Read a Parkett Text on Ai Weiwei
Parkett Vol. 81

Quote from Parkett
"I make the useful become not useful . . . It is a basis for dealing with perception and when you think about how people use an object, you're also using so-called knowledge in the sense that "useful" has a meaning. The meaning is the use. And that plays a great role in human understanding and culture."
Ai Weiwei in conversation with Jacques Herzog, Parkett No. 81, 2003

"Swatter", 2007 (for Parkett 81)
Brass, gilded,
19 3/4 x 2 3/4 x 2/8” (50 x 7 x 0,5 cm),
Ed. 55/XXV, signed and numbered certificate

Read a Parkett Text on Doug Aitken
Parkett Vol. 57

Quote from Parkett
"Aitken’s great technical mastery is obvious in the framing of his shots, the precision with which he captures the light, and the perfection of his editing, which alternates shots of nature with the motion of the machines. A sound mix of intelligent techno music provides rhythm for the ensemble of screens and images. A narrative subjectivity emerges out of this unexpected encounter, one with an ideological viewpoint on the world in all its contemporary complexity.”
Christine van Assche, Parkett No. 57, 1999

Additional Quote
“Doug Aitken's cryptically entitled multiple consists of a kite made of mylar, wood, plastic, and fabric, as well as a commercially printed poster. Designed to shimmer in the sky, the kite has a mirrored surface, clearly seen in the poster which shows it in flight. Interestingly Aitken here gives us the object itself and documentation of the object in action, harnessing something built for movement and flying in the form of an edition.”
-Fineartmultiple

"Decrease the Mass and Run like Hell", 1999 (for Parkett 57)
Mirror kite, ca. 34 x 33 1/2” (86,5 x 85 cm),
tail 37 3/8” (95 cm), with poster of flying kite, 20 x 15 5/8” (50,8 x 38 cm),
Ed. 60/XX, stamped signature and number on tab attached to kite.

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

A ‘retrospective’ of twelve cast tin figures, which represent characters from various videos and performances by the artist, and sit inside a custom-made cardboard suitcase.

Read a Parkett Text on Pawel Althamer
Parkett Vol. 82

Quote from Parkett
“Althamer becomes a part of his medium, in both a material and spiritual sense. It is as though he invites us to share in a waking experience of lucid dreaming where ordinary rules do not apply and where we may begin to become newly absorbed by our surroundings with an acute, hallucinatory perceptiveness.”
Catherine Wood, Parkett 82, 2008

”Retrospective”, 2008 (for Parkett 82)
12 tin figures, each approx. 1 1/8 to 3 1/2“ (3,5–9 cm) high,
cast by Michal Nowicki, Warsaw, in custom-made cardboard suitcase,
6 5/8 x 9 1/2 x 3 1/8“ (17,5 x 24 x 8 cm),
Ed. 38/XXV, signed and numbered certificate

Very limited availability

Read a Parkett Text on Kai Althoff
Parkett Vol. 75

Quote from Parkett
“Kai Althoff’s installations are scenarios of initiation that bring to life manifestations of extremely specific worlds. They are populated by an arsenal of real or invented characters, all of them absorbed by the artist as alter egos. Detached from their original historical and biographical contexts, they represent various aggregate states of individual and collective being—from compulsive brutality to ethereal spirituality.”
Oliver Koerner von Gustorf, Parkett No. 75, 2005

Additional Quote
“Kai Althoff is a multimedia artist, painter, and musician. He borrows from history, religious iconography, and countercultural movements to create imaginary environments in which paintings, sculpture, drawing, video, and found objects commingle. For “Paden”, his Parkett project, he conceived a special fragrance and designed a beautiful custom made, mouth blown glass bottle.”
-Fineartmultiple

”Paden", 2005 (for Parkett 75)
Fragrance and bottle
conceived and designed by the artist, mouth blown glass
with oxidation (each unique),
approx. 7 x 6 2/8 x 2” (18 x 16 x 5 cm),
production by Matteo Gonet, Glassworks + Design, Zurich,
Ed. 55/XXV, signed, numbered, and titled on ribbon.

Read a Parkett text on Francis Alys
Parkett Vol. 69

Quote from Parkett
“Fragments of refuse, abandoned and divorced from their original purpose are galvanised into action. Like a small artillery of children’s pull-toys, or dispirited trash puppies, you can imagine these ‘ghetto collectors’, as the artist calls them, trailing through urban backlots, gathering debris beneath their already tired wheels. Alÿs looks at growth and change in society, particularly in urban environments. Here he tracks our insatiable consumption while on a continual path of waste and refuse. This is ironically packaged in the form of harmless plaything.”
Robert Storr, Parkett No. 69, 2003

"Ghetto Collector", 2003 (for Parkett 69)
Tin, magnets, plastic string, rubber wheels, 25 design variations,
approx. 6 1/2 x 9 x 5” (15 x 24 x 13,8 cm),
Ed. 99/L, signed, numbered, and dated on inside of tin door.

Last available work from a previously sold-out edition.
Complimentary shipping.

Read a Parkett Text on El Anatsui
Parkett Vol. 90

Quote from Parkett
"Anatsui responds to every material he works with as if he has encountered it for the first time in the flux of history, all the while concentrating on how he might exploit a material’s most meaningful plastic potential. He is driven by the desire to incessantly experiment and sculpturally analyze whatever material he is working with—clay, wood, cement, meta, et al. —as he tests the possibility of what each may yield in relation to scale, presence, color, shape, and idea."
Okwui Enwezor, Parkett No. 90, 2012

"Diaspora, 2012" (for Parkett 90)
Archival dyes printed on cotton cloth,
hand stitched, approx. 54 x 54” (135 x 135 cm).
Ed. 35/XX, signed and numbered

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

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.

The epidermis of the head and neck of the artist’s most recent digital surrogate— made real and human-scaled. Used in his video, Safe Conduct, this epidermis of the artist’s surrogate has been carefully bespoke-bruised, battered— flecked and streaked with grime, tears, exposure. Printed on rubber, the surrogacy of the artist’s digital figure becomes that of a mask.

Read a Parkett Text on Ed Atkins
Parkett Vol. 98

Quote from Parkett
"This isn't art about intimacy in the digital era; it's using the digital form to illuminate something much closer to the core of intimacy itself - how we seek it from each other and from art; how we can experience simultaneous attraction and revulsion to expressions of feeling."
Leslie Jamison, Parkett No. 98, 2016

Additional Quote
“You'd be hard-pressed to find an artist whose work is as viscerally affecting—haunting even—while at the same time clearly breaking new ground in the possibilities afforded art by new technology. Ed Atkins is a tough artist, and this is a tough image printed on rubber, but, since it makes uncommonly palpable the vulnerable synthetic skins that distinguish his videos, it's an important one.” - Artspace

"Safe Conduct Epidermal", 2016 | (for Parkett 98)
Archival pigment print on rubber,
60 x 51 x 0,1 cm (23 5/8 x 20 x 1/8”), two grommets, printed by Laumont, New York.
Ed. 35 / XX, signed and numbered certificate.

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

Crooked wrinkles transition into multicolored straight lines across a stark blue background, demystifying abstraction.

Read a Parkett Text on John Baldessari
Parkett Vol. 86

Quote from Parkett
“...when I was a painter I would work on a single image, because that’s what you do. But when I got into photography I had the liberty of not using a single image. I‘m not sure how I made that leap. I have a hard time with a single image because, in my mind, it’s like one truth. And I’m always thinking, ‘well, on the other hand there is this.’”
John Baldessari interview with James Welling, Parkett No. 86, 2009

Additional Quote
“In this nine-color silkscreen print on Plexiglas by famed West Coast Pop artist John Baldessari, an old man's wrinkled forehead becomes the site of artmaking, or rather, a joke on the process. The crooked wrinkles on the left side of the work become "translated" into multicolored lines across a stark blue background. Baldessari here demystifies abstraction.” - Artspace

"Raised Eyebrows / Furrowed Foreheads: Crooked Made Straight", 2009 (for Parkett 86)
9-color silkscreen print on plexiglass,
5 x 12” (12,5 x 31cm)
Printed by Atelier für Siebdruck,
Lorenz Boegli, Zurich
Ed. 45/XX, signed and numbered certificate

*Frame not included. Please inquire for framing.

Read a Parkett Text on Matthew Barney
Parkett Vol. 45

Quote from Parkett
“Barney’s work has always involved a carefully balanced combination of exoteric and esoteric elements, aspects that anyone can follow and enjoy mixed in with cryptic signs and personal myths almost impossible to decipher... Part of Barney’s skill lies in creating initial scenographies so compelling in visual terms that it is almost impossible for the viewer not to be drawn in by them.”
Norman Bryson, Parkett No. 45, 1995

Additional Quote
”If you could lift this dumbbell, gleaming like a sceptre or a sword with a satin blade, what power would you wield? The luscious textures of silken ribbon, a smooth and perfectly formed pearl and glistening sugar crystals make this ‘sweet bolus’ an object of almost consumable desire. A bolus is actually the word given to a soft mass, like that of food just before swallowing. Matthew Barney often concentrates on the function of our bodies in his work, and is involved in an ongoing series in which he restrains his body while creating drawings.”

"Sweet Bolus", 1995 (for Parkett 45)
Cast sugar and Viratex epoxy resin
on satin ribbon with single cultured pearl,
dumbbell: 3 7/8 x 4 x 11 1/2” (8,5 x 9 x 30,7 cm),
overall length with satin ribbon 26 1/2” (67 cm),
Ed. 50/XXV, signed and numbered

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

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 Ross Bleckner
Parkett Vol. 38

Quote from Parkett
“The question of whether Bleckner is an abstractionist or an expressionist completely misses the point: that he is avid to demonstrate the most intimate pulse of consciousness lurking behind a veil of abstract energy—‘dematerialized life,’ as he calls it. Or he can call a painting ‘a language to think thought…’”
Edmund White, Parkett No. 38, 1993

Untitled, 1993 (for Parkett 38)
Watercolor, inks, and wax on watercolor paper
in handpainted and waxed wooden desktop picture frame. Each unqiue
11 x 9” (27,8 x 22,8 cm),
Ed. 100/X, signed and numbered verso, underneath mat.

Very few remaining. For availability of unique works, please contact us

Read a Parkett Text on John Bock
Parkett Vol. 67

Quote from Parkett
“It is neither performance nor clearly installation, neither sculpture nor solely slapstick happening, neither film nor any known form of theater. Bock’s work is most likely a turbulent mixture of all of these—he creates exuberant, extroverted, passionate, and often forceful but always humorous and highly absurd pieces of art. The range of Bock’s artistic means is remarkably diverse; in fact, it is impossible to pin him down at all, since so much is ambiguous, cryptic, obscure, enigmatic, and mysterious.—No matter how exhausted, how worn out our world may appear, the artist confronts us with an unstoppable avalanche of visual impressions and artistic stunts, as if everything still remains to be said, seen, or heard.”
Jens Hoffmann, Parkett No. 67, 2003

“Geometrischer Ort der 2 Mio. $ Knödelknickerbockermigränehitshitbitssoufflévisage, drin strohmulmige Isoquante touchiert goldene Bilanzregel + Insolvenzsnob”, 2003 (for Parkett 67)
Unique underpants, knitted fabric,
gold sequins, straw, silicone,
bunny droppings, migraine pill,
Ed. 60/XX, signed and numbered label attached to work.

For the availability of unique works, please contact us.

Themes central to the artist’s oeuvre are expressed in this pocket-sized booklet containing images of brutal murders re-photographed by the artist from the Spanish magazine “El Caso” (published from the 1950s-80s).

Read a Parkett Text on Christian Boltanski
Parkett Vol. 22

Quote from Parkett
“There is in the work of the artist something of the high priest and something of the charlatan. Boltanski transforms shards of nothing into art, bits of cardboard, lumps of sugar, old photos, but plays the game of showing us that his transformation is also mere illusion, that this art is also the nothing or next to nothing from which it has sprung.”
Didier Semin, Parkett No. 22, 1989

"El Caso", 1989 (for Parkett 22)
Booklet with 17 photographs,
2 x 3 1/8” (5 x 8 x 0,6 cm),
Ed. 80/XX, signed and numbered on last page of booklet.

Last few remaining

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 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

Read a Parkett Text on Mark Bradford
Parkett Vol. 89

Quote from Parkett
"...Bradford's work seem(s) to literally mimic the labor and inherent physical stress that is alluded to in its subject matter, as even cursory observation makes apparent the application of layered materials, décollage, caulking, and sanding that have gone into each one of his often large-scale works. The resulting surfaces are reminiscent of the accidental markings of the street, itself the result of a process of addition and erasure: dirtied, worn-down, bleached, and rinsed in an endlessly repeated cycle of human, industrial, and natural attrition."
Jessica Morgan, Parkett No. 89, 2011

"The Once and Future King", 2011 (for Parkett 89)
Knife with metal blade in stone,
approx. 6 ¾ x 4 ¾ x 10 ½”, 7 lb (ca. 17 x 12 x 26,5 cm, 3 kg.)
Production by Barnacle Bros, Los Angeles.
Ed. 35/XX, signed and numbered certificate.

Sold out.

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 Daniel Buren
Parkett Vol. 66

Quote from Parkett
“Buren’s work is rooted in the artist’s initial search for ways to strip painting of illusionistic and expressive reference as per his decision in 1965 to reduce the pictorial content of his canvases to the repetition of mechanically printed, alternating white and colored vertical bands 8.7 centimeters in width painted white on its outer stripes... Grounding his works in the real without espousing the grandiose or impositional, he has constantly sought to express the idea of the unfettered nature of aesthetic experience that (as he has demonstrated) may be proffered to spectators in relation to the temporal and spatial reality of architecture and its institutional affiliations.”
Anne Rorimer, Parkett No. 66, 2002

Additional Quote
“Painter and installation artist Daniel Buren, associated with the Conceptual Art movement, has been an important figure in the art world since 1968. Buren's vertical stripes, made from paper, fabric, paint, or tape, have become his artistic signature, appearing in a variety of scales and forms in site-specific installations … such as his unique table cloth for Parkett that reimagine the social and physical implications of architecture.”-Artspace

"Unique Tablecloth with Laser-Cut Lace (Object to Be Situated on Table)", 2002 (for Parkett 66)
Two-layered tablecloth:
off-white laser-cut design on monochrome underlayer,
each tablecloth has a unique combination of design and color,
top layer: 70 7/8 x 70 7/8” (180 x 180 cm),
bottom layer: 67 x 67” (170 x 170 cm),
design: 30 11/16 x 30 11/16” (78 x 78 cm),
width of stripes: 3 11/16” (8,7 cm),
washable polyester, laser-cut and produced by Jakob Schläpfer AG, St.Gallen,
Ed. 78/XXIV, unique versions (design
versions 1A–3A: 13 each on different colors,
diagonal design versions 1B–3B: 13 each on different colors),
numbered certificate

See full documentation & Daniel Buren’s complete collaboration for Parkett 66 in this special spin-off book here

Complimentary Shipping

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 Valentin Carron
Parkett Vol. 93

Quote from Parkett
“Sculpture lies at the center of the Swiss artist’s work. As Carron has often pointed out, he works according to the strategies of appropriation art. Reinterpreting works of art in materials different from the originals, he grants them new meaning, transferring them into new contexts for another generation.”
Giovanni Carmine, Parkett No. 93, 2013

Additional Quote
“In typical Carron style, the artist here takes the Swiss trope of a bell and deconstructs its national charge by turning it into a contemporary table object. Displaced and decontextualized, the small object-come-sculpture no longer holds the authority of a symbol of Switzerland, instead revealing the complex sentimentalism attached to and mythologies surrounding rural items like these. Cast in bronze with a wooden handle, Bell cleverly explores the weaving of collective identity in a concise compact manner and at the same time acts as an interactive object in its own right.” -Finartmultiple

"Bell", 2013 (for Parkett 93)
Bronze cast, wood,
diameter 6 1/2 x 2 3/4” (16 x 7 cm),
fabricated by Kunstbetrieb AG, Münchenstein, Switzerland.
Ed. 35 / XX, signed and numbered certificate.

Read a Parkett Text on Maurizio Cattelan
Parkett Vol. 59

Quote from Parkett
“Cattelan, for his part, directs the forms he manipulates towards conflict and comedy; through works of the most embarrassing, constraining and cumbersome sort he seeks conflicts with the administrators of the art system. In a word, his conduct as an artist consists of orienting the forms he manipulates towards delinquency.”
Nicolas Bourriaud, Parkett No. 59, 2000

"Untitled", 2000 (for Parkett 59)
Black-and-white photograph,
digital print on paper (Uso Mano)
16 1/4 x 13” (41,3 x 33 cm),
image size: 12 x 9 1/2” (30,5 x 24 cm),
photo by Armin Linke,
Ed. 60/XXII, signed and numbered certificate

Last remaining.
Complimentary shipping.

The ring resembles the one worn by Pope John Paul II (who also appears in one of Cattelan’s most famous works “La Nona Ora”; a life-sized sculpture depicting the fallen Pope who has been hit by a meteorite). The work is recognizable as the artist’s main Instagram image.

Read a Parkett Text on Maurizio Cattelan
Parkett Vol. 100/101

Quote from Parkett
"Cattelan may be closer at heart to the first refusal of labor in twentieth-century art history: the period in which Marcel Duchamp claimed he had stopped being an artist to become just a respirateur, although he devoted himself to a spectrum of apparently marginal activities, which as a whole may be even more complex, inspiring, an influential than his strictly artistic oeuvre."
Massimiliano Gioni, Parkett No. 100/101, 2017

"Untitled", 2017 (for Parkett 100/101)
10-color silkscreen print
on Velin d'Arches Noir 250 gm2,
50 x 50 cm /19 11/16 x 19 11/16",
printed by Atelier für Siebdruck Lorenz Boegli
Edition of 35/XX/10 APs, signed and numbered certificate

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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.

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Read a Parkett Text on Marc Camille Chaimowicz
Parkett Vol. 96

Quote from Parkett
"Domestic accoutrements, elgant décor, and homebound rituals characterize much of Marc Camille Chaimowicz’s works, which is often described as bluring public and private realms. Bringing together the social space of the gallery with the solitude of the home, Chaimowicz consciously contaminates the fine arts of the former with the decorative arets of the later, until there is no division between the two."
Kirsty Bell, Parkett No. 96, 2015

Additional Quote
“Marc Camille Chaimowicz edition for Parkett is described as “a vessel for the spirit of the times.” Since the 1970s the artist has created installations and performances influenced by domestic design, modernist décor and flamboyant rock of icons like David Bowie. For Loxos/Vase, Chaimowicz channels a simple, futuristic design, placing the crystal glass into a geometric aluminum base.” -Artspace

"Loxos, Vase", 1989/2015 (for Parkett 96)
Crystal glass on aluminum base,
6 3/4 x 5 1/2 x 3” (17 x 14 x 7,8 cm), produced by Kunstbetrieb AG.
Ed. 35/XX, signed and numbered certificate.