Fluxus – In the spirit of Fluxus, 1993
31,5 x 44,5 x 9 cm
briefcase with catalogues, posters, pencil, buttons and other objects
1st edition 100
published by Walker Art Center, Minneapolis, USA
not available
– Exhibition catalogue “In the Spirit of Fluxus”
– J. Berner, “Cosmic inventory kit”
– G. Brecht, “Drip music”
– “Solo for violin”
– G. Chiari, “Art is easy”
– Orange brooch and blue card
– H. Flynt, “Demolish serius culture”, Green brooch and orange card
– “Art you can lick”, Yellow brooch and yellow card
– G. Hendricks,”Picnic garbage placemat”
– L. Miller, “Flux Box. Do-it-yourself. Excellent 92”
– B. Moore, “Flux Tellus” No. FXCM0076
– G. Maciunas,”Fluxus Chairman”, 1976
– Y. Ono, “Y. O. (1964-1965). Frame enlargement”
– M. Shiomi, “Water Music”
– B. Vautier, “T-shirt printed”
– R. Watts, “Stamp”
– “Fluxus concerned white insignificances”, rubber stamp, 7 x 32 x 4 cm
Fluxus – In the spirit of Fluxus, 1993-1995
31,5 x 44,5 x 9 cm
briefcase with catalogues, posters, pencil, buttons and other objects
2nd edition 50
‘U 40 drop cloth’, 1992
ca 30 x 30 cm
each piece is unique, edition of 106
dripping paint on cloth, pizza box, label on lid
signed, dated
€ 450,- plus € 18,- Track & Trace registered EU mail
produced by Galerie van Gelder Editions, Amsterdam
This is a series of unique ‘Drop cloths’ John Armleder has made on cotton. While preparing his solo exhibition in the Centraal Museum Utrecht in 1992 creating a large three panel ‘Pour Painting’ of 3 x 6 meters. After having finished the huge painting the poured over piece of cotton was one big left-over, which was eventually cut into 105 pieces, still wet and very smelly. The 106th piece appeared to be a real left-over as it is shaped in the form of a very long stretched out triangle. The artist folded this one zigzagging into the last pizza box. The code ‘U 40′ refers to the forty paintings he showed in the museum. On the pizza box is a large red sticker ‘U 40 Drop Cloth’ with artist’ name and date. All are signed on the inside of the box. Some of the works are signed on the cloth itself as well as on the box. The edition has not been numbered.
Note: in 1993 the Wiener Secession in Vienna produced a second drop cloth edition, smaller in size and on coloured fabric with a label on the inside of each pizza box.
JOHN M ARMLEDER, Ardor, 1992
height 6 cm, Ø 19,5 cm
electric heater, plug-in electricity cable, cardboard box, label
signed, numbered
edition 12
published by Massimo de Carlo, Milan, Italy
Foto: K. van Gelder, Amsterdam
sold
SIGURDUR GUDMUNDSSON, Untitled [horizon/zon], 1991
51 x 55 x 1 cm
edition 10
metal, steel stamped initials, year and number 9/10
published by the artist
p.o.r.
inv.SG 000-pr
SIGURDUR GUDMUNDSSON, sketch for Untitled [horizon/sun], 1990
14 x 21 cm
ball point ink on back of invite
Originally Sigurdur Gudmundsson planned to have four horizontal lines and five vertical lines within the iron frame. He brought this idea back to two lines in both ways. In the left top corner a detail is drawn of the 1 x 1 cm bars.
JOHN M ARMLEDER, OLIVIER MOSSET, SYLVIE FLEURY, Three Monkeys, 1991
72,5 x 104 cm
screen print
edition of 100
signed, dated
€ 740,- plus € 18,- Track & Trace registered EU mail
inv.AMF 000-pr
In the nineties John Armleder told me the following. One day he, Olivier Mosset and Sylvie Fleury passed a shopping window in which three cuddly toy monkeys were put on display. They looked at each other and at themselves and Sylvie took a picture. Three monkeys forming the AMF clan under which name they regularly had exhibitions together. Not much later this screen print was made.
AMF is a word play of the artists surnames and a company named AMF / American Machine and Foundry that merged in 1969 with Harley Davidson Company. Its logo AMF refers also to one of the AMF artists Olivier Mosset, an enthousiastic Harley Davidson motorcyclist.
History of price:
Koller Auktionen, Zürich, Switzerland 27 June 2023 € 765,- (hammer price)
The Archive is Limited, Amsterdam July 2023 € 700,-
DAMIEN HIRST, With Dead Head, 1991
19,4 x 24,4 cm / 7 5/8 x 9 5/8 inches
C print
signed, numbered
edition 1000
In September 2008, Damien Hirst sold a complete show ‘Beautiful Inside My Head Forever’ at Sotheby’s by auction and by-passing his galleries he works with. The auction raised £ 111 million ($198 million), breaking Hirst’s own record with £ 10.3 million for The Golden Calf, an animal with 18-carat gold horns and hooves, preserved in formaldehyde. Nowadays, and already for years, he owns Other Criteria a commercial company publishing prints, editions and books by himself in the first place and established artists.
History of prices:
Artax Kunsthandel, Düsseldorf, Germany June 2013 € 2.800,-
Phillips Auction, New York, USA (Lot nr 243) September 2007 US$ 1,950.-
Additional information
DAMIEN HIRST, With Dead Head, 1991
57 x 76 cm / 22,5 x 30 inches
photographic print on aluminum, signed, numbered
edition 15
Sotheby’s Auction, London, England June 2004 € 25.200,- / GBP 21,600.-
Der Augenblick der stehen bleibt, 1991
29,7 x 21 cm
20 pp. perforated gummed stamps with text ‘Fluxeum Wiesbaden 1. Mai 1991’
published by Harlekin Art, Wiesbaden, Germany
pristine
€ 60,- plus € 12 Track & Trace registred EU mail
Fluxus 558
Participating artists are Geoffrey Hendricks, Klaus Staeck, Tim Ulrichs, Heinz Gappmayer, Charley Banana, Ben Patterson, Milan Kunc, Takako Saito, Corsin Fontana and many others
History of prices:
Booklooker, Germany August 2024 € 90,-
eBay Feb. 2015 € 150,-
ZVAB € 295,- Feb. 2015 € 295,-
JOHN BALDESSARI, Hand and Chin (With Entwined Hands), 1991
33 x 22 inches
photogravure with colour spit bite aquatint
edition 25
published by Crown Point Press, San Francisco, USA $ 3,500.- June 2009
John Baldessari has created thousands of works that demonstrate the narrative potential of images and the associative power of language within the boundaries of the work of art.
HREINN FRIDFINNSSON, Fragment of Remembrance, 1990
ca 48 x 72 cm / ca 19 x 28 inches (sizes may differ from each other)
iron, silver foiled cristals, 13 parts in wooden box with sticker
edition 12
signed, numbered on certificate
published by Galerie van Gelder Editions, Amsterdam rare
€ 6.500,- plus € 32,- Track & Trace registered mail
Margin Scheme
‘Fragment of Remembrance’ refers to memories of his youth and is partly made of a rolled up iron sheep fence used in the countryside of Iceland to keep sheep together close to the farm, when they are not taken to the mountains for grazing. Born in 1943 in Baer Dölum, Iceland, Hreinn Fridfinnsson employs media that are remarkably varied in scale and substance, from photography, drawings and tracings to presentations and installations of sound, texts and ready-mades. As in this edition Fridfinnnsson often presents found objects with which he interferes as little as possible, creating new works that investigate ideas of the self and of time. He has said that: ‘Notions of time are always compelling. The feeling and the interest in the essence of time is serious, but my dealing with time is not knowledge-based; it is more exploratory and feeling-based.’
GENERAL IDEA, Aids-Amsterdam Tram Project, 1990
62,5 x 63,7 cm
screen print on sticker
handwritten title: Amsterdam Tram Project edition 40, nr 2/40
signed, numbered and dated in black ink
exclusively made for and published by Museum Fodor, Amsterdam
very rare in this mint condition
sold
More than three decades ago in 1990 trams in Amsterdam were covered with this very early AIDS silkscreen poster of General Idea. The ‘Amsterdam Tram Project’ became quite controversial, i.e. conductors refused to drive their trams covered with the colourful and marked stickers afraid of giving their support to or at least being compromised and associated with homosexuality. Later on the artists group had other versions produced in larger editions.
In the mid-1980’s, the Canadian art group General Idea – AA Bronson, Felix Partz, and Jorge Zontal – created a symbol using the acronym AIDS, using the letters in a manner that resembled Robert Indiana’s LOVE logo. This witty allusion became part of Imagevirus, a project of paintings, sculptures, videos, posters, wallpapers and exhibitions that investigated the term AIDS as both word and image, using the mechanism of viral transmission. Imagevirus spread like a visual virus, producing an image epidemic in urban spaces from Manhattan to Sydney. It was displayed as, among other things, a Spectacolor sign in Times Square, a sculpture on a street in Hamburg, and a poster in the New York subway system. General Idea felt compelled to make Imagevirus at a time when AIDS was emerging as a global epidemic affecting gay men disproportionately.
Museum Fodor Amsterdam issued the posters in a signed and numbered edition. Beautiful and witty allusion of Robert Indiana’s famous LOVE icon.
