YOKO ONO, Arising, 2013
4,5 x 4,5 x 4,5 cm
limestone pebble, cardboard box, printed text on lid
published on behalf of Venice Biennale, Venice, Italy
mint
edition unknown
uncommon
€ 195,- plus € 8,- Track & Trace registered EU mail
inv.YOno 000-pr
Yoko Ono made a call to women of all ages from around the world to send her their stories of how they had suffered simply because they were women, accompanied by a picture of their eyes. In this sense the “Arising” was a call expressed and visualized in Ono’s installation at the Venice Biennale in 2013. The pebble multiple “Arising” was issued on behalf of the Venice Biennale 2013.
YOKO ONO, Grow Love with Me, 2013
height ca 10, diameter 6 cm
aluminium can with glued matte paper label, plastic lid, bean,
manual with growing instructions in 4 languages, colophon on label of Serpentine Gallery
initials in print
edition unknown added: label Serpentine Gallery
published by Serpentine Gallery, London, England
This artwork consists of a ‘magic bean’, which when grown, reveals the word LOVE. Laser etched onto the seed by a patented process, the word first appears on the outer seed coat covering the inner cotyledon. Without coaxing, after a day or two the seed coat will fall away to reveal the word on the inner cotyledon. At first the inner cotyledon is yellow, but with the addition of sunlight quickly turns green. The seed then begins to splay open, shooting a leaf upward, bearing the same word LOVE.
PHILIPPE DECRAUZAT, Untitled [wallpaper], 2013
0,53 x 10 meters / 20.86 inches x 11 yardsprinted wallpaper
limited edition 264
published by Wallpaper by Artists, Lyon, France
AI WEIWEI, Sunflower Seeds, 2013 [large version]
40 x 40 cm
cotton handkerchief, hand rolled edges
published by Third Drawer Down, Indooroopilly, Australia Sunflower Seeds; interview with Ai WeiWei about the production of ceramic seeds for Tate Modern Turbine Hall in London.
Sunflower Seeds was an installation made up of ten million unique porcelain sunflower seeds. However realistic they may seem, these life-sized sunflower seed husks are in fact intricately hand-crafted in porcelain. Each seed has been individually sculpted and painted by specialists working in small-scale workshops in the Chinese city of Jingdezhen. Far from being industrially produced, they are the effort of sixteen hundred inhabitants with skilled hands. The seeds were displayed at Tate Modern Turbine Hall’s vast industrial space, the 100 million seeds formed a seemingly infinite landscape.
JOHN BALDESSARI, I will not look at any more boring art, 2013
signed in print on leg
black version with white text and dark lenses
edition 100
published by Freeway, Los Angeles, USA
ask for details
JOHN BALDESSARI, I will not look at any more boring art, 2013
signed in print on leg
white version with white text and green lenses
edition 100
published by Freeway, Los Angeles, USA
RICHARD ARTSCHWAGER, Quotation marks, 2012 [tattoos]
7,7 x 5 cm
4 quotation marks in plastic envelope, transfer prints, printed paper, staple
edition unknown
For sale in 2013 at the Whitney Museum, New York, USA
The space between two quotation marks either on human skin or e.g. on a gallery wall emphasize these spaces in between. This tattoo work with quotation marks is apparently not made to unravel what is ‘quoted’ in a given space. Whitney Museum, New York – March 2013
In March 2013 on its website the Whitney Museum categorizes this multiple as an edition that is ‘Reminiscent of Richard Artschwager’s artwork, where he utilizes punctuation outside of its normal realm, rendering its meaning questionable’ and was sold as “Air Quotes Temporary Tattoos”. There is no printed name of Richard Artschwager as a kind of authorization comparable to the “Richard Artschwager Quotation Earrings” The Whitney had simultaneously for sale.
LILY VAN DER STOKKER, This Belongs To Me, 2013
45 x 32,5 x 5 cm
4 parts + seal bag with utensils
two pencils, two brushes, two spatulas, three cups, rubber and sharpener, hand painted colour samples, manual, template, table of installation history to be filled in, artist’s impression of installation, cardboard box, hand signed, dated and numbered in print
edition 6 + 1 AP
published by the artist
€ 3.500,- plus 6% V.A.T.
GILLIAN WEARING, Total Stranger, 2013 – present
photo work in commission
signed, numbered
published by Art on the Tube Edition, London, England
GBP 3,000.- March 2014
“The Tube is full of strangers. We acknowledge this fact, knowing that we too are strangers to others. My project is to photograph a stranger. The person came forward via an open call advertised in the Metro newspaper and on the TfL website. I chose them through a raffleticket system, which did not reveal their name, age or gender. Until we met on a train and I took her photograph, I still didn’t know her identity, and she didn’t know who I was either. For a brief moment, we were total strangers to each other.” Gillian Wearing
GILLIAN WEARING, Total Stranger, 2013
84 × 52,5 cm
signed, numbered
edition 100
published by AOTUEditions / Art on the Underground Editions, London, England
“The Tube is full of strangers. We acknowledge this fact, knowing that we too are strangers to others. My project is to photograph a stranger. The person came forward via an open call advertised in the Metro newspaper and on the TfL website. I chose them through a raffleticket system, which did not reveal their name, age or gender. Until we met on a train and I took her photograph, I still didn’t know her identity, and she didn’t know who I was either. For a brief moment, we were total strangers to each other.” Gillian Wearing
