AMBruno Books: [sic]

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[sic]

AMBruno presented fifteen books with singularly diverse responses to the theme of [sic]. The [sic] collection of books was launched at PAGES Leeds / International Contemporary Artists' Book Fair, at The Tetley (4 to 5 March 2017). www.leedsartbookfair.com

The brief was to make a book in which the content (whether text/image/other) and/or the formal and physical elements (such as page layout and sequence, binding and materials) are in some way at odds with assumptions of what a book should be or do. sic is short for sic erat scriptum (thus, or, thus was it written). It is inserted after a quoted word or passage to indicate that this has been transcribed exactly as found in the source text. The notation's usual purpose is to inform the reader that any errors or apparent errors (for instance misprints, surprising assertions, faulty reasoning or spelling) are intentionally reproduced.

Books by artists often confound expectations; here the challenge might be to make something that initially seems to be/have mistakes and then to reveal an underlying logic - or not, and so remain in themselves non-sequiturs.

The books in the [sic] collection were selected by Sarah Bodman.

The [sic] collection was also shown at the Bristol Artists Book Event (BABE) at the Arnolfini, Bristol (1 to 2 April 2017). BABE

AMBruno's [sic] collection was also shown was at MISS READ: Berlin Art Book Festival (14 to 16 July 2017) at Haus der Kulturen der Welt, Berlin. MISS READ This was AMBruno's first time at MISS READ; it was a great location and a very busy fair, with good conversations. Thank you to the AMBruno team at MISS READ: Judy Goldhill, Katarina Kelsey, Rachael Hand, John McDowall and Sophie Loss. The complete [sic] collection was bought for the Kunstbibliothek Berlin (Berlin Art Library), one of Germany's leading art history institutions. Kunstbibliothek Berlin.

AMBruno once again took their stand at The New York Art Book Fair (22 to 24 September 2017) to exhibit the [sic] collection. Printed Matter presented 370 international presses, booksellers, artists' books, etc., presenting a diverse range of the best in contemporary art publications from 28 countries. An incredibly popular event, hugely well attended with record numbers of people passing through the venue, despite the heat outside, and subsequently inside too. Many books were sold, interesting contacts made, with great conversations and multiple questions asked. The entire collection was acquired by the Maryland Institute College of Art, Baltimore. Individual books were acquired by the Art Institute of Chicago and NYPL as well as collectors at the fair. The New York Art Book Fair


There are fifteen [sic] books by sixteen artists:

Karen Blake, True Colours
True Colours is a book of two volumes in one, with a shared spine and transparent pages. These contain flags from which you are invited to assemble the flag of your desired identity. The book’s form, however, means that all that is rejected remains conjoined.

Egidija Čiricaitė, people plously revere the memory
History can be rewritten. Truth can change. However, the material stability of print allows ideas to transcend into the new era. This book uses language and images of spaces (now non-existent) from a 1966 Soviet book about Kaunas (Lithuania) to explore the place of voided ideas.

Judy Goldhill, In The Beginning
This book/object relates to the biblical account of the creation of the universe. The book quotes from Genesis the Hebrew word Beresheit (in the beginning) and through its physicality and its asymmetry refers to and questions its own making.

Rachael Hand, Ash
Ash n. powdery residue left after the combustion of any substance; remains of human body after cremation. A meditation on our relationship with objects in our current era, and the question of what we will leave behind.

Julie Johnstone, Classic Poems
It is easy to make transcription errors when retyping text – whether due to human error, a slip of the eye or brain, wishful thinking, or auto-correct facilities. And then perhaps, these strangely plausible, oddly poetic, barely noticeable changes can be quietly perpetuated ...

Lydia Julien, Be Quite!
Using photo-collages and stencilled text, Be Quite! explores the play on words, mistakes and inaccurate meaning. Known as homophones and heterographs, this stems from an argument how '40' should be written. Who was rite? I was right. Confusing, unintentionally amusing, the mistakes appear fore all two sea.

Katarina Kelsey, 3174 m [10469.03 ft] [drillcore]
2016 is the year the International Commission on Stratigraphy declared the Anthropocene measurable in the rock; the book explores the written narrative of the earth as it was written in the year it is being re-written.

Sharon Kivland, A Lover’s Discourse / Un discours amoureux
Unsolicited 'encounter' emails, received over a year, are read as if they are intended for me alone, in a sincere desire for a real love relation, translated into English from French as they are written from my position as recipient, and with their original text. The book echoes the format of the French edition of Roland Barthes's Fragments d'un discours amoureux ("Tel Quel", Seuil 1977).

John McDowall, Ellipsis
Here the elided majority of the words of Heinrich Böll's story Murke’s Collected Silences do not form a lacuna in the place between end and beginning, but are notionally somewhere in the space of time outside of the book’s cover as the text leads out, around and back.

Steve Perfect, Degenerate
A text is repeatedly copied, but the shape of the letters rather than their meaning is the source material. Contrary to nature and education I copy from right to left with my left hand. The unfamiliar hand reproduces text in a process outside writing. A book we might expect to explain and expand the statement that inspires it in fact contains a performance of the process it describes (in triplicate).

Peter Rapp, [WIMOWEH]
Solomon Linda created 'Mbube' (The Lion) in 1939. Pete Seeger recorded 'Wimoweh' after (mis)hearing it. It was later appropriated and repackaged as 'The Lion Sleeps Tonight' by the pop music industry. Linda received no royalties in his lifetime; his family only started receiving royalties in 2006 after a protracted lawsuit.

Rachel Smith, Lines of Flight
This work forces together two contradictory systems: the rhizome and the book. A drawing has been produced which follows a response to the writings of Gilles Deleuze and Félix Guattari in relation to the rhizome. The drawn page has then been physically fragmented, and thrust into the paginated structure of the book.

Cally Trench and Philip Lee, International Day
At Cally’s English primary school, in the early 1960s, there was an annual ‘International Day’, when children dressed up in a mish-mash of national costumes. Cally and Philip have re-created International Day, and readers are invited to identify the eight European countries they depict, so becoming complicit in the stereotypes.

Lena Wurz, The Other Mistake
A seemingly misprinted calendar and the story of a boy only visible on Thursdays. Elements of the calendar's fixed structure are jumping in and out of focus, together with Thursday boy.

Stephanie Yang, Compartment Days
Only when it is unfolded, we shall see, it is more than just a mistake.

In The Beginning by Judy Goldhill

Judy Goldhill, In The Beginning
Edition of 18. Tilted book block. Black throughout except for
one gold, one silver and one white page.

[WIMOWEH] by Peter Rapp

Peter Rapp, [WIMOWEH]
Edition of 20. Accordion format book of etchings.

Ellipsis by John McDowall

John McDowall, Ellipsis
Open edition.
Cloth-covered boards and laser printed endpapers.

Degenerate by Steve Perfect

Steve Perfect, Degenerate
Open edition. 84 pages. Colour printing. Perfect bound.

people plously revere the memory by Egidija Čiricaitė

Egidija Čiricaitė, people plously revere the memory
Edition of 22. Semi-translucent light layered papers printed digitally, contained in a printed silver sleeve.

3174 m [10469.03 ft] [drillcore] by Katarina Kelsey

Katarina Kelsey, 3174 m [10469.03 ft] [drillcore]
Edition of 15.
Linoprint in oil. 30x30cm pamphlet.

Lines of Flight by Rachel Smith

Rachel Smith, Lines of Flight
First edition of 25. Digitally printed. Hand-finished books.
Printed in colour. Perfect bound. 48 pages.

Compartment Days by Lena Wurz

Lena Wurz, Compartment Days
Edition of 12. Letterpress printing.
Cover and back in translucent plastic.

Ash by Rachael Hand

Rachael Hand, Ash
Edition of 15. Digital print. Laser cut, etched and
engraved cover. Assembled, painted and bound by hand.

International Day by Cally Trench and Philip Lee

Cally Trench and Philip Lee, International Day
Edition of 25. Inkjet printed. Hand-sewn pamphlet.

Classic Poems by Julie Johnstone

Julie Johnstone, Classic Poems
Open edition. Digitally printed. Hand bound.

True Colours by Karen Blake

Karen Blake, True Colours
Edition of 20. Indigo printing and foil blocking. Post-bound. 20 leaves of clear acetate.

Be Quite! by Lydia Julien

Lydia Julien, Be Quite!
Edition of 16. Paperback bound book of 24 pages.

A Lover’s 
Discourse / Un discours amoureux by Sharon Kivland

Sharon Kivland, A Lover’s Discourse /
Un discours amoureux

Edition of 100. Digitally printed.
Perfect bound. 104 pages.

The Other Mistake by Stephanie Yang

Stephanie Yang, The Other Mistake
Edition of 30.
Screen-print and digital print.

AMBruno: [sic] at PAGES Leeds / International Contemporary Artists' Book Fair, 2017

AMBruno: [sic] at The Tetley, Leeds, 2017
Photograph: Tetley

AMBruno: [sic] at PAGES Leeds / International Contemporary Artists' Book Fair, 2017

AMBruno: [sic] at The Tetley, Leeds, 2017
Photograph: Sophie Loss

AMBruno: [sic] at PAGES Leeds / International Contemporary Artists' Book Fair, 2017

AMBruno: [sic] at The Tetley, Leeds, 2017
Photograph: Sophie Loss

AMBruno: [sic] at PAGES Leeds / International Contemporary Artists' Book Fair, 2017

AMBruno: [sic] at The Tetley, Leeds, 2017
Photograph: Sophie Loss

AMBruno: [sic] at PAGES Leeds / International Contemporary Artists' Book Fair, 2017

AMBruno: [sic] at The Tetley, Leeds, 2017
Photograph: Sophie Loss

AMBruno: [sic] at PAGES Leeds / International Contemporary Artists' Book Fair, 2017

AMBruno: [sic] at The Tetley, Leeds, 2017
Photograph: Sophie Loss

AMBruno: [sic] at PAGES Leeds / International Contemporary Artists' Book Fair, 2017

AMBruno: [sic]
The Tetley, Leeds, 2017
Photograph: Sophie Loss

AMBruno: [sic] at PAGES Leeds / International Contemporary Artists' Book Fair, 2017

AMBruno: [sic]
The Tetley, Leeds, 2017
Photograph: Cally Trench

AMBruno: [sic] at PAGES Leeds / International Contemporary Artists' Book Fair, 2017

AMBruno: [sic]
The Tetley, Leeds, 2017
Photograph: Cally Trench

AMBruno: [sic] at Bristol Artists Book Event, 2017

AMBruno: [sic]
The Arnolfini, Bristol, 2017
Photograph: Cally Trench

AMBruno: [sic] at Bristol Artists Book Event, 2017

AMBruno: [sic]
The Arnolfini, Bristol, 2017
Photograph: Cally Trench

AMBruno: [sic] at Bristol Artists Book Event, 2017

AMBruno: [sic] at The Arnolfini, Bristol, 2017
Photograph: Cally Trench

AMBruno: [sic] at Bristol Artists Book Event, 2017

AMBruno: [sic] at The Arnolfini, Bristol, 2017
Photograph: Sophie Loss

AMBruno: [sic] at Bristol Artists Book Event, 2017

AMBruno: [sic]
The Arnolfini, Bristol, 2017
Photograph: Sophie Loss

AMBruno: [sic] at Bristol Artists Book Event, 2017

AMBruno: [sic]
The Arnolfini, Bristol, 2017

AMBruno: [sic] at Bristol Artists Book Event, 2017

AMBruno: [sic]
The Arnolfini, Bristol, 2017
Photograph: Sophie Loss

AMBruno: [sic] at MISS READ, Berlin, 2017

AMBruno: [sic]
MISS READ, Berlin, 2017
Photograph: Sophie Loss

AMBruno: [sic] at MISS READ, Berlin, 2017

AMBruno: [sic]
MISS READ, Berlin, 2017
Photograph: Sophie Loss

AMBruno: [sic] at MISS READ, Berlin, 2017

AMBruno: [sic] at MISS READ, Berlin, 2017
Photograph: Sophie Loss

AMBruno: [sic] at MISS READ, Berlin, 2017

MISS READ, Berlin, 2017
Photograph: Sophie Loss

AMBruno: [sic] at MISS READ, Berlin, 2017

AMBruno: [sic] at MISS READ, Berlin, 2017
Photograph: Sophie Loss

AMBruno: [sic] at MISS READ, Berlin, 2017

AMBruno: [sic] at MISS READ, Berlin, 2017
Photograph: Sophie Loss

AMBruno: [sic] at MISS READ, Berlin, 2017

AMBruno: [sic]
MISS READ, Berlin, 2017
Photograph: Sophie Loss

AMBruno: [sic] at MISS READ, Berlin, 2017

AMBruno: [sic]
MISS READ, Berlin, 2017
Photograph: Sophie Loss

AMBruno: [sic] at MISS READ, Berlin, 2017

AMBruno: [sic] at MISS READ, Berlin, 2017
Photograph: Sophie Loss

AMBruno: [sic] at MISS READ, Berlin, 2017

AMBruno: [sic] at MISS READ, Berlin, 2017
Photograph: Sophie Loss

AMBruno: [sic] at MISS READ, Berlin, 2017

MISS READ, Berlin, 2017
Photograph: Sophie Loss

Kunstbibliothek Berlin

Kunstbibliothek Berlin
Photograph: Sophie Loss

AMBruno: [sic] at The New York Art Book Fair, 2017

AMBruno: [sic] at The New York Art Book Fair, 2017
Photograph: Judy Goldhill

AMBruno: [sic] at The New York Art Book Fair, 2017

AMBruno: [sic] at The New York Art Book Fair, 2017
Photograph: Sophie Loss

AMBruno: [sic] at The New York Art Book Fair, 2017

AMBruno: [sic] at The New York Art Book Fair, 2017
Photograph: Sophie Loss

AMBruno: [sic] at The New York Art Book Fair, 2017

AMBruno: [sic] at The New York Art Book Fair, 2017
Photograph: Sophie Loss

AMBruno: [sic] at The New York Art Book Fair, 2017

AMBruno: [sic] at The New York Art Book Fair, 2017
Photograph: Sophie Loss

AMBruno: [sic] at The New York Art Book Fair, 2017

AMBruno: [sic] at The New York Art Book Fair, 2017
Photograph: Sophie Loss

AMBruno: [sic] at The New York Art Book Fair, 2017

AMBruno: [sic] at The New York Art Book Fair, 2017
Photograph: Sophie Loss

AMBruno: [sic] at The New York Art Book Fair, 2017

AMBruno: [sic] at The New York Art Book Fair, 2017
Photograph: Sophie Loss

AMBruno: [sic] at The New York Art Book Fair, 2017

AMBruno: [sic] at The New York Art Book Fair, 2017
Photograph: Sophie Loss

AMBruno: [sic] at The New York Art Book Fair, 2017

AMBruno: [sic] at The New York Art Book Fair, 2017
Photograph: Sophie Loss

AMBruno: [sic] at The New York Art Book Fair, 2017

AMBruno: [sic] at The New York Art Book Fair, 2017
Photograph: Sophie Loss

AMBruno: [sic] at The New York Art Book Fair, 2017

AMBruno: [sic] at The New York Art Book Fair, 2017
Photograph: Judy Goldhill

AMBruno: [sic] at The New York Art Book Fair, 2017

AMBruno: [sic] at The New York Art Book Fair, 2017
Photograph: Judy Goldhill

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