Read a Parkett Text on Tomma Abts
Parkett Vol. 84

Quote from Parkett
“Abts' compositions in fact emerge out of the give-and-take that comes with the application of numerous successive layers of paint and through choices being elaborated over many months. Interlocking linear elements might float across densely layered fields, objective aggregations of the thin strata.”
Suzanne Hudson, Parkett 84, 2008

Additional Quote
“Painter Tomma Abts here creates a winding, silvery form that draws attention to the act of painting. In this print, the metallic and black abstraction forces one to consider, and follow, its path around the canvas. The print truly bears the stamp of the artist, measuring exactly 48 x 38 cm—the framework Abts sets up for each piece she creates. The abstract geometric forms of the print are equally characteristic of the artist's non-representational style of working and refer to themselves and themselves only, disentangling the artist from any form of symbolism and figuration.”
-Fineartmultiple

Untitled (Uto), 2008
Archival pigment print on Angelica paper, mounted on sintra,
framed, paper size: 15 7/8 x 19 3/4 (50,5 x 40,5 cm),
image size: 15 x 18 7/8 (48 x 38 cm),
printed by Laumont, New York, Ed. 45/XXV, signed and numbered certificate

Read a Parkett Text on Eija Liisa Ahtila
Parkett Vol. 68

Quote from Parkett
“Ahtila’s moving pictures often revolve around the house: around the objects and people that enter it from the outside and close it off from the inside. Access roads, parking places, bridges along the way, doors that are opened into the house from outside by odd visitors, curtains that keep out the light, cars that traverse the walls of the rooms, beds under which one can hide, drafts that undo everything: the picture that Ahtila conjures of a house is a fragile affair, somewhere between dollhouse and house of cards, model and construction site.”
Gertrud Koch, Parkett No. 68, 2003

Additional Quote
“A pure wool jacket emblazoned with text on both front and back, Ahtila here moves away from her realm of experimental filmmaking and moving image melodrama to produce a truly unique multiple. "Veil of ignorance" is printed on the back of the garment whilst it is mirror-inverted on the front, making it so that it is legible for others from behind and to oneself when standing in front of a looking glass. Released with the statement that "Ignorance is the mirror of knowledge", this fascinating piece is available in 5 different sizes and published in a limited edition of only 70. The dark suits appear like an official uniform, suits of bureaucratic authority. Although portrayed by the models in poses that evoke a fashion shoot, the printed text acts as a constant self-reflexive reminder to the wearer to not relinquish knowledge for ignorance.”
-Fineartmultiple

Veil of Ignorance, 2003
Pure wool jacket with text printed on front (mirror-inverted) and back,
handprinted silkscreen lettering by Atelier für Siebdruck Lorenz Boegli, Zürich,
available in 5 sizes,
Ed. 70/XXV, signed certificate

Complimentary Shipping.

Read a Parkett Text on Allora & Calzadilla
Parkett Vol. 80

Quote from Parkett
“...materiality and metaphoricity constitute a couple. In other words, a material is never simply self-evident in its meaning; it is always marked with histories, cultures, and politics that are at once irreducible to and indissociable from the material in question. Any material is going to have the weight of history inscribed in it. The time of the world is there; geologically, geopolitically, there is always an allegorical dimension to materials. A tropical plant, for instance, cannot be treated as a bare biological life without effacing its colonial genealogy, even though we are quite interested in the actual temporalities and processes of the living organism as a sculptural problematic.”
Jennifer Allora / Guillermo Calzadilla Interview in Parkett No. 80, 2007

"Deadline", 2007 (for Parkett 80)
DVD from 16 mm color film, 3 min.,
signed and numbered certificate,
Ed. 28/XVI

Very limited availability

This small-scale sculptural sound work is to be worn like an earpiece, and delivers a short message of the artist playing the violin and whispering in the listener’s ear.

Read a Parkett Text on Laurie Anderson
Parkett Vol. 49

Quote from Parkett
“Firmly rooted in time and in the world, her art explores a territory between keen wakefulness and (day)-dreams, where things of the real world and visions together penetrate consciousness, where perception stimulates dreams, and dreams sharpen perception. …For almost three decades, ceaselessly circling themes and motifs in text, image, and music have been coupled in Laurie Anderson’s performances and installations with new material, forever evolving in a cosmology-in-flux, in the endless flow of a great work in progress.”
Jacqueline Burckhardt, Parkett No. 49, 1997

Additional Quote
“Anderson's ingenious multiple takes the form of a seemingly decorative earring made up of a lithium battery, a circuit board, and a loudspeaker. Blending aesthetics with technology, it allows the delivery of a private sound message from the artist to the wearer. Designed to be worn rather like the earpiece of presenters and security guards, this work is firmly rooted in the real world and reveals Anderson's longstanding preoccupation with interactions between music and sculpture.”
- Fineartmultiple

"Hearring", 1997 (for Parkett 49)
Earring with playable sound message (approx. 20 sec.),
brass, copper, circuit board, loudspeaker, lithium battery,
Plexiglas, wires, approx.
size: 3 3/8 x 1 3/4 x 1” (10,2, x 4,5 x 2 cm),
jewelry by Josiah Dearborn, engineering design Bob Bielecki
Ed. 150/XXX, inscribed with monogram and edition number.

Please inquire.

Nairy Baghramian‘s two-part sculpture “Maintainers” consists of a cast of wax used for polishing aluminum and a seemingly identical aluminum cast. The two objects appear in close relationship and interact throughout the artist‘s serial casting process, as the wax cast is potentially consumed during the polishing act. The work playfully explores Nairy Baghramian‘s conceptual interests in “... thingly speculations, ... the organic and the mechanic, ... and the corporeal and the mental". (Caoimhín Mac Giola Léith in Parkett 100/101)

Read a Parkett Text on Nairy Baghramian
Parkett Vol. 100/101

Quote from Parkett
"Baghramian has often argued against both didactic art, on the one hand, and the adoption of social or political activity as a substitute for art in pictorial or sculptural form on the other. Even so, it is tempting to view the signature stratagem just outlined, her sculptures’ proclivity for boundaries, as emblematic of so many regulatory interventions or blockages in the flow of people, resources, ideas, capital across the world’s borders, many of which are currently being refortified and increasingly policed after a sustained period of relative relaxation."
Caoimhín Mac Giola Léith, Parkett 100/101, 2017

"Maintainers", 2017 (for Parkett 100/101)
2 parts, cast aluminum and cast polishing wax
Cast aluminum: 11,5h x 7d x 4,8w cm / 4.53 x 2.76 x 1.89”
Cast polishing wax: approx. 4,8h x 11,5d x 7w cm / 1.89 x 4.53 x 2.76” (1.7kg 3.75lb)
Ed. 28 + XII + 10 APS, signed and numbered certificate

To inquire for availability please email us here

Read a Parkett Text on Yto Barrada
Parkett Vol. 91

Quote from Parkett
"Yto Barrada’s photographs are fragments of a language of orientation, paralysis, pain, fragile resistance, a declaration of love for a city that signifies home, politics, commodities, trade—and life. The artist’s pictures dawdle and dally as if they had all time in the world, only to spin a web of illusions and information."
Urs Stahel, Parkett No. 91, 2012

Additional Quote
“Documenting details of life in Morroco, Yto Barrada’s photographs and films select evocative scenic details for greater study or contemplation. In her 2001 photographic diptych Aquariums for Sale on a Rainy Day, Tangier, Barrada finds a wistful image. Inside the stacked aquariums water is both strictly contained and required for sustaining life, outside it drips by, transient.” -Artspace

"Aquariums for Sale on a Rainy Day, Tangier", 2001 (for Parkett 91)
Two C-Prints,
10 1/4, x 11” (26 x 28 cm) each.
Ed. 35/XX, signed and numbered certificate.

Complimentary shipping

Read a Parkett Text on Vanessa Beecroft
Parkett Vol. 56

Quote from Parkett
“...Beecroft does something no one else does—she does images live. And that changes everything. Even though most viewers probably only know her work through photographs and videos, it’s the staging and theatricality of the live event that make these images of girls, whose vacancy and seductive appeal are equally pronounced, so compelling.”
Jan Avgikos, Parkett No. 56, 1999

"Untitled", 1999 (for Parkett 56)
Five silkscreen color prints
of photographs from the artist’s archive
(VB08, VB35, VB16, VB39 & VB39),
19 7/8 x 27 7/16” (49,9 x 70 cm) each,
printed by Lorenz Boegli, Zurich,
Ed. of 50/LV, signed and numbered certificate

Very limited availability. Complimentary shipping.

Read a Parkett Text on Monica Bonvicini
Parkett Vol. 72

Quote from Parkett
“For Bonvicini titles are concrete, practical equivalents or absurd allegories. One way or another, language and built structures are positioned next to and on top of each other, abruptly engaging in blatant acts like the protagonists in a choreographed porn scenario. Fractured quotes and voiceless material mutually transform: it is as though words and sentences were materializing, developing a physical presence on the wall, in the dust, rigidified into fragmented letters; it is as though built structures were, in return, soaking up syntax and signification.”
Jörg Heiser, Parkett No. 72, 2004

Drill 4 Chastity, 2004 (for Parkett 72)
2-part cast, bronze and resin,
4 1/8 x 5 7/8 x 3 1/2” (10,5 x 15 x 9 cm),
Ed. 35/XX, signed, numbered, and dated below.

Very limited availability.
Complimentary shipping.

Read a Parkett Text on Louise Bourgeois
Parkett Vol. 27

Quote from Parkett
“[Under] the psychic conditions of production in which Bourgeois works, the object is made for psychic use. For Bourgeois, cathexis is often coupled with self-representation, or more precisely, with a projection of the self onto the object which becomes its substitute.”
Mignon Nixon, Parkett No. 27, 1991

Reparation, 1991 (for Parkett 27)
Fabrication of printed and handcolored paper,
handtorn, pierced, and sewn with thread,
10 x 8 1/4” (25,5 x 21 cm),
bound in the magazine,
Ed. 75/XX, signed and numbered lower left front.

Sold Out.

Read a Parkett Text on Louise Bourgeois
Parkett Vol. 82

Quote from Parkett
"The artist follows its indirectly registered whims with a steadfast fidelity that is, perhaps, the source of the remarkable potency of Louise Bourgeois’s always- surprising and even shocking visual inventiveness. She does not draw the world, but pictures the imagos of our psychic life.”
Griselda Pollock, Parkett No. 82, 2008

“The Maternal Man", 2008 (for Parkett 82)
Archival dyes printed on cloth,
10 1/2 x 8” (26,6 x 20,3 cm),
LB stitched lower right, numbered lower left,
Ed. 33/17 APs

Sold Out. For updates on availability, please inquire by joining our waiting list

Read a Parkett Text on Carol Bove
Parkett Vol. 86

Quote from Parkett
“In the shelf-based arrangements of books and objects that became an early trademark of hers, and which she continues to produce, Bove combines a diversity of evidences that virtually release the perfumes of earlier eras—with the sixties at their center—and lets them commingle allusively.”
Martin Herbert, Parkett No. 86, 2009

"Untitled", 2009 (for Parkett 86)
Brass, mixed media, each work unique,
Brass frame: 8 5/8 x 3 1/8 x 3” (22 x 8 x 7,5 cm),
Object: approx. 2 3/8 x 1 1/4 x 11 7/8” (6 x 3 x 30 cm),
Ed. 35/XX, signed and numbered certificate

Portraits of the artist and her collaborator Adele Röder (DAS INSTITUT) are knitted into this textile work in four variations, which can be worn and folded to reveal its different design layers.

Read a Parkett Text on Kerstin Brätsch
Parkett Vol. 88

Quote from Parkett
"For Brätsch, demonstrative style has ... to do with the mix and match borrowings of high fashion, DIY subculture, and the manufacturing of persona found in advertising and online viral campaigns."
Fionn Meade, Parkett No. 88, 2011

Additional Quote
“These fabric multiples are typical of Brätsch's interdisciplinary practice that critiques marketing techniques and image distribution within contemporary society. This line of multilayer knit pieces can be attached to items of clothing to promote the artist's creations, in a pastiche of the sandwich board. Decomposing advertising strategies from the inside, Brätsch's works reveal different design layers, to be unfolded one by one. The work is made in collaboration with DAS INSTITUT as a joint project with fellow artist Adéle Roeder.” -Fineartmultiple

"Parasite Patch, from Schröderline," 2011 (for Parkett 88)
in 4 versions each with 4 design layers ( Nothing Nothing / Thus / Ä / Ö).
Knitted textile patch with 4 design layers, made of custom dyed yarns,
each layer 15 x 12" (38 x 30,5 cm).
Designed by DAS INSTITUT (Kerstin Brätsch, Adele Röder).
Program and digital knitwear by Stoll, New York.
Cotton yarn by Filartex, Italy, silk/merino yarn by Cariaggi and Filipucci, Italy.
To be individually attached to clothes with three snap buttons.
The parsasite patch can be worn displaying each of the 4 diffrent design layers.
Ed. 18/X for each patch version, with signed and numbered certificate.

For the group of all four patch versions, see here.

See full documentation of all design versions & layers, and Kerstin Brätsch’s complete collaboration for Parkett 88 in this special spin-off book here.

Read a Parkett Text on Angela Bulloch
Parkett Vol. 66

Quote from Parkett
“Angela Bulloch’s work is based on activating the dynamics of [the] relationship between technical possibility and cultural space of perception... the presentation always takes the shape of a mix, contains shifts in size and speed, and can therefore never be reduced to one single interpretation.”
Martin Prinzhorn, Parkett No. 66, 2002

Additional Quote
“Based on her 2002 sculptural installation of the same name, Angela Bulloch’s Horizontal Technicolour depicts an array of colored boxes, lit by interior fluorescent tubes. The lamps, which come in different colors and are digitally dimmed or brightened over time, are capable of creating a staggering number of color combinations—here, they are captured in one such moment of colorful display.” -Artspace

"Horizontal Technicolour: Stills with Negative Space", 2002 (for Parkett 66)
C-print,
sheet: 12 3/16 x 46” (30,9 x 116,6 cm),
image: 8 7/16 x 42 7/16” (21,5 x 107,8 cm),
printed by Philippe Laumont, Laumont Editions, New York,
Ed. 80/XX, signed and numbered verso, bottom right.

On the occasion of Angela Bulloch’s exhibition at the Musée d'Arts de Nantes we are delighted to make her Parkett edition available to all at a special price of €1200 with free shipping through the end of June 2022.

Read a Parkett Text on Andrea Büttner
Parkett Vol. 97

Quote from Parkett
"Throughout her practice, the artist probes 'tricky' thresholds not often explored in contemporary art – the blurry line between amateur making and fine art production, for instance, or the unexpected relationship between marginal religious experiences and philosophies of modernist contemplation."
Julia Bryan-Wilson, Parkett No. 97, 2015

Additional Quote
“Büttner has remarked that throughout art history—from Joseph Beuys to Nam June Paik—men have destroyed pianos to symbolize the death of bourgeois culture—a violent last gesture in the face of its end. Her silkscreen Piano Stool and the eponymous object are a gentle response to this— a "Wistful reminder of the grand piano that once was". Büttner's visual economy in this print is striking, as curator Aram Moshayedi states: "Büttner's prints instead speak of slowness… insisting on a modesty of means seemingly at odds with the demands of the global art world." -Fineartmultiple

”Piano Stool”, 2015 (for Parkett 97)
Silkscreen in 4 colors, on 160 g/m2 Fabriano Design 5,
24 x 25 1/8”/ (47,5 x 62,5 cm),
printed by Atelier für Siebdruck, Lorenz Boegli.
Ed. 25 / XX, signed and numbered bottom right.

A short written portrait of a platonic distant relationship with a man to whom Calle sent an item of clothing every year, starting with a thin brown tie.

Read a Parkett Text on Sophie Calle
Parkett Vol. 36

Quote from Parkett
“Like a sculptor of a past century, Sophie Calle in her art manipulates and reconfigures a commodity central to the economy of her time. This commodity does not happen to be bronze or marble, however, but information, the elusive stuff that circulates constantly between consciousness, document and cyberspace.”
Lucy Sante, Parkett No. 36, 1993

"The Tie", 1993 (for Parkett 36)
Pure silk crêpe-de-chine man’s tie,
printed with an autobiographical story,
56 5/8 x 3 3/8” (70,7 x 21,2 cm),
produced by Fabric Frontline, Zurich,
Ed. 150/LX, signed and numbered verso.

Sold out.

Read a Parkett Text on Cao Fei
Parkett Vol. 99

Quote from Parkett
"Few artists have plumbed what we could call Chinese transnational imaginery more effectively than Cao Fei, who over the last fifteen years has explored the physical and psychic effects of the changes in wide-ranging multimedia installations and videos. She is part of a generation that, as she says, 'grew up with pop culture, new technologies, electronic entertainment computer games, American rap, Hong Kong films, etc.'"
Tom McDonough, Parkett No. 99, 2017

Rumba 1: Incubator, 2017 (for Parkett 99)
Mini vacuum cleaning robot and two synthetic chicks
17.5 cm x 23.2 cm (6 7/8" x 9 1/8") 600g (1.4lbs)
Edition 30/XX signed and numbered on robot.

Read a Parkett Text on Vija Celmins
Parkett Vol. 44

Quote from Parkett
“Vija Celmins’s mature work is a repeated image of uninhabitability, without foothold or air. It depicts space liquefied or rarefied, and further carbonized in the rendering. It is a space of drowning or asphyxiation, and, though without fantasy’s comforts, of dreams.”
Nancy Princenthal, Parkett No. 44, 1995

"Untitled", 1995 (for Parkett 44)
Mezzotint (manière noire),
image size: 5 x 5 1/8” (12,6 x 13 cm),
on Rives, paper size: 16 7/8 x 14”
(40,6 x 35,5 cm), printed by Simmelink/
Sukimoto Editions, Los Angeles,
Ed. 60/XXV, signed below image, lower right. Numbered below image, lower left.

Sold Out. For updates on availability, please inquire by joining our waiting list

Read a Parkett Text on Tacita Dean
Parkett Vol. 62

Quote from Parkett
“When asked, ‘What is the relation between sound and image in your work?’ Dean answered, ‘My interest resides in this gap between the sound and the image… I require sound to have its own autonomy.’ Thus, in opposition to an approach to cinema in which the viewer experiences a sense of identification with the spectacle, Dean creates a mode of apprehension in which the observer feels at odds with what she sees. (…) The slightly disjointed relationship between the sound and image, compounded by the clearly physical presence of the projector creates caesurae, which force the beholder to return to real-time, lived bodily experience rather than that of the cinematic.”
Paula Carabell, Parkett No. 62, 2001

Additional Quote
“A unique, stamped color postcard sent by Tacita Dean to Parkett, Dean’s The Green Ray is a sweet example of mail art and relational aesthetics. Each postcard is signed, numbered, and mailed by the artist from Madagascar, making the work at once a kind of edition, while each piece nonetheless maintains its singularity.” -Artspace

"The Green Ray", 2001 (for Parkett 62)
Color postcard,
4 1/8 x 5 4/5“ (10,5 x 14,8 cm),
printed by Steidl Verlag, Göttingen, Germany,
Ed. 100/XL, signed, numbered, dated,
stamped and posted in Morombe, Western Madagascar verso.

Complimentary shipping

Read a Parkett text on Nathalie Djurberg
Parkett Vol. 90

Quote from Parkett
"Djurberg and Berg transport us to another world where identity is slippery and morals ambiguous, inspiring us to let go of our pretenses. Their work is unapologetic and brutally honest, sad and funny, fragile and strong, and unabashedly visceral to the core."
Ali Subotnick, Parkett No. 90, 2012

"Eggs", 2012 (for Parkett 90)
Canvas, stuffed with cotton, acrylic, oil (hand painted),
mixed media (wood, clay et al.), each figure unique,
17 3/4” high (45 cm), wooden base 11 5/8 x 11 5/8” (30 x 30 cm),
Ed. 38/XX plus 3 APs, signed and numbered below.

Very limited availability.
For questions about unique works, please contact us.

Read a Parkett text on Trisha Donnelly
Parkett Vol. 77

Quote from Parkett
“Trisha Donnelly, whose exhibitions suggest a fundamentally iconoclastic approach, and who—even in the sparsest showing of her pictures—will punctuate their reception with unexpected bursts of sound (in the same way that film scores influence one’s perception of the images on screen), seems to be particularly interested in pictures, or rather in the reconfiguration of our perception of pictures. She has immense faith in the ‘pictures’ that she creates through drawing, video, photography, sound, text, and ‘demonstrations,’ for her use of different media always plumbs the depths of that realm, where, through force of will, fantasy, and imagination, ‘things’ actually come to exist and have meaning.”
Beatrix Ruf, Parkett No. 77, 2006

Additional Quote
“Akin to her site-specific practice, Donnelly here involves the collector in the process of art production and reception. She conceives an edition subscription, where a total of 10 installments are made and delivered regularly over the period of one year. Consisting of four Xeroxes, three gelatin silver prints, one line-block, one felt-tip pen drawing, and marble slab, this edition makes for twelve months of mystery: ten unpredictable messages that will (or will not) be decoded in the record left behind.” -Fineartmultiple

"The Dashiell Delay – an Edition Subscription", 2006 (for Parkett 77)
Edition in 10 installments made and delivered every 1–2 months over a period of one year, varied media, each approx. 8 x 10” (20 x 25 cm),
Ed. 45/XXV, signed and numbered certificate

Read a Parkett text on Marlene Dumas
Parkett Vol. 38

Quote from Parkett
“Ever-enquiring into what is reflection, what is real, what is love, what is violence, what is pain, what is lust, what is presence, what is absence, Marlene Dumas constructs, like a piece of architecture, a feeling with corridors, doors, rooms, and empty spaces, many empty spaces, but without a single resting-place for the banal which is perhaps the beginning of evil: the banality of self-deception.” Anna Tilroe, Parkett No. 38, 1993

“The Black Man, the Jew, and the Girl“, 1993 (for Parkett 38)
Triptych printed by Marcel Kalksma, Amsterdam,
in three processes on 250g/m2 Arches: blockprint in one color,
two transfer lithographs from one stone rendered in two colors,
inked and inscribed by hand, with eyes and organs scratched out, folded zigzag,
10 x 24 1/4” (25,5 x 63 cm),
Ed. 60/XX, signed and numbered bottom right.

Sold Out. For updates on availability, please inquire by joining our waiting list

Read a Parkett text on Marlene Dumas
Parkett Vol. 100/101

Quote from Parkett
"Engaged equally with painting's history as with the image world that surrounds and informs us, Dumas's painting practice is always mediated and self-relexive, it emerges - tenderly, knowingly, tentatively - as an engagement and encounter with the a world already mired in multiple meditations and reflections."
Tamar Garb, Parkett No. 100/101, 2017

"Art is/Always/Having to say/Goodbye", 2017 (for Parkett 100/101)
Work on paper, black Indian ink on Arches 250 gm2,
each unique, approx. 13 1 / 2 x 8 1 / 2” (35 x 22 cm),
mounted and matted on archival cardboard,
18 x 14 1 / 2” (46 x 37 cm). Group of 35 unique works,
signed, titled and numbered on hand torn paper strip.

Sold Out. For updates on availability, please inquire by joining our waiting list

Read a Parkett Text on Nicole Eisenman
Parkett Vol. 91

Quote from Parkett
“What is it that draws one body to another? What is it that then draws a body to pull out a pen and try to trace what it sees, record the figure before it in line or stroke?”
Litia Perta, Parkett No. 91, 2012

Additional Quote
“The monotype Untitled by Nicole Eisenman features a brightly colored, abstracted figure, as is characteristic of her painting style. Depicted face-on with a bucolic landscape in the background, the work reflects her interest in incorporating art-historical portrait techniques into her contemporary practice.” -Artspace

“Untitled“, 2012 (for Parkett 91)
Color monotypes, each unique,
24 1/4 x 18 3/4” (61,6 x 47,6 cm).
Printed in collaboration with Marina Ancona at 10 Grand Press, Brooklyn NY,
Ed. 20/X, signed and numbered

Sold out. Please inquire.

Read a Parkett text on Tracey Emin
Parkett Vol. 63

Quote from Parkett
“Tracey Emin has no secrets, she exposes herself utterly, you can see there are no skeletons in her closet because the closet door is open and you are welcome to look inside. Her art is not a record of emotion, but the hot stew of emotion as it comes fresh from the heart—anger, pain, confusion, desolation, occasionally happiness—always with the implicit question ‘What is going on here?’”
Lynn Barber, Parkett No. 63, 2001

"Self-Portrait, 12.11.01" (for Parkett 63)
Unique color print from original Polaroid,
all images taken on the same day,
image size: 8 x 7 7/8” (20,4 x 19,9 cm),
paper size: 15 3/4 x 15 3/4” (40 x 40 cm),
Ed. 80/XX, signed and numbered

Sold Out. For updates on availability, please inquire by joining our waiting list

Read a Parkett text on Sylvie Fleury
Parkett Vol. 58

Quote from Parkett
“Sylvie Fleury’s ‘studio work’ thus takes place in all the various realms of social added-value production and fetishization, and she whirls together—codes pertaining to fashion, art, high and low culture, models of male and female self-configuration—appropriating and playing with self-images, life-models, and forms of existence in styling and manner that in effect pulverizes every last hierarchy of sex, class, and genre.”
Beatrix Ruf, Parkett No. 58, 2000

"His Mistress' Toy", 2000 (for Parkett 58)
Size 37 women’s mule cast in poly urethane,
with integrated noise maker (squeak),
produced at T.E.S.T Kreashens, Saugus, CA, USA,
Ed. 99/XXX; no. 1–50 (left shoe), no. 51–99 (right shoe),
engraved signature, numbered

Last few remaining. Complimentary shipping.

Read a Parkett text on Katharina Fritsch
Parkett Vol. 25

Quote from Parkett
“All of Katharina Fritsch’s works start with a clear and precisely visualized image of a thing: a situation that, by definition, incorporates both the individual view and the collective sign.”
Julian Heynen, Parkett No. 25, 1990

"Mill/Ambulance/Toads", 1990 (for Parkett 25)
Set of three single records,
ø 7 7/8” (17,5 cm),
Ed. 2000 sets, unsigned

Read a Parkett text on Katharina Fritsch
Parkett Vol. 87

Quote from Parkett
"Their extraordinary autonomy from their surroundings strikes me as ultra-contemporary: rather than appearing like refugees from a recreation of a dance macabre or a German medieval fable, their true home seems closer to commercialized popular culture and to the disarming visual effects of film."
Jessica Morgan, Parkett No. 87, 2009/2010

"Apple", 2009/2010 (for Parkett 87)
High speed resin cast, color, hand finished,
diameter 5 1/2” (14 cm),
Ed. 48/XII, signed and numbered certificate

Sold Out. For updates on availability, please inquire by joining our waiting list

Read a Parkett text on Katharina Fritsch
Parkett Vol. 100/101

Quote from Parkett
"I started out as a painter. Today, I'm both painter an sculptor in equal parts. The third dimension has always been important to me. I want people to walk into a picture in order to feel the tension between the object and the space around it, between postive and negative. The colors I use invest the objects with life and emotion. That interaction is extremely important in my work."
Katharina Fritsch in conversation with Jacqueline Burckhardt, Parkett No. 100/101, 2017

1st-4th Poster (Ibiza), 2006 / 5th-8th Poster (Ibiza), 2006
Two series of four silkscreen prints each,
33 1 / 2 x 23 3/ 5” (85 x 60 cm), each print,
printed by Karl-Heinz Neumann, Cologne.
Ed. 40 each, (11/40-20/40 for Parkett)
signed and numbered

One last complete set of all eight silkscreens is currently available.

Read a Parkett text on Ellen Gallagher
Parkett Vol. 73

Quote from Parkett
“Gallagher is a handworking, hand laborer (...). The production of a simple, flat, engaging image is never her sole purpose. This is why she works in print, as well as in painting and in drawing. Process, layers, materials—physicality is everything to her. Flesh is a texture as much as a color. DeLuxe is collage (paper), photomontage (digital), photogravure (the process of printing from an intaglio plate, etched according to a photographic image); it is mounted, built-up and –upon by: abrasion, aquatint, burnishing, drypoint, embrossing, etching, laser cutting, stenciling, tattoo-machine engraving (yes for skin)—adding blue varnish, crystals, cut paper, toy eyeballs, white spaces, glitter, gold leaf, pomade... and this is not even the half of it.”
Thyrza Nichols Goodeve, Parkett No. 73, 2005

"Ruby Dee", 2005 (for Parkett 73)
Two-plate photogravure with aquatint
and unique hand-shaped plasticine elements (in three colors)
on multilayered laminated paper, framed,
image size: 6 x 4 x 1/8” (15,2 x 10,2 x 0,3 cm),
with frame: 9 1/4 x 7 1/4 x 1 1/4” (23,5 18,4 x 3,8 cm),
produced by Two Palms Press, New York,
Ed. 30/XV, signed and numbered

Sold Out. For updates on availability, please inquire by joining our waiting list

Read a Parkett text on Iza Genzken
Parkett Vol. 69

Quote from Parkett
“Models—I wanted the pieces to be like models—are usually more fragile than some monumental metal sculpture. And people often find it very pleasing when they can still see something old, intended as a sketch, because it’s been preserved. Fragility can be a very beautiful thing, more beautiful than something that’s obviously made to last forever. It’s very important to me that the things I’m making are really by me, and not made by assistants or farmed out as commissions. Every piece is by me, made by my own hand.”
Isa Genzken interview with Michael Krajewski, Parkett No. 69, 2003

"Al Dente", 2003 (for Parkett 69)
Italian ceramic, lacquer, plastic, plate with two toy figures (cow and dinosaur),
each unique and handmade by the artist,
approx. 11 13/16 x 7 7/8 x 10 1/4” (29,7 x 20 x 26 cm),
Ed. 74/XX/1 PP, signed and numbered label

Last available work from a previously sold-out edition. This is PP 1/1.
Complimentary shipping.