the cover for the catalogue made for maria bonomi's exhibition followed the same principle as the other graphic pieces – we used matrixes from the piece a ponte, and created a composition which crossed the page horizontally, like a river.
but while there we used the same blue seen in a ponte, here silver was used – making a reference to another piece, in which the artist herself transformed these matrixes in metal objects.
the book is a 270 x 270 mm square, following the format of one of the artist's previous catalogues.
here is the cover, back cover and flaps.
the first section of the catalogue is a counter-chronologic display of selected words, occupying full pages.
and so, the first piece, águas sólidas, is the one we make reference to on the cover.
this initial selection featured sculpture, theater costumes and mainly engravings, which accounts for most of the artist's production.
yhe opening was closed with a portrait of the artist, next to the summary.
the whole catalogue is trilingual: portuguese, english and italian.
we followed a classic system of separating the languages through columns.
for the longer texts, each language's version was whole, in sequence.
here the presentation text penned by the curator, jorge coli, that came before the pieces.
the interesting thing about the catalogue is that we proposed to document, not so much the already widely documented work of the artist, but that specific exhibition.
and so, her work was organized in chapters according to the theme rooms of the exhibition, each presented by the curator.
in each chapter we showed the pieces in scale, positioned over grey print spaces, representing the panels, and they were displayed according to their order in the exhibition.
when a group of pieces which was united in the exhibition didn't fit in one page, we bled the grey print space, indicating the continuity of the panel.
some engravings had their matrixes exhibited, generally placed on the floor, directly below the piece. the same was done for the catalogue.
the decision to display the pieces in scale evidently favored some pieces over others.
these political engravings from the military dictatorship period, like most of her work created in later years, had an excellent reproduction, while a part of the work done in her youth, much smaller, were less visible.
here we see a ponte and its matrix.
the sculptures, which were freely exhibited in the space, were shown with a white background.
after the pieces, the last section was a biography on the artist.
each language has a different image page, and together they form a single narrative, parallel to the text.