The Middle of the World / Le Milieu du Monde
240 Pages / hardcover / full colour / 420 pre-placed image stickers
23,5 x 30,5 cm
14 New Texts / Bilingual (English and French)
Designed by Syndicat, Paris
Published by Empire Books
Scheduled to be published in June 2017
Inspired by popular French and Belgium sticker albums, the book inhabits a place between an artist’s book and historical documentation in the form of a large-scale completed sticker album. Vinitsky’s publication examines the studios of 14 international artists of the 20th Century, through the collaboration of more than 40 artists, writers, designers, photographers, architects and other related practitioners, working together under the roof of the book.
The 14 studios were selected by Vinitsky from his personal list of art heroes. The book will be constructed from newly commissioned texts and images; instead of archival material, using performance, illustration, 3D models, photography, scanning, painting, sculpture and various re-enactments in order to ask what the artist studio means today. The book releases information to readers as a generous, accessible and material device, proposing a new way of looking at the practices and the working places of the collection of significant artists within its pages.
Why do we need your help?
The total production budget of €32,000 is being realised largely with the public support of FNAGP (National Foundation for Graphic and Plastic Arts, France) and CNAP (National Centre for Visual Arts, France). The remaining budget is being fundraised by this campaign.
Absalon (1964-1993, Paris, FR)
Yaacov Agam (1928-, Paris, FR)
Alexander Calder (1898-1976, Saché, FR)
Agam/Calder - La Défense (1976/1988)
Marc Chagall (1887-1985, Tudeley, Kent, UK & Jerusalem, IL)
Lygia Clark (1920-1988, Rio de Janeiro, BR & Paris, FR)
Naum Gabo (1890-1977, Cornwall, UK, Connecticut, US & Various Locations)
Rupprecht Geiger (1908-2009, Munich, DE)
Matt Montini (1905-1990, Tuchola, PL)
Bruno Munari (1907-1998, Milan, IT) + Leo Lionni (1910-1999, Radda in Chianti, IT)
Ezra Orion (1934-2015, Mitzpe Ramon, IL)
Chana Orloff (1888-1968, Paris, FR)
Dorothea Rockburne (1932-, New York, US)
David Perlov (1930-2003, Tel Aviv, IL)
Description of each chapter
- Chapter 01 — Absalon
Text by François Aubart. Image by Benjamin Lafore & Sébastien Martinez Barat; 3D model of the studio (designed by Le Corbusier) and an individual dismantle work inside.
- Chapter 02 — Yaacov Agam
Text by Ellie Armon Azoulay. Image by Émile M. Ouroumov; Documentation of the studio with the artist present
- Chapter 03 — Alexander Calder
Text by Jonathan P. Watts. Image by Aurélien Mole, Sam Hryckow and an object by Ryan Gander; A re-enactment of archival photographs with an actor at the artist’s studio in Saché
- Chapter 04 — Agam/Calder - La Défense
Text by Mathieu Loctin. Image by Raphaël Zarka; A documentation of La Défense as a giant outdoor ‘studio’
- Chapter 05 — Marc Chagall
Text by Jacob Farrell. Image by Eli Petel & Yonatan Vinitsky; Hand-painted photographs of Chagall’s All Saints' Church (Tudeley, Kent) and Synagogue (Jerusalem)
- Chapter 06 — Lygia Clark
Text by Vanessa Desclaux. Image by Myriam Lefkowitz & Yonatan Vinitsky. With the participation of Héléna de Laurens, Pierre-Alain Poirier, Achim Lengerer, Sophie Delpeux, Vanessa Desclaux. Photographed by Émile M. Ouroumov; Documentation of a live-workshop in the speculative studio of Clark at the Cité internationale des Arts, Paris
- Chapter 07 — Naum Gabo
Text by Sam Thorne. Image by Janina Pedan, Ben Toms, Karin Ruggaber; Study of a replica of Gabo’s material tests
- Chapter 08 — Rupprecht Geiger
Texts by Hans Ulrich Obrist, Oliver Evans. Image by Yonatan Vinitsky; Scanning of the artist’s studio’s floor
- Chapter 09 — Matt Montini
Texts and image by Ourie Ophir Azoulay, Rebecca May Marston & Barnie Askew Page, Tom Shay, Yonatan Vinitsky; Documentation of the artist’s formative teenage years
- Chapter 10 — Munari, Bruno + Lionni, Leo
Text by Elodie Royer & Yoann Gourmel. Image by Mark Higden, Ariella Azoulay; A series of new illustrations based on existing archival images that suggest a speculative encounter between the two artists
- Chapter 11 — Ezra Orion
Text by Ellie Armon Azoulay. Image by David Adika & Yonatan Vinitsky; Objects from the artist’s studio in the desert against various backgrounds
- Chapter 12 — Chana Orloff
Texts by Cedric Libert, Moran Shoub. Image by Alice Channer; s t r e t c h e d documentation of the studio
- Chapter 13 — Dorothea Rockburne
Text by Jennifer Winkworth. Image by Susan Meiselas; Documentation of the studio with the artist present
- Chapter 14 — David Perlov
Text by Benjamin Freidenberg. Image by Yonatan Vinitsky; A series of 10 Polaroids shot four months before the artist passed away
Pledge €5 or more — Thank you for your support.
A digital image from the book will be emailed to you.
Pledge €50 or more — A copy of the book
One signed and numbered copy of the first limited edition of the book in the format of a completed sticker album. 240 pages, Hardcover, 420 pre-placed stickers. Retail price: €60. Only 300 copies are available for pre-sale. Flat shipping price worldwide: 9 Euros (the book will be 2.3 kg)
Pledge €100 or more — A Special book copy
One of ten special signed and numbered copies of the book, left incomplete for you to collaborate with the artist by placing the 420 stickers yourself within its pages.
Pledge €500 or more — Original Artwork — Nesting Dolls Set
Yonatan Vinitsky, ‘Emilia says that the scary crocodile went to the studio’ (2016), Handmade Set of Six Nesting Dolls; Screen Print on Cotton, Various Fabrics (Cotton, Poly Cotton, Silk, Jersey), Felt, Upholstery Polyester Fabric, Plastic Buttons, Heavy-Duty Zipper, Velcro, Shoe-lace, Metal Eyelets, Metal Poppers, Metal Swan Hook, Bias Binding, Wadding, Bespoke Silk Labels, Thread, H38cm x W27cm x D7cm (When Nested), Edition of 15.
A set of six handmade Dress-To-Nest cloth dolls. Each of Vinitsky’s dolls represents artists paramount to his own practice: Alexander Calder, Naum Gabo, Lygia Clark, Marc Chagall, Leo Lionni and Matt Montini.
Pledge €850 or more — Original Artwork — Framed Elastic Work
One of 4 unique works made for this funding campaign and priced at 50% of the retail value.
Yonatan Vinitsky, ‘The Artist Becoming a Set Square’ (2016), Black Elastic (12mm), Super Glue, Steel Nails (1.8 x 35mm) on Acrylic Paint Background (Little Greene, Four colours to choose from) on MDF, Framed by the Artist. H82cm x W62cm x D2.5cm Unique.
* Shipping will be arranged separately and is not included in the price.
Pledge €1,000 or more — 1st copy of the book (Edition 1/500)
The special first signed and numbered copy of the book. Edition 1/500. You only live once.
About the artist
Yonatan Vinitsky (b. 1980, Jerusalem, based in Paris) gained his BA Fine Art at Goldsmiths College (2006) and his MA Sculpture at Royal College of Art (2009). Vinitksy attended the Le Pavillon residency at the Palais de Tokyo in 2013-14. Recent solo shows include Mon Cheri, Brussels; Frutta, Rome; Limoncello, London; Braverman Gallery, Tel Aviv; Ashdod Museum of Art, Ashdod. Recent group shows include Lisa Cooley, New York; Galeria Nicodim, Bucharest; OUTPOST, Norwich; Kunstverein Wiesbaden, Wiesbaden; and Palais de Tokyo, Paris. Vinitsky published five artist books in the past years including: ‘WIND – Five Variations on a Theme’, Public School Editions (2014) and ‘The Neglected Genie’, The Estate of Matt Montini (2011). His upcoming book ‘HOW TO A,B,S,T,R,A,C,T WITHOUT MOVING A MUSCLE’ will be published in early 2017 by One Star Press, Paris. Vinitsky is represented by Limoncello, London and Frutta, Rome.
Vinitsky’s rich practice is tricky to get to grips with, as so many divergent things happen simultaneously within his works and exhibitions. Attempting to designate different strands gives us a list of tools with which to begin looking: Starting with his #use of source imagery: every single work begins with a real, existing element from the world, art or otherwise. Vinitsky’s curious and diverse research imbues each work with real and fictional histories. Images, texts and objects are #translated or reproduced into Vinitsky’s own works. This, almost incidentally, leads to the #creation of narratives through orchestrating information and releasing it afresh, but more importantly the ‘translation’ is effected through his #decision-making processes and #specificity of materials. Vinitsky corresponds his imagery and concept to the materials in each work. This specificity is played out in his media captions, sometimes pages long, detailing every component part of a work. #Development of techniques is paramount and is another form of Vinitsky’s palette. These experimental techniques and materials are inextricable from how he finds #display solutions for each work, which often point to the institution of the museum, irrespective of the actual context. More than multi-disciplinary, Vinitsky has #mercurial aesthetics, jumping wildly to the extent that the works seem to be made by a number of artists, evoking a group show within his solo shows. Aided by his #collaborations, often sought through the people featured in his sources, rather than orthodox artistic collaboration, he approaches his collaborators as materials. Vinitsky’s entire enterprise is only fully realized in his #exhibition-making, either beginning with a story to form works within an exhibition or more often, selecting works that will sit together to create dense webs of connections between them.
Risks and challenges
Making art, in whatever form, publications included, should always be a risk. And so too a challenge, for the makers and viewers.Learn about accountability on Kickstarter
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