‘Lenguaje Desmantelado’ (Dismantled Language) by Jorge Méndez Blake presents a series of paintings brought to a 1:1 scale and interjected by what the design description calls a “catalogue intervention”, showing the works brought down to page-size.
Due to the small size of the book (167 mm x 122 mm), each page presents a small “cut-out” segment of one of the works, which follows the full work as a text-page: line by line and from left to right. In a similar way to the technology of the viewfinder, or of InDesign’s “Actual Size” viewing mode, this close-up feels very post-digital. At the same time, it refers to the artist’s own works and methodologies, replicating their dismantling gesture and linguistic qualities.
Lastly, this method turns the spine of the book into an indicator of the relative sizes of the different works presented. While the 1:1 scale feels natural, we had some questions about the general image quality, lithography, and paper quality in terms of presenting a sharp view. Furthermore, some wondered what is the value of showing all the details and in having the repeated gesture spread across the 1084 pages.
The book ends with a series of bilingual texts, followed by a catalogue-like textual representation of the work. Similar to some of the segment-pages, we find an upper-right black margin on the text pages, which is repeated on the covers. This bordering gives the last section a more isolated effect, creating intimacy and scaling down even more from the regular pages. Both the artworks and the editorial attitude seem to show a Rancièrian image-sentence approach, where image and text deeply relate to one another and become dismantled. All of this comes together in a precisely curated edition which presents a closely detailed, friendly-sized art object.
‘Lenguaje Desmantelado’ (Dismantled Language) by Jorge Méndez Blake presents a series of paintings brought to a 1:1 scale and interjected by what the design description calls a “catalogue intervention”, showing the works brought down to page-size.
Due to the small size of the book (167 mm x 122 mm), each page presents a small “cut-out” segment of one of the works, which follows the full work as a text-page: line by line and from left to right. In a similar way to the technology of the viewfinder, or of InDesign’s “Actual Size” viewing mode, this close-up feels very post-digital. At the same time, it refers to the artist’s own works and methodologies, replicating their dismantling gesture and linguistic qualities.
Lastly, this method turns the spine of the book into an indicator of the relative sizes of the different works presented. While the 1:1 scale feels natural, we had some questions about the general image quality, lithography, and paper quality in terms of presenting a sharp view. Furthermore, some wondered what is the value of showing all the details and in having the repeated gesture spread across the 1084 pages.
The book ends with a series of bilingual texts, followed by a catalogue-like textual representation of the work. Similar to some of the segment-pages, we find an upper-right black margin on the text pages, which is repeated on the covers. This bordering gives the last section a more isolated effect, creating intimacy and scaling down even more from the regular pages. Both the artworks and the editorial attitude seem to show a Rancièrian image-sentence approach, where image and text deeply relate to one another and become dismantled. All of this comes together in a precisely curated edition which presents a closely detailed, friendly-sized art object.