Initiated by Maurizio Nannucci and published by Ecart, Geneva, this envelope compiles editions produced by the artists James Lee Byars, Ben Vautier, Ken Friedman, Parmiggiani, Daniel Buren, Emmett Williams, Endre Tót, Jochem Gerz, Antonio Dias, Jannis Kounellis, Timm Ulrichs, Boetti, George Brecht, Giulio Paolini, Giuseppe Chiari, Robert Filliou, John Armleder, Carlos Gania, Patrick Lucchini, Robin Crozier, George Brecht, Robert Filliou.

*Please note this publication is secondhand and may have some traces of previous ownership.

Promotional card for a publication containing a detailed presentation of all 22 works by Peter Roehr in the collection of the Frankfurter Museum für Moderne Kunst.

Despite having only a brief artistic career, spanning from 1962 to 1967, Peter Roehr left behind him a prolific oeuvre of pioneering collages, photo and sound montages and films. Roehr developed a proto-conceptual practice borrowing from pop art and minimalism. His practice was based on the principle of serial organisation and montage, focusing on the effects produced by unvaried repetition.

*Please note this publication is secondhand and may have some traces of previous ownership.

We started making machines together in 2010. These machines consisted of a sensor and device couplet, by which a sensor would trigger a device to perform a simple task. We experimented with sensor inputs like passing cars and tasks like heat guns blowing up trash bags, or later we would connect the machines to trains and have them push little cardboard cars back and forth. Still triggered by trains, the machines now move clock parts.

We disassemble mechanical clocks, take their parts and combine them with L-brackets, screws, washers, nuts, motors, felt, rubber bands, fishing line, and heat shrink tubing. The characteristics of the clock parts constrain and guide our activities. As we reinvent their function, the parts become less and less recognizable, their movements more and more estranged.

—Michèle Graf & Selina Grüter, 2023

Sands Murray-Wassink is an artist based in Amsterdam. A long-overlooked cult figure in the city’s art scene, his work spans decades, touching on themes of gender, desire, intimacy, mental health, and self-exploration. Deeply influenced by intersectional feminism and queer theory, his practice revolves around, and is shaped by figures such as Carolee Schneemann, Hannah Wilke, Adrian Piper, and Eva Hesse.

Since 2014, Sands has predominantly focused on what he calls “Horse Drawings,” utilizing mostly watercolors and often incorporating quickly drawn texts, on A4 and A3 formats, both on white, coloured paper and found material such as newspapers. These drawings, while sometimes devoid of actual horse imagery, all bear the title and embody the spirit of equine grace, symbolizing a personal journey towards healing.

Designed by Sabo Day.

Produced on the occasion of the exhibitions held at Staatlichen Kunsthalle Baden-Baden, 27 October, 2007–6 January 2008; Musée d’Art Moderne de la Ville de Paris, 14 February–25 May, 2008; Bonnefantenmuseum, Maastricht, 2 March–1 June, 2008. With a foreword by Karola Grässlin. Designed by Yvonne Quirmbach.

*Please note this publication is secondhand and may have some traces of previous ownership.

Produced on the occasion of the exhibition continuity/discontinuity 1963–1979 at Moderna Museet Stockholm, 11 October–23 November, 1980.

*Please note this publication is secondhand and may have some traces of previous ownership.