Title of main publication: "Felix Droese - Vanishing Images"
Published by The New York Kunsthalle, the Art Society of the International Monetary Fund, Washington, and PCC (Politischer Club Colonia), Köln
After its debut at the New York Kunsthalle (April 4 - June 6, 1993), a modified version of "Felix Droese - Vanishing Images" traveled to three further locations:
* The Art Society of the
(...)
nternational Monetary Fund in Washington, D.C. (August 3 - September 30, 1994)
* Kunstraum im Politischen Club Colonia (PCC), Köln (October 4 - November 18, 1994) - 18.11.1994)
* Art Center of of Cincinnati and then was contracted to travel back to the USA (September – October 1995).
Authors and Contents:
Foreword for the four participating institutions by their respective curators: Martin Kunz, New York; Caroline J.Verschoor, Washington; Rudolf Grass, Cologne, Elaine A. King, Cincinnati
Preface by Carolyne J.Verschoor, Washington and Reimund Mink, about the installation of "Vanishing Images" in the IMF Atrium,Washington
Carol Bellamy for the Peace Corps Director, Washington, DC
Rudolf Grass, PCC: "Sail of Heart" about image and content of Felix Droese's original billboard edition in support of the Peace Corps's Project in Ecuador
Martin Kunz, main text and illustrations about "Vanishing Images" at the New York Kunsthalle (pgs 38- 80)
Rainer Willert on “Money" - comments on special additions to the original New York exhibition for the presentation in Washington, DC which discuss Felix Droese's ideas about money and his considerations for exhibiting his installation at International Monetary Fund, the world's fiscal sanctuary.
The bilingual publication in German and English contains an extended biographic and bibliographic documentation, 54 mostly full-size color illustrations, two facsimile inserts of the two original limited editions FD donated to both institutions, and a three page fold-out with color reproductions of the monumental billboard silkscreen.
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Publications relating to Felix Droese's 1993 project at New York Kunsthalle, his second solo exhibition in the US:
Limited Artist's publication Edition Box with limited and signed prints by
Felix Droese, Irmel Droese, Peter Broetzmann, Signed Edition Box:
in support of PCC, containing A5 sized color postcards of photos and descriptions of the installation, plus a music cassette with a life registration of Peter Broetzmann's performance at the opening of NY Kunsthalle.
Felix Droese: Dresden Window I and II (Woodcut Edition signed /numbered copies in support of NY Kunsthalle, one on yellow paper called Dresden Yellow, and a special limited edition printed on red paper “ MONEY / GELD, published for the installation in Washington.
Edition of offset print signed with installation photo of the billboard on the corner of 5th Street and 3rd Avenue, across the street of the Kunsthalle with reference to Kunsthalle and the Peace Corps project of building latrines in Ecuador
Monumental Billboard Silkscreen in eight large sheets, each 252 x 116 cm. Mounted together , size 300 x 640 cm. 20 pcs. Signed & numbered edition of 20.
See also abstract:
Earlier catalogue published by Kunstmuseum Luzern and Martin Kunz
in 1986: "FD, übereinander-gegeneinander-durcheinander und zugleich"
Kunstmuseum Luzern and Württenbergischer Kunstverein Stuttgart 1986
Felix Droese’s sensational and much discussed appearance at Documenta in 1982, and again at the German pavilion of the 1984 Venice Biennale, was due not only to the monumentality of his work, but also to its radical and subversive content at political as well as at ethical and religious levels.
This catalogue was published in 1986 by Kunstmuseum Luzern (also on behalf of Württembergischer Kunstverein Stuttgart) and documents these institutions’ joint presentation of the artist’s first retrospective. Droese’s work is here presented in its entirety: drawings, sculptures and paintings. In 1993, at his museum of contemporary art—the New York Kunsthalle— Martin Kunz was again to present an important retrospective of Felix Droese’s work (an exhibition which was then to travel to the IMF in Washington, D. C.) accompanied by the publication of a catalogue that completed and enriched his personal interest in the artist.
