CHRISTIAN BURNOSKI, Print Response, 2012
32 x 24 x 1,5 cm
folder contains the following items:
publication ‘print response’, 48 pp.
certificate and printed letter by the artist
edition 200, here numbered 80/200
signed, dated.
This special edition comes with a DVD, 2 strips of foam
limited edition 50, here Nr 23/50, also with certificate, signed and dated
Available at Motto Books, Berlin. Ref. http://www.mottodistribution.com/shop/print-response-special-edition.html
inv.CBur 10-pr
KIMBALL GUNNAR HOLTH, I have spoken to a banker, 2022
video film, tarpaulin with paint stains
edition 10 + 2 AP
signed, numbered, dated
certificate, manual
€ 650,- plus € 24,- Track & Trace registered EU mail
inv.KGH 000-pr
To each numbered and signed copy a tarpaulin with paint stains is added. It was used by the artist to protect the floor of his studio. A manual is describing how to install the video film shown on a flat screen that lies on the tarpaulin, spread out on a floor.
MARIJKE VAN WARMERDAM, Voetbal, 1995
9′ 02″, VHS tape
edition 10
signed, numbered
privécollectie K. van Gelder, Amsterdam
inv.MvW 227-pr
Ref. video film Voetbal, 1995, excerpt
TWAN JANSSEN, Still, stage property # 98013, 1998
VHS film, 10’5”
cassette (20 x 12 x 3 cm), digital couver print, video tape, sticker
signed, numbered
edition 5, here number 3/5
published by the artist
Collection K. van Gelder, Amsterdam
BEAT STREULI, “Portraits Tarragona” 96/1, 1996
VHS/PAL film, 60′
edition 10, here nr 5/10
signed, dated, numbered on sticker
Ref. https://www.beatstreuli.com/time-based-media/portraits-tarragona-96-1996-60-two-screen-installation/
Private collection, Amsterdam, Margin scheme
inv.BStr 35-pr
This edition comes with a digital file as a replacement of the vintage data on VHS/PAL film, kindly provided by Beat Streuli in 2021.
IRIS S. VAN GELDER, Beat the air, De grote Belofte, a.o. 2007-2008
films on DVD, plastic jewel box
produced by Bifrons Foundation, Amsterdam
IRIS S. VAN GELDER, Communication, Control freak, Reisplan, You’s so sweet, you’r so nice, 2006-2007
film on DVD, plastic jewel box
produced by Bifrons Foundation, Amsterdam
Photo: K. van Gelder
DAVID HORVITZ, Rarely Seen Bas Jan Ader Film, 2009
13 x 13 cm
DVD, plastic sleeve, photo copied cover
hand written title by the artist on disc, as issued
edition 30
published by Art Metropole, Toronto, Canada
mint condition
extremely rare
inv.DHor 690
‘In 2006 the clip Newly Found Bas Jan Ader Film appeared on YouTube. The six second clip features a man bicycling into the sea. It is announced as a work by Bas Jan Ader found at UC Irvine, where Ader was teaching in the 1970s. The story is not unlikely. Bas Jan Ader, who was lost at sea in 1975 while undertaking an Atlantic crossing that was to be the second work in a series he entitled In Search of the Miraculous, left a small body of highly noticeable works, mostly short films and photographs. One of these works, Fall II, Amsterdam from 1970, is a short sequence showing Ader biking along and then into a canal. The newly found work could be a related iteration. As many of Bas Jan Ader’s works show, he was interested in inserting his own body into a relationship with gravity, investigating phases of transition, the time and space between two locatable states, from standing up to falling down, from hanging from a tree to hitting the surface of the pond below.
It was revealed that Horvitz was in fact the author of this newly found work. Assumingly on request from the gallery Patrick Painter who represents Bas Jan Ader’s estate, Youtube removed the clip for ‘copyright infringement,’ only for it to reappear soon again posted on an account carrying the name of PatrickPainterGaller – most likely Horvitz’s work. Currently you can find the clip as the first video appearing when googling ‘Bas Jan Ader,’ and also on the official Bas Jan Ader website under the section Homages. However tricksterish Horvitz’s effort may appear, it does also expose a great admiration of Ader’s work and kinship to the ideas he brought forth. Newly Found Bas Jan Ader Film was not produced to be shown in a gallery space. It was rather a device that, circulating on the internet, triggered certain mechanisms and revealed how a number of parties reacted to the potential existence of a never before seen Bas Jan Ader work. Horvitz reveals how it is possible to insert new information into already existing narratives and shift their immediate appearance. A work by David Horvitz is today a very visible part of a Google search for ‘Bas Jan Ader’. It is fair to say that he faked his way into this hierarchy of information, but the fact that he succeeded so well is worth our attention. It points to our unfounded reliance on whatever a Google search brings us, and comments on the potentialities of the fake as well as questions our relationship to the real.’ From “But Mr. Horvitz, Where Is The Work?”.
Helga Christoffersen, 2010
Ref.
Rarely Seen Bas Jan Ader Film
Additional information
In 2009 the 2nd Cannons Gallery published a flip book called “Rarely Seen Bas Jan Ader Film” which comprises stills from the film. The book is accompanied with a free 2-sided newsprint David Horvitz produced for his exhibition at the gallery.
MARIEKE ELZERMAN, Marieme / Marieke, 2018 [film]
11 x 11 x 2,3 cm
digital film, 21’31”
engraved USB stick, 4 film stills (selfies), English / Dutch text by Kees van Gelder
linen box
signed, numbered, dated
edition 13 + 2 AP
published by Galerie van Gelder Editions and Mo-Art Gallery, Amsterdam
€ 420,-
A new film titled “Marieme / Marieke” (2018) by Marieke Elzerman is of a natural beauty. The script is elementary: two girls of just no more teener decide to get to know each other better via WhatsApp. One studies and lives in Ghent (Belgium) and the other lives amidst her family in Dakar (Senegal). Both film their direct surrounding in a light-hearted and almost uneasy manner. Marieme is more defiant and expressive, while Marieke is more reflective and aloof. That brings on that one challenges the other to step more into the open and to make selfies.
No doubt there are contrasts in what is registered, but the differences are not that striking and that makes this film into a factual documenting of two equivalent environments of places of birth, without an underlying social-critical undertone. The latter makes this debut film friendly and human.
At the end of the film a warm gesture by Marieke is shown. Two individual youngsters come closer to each other, yet simultaneously one becomes aware of a calm and more timid attitude to life on one continent and a more carpe diem attitude on the other. More than anything else, these opposite attitudes seem to become crucial for the rest of their life.
In “Marieme / Marieke” (duration: 21′ 31″) the individual experience of one’s behaviour and own existence is the heart of the film and could therefore be called a film on existentialism made in 2018.
KvG
Marieke Elzerman (born in Amsterdam, 1996) studies at the film academy KASK in Ghent, Belgium
CANDICE BREITZ, Thriller, 2005
commissioned original film on DVD, 5’54”
limited edition
menu for both loop and single play, jewell box with booklet
with composition of Alex Fahl and contribution by advertising agency KesselsKramer, Amsterdam
€ 65,- plus registered mail
extra: free booklet
Remarkable art piece on DVD! ‘Thriller’ of Michael Jackson has been for this project especially re-mixed by the artist with the help of four Michael Jackson copy cats and fans. Fascinating film cuttings of look-a-likes in the rythm of ‘Thriller’ creating a fragmented collage.
“Thriller originated from a close collaboration between Candice Breitz and Alex Fahl. The work is based on Michael Jackson’s 1982 song of the same name and was made with footage from their 2005 video production King. Of the 16 characters in this work, they selected four hardcore Jackson fans for Thriller: a belly dancer, a Jackson lookalike, a tough guy in his twenties and a real man. We see and hear how they dance and sing along to their heart’s content to the biggest hit of all time, were it not for the fact that Fahl eliminated the text and limited himself to the protagonists’ breathing, humming, laughing and shouting between the words. He made a remix using this audio material and the original beat from Thriller, and later added the original, corresponding video footage. Subsequently, the four clips were edited next to each other. This makes it seem as if they are all performing together, whereas in reality that was not the case. Just as in many of her other films, here too Candice Breitz emphasizes the importance of music as comfort and a source of pleasure. Amateurism, admiration, submission, impudence… Her protagonists are as innocent as children.
Erik Kessels from the KesselsKramer advertising and communications agency also uses the music that Alex Fahl based on Jackson’s Thriller. His contribution can be seen as a tribute, almost bordering on nostalgia. Instead of people, Kessels lets every kind of conceivable cassette tape move across the screen. From Sony to Maxell, from Philips to TDK. They jump to the rhythm of the music, and the tape moves with it for the duration of the song. This conceptual rendition of music gives Fahr’s sounds something that is simultaneously soothing and unsettling. In 1982, there were barely any CDs around, and for a certain generation it’s almost youthful nostalgia to see all those familiar cassettes follow each other on screen at such a quick pace. Kessels shows, in a way bordering on desperation, how immensely popular Thriller was and still is (Michael – written in teenage handwriting on one of the tapes, complete with a heart above the ‘i’ – is an especially poignant detail). Michael Jackson never equalled the sale of 45 million copies worldwide again, and both Kessels and Breitz emphasize with their contribution how fused they have become to this song.”
Bifrons Foundation, Amsterdam