Iñaki Bonillas | The Next Time You See Me, I Will Have Changed a Lot
Twenty-one printed glass pieces with wooden base in a linen-bound clamshell or wood box
linen-bound edition of 35 Plus 3 APs; wood edition of 5
Dimensions: 43 x 30 x 6.5 cm
Published by SW Ediciones: February 2018
Contents:21 Printed glass pieces, 1 wooden base,1 booklet in a box, 2 hidden lovers
Fernanda Gomes | Seven handmade paper sculptures
Rio de Janeiro, Brazil-based artist Fernanda Gomes has created (along with S|W Ediciones) an exclusive artist edition consisting of seven folded, sometimes sewn, always carefully considered paper sculptures that represent the delicate forms and minimal aesthetic that have remained a hallmark of her practice for close to two decades.
Exclusive Limited Edition of 35 plus 3 APs, signed and numbered by the artist
Seven varied handmade paper sculptures in a natural linen-bound clamshell box with the artist’s name embossed
Dimensions: 18cm x 18cm x 5cm
Published by SW Ediciones: February 2018
XYZ, A Deluxe Edition and Limited Edition Artist Project by Mateo López.
S/W Ediciones: New York, September 2015.
Published in a limited edition of 150 and a deluxe edition of 30; all are signed and numbered by the artist.
Book specifications (for both Deluxe and Limited editions):
Fifty-six pages, french-folded, screen printed cover
- Fifty-four images printed in archival ink, based on artist’s pencil drawings
- The closed case size is 8.5 in. wide x 10.5 in. high x 1.25 in. deep
- The cruciform case is handmade with a lace tie
Deluxe Edition with Original Artwork:
Handmade clamshell case is screen printed
- The case’s upper box holds one cutout sculpture pinned to a screen printed sheet
- The case’s lower tray holds the book
- The closed case size is 9.25 in. wide x 11.75 in. high x 4.5 in. deep
Montez Magno de Oliveira. S/W Ediciones: New York, September 2014.
Publication Date: September 2014
Edition: 750 hardcover copies
Montez Magno de Oliveira b. 1934 Timba.ba, Pernambuco, Brazil, lives and works in Recife, Brazil
The painter, sculptor, photographer, poet, and illustrator Montez Magno de Oliveira studied art at the Escola de Bellas Artes do Recife, in Brazil. In 1957 he began exhibiting his works in solo and group exhibitions and was included in the 1959 V International São Paulo Biennial. In 1963 de Oliveira became a fellow at the Instituto de Cultura Hisp.nica in S.o Paulo; during this time, he traveled to Madrid, where he studied and exhibited at both the Galer.a La Caja de Ahorros de Ast.rias and the Casa do Brasil. In 1965 he returned to Brazil to live and work in Rio de Janeiro and São Paulo. During this period his work was included in several exhibitions including Seventeen Latin American Painters from the VIII São Paulo Bienal organized by the Museu de Arte Moderna in Rio de Janeiro. Traveling to Europe in 1975, de Oliveira spent time in Portugal, Spain, and Africa. During this trip he also visited London, Amsterdam, Delft, Copenhagen, and Stockholm. Returning to Brazil, de Oliveira continued to exhibit extensively, published several artist books including O Diablo na Noite de Natal by Osman Lins, and taught sculpture at the Universidade Federal da Paraiba, Brasil.
De Oliveira’s work spans a wide range of mediums and practices that hover in the spaces between abstraction and conceptualism. Music composition poetry, and games, such as chess, and all their related theories constitute a strong presence in his work. While his art objects may at times resemble board games or maquettes of utopian cities, de Oliveira’s extensive body of works on paper explore the visualization of the social manifestations of his milieu. Within the arc of his career as an artist we see concerns with political and social unrest, the advent of Modernism and its failures, and the recent economic expansion of his native Brazil.
abecé, Johanna Calle. S/W Ediciones: New York, August 2012.
abecé drawings by Johanna Calle
30 limited edition copies, which includes a unique drawing by the artist
abecé is a facsimile reproduction of Johanna Calle’s suite of drawings of each letter of the alphabet, which she created on antique paper. The artist repeated the same letter, introducing small changes in size and direction until the symmetry of the subjacent grid was broken. These variations demonstrate how a sign can be manipulated without altering its linguistic meaning.
‘ABC’, a common abbreviation for the alphabet, signifies a standardized set of letters that function as universal signs to codify written communication between human beings. The use of language has been recurrent in Johanna Calle’s oeuvre.
Intrigued by both the immutable and mutable principles of the sign, the lineal nature of signifiers, and the arbitrariness of signifying processes, Calle poses linguistic conventions as social contracts that contain latent symbolic power structures. She uses the realm of art to question or ignore the rules of language and draftsmanship; and instead she builds systems based on her own invented rules and codes.
Quarta Margem, André Komatsu. S/W Ediciones and Edições Tijuana: New York, September 2010.
Title: André Komatsu: Quarta Margem
Published by: S/W Ediciones and Edições Tijuana
Publication Date: September, 2010
Edition: 50 signed and numbered copies; 10 artist proofs
Quarta Margem is a silkscreened accordion book with silkscreened slipcase produced in an edition of 50 copies, signed and numbered by Brazilian artist André Komatsu. The concept of the book is based on the golden ratio–historically understood to be an aesthetically pleasing proportion. Komatsu’s ‘4th Margin’ is related to a nonexistent area and the tension created when inexact guidelines enter a rational form. The slight shift of color that runs through the center of the book disrupts the perfect proportion of the golden rectangle.