JEAN-MARIE FAHY, Just visiting, 2019
29,7 x 21 cm
offset, artist’s book, 166 pp.
edition 550
2 versions: one with original print on foil and one without foil / signed
published by the artist
The artist’s book “Just visiting” is about conversations Jean-Marie Fahy mainly had on Grindr and Tinder, and was made after various trips between Lebanon and Israel-Palestine. Also meetings with boys in museums, pubs and on terraces have been recorded or transcripted. The first page of the book leaves no doubt about the core of the conversations: ‘Fuck capitalism and straightism (and soberism)’.
«The Middle East. It’s the Middle for who ? The people of the East and for the people of the West? It’s a frustration. It’s always problematic. The three concepts are pro- blematic, so whatever you say, it’s wrong. So let’s just say nowhere’s land.»
Each year, the city of Geneva in Switzerland invite artists from Geneva to apply for one of the bursaries offered by the Berthoud, Lissignol-Chevalier and Galland Funds of the City of Geneva. Jean-Marie Fahy was chosen as winner of the Bourses de la Ville de Genève 2019 of Applied Arts and Coline Mir as winner in the Visual Arts.
One copy is still sealed and comes with a screen print on foil, the other one has been opened and is signed with felt pen ink.
foto: K. van Gelder, Amsterdam
– NB This picture surreptitiously has been copied by https://arspublicata.com/listing/jonathan-monk-editions / website J. and P. Schellmann, Berlin
JONATHAN MONK, Another copy of Richard Hamilton Whitley Bay-1965, 2015
14.5 x 10.3 cm
offset, 12 parts
edition 40 + 10 AP
each set is signed with initials, numbered
condition: splendid, although several cards may have some light postal scuffing
published by More Publishers, Brussels, Belgium
inv.JMon 125-pr
This is a series of 12 postcards, after a copy of Richard Hamilton’s original hand colored postcard ‘Whitley Bay’. Each postcard is a reproduction of the previous card and was sent by mail monthly in 2015.
The first card shows a reproduction of the original hand coloured card by Hamilton, hence titled ‘A copy of Richard Hamilton Whitley Bay, 1965’. To make a copy has been pushed by Jonathan Monk to an extreme by making copies of copies. Each following card (entitled ‘Another copy of Richard Hamilton Whitley Bay 1965’) is reproduced from the previous one. Due to reproduction processes in printeries a printer’s boarder trimming of a 3 mm margin (bleed) each time was applied in order to get a clean cut of the print during each print run. By repeating this chopping process 12 times, each reproduction of the previous card has become more and more a closer close up.
ALBERTO COLLA – Aprite il Fuoco [trans. open fire] / for Edition Gaffa, 2019
21 x 13,9 cm
magazine, stapled, 12 pp.
risograph print, felt pen ink, photo copy on very thin paper
edition 15
published by Gaffa, Tenerife / Zurich
inv.Gaff 820
LAWRENCE WEINER, Caught between ships passing in the night, 1999
13,6 x 11,4 cm
silkscreen on cotton, certificate (15 x 21 cm)
verso stamped with initials ‘LW’ hand signed fully written in pencil
edition 900 + 100 AP, here hand stamped number 326
published by Gallery 360 degrees, Tokyo, Japan
inv.LWein 817-pr
€ 380,- plus 12,- Track & Trace EU mail
History of prices:
D.R. Fine Arts, new York, USA, November 2023 US$ 400.-
D.R. Fine Arts, new York, USA, December 2022 US$ 300.-
STEFAN BRÜGGEMANN, Showtitles, 2016
7,3 x 14,2 x 1,8 cm
offset, printing on book edges, SC, 160 pp.
edition 700
published by Christophe Daviet-Thery, Paris, France
Showtitles is an ongoing work by Stefan Brüggemann of titles for exhibitions. They may be used freely by others. There is no need for any authorization, but their use must be credited to Stefan Brüggemann (show title, #XXXX by Stefan Brüggemann) on the back of the invitation. Please send a copy of the invitation card and any printed material to the address specified on the website www.showtitles.com.
CORINNE VIONNET, Souvenirs d’un glacier, 2019
22 x 33 cm
offset, cover and pages of thick cardboard, 12 pp.
Lumbeck binding
edition 200
published by RRose Editions, Paris, France
Over the years, Corinne Vionnet has collected postcards of the Rhône glacier, spanning almost of century of images. The pictures have all been shot from the same perspective, from an “ideal” spot that reveals the glacier in its archetypal form and the roads that takes visitors there – as is often the case with touristic attractions. It is a pattern of repetition and superposition that Corinne Vionnet explored for instance in her Photo Opportunities series.
WJM KOK, Off Color (Crimson), 2019
7 x 7 cm
oil paint on canvas, wooden mini-easel; ca 11 x 8 x 8 cm
open series, unique works
signed, dated
€ 222,- plus € 12,- registered mail Track & Trace
When ordered colour will differ from the colour shown above.
Striking in the work of Wjm Kok is his interest in open or closed series, i.e. limited in number as a pure consequence of a conceived system. He wants to make series that are not a goal in itself, but rather a result of a method to keep as far away as possible from an emotional choice. He likes to make work that is not hierarchical and that also does not refer to a pronounced uniqueness.
In the open series ‘Off Color’, Wjm Kok mixes a color directly on the canvas with the help of seven ad randem tufts of paint squeezed from the paint tube. The color is not easily predictable and often also produces a surprising effect for him during the making.
ANITA DI BIANCO, Corrections and Clarifications, 2001-2019
45 x 34 x 5,5 cm
cardboard box with 15 newspapers, various sizes
open edition; as a complete set published by the artist
signed, dated
mint
published by the artist
Corrections and Clarifications is an ongoing series of newspapers, each time containing an edited compilation of corrections ad randomly collected from daily international news. Each issue covering merely a list of corrections page after page.
In the paper issued in December 2016 (edition of 200) the colophon reads as follows: ‘Corrections and Clarifications is an ongoing publication, an intermittent compilation of daily revisions, retractions, re-wordings, distinctions and apologies to print news from September 2001 to the present. A reverse-chronological cataloging of lapses in naming and classification, of tangled catchphrases, detectable patterns of mis-speech and inflection, distraction, connotation and enumeration.’
