Imre Kosics: Composition from La Lune en Rodage III
Medium: Silkscreen Print
Dimensions: 28 x 28 cm
Editor: Edition Panderma, Basel
Year: published 1977
Edition: This is an unnumbered copy of 230 editions (65 hors commerce were unnumbered)
Edition Panderma, Carl Laszlo, Basel
Galerie von Bartha, Basel
Private Collection, Basel
Condition / Restauration:
mint archival condition
A rare limited edition of the portable collection of post-war and contemporary art La Lune en Rodage III. This is an unnumbered copy of 230 editions (65 hors commerce were unnumbered) and part of the third serie of the La Lune en Rodage books. La Lune en Rodage was published in three volumes in 1960, 1965 and 1977 containing a total of approximately 180 art pieces which provide an account of the artistic avant-garde scene between the 1950s and 1970s. The art works were gathered by Carl Laslzo and included the greatest artists of the time who contributed with important pieces, often marking a turning point in their production and carriers: Enrico Castellani’s work for example is his first documented graphic work and Piero Manzoni's multiple Achrome is the only one produced by the artist.
Imre Kocsis (1937-1991) was a Hungarian-German concrete-constructive graphic artist. Kocsis began his studies in 1958 at the College of Fine Arts Hamburg. After his first solo exhibition at Galerie Leonhart München (1965) he moved to Düsseldorf in 1971. In 1978/82 Kocsis had a residency at the Stedelijk Museum in Amsterdam, followed by a residency at P.S.1 in New York (now MoMA PS1) and a visiting lecturer at the School of Fine Arts, Department of Sculpture in Reykjavík (Iceland). In 1989 he received the Karl Ernst Osthaus Prize of the city of Hagen. In 2009, the Foundation for Concrete Art and Design Ingolstadt took over part of the estate. The Hungarian Kocsis, who emigrated to Germany in 1959, worked with the media graphics and drawings from the 1960s. Already in his early work, the artist examined illusions of space, which were less generated by a graphic technique, but rather hidden behind the graphic structure. Around 1968, Kocsis reduced his color palette and developed a simple and "concrete-constructive design language". In mainly large-scale paintings Kocsis dealt with central compositions, diagonals, staggered shapes, circular shapes, surface displacements and visual irritations. Even in these early works, he focused on the "non-colors" black and white.