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
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.
€ 685,- plus € 13,- Track & Trace registered mail
DAAN VAN GOLDEN, Apperception, 2012
29,5 x 23,5 cm
catalogue, SC, 224 pp.
+ inserted wrapping paper (20 x 20 cm)
edition 2000 of which 100 are signed, numbered
€ 520,- plus € 18,- Track & Trace EU registered mail
The insert in this catalogue is a piece of original wrapping paper which the artist produced in 2000 for flower shop / exhibition space Brutto Gusto.
DAAN VAN GOLDEN, Violen, 1991-2012
32 x 32 cm
edition 100 + 30 AP
En/Of part of Bottrop-boy, Kleve, Germany
Collection Galerie van Gelder, Amsterdam, Netherlands
En/Of 046 was released on the occasion of an exhibition Daan van Golden at De Hallen in Haarlem. The artist chose an image from his well known series “New Delhi”. It comes with a new album with music by by Jefre Cantu-Ledesma, who has worked previously on an En/Of record as part of Tarentel. This publication comes with a folded poster of 30 x 30 cm as issued.
Opposite to printed matter for Daan van Golden when it comes to making a photo edition there is not really an interest in limiting the edition, although sometimes he uses edition numbers, as in ‘Violen, 1991-2012′ Basically he prefers to have for instance the amount of a photo edition defined by the amount of buyers during an exhibition. Re-using a work from even decades ago is another modus operandi. In this sense the editions by Daan van Golden are contextualized and re-usable any time in whatever form or technique.
Century ’87, 1987 each 16,2 x 82,4 cm
6 streamers, screenprint, limited edition:
‘Daan van Golden in de Hortus’
‘Nam June Paik in het Postkantoor’
‘Scholte en Dokoupil op de Wallen’
‘Pieter Laurens Mol op Solder’
‘Clemente in de Kelder’
‘Titus Nolte in de Oude Manhuispoort’
* In 1987 Sjarel Ex initiated Century ’87 together with Els Hoek and Nicolette Gast on behalf of Amsterdam Cultural Capital. It was an exhibition in the Amsterdam city centre featuring installations from 30 contemporary Dutch and foreign artists including Nam June Paik, Barry Flanagan, James Lee Byars, Boltanski, Sarkis, Daan van Golden, Rene Daniels and Marlene Dumas. The graphic design group Wild Plakken distributed the black and white streamers all over town in order to draw attention to the project. Very fine copies. Rare.
DAAN VAN GOLDEN, Speciale Editie Ameland-Rapport, 1971,
ca 22,5 x 15 x 2 cm or ca 30 cm x 21 cm,
various sizes and techniques of sealed and assemblaged herbarium, includes colour postcard, feathers, sand, tree-leaves, grass, fern.
published by Hollum and Rotterdamse Kunststichting, Rotterdam. Editor Jan Donia.
Daan Van Golden spends October and November 1971 on the island of Ameland; while walking and cycling he collects leaves, mosses; the result is a series of 500 cellophane wrapped herbariums. His Ameland-Report is distributed as the 6th edition of the ‘Atlas voor een nieuwe metropool’.
In 1971 -1972 in total 8 editions were made by Hans de Vries, Lex Wechelaar, Wim Gijzen, Cor Blok, Sjoerd Buisman, Daan van Golden and Pieter Engels.
DAAN VAN GOLDEN, Untitled, 1971
75 x 56 cm
screen print in 6 colours, coloured paper
verso signed, dated, numbered
edition 25 (unknown if the edition of 25 was issued as published)
Opposite to printed matter for Daan van Golden when it comes to making a photo edition there is not really an interest in limiting the edition, although sometimes he uses edition numbers. Basically he prefers to have for instance the amount of a photo edition defined by the amount of buyers during an exhibition. Re-using a work from even decades ago is another modus operandi. In this sense the editions by Daan van Golden are contextualized and for him re-usable any time in whatever form or technique. And seen in this light, the following story was often put forward by Van Golden:
An emperor commissioned a team of Greek and a team of Chinese artists each to paint a wall. A partition was made between the two with a wall so that they could not prematurely see each other’s work. When the Chinese finished their job, their mural was unveiled. A few weeks later, the Greeks had finished their work also. The emperor was invited to come and to see the result. They had polished their wall surface so that the painting of the Chinese reflected softly in it.