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.
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
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:
WERNER REITERER, Public art project for Manhattan/New York, 2005
28,7 x 21 cm
offset, card, ink stamped signature
edition 4800
published by Contemporary, Londen, UK
condition excellent, although very slightly yellowed
inv.Cont 000-pr
GERHARD RICHTER, Gerhard Richter, 1969
20 x 21,2 cm
catalogue, offset, SC, stapled, 28 pp., unpaginated
published by Gegenverkehr, Zentrum für aktuelle Kunst Aachen, Germany
condition good; cover slightly yellowed at right side, tiny scuffed spot at left top corner, smudge on back of cover
JOHN M ARMLEDER, invitation card ‘Six Logo’s around the carpet’, 1991
21 x 14 cm
offset
mint
published by Galerie van Gelder, Amsterdam
€ 25,- plus € 8,- Track & Trace registered EU mail
inv.JMA 000
In “Six Logo’s around the carpet” a hand woven carpet with tassels by Peter Nagy played a central role. The title of this black and white fabric is ‘Desease and Decoration’. It depicts six microscopic enlarged Aids-virus pictures used as a decoration for a carpet that was produced and distributed by Equator Productions in Brussels in Belgium. Six art works were shown on six walls.
Participating artists:
John M Armleder
Ansuya Blom
Hreinn Fridfinnsson
Kristján Gudmundsson
J.C.J. Vanderheyden
Olivier Mosset
Peter Nagy
JOHN M ARMLEDER, Black Noise, 2017
27,3 x 17,4 x 9,9 cm
32 booklets, offset, stapled, cardboard box with high gloss paper and screen print
edition 600
mint
published by Ecart Publications, Geneva, Switzerland
inv.JMA 000
UGO RONDINONE, 2002
colour print
26 x 20 cm
hand signed, numbered
sticker at the back of the print is mounted upside down
edition 4500, here number 2522
mint
published by Contemporary, London, UK
rare
€ 260,- plus € 12,- Track & Trace registered EU mail
inv.URon 387-pr
Contemporary was a monthly art magazine based in London, founded and edited as The Green Book by Keith Spencer as a quarterly publication. It re-emerged twice, the first time named Contemporary Art in 1993 and the second time again as Contemporary in 2002, but not limited anymore to visual arts. Once subscribed to the magazine each issue came with a print, with ink stamped signature and sometimes hand signed on sticker.
In spite of its large edition this colour card is difficult to find.
KEES VAN GELDER, Multiples – manifest in 84 woorden, 2019
29,7 x 21 cm
print-on-demand, hier nummer 5
published by The Bifrons Publisher, Amsterdam