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

Good Company - Paul Van der Eerden
Dans la matrice : le design radical de Ken Isaacs - Susan Snodgrass
La Grande révolution - Une histoire de l'architecture féministe - Dolores Hayden
Dernier royaume - Quentin Derouet
Before Science - Gilles Pourtier, Anne-Claire Broc'h
Poétique d'une introspection visuelle - Jean-Charles Andrieu de Levis, Alex Barbier
Vive la retraite - Pauline Rheims
Gnose & Gnose & Gnose - Aymeric Vergnon-d'Alençon
Les Climats II (Japon) - Lola Reboud, Mariko Takeuchi
Gros Gris n°4 - Duel
Temps d'arrêt - Etienne Buyse
De lave et de fer - Laurent Feynerou
Papier magazine n°06 - Coupe du monde
Harry Thaler's Pressed Chair
Sur la page, abandonnés — vol.3
Les voiles de Sainte-Marthe - Christian Rosset
Eros negro #2 - Demoniak
It was a good day - Jeremy Le Corvaisier 







