User Beitrag: “Schon die Rückseite würden wir als riesiges Poster in unser Wohnzimmer hängen. Und dann die Vorderseite mit dem stillen ruhenden Mann im Plastiksessel, barfuss in Lederschuhen und weisser Bluse hat uns rstlos überzeugt. Das ist eine Spitzeneinladung.” R.T.
All Work and No Play Makes Jack a Dull Boy, with works by Lewis Caroll, Charles and Ray Eames, Rachel Feinstein, Carsten Höller, Jim Shaw, Dr Suess, Marnie Weber, Galerie Francesca Pia, February 23 – March 17, 2001. The show was curated by Fabrice Stroun and Mai-Thu Perret and took place in Bern. In 2007, the gallery moved to Zurich.
User Beitrag: “Der Titelsatz ist bekannt und weckt Erinnerungen. Ansprechende Typographie und Grafik. Gegenstand der Ausstellung in Titelsatz enthalten und dennoch nicht zu plakativ.” Käthe Wünsch
Here are some more posters which also function as their own envelope.
A selection of invitation cards by German artist Hans-Peter Feldmann. Since he does not limit the number of editions of his works, nor does he sign them, these cards can be considered original artworks.
Starling crossed the Tabernas Desert in Spain on a bicycle powered by compressed hydrogen in September 2004. The only biproduct of the journey was water which was used to produce the cactus painting.
User comment: “Der Traum jedes Weltreisenden!” Speziell meines Cousins, welcher 2x per Velo den Planeten umradelte.” Beat
New Sculpture & Works on Paper
In the early 1980s the Bern based Galerie Lydia Megert produced multifunctional invitation cards on folded A3 paper. Besides the basic information on when and where the exhibitions would take place, the leaflets also contained pictures of the artists and their artworks as well as biographical overviews and short texts.
The little circles suggest that all the sheets could be punched and collected in a folder (maybe similar to Harald Szeemanns catalogs When Attitudes Become Form, 1969, and documenta 5, 1972). This way, the invitation cards could function as single pages of a potential publication documenting the history of Galerie Lydia Megert.
“Corner College was founded in 2008 at Perla-Mode Zürich. In 2011 the space moved to Kochstrasse and was run by Irene Grillo, Sarah Infanger, Urs Lehni, Jeannette Polin, Philip Matesic und Stefan Wagner until 2014. 2015 marks a new period of activities following Corner College’s legacy as a space for activities between art and quasi-academic educational approaches with an openness for Zurich’s artistic, activist, and intellectual communities.
Until September 2018, Corner College was located in Zurich’s District 4, and since then has functioned as a nomadic space without a location of its own. It is an independent project space for new and experimental formats of exhibition making, with a focus on research and process oriented contemporary art, quasi-academic knowledge production and the nurturing of discursive forms of contemporary art and theory in a dialog with urban processes, society, technologies, research, transdisciplinarity. CC activates a space of micropractices and participation of the public that echo in a network of local and global exchange.” Source
A series of invitation cards (1998-2000) by the Berlin based gallery Contemporary Fine Arts (CFA), established in 1992 and run by Bruno Brunnet and Nicole Hackert. For about two years, CFA used individual handwriting (by the artists?) instead of a standardized font. As many of the new young galleries established in the mid to late nineties, CFA used their invitation cards to highlight individuality and as an innovative form of (self-)branding. Invitation cards could become an art project, and a space where art may happen – and is distributed worldwide for free. A similar strategy was adopted by other young up-and-coming galleries such as neugerriemschneider, Berlin (est. 1994), Gavin Brown’s Enterprise, New York (1994-2020), CFA Contemporary Fine Arts, Berlin (est. 1992), The Modern Institute, Glasgow (est. 1997), or Eva Presenhuber (Galerie Walcheturm 1989-1998/Galerie Eva Presenhuber).