Michael Asher Le Consortium, Dijon postcards

Published by Le Consortium, Dijon, 1991, 16 colour postcards, 15 × 10.5 cm, French

Price: €20

Produced on the occassion of Michael Asher’s exhibition at Le Consortium Dijon, 7 June – 27 July 1991.

The work on show in Dijon depicted the heating systems in the basements of sixteen of the well-known architectural landmarks in a city famous for its tourism. On the walls of the exhibition space Asher exactly reproduced the schematic engineering diagrams of interior axial cuts for the heaters belonging to each of the buildings chosen. Painted in black at the same height as the actual heaters, the diagrams, on a purely formal level, presented eccentric shapes and seemingly abstract designs while expressing vigilant precision and regulated linearity.

A set of color postcards, meant to have been sold in the city at souvenir stores and available for viewing and purchase at the reception desk, completed the exhibition as a whole. The photographs of the heaters-displayed on postcards as if they were historic monuments or scenic views-correlated with the schematic wall drawings, grounding them in the functional reality of furnaces composed of oil burners, water heaters, pressure tanks, gages, pipes, and so on.

#1991 #ephemera #michaelasher
Lutz Bacher What’s Love Got to Do With It invitation

Published by Kunstsammlung Nordhein-Westfalen, Düsseldorf, 2018, foldout poster (colour & b/w ill.), 10.5 × 21 cm (folded) 42 × 38 cm (unfolded), English / German

Price: €2

Invitation produced on the occasion of Lutz Bacher, What’s Love Got to Do With It at Kunstsammlung Nordhein-Westfalen, Düsseldorf, 7 September 2018 – 6 January 2019

American artist Lutz Bacher made work spanning an array of media since the 1970s. The game of hide-and-seek she played with her own self by working under a masculine pseudonym since early on in her career can serve as a helpful entry point to Bacher’s artistic practice. It centered around issues of identity, power structures, and violence, all the while remaining ambiguous and enigmatic.

In Untitled (2017), Donald Trump’s signature is enlarged and repeated on white paper that runs across the walls of all three exhibition galleries. The work is intersected by hastily scribbled notes from everyday life in Open the Kimono (2018), and ostensibly meaningful, zen-inspired sentences in Black or White (2018), which pass by in an endless loop on giant screens.

#2018 #ephemera #lutzbacher
Dead Marble invitation card Ruth Buchanan

Published by Artspeak, Vancouver, 2018, 2 pages (b/w ill.), 14.7 × 10.5 cm (folded), English

Price: €2 (Out of stock)

Produced on the occasion of Ruth Buchanan’s exhibition Dead Marble at Artspeak, Vancouver June 9–July 28, 2018.

In 1958, weaver Ilse von Randow was commissioned to produce a major work of woven curtains for the Auckland Art Gallery Toi o Tamaki in New Zealand. Her ‘Auckland Art Gallery Curtains’ became the largest piece of hand weaving created in New Zealand. In her first presentation of work in North America, Dead Marble revisits von Randow’s curtain, and the newly designed Auckland Art Gallery sculpture court (1953) in which they were hung, as a departure point to reconfigure the complex relationships between gendered representations, institutional hierarchies and the burden of inherited legacies.

#2018 #ephemera #ruthbuchanan
: (invitation) gerlach en koop

Published by the Bonnefantenmuseum, Maastricht, 2016, foldout poster (colour & b/w ill.), 21 × 15 cm (folded) 84 × 120 cm (unfolded), English

Price: €2

Produced on the occasion of gerlach en koop’s exhibition :, at the Bonnefantenmuseum, Masstricht, 15 April–27 November, 2016.

#2016 #ephemera #gerlachenkoop
Choses tuées exhibition guide gerlach en koop

Published by De Appel, Amsterdam, 2015, 22 pages (b/w ill.), 10.5 × 29.7 cm, English/Dutch

Price: €2

The collective artist gerlach en koop renders things visible by repetition, copying or reuse, by displacement and misplacement, by omissions, erring and making mistakes. The smaller the distance between two identical things—differences that sometimes can only be conceived of—the more interesting.

This exhibition guide was produced on the occasion of Choses tuées, held at De Appel arts centre in Amsterdam, 2015.

#2015 #deappel #ephemera #gerlachenkoop
Choses tuées exhibition guide 2 gerlach en koop

Published by Temporary Gallery, Köln, 2016, 22 pages (b/w ill.), 10.5 × 29.7 cm, English/German

Price: €2

The collective artist gerlach en koop renders things visible by repetition, copying or reuse, by displacement and misplacement, by omissions, erring and making mistakes. The smaller the distance between two identical things—differences that sometimes can only be conceived of—the more interesting.

This exhibition guide was produced on the occasion of Choses tuées, held at Temporary Gallery, Köln, 2016.

#2016 #ephemera #gerlachenkoop #temporarygallery