MARINA ABRAMOVIC, Clean The House!, 1994
Out of series; “I Am You”
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.
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
JAAP KRONEMAN, Untitled, 1995
200 x 152 cm
screen print, conté, acrylic paint
edition 8, here number 2/8
signed, dated, numbered
Jaap Kroneman is one of the founders of Flat Real Art, a branch of the visual arts, which uses concrete reality to begin with. Observed reality is the basis and in the implementation of his work that is flattened. Reality is abstracted, but nevertheless always recognizable. This print has been partly painted, i.e. the nipples and trousers. The outlines have been drawn with black crayon.
WJM KOK, Monochrome 360º (Revaleiland), 2020
SN 68172
10,4 x 14,8 cm
offset, verso residual glue and paper, cellophane envelope, sticker
edition 81, here number 28/81
signed, dated, numbered
published by the artist
€ 35,- plus € 5,- Track & Trace NL registered mail
inv.WJM 1034_1043
During the pandemic in 2020 Dutch advertising columns were temporarily out of use for advertising. They were all around set on hold and covered with a blue colour print on paper. Wjm Kok appropriated a considerable amount of these unused so-called ‘peperbussen’ in Amsterdam by merely localising them. He took a picture of each cylindrical column, adding a title and Serial Number.
Due to weather conditions the blue posters came down partly. A colleague teared some of these parts off. When this was offered to him, he decided to cut the torn off poster parts into cards. With this less ephemeral and more concrete gesture he brought this work closer to the approach of the American appropriation artists who materialised their ideas by putting the borrowed products merely on display, although without the need for manual work. KvG
THOMAS RUFF, Sterne, 01h 55m/-30º, 1989
14,8 x 10,4 cm
postcard
signed with silver marker rare
splendid condition, with verso partly residual glue and paper
€ 345,- plus 12,- Track & Trace registered EU mail
inv.TRuf 1027-pr
Uncommon signature put straight into the image of the print, by which the artist’s name creates much more depth to the depicted firmament. It functions as a repoussoir.
Appropriated advertising column opposite Herengracht 213, Amsterdam 
