Exhibition invitation Braco Dimitrijević

Published by Queensland Art Gallery & Institute of Modern Art, Brisbane, 1989, card, 15 × 10.5 cm, English

Price: €13 (Out of stock)

Produced on the occasion of Braco Dimitrijević’s exhibitions; Triptychos Post Historicus or, Far From Harbour, Near The Stars at the Queensland Art Gallery, Brisbane. and The Sky of The South Hemisphere; Post Historical Dimension at the Institute of Modern Art, Brisbane.

#1989 #bracodimitrijević #ephemera
の実験 私的遊戯の実験 Film Program Man Ray

Published by SEED, Tokyo, 1989, folded concertina pamphlet (b/w ill.), 18.4 × 13 cm (folded) 18.4 × 91 cm (unfolded), Japanese

Price: €20

Pamphlet to accompany the presentation of Man Ray’s films at SEED, Tokyo. The season ran from Tuesday 9 September – Thursday 26th September, 1989.

#1989 #ephemera #experimentalfilm #manray
の実験 私的遊戯の実験 Film Program Man Ray

Published by SEED, Tokyo, 1989, folded concertina pamphlet (b/w ill.), 18.4 × 13 cm (folded) 18.4 × 91 cm (unfolded), Japanese

Price: €20

Pamphlet to accompany the presentation of Man Ray’s films at SEED, Tokyo. The season ran from Tuesday 9 September – Thursday 26th September, 1989.

#1989 #ephemera #experimentalfilm #manray
Isa Genzken

Published by Museum Boymans-van Beuningen, Rotterdam, 1989, 24 pages (colour & b/w ill.), softcover, 24 × 30 cm, English

Price: €30 (Out of stock)

Produced on the occasion of Isa Genzken’s 1989 exhibition at Museum Boymans-van Beuningen, Rotterdam. With an essay by Peter Groot. Funded by Helge Achenbach Art Consulting, Düsseldorf and Daniel Buchholz, Köln.

#1989 #isagenzken
Stuttgart 1989 Charlotte Posenenske

1989, unpaginated (b/w ill.), 28 × 21 cm, German

Price: €15

As a representative of concrete-minimal art Charlotte Posenenske was among Germany’s leading artists in the 1960s. She aspired to a clear, hard realism of form, production, distribution and reception – all conditions that in the context of the 1968 movement meant changing society. In 1968, having come to the conclusion that art ultimately cannot have sufficient political impact Posenenske took the radical step of giving up art altogether.

She went on to study sociology and worked as a social scientist. Even though she could not envision political issues being pursued within a conceptual approach, it later became clear that she had formulated important aspects in her art that only came to bear in Concept Art in the 1970s. These aspects included the variability of objects, participation in production, the inclusion of a specific situation, a social context and institutional critique. (Between Bridges, 2007)

#1989 #charlotteposenenske
Hauptbahnhof Frankfurt 1989 Charlotte Posenenske

1989, unpaginated (b/w ill.), 28 × 21.7 cm, German

Price: €15 (Out of stock)

As a representative of concrete-minimal art Charlotte Posenenske was among Germany’s leading artists in the 1960s. She aspired to a clear, hard realism of form, production, distribution and reception – all conditions that in the context of the 1968 movement meant changing society. In 1968, having come to the conclusion that art ultimately cannot have sufficient political impact Posenenske took the radical step of giving up art altogether.

She went on to study sociology and worked as a social scientist. Even though she could not envision political issues being pursued within a conceptual approach, it later became clear that she had formulated important aspects in her art that only came to bear in Concept Art in the 1970s. These aspects included the variability of objects, participation in production, the inclusion of a specific situation, a social context and institutional critique. (Between Bridges, 2007)

From a collection of catalogues documenting presentations of Posenenske’s work installed at various locations including Deutsche Bank, Deutsche Lufthansa, Grossmarkthalle Frankfurt and Hauptbahnhof Frankfurt 1989, organised by Burkhard Brunn.

#1989 #charlotteposenenske