LAWRENCE WEINER, AMS Multiple – Art Meets Science, 1992
9 parts, brown envelope, lacquer on stainless steel
unlimited edition
stamped signature, numbered
condition: mint, although some parts may have industrially paint irregularities
published by Galerie van Gelder, Amsterdam, Netherlands
€ 375,- plus € 13,- Track & Trace registered mail
Lawrence Weiner’s primary medium is language, often in combination with red, yellow, blue coloured signs, or in mere black and white. He is a New York and Amsterdam-based sculptor who prefers to make art that is accessible, open-ended, mutable and transferable. In the ‘Art Meets Science Multiple’ the artist skipped linguistic language completely, making this work an uncommon outspoken pictorial piece within his oeuvre. The display depicted here is a suggestion of the artist and is printed as such on the added envelope with stamped signature and hand written number. In fact the piece may be installed as one likes, although that is not stated as was explicitly wished by the artist.
In 1992 Lawrence Weiner decided to have the ‘Art Meets Science Multiple’ in an edition of 1000, an idea that he changed in 1996 into an unlimited edition accompanied with a new design for the brown envelope matching more the proportions of the AMS Multiple.
real
Lawrence Weiner exhibited in Dia Center for the Arts, Walker Art Center, Tate Gallery, Museo Tamayo Arte Contemporáneo in Mexico City, Hishhorn Museum and Scupture Garden, a retrospective at the Whitney Museum of American Art and recently in 2014 in the Stedelijk Museum in Amsterdam.
CARSTEN HÖLLER, Schneeflocke / Snowflake, 1996/2012
ca 4 x 15 x 15 cm
glass, white powder
edition: 9 + 2 AP, certificate
published by NBK / Neuer Berliner Kunstverein, Berlin, Germany € 5.000,- December 2012
ALOÏS GODINAT, Lacération et Chevauchement, 2012
edition 150
published by Wallpapers by Artists, Lyon, France € 150,- December 2012
Aloïs Godinat’s artistic practice draws on art historical elements, effecting minimal changes to evoke new meanings and contexts. Godinat is obviously interested in the detail – both in his choice of colours, structures, textures, and in his treatment of the fragment, the image or typography at hand. Here a wallpaper edition titled ‘Tear out and overlap’ (trans. ‘Lacération et Chevauchement’) refers to what is factual to be seen and literally to be done when one hangs wallpaper.
RAGNAR KJARTANSSON, Feuerchen!, 2011
chipboard, paint
various sizes between ca 20 x 29 x 1,8 cm – ca. 35 x 67 x 1,8 cm
series of 30 unique objects
published by Frankfurter Kunstverein, Frankfurt, Germany
sold
Feuerchen! (trans. “Little fire!”) is a sculpture by Ragnar Kjartansson that resembles a prop from a performance. Like much of Kjartansson’s work, this piece blends a cliché image and drama or aesthetics and emblemata. Ragnar Kjartansson’s tragicomic performances take on the boundaries between art and life, fiction and reality. His work is often about the nature of art, addressing our romantic mythology of the artist as mysterious, elevated or bohemian.
History of prices:
Frankfurter Kunstverein, Frankfurt, Germany € 500,- June 2012
Galleri i8, Reykjavík, Iceland US$ 3,500.- Januari 2018
ROMAN OPALKA, 5607249, 2012
Last number Roman Opalka (August 27, 1931 – August 6, 2011) wrote down on his last canvas. Not really a multiple, although an idea about repetition by counting up figures for a whole life time until time ends.
Opałka began painting numbers from one to infinity. Starting in the top left-hand corner of the canvas and finishing in the bottom right-hand corner, the tiny numbers were painted in horizontal rows. Each new canvas, which the artist called a ‘detail’, took up counting where the last left off. Each ‘detail’ is the same size 196 x 135 cm, the dimension of his studio door in Warsaw.
LOUISE LAWLER, Adjusted to fit, 2011
each 0,9 x 5,6 x 3,6 cm
set of 9 matchboxes
edition unknown
mint
published by Metro Pictures, New York, Sprueth Magers, London and Yvon Lambert, Paris
rare
sold
In Louise Lawler’s photographs the context is her field of interest in which works of art are displayed, viewed, sold, and also stored in museums, private collections and auction houses. She is questioning the art practice in general, but at the same time she knows she is unavoidably part of this when she exhibits herself works of her own art. That demands self-criticism or at least a display consciousness. Most probably this brought her to have her huge photo prints matching exhibition walls, i.e. vinyl murals that are stretched and adjusted to fit the gallery walls. No wonder she called these exhibitions “Adjusted to fit”.
HENK PEETERS, Echt = Henk Peeters, 2011
23 x 18 cm
hand written text on sewn facsimile catalogue “Henk Peeters”
signed, dated
edition 25
€ 950,- plus registered mail
Henk Peeters added the text ‘ECHT =” on 25 catalogues printed in facsimile and signed them. It is a ZERO / Nul catalogus from 1964 of which the pages have been sewn together on a sewing machine. It has a shape of a half circle following the outline of the depicted zero on the cover. Together with the other half on the back of the booklet showing the same outline te action forms a whole zero.
inv.HP 346
Ref. press release GEM, The Hague, Netherlands
History of prices:
FTN Books Antiquariat, Oegstgeest € 1.350,- maart 2026
FTN Books Antiquariat, Leidschendam € 220,- oktober 2015
LAWRENCE WEINER, XX XY blocks, 2011 print on paper, wood, 9 parts, printed cardboard box,
edition 1000
published by Galerie Yvon Lambert, Paris / Artware Editions, New York
p.o.r.
A representative of the Conceptual art movement. Lawrence Weiner’s primary medium is language, often in combination with red, yellow, blue or black and white signs. He is a New York and Amsterdam-based sculptor, in an effort to make art that is accessible, open-ended, mutable and transferable. Ref. http://yvon-lambert.com/2012/
