The expanded practice of the artist's book

<p><span style=color: rgba(0 0 0 1)>How do we recognise an artist's book when it becomes an expanded practice?</span></p><p><span style=color: rgba(0 0 0 1)>Is the same method of sourcing research and display of materials used in books and collections alike?</span></p><p><span style=color: rgba(0 0 0 1)>Can the space where the book is made and exhibited be considered an artist's museum?</span></p><p><span style=color: rgba(0 0 0 1)>These were Francisco Varela initial questions when he saw the Blackchapel bookwork at</span></p><p><span style=color: rgba(0 0 0 1)>msdm house-studio-gallery in London. </span></p><p><span style=color: rgba(0 0 0 1)>The first section of the essay explores the expanded characteristics of the artist's book probing whether</span></p><p><span style=color: rgba(0 0 0 1)>this notion is extensible to the activity of space production practiced by paula roush at her house-studio-gallery</span></p><p><span style=color: rgba(0 0 0 1)>an activity which is unique to and inseparable from her live-work method. These artistic methodologies are clarified</span></p><p><span style=color: rgba(0 0 0 1)>within an interdisciplinary framework that includes the concepts of autoethnography space-time sequence</span></p><p><span style=color: rgba(0 0 0 1)>and contemporaneity.</span></p><p><span style=color: rgba(0 0 0 1)>The second section explores the notion of dispositif with the intention to reveal the multiple structuring elements</span></p><p><span style=color: rgba(0 0 0 1)>of a live-work practice here called immersive.</span></p><p><span style=color: rgba(0 0 0 1)>The third section analyses the museographic process inherent to the space a practice associated to the house-studio-gallery.</span></p><p><span style=color: rgba(0 0 0 1)>This live-work-curation method is identified in relation to various museological frameworks that are exercised in that space.</span></p><p><br></p><p><br></p>