TAMÁS St. TURBA, NETRAF, 2026
size needed
print for free use
published by the non-art-artist
ask for deatils
Tamás St. Turba, also known as Tamás St. Auby, Tamás Szentjóby, Staub, Stjóby, Stauby, Emmy/Emily Grant, St. Aubsky, T. Taub, St. Ruby, etc. began a non-art-art activity as soon as he ended his art activities in 1966. From that period on, he created an extensive oeuvre made up of actions, happenings, objects, concrete/visual/action-poems, images, compositions, sculptures, photos, videos, mail art and email art. Disseminating happenings and Fluxus ideas he deems himself a Neo-Socialist Realist.
The protests and art activities of Tamás St. Turba – aka Tamás St. Auby – in the late 50’s were heavily embedded in the shadow of the Sovjet umbrella. He became familiar with the ideas of Dada and the later Fluxus movement, and thus found his allies. ‘In the mid-’60s, the idea of Joseph Beuys, George Maciunas, and others about “everybody is an artist” proved to me that I’m not alone at the grassroots level. This conviction was in organic symbiosis with socialist/communist ideology, so I propagated Fluxus as Neo-Socialist-Realism, and established the International Parallel Union of Telecommunications (IPUT) in 1966, a Big Sister institution to counterbalance the power of the International Telecommunication Union, which controls the totality of the electromagnetic spectrum deeply into interstellar space as well.’ Interview with Jon Hendricks in MoMA Post notes on Art, 19 December 2018
In 1969, he organized the first Fluxus concert in Budapest. His work often challenged political and social norms, leading to his expulsion from Hungary in 1975. He settled in Switzerland and returned to Hungary in 1991.
In 2004, Tamás St. Auby showed several works in a group exhibition ‘Freedom Borders’ in Galerie van Gelder. During the installation he told me his view on the Hungarian society. Once back in his country after his exile, he discovered that although the political leaders from the communist era had been removed from their positions, the elite in the lower echelons (with their more than dubious or corrupt Stasi behavior in the past) had once again secured influential positions. To this day, he challenges unstoppable political and social norms in Hungary.
CLAUDE RUTAULT, invitation card, 1997
10,5 x 15 cm
offset, card
condition: splendid
published by Galerie Martine et Thibault de la Châtre, Paris, France
€ 80,- plus € 15,- Track & Trace registered EU mail
inv.CRu 1013-pr
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
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:
YINKA SHONIBARE, Flower Head, 2006
19,4 x 15 cm
print, ink stamped
hand numbered, edition 3000, here number 390/3000 extremely rare
published by Contemporary, London, United Kingdom
inv.YSh 490-pr
Subscribers of British art magazine Contemporary got this print for free.
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
ZERO, catalogue, 1979
21 x 19,3 cm
SC, 156 pp. near mint
signed by artists Günther Uecker, Otto Piene, Heinz Mack
published by Kunsthaus Zürich, Switzerland
€ 150,- plus € 12,- Track & Trace registered EU mail
inv.Uec 000-pr
History of prices:
Marion Fricke, Berlin, Germany March 2026 € 120,- (poor condition) signed by Uecker, Piene, Mack
Planet der Buecher, Hamburg, Germany March 2026 € 39,-
GUY SCHRAENEN, A show from the Small Press Archive, 1977
29,7 x 21 cm
stencil, biro ink
invite, twice folded as mailed
condition: excellent
published by Other Books and So, Amsterdam
€ 150,- plus € 12,- Track & Trace registered EU mail
inv.UCar 000-pr
History of price:
Jonathan Hill Bookseller, New York, USA March 2026 US$ 150.-
Jonathan Hill Bookseller, New York, USA June 2023 US$ 300.-
S.p.A. 12.5.1972-15.5.1975, 1975
29,5 x 20 x 2,2 cm
letterpress, SC, 6 fold-outs, 202 pp.
published by S.p.A., c/o C.Prudente, Rome, Italy
uncommon in this condition: hardly visible wrinkling on couver, brown stain on pages edge
€ 445,- plus € 12,- Track & Trace registered EU mail
inv.CPru 000-pr
Participating artist:
C.M. Benveduti
T. Catalano
P. Mangogna
F. Falasca
G. Croce
M. Diacono
J. Ruddy
F. Mauri
L. Triunfo
Robert Barry
Robert Filliou
V. Agnetti
C. Romeo
L. Pascucci
C. Prudente
V. Zini
R. Albanese
Frencesco Clemente
C. Costa
F. Loriot
C.Cintoli
L.Piffero
M.V. Carelli
D. Esposito
Jochen Gerz
D. Palamara
A. Fiorentino
J. Calabrò
T. Johnson
M. Schaffer
I. Scanga
Bruno Ceccobelli
L. Trina
Giuseppe Chiari
Wolf Vostell
B. Bocchini
Maurizio Nannucci
Mas. Nannucci
I. Soskic
S. Lombardo
Peter Hutchinson
Arcelli e Comini
A. Davis
T. Smith
Alighiero Boetti
A. Fajetti
W. Guidobaldi
G. Matti
C. Fayer
Nicola De Maria
A, Altamira
A. Guatti
Diodato
F. Valentini
F. Caldura
Th. Woodruff
L. Luppino
T. Binga
L. Marzot
D. Cortez
David Rabinowitch
M.sa Merz
A. Caronna
A. Spinelli
G. Attalai
Tony Shafrazy
Ben Vautier
De.Ca
Peter Downsborough
D.Verni
Christo
Lawrence Weiner
S. Hoppferwisier
M. Stuprò
G. [sic]
A. Faggiano
Ufficio Immaginazione Preventiva
Page by Robert Barry:
History of prices:
Libreria Alberto Govi di F.Govi Sas, Modena, Italy March 2026 € 400,-
Dividing Line Books, Ridgewood, NY, USA March 2026 US$ 350.- (poor condition)
