ARTMargins

Contemporary art across the evolving global peripheries

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 by ARTMargins ·

Boris Mikhailov (NEW)

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Salt Lake (1985, later print)

Bromoid gelatin silver print. Unframed, 9 1/2” x 12” (paper).
Number 31, Edition of 300. Initialed and stamped “einmalige Auflage für die griffelkunst 2000“ on verso.
Condition: Two handling creases discernible only on reverse.

THE ARTIST ON HIS WORK:

“There’s a kind of interplay between the old and the new going on here. […] It was an outworking of an old idea I’d entertained before: we’re right there,

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 by ARTMargins ·

Ilya & Emilia Kabakov

[Untitled, Ships] 1993 – 1994

Limited edition offset prints, 29 cm x 40 cm
Each signed and numbered in pencil from an edition of 50.

[Untitled, Rabbits] 1993 – 1994

Limited edition offset prints,  32 cm x 44 cm
Each signed and numbered in pencil from an edition of 50.

(The Cyrillic text behind each image reads “IDI NA KHUI”, roughly translated as “GO FUCK YOURSELF”)

THE ARTISTS ON THEIR WORK:

“The prints were initially created to be part of another of our albums. A father decides to buy a coloring book as a present for his son. He goes

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 by ARTMargins ·

Gábor Ösz

The House: Project Document (2009)

4-color printed postcard, seriograph, 6” x 4”
Edition of 10. Signed and numbered on verso; inscribed with “Special Edition” in the artist’s hand

THE ARTIST ON HIS WORK:

“Each project is a different challenge and demands new solutions. I study the locations carefully. I have established a work method, with which it often takes years to reach the desired effect. The circumstances of creation become as inevitable a part of the picture as any error or fault. I never cut off the edges, and never intervene in any way in the creation process. I

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 by ARTMargins ·

Svetlana Boym

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See below for individual titles

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 by ARTMargins ·

Dimitri Kozyrev

Cutting Edge #1 (2007)

Original drawing, paper and pencil, unframed, 23” x 29”
Edition of 1, signed on verso. 

THE ARTIST ON HIS WORK:

“I think if we all stop and think about it, what we remember about something is really more real and lasting than the lived moment. . . . I make things that last, and I can look back at them, but I can’t really reproduce the time, emotions, motivations, and interests that brought them about. So, when I take those memories—the physical memory of the techniques, the mental memories of the ideas behind them and combine

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 by ARTMargins ·

Yevgeniy Fiks

Communist Tour of MoMA (An Introduction) (2010)

Mixed-media collage on paper, unframed, 14” x 17”
Edition of 16. Signed and dated on recto “06”

ARTIST’S PROJECT STATEMENT:

“For the past fifty years, the Museum of Modern Art has been separating artists from their politics and in so doing sanitizing the history of Modern Art. Communist Tour of MoMA connects the history of Modern Art to the history of the 20th-century Communist movement. The project is based on research conducted at the Museum of Modern Art archives in New York, focusing on Modern artists from the MoMA collection whose careers overlapped

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