Produced on the occasion of Ernst Caramelle being awarded the Kunstpreis der Stadt Nordhorn 1998.

Edition of 26 copies and 4 artist’s proofs, numbered and signed by the artist.

Although the title of this edition, Un jour sans pain* est un jour sans soleil [“A day without bread is a day without sun”], sounds like a typical French saying, it is simply a sentence glimpsed in a bakery where Ana Jotta used to go in Paris. But the asterisk complicates things a little: on the back of the leporello, the artist instructs us to read “pain” in the English, thus adding a sarcastic touch to this commercial motto.

The (absence of) sun and the umbrella, as well as the wallpaper designed for the presentation of the edition at Keijiban, can refer to the tsuyu, the rainy season during which they were exhibited, in the open air.

Applying strategies of mass production to handmade objects, McCollum’s labor-intensive practice questions the intrinsic value of the unique work of art. McCollum’s installations—fields of vast numbers of small-scale works, systematically arranged, are the product of many tiny gestures, built up over time. With a text by Andrea Fraser.

You can read more on the Individual Works project here and see a video about it here.

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

Italian sculptor, painter and poet, Fausto Melotti is considered a pioneer of Italian art and is acknowledged for his unique contribution to the development of mid-century European Modernism. Coming of age in prewar Milan, and living through the horrors of the Second World War, Melotti metabolized wartime devastation in his work by returning to Renaissance principles of harmony, order, geometry, and musical structure, which he integrated into a highly personal yet universally accessible artistic language that expresses the full range of emotional experiences in modern human existence.

Considered one of the founders of Conceptual art, Robert Barry was included—along with Douglas Huebler, Joseph Kosuth, and Lawrence Weiner—in both the 1969 “January” show organized by Seth Siegelaub and the first museum exhibition of this work, Information, at the Museum of Modern Art, New York, in 1970.

Jack Smith presented his performance Irrational Landlordism of Bagdad as part of the Cologne Art Fair fringe in the summer of 1977. Many other events were documented photographically and can now be found in the Cologne Art Fair archives—not so Smith’s performance. This poster publication, edited by Michael Krebber, shows him in his fair stall and during his performance for the first time. The pictures are perfect documents of a completely eccentric transaction by this pioneering director and performance artist.