SALIM BAYRI, Let the blue in, 2018 [screen print + AR app for Android]

SALIM BAYRI, Let the blue in, 2018
64, 5 x 37 cm
screen print, blue frame + link to AR app for Android
signed, dated, numbered
edition 8
€ 500,- plus € 32,- Track & Trace EU registered mail

 

When an AR app belonging to this work is held in front of the framed screen print another image appears, though similar in atmosphere. Salim Bayri tells the following about this print:

LET THE BLUE IN (REJECTED), print on paper and AR app, 2018.

I applied to an open call by Spaces. (A company that offers coworking spaces around the world). They wanted to celebrate their 10th anniversary picking 10 existing works by 10 artists to make 10 editions of each that will go to 10 different coworking spaces. It was called ‘Power of 10’.

At that time, I visited the kitchen at ‘Ons Lieve Heer op Solder’ one of the remaining secret churches from the 17th century. I was intrigued by the blue tiles and started to wonder why they were blue.

Blue like the famous deep blue from Essaouira and Touareg garments. Could that be from there?

I made an image out of the figures found in the tiles, mostly about children’s games and made it look as if I really printed and framed it thanks to 3D computer simulations.

They liked it and I was asked to produce 10 copies of the image.

Every morning in my squat house in Van Schendelstraat in Groningen I would look at the image and change little details. I couldn’t leave it like it was after a night of sleep seeing little children playing the ball in my head.

By the time I sent the image to the printers, it was quite different, although I thought it was still in the same spirit.

The day they received it and hung it; I received a call from the organisers surprised by the modified image. “It’s not what we saw and It’s too late to reprint it, the opening is today!”

Urgently, I go see Kees van Gelder to seek some comfort. An hour before the opening we have the idea of using some tech magic with an AR app I made before. When the camera is pointed to the new rejected print, the first approved one shows up instead. I thought they would find it funny enough to accept the new image. But something approved apparently should stay like it is, and I had to reprint and replace everything as it was agreed in the first place.

But well, at least there’s a side of the story where the rejected and approved, old and new, altered and original are together. You have it.

SB

JONATHAN MONK, Measurements, 2021 [NAK Edition – Postkarten]

JONATHAN MONK, Measurements, 2021
14,8 x 10,5 cm
offset, felt pen ink, postcard with hand written text
signed, numbered
edition 20
published by NAK / Neuer Aachener Kunstverein, Aachen, Germany
inv.JMon 1110_1113

In 1969 Mel Bochner became renown for his “Measurement rooms” for which architectural features of a room were measured and marked out directly onto the walls. Jonathan Monk is known for reproducing art works taken from art history, i.e. (re)making the same work, but in a different way. For “Measurements” (2021) Monk has marked in green printed lines the height and width of a postcard depicting the view of a “Measurement Room”. On the backside of the card he wrote with the help of a ruler, as a straight line support: ‘Written with a ruler for …’ giving this work a hand made touch. KvG

MARIJKE VAN WARMERDAM, Daar is de zon, 2021

MARIJKE VAN WARMERDAM, Daar is de zon / There is the sun, 2021
42 x 21,7 cm
digital print on matte paper
signed, numbered
edition 20 + 10 AP
published by More Publishers, Brussels, Belgium

Repetition and doubling is one of the favorite motives Marijke van Warmerdam applies in her films and photo works. In this print a picture from her childhood shows her energetically pointing into the air.

“There is the sun” is characteristic for Van Warmerdam’s way of thinking when it comes to how things change position in past, present and future. It is one of her recurring main themes, i.e. anticipating on what comes and reflecting on what happened before. Here Marijke van Warmerdam mirrored a snapshot taken during her early years. Due to its doubling it seems that the child refers to the sun’s changing position in time.
KvG

ALISON KNOWLES, Bread and Water, 1992 [glove + tag]

ALISON KNOWLES, Bread and Water, 1992
ca 20 x 14 x 2 cm
woolen glove, paint, ink stamped and PVC plasticised label, rope
machine types text
signed with initials, dated
inv.AKno 000-pr

This apparently used glove has an industrial paint coating. The text on the attached label reads: Scratch plastic surface of glove to the ear. When this is done the hardened paint makes indeed some kind of a rustling noise. Although it is known that Alison Knowles noticed that the cracks in homemade bread had a resemblance to rivers, it is unknown to what the noise of this woolen glove may possibly refer to.

This item is part of found objects in the series “Bread and Water” by Alson Knowles, collected in 1992 on the occasion of the “Da Capo” Fluxus event in Wiesbaden on behalf of the 30th Fluxus anniversary. All objects have a tag and were probably part of a Moon Circle event.

Additional information:
‘Alison Knowles is neither a composer nor a performer in any traditional terms, yet much of her work is obviously some sort of music. When pressed to categorize herself, she told me she conceives most of her works simply as events. Yet even this catch-all term does not include her sculpture and prints, or her books and poems. But while she works in many media or intermedia, everything she does comes out of the same basic impulses: a concern for communication between human beings, an appreciation of the aesthetic qualities of ordinary objects, a deep respect for John Cage, and a profound understanding of what “communicating” is really about.’ Tom Johnson in Musical America, 1975.

Interview with Alison Knowles: https://www.fluxusheidelberg.org/interviewwithalisonknowles_v1.3.pdf


None of these 4 items with tags are signed.

JONATHAN MEESE, ‘Stirnband ‘Bruzzzelee’, Shing Shang Scheu, 2009

JONATHAN MEESE, ‘Stirnband ‘Bruzzzelee’, Shing Shang Scheu, 2009
27 x 14 x 20 cm
styrofoam, fabric, paint, acetate
edition 120 + 20 AP, here nr 64/120
signed, numbered
pristine condition
published by Texte zur Kunst, Berlin, Germany
€ 950,- plus € 32,- Track & Trace registered mail

 

History of prices:
Artists24, Düsseldorf, Germany € 800,- February 2024
eBay-galerie-m1, Edenkoben, Germany € 4.000,- 5 September 2021
eBay-sehfahrt, € 5.400 – € 7.560 8 August 2021
Grisebach, Berlin, Germany € 1.290,- March 2021
Galerie m2, Ebenkoben, Germany € 3.500,- August 2013
eBay, € 658,- April 2010