DAVID HORVITZ, Studio Rent Editions, 2016 [rent for June]

DHorvitz2016studio-edition-June700

DAVID HORVITZ, Studio Rent Editions, 2016 [rent for June]
3 colour photos, each 15,2 x 10,1 cm
hand stamped envelope (10,4 x 23,9 cm)
signed, numbered, dated
edition 10
published by the artist

 

Extra information:
The following Studio Rent Editions have been published by David Horvitz.

I made polaroids of the sea in Palos Verdes, California. September 2010.

I bought one of each apple variety at a farm stand in Upstate New York on one day in the fall. October 2010.

I made a photograph of me looking at Marcel Ducham’s Tu m’ at the Yale Art Gallery, and put the photograph onto the Wikipedia page for Yale Art Gallery. November 2010.

I put a wreath over my head and wrapped my body with Christmas lights. December 2010.

I made a polaroid of the Pacific Ocean at the exact same latitude as my studio in Gowanus in Brooklyn, New York; as if you could look at my studio window and see the Pacific Ocean. January 2011.

I went to find the road to nowhere, a remnant of an abandoned project by Robert Moses in the Far Rockaways in Queens, New York. February 2011.

I made two polaroids of the sky exactly one minute apart. March 2011.

I traveled from the UK to Holland on a ferry crossing the North Sea and made a polaroid of a view from the ferry. April 2011.

I went to Marcel Duchamp’s grave in Rouen, France and touched his tombstone. May 2011.

I bought a watermelon from a street vendor in Brooklyn and took it to Coney Island so it could see the sea before I ate it. June 2011.

I brought a manenki neko with me to Arles, France hoping to give it to Chris Marker. July 2011.

Heirloom tomatoes. August 2011.

I stole a flower from a restaurant and tried to teach myself how to draw by drawing it. September 2011.

I left a bouquet of white roses at Occupy Wall Street. October 2011.

I mailed one-cent checks to Sallie May to contribute towards my student debt. November 2011.

I took LSD and watched the sunset at JFK airport. December 2011.

I found one of my Public Access images in a fan video made for New Order’s “Leave Me Alone” on Youtube. January 2012.

I went stargazing in the streets of Brooklyn. February 2012.

I searched for the Aurora Borealis in Whitehorse, Yukon. March 2012.

Reject prints for my “Scotch Broom” edition with Fillip. April 2012.

In Lake Tahoe, Nevada I walked from a public beach to a private beach. May 2012.

In Hong Kong I got stuck on a rock at the bottom of a cliff, and was saved by a police boat after signaling to passing boats with my camera’s flash. June 2012.

An envelope of California sand. July 2012.

I spent an entire day walking in the direction of the sun, ending up somewhere in New Jersey at sunset. August 2012.

I made street signs of keywords for stock photographs depicting depression and placed them around the Catskills Mountains. September 2012.

I collected seeds from the Honey Locust trees in Zuccotti Park in the Occupy Wall Street encampment. October 2012.

I photographed items in Printed Matter’s archive that were destroyed by the super-storm Sandy. November 2012.

I tried to walk across the horizon in Berlin. December 2012.

I buried the paper studio rent edition certificate in a pile of dirt for the month. March 2013.

I inserted scanned polaroids of my cat, Demian, into bootleg PDFs of “Marcel Duchamp: The Afternoon Interviews” by Calvin Tomkins published by Badlands Unlimited and “24/7 Late Capitalism and the Ends of Sleep” by Jonathan Crary published by Verso, and then put these PDFs into circulation. August 2013.

I filled my shoes with sand at the beach before getting on a flight at LAX. When I took my shoes off in airport security I made a small pile of sand. September 2013.

I planted two Honey Locust trees in Vermont. October 2013.

Where I planted a Honey Locust tree (that had been germinated inside a book) outside Bard’s CCS library, small rocks were excavated and mailed. November 2013.

I went to Karl Marx’s grave in Highgate Cemetery, London. December 2013.

I wrote an angry letter to two curators and I mailed it with the shavings of a bronze bell. January 2014.

I waved goodbye to my friends in Berlin from Brighton Beach, New York (they were sleeping when I left their house to go to the airport, so I could not say goodbye in person). February 2014.

I made photographs of Edgardo Antonio Vigo’s work in MoMA library. March 2014.

In a hotel room in Limerick, Ireland I wrote with watercolor on the backs of envelopes forming a long sentence. I mailed out individual envelopes, fragments of the whole sentence. I don’t remember what the sentence said. April 2014.

I collected small pieces of sea glass that were used for sculptures in the New Museum and mailed them. May 2014.

In the Catskills my baby daughter laid on the ground and was surrounded by a handful of Wisteria seeds I had collected from the Brooklyn Botanical Garden. I left them there to grow in a circle. July 2015.

I drove up the California coast and secretly placed my artist book, Public Access, in small local libraries. August 2015.

I made a rubber stamp: “A Distance Between Two Moments in Time,” and stamped post-cards. September 2015.

I held a book launch for my Mood Disorder book at the New York Art Book Fair by attaching it to balloons and releasing it. October 2015.

I made watercolor sketches of vases over a press release in Tepoztlan, Mexico. November 2015.

Three Pellegrino bottles filled with sea water collected from the longitude line that divides California’s time-zone with Alaska’s time-zone were carried along the Ballona Creek to Blum & Poe gallery. They were left on the cement of the river, in a row north to south. December 2015.

I moved to Los Angeles and made post-cards for each letter of “Los Angeles” and mailed these letters out individually. January 2016.

I stamped “Nobody Owns the Beach” onto two envelopes and mailed them separately. February 2016.

I collected wildflowers from California’s wildflower super bloom. March 2016.

I mailed a rock from Death Valley in an unpadded envelope. April 2016.

I mailed a watercolor that said “The Wind to You.” May 2016.

I poured a cup of tap water onto the wood floor of my new studio in Los Angeles and let it evaporate and/or seep into the wood. June 2016.

RICHARD PRINCE, Untiled (Jawbone), 2016

RPrince2016untitled(Jawbone)2013-2015web

RICHARD PRINCE, Untitled (Jawbone 2013-2015), 2016
46 x 30,5 cm / 18 x 12 inch
C-gloss photo print
signed, numbered
edition 100
published by The Kitchen, New York, USA
not available

On the occasion of performances by The Glenn Branca Ensemble: The Third Ascension at The Kitchen NYC Richard Prince created this limited edition print. Print courtesy of Richard Prince.

DAVID HORVITZ, Studio Rent Editions, 2015 [rent for August]

DHorvitz2015studioRentEditionsAugust600

DAVID HORVITZ, Studio Rent Editions/August, 2015
10,4 x 24 cm / 10,2 x 15 cm
hand stamped envelope, five photographs, 6 parts
signed, numbered, dated
edition 10
published by the artist

‘My studio rent edition series are a series of monthly editions that subsidizes my monthly studio rent. They are all an edition of 10 and sold for 1/10th of my studio rent. Most of previous ones are sold out (some are available at my gallery in Berlin). Each month I send out an email describing the new piece, and you can purchase one, and it is then mailed to you. Maybe this series could also be seen as a monthly mail art project as well.’

“…This is the email description for the August 2015 studio rent edition.
For an exhibition last year in Santa Barbara, California, I had 30 copies of my Public Access artist-book bound to library standards in an archival blue material with gold foil stamping by Trappist monks in Oregon. I drove up the California coast and left these books in local libraries.
The edition is five 4″x6″ photographs in a business envelope. The stamp and signature is on the back of the envelope…”

from an email dated 27 August 2015 of David Horvitz to Kees van Gelder.

DAVID HORVITZ, Studio Rent Editions, 2015 [rent for July]

DHorvitz2015studioRentEditionsJuly600

DAVID HORVITZ, Studio rent editions, 2015
10,4 x 24 cm / 10,2 x 15 cm
hand stamped envelope / two photographs, 3 parts
signed, numbered, dated
edition 10
published by the artist

‘My studio rent edition series are a series of monthly editions that subsidizes my monthly studio rent. They are all an edition of 10 and sold for 1/10th of my studio rent. Most of previous ones are sold out (some are available at my gallery in Berlin). Each month I send out an email describing the new piece, and you can purchase one, and it is then mailed to you. Maybe this series could also be seen as a monthly mail art project as well.’
The edition for this month is two photographs taken on my friend’s (Julia Weist) property in the Catskill mountains some months apart. I laid my newborn daughter on the ground and surrounded her with Chinese and Japanese Wisteria seeds that I had harvested (against the garden’s policy) at the Brooklyn Botanical Garden. I then left the seeds for nature to do its things… The second photograph was made later this summer when the plants began to grow. Hopefully, in the future, these Wisteria plants will continue to grow, and Ela Melanie can visit in late spring when they are all in full bloom with their purple flowers and sweet fragrances, and know that she had been there once….’ from an email of David Horvitz to Kees van Gelder

CONSTANT DULLAART, Jennifer in Paradise, 2015 [USB stick card]

CDullaart2015e-key-recto500

CONSTANT DULLAART, Jennifer in Paradise, 2015
5,4 x 8,5 cm
USB stick card
edition unknown

 

Constant Dullaart (NL, 1979) works primarily with the Internet as an alternative space of presentation and (mis)representation. His often political approach is critical of the control that corporate systems have upon our perception of the world, and the way in which we passively adopt their languages. Dullaart’s practice includes websites, performances, installations and manipulated found images, presented both off line and on Internet.

John Knoll took a picture of his girl friend Jennifer in Bora Bora, Tahiti. This image ‘Jennifer in Paradise’ became the first colour image used to demonstrate the software he and his brother Thomas Knoll invented. Software that could manipulate digital images that they called Photoshop.

This USB stick was handed out as promotion material by Gallery Carroll/Fletcher in London.

 

CDullaart2015e-key-verso500
verso USB stick card

 

Jennifer-in-Paradise500
‘Jennifer in Paradise’, 1987 – photo taken by John Knoll

JONATHAN MONK, Hand Painted by Hand, 2015

JONATHAN MONK, Hand Painted by Hand, 2015
26,7 x 19 cm
gouache on digital photographic fiber based matt paper
unique hand painted series of 25, here number 3/25
pristine condition, with waves in paper as issued
published by Camden Arts Centre, London, UK
inv.JMon 1097
available at publisher

This edition shows the hand from Bas Jan Ader’s work I’m Too Sad to Tell You, with the background painted by hand by Jonathan Monk. The latter is known for emphasizing the simplicity inherently present in a working plan like painting a background of a hand by his hand. Any subject is allowed as long as the obvious can be banally pushed further: “… Once something has been done, it can be done again in a different colour.” By means of doubling and repeating the result has most of the time the effect of a Fluxus-like humor.

Together with artists like Yann Sérandour, Claude Closky, Nicolas Chardon, Martin Creed a.o. Jonathan Monk belongs to a generation that is – apparently being impressed by historical mile stones – making use of references to works of famous colleagues in the past.

DORA GARCÍA, The Sinthome Score, 2015 [incl. original drawing]

DGarcia2015theVenicesinthomeScoreC700

DORA GARCÍA, The Sinthome Score, 2015, alias Venice Sinthome Score Edition
26,5 x 37 x 11,5 cm
printed matter, photo print + original drawing, signed, numbered
score book (31 x 23 cm) used as performance prop, numbered and also signed
edition 16
published by ProjectSD, Barcelona, Spain

7 parts
– one of the scores (performance prop) used by the performers during the exhibition in the Venice Biennual 2015, signed with initials, numbered
– original drawing made by Dora García in A4 size, which refers to the cosmogonies created for the work, signed
– photograph, 30 x 24 cm, C-print of a moment of the performance in Venice, signed with initials, dated, numbered
– catalogue ‘I See Words’ (sealed)
– folio with certificate of authenticity, signed, dated in print
– folio with sticker
– cardboard archive box with sticker

The work of the French psychoanalyst Jacques Lacan appears in García’s recent work. The score of the performance is based on an “unofficial” English translation of Jacques Lacan’s seminar 23 “Le Sinthome” (1975-1976), a series of ten lectures that drew from the writings of James Joyce to elaborate on language, the unconscious, and a reconsideration of the Borromean knot.
Lacan and his relationship to James Joyce is the subject of the Dora García’s work The Sinthome Score. The term “sinthome” (symptom) originates from a text of the same name by Lacan, Le Séminaire livre XXIII, Le Sinthome (1975-1976) where Lacan uses Joyce’s writings to expand his model of the three rings composing a Borromean knot, i.e. Symbolic, Imaginary and Real. Joyce’s subversion of language becomes a way of knotting them together, as well as avoiding their collapse into madness: it is the synthome (symptom; synthomeis spelled in old French), in homage to the Irish writer’s penchant for etymology, portmanteaus and polyglotism.

The Sinthome Score (performance publication, photograph of performance): two people perform as a duo, where one of them reads from a book (cover looks like a music score publication) called “The Sinthome Score” and the second one executes a series of movements that change each time the reader begins a new chapter, following instructions in the book.

Garcia’s work is accompanied by ten sets of movements, one drawn for each of the ten lectures. Two performers determine the rhythm, cadence, and speed of the performance. Garcia’s score and choreographic notation welcome new participants, accidental stutters of the body, or slips of the tongue. It is left to the visitor to decide if, how, and when to enter the conversation. The performance was shown at the Venice Biennale 2015, running continuously during the opening hours.

The publication is one of the scores used at the Venice Biennual 2015.

DGarcia2015theVenicesinthomeScoreB700

DGarcia2015theVenicesinthomeScoreA700

DAAN VAN GOLDEN, BB + PP, 2014 [special edition with black & white photo]

DvG2015BB+PP700

DAAN VAN GOLDEN, BB + PP, 2014
20,3 x 23,5 cm / 29,7 x 22,3 cm
photo print, verso stamped: ‘BB + PP’
offset, 32 pp., incl. invitation card Andriesse/Eyck
hand numbered and signed on title page of book, offset, 32 pp.
special edition + photo print: 40
regular edition 500
€ 685,- plus € 13,- Track & Trace registered mail
inv.DvG 000-pr

This luxury edition ‘BB’ (Brigitte Bardot) comes with a black & white photo print (Pablo Picasso with Brigitte Bardot) in semi-translucent paper sleeve, including an invitation card of the exhibition at Andriesse / Eyck Gallery, Amsterdam December 2014.



 

DvG2015BB+PP-signature700

History of prices:
Catawiki, Assen € 370,- 18 July 2021 (hammer price)
Lucius Books, ‘s Hertogenbosch € 550,- mei 2015