Meris Angioletti
EAUX CLAIRES ET MONTAGNES VIOLETTES, 2014
Series of 6 prints (40 x 30 cm each) and 1 text (21 x 30 cm)
Inkjet print on paper
Edition 10 + 2AP

1/10 Sold
2/10 available


Lonnie van Brummelen & Siebren de Haan
Episode of the Sea - stills and lines, 2014
Series of 7 prints (30 x 22,5 cm each)
Print on baryte paper
Edition 10 + 2AP

The series of prints "Episode of the Sea - stills and lines" combines 35mm film stills of the staged
scenes of the film "Episode of the Sea" (63 min., 2014) with lines from the film script,
translated into English.
"Urk used to be an island in the Netherlands until the government drained the surrounding waters
as a way to increase farmland. Attempts to get citizens of Urk (an area known for its unique dialect
and wariness of outsiders) to switch from fishing to agriculture failed, as fishermen simply traveled
further to work at sea. Fishermen from Urk ended up earning paychecks as high as government
officials, something people in the surrounding area refer to as “the miracle of Urk.”

Shooting in black and white on 35mm stock, the cinematography reflects the subject;
just as Urk’s workers in the fishing industry lament their old, traditional methods of work as they fade
into irrelevance, the screen’s curved edges and Academy ratio act as a reminder of the once normal,
now archaic practice of shooting on celluloid.

Using transcripts of conversations overheard during their research, van Brummelen and de Haan
recruited residents of Urk to participate in staged scenes re- enacting these exchanges. Emphasis
on the word staged here, as “actors” awkwardly recite their lines while positioned in deliberate poses.
The stilted, unnatural quality of these scenes, reminiscent of Aki Kaurismäki’s work, are just plain
funny at times, a nice light-hearted touch to offset some of the more somber material (one exchange
has several fishermen wondering what to do now that they’ve decommissioned their ships)."

(excerpts review of the film Episode of the Sea, Way too Indie, review CJ Prince, 2014)


Jennifer Caubet
Ansfortmeur, 2014
Wood, colored polyester resin, piano hinges
40 x 38 x 1,8 cm (flat)
Edition 3 + 1AP (2 editions part of Irmavep Club's Jahresgaben)


Jason Hendrik Hansma
The Hill That Came From The Sea, 2014
B/W photographs, silver gelatin prints, framed
43 x 31 cm framed (image 14 x 10 cm)
Edition 5 + 1AP


Hanna Schwarz & Phillip Sollmann
DREHWURM, 2014
One sided vinyl 12", 20 min
Edition 10 + 6AP

Berlin-based artist Hanna Schwarz and composer Phillip Sollmann did present
their first collaborative live performance in June 2014 in Café OTO Project Space
creating a drone-like sound collage from a collection of spinning tops.
FOAM @ OTO was devised by Tamsin Clark & Mat Jenner.
Following this performance they recorded a studio version for Irmavep. 






Dario D'Aronco
1999 hirayama, 2013
B/W ink print on cotton paper
10,6 x 13,83 cm
Edition 5 + 1AP

€ 300, -


Adélaïde Feriot
Singulière, 2013
Pigment print (framed)
8,7 x 11 cm, (26,5 x 34 cm framed)
Edition 3 + 2AP (2 editions part of Irmavep Club's Jahresgaben)

€ 300, -


Adélaïde Feriot
Singulière, 2013
Pigment print (framed)
8,7 x 11 cm, (26,5 x 34 cm framed)
Edition 3 + 2AP (2 editions part of Irmavep Club's Jahresgaben)

€ 300, -


Adélaïde Feriot
Singulière, 2013
Pigment print (framed)
8,7 x 11 cm, (26,5 x 34 cm framed)
Edition 3 + 2AP (2 editions part of Irmavep Club's Jahresgaben)

€ 300, -


Adélaïde Feriot
Singulière, 2013
Pigment print (framed)
8,7 x 11 cm, (26,5 x 34 cm framed)
Edition 3 + 2AP (2 editions part of Irmavep Club's Jahresgaben)

€ 300, -


Adélaïde Feriot
Singulière, 2013
Pigment print (framed)
8,7 x 11 cm, (26,5 x 34 cm framed)
Edition 3 + 2AP (2 editions part of Irmavep Club's Jahresgaben)

€ 300, -


Matteo Rubbi
Depths (Mariana Trench) #1, 2013
Concrete, green chalk powder, floral foam, wood
10 x 15 x 4 cm (base excluded)
The work is realized as an edition of 5 unique pieces (Ed. 1/5 available as part of Irmavep's Club Jahresgaben)

€ 500, -


Margaret Salmon
Untitled, 2013
Screen print
36 x 28 cm
Edition 7 + 2AP

€ 350, -



Julien Crépieux
Microfilm-DSC_3765, 2012
Pigment print on baryta paper
32 x 26 cm
Edition 3 + 2AP

€ 350, -


Julien Crépieux
Microfilm-DSC_4403, 2012
Pigment print on baryta paper
32 x 26 cm
Edition 3 + 2AP

€ 350, -


Julien Crépieux
Microfilm-DSC_4533, 2012
Pigment print on baryta paper
32 x 26 cm
Edition 3 + 2AP

€ 350, -


Jagna Ciuchta
after the grey room, 2011
5 photographs, 24 x 30 cm
1 livret, 24 x 30 cm
Edition 5 + 1AP

€ 600, -

the grey room is a work Jagna Ciuchta set up at the Fondazione Antonio Ratti, Como, in 2011.
"I arrange an empty exhibition space in the Textile Museum of FAR, with newly painted walls,
curtains and exhibition accessories as empty showcases, frames and plinths. I invite artists to
occupy the space with their works, what creates a self-curating, self-displaying and self-running
exhibition that transforms everyday through one month. Afterwords I write a diary."
after the grey room is an activation of the photographs Jagna Ciuchta took after the
exhibition's dismantling, accompanied by her diary.

Jacob Jessen
untitled (flare), 2012
Unique photograph developed on shooting's site
40,5 cm x 51cm, framed

€ 450, -

In the dark of night, on the border between sea and land, I fired emergency flares directly
at suspended photographic paper. As a result of the collision the flare changed trajectory and
instead of flying over sea it landed on shore. At the same time the flare left traces of light on the
photographic paper representing the moment of collision.The result is a series of 8 b &w
photographs that where developed on site, using the night as darkroom.


Jacob Jessen
untitled (flare), 2012
Unique photograph developed on shooting's site
40,5 cm x 51cm, framed

€ 450, -

In the dark of night, on the border between sea and land, I fired emergency flares directly
at suspended photographic paper. As a result of the collision the flare changed trajectory and
instead of flying over sea it landed on shore. At the same time the flare left traces of light on the
photographic paper representing the moment of collision.The result is a series of 8 b &w
photographs that where developed on site, using the night as darkroom.



Daniel Gustav Cramer
Untitled (Peacock), 2011
Photographic print
paper size 30.4 x 24 cm
image size 10.7 x 15.6 cm
Edition 5 + 3AP
1/5 Sold
2/5 Sold
3/5 available

€ 450, -

Maria Loboda
The Definition of Sprezzatura, 2011
1:38 min
audio recording
Edition 2 (+1 AP)

€ 450, -


Maria Loboda
The Phenomenon of Crystallization after Stendhal, 2011
2:18 min
audio recording
Edition 2 (+1 AP)
1/2 Sold
2/2 available

€ 450, -

Maria Loboda
The Physiological Effects of Limerance, 2011
1:28 min
audio recording
Edition 2 (+1 AP)

€ 450, -

Maria Loboda
The Fall of the Narodnik Movement, 2011
1:24 min
audio recording
Edition 2 (+1 AP)

€ 450, -

Gerald Petit
Sans titre (les modifications), 2010
Pigment print on Rag satin
40 x 50 cm
Edition 5 (+ 2AP)

€ 450, -

Gerald Petit
sans titre (une plume de paon dont la vengeance se décore), 2011
Pigment print on Rag satin
40 x 60 cm
Edition 5 (+ 2AP)

1/5 Sold
2/5 available

€ 450, -

Olve Sande
The Fire Sermon I, 2011
70x100 cm
Silk screen on paper
Edition 5 (+ 2 AP) (1 edition available as part of the Irmavep Club Jahresgabe)

€ 400, -

The Fire Sermon I-III is a set of drawings extracted from the annotations and marks made by Ezra Pound in the draft for the modernist poem The Waste Land. By removing the underlaying text, these marks are rendered as abstract expressionistic drawings without any apparent motivation. – As every mark on the paper embodies a part of the original manuscript that was edited out or changed, these drawings are tempered and structured by the editors response to a text that these very same lines has made inaccessible to the viewer.

Olve Sande
The Fire Sermon II, 2011
70x100 cm
Silk screen on paper
Edition 5 (+ 2 AP) (1 edition available as part of the Irmavep Club Jahresgabe)

€ 400, -

The Fire Sermon I-III is a set of drawings extracted from the annotations and marks made by Ezra Pound in the draft for the modernist poem The Waste Land. By removing the underlaying text, these marks are rendered as abstract expressionistic drawings without any apparent motivation. – As every mark on the paper embodies a part of the original manuscript that was edited out or changed, these drawings are tempered and structured by the editors response to a text that these very same lines has made inaccessible to the viewer.


Olve Sande
The Fire Sermon III, 2011
70x100 cm
Silk screen on paper
Edition 5 (+ 2 AP) (1 edition available as part of the Irmavep Club Jahresgabe)

€ 400, -

The Fire Sermon I-III is a set of drawings extracted from the annotations and marks made by Ezra Pound in the draft for the modernist poem The Waste Land. By removing the underlaying text, these marks are rendered as abstract expressionistic drawings without any apparent motivation. – As every mark on the paper embodies a part of the original manuscript that was edited out or changed, these drawings are tempered and structured by the editors response to a text that these very same lines has made inaccessible to the viewer.




Dominique Blais
Trauma (Bruit Blanc) / Trauma (White Noise) , 2010
Faience
Production ESAC Tarbes 2010
Edition of 3 pairs
1/3 Sold
2/3 available

€ 600, -

Les bouchons d'oreilles blancs, à l'aspect malléable mais dur comme de la pierre,
de Trauma (Bruit Blanc) se rapprochent plus de prothèses évoquant un désagrément
physique lors d'un hypothétique usage.
Le titre met en relation ces objets en céramique avec le bruit blanc – mélange aléatoire
des fréquences audibles par l'oreille humaine – qui serait le pendant auditif du
désagrément précité.

Mel O'Callaghan
We Know A Place, 2008
Lamda Print
60 x 40cm
Edition of 5
1/5 Sold
2/5 available

€ 450, -

Thomas Dupouy
Pause, 2010
Braille embossing on paper
21 x 29,7 cm
Signed and numbered on verso
Edition of 5

€ 250, -

Guillaume Leblon
OF LIFE, 2010
plaster, sand and various elements (mussels, foam, stones...)
12 x 35 cm approximately
Edition of 6

€ 400, -

Thomas Merret
51°08'25“ N 1°22'16“ E, 2010
Lambda C-print mounted on dibond
30 x 24 cm
Edition of 5

€ 250, -

Benoît-Marie Moriceau
Measuring gestures, 2009
Pigment print (framed)
83,2 x 15,5 cm
Edition of 5

€ 450, -

Bruno Persat
21+1 , 2010
Black box and Ink jet prints on paper
Edition 6 of +1

€ 400, -

21+1 est une série de poster cachée dans une boite noire. 21 images dont une double qui n'ont
été vues que par moi avant d'être enfermées dans la boite, sont imprimées sur des posters de
format différent (la largeur reste la même, la longueur diffère et l'image centrée a toujours la
même taille). l'Idée de la boite noire comme énigme à résoudre soi-même à propos d'une
mémoire créée par un autre. l'Idée d'une série d'images photographiques comme cartographie de
pirates non-violents.
_______

21+1 is a set of posters hidden in a blackbox.
These posters have been seen by me just once before enclosing in the box.
The idea of the blackbox as a riddle of a memory created by another.
The idea of a set of pictures as a cartography of peaceful pirates.

Michael Pfisterer
later and increasing entropy / #2, 2010
Pigment print
50 x 95 cm
Edition of 12 (6 editions available as part of the Irmavep Club Jahresgabe)
1/12 Sold
2/12 available

€ 380, -


Evariste Richer
Deux, 2010
Digital Print on baryte paper
20 x 30 cm
Signed and numbered on verso
Edition of 2

€ 350, -


Evariste Richer
Trois, 2010
Digital Print on baryte paper
20 x 30 cm
Signed and numbered on verso
Edition of 3

€ 350, -


Evariste Richer
Quatre, 2010
Digital Print on baryte paper
20 x 30 cm
Signed and numbered on verso
Edition of 4

€ 350, -

Evariste Richer
Cinq, 2010
Digital Print on baryte paper
20 x 30 cm
Signed and numbered on verso
Edition of 5

€ 350, -

Hanna Schwarz
Lirum Larum, 2009
Watercolour on paper
Signed

€ 450, -

Hanna Schwarz
Lirum Larum, 2009
Watercolour on paper
Signed

€ 450, -


_______________________________________________________________________________