Dezasete Onibus Passando
Johan Cornelissen
1978
Dezasete Onibus Passando
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This slightly tautological artist’s book documents, literally as its title suggests, the passage of seventeen buses along Rua do Catete in Rio de Janeiro on August 4, 1975, between 11 a.m. and 12 p.m. For ...
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Dezasete Onibus Passando
Johan Cornelissen
1978
Utrecht: Gamma
Unpaginated [36 pages]
29.2 × 20.8 cm
Edition of 50; signed and numbered 47/50

This slightly tautological artist’s book documents, literally as its title suggests, the passage of seventeen buses along Rua do Catete in Rio de Janeiro on August 4, 1975, between 11 a.m. and 12 p.m. For this edition, photographs of their passage were reproduced using a Xerox 9200 in an edition of 50 copies, each differing in contrast and tone.


 


The use of tautology in conceptual art is recurrent. Here, the term refers not only to the self-referential character of the work – its concern with its own status or existence as art – but also to the literal correspondence between the title and what is represented: the work enacts, mot à mot, what its title describes. In the field of artists’ publications, this strategy has been explored by Edward Ruscha (Various Small Fires and Milk, 1964), Stanley Brouwn (This Way Brouwn, 1971), Giovanni Anselmo (Leggere, 1972), and Joseph Kosuth (Purloined: A Novel, 2000), among many others.


 


Cornelissen himself extends this concept in other travel-based editorial projects, including Pelotas R.G.S. (1977), Still an Hour to Go Before We Arrive in Milan (1978), Egypt (1980), and Journey Along the Equator (1983).

Utrecht: Gamma
Unpaginated [36 pages]
29.2 × 20.8 cm
Edition of 50; signed and numbered 47/50

This slightly tautological artist’s book documents, literally as its title suggests, the passage of seventeen buses along Rua do Catete in Rio de Janeiro on August 4, 1975, between 11 a.m. and 12 p.m. For this edition, photographs of their passage were reproduced using a Xerox 9200 in an edition of 50 copies, each differing in contrast and tone.

 

The use of tautology in conceptual art is recurrent. Here, the term refers not only to the self-referential character of the work – its concern with its own status or existence as art – but also to the literal correspondence between the title and what is represented: the work enacts, mot à mot, what its title describes. In the field of artists’ publications, this strategy has been explored by Edward Ruscha (Various Small Fires and Milk, 1964), Stanley Brouwn (This Way Brouwn, 1971), Giovanni Anselmo (Leggere, 1972), and Joseph Kosuth (Purloined: A Novel, 2000), among many others.

 

Cornelissen himself extends this concept in other travel-based editorial projects, including Pelotas R.G.S. (1977), Still an Hour to Go Before We Arrive in Milan (1978), Egypt (1980), and Journey Along the Equator (1983).

DESCRIPTION

This slightly tautological artist’s book documents, literally as its title suggests, the passage of seventeen buses along Rua do Catete in Rio de Janeiro on August 4, 1975, between 11 a.m. and 12 p.m. For this edition, photographs of their passage were reproduced using a Xerox 9200 in an edition of 50 copies, each differing in contrast and tone.

 

The use of tautology in conceptual art is recurrent. Here, the term refers not only to the self-referential character of the work – its concern with its own status or existence as art – but also to the literal correspondence between the title and what is represented: the work enacts, mot à mot, what its title describes. In the field of artists’ publications, this strategy has been explored by Edward Ruscha (Various Small Fires and Milk, 1964), Stanley Brouwn (This Way Brouwn, 1971), Giovanni Anselmo (Leggere, 1972), and Joseph Kosuth (Purloined: A Novel, 2000), among many others.

 

Cornelissen himself extends this concept in other travel-based editorial projects, including Pelotas R.G.S. (1977), Still an Hour to Go Before We Arrive in Milan (1978), Egypt (1980), and Journey Along the Equator (1983).

Utrecht: Gamma
Unpaginated [36 pages]
29.2 × 20.8 cm
Edition of 50; signed and numbered 47/50

This slightly tautological artist’s book documents, literally as its title suggests, the passage of seventeen buses along Rua do Catete in Rio de Janeiro on August 4, 1975, between 11 a.m. and 12 p.m. For this edition, photographs of their passage were reproduced using a Xerox 9200 in an edition of 50 copies, each differing in contrast and tone.

 

The use of tautology in conceptual art is recurrent. Here, the term refers not only to the self-referential character of the work – its concern with its own status or existence as art – but also to the literal correspondence between the title and what is represented: the work enacts, mot à mot, what its title describes. In the field of artists’ publications, this strategy has been explored by Edward Ruscha (Various Small Fires and Milk, 1964), Stanley Brouwn (This Way Brouwn, 1971), Giovanni Anselmo (Leggere, 1972), and Joseph Kosuth (Purloined: A Novel, 2000), among many others.

 

Cornelissen himself extends this concept in other travel-based editorial projects, including Pelotas R.G.S. (1977), Still an Hour to Go Before We Arrive in Milan (1978), Egypt (1980), and Journey Along the Equator (1983).

MORE BOOKS

This slightly tautological artist’s book documents, literally as its title suggests, the passage of seventeen buses along Rua do Catete in Rio de Janeiro on August 4, 1975, between 11 a.m. and 12 p.m. For this edition, photographs of their passage were reproduced using a Xerox 9200 in an edition of 50 copies, each differing in contrast and tone.

 

The use of tautology in conceptual art is recurrent. Here, the term refers not only to the self-referential character of the work – its concern with its own status or existence as art – but also to the literal correspondence between the title and what is represented: the work enacts, mot à mot, what its title describes. In the field of artists’ publications, this strategy has been explored by Edward Ruscha (Various Small Fires and Milk, 1964), Stanley Brouwn (This Way Brouwn, 1971), Giovanni Anselmo (Leggere, 1972), and Joseph Kosuth (Purloined: A Novel, 2000), among many others.

 

Cornelissen himself extends this concept in other travel-based editorial projects, including Pelotas R.G.S. (1977), Still an Hour to Go Before We Arrive in Milan (1978), Egypt (1980), and Journey Along the Equator (1983).

MORE BOOKS