Editions

curatorial sculpture (4br), 2006
Inkjet on photo paper, framed, signed, 42 cm x 60 cm
Edition of 5
1,000 Euro

The print goes back to Ricardo Basbaum’s curatorial contribution to the exhibition On Difference #2 (2006), that he referred to as a “curatorial sculpture”. The starting point was the octagonal geometric shape developed by Basbaum, from which he derives most of his projects based on communication experiments. The Curatorial Sculpture 4 br refers to both the tool and the representation of his cooperation with the Brazilian initiatives arte_visuais politicas, Exo.org, Zona Franca and Planeta Capacete.

Utopia, 2006
Inkjet on photo paper, mounted on plexiglass, signed, 35 cm x 70 cm
Edition of 5
1,200 Euro

Angela Detanico and Rafael Lain (São Paulo), who designed the Brazilian pavilion at the Venice Biennale in 2007, have developed a special font: The uppercase letters consist of stylised silhouettes of buildings by the architect Oscar Niemeyer in Brasilia. The lowercase letters, in contrast, are based on the contours of informal architectures. For this edition they have set an excerpt of Thomas Morus’ book Utopia in this font.

Special Edition

Stan Douglas, Courtroom, 2007
C-Print on Dibond, 90 x 100 cm, framed and signed
Edition of 7
Published by Württembergischer Kunstverein and Staatsgalerie Stuttgart
Exclusive for members of Württembergischer Kunstverein and Stuttgarter Galerieverein, Freunde der Staatsgalerie.
9,700 Euro

The photo was created in 2007 in the context of the production of Stan Douglas’s video installation Vidéo. The scene is the anatomy theatre of the renovated Université René Descartes in Paris built in the eighteenth century. It served as one of the locations for Vidéo. The video installation refers to Samuel Beckett’s Film, Franz Kafka’s novel The Trial, and its screen adaptation by Orson Welles.
In Vidéo, the anatomy theatre appears as a courtroom in which the protagonist and defendant K., a young black woman—a reference to both Beckett’s O. and Kafka’s Josef K.—makes her own final speech. The allegory of Justice, with blindfolded eyes and tears of blood, is based on a source processed by Douglas.

Protokolle: Der Druck
(The New York Times, The case of the missing Munchs), 2006
Inkjet on Hahnemühle papers, framed, signed, 36, 8 cm x 27,9 cm
Edition of 12
1,200 Euro

Muntadas’ edition is based on a press photo that focuses on an empty patch left behind by the stolen painting The Scream (Edvard Munch) on the wall of the museum. The missing exhibit is protected by a barrier rope.

State of Emergency #25, 2006
Pigment Fineart Print on photo paper, mounted on aluminium, 50 x 70 cm, signed
Edition of 20
400 Euro

The photograph is taken from the State of Emergency series, that explores the conflicts caused by the US-American military presence in South Korea. Specifically, the photo refers to clashes between demonstrators and the police in Daechu-ri, where it is planned to expand a US-American military base. 

Anders Sein („Irgendwie ist sie so anders…“) - Portrait A. O.
Vintage print by the artist from 1985,
b/w photo on baryta paper, 60,5 cm x 51 cm, certificate stamp Anna Oppermann estate
Exition of 10
1,800 Euro

This edition is a special photo detail from the ensemble called Anders Sein (“Irgendwie ist sie so anders…”) from 1970 - 1986, that has been part of this ensemble since around 1980. In Anders Sein Anna Oppermann revolves around her own fears as an outsider in art and society. Oppermann made this edition of ten hand prints in 1985, but they were never marketed.

Trash, 2008
Drawing, 21 x 29,7 cm, framed, signed
Edition of 15
1,000 Euro

In his drawings, that he creates on a daily basis with just a few strokes, Dan Perjovschi comments with incisive irony on the absurdities and cynicisms of everyday life. He exaggerates current topics from world news as well as general social phenomena or things that affect the artist personally.

Displacement Island, 2006
Pigment print on fibre-based paper, framed, signed, 35 cm x 50 cm
Edition of 5
Single image: 800 Euro

This edition is based on Marco Poloni’s series of photos entitled Displacement Island, in which he combines pictures of varying provenance to create a fragmentary portrait of the Italian Mediterranean island Lampedusa. Pictures by the artist, photos from holiday catalogues, anonymous snapshots by amateur photographers, film stills and pictures from the news, taken on Lampedusa itself but also in other places, follow the traces left by two contrary groups of “travellers” on the island: Tourists visiting the holiday paradise of Lampedusa in the summer months and refugees from North Africa, who land on the island in the winter months under life-threatening circumstances in the hope of finding a better life in Europe.

Retouched, 2006
Inkjet on Hahnemühle papers, framed, signed, 71 cm x 51 cm
Edition of 5
1,000 Euro

Lucian Samaha’s edition is based on his slide installation of the same name, that the artist produced for the On Difference #1 exhibition. It shows superimposed historical portraits from the collection of the Arab Image Foundation in Beirut, in which the traces of retouching have become inscribed. 

Korean Robot_Robot_31, 2006
Inkjet on photo paper, mounted on Dibond, 156 x 115 cm
Edition of 1
900 Euro

The digital print shows a reconfiguration of building cranes that the artist took photographs of in the centre of Seoul.