JUSTE AVANT OU JUSTE APRES – Vittorio Santoro
250 x 350 mm (box)
Limited edition of 80 copies, all numbered and signed by the artist.
3 colors screen-printed box containing different items, including two signed one-color screen-printed newspaper pages.
Design by Vittorio Santoro in collaboration with Luís Alegre.
Text by Daniel Kurjakovic, translated by Patrick Lafièvre.
Photography by Rebecca Fanuele, Marco Blessano, Vittorio Santoro.
Yvon Lambert and Stolen Books // Published May 2019
SOLIN SALA RA – Manuel Donada€45.00
It is not talking about the origin of this book, because this book, infinite, varied, diverse, always similar and always different, perpetual and changing, has existed from all eternity. Nothing has been discovered, everything has been found. But in the heart of this artifact everything changes, everything is transformed, everything evolves. These pages have not existed at any time or any place, the message itself has an origin and the magic emanating from each of its pages can never be trained. At this point, there is nothing to do. It would be lovely to wait for the revolution of an admirable science. This book is dedicated, in part, to all those punks of sectarian mentality and false morals, those who feed the annihilation of the individual and those who are part of a camouflaged class, who die of fear and grief with the idea of being isolated. To all those who do not violently reject the supporters of an absurd and pestilent elite. To the loose dogs of abstract camaraderie that obstructs the spiritual, individual and cosmic revolution. To the victims of the revolution block, accomplices of permanent repression, duck-faced corpses and wild manners, all obstacles of the universal protest.
DID U CUM YET – Richie Culver€25.00
"There will be much to say about the role of the online social site in years to come. In more ways than a few, it has altered the production, the promotion, the market and the viewing of contemporary an for the foreseeable future. The biopolitics of the mediated world is a polymorphic authority that is constantly shifting with its own survival instinct, and many artists have sought to steal their autonomy back as both the provocative rebel (see Richard Prince's Instagram canvases) or as the buffoon-grandpa with a taste for contemporary art (see Mark Grotjahn's feed). DID U CUM YET is the Instagram project gone rogue. For all intents, the algorithms and recommendations performed beautifully, earning the image such titles as "white, straight, basic," "pinhead" and "go fuck your stupid art. Seriously though." That this has become a book, therefore, is the rogue element. Reality disenfranchised to its vivid alter ego online. An experiment asking for observations and conclusions, the event that transpired was experienced centrifugally by Richie; a swirling mayhem of voices, tags and comments that must've felt dizzying and disconcerting to be at the centre of. Is DID U CUM YET a poem? An abstract narrative? A transcript of a call-in radio show? Telepathy en masse? A coroner's report? Whatever such a collection of dialogue might be called, it continues the hard work of the original in faith to its provocative simplicity, and begs the question one more time to those who felt compelled to comment on Richie's work, if at last they have finally had the satisfaction of unloading their viscous bile." Excerpt from OLIVER MORRIS JONES, Nov. 2019 Richie Culver’s art works have become a phenomenon within the emerging art scene in the last two years. The artist’s autobiographical approach explores the cultural and social binaries found in the UK’s socio-political systems. His canvases, all of which are categorised into series, depict everyday scenarios that are recognised for their humour and references to popular culture. Common ‘Culver iconography’ includes greyhound racing, Princess Di, barbershop scenes, car logos and counterfeit goods from local markets. Born in Hull, Culver openly uses his experiences of growing up in the North as important material, often juxtaposed with his move to London as an adult. His exhibition ‘No one knows me like Dawn from the Job Centre’ reflects the way in which he stereotypes and often incorporates humour as a way of dealing with charged subjects that highlight the stark contrast between the South and North of the UK. Often occupied by large white space, Culver combines both abstract and figurative elements, which continue to evolve stylistically, as does his reputation as a social commentator, post-Brexit. Words by LARA MONRO, interview for Dateagle Art, Sept. 2018