Sigmar Polke | "Desastres und andere bare Wunder", 1982/84 | (for Parkett 2)

Browse selected unique works from Sigmar Polke’s "Desastres und andere bare Wunder", 1982/84 (for Parkett 2):

Sigmar Polke’s Leporello and unique Photographs for Parkett no. 2
Sigmar Polke’s 5.5 m long Leporello, which like his edition of unique photographs, also shows page elements of Goya's "Desastres". The Leporello was reproduced in full length in the entire print run of Parkett vol. 2. (shown below folded in the issue). The last image below shows the original Leporello exhibited at Polke’s retrospective at the Museum of Modern Art in New York in 2014.

Bice Curiger, Parkett Vol. 2, 1984
“The model for the offset print of Leporello ’s «DESASTRES and Other Full Wonders», created May 11 -12, 1984, in Cologne, is based on the copy of a film strip enlarged five times. Sigmar Polke had already developed the film in 1982, using raspberry brandy, coffee, Pril (a West German detergent) and other tricks known only to him . Distinguishable on the film are photos from the open pages of a book on Francisco Goya and parts o f a textured house wall. The folder «DESASTRES and Other Full Wonders » unfolds to the right across a black page imprinted with a black sun. An open book, copiously radiating and proliferating, is a recurring image in the pictorial sequence. The newspaperlike grid seeks to resist the ravages o f time as symbolized in the paper — spider-web paper that used to be placed between the pages of photo albums. It was probably for the sake of its stage effect that Leporello, the valet in Mozart ’s opera Don Giovanni, chose to list his master’s mistresses in an accordion-pleated book.

On May 11 - 12 and June 13 -1 5 , 1984, Sigmar Polke also made unique prints of the above-mentioned film in the form of greatly enlarged cuts measuring 12 x l 6 ”. One each of these 60 prints, signed by the artist, will be included in the Deluxe Edition o f Parkett No. 2. The photographs are each unique inasmuch as Polke influenced the chemical process in the darkroom in many different ways so that parts of the black and white prints display strong coloring. One of Sigmar Polke ’s techniques involves letting the silver shine through and oxidize. In addition, the near-sighted artist occasionally raised the enlarger so high that the grain, thus gigantically enlarged, would form independently fleeing clusters and that previously undiscovered continents would suddenly and quietly implode.”

Artist Document

Sigmar Polke assembling the prototype for his 5,5m long Leporello for Parkett vol. 2

Parkett Text
Read a selected text on SIgmar Polke

Parkett Cover
Sigmar Polke’s cover for Parkett no. 2

Artist Insert
Sigmar Polke's Insert for Parkett vol. 13

Artist Document

Installation view of Sigmar Polke’s original prototype and the 5,5m long offset version inserted in every copy of Parkett no. 2 (Polke retrospective, MoMA, New York, 2014)

Additional Publication on Sigmar Polke