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

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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.

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 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 Karen Kilmnik
Parkett Vol. 52

Quote from Parkett
“Unlike other painters who focus on the well-known, the beautiful, and the dynamic between the famous and the secondary… Kilimnik is less absorbed in their perfection… Kilimnik is a bit of a killer. She loves to love them but at times they seem to get on even her nerves. Each character, from fairy tale princesses and birds, to heiresses, orphans, and models, becomes a vessel for a broad mixture of self-doubt and conceit.”
Collier Schorr, Parkett No. 52, 1998

Additional Quote
“Karen Kilimnik is associated with the Scatter generation, and best known for her collage-based work and installations of objects from popular culture… She often creates a romantic world that draws on contemporary media, gothic mysteries, and fairy tales… as in this spindle of gold thread (hair) on a bed of moss, which references Rapunzel, the homonymous protagonist in this German fairy tale.” -Artnet

"Rapunzel", 1998 (for Parkett 52)
Spindle of gold thread (“hair”) on bed of moss
(thread and moss are separately packaged to be assembled by the collector),
Plexiglas box, approx. 4 x 8 x 10” (10,5 x 25,1 x 20,1 cm),
Ed. 45/XX, signed and numbered certificate with diagram by the artist

Read a Parkett Text on Zoe Leonard
Parkett Vol. 84

Quote from Parkett
“It has often been noted that Leonard, in her prints, keeps the black border that occurs in the printing process rather then cropping it out, as a way of integrating the problematics of viewing into the work.”
Elisabeth Lebovici, Parkett No. 84, 2009

Additional Quote
“1 Hour Photo & Video is representative of Zoe Leonard’s celebrated Analogue series. Between 1998 and 2009, Leonard photographed local storefronts, first in New York City and later in cities and towns throughout the world. In poignant images such as this, Leonard pictures casualties of globalization—here, a shuttered photo center in Brooklyn marked with graffiti. Leonard’s inclusion of the black frame edge further complicates the work, connecting the effects of global commercialization to the mass move from analogue to digital photography.”
-Artspace

1 Hour Photo & Video, 2007/2008
C-print, paper size: 18 x 13” (45,7 x 33 cm),
image: 8 1/2 x 8 1/2” (21,6 x 21,6 cm),
printed by My Own Color Lab, New York,
Ed. 40/XXV, signed and numbered

Read a Parkett text on Sarah Lucas
Parkett Vol. 45

Quote from Parkett
“Sarah Lucas gives as good as she gets. She’s a code-breaker and a ball-buster, a saboteur and a spy. Elegantly in-your-face, Lucas is a smutty, salt-of-the-earth lout whose unequivocal work is raw and loud and startling. It is also efficient and concise. In her art, Lucas doesn’t mince words and she doesn’t waste them either. She gets quickly to the point—and the point usually has to do with the ways women are viewed in society.”
Jerry Saltz, Parkett No. 45, 1995

“Lion Heart“, 1995 (for Parkett 45)
Cast metal, approx. 2 3/4 x 2 3/4 x 1 3/4” (7 x 7 x 4,5 cm),
50 pieces of cast lead, 50 pieces of cast brass,
produced at the Jäger Brothers Foundry, Pfäffikon SZ, Switzerland,
Ed. 100/XXX, signed and numbered

Limited Availability. Complimentary Shipping.

Read a Parkett text on Christian Marclay
Parkett Vol. 70

Quote from Parkett
“A great deal of Marclay’s output, possibly the majority of it, is visual or plastic in nature. And yet even this is as much about sound recording; perhaps more so, because it concerns the ubiquity of sound in culture. Marclay’s work is about the socially inscribed ‘flip side’ of sound; it is about the very fact that I could use the phrase ‘flip side’ as unthinkingly as I just did, realizing only as I typed it that the term derives from records, and is thus infinitely apropos for use there.”
Philip Sherburne, Parkett No. 70, 2004

"My Bad Ear", 2004 (for Parkett 70)
Life-size bronze cast by Modern Art Foundry, Astoria, NY,
Ed. 60/XX, signed and numbered

Limited availability
Complimentary shipping.

Read a Parkett text on Beatriz Milhazes
Parkett Vol. 85

Quote from Parkett
”‘Time’ and ‘transformation’ are explored repeatedly in Beatriz Milhazes’ work in ways that confront and contradict the idea of painting as a static art form. One key to this lies in the surfaces of her works. Frequently her pictorial field is interrupted by various kinds of disturbances or aberrations. Erosions, apparent abrasions, paint losses …, revisions, reworkings … complicate and destabilize the integrity of the work’s surface.”
Tanya Barson, Parkett No. 85, 2009

"Batucada", 2009 (for Parkett 85)
18-color silkscreen print with foil stamping,
on Arches 88 paper, 300 g/m2, rein Hadern,
13 3/8 x 11 ¾” (35 x 30 cm),
printed by Atelier für Siebdruck, Lorenz Boegli, Zurich,
Edition of 45/XX, signed and numbered

Last available work from an otherwise sold-out edition. Complimentary shipping.

Read a selected text on Jean-Luc Mylayne
Parkett Vol. 100/101

Quote from Parkett
"The couple bought a camper van in the late 1970s and succumbed to a migratory pull. For years, they had no fixed address and, save for a radio, never owned any transmission devices. They would write letters or call from pay phones to keep in touch. These decisions were necessary for the art, which required lengthy periods of absolute concentration on participants predisposed to moving about."
Matthew S. Witkovsky, Parkett No. 100/101, 2017

«TOGETHER» A17, January, February, March, 2007 (for Parkett 100/101)
C-print, 14 3/8 x 14 3/8” (36,5 x 36,5 cm),
9 1/2 x 9 1/2” (24 x 24 cm),
Ed. 30/ XV /pp15, signed and numbered certificate

Read a Parkett text on Olaf Nicolai
Parkett Vol. 78

Quote from Parkett
“Nicolai uses the license that his status as an artist gives him to be free of academia—free to abuse sources and reconfigure images and objects of entirely different statuses. Thus, while remaining securely within the identity of an artist, Nicolai performs a role as a researcher and combiner—a turner-upside-down-of-things to see what they look like from another angle, and ultimately create new modes of visibility. His strategy, it would seem, is a fine one at this point in our cultural development, given the current moment’s political exhaustion and the universalizing of ‘creativity’ for bland economic ends.”
Chales Esche, Parkett No. 78, 2006

Additional Quote
“Addressing the contemporary world as a landscape of consumption, the conceptual sculptor, video, performance, and installation artist Olaf Nicolai recycles the detritus of Western culture as an ethnologist of alienation. Primary in all of his work is the sense of the bodies of his viewers in historical space and in communion with others. A key component for many of Nicolai’s investigations is the relation of Modernism to political and economic histories, and references have included Le Corbusier, Jean Genet, Ad Reinhardt, Duchamp or in his handwoven pillowcase for Parkett George Lukacs, the Hungarian philosopher.” -Artspace

"Georg‘s Pillow (Replica of a pillow from Georg Lukács’ sofa in his study at Belgrad Kai, Budapest)", 2007 (for Parkett 78)
Handwoven pillowcase with unique variations, hand-dyed sheep’s wool and red silk,
18 1/2 x 20” (47 x 51 cm), made by the Department of Textiles,
Institute of Applied Arts, Schneeberg,
Germany, Ed. 35/XX, signed and numbered certificate

See full documentation & Olaf Nicolai’s complete collaboration for Parkett 78 in this special spin-off book here

Read a Parkett text on James Rosenquist
Parkett Vol. 58

Quote from Parkett
"The significance of Rosenquist’s new approach to painting around 1960-1961, lies not only in his choice of images culled from the mass media, but also in his decision to utilize the specialized knowledge embedded in the billboard painter’s craft: for achieving effects of quasi-photographic form, and for scaling upt tiny images to immense proportions."
Michael Lobel, Parkett No. 58, 2000

"Drifter: Speed of Light", 2000 (for Parkett 58)
9-color lithograph on Somerset soft white paper,
17 1/4 x 14 5/8” (44 x 37,1 cm),
printed by Maurice Sanchez, Derrière L’Etoile Studio, New York,
Ed. 60/XX, signed and numbered

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

Read a Parkett text on Roman Signer
Parkett Vol. 45

Quote from Parkett
“Action and sculpture, dynamics and stasis in Roman Signer’s oeuvre do not oppose each other but are rather different states of the same structure. It is a structure that displays the potential of future, energetic change; it is transformation as transient shape; it is detritus as traces of past events. The sculptural form in Signer’s oeuvre, the static object in space is expanded—liquefied, as it were—to include the dimension of time.”
Konrad Bitterli, Parkett No. 45, 1995

Additional Quote
“Roman Signer is an artist-engineer who devises actions and procedures that achieve humorous, unexpected, and aesthetically compelling results. Signer’s quasi-experiments often consist of setting off explosions, hurling objects into the air, or engineering collisions, which he documents on film and video … or in an object as in “Fireman’s Glove and Photograph”. -Artsy

"Fireman's Glove with Photograph", 1995 (for Parkett 45)
Heat-resistant glove,
length 13 3/4” (35 cm),
still from a video by Aleksandra Signer,
approx. 5 1/8 x 7 1/8” (13 x 18,2 cm),
Ed. 80/XV, signed and numbered

Complimentary shipping

Read a Parkett text on Frances Stark
Parkett Vol. 93

Quote from Parkett
"While she no longer writes today in the same ways, her whole project remains devoted to testing out different supports for writing and figuring out how they support her—how they affect, impact, and feedback onto her person."
Alex Kitnick, Parkett No. 93, 2013

Additional Quote
“The work of artist and writer Frances Stark often centers on an exploration of language and the written word, translating the process of writing or creating art into visual form. Working in multiple media, from works on paper to performance, Stark examines what she describes as "the conditions of creative labor," highlighting the aspects of artistic production that are less frequently acknowledged… Her elaborate book object for Parkett “Dishonest but Appealing” mimicks with its title page the picaresque novel, a genre of prose fiction featuring adventures of roguish heroes or heroines. The book object comes with a custom made hidden chamber between the pages to stash away secret things.” -Artspace

"Dishonest but Appealing", 2013 (for Parkett 93)
Book with safe, paper pages, hand bound,
hardcover with embossed printing,
red cloth, silk ribbon,
11 1/2 x 8 1/2 x 2 1/4” (28,5 x 21,5 x 6 cm),
Ed. 35/XX, signed and numbered