Emerging from its snugly fitting box constructed by François Da Ros, Régine Detambel’s and Martine Rassineux’s livre d’artiste hints at a debt to the legacy of Iliazd with its pearlescent case over a tapered paper cover for the loose folios, although the case’s fixed spine winks at differentiation. With the curling, diagonal and spiralling letterpress, the hint grows stronger. Yet, there is a roundness — almost softness — in the typographical acrobatics, leading away from the hint at the more linear, angular works of Iliazd. That is the mark of François Da Ros, typographer for Ilinx. Rassineux and Da Ros diverge as much from Iliazd as he diverged from the tradition of Ambroise Vollard, Daniel Kahnweiler and Aimé Maeght.
With folios removed. Note the tapering of the inner folder at both ends.
In its text and etchings, Ilinx also shouts and laughs a kinship with Pieter Breugel the Elder’s Children’s Games (1560). Ilinx does not share any tut-tutting at childish foolishness that may reside in Breugel’s depiction; rather it celebrates a shared exuberance and recognition of significance in child’s play. Where Breugel finds that significance in drawing parallels with adult activities and rituals, Detambel’s text and Rassineux’s etchings find it in sheer phenomenological physicality, which Da Ros’s typography enhances.
Just as Breugel must have observed children closely to show the eighty or so games in his painting, so has Rassineux. Ilinx began in a playground where Rassineux watched over her pupils (600 per week) and noticed one of the African girls, the first in Ilinx, turning her face to the sun and spinning in place. Over time, she noticed others, regardless of origin, doing the same — as if something universal were engraved unconsciously in each child. From this, came the Cours series — washes, charcoal drawings and some 40 engravings on rectangular plates.
Presented with some of these works, Régine Detambel introduced Rassineux to Roger Caillois‘ Les jeux et les homines (1958), in which he outlined four basic categories of play or games:
- Agon, or competition.
- Alea, or chance.
- Mimicry, or mimesis, or role playing.
- Ilinx (Greek for “whirlpool”), or games inducing vertigo or disorientation.
With this background, Detambel insisted that the title of this livre d’artiste must be Ilinx. With their text and images, Detambel and Rassineux follow the children’s spinning games with a beginning and five “turns”, which appear in twelve pages across three folios. Caillois suggests that the spinning games are grounded in both a natural exuberance and need to escape the “tyranny of perception”. Rassineux’s drawings deliberately vary the perspective from which the children are viewed and encourage the viewer, paradoxically, to perceive that escape from the tyranny of perception. Likewise Detambel’s final verse. Likewise Da Ros’s cutting out the children from the etchings and positioning them in action on the page. And, most of all likewise, Da Ros’s spiral setting of lines, “re-enacting” the artist’s drawings, the poet’s words and the Ilinx (whirlpool).
At the last turn, there is no age. Only life in the blood. Flurrying as if into snow. Blood rose-red, flickering red-rose, clinging to a thread.†
Curious about the sixth and blank folio after the colophon folio, I wrote to ask about its purpose. After the opening manipulations — removal of the encased portfolio from its celloderm and wood slipcase and then removal of the portfolio from its cover in Japanese nacré Torinoko Kozu (180 gsm) — there is no further prefacing to the loose folios. There is the title folio, then commencement folio, and the whirling has begun. So that the reader/viewer’s eyes and hands do not leave the book too abruptly, the sixth folio acts as a counterweight, a pause to allow the spinning to stop, a blank on which the pulse behind the eyes can project.
Ilinx – Collection VARIA (2019)
Ilinx – Collection VARIA is a follow-on hardback providing behind-the-scenes insight into the making of Ilinx the portfolio. It shows Rassineux and Da Ros at work in the studio, images of cast and locked type, etching plates juxtaposed with their proofs, paste-up plans. Note how, to have more latitude for the typography and layout, Da Ros cut out the engravings from the plates. The plates have been gilded, which is more elegant than scoring the plates to fix in place the limited edition.
Ilinx – Collection VARIA (2019)
François Da Ros and Martin Rassineux
H278 x W326 x D12 mm, 60 pages. Edition of 50, of which this is #2. Acquired from the artists, 21 August 2020. Photos of pages: Books On Books Collection, displayed with artists’ permission.
Although printed offset rather than letterpress, Ilinx–Collection VARIA demonstrates the same art-making attention to detail shown in Ilinx. Printed with an HP Indigo offset digital press on Mohawk proPhoto beaded paper semi-gloss 190gsm, the full-color images printed do not mask the texture or surface of the paper as sometimes happens with some toner prints. Instead, the ink is absorbed by the paper as happens with traditional offset lithography. As Rassineux further explained in correspondence with Books On Books,
We chose the photos in relation to the round shape that often comes up in the concerns of François who made mechanics for two years to be able to build and troubleshoot his presses and because he always saw in the mechanical movement a relationship with the universal mechanical. The final image is a wind-up spinning toy that belonged to my mother…. All the elements we use come from our daily lives, and from our experiences, that are a whole. (Correspondence, 11 November 2020)
Colophon page. Photo of page: Books On Books Collection, displayed with artists’ permission.
For another example of art driven “from our daily lives”, the reader/viewer can do no better than to visit the Koninklijke Bibliotheek (KB, National Library, The Hague: Koopman Collection) to see the gilded plates mentioned above. They reside in a drawer removed from the Da Ros/Rassineux studio and finished off as a wooden case for the library’s copy of Ilinx.
Photos: Books On Books Collection. Shown with permission of the artists
and the Koninklijke Bibliotheek (KB, National Library, The Hague: Koopman Collection).
Rassineux sends you best wishes on the first year of the third millennium (2001)
This elegant New Year’s greeting came with the Books On Books purchase of Ilinx. A sweet gift of ephemera that freezes a fresh start in place with the artistry of movable type in motion and a print made by gravure au sucre (sugar etching). Rassineux’s explanation:
The basic technique of the sugar engraving is that on a perfectly degreased copper you draw with a solution of sugar and China ink (which is only used to make your drawing very black near your etching) then it is covered with varnish and the sugar mixture will burst the varnish because the sugar dilates and you will find again the design in copper version that you will have to weave by an aquatint. (Correspondence, 11 November 2020)
† Translation: Books On Books. The phrase “Le sang qui tourne jusqu’a monter en neige” turns on a French culinary expression — jusqu’a monter en neige — for whipping egg whites into a meringue. Régine Detambel prefers the less literal translation, which echoes earlier lines and images in the poem.
Caillois, Roger. Man, play and games (Urbana, Ill. : University of Illinois Press, 2001).
Capelleveen, Paul Van. Artist & Others: The Imaginative French book in the 21st century (Nijmegen: Vantilt, 2016), p. 37.