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Per Kirkeby.
Nantes Musée des Beaux-Arts 1995 1 vol. broché in-4, broché, jaquette illustrée, 87 pp., nombreuses reproductions en couleurs. Catalogue de l'exposition du Musée des Beaux-Arts de Nantes, mai-septembre 1995. Très bon état.
Vølvens Spådom. Völuspa. Dansk gendigtning ved Suzanne Brøgger. Med 10 originallitografier af Per Kirkeby. Efterskrift af Vigdis Finnbogadóttir.
(København), Brøndum, 1994. 4to. Originalt litograferet omslag med beskyttelsespapir over. Med ialt 10 dobbeltsidede originallitografier. Nr. 137 af 200 eksemplarer signeret af kunstneren ""PK/94"".
Natural History and Evolution
, Snoeck-Ducaju & Zoon 1991, 1991 Softcover, 268 pages, English, 230 x 170 mm, Fine copy. ISBN 9789067300810.
Kunsthalle Bern - 27. April - 4. Juni 1979.
1979. Serigrafie. Blattgrösse: 128 x 90 cm.
Gut erhaltenes Plakat.
Ekspeditioner & Udflugter -
Copenhagen / Grenoble : Editions Blondal, 1992 - in-8 (15x21,5 cm) cartonné, dos toilé imprimé, 160 pages sur papier couché illustrées de 87 planches hors texte en couleurs - texte en danois - très bon état -
PER KIRKEBY retrospective , Per kirkeby and the forbidden paintings of Kurt Schwitters / ENG.
Brussel, Bozar, 2012 Hardback with dusjacket 285x225mm, 200pages., illustrations English text ISBN 9789085866275.
The Centre for Fine Arts presents a retrospective of the work of Per Kirkeby (born in 1938), one of the key painters of the Danish avant-garde. But just what does avant-garde mean: rupture, minimalism, abstraction, borrowings, subversion? One can find all of those in a prolific body of work that began in the 1960s in the wake of the Fluxus movement. But that is only one aspect of a very diverse oeuvre that draws just as much on the figuration of Danish classicism and the experiments of 19th-century French masters such as Eugene Delacroix. Kirkeby cannot be pigeonholed, nor does he want to be: he prefers to relentlessly question the position and the perceptions of the observer. An artistic process that has seen him turn to different media (canvas, blackboards, paper, bronze, etc.) in an assertion of the freedom he finds, as a trained geologist, in the omnipresence of nature. It is in this context that the Kurt Schwitters room in the exhibition is so relevant. Here, Kirkeby is not confronted with the Dadaist, but with an unfamiliar, figurative Schwitters, in love with landscape. ''Forbidden paintings'' - from the point of view of the modernist mainstream that is. The Danish artist recognises in this work his own credo: a visceral assertion of his freedom as an artist. Bozar, Brussel. Expo: 10/02/2012 - 20/05/2012
