JOAN JONAS, untitled, 2015
140 x 140 cm / 54.6 x 54.6 inches,
hand-printed shawl (5% Cashmere, 35% Silk, 30% Wool), print on wooden box
edition 160 + 10 AP
signed, numbered on certificate of authenticity
published by Yoox Group, Bologna, Italy
€
LOUWRIEN WIJERS, Niet liegen/niet stelen/niet doden (“Don’t lie / don’t steel / don’t kill – grains / greens / beans”), 2015
14,8 x 21 cm, digital screen print, dibond
signed, dated, numbered
edition 11
published by Galerie van Gelder Editions, Amsterdam
€ 300,-
JONATHAN MONK, Hand Painted by Hand, 2015
26,7 x 19 cm
gouache on digital photographic fiber based matt paper
unique hand painted series of 25, here number 3/25
pristine condition, with waves in paper as issued
published by Camden Arts Centre, London, UK
inv.JMon 1097
available at publisher
This edition shows the hand from Bas Jan Ader’s work I’m Too Sad to Tell You, with the background painted by hand by Jonathan Monk. The latter is known for emphasizing the simplicity inherently present in a working plan like painting a background of a hand by his hand. Any subject is allowed as long as the obvious can be banally pushed further: “… Once something has been done, it can be done again in a different colour.” By means of doubling and repeating the result has most of the time the effect of a Fluxus-like humor.
Together with artists like Yann Sérandour, Claude Closky, Nicolas Chardon, Martin Creed a.o. Jonathan Monk belongs to a generation that is – apparently being impressed by historical mile stones – making use of references to works of famous colleagues in the past.
RICHARD PRINCE, lecture, 2015
4.7 inch vinyl audio CD
with plastic sleeve as issued
edition unknown
inv.RPri 186_187-pr
Recording of a lecture by Richard Prince on what he is interested in and above all on what he is not……., surprisingly with cliche statements on The Doors, Jim Morrison, Punck, Heavy Metal, Pop art, Paul Gaugain, e.a. KvG
DORA GARCÍA, The Sinthome Score, 2015, alias Venice Sinthome Score Edition
26,5 x 37 x 11,5 cm
printed matter, photo print + original drawing, signed, numbered
score book (31 x 23 cm) used as performance prop, numbered and also signed
edition 16
published by ProjectSD, Barcelona, Spain
7 parts
– one of the scores (performance prop) used by the performers during the exhibition in the Venice Biennual 2015, signed with initials, numbered
– original drawing made by Dora García in A4 size, which refers to the cosmogonies created for the work, signed
– photograph, 30 x 24 cm, C-print of a moment of the performance in Venice, signed with initials, dated, numbered
– catalogue ‘I See Words’ (sealed)
– folio with certificate of authenticity, signed, dated in print
– folio with sticker
– cardboard archive box with sticker
The work of the French psychoanalyst Jacques Lacan appears in García’s recent work. The score of the performance is based on an “unofficial” English translation of Jacques Lacan’s seminar 23 “Le Sinthome” (1975-1976), a series of ten lectures that drew from the writings of James Joyce to elaborate on language, the unconscious, and a reconsideration of the Borromean knot.
Lacan and his relationship to James Joyce is the subject of the Dora García’s work The Sinthome Score. The term “sinthome” (symptom) originates from a text of the same name by Lacan, Le Séminaire livre XXIII, Le Sinthome (1975-1976) where Lacan uses Joyce’s writings to expand his model of the three rings composing a Borromean knot, i.e. Symbolic, Imaginary and Real. Joyce’s subversion of language becomes a way of knotting them together, as well as avoiding their collapse into madness: it is the synthome (symptom; synthomeis spelled in old French), in homage to the Irish writer’s penchant for etymology, portmanteaus and polyglotism.
The Sinthome Score (performance publication, photograph of performance): two people perform as a duo, where one of them reads from a book (cover looks like a music score publication) called “The Sinthome Score” and the second one executes a series of movements that change each time the reader begins a new chapter, following instructions in the book.
Garcia’s work is accompanied by ten sets of movements, one drawn for each of the ten lectures. Two performers determine the rhythm, cadence, and speed of the performance. Garcia’s score and choreographic notation welcome new participants, accidental stutters of the body, or slips of the tongue. It is left to the visitor to decide if, how, and when to enter the conversation. The performance was shown at the Venice Biennale 2015, running continuously during the opening hours.
The publication is one of the scores used at the Venice Biennual 2015.
DAVID HORVITZ, Studio Rent Editions, 2015 (December)
each 12,6 x 17,6 cm, 2 parts
colour photo prints, verso hand stamped
gravel imprints and two scuffings due to postal handling
signed, numbered, dated
edition 10
published by the artist
MARLENE DUMAS, ‘For Whom the Bell Tolls’, 2015
101 x 101 cm
Habotai silk scarf, original linen bound box, card
edition 500
published by Tate Modern, London, England
mint
inv.MDum 000-pr
MARLENE DUMAS, For Whom the Bell Tolls, 2008. In this painting – here in print – Marlene Dumas shows interest in emotional expressions that are often represented in cinema, and rarely in contemporary painting. For this she applied a variety of watery drip painting techniques and used a film still (from ‘For Whom the Bell Tolls’, 1943) of Ingrid Bergman experiencing sorrow and mourning. Two seemingly emblematic black bird images in the eyes add an extra eery and dramatic touch to it all.
‘In 2007 my mother died at noon at the age of 86.
For Whom the Bell Tolls was about loss and departure, but also about transformation and freedom. A spirit set free, my grief and her relief. So I made the [film] stars [Ingrid Bergman. a.o.] and the gods weep for her. Marlene Dumas
This item is wrapped in a linen box with a loose piece of paper with instructions for cleaning.
Additional information
Marlene Dumas’s painting For Whom te Bell Tolls was used for the reproduction of her Tate Modern scarf and the painting from 2008 itself is based on a film still. Appropriation is of all times, also e.g. Victor Young’s vinyl “For whom the bell tolls” (2019) features the same image.
History of price:
ArtWise, Brooklyn, New York, USA US$ 125.- August 2021
Tate Modern, London, England GBP 85.- February 2015 (since May 2017 not available anymore)
Tate Modern, London, UK silk scarf Marlene Dumas
LAWRENCE WEINER, Here, there & everywhere, 2015
diameter 5,5 cm
badge
edition unknown
published by Whitney Museum of American Art, New York, USA
YOKO ONO, Mended Cups and Unbroken Cup, 2015
17 x 29 x 29 cm
print on ceramics, 14 parts in display box, leaflet, tag, folded poster
published by Illy Art Collection, Italy
Collection Kees van Gelder, Amsterdam
inv.YOno 000-pr
“Mended Cups and Unbroken Cup” consists of six cups that bear gold, ‘shattered’ and ‘mended’ crack lines – accompanied by six individual saucers that state, in Yoko Ono’s handwriting, six catastrophic events that have affected the world; some have directly affected her life, and others only indirectly, yet bringing death to millions of people. Each saucer states the date and place of the tragic event. Why and how the tragic events have been “mended” is unclear….
The seventh cup in the collection, ‘Unbroken Cup’, is untouched with no cracked or mended lines, reflecting peace and hope with Ono’s handwritten words on the saucer, Yoko Ono: “This cup will never be broken as it will be under your protection.”
