Basel. Museum für Gegenwartskunst, 1989
23 x 16cm. 62pp plus card covers. Artist's book released on the occasion of an exhibition in Switzerland. Twenty-three enlargements of faces from a group photograph of children celebrating the Fete de Pourim in 1939 in a Parisian Jewish School - looking at the faces (which take on the characteristics of spectres because of the fuzziness from the enlargement) one cannot tell the fates of any particular child although one might suspect many to have died in the killing camps of the Nazis. There is an interview in German between Boltanski and Jorg Zutter at the back of the book. VG+.
Reference: Flay Catalogue Page 180.

...

Little Sparta: Wild Hawthorn Press, 1988
31.4 x 22cm, 52pp plus card covers and dustjacket. A series of "definitions", one of Finlay's innovations in experimental poetry where a word is given an alternative meaning by the addition of a classical or modern quotation. For example:

PATCH, n.
1. A whole part.
The trousers and jumpers of men vary in hue from the brightest orange vermilion to the palest rose pink, and are decorated with every imaginable sort of PATCH.
Peter Anson, The Breton Sardine Fisheries.

As we have noted elsewhere Finlay regards a patch as a symbol of warm, caring as well as poverty.
Slight bumping to corners of the book - else VG+. One of 250 copies published at Christmas 1988....

La Rochelle: Maison de la culture La Rochelle., 1978
15 x 10.5cm, 40pp plus card covers. Exhibition catalogue consisting only of reproductions (four in colour) of mostly performance related works by the artist including his dalliance with dance as a set designer - Le Saut de l'ange from 1987 (with two images in b/w from the work and one painting/sketch), other works include his performance of the 70s and shadow plays. The sections are: Saynete Comiques, La Punition Injuste, La Baiser Cache, L'Anniversaire, Les Compositions, Les Ombres and the dance work.
The dance work can be seen here: https://www.numeridanse.tv/en/dance-videotheque/le-saut-de-lange-0
Rusted stitches else VG+. Very scarce.

...

Rotterdam: Galerie Bebert, 19888
21 x 15cm, 4pp outer card content of two 21 x 15cm, 1pp red on white semi-opaque paper with details of opening and a potted biography of Boltanski in Dutch. VG+.

...

Little Sparta: Wild Hawthorn Press, 1988
15.4 x 24.4cm, black and light brown on white card - original linocut reproduced in offset lithograph. The print is folded with a text "Every effect remains in its cause, proceeds from it, and reverts upon it." a quote form Proclus, Elements of Theology. The image is of a group of boats close together in a harbour.
When boats are berthed in such a manner there is a tendency for them to move in synchronicity due to the waves. The classical quotation about cause and effect reflects that movement in some poetic manner. VG although there are sadly two ink lines on the outside of the card (where there is no image) and someone stupidly has not realised what the card was.

...

Madrid, Centro de Arte Reina Sofia, 1988
23.8 x 33.5cm, 68pp. Original thick boards. Artist's book (although also exhibition catalogue as it was published at the same time as the exhibition of the same name) with 22 b/w photographic illustrations of crime scenes (as usual without comment or legend) taken from the El Caso Detective magazine (plus tissue guards). Biography and essay in French and Spain by Daniel Soutif "Et in Boltanskia Ego". VG+.

...

Little Sparta: Finlay, 4th May 1988
Two original vintage xerox stapled sheet (both recto) of a letter from Finlay to "Inez" (Inez Horst-Aletrino - a Dutch painter who was close to the Finlay family).
Finlay points out that his life has been a "nightmare" following the accusations of Catherine Millet and he notes he is inclosing for information his statement for a "right of reply" in France as well as a "transcript of the radio broadcast which led to the cancellation of the Versailles project".

Finlay points out that "none of those taking part have ever seen our garden. The broadcast is LIES and INVENTIONS designed to destroy Sue and I. Never before have I encountered such EVIL. It has changed our lives for ever."

An important letter showing the impact the controversy was having on the Finlay family at the time.
JOINT:
Twelve 30 x 21cm, original vintage xerox sheets (all printed recto) with a transcript (in French) of the radio programme hosted by Stephane Paoli in which Catherine Miller, Michel Blum and Catherine Duhamel discuss Finlay and libel him with charges of being anti-Semite. Millet begins by claiming a work (OSSO) has a SS double lightning strike symbol on it and makes the rather simplistic reading of the work that it is pro-nazi. They then raise the matter of Finlay's commission by the French government of a major public work and Blum claims that Finlay's correspondence with the jailed Albert Speer is further proof of national socialist sympathies. The programme continues in the same vein - Millet makes several claims about works in Little Sparta (works she had never seen) that were evidence of National Socialist sympathies eg the washing line that Sue and Ian Finlay joked was called the Seigfried Line (a joke that is obvious to those of British background as there was a popular anti-Hitler song of that name in the second world war "Hang out the washing on the Siegfried Line".
An important document that documents the outrageous way in which the French critics used lies and exaggerations to stoke public anger against Finlay his and eventually cause the commission to be withdrawn by the French Government without any explanation.
joint:
Handwritten cardboard envelope addressed to Inez Horst-Aletino from Finlay.

...

Little Sparta: Finlay, 1988
Five original vintage xeroxes each 30 x 21cm, 1pp with press cuttings (all 1988) from The Times Literary Supplement, The Scotsman (2), and two unidentified Dutch newspapers reproducing letters to the Editor and articles about Finlay as well as one by Wim Meulenkamp (one of Finlay's accusers) in which he responds to positive support for Finlay from the Kroller-Muller museum and outrageously calls Finlay once again a "crypto-fascist".
One article in the Scotsman Arts Review of May 23 1998 is by Duncan Macmillan (who for once gets it right) describes the original commission in details - clearly fed background on the various meanings of the proposed work by Finlay - in some detail. It makes one regret the work never having been made.
Copied at the time by Finlay to distribute to friends and press as a source of information. VG although some rippling of the paper.

...

Chicago: Museum of Contemporary Art, 1988
30 x 21cm, 120pp plus card covers. Exhibition catalogue which has elements of artist's book in that one section (16pp) is from Detective magazine (entitled DETECTIVE) and shows b/w images of people without captions - one cannot tell who is the victim and who is the murderer.
The rest of the catalogue shows works in colour and b/w of works and installations. A long essay by Lybb Gumpert is the Life and Death of Christian Boltanski is in English. VG+.



Flay Christian Boltanski Catalogue 1992, Page 170....

Darmstadt: Hessischen Landesmuseum, 1988
21 x 10cm, 6pp announcement card for a show of works by the two colossuses of the, then, contemporary art world in the year after Warhol's death and two years after Beuys' heart attack that took his life. Two b/w images of the artists internally. VG+. 

...

Dijon: Association pour la diffusion de l'art Contemporain, 1988
21 x 14cm, 24pp plus card covers and printed grey dustjacket. First edition of this artist's book which claims to reproduce nine sepia-toned portraits of Harly "found in a cigar box by the artist". Geo Harly was a pre-war entertainer it seems and a man who loved his mother. One of 300 numbered copies. VG+.

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NYC: Mary Boone/Michael Werner, 1988 18 x 12.5cm, 4pp announcement card for a solo show - one work The door of innocence from 1986 is shown in colour on the outside, internally gallery details printed in gold and black. VG+. ...

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