MARIJKE VAN WARMERDAM, Another day, 2011

 

MARIJKE VAN WARMERDAM, Another day, 2011
each 110 x 80 cm
series of 50 unique screen prints, aluminum, framed

With a typically light touch, the work of Marijke van Warmerdam combines a deceptively naïve approach to the act of seeing with straightforward strategies, such as dramatic shifts of scale, doubling, reflection, rhythmic repetition or surprising juxtapositions to urge us to look with our eyes wide open.

In her film loops she depicts perfectly ordinary situations and actions, although factually always staged, with the deliberate use of compositional elements that create an open and unanticipated perspective. In her sculptures, photographic works and paintings, Van Warmerdam is not afraid of using cinematic and visual methods based on animated strategies. In the course of more than two decades she has made a refreshing contribution to the phenomenon of looking.


JOHN BALDESSARI, I will not wear any more boring tattoos. 2011

JBaldessari2011tattoo-IwillNotWearAnyMoreBoringTattoos700

JOHN BALDESSARI, I will not wear any more boring tattoos. 2011
15 x 10 cm, offset transfer print
edition unknown
part of set of 5 transfer tattoos by John Baldessari, Dinos Chapman, Damien Hirst, Jeff Koons and Raymond Pettibon
published by Garage Magazine, Moscow, Russia – New York, USA
€ 145,- + € 15,- Track & Trace registered EU mail
inv.JBal 000-pr

 

 

Garage Art-Tattoo sticker, recto:
JBaldessari2011tattoo-verso500

LAWRENCE WEINER, Water finds its own level, 2011 [signed]

LAWRENCE WEINER, Water finds its own level, 2011
29,9 x 35,5 cm / 11 x 14 inches
archival print
edition 500
signed with initials, numbered on certificate, here nr. 6/500
published by Jen Bekman Projects, New York, USA
mint
€ 100,- plus € 18,- Track & Trace registered EU mail
for purchase first visit: https://20×200.com/products/lawrence-weiner-water-finds-its-own-level

LAWRENCE WEINER - certificate

LAWRENCE WEINER – certificate of Water finds its own level, 2011

In December 2009, the New York City Council voted to require business owners to replace garage-style security gates with ones that allow views into the stores behind them by July 2026. Art Production Fund united 18 artists to make murals on security gate doors of shop in the Bowery. These were on view for two months, after which they were painted over, embodying the upcoming legislated disappearance of the gates across the city of New York.

This edition was published in 5 sizes: 8 x 10 inch, 11 x 124 inch, 16 x 20 inch, 24 x 30 inch and 30 x 40 inch.

LAWRENCE WEINER, Water finds its own level, 2010
paint on metal shop security gate, New York City, USA

History of price:
New Art Editions, The Hague, Netherlands January 2026 US$ 60,- (8 x 10 inches)
D.R. Fine Arts, New York, USA, December 2022 US$ 400.- (8 x 10 inches)
20 x 200, New York, USA October 2022 US$ 150.-
20 x 200, New York, USA December 2021 US$ 75.-
!–The Archive is Limited, Amsterdam December 2026 € 150,-
The Archive is Limited, Amsterdam December 2022 € 125,–>

RAYMOND PETTIBON, Garage Tattoo, 2011 [Tattoo]

RPettibon2011GarageTattoo700

RAYMOND PETTIBON, Garage Tattoo, 2011
15 x 10 cm
offset transfer print
edition unknown
part of a set of 5 transfer tattoos by John Baldessari, Dinos Chapman, Damien Hirst, Jeff Koons and Raymond Pettibon
published by Garage Magazine, Moscow, Russia – New York, USA
€ 145,- + € 15,- Track & Trace registered EU mail
inv.RPat 000-pr

JCJ VANDERHEYDEN, Chinese Window, 2011

JCJ VANDERHEYDEN, Chinese Window, 2011
21 x 29,7 cm
digital print on Hahnemühle Photo, 310 g/m2
includes a publication, 16 pp.
25 + 10 AP
signed, numbered edition
published by Helix, Posterholt, Netherlands

 

History of price:
Helix, Posterholt, Netherlands € 350,- February 2012

JOHN BALDESSARI, Stairway, Coat and Person, 2011

JOHN BALDESSARI, Stairway, Coat and Person, 2011
50,8 x 40,6 cm / 20 x 16 inches
archival inkjet print
edition 120
published by CCA Wattis Institute for Contemporary Arts, San Francisco, USA

 

John Baldessari is intentionally questioning the conventions of picture-making, among other things. He says: ‘I am interested in conceptual leaps people can make from one bit of information to another and how they can fill the space.’