2020
SYNOPSIS
Book design for Arthur Jafa's A Series of Utterly Improbable, Yet Extraordinary Renditions, the third volume in a series of monographic publications after the eponymous exhibitions at Serpentine Galleries, London, Moderna Museet, Stockholm, and Serralves Museum, Porto. Perhaps the most comprehensive publication to date on Arthur Jafa's work, it reconstitutes some of the references and discourses that guide the artist's persistent demand on the experience and specific expressions of blackness in the US. Essays by John Akomfrah, Tina M. Campt, Ernest Hardy, and Fred Moten, are accompanied by Arthur Jafa’s writings and a conversation between the artist and Hans Ulrich Obrist. Published by Serralves Museum and Serpentine Galleries.
Book block printed in offset on Chromolux paper: four colours on the coated side, and monochrome on the uncoated side. With signatures folded and sewn, double-page spreads alternate between full colour content (images) and monochrome (text). Bound as a softcover Ota-bind (lay-flat).
Set in Happy Times at the IKOB by Lucas Le Bihan (2018), under SIL Open Font License 1.1, Venus by Robert Wiebking (1924), and MARTIN by Tré Seals (2016).
EN, PT / 275pp. / 17 × 234 mm
2020
SYNOPSIS
Book design for Arthur Jafa's A Series of Utterly Improbable, Yet Extraordinary Renditions, the third volume in a series of monographic publications after the eponymous exhibitions at Serpentine Galleries, London, Moderna Museet, Stockholm, and Serralves Museum, Porto. Perhaps the most comprehensive publication to date on Arthur Jafa's work, it reconstitutes some of the references and discourses that guide the artist's persistent demand on the experience and specific expressions of blackness in the US. Essays by John Akomfrah, Tina M. Campt, Ernest Hardy, and Fred Moten, are accompanied by Arthur Jafa’s writings and a conversation between the artist and Hans Ulrich Obrist. Published by Serralves Museum and Serpentine Galleries.
Book block printed in offset on Chromolux paper: four colours on the coated side, and monochrome on the uncoated side. With signatures folded and sewn, double-page spreads alternate between full colour content (images) and monochrome (text). Bound as a softcover Ota-bind (lay-flat).
Set in Happy Times at the IKOB by Lucas Le Bihan (2018), under SIL Open Font License 1.1, Venus by Robert Wiebking (1924), and MARTIN by Tré Seals (2016).
EN, PT / 275pp. / 17 × 234 mm