Comparaisons
Luciano Bartolini
1975
Comparaisons
Comparaisons
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Luciano Bartolini died prematurely in 1994, at the age of 46. Nevertheless, his artistic production left a lasting mark on Italian conceptual art. Trained in linguistics, he began travelling in 1971, infusing his work with ...
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Comparaisons
Luciano Bartolini
1975
Milan: Galleria Françoise Lambert
Unpaginated [16 pages]
26.4 × 18.6 cm
Edition of 150; signed and numbered 102/150

Luciano Bartolini died prematurely in 1994, at the age of 46. Nevertheless, his artistic production left a lasting mark on Italian conceptual art. Trained in linguistics, he began travelling in 1971, infusing his work with a wealth of influences, from North Indian iconography to Byzantine icons. Inspired by Alberto Burri’s philosophy of material realism, or la verità dei materiali (the truth of materials), and resonating with the concerns of Arte Povera, Bartolini developed a body of work ranging from abstract compositions to materially oriented artist’s books.


 


This handmade edition from 1975 distills his early fascination with textured surfaces, collage, and wrapping paper. Housed in a kraft-paper envelope, the book consists of four unbound sheets. Each unfolds into a comparative study: on the left, a sample of wrapping paper is collaged to display a distinct arrangement of lines – horizontal, vertical, and two diagonal orientations – while on the right, the same pattern is reproduced in reverse on packing paper.


 


Minimal in conception, the book presents itself as a self-reflexive object, in which the content itself reflects on the volume’s material form.

Milan: Galleria Françoise Lambert
Unpaginated [16 pages]
26.4 × 18.6 cm
Edition of 150; signed and numbered 102/150

Luciano Bartolini died prematurely in 1994, at the age of 46. Nevertheless, his artistic production left a lasting mark on Italian conceptual art. Trained in linguistics, he began travelling in 1971, infusing his work with a wealth of influences, from North Indian iconography to Byzantine icons. Inspired by Alberto Burri’s philosophy of material realism, or la verità dei materiali (the truth of materials), and resonating with the concerns of Arte Povera, Bartolini developed a body of work ranging from abstract compositions to materially oriented artist’s books.

 

This handmade edition from 1975 distills his early fascination with textured surfaces, collage, and wrapping paper. Housed in a kraft-paper envelope, the book consists of four unbound sheets. Each unfolds into a comparative study: on the left, a sample of wrapping paper is collaged to display a distinct arrangement of lines – horizontal, vertical, and two diagonal orientations – while on the right, the same pattern is reproduced in reverse on packing paper.

 

Minimal in conception, the book presents itself as a self-reflexive object, in which the content itself reflects on the volume’s material form.

DESCRIPTION

Luciano Bartolini died prematurely in 1994, at the age of 46. Nevertheless, his artistic production left a lasting mark on Italian conceptual art. Trained in linguistics, he began travelling in 1971, infusing his work with a wealth of influences, from North Indian iconography to Byzantine icons. Inspired by Alberto Burri’s philosophy of material realism, or la verità dei materiali (the truth of materials), and resonating with the concerns of Arte Povera, Bartolini developed a body of work ranging from abstract compositions to materially oriented artist’s books.

 

This handmade edition from 1975 distills his early fascination with textured surfaces, collage, and wrapping paper. Housed in a kraft-paper envelope, the book consists of four unbound sheets. Each unfolds into a comparative study: on the left, a sample of wrapping paper is collaged to display a distinct arrangement of lines – horizontal, vertical, and two diagonal orientations – while on the right, the same pattern is reproduced in reverse on packing paper.

 

Minimal in conception, the book presents itself as a self-reflexive object, in which the content itself reflects on the volume’s material form.

Milan: Galleria Françoise Lambert
Unpaginated [16 pages]
26.4 × 18.6 cm
Edition of 150; signed and numbered 102/150

Luciano Bartolini died prematurely in 1994, at the age of 46. Nevertheless, his artistic production left a lasting mark on Italian conceptual art. Trained in linguistics, he began travelling in 1971, infusing his work with a wealth of influences, from North Indian iconography to Byzantine icons. Inspired by Alberto Burri’s philosophy of material realism, or la verità dei materiali (the truth of materials), and resonating with the concerns of Arte Povera, Bartolini developed a body of work ranging from abstract compositions to materially oriented artist’s books.

 

This handmade edition from 1975 distills his early fascination with textured surfaces, collage, and wrapping paper. Housed in a kraft-paper envelope, the book consists of four unbound sheets. Each unfolds into a comparative study: on the left, a sample of wrapping paper is collaged to display a distinct arrangement of lines – horizontal, vertical, and two diagonal orientations – while on the right, the same pattern is reproduced in reverse on packing paper.

 

Minimal in conception, the book presents itself as a self-reflexive object, in which the content itself reflects on the volume’s material form.

MORE BOOKS

Luciano Bartolini died prematurely in 1994, at the age of 46. Nevertheless, his artistic production left a lasting mark on Italian conceptual art. Trained in linguistics, he began travelling in 1971, infusing his work with a wealth of influences, from North Indian iconography to Byzantine icons. Inspired by Alberto Burri’s philosophy of material realism, or la verità dei materiali (the truth of materials), and resonating with the concerns of Arte Povera, Bartolini developed a body of work ranging from abstract compositions to materially oriented artist’s books.

 

This handmade edition from 1975 distills his early fascination with textured surfaces, collage, and wrapping paper. Housed in a kraft-paper envelope, the book consists of four unbound sheets. Each unfolds into a comparative study: on the left, a sample of wrapping paper is collaged to display a distinct arrangement of lines – horizontal, vertical, and two diagonal orientations – while on the right, the same pattern is reproduced in reverse on packing paper.

 

Minimal in conception, the book presents itself as a self-reflexive object, in which the content itself reflects on the volume’s material form.

MORE BOOKS