Artist Editions

Carol Rhodes’ edition Open Ground and Mudflats was created during the artist’s lifetime in collaboration with the Glasgow Print Studio. The print is based on an existing painting for which Rhodes personally selected a specific framing.



Archival pigment print in aluminium frame

52 cm x 45 cm (with frame)

Edition of 60, 4 of which were made available exclusively for the Haus am Waldsee by the Carol Rhodes Estate

Available copies: 1/4

800 Euro (framed), incl. VAT

Available on site at Haus am Waldsee or enquire by email at: p.remmers@hausamwaldsee.de

A discrete tear was shed before a pair of ox eyes. To accompany her exhibition How Frequency the Eye, the artist Josephine Pryde produced an exclusive edition for the Haus am Waldsee entitled Ochsenaugen durch Träne. The photograph, available in an edition of 20, displays the traditional Ochsenaugen pastry, as baked by the Altberliner Bäckerei, Berlin Friedrichshain, and seen through the indistinct blot of a solitary tear. The work is framed with a bespoke passe-partout in a complementary color evoking the feel of confectionery from another era.
The sugary delicacy’s name, as well as its shape and form – a puddle of syrup, a place to stare into that looks right back – mirror Pryde’s reflections on perception, cognition, and language in the concurrent exhibition, as well as her interrogation of the interplays between the eye and consciousness. Time is pulled by the labouring ox, whose eyes have been imitated in sugar. The seeing of a thing through one name, even as this name is taken from another, reflects a larger interest of the artist in language and the indexical relationships between words, objects and the photographs thereof.

C-Print

36.9 x 45.5 cm (with passe-partout)

Edition of 20

600 euros (incl. VAT), including passe-partout (without framing)

Available on site at Haus am Waldsee or enquire by email at: p.remmers@hausamwaldsee.de

The Fine Art Prints Edition by Jenna Bliss consists of enlarged scans of a Super8mm film strip that the artist buried for a week in the garden of the Haus am Waldsee. The earth has eroded the negative and changed its colour.

Based on her filmic practice, Bliss chose images of US flags, which are intertwined here with the history of the Haus am Waldsee. Between 1942–45, this was the official villa of Karl Melzer, Vice President of the Reich Film Chamber, and thus has a concrete connection to the Nazi propaganda film industry. After the end of the Second World War, the house became an institution for contemporary art in the spirit of liberal Western cultural policy with the support of the US Allies. This historical context bears witness to the ongoing entanglement of politics and culture, whereby the latter is often used to legitimise ideological and hegemonic claims to power.

Super8 film, digital C-print

Edition of 20

20.32 x 35.56 cm

300 Euro (incl. VAT) unframed

Available on site at Haus am Waldsee or enquire by email at: p.remmers@hausamwaldsee.de

At the same time as the camera helmet film Alle Tage wieder – let them swing! (1974), the so-called seconds sculptures were created. The photo series in black and white shows horizontal and vertical layers of plates, cups, glasses and other kitchen utensils being washed up, which were captured in their temporary appearance as sculptures by the artist in collaboration with the photographer Heiner Ranke. The image above was selected from the series for the exhibition edition, which is now available to purchase in an edition of 25.

B/W photography

Edition of 25

28 x 21 cm

(Sold out)

The character depicted here is Pepper, a character from Hospital Hekmat. Pepper’s diagnosis, which is also printed on her bed sheet in the dormitory, reads: ‘Never wants to grow up’. This description refers to a pathological condition in psychology in which patients withdraw into a childlike immaturity in order to protect themselves emotionally after traumatic experiences. However, as with the other inmates at Hospital Hekmat, Pepper’s aim is not to heal this condition, but to merge into it, to celebrate it. The hole in her forehead refers to the historical treatment method of skull trepanation, a surgical procedure performed since ancient times in which a hole is drilled in the skull to allow supposed demons to escape.

The digital collage was printed on silk velvet, which gives it a very three-dimensional appearance. Leila Hekmat modelled it on the work of the French artist Gaspard Grégoire, who wove portraits into silk velvet in the 19th century and thus achieved a high luminosity and tactile quality. She cut the velvet to size and stitched it onto black, acid-free passe-partout cardboard made from cotton rags.

Digital collage printed on silk velvet

Edition: 10 pieces

40.5 x 50.5 cm

1.190,- Euro (incl. VAT) without frame

Available on site at Haus am Waldsee or enquire by email at: p.remmers@hausamwaldsee.de