The second edition of the “BOOKS, Bologna art books festival 2024“, important event in the panorama of Italian publishing. When we think about the history of art the association with the smell of paper and ink is immediate. An art book can take many forms. In the common imagination it is a beautiful, finely bound volume, with an attractive cover, full of very high quality images and photographs and with a profound and often poetic text written by illustrious names and prominent exponents of the artistic panorama. However, delving deeply into the intricate universe of art publishing we could come across much more complex graphic productions.
There are various mediums that have radically influenced artistic expression and modern society, yet if we had to identify among them the keystone of European cultural history would be the print, a medium that has radically reformed our perception of the world. From the revolution of metal letters led by Gutenberg to today, information, methods and styles have spread through publishing, it therefore seems legitimate to still defend this tool by promoting theart publishing in all its declinations. The path of the art book begins in the Middle Ages with the practice of thumbnailof which we cite as the greatest expression the illuminated codex “Gospel Book of Otto III” produced around the 1000, then continues with the late Gothic miniature of illustrious authors such as “Limbourg brothers” with the “Très riches heures du Duc de Berry” accomplished between 1412 and 1416, to reach the incredible production of William Blakefor example “Songs of Innocence and of Experience” collection of poems written, illustrated and printed by the painter, who placed the foundations for the birth of artists’ books joining self-publishing and self-distribution and integrating text, images and form.
Brochures, posters, posters and books became a strategy in the twentieth century bypass the traditional systems of gallery exhibition and to spread ideas through economical works that can be easily distributed even to those who do not frequent traditional exhibition spaces. They arose from such needs books that challenged every hypothesis of orthodox typographical production integrating collage, lithographs, wallpaper and inserts of other materials, or even bindings that included a random sequence of pages.
In the contemporary artist’s book, promoted by avant-garde currents, has achieved great success, becoming fundamental for theconceptual art who made the book not so much an appendix, but a reification of the works. We recall significant examples from the period between the 60s and 80sas “The images are burnt reflections” created by Mimmo Paladino for the New Tools Gallery in Brescia in 1976or again “The poison was lifted and carried” made by a rookie Enzo Cucchisupported by Bonito Olivafor La Nuova Foglio Editrice of Macerata in 1977.
On the other hand, it was precisely the 1970s that officially welcomed the artist’s book recognizing him as a true genre to which to dedicate studies, institutions, libraries, specialized bookshops and museum collections with specific classification and cataloging systems. A path that pushed the authors to build an association between an artist’s book and a period of research, a connection that has become very common, just think of Anselm Kiefer with its production of unique, handcrafted, artisanal books.
The impact of publishing on the history of culture appears even more undeniable if we focus on Italian territory, home of the Venetian typography, known for its almost visionary virtuoso work in the layout of theatrical scripts and literary classics. As Italians we know well the influence of art publishing on the construction of contemporary exhibition events, especially through the work of the publisher Giorgio Fantoni with his catalogues and the first collaborations with museums, which led to the communication and distribution system with the annexation of the bookshops to which we are now accustomed. Fantoni laid down the law in the catalog sector, defining the techniques and editorial lines suitable for the creation and layout of a quality volume. Typographic rules that seem banal today, but which marked a turning point from which to progress modernization of art publishing.
In the footsteps of this long, ever-changing tradition, “BOOKS, Bologna art books festival – Art and artist books“, edited by Danilo Montanari and Lorenzo Balbiin collaboration with a scientific committee composed of Silvia Alessandri, Mario Diacono, Liliana Dematteis And Giovanna Pisces. The event reflects the desire to preserve the legacy of two fundamental events in the sector – Artelibro, the Art Book Festival which took place in Bologna from 2003 to 2014, and FLAT – Turin Art Book Fair from 2017 to 2019 – opting for a “lateral” positioning, which does not disdain the panorama of fairs and the market, yet intends to present and enhance the book as a vehicle of contents, exchanges and opportunities that connect artists and collectors, constituting an experience of strictly nature cultural.
The second edition of BOOKShosted again in Chimney Hall of MAMBO from Friday 24 to Sunday 26 May 2024will boast the participation of 36 exhibitors, Italian and international booksellers and publishing houses, present with their projects. The informative vocation of the event is evident from the spaces reserved for publishers, which do not fit into the typical size of the stand, focusing on a small number of titles, no more than 100, to be explored further and with visitors. In fact, the layout of the festival is designed to encourage convivial exchange, promoting relationships and collaborations. As demonstrated by the choice to place an area dedicated to children at the center of the space Talk with authors and collectorsamong which it is mandatory to mention Luca Cerizza and Vincenzo Sparagna.
The program will feature exhibition focuses that will focus on the historicity of Italian art publishing and its quality, presenting a varied selection of rare volumes and original works by Ketty LaRocca, Vincenzo Agnetti, Giovanni Anselmo and Alighiero Boetti. Editions which cannot be missed: “Light” (Giovanni Anselmo, 1972 Sperone, Turin), “In the beginning it was” (Ketty La Rocca, 1971, Centro Di Edition, Florence) and “Machiavelli30” (Vincenzo Agnetti1978, Guanda, Milan).
The expected novelty of the festival will be the return of Andrea Pazienza to Bolognawith a tribute illustrating the career of cartoonist through the exposure of a series of original editions of books, magazine issues, record covers, posters and other graphic materials. Precious elements to which are added the artist’s books Mario Diaconowhich will release ainterview broadcast in the Sala delle Ciminiere. A rich schedule that will also include activities aimed at a wider audience and not just sector operators, such as one demonstration of letterpress printing with movable lead and wood type offered by Anonymous Impressors.
This second edition represents an opportunity for dissemination as well as a trade fair, structured to escape sectoral boundaries and reach those who benefit from the book heritage and new works, welcoming collectors and readers alongside the publishing workers, who represent the beating heart of the the entire editorial department.
