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Martine Stig, Warp #1, RR Edition, 2017

Editions

On a regular basis – RR commissions an artist to create a new work in the spirit of the RR manifesto. These artworks are available as special edition prints on this platform. Subsequently we will invite a specific (artistic) researcher, philosopher, writer, historian or scientist to contribute an essay – departing from the encounter with the artwork.

RR will also regularly issue a special edition of a pre-existing work by a non-contemporary artist. Like the other artworks we will propose such an historical work to a specific author to use as a starting point for a new essay.

For the occasion of Unseen Amsterdam CO-OP (2017) a total of four special editions have been issued by RR co-founders Hiryczuk/ Van Oevelen and Martine Stig, plus an edition by our first guest artist Stephan Keppel. The fourth edition is by El Lissitzky (1890-1941) and consists of a multiple exposure image titled In the Studio (1923).

Wild Camellia

Hiryczuk/ Van Oevelen

2017

In their ongoing series Shadow-Light-Reflection Hiryczuk/ Van Oevelen experiment with the depiction of natural landscape from multiple viewpoints, in multiple displays. They do not, however, show nature in an epic way, as a vista from a great distance, capturing a sublime scene; the diptychs and quadtychs of the series create an arrangement of images as the extension of a single event in space. Here the position of the beholder no longer matches a monocular viewpoint but is, as it were, multiplied. They create a sense of space-time, beyond what is immediately shown.

According to Hiryczuk/ Van Oevelen photography should no longer be considered as a re-presentation but as a presentation. Such an attitude towards photography is needed if we wish to expand our perceptible experience and look at the world anew, with a detached gaze. This special edition print titled Wild Camellia (2017) fully aligns with the notions involved in the Shadow-Light-Reflection series, but now the artists have added the motives of mirroring and playing with the depth of field to their subtle ‘palette of deviated perceptions’.

Pigment print on Hahnemühle Silk Baryta archival paper
Frame in India ink stained wood and Art glass

Unframed: 29,7 x 42 cm
Framed: 32,3 x 44,6 cm

Edition 25
Numbered and signed by the artists


CONDITIONS apply to all of our sales

In the Studio

El Lizzisky

1923 / 2017

“(…) In his Prouns, El Lissitzky wanted to invent a space in which orientation is deliberately abolished: the viewer should no longer have a base of operations, but must be made continually to choose the coordinates of his or her visual field, which thereby become variable. He moved from a simple intensification of the plus-minus effect inherent to axonometry to the concept of radical reversibility. He wanted to destroy the spectator's certainty and the usual viewing position: facing the painting, facing the horizon. This position is clearly anthropocentric. It is linked to our standing on the ground, to our submission to the law of gravity; it is the plastic manifestation of the rationalist philosophy of (…) monocular perspective. Thus, in order to ‘liberate us from the horizon of forms’, as Malevich would say, it is necessary to destroy this vis-a-vis relationship, which is the cause of the spectator’s contemplative attitude in front of pictorial works. In order to conceive the painting as an abstract model, we must cut all connecti-on with phenomenal space, with the space of the world which is oriented around and from the pole of our bodies (…)”.

[Excerpt from: Yve-Alain Bois, El Lissitzky: Radical Reversibility, Art in America, April 1988]

In the Studio (1923), a multiple-exposure photograph which groups together, head to foot, several figures, including Lissitzky, literally carries out the above-mentioned inversion of human perception. Needless to say that the work can be rotated and has no bottom nor top.

Pigment print on Hahnemühle Silk Baryta archival paper
Frame in India ink stained wood and Art glass

Unframed: 29,7 x 29,7 cm
Framed: 32,3 x 32,3 cm

Edition 25
Numbered and signed by RR


CONDITIONS apply to all of our sales

Warp #1

Martine Stig

2017

Vertigo is Stig’s ongoing research on the extension of our perception through technological progress and its implications on visual culture. Since we can virtually look from every high vantage point (with the help of drones and satellites) linear perspective and monocular rendition start to lose their universal self-evidence. The time has come to reset the paradigms of visual culture. Therefore Stig explores alternative ways of seeing that go beyond our anthropocentric look at the world.

In the special edition Warp #1 (2017) Stig combines different elements that distort our conditioned gaze in unexpected ways. Most remarkable is the (Photoshop) layer that seems to transcend the surface of the work, lending the image an extra dimension of time and space. This double image questions our looking habits and aims at their reconfiguration.

Pigment print on Hahnemühle Photo Rag archival paper
Frame in India ink stained wood and Art glass

Unframed: 29,7 x 42 cm
Framed: 32,3 x 44,6 cm

Edition 25
Numbered and signed by the artist


CONDITIONS apply to all of our sales

Oyster (Flat Finish)

Stephan Keppel

2017

As a collective we invited Stephan Keppel to be the first guest artist to respond to the RR manifesto with a work in special edition. Entirely in the spirit of El Lissitzky this work, titled Oyster (an image taken from the book project Flat Finish), is radically reversable.

In Flat Finish Keppel explores and investigates the known, and unknown, structures and surfaces of New York City. By assembling a subjective databank of images and reproductions of city walls, architectural references and urban structures, Keppel strips the city from its clichéd myth, and gives a new perspective on the Metropolis.

Flat Finish is part of Keppel’s ongoing research on the public space, urban structures and reproduction, and is combining his own photographs with re-photographed archival material and other (online and offline) found footage. The book, printed in special high pigmented inks, mostly black and white, but also fluorescent colors and metallic inks, is also questioning its own (re-)production. By doing so it becomes part of Keppel’s endless loop of recycled images, works and installations.

Plotter print on BA Paper 200gr
Frame in India ink stained wood and Art glass

Unframed: 29,7 x 42 cm
Framed: 32,3 x 44,6 cm

Edition 25
Numbered and signed by the artist


CONDITIONS apply to all of our sales

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by Radical Reversibility

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Your order will be sent as soon as possible and of course we will try to do this perfectly, so you will get your special edition or publication impeccably at your address. The edition print or publication will be sent in a sturdy cardboard enveloppe. If framed the edition print will be packed in bubble wrap and hard cardboard packaging. If you find your order damaged please contact us at: info at radicalreversibility dot org. We ship world wide, the works are insured. You will receive a track and trace number to follow your shipment.

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