ZIN TAYLOR, Living systems, narrative haze (a sequence of palm trees obscured by the fog), 2013
set of 6 duotone prints
29,7 x 42 cm / 11.7 x 16.5 inches
edition 50
signed, numbered
published by Mousse Magazine, Milan, Italy
History of price:
Mousse Magazine, Milan, Italy € 300,- June 2013 (year of issue)
LIZ MAGIC LASER, We’re Looking For You, 2013
ca 61 x 25 x 12 cm (bag size: 34 x 25 x 12 cm)
screen print on tote bag
limited edition
published by The Armory Show, New York, USA
In August of 2012, The Armory Show invited Laser to serve as its commissioned artist. She accepted in October, agreeing to produce limited-edition artworks and to shape the visual identity of the fair through VIP cards, invitations, signage, Jack Spade tote bags, and employee T-shirts. Laser enlisted the help of market research analyst Ben Allen of Labrador Agency to conduct a series of focus groups with art consumers. She had The Armory Show invite members of the arts community—a range of collectors, curators, museum professionals, art advisors and critics—to participate in group discussions that would ultimately determine how she would lend her identity to The Armory Show. Laser conducted a series of six focus groups, each consisting of ten participants and lasting two hours. The first sessions in early November 2012 were devoted to “exploratory” market research in which participants were asked to characterize The Armory Show’s current status and the critical value of Laser’s work. They were then prompted to suggest how she might apply her artistic strategies most effectively to the fair. Based on feedback from the first sessions, Laser developed prototypes of art editions and visual motifs, which were “taste- tested” by later groups that convened in late November for what the artist deemed the “validation and refinement phase.” Laser’s video, The Armory Show Focus Group (2013), assembles the most useful viewpoints, culled from over twelve hours of focus group discussion footage
MAURIZIO CATTELAN, I Always Remember A Face, Especially When I’ve Sat On It, 2013
picture vinyl LP, 14 tracks, plastic protection sleeve, incl. exclusive print by Maurizio Cattelan
edition 1000
published by The Vinyl Factory / Toilet Paper
mint
€ 285,- plus € 24,- Track & Trace registered EU mail
inv.MCat 000-pr
The music on this vinyl compilation reflects the Toilet Paper magazine run by Maurizio Cattelan featuring music by a cast including Malcolm McLaren, Gene Vincent, Pierre Schaeffer and Judy Garland.
Cattelan’s art practice is known for one as making jokes about others. In 1995 he taxidermied horses, donkeys, mice and dogs. One of his best known sculptures, ‘La Nona Ora’ consists of an wax cast effigy of Pope John Paul II in full ceremonial dress being crushed by a meteor. Another of Cattelan’s quirks is his use of a ‘stand-in’ in media interviews with non-sensical explanations.
History of prices:
New Art Editions, The Hague, Netherlands, December € 400,- December 2022
The Vinyl Factory Ltd, London, UK, June 2013 GBP 25.- (year of issue)
RAGNAR KJARTANSSON, Think Piece, 2013
ca 8 x 8 x 10 cm
English version: It is beautiful but sad to be a human being
ball of glass with text, red ribbon with text, cardboard box
Christmas ball in original silver coloured box with small booklets in English and Icelandic
signed in print
limited edition
€ 180,-
JONATHAN MONK, Soft Boiled Egg, 2013
colour film; super 8, DVD
hand spray painted on top of cardboard box, signed, dated and numbered certificate
series of 10 unique films
published by CEC /Centre d’Édition Contemporaine, Geneva, Switzerland
Each work ‘Soft Boiled Egg’ is unique, since its duration is related to the time of boiling the amount of eggs shown in each film. So edition 8/10 shows eight eggs boiling in a pan with water.
History of prices:
CEC, Geneva price in year of issue € 2.000,- / SFr 2.500,-
VANESSA SAFAVI, Bottles / My head is a box, 2013
12 inch vinyl record
edition 50
published by Kunsthalle, Basel, Switzerland in 2014
TRACY EMIN, My Photo Album, 2013
22 x 18 cm
offset, including art paper print (10 x 8 inches)
signed, dated, edition 100
published by Fuel Publishing, London, England
not available
My Photo Album, which is largely about her childhood and teenage years and not so much about being a confrontational artist she is known for today. It is a personal stash of circa 10,000 photos.
not available
History of prices:
Fuel Publishing, London, England GBP 150.- May 2013
JOHN BOCK, Odor – Heimer, 2013
16,5 x 17,1 x 4 cm
286 grams
cardboard box, four test tubes with different liquids/fragrances, magnetic lid, rolled up drawing in print, text in German and English
regular edition 400
mint
published by Buchhandlung Walther Koenig, Cologne, Germany
p.o.r.
History of prices
Antiquariat Querido-Frank Hermann, Düsseldorf, Germany May € 30,-
Buchhandlung W. Koenig, Cologne, Germany May 2013 € 38,-
Extra information.
Apart from the regular edition of 400 on behalf of a solo exhibition at Kunstverein Hamburg six signed copies with unique drawings were for sale. Each cardboard box came with a felt pen drawing by John Bock made for the occasion.
JOHN BOCK, Odor – Heimer, 2013
unique series of 6 signed boxes
drawing on cardboard box, four test glasses with differents fragrances, magnetic lid, rolled up drawing in print, text in German and English
initiated by Kunstverein Hamburg, Germany, May 2013
not available
MARTIN CREED, Work No 1560, 2013
LP, hand painted sleeve
signed, numbered
edition 100
published by The Vinyl Factory, London, UK
not available
On 17 April 2013, the night of his performance and the recording, Creed introduced an evening of acoustic music with Moshi Moshi Records in the chapel of The House of St Barnabas. Creed’s album Love To You was released on vinyl in July 2012 on label The Vinyl Factory.
example of another hand painted sleeve:
DAVID HORVITZ, The Distance of the Day, 2013
ca 12,5 x 18 cm, 2 parts
set of leporello postcards, beach sand from Maladives and Los Angeles in cellophane envelopes
edition 25
signed, dated, numbered
‘In early February I asked my mom to go and watch the sunset and make a video. She did this from the Palos Verdes Peninsula, where I used to watch the sunset when I lived in California. She made the video with her iPhone taped to a metal barrier that protects people from falling over the cliffs.
In synchronicity with her, I too was looking at the sun and making a video. From my perspective the sun was rising. I had calculated where the the sun would be seen as rising at the exact same moment it was seen as setting in Los Angeles. In early February this was the Maldives, a location which may not exist in the near future due to the rising of the seas.
As my mom watched the sun set into the Pacific Ocean, I was watching it rise over the Laccadive Sea. Synoptic is a useful term here. It comes from the Greek syn, meaning “together”, and optic, meaning “seen”. Though separated by thousands of miles, we were watching the sun together.
The title, The Distance of a Day, is a reference to the idea of the journey. Originally, journey meant the distance one traveled in a day. Here, the spatial distance that separated my mother and myself was not defined by the distance one could travel in a day, but by the day itself. By the delimitations of a day – where the sun rises and where the sun sets.
Phones were chosen to make (and display) the video because they are devices that orient us spatially and temporally. They are like contemporary pocket-watches and compasses that we carry with us. They coordinate and synchronize us. They broadcast moments instantaneously across distances. Or, what seems to be instantaneously. There is always some delay.
The same two phones that were used to shoot the videos, that were once on opposite sides of the world, are now used to display the videos. They are now only inches away.
Right now somewhere the sun is simultaneously setting and rising. Someone or something is probably bearing witness to this.’
David Horvitz
