Limited Editions

The Centre regularly produces limited editions in collaboration with the artists it shows. These are produced and sold exclusively by the Centre – an interesting opportunity to enrich or start a private collection!

All the profits generated through the sale of limited editions are used by the Centre to produce new works. Acquiring a limited edition from the Centre is a direct contribution towards invigorating and renewing the contemporary art scene – one that genuinely supports the artists. Certain categories of members get a price discount.

For any inquiry on how to acquire limited editions or works of art, please contact:

Maxime Lassagne
T +41 22 329 18 42
F +41 22 329 18 86

Karl Holmqvist
(Smoke Sign)


2017, Silkscreen on Bristol board.
50  x 60 cm
Edition signed and numbered 20 copies + 3 EA.
CHF 2000
Karl Holmqvist – Untitled (Smoke Sign)

Created on the occasion of Karl Holmqvist’s personal exhibition WORD SQUARES within the framework of the exhibition From Concrete to Liquid to Spoken Worlds to the Word at Centre d’Art Contemporain Genève, from 31 May to 27 August 2017.

Made with a lighter, like the graffiti left on the bus stops, this utopian message becomes rebellious prose and ultimately in pious wish.

Martin Boyce
Sans titre

Edition of the Centre d'Art Contemporain Genève.
Serigraphy on paper Somerset Tub Sized Satin enhanced with spray.
152.4 x 102.5 cm
Edition of 20 copies signed by the artist (+5 EA), including 6 lots: enhanced with blue, red, yellow, gray, black or white spray.
CHF 4000
Martin Boyce – Sans titre

Produced for a solo exhibition at the Centre, this limited edition by Martin Boyce is part of the project that the Scottish artist, who was awarded the Turner Prize in 2011, developed for two years and based on the “Chroniques de l’oiseau à ressort”, a book by Japanese author Haruki Murakami based in Tokyo. If certain places refer directly to those in the novel, what Boyce really borrows is its emotional atmosphere, suggested by the description of suburban spaces where time seems to have stopped.

Boyce’s work explores the legacy of modern design and architecture from the first part of the 20th century, a legacy based on the hope for a better society that these designers and architects sought to establish through their practice. These dreams – nowadays broken – have left in their ruins residues of forms and ideas that Boyce uses in his sculptures, installations and murals.

The edition enhanced with spray includes a schematic plan of the Centre’s third floor as well as the letters composing the title of the exhibition “A Lost Cat and Alleyways. Back Gardens, Pools and Parkways” spread through out the surface and that seem to offer a possible itinerary for the viewing of the exhibition. These letters just as most of the works showed in the exhibition are freely inspired by the concrete tree created in 1925 by the architect Robert Mallet-Stevens for the “Exposition Internationale des Arts Décoratifs et Industriels Modernes” in Paris.

Adrien Missika

Rotogravure on paper “à la cuve”, vellum of Rives 250g, “pur chiffon”.
Edition of the Centre d'Art Contemporain Genève produced for the exhibition of Adrien Missika and printed at the Atelier de Saint-Prex in February 2009.
57.5 x 45 cm
Edition of 15 copies (+3 H.C. et 3 E.A.), signed and numbered by the artist on the back.
CHF 1000
Adrien Missika – Oahu

Adrien Missika’s work is a constant exploration of intermediate spaces, between fiction and reality. He draws from sources such as artificial settings (or decoration ?) and comic strips, fantasy films and postcards. Extensive traveller, passionate about architecture and archaeology, Adrien Missika combines the images of his trips to those he produces in his studio from models made out of poor materials. He also often works with basic lighting. Playing with the viewer’s expectations and assumptions, the artists questions our relation to the world and its representations.

For this edition the artist uses a specific technique and depicts an insular landscape at twilight photographed in a studio with a chamber camera on a analogue negative (4 x 5 inches) and then printed on paper by rotogravure.

In 1828 in Nicéphore Nièpce’s studio photography emerged as a photogravure process. The rotogravure has retained in all its developments the characteristic of an art print: copper, ink, paper. The plate is made photosensitive with bichromated gelatine; it receives the images through exposure to light and is then etched with ferric chloride (just like aquatints). The etched plate is covered in ink and then wiped by hand in order to retain all the features from the more intense to the more subtle.

This process invented by Nicéphore Nièpce was improved by Abel Niepce de Saint-Victor and W.H. Fox Talbot in the first half of the 19th century. Conceived by Karl Klietsch in 1878 this technique of multiple reproduction allows richer nuances than paper development. As Pietro Sarto argues, with rotogravure one can work in “three dimensions”: material, volume and type of ink. Because of all these possibilities, it became the favourite technique of Edward Steichen and the photographers associated with Camera Work.

L’Atelier de Saint-Prex explores since 1968 different forms of etching. The collective of artists – with at its center Pietro Sarto, Valentine Schopfer and Michel Duplain – has among other things produced rotogravures of Balthasar Burkhard, Paul Strand or Edward Steichen.

Pamela Rosenkranz
As Add

Inkjet printing and acrylic handprint made by hand by the artist.
42 x 29 cm
Edition of 14 (+2 HC & 7 AP) signed, dated, and numbered on back by the artist.
CHF 1500
Frame with anti-glare glass: CHF 450

Pamela Rosenkranz – As Add

Edition of the Centre d’Art Contemporain for the Pamela Rosenkranz exhibition, March 2010. Pamela Rosenkraz’s use of skin coloured painting on her sculptures is here used to emboss a limited edition. The skin of her hand seems to have melted on the paper. The result seems to contradict the Latin inscription that it attempts to hide.

The Latin quote is by the satirical poet Juvenal. It has also been used as the acronym of a sports brand. It has a positive meaning for the sport brand yet originally it has a negative tone: “You should pray for a sound mind in a sound body”. The mechanism of advertisement is here re-enacted by the sculpture “Firm Being”, a bottle filled with water that creates an odd feeling of revulsion.

Gavin Turk
Bag Sticker

83 x 59 cm
Edition of 100 copies signed, dated and numbered by the artist on the lower right angle and initialled, dated and numbered by the artist.
CHF 600
Price of the unsigned and unnumbered version: CHF 70
Gavin Turk – Bag Sticker

Gavin Turk, a member of the « Young British Artists » (a group that includes among others Damien Hirst, Tracey Emin, and the Chapman brothers), explores notions of authenticity and identity that relate to the modernist and avant garde questioning of a “myth” of the artist and the “paternity” of a work of art.

This edition re-uses the recurrent motif in his work of the trash bag, for which he was awarded the Jack Goldhill Sculpture Prize in 2001 by the Royal Academy of Arts in London. In this case however, the trash bag is not rendered as a sculpture (‘Bag’), but as a photograph and printed as a sticker. Justifying his interest for this object the artist explains that : “a piece of rubbish on the street contains within it cultural stories – stories of use, of its production, of its being thrown away – the stories that this bin bag can tell are stories about who we are and how we live.”

“I don’t like things to be thrown away. Not that I’m nostalgic, particularly, but I do think it’s quite nice to change the temporal nature of things to try to understand what the things are. To have any experience of time – to understand that we wake up tomorrow or we woke up this morning – is to be a time traveller.

John M. Armleder

Synthetic resin and electric lamp
62 x 32 x 29 cm
Edition of 15 copies (+2 E.A.) initials of the artist, numbered
CHF 4500
John M. Armleder – Log

Combining geometric or abstract painting and objects, “Log”2 evokes John Armleder’s interest for the ready-made and seems to revive the origins of this practice. Marcel Duchamp said of his first ready-made created in 1913: “The Bicycle wheel is my first ready-made, so much so that at first it wasn’t even called a ready-made. To set the wheel turning was very soothing, very comforting, a sort of opening of avenues on other things than everyday material life. I enjoyed looking at it, just as I enjoyed looking at the flames dancing in a fireplace.” In a similar way John Armleder views culture as an abundance of ready-mades to which are added at times other techniques, superimposed on the objects depicted*.

Produced in the context of a Xmas party organized by the Centre d’Art Contemporain Genève this real fake Christmas log bought in the States bears the artist’s monogram.

* André Gervais, Roue de bicyclette, épitexte, texte et intertextes, in Cahiers du MNAM, n° 30, p.59/80.

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