BEN PATTERSON, Sneak Preview – Special edition, one of five “surprises”, 2014
5,3 x 31,6 x 22,3 cm
3 photo prints, 2 DVD’s, catalogue, list of content, confetti streamers and various items, cardboard box
signed, dated
with dedication special edition 5 rare
published by Down With Art! Verlag, Berlin, Germany
(in stead of € 500) € 250,- plus € 15,- Track & Trace registered EU mail
inv.BPa 000-pr
Publisher (ed. Petra Stegmann) Down With Art! Verlag asked to financially support the production of a catalogue to be named ‘Sneak Preview’. For this, a cardboard box with surprises was sent to a very limited amount of supporters. This is one of the five boxes made for the occasion.
WJM KOK, Monochrome 360°, 2020
590 x 340 cm
coloured paper on Peperbus
open series
rental price per column ca € 700,- dd. 2020
ask for details
In 2020, Wjm Kok made a series of approximately 60 large-scale advertising columns part of his work. These columns, known as ‘Peperbussen’ and normally used for poster campaigns are distributed throughout the city of Amsterdam. They periodically remain vacant between advertising cycles. During these intervals, Kok transforms them into monochrome works, i.e. blue in this instance to become part of his oeuvre.
What began as an independent artistic initiative is now recognized as part of Amsterdam’s ‘art in public space’ and has been incorporated into the city’s archives of Stadscuratorium.
‘Amsterdam has a long tradition of art in public space. A large number of well-known and lesser-known artworks tell the story of the city and its inhabitants. Art in public space manifests itself in many different ways, in various forms, and with different functions. For instance, the collection of the Amsterdam Metropolitan Area is rich in a broad spectrum of artworks: from monuments, sculptures, social projects, and interventions in environmental design, to graffiti, murals, and wall reliefs.’
City Curatorium, Amsterdam
HEIMO ZOBERNIG, Untitled, 1992
29,7 x 21 x 4 cm
dispersion paint, pressboard, hinges, + cotton gloves as published
edition 35
signed, dated, numbered
condition: mint very rare
published by Pinguin Editions/Caroline Nathusius, Cologne, Germany
€ 850,- plus € 32,- Track & trace registered EU mail
inv.HZob 1022-pr
JOHN M ARMLEDER, ’24’, 1989
diameter 10 cm
chrome metal
edition 24, engraved J.A. 19/24
published by Ecart, Geneva, Switzerland
€ 1.650,- plus € 15,- Track & Trace registered EU mail
inv.JMA 000-pr
Quite often John M Armleder is mesmerised – as he calls it – by how banal objects can change character by changing their position (context). Here, in 1989 JMA bumped up to a “Chrome silver car alloy wheel center hub cap” with no logo of car company Mercedes Benz, he told me. He made it into a disc one may place on a table as an object.
DOMINIK STEIGER, Low Nose, 1979
7 x 11 x 1,7 cm,
cassette, tape, ink stamp ‘Buchdienst Fesch-Wien’
edition 40, here number 13/40
signed, dated, numbered
published by Buchdienst Fesch, Vienna, Austria
€ 85,- plus € 15,- Track & Trace registered EU mail
inv.DSte 1008-pr
In 1976, Dominik Steiger published quarterly magazine NERVENKRITIK under the name Buchdienst Fesch. Each issue (ca 20 pages) featured illustrations and text by fellow artists. The cover of the 250-copy print run displayed an enlarged so-called “Bone drawing” (Knöchelchen-Zeichnung] of Dominik Steiger. It functioned as a logo that is also depicted here on the cassette label of Low Nose.
Additional information
Below a couver of magazine Nervenkritik featuring one of his Bone drawings:
YOKO ONO, We’re All Water, 2005
4,5 x 17,2 x 10,4 cm
wrapper, 6 cards, English and Japanese language, lunch box
edition 400
mint, wrapper slightly dodged
published by Gallery 360 grades, Tokyo, Japan
€ 425,- plus € 18,- Track & Trace registered EU mail
inv.YOno 000-pr
“We’re all water from
different rivers,
that’s why it’s
so easy to meet.
We’re all water in this
vast, vast ocean.
Someday we’ll
evaporate together”
Yoko Ono / John Lennon, 1980
History of price:
DR Fine Arts, New Yok, USA May 2026 € 398,76
MIKE KELLEY, Destroy All Monsters Magazine, 2011
together with CARY LOREN, NIAGARA and JIM SHAW
27 x 21 cm
artist’s book, SC, 270 pp.
signed
special edition 100, here numbered 2/100 includes a unique monotype-spray painted page, signed by 4 artists
black and white photograph (signed photo edition number 46/75) by Cary Loren, sealed bag with sand, original mylar envelope mint
published by Destroy All Monsters magazine, Detroit, USA
€ 980,- plus € 24, – Track & Trace registered EU mail
inv.MKel 000-pr
‘Formed in 1973, the Detroit band Destroy All Monsters was a wild and reckless synthesis of psychedelia, proto-punk, heavy metal, noise and performance art. The collective hailed from Ann Arbor, Michigan, and consisted of Cary Loren, Mike Kelley, Niagara and Jim Shaw (with later members including Ron Asheton of the Stooges and Michael Davis of the MC5). Later emerging as extremely distinctive individual artists, collectively the group forged new terrain in art, music, performance, theater and video. Destroy All Monsters released very little recorded music until Thurston Moore issued a three-CD compilation in 1994, but they published six issues of a now legendary and much sought-after zine, also titled Destroy All Monsters. This publication collects those six zines, released between 1976 and 1979, and also includes parts of a lost seventh issue that never saw publication. The Destroy All Monsters zines comprise a vibrant array of collage, writing, photography and other miscellanea by Kelley, Loren, Niagara and Shaw, and together provide insight into the collective’s kaleidoscopic vision of the dystopian values of their time.
“The new reprint volume lacks any introductory or explanatory text; true to Destroy All Monsters’ anarchic spirit, it plunges the reader straight into a frenzied dystopic world. Détourned comic strips, images pulled from pulp magazines, film stills, and tabloid news clippings clash with saccharine greeting cards, family Polaroids, and children’s coloring-book pages, while Op-art backgrounds, scrawled doodles, stickers, and rubber stamps compound the visual pandemonium. All of this is faithfully reproduced in the new facsimile, which is hand-bound and printed on paper of different weights, colors, and finishes—from coated stock to copy paper in elementary-school pastels. Each copy also includes a unique original spray painting by Loren, giving this lavish reproduction an authentically DIY accent.” Gwen Allen, Bookforum review
Ref. https://www.thebookbeat.com/bookshop/catalog/destroy-all-monsters-magazine/
In 1974, while attending the University of Michigan, he co-founded the proto-punk, experimental noise band Destroy All Monsters (DAM). The member of the band were: Mike Kelley on drums and vocals, Jim Shaw on vocals and squeeze toys, Niagara (Lynn Rovner) on vocals, and Cary Loren on guitar and vocals. Having met each other at the university, DAM convened in the basement of Kelley’s student accommodation, also known as ‘God’s Oasis Drive-In Church’, which soon became a communal space for the band to collaborate. Image below shows dirt in a tiny bag from ‘God’s Oasis Drive-In Church’, being part to this edition.
MIEKO SHIOMI, Events & Games, 2005
5 x 14 x 16.8 cm
black and white photograph – crumpled as issued, 22 cards with instructions + loose card with colphon
(incl. Chieko Shiomi: Water Music card)
screen print on plastic box
edition 80 + 5 AP
signed, numbered, here number 64/80
mint
published by 360 grades, Tokyo, Japan
inv.MShi 000-pr
This white plastic box is a re-edition of ‘Events & Games’ from the edition of 1964, signed and numbered by the artist. Mieko Shiomi was a Japanese composer, visual artist and poet.
‘Content
● 23 Instruction cards of various sizes, 1 black & white photo, explanation card in the white plastic box: 14 bilingual cards and the cards of the smallest & medium sizes of “SHADOW PIECE Ⅱ” were printed by George Maciunas for the Fluxus Edition in the early 60’s. The other 7 cards in English were printed by the author for ReFlux in the 1980’s.
● The profile (black & white photo) and the box were reproduced for this edition by Gallery 360°.
After Kuniharu Akiyama passed away, who was an original member of Fluxus and was a conductor for the Fluxus concert at Carnegie Hall, a bunch of instruction cards of Mieko Shiomi were found in his belongings. They are the instructions for the events for Fluxus. Anybody can revive the events just by following the instructions.’
From website of Gallery 360°
Mieko Shiomi began studying musicology at the Tokyo National University of Fine Arts and Music in 1957. Interested in avant-garde music, she founded the group Ongaku with her classmates in 1960, which explored new forms and improvised performances. She then played her first compositions in public. In 1961 she participated in a concert with Toshi Ichiyanagi, the first husband of Yoko Ono, who mentioned the group to George Maciunas. He in turn included them in his tentative program for the Festival of Very Early Music, a programme that he wrote in 1962 but which was never realised; the group split up shortly after. Mieko Shiomi deepened her exploration of spatial-temporal music in relation to everyday objects. Between 1962 and 1963 she began to write exclusively textual pieces that she called action poems. In 1963 she created Endless Box, a multiple composed of 34 boxes in foldable paper of differ sizes, which she sent – on the advice of Nam June Paik (1932-2006) – to Maciunas, thus making her entrance into the Fluxus movement.
Aware-Archives of Women Artists, Centre Pompidou, Paris.
Kuniharu Akiyama (1929-1996), a Japanese avant-garde composer, music critic, producer and poet was a founding member of the Jikken Kobo group of avant-garde artists in the 1950s. As a music critic he was best known for his studies of Erik Satie and Japanese film music. He was married to the pianist Aki Takahashi.
Verso: text on cards are in Japanese with black background.
Gallery 360 grades, Tokyo, Japan€ April 2026 271,83
DAVID HORVITZ, Studio Rent Edition – November, 2017
print on tracing paper, 5 parts, incl. envelope
signed, dated, numbered
edition 10, here 5/10
inv.DHor 000-pr
Each month David Horvitz makes 10 editioned pieces, each of which costs 1/10th of his studio rent. Subscriber receive the edition through mail.
‘In 2010, I was living in Brooklyn. I had just received my MFA from Bard College and I was trying to figure out a studio situation. I don’t necessarily need a studio to make my work, but I’ve always felt it is important to have a designated place outside my home to go to. A silent place where I could sit and think. A place to drink green tea and daydream, to develop thoughts and leave those thoughts there for the next day.
Since I didn’t have a full time job, I couldn’t see myself paying rent for a New York studio over a long period of time. And so I came up with an idea. I would make an edition-of-ten artwork each month. Maybe it was a photograph turned into a postcard, or some photocopies, or a text-work, or a LaserJet print, a watercolor of a flower I stole while walking down the street, or an envelope of sand from a California beach.’ David Horvitz, April 2016
CHRISTINE ALBERTS, Zonder titel, 2001
27,5 x 21 cm
Vogue magazine No.609, die-cut, certificate
signed, dated, numbered
edition 3
privécollectie K. van Gelder
inv.CAlb 000-pr
Added information
Jaap Kroneman’s solo exhibition ‘Chainless Liaison’ in 2001 (in GvG/AP) was on his instigation extended with a table showing various necklaces of graphic and necklace designer Christine Alberts:
