Current Exhibition @ Parkett Space Zurich

UNIQUE
Works with Unique Elements & Variations Made by Artists for Parkett
September 11 - March 20th, 2021

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 John Armleder
Parkett Vol. 50/51

Quote from Parkett
“The idea one gets when looking at the work of John Armleder is the idea of the twentieth century itself, the age of modernity. This is not only because he uses an abstract pictorial vocabulary, but also because he uses objects that have served to construct the new life of this century.”
Giacinto di Pietrantonio, Parkett No. 50/51, 1997

"Untitled" , 1997 (for Parkett 50/51)
Unique Perspex sculptures in
fluorescent colors: yellow,
light blue, orange, or colorless,
approx. 16 x 16 x 8”
(40,6 x 40,6 x 20,3 cm),
Ed. 50/XX, inscribed signature and edition number,
yellow: 1–20, blue: 21–33,
orange: 34–42, colorless: 43–50

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 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 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.

The artist’s double rendering of twin subjects, separated by red color poured in the fold, is reminiscent of a Rorschach test. With an “and” between his first and last name, Boetti doubled his identity in the 1970s.

Read a Parkett Text on Alighiero e Boetti
Parkett Vol. 24

Quote from Parkett
“The works of Alighiero e Boetti open onto the world, onto the fluid passage of forms; they capture chaos without diminishing it, and one can always cross over from one work into another, while maintaining the same degree of precision, which demonstrates everything with the facts. If there is a route, it is one that leads where routes branch out, bifurcate and multiply. If there is a key, it is a passe-partout that opens and at the same time ‘closes’ every frame, every possible door.”
Giovan Battista Salerno, Parkett No. 24, 1990

"Probing the Mysteries of a Double Life", 1990 (for Parkett 24)
Collotype (Granolitho),
overpainted by hand in red,
19 5/8 x 27 1/2” (49,8 x 69,8 cm),
printed by Lichtdruck AG, Dielsdorf, Switzerland,
Ed. 100/XX, signed bottom right, and numbered left.

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

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 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 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 Omer Fast
Parkett Vol. 99

Quote from Parkett
"Fast sets certain traps for himself and his subjects, characters, and viewers. Perhaps more than anything, his work is about how the circulation of stories, the telling and retelling, to ourselves and others, corrupts the facts, falsifies the details, and exposes ever more uncomfortable truths"
Kaelen Wilson-Goldie, Parkett No. 99, 2017

"White Male Selfies", 2017 (for Parkett 99)
9 portraits, including unique prints,
on 290 g/m2 Satin Baryta paper, in box,
each print 7 7/8 x 7 7/8 ” (20 x 20 cm),
Ed. 25/XXV, signed and numbered certificate

Read a Parkett text on Peter Fischli/David Weiss
Parkett Vol. 17

Quote from Parkett
“In appearance, the work of Fischli/Weiss is ironic and humorous; oscillating between game and joke, it seems to mock the seriousness of art. The artists’ combinations of things and objects, figures and actions, whether in balance or in movement, tend to restore the value of wit and playfulness to creative commitment, but their goal is to contest the claim to truth, to contest the absolutism of the art process, repudiating cleverness and replacing it with inept intentions… or removing its core… or even collapsing it.”
Germano Celant, Parkett No. 17, 1988

"Record", 1988 (for Parkett 17)
Record, beracryl, diameter 11 13/16” (30 cm),
Ed. 120/XXVI, signed and numbered

Read a Parkett text on Peter Fischli/David Weiss
Parkett Vol. 40/41

Quote from Parkett
“Peter Fischli/David Weiss’s replicants refuse to give us any insight into their inner nature and structure, which we, as products of a scientific age, automatically want to investigate. Instead, we are radically confronted with a surface that cannot be penetrated because it conceals nothing but a void.”
Boris Groys, Parkett No. 40/41, 1994

"Untitled (Small Bucket)", 1994 (for Parkett 40/41)
Carved object, polyurethane, acrylic, dispersion,
ø 7 5/8 x 3 2/8” (20 x 20 x 8,5 cm),
Ed. 32/X, signed and numbered

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

Read a Parkett text on Tom Friedman
Parkett Vol. 64

Quote from Parkett
“Tom Friedman’s sculptural works radically modify our view of things. Small and fragile, made of mundane, frequently expendable materials, they evoke meditation on the interconnectedness of natural and industrial worlds, even suggesting that the human mind, body, and inanimate things are all involved in the same process of transmutation.”
Midori Matsui, Parkett No. 64, 2002

"Untitled", 2002 (for Parkett 64)
75 Styrofoam cups painted by hand with acrylic paint, glue,
40” (102,8 cm) high, 2” (7,1 cm) diameter,
Ed. 75/XX, signed and numbered

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

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 Theaster Gates
Parkett Vol. 98

Quote from Parkett
"Of course, Gates's buildings, ceramics, sculptures, performances, events, and finances are executed by many hands, minds, eyes, and voices. This too is sign of his cosmopolitanism - his willingness to be constantly in exchange with others, and to encourage exchanges among individuals. These exchanges are central to his objects and environments, however beautiful they may be."
Christine Mehring & Sean Keller, Parkett No. 98, 2016

"Soul Bowls", 2016 (for Parkett 98)
Stoneware with glaze, two bowls,
one in black and one in white, each unique,
diameter 4–5” (10 –13 cm), height 3–3 1/2” (7–9 cm), weight ca. 1,2 lbs. each.
Packed in box with Association of Named Negro American Potters (A.N.N.A.P.) Logo,
Ed. 15/X, signed and numbered certificate

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.

Read a Parkett text on Adrian Ghenie
Parkett Vol. 99

Quote from Parkett
"I’m not a history painter," Adrian Ghenie has said, "but I am fascinated by what happened in the twentieth century and how it continues to shape today. For me, the twentieth century was a century of humiliation—through my paintings, I am still trying to understand this.“
Adrian Ghenie in Brigid Doherty’s text, Parkett No. 99, 2017

"The Lidless Eye", 2016/2017 (for Parkett 99)
Collaged paper print, each work unique
9 7/8 x 8 1/2 “ (25 x 22 cm)
Group of 25/XII works, signed and numbered

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

Read a Parkett text on Liam Gillick
Parkett Vol. 61

Quote from Parkett
“Gillick’s platforms—Plexiglas panels in aluminum frames—do not obey gravity and lie on the floor like Andre’s carpets of metal panels that viewers can step on. No, they are suspended from the ceiling, parallel to the floor so that viewers must tilt their heads to look up at the platforms and the way they are mounted. In his boxed and wall constructions, he uses materials like Plexiglas, plywood, pine, and aluminum as Donald Judd did before him, but without giving viewers the feeling of knowing where they stand. Instead they are awash with feelings of enigmatic and fluttering indeterminacy.”
Gregor Stemmrich, Parkett No. 61, 2001

"Literally No Place", 2001 (for Parkett 61)
5 plexiglas and 3 aluminum plates in different colors,
8 x 10” (25 x 20,5 cm) each, assembly ad libitum,
Ed. 70/XXV, signed and numbered certificate

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

Read a Parkett text on Robert Gober
Parkett Vol. 27

Robert Gober’s Edition for Parkett is a replica of a page in the weekend edition of the New York Times. The artist has assembled and invented a mixture of news items, advertisements, weather reports, and stock market news for October 4, 1960 . In the midst of wedding announcements and an item on Runt, a teenager’s dog that was the victim of veterinary malpractice, we find a story on the mysterious death of a six-year- old boy, whose namesake is the artist himself, born in 1954. We are confronted with Gober’s evocation of daily life that oscillates between the utter banality of domestic happiness and sordid drama. We react with indifference, or with a sense of self-indulgent or horrified identification.

Quote from Parkett
“As assemblages of props, costumes, and sets, Gober’s installations of domestic dreamscapes pose as sites for the unfolding of narrative sequences; each element serves as a silent accoutrement to the human drama awaiting to be enacted therein… in this potent mise-en-scène we are implicated as participants. Gober’s fabricated, home-like spaces are uncanny in the truest sense of the word.”
Nancy Spector, Parkett No. 27, 1991

"Untitled", 1991 (for Parkett 27)
Lithograph on newsprint with handtorn edges,
printed on both sides and folded three times,
22 1/8 x 13 7/8” (56,7 x 35,4 cm),
hand-colored with coffee by the artist,
printed by Maurice Sanchez & Joe Petruzzelli, Derrière L’Etoile Studio, New York,
Ed. 75/XXV unique pieces, signed and numbered

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

Read a Parkett text on Douglas Gordon
Parkett Vol. 49

Quote from Parkett
“Douglas Gordon exposes certain time-based effects that are at the root of our sense of psychological security. This process is implemented by re-emphasizing key elements from carefully researched material, as well as using specially made video and film footage to restructure the mass of connections that influence an artist’s activity. What could be described as aestheticising the dynamic of trauma and reassurance has been combined with an ongoing desire to acknowledge his position as a self-conscious artist working within the specific power structures of the art world.” Douglas Gordon interview with Liam Gillick, Parkett No. 49, 1997

"Signature", 1997 (for Parkett 49)
The artist’s bite, 2 1/8 x 2” (5,5 x 5 cm),
on Fabriano paper 160g/m2, 10 x 8 1/4” (25,6 x 21,1 cm),
bound in the magazine,
Ed. 50/XX, numbered

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