WITHDRAWING A LEDGE, DIN
21x29cm, 64 pages (inside 23 pages), stapled, cover 300gr inside mixed paper
incl. sound piece download code
Printed with offset - stencil duplicator - copymachine
Din: copymachine, paper, two contact microphone, three pedals and smartphone/internet
Self-published in an edition of 4, 2020 Paris
Individually its up to the viewer to interpret the work/s and allows curiosity to original and interaction with the copy.
Download PDF and din copymachine piece on sergejvutuc.com
The unmistakable style of Vutuc’s publications evolves in parallel with his music, heavily relying on the use of copy machine as both mean of visual and sound production. With „Withdrawing a Ledge, Din”, past cutouts of prints, copies and xerox-music jams are deconstructed in what nowadays would be called upcycling. Differences and repetitions are the very backbone of this project: driven by the copy-machine’s soundscape, recurring motifs are layered, blown-up, moved and exposed to light leaks to reveal, through a consciously misuse of the machine, the creases of technology and time on the surface of a conventional DIN format. Repetition appears in both sound and gestures, questioning once again the difference between a copy and a brand new work, between the uniqueness of an artwork and its mainstream façade. Thus, quasi-narrative repetitions unfold the development of a glitch into a landscape that, through a poetic of analog unpredictability, ironically resembles the aesthetic of digital abstraction. The mixed papers are folded in a Japanese bound-pocket style that, unlikely the original practice, fills the inner surfaces with additional patterns that interplay with the external pages, amplifying the noise in the interpretational process. All these aspects play with the features of the dynamics of staging, selling and evaluating, a dynamic that is yet unhinged by an offer of participation: raw visual and audio materials of “Withdrawing” are downloadable by everyone, with the explicit request to send a copy of a personal interpretation to the original author.
Text by: Giada Dalla Bonta