MARIJKE VAN WARMERDAM, In and out, 2006
66 x 100 cm
photo print on black mirror, dibond
edition 5 + 1 AP
published by World House Editions, Middlebury, Connecticut, USA
p.o.r.
“Nature decides the fate of an apple that falls from a tree. Here it falls either on the embankment or in the ditch”. Marijke van Warmerdam, 2011
Quote from catalogue ‘Close by in the distance’, published by Museum Boijmans van Beuningen, Rotterdam.
Photo: K. van Gelder, Amsterdam
MARLENE DUMAS
Lucy, 2005
lithograph,
edition 25
signed, dated + catalogue signed by both artists
+
MARIJKE VAN WARMERDAM
Luciaaaa!, 2005
lithograph, gold leaf
edition 25
signed, dated + catalogue signed by both artists
published by Walther Koenig Buchhandlung, Cologne, Germany
rare, pristine
sold
Photo: K. van Gelder, Amsterdam
linen covered cardboard triptych box
edition number 1/25
Caravaggio’s painting Sepulture of Santa Lucia, which hangs in the Regional Museum of Palazzo Bellomo in Syracuse, prompted Marlene Dumas and Marijke van Warmerdam to make works on the legend of martyr Santa Lucia. Both ‘Lucia’ of Dumas and ‘Luciaaaa!’ of Van Warmerdam is a reproduction in high quality print of one of the works they made for their duo exhibition ‘Con vista al celestiale’ in Syracuse.
Marijke van Warmerdam thought that Lucia’s calling to God and God’s calling to Lucia could best be expressed with the aid of a Jacob’s ladder. She says: ‘A Jacob’s ladder descends from heaven and God calls: “Luciaaaa!” I placed her name in gold letters upside-down on the print, actually as seen through the eyes of God.’
Photo: K. van Gelder, Amsterdam
History of prices:
Sotheby’s, Amsterdam € 5.040,- / $ 6,795.- (incl. premium) 23 May 2007
Phillips, New York $ 3,750.- 1 December 2007
inv.TKJ-Margin
MARIJKE VAN WARMERDAM, Passing, 2005
100 x 74 cm
screen print on plastic mirror, di-bond
edition 5
Private collection, Amsterdam
MARIJKE VAN WARMERDAM, ’92-’96, 1996
110 x 80 cm
offset on paper, aluminum
signed, dated
edition 50
published by Wiener Secession, Vienna, Austria / Marijke van Warmerdam
p.o.r.
“After the artist had made the final selection of works for her exhibition in the Wiener Secession, she noticed that her choice contained a work from every year between 1992 and 1995. Based on this fact she made a poster, but because the poster itself was also a work, the year 1996 was added as a new fact. The image of white dates on a black background created the suggestion of five consecutive frames of a film.” From text by Kees van Gelder in catalogue ‘Close by in the distance’ (2011), p. 74.
MARIJKE VAN WARMERDAM, Klok, 1995
height ca 40 cm, different heights
bronze, ceiling clamp, electric device
series of 12 unique doorbells, cast in different pitches
Collection Kees van Gelder
‘Marijke van Warmerdam could be the very founder of Reaction Art, i.e. context triggers her imagination. The idea of making a school bell in the form of a carillon with two melodies struck Van Warmerdam as a good alternative to the piercing sound of the bell that normally rings out across the schoolyard. She invited composer Jeff Hamburg to make one melody for the start of lessons and another for when school ends. From there in the context of her first commercial gallery show in Amsterdam in 1995 she decided to turn the gallery’s doorbell into a doorbell bell creating a very deep sound in the building when visitors rang it.’ september 2012 KvG
MARIJKE VAN WARMERDAM, ‘Vuilnisbak’, 1995
65 x Ø 35 cm
zinc dustbin, gold leaf, varnish
signed, dated, numbered
edition 20
Galerie van Gelder, Amsterdam
‘We use a dustbin every day and half our lives end up in it.’ Based on this idea, the artist felt it was time to place the dustbins on a pedestal by providing them with a layer of gold leaf.
MARIJKE VAN MARMERDAM, Pannenkoek, 1995
176 x 117 cm
screen print on paper, aluminum
edition 50
only few copies left
€ 9.500,- excluding crating and transport
MARIJKE VAN WARMERDAM, La Fille aux Crêpes, 1995
13,6 x 20,6 cm
paper on aluminum
edition 10 + 2 AP
published by the artist
During the opening days of the Venice Biennale 1995 Marijke van Warmerdam was named ‘the girl with the pancakes’ by Didier Vermeiren, because of her contribution in the catalogue. For her first Dutch solo exhibition (in Galerie van Gelder) in 1995 she used this nickname as the title of the exhibition, beside her own name. With the edition La fille aux crêpes she sought to raise that ambiguity once again.
MARIJKE VAN WARMERDAM, zonder titel, 1992
40 x 30 x 12 cm, various sizes and shapes
hand blown glass, mirrored, metal base
unique series of 12
signed, numbered, dated on metal base
p.o.r.
Looking into a mirror is looking in a reversed perspective. Being in a space while looking ahead in a mirror. It is a characteristic technique of Marijke van Warmerdam of watching a space while staying in that very space.