DAMIEN HIRST, Virtue, 2008 [mug]

DAMIEN HIRST, Virtue, 2008
10 x 12 x 8,5 cm
mug, transfer print on ceramic
dated in glaze
published by Damien Hirst and Science Ltd, London, UK
€ 220,- plus € 18,- Track & Trace registered EU mail
inv.DHir 04-24-pr

History of price:
ArtSpace, New York, USA September 2023 € 321,-

JOHN M ARMLEDER, Beach Pouch Gra, 2022 [linen beach pouch]

JOHN M ARMLEDER, Beach Pouch Gra, 2022
ca 17 x 24 cm
linen pouch with zipper, plastic protection bag with Vilebrequin print, 4 tags
signed in print, both on linen label and tag
published by JPR Editions / produced by Vilebrequin, Geneva, Switzerland
For purchase see:
John M Armleder Unisex linen Beach pouch Gra – Vilebrequin x John M Armleder
inv.JMA 000-pr

On one of the tags one can read; ‘John M Armleder combines an extraordinary visual culture with delegation principles and chance procedures. This tension between mastery and the effects of randomness stretches his work from abstraction to appropriation.

About JPR Editions
Placed under the responsibility of FSEA / Fondation Suisse pour l’Édition d’Art, a nonprofit entity presided over by Swiss artist John M Armleder, this new imprint is committed to pursuing the distribution of titles published since 2004, as well as to publishing new books.

After 15 years of dynamic editorial activities as a commercial publishing company, JRP|Ringier became JRP|Editions on January 1, 2019.”
From website JPR editions.

JOHN M ARMLEDER, Splash, 2023 [print on umbrella]

JOHN M ARMLEDER, Umbrella Splash, 2023
88 x 98 x 98 cm
print on umbrella, transparant plastic sleeve
published by We Do Not Work Alone, Paris, France
For purchase at publisher’s house: John M Armleder Umbrella Splash
inv.JMA 000-pr

Right from the sixties and seventies John M Armleder has made use of found objects integrated in his art. From his Furniture Sculptures to cat beds bought at a supermarket and hung as estranged fur objects on the wall of a gallery. Lately, he pushed the boundaries by making designs for Wallpapers by Artists, Puma bags, Vilebrequin’s swimwear like shorts and bowling shirts. Here an umbrella for We Do Not Work Alone has been provided with a stylised splash design. KvG

gerlach en koop, Een sculptuur van zes meter lang, 2008 [booklet + photograph]

gerlach en koop, Een sculptuur van zes meter lang, 2008
21 x 15,1 cm
SC, sewn, 48 pp., insert: colour photograph
text by Hans Theys, English / Dutch
edition 300
self-published through gebr. genk, uitgevers, The Hague, Netherlands
inv.GenK 000-pr

“A six metre long sculpture” is a hybride artist’s book, due to the addition of an essay by Hans Theys on the last 12 pages. For an artist’s book, that is a considerable part contributed by a third party.

The first part of the booklet starting on the couver depicts empty pages with a continuous red and blue scribbling at the bottom of each page. The total length is six meters, hence the sudden cut-off by means of a vertical line at the back of the booklet.

JONATHAN BOROFSKY, 2 invites, 1982 [exhibition cards + additions]

JONATHAN BOROFSKY, invites, 1982
each ca 10,5 x 15,5 cm
offset, 2 exhibition cards
published by Gemeentelijk van Reekummuseum, Apeldoorn / American Graffiti, Amsterdam.
Added: 2 Dutch newspaper clippings 1982, stencil Museum fuer Gegenwartskunst, Basel, Switzerland, 1983, German text by Christian Geelhaar
€ 50,- plus € 8,- Track % Trace registered EU mail
inv.JBor 195-pr



MONIEK TOEBOSCH, 15 minuten solozang, invitation, 1977 [invite Other Books and So, Amsterdam]

MONIEK TOEBOSCH, 15 minuten solozang, invitation, 1977
29.7 x 21 cm
stenciled print, 2 handmade ink stamps
published by Other Books and So, Amsterdam
condition: good, although yellowed due to non-acid free paper quality
Added: newspaper clipping Het Parool, 1 juni 1983
inv.UCar 000-pr

On the occasion of the new space at Herengracht 259, an exhibition with posters/flyers of Allen Kaprow and an exhibition of Tom Ockerse Editions took place simultaneously. Ulises Carrión was quite proud he got hold on a more than decent amount of printed matter related to Allen Kaprow.

DAVID HORVITZ, Untitled (la Grande Salinette), 2023 [postcard with glued on sand]

DAVID HORVITZ, Untitled (la Grande Salinette), 2023
10,5 x 15,8 cm
postcard, sand, mat glue
signed, dated, numbered
edition 30
published by More Publishers, Quenast, Belgium
For purchase contact www.morepublishers.be
inv.DHor 000

Plage la Grande Salinette is a popular seaside resort with a view on the bay of Saint-Briac-sur-Mer in France. The owners of publishing house More Publishers invited David Horvitz to make a postcard for a next edition. He came up with the idea to glue beach sand of that resort on a card. Hence the above postcard “Untitled (la Grande Salinette)” that was produced on the spot.

The back of the card mentions ‘From a distance…” that refers to a series of postcards that the publishers Tim Ryckaert and Amélie Laplanche have started to issue in 2023. Every time when they stay in Saint-Briac-sur-Mer (France) they may launch a new edition produced on the spot. Hence the name of this series that alludes with the fact that a plan is proposed by an artist and carried out from a distance…, while the publishing house is located in Belgium.

MARCEL BROODTHAERS, Musée d’Art Moderne à Vendre 1970-1971 pour cause de faillite, 1971 [printed matter]

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

SYLVIE FLEURY, press release Galerie van Gelder, Amsterdam, 1992 [printed matter]

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 came out her work was not yet contextualised and interpreted by critics as feministic. Quite a few visitors coming to her exhibition in the gallery commented: ‘Kees, this is not art, this is fashion!’

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

“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