EdMAT_Covr_Final_FINAL.indd 1 11/22/19 2:29 PM EDITION

Edited by Meredith Malone

Contributions by Sam Adams, Ágnes Berecz, Magdalena Holzhey, Marina Isgro, Alexander Kau man, Meredith Malone, Molly Moog

Reprinted texts by Claus Bremer, Karl Gerstner, Wies Smals, Daniel Spoerri, Katerina Vatsella

Mildred Lane Kemper Art Museum Washington University in St. Louis

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Begeisterung für Bücher Seite 3  Hirmer_14410666_Multiplied_Edition_MAT Contents 6 Director’s Foreword Sabine Eckmann

7 Acknowledgments Meredith Malone

9 Introduction Meredith Malone

15 Edition MAT and the Transformable Work of Art: A History Meredith Malone

46 “Lured out of Passive Enjoyment”: Edition MAT at the Kaiser Wilhelm Museum in Krefeld Magdalena Holzhey

56 Consumed by Play: The Politics of the Transformable Work of Art Ágnes Berecz

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Begeisterung für Bücher Seite 4  Hirmer_14410666_Multiplied_Edition_MAT Entries Appendix

COLLECTION 1959 212 Examples of Dynamic Theater (1959; excerpt) 73 Yaacov Agam [MLM] Claus Bremer / Daniel Spoerri 75 Josef Albers [MLM] 77 Bo Ek [MLM] 215 Edition MAT: Multiplication of Artworks (1959) 81 Pol Bury [MI] Daniel Spoerri 83 Marcel Duchamp [AK]

87 Karl Gerstner [MLM] 217 The Multiplied Work of Art (1960)

89 Heinz Mack [MI] Daniel Spoerri

91 Frank J. Malina [MLM] 219 Press Release (1964) 93 Man Ray [AK]

97 Enzo Mari [MI] 221 Press Release (1965) 99 Bruno Munari [MI]

101 Dieter Roth [SA] 223 What Should Art Cost? (1965; excerpt) 105 Jesús Rafael Soto [MI] Karl Gerstner 109 Jean Tinguely [MI] 111 Victor Vasarely [MLM] 224 MAT: A Conversation with Spoerri and Gerstner (1970)

COLLECTION 1964 Wies Smals

117 Arman [MI] 228 Interview with Daniel Spoerri (1995; excerpt) 121 Jean Arp [MI] Katerina Vatsella 129 Arnulf Rainer [MCM]

133 Niki de Saint Phalle [MI]

139 Daniel Spoerri [SA] 236 Works in the Exhibition 143 Paul Talman [MI] 243 Lenders to the Exhibition 147 Jacques Villeglé [MLM] 244 Selected Bibliography COLLECTION 1965 248 Contributors 153 Enrico Baj [MI] 249 Photography and Copyright Credits 157 Davide Boriani [MI] 250 Index 163 Christo [MLM]

167 Gabriele De Vecchi [MI]

171 Julio Le Parc [MLM]

175 Roy Lichtenstein [MI]

179 François Morellet [MI]

MAT MOT

189 George Brecht [SA]

193 Robert Filliou [SA]

195 Maurice Henry [MCM]

199 Christian Megert [MI]

205 André Thomkins [SA]

209 Emmett Williams [SA]

Authors

Sam Adams [SA] Marina Isgro [MI] Alexander Kauman [AK] Meredith Malone [MLM] Molly Moog [MCM]

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Begeisterung für Bücher Seite 5  Hirmer_14410666_Multiplied_Edition_MAT Director’s Foreword Sabine Eckmann, PhD William T. Kemper Director and Chief Curator

Following the enormous devastations of World War II, the project also occupied a position of critical režection; these 1950s to the early 1970s witnessed an unprecedented arbitrary, playful, and “purposeless” transformable objects expansion of production and consumption—a period known stood in stark contrast to the purposeful movements of mid- as the golden age of economic growth, especially in Western century consumer society. Europe. During that time people became increasingly inter- The Mildred Lane Kemper Art Museum has over the ested in objects of leisure and design, from automobiles and last decade explored this midcentury moment both through color televisions to artworks that would decorate their stylish exhibitions and art acquisitions. In 2009 Associate Curator new homes. The uncomfortable past was quickly buried and Meredith Malone presented Chance Aesthetics, which forgotten, and in its place a rapidly changing present took brought together postwar artworks and some early prede- shape. New technologies, mass tourism, popular forms of cessors that employed chance in the creative process and as entertainment, and the desire for luxury goods lled newly such took a critical avant-garde stance toward self-su¤cient available hours as workdays and workweeks became shorter. artistic authorship. Since then the Museum has acquired Yet amid this sudden prosperity hung the shadow of the Cold artworks by Arman, Marcel Duchamp, Karl Gerstner, Julio War that had divided East and West, communist regimes Le Park, Man Ray, Jacques Villeglé, and importantly Daniel and democratic societies, in radical ways. Spoerri, among others, all of which contribute to a history Unsurprisingly, the arts responded in decisive ways to of modern art shaped by experimentation, chance opera- this burgeoning yet politically vulnerable era. Many artists tions, production in series, and the unusual use of everyday continued to explore abstract painting as a counter to the materials. In short, these works put a critical stamp on art as a ideological co-option of realism and as a phenomenological singular, skillful, independent creation. My congratulations to experience of the push and pull between pure matter and Meredith for her persistence in following this strain of postwar artistic choice. Yet toward the end of the 1950s, the art worlds art over the years and bringing its importance to the fore in Europe and the United States also featured a revival of through the catalog in hand and the accompanying exhibition. early twentieth-century avant-garde practices that engaged This project would not have been possible without the non-art materials and interdisciplinary approaches, includ- signi cant support of the Andy Warhol Foundation for the ing the interplay of performance, music, and the visual arts, Visual Arts, which awarded both a curatorial research grant particularly works that involved movement and light. It was and a very generous exhibition grant. Lead support for the within this experimental and nontraditional context that the publication was provided by the Carl & Marilynn Thoma peripatetic Swiss artist Daniel Spoerri began focusing on the Foundation. Additional support for the exhibition was provided multiple in the form of series of three-dimensional objects by the William T. Kemper Foundation, the National Endowment that physically or optically generated movement or could be for the Arts, the Swiss Arts Council Pro Helvetia, and the altered. In the decisive year of 1959, which saw the institu- Hortense Lewin Art Fund, as well as by members of the tionalization of abstract painting and the appearance of new Kemper Art Museum. We are especially grateful to Elissa and realisms at Documenta 2, Spoerri launched Edition MAT Paul Cahn, Nancy and Ken Kranzberg, and Emily and Teddy (multiplication d’art transformable) at the Paris-based Galerie Greenspan. We are very pleased to be collaborating with the Edouard Loeb. Well-known artists such as Marcel Duchamp Bechtler Museum of Modern Art and its president and CEO, and Man Ray joined newcomers Dieter Roth and Jean John Boyer, on this important project, and we look forward Tinguely, among others, in contributing artworks to Spoerri’s to seeing the exhibition there in the summer of 2020, after its commercial adventure. In altered form and with a varying set initial presentation at the Mildred Lane Kemper Art Museum. of participating artists, Spoerri produced successive editions At Washington University my deep appreciation goes in 1964 and 1965. to Carmon Colangelo, Ralph J. Nagel Dean of the Sam Fox In retrospect Spoerri’s project struck a nerve, imbuing School of Design & Visual Arts, for his commitment to the Edition MAT with historic gravity. His undertaking mirrored Museum and its programs. I would also like to express my Western prosperity—the objects transformed, or appeared genuine gratitude to Henry S. (Hank) Webber, executive to transform, as did contemporary society. In addition, they vice chancellor & chief administrative o¤cer; Holden Thorp, were not reserved for the wealthy elite but were a›ordable former provost; Mark Wrighton, chancellor emeritus; and for many who were pro ting from the socioeconomic climate. Andrew Martin, chancellor, for their essential support not (Nevertheless, as with other attempts to democratize modern only of the Museum but also of the pursuit of excellence in art for a broader audience, it was the fate of Edition MAT to be research and education across campus and beyond. acquired by a rather small group of collectors.) By highlight- ing the object as such and its consumerist allure, Spoerri’s

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Begeisterung für Bücher Seite 6  Hirmer_14410666_Multiplied_Edition_MAT Acknowledgments Meredith Malone, PhD Associate Curator

I have long been fascinated by post–World War II European who made this comprehensive presentation of Edition MAT avant-garde art and Daniel Spoerri’s unique role as both a possible. In Europe I thank Katia Baudin and Magdalena prominent artistic practitioner and a key connector within Holzhey at Kunstmuseen Krefeld, Germany; Beate the historical context of the expanded arts emerging at this Reifenscheid and Suzana Leu at Ludwig Museum, Koblenz, time. Spoerri is perhaps best known as a Nouveau Réaliste Germany; Jonas Kern, Großmaischeid, Germany; Werner artist and the creator of tableaux-pièges (“trap pictures”) Hillmann at Galerie Der Spiegel, Cologne; Denis Kilian, Clara in the early 1960s. However, his wide-ranging career has Samson, and Catherine Gallois at Galerie Denise René, embraced such postwar aesthetics as concrete poetry, Paris; Robert and Camille Murphy at RCM Galerie, Paris; experimental theater, kinetic and Op art, Zero, and Fluxus. Carlo Knöll, Galerie Knoell, Basel; and Britta Ditges at WDR Edition MAT, Spoerri’s pioneering enterprise that brought mediagroup, Cologne. In the United States I am grateful together concepts of multiplication and kineticism, as well as to Glenn D. Lowry, Christophe Cherix, Anne Temkin, and the work of diverse contributors, encapsulated not only his Jennifer Tobias at the Museum of Modern Art, New York; varied interests but also the array of experimental art “our- Thomas W. Gaehtgens, Mary Miller, and Marcia Reed at the ishing in this period. Bringing this project to light has been a Getty Research Institute, Los Angeles; Michael Govan and deeply rewarding process that involved numerous meaningful Stephanie Barron at the Los Angeles County Museum of encounters—with artworks, with individuals and institutions, Art; Brent Benjamin and Simon Kelly at the Saint Louis Art and, perhaps most importantly, with the artist himself. For our Museum; Tracy Fitzpatrick, Helaine Posner, and Avis Larson illuminating conversations, for his generosity and good humor, at the Neuberger Museum of Art, Purchase College, SUNY; and for his patience as this project slowly but surely came Alice Conconi, Andrew Kreps Gallery, New York; and Matthew to fruition, I am —rst and foremost grateful to Daniel Spoerri. Zucker at Zucker Art Books, New York. Thanks also go to John This project bene—ted from conversations with numerous Boyer, president and CEO, and Jennifer Sudul Edwards, for- colleagues. I want to thank in particular Amara Antilla, Bradley mer curator, at the Bechtler Museum of Modern Art, Charlotte, Bailey, Kathrin Barutzki, Tiziana Caianiello, Eric Crosby, North Carolina, for their presentation of the exhibition. Jennifer Edwards, Caroline Jones, Valerie Hillings, Adina An exhibition of this scale requires signi—cant —nancial Kamien-Kazhdan, Liz Kotz, Fabrice Lapelletrie, Francesca support. The Andy Warhol Foundation for the Visual Arts was Pola, Barbara Räderscheidt, Frederik Schikowski, Ulrike crucial for launching this project; I am honored that it awarded Schmitt, Gregory Tentler, Maia Toteva, Allison Unruh, Gretchen both an early curatorial research grant and a major exhibition Wagner, Maja Wismer, Elizabeth Wycko¤, and Matthew grant that constituted the essential —nancial foundation for Zucker. I give special thanks to Jennifer Josten, Emily Hage, the exhibition. Additional key support was provided by the and Angela Miller for their generous and formative input on William T. Kemper Foundation, the National Endowment for drafts of my essay, and to Jane Neidhardt, head of publica- the Arts, and the Swiss Arts Council Pro Helvetia. Lead sup- tions at the Kemper Art Museum, for her thoughtful feedback port from the Carl & Marilynn Thoma Foundation enabled the throughout. I also want to specially acknowledge Sabine catalog it to come to its fullest fruition. Eckmann, William T. Kemper Director and Chief Curator at the This project is also the result of the combined e¤orts and Mildred Lane Kemper Art Museum. Her incisive critiques at professionalism of both outside collaborators and Museum various stages of this project and her support of my scholar- sta¤. The sensitive exhibition display was designed by Frank ship over the years have considerably enriched my work. Escher and Ravi GuneWardena of Escher GuneWardena, It was a pleasure to collaborate with each of the contrib- Los Angeles. Reinhard Bek of Bek & Frohnert LLC consulted utors to this catalog, whose unique perspectives have greatly on the display of mechanical artworks and provided crucial enriched it: Sam Adams, Ágnes Berecz, Magdalena Holzhey, conservation services. At the Kemper Art Museum I want Marina Isgro, Alex Kau¤man, Molly Moog, and Katerina to thank all of my colleagues who care as much about the Vatsella. Contributing editors Karen Jacobson and Holly success of this project as I do, especially Erica Buss, Rochelle Tasker helped shepherd this book with both attention to detail Caruthers, Lauren Diamond, Kristin Good, Michael Hesse, and wit. The creative design of the book is the result of the Meredith Lehman, Ida McCall, Mark Ryan, and Ron Weaver. talents of Conny Purtill of Purtill Family Business; I thank him Your teamwork is faultless. for the genuine excitement with which he took on this project. Finally, I would like to express my gratitude to both Leah Marie Chizek’s research assistance and translation work Carmon Colangelo, Ralph J. Nagel Dean of the Sam Fox were also crucial to the realization of this project. School of Design & Visual Arts, and Andrew Martin, chancel- The exhibition drew on collections near and far, private lor of Washington University, for their unfailing commitment and public, and I am profoundly grateful to the many lenders to the Kemper Art Museum and its programs.

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Begeisterung für Bücher Seite 7  Hirmer_14410666_Multiplied_Edition_MAT 8

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Begeisterung für Bücher Seite 8  Hirmer_14410666_Multiplied_Edition_MAT Introduction Meredith Malone

Walking into the Galerie Edouard Loeb in Paris on the eve- Conceived as a countermodel to the traditional notion of ning of November 27, 1959, visitors attending the opening seriality in art—which implies standardization and an asso- reception for the exhibition Edition MAT (multiplication d’art ciation with industrial regimens—Edition MAT harnessed transformable) were greeted with an unusual array of small- and magni–ed the transformative possibilities of kinetic scale kinetic artworks and the unconventional invitation art to advance a nascent concept of multiplication that to touch and play with them. The exact type of interaction was explicitly premised on the incorporation of movement, varied from object to object. Visitors could choose one of mutability, and audience interaction. Marcel Duchamp’s six double-sided Rotoreliefs and set In addition to then lesser-known artists—including the printed disks in motion with the assistance of a wall- Agam, Pol Bury, Mack, Roth, Soto, and Tinguely—partici- mounted, motor-driven device; the swirling motion of the pants included foundational –gures in the –elds of kinetic two-dimensional patterns created an impression of deep and Op art, whom Spoerri called “the great masters”: Josef space rhythmically receding and then projecting from the Albers, Duchamp, Man Ray, and Victor Vasarely.1 Spoerri wall. Moving back and forth in front of Jesús Rafael Soto’s included these well-known and respected artists from an layered construction Spirale, visitors could experience the older generation to attract publicity and sales and help legit- optical illusion of pulsating lines through its moiré e‘ect. imize his šedgling endeavor while also signaling his ambition They could also activate Jean Tinguely’s Constante indéter- to “illustrate the entire line of development concerning multi- minée, a motor-driven construction with a protruding clip, plication and the idea of movement.”2 With this international by attaching an object (a piece of ribbon, a scrap of paper) to and cross-generational roster, Spoerri o‘ered up a veritable the clip; when the motor was switched on, the object moved compendium of artists with broad interests in kineticism and so quickly that it optically dematerialized. Yaacov Agam’s Op art—both their aesthetic e‘ects and the dynamic oppor- 8 +1 en mouvement encouraged viewers to position, pivot, tunities to create new, interactive relations with viewers at and rearrange a series of eight white sticks mounted on the center of the artwork, be it in the form of reliefs, participa- metal bars across a series of holes drilled into a black lac- tory objects, motorized sculptures, or light works. quered wooden plate to create a multitude of new con–gu- Edition MAT included three collections in total, released rations. Heinz Mack’s aluminum “light relief” rotated freely between 1959 and 1965. While Spoerri solely helmed the –rst with the touch of a –nger to produce luminous rešections on collection of Edition MAT, the 1964 and 1965 collections were the corrugated surface, while the hand-cut black-and-white created in collaboration with the Swiss artist and designer pages of Dieter Roth’s unbound Book AA could be reshuf- Karl Gerstner and the German dealer Hein Stünke (the latter šed to produce an ever-changing array of abstract compo- produced and distributed the artworks through his Galerie sitions. In addition to the unorthodox incitement to interact Der Spiegel in Cologne). Multiplied: Edition MAT and the physically with the works, visitors encountered several Transformable Work of Art, 1959–1965 marks the –rst time versions of each object displayed side by side in di‘erent that all three series have been exhibited in their entirety in the con–gurations, cuing them to the fact that these were not United States. Drawing from public and private collections in unique artworks but multiples: three-dimensional objects Europe and the United States, the exhibition brings together issued in editions. this diverse collection of artworks to illuminate Spoerri’s proj- Organized by the Romanian-born Swiss artist Daniel ect as seminal in the di‘usion not only of multiples but also of Spoerri, the display at Galerie Edouard Loeb was the –rst kinetic art and emergent international artistic dialogues in the in a series of exhibitions mounted in Paris, Milan, London, postwar period. Newcastle, Stockholm, Krefeld, and Zurich through which Edition MAT is commonly recognized in scholarship on Spoerri actively promoted and sold objects from Edition the historical project of the multiple as an important precur- MAT, the –rst programmatic series of multiples to –nd broad sor to the international surge of interest in the format in the international participation and distribution in the post– 1960s and 1970s. With the exception of Katerina Vatsella’s World War II period. Assuming the roles of commissioner, German-language monograph on Edition MAT, published curator, manufacturer, and publisher, Spoerri initiated in 1998, however, its historical speci–city has largely been Edition MAT in 1959 in an e‘ort to expand the circulation of overlooked.3 Multiplied sets out to redress this oversight, and engagement with avant-garde art in Western Europe elucidating the historical genesis and evolution of Spoerri’s and beyond by producing a‘ordable art objects in quantity. pioneering project, its fundamental connection with and His pioneering proposition used the logic of repetition and advancement of kineticism, its foundational role in the estab- commercial distribution to enact a signi–cant shift in the lishment of artist’s multiples, and its oscillating embrace and status of the art object and the viewer’s relationship to it. critique of 1960s commodity culture more broadly.

Opposite: G. Stockhausen, Tomma and Paul Wember, and Daniel Spoerri (right to left) viewing objects by Jean Tinguely at Multiplizierte Kunstwerke, die sich bewegen oder bewegen lassen—der Edition MAT Paris, Kaiser Wilhelm Museum, Krefeld, Germany, 1960. Photograph by Karl-Hein Lengwenings. 9

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Begeisterung für Bücher Seite 9  Hirmer_14410666_Multiplied_Edition_MAT The exhibition is divided into three chronological of subjects do these domestically scaled, transformable sections that follow the trajectory of Edition MAT—“1959: multiples envision—creators, implying a sense of true agency Transformable Art,” “1964: Variations on a Theme,” and “1965: on the part of the viewer, or users relegated to ready-made Panorama of Contemporary Art”—explicating the distinct actions and programmed interventions? Does the notion phases of production and the ultimate transformation and of continuous transformation inherent in these works stem expansion of Spoerri’s initial conception of the project. Edition from a position of promise or one of anxiety? The exhibi- MAT’s shift from a pioneering artistic concept driven by tion engages such questions as a means of illuminating the anti-elitist aspirations to a market strategy underwritten by a stakes of Edition MAT and the project’s redeŽnition of the commercial gallery mirrors the broader trajectory of the cate- work of art in this postwar “age of a™uence.”5 gory of the multiple across the 1960s. Keyed to an economic and cultural context of mass production, consumption, and • planned obsolescence, the multiple was in many ways symp- This catalog is divided into three sections. The Žrst con- tomatic of a desire on the part of artists grappling with shifting tains three essays that contextualize Edition MAT within the socioeconomic conditions and the concomitant reorganization broader social and cultural context of the late 1950s and early of object experience within the historical context of postwar 1960s, conveying new insights into a then emergent Želd mass production in Western Europe and the United States. of international postwar experimental activity engaged with The apparent contradiction between the sanguine ambitions movement, serial structures, and viewer activation. My essay espoused by producers of multiples and the less rosy realities o“ers an overview of Edition MAT and the evolution of its of an expanding consumer culture that profoundly informed three collections, demonstrating how the project’s challenge and animated these endeavors is a theme that runs through- to the discrete, static art object mirrors and mediates the out the exhibition. As Multiplied demonstrates, the sus- ways in which viewers negotiated a postindustrial society pended position of the kinetic multiple—between artwork and increasingly marked by the proliferation and ceaseless commodity, singularity and series, object and participatory circulation of consumer objects. Ágnes Berecz explores experience—made it a productive device for Spoerri and his the politics of play and participation at the core of the colleagues to reconŽgure the artist-object-viewer relationship transformable artworks of Edition MAT, which she describes while simultaneously re‘ecting and responding to the larger as duplicitous toys. Berecz suggests that the project as a system of recombination and transformation that deŽnes whole acutely demonstrates the convergences between advanced forms of industrial production. “participation and consumption, amusement and emanci- Beyond a mere exercise in historical reconstruction, pation, distraction and liberation” put into play by postwar convening the works of Edition MAT o“ers the opportunity to modernization. Magdalena Holzhey’s essay focuses on the reassess these objects not only as interconnected products 1960 exhibition of Edition MAT held at the Kaiser Wilhelm of new artistic networks and commercial systems of distri- Museum in Krefeld, Germany, an institution that played a key bution but also as complex rejoinders to the administered role in advancing Spoerri’s endeavor as well as championing, culture of the late 1950s and 1960s. The kinetic multiple and at an early stage, work by a variety of artists associated with its call for audience participation resonates strongly with kinetic and Op art. Holzhey examines how the participatory the emergence of a technocratic society in Western Europe. nature of the artworks challenged the static conditions Characterized by the pace and stu“ of technological change of the institution of the museum and its established display during the postwar industrial boom in much of the region strategies. She argues that the editioned, transformable (including the proliferation of cars, refrigerators, washing object was in line with the fundamental e“orts in the 1960s machines, televisions, and the trappings of media culture), to democratize culture and draws direct parallels between technocracy also refers to the increasingly rational admin- Spoerri’s commitment to movement, change, multiplication, istrative order that accompanies these developments, and dehierarchization and museum director Paul Wember’s resulting in the fundamental reordering of everyday life.4 progressive program to create a “living museum.” The transformable works of Edition MAT, this exhibition The artist entries making up the second part of this suggests, negotiated this new techno-consumer environ- catalog further illuminate the international constellation of ment, giving form to the anticipated potential and unease practitioners who participated in Edition MAT, o“ering a vital with which it was greeted. While the artworks of Edition snapshot of some of the most prominent kinetic practitioners MAT invite participation from the viewer, seeking to open a working in the late 1950s and early 1960s and their diverse space for input and interaction, the possibilities that such aesthetic agendas. Written by the art historians Sam Adams, involvement a“ords often remain double-edged. What kind Marina Isgro, Alexander Kau“man, Molly Moog and myself,

Malone 10

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Begeisterung für Bücher Seite 10  Hirmer_14410666_Multiplied_Edition_MAT these short essays follow the three-part chronological structure of the exhibition, expounding on the respective role of each artist within the broader history of the transformable art object and their divergent expectations and intentions in regard to multiplication, as well as oering specic interpreta- tions of their contributions to Edition MAT. The third part of this publication includes appendix materials that foreground the voices and perspectives of Daniel Spoerri and his collaborator Karl Gerstner in the form of their writings and interviews, many of which are translated into English here for the rst time. In making these materials accessible, it is the aim of this publication and exhibition to serve as a signicant resource for scholars and artists alike, shedding new light on these understudied artworks and the artistic exchanges they facilitated, as well as on the body of critical thought connecting the study of art, technology, commerce, and display in the postwar period.

1. Spoerri wrote to Dieter Roth in early 1959 outlining the basic idea behind Edition MAT, including the participation of such artists as Victor Vasarely and Josef Albers. “Those are the great old masters who will maybe be able to help us make a name for ourselves. It could be good or it could be bad to bring people like this in on it.” Daniel Spoerri Archives, Swiss National Library, Bern. All translations from the German are by Leah Marie Chizek unless otherwise noted. Spoerri also approached Alexander Calder, Lucio Fontana, and Yves Klein, but they all ultimately declined to participate. 2. Daniel Spoerri to Josef Albers, September 18, 1959, Spoerri Archives. 3. Katerina Vatsella, Edition MAT: Die Entstehung einer Kunstform; Daniel Spoerri, Karl Gerstner und das Multiple (Bremen: Hauschild, 1998). 4. For an insightful look into technocracy in the French context, see Kristin Ross, Fast Cars, Clean Bodies: Decolonization and the Reordering of French Culture (Cambridge, MA: MIT Press, 1995), and Alain Touraine, The Post-Industrial Society: Tomorrow’s Social History; Classes, Conƒicts and Culture in the Programmed Society, trans. Leonard F. X. Mayhew (New York: Random House, 1971). Janet Kraynak provides a compelling examination of participation and its link to technocratic society in the United States in the 1960s and 1970s. See Kraynak, “Dependent Participation: Bruce Nauman’s Environments,” Grey Room, no. 10 (Winter 2003): 22–45. 5. The historian Tony Judt employs this phrase to describe the three decades of remarkable acceleration of economic growth accompanied by the onset of an era of unprecedented prosperity in Western Europe. Judt, Postwar: A History of Europe since 1945 (London: William Heinemann, 2005), 324. 11

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Begeisterung für Bücher Seite 11  Hirmer_14410666_Multiplied_Edition_MAT Works in the Exhibition

Multiplied: Edition MAT and the Transformable Work of Art, SECTION 1: 1959 1959–1965 includes all of the works in the three collections of Edition MAT, released in 1959, 1964, and 1965. The orga- Edition MAT nization of this checklist follows the exhibition’s division into three sections corresponding to the collections. In addi- Yaacov Agam (Israeli, b. 1928) tion to presenting the Edition MAT works, often with multiple 8 + 1 en mouvement (8 + 1 in motion), 1953/1959 examples of a single work on view, the exhibition includes 8 painted wood rods and painted wood panel, 17/100, related artworks, ephemera, and audiovisual materials. 27 3⁄16 × 9 1⁄8 × 2 13⁄16 in. (69 × 23 × 7 cm) In some cases the Edition MAT objects illustrated in Published by Edition MAT, Paris this volume diƒer from those on loan to the exhibition. See Kunstmuseen Krefeld, Germany, p. 72 (left) page 249. Josef Albers (American, b. Germany, 1888–1976) Strukturale Konstellation S V–3 (Structural constellation S V–3), 1959 Engraved plastic on painted wood, 4/100, 15 3⁄8 × 15 3⁄8 × 2 3⁄4 in. (39 × 39 × 7 cm) Published by Edition MAT, Paris Kunstmuseen Krefeld, Germany, pp. 19 (œg. 5), 74

Bo Ek (Pontus Hulten) (Swedish, 1924–2006) Kugelspiel (Ball game), 1955 Ring gear, iron rod, clockwork, wire, and celluloid balls, ed. 5, 29 15⁄16 × 18 1⁄8 × 5 1⁄2 in. (76 × 46 × 14 cm) Original model for Edition MAT, 1959/1960 Kunstmuseen Krefeld, Germany, pp. 76, 79 (detail)

Pol Bury (Belgian, 1922–2005) Ponctuation (Punctuation), 1959 Painted perforated sheet metal, Masonite, and electric motor, 12/100, 19 11⁄16 × 15 3⁄4 × 2 3⁄4 in. (50 × 40 × 7 cm) Published by Edition MAT, Paris Kunstmuseen Krefeld, Germany, p. 20 (œg. 7)

Marcel Duchamp (American, b. France, 1887–1969) Rotoreliefs, 1935/1953/1959 12 oƒset lithographs on 6 cardboard disks, velvet-covered board, and electric motor, 30/100, 15 3⁄4 × 15 3⁄4 × 4 1⁄8 in. (40 × 40 × 10.5 cm) overall; disks: 7 7⁄8 in. (20 cm) diameter Published by Edition MAT, Paris Kunstmuseen Krefeld, Germany, pp. 19 (œg. 4), 82

Karl Gerstner (Swiss, 1930–2017) Bunte Reihen (Colorful sequences), 1956/1960 Wood, metal, and lacquer, special edition, unnumbered, 23 5⁄8 × 26 3⁄8 × 18 1⁄8 in. (60 × 67 × 46 cm) overall Kunstmuseen Krefeld, Germany

Heinz Mack (German, b. 1931) Lichtrelief (Light relief), 1959 2 aluminum plates in iron frame, 5/8, 22 13⁄16 × 11 13⁄16 × 5 15⁄16 in. (58 × 30 × 15 cm) Published by Edition MAT, Paris Kunstmuseen Krefeld, Germany, p. 88

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Begeisterung für Bücher Seite 236  Hirmer_14410666_Multiplied_Edition_MAT Frank J. Malina (American, 1912–1981) Victor Vasarely (French, b. Hungary, 1906–1997) Tableau Mobile—Hercules (Mobile picture—Hercules), 1960 Keiho, 1956/1959 Lumidyne system: mirror, painted Plexiglas, light sources, and Screen print on paper in painted wood box with corrugated electric motor in painted wood box, 3/100, 11 × 11 × 4 1⁄8 in. glass, ed. 100, 27 1⁄4 × 21 5⁄16 × 2 3⁄4 in. (69.2 × 54.2 × 7 cm) (28 × 28 × 10.5 cm) Published by Edition MAT, Paris Published by Edition MAT, Paris Kunstmuseen Krefeld, Germany, p. 110 Kunstmuseen Krefeld, Germany, p. 90 Victor Vasarely Man Ray (American, 1890–1976) Markab, 1956/1959 Le retour à la raison (The return to reason), 1919/1960 Screen print on paper in painted wood box with corrugated Aluminum sheet, 6/100, 17 11⁄16 × 17 11⁄16 × 17 11⁄16 in. glass, 6/100, 21 5⁄16 × 27 1⁄16 × 3 3⁄4 in. (54.2 × 68.7 × 9.5 cm) (45 × 45 × 45 cm) Published by Edition MAT, Paris Published by Edition MAT, Paris Kunstmuseen Krefeld, Germany, pp. 112–13 Kunstmuseen Krefeld, Germany, pp. 92, 94 (detail)

Enzo Mari (Italian, b. 1932) Additional Artworks Oggetto a composizione autocondotta (Self-composed object), 1959/1967 Yaacov Agam Painted wood and acrylic in painted wood frame, 21/100, Constellation, 1956 10 × 10 × 1 15⁄16 in. (25.4 × 25.4 × 4.9 cm) Painted wood and painted metal, 33 7⁄16 in. (85 cm) diameter Published by Galleria del Deposito, Genoa, Italy Courtesy of Galerie Denise René, Paris Mildred Lane Kemper Art Museum, Washington University in St. Louis, University purchase with funds from Mr. and Mrs. Robert H. Shoenberg and Josef Albers Mr. and Mrs. Sydney M. Shoenberg Jr., by exchange, 2019 Structural Constellation “To Ferdinand Hodler,” 1954 Incised vinyl acetate resin on wood, 17 1⁄4 × 22 1⁄2 in. Bruno Munari (Italian, 1907–1998) (43.3 × 57.2 cm) Struttura continua (Continuous structure), 1958/1960 The Museum of Modern Art, New York, The Riklis Collection of McCrory 1 1 1 Aluminum, 4/100, 16 parts, 3 ⁄8 × 3 ⁄8 × 3 ⁄8 in. Corporation, 1983 (8 × 8 × 8 cm) each Published by Edition MAT, Paris Pol Bury Kunstmuseen Krefeld, Germany, pp. 21 (Ÿg. 10), 98 Erectile Entity, 1962 Metal wires and painted wood panel with electric motor, Dieter Roth (German, 1930–1998) 36 × 35 3⁄4 × 13 1⁄2 in. (91.2 × 90.6 × 34.2 cm) Book AA, 1960 The Museum of Modern Art, New York, Gift of Philip Johnson, 1969 18 card stock sheets in a box, 23/100, sheets: 15 1⁄8 × 15 1⁄8 in. × (38.4 38.4 cm) each Karl Gerstner Published by Edition MAT, Paris Das schwarz-weiße Konzentrum (The black-white Kunstmuseen Krefeld, Germany, pp. 21 (Ÿg. 9 [detail]), 101 Konzentrum), 1955–56 Lacquer enamel on aluminum on wood, 23 5⁄8 in. Jesús Rafael Soto (Venezuelan, 1923–2005) (60 cm) diameter Spirale (Spiral), 1955/1959 Private collection, courtesy of Galerie Knoell, Basel Screen printing on Plexiglas and painted plywood, 4/100, 19 11⁄16 × 19 11⁄16 × 9 13⁄16 in. (50 × 50 × 25 cm) Heinz Mack Published by Edition MAT, Paris Untitled, 1964 Kunstmuseen Krefeld, Germany, pp. 106–7 Stainless steel, 16 1⁄8 × 21 7⁄8 in. (41 × 55.6 cm) Neuberger Museum of Art, Purchase College, State University of New York, Jean Tinguely (Swiss, 1925–1991) Gift from the George and Edith Rickey Collection of Constructivist Art Constante indéterminée (Indeterminate constant), 1960 Painted sheet iron, clamp, and spring with electric motor, Frank J. Malina 13/100, 12 × 7 1⁄16 × 4 3⁄4 in. (30.5 × 18 × 12 cm) Re†ections III, 1962 Published by Edition MAT, Paris Lumidyne system: metal, painted Plexiglas, light sources, Kunstmuseen Krefeld, Germany, p. 20 (Ÿg. 8) and electric motor in painted wood box, 26 3⁄16 × 20 1⁄16 × 4 15⁄16 in. (66.5 × 51 × 12.5 cm) Courtesy of RCM Galerie, Paris

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Begeisterung für Bücher Seite 237  Hirmer_14410666_Multiplied_Edition_MAT Bruno Munari material, no. 1, 1957 Macchina inutile (Useless machine), 1945/1977 Journal, 7 7⁄8 × 8 1⁄4 in. (20 × 21 cm) Painted wood and tempera on paper, Edited and published by Daniel Spoerri, Darmstadt, Germany 82 11⁄16 × 27 9⁄16 × 5⁄8 in. (210 × 70 × 1.5 cm) 3 examples exhibited: Courtesy of Andrew Kreps Gallery, New York; Kaufmann Repetto, Milan/ Getty Research Institute, Los Angeles, p. 23 New York; and Repetto Gallery, London Kern Collection, Großmaischeid, Germany The Museum of Modern Art Library, New York Dieter Roth Gummibandbild (Rubber band picture), 1961 Multiplizierte Kunstwerke, die sich bewegen oder bewegen Nails and rubber bands on painted plywood, lassen—der Edition Mat Paris, 1960 Exhibition catalog, 6 11⁄16 × 19 11⁄16 in. (17 × 50 cm) 39 9⁄16 × 39 9⁄16 × 3 1⁄8 in. (100.5 × 100.5 × 8 cm) Published by Kaiser Wilhelm Museum, Krefeld, Germany Kunstmuseen Krefeld, Germany 2 examples exhibited: Galerie Der Spiegel, Cologne Jean Tinguely The Museum of Modern Art Library, New York Hatching Egg, 1958 1 1 Painted metal and plywood with motor, 30 ⁄2 × 32 ⁄2 × 9 in. Nota, no. 4, 1960 (77.5 × 82.4 × 22.7 cm) Journal, 11 13⁄16 × 4 1⁄8 in. (30 × 10.5 cm) The Museum of Modern Art, New York, Gift of Erwin Burghard Steiner, 1959 Published by G. von Gravenitz, Munich 2 examples exhibited: Victor Vasarely Getty Research Institute, Los Angeles, p. 216 Hotomi II, 1956–59 The Museum of Modern Art Library, New York Oil on wood, 22 11⁄16 × 18 1⁄2 in. (57.5 × 47 cm) Los Angeles County Museum of Art, Gift of Dr. and Mrs. Morton H. Randall Dieter Roth material, no. 2 (“Ideograme”), 1959 Journal, ed. 200, 7 7⁄8 × 8 1⁄4 in. (20 × 21 cm) Publications and Audiovisual Materials Edited and published by Daniel Spoerri, Darmstadt, Germany Distributed by Passagebuchhandlung Jürgen Dahl, Krefeld, Germany Pol Bury and Gherasim Luca (Romanian, 1913–1994) 2 examples exhibited: material, no. 5, 1960 Kern Collection, Großmaischeid, Germany The Museum of Modern Art Library, New York Journal, 7 7⁄8 × 8 1⁄4 in. (20 × 21 cm) Edited and published by Daniel Spoerri, Darmstadt, Germany 2 examples exhibited: Ulrich Wiedmann (German) Kern Collection, Großmaischeid, Germany Kinetische Objekte, 1960 The Museum of Modern Art Library, New York Color ¦lm with sound, transferred to DVD, 10 min. Kunstmuseen Krefeld, Germany Edition MAT: Multiplication d’œuvres d’art, 1959 Exhibition catalog, 6 11⁄16 × 19 11⁄16 in. (17 × 50 cm) Emmett Williams (American, 1925–2007) Published by Galerie Edouard Loeb, Paris material, no. 3 (“Konkretionen”), 1959 2 examples exhibited: Journal, 7 7⁄8 × 8 1⁄4 in. (20 × 21 cm) Galerie Der Spiegel, Cologne Edited and published by Daniel Spoerri, Darmstadt, Germany The Museum of Modern Art Library, New York, p. 214 Distributed by Passagebuchhandlung Jürgen Dahl, Krefeld, Germany 2 examples exhibited: Kinetische Kunst: Alexander Calder, Mobiles und Stabiles Kern Collection, Großmaischeid, Germany aus den letzten Jahren / Edition MAT, Paris, Kunstwerke die The Museum of Modern Art Library, New York sich bewegen oder bewegen lassen, 1960 Exhibition catalog, 7 7⁄8 × 8 11⁄16 in. (20 × 22 cm) Published by Kunstgewerbemuseum, Zurich 2 examples exhibited: Getty Research Institute, Los Angeles The Museum of Modern Art Library, New York

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EdMAT_Guts_Final_FINAL_RL.indd 238 04.12.19 10:17 SECTION 2: 1964 Arnulf Rainer (Austrian, b. 1929) Übermalte Aquatinta (Overpainted aquatint) or Edition MAT Übermalung Miró (Miró overpainting), 1964 Charcoal and pastel over aquatint by Joan Miró, Arman (American, b. France, 1928–2005) image: 8 1⁄4 × 8 1⁄4 in. (21 × 21 cm) Poubelle (Trash can), 1964 Published by Edition MAT / Galerie Der Spiegel, Cologne Trash in Plexiglas box on painted wood, 3 examples exhibited: 28 1⁄8 × 20 1⁄4 × 4 5⁄8 in. (71.4 × 51.5 × 11.7 cm) Galerie Der Spiegel, Cologne, Germany (56/100) Kern Collection, Großmaischeid, Germany (26/100), p. 128 Published by Edition MAT / Galerie Der Spiegel, Cologne Ludwig Museum Koblenz, Germany (2/100), p. 129 3 examples exhibited: Kern Collection, Großmaischeid, Germany (60/100), p. 118 Ludwig Museum Koblenz, Germany (68/100), pp. 33 (•g. 24), 68–69 (detail), 116 Dieter Roth Mildred Lane Kemper Art Museum, Washington University in St. Louis, Book BB, 1964 University purchase with funds from Aurelia Gerhard Schlapp, by exchange, 18 card stock sheets in a box, 2/50, 2013 (100/100), p. 119 box: 15 3⁄4 × 15 3⁄4 × 11⁄16 in. (40 × 40 × 1.8 cm) (closed); sheets: 15 1⁄8 × 15 1⁄8 in. (38.4 × 38.4 cm) each Jean Arp (French, b. Germany, 1886–1966) Published by Edition MAT / Galerie Der Spiegel, Cologne Variierbares Bild (Variable image) or Formen nach dem Mildred Lane Kemper Art Museum, Washington University in St. Louis, Gesetz des Zufalls angeordnet (Forms arranged according University purchase with funds from Aurelia Gerhard Schlapp, to the law of chance), 1964 by exchange, 2013, pp. 130, 131 Paper cutouts on felt-covered wood board behind Plexiglas, 15 3⁄4 × 15 3⁄4 × 1 3⁄4 in. (40 × 40 × 4.5 cm) Niki de Saint Phalle (French, 1930–2002) Published by Edition MAT / Galerie Der Spiegel, Cologne Shoot-it-yourself-picture, 1964 3 examples exhibited: Plaster, paint, and plastic on wood, 28 3⁄4 × 21 1⁄4 × 2 3⁄4 in. Getty Research Institute, Los Angeles (73/100), p. 120 (72 × 54 × 7 cm) Kern Collection, Großmaischeid, Germany (2/100) Published by Edition MAT / Galerie Der Spiegel, Cologne Ludwig Museum Koblenz, Germany (68/100), pp. 122, 123 (detail) 3 examples exhibited: Kern Collection, Großmaischeid, Germany (10/100; 24/100; 47/100), Karl Gerstner p. 132 (47/100) Linsenbild MAT (Lens image MAT), 1964 Laminated wood box, Plexiglas, 6 printed paper cards, and Jesús Rafael Soto light bulb, 15 11⁄16 × 15 11⁄16 × 6 5⁄16 in. (39.9 × 39.9 × 16 cm) Boîte (Box), 1964 Published by Edition MAT / Galerie Der Spiegel, Cologne Screen printing on Plexiglas in wood frame, 2 examples exhibited: 12 5⁄8 × 12 5⁄8 × 6 1⁄8 in. (32 × 32 × 15.5 cm) Kern Collection, Großmaischeid, Germany (85/100) Published by Edition MAT / Galerie Der Spiegel, Cologne Mildred Lane Kemper Art Museum, Washington University in St. Louis, 2 examples exhibited: University purchase with funds from Aurelia Gerhard Schlapp, by exchange, Getty Research Institute, Los Angeles (73/100), p. 137 2013 (32/100), pp. 124, 125 Kern Collection, Großmaischeid, Germany (10/100)

Man Ray Daniel Spoerri (Swiss, b. Romania 1930) Lampshade or Spiral, 1919/1964 Multiplicateur d’art (Art multiplier) or Spiegelobjekt 1 3 Painted aluminum sheet, approx. 47 ⁄4 × 15 ⁄4 in. (Mirror object), 1964 (120 × 40 cm) 2 mirrors on hinged wood boards with pairs Published by Edition MAT / Galerie Der Spiegel, Cologne of found objects, 19 11⁄16 × 39 3⁄8 × 3 1⁄8 in. 2 examples exhibited: (50 × 100 × 8 cm) Kern Collection, Großmaischeid, Germany (69/100), p. 127 Published by Edition MAT / Galerie Der Spiegel, Cologne Mildred Lane Kemper Art Museum, Washington University in St. Louis, 2 examples exhibited: University purchase, Bixby Fund, and with funds from Paul Burlin and Kern Collection, Großmaischeid, Germany (25/100), p. 138 Constance Wittco¡, by exchange, 2013 (5/100), p. 126 Ludwig Museum Koblenz, Germany (67/100), pp. 12–13 (detail)

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Begeisterung für Bücher Seite 239  Hirmer_14410666_Multiplied_Edition_MAT Paul Talman (Swiss, 1932–1987) SECTION 3: 1965 Objekt (Object) or Kugelbild (Ball image), 1964 25 painted table-tennis balls mounted between 2 Plexiglas Edition MAT panels, 15 3⁄4 × 15 3⁄4 × 2 in. (40 × 40 × 5 cm) Published by Edition MAT / Galerie Der Spiegel, Cologne Arman 2 examples exhibited: Schuhe (Shoes), 1965 Galerie Der Spiegel, Cologne, Germany (52/100) Halved shoe mounted on Mylar in painted wood shadow box, Kern Collection, Großmaischeid, Germany (8/100), p. 143 13 × 17 13⁄16 × 2 3⁄4 in. (33 × 45.2 × 7 cm) Published by Edition MAT / Galerie Der Spiegel, Cologne Jean Tinguely 4 examples exhibited: Constante (Constant), 1964 Kern Collection, Großmaischeid, Germany (51/100 and 66/100), p. 151 (bottom) Painted sheet iron and metal clamp with electric motor, Ludwig Museum Koblenz, Germany (97/100), p. 150 13 3⁄4 × 8 1⁄4 × 9 7⁄8 in. (35 × 21 × 25 cm) The Museum of Modern Art, New York, Committee on Prints and Illustrated Published by Edition MAT / Galerie Der Spiegel, Cologne Books Fund (32/100), p. 151 (top) 3 examples exhibited: Galerie Der Spiegel, Cologne, Germany (61/100) Enrico Baj (Italian, 1924–2003) Kern Collection, Großmaischeid, Germany (28/100), p. 144 General or Personaggio decorato (Decorated £gure), 1965 Ludwig Museum Koblenz, Germany (88/100) Felt, trimmings, and metal appliqués on mattress fabric, 18 1⁄2 × 22 × 1 3⁄4 in. (47 × 56 × 4.5 cm) Jacques Villeglé (French, b. 1926) Published by Edition MAT / Galerie Der Spiegel, Cologne Décollage, 1964 3 examples exhibited: Torn posters mounted on board mounted on aluminum, Kern Collection, Großmaischeid, Germany (17/100), p. 155 29 1⁄8 × 28 3⁄8 in. (74 × 72 cm) Ludwig Museum Koblenz, Germany (15/100), p. 152 Published by Edition MAT / Galerie Der Spiegel, Cologne Mildred Lane Kemper Art Museum, Washington University in St. Louis, 2 examples exhibited: University purchase with funds from Aurelia Gerhard Schlapp, by exchange, Kern Collection, Großmaischeid, Germany (4/100 and 10/100), p. 147 (4/100) 2013 (16/100), p. 154

Davide Boriani (Italian, b. 1936) Ephemera Supercie magnetica (Magnetic surface) or Ohne Titel (Objekt mit Magnet) (Untitled [object with Karl Gerstner magnet]), 1965 Invitation poster for exhibition of Edition MAT, collection 1964, Iron shavings and magnets in aluminum and × 7 8 × 15 16 Galerie Der Spiegel, Cologne, 32 15⁄16 × 23 7⁄16 in. Plexiglas container with electric motor, 13 11 ⁄ 3 ⁄ in. (83.7 × 59.5 cm) (33 × 30.2 × 10 cm) Courtesy of Galerie Der Spiegel, Cologne, pp. 31, 32 Published by Edition MAT / Galerie Der Spiegel, Cologne 3 examples exhibited: Galerie Der Spiegel, Cologne, Germany (39/100) Kern Collection, Großmaischeid, Germany (61/100), p. 156 Mildred Lane Kemper Art Museum, Washington University in St. Louis, University purchase with funds from Aurelia Gerhard Schlapp, by exchange, 2013 (37/100), pp. 36 (£g. 29), 158, 159

Pol Bury Ohne Titel (Bewegt mit Motor) (Untitled [moves with motor]) or Ponctuation noire ronde (Black round punctuation), 1965 Hardboard and wood with electric motor, 23 1⁄4 in. (59 cm) diameter Published by Edition MAT / Galerie Der Spiegel, Cologne 2 examples exhibited: Kern Collection, Großmaischeid, Germany (98/100) Ludwig Museum Koblenz, Germany (81/100), pp. 160, 161 (bottom, detail)

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Begeisterung für Bücher Seite 240  Hirmer_14410666_Multiplied_Edition_MAT Christo (American, b. Bulgaria, 1935) Man Ray Look, 1965 Objet indestructible (Indestructible object), 1965 Magazine wrapped in plastic and cord on painted wood, Metronome, photograph, and paper clip, 22 1⁄16 × 18 1⁄8 × 1 9⁄16 in. (56 × 46 × 4 cm) 8 7⁄16 × 8 7⁄16 × 4 1⁄2 in. (21.4 × 21.4 × 11.4 cm) Published by Edition MAT / Galerie Der Spiegel, Cologne Published by Edition MAT / Galerie Der Spiegel, Cologne 2 examples exhibited: 2 examples exhibited: Kern Collection, Großmaischeid, Germany (41/100), p. 165 Kern Collection, Großmaischeid, Germany (40/100), p. 177 Ludwig Museum Koblenz, Germany (55/100), pp. 162, 163 Ludwig Museum Koblenz, Germany (6/100)

Gabriele De Vecchi (Italian, 1938–2011) François Morellet (French, 1926–2016) Deformazione assonometria MAT (Axonometric Ohne Titel (Trames) (Untitled [grids]) or Grillage deformation MAT), 1965 (Wire mesh), 1965 Plexiglas on metal disk with electric motor, 11/100, Three wire-mesh screens and painted wood board 18 1⁄8 in. (46 cm) diameter × 3 9⁄16 in. (9 cm) in metal frame, 19 13⁄16 × 19 7⁄8 × 1 1⁄8 in. Published by Edition MAT / Galerie Der Spiegel, Cologne (50.4 × 50.5 × 2.9 cm) Kern Collection, Großmaischeid, Germany, pp. 57, 166 Published by Edition MAT / Galerie Der Spiegel, Cologne 3 examples exhibited: Karl Gerstner Kern Collection, Großmaischeid, Germany (10/100), p. 178 Rotbunte Reihen (Red-colored sequences), 1965 Ludwig Museum Koblenz, Germany (12/100), p. 179 Mildred Lane Kemper Art Museum, Washington University in St. Louis, Painted wood with aluminum, 17 11⁄16 × 17 5⁄8 × 2 7⁄8 in. (44.9 × 44.7 × 7.3 cm) University purchase with funds from Aurelia Gerhard Schlapp, by exchange, 2013 (17/100), pp. 234–35 (detail) Published by Edition MAT / Galerie Der Spiegel, Cologne 3 examples exhibited: Dieter Roth Kern Collection, Großmaischeid, Germany (2/50), p. 168 Mildred Lane Kemper Art Museum, Washington University in St. Louis, Book CC, 1964 9 9 University purchase with funds from Aurelia Gerhard Schlapp, 20 card stock sheets in a box, box: 16 ⁄16 × 16 ⁄16 × 1 in. by exchange, 2013, and Gift of Galerie Der Spiegel, Cologne, 2013 (42 × 42 × 2.5 cm) (closed) (19/50 and 20/50), p. 169 (top right, 20/50) Published by Edition MAT / Galerie Der Spiegel, Cologne 2 examples exhibited: Julio Le Parc (Argentine, b. 1928) Kern Collection, Großmaischeid, Germany (24/100) Untitled, 1965 Ludwig Museum Koblenz, Germany (66/100), p. 180 Metal mirrors and 4 double-sided printed paper cards in painted wood box, box: 14 3⁄4 × 23 5⁄8 × 14 7⁄16 in. Jesús Rafael Soto (37.5 × 60 × 36.7 cm) Ohne Titel (Untitled) or Piège de lumière Published by Edition MAT / Galerie Der Spiegel, Cologne (Light trap), 1965 2 examples exhibited: Nylon thread and screen-printed paper on wood, Kern Collection, Großmaischeid, Germany (28/100), p. 170 18 1⁄2 × 11 7⁄16 × 5 5⁄16 in. (47 × 29 × 13.5 cm) Mildred Lane Kemper Art Museum, Washington University in St. Louis, Published by Edition MAT / Galerie Der Spiegel, Cologne University purchase with funds from Aurelia Gerhard Schlapp, by exchange, 2 examples exhibited: 2013 (53/100), pp. 35 (žg. 28), 44–45, 172, 173 Kern Collection, Großmaischeid, Germany (60/100), p. 183 Ludwig Museum Koblenz, Germany (100/100) Roy Lichtenstein (American, 1923–1997) Seascape, 1965 Daniel Spoerri Screen print and die-cut collage on Rowlux in foil-lined Brote (Bread), 1965 painted wood box with Plexiglas, 3 3⁄16 × 24 15⁄16 × 3 5⁄8 in. Bread and ceramic, metal, and glass refuse mounted (33.5 × 63.3 × 9.1 cm) with wire in painted wood shadow box, 82/100, Published by Edition MAT / Galerie Der Spiegel, Cologne 22 1⁄8 × 22 1⁄8 × 6 in. (56.2 × 56.2 × 15.2 cm) 2 examples exhibited: Published by Edition MAT / Galerie Der Spiegel, Cologne Kern Collection, Großmaischeid, Germany (4/100), p. 178 Mildred Lane Kemper Art Museum, Washington University in St. Louis, Ludwig Museum Koblenz, Germany (67/100), pp. 35 (žg. 27), 174 University purchase with funds from Aurelia Gerhard Schlapp, by exchange, 2013, p. 185

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Begeisterung für Bücher Seite 241  Hirmer_14410666_Multiplied_Edition_MAT MAT MOT Dieter Roth Stempelkasten (Rubber stamp box), 1968 George Brecht (American, 1926–2008) Cloth-covered box containing 12 rubber stamps, 2 ink pads, The Universal Machine, 1965 2 ink bottles, and instruction sheets, box: 11 × 11 × 2 1⁄2 in. Cloth-covered box containing o set lithograph on paper, (28 × 28 × 6.3 cm) (closed) glass, and objects in various media, box: 11 × 11 × 1 1⁄2 in. Edition TAM THEK (28 × 28 × 3.8 cm) (closed) Published by Karl Gerstner and Daniel Spoerri Edition MAT MOT no. 1 Distributed by Edition Hansjörg Mayer, Stuttgart Published by Karl Gerstner and Daniel Spoerri 2 examples exhibited: Fabricated by Galerie Der Spiegel, Cologne Kern Collection, Großmaischeid, Germany (34/111), pp. 202–3 2 examples exhibited: The Museum of Modern Art, New York, Miranda Kaiser Fund (62/111), Kern Collection, Großmaischeid, Germany (19/111) pp. 200–201 The Museum of Modern Art, New York, The Gilbert and Lila Silverman Fluxus Collection Gift (73/111), p. 188 (detail) André Thomkins (Swiss, 1930–1985) DOGMAT MOT, 1965 Robert Filliou (French, 1926–1987) Cloth-covered box containing 10 printed paper cards bolted I was telling Marianne, 1965 to board, box: 11 × 11 × 1 1⁄2 in. (28 × 28 × 3.8 cm) (closed) Cloth-covered box containing 96 printed paper cards and Edition MAT MOT no. 5 wood tray, box: 11 × 11 × 1 1⁄2 in. (28 × 28 × 3.8 cm) (closed), Published by Karl Gerstner and Daniel Spoerri cards: 3 15⁄16 × 2 in. (10 × 5 cm) each Fabricated by Galerie Der Spiegel, Cologne 2 examples exhibited: Edition MAT MOT no. 2 Kern Collection, Großmaischeid, Germany (17/111) Published by Karl Gerstner and Daniel Spoerri The Museum of Modern Art, New York, Committee on Prints and Illustrated Fabricated by Galerie Der Spiegel, Cologne Books Fund (64/111), pp. 204 (detail), 206–7 2 examples exhibited: Getty Research Institute, Los Angeles (66/261), p. 192 Kern Collection, Großmaischeid, Germany (16/261) Emmett Williams 13 Variations, 1965 Maurice Henry (French, 1907–1984) Cloth-covered box containing color o set lithograph The Little Arsonist, 1965 on 13-part accordion-folded book, box: 11 × 11 × 1 1⁄2 in. Cloth-covered box containing paper, straw, twigs, (28 × 28 × 3.8 cm) (closed) gasoline in glass vial, Ÿle, matches, lighter, and printed Edition MAT MOT no. 6 paper card with Plexiglas, box: 11 × 11 × 1 1⁄2 in. Published by Karl Gerstner and Daniel Spoerri (28 × 28 × 3.8 cm) (closed) Fabricated by Galerie Der Spiegel, Cologne 2 examples exhibited: Edition MAT MOT no. 3 Kern Collection, Großmaischeid, Germany (37/261) Published by Karl Gerstner and Daniel Spoerri The Museum of Modern Art, New York, Gift of Carol O. Selle (ed. 261) Fabricated by Galerie Der Spiegel, Cologne 2 examples exhibited: Getty Research Institute, Los Angeles (57/111), p. 194 (detail) Kern Collection, Großmaischeid, Germany (22/111) Additional Artworks

Christian Megert (Swiss, b. 1936) George Maciunas (American, 1931–1978) Spiegel Bild (Mirror picture), 1968 Fluxkit, 1966–67 Cloth-covered box containing pivoting mirrors on Mixed media, box: 11 1⁄4 × 17 3⁄8 × 5 3⁄4 in. painted wood frame, 33/111, box: 11 × 11 × 1 1⁄2 in. (28.6 × 44.1 × 14.6 cm) (closed) (28 × 28 × 3.8 cm) (closed) Saint Louis Art Museum, Director’s Discretionary Fund, Friends Fund, Edition TAM THEK bequest of Helen K. Baer by exchange, the Contemporary Art Society, Published by Karl Gerstner and Daniel Spoerri Donna Moog, Dorothy Moog, Mr. and Mrs. Charles F. Knight, and Museum Distributed by Edition Hansjörg Mayer, Stuttgart Purchase by exchange, p. 37 Kern Collection, Großmaischeid, Germany, p. 198 Man Ray Letter Box, 1966 Letter box with ceramic letters and Plexiglas, 10/19, 11 × 5 × 2 1⁄2 in. (27.9 × 12.7 × 6.4 cm) Published by Multiples Inc., New York Kern Collection, Großmaischeid, Germany

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Larry Rivers (American, 1923–2002) Andrew Kreps Gallery, New York; Kaufmann Repetto Cigar Box, 1967 Milan/New York; and Repetto Gallery, London Wood, canvas, paper, and Plexiglas, with screen print, Galerie Denise René, Paris paint, and collage additions, AP (ed. 20), Galerie Der Spiegel, Cologne 13 3⁄16 × 15 15⁄16 × 13 7⁄8 in. (33.5 × 40.5 × 35.3 cm) Getty Research Institute, Los Angeles (overall, open) Kern Collection, Großmaischeid, Germany The Museum of Modern Art, New York, Gift of Jeanne C. Thayer Kunstmuseen Krefeld, Germany Los Angeles County Museum of Art Various artists Ludwig Museum Koblenz, Germany Allan D’Arcangelo (American, 1930–1998) The Museum of Modern Art, New York Jim Dine (American, b. 1935) Neuberger Museum of Art, Purchase College, Roy Lichtenstein State University of New York Claes Oldenburg (American, b. Sweden, 1929) Private collection, courtesy of Galerie Knoell, Basel George Segal (American, 1924–2000) RCM Galerie, Paris Andy Warhol (American, 1928–1987) Saint Louis Art Museum Tom Wesselmann (American, 1931–2004) WDR mediagroup, Cologne 7 Objects in a Box, 1965–66, published 1966 Wood box with stenciled paint additions, containing 7 objects in various media, 19/75, box: 21 1⁄8 × 16 5⁄8 × 12 7⁄8 in. (53.6 × 42.3 × 31.6 cm) (overall, irreg.) Published by Tanglewood Press Inc., New York Fabricated by Knickerbocker Machine & Foundry, New York The Museum of Modern Art, New York, Gift of Mr. and Mrs. Lester Francis Avnet

Ephemera and Audiovisual Materials

Karl Gerstner Invitation poster for exhibition of Edition MAT, collection 1965, Galerie Der Spiegel, Cologne, 32 11⁄16 × 23 1⁄2 in. (83 × 59.7 cm) Courtesy of Galerie Der Spiegel, Cologne, pp. 34–35 (Ÿg. 26)

Gerry Schum (German, 1938–1973) Kunstkonsum — Konsumkunst (Art consumption — consumption art), 1968 Black-and-white Ÿlm with sound, transferred to DVD, 29:30 min. WDR mediagroup, Cologne

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Sam Adams is the Koch Curatorial Fellow at deCordova Alexander Kau¡man is the Andrew W. Mellon–Anne Sculpture Park and Museum, where he organized the d’Harnoncourt Postdoctoral Curatorial Fellow in European group exhibition Truthiness and the News (2019) and coor- painting and sculpture at the Philadelphia Museum of Art. ganized the deCordova New England Biennial 2019. He He holds a PhD in the history of art and cinema and media has worked at the Central Institute for Art History in Munich, studies from the University of Pennsylvania, where he com- the Institute of Contemporary Art/Boston, the Getty Research pleted a dissertation on Marcel Duchamp and the moving Institute, and the Los Angeles County Museum of Art. image after Cubism. Recent exhibition projects include His writing on postwar Germany, feminist art of the 1960s, Rethinking the Modern Monument (2019) and The Duchamp queer art, and theater appears in Apricota, ARTnews, artist’s Family (2019). books, anthologies, and exhibition catalogs. He holds a BA from New York University and a PhD from the University Meredith Malone is associate curator at the Mildred Lane of Southern California. Kemper Art Museum. A specialist in post–World War II art practices in Europe and the United States, she has curated Ágnes Berecz teaches modern and contemporary art at and cocurated numerous exhibitions, including To See Christie’s Education, New York. Her writings have appeared Without Being Seen: Contemporary Art and Drone Warfare in Art Journal, Art in America, Artmargins, and the Yale (2016), Encountering the City: The Urban Experience in University Art Gallery Bulletin, as well as in numerous Contemporary Art (2014), Notations: Contemporary Drawing European and American exhibition catalogs. She is the as Idea and Process (2012), Tomás Saraceno: Cloud- author of 100 Years, 100 Artworks: A History of Modern Speci•c (2011), and Chance Aesthetics (2009). The catalog and Contemporary Art (2019), Simon Hantaï (2013), and accompanying Chance Aesthetics won the Midwest Art Contemporary Hungarian Painting (2001). She received her History Society Award for Outstanding Catalogue for 2009. PhD from the Université Paris I, Panthéon-Sorbonne. She received her PhD in art history from the University of Pennsylvania. Magdalena Holzhey is curator and head of collections at the Kunstmuseen Krefeld. Her numerous publications and Molly Moog is a curatorial assistant at the Mildred Lane exhibitions on twentieth- and twenty-šrst-century art include Kemper Art Museum and the Saint Louis Art Museum. Tailored for Freedom: The Artistic Dress around 1900 in She has contributed to numerous exhibitions and curated Fashion, Art, and Society (2018), Elmgreen & Dragset: The New Media Series: Clarissa Tossin (2019). Her essay on art Newcomers (2017), Unlearning the Body, Eva Kot’átková under the military dictatorship in Chile (1973–90), “CADA: A and Ketty La Rocca (2016), The Forces behind the Forms: Revolutionary Practice” (2013), was published in the journal Geology, Matter, Process in Contemporary Art (2016), and of the International Center for the Arts of the Americas at Living with Pop: A Reproduction of Capital Realism (2013). the Museum of Fine Arts, Houston. Her writing is included in Her doctoral dissertation at the University of Erlangen- Ai Weiwei: Bare Life (2019) and The Shape of Abstraction: Nuremberg on Joseph Beuys and the natural sciences was Selections from the Ollie Collection (2019). She received her awarded the Deubner Prize of the German Art Historian BA from Washington University in art history and Spanish. Association.

Marina Isgro is a curator and art historian specializing in post- war and contemporary art. Most recently she was the 2017–19 Nam June Paik Research Fellow at the Harvard Art Museums, where she cocurated Nam June Paik: Screen Play (2018). She received her PhD in 2017 with a dissertation on the develop- ment of kinetic art in the 1950s and 1960s, and she has pub- lished and lectured on kinetic art, video, and performance art. Her work has been supported by a Fulbright and other grants, and she has held positions at the Philadelphia Museum of Art, the Solomon R. Guggenheim Museum, and the Museum of Modern Art.

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Begeisterung für Bücher Seite 248  Hirmer_14410666_Multiplied_Edition_MAT Photography and Copyright Credits

© The Josef and Anni Albers Foundation / Artists Rights Photograph © Roberto Marossi, courtesy of Fondazione Society (ARS), New York, 2019, pp. 19 (‚g. 5), 74, 75 Jacqueline Vodoz e Bruno Danese, Milan, p. 25 (‚g. 15) Photograph by Stefan Altenburger, pp. 21 (‚g. 11), 33 (‚g. 25), Photograph courtesy of the Minneapolis Institute of Art, 58, 86, 135, 140–41, 142, 145, 146 pp. 36 (‚g. 30), 190–91, 196–97 © 2019 Artists Rights Society (ARS), New York / ADAGP, Minneapolis and St. Paul Newspaper Negatives Collection, Paris, pp. 14, 20, 33 (‚g. 24), 35 (‚g. 28), 44–45, 50, Minnesota Historical Society, p. 65 68–69, 72, 80, 104, 106–7, 108, 110, 112–13, 116, 118, 119, Digital image © The Museum of Modern Art / Licensed by 136, 137, 144, 145, 146, 147, 150, 151, 160, 161, 170, 172, SCALA / Art Resource, NY, pp. 25 (‚g. 16), 33 (‚g. 23), 173, 178, 179, 183, 194, 196–97, 234–35 151 (top), 164, 188, 200–201, 204, 206–7, 214 © 2019 Artists Rights Society (ARS), New York / ProLitteris, © 2019 Niki Charitable Art Foundation. All rights reserved / Zurich, pp. 12–13, 16, 23, 33 (‚g. 23), 138, 140–41, 184, ARS, NY / ADAGP, Paris, pp. 33 (‚g. 25), 65, 132, 185, 198 134, 135 © 2019 Artists Rights Society (ARS), New York / SABAM, © Dieter Roth Estate, courtesy of Hauser & Wirth, pp. 21 Brussels, p. 19 (‚g. 3) (‚g. 9), 100, 101, 103, 130, 131, 180, 181, 200–201, 202–3 © 2019 Artists Rights Society (ARS), New York / VG Bild- © Fondazione Jacqueline Vodoz e Bruno Danese, Milan, Kunst, Bonn, pp. 36 (‚g. 30), 60, 88, 120, 122, 123, 188, pp. 26, 27 190–91 Digital image © Whitney Museum of American Art / Licensed © Christo, pp. 162, 163, 164, 165 by SCALA / Art Resource, NY, p. 208 © Henri Dauman / DaumanPictures.com, p. 63 © Estate of Emmett Williams, p. 208 © Association Marcel Duchamp / ADAGP, Paris / Artists © Charles Wilp, bpk Bildagentur / Art Resource, NY, p. 24 Rights Society (ARS), New York, 2019, pp. 19 (‚g. 4), 82, 84, 85 Photograph courtesy of Foto Museum (FoMu), Antwerp, Additional Edition MAT Illustrations* p. 19 (‚g. 3) Photograph courtesy of Galerie Denise René, Paris. Getty Research Institute, Los Angeles, p. 181 All rights reserved, p. 18 Kern Collection, Großmaischeid, Germany, pp. 14, 20 (‚g. 6), © Karl Gerstner Estate, courtesy of Galerie Knoell, Basel, 60, 72 (right), 75, 80, 104, 108, 184 pp. 21 (‚g. 11), 54–55, 86, 124, 125, 168, 169 Ludwig Museum Koblenz, Germany, pp. 54–55 (detail), 136, Photo courtesy of Getty Research Institute, Los Angeles, 169 (top left, bottom) pp. 16, 21 (‚g. 12), 23, 137, 181, 194, 216 Minneapolis Institute of Art, Transfer from the MIA Research © J. Paul Getty Trust, p. 16 and Reference Library; The John R. Van Derlip Library © R. Hamilton. All Rights Reserved, DACS and ARS, 2019, Fund, 1969, pp. 36 (‚g. 30), 190–91, 196–97 p. 29 (‚g. 20) Moderna Museet, Stockholm, pp. 84, 85 Photograph courtesy of Jonas Kern, Großmaischeid, Collection Museum Haus Konstruktiv, Zürich, pp. 21 (‚g. 11), Germany, pp. 14, 20 (‚g. 6), 57, 60, 72 (left), 75, 80, 104, 33 (‚g. 25), 58, 86, 135, 140–41, 142, 145, 146 108, 118, 127, 128, 132, 138, 143, 144, 147, 151 (bottom), 155, The Museum of Modern Art, New York; Committee on Prints 156, 165, 166, 168, 170, 175, 177, 178, 183, 184, 198, 202–3 and Illustrated Books Fund, p. 33 (‚g. 23) Archive Kunstmuseen Krefeld, pp. 48, 51 The Museum of Modern Art, New York; Lee and Ann Photograph © Kunstmuseen Krefeld–Volker Döhne–ARTOTHEK, Fenerstock Fund, p. 164 pp. 19 (‚gs. 4, 5), 20 (‚gs. 7, 8), 21 (‚gs. 9, 10), 48, 51, 72 Studio Enzo Mari and Galleria Minini, Brescia, Italy, pp. 96, 97 (right), 74, 76, 79, 82, 88, 90, 92, 94, 98, 101, 106–7, 110, Collection Walker Art Center, Minneapolis; Gift of Mr. and 112–13 Mrs. Edgar Nash, 1966, p. 134 © Kunstmuseen Krefeld–Hermann Ege–ARTOTHEK, p. 47 Whitney Museum of American Art, New York; Purchase, with © Kunstmuseen Krefeld–Karl-Hein Lengwenings–ARTOTHEK, funds from the Print Committee, p. 208 pp. 8, 46 Courtesy of Zucker Art Books, New York, pp. 100, 103 © Kunstmuseen Krefeld–Bernward Wember–ARTOTHEK, p. 50 * Indicating alternate versions of the Edition MAT objects reproduced in this volume © Estate of Roy Lichtenstein, pp. 35 (‚g. 27), 174, 175 © 2019 George Maciunas Foundation / Artists Rights Society (ARS), New York, p. 37 © Man Ray 2015 Trust / Artists Rights Society (ARS), New York / ADAGP, Paris, 2019, pp. 92, 94, 126, 127, 177

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EdMAT_Guts_Final_FINAL_RL.indd 249 04.12.19 10:17 This catalog is published in conjunction with the exhibition Reprinted and newly translated texts in the appendix appear Multiplied: Edition MAT and the Transformable Work of Art, 1959–1965, courtesy of the authors or their representatives. organized by the Mildred Lane Kemper Art Museum at Washington University in St. Louis. All reasonable e¥orts have been made to obtain permission for images reproduced in this volume. Please address any oversight to The exhibition was curated by Meredith Malone. the publishers.

Exhibition Itinerary Copyright © 2020 Mildred Lane Kemper Art Museum, St. Louis; Mildred Lane Kemper Art Museum Hirmer. All rights reserved. No part of this book may be reproduced Washington University or transmitted in any form or by any means, electronic or mechanical, St. Louis, Missouri including photocopy, recording, or any other information storage February 7–April 19, 2020 and retrieval system, or otherwise without written permission from the publishers. Bechtler Museum of Modern Art Charlotte, North Carolina ISBN 978-3-7774-3429-2 (trade edition) May 22–September 18, 2020 ISBN 978-0-936316-47-5 (museum edition)

Lead support for the exhibition was provided by the William T. Kemper Library of Congress Control Number: 2019955398 Foundation. Additional generous support was provided by the Andy Warhol Foundation for the Visual Arts, the Hortense Lewin Art Fund, Printed and bound in Germany the National Endowment for the Arts, the Swiss Arts Council Pro Published by Helvetia, Emily and Teddy Greenspan, Elissa and Paul Cahn, Nancy Mildred Lane Kemper Art Museum and Ken Kranzberg, the David Woods Kemper Memorial Foundation, Washington University and members of the Mildred Lane Kemper Art Museum. Lead support Sam Fox School of Design & Visual Arts for this publication was provided by the Carl & Marilynn Thoma One Brookings Drive Foundation. St. Louis, Missouri 63130 T. 314.935.5490 The Andy Warhol Foundation for the Visual Arts F. 314.935.7282 www.kemperartmuseum.wustl.edu

Hirmer Publishers Bayerstraße 57–59 80335 Munich Germany T. +49 (0)89 12 15 160 F. +49 (0)89 12 15 1610 www.hirmerpublishers.com

Distributed in North America by The University of Chicago Press 11030 S. Langley Avenue Editor: Meredith Malone Chicago, IL 60628 Head of Publications: Jane E. Neidhardt Domestic: Contributing editors: Karen Jacobson, Holly Tasker T. 1.800.621.2736 Designer: Purtill Family Business F. 1.800.621.8476 Translators: Leah Marie Chizek, Kevin Cook International: Indexer: Kathleen Preciado T. 1.773.702.7000 Printer: Kösel, Altusried, Germany F. 1.773.702.7212 Pages 12–13: Daniel Spoerri, detail of Multiplicateur d’art (Art multiplier) or Spiegelobjekt (Mirror object), 1964. Pages 44–45: Julio Le Parc, detail of Untitled, 1965. Pages 54–55: Karl Gerstner, detail of Rotbunte Reihen (Red-colored sequences), 1965. Pages 68–69: Arman, detail of Poubelle (Trash can), 1964. Pages 234–35: François Morellet, detail of Ohne Titel (Trames) (Untitled [grids]) or Grillage (Wire mesh), 1965.

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