Straight Pins, Gauze, and Linotypes

The Cuban Post-Soviet Artists' Book

Dados Bibliográficos

ID2170274
AutoresJessica Gordon-Burroughs (0000-0002-9831-5216, autor correspondente)
Ano2017
Volume26
Fascículo3
Páginas437-459
Data de publicação2017-07-03
Peer ReviewedSim
Open AccessNão
TipoARTICLE
PeriódicoJournal of Latin American Cultural Studies (JOURNAL)
Identificadores do periódicoISSN: 1356-9325 • E-ISSN: 1469-9575
EditoraInforma UK Limited (PUBLISHER • GB)
DOI10.1080/13569325.2017.1292223
OpenAlexW2746697182
IdiomaEN
Citações recebidas1
Referências citadas21

Matanzas’s Ediciones Vigía and Holguin’s Ediciones Cuadernos Papiro construct an arc from the revolutionary 1960s and its investment in collective and communal goods, to the increasingly privatized 1990s and 2000s through their materials and procedures, as well as through their engagement with the figure of the archive. I contend that the books printed by Ediciones Vigía and Ediciones Cuadernos Papiro are both artists’ books - that is, books that are art unto themselves - and books as ‘archives’. Here, I understand the ‘book’ as ‘archive’ in a similar fashion as art historian Hal Foster interprets ‘archival art’: that is, art, in this case book art, that ‘draws on informal archives but produces them as well’ in an effort ‘to make historical information, often lost or displaced, physically present’. The hand-made books of Ediciones Vigía and Ediciones Cuadernos Papiro project a new figure of the reader and occupy social spaces that are radically different from their predecessors. Where Cuban institutional archives have left incomplete territories of the Revolutionary-era and pre-Revolutionary book, the 1990s and 2000s ‘archival book’ incarnated in Ediciones Vigía and Cuadernos Papiro has come to occupy these voids in a compensatory fashion as an ‘archival’ product

Art · Art history · Construct (python library · Asian Culture and Media Studies · Computer Science · Cuban History and Society · Latin American and Latino Studies