{"title":"The Archive","description":"\u003cp\u003eEverything currently held at The New Rare, newest first.\u003c\/p\u003e","products":[{"product_id":"art-scribe-no-51-basquiat-kathy-acker-lynne-cooke-1985","title":"ART SCRIBE No. 51 — Basquiat, Kathy Acker, Lynne Cooke, Artscribe Ltd, London, 1985","description":"\u003cp\u003ePublished by Artscribe Ltd, London, in March–April 1985 and edited by Matthew Collings, Artscribe No. 51 brings together exhibition reviews, interviews and critical essays, with a cover featuring Bruce McLean. Jean-Michel Basquiat appears in Kathy Acker’s review of his exhibition at the ICA, London, on page 52, and in Lynne Cooke’s essay on Neo-Primitivism on page 16, placing responses to his work within two different forms of contemporary criticism. The issue also includes an interview with Bruce McLean by Mel Gooding, reviews covering Jonathan Borofsky, Richard Wilson, Ger van Elk, Ian McKeever and Marc Chagall, and a report on the 2nd International Contemporary Art Fair. Issued as a softcover art magazine, it records Basquiat’s reception in the British art press alongside the exhibitions, practices and debates occupying the same editorial space.\u003c\/p\u003e","brand":"Artscribe Ltd","offers":[{"title":"Default Title","offer_id":53035119149394,"sku":"TNR-2026-0001","price":150.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Basquiat01.jpg?v=1774539700"},{"product_id":"wade-guyton-set-of-3-exhibition-postcards-serpentine-galleries-2017","title":"WADE GUYTON — Set of 3 Exhibition Postcards, Serpentine Galleries, London, 2017","description":"\u003cp\u003eIssued by Serpentine Galleries, London, in 2017 for Wade Guyton’s exhibition \u003cem\u003eDas New Yorker Atelier, Abridged\u003c\/em\u003e, this group comprises three colour offset-printed postcards on card stock, each reproducing a work with printed artwork details on the reverse. The exhibition presented recent work made using digital technologies, including cameras, computers and consumer-grade Epson printers, through which photographs and digital information were transferred onto linen and paper. The studio was both a place of production and a subject within this process, its spaces and working materials entering the images Guyton printed. The postcards introduce a further change of medium and scale: works produced through digital printing are reproduced by offset lithography as portable exhibition matter. Their reverses retain the identifying information that connects each reproduction to a particular work, keeping the image and its institutional record together in a format intended for circulation.\u003c\/p\u003e\n\u003cp class=\"journal-label\"\u003eIN THE JOURNAL\u003cbr\u003e\u003ca href=\"\/blogs\/journal\/a-work-small-enough-to-send\"\u003eA Work Small Enough to Send — The Art Postcard as Object\u003c\/a\u003e\u003c\/p\u003e","brand":"Serpentine Galleries","offers":[{"title":"Default Title","offer_id":53039715483986,"sku":"TNR-2026-0002","price":60.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Wade_Guyton_Postcards_06.jpg?v=1774600585"},{"product_id":"urs-luthi-exhibition-invitation-galerie-isy-brachot-brussels-1975","title":"URS LÜTHI — Exhibition Invitation, Galerie Isy Brachot, Brussels, 1975","description":"\u003cp\u003e\u003cstrong\u003eURS LÜTHI\u003c\/strong\u003e\u003cbr\u003eGalerie Isy Brachot, Brussels\u003cbr\u003eNovember 12, 1975 – January 8, 1976\u003cbr\u003eOpening: November 10, 19h\u003c\/p\u003e\u003cp\u003eOriginal invitation for Urs Lüthi's 1975 solo exhibition at Galerie Isy Brachot, a key moment in the development of self-performance and gender-fluid identity in postwar European art. The invitation is a bifolded card with two loose inserts, measuring 29.7 × 21.0 cm unfolded, and features stark black-and-white photographs of the artist staging his own body — sometimes disguised, sometimes vulnerable, always deliberately composed.\u003c\/p\u003e\u003cp\u003eEmerging from the 1970s conceptual wave, Lüthi's work blended performance, photography, and personal mythology. He rejected the neutral stance of much conceptual art in favour of something more intimate, melancholic, and theatrical. The images shown here — posed, exposed, and occasionally erased — point to early preoccupations with the self as both object and illusion.\u003c\/p\u003e\u003cp\u003eThis exhibition came at a time when Lüthi was establishing his visual lexicon: the reclining body, the play with androgyny, the subtle references to artifice and autobiography. Surviving ephemera from this period is exceptionally scarce, and this invitation offers both historical significance and stark formal beauty.\u003c\/p\u003e","brand":"Galerie Isy Brachot","offers":[{"title":"Default Title","offer_id":53039877456210,"sku":"TNR-2026-0003","price":120.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/UrsLuthi01.jpg?v=1774601935"},{"product_id":"matthew-peers-wishing-wells-2023-2025","title":"MATTHEW PEERS — Wishing Wells, 2023–2025 — The New Rare Editions","description":"\u003cp\u003eBuilt from iPhone image files of wishing wells — indoors and outdoors, across locations and light conditions, 2023–2025. The first half reproduces these files as full-colour pages, each dated on the facing leaf. The second half presents four sets of video stills from phone clips: movement slowed into print, sequence replacing duration.\u003c\/p\u003e\u003cp\u003eMatthew Peers’ practice is rooted in sculpture but extends into exhibition-making, publishing, display, and the social life of objects. His works resist a clean separation between artwork, support, furniture, architecture, image, and fragment. Materials appear handled, provisional, reflective — carrying traces of use rather than presenting themselves as resolved. Objects do not settle into fixed categories. They gather meaning through placement, contact, and circulation.\u003c\/p\u003e\u003cp\u003eThe publication follows this logic. It treats the printed page as another support structure: a surface where images accumulate, repeat, and are repositioned across time. It is not a catalogue after the fact, but part of the same material system as the works themselves. A sculpture can become an image. An image can become a document. A document can become an edition. An edition can return to the exhibition as an object in its own right.\u003c\/p\u003e\u003cp\u003eThrough The New Rare Editions, Peers’ practice is placed within a broader context of unstable authorship and object circulation — a site where the roles of artist, gallerist, publisher, collector, and archivist overlap. The publication does not fix the work into a single narrative. It preserves the provisional nature of the practice: objects always being reframed, reclassified, and put back into circulation.\u003c\/p\u003e\u003cp\u003eThe first title published by The New Rare Editions.\u003c\/p\u003e\u003cp class=\"journal-label\"\u003eIN THE JOURNAL\u003cbr\u003e\u003ca href=\"\/blogs\/journal\/matthew-peers-wishing-wells\"\u003eMatthew Peers: Wishing Wells\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003eThe New Rare took part in GLUE Book Fair at the ICA, London, on 12–13 September 2026.\u003c\/p\u003e","brand":"The New Rare Editions","offers":[{"title":"Default Title","offer_id":53040616767826,"sku":"TNR-2026-0004","price":50.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Matthew_Peers_wishing_wells_03.jpg?v=1776662523"},{"product_id":"carl-andre-whitechapel-sculpture-1954-1978-exhibition-archive-1978","title":"CARL ANDRE — Sculpture 1954–1978, Whitechapel Art Gallery, London, 1978","description":"\u003cp\u003eArchive of three original documents from Carl Andre’s major retrospective, 17 March – 23 April 1978 — one of the most significant presentations of his work in Britain, arriving just three years after the “Bricks” controversy at the Tate had made him the most debated artist in the country.\u003c\/p\u003e\u003cp\u003eThe set comprises a letterhead text printed on official Whitechapel stationery, a multi-page works list and programme, and a ticket to the public discussion held on the opening night, 17 March 1978 at 7pm. The ticket, marked with a handwritten X, is a trace of attendance — someone was there.\u003c\/p\u003e\u003cp\u003eThe letterhead document reproduces Andre’s own words in full, selected and arranged without editorial commentary. The statements move from the agricultural to the philosophical: \u003cem\u003e“I think art is agricultural, that is involved with maintaining life and feeding life.”\u003c\/em\u003e \u003cem\u003e“My idea of a piece of sculpture is a road.”\u003c\/em\u003e Printed on Whitechapel letterhead, the text functions simultaneously as press material and as a kind of concrete poetry — Andre’s language performing the same economy as his floor pieces.\u003c\/p\u003e\u003cp\u003eThe works list documents 31 sculptures spanning 1954 to 1978, with full dimensions, materials, lenders, and extended notes — including the EQUIVALENTS series lent by the Tate, the ELEMENT SERIES, the DIPOLES made for this exhibition, and CRUX, a new cedar work produced for the Whitechapel entrance hall.\u003c\/p\u003e\u003cp\u003eOriginal period documents.\u003c\/p\u003e","brand":"Whitechapel Art Gallery","offers":[{"title":"Default Title","offer_id":53042018812242,"sku":"TNR-2026-0008","price":150.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Andre_Carl._Artist_postcard_and_handout_Sculpture_1954_1978_Whitechapel_Art_Gallery._1978.jpg?v=1784215916"},{"product_id":"antonin-artaud-dessins-centre-georges-pompidou-paris-1987","title":"ANTONIN ARTAUD — Dessins, Centre Georges Pompidou, Paris, 1987","description":"\u003cp\u003eCentre Georges Pompidou, Musée national d'art moderne, Paris. 30 June – 11 October 1987.\u003c\/p\u003e\u003cp\u003eRecto reproduces Artaud's \u003cem\u003ePortrait de Jany de Ruy\u003c\/em\u003e, 2 July 1947 — graphite and greasy coloured chalk on paper, made at the maison de santé du Dr Delmas, Ivry. Signed and dated by Artaud at lower centre. The work is held by the Musée national d'art moderne \/ Centre Pompidou.\u003c\/p\u003e\u003cp\u003eThe 1987 exhibition gathered Artaud's graphic work at the Salle d'Art Graphique, 4th floor: early \u003cem\u003eSorts\u003c\/em\u003e of 1939, calligraphed and burned letters, later drawings from 1948, notebooks, correspondence. More than sixty drawings, many leaving private collections for the first time.\u003c\/p\u003e\u003cp\u003eThis card is not the catalogue. It is the access object — the institutional surface through which Artaud's drawings entered the museum: name, date, room, press hour, invitation status, reproduced wound.\u003c\/p\u003e\u003cp\u003eNot a reproduction in the ordinary sense. Not a later document. A surviving exhibition support from the opening structure itself, held outside the institutional archive.\u003c\/p\u003e\u003cp\u003eThe catalogue remains traceable. The invitation does not circulate in the same way. Its function was temporary: admit, announce, disappear. Here it survives as a small Pompidou object, carrying Artaud's late graphic violence in reduced administrative form.\u003c\/p\u003e\u003cp\u003eA borderline artwork-object: Artaud's drawing translated into museum card, the museum card returned to circulation as image, document, and support.\u003c\/p\u003e","brand":"Centre Georges Pompidou","offers":[{"title":"Default Title","offer_id":53042897092946,"sku":"TNR-2026-0009","price":50.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Artaud_Antonin._Show_invite_Pompidou._1987.jpg?v=1779944538"},{"product_id":"downtown-81-friends-of-basquiat-held-at-agnes-b","title":"JEAN-MICHEL BASQUIAT — Downtown 81: Friends of Basquiat, Agnès B. Skyline, Paris, 2006","description":"\u003cp\u003eAgnès B. Skyline, 19 rue des Frigos, Paris. Festival d'Automne à Paris. 21 October – 21 November 2006.\u003c\/p\u003e\u003cp\u003eRecto reproduces a celebrated still from \u003cem\u003eDowntown 81\u003c\/em\u003e — the posthumously completed film starring Basquiat, directed by Edo Bertoglio and produced by Maripol. Shot on the Lower East Side, Basquiat stands before graffiti-covered walls bearing the phrase \u003cem\u003eLike an Ignorant\u003c\/em\u003e: a raw, street-level image that encapsulates the urban visual language at the heart of his practice.\u003c\/p\u003e\u003cp\u003eVerso adopts a bold graphic identity: distressed stencil-style numerals, high-contrast red and black typography, Downtown 81 \/ F.O.B. (Friends of Basquiat) branding. Opening concert by No Wave icon James Chance.\u003c\/p\u003e\u003cp\u003eThe involvement of Agnès B. — a long-standing champion of Basquiat and the downtown New York scene — grounds the piece within the fashion-art crossover that defined his cultural reach. A rare artifact connecting Basquiat's early 1980s world to its 21st-century institutional recognition.\u003c\/p\u003e\u003cp\u003eOriginal period item.\u003c\/p\u003e","brand":"Agnès B. Skyline","offers":[{"title":"Default Title","offer_id":53043152814418,"sku":"TNR-2026-0010","price":70.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Basquiat_Downtown_81_01.jpg?v=1774625735"},{"product_id":"hans-bellmer-67-photographies-inedites-galerie-francois-petit-1983-84","title":"HANS BELLMER — 67 photographies inédites, Galerie François Petit, Paris, 1983–84","description":"\u003cp\u003eGalerie François Petit, 196 boulevard Saint-Germain, Paris, 1983–84. French text.\u003c\/p\u003e\u003cp\u003eIssued for \u003cem\u003eHans Bellmer — 67 photographies inédites\u003c\/em\u003e, 20 December 1983 – 25 February 1984. The recto carries a black-and-white photographic image: face, hand, obstruction, gaze. The verso reduces the exhibition to script, dates, address, and gallery placement.\u003c\/p\u003e\u003cp\u003eBellmer’s work moved through Surrealism by way of the constructed body, the doll, the erotic fragment, and the image as psychological apparatus. By the early 1980s, his photographic practice was being re-entered into circulation through exhibitions, catalogues, and specialist gallery contexts in Paris. This card belongs to that moment of re-entry.\u003c\/p\u003e\u003cp\u003eLess commonly encountered than the related exhibition catalogue, the invitation survives as a lighter administrative fragment from the same exhibition structure. Produced for short-term circulation, examples appear infrequently on the secondary market. As object, it sits between announcement and retained support — made to pass briefly through the gallery system and disappear. Its survival gives it a second condition: invitation, document, and secondary photographic object.\u003c\/p\u003e\u003cp\u003eOriginal period item.\u003c\/p\u003e","brand":"Galerie François Petit","offers":[{"title":"Default Title","offer_id":53053706830162,"sku":"TNR-2026-0012","price":100.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Bellmer_Hans._Show_invite_67_photographies_inedites_._1983.jpg?v=1779946086"},{"product_id":"isa-genzken-verlag-silke-schreiber-1988","title":"ISA GENZKEN — Verlag Silke Schreiber, Munich, 1988","description":"\u003cp\u003eGerman and English.\u003c\/p\u003e\u003cp\u003ePublished to accompany a touring exhibition across venues in Bonn, Winterthur, and Rotterdam. Text by Klaus Honnef.\u003c\/p\u003e\u003cp\u003eA substantial early monograph on Isa Genzken surveying her sculpture and installation work from the late 1970s through the mid-1980s — the period in which she developed her signature formal language: elongated concrete and epoxy forms, architectural references, and a rigorous engagement with space, material, and scale.\u003c\/p\u003e\u003cp\u003eHonnef’s critical essay situates Genzken’s practice in relation to architectural modernism, drawing connections to El Lissitzky, Mart Stam, and the ABC group. The illustrations document key works including \u003cem\u003eRheinbrücke\u003c\/em\u003e (1983), \u003cem\u003eWeltempfänger\u003c\/em\u003e (1982), and the Kölnischer Kunstverein installation (1982), alongside earlier concrete sculptures photographed in situ.\u003c\/p\u003e\u003cp\u003eThe cover reproduces a photograph of a glass door reflecting one of Genzken’s sculptures. The pale green cloth spine is characteristic of Verlag Silke Schreiber’s production values of the period. An important and now scarce document of Genzken’s early career, published before her international profile was fully established.\u003c\/p\u003e\u003cp\u003eOriginal period publication.\u003c\/p\u003e","brand":"Verlag Silke Schreiber","offers":[{"title":"Default Title","offer_id":53053728653650,"sku":"TNR-2026-0013","price":125.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/IsaGenzken1988001.jpg?v=1774843163"},{"product_id":"christian-jankowski-the-holy-artwork-2002","title":"CHRISTIAN JANKOWSKI — The Holy Artwork, Revolver \/ Künstlerhaus Bethanien, 2002","description":"\u003cp\u003eEnglish.\u003c\/p\u003e\u003cp\u003eA compact publication centred on Jankowski’s \u003cem\u003eThe Holy Artwork\u003c\/em\u003e (2001), a video work filmed at Harvest Fellowship Church in San Antonio, Texas, in collaboration with Pastor Peter Spencer. In the video, Jankowski collapses at the pastor’s podium; Spencer interprets the action for the congregation and television audience as a form of holy art — merging sermon, performance, and broadcast into a single gesture.\u003c\/p\u003e\u003cp\u003eWhat makes the book especially strong is the way it preserves that transfer between institutions. Rather than simply documenting a video, it reorganises the project as a portable sequence of stills, text, sermon fragments, and mediated images — moving between televangelism, performance, video art, and printed matter. This is very much in keeping with Jankowski’s broader practice of outsourcing authorship and rerouting art through existing public formats.\u003c\/p\u003e\u003cp\u003eA sharp early-2000s title where the artist’s book functions less as support material than as a secondary site for the work itself.\u003c\/p\u003e","brand":"Revolver","offers":[{"title":"Default Title","offer_id":53053791371602,"sku":"TNR-2026-0014","price":60.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/ChristianJankowski01.jpg?v=1774846143"},{"product_id":"sarkis-reserves-sans-retour-capc-bordeaux-invitation-card-1980","title":"SARKIS — Réserves sans retour, CAPC Bordeaux, 1980","description":"\u003cp\u003e\u003cstrong\u003e£40 — shipping and handling included\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eA period invitation card for \u003cstrong\u003eSarkis's \u003cem\u003eRéserves sans retour\u003c\/em\u003e\u003c\/strong\u003e, issued in relation to the CAPC-organised exhibition at the \u003cstrong\u003eBase sous-marine, Bordeaux\u003c\/strong\u003e in 1980. More than an announcement, the card functions as a small operational document: part invitation, part directional device, part residue of an exhibition staged inside a former German wartime structure not yet fully absorbed into the language of culture.\u003c\/p\u003e\u003cp\u003eDeep red recto with the title set in black script: \u003cstrong\u003eSarkis \"réserves sans retour.\"\u003c\/strong\u003e The verso is given over to information and cartography: \u003cstrong\u003ecapc \/ Entrée n°7 \/ Hangar \/ quai de Bacalan \/ Tél. (56) 44.16.35 \/ Centre d'Arts Contemporains de Bordeaux\u003c\/strong\u003e, alongside a printed street map locating the \u003cstrong\u003eBase sous-marine\u003c\/strong\u003e in relation to CAPC and the city. That map is one of the more compelling features here. It situates the exhibition not simply in a venue, but within an urban and historical field. The card does not just announce a show; it diagrams access to it.\u003c\/p\u003e\u003cp\u003eThe exhibition belongs to an important moment in Sarkis's trajectory, when questions of memory, displacement, architecture, and historical charge became inseparable from the work itself. It also belongs to an early phase in the cultural reuse of the Bordeaux submarine base, before such conversions became a familiar curatorial model. In that sense, this piece registers a shift: from military infrastructure to exhibition site, from logistics to art.\u003c\/p\u003e\u003cp\u003eA spare and unusually intelligent piece of French art ephemera, with strong graphic presence and a quietly conceptual use of printed navigation. Scarce.\u003c\/p\u003e","brand":"CAPC Bordeaux","offers":[{"title":"Default Title","offer_id":53073498734930,"sku":"TNR-2026-0015","price":60.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Sarkis_0001_7a9e9a5e-59f7-4fed-8e2b-271d7dae5248.jpg?v=1774990937"},{"product_id":"sarkis-ma-chambre-de-la-rue-krutenau-ile-san-lazzaro-venice-1990","title":"SARKIS — Ma Chambre de la Rue Krutenau à l’Île San Lazzaro, Venice, 1990","description":"\u003cp\u003eA period invitation card for Sarkis's installation \u003cstrong\u003e\u003cem\u003eMa Chambre de la Rue Krutenau à l'Île San Lazzaro\u003c\/em\u003e\u003c\/strong\u003e, presented jointly by \u003cstrong\u003eLes Musées de la Ville de Strasbourg\u003c\/strong\u003e and \u003cstrong\u003eLe Centre National d'Art Contemporain de Grenoble, Magasin\u003c\/strong\u003e, with the collaboration of the A.F.A.A. and the Ministère des Affaires Étrangères, Paris. The exhibition was staged at the \u003cstrong\u003eCouvent des Pères Méchitaristes, Île San Lazzaro degli Armeni, Venice\u003c\/strong\u003e, opening 23 May 1990 and running through 30 September.\u003c\/p\u003e\n\u003cp\u003eThe recto reproduces a photograph of the neon installation — a luminous, biomorphic form suspended against deep black, its teal glow pooling outward. The verso carries the full institutional text in French, including vaporetto departure times from Riva Schiavoni. That logistical detail is characteristic of the work's situation: an installation accessible only by water, on an Armenian monastery island, organised through a relay of French cultural institutions. The card is itself a document of that improbable geography.\u003c\/p\u003e\n\u003cp\u003eThe work belongs to a sustained period in Sarkis's practice in which memory, displacement, and the charged specificity of place — particularly sites carrying religious, historical, or linguistic weight — became structural to the installation itself. San Lazzaro, home to the Méchitarist congregation and one of the oldest Armenian cultural centres in Europe, was not incidental to the work. It was the work's condition.\u003c\/p\u003e\n\u003cp\u003eScarce.\u003c\/p\u003e","brand":"Musées de la Ville de Strasbourg","offers":[{"title":"Default Title","offer_id":53073595728210,"sku":"TNR-2026-0016","price":60.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/SakrisGrenoble_0001.jpg?v=1774990355"},{"product_id":"annie-gramain-galerie-baudoin-lebon-paris-1979-exhibition-invitation","title":"ANNIE GRAMAIN — Galerie Baudoin Lebon, Paris, 1979","description":"\u003cp\u003eGalerie Baudoin Lebon, 36 rue des Archives, 75004 Paris. 7 March – 14 April 1979. Vernissage Wednesday 7 March 1979.\u003c\/p\u003e\u003cp\u003eThe card does very little, which is part of its interest. On the front, “annie gramain” is repeated in descending diagonal lines until the name stops functioning as signature and begins to operate as form. Language becomes layout. Identity is handled as a typographic unit. On the reverse, the exhibition information runs in a single justified line at the lower edge — as if the administrative fact of the show had been reduced to a footer.\u003c\/p\u003e\u003cp\u003eName as image. Invitation as structure. Authorship as graphic repetition. The gallery, founded in 1976 at 36 rue des Archives in the Marais, developed a programme noted for its range across media and its attention to emerging conceptual practices. This card is a small but precise document of that context — late-1970s Paris, when the invitation was still a site where the work could continue.\u003c\/p\u003e\u003cp\u003eMore document than promotion. 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The title corresponds to \u003cem\u003eThe Depot \/ Le Dépôt\u003c\/em\u003e, catalogued by the artist as \u003cem\u003eKulchur Pieces 4\u003c\/em\u003e, 1979 — a large-scale installation in which several tree trunks, sawed into 5-cm-thick planks and painted with photographic opaque, were stacked horizontally on wooden spacers as they would be at a sawmill, so that the outer form of each trunk remained recognisable.\u003c\/p\u003e\u003cp\u003eThe card’s colour is not incidental. The dark burgundy-brown ground matches the photographic opaque applied to the wood — the same material used to suppress the surface of the trunks in the installation. The invitation does not illustrate the work; it shares its pigment. On the recto, white type carries only the artist’s name and the work title. On the verso, the exhibition information runs at the lower edge — opening time, address, telephone, dates — reduced to administrative fact.\u003c\/p\u003e\u003cp\u003eThe word “Kulchur” retains Pound’s damaged spelling, recast by Gerz as something stored, processed, and possibly neutralised. Culture as deposit. Exhibition as filing. Art as a proposition lodged inside its own support system. The invitation extends the work’s logic without explaining it.\u003c\/p\u003e\u003cp\u003eScarce. Galerie Baudoin Lebon ephemera from this period is seldom encountered.\u003c\/p\u003e\u003cp\u003eOriginal period item.\u003c\/p\u003e","brand":"Galerie Baudoin Lebon","offers":[{"title":"Default Title","offer_id":53073790304594,"sku":"TNR-2026-0019","price":75.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/JochenGerz_0001.jpg?v=1774996315"},{"product_id":"dessins-allemands-invitation-card-galerie-bama-paris-1975","title":"DESSINS ALLEMANDS — Invitation Card, Galerie Bama, Paris, 1975","description":"\u003cp\u003eIssued for \u003cem\u003eDessins Allemands\u003c\/em\u003e, Galerie Bama, Paris, 19 September – 30 October 1975. Featuring Joseph Beuys, Buthe, Gosewitz, Hödicke, Horn, Polke, Rühm, Ruthenbeck, Schmit, Van Biel, and Voss.\u003c\/p\u003e\u003cp\u003eWhat sharpens this example is the handwritten verso, addressed to G. J. de Rook, Utrecht, Pays-Bas — linking the card to the Dutch experimental poetry and mail-art milieu around the Utrecht-based visual poet and publisher. Prepared for circulation but never sent, the card remains caught between private address and public announcement, turning a functional invitation into a compact object of intention, delay, and historical residue.\u003c\/p\u003e\u003cp\u003eIt operates both as a surviving fragment from the distribution structure of the exhibition and as a small self-contained work in its own right — a printed artifact in which typography, naming, handling, and withheld movement become the form.\u003c\/p\u003e\u003cp\u003eOriginal period item.\u003c\/p\u003e","brand":"Galerie Bama","offers":[{"title":"Default Title","offer_id":53157185519954,"sku":"TNR-2026-0020","price":125.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/GallerieBamaDessinsAllemands_0001.jpg?v=1775684634"},{"product_id":"gianni-piacentino-stampe-galleria-plura-milan-1980","title":"GIANNI PIACENTINO — Stampe, Galleria Plura, Milan, 1980","description":"\u003cp\u003eGalleria Plura, Milan, 1980. Original mailed exhibition postcard, 15 × 11.25 cm. Applied photographic image to recto; postmarked and stamped, handwritten address to verso.\u003c\/p\u003e\u003cp\u003eIssued for \u003cem\u003eStampe\u003c\/em\u003e, Galleria Plura, Milan, from Thursday 16 April 1980. The recto carries a reproduction of Piacentino’s sleek engineered forms, mounted into the card rather than simply printed as image-field, giving the piece a quieter, constructed presence. Addressed on verso to Galerie de Varenne, 61 rue de Varenne, F-75007 Paris — the Paris gallery associated with publisher and dealer Jacques Damase, known for exhibitions and publications around figures including Sonia Delaunay.\u003c\/p\u003e\u003cp\u003eA modest but unusually complete piece of gallery ephemera: part announcement, part mailed object, part distribution trace. Stamped in Milan and sent onward to Paris, it reads less as documentation than as a small exhibition object in its own right — image, address, postal handling, and gallery-to-gallery transmission held together in one surface.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good. Light surface wear, soft corner wear, minor creasing and age toning consistent with handling and postal use. Original period item.\u003c\/p\u003e","brand":"Galleria Plura","offers":[{"title":"Default Title","offer_id":53157534302546,"sku":"TNR-2026-0021","price":100.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Gianni_Placentino_0001.jpg?v=1775687965"},{"product_id":"gregor-schneider-die-familie-schneider-konrad-fischer-galerie-berlin-2014","title":"GREGOR SCHNEIDER — Die Familie Schneider, Konrad Fischer Galerie, Berlin, 2014","description":"\u003cp\u003eIssued for Gregor Schneider’s solo show \u003cem\u003eDie Familie Schneider\u003c\/em\u003e, Konrad Fischer Galerie, Berlin, 14 November 2014 – 10 January 2015. Opening: Friday 14 November 2014, 18–21 Uhr.\u003c\/p\u003e\u003cp\u003eThe front is almost disarmingly soft — decorative wallpaper, the title set in script — but that domestic surface is exactly where Schneider’s work tends to become unstable. \u003cem\u003eDie Familie Schneider\u003c\/em\u003e belongs to the artist’s longer investigation of duplicated rooms, family structures, enclosure, and the psychological charge of ordinary interiors. Schneider’s earlier project of the same title turned two near-identical houses in London into a deeply disorienting encounter, making the family home feel doubled, staged, and faintly threatening.\u003c\/p\u003e\u003cp\u003eThe card compresses one of Schneider’s key moves into a small printed object: the home as façade, pattern as cover, decoration as unease. A modest Konrad Fischer announcement that carries the full emotional temperature of the work.\u003c\/p\u003e\u003cp\u003eOriginal period item.\u003c\/p\u003e","brand":"Konrad Fischer Galerie","offers":[{"title":"Default Title","offer_id":53157606588754,"sku":"TNR-2026-0023","price":125.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Gregor_Schneider_0001.jpg?v=1775689478"},{"product_id":"maciunas-learning-machines-vice-versa-verlag-berlin-2003","title":"MACIUNAS’ LEARNING MACHINES — Vice Versa Verlag \/ Silverman Fluxus Collection, Berlin, c. 2003","description":"\u003cp\u003eCover image to recto; publisher details and ISBN (3-932809-39-4) to verso.\u003c\/p\u003e\u003cp\u003eAnnouncement card for \u003cem\u003eMaciunas’ Learning Machines: From Art History to a Chronology of Fluxus\u003c\/em\u003e, edited by Astrit Schmidt-Burkhardt. The front reproduces the book cover, with Maciunas’ charts and diagrams staged as both image and argument — which is the point of the publication itself. Schmidt-Burkhardt’s study focuses on George Maciunas’s diagrams, maps, and chronologies of art, politics, and culture, tracing how his systems of visual organisation fed directly into Fluxus thinking.\u003c\/p\u003e\u003cp\u003eThe card works as a small administrative object from the afterlife of Fluxus: not an artwork by Maciunas, but a compact carrier of the logic around him — charts, networks, distribution, printed support, the traffic between archive and publication. It is also exactly the kind of object Fluxus leaves behind so well: modest, informational, and unexpectedly complete.\u003c\/p\u003e\u003cp\u003eOriginal period item.\u003c\/p\u003e","brand":"Vice Versa Verlag","offers":[{"title":"Default Title","offer_id":53157666816338,"sku":"TNR-2026-0024","price":35.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/George_Maciunas_0001.jpg?v=1775690110"},{"product_id":"man-ray-kunsthalle-basel-1980","title":"MAN RAY — Kunsthalle Basel, 1980","description":"\u003cp\u003eKunsthalle Basel, Steinenberg 7, 1980.\u003c\/p\u003e\u003cp\u003eIssued for Man Ray at Kunsthalle Basel, opening Saturday 19 January 1980, 18 Uhr, running through 24 February 1980. Recto reproduces \u003cem\u003eViolon d’Ingres\u003c\/em\u003e (1924); verso carries full exhibition, catalogue, and film-screening details.\u003c\/p\u003e\u003cp\u003eThe front reproduces one of Man Ray’s most recognisable images — the nude back with f-holes drawn in, the body as instrument. The reverse is where the card becomes especially useful: opening details, a 210-page catalogue (162 black-and-white illustrations, 15 colour plates) with texts by R. Penrose, G. Metken, Man Ray, G. Bussmann, J.-Ch. Ammann, and H. Molderings, and a film programme including \u003cem\u003eRetour à la raison\u003c\/em\u003e (1923), \u003cem\u003eEmak Bakia\u003c\/em\u003e (1926), \u003cem\u003eL’Étoile de mer\u003c\/em\u003e (1927), and \u003cem\u003eMystère du château du dé\u003c\/em\u003e (1928).\u003c\/p\u003e\u003cp\u003ePart of the wider 1978–1980 touring exhibition \u003cem\u003eMan Ray: Inventionen und Interpretationen\u003c\/em\u003e. The card reads not just as an invitation but as a compact institutional script for how Man Ray was being framed in German-speaking Europe at the start of the 1980s — the familiar Surrealist image on one side, the machinery of exhibition-making on the other.\u003c\/p\u003e\u003cp\u003eOriginal period item.\u003c\/p\u003e","brand":"Kunsthalle Basel","offers":[{"title":"Default Title","offer_id":53157707907410,"sku":"TNR-2026-0025","price":60.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Man_Ray_1980_0001.jpg?v=1775690555"},{"product_id":"charles-ross-point-source-star-space-john-weber-susan-caldwell-new-york-1977","title":"CHARLES ROSS — Point Source \/ Star Space, John Weber Gallery \u0026 Susan Caldwell Gallery, New York, 1977","description":"\u003cp\u003eJohn Weber Gallery (420 West Broadway) and Susan Caldwell Gallery (383 West Broadway), New York, 1977. Original mailed exhibition postcard, 15.25 × 10.25 cm. Addressed to Hermann Kern, Kunstraum München, Nikolaistraße 15, Munich. New York meter mark dated 17 March 1977.\u003c\/p\u003e\u003cp\u003eIssued for Charles Ross’s two-gallery presentation \u003cem\u003ePoint Source \/ Star Space\u003c\/em\u003e, 23 March – 16 April 1977. Opening reception: Thursday 24 March, 6–9 pm.\u003c\/p\u003e\u003cp\u003eThe recto does the work in one sharp graphic gesture: star field, yellow diagonal band, a central point-source, and the paired gallery credits below. The reverse keeps the object inside the distribution system that produced it — typed label, New York meter mark, and delivery to Kunstraum München. Hermann Kern was a key figure at Kunstraum München from the early 1970s and later became director of Haus der Kunst.\u003c\/p\u003e\u003cp\u003eSeen now, it reads as more than an invitation. It is also a small record of how conceptual and post-minimal work circulated: gallery to kunstverein, New York to Munich, announcement as network document. The addressed verso gives the card an added charge, placing Ross’s cosmological abstractions back inside the practical infrastructure of the art world.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good. Light age toning, minor surface wear, soft handling marks, and slight creasing consistent with mailing and storage. Original period item.\u003c\/p\u003e","brand":"John Weber Gallery","offers":[{"title":"Default Title","offer_id":53157747163474,"sku":"TNR-2026-0026","price":125.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Charles_Ross_0001.jpg?v=1775691094"},{"product_id":"alison-knowles-culture-des-haricots-galerie-art-contemporain-j-et-j-donguy-paris-1985","title":"ALISON KNOWLES — Culture des Haricots, Galerie Art Contemporain J. et J. Donguy, Paris, 1985","description":"\u003cp\u003eGalerie Art Contemporain J. et J. Donguy, 57 rue de la Roquette, Paris, 1985.\u003c\/p\u003e\u003cp\u003eIssued for \u003cem\u003eCulture des Haricots\u003c\/em\u003e by Alison Knowles, vernissage 4 June 1985, exhibition 5–29 June 1985.\u003c\/p\u003e\u003cp\u003eThe front holds the full proposition: collaged graphic field, printed and handwritten-style text elements, exhibition details. The reverse is left empty. The object stays with its front.\u003c\/p\u003e\u003cp\u003eKnowles is a central figure in Fluxus, and the card sits clearly within that history — an announcement that functions as both document and graphic work.\u003c\/p\u003e\u003cp\u003eOriginal period item.\u003c\/p\u003e","brand":"Galerie Art Contemporain J. et J. Donguy","offers":[{"title":"Default Title","offer_id":53170689311058,"sku":"TNR-2026-0027","price":120.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/AlisonKnowles1985_0001.jpg?v=1775778679"},{"product_id":"giovanni-anselmo-musee-dart-contemporain-lyon-1989","title":"GIOVANNI ANSELMO — Musée d’Art Contemporain, Lyon, 1989","description":"\u003cp\u003eIssued for Giovanni Anselmo at the Musée d’Art Contemporain, Lyon, 12 October – 19 November 1989. The recto carries a colour installation view — two works in a white-walled space: a leaning triangular stone form and a granite block with a small bunch of leaves tucked into its surface, both cast in strong diagonal light. The verso holds the full institutional apparatus: exhibition details, an extended interview with the artist conducted by Walter Guadagnini, reference images, and a footnote on Joseph Kosuth.\u003c\/p\u003e\u003cp\u003eProduced at the scale of a small poster rather than a standard invitation card. A printed exhibition record in which image, curatorial framing, and institutional information are carried on the same support. Anselmo’s position within Arte Povera gives the sheet added historical density without requiring it to exceed its administrative function.\u003c\/p\u003e\u003cp\u003eOriginal period item.\u003c\/p\u003e","brand":"Musée d’Art Contemporain de Lyon","offers":[{"title":"Default Title","offer_id":53170757402962,"sku":"TNR-2026-0029","price":65.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Giovanni_Anselmo_1989__0001.jpg?v=1775780266"},{"product_id":"aubertin-bischoffshausen-prantl-schoonhoven-galerie-heide-hildebrand-klagenfurt-1967","title":"AUBERTIN \/ BISCHOFFSHAUSEN \/ PRANTL \/ SCHOONHOVEN — Galerie Heide Hildebrand, Klagenfurt, 1967","description":"\u003cp\u003eFolded exhibition announcement for a four-artist exhibition at Galerie Heide Hildebrand, Klagenfurt, 4–30 September 1967. Vernissage: Saturday 2 September, 20:00.\u003c\/p\u003e\u003cp\u003eArtist names printed across the outer faces — Bernard Aubertin, Hans Bischoffshausen, Karl Prantl, J. J. Schoonhoven — with a brown-mauve accent to the letter “n” in each surname. Gallery details reduced to a single line at the lower edge.\u003c\/p\u003e\u003cp\u003eA restrained late-1960s gallery document operating through typography, orientation, and distribution. The grouping places the piece in proximity to the wider ZERO \/ Nul field without overstating the exhibition as such. An invitation, but also a small record of alignment.\u003c\/p\u003e\u003cp\u003eVariant: folded printed version. Other states or accompanying formats may have been issued.\u003c\/p\u003e","brand":"Galerie Heide Hildebrand","offers":[{"title":"Default Title","offer_id":53170872549714,"sku":"TNR-2026-0030","price":75.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Galerie_Heide_Hildebrand_1967_0001.jpg?v=1775780776"},{"product_id":"danh-vo-homosapiens-marian-goodman-gallery-london-2015","title":"DANH VŌ — Homosapiens, Marian Goodman Gallery, London, 2015","description":"\u003cp\u003eExhibition invitation card for \u003cem\u003eHomosapiens\u003c\/em\u003e at Marian Goodman Gallery, 5–8 Lower John Street, London W1F 9DY, 15 January–21 February 2015. Reception: Thursday 15 January, 6–8 pm.\u003c\/p\u003e\u003cp\u003eThe recto carries exhibition and venue details in restrained serif typography on cream stock. The verso prints a world migration map titled HOMO SAPIENS — routes of human dispersal annotated with dates in thousands of years, origin marked in sub-Saharan Africa. Administrative on one side, geopolitical on the other.\u003c\/p\u003e\u003cp\u003eA compact exhibition document in which invitation, image, and thesis are held in a single card.\u003c\/p\u003e","brand":"Marian Goodman Gallery","offers":[{"title":"Default Title","offer_id":53170893390162,"sku":"TNR-2026-0031","price":65.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Dahn_Vo_2015_0001.jpg?v=1775779561"},{"product_id":"richard-prince-de-kooning-gagosian-gallery-paris-2011","title":"RICHARD PRINCE — de Kooning, Gagosian Gallery, Paris, 2011","description":"\u003cp\u003eFolded exhibition invitation for Richard Prince’s \u003cem\u003ede Kooning\u003c\/em\u003e exhibition at Gagosian Gallery, Paris, held 30 March–21 May 2011. Opening reception: Tuesday 29 March, 5–8 pm.\u003c\/p\u003e\u003cp\u003eOversized card, printed in colour on card stock and folded once, with a full image spread across the interior and exhibition details set on a vertical white panel. Dimensions: 21 × 25.5 cm folded; 25.5 × 37 cm unfolded.\u003c\/p\u003e\u003cp\u003eThe front presents a cropped reproduction from Prince’s de Kooning series against a warm peach ground, already staging the collision the works depend on: quotation, distortion, repainting, and the unstable return of a canonical image through another artist’s hand. Opened out, the card expands into a near full-bleed detail, intensifying the abrasive facture and unstable figuration associated with the series. The reverse is nearly blank, carrying only the work caption in small type: \u003cem\u003eUntitled (de Kooning)\u003c\/em\u003e, 2009, inkjet and acrylic on canvas.\u003c\/p\u003e\u003cp\u003eWhat circulates here is not only an announcement but a compressed statement of method. Prince’s de Kooning paintings rework Willem de Kooning’s already volatile women into a second-order image economy of reproduction, collage, and repainting. In invitation form, that logic becomes especially clear: the card itself operates through cropping, folding, enlargement, and redistribution. A work about appropriation is encountered through another act of appropriation.\u003c\/p\u003e\u003cp\u003eCondition: light handling wear and minor corner and edge rubbing consistent with age and storage; structurally sound and clean overall.\u003c\/p\u003e","brand":"Gagosian Gallery","offers":[{"title":"Default Title","offer_id":53185586790738,"sku":"TNR-2026-0032","price":125.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Richard_Prince_2011_0001.jpg?v=1776061946"},{"product_id":"heated-words-initial-research-house-of-vans-london-2015","title":"HEATED WORDS: INITIAL RESEARCH — House of Vans, London, 2015","description":"\u003cp\u003eA printed exhibition object issued for \u003cem\u003eHeated Words: Initial Research\u003c\/em\u003e, House of Vans, London, 2015. Folded to pamphlet scale and opening to a larger poster format, the piece documents a project centred on the circulation of an anonymous transfer-letter style moving through late 1970s and 1980s New York street culture, early hip-hop, punk, custom clothing, and graphic vernacular.\u003c\/p\u003e\u003cp\u003eThe recto consists of a single full-image panel: a black-and-white street photograph overprinted in red with title, dates, and contributor list. The verso opens into four panels combining typographic enlargement, a diagrammatic mapping of names and scenes, programme information, and a text by Gary Warnett. It functions less as neutral exhibition support than as a compact research surface.\u003c\/p\u003e\u003cp\u003eA vernacular form with no fixed author passes into exhibition research; exhibition research passes into print; print remains as the retained object. What is offered is not the source material itself, but its organised afterlife: a folded record of circulation, selection, and display.\u003c\/p\u003e","brand":"House of Vans","offers":[{"title":"Default Title","offer_id":53186553905490,"sku":"TNR-2026-0033","price":85.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Heated_Words_0001.jpg?v=1776078996"},{"product_id":"leopoldo-maler-mortal-issues-whitechapel-1976","title":"LEOPOLDO MALER — Mortal Issues: A Sanctuary with Flames \u0026 Figures, Whitechapel Art Gallery, London, 1976","description":"\u003cp\u003eIssued for Maler’s exhibition at Whitechapel Art Gallery, 26 February–4 April 1976, this booklet no longer reads only as exhibition support material. It remains as a compressed exhibition form: image, statement, bibliography, notes, documentation. A show reduced to pages. A public event retained as a portable object.\u003c\/p\u003e\u003cp\u003eThis copy bears the stamp: \u003cem\u003eValerie Beston Library \/ Gift of the Estate of John Edwards\u003c\/em\u003e. That mark shifts the publication away from simple reference and toward association copy, custody trace, and art-world remainder. Not only a document of Maler’s Whitechapel exhibition, but a document of its later passage through another system of storage, attention, and inheritance.\u003c\/p\u003e\u003cp\u003eThe publication is not presented here as neutral catalogue matter, but as a minor object of retention: part guide, part dossier, part residue. The typewritten pages, bibliography, and black-and-white performance documentation do not stabilize the work so much as leave it in circulation under another form.\u003c\/p\u003e\u003cp\u003eMaler’s work in the years leading up to this exhibition moved between performance, choreography, film, installation, text, and image. That instability is registered here. The booklet does not summarize the practice cleanly; it preserves its dispersion.\u003c\/p\u003e","brand":"Whitechapel Art Gallery","offers":[{"title":"Default Title","offer_id":53190004703570,"sku":"TNR-2026-0034","price":150.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Leopold_Maler_1976_0001.jpg?v=1776119335"},{"product_id":"arnulf-rainer-linguaggio-del-corpo-biennale-1978","title":"ARNULF RAINER — Linguaggio del corpo, Biennale di Venezia, 1978","description":"\u003cp\u003eIssued for Arnulf Rainer’s contribution to the Austrian presentation at the 1978 Venice Biennale, this pamphlet condenses a body of work into a small printed support: self-representations, altered photographic images, body positions, ecstasies, entanglements, death masks. A national-pavilion handout, but also a reduced form of the work’s own logic.\u003c\/p\u003e\u003cp\u003eThe interior reproduces a sequence of Rainer’s 1970s photo-based works under Italian headings, while the reverse carries \u003cem\u003eAutorappresentazioni\u003c\/em\u003e, a compact first-person text on self-image, falsification, psychic intensification, and the instability of identity. The publication does not merely explain the work. It repeats its method in print: selection, reduction, distortion, and remainder.\u003c\/p\u003e\u003cp\u003eThe object holds a double condition: both support material and residue — a Biennale pamphlet that survives as a minor document of placement, translation, and national framing. The imposed horizontal fold across the sheet — evidently made after issue, against its intended flat format — interrupts the object’s original state but also gives it a second physical history. Not damage alone, but a further inscription of passage.\u003c\/p\u003e","brand":"Biennale di Venezia","offers":[{"title":"Default Title","offer_id":53190153797970,"sku":"TNR-2026-0035","price":85.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Arnulf_Rainer_1978_0001_9733b6a4-0894-4b99-8ab1-67a3df5e6803.jpg?v=1776125694"},{"product_id":"charles-simonds-the-three-trees-1985","title":"CHARLES SIMONDS — The Three Trees, Architekturmuseum Basel, 1985","description":"\u003cp\u003eIssued for Charles Simonds’s \u003cem\u003eThe Three Trees\u003c\/em\u003e at the Architekturmuseum in Basel, 1985. The card now reads less as invitation than as displaced support material: an exhibition notice that completed its first function and remained behind as object.\u003c\/p\u003e\u003cp\u003eThe addressed reverse matters. Sent to Connaissance des Arts in Paris, it carries a small but precise social geography — museum, postal system, editorial office, archive. A work about passage as much as announcement.\u003c\/p\u003e\u003cp\u003eThe front is equally exact. A modernist building and a stand of trees are placed side by side with almost schematic clarity, as though the exhibition were being reduced to two transferable images: structure and growth, façade and obstruction, institution and outside. The card behaves like a compact exhibition model — not the exhibition itself, but one of its delegated surfaces. A mailed card with the right kind of double status: image-object and administrative residue.\u003c\/p\u003e\u003cp\u003eOriginal period item.\u003c\/p\u003e","brand":"Architekturmuseum Basel","offers":[{"title":"Default Title","offer_id":53227350884690,"sku":"TNR-2026-0036","price":100.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Charles_Simonds_0001.jpg?v=1776420618"},{"product_id":"katharina-sieverding-portuguese-language-artist-card-c-1973","title":"KATHARINA SIEVERDING — Portuguese-Language Artist Card, Fotolinguagem, MAM Rio \/ MAM São Paulo, c. 1973","description":"\u003cp\u003eLikely issued in connection with \u003cem\u003eFotolinguagem\u003c\/em\u003e, organised by Iole de Freitas and shown at MAM Rio and MAM São Paulo, 1973 — an early international point in Katharina Sieverding’s career.\u003c\/p\u003e\u003cp\u003eNeither a standard invitation nor a later museum survey card, it operates more narrowly: image, biography, exhibition history, circulation. 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Recto printed, verso blank.\u003c\/p\u003e\u003cp\u003eIssued for a joint presentation by Joël Hubaut and Michel Sohier at Galerie Galea, Caen, 14 November – 4 December; vernissage Monday 14 November.\u003c\/p\u003e\u003cp\u003eA printed support in which the exhibition appears in reduced form: two names, one venue, a set of dates, and the phrase Epidemik-Box. The card operates somewhere between notice, label, and distribution point. Typography is boxed, information staged without excess, the object remaining close to an administrative surface.\u003c\/p\u003e\u003cp\u003eIts interest lies in this economy. Hubaut and Sohier are not interpreted here so much as placed into circulation. The orange-brown stock and dark brown ink keep the card near the graphic language of filing, storage, and controlled release. 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The red cover carries the entire proposition in one line; inside, the programme unfolds as a sequence of studio photographs, reproduced works, and references to prior publications, arranged without hierarchy.\u003c\/p\u003e\u003cp\u003eThe images function as placements rather than illustrations: Kelly’s studio in Spencertown (1994), works in progress, installed canvases, printed matter positioned as objects among other objects. A secondary spread gathers books, portfolios, and reproductions into a flat display — publication reflecting on publication.\u003c\/p\u003e\u003cp\u003eAcknowledgements occupy a full field on the closing page, listing donors, galleries, printers, and mediating figures. Gemini G.E.L., Matthew Marks Gallery, and the Archives itself appear not as background support but as visible components of the structure. 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