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 Galerie Buchholz, Berlin/Cologne
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. and 10 + 2 A.P.
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
To order this edition, please contact editions@mayrevue.com
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
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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
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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
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Fundraising 1.08
Mathieu Malouf,
Lärs Friëdrïch, 2017
Full Color Sandstone 3D print, 17,5 x 7 cm
Edition of 20 + 2 A.P. with certificate
This limited edition is a Full Color Sandstone 3D printed figurine of the dealer Lars Friedrich. He has been running gallery Lars Friedrich in Berlin since 2011, where the artist has shown three times. The print was produced from a scan of the gallerist’s body dated September 13th, 2017. Each edition is signed and numbered under the right foot by hand. A first 3D figurine of Lars was produced for May in 2014.
800 € + shipping
To order this edition, please contact editions@mayrevue.com
Fundraising 1.07
Heimo Zobernig,
Untitled, 2017
Screenprint on bristol paper 320 gr.
59,4 × 42 cm
Edition of 50 + 10 A.P., signed and numbered
This silk-print is based on a principle of superimposition often used by Heimo Zobernig and applied here to the letters of the month “June” in reference to the name of the magazine (May), and more broadly to the fact that magazines are regularly using historical references as names (like October). Use of the modernist font Helvetica has been the signature style of the artist since the end of the 1980s. Here, the letters are superimposed with four layers of grey, producing a geometric pattern verging on the monochrome. The black is the result of superimposing layers of “transparent” black. A first version of this edition was produced by Zobernig in 2009 with the letters of May in two typographies, the one of the artist (Helvetica) and the one of the magazine (Bodoni).
500 € + shipping
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Fundraising 1.06
Martha Rosler,
Untitled (Backyard Laundry I), 2017
C-type print
40 x 18 cm
Edition of 50 + 10 A.P., signed and numbered
A panoramic summer scene of laundry in a city yard, featuring a colorful selection of predictably gendered underwear. The image of clothing drying in the sun—in a private, verdant space–evokes women’s labor and women’s bodies, quietly conveying the passage of time and other natural processes, enclosed and somehow constrained by the photograph’s narrow format. The photo, taken in the mid-1990s, has a continuity with Rosler’s short films, Backyard Economy I and II from 1974, showing the backyard as a site of labor, in counterpoint to nature, and offering a feminist riff on home economics.
800 € + shipping
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Fundraising 1.05
Seth Price,
Existence of the Dark Hippie (1), 2017, from the serie, existence of the Dark Hippie (1) (2), (3), (4) and (5)
Acrylic and ink on ink-jet print
38,7 x 27,9 cm
Each unique
Price was apparently trying to draw up a new idea of what happen when entire surface area of human skin is arranged one molecule thick: how much surface area given a flat plane?
3000 € + shipping (set of the 5 drawings: 15000 € + shipping)
To order this edition, please contact editions@mayrevue.com
Fundraising 1.04
Wade Guyton,
Untitled, 2017
Epson DURABrite inkjet on letterhead
21 x 29,7 cm
Edition of 50 + 10 A.P.
signed on verso of last page of each set
(WG4272)
The edition is a four-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 will change, and possibly the headlines updated throughout the day. Each edition is signed and numbered. A first version of this edition was produced by Wade Guyton in 2012, in this one, the letterhead has been updated with the May’s office new address.
sold out
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Fundraising 1.03
Jana Euler,
The B-motion alphabet expressing different emotions, 2017
Silksprint and spray on paper
66 x 56 cm
Edition of 120 + 20 A.P.
This edition is comprised of 120 silkscreen prints representing a series of faces that are turning into letters, and appear up to four different versions, to create an alphabet, elaborated from the basic elements of the artist’s pictural language (nose, eyes, mouth). Each letter-face expresses an emotion in an exaggerated, weird and sometimes funny way and is used to compose an adjective referring to an emotion, like a complex composition of emoticons, a new form of emotional language. For that purpose, the edition is composed of two layers. The first layer is a black silkscreen of an airbrush drawing. As a second layer pink airbrush paint is sprayed on certain letter-faces to compose a word. These words come from a list of 120 adjectives expressing emotions.
Jana Euler has used these before in several paintings and called them “B-motions.” This alphabet could help to literally read these paintings, like Anonymous power game (2011) or The B-motion sending out undeliberately quiet a strong message 1-3 (2012).
In this proposal, one cannot refer to the usual binary association between a word and an emotion because each word is referring to a complete set of nuances and sometimes contradictory expressions. In the other way around, each emoticon is interpreted differently following the word it composed. It reveals the impossibility of language to deal with the dynamic and multiplicity of human feelings and their manifestation in a context of increasing poverty and normalization of emotional language.
250 € + shipping
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Fundraising 1.02
Peter Fischli,
Logo Painting, 2017
Paint on canvas, 30 x 30 cm
Edition of 12 + 2 A.P. ( + insert in May no. 18)
This edition is a handmade painting based on a refused project artist Peter Fischli proposed two years ago for an in-situ work at the Frankfurt airport. The project was designed entirely on the fact that it will be refused, motivated by the idea that it would be impossible for him to do an artwork for this context. The idea was to build a hiking trail all around the airport accompanied by a walking guide written in a poor promotional style and a logo that could have been used for a t-shirt and a hat. The walking guide will be printed in the next issue of May as an insert and will complete the actual painting.
sold out
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Fundraising 1.01
Stephan Dillemuth,
tit for tat, 2017
Plaster, telescope antenna, fake gold leaf, flocking
Kasperle: 42 cm (94 cm with antenna pulled out)
Gretel: 50 cm (100 cm with antenna pulled out)
Each edition 5 + 5 A.P. (each edition is sold separately)
This edition features Kasperle and Gretel, two traditional characters of popular German puppet shows. Kasperle ends here with a human femur bone and Gretel with a deer leg. Complete with an embedded antenna, these editions reference the extravagant communication objects designed for our everyday lives, that tend to get smaller and smaller, then bigger and bigger, more visible, again. Our everyday chit chat is like tit for tat, from the puppet show to the stage of mobile communication, with childhood patterns continuing to inform our adult behaviour.
1200 € + shipping
To order this edition, please contact editions@mayrevue.com
