Artist Editions (original) (raw)

#6 - Dena Yago

This photograph and vinyl lettering assemblage by Dena Yago is part of a series of modified aphorisms, overlaid on personal, diaristic and often domestic scenes. The series began with the epigrammatic and often biblical statements included in Alfred Döblin’s Berlin Alexanderplatz, which has been a recurring motif in Yago’s practice. For her newer works, the texts have shifted towards Yago’s own modification of existing axiomatic phrases. For this edition the handwriting reads “A bird in the hand, still worth a bird in the hand.” overlayed on top of a photograph of a goblet of cocktail peanuts stolen from the bar of a Turin hotel.

Dena Yago (b. 1988 USA) is an artist and writer based in New York. Her recent exhibitions include Force Majeure at High Art, Paris (2019) and The Shortest Shadow at Atlanta Contemporary, Atlanta (2018). Her fourth book of poetry, Fade The Lure, will be published by After Eight Books and High Art in September.

Edition of 10 + 2 A.P.
Signed and numbered by the artist
300€

A bird in the hand, 2019
28 x 35.5 cm
Lambda print on Hahnemuhle paper, vinyl lettering

#5 - Camille Blatrix

This edition by Camille Blatrix consists of a Bodum milk frother in an artist-designed wrapper with the words “Dont be sad make yourself a latte” printed on organic paper. As part of Blatrix’ ongoing practice to imbue mechanical objects with sentience and consciousness, the work is charged with an emotional potency. By implying that the mere anticipation of the soothing effect of the machine’s use might already be enough to change one’s state of mind, Blatrix is turning this expectation into its artistic purpose, rather than its status as a readymade. To underline its character of a personal gift the prints are signed off with a personal note – “with love C.”

Camille Blatrix (born 1984) is a Paris-based artist who has had recent solo exhibitions at Balice Hertling in Paris (2017, 2014), Bad Reputation in Los Angeles (2017), CCA Wattis in San Francisco (2016), Mostyn in Llandudno, Wales (2015) as well as a two-person show with Franco Vaccari at Andrew Kreps Gallery, New York (2017). In 2014 he won the Prix d’Entreprise Ricard at the Centre Pompidou. Furthermore he exhibited in group shows at FRAC Ile-de-France and Palais de Tokyo in Paris, Sculpture Center in New York and the Lyon Biennial.

Edition of 10 + 1 A.P.
Signed and numbered by the artist
600€

Christmas Jazz, 2018
25 x 7.5 x 4 cm
Ink-jet print on organic paper, PVC, milk frother

#4 - Marina Pinsky

This edition is made up of seven color copy prints of fabric scraps found in a copy shop called Dresden in Oaxaca, Mexico whilst Pinsky was working on a project there. Used to test their industrial embroidery machine, the fabrics all share the recurring emblem of a truck in varying colors and states of finish. Pinsky asked to take the scraps, later producing high resolution color copies in a print shop in Berlin. This process of transatlantic machine to machine production is subsumed by the materiality of the original test fabrics; and the vibrancy of the color copy reproductions which render the prints personal but also mechanical.

Marina Pinsky (born 1986 in Moscow) is an artist who has exhibited in numerous international galleries and museums including recent solo exhibitions at Clearing, Brussels and Kunsthalle Basel (including a catalog publication), as well as at White Columns, New York in 2013. Furthermore she participated in group shows such as at Wiels, Brussels; MoMA, New York; Kunstverein Dusseldorf; The Hammer Museum, Los Angeles; Marianne Boesky Gallery and Anton Kern Gallery (both New York). Her forthcoming shows include solo exhibitions at 303 Gallery, New York and Vleeshal, Middelburg, Netherlands.

The seven prints comprise an edition of 10 + 1 A.P.
Signed and numbered by the artist on the front side
500€ for the set of 7

Dresden, Oaxaca, Berlin, 2017
42 x 29.7 cm
Color xerox on paper

#3 - Matthew Langan-Peck

This edition by Matthew Langan-Peck consists of three photographs taken by the artist that are overlaid with hand-screened silhouettes. The photographs are masked in the shape of airplane windows – the jet is taken as a vehicle of global aspiration but also as representative of newsworthy violence in the form of various plane mishaps and disappearances. They depict a man in a hat, a messy room and a dark street suggesting a subdued kind of desolation. The silk-screened layer obscures parts of these scenes with silhouetted figures that pace through and point out of the frame. This second mask introduces a kind of subjectivity – an observer through which the images must be mediated. These prints continue themes that Langan-Peck has explored in several previous works about the economy of mobility. His inflatable sculptures first used tropes of global spectacle culture such as circus tents, portapotties and stadium seating, and later developed into blunt representations of airplanes and pilots as both stewards of globalization and highly symbolic representations of a crash.

Matthew Langan-Peck is a New York based artist who has exhibited widely at galleries in New York including Greene Naftali, Balice Hertling, Shoot the Lobster, Bed-Stuy Love Affair, Lomex and Svetlana as well as Édouard Montassut, Paris and Clearing in Brussels. His forthcoming exhibitions include a solo show at Svetlana, New York.

The three prints comprise an edition of 40 + 10 A.P.
Signed and numbered by the artist
250€ for the set of 3

Pointer, 2016
21.6 x 27.9 cm
Handscreened acrylic ink on archival inkjet print

Disordinato, 2016
21.6 x 27.9 cm
Handscreened acrylic ink on archival inkjet print

L’homme de la nuit, 2016
21.6 x 27.9 cm
Handscreened acrylic ink on archival inkjet print

#2 - Phillip Zach

This edition by Phillip Zach consists of two fine art prints on archival Sihl Aquarella paper of digital photographs showing steep sandy hillsides, both involving modifications at different points in their production. In Snake (2016) various black and white lines have been digitally drawn onto the photograph recalling the early homonymous computer game in which a player navigates a line to catch a pixel in order to grow longer and longer thus becoming an obstacle to itself and eventually ending the game when the snake bites into its own tail. In _DSC5824 (2016) various objects, including a shoe by the French brand of ergonomic footwear Mephisto, a Zapper (a device to stop insect bites from itching by emitting electric shocks to the affected tissue) and a camping spoon, have been added into a landscape with flaccid plants to compose a contemporary still life. This edition follows an inner logic characteristic of Zach’s work, who often uses installations to establish a context for interrelated serial artworks where various approaches get pol- luted, coherencies broken and categories perpetually overwritten. Similar to his recent installation Trail (2016), recently shown at the Dortmunder Kunstverein, these works project a vision of alienation that links the virtual and material worlds in which we navigate.

Phillip Zach is a Los Angeles based artist who has widely exhibited at galleries such as Freedman Fitzpatrick, Koppe Astner, Johann Berggren, Casey Kaplan, Laura Bartlett, and Greene Naftali as well as in the 31st Biennial of Graphic Arts, Ljubljana, White Flag Projects, St. Louis, Halle für Kunst, Lüneburg and the Dortmunder Kunstverein. His forthcoming exhibitions include a solo exhibition at Freedman Fitzpatrick and group shows at the Luma Foundation in Zürich and Kunsthalle Zürich.

The two prints are an edition of 100 + 20 A.P. each.
Every print includes a signed and numbered certificate by the artist
100€ each

Snake, 2016
39 x 26 cm
Digital color print on archival Sihl Aquarella paper

_DSC5824, 2016
39 x 26 cm
Digital color print on archival Sihl Aquarella paper

#1 - Megan Marrin

This edition consists of three different food and drink photos screen grabbed from instagram and mounted on hangers. A new format of food documentation has developed on instagram, it varies in quality but is generally shot from above and aims for a full-plate, full-glass, sexy form of #foodporn. The avocado toast has become a kind of symbol for the types of food at brunches, lunches, and dinners that are expected to be shared and shown off online before they are consumed. Taken out of its temporality, blown up and hung on the wall this edition becomes a vivid memorial of another person’s meal – but also of a new quality of food preparation, a contemporary aesthetics designed to stand out on a smartphone screen.

Megan Marrin is a New York based artist who has exhibited at Wiels Contemporary Art Centre in Brussels, Office Baroque, Robert Miller Gallery, Galerie Max Hetzler, Dold Projects, Foxy Production, Bureau and Bortolami Gallery.

The three variations form an edition of 30
Signed and numbered by the artist
250€ each

Bloody Mary, 2015
37 x 41 cm
Paper on metal hanger

Avocado Toast, 2015
37 x 41 cm
Paper on metal hanger

Iced Coffee, 2015
37 x 41 cm
Paper on metal hanger

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