MARCEL BROODTHAERS, Musée d’Art Moderne à Vendre 1970-1971 pour cause de faillite, 1971
45 x 31,7 cm
SC, Lümbeck binding
pages in catalogue
edition 15.000
19 editioned dust couvers, signed, numbered (here unsigned, not numbered)
condition: couver used, inside very good
published by Verein Progressiver Deutscher Kunsthändler, Cologne, Germany
€ 220,- plus € 24,- Track & Trace registered EU mail
inv.MBro 103
Sometimes publications hide works of renown artists. The page of Michael Werner Galerie announces the selling of the Museum of Modern Art Marcel Broodthaers founded in 1968. He designed this page and nineteen signed dust couvers were wrapped around the Cologne art fair catalogue.
The same catalogue contains an advertisement of Wide White Space Gallery shows 24 couvers of publications, a page called ‘Ma Collection’ (trans. “My Collection”) specially designed for the occasion by Marcel Broodthaers.
Marcel Broodthaers – Michael Werner Galerie
Marcel Broodthaers – Wide White Space Gallery, Antwerp
Richard Long – Konrad Fischer Galerie, Düsseldorf
Zero – Galerie Ursula Lichter, Frankfurt am Main
Jan Dibbets – Video Galerie Gerry Schum, Düsseldorf
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
HANS KOETSIER, Advertisements 1969-1981, 1984
60 x 46,4 x 2,5 cm
HC, offset, 93 plates (186 pp.), linen bound with bolts, ca 11 kgs.
signed on last page rare in this condition
published by Staatsuitgeverij, Den Haag, Netherlands added: 16 full page Vrij Nederland newspaper advertisements, vintage extremely rare
€ 1.250,- plus € 32,- Track & Trace registered EU mail
inv.HKoe 000
Hans Koetsier initially worked in advertising and started painting in 1962. He painted figures and fragments of these and incorporated them into serigraphs. At the end of the sixties, he made his first blobby balloon-like sculptures and gradually the idea became more and more important. He developed into a conceptual artist with always a soft spot for typography and ideas written down as ideas. Director of Stedelijk Museum Amsterdam Wim Beeren suggested to him to advertise and in 1969 he placed his first series of advertisements with texts in national newspapers Het Parool, NRC Handelsblad, Art Forum (USA), Kunst (Bundesrepublik Deutschland) Studio International (UK) and on the front page of Dutch weekly magazine Vrij Nederland under the title ‘Random Art / Probability Art’.
Hans Koetsier has never shared his ideas within the Fluxus or Provo movement. Yet the fact cannot be denied that he had comparable autonomous thinking and acting. In the Netherlands Koetsier became known for unusual high-profile plans. For example, he once suggested establishing a national holiday, the ‘Day of Inspiration’, starting on Whit Monday 1980. The Dutch Prime Minister Van Agt was against the idea, because it would suggest that in the Netherlands there was a “fairly general lethargy”, which he said was not the case.
In Friesland, which according to Koetsier would be the last oasis left in the middle of industrialization, Koetsier wanted to build a watchtower in a place where the view around would still be intact.
Hans Koetsier became best known for placing advertisements in weekly magazine Vrij Nederland, which, in addition to short-sighted texts, often had an algebraic or enigmatic appearance.
KvG June 2023
OLIVIER MOSSET, Biennale di Venezia, 1990
40 x 30 cm
catalogue Swiss Pavilion, SC, 24 pp., 6 full colour spreads, sewn
text L’ objet qui n’en est pas un by Jean Beaudrillard in French, Italian, German and English
published by Schweizerisches Bundesamt für Kultur, Bern and Verlag Lars Müller, Baden, Switzerland
condition of dust couver: used
€ 220,- plus € 24,- Track & Trace registered mail
inv.OM 000_000-pr
Olivier Mosset is known for making huge paintings as shown among other venues in Galerie van Gelder in Amsterdam and at the Venice Biennale, both in 1990.
page 8 – 9:
page 10 – 11:
page 16 – 17:
exhibition view Venice Biennale 1990, source Henry Magazine:
History of price:
Alternate Projects, London, UK August 2023 US$ 330.-
20th Century art Books, Lugano, Switzerland August 2023 € 268,-
SYLVIE FLEURY, press release Galerie van Gelder, Amsterdam, 1992
29,7 x 21 cm
ink jet print
inv.SF 000
During the time this press release was made – and read by Sylvie Fleury before launching – her work was not yet contextualised and interpreted by critics as feministic when it comes to her works related to art made by male artists. Visitors coming to her exhibition in the gallery commented: ‘Kees, this is not art, this is fashion!’
Nowadays, Sylvie Fleury says: ‘I’ve always been very interested in the mechanisms of desire — how objects elicit desire, and how brands create that sense of longing. These were things that felt really new when I started working in the 90s, when consumerism was really accelerating.’
Interview in iD by Mahoro Seward, 16 June, 2022
16.6.22
“Sylvie Fleury is extremely fascinated by fashion and everything that has to do with it. She is interested in actual fashion as well in fashion from e.g., the sixties. A lot of her work is used by her as complete or partial ‘ready-made’, but the cooler / rational pragmatism of e.g., American artists is not to be found in her work. She does not claim a priori a critical attitude such as artists like Jeff Koons, Haim Steinbach and others do. Her work derives in the first place from an inner necessity to create an image that is essential to her and is full of actual elements of which meaning is more than unequivocal.
It is remarkable to see in this exhibition how the images of the world of existing things turn into autonomous artworks in spite of the strong recognizability of these existing things. For instance, the colourful fake fur on stretcher has a high degree of inviting to caress and therefore these artworks evoke a beautiful sensual gesture to the exhibition as a whole. The shoes on the floor emphasize once more this physical element of an exact fitting shoe that creates a feeling of well-being. In contrast to this element, one is confronted with her new GALERIE VAN GELDER EDITION set out all over the gallery, but at the same time these photographs are reproductions of fashion magazines she regularly reads with eagerness. Often this peculiar commitment can be traced in her works.”
Press release with the exhibition of Sylvie Fleury April 25 – June 3 1992
SIGMAR POLKE, Kartoffelköppe (Mao + LBJ), 1964
14,8 x 10,5 cm
offset postcard
signed
published by Gebr. König Postkartenverlag, Cologne, Germany
€ 240,- plus € 12,- Track & Trace registered EU mail
inv.SPolk 749-pr
SIGMAR POLKE, Schokoladenbild, 1964
14,8 x 10,5 cm
offset postcard
signed
published by Gebr. König Postkartenverlag, Cologne, Germany
€ 240,- plus € 12,- Track & Trace registered EU mail
inv.SPolk 747-pr
San Diego University, invitations, posters, 1988-1998
various sizes
14 publications, mostly XL
condition: fine
published by San Diego State University Art Gallery, San Diego, USA
€ 250,- plus € 18,- Track & Trace registered EU mail
inv.SDie 746-pr
List of artists:
– Franz Erhard Walther, May 1990, 23,5 x 61 cm, 3x folded
– Mikolaj Smoczynski, 1991, 63,3 x 45,7 cm, 2x folded
– B. Wurtz, Bernd and Hilla Becher, Thomas Ruff, a.o. in Perspective on Place, 1990, 40,7 x 55,9 cm, 2x folded
– Barbara Ess, Duane Michals, Cindy Sherman, The Starn Twins, a.o. in Apparitions and Allusions, 1986, 61 x 45.7 cm, 3x folded
– Yishai Jusidman, 1996, 43,1 x 50,8 cm 2x folded
– David Bunch, Gavin Lee, Clegg & Guttmann, Catherine Opie, a.o. in Composite Persona, 1997, 17,7 x 60,8 cm, 4x folded
– Judith Hersko, 1998, 23,5 x 71,1 cm, 2x folded
– Francis Alÿs, Jamex & Einar de la Torre and Spring Hurlbut in Reconstructing Ritual, September 1997, 15,2 x 70 cm, 3x folded
– Elizabeth Newman, December 1995, 21,5 x 53 cm, 2x folded
– Paul Kos, May 1991,61 x 44,4 cm, 2x folded
– Alexander Brodsky and Ilya Utkin, 1989, 43,2 x 54,4 cm, 2x folded
– Buzz Spector, 1994, 45,7 x 61 cm, 2x folded
– Andrea Zittel, A-Z for You. A-Z for Me, 1998, 16 x 69,8 cm, 4x folded + sleeve, orange sticker, 12 x 51,5 cm (3x folded)
– Noriyuki Haraguchi, April 1988, 60,8 x 44 cm, 2x folded
A collection of 12 posters and 2 brochures put in a home-made light weight box.
SIGMAR POLKE, Ohne Titel (Kuss, Kuss), 1965
14,8 x 10,5 cm
offset, postcard
here signed
mint
published by Gebr. König Postkartenverlag, Cologne, Germany
€ 240,- plus € 12,- Track & Trace registered EU mail
inv.SPolk 727-pr
SIGMAR POLKE, Ohne Titel, 1994
14,8 x 10,5 cm
offset postcard
signed
mint
published by Gebr. König Postkartenverlag, Cologne, Germany
€ 240,- plus € 12,- Track & Trace registered EU mail
inv.SPolk 726-pr
