{"title":"Editions","description":null,"products":[{"product_id":"missing-pieces","title":"Missing Pieces","description":"\u003cp\u003e데누구이는 면으로 제작되는 일본의 전통 직물입니다. ‘손’을 ‘닦는다’는 본래의 뜻을 넘어, 8세기 무렵부터 세면 타월이나 행주, 머리띠, 포장용 보자기, 장식품 등 다채로운 용도로 쓰여 왔습니다. 마감 처리를 하지 않은 가장자리 덕분에 건조가 빠르고, 필요시 찢어서 붕대로 사용하는 등 실용성이 뛰어납니다.\u003c\/p\u003e\n\u003cp\u003e이 데누구이는 현대의 인쇄 기술과 달리 염료가 직물 깊숙이 스며들어 양면에 문양이 선명히 드러나는 전통 주센 기법으로 제작되었습니다. 나아가 두 가지 색상이 섞이지 않고 서로 겹치거나 나란히 배치되도록 돕는 도쿄의 전통 공예 기법인 호소카와조메 기법을 더했습니다. 첫 염색 후 세척과 건조 과정을 거치며 원단의 위치가 미세하게 변형되는데, 이로 인해 두 번째 겹쳐지는 색상이 예상치 못한 뉘앙스를 만들어내며 장인의 숙련된 기술과 제품 저마다의 독자성을 보여줍니다.\u003c\/p\u003e\n\u003cp\u003e｢Missing pieces｣는 착시 효과를 다룬 작업으로, 외견상 평범해 보이는 장식적 패턴이 가역적인 종이와 직물 매체 속에 정교하게 배치되어 있습니다. 전작 ｢Loves me, Loves me not…｣에 이어 아나 조타는 이 새로운 에디션을 통해 전통 염색 기법의 물리적 특성을 선명히 드러냅니다. 화려한 화환 문양은 두 단계에 걸쳐 염색되어 다양한 색상이 번짐 없이 경계를 접합니다. 함께 구성된 병풍형 종이 슬리브는 원형 조각의 절반이 비어 있는 초기 제작 단계를 암시하며, 데누구이의 문양이 반전된 네거티브 이미지 형태로 인쇄되어 있습니다. 다채로운 색면 사이에 남겨진 여백과 비어 있는 무대는 작가 자신은 물론 이를 접하는 이들에게 자유로운 상상의 가능성을 열어줍니다.\u003c\/p\u003e\n\u003cp class=\"chapeau\"\u003e\u003cspan\u003eA \u003c\/span\u003e\u003cem\u003e\u003cspan\u003etenugui\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e (\u003c\/span\u003e\u003cspan dir=\"ltr\" lang=\"EN-US\"\u003e手拭い\u003c\/span\u003e\u003cspan\u003e) is a Japanese traditional cloth made from cotton. Although \u003c\/span\u003e\u003cem\u003e\u003cspan\u003ete\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e (\u003c\/span\u003e\u003cspan dir=\"ltr\" lang=\"EN-US\"\u003e手\u003c\/span\u003e\u003cspan\u003e) means “hand” and \u003c\/span\u003e\u003cem\u003e\u003cspan\u003enugui\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e (\u003c\/span\u003e\u003cspan dir=\"ltr\" lang=\"EN-US\"\u003e拭い\u003c\/span\u003e\u003cspan\u003e) means “wiping,” it is much more than just a hand towel. Since the eighth century at least, it has been used as a washcloth, dishcloth, headband, protective wrapping, or decorative item, among many other uses. Its unhemmed edges allow it to dry fast, and to be torn for use as a bandage, for example.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"chapeau\"\u003e\u003cspan\u003eThis \u003c\/span\u003e\u003cem\u003e\u003cspan\u003etenugui\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e was hand-dyed using the \u003c\/span\u003e\u003cem\u003e\u003cspan\u003echūsen\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e method, in which the color soaks into the cloth in such a way that the pattern appears clearly on both sides, unlike in modern printing techniques. Furthermore, it was made following a specific and delicate process called \u003c\/span\u003e\u003cem\u003e\u003cspan\u003ehosokawa-zome\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e, in which two colors can be applied side by side or on top of one another without their blending. The cloth is dyed twice, and washed and dried in between. Since the drying causes the cloth and its first pattern to shift, the second layer of color overlaps in slightly unexpected ways. This feature highlights the skills of the artisan and makes each item unique.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"chapeau\"\u003e\u003cem\u003e\u003cspan\u003eMissing pieces\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e is a work of illusion, in which a seemingly innocent decorative pattern lies at the center of an elaborate device made of reversible paper and textile. In line with \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eLoves me, Loves me not…\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e, her previous \u003c\/span\u003e\u003cem\u003e\u003cspan\u003etenugui\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e edition for Keijiban, Ana Jotta reveals the properties of the dying techniques in this new work. The colorful garland was indeed dyed in two phases, so that the various tints touch, but do not bleed into each other. The leporello sleeve alludes to the first stage of production, in which half of the discs are still missing. Also, the garland is somehow reversed on the paper sleeve, thereby constituting a negative of the \u003c\/span\u003e\u003cem\u003e\u003cspan\u003etenugui\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e. The variety of colors make way for white bubbles or, more likely, empty stages that allow the artist – or anyone else – to let their imagination run free.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"chapeau\"\u003e\u003cspan dir=\"ltr\" lang=\"EN-US\"\u003e\u003cmeta charset=\"utf-8\"\u003eHand-dyed\u003cspan\u003e \u003c\/span\u003e\u003cem\u003etenugui\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eand leporello sleeve\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"chapeau\"\u003e\u003cspan dir=\"ltr\" lang=\"EN-US\"\u003eUnfolded: 90 \u003cmeta charset=\"utf-8\"\u003e \u003cspan\u003e×\u003c\/span\u003e 37 and 60.3 \u003cmeta charset=\"utf-8\"\u003e \u003cspan\u003e×\u003c\/span\u003e 23 cm\u003c\/span\u003e\u003cbr\u003e\u003cspan dir=\"ltr\" lang=\"EN-US\"\u003eFolded: 12 \u003cmeta charset=\"utf-8\"\u003e \u003cspan\u003e×\u003c\/span\u003e 22.5 and 15.3 \u003cmeta charset=\"utf-8\"\u003e \u003cspan\u003e×\u003c\/span\u003e 23 cm\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"chapeau\"\u003e\u003cspan dir=\"ltr\" lang=\"EN-US\"\u003e\u003cmeta charset=\"utf-8\"\u003eEdition of 100 copies, numbered and stamp signed with an original\u003cspan\u003e \u003c\/span\u003e\u003cem\u003ehanko\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eseal\u003c\/span\u003e\u003c\/p\u003e","brand":"Keijiban","offers":[{"title":"Default Title","offer_id":67412644888621,"sku":null,"price":172000.0,"currency_code":"KRW","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0708\/1836\/5485\/files\/ss_keijiban_0003_1.jpg?v=1789448469"},{"product_id":"99-g","title":"99 g","description":"\u003cp\u003e클라우디아 데 라 토레 Claudia de la Torre가 베를린의 아메리카 기념 도서관 Amerika-Gedenkbibliothek에서 99분 동안 청구 기호에 99가 들어간 책들을 찾아, 각 책의 99페이지만 스캐너로 복사한 작업입니다. 이 책은 정해진 99분 안에 복사를 마친 스캔본들만 모아 엮은 결과물입니다.\u003c\/p\u003e\n\u003cp\u003eA project by Claudia de la Torre, who spent 99 minutes at Berlin’s Amerika-Gedenkbibliothek (America Memorial Library) hunting down books whose call numbers contained the number 99, scanning only page 99 of each. This book brings together only the scans she managed to complete within that fixed 99 minutes.\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e16 pages, 14.8 × 21 cm, Softcover, English, ISBN -\u003c\/span\u003e\u003c\/p\u003e","brand":"backbonebooks","offers":[{"title":"Default Title","offer_id":67508729806893,"sku":null,"price":57000.0,"currency_code":"KRW","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0708\/1836\/5485\/files\/download_4527ad90-a3e5-41fb-8a58-c215c313b03b.jpg?v=1788421817"},{"product_id":"side-a","title":"SIDE A","description":"\u003cp\u003e클라우디아 데 라 토레 Claudia de la Torre의 이 책은, 제임스 블리시 James Blish가 1950년부터 1962년 사이에 쓴 SF 소설 4부작 '시티즈 인 플라이트 Cities in Flight'의 단어들만으로 구성되었습니다. 단어를 하나씩 골라 새로운 문장 배열로 일관된 서사를 새로 만들어낸 이 작업은, SF를 대안적 세계로 상상하며 현실의 새로운 가능성을 열어줍니다.\u003c\/p\u003e\n\u003cp\u003eThis book by Claudia de la Torre is built entirely from the words of Cities in Flight, James Blish’s four-part science fiction novel written between 1950 and 1962. Selecting words one by one and rearranging them into new, coherent sentences, the project imagines science fiction as an alternate world — opening up new possibilities for reality itself.\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e600 pages, 14.8 × 21 cm, Softcover, English, ISBN -\u003c\/span\u003e\u003c\/p\u003e","brand":"backbonebooks","offers":[{"title":"Default Title","offer_id":67508729839661,"sku":null,"price":80000.0,"currency_code":"KRW","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0708\/1836\/5485\/files\/Claudia_de_la_Torre-_SIDE_A_cover_1_Thumbnail_VH.jpg?v=1788941314"},{"product_id":"projetti-jekte-jects","title":"Projetti \/ jekte \/ jects","description":"\u003cp\u003e『Progetti \/ jekte \/ jects』는 안토아네타 마리노프 Antoanetta Marinov가 일정 기간 동안 매일 자신의 현재 상태에 대해 쓴 글을 연도별로 묶은 컬렉션으로, 현대 여성 예술가로서의 삶과 관련된 순간적이고 부수적인 생각들을 비규범적인 글쓰기로 엮어냅니다. 수록된 글들은 2003년에서 2005년 사이에는 독일어로, 이어 2019년에는 이탈리아어로 쓰였습니다.\u003c\/p\u003e\n\u003cp\u003eProgetti \/ jekte \/ jects is a collection by Antoanetta Marinov, who typed out a note on her state of mind each day over a set period and gathered the entries by year. Written in an unconventional style, it weaves together the fleeting, incidental thoughts that come with living as a woman artist today. The texts were written in German between 2003 and 2005, then in Italian in 2019.\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e90 pages, 14.8 × 21 cm, Softcover, German\/Italian, ISBN -\u003c\/span\u003e\u003c\/p\u003e","brand":"backbonebooks","offers":[{"title":"Default Title","offer_id":67508729872429,"sku":null,"price":114000.0,"currency_code":"KRW","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0708\/1836\/5485\/files\/download_8f221754-3779-4049-9c18-764f80f27664.jpg?v=1788421808"},{"product_id":"1100-offset-edition","title":"1-100 \/ Offset edition","description":"\u003cp\u003e마이카 렉시어 Micah Lexier의 책 『1-100』은 앞 표지부터 뒷 표지까지 총 192페이지에 걸쳐 1부터 100까지의 숫자를 한 페이지에 하나씩 적어 나가는 책입니다. 192라는 숫자는 책의 기본 페이지 수 단위인 16과 36의 공배수에서 비롯되었습니다. 2024년 백본북스 backbonebooks에서 인쇄 판본과 손으로 직접 그린 판본 두 가지로 출간되었습니다.\u003c\/p\u003e\n\u003cp\u003e1-100 by Micah Lexier writes out the numbers 1 through 100, one per page, across all 192 pages from front cover to back. That number, 192, comes from a common multiple of 16 and 36 — the standard page-count units for bookbinding. Published by backbonebooks in 2024 in two versions: a printed edition and a hand-drawn one.\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e192 pages, 148.5 × 21 cm, Softcover, English, ISBN -\u003c\/span\u003e\u003c\/p\u003e","brand":"backbonebooks","offers":[{"title":"Default Title","offer_id":67508730003501,"sku":null,"price":80000.0,"currency_code":"KRW","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0708\/1836\/5485\/files\/download_9f1f9198-d82f-422f-8321-1ef0baf7e873.jpg?v=1788421826"},{"product_id":"not-your-story","title":"Not your story","description":"\u003cp\u003e위-이 T. 라우 Wie-yi T. Lauw가 발견된 사진 아카이브를 바탕으로, 자신이 결코 가져본 적 없는 기억들을 시각화한 아트북 『Not your story』입니다.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eNot Your Story\u003c\/em\u003e is an artist's book by Wie-yi T. Lauw, who draws on a found photographic archive to visualize memories she never actually had.\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e62 pages, -, Softcover, English, ISBN -\u003c\/span\u003e\u003c\/p\u003e","brand":"backbonebooks","offers":[{"title":"Default Title","offer_id":67508730069037,"sku":null,"price":114000.0,"currency_code":"KRW","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0708\/1836\/5485\/files\/download_26842fb7-b2fd-4d54-8272-e18fc8d36152.jpg?v=1788410423"},{"product_id":"rverie-revers","title":"rêverie revers","description":"\u003cp class=\"chapeau\"\u003e\u003cspan lang=\"EN-US\" dir=\"ltr\"\u003e작가가 어린 시절부터 간직해 온 페스툼 도시 안내 책자에서 출발하여, 그 형식과 구조를 빌려온 아코디언 북 형태의 작업입니다. 앞면의 다채로운 컬러 이미지 시퀀스와 뒷면의 흑백 텍스트는 어느 한쪽이 주가 되지 않은 채 서로를 반사하며, 고대의 흔적과 풍경, 서적의 파편, 그리고 사진과 영화를 다시 촬영한 그레인과 픽셀의 레이어를 부유하듯 펼쳐 보입니다. 이미지의 단순한 설명을 넘어 수수께끼를 더하는 뒷면의 글귀들은 관람자에게 양면을 쉼 없이 오가는 시선의 왕복을 유도하며, 제목이 암시하듯 오직 읽기의 행위를 통해서만 깨어나는 시간의 미로 속 몽상으로 우리를 이끕니다.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"chapeau\"\u003e\u003cspan lang=\"EN-US\" dir=\"ltr\"\u003eThis edition takes as its point of departure an old tourist booklet devoted to the city of Paestum—an object the artist has cherished since childhood. From it,\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cem\u003e\u003cspan lang=\"EN-US\" dir=\"ltr\"\u003erêverie revers\u003c\/span\u003e\u003c\/em\u003e\u003cspan lang=\"EN-US\" dir=\"ltr\"\u003e\u003cspan\u003e \u003c\/span\u003eborrows both its framework and its form: a leporello unfolding as a long sequence of color images on one side and black-and-white captions on the other.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"chapeau\"\u003e\u003cspan lang=\"EN-US\" dir=\"ltr\"\u003eAs is often the case in the artist’s work, the sources of inspiration are both multiple and subterranean, surfacing in the visible and the readable realm only through fragments, allusions, and incomplete traces. One can discern remnants of antiquity, southern and northern landscapes, and excerpts from books. Some are first-hand images; others are photographs of photographs or of films, revealing their grains and pixels in close-ups that verge on abstraction. All gradations of blue and green unfold, punctuated by the ochre of stone and the white of pages.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"chapeau\"\u003e\u003cspan lang=\"EN-US\" dir=\"ltr\"\u003eThe texts that appear on the reverse of these images, rather than fixing their meaning like simple captions, instead deepen their mystery. With neither side subordinated to the other, the two faces echo one another, inviting a play of back-and-forths, rebounds, and returns. As its title suggests, the work is above all about\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cem\u003e\u003cspan lang=\"EN-US\" dir=\"ltr\"\u003ereverie\u003c\/span\u003e\u003c\/em\u003e\u003cspan lang=\"EN-US\" dir=\"ltr\"\u003e—those wanderings of thought through the labyrinth of time that only the act of reading can awaken.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"chapeau\"\u003e\u003cspan lang=\"EN-US\" dir=\"ltr\"\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cspan\u003eOffset printed leporello\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"chapeau\"\u003e\u003cspan lang=\"EN-US\" dir=\"ltr\"\u003eFolded: 15.7 \u003cmeta charset=\"utf-8\"\u003e \u003cspan\u003e×\u003c\/span\u003e 7.8 cm \u003cbr\u003eUnfolded: 15.7 \u003cmeta charset=\"utf-8\"\u003e \u003cspan\u003e×\u003c\/span\u003e 131.4 cm\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"chapeau\"\u003e\u003cspan lang=\"EN-US\" dir=\"ltr\"\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cspan\u003eEdition of 60 copies, numbered and stamp-signed, 3 artist's proofs, 3 publisher’s proofs, and 10 hors-commerce copies\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"Keijiban","offers":[{"title":"Default Title","offer_id":67508745371693,"sku":null,"price":172000.0,"currency_code":"KRW","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0708\/1836\/5485\/files\/ss_keijiban_0002_01copie.jpg?v=1789448491"},{"product_id":"these-butterfly-shades","title":"these butterfly shades","description":"\u003cp class=\"chapeau\"\u003e\u003cspan lang=\"EN-US\" dir=\"ltr\"\u003e\u003cmeta charset=\"utf-8\"\u003e실비 아이베르는 아티스트에게 거장과도 같은 버지니아 울프의 일기 구절에서 이 에디션의 제목을 가져왔습니다. 울프와 프루스트, 그리고 아이베르 자신으로 이어진 나비의 나날들에 대한 이 은유는 단순한 인용이나 참조를 넘어, 모든 텍스트와 이미지가 서로 얽혀 있다는 ‘상호텍스트성’을 드러냅니다. 기존 인쇄 매체를 탐구해 글자와 단어, 이미지의 파편을 선별하고 시적이고 수수께끼 같은 구성을 선보여 온 작가는 이번 작업에서 영화 잡지의 펼침면을 바탕으로 앙리 랑글루아, 장뤽 고다르, 프랑수아 트뤼포, 오시마 나기사의 영화적 역사 위에 울프의 문장들을 음각으로 조각해 배치합니다. 지면 위에서 공간화된 단어들은 숨겨진 텍스트처럼 일어서며, 텍스트와 이미지가 빚어내는 끊임없고 불가분한 상호작용을 보여줍니다.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"chapeau\"\u003e\u003cspan lang=\"EN-US\" dir=\"ltr\"\u003eSylvie Eyberg discovered the title of this edition in the writings of Virginia Woolf, a central figure for the artist. In a passage of her diary, the British author praised Marcel Proust for “his combination of the utmost sensibility with the utmost tenacity, [searching out] these butterfly shades to the last grain.” In fact, Eyberg would probably say as much to describe the writings of Woolf. And we in turn could say the same about Eyberg’s precise work, so much so that the metaphor appears to work like a Russian doll.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"chapeau\"\u003e\u003cspan lang=\"EN-US\" dir=\"ltr\"\u003eYet, quoting Woolf and therefore Proust is not really a matter of “reference,” in the sense of calling in inspirational figures and borrowing some of their power. Rather, it points out a certain notion of “intertextuality,” the idea that any text is filled with other texts to which they relate in various ways, deliberately or not. Sylvie Eyberg’s visual and literary practice indeed consists of exploring existing printed material and carefully selecting letters, words, and fragments of images which she reconfigures freely to form lyrical and enigmatic compositions.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"chapeau\"\u003e\u003cspan lang=\"EN-US\" dir=\"ltr\"\u003eFor\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cem\u003e\u003cspan lang=\"EN-US\" dir=\"ltr\"\u003ethese butterfly shades\u003c\/span\u003e\u003c\/em\u003e\u003cspan lang=\"EN-US\" dir=\"ltr\"\u003e, the artist reveals, using double-page spreads of a film magazine as a base, the presence of Woolf’s words in paragraphs otherwise dedicated to Jean-Luc Godard, François Truffaut, and Nagisa Oshima. Carved into the pages, the letters line up to form words and then sentences that recreate fragments of her writings, like a hidden subtext. Not only do the words become visual through their spatialization on the page, but they are also penetrated by the history of cinema, thus showing the inextricable, inexhaustible interplay of text and image.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eOffset printing\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003eFolded: 17.5 \u003cmeta charset=\"utf-8\"\u003e× 26 cm\u003cbr\u003eUnfolded: 69.6 \u003cmeta charset=\"utf-8\"\u003e× 52 cm\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cspan lang=\"EN-US\" dir=\"ltr\"\u003eEdition of 50 copies numbered and stamped-signed by the artist, plus 3 artist’s proofs, 3 publisher’s proofs and 10 \u003c\/span\u003e\u003cem\u003e\u003cspan lang=\"EN-US\" dir=\"ltr\"\u003ehors-commerce\u003c\/span\u003e\u003c\/em\u003e\u003cspan lang=\"EN-US\" dir=\"ltr\"\u003e copies\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"Keijiban","offers":[{"title":"Default Title","offer_id":67508747960365,"sku":null,"price":172000.0,"currency_code":"KRW","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0708\/1836\/5485\/files\/ss_keijiban_0001_01.jpg?v=1789448403"},{"product_id":"tool","title":"道具 \/ Tool","description":"\u003cp\u003e『道具 \/ Tool』은 네 개의 포크 사진으로 구성된 에디션입니다. 극적으로 확대되고 미세하게 변형된 이 도구들은 검은 배경 위에서 강렬한 존재감을 드러내다, 접혀서 전용 상자에 담기는 순간 본래의 자리로 돌아갑니다.\u003c\/p\u003e\n\u003cp\u003e이전 작업과 마찬가지로 바티아 슈터는 여기서 유형학과 오브제성을 다룹니다. 작가가 수집한 기괴한 수저 컬렉션을 직접 촬영한 네 장의 사진은 포크라는 도구의 공통적 특성은 물론 변형과 괴짜성에 집중하는 주방용품 카탈로그의 견본처럼 보입니다. 칼 블로스펠트의 식물 접사 사진을 떠올리게 하는 이 이미지들은 평범한 물건 속에 숨겨진 형태의 특수성과 다양성을 조명하며, 포식적 도구로서 포크가 지닌 낯설고 위협적인 본성을 드러냅니다.\u003c\/p\u003e\n\u003cp\u003e공예 전통을 높이 평가하고 젓가락 문화가 보편적인 일본이라는 맥락 속에서, 격리된 이 오브제들은 더욱 특별한 울림을 갖습니다. 이는 가장 흔한 사물조차 그것이 놓인 맥락에 따라 해석이 어떻게 변주될 수 있는지를 보여줍니다.\u003cem\u003e\u003cspan class=\"force-ja\" dir=\"ltr\" lang=\"JA\"\u003e\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"chapeau\"\u003e\u003cem\u003e\u003cspan class=\"force-ja\" dir=\"ltr\" lang=\"JA\"\u003e道具\u003c\/span\u003e\u003cspan\u003e \/ Tool\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e consists of a set of four printed images of forks (two made of silver, two of plastic). Dramatically enlarged and slightly deformed, the utensils stand against a black background, strongly affirming their presence—until they are folded and put back in their custom-made box.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"chapeau\"\u003e\u003cspan\u003eAs in some of her previous works, Batia Suter is dealing here with typology and objecthood. These four images—which the artist photographed from her own collection of absurd cutlery—look like samples from a kitchenware catalogue focusing as much on the common features of forks as on their potential deformities and eccentricities. Recalling Karl Blossfeldt’s close-up photographs of plants, they highlight the specificity and variety of forms hidden in ordinary things, as well as the strange, almost threatening nature of these “predatory” tools.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"chapeau\"\u003e\u003cspan\u003eIn Japan, a country where craft traditions are so valued—and where chopsticks are favored at table—these isolated objects also take on a particular resonance; they emphasize how the context can inform the interpretation of even the most common items.  \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"chapeau\"\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003eFour posters printed in offset on 70 kg Araveal paper, folded \u003cem\u003ekannon-ori\u003c\/em\u003e style, and placed in a box covered with Satogami \u003cem\u003etobi\u003c\/em\u003e paper\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"chapeau\"\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003ePosters: 48 \u003cmeta charset=\"utf-8\"\u003e× 30 cm (unfolded)\u003cbr\u003eBox: 13 \u003cmeta charset=\"utf-8\"\u003e× 31 \u003cmeta charset=\"utf-8\"\u003e× 2.5 cm\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"chapeau\"\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003eEdition of 80 copies signed and numbered by the artist, plus 8 artist’s proofs\u003c\/span\u003e\u003c\/p\u003e","brand":"Keijiban","offers":[{"title":"Default Title","offer_id":67508748648493,"sku":null,"price":185000.0,"currency_code":"KRW","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0708\/1836\/5485\/files\/ss_keijiban_0004_01copie2_2.jpg?v=1789448373"},{"product_id":"versailles-le-chteau","title":"Versailles - Le Château","description":"\u003cp\u003e아티스트 자클린 메스마에커가 94세를 일기로 세상을 떠나기 전 수개월간 구상하고 제작한 이 작업은 케이지방과 함께한 그녀의 여섯 번째 에디션이자 유작입니다. 베르사유 궁전의 관광용 포트폴리오를 재해석한 이 작업은 원래 담겨 있던 20장의 베르사유 흑백 사진 대신 브뤼셀에 위치한 작가의 집 풍경을 채워 넣었습니다. 거울의 방이나 루이 14세의 침실 대신 작가의 어지러운 작업대, 벽지의 파편, 피규어로 장식된 책장이 그 자리를 대신합니다.\u003c\/p\u003e\n\u003cp\u003e이는 작가의 작업 세계를 지탱해 온 핵심 주제인 ‘스튜디오 겸 집’과 ‘베르사유’가 비극적이면서도 감동적으로 융합하는 지점입니다. 일상적 작업 공간이자 작업 그 자체였던 집, 그리고 역사의 비하인드를 특유의 위트와 찬사로 탐구해 온 베르사유라는 소재는 유작이 된 이 에디션에서 서글픈 깊이를 더합니다. 위트 있는 위조의 형식 뒤로, 작가가 스스로 역사 속 한 부분이 될 순간을 담담히 받아들였음을 보여주는 듯합니다.\u003c\/p\u003e\n\u003cp class=\"chapeau\"\u003e\u003cspan\u003eThis edition, the sixth produced by Jacqueline Mesmaeker for Keijiban, was conceived and developed in the last several months before her sudden passing in December 2023, at the age of 94. It consists of the reproduction of a small tourist portfolio of Versailles – except that the twenty black-and-white photographs of the Palace it once contained have been replaced by as many views taken by Mesmaeker in her Brussels home. Instead of the Galerie des Glaces, Louis XIV’s bedroom or Marie-Antoinette’s Grand Cabinet, we are given a fragment of wallpaper, a messy worktable, or a bookcase decorated with figurines.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"chapeau\"\u003e\u003cspan\u003eHere we find two motifs that have been essential to the construction of Jacqueline Mesmaeker's work: her studio-apartment and Versailles. For her, the former was not only the place where her artistic practice took place on a daily basis; it was also a subject matter and a material in and of itself. As for the latter, at least since the seminal work \"Versailles avant sa construction\" (1980), it has been the pretext for investigating the backstage of History, with her typical blend of admiration and mischief. The convergence, if not the ultimate fusion, of these two motifs acquires a poignant dimension here. For despite the obvious irony of the gesture, it is as if the artist recognized that it was time for her to become, in turn, a piece of History.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e20 photographs in a paper sleeve\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"chapeau\"\u003e\u003cspan\u003e\u003cspan lang=\"EN-US\"\u003eSleeve: 9.2 \u003cmeta charset=\"utf-8\"\u003e× 6.5 \u003cmeta charset=\"utf-8\"\u003e× 0.7 cm\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003cspan lang=\"EN-US\"\u003ePhotographs: 8.8 \u003cmeta charset=\"utf-8\"\u003e× 6.3 cm\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"chapeau\"\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003eEdition of 94 copies numbered and stamp-signed, plus 20 artist’s proofs\u003c\/span\u003e\u003c\/p\u003e","brand":"Keijiban","offers":[{"title":"Default Title","offer_id":67508749402157,"sku":null,"price":158000.0,"currency_code":"KRW","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0708\/1836\/5485\/files\/ss_keijiban_0000_01_0.jpg?v=1789448324"},{"product_id":"ruder-plakat-letterpress-edition","title":"Ruder Plakat. Letterpress Edition","description":"\u003cp\u003e라인투 Lineto의 초청으로 루더 플라카트 Ruder Plakat와 함께 줄리 피터스 Julie Peeters가 기획하고 디자인한 한정판입니다. 51명의 친구들에게 단어 하나씩을 정하게 해 원본 활자로 인쇄하고, 아티스트이자 작가인 앤지 키퍼 Angie Keefer에게 각 단어에 응답하는 문장을 써달라고 초청했습니다. 바젤의 드루크베르크 Druckwerk에서 FAG 스탠다드 프루핑 프레스로 인쇄한 255부 한정판입니다.\u003c\/p\u003e\n\u003cp\u003eA limited edition curated and designed by Julie Peeters with Ruder Plakat, at the invitation of Lineto. Fifty-one friends each contributed a single word to be printed up with the original letters, and artist and writer Angie Keefer was invited to write a sentence responding to each one. Limited to 255 copies, printed on an FAG Standard proofing press at Druckwerk in Basel.\u003c\/p\u003e\n\u003cp\u003e1 sheet in a silk-screen prin­ted bag\u003cbr\u003ePrint sheet dimen­tions: 50 × 35 cm\u003cbr\u003eLan­guage: English\u003c\/p\u003e\n\u003cp\u003eEdi­tions are selec­ted at random when purchased\u003c\/p\u003e","brand":"Lineto","offers":[{"title":"Default Title","offer_id":67508758118445,"sku":null,"price":88000.0,"currency_code":"KRW","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0708\/1836\/5485\/files\/Ruder_Plakat_cover_thumbnail.jpg?v=1788685061"}],"url":"https:\/\/separatespaces.kr\/collections\/editions.oembed","provider":"Separate Spaces","version":"1.0","type":"link"}