Books On Books Collection – Nicolas Guyot

POÉME: UN COUP DE DÉS JAMAIS N’ABOLIRA LE HASARD par STÉPHANE MALLARMÉ (2019)

Poème: Un coup dés jamais n’abolira le hasard (2019)
Nicolas Guyot
Unique cover with silver bromide printed image on Wenzhou paper mounted on handcrafted canvas; 16 leaves, 11 pages of text with silver bromide printed images on 160 gm drawing paper. Edition of 76, of which this is #16 and signed by the artist.

Detail of front cover © Nicholas Guyot

Details of pages © Nicholas Guyot

Back cover © Nicholas Guyot.

Guyot’s livre d’artiste sits self-assuredly in a long line of works inspired by Stéphane Mallarmé’s seminal 1897 poem Un Coup de Dés. Unlike Ellsworth Kelly (1992) but like Christiane Vielle (1989) and others, Guyot integrates his images with the text. In print technique, his silver bromide echoes the silver gelatine of Ian Wallace (1979), but Guyot’s unique cover prints and hand binding distinguish his work from any other in the long line. His technique and layout evoke a feeling of the late 19th century, the contemporary images respond creatively to the original poem’s own cryptic imagery, and altogether the effect is a simultaneity across time, poet and artist.

Books On Books Collection – Guido Molinari

Équivalence : un coup de dés jamais n’abolira le hasard (2003)

Équivalence: Un coup de Dés jamais n’abolira le Hasard (1981)
Stéphane Mallarmé, Guido Molinari; preface, Jocelyne Légaré; interview, Julia Duchastel.
Portfolio of 26 loose folded leaves. Portfolio: H339 x W256 mm. Leaves: H336 x W250 mm.
Les Éditions du Passage, Montréal. Acquired from Reynaud-Bray, March 2019.

Molinari’s rendition of Un coup de Dés sings among the versions by Marcel Broodthaers (1969), Geraldo de Barros (1986) and Ellsworth Kelly (1992).

In the first three minutes of this extract from the film Molinari: la couleur chante (2005), Molinari walks through an exhibition of Équivalence, discussing it with Roald Nasgaard and commenting on Un coup de Dés, its visual musicality and his transformation of it into his colourful geometric abstractions. The opportunity to see all of the poem ranged along one wall and all of Molinari’s abstractions along a facing wall is a pleasure. A pleasure enhanced by leafing through the portfolio and juxtaposing each double-page spread of the poem with Molinari’s “equivalent” abstraction.

Further Reading

Molinari, Guido, Gilles Daigneault, Patrick Lafontaine. Nul mot: les livres d’artiste de Guido Molinari (Montréal, Québec: Éditions du Noroît, 2017).

Nasgaard, Roald. Abstract Painting in Canada (D&M Publishers Inc., 2008).