May 1998

London: Victoria Miro Gallery, 1998
10.5 x 15cm, 2pp announcement card with a reproduction of a bench design by Finlay with the text Odor Suavitatis carved into it. The text from the bible (in latin) means "fragrance of sweetness". Verso gallery details. VG+.

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Paris: Musee d'Art Moderne de la Ville de paris, 1998
26.5 x 21cm, 28pp plus card covers. Exhibition catalogue that has an important text "Le Voyage au Perou/The Journey to Peru" which is in French and English. The text gives insights into the artist's practice - how he likes to reinstall works which change depending on the situation, the role of objects as a means of referencing "humanity" in his installations, the role of memory and archiving in his work and the importance of religion in art, the issue of death and its denial by society, and the artist's "journey to Peru' which relatees to the chronological experiences and knowledge. Black and white images of installations and works throughout. A wonderful catalogue. VG+.

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Little Sparta: Wild Hawthorn Press, 1998
11 x 10.8 x 2cm card slipcase content of two volumes - both 10.5 x 10.6cm and unpaginated. Printed card covers. The first volume consists of the names of boats followed by unprinted coloured pages such that the painted colours of the actual boat are displayed serially. The second volume follows the first in that the same boats are listed (without identification) but now with the words of the boat colours printed in a large font. The boat names are repeated at the end of the book. For some reason this is reminiscent of some Sol Lewitt books in its conception but it also recalls earlier Finlay publications that are often referred to as "kinetic" eg OCEAN STRIPE SERIES 3.
One of only 250 printed. VG+

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Paris/Munich: Editions des musées/ Gina Kehayoff Verlag, 1998. 26.5 x 20.5cm, 1168pp plus boards. First edition of this huge artist's book which reproduced 1148 black and white photographs all without detail taken from Botlanski's personal collection of found images. All are figurative - people in all of their different forms - and the title Kaddish is a Jewish call for praise of god - and sometimes part of mourning rituals.
There are four sections - Menschlich, Sachlich, Ortlich, Sterblich. Boltanski has adopted an interest in his father's religion and while not practising he clearly identifies with some of the religion's compassion.
VG+.

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Brough Park: Saint Paulinus, 1998
21 x 15cm, 28pp plus card covers and dust jacket. Short monograph on Finlay's La Revolution est un bloc sculpture - an axe is buried in a wooden (in actuality bronze) block with the title text. The axe has a blue, red and white ribbon on the handle. Essay by Harry Gilonis. Full colour image and another work - 4 Blades also reproduced. VG+.

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Little Sparta: Wild Hawthorn Press, 1998
10.4 x 14.5cm, 1pp artist's card with two texts in a black oval:

The homeward star
The stitching sail

The homeward sail
The stitching star

Finlay notes the words "homeward star: occur in Samuel Palmers translation of Virgil's First Eclogue.
This card transposes the star and sail to alter the meaning of each phrase - a relatively common device used by Finlay in his poetry. The stitching sale being the way a sailor might be stitched into a sail when he died, the homeward sail being a reference to the end of life as well as a returning boat (again another Finlay trope). Both lines are momento mori. VG+.

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