HILMA AF KLINT, Secret pictures by Hilma Klint, 1988
26,7 x 21 cm
SC, 64 pp.
published by The Nordic Arts Centre, Helsinki, Helsingfors, Finland
uncommon in this condition; more than splendid
€ 300,- plus € 12,- Track & Trace EU registered mail
PETER VAN BEVEREN, Le Retour de Marco Polo, 1989
29,7 x 21 cm
press release; Dutch and French language
published by International Committee for the Safeguard of Venice and the Great Wall (of China)
From the 3rd until 8th of May 1989 an exhibition called “Gran Pavese” was shown on the Tian-An-Men square in Beijing in the People’s Republic of China.
ROBERT RAUSCHENBERG, “Art meets Science and Spirituality”, 1990
29,7 x 21 cm
brochure; leporello, 8 pp.
published by Art meets Science and Spirituality in a Changing Economy Foundation, Amsterdam
In 1990 from September 10 – 14, a symposium was initiated by Louwrien Wijers at the Stedelijk Museum Amsterdam. Scientists, philosophers and artists took part in this event. Apart from Robert Rauschenberg, also Marina Abramovic, John Cage, JCJ Vanderheyden and Lawrence Weiner participated.
CLAUDE CLOSKY, invitation “Guili guili” – Brèves rencontres, 1997
29,9 x 20 cm
folded as issued for mailing
published by Caisse des Dépôts, Paris, France
€ 140,- plus € 8,- Track & Trace EU registered mail
For a period of four days Claude Closky showed works at Caisse des Dépôts in Paris. The exhibition was sub-titled as Brèves rencontres; Short encounters.
MAGNÚS S. GUDMUNDSSON, invitation card, 1992
21 x 10 cm
signed and dated in print
condition: good, although traces of postal handling
published by Galleri 11, Reykjavik, Iceland
€ 25,- plus € 15,- Track & Trace registered mail
CARSTEN HÖLLER, Galerie Porte Avion, 1992
10 x 19 cm
published by Galerie Porte Avion, Marseille, France
SALIM BAYRI, Let the blue in, 2018
64, 5 x 37 cm
screen print, blue frame + link to AR app for Android
signed, dated, numbered
€ 500,- plus € 32,- Track & Trace EU registered mail
When an AR app belonging to this work is held in front of the framed screen print another image appears, though similar in atmosphere. Salim Bayri tells the following about this print:
LET THE BLUE IN (REJECTED), print on paper and AR app, 2018.
I applied to an open call by Spaces. (A company that offers coworking spaces around the world). They wanted to celebrate their 10th anniversary picking 10 existing works by 10 artists to make 10 editions of each that will go to 10 different coworking spaces. It was called ‘Power of 10’.
At that time, I visited the kitchen at ‘Ons Lieve Heer op Solder’ one of the remaining secret churches from the 17th century. I was intrigued by the blue tiles and started to wonder why they were blue.
Blue like the famous deep blue from Essaouira and Touareg garments. Could that be from there?
I made an image out of the figures found in the tiles, mostly about children’s games and made it look as if I really printed and framed it thanks to 3D computer simulations.
They liked it and I was asked to produce 10 copies of the image.
Every morning in my squat house in Van Schendelstraat in Groningen I would look at the image and change little details. I couldn’t leave it like it was after a night of sleep seeing little children playing the ball in my head.
By the time I sent the image to the printers, it was quite different, although I thought it was still in the same spirit.
The day they received it and hung it; I received a call from the organisers surprised by the modified image. “It’s not what we saw and It’s too late to reprint it, the opening is today!”
Urgently, I go see Kees van Gelder to seek some comfort. An hour before the opening we have the idea of using some tech magic with an AR app I made before. When the camera is pointed to the new rejected print, the first approved one shows up instead. I thought they would find it funny enough to accept the new image. But something approved apparently should stay like it is, and I had to reprint and replace everything as it was agreed in the first place.
But well, at least there’s a side of the story where the rejected and approved, old and new, altered and original are together. You have it.
JONATHAN MONK, Measurements, 2021
14,8 x 10,5 cm
published by NAK / Neuer Aachener Kunstverein, Aachen, Germany
In 1969 Mel Bochner became renown for his “Measurement rooms” for which architectural features of a room were measured and marked out directly onto the walls. Jonathan Monk is known for reproducing art works taken from art history, i.e. (re)making the same work, but in a different way. For “Measurements” (2021) Monk has marked in green printed lines the height and width of a postcard depicting the view of a “Measurement Room”. On the backside of the card he wrote with the help of a ruler, as a straight line support: ‘Written with a ruler for …’ giving this work a hand made touch. This way of working is comparable to ‘My height in Yellow Highlighter Pen, 2010’ and ink stamped postcard ‘The Distance between you and me’, 2014. Usually he leaves it merely to a mechanical reproduction. KvG
MARIJKE VAN WARMERDAM, Daar is de zon / There is the sun, 2021
42 x 21,7 cm
digital print on matte paper
edition 20 + 10 AP
published by More Publishers, Brussels, Belgium
Repetition and doubling is one of the favorite motives Marijke van Warmerdam applies in her films and photo works. In this print a picture from her childhood shows her energetically pointing into the air.
“There is the sun” is characteristic for Van Warmerdam’s way of thinking when it comes to how (natural) things change position in past, present and future. The latter being one of her other recurring main themes, i.e. anticipating on what comes and reflecting on what happened before. In her work these two aspects are inherently always present.
JONATHAN MONK, Picture Post Card from Post Box Pictured, 2006
15 x 10,5 cm
published by Nothing Else Press, Toronto, Canada