YANN SÉRANDOUR, Cahiers Clairefontaine, 2006
each 22 x 15 cm
offset, 32 pp., 5 parts out of 6
edition 1500
published by Edition CNEAI, Chatou, France, mint
The printed grids on the notebook pages of ‘Cahiers Clairefontaine’ have been originally hand drawn by pupils of the Jules Verne Primary School in Croissy-sur-Seine in France and were reproduced in print. These notebooks are used for learning to write straight by making use of horizontal blue and vertical red lines.
JONATHAN MONK, People Looking At Art, 2021
15,8 x 11,4 x 2,5 cm
leporello, 32 pp., linen bound
edition 50
published by Fithsyllable, UK
splendid condition
This artist’s book contains a selection of images taken from social media of people looking at art, found by Jonathan Monk.
Fotos: K. van Gelder, Amsterdam
SYLVIE FLEURY, Frisbee, 2022
bikini, size L, 8 tags, including Vilebrequin pouch
signed in print, both on linen labels and tags
produced by JPR Editions / Vilebrequin, Geneva, Switzerland
Sylvie Fleury Women Bikini Bottom Hot Rod 360° – Vilebrequin x Sylvie Fleury
and
Sylvie Fleury Women Bikini Top Hot Rod 360° – Vilebrequin x Sylvie Fleury
inv.SF 000-pr
On one of the tags can be read: ‘Sylvie Fleury explores the crossovers between art, fashion, tuning, and the New Age aesthetic. She plays with the codes of these cultural fields as forms of self-customization’.
Photos: K. van Gelder, Amsterdam
IAN PAGE, Stool, 2021
27 x 24 x 24 cm
wood, paint, varnish
signed, dated
numbered in order of sale
€ 580,- plus € 24,- Track and Trace registered EU mail
Ian Page is interested in constructions and carriers that are effected by images put to these and vice versa; here a spray painted logo of Playboy magazine is applied on a stool’s seat.
TAKAKO SAITO, hand out by Takako on 14 July in Wiesbaden, 2022
ca 14 x 15 x 7 cm
plastic cup with text “On on On on”, felt pen ink, bean, colour print, cellophane bag
This object in cellophane bag was part of a performance in Nassauischer Kunstverein, Wiesbaden (Germany). Every ten years a Fluxus Anniversary is organised.
‘Takako’s performance consisted of her digging up all kinds of objects from a bag and throwing them one by one to the audience. Each object had one or more words on it. The people who caught the objects had to read aloud what was written on it. Completely different words, meaning didn’t matter, they were fantasy words to me. It did work comically, especially when she threw a lot of things in quick succession.’
From an email by Harry Ruhé to KvG, September 12, 2022
JENNY HOLZER, Truisms, 2019
29,7 x 22,8 cm
double sided sheet: recto 12 Truism-stickers, verso various stickers (8)
edition 400
published by Rizzoli, New York, USA
mint
inv.JHol 000
€ 145,- plus € 8,- Track & Trace registered EU mail
Stickers Vol. 2 deals with stickers about Punk Rock, electronic music, skateboarding, streetwear, graffiti, political activism, surf and BMX bike culture, fine arts and personal wisdoms of amateurs who tag the streets. This publication contains 16 pages with 125 removable stickers bound at the back of the book. These sheets include a list of artists including Jenny Holzer, Barry McGee, INVADER, Marylin Minter, Erik Parker, SWOON, FUTURA, Robert Lazzarini, Kenzo Minami, Kostas Seremetis, Kristen Liu-Wong, Anthony Lister, Ron English, Ryan McGuinnes, BAST, D*Face, Shepard Fairey, FAILE, Skullphone, Tara McPherson, Peter Schuyff, Swoon, & James Hyde, ESPO, a.o.
including verso 8 stickers:
TAMÁS ST.AUBY, SUBSIST.ENCE LEVEL ST.ANDARD Project 1984, 2013
29,7 x 21 cm
2 prints (screen shots website ExIndex)
inv.DTan 000
One of the most unknown-known Hungarian artists is Tamás St. Auby (ps. of Tamás Szentjóby, born in 1944) being a non-artist, poet and performer, both inside and outside of the arts. He founded IPUT / ‘International Parallel Union of Telecommunications’ in 1968. Its central idea: “The art is hokum. The history is hokum. Art is everything, what not allowed. Be not allowed!” He had to leave Hungry in 1975, and he came back not earlier than in 1991.
When I met Tamás St. Auby for the first time in his studio in 2004, I was quite impressed by his for me scary shamanistic dominance in his social interaction. Yet his presence was deeply lived through and sensitive. His attitude was not one of being an artist in the first place but more one of a teacher of an academy in Budapest. At once it was clear to me that I wanted to invite him to participate in ‘Freedom Borders’, a group exhibition with Hungarian artists I curated in Galerie van Gelder, Amsterdam in 2004. The other two artists were Szabolcs KissPàl and visual poet and writer Dezsö Tandori.
Part of installation in ‘Freedom Borders’ at Galerie van Gelder, 2004
Foto K. van Gelder, Amsterdam
TAMÁS ST. AUBY, Ballot-Disco, 2004
250 x 140 x 140 cm
wood, voting bills, pen, walk-man/sound, map, light, human skull, plastic curtain, cardboard box
ERIC ANDERSEN, ‘Great occupation, but very few plants’, 2013
2 prints on A4, added 2 prints about exhibition Tamás St. Auby
mail 15 May 2013 at 13:44 hours about announcement of Tamás St. Auby’s exhibition at Museum Ludwig, Budapest, Hungary
By mail Eric Andersen gave a comment on an announcement of Hungarian artist Tamás St. Auby’s call to occupy “Rosa Fluxemburg Platz” on behalf of his exhibition in Museum Ludwig in Budapest: ‘Great occupation, but very few plants’. The chosen font of the lettering in red is typical for Andersen and may be found on badges he made with various texts.
Added:
XIE NANXING, untitled, 2005
18 x 26,3 cm
print, ink stamped authorisation, hand numbered
edition 4500
mint condition
published by Contemporary, London, UK
inv.Cont 360-pr
LUC DELAHAYE, untitled [Ordinary Meeting of the Conference], ca 2006
13,5 x 28 cm
print, card, MC,
ink stamped signature
published by Contemporary, London, UK
edition 3000
splendid condition, verso browned card due to aging
inv.Cont 359-pr
