archives Jean-Dominique CARRE Contemporary Art
avant-gardes of the sixties and seventies
52 rue mazarine f -75006 paris france
tel. (33)(0)1 * 43 * 54 * 12 * 64
mob. (33)(0)7 * 69 * 17 * 25 * 00
archives.carre (at) wanadoo.fr
http://archives.carre.pagesperso-orange.fr
perso-orange.fr

 

 

 

 

recent acquisitions

 

 

 

 

Bernard HEIDSIECK & Eduard BAL

Portrait-Pétales. Biopsie 13 Sérigraphie de Eduard Bal

 

Bernard HEIDSIECK & Eduard BAL Portrait-Pétales. Biopsie 13 Sérigraphie de Eduard Bal

 

Square folio, 37.9 X 38.5 cm, (20) pages, loose, inside the publisher’s printed white card cover.
Inside the original blind black cardboard slipcase, 39.5 x 39 x 2.3 cm.
G. Schraenen Editeur, Antwerp, Belgium, 1973.
Edition of 186 numbered and signed by the artists, of which 1 “hors commerce” containing the dummy; 3 reserved for collaborators; 8 copies, each containing an original work signed by Eduard Bal; 4 “hors commerce”, each containing a fragment of the manuscript; 50 numbered 1 à 50. These first 66 copies contain 4 collages by Eduard Bal, the following 120 are numbered 51 à 170 and contain 4 silkscreens by Eduard Bal.
All copies coming with the 45rpm vinyl record, diameter 17 cm, “Biopsie 13 “Portrait-Pétales” performed by Bernard Heidsieck.

This copy is one of the 8 copies signed and numbered D - K, each containing an original work signed and dated by E. Bal. This copy is number “I”.

 

 

 

 

Edward KIENHOLZ

The Marriage Icon

 

Edward KIENHOLZ The Marriage Icon


Oak frame and acrylic sheet with photo-offset printed on Arches paper, photograph and nylon lace on black Arches paper; hand colored with watercolor and polyester resin.
Overall (approximate): 32.1 x 133.4 x 3.2 cm.
Gemini G.E.L. (367), Los Angeles, CA, USA, 1972.
Edition of 75, plus 3 trial proofs.
Signature incised lower centre on the attached brass plate 'Kienholz', title engraved lower centre on the attached brass plate 'The Marriage Icon', date engraved lower centre on the attached brass plate '1972', number incised lower centre on the attached brass plateatercolor and stamped ink on paper.

 

 

 

 

Dennis OPPENHEIM

Dennis OPPENHEIM: A Sound Enclosed Land Area

A Sound Enclosed Land Area

A card box with lid containing 1 folded map, part of the city of Milan + 1 audio magnetic tape (recorded live sounds of a defined area in the city of Milan).
Box: 22 x 22 x 2.5 cm.
Map, unfolded: 54 x 54 cm.
Gabriele Mazzotta Editore and Galeria Lambert, Milan, Italy, 1969.
Edition of 90 copies, dated, numbered and signed by D. Oppenheim on the map. Also numbered, printed, on the back of the box.
Dennis Oppenheim recorded himself walking a pre-mapped route on the streets of Milan and played it back inside the gallery F. Lambert, Milan.
Reference:
Buchholz - Magnani 1993: p. 151; Lailach 2005: pp. 146 & 147 (reprod.); Whitechapel Art Gallery: 3-infinite : new multiple art, p. 60.

 

 

 

 

Jean-Michel SANEJOUAND: Jeu de topo (Topo game). (1963).

Jean-Michel SANEJOUAND Jeu de topo. 1963


Unique artwork.
Clear plexiglas plate, black silkprint and 16 stones.
Plate: 50 x 50 x 2 cm.
Stones: +/- 5 x 4 cm.
Signed on the left side.

Reproduced in the official Sanejouand website at page:
http://www.sanejouand.com/fr/oeuvre/0jdt/jdt2c.php
Reproduced in the monograph "cnac/archives" n°9, published on the occasion of the show "Sanejouand" at the Centre National d'Art Contemporain (cnac), Paris, March 30 - May 21, 1973.

Exhibitions:
cnac, Paris, 1973.
Le Plateau Frac Ile de France, Paris, 2005 (one of the series "jeux de topo").

Provenance:
Private collection.

Règle du jeu de topo:

Deux joueurs A et B situés de part et d'autre d'une surface carrée sur laquelle sont tracées des lignes parallèles : 6 lignes "en pointillés" découpent en 7 bandes égales le terrain de jeu. Une ligne continue derrière laquelle sont rangées les 8 pièces du joueur B.
Les pièces du jeu = 2 ensembles de 8 cailloux (chaque ensemble réunit des cailloux de même famille ou de même couleur ou de même provenance, etc.).
Le joueur A répartit sur le terrain du jeu ses 8 cailloux de la façon qu'il estime, de son point de vue, la plus satisfaisante, sans tenir compte des lignes pointillées qui ne sont là que comme repères : c'est le 1er coup de la partie.
Le joueur B juge cette répartition de son point de vue (diamétralement opposé). Si elle lui convient, la partie est terminée. Sinon, il place une de ses pièces où il le désire sur le terrain. C'est le 2ème coup.
Il crée ainsi une nouvelle configuration qui reçoit ou non l'approbation du joueur A. Celui va réagir en modifiant sa configuration initiale mais il ne peut le faire qu'en déplaçant une seule de ses pièces.
La partie se poursuit ainsi au coup par coup.
Les joueurs peuvent rejouer les mêmes pièces autant de fois qu'ils le désirent. Le joueur B ne peut pas faire revenir dans sa réserve (derrière la ligne continue) une pièce qui en est sortie.
Il n'y a ni gagnant ni perdant :
La partie se poursuit jusqu'à ce que les 2 joueurs-partenaires réalisent une configuration de cailloux qui les satisfassent pleinement, l'un et l'autre, chacun de son point de vue.
Ces jeux sont répartis en grand nombre (au bord des chemins, dans les champs, dans les maisons, etc.).
Les cailloux peuvent être recherchés et choisis par chaque joueur.


 

 

Central and Eastern European Art Avant-Garde

 

 

Vlasta DELIMAR
Zagreb, Croatia, 1956 -

poklon democracija (a gift of democracy)

Vlasta DELIMAR: poklon democracija


Black and white gelatin silver print.
Mounted on card and framed under glass.
Picture: 9.5 x 5.7 cm.
Framed: 26 x 19 cm.
Text in Croatian "poklon democracija" handwritten in blue ink in the bottom of the card.
Signed by V. Delimar and dated 1982 on the back.
The small size of this photographic work was deliberately chosen, to parody the pious religion cards slipped into missals, communion cards, etc

 

 

 

 

Stano FILKO HAPPSOC

 

Stano FILKO HAPPSOC

hole and signature

 

Stano (Stanislas) FILKO
Velka Hradna, 1937 - Bratislava, Slovaquia, 2015.

HAPPSOC. Theory of Anonymity

Unique.

Photocopy and ink on a white paper sheet.
Photocopoy of the famous manifesto “Co je HAPPSOC?” (What does HAPPSOC mean?), written by Filko, Kostrova and Mlynarcik in 1965, on which Stano Filko has added handwritten words, numbers and a diagram in blue ballpoint pen and red felt pen.
Filko also made a hole in the center of the sheet of paper.
Image: 29.7 x 21 cm.
Frame: 36 x 27.1 cm.
Dated 1965 and signed "HAPPSOC SF." plus the
initials: F.M.K. in blue ball point pen in the lower right corner.
Fine.

(HAPPSOC: Happening and Society. Stano Filko wrote in collaboration with Alex Mlynarcik and Zita Kostrova to accompany the happening titled “Co je HAPPASOC?”, Bratislava, Checoslovaquia, declaring life in Bratislava is a work of Art, in May 2–8, 1965).


 

 

 

 

Tomislav GOTOVAC
Sombor, Serbia, 1937-


Tomislav GOTOVAC PUN MI JE KURAC

 

PUN MI JE KURAC (I've had enough)

Unique.
Silkprint and felt pen.
Added to the printed text, handwritten with a black thick felt pen, in bold characters: “GERONTOKRACIJE” (Gerontocraties).
Printed signature in the same black bold characters.
Framed under glass
Image: 21 x 29.7 cm.
Frame: 25.5 x 34.4 cm.
1970ies.
Condition: Small creases, a little foxing and a few short nicks to edges, still VG/VG.

 

 

 

 

 

Ivan KOZARIC Drawing Portrait  

Ivan KOZARIC
Peyrinja, Croatia, 1921-
Member of the Gorgona Group

Untitled

Drawing.
Red, green and yellow pencils on white paper.
Portrait.
Framed under glass.
Image: 34.5 x 24.8 cm.
Frame: 39.1 x 29.7 cm.
Signed (initials) and dated (illegible) in the lower right corner.
Fine.

 

 

 

 

NATALIA LL (Lach Lachowicz)
Zywiec, Poland, 1937 -

Snienie (Dreaming)

 

Nataliia LL  (Lach Lachowicz): Snienie



Black and
white gelatin silver print.
Framed under glass.
Picture: 12.5 x 17.2 cm. Frame: 18 x 22.5 cm.
Photograph by Andrej Lachowicz of the Natalia LL performance "Snienie" in Permafo Gallery, Wroclaw, Poland, 1978.
(The bad quality of this reproduction is due to the fact the photo is framed under glass.
The photo itself is in fine condition, neat, clear, without scratches as it can be seen here).

Link: http://www.romanroad.com/artists/natalia-ll

 

 

 

 

 

Marinela PREDA SANC Untitled  


Marinela PREDA SANC
Bucarest, Romania, 1955-

Untitled

Unique.
Mixed technique. Photo collage and gouache.
Signed and dated ‘84 in black pencil in the lower right corner.
Framed under glass.
Image: 14.7 x 22 cm.
Frame: 22.9 x 29.3 cm.
Fine.


 

 

 

 

 

Marinela PREDA SANC Drawing  

Marinela PREDA SANC
Bucarest, Romania, 1955-

Untitled

Drawing.
Black pencil on brown paper.
Signed and dated ‘82 in black pencil in the lower right corner.
Framed under glass.
Image: 30.8 x 22.5 cm.
Frame: 30.9 x 22.6 cm.
Fine.

 

 

 

 

 

 

 

 


We are interested in purchasing artist books, multiples, prints and unique works of art by these artists.
Please contact us.

Nous sommes intéressés par l'achat de livres d'artiste, estampes, multiples et oeuvres uniques de ces artistes.
Merci de nous contacter.


 

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Jean-Dominique CARRE Contemporary Art
archives

avant-gardes of the sixties and seventies
52 rue mazarine f -75006 paris france
tel. (33)(0)1*43*54*12*64
mob. (33)(0)7*69*17*25*00
archives.carre (at) wanadoo.fr
http://archives.carre.pagesperso-orange.fr

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