PIERRE LEGUILLON, The Museum of Mistakes, 2020
26,7 x 20,2 cm
HC, dust cover, 242 pp.
edition 800 of which 100 are signed, dated and numbered with dedication in print, ink stamp
including entrance ticket; here number 72
dedicated to Aditya Mandayam
published by Edition Patrick Frey, Zurich, Switzerland
In August 2020 Edition Patrick Frey offered a special edition on behalf of the launch of artist’s book “The Museum of Mistakes”. When ordered any name could be given that would become ‘part of the publication’. This appeared to be an entrance ticket to The Museum of Mistakes for life. The ticket reads:
‘Ticket valid for Aditya Mandayam.
Ticket valid from August 20, through forever.
Ticket can be used for any visit.
Ticket can be used for an unlimited number of guests.
Please retain this ticket for future visits.
Food and drinks allowed in rooms.
Paradoxically the deceased Indian artist Aditya Mandayam (1983-2019) will never be able to make use of this entrance ticket. The same counts for special edition number 71 that is dedicated to Steven Parrino (1958-2005). What to think of this? KvG
JUTTA KOETHER & STEVEN PARRINO, invitation, 2002
29.7 x 21 cm
print out on paper
mail for Black Bonds in Swiss Institute, New York, USA
Black Bonds was an exhibition which reinvented anti-art’s collaborative spirit.
‘Our solution was to save them by blacking them out, canceling the image/object. A positive/negative, deconstruct to reconstruct, chaos to order to chaos… We decided to show these reclaimed paintings and dedicate the show to George Grosz’s Deathdada, caught in the flux between dissonance and consonance.’ Steven Parrino 2001
STEVEN PARRINO, deposit ticket of National Westminster Bank, New York, ca 1993
6,9 x 15,2 cm
coll. Kees van Gelder, Amsterdam
OLIVIER MOSSET & STEVEN PARRINO, “Studio photo”, n.d. 
20,1 x 25,3 cm
analogue photo print, unframed
numbered, signed by both artists
published by Galerie Pierre Huber, Geneva, Switzerland
In this picture the cars of Olivier Mosset and Steven Parrino are parked in front of their adjacent studios in Brooklyn. This picture was taken in 1990 and Mosset and Parrino called it their “Studio photo” ever since.
STEVEN PARRINO, catalogue 1990 [Post-it with original drawing]
25 x 21 cm
2 yellow Post-its glued in as mailed, instructions, drawing and availability of work, ballpoint ink
This catalogue “Olivier Mosset & Steven Parrino” is published in 1990 by Galerie Pierre Huber, Geneva, Switzerland. Two Post-it papers were tipped in by Steven Parrino for availability of works to be hung in Galerie van Gelder, Amsterdam. The first Post-it paper contains a drawing describing a wrong hang of one of his paintings as reproduced in the catalogue.
STEVEN PARRINO, untitled, 1993 [Iggy Pop]
25 x 16,2 cm
photo copy / collage
uncut invite, verso: duct tape, artist’s name ink stamped
GALERIE VAN GELDER EDITION
published by Galerie van Gelder, Amsterdam
€ 960,- + € 18,- registered EU mail
Steven Parrino was known for having a preference for black, i.e. black cloths, black sunglasses, black paint on canvas, black noise, black duct tape (although he preferred to wrap his crumpled canvasses in silver coloured duct tape). Vintage cars, Harley Davidson motorbikes and Chevrolet motor blocks were also among his favorites to use in his art. The shortening “SS” for Super Sport is a signature performance option package offered by Chevrolet on a limited number of its vehicles. All SS models come with distinctive “SS” markings on their exterior. The SS package was first made available for the 1961 Impala. Here Steven Parrino combined a motor block with a mooning Iggy Pop (?) in black and white on an uncut invitation card. For the occasion of his show an improvised edition was issued.
Mèle Chaud ou la Collection en poche, 1992
16,8 x 12,7 cm / 6.5 x 5 inches
unpaginated exhibition catalogue; pocket photo album with 18 color photographs
edition 50; here number 34/50,
very good condition, although tear in spine of plastic sleeve
produced by Galerie Arnaud Lefebvre, Paris, France
€ 1.200,- plus registered mail
Participating artists: Carl Andre, J.C. Lefevre, H. Scharnagl, Daniel Buren, S. Parrino, J.-P. Bertrand, L. L’Hermitte, On Kawara, R. Hains, E. Wurm, Olivier Mosset and H. Yongping.
STEVEN PARRINO, Electrophilia, Shock Wave Troop, 2002
live performance with Steven Parrino
10 inch LP, 45 rpm
edition of 400
published by Circuit, Lausanne, Switzerland
STEVEN PARRINO, Black Flag, 2003
42 x 30 cm
portfolio of 4 sheets
signed, numbered, name stamped
published by Galerie de Multiple, Paris, France
STEVEN PARRINO was among other things known for wiping out texts with his black marker in order to draw attention to the language of the images in photographed printed matter. Here a few pages of a book about the history of the band Black Flag has been reproduced. Less important parts in the text have been eliminated by the artist in order to come to essentials like: “The tortuous music was meant to signify the band member’s intense engagement – most tattooed the Black Flag bars on their bodies – and the frustration of tooling around in the face of poverty and indifference. Black Flag’ work ethic – the constant touring, the fully committed performances, the relentless rehearsals – was a way of working through the pain, drowning it out in wave after wave of noise and adrenaline. As the old joke goes, Black Flag was suffering for their art, and now the audience had to suffer for it, too. Gina even had a name for the approach ‘the blasting concept’, or a sonic assault on the audience. Joe Carducci recalls one show when the band played for over two hours. “By the end,” he says, “people were just straggling away, like from a battlefield.”
The band had become as alienated from its own audience as it was from society in general. “We were trying to play through the audience rather than to the audience.” Stevenson said “We would put our heads down, play as hard as we could, and didn’t acknowledge their existence.”….
History of prices:
Galerie de Multiple, Paris, France € 900,- February 2013
STEVEN PARRINO, Untitled, 1992
ca 70 x 100 cm
edition 5, certificate of authenticity
published by Galerie van Gelder, Amsterdam