PAULINE BOUDRY / RENATE LORENZ, Wig Piece, 2019
60 x 45 cm
edition 10 + 2 AP signed, numbered
published by the Swiss Pavilion of Biennale di Venezia, Venice
issued on behalf of the Venice Biennale 2019
inv.PBou 000
“By introducing hair in a painting’s visual space, the artists comment here on the tactile, bodily, and even an uncanny aspect of painting. The meeting between a hairpiece as painting creates a composition, an assemblage that is reminiscent of characters in their films like Salome in “Salomania” which gathers in one figure the stories of Alla Nazimova, Wu Tsang, Yvonne Rainer, Oscar Wide or Aida Walker. The hair materiality makes us aware of our sexual bodies as spectators in an exhibition. As a structure that hides and unveils altogether, this curtain of hair refers to role play and to the performative dimension of the construction of identities.”
The exhibitions of this artists duo reflect on the current political situation, that is characterised by its regressive and reactionary forces of closure towards the other and towards difference. Faced with the scale of this recent backlash, the artists, instead of practicing an outright opposition, suggest «backward movements» as a potential tool for producing alternative forms of resistance and action.
Additional information
PAULINE BOUDRY and RENATE LORENZ, Untitled (Wig Painting), 2016
50 x 50 cm
artificial hair, aluminum
edition 5 + 2 AP
numbered, signed
published by Kunsthalle Zurich, Switzerland, € 1.900, April 2019
GERHARD RICHTER, cake plate, 1992
diameters 32 cm
porcelain
signed and dated in glazing
published by Edition Obelisco, Cologne, Germany rare
mint
€ 800,- plus € 24 Track & Trace registered EU mail
inv.GR 000-pr
History of price:
eBay-mva130878, Emmerich, Germany € 899,- 8 May 2025
JOËLLE TUERLINCKX, X X, 1999
diameter 14,8 cm
2 parts, felt pen on glass
signed, dated sample number 1, certificate (27,5 x 21,5 cm) with instructions
provenance: The Kersten van Steenbergen Collection and acquired from Stella Lohaus Gallery, Antwerp, Belgium
sold
The work ‘X X’ is a series of glass discs that each time is produced on demand, or is for whatever reason by the artist. This sign of a cross “X” is drawn by hand with felt pen, made in duplo on two discs of glass and put on top of each other. This sample is the basis for reproduction of a series of unlimited pairs of discs and seen as such this piece is unique. For display Joëlle Tuerlinckx suggests in the accompanying certificate to use a furniture piece, a desk, a window sill, to hold it in one’s hand or to put it on a shelf. The two discs are shown on top of each other with the crosses not necessarily perfectly fitting, i.e. all positions are right. Right at the top of he certificate it is emphasized by Tuerlinckx that each cross is unique; ‘…considering the manual process of reproduction by hand’.
The work of Joëlle Tuerlinckx should be considered as Fundamental art. Through exhibition interventions she aims to demonstrate how the place in which things are seen shapes our perception of them. It incorporates projections, audio recordings, videos, drawings, collages, photographs, found and crafted objects, and her own writings. She says: ‘An exhibition is an experience of space that proposes action, or reaction, as a means of reflection, of thinking on our human condition…’.
This copy is the basic model for making “X X” in an unlimited edition. This is most likely the only copy from the planned series of unique works, as no second copy has ever been shown or published anywhere.
MAURIZIO CATTELAN, Blah, blah, blah, 2018
190 x 20 cm
scarf, polyacrylic fibres, cardboard hanger, offset
limited edition 400
mint very rare
published by Made in Catteland, Italy
€ 360, – plus € 18,00 Track & Trace registered EU mail
inv.MCat 000
This is the only scarf with the name of Maurizio Cattelan on it, out of a huge series of fan scarfs referring to football clubs and museums situated all over the Western world. The rest of the scarf bears the text ‘Blah, blah, blah’, a digitized self-portrait and a hand with a raised middle finger.
In spite of its edition of 400 copies this item is extremely difficult to find on Internet.
Maurizio Cattelan’s address for contacting Made in Catteland shows the following image:
TAKAKO SAITO, You and Me, 1981
3,6 x 8 x 8 cm
yarn spools, coloured threads, wooden box, ink stamps
signed, dated, numbered, here No. 32
€ 960,- plus € 18,- registered mail Track & Trace
inv.TSait 691
Ink stamped instructions on the reverse of the lid read ‘Put something in the box and sign. Then, this is a work of us.’.
TAKAKO SAITO, Do it Yourself, 1990
10 x 23 x 15.3 cm
17 hand made paper cubes, shredded paper, wooden box, felt pen ink on perspex lid
video tape that accompanied this edition is lacking
signed, dated, numbered
edition 30, here number 8/30
published by Bonner Kunstverein, Bonn, Germany
OLIVIER MOSSET, Untitled # 3, #4, #5 and #6, 1992
ca 60 x 60 cm (4 sq. feet) / 31 x 30.5 cm (1 sq. foot)
two pieces of acrylic paint on canvas, 4 labels; 6 parts
signed on 3 labels
numbered and dated in print only sold as unique piece of work
p.o.r.
inv.OM 696-697-pr
In 1992 John M Armleder proposed several gallerists to show together multiples at the Basel Art Fair under the name Associated Publishers. Participating publishers were Daniel Buchholz, Cologne / Ecart, Geneva / Gallery John Gibson, New York / Galerie van Gelder, Amsterdam / Daniel Newburg, New York and Caroline Nitsch Editions, New York. Gallery John Gibson showed a 10 meters long rolled up canvas originally rejected by Olivier Mosset and kept in his studio. For the Art Basel Editions 1992 he proposed to revive this painting by adding a pair of scissors to the red roll, including pre-signed labels for each sale. This was meant for buyers to cut out a piece of one square foot or more.
During the Art Basel art fair no visitor bought a piece of the edition and at the end of the art fair Kees van Gelder and John Gibson swapped an edition with each other. After the fair the roll of canvas and samples got lost and until today Olivier Mosset has never seen it again. This makes the set pictured above into an unique piece that originally was meant as a kind of DIY edition until the canvas was finished.
Since the roll of red painted canvas is lost for over a period of thirty years, let alone the signed labels, this work should be considered as more than unique. It is a set of three signed editions cut out from the vintage rol for the very first time on the Basel Art Fair. This is all that is left over and therefore this group of works ought to stay together in order to preserve a lucid idea of Olivier Mosset to give a twist to his originally disapproved very large painting. KvG
JAN HENDERIKSE / ALEXANDRA PHILLIPS, Pure Propaganda Magazine, 2015
each ca 11 x 14 cm, unfolded 27.7 x 21.5 cm, 2 parts
pop-up card mounted on cardboard, blind and ink stamped envelope with gold seal, colour illustration, text
signed, numbered, here number 3/10
edition 10
published by Antoon Melissen, Amsterdam
SALIM BAYRI, Close, 2018
9.5 x 6.5 x 4 cm / 8 x 3 x 2 cm
plastic plug-in door bell, laser engraving, remote device
edition 10 + 2 AP
signed, numbered, dated
€ 260,-
Basically the work of Salim Bayri is about letting the eye jump over from one pictorial stone to another. In case an attraction occurs it is a matter of ‘scanning, holding and making’, as he states. In that sense his art is a compilation of objects and narratives that in several titles is described as ‘storage’. His work named “Close” originates from his home country where it is common practice to pass by unannounced at one’s door. Speaking through the intercom one says: ‘Close’, a shortening for ‘I am a close friend’ (or relative) and the door would be opened. Here in Europe the opposite result is easily created if one would ring the door bell introducing himself by saying “Close”. Most likely the door would stay closed.
TAKAKO SAITO, Blaues-Regenbogen-Wein-Schachspiel / Eß-Schachspiel, 1982-1999
21.5 x 15 x 0.5 cm
3 parts, offset, two folded play fields in folio
signed, dated in print also hand signed and dated on cover “29.05.1999 Takako Düsseldorf”
edition 500
published by Edition Hundertmark, Cologne, Germany
condition: splendid
inv.TSait 685-pr
