Friday, October 13, 2017

The Procession of Entropy by Lin Tarczynski

Autumn heralds the great holiday for jackalopes, the Procession of Entropy, which begins on October 15 and ends on the last day of the year. Jackalopes believe in a few gods despite being atheists, with a very small percentage who are Greek Orthodox. (This small percentage is dedicated to preserving the traditions of jackalope history in the Byzantine Empire.) Of the Jackalopian Gods, Patchy Kettle might be their oddest, but he is also their most amiable god. Ekchuajumudabrutu is their most classic god, a son of Tiamat. Their most revered god is Entropy, and the major holidays for Entropy conveniently occur during the holiday season that includes Halloween, Thanksgiving and Christmas, which are also celebrated by jackalopes. (Since jackalopes are largely atheists, they seize every opportunity to celebrate other cultures. Jackalopes firmly believe in holidays.)

Friday, October 6, 2017

Translating Paint by Anneke Baeten: Book Trailer (Post-Asemic Press #005).


Book Trailer for Translating Paint by Anneke Baeten (Post-Asemic Press #005).

The trailer was kindly created by Paul A. Toth.

“Attempting a Code for Interpretation,” this is how Translating Paint starts! In the beginning there are 24 brush strokes. They are possibly a clue to the process of asemic translation for the work that follows this one mysterious page. Translating Paint is an ongoing series of asemic work that represents language, conversations, decoding, dialogues, and sometimes a process of finishing sentences with paint. This series shows the potential of discourse with paint, with its strokes, scrapings, and its endless forms. This work meanders through a series of creative processes - from drawing the paint strokes, to creating the writing around and in the shapes, assigning a title to the work and finally photographing the work from the best possible angle to provide the viewer a possible close-up perspective on the nature of the dialogue. As the author regularly continues work on this series, the product so far is this collection over 200 pages. Leafing through this universe, the viewer is invited to create their own decoding of the pieces or to simply enjoy the aesthetics. It will be easy to get lost in the black bleed pages where the white asemic work appears as if it emerges from a quiet and dark universe that has no context or meaning. Finally, there is the final stage in the process – the viewer’s interpretation.

Click here for more info:

Thursday, October 5, 2017

Post-Asemic Press Titles & Wine will be at Minnesota Center for Book Arts on Friday October 13th; 6pm - 9pm


An Evening of Fine Wine and Fine Books

Friday, October 13, 2017; 6pm to 9pm
at The Shop at MCBA
Our twelfth annual Evening of Fine Wine and Fine Books will be dedicated to fostering the collection of artist’s books. In one evening, guests will explore new work from more than 100 artists from around the world, representing the range of contemporary artist’s books from self-published chapbooks to fine press limited editions. The event offers something for everyone, from the most seasoned collector to the newest enthusiast, with items at a wide variety of prices.
Attendees will sample a delectable variety of wines and cheeses, and browse the latest offerings from outstanding local and international book artists. This event is free and open to the public, but RSVPs are encouraged. Please click here to RSVP.

Here is the link to Post-Asemic Press: 

Tuesday, September 12, 2017

Iarlaith, Marco, and More Birraglifici by Eckhard Gerdes

Iarlaith, Marco, and More Birraglifici
    Iarlaith was digging through a tool drawer in the utility room of the cottage he shared with his son Marco.  Iarlaith was surprised to find there the bag of birraglifici that he had given his son.  None of them looked used at all.
    Marco had said he’d do some asemic work with this collection of broken font pieces that Iarlaith had brought back from the foundry where he worked part-time.  Marco had told him about Adriano Spatola’s zeroglifici and had seemed interested in working with the broken pieces.  Iarlaith knew that Marco had abandoned using paper in his assemblage sculptures because, Marco had said, all the words found written on scraps of discarded paper seemed to deserve to be discarded and only added an unnecessary element of the commercial and the concrete to his work because most were advertisements and product packaging.  But asemism?  That was hardly commercial, let alone concrete.  Although, to think of it, Iarlaith himself as a young man had enjoyed concretism in poetry and especially in fiction.  He’d enjoyed looking at the works of Apollinaire and Patchen especially.  Still, even if Marco weren’t going to use the broken pieces for asemic purposes, couldn’t he have used them in a sculpture?
    Iarlaith was hurt.  He had done something nice for his son, had shown interest in his son’s art, and had brought home some materials that he was sure Marco could use, but they’d been rejected.  Iarlaith’s gift had been rejected.  
    Iarlaith took out a bottle of Evan Williams and poured himself a half a tumbler full.  He wasn’t sure how to deal with such a rejection.  He’d never been good with rejection.  He’d been an unwanted son himself, and if his own son rejected him, well, then what?
    Such were his thoughts as he drank himself into a stupor, hoping to still his mind and heart.  But the drink didn’t help, and he was using his shirt tail to dry tears off the font pieces when Marco came home.
    “What’s the matter, Dad?”
    “You didn’t use the birraglifici!”
    “Not yet.  I didn’t have the paper or the ink or the roller or the glass sheets to roll the ink on, but I just got everything together for it.”  Marco held up a bag from his favorite art supply store in the Quad Cities.  He set it on the table and unloaded a half dozen 4x10 glass inking slabs, masking tape, and ink roller, different colored tubes of block printing ink, and three different size art pads.
    “I know you said you had a letterpress bed for fixing the fonts, but I thought this would be fun to do this freehand.”
    Iarlaith wiped at his eyes with the back of his hand.  “So you are going to use the pieces?”  
    “Hell, no, Dad.  We’re going to use them.  Go change into a trash t-shirt.  Let’s ink up some birraglifici!  Do we have any beer?”
    “Yes, we do.  I bought a case of Huber earlier.  A bunch of them are in the fridge.”
    Marco smiled at his dad, and his dad grinned so big that the last tears were squeezed out the sides of his eyes.  Iarlaith took off his shirt but kept his sleeveless undershirt on.  He threw the shirt into a corner.
    “This will be fun!” said Iarlaith, and he went to the kitchen to get the beers. 

Sunday, September 10, 2017

Mirtha Dermisache — Sin título (libro), 1967


Mirtha Dermisache comenzó a investigar las formas visuales de la escritura y sus formatos de aparición hacia finales de la década de 1960. En su taller, produjo libros únicos, poblados de grafismos estructurados de acuerdo con las convenciones de las páginas de texto, que se fueron apilando a la espera de su posible publicación. Desde el principio, la artista consideró que estos libros debían ser editados para llegar a un público amplio, aunque la oportunidad de hacerlo no llegó hasta la década siguiente.

Mirtha Dermisache began to investigate the visual forms of writing and its forms of appearance towards the end of the 1960s. In her workshop, she produced unique books, populated with graphs structured according to the conventions of the text pages, which were gone piling up waiting for possible publication. From the beginning, the artist considered that these books had to be edited to reach a wide public, although the opportunity to do it did not arrive until the following decade.

Friday, August 25, 2017

Post-Asemic Press books are now available at the Minnesota Center For Book Arts bookstore!

Post-Asemic Press titles are now available at Minnesota Center for Book Arts! MCBA is the first bookstore in the world to have a special section specifically for books of asemic writing. So come to Minneapolis and check them out. The first four Post-Asemic Press titles are ready for purchase now; Anneke Baeten's Translating Paint will be available at MCBA sometime in the next week. Click here for more info: