Ricardo Passaporte’s body of work is deeply engaged with the history of Pop, underscoring the evolving relationship between art and commerce as well as articulating the parallels between graffiti’s custom of tagging and the same repetitive, identity-driven practice of the corporate logo. By appropriating these logos as his artistic tag, Passaporte disrupts the relationship between brand and consumer.

210 x 297 mm, 12 pages, printed on Arcoprint Milk 100 gr paper.
Softcover printed on Materica Gesso 250 gr
Limited edition of 100 zines, numbered and signed by the artist

Image Canoë - Jérémie Gindre
La Typographie Moderne - Robin Kinross
Pierre et Fleur - Mélanie Corre
本の本の本 - antoine lefebvre editions,
Eros Negro # 1 - Demoniak
Jean-Jacques a dit - Angèle Douche
La typographie des Penguin Classics - Andrew Barker
Saveurs imprévues et secrètes - Gilbert Lascault
ARTZINES #1, Paris issue
Graphic Design Is (…) Not Innocent - Ingo Offermanns
16 x 421 - Lorraine Druon
Acteurs d'un film gravé. Docteur A. Infirmier O. - Annabelle Dupret, Olivier Deprez et Adolpho Avril
Illusive prosody - Alex Beaurain
Autodrône - Divine Vizion
Schindler Manifesto
Syrtis Major - Barbara Meuli, Antoine Fischer
Dear Paul - Paul Van der Eerden
La traversée - Magali Brueder
Shanghai Cosmetic - Leslie Moquin
Blaclywall by Sihab Baik - Claude Closky
Dark optics - David Claerbout
Rois de la forêt - Alain Garlan
L'abécédaire d'un typographe - Gerrit Noordzij; Jost Hochuli
Objets Minces - Collectif
Saint Julien l'hospitalier Tome 3 - Claire Pedot 







