Form No Form / The Black Series features a selection of works by Marius Lut, from The Hague. We have to see it as an artist’s book that includes both an existing and a new series of works specifically designed for the publication. The general idea is to consider the artist’s book as a territory of experimentation and as a playful ground to take risks. Lut’s works mainly deal with the notions of destruction and imperfection, which are to him matter to be confronted with the ‘pure language’ of minimal art.
These notions can also be found on the pages of the publication. Therefore, the artist’s work process is reflected here by means of another medium: the printed matter.
A pleasant format first, and then minimal language, starting from the front cover: a fine, black canvas jacket – a material and a colour that are particularly meaningful to the artist – under transparent plastic (behind which a small paper was slipped stating the name of the artist and the title of the publication with a brief description). On the black jacket, a particular detail caught the jury’s attention: a trace of black spray paint, applied by the artist himself, signed and numbered at the back. Black on black. And the inside pages, mainly white.
The layout is very airy, with a permanent contrast between black and white, full and empty. There are a good many blank pages, which gives this feeling of walking inside a white cube, sometimes interrupted by some pages presenting the works, which thus judiciously punctuate this course. The rhythm seems slow, almost inert, reflecting also the period of time you can spend watching these works of art and, in a certain way, keeping us in the emptiness of the white cube.
The jury particularly appreciated the trace of black marker on the photo on p.19, which adds a new dimension to the presentation of the photo series, thus becoming a new work of art.
Form No Form / The Black Series features a selection of works by Marius Lut, from The Hague. We have to see it as an artist’s book that includes both an existing and a new series of works specifically designed for the publication. The general idea is to consider the artist’s book as a territory of experimentation and as a playful ground to take risks. Lut’s works mainly deal with the notions of destruction and imperfection, which are to him matter to be confronted with the ‘pure language’ of minimal art.
These notions can also be found on the pages of the publication. Therefore, the artist’s work process is reflected here by means of another medium: the printed matter.
A pleasant format first, and then minimal language, starting from the front cover: a fine, black canvas jacket – a material and a colour that are particularly meaningful to the artist – under transparent plastic (behind which a small paper was slipped stating the name of the artist and the title of the publication with a brief description). On the black jacket, a particular detail caught the jury’s attention: a trace of black spray paint, applied by the artist himself, signed and numbered at the back. Black on black. And the inside pages, mainly white.
The layout is very airy, with a permanent contrast between black and white, full and empty. There are a good many blank pages, which gives this feeling of walking inside a white cube, sometimes interrupted by some pages presenting the works, which thus judiciously punctuate this course. The rhythm seems slow, almost inert, reflecting also the period of time you can spend watching these works of art and, in a certain way, keeping us in the emptiness of the white cube.
The jury particularly appreciated the trace of black marker on the photo on p.19, which adds a new dimension to the presentation of the photo series, thus becoming a new work of art.