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Copyright

Reproductions of works
© the artist or his/her legal successor

© 2016, ProLitteris, Zürich, Switzerland, for the following works of the following artists:

Carmelo Arden Quin
Poème-objet, 1975

Fernando Arias
¿Quién da más?, 1997
La historia de Arias, 1998
Lego Coffin (Homage to the Children of the Drug War), 2000
Crisi’s, 2004

Luis Camnitzer
Sentences. Adhesive Labels for #1 Mail Exhibition of New York Graphic Workshop, 1966-1967
This Is a Mirror. You Are a Written Sentence., 1966-1968
Esto es un espejo. Usted es una frase escrita., 1966-1973
Envelope, 1967
Fragment of a Cloud, 1967
Rubber Stamps, 1967
Horizon, 1968
Living Room, 1968
Selfportrait 1968, 1968
Selfportrait 1970, 1968/2006
Selfportrait 1972, 1968/2006
Biblioteca, 1968-1973
Contenido: Exhibición N° 1-4 Luis Camnitzer, 1969
Dictionary 1, 1969
Dictionary 2, 1970
Dictionary 3, 1970
Execution, 1970
First, Second, Third Degree Burn, 1970
A Statement Enclosed in Itself, 1971
Content, Approx. 1971
Miraculous appearance of a dot, 1971
Firma para vender por tajadas al peso, 1971-1973
A) Object covered by its own image; B) Object covered by the viewer’s image., 1971-1974
Compounded Error, 1972
Copy, 1972
Fragmentos de firma para vender por centímetro, 1972
Pintura mural original, 1972
Forma determinada por la conexión de los puntos externos del texto describiendo la forma., 1972-1974
Circunferencia, 1973
Coca-Cola Bottle filled with a Coca-Cola Bottle, 1973
Image constructed with words arranged in a sequence to form a sentence. (Sentence forming an image that looks like a sentence.), 1973
Distance representing a time difference of 0.00058504269 seconds between east and west (New York City)., 1973-1975
Fake Etching, 1973-1975
Span of the hand as a unit of lineal measure converted to one inch., 1973-1975
The Form Generating the Content., 1973-1977
Woman looking (at: an apple, an accident through the window, her drying fingernails, a pornographic magazine, an embroided pillow, a screaming crowd, a grease spot on a checkered tablecloth, a telephone ringing, Eisenstein’s face for approval)., 1974
Pencil drawing done after L. Cranach’s “Pythagoras as discoverer of the musical intervals” and erased from the paper., 1974-1975
Real edge of the line that divides reality from fiction., 1974-1975
Aguafuerte de Picasso “Modelo y escultura surrealista” serie Vollard N. 74, 1933 convertido en una sola línea, en un hilo, en una espiral, en su precisa longitud (cms. 813)., 1975
El instrumento y su obra., 1976
Posibles autorretratos según condiciones genéticas idénticas (estudio para la eventual construcción de una raza)., 1976
Silence / Repression, 1976
The Shadow of the Horizon, 1976/1983
The Book of Holes, 1977
The Perception of Oneself., 1977-1980
Arbitrary Objects and Their Titles, 1979
Landscape as an Attitude, 1979
Plusvalía, 1979
Hommage to Duchamp, 1980
Hommage to Duchamp, 1980
Pintura bajo hipnosis, 1980
The Discovery of Geometry, 1981
The Invention of Rain, 1981
The Photograph, 1981
Two Identical Objects, 1981
Dollar shelf, 1988
El viaje, 1991
Portrait of the Artist, 1991
Selbstbedienung, 1996
Las memorias del agua, 1998
Fenster, 2001-2002
Fenster, 2001-2002
King of Hearts, 2002
Compass, 2003

Carlos Cruz-Diez
Muro de cilindros pivotantes manipulables, 1954, Caracas
Proyecto para un muro exterior, 1954, Caracas / 1965, Paris (reconstruction)
Fisicromía 2, 1959, Caracas
Fisicromía 13, 1960, Caracas
Physichromie 20, 1960, Paris
Physichromie 51, 1962, Paris
Physichromie 225, 1966, Paris
Physichromie 317, 1967, Paris
Physichromie 1110, 1978, Paris

Julio Le Parc
Boîte-lumière, 1960/1971
Continuel-lumière – Mobile, 1960/1966
Continuel-lumière, 1960/1966
Continuel-lumière écran en plastique, 1960/1966
Continuel-lumière cylindre, 1962
Continuel-mobil, 1962/1996
Images projetées, 1962
Lumière en mouvement – Installation, 1962/1999
Lumière visualisée, 1962/1981
Lumière visualisée A – Variation sur thème 1962, 1996
Lumière visualisée B – Variation sur thème 1962, 1996
Cellule à pénétrer, 1963/2005
Cellule avec miroirs curves et lumière en mouvement, 1963/2005
Continuel-lumière au plafond, 1963/1996
Lumière en mouvement, 1964
Lumière sur ressort, 1964
Sol instable, 1964/2005
12 lunettes pour une vision autre, 1965
Jeux avec deux balles de ping-pong, 1965
Jeux avec deux balles de ping-pong en couleur, 1965
Table jeux avec balles de ping-pong, 1965
4 doubles miroirs, 1966
Continuel-lumière avec formes en contorsions, 1966/1996
Ensemble de 8 mouvements surprises avec lumière pulsante, 1966/1971
Lampe projetée, 1966
Lumière pulsante, 1966
Reliève avec plaques réfléchissantes, 1966
Formes en contorsion, 1967
Continuel-lumière avec 49 cylindres vitesse lente, 1967
Continuel-lumière avec 49 cylindres vitesse rapide, 1967
Mouvement-surprise avec lumière pulsante, 1967
Cercle projeté, 1968
Lumière en vibration – Installation, 1968
Lumière saccadée, 1970
Lumières alternées, 1971
Lumière verticale visualisée – Installation, 1978
Image en vibration autoportrait, 1981
Rubans au vent, 1988
Lumières alternées, 1993
Cercles successifs, 1996
Ligne-losange, 1996
Lumière sur mât, 1999

Rafael Lozano-Hemmer
Surface Tension, 1991-1993/2004
Pulse Index, 2010

Vik Muniz
Clown Skull, 1989-1990
I Am What I Read #2, 1989
Escape, 1990
16’200 Yards (Le songeur), after a 1854 cliché-verde by J.B.C. Corot, 1996
12'000 Yards. Etretat, d’après Courbet, 1997
Medusa Marinara, 1997
Sigmund, 1997
Andy Warhol, 2000
Barry Le Va (diptych) After, Continuous and Related Activities; Discontinued by the Act of Dropping, 1967, installed at the Whitney Museum in “The New Sculpture 1965-75: Between Geometry and Gesture,” February 20-June 3, 1990, 2000
Che (Black Bean Soup), 2000
Richard Serra, Prop,1968, installed at the Whitney Museum in “Contemporary American Sculpture: Selection 2,” April 4-May 5, 1969, 2000
Robert Morris After Untitled (L-Beams), 1965, installed at the Whitney Museum in “American Sculpture: Gifts of Howard and Jean Lipman,” April 15-June 15, 1980, 2000
Clip, 2002
Hanger, 2002
Scissors, 2002
Small Change, 2003
Toy Soldier, 2003
Marilyn Monroe, 2004
WWW (World Map), 2008
Nossa Senhora das Graças, 2008

Jesús Rafael Soto
Rojo, negro y vibración, 1969
Inmateriales en muro blanco, 1976
Tríptico horizontal negro, 1977

(All copyrights reserved. All reproductions as well as other uses without permission—with exception of the individual and private download of, or access to, the works—are forbidden.)

 

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