Ulises carrion biography of martin
Ulises carrion biography of martin
Mexican conceptual artist and writer
Ulises Carrión (, San Andres Tuxtla, Mexico – , Amsterdam, the Netherlands), considered as "perhaps Mexico’s most important conceptual artist", is widely known for his decisive role in defining and conceptualizing the artistic genre of artists' book through his manifesto The New Art of Making Books ().
Ulises carrion biography of martin
But his awareness and interest in new forms of art and innovative operations suggests that he was active in most of the artistic fields of his time. His activities include the creation of artworks, the development of theory, and the generation of multiple independent initiatives.
Carrión's works include not only a great number of bookworks - as he named artists' books - and unique artworks, but also performances, film, video, and sound works. Carrión also did several editing, publishing, and curation projects, a couple of notable public projects, and various significant works and initiatives within th
Ulises Carrión
Ulises Carrión (), perhaps Mexico’s most important conceptual artist, is widely known for his decisive role in defining and conceptualizing the artistic genre of artists&#; book through his manifesto, &#;The New Art of Making Books&#; (). He began his artistic career as a poet in Mexico City, but quickly moved to a great number of genres including &#;bookworks&#; (as he named artists&#; books), performance, film, video, and sound works, as well as public artworks and several publishing and curating projects, including the legendary Amsterdam bookshop gallery Other Books and So, and significant distribution and archiving initiatives for the international community of mail artists during its most creative period. Significant retrospective exhibitions of Carrión&#;s work have been presented at Museo Carrillo Gil in Mexico City (), Reina Sofia in Madrid () and Museo Jumex in Mexico City ().
Publications Ulises Carrión contributed to:
Sonnet(s)
Ulises Carrión
Verónica Gerber Bicecci, Contributor
Annette Gilbert, Contributor
Mónica de la Torre, Contributor
Michalis Pichler, Contributor
Heriberto Yépez, Contributor
India Johnson, Contributor
Felipe Becerra, Contributor
ART, POETRY | $20$18November
Not just a “bag of words,” this book is an example of how Ulises Carrión and his peers defined what we used to call the avant-garde.
Lucy R. Lippard
Ulises Carrión left Mexico City for Europe in and eventually settled in Amsterdam, where, in , he wrote his manifesto, “The New Art of Making Books” and founded the legendary bookshop-gallery, Other Books and So, a hub for mail art activity and one of the first venues dedicated to artists’ publications.
In , Carrión took a single poem by Dante Gabriel Rossetti and churned it through 44 typographic and procedural permutations. The publication of Sonnet(s), one of the first of his influential “bookworks,” signaled a departure from Carrión’s earlier writing practice.
A pioneer in conceptualizing the artists book, mail art, and what today might be called social practice, Carrión, who died in , has only recently been recognized with a retrospective exhibit at Reina Sofia (Madrid) and Museo Jumex (Mexico City).
The present republication of Sonnet(s) is supplemented by new essays on Carrión&#;s bookworks by contemporary artists, writers, and scholars from Mexico, Europe, and the US: Felipe Becerra, Mónica de la Torre, Verónica Gerber Bicecci (tr. Christina MacSweeney), Annette Gilbert (tr. Shane Anderson), India Johnson, Michalis Pichler, Heriberto Yépez.
About the Author
Ulises Carrión (), perhaps Mexico’s most important conceptual artist, is widely known for his decisive role in defining and conceptualizing the artistic genre of artists&#; book through his manifesto, &#;The New Art of Making Books&#; (). He began his artistic career as a poet in Mexico City, but quickly moved to a great number of genres including &# On "bookworks." BeeLine Reader uses subtle color gradients to help you read more efficiently. The ubiquity of the book as a marketable artifact led Mexican author and artist Ulises Carrión (–) to write rebelliously in , “A book may be the accidental container of a text, the structure of which is irrelevant to the book: these are the books of bookshops and libraries.” We have to imagine a long pause where that colon hinges the sentence together — one heavy with sarcasm. Carrión’s tongue-in-cheek dig at the book as a commercial artifact reflects on the separation of form and content he perceived in the writing and publishing of his time. Carrión was not opposed to bookshops altogether, and in fact founded one himself, Other Books and So, in Amsterdam that same year. Specializing in artists’ books and multiples, the shop was also an artist-run exhibition and event space that distributed the kind of work he wanted to see more of in the world: books conceived of as a whole, rather than “texts” bestowed by the author on a publisher for dissemination to a reading public. In an advertisement for the space, he called them “non books, anti books, pseudo books, quasi books, concrete books, visual books, conceptual books, structural books, project books, statement books, instruction books,” a list suggestive of his vexed relationship with the marketplace. Ultimately, he would coin a new term to describe the kind of artists’ publications he championed: bookworks. In part, Carrión’s was a clarion call for authors to be more attuned to the book’s materiality and impact on meaning, but it was also a demand for a breakdown of the system that privileged writing as intellectual labor and denigrated the physical aspect of book production. Carrión perceived a crisis in literature, and for him that crisis arose from its place in the publishing system. Carrión perceived a crisis in literature, and for him that crisis arose from its place The New Art of Making Books