Spike Annual Edition Portfolio, 2014

Left: *Samara Golden, */“Mass Murder, blue room #1”, 2014/

Right: *Jonathan Monk, */“The Windows of The Museum”, 2014/

Left: Samara Golden, “Mass Murder, blue room #1”, 2014

Right: Jonathan Monk, “The Windows of The Museum”, 2014

*Heimo Zobernig, */Ohne Titel, 2014/

Heimo Zobernig, Ohne Titel, 2014

FOREVER”, 2014/


Left: *Sylvie Fleury,*/“CAMINO DEL SOL”, 2014/

FOREVER”, 2014/

LeftSylvie Fleury,“CAMINO DEL SOL”, 2014


Left: *Darren Bader,*/“11.62 EUR”/

Right: *Sylvie Fleury,*/“CAMINO DEL SOL”, 2014/

Left: Darren Bader,“11.62 EUR”

Right: Sylvie Fleury,“CAMINO DEL SOL”, 2014

Left: *Jonathan Monk, */“The Windows of The Museum”, 2014/

Right: *Darren Bader,*/“11.62 EUR”/

Left: Jonathan Monk, “The Windows of The Museum”, 2014

Right: Darren Bader,“11.62 EUR”

Left: *Samara Golden,*/“Mass Murder, blue room #1”, 2014/

Right: *Jonathan Monk,*/“The Windows of The Museum”, 2014/

Left: Samara Golden,“Mass Murder, blue room #1”, 2014

Right: Jonathan Monk,“The Windows of The Museum”, 2014

Right: *Samara Golden,*/“Mass Murder, blue room #1”, 2014/

Right: Samara Golden,“Mass Murder, blue room #1”, 2014

*Darren Bader,*/“11.62 EUR”/

Darren Bader,“11.62 EUR”

*Sylvie Fleury,*/“CAMINO DEL SOL”,// 2014/

Sylvie Fleury,“CAMINO DEL SOL”, 2014

*Samara Golden,*/“Mass Murder, blue room #1”, 2014/

Samara Golden,“Mass Murder, blue room #1”, 2014

*Jonathan Monk,*/“The Windows of The Museum”, 2014/

Jonathan Monk,“The Windows of The Museum”, 2014



Image Info

The 1st Spike Annual Edition Portfolio includes specially commissioned works by:

Darren Bader
Sylvie Fleury
Samara Golden
Jonathan Monk
Rob Pruitt
Heimo Zobernig

The Portfolio is produced in an edition of 100 + 6 AP, each packaged in a limited-edition archival box by Heimo Zobernig. The series is curated by Stefan Tasch. 

€ 1180 (incl. 13% VAT, excl. shipping costs)


About the editions:

Darren Bader
“11.62 EUR”
Dimensions variable
Signed and numbered certificate

At the 2014 Whitney Biennial in New York, Darren Bader showed two transparent, cylindrical donation boxes. Visitors could either donate money to “something” or “nothing”. Expressing a sometimes absurd freedom of choice in connection with tasks or instructions, Bader’s works often don’t follow a direct purpose or meaning. Including the audience and making them accomplices to his idea of art, he expands the historical notion of the readymade. Just as common ideas of authorship are rendered absurd, so too are the mechanisms of the art market. As stated on Bader’s certificate, the “11.62 EUR” can be spent, saved, or even forgotten. Independent of the fluctuations the work may experience in the art market, it remains at its nominal cash value. The “11.62 EUR” thus becomes a placeholder that resists market gain – at least on a formal level.

Darren Bader was born in 1978 in Bridgeport, Connecticut and lives in New York.


Sylvie Fleury
Black acrylic glass, engraved, finished in white, head screws, spacers
15 x 21 x 0,5 cm
Signed and numbered certificate

Sylvie Fleury became known in the 90s for luxury cars, Louis Vuitton bags, and high heels – readymade objects cast in bronze or included as components of larger installations. Since then, she has become one of the most important figures in contemporary art. Her work focuses on the surfaces of consumer culture: their power to both manipulate and seduce. Fleury takes well known advertising slogans or brand names like “BE AMAZING”, “ETERNITY”, or “ÉGOÏSTE” and twists them in ironic and critical ways that give them deeper significance. Her new work “CAMINO DEL SOL”, however, abstains from any recognizable brand symbolism. Instead, the pictogram evokes a universal dynamic in which there is no distinct division between interior and exterior space. What do we see? Does the current flow in or out? The black plexiglass hangs on the wall like a cryptic sign reflecting both its setting and viewer; and much like a mirror, becomes a medium of awareness.

Sylvie Fleury was born in 1961 in Geneva where she still lives. 


Samara Golden
“Mass Murder, blue room #1”, 2014
Digital pigment print
37 x 24.5 cm (image size) / 40 x 30 cm (paper size)
Signed and numbered on reverse

In installations like stage sets, Samara Golden generates subtle atmospheres that give rise to a wide variety of feelings, memories, and moods through different settings, lighting situations, and colour selections. These phantasmagoric spaces and many of the objects they contain – beds, tables, musical instruments – are constructed by Golden herself. In the installation “Mass Murder, blue room” (Night Gallery, L.A., 2014) reflective sofas stood on a blue carpet and hung from the ceiling. Bordering the setting, two mirrored walls produced multiple reflections of the salon-like interior with its grand piano and various other objects, considerably expanding the dimensions of the room. A video projection visible on the mirrored sidewall created the illusory impression of an enormous window flooding the room with the warm light of a sunset. The photograph “Mass Murder, blue room #1” shows an excerpt of this setting.

Samara Golden was born in 1973 in Ann Arbor, Michigan and lives in Los Angeles.


Jonathan Monk
“The Windows of The Museum”, 2014
Digital pigment print
32 x 53 cm
Signed and numbered on reverse

Jonathan Monk is one of few artists who specifically deal with the edition as artistic form. Several of his most significant works have originated as editions. He relates to artistic movements like the avant-gardes of the early 20th century or 1960s and 70s conceptual art with irony as well as appreciation and nostalgia. Personal biography and context always factor into his conceptual considerations and works. During a residency program at Vienna’s Belvedere in early 2000, Monk acquired three sets of slides, each featuring six pieces by the painter Gustav Klimt. Included in these sets were the famous works “Beethoven Frieze”, “The Kiss”, and “Judith”. Upon close inspection, one can recognize the name “Gustav Klimt” and the collection “Österreichische Galerie” (Belvedere) printed across the tops of the slide sleeves. Yet by the time one attempts to decipher this writing, it becomes clear that Monk has presented us with the works in reverse. Seemingly secure knowledge and quick conclusions that we’re dealing with the reproduction of an original are put to the test. Beyond this, the work can also be read as a type of historical document. In Austria, the paintings can no longer be seen together in this grouping – in 2001 and 2006, “Lady with Hat and Feather Boa”, “Adele Bloch-Bauer I”, and “ABB II” were returned to their legal heirs.

Jonathan Monk was born in 1969 in Leicester and lives in Berlin.


Rob Pruitt
4-color printed vinyl tape
4.8 x 6600 cm
+ Spike Art Quarterly #42
Signed and numbered certificate

Panda bears, jeans filled with cement, or sculptures made from old car tyres – in his installations, paintings, and actions, Rob Pruitt combines pop and folk art, irony and style. With works like “Cocaine Buffet”, a five-meter long line of cocaine for the New York art scene, or  “101 Art Ideas You Can Do Yourself”, Pruitt encourages the audience itself to become active. Even the flea markets he organizes and the “Rob Pruitt Art Award”, a type of Oscar for the art scene, are part of his art practice and actively include other people’s participation. In “USE THIS TAPE TO: JOIN 2 THINGS TOGETHER FOREVER”, Pruitt plays with the role of master of ceremonies. With an ironic blessing “By Reverend Rob Pruitt”, two objects can be joined together forever. Additionally, on page 90 of the enclosed magazine, Pruitt provides 3 concrete examples of how one might make use of the tape. The actual instructions for the piece – including potential objects (a cowbell, a lamp, or a dog house) and combinations – can be read on the tape itself. The work’s owner can of course freely choose which two things he would like to unite “forever”. And even those who don’t own Pruitt’s tape can follow the instructions. In this sense, “USE THIS TAPE TO: JOIN 2 THINGS TOGETHER FOREVER” is also conceived as a democratic, open work for all to use.

Rob Pruitt was born in 1964 in Washington, D.C. and lives in New York. 


Heimo Zobernig
Ohne Titel, 2014
Square box with lid, score and fold, rivet,
1.8 mm grey board (unique), styrofoam
56.5 x 40.5 x 16 cm

Particle board, wood, jute, cardboard, and styrofoam have become trademarks for Heimo Zobernig, who represents Austria at this year’s Venice Biennale. The scope of his artistic activity is vast, encompassing sculpture, stage design, painting, exhibitions, posters, catalogues, books, design, and performance. Zobernig’s works are not, however, so easily categorised. Instead, they tend to make reference; operating in the exchange and transfer between particular art forms. Besides cardboard sculpture that subtly and subversively undermines the minimalist ideal of objectivity and materiality by putting cheap material on display, Zobernig creates works that foreground a service-like quality. This can be seen, for example, in his stages (documenta IX) and cafes (Münster, 1997), which are conceived between art, design, and architecture. Likewise, his edition O.T. 2014, is a box that is simultaneously an autonomous sculpture and a functional object archiving the other artist’s works. The box contains five styrofoam inserts that can be removed separately and also used to display the editions.

Heimo Zobernig was born in 1958 in Mauthen and lives in Vienna.