UGO RONDINONE, 2000-2005
print
26 x 20 cm
hand signed, numbered
sticker at the back of the print is mounted upside down
edition 4500, here number 2522
mint
published by Contemporary, London, UK
private sale
inv.NN 000-pr
Contemporary was a monthly art magazine based in London, founded and edited as The Green Book by Keith Spencer as a quarterly publication. It re-emerged twice, the first time under the title Contemporary Art in 1993 and the second time again as Contemporary in 2002, but not limited anymore to visual arts. Once subscribed to the magazine each issue came with a print, with ink stamped signature and sometimes hand signed on sticker.
ANDY WARHOL, Mao, 1979
135 x 44,5 cm
screen print, wallpaper with text “Andy Warhol – TRIM”
published by Musée Galliera, Paris, France
condition: fine, although slightly discoloured
€ 2.000,- plus € 24,- Track & Trace EU registered mail
Wallpaper “Mao” was printed on behalf of a solo exhibition in Musée Galliera in Paris that was on from 23 February through 18 March, 1974. Apart from black and white prints colour versions were produced.
MARIJKE VAN WARMERDAM, Hear there, everywhere, 1989-1990
10,5 x 15 cm
postcard; offset, screen print
published by the artist
Collection K. van Gelder, Amsterdam
inv.MvW 37-39-pr
“In the United States, which Van Warmerdam first visited in 1989, the telephone buttons can be used for both numbers and letters. This led her to replace the meaningless letters with the words ‘Hear, there, every, where’, as though these words can be seen or heard while dialing. The postcard was produced by the artist herself; the four short words are silk-screen printed onto the card.”
From text by Kees van Gelder in catalogue ‘Close by in the distance’ (2011), p. 35.
MARINA ABRAMOVIC, Clean The House!, 1994
61,6 x 83,6 cm
screen print on thick paper
signed, dated, numbered
edition 300, here nr 70/100
mint condition
extremely rare
p.o.r.
From one of her performances “Clean The House!” a photo was taken and used for this print.
In 1997 Marina Abramovic showed “Balkan Baroque” in the MoMA, in New York, for which she made a performance setting including a huge heap of cow bones, soap, brush, dress stained with blood and 3-channel video. Marina Abramovic said about this performance-installation:
‘When the war started in Bosnia, it was so difficult time for me. I was not there. I was living since long time outside of the country. And I remember so many artists immediately react and make the work and protests on the horrors of that war. And I remember that I could not do anything. It was too close to me.’
‘The whole idea that by washing bones and trying to scrub the blood, is impossible. You can’t wash the blood from your hands as you can’t wash the shame from the war. But also, it was important to transcend it, that can be used, this image, for any war, anywhere in the world. So, to become from personal there can be universal.’
The publisher of this screen print is unknown. A signed and numbered copy is in the collection of SMAK, Antwerp in Belgium.
SALIM BAYRI, Let the blue in, 2018
64, 5 x 37 cm
screen print, blue frame + link to AR app for Android
signed, dated, numbered
edition 8
€ 500,- plus € 32,- Track & Trace EU registered mail
When an AR app belonging to this work is held in front of the framed screen print another image appears, though similar in atmosphere. Salim Bayri tells the following about this print:
LET THE BLUE IN (REJECTED), print on paper and AR app, 2018.
I applied to an open call by Spaces. (A company that offers coworking spaces around the world). They wanted to celebrate their 10th anniversary picking 10 existing works by 10 artists to make 10 editions of each that will go to 10 different coworking spaces. It was called ‘Power of 10’.
At that time, I visited the kitchen at ‘Ons Lieve Heer op Solder’ one of the remaining secret churches from the 17th century. I was intrigued by the blue tiles and started to wonder why they were blue.
Blue like the famous deep blue from Essaouira and Touareg garments. Could that be from there?
I made an image out of the figures found in the tiles, mostly about children’s games and made it look as if I really printed and framed it thanks to 3D computer simulations.
They liked it and I was asked to produce 10 copies of the image.
Every morning in my squat house in Van Schendelstraat in Groningen I would look at the image and change little details. I couldn’t leave it like it was after a night of sleep seeing little children playing the ball in my head.
By the time I sent the image to the printers, it was quite different, although I thought it was still in the same spirit.
The day they received it and hung it; I received a call from the organisers surprised by the modified image. “It’s not what we saw and It’s too late to reprint it, the opening is today!”
Urgently, I go see Kees van Gelder to seek some comfort. An hour before the opening we have the idea of using some tech magic with an AR app I made before. When the camera is pointed to the new rejected print, the first approved one shows up instead. I thought they would find it funny enough to accept the new image. But something approved apparently should stay like it is, and I had to reprint and replace everything as it was agreed in the first place.
But well, at least there’s a side of the story where the rejected and approved, old and new, altered and original are together. You have it.
SB
JONATHAN MONK, Measurements, 2021
14,8 x 10,5 cm
offset, felt pen ink, postcard with hand written text
signed, numbered
edition 20
published by NAK / Neuer Aachener Kunstverein, Aachen, Germany
inv.JMon 1110_1113
In 1969 Mel Bochner became renown for his “Measurement rooms” for which architectural features of a room were measured and marked out directly onto the walls. Jonathan Monk is known for reproducing art works taken from art history, i.e. (re)making the same work, but in a different way. For “Measurements” (2021) Monk has marked in green printed lines the height and width of a postcard depicting the view of a “Measurement Room”. On the backside of the card he wrote with the help of a ruler, as a straight line support: ‘Written with a ruler for …’ giving this work a hand made touch. KvG
MARIJKE VAN WARMERDAM, Daar is de zon / There is the sun, 2021
42 x 21,7 cm
digital print on matte paper
signed, numbered
edition 20 + 10 AP
published by More Publishers, Brussels, Belgium
Repetition and doubling is one of the favorite motives Marijke van Warmerdam applies in her films and photo works. In this print a picture from her childhood shows her energetically pointing into the air.
“There is the sun” is characteristic for Van Warmerdam’s way of thinking when it comes to how things change position in past, present and future. It is one of her recurring main themes, i.e. anticipating on what comes and reflecting on what happened before. Here Marijke van Warmerdam mirrored a snapshot taken during her early years. Due to its doubling it seems that the child refers to the sun’s changing position in time.
KvG
JONATHAN MONK, Picture Post Card from Post Box Pictured, 2006
15 x 10,5 cm
post card
signed
published by Nothing Else Press, Toronto, Canada
inv.JMon 1096
JONATHAN MONK, Picture Post Card from Post Box pictured, 2005
15 x 10,5 cm
post card, stamp dated: 12-08-2021
signed
Published by Yvon Lambert, Paris, France
inv.JMon 1095
KOENRAAD DEDOBBELEER, 2011, Munari
119,5 x 89 cm
screen print, verso printed text
edition 100
published by Christophe Daviet-Thery, Paris, France
verso text:
