Magali Reus: Red Roses
A hardback publication showcasing five series of works by internationally acclaimed artist, Magali Reus. First exhibited in Museum Dhondt-Dhaenens in Belgium, centre d’art contemporain – la synagogue de Delme in France, and Kunshalle Bratislava in Slovakia.
Through these sculptures, Reus investigates our relationship with objects, interrogating the production and consumption processes of our society. They appear functional, but do not explicitly reveal what their function actually is.
Working in close collaboration with the artist, the book forms a collection of elements through intricately interwoven pages, showcasing contextual research, process, manufacture, creative writing, documentary photography and installations. Framed within a story book-like cover with a die-cut inlaid daffodil and foil text over cloth.
Client
nai010
Category
Editor
Laurence Ostyn
Texts
Rebecca May Johnson, Filipa Ramos
Format
225 × 290 mm
Extent
208pp
Cover
Hardback, three quarter bound
Finishing
Foil, tipped on die-cut image
Binding
Section sewn
Typefaces
Herbik, Maxima, Windsor
Sections of contextual imagery – research, work-in-progress and production experimentation – are graphically interpreted through black and orange Pantone interventions printed on a light-yellow, recycled, textured paper. Edited to highlight selected elements and draw out detail.
Cut short pages of rough uncoated paper, printed in black and red Pantone, divide the book to separate the full bleed exhibition installation photography. Showing closely cropped details of the venue names, written out in lettering used on the sculptures and inlaid with texture.
Text is set in three disparate typographic styles: Herbik, a contemporary take on classical Dutch Baroque styling. Windsor, a 1905 wood-block display serif with rounded corners and decorative letterforms that is often used as a go-to styling for packaging or flower shop signage. And Maxima, a 1960s East-German take on the ‘International’ style with an aim for machine-like neutrality – used in a variety of weights throughout, with alternating lightweight punctuation to draw further detail to the bolder titles.
Transparent pages overlay captioning on the framed ‘Landings’ works. Presenting a grid structure of imagery that is disrupted by full-bleed details.