JONATHAN MONK, The Magnetism of Colour, 2016
94 x 68 cm
silkscreen print on 150 gas C-mat paper, set of 10 magnets on cardboard base
signed on sticker, numbered
edition of 25 + 5 A.P.
(does not include a vitrine)
published by More Publishers, Brussels, Belgium
This print comes with a set of 10 colored magnets to hang the print on. The edition is signed and numbered on a adhesive label, glued on the back of the package of magnets.
This edition is part of a so-called Public Poster Program initiated by the More Publishers in Brussels. The show cases they are presented in are on display in Belgium at MuZee in Ostend, MuhKA in Antwerp and KASK in Ghent. Each month a new poster is launched on the theme time and space. More info at link: http://www.morepublishers.be/series/260
Basically a set of ten colour magnets on a piece of white cardboard is offered, but Jonathan Monk’s edition would not be a (typical) Monk piece if he wouldn’t make a repetition by having it simply reproduced. And that’s what he did using a poster as a vehicle of that drive, so characteristic for his way of working.
OLA VASILJEVA (and Zelda Ivkovic), Counting Steps Edition, 2016
59,4 x 42 cm
silkscreen, pencil drawing, collage on paper
stamped and numbered by the artist
edition 10 + 5 AP (here number 10/10)
inv.OVas 812
In 2008 Ola Vasiljeva founded OAOA / The Oceans Academy of Arts, a magazine and poster format as an experimental platform that plays with ideas of experimental systems of looking and reading. The would-be institution presents itself as real and plays with its own illusive image as a stage for the artist’s reflections. The magazine OAOA aims to de-condition and to un-learn in relation to the critique of reason and common logics. The result is a visual input of no-sense, fragmentation, de-funtion and a-chronology. In this sense Counting Steps Edition may be understood and read.
DORA GARCIA, Performance / Respiración / Eco Oscuro, 2016
each 84 x 59,4 cm
silkscreen on offset print (250 g/m2)
edition 15 + 5 AP
signed, numbered
numbers 1/15 -10/15 are available as complete sets
published by More Publishers, Brussels, Belgium
Order at More Publishers, Quenest, Belgium
The edition was produced on the occasion of Respiración Artificial / Performance / Eco Oscuro in IVAM, Institute for Modern Art in Valencia (March 3 – June 19, 2016), an exhibition in three parts. The three prints derive from the different moments of the exhibition and hung in the rooms of the museum where the exhibition of Dora Garcia was held. The edition numbers 11/15 – 15/15 were individually sold.
History of prices:
More Publishers, Quenest, Belgium February 2025 € 700,-
More Publishers, Quenest, Belgium February 2022 € 800,-
DAVID HORVITZ, Studio Rent Editions, 2015 (rent for September)
10 x 25 cm
hand stamped and black-edged card
signed, dated, numbered
edition 10
published by the artist
inv.DHor 000-pr
GAILLARD & CLAUDE, after “Untitled, Gaillard & Claude 2015, plaster and speaker stand”, 2015
118,8 x 168 cm
digital print on Maco Mat, 150 gr.
large transparent plastic sleeve
signed, numbered
edition 12 + 3 AP
p.o.r.
Vinyl edition
GAILLARD & CLAUDE, Monkey Puzzle, le désespoir du singe, 2015
7 inch single / 45 rpm, 3’12”
hand numbered
edition 300
DORA GARCÍA, The Sinthome Score, 2015, alias Venice Sinthome Score Edition
26,5 x 37 x 11,5 cm
printed matter, photo print + original drawing, signed, numbered
score book (31 x 23 cm) used as performance prop, numbered and also signed
edition 16
published by ProjectSD, Barcelona, Spain
7 parts
– one of the scores (performance prop) used by the performers during the exhibition in the Venice Biennual 2015, signed with initials, numbered
– original drawing made by Dora García in A4 size, which refers to the cosmogonies created for the work, signed
– photograph, 30 x 24 cm, C-print of a moment of the performance in Venice, signed with initials, dated, numbered
– catalogue ‘I See Words’ (sealed)
– folio with certificate of authenticity, signed, dated in print
– folio with sticker
– cardboard archive box with sticker
The work of the French psychoanalyst Jacques Lacan appears in García’s recent work. The score of the performance is based on an “unofficial” English translation of Jacques Lacan’s seminar 23 “Le Sinthome” (1975-1976), a series of ten lectures that drew from the writings of James Joyce to elaborate on language, the unconscious, and a reconsideration of the Borromean knot.
Lacan and his relationship to James Joyce is the subject of the Dora García’s work The Sinthome Score. The term “sinthome” (symptom) originates from a text of the same name by Lacan, Le Séminaire livre XXIII, Le Sinthome (1975-1976) where Lacan uses Joyce’s writings to expand his model of the three rings composing a Borromean knot, i.e. Symbolic, Imaginary and Real. Joyce’s subversion of language becomes a way of knotting them together, as well as avoiding their collapse into madness: it is the synthome (symptom; synthomeis spelled in old French), in homage to the Irish writer’s penchant for etymology, portmanteaus and polyglotism.
The Sinthome Score (performance publication, photograph of performance): two people perform as a duo, where one of them reads from a book (cover looks like a music score publication) called “The Sinthome Score” and the second one executes a series of movements that change each time the reader begins a new chapter, following instructions in the book.
Garcia’s work is accompanied by ten sets of movements, one drawn for each of the ten lectures. Two performers determine the rhythm, cadence, and speed of the performance. Garcia’s score and choreographic notation welcome new participants, accidental stutters of the body, or slips of the tongue. It is left to the visitor to decide if, how, and when to enter the conversation. The performance was shown at the Venice Biennale 2015, running continuously during the opening hours.
The publication is one of the scores used at the Venice Biennual 2015.
YANN SÉRANDOUR, One Week, 2014
21, 6 x 17,7 cm / 22 x 18,5 x 0,5 cm
text on A4, folio folded out 37,2 x 44,7 cm
edition 50
published by Christophe Daviet-Thery, Paris, France
In 1969, Seth Siegelaub organized a group show “One Month” and selected 31 artists he invited to produce a work on their assigned day in March of that same year. As a kind of exhibition catalogue he produced a calendar of 31 pages entitled “March on 1969”, which included six blank pages corresponding to seven artists who turned down Siegelaub’s invitation (Carl Andre, Michael Asher, Dan Flavin, Sol Lewitt, Bruce Nauman and Ed Rusha and xxxx).
AI WEIWEI, Namelist 2008-2011, 2014
size print 78,5 x 28 cm
offset on paper, here unframed
edition 100
numbered, hand signed by the artist
published by Art Edition, Cologne, Germany
mint rare
inv.AWei 000-pr
Verso the print reads: ‘Names of the 2008 student-earthquake-victims researched by Ai Weiwei Studio, Courtesy of the artist’. At the lower part of the print a sequence of numbers is printed.
Ai Weiwei is well known for criticizing governmental behaviour of the People’s Republic of China, although he has no problems with giving the White House the finger. Having spent his younger years in New York in the 1980s, when conceptual and performance art were dominant and while Warhol was active, he has learnt how to combine his own life and art into a daring and often politically charged performance that helps to define how we should see China of today. Ai Weiwei has been harassed and jailed for his continually calls to account of the Chinese governmental attitude.
The print ‘Namelist’ (2008-2011) includes names of the more than 5,000 schoolchildren who died during the Sichuan earthquake of 2008 due to a disproportionate number of collapses of shoddy schoolhouse constructions. Chinese authorities systematically neglected the deaths and its causes. The disaster was twisted. Therefore Ai Weiwei began to straighten out the record. Bad construction had contributed to the disaster and officials were very keen to suppress evidence of corruption. The factual number of victims was difficult to find out, until Weiwei and his helpers made the count, name by name. The students are memorialized at various exhibition venues and moments like here in the edition “Namelist”.
During the time Ai Weiwei was being withheld by the Chinese government, a period in which he was unable to travel and his passport having been taken in, he placed a fresh bouquet in the basket of a bicycle outside his studio each morning. His #aiflowers Instagram up loads invited people everywhere to make flowers to remember the very young students lost in the 2008 Sichuan earthquake.
Ai Weiwei: “Once we find the names and numbers, I think a scientific study should be done to study how the schools collapsed and how the students died,” says Ai. “If anybody tries to hide it, it is a crime to the people and the nation. This time I don’t think anybody can let it go.”
History of prices:
Karl & Faber, Munich, Germany 6 June 2019 € 4.625,- (incl. premium)
eBay 8 June 2014 € 1.577,- (hammer price)
ANNE-LISE COSTE, You are not alone, 2014
56 x 35 cm / 22 x 14 inches
silkscreen print
edition 45 + 5 AP
published by Art Metropole, Toronto, Canada
This poster is a reproduction of Anne-Lise Coste’s original painting “You are not alone” (2013), the title of which derives from a religious flyer that advertises spiritual comfort. Coste de-contextualizes this marking that one might encounter in its sprayed format fleetingly on flyers or on urban surfaces. In the context of her oeuvre one may interpret that either ‘the police is around’ or e.g. co-squatters and protesters help each other at all times.
