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GUDMUNDSSON, SIGURDUR printed matter

SIGURDUR GUDMUNDSSON, fax pages, 1999 [opening CEAC, Xiamen]

SIGURDUR GUDMUNDSSON, fax pages, 1999
ca A4
photo copies of 3 sheets of fax paper,
comes with first invitation card of CEAC
published by CEAC, Xiamen, P.R. of China

Sigurdur Gudmundsson writes about preparations of his exhibition in CEAC / Chinese European Art Centre in Xiamen and one in museum Het Domein in Sittard (Netherlands) scheduled in 2000.

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FRIDFINNSSON, HREINN photographs

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
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 since 1975. In 2019 the digital images were secretly 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 in order to bring the proportions back to the double A4 standard size of the printing paper.

HREINN FRIDFINNSSON, Mid-Night Jump, 2019
each 42 x 29,7 cm
digital C-prints
edition 3 + 1 AP
Copyright photos: Thora K. Johansen

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GUDMUNDSSON, KRISTJÁN printed matter

KRISTJAN GUDMUNDSSON, poster, 1972 [poster]

KRISTJAN GUDMUNDSSON, poster, 1972
27,9 x 21,8 cm
print
published by Galerie 845, Amsterdam
condition: pin holes, aged paper, missing tiny paper parts at top corners, folded for mailing as issued
extremely rare
Collection K. van Gelder, Amsterdam
inv.KG 000-pr

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HUISMAN, HETTY printed matter

HETTY HUISMAN, “Een brief aan Pyth, dus niet aan Jan en Klaas” [1984]

HETTY HUISMAN, “Een brief aan Pyth, dus niet aan Jan en Klaas”, n.d., postal stamp 1984
10,4 x 14,8 cm
offset
published by Time Based Arts, Amsterdam
inv.HHui 000-pr

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HUISMAN, HETTY printed matter

HETTY HUISMAN, From Void to Void to Void to Void, 1982 [lecture at De Appel]

HETTY HUISMAN, From Void to Void to Void to Void, 1982
29,7 x 21 cm
lecture by Hetty Huisman dd. 31 March
print, twice folded as issued for mailing
published by De Appel, Amsterdam
inv.HHui 000-pr

HETTY HUISMAN, From Void to Void to Void to Void, 1982
29,7 x 21 cm
print on thin paper, ink stamp, once folded as issued for mailing
published by De Appel, Amsterdam

Added: report by KvG with taped on entrance ticket

Translation in English:

HETTY HUISMAN
“From Void to Void to Void to Void”, 1982

Report

– A computer with a screen, on which slides with texts (acting as answers to questions – in writing and previously sent to Hetty Huisman). A keyboard could be used by the visitors. This provided an answer(?) to questions such as “What comes after From Void to Void to Void?” Answers were given on the screen as: “Because the end of the talk is implied in the beginning” (Yves Klein quote), etc.
– A film was shown with ceramic stripes and prints on paper. Before the film was played you heard through a loudspeaker 1: “Wiès? Wiès?” and by loudspeaker 2: “Uh, Uh, Uh…”. During the film, Hetty’s voice was heard saying “The gaze lurks at a glance[?] for itself/her flight is carried long and unbalanced.”
– In an opposite corner, music by David Zack (Am. friend of Hetty) began to accompany a second film. This concerned more confessional literature (emotionally written sentences like “Oh, sure, I would.”) or identity texts put down by Hetty on sheets of paper. (David Zack sang about “problems in visualizing identity”). And about washing machines, etc. “I don’t use drugs; I use a dishwasher”.
– As a last part the “Lighthouse” was put into operation. Two images of ceramic paint or powder were rotated as beams of light using slide projectors. One image depicted a head with a crown (of Hetty). Musically, these images were accompanied by a monotonous booming sound.

The form.
– Is it useful to ask yourself whether something is correctly presented in a certain form? No, because it doesn’t matter whether I went to a ‘lecture’ or an ‘audio-visual performance’.
– Questions could be asked in advance: that is, before the lecture had taken place and before the content was known.
– Direct ceramic prints or objects were absent. It was now only available in the form of documentation (in the form of slides and film). The drawings themselves, which referred to ceramics, were replaced: ceramic objects > ceramic drawings > film, slides, sound.

What is new or different in her work or in its development?
1st The sound
2nd Identity texts on ceramic drawings.

 I believe that research into ceramic materials has shifted to questions about one’s own identity.

Kees van Gelder, 31 March 1982

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HUISMAN, HETTY printed matter

HETTY HUISMAN, Gebruikersniveau / User level, January 1987 [drawing]

HETTY HUISMAN, Gebruikersniveau / User level, January 1987
14.4 x 10.5 cm
pencil, exhibition card, verso
Collection K. van Gelder, Amsterdam
inv.HHui 205-pr

This is not an edition, this is a drawing by Hetty Huisman explaining ‘the principle of each computer’. It is made on the back side of an exhibition card. She visited the gallery and I remember that she talked about ‘zeros’ and ‘ones’, about Tartan, Cobalt, Pascal, Basic. She tried to explain to me how the essence of a computer could be nailed down. Decades later I realised how much this was related to her thinking about her conceptual and deconstructive approach to ceramics. KvG

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De Appel Hollandse Week 1976 DE KROON, HARRIE EIJKELBOOM, HANS HOOVER, NAN printed matter STEVENS, WALLY URBAN, NIKOLAUS

HOLLANDSE WEEK 4-11 juni, De Appel, 1976 [folio with 15 sheets]

HOLLANDSE WEEK 4-11 juni, De Appel, 1976
30,2 x 21,5 cm
16 parts: folio, index sheet with artists names, 12 prints by artists, 2 prints with text by Liesbeth Brandt Corstius
published by De Appel, Amsterdam
condition: excellent condition, very slightly toned paper
€ 270,- plus + € 15,- Track & Trace registered EU mail
inv.DeAp 03-pr

Ref. LI-MA film and video archive, Amsterdam various artists performing at De Appel, Brouwersgracht 196, Amsterdam

Participating artists:
Nan Hoover: Light Shapes
Harrie de Kroon: untitled
Michel Szulc Kryzanowski: Naakt Zijn / Being naked
Robert Malasch: Madonna
Raul Marroquín: Dialogue
Pieter Mol: Ik zou je ogen willen kussen / I’d like to kiss your eyes
Sef Peeters: Dat wat ik achterlaat / What I leave behind
Marjo Schumans: Het Leven / Life
Wally Stevens: Mythomanie / Mythomania
André Swagers: Rituals
Nikolaus Uban: Parrot Training
Hans Eijkelboom: Identiteiten / Identities

HARRIE DE KROON, untitled, 1976

 

NIKOLAUS URBAN, Parrot Training, 1976

 

NAN HOOVER, Light Shapes, 1976

 

HANS EIJKELBOOM, Identities, 1976

 

WALLY STEVENS, Mythomania, 1976

 

Extra information

Wiesje Smals showing the couver print of Hollandse Week 4 – 11 June.
source: www.deappel.nl

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Fluxus multiples SAITO, TAKAKO

TAKAKO SAITO, Wassermusik, 2000

TAKAKO SAITO, Wassermusik, 2000
33 x 17,3 cm
hand made plastic bag, permanent felt pen ink, heat press ridges, metal rings, dried up water and sand from river Rhine
series of circa 2-3 unique works
signed, dated
inv.TSai 000-pr_for art handling use gloves

It is known that Takako Saito has made a few of these unique hand made plastic bags called “Wassermusik”, with geometric patterns alluding to musical scores without written notes. Apparently the water took care of the music. The bag is supposed to hang on a wall and was filled with water from the Rhine in Düsseldorf, Germany. In the long run this evaporated. Considering the use and age of this unique item it is in an excellent condition, without tears, cracks, rust or petrification. KvG June 2022

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FLEURY, SYLVIE printed matter

SYLVIE FLEURY a.o., 1993 [invitation card]

SYLVIE FLEURY a.o., 1993
invitation card
published by Galerie Saqqârah, Gstaad, Switzerland
splendid condition
inv.SF 000

Categories
artist's books GUDMUNDSSON, KRISTJÁN

KRISTJAN GUDMUNDSSON, Punktar / Periods, 1972 [artist’s book, signed]

KRISTJAN GUDMUNDSSON, Punktar / Periods, 1972
offset, SC
signed, numbered
edition 300
published by Silver Press, Reykjavik – Amsterdam
condition: page 1 retouched with black ink by the artist, light smudges on couver at lower left
rare
€ 345,- plus € 15,- Track & Trace EU registered mail
inv.KG 178-pr