Snow, Weiner, Nannucci Michael Snow, Lawrence Weiner, Maurizio Nannucci

Published by Art Metropole, Vancouver, 1987, 5 pages, 21 × 27.5 cm, English

Price: €6

Exhibition pamphlet with essay by Peggy Gale and list of artists’ books, multiples and recordings from Art Metropole’s Permanent Collection: 22 works by Michael Snow, 108 works by Lawrence Weiner, and 36 works by Maurizio Nannucci. Introduction by AA Bronson.

#1987 #ephemera #lawrenceweiner #maurizionannucci #michaelsnow
invitation card stanley brouwn

Published by Haubrok Foundation, Berlin, 2018, card, 14.8 × 10.5 cm, English

Price: €24

“Behind the standards put in place for the communication related to his exhibitions—the use of lowercase and Helvetica exclusively, the refusal to reproduce images of his work, to produce (or allow production of) written commentary on the subject of the same work, to appear in the context of a vernissage or even to answer an interview—the artist stanley brouwn builds his identity by way of ellipses. The invitation cards for his solo exhibitions provide a symptomatic example: set almost exclusively in Helvetica, the absence of uppercase, flying in the face of the graphic identity of the gallery or the host institution, they seem impossible to date, give or take twenty years” From Revue Faire – To look at things #4, Céline Chazalviel.

#2018 #ephemera #stanleybrouwn
invitation card stanley brouwn

Published by Haubrok Foundation, Berlin, 2014, card, 13 × 10 cm, English

Price: €24

“Behind the standards put in place for the communication related to his exhibitions—the use of lowercase and Helvetica exclusively, the refusal to reproduce images of his work, to produce (or allow production of) written commentary on the subject of the same work, to appear in the context of a vernissage or even to answer an interview—the artist stanley brouwn builds his identity by way of ellipses. The invitation cards for his solo exhibitions provide a symptomatic example: set almost exclusively in Helvetica, the absence of uppercase, flying in the face of the graphic identity of the gallery or the host institution, they seem impossible to date, give or take twenty years” From Revue Faire – To look at things #4, Céline Chazalviel.

#2014 #ephemera #stanleybrouwn
invitation card stanley brouwn

Published by Haubrok Foundation, Berlin, 2012, card, 15 × 10.5 cm, English

Price: €24

“Behind the standards put in place for the communication related to his exhibitions—the use of lowercase and Helvetica exclusively, the refusal to reproduce images of his work, to produce (or allow production of) written commentary on the subject of the same work, to appear in the context of a vernissage or even to answer an interview—the artist stanley brouwn builds his identity by way of ellipses. The invitation cards for his solo exhibitions provide a symptomatic example: set almost exclusively in Helvetica, the absence of uppercase, flying in the face of the graphic identity of the gallery or the host institution, they seem impossible to date, give or take twenty years” From Revue Faire – To look at things #4, Céline Chazalviel.

#2012 #ephemera #stanleybrouwn
SEXO (EN PÚBLICO) Henrik Olesen

Published by Museo Reina Sofía, Madrid, 2019, 16 pages, 21 × 29.7 cm, Spanish

Price: €7.50

Produced on the occasion of Henrik Olesen’s exhibition at Museo Reina Sofía, Madrid, 26 June – 21 October, 2019.

#2019 #ephemera #henrikolesen
SEX (IN PUBLIC) Henrik Olesen

Published by Museo Reina Sofía, Madrid, 2019, 16 pages, 21 × 29.7 cm, English

Price: €7.50

Produced on the occasion of Henrik Olesen’s exhibition at Museo Reina Sofía, Madrid, 26 June – 21 October, 2019.

#2019 #ephemera #henrikolesen