{"title":"Dorothée Selz","description":"\u003cp\u003ePublications and ephemera connected to Dorothée Selz, the French artist whose practice centred on sugar sculpture, edible installation and temporary public situations, developed in close relation to the wider field of Eat Art.\u003c\/p\u003e","products":[{"product_id":"dorothee-selz-les-mondes-sucres-villeparisis-1980","title":"DOROTHÉE SELZ — Les Mondes sucrés, Centre Culturel Jacques Prévert, Villeparisis, 1980","description":"\u003cp\u003eDorothée Selz, \u003cem\u003eLes Mondes sucrés de Dorothée Selz\u003c\/em\u003e. Centre Culturel Municipal Jacques Prévert, Villeparisis, 2 February–30 March 1980. Published 1979\/80. Staple-bound exhibition catalogue; 28 pages, 18 × 24 cm; colour and black-and-white offset printing. Printed by Europrint, Choisy-le-Roi.\u003c\/p\u003e\u003cp\u003eAn early exhibition catalogue documenting Dorothée Selz’s work with sugar, confectionery, decoration and edible sculpture, published for her 1980 exhibition at the Centre Culturel Jacques Prévert in Villeparisis. The exhibition and catalogue are recorded in Selz’s own archive.\u003c\/p\u003e\u003cp\u003eSelz emerged in the late 1960s and early 1970s around a group of artists — including Antoni Miralda — who used food, colour, ritual and temporary public situations as artistic material. Their activities overlapped with the wider field of Eat Art, in which cooking, consumption and social exchange became part of the work rather than merely its subject.\u003c\/p\u003e\u003cp\u003eThe catalogue reflects that expanded field. Its pages move between photographs of Selz’s large sugar constructions, confectionery traditions, architectural fantasies, popular imagery, erotic photography and ritual food. Rather than isolating the artworks from their references, the publication lets these different image worlds sit beside one another.\u003c\/p\u003e\u003cp\u003eThe sculptures themselves were temporary by design. Sugar could dissolve, food could be consumed, and an installation could disappear once the event ended. The catalogue therefore carries a slightly unusual responsibility: it does not simply illustrate permanent objects elsewhere. In many cases, the photograph becomes one of the principal surviving forms of the work. Material → sculpture → event → photograph → catalogue.\u003c\/p\u003e\u003cp\u003eSelz’s practice was already concerned with that instability. Her edible works were conceived in relation to architecture, occasion and participation rather than permanence, and her later career continued to develop temporary food-based installations and public situations.\u003c\/p\u003e\u003cp\u003eFor The New Rare, the catalogue works because it sits between several categories without requiring any of them to be overstated. It is exhibition documentation, an early record of Eat Art practice, and a visual object produced around work whose disappearance was built into its form. The sculpture does not survive intact. The publication does.\u003c\/p\u003e\u003cp\u003eCondition: Good. General handling and age wear, with rubbing, surface marks and visible creasing to wrappers. Edge and corner wear throughout. Rear wrapper with handling marks and creases. Internally generally clean, with occasional handling wear consistent with age.\u003c\/p\u003e\u003cp\u003eSecurely packed; tracked UK and international shipping available.\u003c\/p\u003e","brand":"Centre Culturel Municipal Jacques Prévert","offers":[{"title":"Default Title","offer_id":54214291882322,"sku":"SELZ-JACQUESPREVER-CAT-1980","price":125.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Selz_Dorothee.ArtistCatalogueCentreCulturelMunicipalJacquesPrevert_Villeparisis_2fevrier_30mars_1980_.1979.jpg?v=1786254721"}],"url":"https:\/\/thenewrare.com\/collections\/dorothee-selz.oembed","provider":"The New Rare","version":"1.0","type":"link"}