FUNDRAISING 4.12
Josef Strau,
Lamp reflected in Prints of Birds and Clouds, 2026
Oil and oil markers on canvas with attachment of patches of tin and magnets
45 x 49 cm / 17.7 × 19.3 in.
Unique, signed by the artist
2 paintings both made from photos. later printed first on paper into black and white later and then “printed” by hands on canvas, printed meaning done quickly, brainlessly and submittingly. They were chosen slowly from many other photos, observing patterns of motive preferences. One shows the studio of the artist with 2 prints leaning to the wall, one an image of old Persian Zarathustrian times, an image of a firebird, the other a print from the IKEA art store.
Being a repeated motive in last summer’s photos, possibly showing a pattern of the artists favored objects of interest, even more so in the endless and too hot and too inactive artists condition during this summer’s studio days: clouds, birds and other celestial beings and illustrations from their fairy tales. The second image is from after the end of summer made in the same procedure, showing an image in a bar, again with a lamp motive included but with birds just before getting ready to fly away to other places.
12 500 euros + shipping
To order this edition, please contact editions@mayrevue.com
FUNDRAISING 4.11
Josef Strau,
Lamp and Prints of Birds and Clouds, 2026
Oil and oil markers on canvas
45 x 49 cm / 17.7 × 19.3 inches
Unique, signed by the artist
2 paintings both made from photos. later printed first on paper into black and white later and then “printed” by hands on canvas, printed meaning done quickly, brainlessly and submittingly. They were chosen slowly from many other photos, observing patterns of motive preferences. One shows the studio of the artist with 2 prints leaning to the wall, one an image of old Persian Zarathustrian times, an image of a firebird, the other a print from the IKEA art store.
Being a repeated motive in last summer’s photos, possibly showing a pattern of the artists favored objects of interest, even more so in the endless and too hot and too inactive artists condition during this summer’s studio days: clouds, birds and other celestial beings and illustrations from their fairy tales. The second image is from after the end of summer made in the same procedure, showing an image in a bar, again with a lamp motive included but with birds just before getting ready to fly away to other places.
12 500 euros + shipping
To order this edition, please contact editions@mayrevue.com
FUNDRAISING 4.10
Marysia Paruzel,
4th floor BHV, 2026
Optical print on Ra-4 fuji luster DPII paper
28 × 35.6 cm / 11 x 14 in.
Edition of 3, signed by the artist
Image courtesy of Simon Jaton
The images here, which are a small part of a larger series, pictures of Eva at the BHV department store in Le Marais, Paris, as the store was undergoing closure. Shops are a wonderful stage and become so extremely theatrical without things to sell. The changing rooms with empty racks! Nothing to try.
I think these days online shopping, vintage shopping, and shopping for clothes you see on other people are much more desired. As if only something lived could acquire the potentiality of a life—or rather, the fantasy of one’s own “new life.”
1800 euros (framed) + shipping
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FUNDRAISING 4.09
Georgie Nettel,
Moving Text, 2026
Pen on paper
21 × 29.7 cm / 8.27 × 11.69 in.
Hand-drawn unique edition of 4, signed by the artist
Image courtesy of Simon Jaton
The mantra ‘growth and the growth of growth’ scrolls in Financier Display, a font that was created for the redesign of the Financial Times in 2014: “Financier Display has a frugal, staccato grace, creating a formal typographic atmosphere that never feels dry. Financier’s versatility handles news and features in the arts, science and sport as well as finance.”
1000 euros (unframed) + shipping
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FUNDRAISING 4.08
Muyeong Kim,
Still Life with Blue Indienne (1), 2026
Archival pigment print and hand-colored pastel on paper
36 x 48 cm / 14.2 × 18.9 in.
Edition of 3, each unique, signed by the artist
Hand coloring—a technique used before the invention of color photography, where pigments were added to introduce color and make the photograph appear like the visible world. It bears similarities to the use of cosmetics to accentuate beauty by both supplementing and subtly distorting the face’s structure. To transcend the technical limits, the illusion is made even more elaborate. Much like a made-up face, the result has evoked ambivalent reactions and a mixture of satisfaction and distrust. Illusion also provides a way of visualizing hybridity. Hand-colored photography came about at the height of an era when the West was exoticizing and assigning commercial value to images of the East. The technique dates back to the forced opening of Japan’s ports by the US Navy, bringing an end to its “Sakoku” era of isolation (1635–1854). Some of the travelers who arrived in the newly opened ports were photographers, and the technique flourished in the studios they opened in port cities. The souvenir images known as “Yokohama shashin” deliberately eschewed the modern landscape of the Meiji era, choosing to depict Japan instead through bucolic, old-fashioned scenes. The tints that served to make up for the medium’s limitations were used in this case to exoticize their subjects.
2500 euros (unframed) + shipping
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FUNDRAISING 4.07
Sanya Kantarovsky,
The Death of a Centaur, 2026
Monotype
46 x 38,1 cm / 18 1/8 x 15 in.
Unique piece in a series of 5, signed by the artist
Images courtesy of Pierre Le Hors
This series of unique monotype prints is a meditation on the death of a centaur, a visual theme initially employed in a large-scale painting of the same name, currently on view in Kantarovsky’s exhibition Basic Failure in Venice. These five works on paper were made through a process of using the residue, or “ghost”, from a previous print on a plate as the basis for the next one.
The death of a centaur depicts Chiron, an unusually kind and intelligent centaur who rejected his immortality and succumbed to death via Hercules’s poisoned arrow. Around the turn of the century, this motif was used to signal the death of Classicism and Symbolism with the onset of Modernity, as well as the failed integration of the animal man with the socialized man.
4500 euros (unframed) + shipping
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FUNDRAISING 4.06
Joseph Grigely,
Pavés, 2026
May Revue, concrete, wood, acrylic resin
23 x 25 cm / 9.1 × 9.8 in.
7 + 2 A.P. , with certificate
The edition consists of sections of Obstacle Course, a wheelchair ramp constructed from past issues of May Revue and bound together with concrete, which was exhibited at Palais de Tokyo in 2026 as part of Joseph Grigely’s exhibition “This Is Where We Are.”
Thanks to Emil Sandström.
250 euros + shipping
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FUNDRAISING 4.05
Sofia Defino Leiby,
Still Life (For May), 2026
Archival pigment print on Hahnemüle Hemp paper, artist’s frame.
23 x 25 cm / 9.1 × 9.8 in.
Edition of 3, each unique, signed par the artist
Image courtesy of Simon Jaton
For the May Revue fundraiser, Sofia Defino Leiby has created a special edition of 3 unique works stemming from her series Bottle Still Lives from 2024. Inspired by Morandi and Cubist collages, the still lives feature everyday objects and art materials which have been made digitally and wrapped in newspaper. The three prints have slight variations in their UV-wrap textures.
1700 euros (framed) + shipping
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FUNDRAISING 4.04.02
Noémie Degen /Simon Jaton,
Untitled, 2026
Copper plate etching on Rives paper, Iplex Frame
21 × 29,7 cm / 8.27 × 11.69 in.
Unique piece + 1 A.P., signed
Image courtesy of Simon Jaton
These copperplate engravings printed on paper emerge from a succession of manipulations of still images: scanned, enlarged, cropped, altered with paint and pastel, then rescanned, screen-printed, reworked, and engraved, they gradually move away from their original contexts. They are altered and transformed until a new image emerges, shaped until it becomes autonomous.
1000 euros (framed) + shipping
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FUNDRAISING 4.04.01
Noémie Degen /Simon Jaton,
Untitled, 2026
Copper plate etching on rives paper, Iplex Frame
21 × 29,7 cm / 8.27 × 11.69 in.
Unique piece + 1 A.P., signed
Image courtesy of Simon Jaton
These copperplate engravings printed on paper emerge from a succession of manipulations of still images: scanned, enlarged, cropped, altered with paint and pastel, then rescanned, screen-printed, reworked, and engraved, they gradually move away from their original contexts. They are altered and transformed until a new image emerges, shaped until it becomes autonomous.
1000 euros (framed) + shipping
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Fundraising 4.03
Nicolas Ceccaldi,
Jeune Fille à la Licorne, 2026
Pastel sur papier
40 x 30 cm / 16.1 × 12.6 inches (with clip frame)
Unique, signed by the artist
Image courtesy of Simon Jaton
This sketch of feet, based on a work by Le Dominiquin, is inspired by a detail from a fresco painted around 1604–1605. The complete fresco depicts a young woman seated, dressed in green and blue, stroking a unicorn she has tamed.
2300 euros (framed) + shipping
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Fundraising 4.02
Eyrie Alzate,
Tailor Made, 2026
Inkjet prints on epson photo paper
10 x 18,5cm / 4 x 7 in.
5 + 1 A.P., each unique, numbered and signed by the artist
Image courtesy of Simon Jaton
The edition comprises sets of Stereopticon slides made from photos taken with the camera on a Nintendo 3DS. Depicted is a porn video, a mirror and a laptop on the artist’s bed.
250 euros + shipping
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FUNDRAISING 4.01
Rita Ackermann,
Nurse Scene with Puppets, 2026
Grease pencil on Epson UltraChrome K3 inks on Wm Turner 300g paper
45,7 x 73,7 cm / 18 x 29 in.
10 unique editions, numbered and signed by the artist
Image courtesy of Simon Jaton
What you see in the picture are two works in progress taped onto a large sheet of cardboard. Both are printed paper with added oil gestures and graphite marks depicting the front and back of the nurse puppets. They are still in progress, but not far from their finished state.
On the left, you see the back of the “Hospital Scene” from the Vivre Sa Vie (Puppet show) I produced in 1996. Numbers and contours of the nurses are drawn in layers on the cardboard, marking the puppets’ movements as seen from the back, the puppeteer’s point of view.
On the right, you can see the taped-up printed paper showing the front of the same “Hospital Scene.” This work is also in progress and bears the graphite contours marking the puppets’ movements on the scene.
After photographing the two works in progress, I had the photograph printed on Turner paper using the same Epson printer. I then worked on each print as an original painting. Each original painting on paper was subsequently photographed and printed individually as a unique print.
Each of the 10 unique prints is marked and signed by the artist. A detailed PDF is available upon request.
1000 euros (unframed) + shipping
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Fundraising 3.13
Gili Tal,
Untitled (Small Fridge), 2023
Inkjet print, clip frame
8.3 x 11.4 in. (21 x 29 cm)
Edition of 5 + 2 A.P., signed and numbered
Image courtesy of the artist and Galerie Buchholz, Berlin/Cologne
In 2015, Gili Tal started presenting a series of photos of commercial glass-door display fridges filled to various degrees, mostly with drinks – cans and bottles etc. Mimicking retail strategies poised to convey bounty – products pushed to the front of shelves, labels facing forward –, some of the fridges mobilise their few remaining products to conceal the existence of a deep lack. Other fridges blur the gap between use and exchange, mixing up items imagined for sale to customers with those for consumption at home, or just storage, by supposed staff on shifts. With their innate ‘display’ proviso, the fridges become a way of testing how far this display function can hold and still affectively conceal all the rest from habituated readings, like another kind of glaze. Each fridge’s particular constellation evolves over time, with the artist adding and removing items. This photo, taken during such a process, was selected because it creates a new story in itself, a new small fridge, to some degree.
1000 euros + shipping
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Fundraising 3.12
Jessica Stockholder,
Car’s foil folly, no line, 2024
Silkscreen printing
31 x 31 cm (12.2 x 12.2 in.)
Edition of 16 + 4 A.P., signed and numbered
I made/wrote the work in tail end of the pandemic.
I was thinking about form in poetry. About how the words sound. In this case I used a grid. It’s a collection of words, but it also has a visual form, and color relationships. It’s vaguely about a car, a driver, a crash, the movement of a car, the kind of desire embedded in the car’s surface, where the car drives, what can happen when driving.
—Jessica Stockholder
500 euros + shipping
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Fundraising 3.11
Heji Shin,
Angel Energy 3, 2019
Inkjet print
96.5 x 71.1 cm (38 x 28 in.)
Edition 1 of 3 + 2 A.P. (framed)
Image courtesy of the artist and Reena Spaulings, New York/Los Angeles
This piece of Heji Shin is part of a serie of five composited images Angel Energie 1-5 presented at Gaga & Reena Spaulings Los Angeles in November 2019. “Shin places photos of human infants at the digitally rendered breast of Jedy Vales—a computer-generated ‘brand ambassador’ for the website YouPorn that has been designed as a compilation of users’ most-searched-for traits. In Shin’s prints, she appears in several different guises, all white-presenting. […] Vales is in other words a malleable fantasy of a narrow kind, representing a statistical mean of desirability. The babies are an ironic addition, turning her into a packaged brand of womanhood.”
Travis Diehl , “Fake Kardashians and CGI Porn Stars: Heji Shin’s ‘Angel Energy’,” Art in America, February 20, 2020.
Price on demand (framed)
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Fundraising 3.10
Marc Kokopeli,
It's Show Time, 2024
Electronic paper, real-time clock chip, lithium battery, plastic, cloth tape
19.1 x 13.3 x 2.5 cm (7.5 x 5.25 x 1 in.)
Edition of 20 + 4 A.P. with a certificate
Frame by frame, each day a message to the viewer slowly leaks out, eventually revealing their objective. The automatic typist reiterates a known ‘known’ over and over. By normal standards of stenography this would only take less than a few seconds, this work takes six weeks.
500 euros + shipping
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Fundraising 3.08
Hélène Fauquet,
Creepers, 2024
UV print on vliespaper
Format US One Sheet
101.5 x 68.2 cm (40 x 27 in.)
Edition of 10 + 2 A.P., signed and numbered
Sized like a one-sheet poster, the typical format of American cinema posters, this limited edition print reinterprets the iconic poster of Dario Argento’s 1985 horror classic Creepers, also titled Phenomena. Jennifer Connelly, who plays the main protagonist, is depicted in bold electronic paint splashes extending towards the viewer her elegantly manicured hand, seemingly unafraid and offering a swarm of crawling insects.
500 euros + shipping
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Fundraising 3.07
Ei Arakawa-Nash, Kerstin Brätsch, Nicole Eisenman, Laura Owens,
Untitled (exquisite corpse), 2023
Digital print double-sided 250g matt
59.4 x 84 cm (23.4 x 33.1 in.)
Edition of 12 + 8 A. P., with a certificate
In September 2022, four artists organized A Maze Zanine, Amaze Zaning, A-Mezzaning, Meza-9 at David Zwirner Gallery, New York to fundraise for Performance Space New York. This double-sided poster of exquisite corpse is regifting of the gift to the gallerist, who was born in the month of Scorpion.
500 euros + shipping
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Fundraising 3.06.1
Marie Angeletti,
Get Back 01, 2024
Get back 01
Inkjet print
50.8 x 90.4 cm (20 x 35.6 in.)
Edition of 10 + 2 A.P., signed et numbered
These four stills are taken from a scene in Get Back (2023), a documentation television series. It covers the making of the Beatles’ 1970 album Let It Be and draws largely from footage and audio material originally captured for a 1970 documentary of the album by Michael Lindsay-Hog.
400 euros + shipping
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Fundraising 3.06.2
Marie Angeletti,
Get Back 02, 2024
Get back 02
Inkjet print
50.8 x 82.5 cm (20 x 32.5 in.)
Edition of 10 + 2 A.P., signed and numbered
These four stills are taken from a scene in Get Back (2023), a documentation television series. It covers the making of the Beatles’ 1970 album Let It Be and draws largely from footage and audio material originally captured for a 1970 documentary of the album by Michael Lindsay-Hog.
400 euros + shipping
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Fundraising 3.06.3
Marie Angeletti,
Get Back 03, 2024
Get back 03
Inkjet print
50.8 x 79.7 cm (20 x 31.4 in.)
Edition of 10 + 2 A.P., signed and numbered
These four stills are taken from a scene in Get Back (2023), a documentation television series. It covers the making of the Beatles’ 1970 album Let It Be and draws largely from footage and audio material originally captured for a 1970 documentary of the album by Michael Lindsay-Hog.
400 euros + shipping
To order this edition, please contact editions@mayrevue.com
Fundraising 3.06.4
Marie Angeletti,
Get Back 04, 2024
Get back 04
Inkjet print
50.8 x 90.2 (20 x 35.5 in.)
Edition of 10 + 2 A.P., signed and numbered
These four stills are taken from a scene in Get Back (2023), a documentation television series. It covers the making of the Beatles’ 1970 album Let It Be and draws largely from footage and audio material originally captured for a 1970 documentary of the album by Michael Lindsay-Hog.
400 euros + shipping
To order this edition, please contact editions@mayrevue.com
Fundraising 3.05
Bernadette Van-Huy,
Mirror Stage, 2023
Inkjet print on matte photo paper, with added gray acrylic paint marks
21 x 28 cm (53.3 x 11 in.)
Edition of 10 + 2 A.P., all unique, signed and numbered
When you look in the mirror, that clarified, specular image is different, supplying you with something you lack. And… art doesn’t imitate life, it’s an improved version—between an art and its artist, a new power will flow from the former to the latter. And… an utterance issued by a speaker will perform a reverse feed.
Thank you to Greene Naftali Gallery
500 euros + shipping
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Fundraising 3.04
Henrik Olesen,
Hey Restless, 2023
Silkscreen on 3 mm cardboard, acrylic paint, water based screen printing ink, lacquer
29.7 x 42 cm ( 11.7 x 16.5 in.)
Edition of 10 + 2 A.P., all unique, signed and numbered
Image courtesy of the artist and Galerie Buchholz, Berlin/Cologne.
Inspired by a series of recent exhibitions, at Buchholz, dépendance and Reena Spaulings in 2020-22, the edition is a set of unique silkprints with recurring motives, some of them previously used, appearing in a difference of variations: a stomach, a keyboard, a few zippers, electric plugs, screws, a nail, three different toothbrushes, and a variety of USB sticks. They have to do with the idea of digestion and excretion of energy/information, sex, circulation, waste, pollution, technological connectivity and restlessness.
1000 euros + shipping
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Fundraising 3.03
Wade Guyton,
Untitled (MAY, Friday, March 17, 2023 Last Update), 2023
Epson DURABrite inkjet on 5 or 6 sheets of letterhead
21 x 29.7 cm
Edition of 50 + 10 A.P., signed on verso of last page of each set
(WG5530)
This edition is a five- or six-page print of the front page of the New York Times website on May letterhead. As the edition was printed in one day, the timestamp changes, as well as the headlines as the website was updated. Each edition is signed and numbered. Two previous versions of this edition were produced by Wade Guyton in 2012 and 2017; in this latest version, the letterhead has been updated with May’s new office address.
1000 euros + shipping
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Fundraising 3.02
Mimosa Echard,
Conjonctivite, 2023
16 x 16 cm (6.2 x 6.2 in.)
Edition of 10 + 2 A.P., with a certificate
Porcelain saucer glazed with Claude Monet’s Les Nymphéas, glass nail art micro-beads, glass beads, ‘antistress-nature and health’ used vial, iron oxide, earthenware, golden yellow glaze.
500 euros + shipping
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Fundraising 3.01
Justin Caguiat,
Acorn Children 1, 2, 3, 2023
Gouache on paper
22.9 x 30.5 cm (9 x 12 in.)
Three drawings signed and numbered
Image courtesy of the artist and Greene Naftali, New York.
Acorn children slowly roll across the fields and forest floors, down a hill, a creature is born, they grow up, find another, and embrace by the river in the forest, under a moonlit night there is an orgy, etc. Its all part of a Japanese children’s book. The story doesn’t make sense, and it feels inappropriate. I was dehydrated and my piss in the morning was the same vivid hue from the pictures I had just painted. How could something so colorful come out of my body, was I sick?
sold out
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Fundraising 2.06
Michael Krebber,
Untitled, 1, 2, 3 and 4 , 2019
Four drawings signed and numbered, with a frame
9 x 6 inches, pencil
and
6 x 9, ballpen
6 x 9, pencil, ballpen, watercolor
6 x 9, pencil, ballpen, watercolor
Image courtesy of the artist and Greene Naftali, New York
sold out
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Fundraising 2.05
Amelie von Wulffen,
Granny Smith, 2018
Glazed ceramics,each handmade by the artist
ca 10 x 10 cm / 3.9 x 3.9 in.
Edition of 10 + 4 A.P., signed and numbered
For the edition Granny Smith, Amelie von Wulffen has turned to the strange cult of small sculptures: those cute, trivial creatures that one finds on windowsills and drawers. Yet, for all their snugness, there is a sort of animism to these little figures, an eerie allure that turns the room into a grotesque stage set. It is this surrealism of the minuscule that is explored by von Wulffen’s modest comrades. The edition is based upon von Wulffen’s This is How it Happened series. In these works, von Wulffen presents scenes of contemporary life, parables of art world mores, tales of desolation and delirium. The series’ protagonists are vegetables or fruits and one of them, the moody green apple, has now migrated mediums, from the parody of painting to decorative figuration. In keeping with her allegorical mode, von Wulffen has given each of the figures a character of its own, thus at once referencing the domestic intimacy of these object and the anxiety and strangeness that accompany private life.
1500 euros + shipping
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Fundraising 2.04
Marina Pinsky,
Police Line, 2018
Jacquard ribbon comes in a box
600 x 5 cm / 236.2 x 2 in.
Editions of 50 + 10 A.P. (60 m), signed and numbered.
Police Line consists of a 50 meters long silk jacquard ribbon. The design which serves as a pattern was reconstructed from a small scrap found on the artist’s street in Brussels. The Jacquard weave was produced in France by the manufacturer Neyret, the reverse side is an inversion of its text and color. The company traces its origins back to a ribbon factory founded in 1825 by M. Antoine Bizaillon. When Bizaillon decided to retire, he had only small children and this prompted him to sell his small enterprise to a coworker, Jean-Baptiste Neyret (1825-1889). Neyret decided to enlarge his business by making ribbons for official decorations, trademarked ribbons to be used by manufacturers on their clothing and eventually images originally created by artists such as Paul Tavernier, Jacques-Louis David, Rosa Bonheur, Jean Leon Gerome and many others. After WWI, the firm produced popular series of woven silk picture postcards of buildings engulfed in flames.
This edition is sold per desirable meter.
250 euros (1 m) + shipping
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Fundraising 2.03
Till Megerle,
Untitled, 2018
Risograph
42 x 29.7 cm / 16.5 x 11.7 in.
Editions of 10 + 2 A.P. each
Signed and numbered
This limited edition consists of a Risograph print in two different versions, one in black and the second one in a washed-out brown, reproduced from an original drawing made with felt pen and pencil. The composition depicts the interchangeability of the roles of dominance, alluding to entangled social dynamics and inconclusive corporal complications. Here, three intertwined characters are emerging, an anthropomorphic coffin dominated by a figure and its akin double. They co-exist in a self-destructive relationship which seems to enable their formation and being.
400 euros each + shipping
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Fundraising 2.02
Morag Keil,
You, Me and CCTV - posters from my Instagram, 2018
C-print / Color xerox, A2 (42,0 x 59,4 cm / 16.5 x 23.4 in.)
Edition of 25 + 5 A.P.
Signed and numbered on the back
This poster which takes the form of a trompe-l’oeil, is a collage made out of images from the artist´s Instagram own account. Re-assembled and photoshopped into a window frame, the montage functions as a projection space, an individual constructed constellation and symbolical window, that overlooks a bleak urban and psychedelic exterior. The eye in the center is surmounted by a mouse cursor. As viewed from behind the screen, it renverses the notion of points of view and questions, inter alia, the idea of narcissism, voyeurism and being watched.
300 euros each + shipping
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Fundraising 2.01.02
Richard Hawkins,
He thought the pictures were ghosts, 2, 2018
Digital print, HP digital inkjet prints, paper 130 g/m2
24 x 36 in.
Temporally limited edition: available only till June 30th, 2019
Signed and numbered
In the now-quite-famous Kurim Case in the Czech Republic, young Ondrej Mauerova was hospitalized after being set free from the padlocked chamber his mother kept him in. Traumatized by abuse and deprivation, he became frightened by the pictures on his hospital room’s walls, having misperceived them as ghosts.
Additionally, the scale of collage has traditionally been limited to its source materials: 8x10s,magazines, catalogs etc. Mimmo Rotella is an exception. In wanted to up the size of my collages and, concurrently, finding new innovations in print technology (allowing for inexpensive, low print-run offset-comparable posters), I was lead into making these works—one of which is an ode to the painter Molly-Zuckerman Hartung.
not available
To order this edition, please contact editions@mayrevue.com
Fundraising 2.01.01
Richard Hawkins,
He thought the pictures were ghosts, 1, 2018
Digital print, HP digital inkjet prints, paper 130 g/m2
24 x 36 in.
Temporally limited edition: available only till June 30th, 2019
Signed and numbered
In the now-quite-famous Kurim Case in the Czech Republic, young Ondrej Mauerova was hospitalized after being set free from the padlocked chamber his mother kept him in. Traumatized by abuse and deprivation, he became frightened by the pictures on his hospital room’s walls, having misperceived them as ghosts.
Additionally, the scale of collage has traditionally been limited to its source materials: 8x10s,magazines, catalogs etc. Mimmo Rotella is an exception. In wanted to up the size of my collages and, concurrently, finding new innovations in print technology (allowing for inexpensive, low print-run offset-comparable posters), I was lead into making these works—one of which is an ode to the painter Molly-Zuckerman Hartung.
not available
To order this edition, please contact editions@mayrevue.com
Fundraising 1.13
Josef Strau,
No Title, 2017
Tin sheet with solder wire and inkjet poster
Tin sheet: approx. 31.9 x 19.7 in. (roughly cut), each unique
Poster: 16.5 x 23.2 in.
Edition of 7 + 2 A.P., signed on the back
This edition is handmade by the artist, through manipulating his sheet of tin with his hands tools and soldering equipment. The sheets are cut through with occasional holes, that he then re stitches together. Accompanying the work is a manual on its use in the form of a text poster in the artists new signature tear shaped design.
Relating to the artist’s eternal incompatibility of combining text and image/object, the tin was purchased in a Mexican folk art store for the making of tin icons which distinguish between the forbidden image of sensual worldly life and the parts cut out that expose the holy objects and bodies represented in the traditional icon. But the artist goes one step back and closes the holes of the tin back up to make any gaze towards even the potentially holy image impossible, in an attempt to reinvestigate the motivations of iconoclasm. In his last edition the artist created a veil for May Revue; possibly used by the collector to cover the face, this second and new edition is to create a kind of veil for our misuse of images, possibly to cover secular images or better any images in the collectors environment in order not to just protect the image but more so the gaze of the observer.
1800 € + shipping
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Fundraising 1.12
Paulina Olowska,
Seduction, 2017
Giclée print
29,7 x 45 cm
Edition of 25 + 5 A.P., signed and numbered
This edition is a giclée print of a woman lifting her white T-shirt to expose her breasts. The image is taken from a film still from Every Man for Himself by Jean-Luc Godard, and a photography of Ulrike Ottinger, Absinth (Tabea Blumenschein). The idea of this work is to reveal how women show their breasts as a method to get what they want. Showing one’s breasts can be seen as an act of prostitution and a shortcut for the female artist. Could we say that art made by women is a form of prostitution? This woman in the photograph, for me, resembles the young Alina Szapocznikow. I was thinking of Alina while creating a collage for her first major survey of work in the UK at the Hepworth Wakefield gallery. The collage relates to my search for the active female muse, a punk. It is not only the muse who inspires, but who takes the lead and controls it—sometimes as a last resort by lifting her shirt. Women like Ulrike Ottinger, Emmy Hennings, Pauline Boty, or Alina Szapocznikow become, for me, role models in a powerful position for maneuvering through male society using forms of seduction as one of the tools to achieve what they want. Seduction is a way of storytelling.
800 € + shipping
To order this edition, please contact editions@mayrevue.com
Fundraising 1.11
Maggie Lee,
Magnetic Poem, 2017
Handmade magnets, laser-copy print, glitter
Dimensions variable
Edition of 30 + 6 A.P.
A set of twenty handmade magnets that can be arranged on a refrigerator or metal surface to form magnetic word poetry, like this example:
Breaking up with the one you love
Making up with the one you love
The diary of a city goil
Put on headphones and go for a walk
6am glitter mix
Be Classic,
Classique!
An aperol spritz in the fog high rise
Walking in puffy sandals
How life to be lived
Exotica
For making sentences
250 € + shipping
To order this edition, please contact editions@mayrevue.com
Fundraising 1.10
Yngve Holen,
Trade, 2017
Prints on metal
41 x 30 x 10 cm
Edition of 10 + 4 A.P. with certificate
This edition by Norwegian-German artist Yngve Holen is a self-portrait as door, featuring the heads of state of his native countries, chancellor Angela Merkel and prime minister Erna Solberg. Between them, they hold a German car door manufactured from Norwegian aluminum, their image printed and cut out of the same material in a bilateral embrace.
800 € + shipping
To order this edition, please contact editions@mayrevue.com
Fundraising 1.09
Dominique Gonzalez-Foerster,
Marlene & Franz, 2017
Two color prints, 10 x 15 cm each,
with an hanging instruction
In collaboration with Giasco Bertoli
Edition of 8 + 2 A.P., signed and numbered
This edition consists of two photographs formatted as postcards. Each one is signed on the back in the style of prewar-cinema photographic studio portraits. For a number of years now, DGF has been working on realizing “apparitions” of literary and cinematic icons by transforming herself into these characters. This seems to have first taken place after an encounter by the artist with the writer Enrique Vila-Matas, who in one of his books, Dublinesca, transformed her into a fictional character.
At a conference at the Collège de France in 2017, the artist appeared, leaning over an amphitheater balcony, dressed as Franz Kafka; she then reappeared as Marlene Dietrich, accompanied by a song from the actress. In both apparitions she wears men’s suits, an allusion to a reader of Roberto Bolaño, who, according to Vila-Matas, wrote on her blog that “there is not one night where the vermin do not change and each time Kafka reminds us: a different transformation, a different woman. Yesterday he became Marlene Dietrich.” The transformation of Kafka into Dietrich is summoned here between the writer and the artist, and now, in these photographs by the artist, made into an edition.
800 € + shipping
To order this edition, please contact editions@mayrevue.com
