SYLVIE FLEURY, portrait of a gallerist [wearing bow tie by John M Armleder], 1991

SYLVIE FLEURY, portrait of a gallerist (wearing bow tie by John M Armleder), 1991
2 unique black and white analogue photo prints
each 15,6 x 10,5 cm / 10,5 x 15,6 cm
signed note, envelope, date-stamped 6-11-1991, 4 parts
inv.SF 377-pr

These photos were taken during the instalment of John Armleder’s second solo exhibition at Galerie van Gelder in 1991, for which he made a.o. three large Pour paintings. He dipped two bow ties into a puddle of paint that was leaking from the paintings leaning against the wall. Sylvie immortalised that action by taking a picture of the gallerist wearing one of the ties.
Vaguely, I remember that Sylvie Fleury wanted to capture my more than average height by photographing from a frog’s point of view. i am not sure, I should ask her about this, I guess. KvG

Note
The letterhead on the notepad sheet reads: “Those SHOES! I must have Those SHOES!” – Confessions of a Crazed Shopper.

gerlach en koop, Een sculptuur van zes meter lang, 2008 [booklet + photograph]

gerlach en koop, Een sculptuur van zes meter lang, 2008
21 x 15,1 cm
SC, sewn, 48 pp., insert: colour photograph
text by Hans Theys, English / Dutch
edition 300
self-published through gebr. genk, uitgevers, The Hague, Netherlands
inv.GenK 000-pr

“A six metre long sculpture” is a hybride artist’s book, due to the addition of an essay by Hans Theys on the last 12 pages. For an artist’s book, that is a considerable part contributed by a third party.

The first part of the booklet starting on the couver depicts empty pages with a continuous red and blue scribbling at the bottom of each page. The total length is six meters, hence the sudden cut-off by means of a vertical line at the back of the booklet.

AERNOUT MIK, Voorwerp, achter te laten in treinen, 1992 [cassette, photograph]

AERNOUT MIK, Voorwerp, achter te laten in treinen, 1992
7 x 11 x 1,5 cm
sound tape, cassette, photograph
signed, dated
series of 10 unique works
published by the artist
Collection K. van Gelder, Amsterdam
inv.AMik 000-pr

“Miks beelden zijn vaak nogal hermetisch waardoor ze iets zelfingenomens krijgen, maar bij dit werk is dat minder het geval. Op en onder een tafel staan een groot aantal voorwerpen: een enorm blik tonijn, een glazen potje met afgeknipte nagels, een papieren zak met een blikje Budweiser-bier. De titel maakt dat je het beeld gemakkelijk voor je ziet: het nagelpotje staande op het koffieplankje naast het raam – wie zou dat hebben achtergelaten en waarom? De groene legertas vol flessen azijn tegenover je op de lege bank in de trein naar Schiphol.” Hans den Hartog Jager, ‘De Utrechtse School’, NRC Handelsblad, 14 februari 1997.

MARIJKE VAN WARMERDAM, Op naar een nieuwe wereld!, 2004

MARIJKE VAN WARMERDAM, Op naar een nieuwe wereld! / On to a new world!, 2004
31 x 23 cm
mat colour photo on aluminum plate, comes with catalogue, clamshell box
signed, dated, numbered
edition 42
mint
published by Buchhandlung Walther Koenig, Cologne, Germany
€ 450,- plus € 24,- Track & Trace registered EU mail
inv.MvW 000

The tendency to balance between reality and abstraction is characteristic of the work of Marijke van Warmerdam. This ‘flattening’ of reality may seem to make the work less accessible, but her titles always offer guidance and redemption. They function as a catalyst for the image as a whole, in other words: the image that may be viewed together with the title – as an angle to look from.

The edition ‘On to a new world!’ shows a landscape of an unknown planet. It appears to have been photographed from a high-altitude satellite. A shooting star (at the sight of it, a part of humanity makes a wish, it is said) is supposed to emphasize that. In reality, the landscape is a close-up of a badly plastered wall.
Marijke van Warmerdam likes to take a positive approach to anticipating what will possibly take place in the future. By means of the imperative ‘On to a new world!’ she wants to face the future with an optimistic view.
KvG, June 2023

OLIVIER MOSSET, Untitled, 2008 [photo, GALERIE VAN GELDER EDITIONS]

OLIVIER MOSSET, Untitled, 2008
30 x 30 x 2 cm
analogue photo print, di-bond
edition 10 + 3 AP
Galerie van Gelder Editions, Amsterdam
€ 3.800,- plus € 25,- Track & Trace registered EU mail
inv.OM 000-pr

“De Zwitserse kunstenaar Olivier Mosset is het meest bekend om zijn conceptuele schilderkunst waarbij het niet moest gaan om zaken als originaliteit of auteursrecht die belangrijk zijn voor de kunstmarkt maar puur en alleen om het kunstwerk zelf. Hij maakte en maakt echter ook heel ander werk. Bij Fluxus in New York bijvoorbeeld verscheen in de jaren ‘60 een editie die bestond uit een plastic doosje met rode papiersnippertjes. Kees van Gelder, oprichter van de gelijknamige Galerie van Gelder, heeft ooit zijn stand op Art Rotterdam laten vol storten met soortgelijke stukjes papier, maar dan in de kleur grijs. Prachtig werk, en vast nog wel ergens te koop. Zelf bezit ik een auto van chocolade: Mosset heeft op de doos geschreven dat het een Buick Riviera betreft.”
Harry Ruhé, in GalleryViewer.

HREINN FRIDFINNSSON, Mid-Night Jump, 1975 [unique vintage photos]

HREINN FRIDFINNSSON, Mid-Night Jump, 1975
each ca A6
unique analogue photos
condition: excellent, although toned
Copyright photos: Thora K. Johansen
Collection K. van Gelder/T.K. Johansen, Amsterdam
Copyright photos: Thora K. Johansen / K. van Gelder, ask for details
inv.HF 000-pr

 

These pictures were taken by Thora Johansen during a stay with friends in a villa in Canneto Pavese at Christmas holidays time in 1974. At New Year’s Eve Hreinn asked Thora to make a photo of a jump just before midnight, one on the stroke of twelve ‘o clock and one after the stroke.

On behalf of his solo exhibition at (((R))) Rozenstraat in Amsterdam in 2020 with the help of the Mondriaan Fonds an edition was made from the original vintage prints from 1975 shown above.
In 2018 the original A6 photos were put on the website of Galerie van Gelder for the first time ever, with click-on HRes files. All these years they were glued-in in a family photo book of Thora K. Johansen who took the pictures, and as such only privately accessible between 1975 and 2018. In 2019 the digital images were taken from the website for making an edition out of it. Hence the colour differences between the edition and the vintage prints. For the production of the print edition the reddish tone in the analogue photos was replaced by a more blueish one. The images have been cropped, mainly at the bottom part of the photos, apparently to bring the proportions back to the double A4 standard size.

HREINN FRIDFINNSSON, Mid-Night Jump, 2019
each 42 x 29,7 cm
digital C-prints
edition 3 + 1 AP