Difference between revisions of "360º"
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|image = Vitaliti Martin 360 2016.jpg | |image = Vitaliti Martin 360 2016.jpg | ||
|image_size = 250px | |image_size = 250px | ||
| − | |language = [[language::Spanish]] (Editor's Note also Catalan/English) | + | |language = [[language::Spanish]] (Editor's Note also [[language::Catalan]]/[[language::English]]) |
| − | |publisher = | + | |publisher = [https://artslibris.cat/en/tienda/artist-book/martin-vitaliti-360-al-series-n1/ ArtsLibris] (20€) |
| − | |pub_city = Barcelona | + | |pub_city = Barcelona |
|pub_date = [[pub_date::2016]] | |pub_date = [[pub_date::2016]] | ||
|pages = 40 | |pages = 40 | ||
| Line 12: | Line 12: | ||
|fabrication = Offset, paperback | |fabrication = Offset, paperback | ||
|isbn = 978-3-86335-943-0 | |isbn = 978-3-86335-943-0 | ||
| − | |ebook = [[Media:Vitaliti Martin 360 2016.pdf|PDF]] | + | |ebook = [[Media:Vitaliti Martin 360 2016.pdf|PDF]] (36 mb) |
}} | }} | ||
| − | "One could call the artist’s book ''360º'' by Martín Vitaliti (Buenos Aires, 1978, lives in Barcelona) a concept-comic. It is based on a single page from ''La Banda del Missouri'' [The Missouri Gang] designed by the acknowledged Italian Hugo Pratt (published in | + | "One could call the artist’s book ''360º'' by Martín Vitaliti (Buenos Aires, 1978, lives in Barcelona) a concept-comic. It is based on a single page from ''La Banda del Missouri'' [The Missouri Gang] designed by the acknowledged Italian Hugo Pratt (published in ''TOTEM EXTRA 20. Especial Western'', Editorial Nueva Frontera, Madrid, 1978, p. 91). Its grid of thirteen panels has been reproduced forty-one times while the respective illustrations have been “expanded” by Vitaliti. This results in thirteen panoramic views of each scene throughout the book. The narrative as such — Indians and rangers discovering a riderless horse and a dead body floating in the Missouri river — hasn’t an important meaning. What becomes meaningful is the void of the vast landscape that is developed by Vitaliti’s intervention. He evokes a strange kind of “something in between”, on one hand a visual cinematic effect; on the other hand a frozen storyboard. Compared with other famous panoramic representations of landscapes — think for instance of the ''Panorama of San Francisco from California Street Hill'' (1877) by [[Eadweard Muybridge]], or ''Every Building on the Sunset Strip'' (1966) by [[Ed Ruscha]] — Vitaliti’s approach appears highly complex. What might look as a popular comic book, turned into a Cadavre Exquis, an existing story narrated anew by someone else, that doesn’t develop to a climax but instead remains on hold." (from the editor's note) |
</onlyinclude> | </onlyinclude> | ||
| − | [[ | + | [[Series:Conceptual comics]] [[Series:Publication]] |
Latest revision as of 13:37, 3 December 2022
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| Author | Martín Vitaliti |
|---|---|
| Language | Spanish (Editor's Note also Catalan/English) |
| Publisher | ArtsLibris (20€) |
| City | Barcelona |
| Date | 2016 |
| Pages | 40 |
| Format | 27 x 21 cm |
| Fabrication | Offset, paperback |
| ISBN | 978-3-86335-943-0 |
| E-book | PDF (36 mb) |
"One could call the artist’s book 360º by Martín Vitaliti (Buenos Aires, 1978, lives in Barcelona) a concept-comic. It is based on a single page from La Banda del Missouri [The Missouri Gang] designed by the acknowledged Italian Hugo Pratt (published in TOTEM EXTRA 20. Especial Western, Editorial Nueva Frontera, Madrid, 1978, p. 91). Its grid of thirteen panels has been reproduced forty-one times while the respective illustrations have been “expanded” by Vitaliti. This results in thirteen panoramic views of each scene throughout the book. The narrative as such — Indians and rangers discovering a riderless horse and a dead body floating in the Missouri river — hasn’t an important meaning. What becomes meaningful is the void of the vast landscape that is developed by Vitaliti’s intervention. He evokes a strange kind of “something in between”, on one hand a visual cinematic effect; on the other hand a frozen storyboard. Compared with other famous panoramic representations of landscapes — think for instance of the Panorama of San Francisco from California Street Hill (1877) by Eadweard Muybridge, or Every Building on the Sunset Strip (1966) by Ed Ruscha — Vitaliti’s approach appears highly complex. What might look as a popular comic book, turned into a Cadavre Exquis, an existing story narrated anew by someone else, that doesn’t develop to a climax but instead remains on hold." (from the editor's note)
