experience with nature, which engages them in reflecting on the natural world. A book which reflects on the shoreline, where the land meets the sea and the sky, sometimes clearly visible and at others indistinguishable. The physicality of the book, in its long slow paced format and its tactile surface qualities, engage the reader in a reflective and sensual reading of the beauty of this landscape. Size: h: 14cm w: 21·5cm Technique: digital photographs, printed using archival inks on Japanese handmade paper.

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Terrains Vagues (April 2012).

Birgit Dalum

Birgit Dalum birgitdalum@hotmail.com www.birgitdalum.dk P: (+45) 4586 6603 • M: (+45) 2811 6629 Gøgevang 66 • DK-2970 Hørsholm • Denmark TERRAINS VAGUES On the margins of a town you find ‘Terrains Vagues’; a sort of no-mans land, without any rules or structure. The Danish composer Per Nørgård has written a piece of music called Terrains Vagues, which is the inspiration for my book. I hear the music as the place where all forces of mankind are expressed in true extremes. I hear a tremendous horror, but also an inherent poetic power. Mankind represents devastation, disasters and dissonance, but hardworking inventiveness and enterprise too. I hear setback, step backwards and forwards, I also hear beauty and hope rising to the sky. Size: h: 19·6cm • w: 39·8cm • d: 1cm Technique: full case binding of watercolours inspired by the music of Per Nørgård. Cover: self made paper.

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UDKANT (Spring 2012).

Martin Degn Martin Degn martin.degn@mdp.dk www.mdp.dk P: (+45) 2065 3919 Svanevænget 10 • DK-8660 Skanderborg • Denmark UDKANT A two-syllable word with two vowels and four consonants. As an example, these 36 combinations: UD-KANT UT-KAND UK-TAND UND-AKT UK-DANT UKN-DAT DUK-NAT DUT-NAK DUN-AKT DNAT-UK DAT-NUK DA-KNUT KANT-DU KAN-TUD KUT-AND KATN-UD KANT-UD KA-TUND AT-DUNK AN-DUKT AD-KUNT AND-TUN AKT-KUN ANKT-UD NAK-TUD NA-KUTD NU-TAND NUT-AKD NUD-TAK NAK-DUT TUK-AND TUK-DAN TA-DUNK TU-DANK TUD-ANK TUD-KAN UND-TAK UN-TAKD UN-KATD UD-TANK UT-KNAD UT-NAKD DU-KNAT DAN-TUK DUN-TAK DU-TNAK DU-TANK DAT-KUN KA-DUNT KUN-DAT KUND-AT KU-TAND KA-DUNT KAN-DUT ANKT-UD AND-UNT ANK-TUD AT-KUND AT-KNUD AK-TUDN NAT-KUD NAT-DUK NUT-DAN NU-ADKT NUD-AKT NA-KUTD TANK-DU TAND-KU TANK-UD TAK-DUN TNA-KUD TAN-KUD Find even more. UD-KANT Size: open: h: 24·3cm • w: 15cm • l: 60cm Technique: Flag book (Hedi Kyle). Self made paper and decoupage.

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Thoths bog (2012).

Kirsten Dietrich

Kirsten Dietrich www.forlagetjoy.dk P: (+45) 5599 8202 Bønsvigvej 27 • DK-4720 Præstø • Denmark

The Book of Thoth / Thoths bog The Egyptian God, Thoth, who also invented writing, is standing by the gate to Heaven assisted by the Goddess, Maat. To enter Paradise the heart of the dead must be lighter than a feather. Size: h: 50cm • w: 70cm Technique: mobile, mixed media.

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Utkantsliv (2012).

Sara Elgerot Sara Elgerot rareautumn@gmail.com www.rareautumn.com Sweden Utkantsliv Utkantsliv (Swedish for life on the outskirts or life on the margins), is an exploration of an unknown entity for me in my home town of Stockholm – a place now strangely unfamiliar to me after years abroad. I started discovering these anonymous areas on the outskirts of the city, mainly just houses/housing blocks sprung up in close proximity to public transport. I got very interested in these ‘hinterlands’, their strange, careless mix of nature and industrial elements. This book is the result of walks through one of these areas. The photographs are purposefully anonymous and up-close, void of people and wider context, a highly personal view and examination of somewhere strangely impersonal and interchangeable. Size: h: 15cm • w: 20cm Technique: photographs printed with inkjet on matte, double-sided, coated paper (175gsm). Hand-folded, hand-trimmed and hand-sewn, with a soft cover. 24


Drawing from: On the margins (2012).

Ensixteen Editions

Mike Nicholson ladnicholson@yahoo.co.uk www.ensixteeneditions.blogspot.com P: (+44)(0)20 7249 2187 • M: (+44)(0)77 1133 4913 Top Flat • 9c Carysfort Road • London N16 9AA • United Kingdom

On the margins I was born many, many miles way from where things happened. Life’s events were what we saw on the TV news. Or so it seemed. With time I moved to the very centre of things; a capital city – London. Between my two states of being – country and city, past and present, lie what I nowadays want to say through my work in word and image. Life is very possibly just as vivid and equally inspiring… on the margins. Part of London-based artist and writer Mike Nicholson’s ongoing series of graphic narratives called bio auto graphic. Size: h: 21 cm • w: 15cm Technique: drawings by hand, scanned and laser printed. Hand stapled.

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I udkanten af… (2012).

Josephine Ernst Josephine Ernst www.ernst.dk P: (+45) 2225 3660 Malmmosevej 47 • DK-2840 Holte • Denmark

I udkanten af… / On the margin/outskirts of… …a lake …a dog breed …a shadow …a car’s lifespan …a beach …a horizon …an adventure Size: h: 14cm • w: 16cm • l: 102cm Technique: photography.

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Tentative Answers to Unasked Questions (April 2012).

Tony Eve

Tony Eve pandaeve@btinternet.com M: (+44)(0)12 7087 8159 • M: (+44)(0)78 0125 5205 ‘Made Collective’ Manchester • C/o Lucy May Schofield & Sylvia Waltering Manchester Metropolitan University • Faculty of Art and Design Manchester M15 6BR • United Kingdom

Tentative Answers to Unasked Questions Tangential ideas associated with the many definitions of Udkant and notions of margins. ‘Bind, confine, limit, restrain, control, butt against, curb, shackle, hamper, harness, restrict, control, strangle, cramp, halter, regulate, etc.’ Size: h: 44cm • w: 34cm Technique: paper cuts and mixed media.

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inside MARGIN (2012).

Nick Fleming Nick Fleming chris.fleming3@virgin.net 155 Upper Brockley Road • Brockley • London SE4 1TF • UK

inside MARGIN Look at a map of mainland Denmark and more specifically look at the coastal margins of that land. What if this indented coast was, in some way unfolded, straightened out, to form a single directional line. The resulting image would turn the margin into a central spine around which both land and sea are anchored. Size: h: 10cm • w: 21cm Technique: digital printing.

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Paris Perpendicular (September 2011).

Fox Ash Press

David Jury jury.david@gmail.com • virginielitzler@yahoo.fr P: (+44) (0)12 0623 0534 73 Hungerdown Lane • Lawford • Manningtree • Essex CO11 2LX • UK

Paris Perpendicular The books published by David Jury’s Fox Ash Press has always celebrated the potential for complexity, even disorder of normal, everyday narratives whilst also providing strategies to make them decipherable. Previous books have been typographically driven, this book however, co-created with French photographer Virginie Litzler, is almost entirely image led. But the same quest for a coherent story in doubtful circumstances remains. Here, the figures cling to edges and corners of ambiguous urban dwellings which have been turned into folds, gutters and margins of the book. The structure of the book is minimal, precarious even, suggesting it is the figures occupying the photographs who are holding it together. Technique: letterpress, hand printed photographs.

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Dark Peak (March 2012).

Jan Fyfe Mrs Jan Fyfe jan.fyfe1@btinternet.com P: (+44)(0)16 1491 5845 • M: (+44)(0)796 4181 4069 Ashfield Road • Cheadle • Cheshire SK8 1BB • United Kingdom

Dark Peak Dark Peak is a sketchbook of the scrub birch woodland and rough grassland found on the lower slopes of the wilder, mist-shrouded northern part of the Peak District in England. It is an area of largely uninhabited moorland plateaux with a stark, brooding beauty and is described by Daniel Defoe as ‘perhaps the most desolate, wild and abandoned country in all England’. It is a place on the margins of habitation, of cultivation and dominated by a cap of dark and sinister millstone grit. The images are accompanied by lines taken from the poem Dark Peak by James Caruth. Size: h: 10cm • w: 15cm Technique: used film then scanned to digitise then altered in Photoshop to produce finished images. Printed onto Fabriano watercolour paper and made into a book using perfect binding.

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Existence Doubtful (2012).

Tatiana Ginsberg

Tatiana Ginsberg tsginsberg@gmail.com www.tatianaginsberg.org P: (+1)80 5259 5195 9 Bridgeman Lane • South Hadley • MA 01075 • USA

Existence Doubtful Not long ago the margins of maps were dotted with islands we no longer find there today. Some were misplaced, others temporary volcanic cones, and still more figments of delusion or deceit. Expunged by hydrographers and cartographers, sometimes first relocated or labeled ‘E.D.’ (existence doubtful), whole archipelagos disappeared. This book pays homage to one such imaginary cluster, the Anson Archipelago. In its heyday it boasted at least 44 imaginary islands taking up a large swath of the Pacific. Traces of it survived on maps into the twentieth century. Here it is preserved it for the twenty-first as a twelve-foot (365cm) long marginal note. Technique: Ink on handmade kozo, abaca, and flax papers.

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Nas Margens – On the Margins – UDKANT (2011).

Grupo Gralha Azul Maria Beatris Caruso de Almeida/ Mara Caruso gralhaazullivrosdeartista@gmail.com • mabecaruso@terra.com.br www.grupogralhaazul.blogspot.com P: (+55) 5551 3231 9520 • P: (+55) 5551 9298 0649 Barão do Guaíba, 1024 • Porto Alegre / RS / • CEP: 90850-120 • Brasil Nas Margens – On the Margins – UDKANT The artist group Gralha Azul (Blue Magpie) – made this book. The group consists of 20 artists (Eny Herbst, Iara D’Elia, Ieda Mariano, Leci Bohn, Jane Balconi, Jane Godoy, Jeanete, Ecker Kohler, Luiza Gutierrez, Mara Caruso, Maria Darmeli Araújo, Maria do Carmo Toniolo Kuhn, Maria Julieta Damasceno Ferreira, Marithê Bergamin, Neiva Mattioli Leite, Sirlei Caetano, Tänia Luzzatto, There Reis, Therezinha Fogliato Lima, Vera Presotto) who work with artists’ books, digital print and mail art. For this project they invited a guest artist to participate: Giana Kummer from Atelier Livre. In the early stages of the ideas process, before making this year’s contribution the group, Gralha Azul had many discussions about the theme: On the margins and the meaning of ‘margins’. This resulted in a decision to divide into six sub-groups, where each group has made a piece of work summing up their response to the theme. The result is one artist’s book spelling out the Danish translation of ‘On the margins’: Udkant. Size: h: 18cm • w: 18cm • d: 1·6cm – in six parts. 32


Tyco’s Universe (2012).

Nancy Hart

Nancy Hart nancyhart3@yahoo.com M: (+1)33 0206 5696 3601 Faudree Road, Apt 1137 • Odessa • Texas 79765 • USA

Tyco’s Universe The theme, Udkant / On the margins, suggests the idea that scientists, like artists, are often outside the mainstream of society. My book is a tribute to the Danish astronomer, Tycho Brahe and his groundbreaking planetary observations. I used his drawings to create borders (margins) of geometric patterns found both in science and abstract art. The repetition of the circles reinforces the idea of planets. The use of silver comes from Tycho Brahe’s interest in alchemy and from his artificial nose. My book includes elements of assemblage based on artists such as Max Ernst and Joseph Cornell. Size: box: h: 14·5cm • w: 14·5cm • d: 4·5cm | book: h: 9cm • w: 9cm Technique: mixed media (wood, paper, ink).

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Pilgrim Journey (2000-2001).

Regitze Holden Regitze Holden jj.asgaard@mail.tele.dk www.regitze-holden.dk M: (+45) 2947 0196 Almevej 101 • DK-3250 Gilleleje • Denmark Pilgrim Journey Personal lyrics and quotes written on handmade papers from different plant fibres. Photos of landscapes, architecture and of personal watercolour paintings. Philosophy and background: The country of the Nordic Samer, a country ‘on the margins’ – without boundaries. A pilgrim! A pilgrim never returns – Back home – Without losing – A prejudice – And getting a new idea. The mountain. The mountain is first a mountain and an impression of an image, when you can’t reach it. Also exhibiting: the sculpture: The trinity (2012). Size: h: 33cm • w: 24cm Technique: needle work, leather, fur, bones and pieces of reindeer antlers.

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Michael The Cartographer (March 2012).

Caitlin Eirlys Howard

Caitlin Eirlys Howard c.howard@mmu.ac.uk www.caitlineirlyshoward.com P: (+44)77 1805 5667 48 Trafalgar Road • Eccles • Salford M6 8JD • United Kingdom Michael The Cartographer ‘This remarkable artist I call Michael the Cartographer. He lives alone and after he has spent a long time making such a map, or perhaps several, he destroys them. I am sure I need not add that these are interior maps of the mind and not of any geographical place.’ This extract is believed to have been written by Victor Musgrave, Art Collector. This writing was obtained via The Whitworth Art Gallery in Manchester, UK, along with two reproduced maps drawn by the mysterious ‘Michael The Cartographer.’ This is the only information the gallery have about the artist. My book piece tells the story of Michael, illustrating his beautiful maps through my own hand, illuminating his enigmatic life. Size: h: 17cm • w: 14·8cm Technique: inside, hand drawn maps scanned and inkjet printed on found paper. Cover, Inkjet printed on ColourPlan Paper.

35


Marges fertiles (2012).

Régine Hue Régine Hue P: (+33)(0)6 2319 3110 14 rue du Bizet • F-95100 Argenteuil • France

Marges fertiles / Fertile margins I do engravings, linocut, using ink, etc. I do bookbinding, more and more often using paper. When I work for an exhibition with a predefined theme I investigate all around me. I look for pictures or ‘illustrations’…I look for texts, poems or quotes… Little by little the pieces of the puzzle fit together. My investigations come to an end and a project emerges when form and content of the book match and enrich each other. I like the challenge of a thematic exhibition. Size: h: 22cm • w: 192cm Technique: Linocut. Harmonica book in portfolio with title and colophon.

36


Margins III (2012).

Jane Hyslop

Jane Hyslop j.hyslop@ed.ac.uk www.janehyslop.com 7 Durham Place • Bonnyrigg • Midlothian EH19 3EX • Scotland • UK

Margins III This collection of pencil, pen and gouache drawings is part of a series that was initially inspired by a catalogue of silverware. The ornate decoration on the silverware is confined to the edges of the pieces or around panels and shapes within the objects. Predominately plants are depicted in a highly organized and contrived manner. I have chosen to explore the embellishment of geometric forms with drawings of lichens which themselves occupy the margins of where we live. The paper folios into which the drawings are placed have different margins to subtly draw attention to the edges. Size: h: 25·5cm • w: 18·5cm Technique: folio of drawings made on Pescia Book Paper in pencil, pen and gouache.

37


Space Station 1 (2011).

Anne Marie Johansen Anne Marie Johansen rie@johansen.mail.dk www.annemariejohansen.dk M: (+45) 2094 7511 FME • DK-9900 Frederikshavn • Denmark

Verdens kant er rund / The edge of the world is round A story about a girl who had a bird on her head (she even put it in her hair!). Then she flew from the nest and into the world! There she found the edge! And is now dancing beautifully! The image is not from Verdens kant er rund but from a new series of works inspired by the theme of the Festival: Udkant/ On the margins. The assemblage is made with oil, iron and zinc plates and is titled: Rum Station 1 (Space Station 1). Size (Verdens kant er rund): h: 19cm • w: 16cm Technique: Leporello 1/1 /harmonica book. Drawings using acrylic paint and ink on paper.

38


Art, Scrap, Trash (2012).

Gittemarie Johansen

Gittemarie Johansen Gittemariejohansen@hotmail.com www.helloakumu.deviantart.com M: (+45) 4112 2673 Fredengade 10 • DK-9900 Frederikshavn • Denmark

Art, Scrap, Trash If you have never been on the edge you won’t be able to find your footing. My piece tells a story with no chronological order: neither a beginning nor an ending. The beginning is the end and the end is the beginning. The story is about how difficult it can be to get a grip, finding your own identity and what may happen if one may fall. Size: h: 19 • w: 28cm Technique: folded papers, ink printing and photography. Trash art concept using old used washing power packaging.

39


Waiting to be asked to dance (2012).

Hilary Judd Hilary Judd hils88@hotmail.com www.hilaryj.co.uk M: (+45)78 1544 3354 4 Needham Avenue • Chorlton • Manchester M218AA • England • UK On the Margins – Waiting to be asked to dance Culturally in England at parties or weddings women begin the dancing, whilst men watch, drink and join in later. Over the years I have attended many different types of dance classes. In the confines of a dance or ‘freestyle’ event the social rules change. Women wait on the margins of the dancefloor to be asked to dance. We demonstrate our willingness to dance by dancing on the spot. The book shows the waiting feet shuffling, tapping and enjoying the music eventually make a reverse turn into the path of a partner. The book opens up into a dance that can also be seen as a man bowing. The beak book is housed in a dance card. Also exhibiting the Pop-Up book: Over, On and Under. Size: h: 7·8cm • w: 11·3cm Technique: the cover is screenprinted on card with a brass dart page holder. The book block is laser printed on cartridge paper.

40


Radiograms (2011).

Lucas Kunz

Lucas Kunz lucas_basel@yahoo.de www.artline.org P: (+49) 7629 1500 • M: (+49)17 0381 8816 Buchenacker 10 • D-79692 Kleines Wiesental • Germany

Radiograms In Radiograms the artist draws from 2012 WikiLeaks documents revealing a massacre of civilians in Iraq. Mercenaries (not bound by the Geneva Convention) and US soldiers (ignoring the latter) went about their bloodstained craft with impunity. The booklet uses dialogue from radio exchanges during the air – to – ground helicopter attack and onboard camera stills. The dialogue is whole and unchanged – the soldiers speak from themselves – and partiallyprinted on Japanese paper rolled into two separate cords, or wires, named Funkdraht Doaha (Field Wire Doaha) and Funkdraht Sayad (Field Wire Sayad) after the two local children who survived this brutal incident. Size: book h: 21·5cm • w: 15·5cm | box: h: 20cm • w: 20cm • d: 6cm Technique: digital print on paper, wood, rolled Japanese paper and solver-transfer. 41


Hidden (2012).

Marianne Laimer Marianne Laimer marianne@mariannelaimer.com www. mariannelaimer.wordpress.com P: (+46) 9019 8846 Sweden Hidden Hidden is an artists’ book created by Marianne Laimer in 2012. The book is designed as a game to entice the viewer to stop, find and explore the hidden. Hide and seek masks a deeper meaning, where the game turns into something more serious. Who exactly is hiding out in the margins of the fictional community room? As in previous Laimer book works, there are shadow-motifs and subtle references to other literature. The material used is 160g Fabriano Tiziano paper, flax for sewing and a minimal amount of glue has been used for mounting. The motifs are cut by hand. Size: h: 28cm • w: 21·5cm • l: 100cm Technique: the book is cut by hand and the technics used for the individual elements are Paper cut and architectural origami combined with pop-up elements.

42


Leo Grindon (March 2012).

Sarah Jane Lawton

Sarah Jane Lawton sarah@sharingthemaking.co.uk www.sharingthemaking.co.uk M: (+ 44)(0)79 8452 9787 143 Chadderton Hall Road • Chadderton • Oldham Lancashire OL9 0QP • United Kingdom

Leo Grindon I discovered the work of Leo Grindon, a local botanist, during study at The Manchester Herbarium. A philanthropist, Grindon worked tirelessly with ‘marginalized’ people in and around the North West of England to engage them with plants of all varieties. His archives are now housed in the Herbarium, although his handwritten word is still illegible. My book is a small tribute to his pioneering work in adult education and for the inspiration he brought to local people in 1852. Size: h: 28·5cm • w: 3·2cm Technique: Japanese stab sew with etching, ink jet printed on bockingford 190 gsm, edition of 6.

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Single Ward Features (March 2012).

Sophie Lee Sophie Lee mail@sophiemeganlee.com www.sophiemeganlee.com M: (+44)(0)77 8397 3662 69 Birchwood Road • Ashby • Scunthorpe DN16 3HS • United Kingdom

Single Ward Features Floating like lonely Islands, the separated wards of the town where I was born are the content of the first chapter of this book. Using poetic language found in the appropriated text of an official government document. I have loosely bound together a fractured representation of this single place. Exploring the beauty of cartography and language, and the crossover between authenticity and ambiguity. In fragmenting these factual details I hope to create a canvas for the imagination. Size: h: 20·5cm • w: 14·6cm Technique: French stitch, laser printed, paper back.

44


Blind Birds (2012).

Birthe Juel Lindhardt

Birthe Juel Lindhardt birthe@lindhardt.org www.lindhardt.org P: (+45) 5614 6319 • M: (+45) 2511 9517 Pemavej 6 • DK-2680 Solrød Strand • Denmark

Bøger på bøjler / Books on Hangers My artist’s book actually consists of three books on hangers, like a sort of mobile or a picture hanging on a wall. The books are made from junk mail of different kinds like envelopes, advertisements etc. These are folded, taped, painted, made into books, and at last filled with pictures of creatures that come to life before my eyes. The books are supposed to be a joy for both eyes and fingers, but of course they are to be handled with care. Enjoy them, please. Size: h: 100cm • w: 30cm Technique: junk mail, various envelopes, printed matter folded, put together and illustrated.

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Surplus to Requirements (Summer 2011).

MADE Sylvia Waltering s.waltering@mmu.ac.uk M: (+44)(0) 16 1247 1923 Manchester School of Art • Chatham Building • Cavendish Street • Manchester M15 6BR • United Kingdom

Surplus to Requirements A special limited edition box, containing original artwork created by members of the Made Collective in response to the collection of plant and insect specimens from the Herbarium at Manchester Museum. Surplus to Requirements considers themes of collaboration, the creative possibilities offered by collections that have disbanded or lost their original function, obsolescence and the application of ‘marginal’ technology and craft. Size: h: 20cm • w: 23cm Technique: box work containing original art work and book.

46


Udkant 2 (April 2012).

Hanne Mahler

Hanne Mahler ha.mahler@gmail.com P: (+45) 5050 2578 Amtoftvej 9 • DK-8240 Risskov • Denmark

Udkant 1 & 2 Udkant 2 describes with images the margin of Aarhus, which ordinarily isn’t perceived as being on the margins. First a long stretch of the Danish coastline: the edge of the country, which defines the eastern margin of Aarhus. Next, images of the rundown inner city – the living spaces for the most vulnerable – where new and old meet. Finally, the transition between countryside and city, defining the western margin. Marginalised areas can be found anywhere there is a transition, often giving opportunity for development, if their potential is realized. Udkant 1 is a book that looks like a book but isn’t a book, but contains a book that was once a book, but no longer a useable book with content. It raises the question: where do we draw the margin? Size: h: 42·5cm • w: 21·5cm Technique: doodle book, Coptic stitch binding and photos.

47


På kanten (January-February 2012).

Inger Mønster Marker Inger Mønster Marker ingerm4mail.com www.bogform-ingerm.dk M: (+45) 2757 0822 Herstedvesterstræde 20 • DK-2620 Albertslund • Denmark

På kanten / On edge I want to show and express my poem On edge as a sailing poem; it has to symbolize being on the edge mentally and physically. What happens if we look further than we dare? To expand our limits for tolerance and understanding – maybe we might then be a wiser person? Size: h: 40cm • w: 36cm • d: 15cm Technique: paint and printed papers, glued together. Hinged on black leather strips. Attached with 3 leather cords to a piece of wood from the beach. Then it can be placed in a hole on a bigger piece of wood and appear as a boat.

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VEN, en fantastisk og grum historie (2011).

Hanne Matthiesen

Hanne Matthiesen hannematthiesen@gmail.com www.hannematthiesen.dk M: (+45) 2147 21871 Tværgade 49 • DK-8340 Malling • Denmark

FRIEND, a fantastic and grim story Here are grim tales from the margins of life and the outskirts of existence. Wild and intense, yet also heartfelt, calm and gentle. After years of focusing on textural and non-figurative expressions the urge to draw has returned and completely taken over. The smallest excuse and it pours out of my drawing pen: long-limbed royal sons and daughters, mermaids with unruly hair, brutal killers, falling angels, eightlegged horses, women giving birth, blood, sweat and tears. Really, I have no idea where it is all coming from! Size: h: 65cm • w: 36cm Technique: Accordion book made of recycled cardboard (fruit and vegetable boxes from the supermarket), glue, linen sheets, paint, plaster and string.

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hedge (2012).

Ruth Millar Ruth Millar rcmillar@brookes.ac.uk P: (+44) 18 6548 4954 • M: (+44) 79 1038 6470 8 Wharton Road • Oxford OX3 8AH • United Kingdom

hedge Current concerns with tamed landscapes and plant husbandry inform this book which describes a hedge/border I travel along daily. Size: h: 15cm • w: 100cm Technique: laser cut.

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I leave a wide margin on my life (March 2012).

Klaus von Mirbach

Klaus von Mirbach klausvonmirbach@googlemail.com www.klausvonmirbach.blogspot.com P: (+49) 21 6618 9678 Erlenstraße 3 • D-41239 Mönchengladbach • Germany

I leave a wide margin on my life What I do, how I live, how I think, what I look like, how I live with my loved ones, the house I live in, all that is on the margins – of a society whose centre is obsessed with only income and more power and more status, more and more and more. Yet this life on the edge is not a dull, dingy life, but one with a lot of laughter, children, friends – a fun-loving life. What things tell of such a life? My book is lyrical documentary told with collected ephemera, drawings and texts. Size: DIN A5 Technique: mixed media.

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Weit draussen / Far away (2012).

Ahlrich van Ohlen Ahlrich van Ohlen ahlrich.van.ohlen@gmx.de P: (+ 49) 4402 1270 Feldstraße 38 a • D-26180 Rastede • Germany

On the margin Where decay initiates new growth – Where change shows more reluctantly – Where fruit grows for everyone – Where invisible eyes follow you – Where something new keeps appearing – Where thoughts hover in the air – Where no flags mark property – Where the eye cannot be detained – Where striving is searching – Where straight lines have no place – Where paths get lost – Where the clouds drift lower – Where birds form spirals in the air – Where you feel at home because here you can lose yourself because here you can find yourself Size: h: 30cm • w: 58cm • d: 58cm | sheets of paper: h:22 cm • w: 27cm Technique: linocut.

52


I livets udkant (2012).

Anita Pedersen

Anita Pedersen anitafuglsang@gmail.com P: (+45) 2320 0429 Tretommervej 10 • DK-8240 Risskov • Denmark I livets udkant / On the margins of life The idea for the book: ‘I livets udkant’ came to me when I found two wooden figures from Greenland in a second-hand shop. The figures represent two Greenlanders. Greenlanders live on the margin of the Danish Realm and live north of the Arctic Circle in the border country of possible existence on Earth. The figures also represent an old man and woman who are at the margins of life – on the threshold of death. But old people often hold great insight into life. The Greenlanders wisdom of life is often linked to Nature, which can crush a man at any time. The texts in this book comes from Knud Rasmussen’s collected descriptions of the Greenlanders. The Greenlandic artist: Hans Alaufesen, Aasiaat (1922-1982) carved the wooden figures. My uncle Bendt Olsen made the Tupilaqs. The watercolours and layout of the book are by me, Anita Pedersen. Size: h: 25cm • w: 23cm • l: 100cm (unfolded).

53


Udkant (2012).

Tommelise Haldrup Pettersen Tommelise Haldrup Pettersen P: (+47) 6939 9800 • M: (+47) 9572 0318 Påleklova 5 • N-1621 Gressvik • Norway

Udkant / On the margins The 2012 theme ‘Udkant’/’On the margins’ was a big challenge. I myself live on the margins of Fredrikstad in Norway: beautiful, quiet, with the sky stretching far above forest and sea. It was obvious to think I should photograph my beloved Norwegian margins – yet this was not to be the case. This year I have only thought of form, with edges facing outwards. The book is inspired by the way bees build, and their struggle for existence – like the way the outskirts often have to fight for their place. Therefore my contribution this year became a bound book, with 6 margins, no centre, and completely without text, only pure margins and a spine facing downward.

54


On the margins (February 2012).

Maureen Piggins

Maureen Piggins maureen@maureenpiggins.com www.maureenpiggins.com Canada

On the margins On the margins explores what is at outer edges of physical and emotional experience, the separations and boundaries that make up a human life. Birth, life, death are interconnected, grief and joy can exist together, and one can be submerged psychologically in the past while operating in the present. The inspiration is taken from my own experience of grief and joy; the death of my parents and the joy of the birth of my son. The topic of grief is also ‘on the margins’ in a society geared towards the denial of death; my goal is to bring this common emotion into the mainstream. Size: h: 27·9cm • w: 20·3cm Technique: archival giclée of an original pastel drawing, printed on Somerset Velvet, book cloth.

55


Geschlossene Gesellschaft (March-April 2012).

Bernd W. Plake Bernd W. Plake plake@correspondance.de www.correspondance.de P: (+49)(0) 41 3122 2314 • M: (+49)(0) 160 9221 2002 Baumstraße 2 • D-21 335 Lüneburg • Germany

Geschlossene Gesellschaft / Private party Every society is a mix-up of many different groups and individuals. To develop and fulfil evolution it needs a range of differences, we have to see that both nationally and globally. Exclusion of special individuals, people, groups – the refusing of human achievements will always lead to problems and war. Segregation takes place gradually and we all have to be alert to the first signs of marginalization. Size: h: 21·5cm • w: 15·2cm • d: 4·8cm Technique: mixed media.

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Landlocked (March 2012).

Susan Platt

Susan Platt s.platt @mmu.ac.uk M: (+44) 79 0088 2165 614 Orient House • Granby Row • Manchester M1 7AS • UK

Landlocked Landlocked latterly refers to the remote place you inhabit in coming to terms with loss. The images were spontaneous: in trying to find my friend, I found myself- dressing in his clothes, wearing his glasses. Introspection. Seeing the distorted world through his vision. Grief is isolating, no one wants to live there, everyone around you wants you to move on, but you remain at a standstill and no one really can come in. Formerly, my friend was reclusive, marginalised; he flourished on pale pencil marks and intense notebooks. Solitary needs in a big city: he spoke little, and then gently. Size: h: 8·3cm • w: 32·3cm Technique: photographs, cut and paste, laser print: a concertina book.

57


Indian Collection (2012).

Annabel Ralphs Annabel Ralphs annabel_ralphs@hotmail.com www.annabelralphs.com 62 Iffley Road • Oxford OX41EQ • United Kingdom

Indian Collection Small Indian gouache paintings were kept in portable bundles and brought out to be viewed and passed around. The pigments were protected from the light but the margins reveal another history. Even within Western wall based exhibitions these Indian paintings still entice the viewer to draw close, imagining the smell of the dusty pigments. Catalogues and postcards only work as reminders of the original textures and vibrancy. Working within the limitations of digital processes to trace a history of handling revealed in the margins of Indian paintings, I have made my own Indian Collection. Size: h: 15cm • w: 10cm 58


Impasse (March 2012).

Sonya Robinson

Sonya Robinson srobinson@aucb.ac.uk P: (+44)(0) 12 0236 3349 • M: (+44)(0) 77 0109 9042 The Arts University College at Bournemouth • Wallisdown • Poole • Dorset BH12 5HH • United Kingdom

Impasse As an adopted twin the process of taking or imagining images is synonymous with a process of self-representation and selfdetermination. The image is a screen that protects and at the same time separates. At some point beyond or before the image I aim, but miss. I am at the margin of a silence, a blank slate, rewriting a fiction that slides and disappears. (The image slides against the plastic screen through which it was taken). I make and un-make myself at this point of non-penetration, this impasse both defeating and sustaining constitutes an attempt to abreact an unrepresentable loss. Size: h: 13cm • w: 18cm Technique: print box. Archival matte paper.

59


Udkant (April 2012).

Ruth Shaw-Williams Ruth Shaw-Williams ruth.shawwilliams@btinternet.com www.artistbooks.ning.com/profile/RuthShawWilliams P: (+44)(0) 16 0864 4007 • M: (+44) 78 7044 4403 United Kingdom Marginalize verb treat (a person, group, or concept) as insignificant or peripheral. Life On the Margins is a reality for many people with Learning Disabilities (PWLD) in the UK. They are often perceived as living on the periphery of our society, as is evidenced by shameful incidences of Disability Hate Crime still being perpetuated against our fellow human beings. Working in collaboration with PWLD, they documented a week of their lives day by day using writing and photography. I created a concertina book structure with pocket frames, which had concealed text beneath the photos. The blurring of the text demonstrates the collective myopia of UK society around this issue. Size: h: 12cm • w: 12cm Technique: concertina book structure with hard covers. Pocket frames, with digital imagery and text. Printed on acid free 145gsm Zerkall Extra Smooth paper, mould-made from part cotton rag.

60


In de marge (2012).

Mieke Tubbing

Mieke Tubbing mentub@hetnet.nl P: (+31) 3 0288 2611 Geulstraat 25 • 3522 XT Utrecht • The Nederlands

In de marge / on the margin Lines and patterns have fascinated me for a long time. I started manipulating calligraphic pens and all sorts of writing materials, forming traces and structures with little details that carry the vulnerability of the moment. This work-flow became my language, the language in which I could express myself. In this work I filled the margins and left out the centre, the readable words. The sometimes-fragile images and lines show what it can mean to live on the margin of Life. Size: h: 15·5 • w: 21·5cm Technique: ink on paper; binding: sewn on boards.

61


Panorama van de ziel (2012).

Lies Verdenius Lies Verdenius l.verdenius@zonnet.nl www.liesverdenius.nl M: (+31)(0) 2 0683 0255 Bilderdijkkade 21 A • 1053 VB Amsterdam • The Nederlands Panorama van de ziel / Panorama of the soul Contents two fragments of Phaedrus of Plato. (427 – 347 b. Chr.) The first fragment tells about love and how lovers are privileged with wings, which will send them to the edge of the vault of heaven, so that they are able to see The Ideas. The second fragment tells about the metaphor of the soul: a pair of horses and their driver. The driver – the reason – has to control the pair of horses of different character: the good horse is influenced by emotions and the bad horse by lust. In the middle of the book a feather – pteron – is fastened: the symbol of freedom of the soul. Also exhibiting: Wereld van verwarde vissen (2010) & De vlucht van Tesserete (2007). Size: h: 17cm • w: 27cm Technique: drawings on stone and lithography printing, typesetting, bookprint, bookbinding and concept all by Lies Verdenius.

62


Along the greenway (2012).

Sandra Winkworth

Sandra Winkworth swinkie@centrum.cz Australia

Along the greenway Walking around my neighbourhood I enjoy looking out for lost and discarded ephemera. I find most pieces up against the edges of the urban streets and particularly along my local greenway, a neglected freight rail and canal corridor. Here feral wildlife make home and travel through without being disturbed or noticed by the suburban life of a big city. Along this fringe are also human stragglers whose presence I am compelled to record in the intimacy of an artist’s book. Size closed: h: 16cm • w: 24cm • d: 3cm Technique: collagraph, monotype, etching, drypoint, watercolour, gouache, pencil and pen on found art paper offcuts and vintage bookcover.

63


Tem•ple (January 2012).

Jesvin Yeo Jesvin Yeo jesvin@jesvinyeo.com www.jesvinyeo.com P: (+65) 6513 8050 81 Nanyang Drive • Singapore 637458

From Margin to Center Through the observation of the environment of the Buddha Tooth Relic Temple in Singapore, this artists’ book illustrates how the marginal (least important objects) is there to enhance the central image (Buddha). The viewpoint moves from level one to level five of the temple. For instance, on level one the margin is represented by the hundred dragons that encircled the hundred Buddhas enshrined on both sides of the hall. The centre is the main Buddha, Maitreya, accompanied by his two attendant bodhisattvas, Dharma Grove and Wondrous Appearance. This artists’ book is also to remind us that Buddhism moved from the margin to the centre during the Ming dynasty. Closed size, Tem•ple: h: 14cm • w: 14cm • d: 1·3cm Technique: brown card, handmade paper, string, and ink.

64


Sea of Lanterns (2011). Image by Ewa Monika Zebrowski.

Ewa Monika Zebrowski

Ewa Monika Zebrowski ezebrowski@hotmail.com www.ewazebrowski.com P: (+1) 51 4271 3901 94 Elmwood Place • Outremont • Quebec H2V 2E7 • Canada Sea of Lanterns Sea of Lanterns, an unbound book. A collaboration with celebrated Canadian writer Anne Michaels, Sea of Lanterns,  brings together poetry and imagery. Images complement words and vice versa. 26 folios to be considered, a meditation. A work to be read in sequence, or not. A work to be looked at and absorbed over time at the reader’s discretion. Sea of Lanterns is a work that finds itself in the margins. A work which deconstructs the experience of the bound book, where dialogue exists between words and images,  and sometimes silence. A duet in which writer and photographer converse and create something greater than the sum of its parts.

65


Corridor (2012).

Karen Zimmermann Karen Zimmermann karen.here.now@gmail.com www.karenzimmermann.com P: (+1)(0)1152 0395 1378 • M: (+1)(0)1152 0661 2681 5467 E. Placita del Mesquite • Tucson • AZ 85712 • USA

Corridor This book is about my experience living on the margin of the city, defined by a river. The river is dry during much of the year and violently flowing in others when the snow melts from the nearby mountains. There are three themes that flow in the book, the margins of society (homeless who live in the riverbed), the evidence of the controlling of rivers that feed the southwest and subsequent natural changes, and margins of two countries, Mexico and USA, where the river flows from one to the other. The book documents my walks through the margins of the river. Size: h: 12·7cm • w: 17·8cm Technique: digital and letterpress printing.

66


x= (2012).

Ambeck Design

Mette-Sofie D. Ambeck mette.ambeck@gmail.com www.ambeckdesign.blogspot.com Hovsørvej 19 • DK-7700 Thisted • Denmark x= x= is the third and final book in the series of distinctive and unusual robots based on ordinary recognisable objects hand cut into 10 pages. In this edition 10 seeds from 10 trees common to London have been transformed into strange new creatures, the first one being a mechanical butterfly which over the turning pages alter into a mad pod-like robotic medieval fortune-teller, who asks the question: What is to be done? x= is produced under the theme of the ten anniversary of the bookartbookshop in London, UK which was X= or what is to be done?. The book was selected as 1 of 20 shortlisted books to go on exhibit at the Red Gallery, Shoreditch in London from February 21-23rd, 2012. The rest of the year it will tour art libraries and be available at the bookartbookshop and on display in Doverodde. Size: h: 21cm • w: 14·8cm Technique: inkjet printed and hand cut.

67


The Night Hunter (Z’roah Press) (2010).

Nancy Campbell Nancy Campbell nancy@nancycampbell.co.uk www.nancycampbell.co.uk M: (+44)(0)77 5851 9850 United Kingdom

Nancy Campbell is a poet and printmaker. In 2010 Nancy was writerin-residence at the world’s most northern museum on the island of Upernavik in Greenland. Her recent work explores the climate and culture of the Arctic. The alphabet book How to say ‘I love you’ in Greenlandic (Bird Editions) combines typography and topography to present an evocative linguistics lesson. The Night Hunter (Z’roah Press) relates the seductive dangers of the austere Arctic environment. Nancy Campbell’s other publications include Boat Trip (2006), After Light (2009) and Dinner and a Rose (collaboration with Sarah Bodman, 2010).

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Chosen works from Årets Bedste Bogarbejde 2010.

Forening for Boghaandværk

Sekretariatet c/o Lilli Riget lilli.riget@stofanet.dk www.boghaandvaerk.dk P: (+45) 3295 8515 Hvedevænget 5 • DK-9000 Aalborg • Denmark Forening for Boghaandværk (The Danish Society of Book Craft) Presents Årets Bedste Bogarbejde 2010 (The Best Bookwork of the Year 2010) – Den Danske Bogdesignpris (The Danish Book Design Award). It’s a society for people who appreciate good typography and beautiful books! Since 1888 the society has worked towards spreading knowledge about the production of books and promoting interest in the quality of form, function and finish of the book – including industrially-made ones. Each year an expert committee representing the society chooses 2530 books for The Best Bookwork of the Year Award from a selection submitted by book designers, printers and publishers from the previous year’s book production. From among this first list an adult book, a children’s book and a handbound book are selected for The Danish Book Design Award and the society also give out diplomas, an honorary award and a medal for particularly outstanding work of high merits. Come and see – and touch – the books! 69


Gert Hansen Gert Hansen gerthansengraphic@mail.tele.dk www.ghg.home.webname.dk P: (+45) 4587 1255 Borremosen 24 • DK-2800 Kgs Lyngby • Denmark

Gert Hansen works with bookbinding/book arts, graphic design, handmade paper, printmaking, watercolours and photography. He teaches drawing, painting and bookbinding and runs courses in art perception and teaching methods for arts and craft. Gert often works within defined limits regarding themes or dogmas. This can mean keeping to certain formats or materials or to be part of an art project like Artmoney, which is a global alternative currency consisting of small artworks measuring 12x18cm. Gert Hansen’s graphic work is often printed on handmade paper and most of his books also contain handmade paper.

70


Hearts.

Arne Holstborg

Arne Holstborg P:(+45) 9752 0549 Møllevej 5 • Durup • DK-7870 Roslev • Denmark

Self-taught paper- and box-artist At Doverodde 2011 Arne Holstborg’s exhibited very beautiful and unique handmade boxes. In 2012 he exhibits his other well-known specialism: traditional Danish hearts, hand-cut and woven from glazed paper. Indeed, over 25 years two published books and 33 exhibitions have highlighted their quality. ‘To cut in paper is to give form to colour’, said Henri Matisse, and Arne Holstborg agrees through these works, using patience, fine paper craft skills and imagination to enliven them. Even small variations produce inspired and fresh designs. Arne likes passing on his skill to others and has run numerous courses in box making and paper-cutting since the 1980s.

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The three artists.

Henning Tannebæk Mayann Henning Tannebæk Mayann M: (+45) 4012 8785 Hundborgvej 12 • DK-7700 Thisted • Denmark The artist presents a new fable involving work by Henrik Westergaard and Deborah Damgaard-Hansen. Transformation: what takes place between the artist and the audience? ‘From being one thing and to then become something else,’ someone once said in a play. Henrik Westergaard’s sculptures existed in his universe and then - one summer morning - became something totally different in mine. Artists paint different things – unhappy children, water lilies, pandas, abstract chickens or a Ford Anglia. All art has its own mark and expression. Our tastes and needs lead to the art we find most fascinating. The book ‘Den sandfærdige historie om Havløven ved Hanstholm Fyrtårn’ (The true story about the Sea Lion at the lighthouse in Hanstholm) came about through a transformation involving Henrik’s bronze figures and Deborah’s beautiful drawings. It is about your life and my life and how life ends. Do we become ill if we don’t behave, or do we carry on?

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what is to be done (2012).

otto

Otto Dettmer otto@ottographic.co.uk www.marshfieldprintstudio.co.uk P: (+44)(0)12 2589 1581 Marshfield Print Studio • Martor Industrial Estate • Tormarton Road • Marshfield • Wiltshire SN14 8LJ • United Kingdom

Otto is a book artist, screen printer and illustrator. His aim is to create and distribute innovative graphics through the medium of screen printed books. He is also interested in taking modern narratives into new directions by exploring unusual ways of constructing a book.

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Handmade rubber stamps by Anne Bossenbroek Bouchard.

Anne Bossenbroek Bouchard • Papiers...pliés, reliés, envoyés...

Anne Bossenbroek Bouchard: PAPER...folded, bound, sent... Trained as an architect, my arrival in The Netherlands saw a change of direction in my career. Having learned the language, I recalled my passion for paper and so began to learn about bookbinding, discovering all sorts of ways of using paper. My exploration continues even after twenty-five years. Rubber stamps I have been making rubber stamps for many years now. They allow me to transmit impressions of travel and daily life immediately… I also engrave patterns used to decorate the paper I use in my bookbinding and artistic books. Paper Commercial paper, decorated paper (glued, stamped, painted, structured, batik). Recycled paper, fiber paper. A whole world to explore again and again. Sticking, folding, cutting, tearing, slitting, sewing...

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Paper experiments.

Handbound book: Jonge Helden.

Anne Bossenbroek Bouchard • Paper...folded, bound, sent...

Binding I learned traditional bookbinding but soon became rather dissatisfied with it. I moved on to artistic books which allow me to say and express things more personally, seeking and creating unity between form and content. Mail Art I started doing mail art more than sixteen years ago. It is a form of exchange, of surprising and enriching meetings too. It is also a way of putting across an opinion, unasked.

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Writer-in-Residence Nancy Campbell at work in Doverodde, Denmark April 2012.

Nancy Campbell • Limfjord Lines Nancy Campbell: Limfjord Lines Writer-in-Residence at the Fourth Doverodde Book Arts Festival. A poet and printmaker from the UK, Campbell has undertaken residencies in coastal communities in Greenland and Iceland. Her work is prompted by the interaction of humans and the natural environment. She has recorded the counting chants of shepherds (Yan Tan Tethera, 2006), designed iceberg typography (How To Say ‘I Love You’ In Greenlandic: An Arctic Alphabet, 2011) and imagined a visual history of avalanches (Missing/Vantar, 2012). Limfjord Lines presents new writing created in Doverodde between 22 April and 22 May 2012. In this exhibition you can read poems about the region’s distinctive history and geography, and learn about daily life in Doverodde. A selection of work from earlier residencies accompanies the project. In addition to Limfjord Lines, Campbell published a story every day in the Doverodde Diary during her residency on the Limfjord, and held weekend writing sessions at the Limfjordcenter. See www.nancycampbell.co.uk/blog More of her work on page 68.

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Music in a Garden.

Music in a Garden

Regine Brunke brunkereg@yahoo.de P: (+49)5 6171 9382 Pestalozzi Strasse 28 • D-34119 Kassel • Germany Music in a Garden As before at Doverodde Festivals, our music is by Regine Brunke (Violoncello and compositions), Norbert Dams (Vihuela and Lute) and Ingolf Lienau (Violin). They will be playing their classical and varied folk music during the event at different times and places. Regine is classically-trained, having worked with Helmut Reuter, Wolfram Geiss, Jaap ter Linden and Karsten Dehning. Her repertoire includes classical, chamber and Scandinavian folk music, and her own compositions include The Shadow Scenes on Violoncello. Norbert studied the guitar in Bremen and Berlin and has released nine recordings to date. This year he performs on historical instruments; Spanish Renaissance music on a Vihuela, and dances of that era on the Lute. (See more on www.daminus.de) Ingolf has an enthusiastic passion for Scandinavian, Irish, Scottish and Welsh folk music, having performed with different groups for the past 25 years.

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Søren Ryge.

Opening speaker & Guest of Honour 2012

Søren Ryge This year it is with great pleasure that we can introduce Søren Ryge as our opening speaker and Guest of Honour. Ryge has had his own popular TV programme on DR (Danish Broadcasting Corporation) since 1988. He has invited viewers to join him in his private garden over a hundred times to see the events and daily developments, from dealing with chickens to tending the latest vegetable patch or nurturing a rose bush. The programmes have a gentle and intimate style, both in how Ryge brings the viewer into his personal spaces and also in the shooting style, as regular cameraman Egon has recorded the show on a single, hand-held camera from the beginning. In recent years Ryge has also developed another strong interest in his writing and special broadcasting projects; investigating the ordinary people living in remote areas of Denmark. His celebration of the ups and downs of daily life ‘On the margins’ / ‘Udkant’ makes him a perfect choice to open our event this year, as that is our theme. As an added treat our special guest will give a talk entitled ‘Historier fra Danmark’ (Stories from Denmark), drawing on the stories he has discovered while working with the natural world and people going through Life’s everyday adventures.

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Special thanks to Norwegian Tommelise Haldrup Pettersen, 2011 First Prize winner of the Doverodde Book Arts Center of Denmark Award, for suggesting our 2012 theme: Udkant. Sarah Bodman from The University of West England provided the translation: On the margins. Thanks to her for all her support. And, while the Limfjordscentret may be situated on the margins of Denmark, we have still gathered artists from around the world to participate in our latest new Festival venture, the Artists’ Books Anonymous: On the margins Symposium. Prominent artists have travelled to us from across the world to share their knowledge and art. Thank you to our two Keynote speakers from Canada: Maureen Piggins and Ewa Monika Zebrowski. We are also glad to welcome American artists Doug Beube and Tatiana Ginsberg, and Jesvin Yeo from Singapore. Finally, travelling from the UK, are Sylvia Waltering and Lucy May Schofield. Such an international list can only enlighten us to the global diversity and expertise in the field of book arts. Additional thanks for helping select our Symposium candidates to the British panel: Sarah Bodman, Angie Butler, Andrew Eason, Linda Newington, Mike Nicholson and Tom Sowden. Our other new experiment is the Writer-in-Residency project, for which we were lucky to secure British poet and printmaker Nancy Campbell. She has brought new life to Doverodde. After a successful first year, the Doverodde Book Arts Center of Denmark Award will again be given to what we feel are distinctive book arts pieces, and we acknowledge the insight of the jury: Nina Hobolth (art historian, researcher and former museums director), Hanne Matthiesen (artist) and Nancy Campbell (writer and printmaker). All the people helping ‘behind the scenes’ are also generous in so many ways, giving their time, advice, assistance, materials or financial help. As this is all voluntary we would like to give special thanks to: Frivillige - volunteers from Doverodde and local area Sommerhusejerne i Doverodde - the holiday cottage owners of Doverodde The musicians – in particular cellist and composer, Regine Brunke – for organising the music. Lena Hansen – for yet again making a magical Book Café. A final important thank you to our sponsors for financial support: The Danish Arts Council within the area of Visual Arts and LAG (The Danish AgriFish Agency under the Rural Development Programme).

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Thank You

As before, we are very grateful to all of the artists who have given their time and skills to participate in our events. Because of them we now have an international Book Arts Festival, which seems to grow each year.


Catalogue compiled and designed by Ambeck Design www.ambeckdesign.blogspot.com Danish to English translations by Mette-Sofie D. Ambeck or the artists Editor Mike Nicholson Images and text Š the artist/authors 2012 All rights reserved Digitally printed and bound by Dantryk A/S, Hurup, Denmark Paper stock: Cover: Rainbow, 76 green, 230gsm Content: Multidesign/Scandia 2000, Ivory, 100gsm. Typeset in Univers and Meta. Machine stapled. Hand numbered. Printed in an edition of 300 This copy is number: Š Doverodde Book Arts Center May 2012 www.bookarts-doverodde.dk / www.doveroddebookarts.blogspot.com


On the margins – Catalogue 2012, Doverodde Book Arts Festival IV  

The 2012 catalogue for the international themed book arts exhibition: 'On the margins' / 'Udkant' at the Limfjordscentret, Doverodde, Denmar...

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