Olivier Pin-Fat - Meat, Void, 2018, Pin-Fat
Olivier Pin-Fat - Meat, josefchladek.com
Sample page 1 for book "Pin-Fat, Olivier – Olivier Pin-Fat - Meat", josefchladek.com
Sample page 2 for book "Pin-Fat, Olivier – Olivier Pin-Fat - Meat", josefchladek.com
Sample page 3 for book "Pin-Fat, Olivier – Olivier Pin-Fat - Meat", josefchladek.com
Sample page 4 for book "Pin-Fat, Olivier – Olivier Pin-Fat - Meat", josefchladek.com
Sample page 5 for book "Pin-Fat, Olivier – Olivier Pin-Fat - Meat", josefchladek.com
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Sample page 8 for book "Pin-Fat, Olivier – Olivier Pin-Fat - Meat", josefchladek.com
Sample page 9 for book "Pin-Fat, Olivier – Olivier Pin-Fat - Meat", josefchladek.com
Sample page 10 for book "Pin-Fat, Olivier – Olivier Pin-Fat - Meat", josefchladek.com
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Sample page 21 for book "Pin-Fat, Olivier – Olivier Pin-Fat - Meat", josefchladek.com
Cloth cover with silkscreen artwork, 8 different paper stock, 6 different printing techniques, numbered Limited Edition of 230 copies, more than 500 photographs. 2 texts by the artist and an entr’acte by Brad Feuerhelm.
“Meat” consists of 28 signatures printed in 6 different printing techniques: Offset, Silkscreen, Letterpress, Photocopy, Digital printing, Risograph, using 8 different paper stocks.
Each copy of “Meat” will be painfully hand-bound by Void team.
Hand-binding 250 copies of a book this complex will last for several months, and each copy will be unique: dated and signed by the person who produced it.
“Meat” brings together more than 500 Olivier Pin-Fat’s photographs, and 2 of his texts: one about the project and context of “Meat”, the other, about his approach to photography.
As an invited artist displaying his very personal view on the project, the book comes with an entr’acte by Brad Feuerhelm: “The Bleach at the End of the Bottle Tastes Just as Nice”
In Olivier’s words: “Brad’s text spins my work on its head, then spins it in the opposite direction simultaneously whilst raising questions about how we look at or read images, what porn is or not, where the fine line between the gratuitous and resonant lies, where placement really is, what is real or isn’t, what is art or isn’t, what direct and unsentimental representation can mean through the eyes of certain practitioners,
what mirrors what (violence, to the negative/ material) or vice versa [...] It runs in parallel with my work, although at a tangent, and in
the end elevates it. Much of the conversation pieces btw are Brad and i chatting on messenger.”
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