THOMAS RUFF, Sterne, 01h 55m/-30º, 1989 [signed postcard]

THOMAS RUFF, Sterne, 01h 55m/-30º, 1989
14,8 x 10,4 cm
postcard
signed with silver marker
rare
splendid condition, with verso partly residual glue and paper
€ 225,- plus 12,- Track & Trace registered EU mail
inv.TRuf 1027-pr

 

Uncommon signature put straight into the image of the print, by which the artist’s name creates much more depth to the depicted firmament. It functions as a repoussoir.

Editions & Communications marginales d’Amerique Latine, 1977

Editions & Communications marginales d’Amerique Latine, 1977
21 x 29,7 cm
risoprint, stapled, folded as issued: 15 x 21 cm, 9 pp.
organised by Guy Schraenen
published by Maison de la Culture du Havre, Le Havre, France
inv.GSchr 1026-pr

This publication was issued on behalf of a group exhibition curated by Guy Schraenen. Felipe Ehrenberg, Ulises Carrión, Raúl Marroquin, Flavio Pons, Claudio Goulart among many others participated.

History of price:
Zwiggelaar Auctions, Amsterdam, 9 December 2022 € 400,- (hammer price)

BEA McMAHON, Jesus and chlorophyll, 2012

BEA McMAHON, Jesus and chlorophyll, 2012
21 x 18 cm
SC, 46 pp., stapled, digital printing, screen print, paper collage on cover, incl. loose text page
edition 40
signed, numbered
published by Rijksakademie, Amsterdam
splendid condition
inv.BMcM 1022

 

This book edition contains 18 pages text by curator Maeve Connolly about the works of Bea McMahon, the other pages – 28 in total – are obviously pages that could fit into an artist’s book. This makes the edition into a hybrid book, i.e. partly catalogue, partly artist’s book.

BEA McMAHON, Bracket, 2011 [booklet]

BEA McMAHON, Bracket, 2011
20,7 x 14,4 cm
SC, stapled, 20 pp.
published by FTI-Io, London, England
splendid condition
inv.BMcM 1021
 

“Bracket” is about a choreography for cats that comes in from the right and leaves the stage at the left. The second Act is executed the other way around. The structure of this choreography is apparently based on angle brackets often used in mathematics, denoting some form of grouping.

BEN VAUTIER, Anything Anyhow / n’Importe Quoi n’Importe Comment [1972]

BEN VAUTIER, Anything Anyhow / N’importe Quoi n’Importe Comment, nd. [1972]
each 9,5 x 12,5 cm
2 loose cards, offset on thin paper (160 g/m2)
edition 2000
published by Rijksuniversiteit Utrecht, Utrecht, The Netherlands
excellent condition
inv.BVau 1020-pr

These two loose cards come from an envelope that contains five contributions of Ben Vautier, George Brecht, Gerhard von Graevenitz and François Morellet. The envelope was part of “TOEVAL”, a ring binder produced on behalf of a symposium. A fifth contribution consists of two dices with a Mozart score. It is published as examples of chance, but may be considered as an artist’s edition since the ideas and instructions come straight from the artists. It is not known if all loose contributions by various artists (e.g. “Chance Imagery” of George Brecht) have been added to the complete edition of 2000 copies.
A copy is in the collection of the Van Abbemuseum, Eindhoven, The Netherlands.

‘Actually it is not a catalogue but an artist’s book, with mostly original contributions by artists. That Morellet sheet – translucent paper – is usually signed.’
Mail 22 of January 2021 by Harry Ruhé to KvG.

 

BEN VAUTIER, Une seule note suffit, 1966

inv.BVau 1015

BEN VAUTIER, Une seule note suffit, 1966
26,7 x 21,2 cm
stencil print
published by the artist
splendid condition, slightly aged
extremely rare
€ 650,- plus € 8,- Track & Trace EU registered mail
inv.BVau 1016-pr

Ben Vautier describes Composition # 7 (1960) as ‘a single note is sufficient’. In fact, to perform this composition 2 notes are used producing one tone, i.e. a two-note sound. Looking closer at the score one detects two vaguely written – here stenciled – notes in the music bar.
Ref. La Monte Young, Composition # 7 July 1960.

It is unknown whether this stencil paper has been part of “Stencils de Ben 1963-1969”, a folder with 58 loose stenciled sheets. This was an artist’s publication in an edition of 180.

The stencil print ‘Une seule note suffit’ contains two radical compositions by La Monte Young and Ben Vautier. The latter opens with an exposé on pop musicians and their pop culture embracing traditional music from the North of India:
“A single note is enough
Several parts from the last record of The Beatles, The Rolling Stones, The Troggs, announce a new sound which extends the variety in music. These are monotonous sounds, in particularly produced by the Sitar (North Indian instrument) in tones and semitones, i.e. very close to this same music.”
*
Ben ends his text by making an ingenious link to Western contemporary (or Fluxus-like) music:
“But this musical conception is not in opposition to modern techniques, on the contrary, today it allows us to know better and better the field of semitones, quarter tones.”
Followed by a composition “# 7” (to be held for a long time) of La Monte Young from 1960 and a composition “Crescendo” by himself from 1963.

“CRESCENDO
This composition is a single tone that is amplified. If it is given in a concert hall, it must begin when the curtains are drawn up. It is SLOWLY amplified in an evenly progression (without fluctuation). Its progress will be calculated in relation to the volume of the room and to the maximum power that the amplifiers are able to produce. The duration must be at least 4 hours. Half an hour before the end the volume must be absolutely unbearable and the audience must leave the room. BEN 1963”

 

 

* ‘Une seule note suffit
Plusieurs passages du dernier disque des Beattles, des Rolling Stone, des Troggs, annoncent une sonorité nouvelle qui envahit la musique de variété. Il s’agit de sons monotones, plus particulièrement produits par le Sitar (instrument Inde du Nord) en tons et demi-tons, très proches de cette même musique.’
….
‘Mais cette conception musicale n’est pas en opposition avec la technique moderne, bien au contraire, les emplis et micros d’aujourd’hui nous permettent de connaître de mieux en mieux le domaine des demi-tons, des quarts de tons.’
….
‘CRESCENDO
Cette composition est un seul son qui va en s’amplifiant. Si elle est donnée dans une salle de concert, elle doit débuter au lever du rideau. Elle s’amplifie LENTEMENT par progression symétrique (sans fluctuation). Cette Progression sera calculée par rapport au volume de la salle et à la puissance maximum que les amplificateurs pourront produire. La durée doit être au minimum de 4 heures. Une demi-heure avant la fin la puissance doit être absolument insupportable et l’assistance quittera la salle. BEN 1963’

SIGURDUR GUDMUNDSSON, Event, 1975-2000 [analogue photo for press]

SIGURDUR GUDMUNDSSON, Event, 1975-2000
15 x 19 cm
analogue photo print for press, sticker
published by Galerie van Gelder, Amsterdam
mint condition
€ 500,- plus € 12,- Track & Trace registered mail

On 13 March 1996 The Independent published “Event” as a cartoonised plagiarism referring to a political situation in Great Britain: ‘Prime Minister, how do you feel about a referendum?’: