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
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 they may launch a new edition produced ad hoc. Hence the name of this series that alludes with the fact that a plan has to be made 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
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
29,7 x 21 cm
ink jet print
inv.SF 000
During the time this press release was made – and read by Sylvie Fleury before launching – her work was not yet contextualised and interpreted by critics as feministic when it comes to her works related to art made by male artists. Visitors coming to her exhibition in the gallery commented: ‘Kees, this is not art, this is fashion!’
Nowadays, 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
16.6.22
“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
KIMBALL GUNNAR HOLTH, I have spoken to a banker, 2022
video film, tarpaulin with paint stains
edition 10 + 2 AP
signed, numbered, dated
certificate, manual
€ 650,- plus € 24,- Track & Trace registered EU mail
inv.KGH 000-pr
To each numbered and signed copy a tarpaulin with paint stains is added. It was used by the artist to protect the floor of his studio. A manual is describing how to install the video film shown on a flat screen that lies on the tarpaulin, spread out on a floor.
San Diego University, invitations, posters, 1988-1998
various sizes
14 publications, mostly XL
condition: fine
published by San Diego State University Art Gallery, San Diego, USA
€ 250,- plus € 18,- Track & Trace registered EU mail
inv.SDie 746-pr
List of artists:
– Franz Erhard Walther, May 1990, 23,5 x 61 cm, 3x folded
– Mikolaj Smoczynski, 1991, 63,3 x 45,7 cm, 2x folded
– B. Wurtz, Bernd and Hilla Becher, Thomas Ruff, a.o. in Perspective on Place, 1990, 40,7 x 55,9 cm, 2x folded
– Barbara Ess, Duane Michals, Cindy Sherman, The Starn Twins, a.o. in Apparitions and Allusions, 1986, 61 x 45.7 cm, 3x folded
– Yishai Jusidman, 1996, 43,1 x 50,8 cm 2x folded
– David Bunch, Gavin Lee, Clegg & Guttmann, Catherine Opie, a.o. in Composite Persona, 1997, 17,7 x 60,8 cm, 4x folded
– Judith Hersko, 1998, 23,5 x 71,1 cm, 2x folded
– Francis Alÿs, Jamex & Einar de la Torre and Spring Hurlbut in Reconstructing Ritual, September 1997, 15,2 x 70 cm, 3x folded
– Elizabeth Newman, December 1995, 21,5 x 53 cm, 2x folded
– Paul Kos, May 1991,61 x 44,4 cm, 2x folded
– Alexander Brodsky and Ilya Utkin, 1989, 43,2 x 54,4 cm, 2x folded
– Buzz Spector, 1994, 45,7 x 61 cm, 2x folded
– Andrea Zittel, A-Z for You. A-Z for Me, 1998, 16 x 69,8 cm, 4x folded + sleeve, orange sticker, 12 x 51,5 cm (3x folded)
– Noriyuki Haraguchi, April 1988, 60,8 x 44 cm, 2x folded
A collection of 12 posters and 2 brochures put in a home-made light weight box.
SIEGFRIED CREMER, Winkelbild, 1978
16,2 x 32 cm
catalogue, SC, offset, Lümbeck binding
recto-verso embossing on couver
incl. pencil drawing (15 x 31 cm), nr. 20 recto and verso signed, dated
published by Galerie Lutz, Stuttgart, Germany
Private collection, Amsterdam
inv.SCre 000-pr
WILLEM DE RIDDER, untitled, n.d., [1962-2019]
40 x 40 cm
digital print on canvas
signed
not numbered, limited series of 3
produced by the artist / Galerie A, Amsterdam
Private collection, Amsterdam
inv.WdR 723-pr
ELVIRE BONDUELLE, WPSB #5, 2019
ca 20 x 15 cm
acrylic paint, cotton, SC, 16 pp. incl. couver
series of ca 8 unique artist’s books
signed, dated, numbered
published by the artist
€ 350,- plus Track & Trace registered EU mail
inv.EB 80
Elvire Bonduelle likes the idea that a reader may become happy while looking at the blue waves as if holidays have started. Including the couver, all the pages of this soft book is hand painted.
GUGLIELMO ACHILLE CAVELLINI, n.d. [ca 1975]
29,7 x 22,8 cm
offset
published by the artist
condition: poor
inv.GAC 772-pr
In the early seventies Mail artist Guglielmo Achille Cavellini predicts his death in 2014, and in 1971 he describes his work being part of a large retrospective at the Ducale Palace, Venice. This becomes part of the artist’s autostoricizzazione; self-historifisation. He loved the Italian flag tricolors and used them in his work. He created the “Cavellini sticker” always in red, white and green that bore the dates of the fast approaching Cavellini Centennial: 1914-2014. The above print shows his home-made self-historification, completed with the colours of the Italian flag.
