YANN SÉRANDOUR, L’ Espace lui-même, 2007

YANN SÉRANDOUR, L’ Espace lui-même, 2007
110 x 80 cm
screen print on newspaper
edition 100, signed, numbered
published by Cneai, Chatou and La Box – Cellule X, ENSA/École Nationale Supérieure d’Art, Bourges, France

The work of Yann Sérandour is similar to the work of a historian: using artifacts borrowed from his predecessors, potential accidents and chances, he leads investigations and indexes missing pieces, in order to prolong and cast doubt on histories. He shapes works, often in the form of publications and printed matter, that aim to alter the meaning of a number of historical artworks in such a way that could be described as form of footnoting. Standing in line with this strategy, “L’Espace, lui-même” takes as its starting point a newspaper produced and edited by Yves Klein on Sunday 27th November 1960 and which focused on that day in particular. Overlooked by many was a small portion of the front page divested of anything visually recognisable, which Klein described as a representation of the space itself. It is Klein’s abstraction that Sérandour draws his attention to, vastly increasing its size and thus opening it out to new questions and further equivocal scrutiny and speculation.

 

YVES KLEIN, Dimanche 27 November – Le journal d’un seul jour, 1960
55,5 x 38 cm
letterpress on news print paper
edition unknown
For the “Festival d’Art d’Avant-garde” Yves Klein’s October 1960 had his work “Leap Into the Void” for the first printed in the artists’ single day newspaper Dimanche, which was sold at newstands throughout Paris on Sunday the 27th of November 1960, and often appeared side by side with the real French newspaper Le journal du Dimanche. On the same day Klein held a press conference at the Galerie Rive Driote at 11 am, to announce the project. The four page broadside featured visual works and writings by Klein, including the manifesto Theatre of the Void.

FRANZ WEST, Male Sticker, 2007

FRANZ WEST, Male Sticker, 2007
28 x 16 x 8 cm
epoxy resin, metal, edition 90 + 9 AP
signed and numbered on certificate, DVD
published by Staatliche Kunsthalle, Baden-Baden, Germany
not available
Ref. Male Sticker by Franz West

History of prices:
Staatliche Kunsthalle, Baden-Baden, Germany US$ 950.- November 2005

OLAF NICOLAI, Kombination I, 2007

OLAF NICOLAI, Kombination I, 2007 24 × 24 cm
collage, various color combinations, edition of unique series unknown
Galerie Hans Mayer, Duesseldorf, Germany

Repetition is an important motif which appears in Olaf Nicolai’s works continuously. He focuses on the repetitiveness of images from our memory and our subconscious. He also makes works with distorted advertising art. Thus, familiar images are put in new situations again and again. Nicolai often integrates scientific findings into his concepts. His fascination with mathematical models, universal algorithms, symbolism, and regular patterns can be seen in many of his works or installations.

OLAF NICOLAI, Kombination, 2009
24 × 24 cm
collage, various color combinations
published by NBK / Neuer Berliner Kunstverein, Berlin, Germany
not available

History of prices:
NBK / Neuer Berliner Kunstverein, Berlin, Germany € 1.800,-  December 2012

AI WEIWEI, To fight with Crossed Arms, 2007

AI WEIWEI, To Fight with Crossed Arms, 2007
50,8 cm x 25,4 cm / 20 in x 10 inches
four C-prints, each print verso numbered in ink
edition 18 + 4 AP
estimate US$ 18,000 – US$ 22,000   December 2012
Artsation, Munich, Germany € 28.500,- August 2013

“To fight with Crossed Arms” is a series of 4 photographs and one of the many collaborations between Ai Weiwei and the MAP Office*. With this work the collective intended to engage Ai Wei Wei in a conversation about one of his architectural projects by challenging him to pick up a brick and pose “holding a brick”, “showing a brick”, “throwing a brick” and “putting a brick on the head”. Four positions assumed by Wei Wei: the architect, the curator, the critic, the artist and presented as an allegory.

* MAP Office is a multidisciplinary platform devised by Laurent Gutierrez (born 1966, Casablanca, Monaco) and Valérie Portefaix (born 1969, Saint-Etienne, France). This duo of artists/architects has been based in Hong Kong since 1996. Their entire project forms a critique of spatio-temporal anomalies and documents how human beings subvert and appropriate space, humour, games and fiction are usually part of their approach.

MIKE KELLEY, My Little Friend Doll, 2007

MIKE KELLEY, My Little Friend Doll, 2007
43 x 30 x 16,5 cm / 17 x 11 x 6.5 inches
fake fur, felt, plastic, speaking device, original cardboard box
covered in blue plush with plastic eyes, felt hands & feet
edition of 800
pristine condition
published by Whitney Museum, New York, USA
€ 3.500,- plus € 32,- Track & Trace registered EU mail
inv.MKel 000-pr

This plush toy has a startling characteristic. Like many plush toys, when you squeeze their belly they speak, but this one speaks 20 different phrases you don’t expect to hear from a toy. It says things like “Hurt me, I don’t mind,” and “Do you really love me?”

History of prices:
Art.net, private collection, Miami USA US$ 2,750.-, May 2023 (make an offer)
Vince Fine Arts, Miami, US$ 4,500.- January 2023
Lama Auctions, Van Nuys, CA, USA US$ 813.- 16 December 2021 (hammer price)
Vince Fine Arts, Miami, US$ 3,000.- April 2020
Alternate Projects, US$ 1,800.- April 2020
Artsation, Berlin, Germany € 2.500,- March 2014
Whitney Museum, New York, USA, € 360,- / US$ 475.- October 2012

PETER FISCHLI & DAVID WEISS, Making Things Go / The Way Things Go / Sketch, 2007

PETER FISCHLI & DAVID WEISS, Making Things Go / The Way Things Go / Sketch, 2007
3 DVD’s 71’27” / 1’52” / 29’57”
sleeves, cardboard box, embossed texts
edition 150, signed, numbered
mint
published by Galerie Eva Presenhuber, Zurich, Switzerland
not available anymore

Fischli and Weiss adapted objects and situations from everyday life and placed them in an artistic context—often using humour and irony. Wurstserie (1979) was Fischli and Weiss’s first collaborative project, setting the tone for their future work. In the series, ordinary sausages and slices of sausages became the protagonists of scenarios, alluding to situations such as cars in a traffic accident in an urban setting, layers of carpets and other situations. By the end of the 1980s, the duo had expanded their repertoire to embrace an iconography of the incidental, creating deadpan photographs of kitsch tourist attractions and airports around the world.

 

History of prices:
published by Galerie Eva Presenhuber, Zurich, Switzerland  €  6.100,- / US$ 7,900.- October 2012

CINDY SHERMAN, Woman in Pool, 2007

CINDY SHERMAN
Woman in Pool, 2007
print on huge beach towel, tag, plastic envelope
178 x 152,5 cm / 70 x 60 inch
original wrapping as issued
produced by Works on Whatever
inv.CShe 000

History of price:
eBay-TheArteryFineArt, Miami, USA December 2022 US$ 1,000.- (make offer)