Produced on the occasion of the exhibition Marcel Broodthaers: L’Invitation au Voyage at the Vrije Universiteit, Amsterdam, 10 September–27 October, 1990. Curated by Hendriekje Bosma. Initiated and coordinated by Jan Mot

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

Invitation card produced on the occasion of the exhibition Bas Jan Ader (1942-1975) at Art & Project, Amsterdam, 29 January–23 February, 1985.

Bas Jan Ader was a Dutch conceptual and performance artist known for works exploring failure, loneliness, and the sublime, famously disappearing at sea in 1975 while attempting a transatlantic voyage as the final part of his trilogy, In Search of the Miraculous. His art, often using photography and film, featured self-performances of falling or emotional distress, linking life and art as metaphorical journeys, culminating in his mysterious final act of becoming part of his art.

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

Produced on the occasion of Ian Wilson’s Discussion at Van Abbemuseum, Eindhoven, 1 March, 2009.

Ian Wilson presented spoken language as his artistic medium, liberating art from its material form and opening it up to the unpredictability of verbal exchange. Through his Discussions, he engaged individuals in private and public conversations about verbal communication. Wilson views speech as dematerialized sculpture, believing that words enable one to “have the essential features of the object at your disposal.”

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

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