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

Darkest Night - Joel Van Audenhaege
MegaOctet Verbateam
Editer l’art – Leszek Brogowski
Bacon le Cannibale - Perrine Le Querrec
Critique d'art n°55
Pectus Excavatum - Quentin Yvelin
Dark optics - David Claerbout
Cuadernos - Henry Deletra
L’intérêt à agir. Quand l’art s’inquiète du droit des étrangers et du droit d’auteur - Coll.
Soleil, eau, vent : vers l'autonomie énergétique - Delphine Bauer
Gruppen n°14 - Collectif
Holyhood, vol. 1 — Guadalupe, California - Alessandro Mercuri
Saveurs imprévues et secrètes - Gilbert Lascault
Victor Papanek - Design pour un monde réel
IBM – Graphic Design Guide from 1969 to 1987
Acteurs d'un film gravé. Docteur A. Infirmier O. - Annabelle Dupret, Olivier Deprez et Adolpho Avril
Eldorado maximum - Les commissaires anonymes
Titanic Orchestra - Julien Mauve
Seoul Flowers & Trees - tribute to Lee Friedlander
Konrad Becker - Dictionnaire de réalité stratégique
Ellipse - Ismail Alaoui-Fdili
Les voiles de Sainte-Marthe - Christian Rosset
moj’am al arabeia - Farah Khelil & antoine lefebvre editions
Before Science - Gilles Pourtier, Anne-Claire Broc'h
In The Navy - Julien Kedryna
Sights - Henry McCausland
Feminist Art Activisms and Artivisms - Katy Deepwell (ed.)
Délié - Baptiste Oberson 







