Video’s 1972-1981 Lili Dujourie

Published by Argos Editions, Brussels, 2002, 122 pages (colour & b/w ill.), 15 × 24 cm, English / Dutch

Price: €22

Produced on the occasion of the restoration of Lili Dujourie’s video works by Argos Editions, Brussels in 2002.

“Lili Dujourie made her videos in complete solitude, without a cameraman or a technical entourage. She saw on a monitor what the camera recorded of her from a fixed viewpoint. Her videos were never edited ‘extenuatingly’ afterwards; the video had to deliver the desired image or the work was destroyed. The vulnerability of the making of videos is comparable to the technique of the aquarelle – the touch should show great precision, otherwise the work fails. Mirrors, a mantelpiece, a window, slightly reflecting because of the entering light, a bed with white sheeting: familiar, yet as regards to content strongly layered encompassing ‘signs’ within which Lili Dujourie moved about in a suite of punctual movements, heightened with erotic suggestions and connotations. Time is being lived (in) in these videos – they reflect a conscious undergoing in the spectator of slow actions without finality” Luk Lambrecht

#2002 #argoseditions #lilidujourie
Les Cahiers – Mémoire D’expo Öyvind Fahlström

Published by Institut d’art contemporain — Villeurbanne/Rhône-Alpes, 2002, 74 pages (b/w ill.), 17 × 24 cm, French

Price: €8 (Out of stock)

With texts by Jean-François Chevrier & Mike Kelley.

#2002 #mikekelley #öyvindfahlström
Fondorientierte Ausstattung (Fund-oriented Equipment) Cosima von Bonin

Published by Hatje Cantz, Berlin, 2002, 192 pages (colour & b/w ill.), 23 × 26 cm, English / German

Price: €22

Produced on the occasion of Cosima von Bomin’s exhibition Fondorientierte Ausstattung (Fund-oriented Equipment) at Neue Galerie, Graz, 27 October – 1 December, 2002.

“The fact that Poul Gernes once built a ship in order simply to burn it on the open sea, and that Bas Jan Ader set off alone in a small sailing boat in 1975 in order to cross the Atlantic in 60 days, a project that ended in his vanishing without trace, allows Cosima von Bonin’s “skerry cruiser”, stranded in all pomp and elegance here in Graz, to appear not only as a metaphor for unfettered proliferation and boundless world domination but, above all, as a symbol of failure, of misadventure, perhaps even of hubris.” Neue Galerie, Graz, press release. More information on the exhibition can be found here.

Designed by Yvonne Quirmbach.

#2002 #cosimavonbonin #hatjecantz #yvonnequirmbach
Guy Mees

Published by Ludion, Ghent, 2002, 257 pages (colour & b/w ill.), 24.8 × 28.7 cm, Dutch / French / English

Price: €48

Guy Mees’s (1935–2003) photographs, videos, and above all his fragile works on paper are characterised by a formal rigour combined with sensitivity and delicacy. The uniqueness of his oeuvre lies precisely in its avoidance of conventional aesthetics and discursive classifications. A leading figure of the Belgian avant-garde, Mees left behind an outstanding body of work that transgresses geometric abstraction, Minimalism, Conceptualism, and applied art.

#2002 #guymees
IDEAS YOU BELIEVE ARE ABSURD ULTIMATELY LEAD TO SUCCESS. Bik Van der Pol

Published by Fonds BKVB, Rotterdam, 2002, plastic bag, 32.6 × 45.3 cm, English

Price: €10

Produced as a contribution to the exhibition Commitment, een keuze uit drie jaar Fonds BKVB, Las Palmas, Rotterdam, 2002. The text which is derived from a fortune cookie, has taken various forms and media in Bik Van der Pol’s work since 2000.

#2002 #bikvanderpol #ephemera
Aktiengesellschaft Maria Eichhorn

Published by Edition Metzel, Munich, 2002, 72 pages (b/w ill.), 21 × 29.7 cm, German / English

Price: €15

Maria Eichhorn Aktiengesellschaft began its life in December 2002, as both a corporation and a work of art. Upon an invitation to participate in Documenta 11, Maria Eichhorn founded an Aktiengesellschaft, or public limited company. As is typical of such entities, the newly created firm was in her own name. It held a 50,000 euros portion of Documenta’s exhibition budget—divided into 50,000 shares of a euro apiece—meeting the minimum requirement of subscribed capital for an Aktiengesellschaft.

Maria Eichhorn Aktiengesellschaft mimetically uses the structure of the corporation against itself. The artist remains its sole managing board member and initial shareholder; she transferred all shares of the company to itself, to be held in perpetuity. The corporation belongs to itself, or, in Eichhorn’s words, “it ultimately belongs to no one,” and “the concept of property disappears in this case.”

More information can be found on the work here.

#2002 #mariaeichhorn