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
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
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.
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.
AKI-Fluxfest, 1981
49.4 x 33.5 cm
screen print on paper, poster folded as mailed (17 x 24.8 cm)
condition: reasonable, tear lower left, missing chip of paper
rare
inv.Fluxus 687
Peter van Beveren and Harry Ruhé invited Fluxus artists to participate in a Fluxus Festival at the AKI Art Academy in Enschede in The Netherlands. Participating artists were Eric Andersen, Giuseppe Chiari, Dick Higgins, Ben Vautier, Wolf Vostell, Bob Lens, Wim T. Schippers, Takako Saito, Ludwig Gosewitz, Milan Knizak and Mischa Mengelberg. The director Sipke Huismans of the AKI gave carte blanche to the two curators. Van Beveren and Ruhé managed nine artists to come over for five days to this Fluxus event, namely Eric Andersen, Ben Vautier, Wolf Vostell, Bob Lens, Wim T. Schippers, Takako Saito, Ludwig Gosewitz, Milan Knizak and Mischa Mengelberg. Every artist got a fee of Dfl. 3.000,- (“It is about time that artists should be properly paid…’). In the end the AKI almost went bankrupt caused by the high bills of hotel, dinner and free booze, trip and traveling costs.
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
TAKAKO SAITO, Blaues-Regenbogen-Wein-Schachspiel, 1982
21.5 x 15 x 0.5 cm
3 parts, offset, two folded play fields in folio
signed and dated in print
edition 500
published by Edition Hundertmark, Cologne, Germany
condition folio: aged, insight parts: very good
inv.TSait 686-pr
TAKAKO SAITO, A part of Fluxus, 1992
2 x 2.3 x 2.3 cm
plastic box, human hair, glue, paper collet with ink stamped text
edition unknown
signed, dated
pristine condition
inv.TSait 681
LORIS GRÉAUD, Cellar Door, 2009
ca 32 x 22.5 x 3.7 cm
cardboard clam box, handmade confetti punched from texts by various authors
edition 25 + 5 AP
numbered; here nr 6/25
published by Christophe Daviet-Thery, Paris, France
mint condition
This edition is announced as ‘A critical anthology on cellar door’. One of the confetti particles contains the number of the edition involved, her number 6/25.
RUMIKO HAGIWARA, DINA DANISH, JEAN-BAPTISTE MAITRE, Bracket Marble Bracket, 2017
37 x 34,5 x 23,5 cm, w h i t e version
certificate, signed, numbered, dated in print
clay, cardboard box, matte marble print paper, hand painted manual, cellophane envelope with plugs and screws
edition 25 + 3 AP, here number 11/25
published by Multiple Choice, Amsterdam
RUMIKO HAGIWARA, DINA DANISH, JEAN-BAPTISTE MAITRE, Bracket Marble Bracket, 2017
35 x 34,5 x 23,5 cm, w h i t e version
certificate, signed, numbered, dated in print
clay, cardboard box, matte marble print paper, hand painted manual, cellophane envelope with plugs and screws
edition 25 + 3 AP, here number 5/25
published by Multiple Choice, Amsterdam