Jonathan Monk Archives · BY ASSOCIATION

Jonathan Monk

Jonathan Monk
Picture Post Card Posted From Post Box Pictured, 2006
postcard, signed by the artist
14,8 x 10,5 cm
edition of 35

Jonathan Monk has been investigating the operations of the art market with his playful conceptual takes on famous works since the early 1990s. His projects are often about the systems in which art moves and acquires meaning, like his series of postcards with pictures of postboxes on them from a given city.

Monk’s edition for Jan Mot belongs to this ongoing project, titled Picture Post Card Posted From Post Box Pictured, and features a postbox in Brussels’ city centre. The verso is signed by the artist, and the card is mailed exclusively from the box pictured to wherever you live.

€ 50 (incl. VAT, excl. shipping)

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Sven Augustijnen

Sven Augustijnen
Untitled, 2016
inkjet print, framed
115,7 x 83,7 cm (image), 118 x 85 x 2,5 cm (frame)
edition 3/5 and 2 A.P.

The work Untitled (2016) by Sven Augustijnen is a photograph of a page of “Newsweek” from October 20, 1980. The article entitled The U.S. Role in the War concerns the war in the Persian Gulf.

The artist often works with magazines in a way similar to creating a storyboard of a movie. Through his editing – using selected pages from often a large number of issues of a magazine – he draws attention to aspects of history that remained invisible.

Augustijnen’s work can be summarised as subjective in the literal sense of the word. He walks the boundary between fiction and reality, distorts norms and is keen to break through clichéd roles and expectations.

€ 4.600 (incl. VAT, excl. shipping)

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Sven Augustijnen

This publication documents the exhibition of Sven Augustijnen together with Sammy Baloji in the Strombeek Cultural Center (BE) in the autumn of 2018. Augustijnen presented a large installation titled Imbéciles de tous les pays unissez-vous, containing 160 copies of the magazine Europe, presented in a large vitrine and accompanied by a wall text, highlighting themes such as colonisation, arms trade and the time of the Cold War.

With texts by Sandrine Colard, Bonaventure Shog Bejeng Ndikung, Sven Augustijnen, Sammy Baloji

Sven Augustijnen & Sammy Baloji
Museum III 2.1
Year: 2019
Language: English/Dutch
Pages: 40 p.
Publishers: MER.books, Borgerhoff & Lamberigts, Ghent, Belgium
Dimensions: 27,9 x 21,6 cm
ISBN: 9789463930079

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Pierre Bismuth

This exhibition catalog was published on the occasion of Everyone is an artist but only the artist knows it, Pierre Bismuth’s solo show at Centre Pompidou, Paris (from October 20th, 2021 till February 28th, 2022).

The title of the exhibition is a paradoxical reinterpretation of a famous statement by the German artist Joseph Beuys (“Everyone is an artist”). It brings together emblematic works alongside others made specially for the occasion. Two new works in particular mark this exhibition: the Saab automobile that once belonged to a great collector of conceptual art, in which the upholstery has been entirely redone and now features the names of the artists included in said collection. The second work, Pierre Bismuth – Chocolat au lait pour amateur de chocolat noir (2021) is based on the artist’s recipe and freely available for visitors to take. “The bachelor [meaning the artist himself] makes his own chocolate”, wrote Marcel Duchamp in the early 20th century. Pierre Bismuth, following in the footsteps of artist-cum-chocolate-makers such as Ed Ruscha and Dieter Roth, is perpetuating this blend of art and cocoa.

With texts by Jean-Pierre Criqui, Bernard Blistène, Marie-José Sondeijker, Dessislava Dimova, Dieter Roelstraete and Asad Raza.

Pierre Bismuth
Pierre Bismuth. Everyone is an artist but only the artist knows it
Year: 2021
Language: EN/FR
Pages: 128 p.
Editors: Éditions du Centre Pompidou
Co-Publisher: West Den Haag (a.o.)
Description: Hardcover
Dimensions: 24 x 19 x 2 cm

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Pierre Bismuth

Pierre Bismuth
Abstractions (Mali/Sweden), 2019
print on fabric
120 x 192 cm
edition 1/3 + 1 A.P.

Pierre Bismuth combines two flags of nation states into one new flag in the context of an ongoing global refugee crisis. One of the two flags sampled on these visual hybrids represent the country of origin, the other the destined European host country. The artistic result is new “inter / national flags”, which become conceptual pictorial objects, in which two national symbol systems merge, thus losing their previously clearly defined representational performance.

With this aesthetic intervention, Pierre Bismuth not only reflects on the aims and directions of worldwide refugee flows, but also on the precarious position that nation states today are taking in the context of neoliberal globalization and the power of global players in global affairs. In addition, the artist here composes picture objects that not only have a high aesthetic quality in addition to their political dimension, but also allude to younger art history.

Installation views:
Pierre Bismuth. Abstractions, Jan Mot, 2019.
Pierre Bismuth. Abstractions, Parcours. Art Basel, 2019 (reference image).

€ 4.500 (incl. VAT, excl. shipping)

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Pierre Bismuth

Pierre Bismuth
De Manger à Évacuer, 2002
black and white print on green paper
29,7 x 21 cm
unique

Through efficient and often humorous gestures, Bismuth interrupts pre-established codes of reading images and objects that pervade daily life, from headline stories in newspapers to magazine clippings from gentlemen’s magazines, to even the color of the walls.

De Manger à Évacuer belongs to a series of works playing with subjective relation to words and their meaning. In this work the artist starts with the word manger (eat) and by using synonyms arrives at a word which meaning is opposite (évacuer – evacuate).

€ 4.500 (incl. VAT, excl. shipping)

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Andrea Büttner

Andrea Büttner
Film, 2018
woodcut on paper
80 x 118 cm
edition 7/10

Woodcut plays a special role in Büttner’s practice, which also includes video works, books and photography. The artist dedicated herself to the medium in the 1990s—a period shaped by post-Conceptual Art and Institutional Critique—precisely because of its unpopularity. In pursuing her critical examination, she takes up an art-historical trajectory that spans from the Middle Ages to Expressionism and postwar Modernism.

€ 4.500 (incl. VAT, excl. shipping)

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Manon de Boer

Manon de Boer
The Untroubled Mind, 2013 – 2018
10 prints on baryta paper (12 x 16 cm, each), mounted on cardboard (36 x 40 cm, each), box (52 x 41 x 6 cm)
edition 2/10 + 2 A.P.

This series is a collection of stills from the eponymous film which documents constructions of the artists’ son over a period of three years. For Manon de Boer, the experience of time as indefinite and open-ended durations is vital for creative work: ‘I regard these moments of aimlessness when you can let your mind wander, forget time, and clear your head as an essential part of the creative process.’ In The Untroubled Mind, the artist observes and films her son’s playful constructions at home over a period of 3 years, setting the duration of each shot at 20 seconds, the length of time one can film with a Bolex 16mm camera when winding it manually. Through these collected glimpses of domestic reveries, we find everyday objects animated by a child’s imagination and arranged into precarious but often surprising situations. These are assemblages as time image, unhurried and unburdened with the expectation of arrival. They speak to us from a point of wonder and invite us to think about how we might go about spending our time — time playing, time looking, or time simply being in the presence of another.

€ 4.500 (incl. VAT, excl. shipping)

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Mario Garcia Torres

Mario Garcia Torres
N.D., n.d.
graphite on plastilita on canvas
#000012
25 x 20 cm (9,84 x 7,87 inch)
unique

Mario Garcia Torres’s series of works n.d. (no date) resonates his practice of omitting dating his work. By not dating his work and using n.d. at the place traditionally attributed to signature, Garcia Torres challenges the basic parameters of art history applied to classify artistic production, at the same time encouraging non-chronological connections within his own oeuvre. He uses gesso-like plastillita which he lays thickly on canvas. n.d. (no date) is initialed in the lower right-hand corner of the otherwise monochromatic surface. Acting as a playful negation of, and homage to, On Kawara’s Today series, Garcia Torres’s paintings also allude to the gesso primer used by painters throughout art history, but never seen.

€ 10.000 (incl. VAT, excl. shipping)

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Mario Garcia Torres

Mario Garcia Torres
All My Friends, My Secrets and My Notes, n.d.
sim card casted in brass
1,4 x 2,5 x 0,2 cm
edition 1/8 and 2 A.P.

Mario Garcia Torres’ works are often born out of a multitude of sources: the direct experience with daily life, with nature, technological processes or a wide range of cultural fields such as art history, music, cinema, literature and philosophy, that he reimagines through poetic and visionary compositions.

What the gesture of casting a sim card into brass and silver could represent is a contemplation of the act of creating connectivity through technology. The work can be presented in the corner of a large plinth or as during the artist’s show at the Walker Art Center (2018) be kept in a pocket and shown on request.

The work is also available as an edition made of silver.

€ 2.300 (incl. VAT, excl. shipping)

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Dominique Gonzalez-Foerster

Dominique Gonzalez-Foerster
Residence: Colour, 1995
CD-ROM, in a box with an 8-page booklet
edition of 1000

Residence: Colour is an interactive CD-ROM. It brings together views of all the interiors produced by the artist in 7 years (1988-1995): bedrooms, cabinets, environments, apartments. An evocative use of color, objects and images generates a narrative dimension. The chambers contain a number of clues, offering an open and unfinished narrative that the visitor can complete. The images are put together and mounted to create a labyrinthine building. It is a game without rules, a film without characters, a novel without words.

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Joachim Koester

Bringing Something Back centres on a series of meditation tapes. The tapes explore the various twilight zones between waking and sleeping, and what can be brought back from such semi-darkened mental states in an exhibition context. Operating on the one hand as a catalogue, the book also sets out to expand this exploration in its own right. A visual essay, compiled by art historian, writer and curator Yann Chateigné, runs through the book and combines Koester’s own works with a selection of archival pictures that visually extends the discourse of the tapes, texts and artworks.

With texts by Joachim Koester, David Toop, Jelena Martinovic, Yann Chateigné.

Joachim Koester
Bringing Something Back
Year: 2019
Language: EN
Pages: 166 p.
Editors: Mai Lahn-Johannessen, Steinar Sekkingstad
Publishers: Walter Koenig Verlag
Description: Paperback
Dimensions: 200 x 125 mm

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Joachim Koester

Joachim Koester
Histories. Hans Haacke, Shapolsky et al. Manhattan Real Estate Holdings, a Real-Time Social System, as of May 1, 1971.
312 East 3rd Street, Manhattan, New York, 1971, 2005
two black and white photographs: selenium-toned silver gelatine prints
45 x 39 cm (framed, each)
edition 1/5 and 2 A.P.

There are at least two histories depicted in this series of work by Koester. That of conceptual photography, and that of the places and events depicted. The histories are evoked through the juxtaposition of seminal works by Haacke, Robert Adams, Bernd & Hilla Becher, Gordon Matta-Clark, Ed Ruscha and Robert Smithson from the 1960s and 1970s with recent shots from exactly the same locations. The work is presented as a diptych.

€ 5.000 (incl. VAT, excl. shipping)

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Joachim Koester

Joachim Koester
Crystal Ball, 2011
silver gelatin print
57,5 x 46,5 cm (framed)
edition 2/7 + 2 A.P.

There is a way of seeing that does not rely on the eyes. It emerges in the state between wakefulness and dream, when patterns and shapes flash behind the eyelids, or as visions, trance induced while gazing into a crystal ball or at a black mirror.

The crystal ball was used in séances conducted by John Dee and Edward Kelly and was exhibited in a showcase in The British Museum. Here, the imperial architecture of the museum is reflected in miniature by the crystal ball.

€ 4.000 (incl. VAT, excl. shipping)

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David Lamelas

David Lamelas
Antwerp Poster, 1970
black print on white semi-gloss paper
64 x 41 cm (unframed), unsigned

Poster with three photographs of the city at different times of the day. This poster was produced by Wide White Space in Antwerp,1970 for Lamelas’ first exhibition with the gallery.

€ 485 (incl. VAT, excl. shipping, unframed)

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David Lamelas

David Lamelas
Rock Star (Character Appropriation), 1996
offset on paper
120 x 86 cm (unframed)
edition 59/100 (signed and numbered)

This poster edition uses an image from the series Rock Star (Character Appropriation) (1974). The work is composed of a series of uncannily authentic-looking stills of the artist himself decked out in the full regalia of a rock singer and in the throes of liberation and ecstatic release. The utterly convincing aspect of performance in the work is bolstered by technical wizardry, complete with blinding, halo-like circles of light and the rushing blur of you-are-there snapshots. A direct precursor to Cindy Sherman’s Untitled Film Stills, Lamelas’s star turn is a trenchant examination of mass media mythology from the inside.
This poster was produced for Lamelas’ seminal exhibition at the Kunstverein, Munich (DE) and Witte de With, Rotterdam (NL) in 1997.

€ 2.300 (incl. VAT, excl. shipping, unframed)

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Paul Thek

Paul Thek
Untitled (Prunes), 1975/92
etching on handmade Twinrocker paper
19,5 x 25,4 cm (paper), 9 x 11,5 cm (plate)
edition 21 of 25

In 1989, a year after his death, a multitude of works were discovered in Paul Thek’s New York storage unit. Among hundreds of sculptures, paintings, drawings and notebooks were 28 copper plates with images such as this work depicting two prunes. The etchings were made in 1975 by Paul Thek but never exhibited during his lifetime. After the discovery in 1989, they were reprinted as an edition of 25 in 1992.

Captions:
Paul Thek, Untitled (Prunes), 1975/92 (plate);
Paul Thek, Untitled (Prunes), 1975/92 (reference image);
Paul Thek. I AM, AM I?, Jan Mot, 2019 (Photo: Philippe De Gobert) (reference image).

€ 2.200 (incl. VAT, excl. shipping)

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Paul Thek

This exhibition catalogue is the first book published by Jan Mot. It was made in collaboration with Alexander and Bonin, on the occasion of the exhibition Paul Thek. I AM, AM I? at the gallery in 2019.

A series of etchings was posthumously printed after finding a number of copper plates in Paul Thek’s New York storage in 1989, one year after his death. Images include a campfire, a balloon, a prune, a one-eyed potato, a tarbaby and a vertically arranged sequential triptych of a glowing heart rising above the Earth. All these subjects appear in contemporaneous paintings on newspaper or bronzes but the etchings themselves were never exhibited during the artist’s lifetime. The catalogue reproduces the complete series of 30 etchings, including 28 of them at scale 1:1.

With text by Ted Bonin.

Paul Thek
Paul Thek. I AM, AM I?
Year: 2019
Language: EN
Pages: 77 p.
Edition: 750
Publisher: Jan Mot, Brussels
Description: Paperback
Dimensions: 21 x 15 cm

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Philippe Thomas

The book Insights signed by Laura Carpenter imitates the form of a personal diary in which Thomas allegedly jotted down his critical comments and thoughts during the opening exhibition of the agency “readymades belong to everyone ®” at the Cable Gallery in New York, two years before. (Émeline Jaret)

Laura Carpenter
Insights
Year: 1990
Pages: 78 p.
Edition: 1.500
Publisher: Galerie Claire Burrus, Paris
Description: Paperback
Dimensions: 14 x 21 cm

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Philippe Thomas

readymades belong to everyone® / Le mobilier national
32 postcards published by Tyne International and Kunstverein Hamburg (1993),
1 postcard published by Claire Burrus Gallery (1993)
certificate signed by Claire Burrus
10,2 x 15, 2 cm or 15,2 x 10,2 cm (x 32)
14,9 x 10,4 cm (x 1)
edition of 70

The edition takes up the idea of retrospective bringing together reproductions of works created with the agency readymades belong to everyone®.

€ 1.900

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Ian Wilson

This catalogue raisonné entitled Ian Wilson. The Discussions is the first attempt to provide an overview of Ian Wilson’s Discussions realised between 1968 and 2008. The primary research sources for this publication were the announcement cards – generally used for the public Discussions – and the certificates with which Discussions were purchased and documented. Various catalogues and publications, as well as the correspondence and notes available in private and public archives, provided additional information. Apart from these kinds of documentation, the memories that organisers and participants have of past Discussions contributed greatly to our search for details and context regarding specific works. In addition, the countless conversations and correspondence with Ian Wilson were a very important and inexhaustible resource throughout the research process.

Due to the nature of Wilson’s work, this project presented an unusual challenge. Amongst other things, his intention was to create an art form that would leave no residue but would exist only in the moment of its creation. He does not allow the Discussions to be recorded by means of film, audiotape or photograph, and as a result there is no trace of the work itself, except in the minds of those who participated. Some of the questions we had to consider when putting together this catalogue included: Would it be possible to retrace and describe this oeuvre? How can an inventory of such temporal works be made? What would this imply in relation to the immateriality of the individual works? What might be deduced from the information gathered during the research process?

With texts by Anne Rorimer, Chantal Kleinmeulman (a.o.).

Ian Wilson
Ian Wilson. The Discussions
Year: 2009
Language: EN (the book exists also in Spanish version)
Pages: 190 p.
Editors: Anne Rorimer, Christiane Berndes, Charles Esche, Chantal Kleinmeulman, Jan Mot
Publishers: Van Abbemuseum Eindhoven; MAMCO, Geneva; Macba, Barcelona
Description: Paperback
Dimensions: 27 x 18,5 cm

€ 45 (incl. VAT, excl. registered shipping*)

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Seth Siegelaub / Egress Foundation

955,000. Exhibition catalogue for an exhibition organised by Lucy Lippard, The Vancouver Art Gallery, 13 January – 8 February 1970, Vancouver 1970.

With its manila envelope marked only by a hastily written exhibition description, this exhibition catalogue has a very unassuming appearance. Inside the envelope are 138 unbound index cards representing one of the most important avant garde art exhibitions of its time, titled 955,000.

Despite its unbound, randomly ordered and aesthetically uniform (hand and typewritten text printed in black on index cards) characteristics, this catalogue is peculiar because each artist in the exhibition was not only asked to contribute their artwork but they were also encouraged to make/design their own index card(s) for the catalogue.

With contributions by: Vito Acconci, Carl Andre, Keith Arnatt, Richard Artschwager, Terry Atkinson, John Baldessari, Michael Baldwin, Robert Barry, Rick Barthelme, Gene Beery, Mel Bochner, Bill Bollinger, Jon Borofsky, Daniel Buren, Donald Burgy, Rosemarie Castoro, Greg Curnoe, Hanne Darboven, Walter de Maria, Jan Dibbets, Christos Dikeakos, Rafael Ferrer, Dan Graham, Hans Haacke, Alex Hay, Michael Heizer, Eva Hesse, Douglas Huebler, Robert Huot, Stephen Kaltenbach, On Kawara, Edward Kienholz, Robert Kinmont, Joseph Kosuth, Christine Kozlov, John Latham, Barry Le Va, Sol LeWitt, Roelof Louw, Duane Lundon, Bruce McLean, Robert Morris, N. Y. Graphic Workshop, N.E. Thing Co., Bruce Nauman, George Nikoliadis, Dennis Oppenheim, John Perreault, Adrian Piper, Robert Rohm, Alan Ruppersberg, Ed Ruscha, Robert Ryman, Fred Sandback, George Sawchuk, Richard Serra, Randy Sims, Richard Sladden, Robert Smithson, Keith Sonnier, Jeff Wall, Lawrence Weiner and Ian Wilson

Editor: Lucy Lippard
Publisher: The Vancouver Art Gallery, Vancouver (CA)
1970
138 pages (inxed cards), envelop

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Seth Siegelaub / Egress Foundation

In the early eighties Seth Siegelaub began collecting textiles and books about textiles, and in 1986 founded the Center for Social Research on Old Textiles, which conducts research on the social history of hand-woven textiles. In 1997 he edited and published the Bibliographica Textilia Historiae, the first general bibliography on the history of textiles.

This bibliography takes into account all facets of textile literature. It lists more than 5000 books, essays, dissertations, legal texts etc. from all over the world, dating from the late 15th century to the present. Here we encounter references to publications on flat-woven carpets, textile printing, embroidery, lace, tapestry and rugs as well as fibre technology, dyeing, pattern books and costume studies.

The author compiled his collection of titles with the intention of making textile literature accessible in the fields of art, craft art and technology, and facilitating research into the importance attached to textiles in so-called primitive societies, Antiquity, the Middle Ages and Renaissance up to the time of industrialisation. Thus the bibliography also considers the economic and social aspects of textile production.

Based on the Library and Archives of the Center for Social Research on Old Textiles by Seth Siegelaub.

Seth Siegelaub
Bibliographica Textilia Historiae: Towards a General Bibliography on the History of Textiles
Year: 1997
Pages: 416 p.
Language: EN
Publisher: International General
Description: Hardcover
Dimensions: 21,5 x 30,5 cm

€ 150 (incl. VAT, excl. registered shipping*)

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Seth Siegelaub / Egress Foundation

Seth Siegelaub: Better Read Than Dead, Writings and Interviews 1964-2013 is an essential sourcebook on conceptual art’s famed champion, reproducing his texts as scans to immerse the reader in this deep archival dive.

Better Read Than Dead was the title Seth Siegelaub had chosen for an anthology of his own writing—one of the projects for which he never found the time, busy as he was running his global one-man operation. The selected writings, interviews, extended bibliography and chronology in this source book fill historical gaps in the sprawling network of exhibitions, publications, projects, and collections that constitute Siegelaub’s life’s work.

“Siegelaubian” paperwork comprises Siegelaub’s writings, which are reproduced as scans in order to convey the variety of the documents and to give a sense of archival immersion. Interspersed with these “writings” are interviews and talks, several newly transcribed. The majority of interviews from 1969-1972 are reprinted here.

Seth Siegelaub
Better Read Than Dead, Writings and Interviews 1964-2013
Year: 2020
Pages: 352 p.
Language: EN
Editors: Marja Bloem, Krist Gruijthuijsen, Lauren van Haaften-Schick, Sara Martinetti, Jo Melvin
Publisher: Stichting Egress Foundation, Amsterdam & Koenig Books, London
Description: Paperback, illustrated
Dimensions: 25 x 19,5 cm

€ 35 (incl. VAT, excl. registered shipping*)

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Seth Siegelaub / Egress Foundation

First published in 1971, How to Read Donald Duck. Imperialist Ideology in the Disney Comic by Ariel Dorfman and Armand Mattelart shocked readers by revealing how capitalist ideology operates in our most beloved cartoons. Having survived bonfires, impounding and being dumped into the ocean by the Chilean army, this controversial book is once again back on our shelves.

Written and published during the blossoming of Salvador Allende’s revolutionary socialism, the book examines how Disney comics not only reflect capitalist ideology, but are active agents working in this ideology’s favour. Focusing on the hapless mice and ducks of Disney, curiously parentless, marginalised and always short of cash, Ariel Dorfman and Armand Mattelart expose how these characters established hegemonic ideas about capital, race, gender and the relationship between developed countries and the Third World.

A devastating indictment of a media giant, a document of twentieth-century political upheaval, and a reminder of the dark undercurrent of pop culture, How to Read Donald Duck was once again made available, with a new introduction by Ariel Dorfman, through this publication of International General (Seth Siegelaub).

International General (Seth Siegelaub)
Ariel Dorfman and Armand Mattelart
How to Read Donald Duck. Imperialist Ideology in the Disney Comic
Year: 1984/1991
Languages: English
Pages: 112 p.
Publisher: International General, New York

€ 15 (incl. VAT, excl. shipping*)

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Jonathan Monk

Sven Augustijnen

Sven Augustijnen

Pierre Bismuth

Pierre Bismuth

Pierre Bismuth

Andrea Büttner

Manon de Boer

Mario Garcia Torres

Mario Garcia Torres

Dominique Gonzalez-Foerster

Joachim Koester

Joachim Koester

Joachim Koester

David Lamelas

David Lamelas

Paul Thek

Paul Thek

Philippe Thomas

Philippe Thomas

Ian Wilson

Seth Siegelaub / Egress Foundation

Seth Siegelaub / Egress Foundation

Seth Siegelaub / Egress Foundation

Seth Siegelaub / Egress Foundation

Jan Mot

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