Gérard Trignac’s Invisible Cities

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I wrote a short appreciation of French artist Gérard Trignac back in 2006, and he’s been mentioned a few times since, so it would be remiss of me to not include his etchings in this week’s illustration series. Trignac is a favourite of mine among the current crop of French etchers and engravers for his superb renderings of fantastic architecture. Most of this work is from his own imagination but he’s also illustrated Borges (The Immortal) and Calvino, producing plates for expensive limited volumes. Les Villes Invisibles was published in 1993 by Les Amis du Livre, Paris, in an edition of 200. The combination of a small print run with a series of ten etchings makes this a costly volume; the cheapest edition on Abe.com just now is going for €1500.

Scarcity aside, these are marvellous depictions of Calvino’s cities, as detailed and meticulous as any of Trignac’s other works. One thing that becomes apparent when you start looking at illustrations of Calvino’s novel is that artists tend to pick the same few cities. So in Trignac’s case we have more views of Armilla, Octavia, Zenobia and so on. All of these may be seen at Trignac’s website, while one of the expensive volumes is for sale here. For those who can’t afford the latter I recommend Les Portes du Silence (2004), a collection of Trignac’s work that includes all the plates for Les Villes Invisibles, the Borges’ illustrations, and much more besides.

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Thin Cities 2: Zenobia.

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Trading Cities 5: Esmeralda.

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Colleen Corradi Brannigan’s Invisible Cities

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Cities and Memory 5: Maurilia.

Colleen Corradi Brannigan’s multimedia project was linked here back in 2011 when news of her endeavours reached a number of high-profile websites. These artworks are another attempt to depict all of Italo Calvino’s cities, this time using a range of media that includes sculpture. I like the variety of this series; some of the depictions approach the more rigorous perspectives of MC Escher while others are as loose as Expressionist paintings. The website also includes extracts from Calvino’s descriptions.

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Trading Cities 4: Ersilia.

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Thin Cities 3: Armilla.

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Le Città In/visibili

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Thin Cities 3: Armilla by Luca Enoch.

Sergio Bonelli Editore, an Italian comics publisher, staged an exhibition of art based on Italo Calvino’s Invisible Cities at the Triennale Milano in 2002. The drawings for Le Città In/visibili head in the opposite direction from Mikhail Viesel’s depictions, and in several pictures push the cities towards generic fantasy and science fiction. These images are from an extinct page on the publisher’s website although they may also be seen on the current site with a little searching. The publisher doesn’t offer much information, however, so while the artists are identified it’s less clear which cities are being depicted. I’ve noted the more obvious ones; Calvino obsessives can have fun guessing which the others might be.

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Laura Zuccheri.

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Thin Cities 2: Zenobia by Maurizio Dotti.

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The Cosmic Grill

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Design and illustration by Barney Bubbles.

The past week’s music listening has alternated between the back catalogue of Seattle band, Earth (who I recommend highly), and the early recordings of my erstwhile employers, Hawkwind. The latter were reissued recently in a 10-CD box, This Is Your Captain Speaking…Your Captain Is Dead (The Albums And Singles 1970–1974) which I also recommend, it’s very good value, and packages the albums in those facsimile card sleeves that now seem de rigueur for album reissues. A swathe of my rare Hawkwind vinyl got sold off circa 1990, and I’ve never replaced any of the albums or singles so this was a good opportunity to catch up. If you like this period of the band there’s the added bonus of the complete Greasy Truckers concert from the Roundhouse in 1972, a ramshackle performance that nonetheless sounds pristine (my Greasy Truckers vinyl—which I do still own—was ruined by a previous owner with a spillage of tea on the Hawkwind side); there’s also the entirety of the 1999 Party concert from Chicago which I’d not heard before.

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Listening again to Hall Of The Mountain Grill (1974) had me thinking about the origin of the album’s title. Hawkwind never took themselves as seriously as many of their contemporaries, but naming an album of ostensible space rock after a very mundane café in the Portobello Road was one of their more eccentric moments. The humour is compounded by Barney Bubbles’ cover design which for the title uses the kind of typeface (Palace Script) that you see on menus; on the inner sleeve there’s a photo of the fabled restaurant flanked by a pair of Barney’s futuristic towers. The verse beneath the photo (“from the Legend of Beenzon Toste”) refers to nearby Ladbroke Grove, and, of course, to Notting Hill Gate which in 1974 was still a haven for counterculture freaks, the very antithesis of that film. The verse was probably the work of Robert Calvert who explained the attraction of the restaurant in Pete Frame’s Hawkwind family tree:

The Mountain Grill was a working man’s café in Portobello Road—frequented by all the dross and dregs of humanity. Dave Brock always used to go and eat there—which is how I first met him…because I used to eat there too, when I worked on Frendz magazine. It was a kind of Left Bank café/meeting place for Notting Hill longhairs—a true artists’ hangout…but it never became chic, even though Marc Bolan, David Bowie and people like that often went there to eat lunch.

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Photos on Flickr show how the place looked in 1977 when the sign from the album sleeve was still intact, and also in 2003 shortly before the restaurant closed down. The premises are a very different kind of eaterie today, remodelled and upmarket as befits a gentrified area.

Previously on { feuilleton }
Void City
Hawk things
The Sonic Assassins
New things for July
Barney Bubbles: artist and designer