Eric Andersen, The Banner, 1989/90, Silkscreen on cloth, 1.60 × 50 m, Edition of 9
Courtesy of Archivio Conz, Berlin
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Eric Andersen's artwork comprised of nine, each 50 m long banner with coloured silkcreen printings (in yellow, red, purple, green, white, grey) of ellipses, letters and circles. Most of them are signed, numbered and dated.
Supposedly, the banner should be 450 m long, produced into 9 parts á 50 m.
We have 3 numbered parts (1st part of 9, 2nd part of 9 and 4th part of 9). 2 other 50 m long parts are only dedicated, but not numbered. The graphics on all the parts show similar motifs, but never the same composition. Means that all the single parts follow a certain design, always different.
We assume, that this artwork is unique and not an edition. Therefore a more profound research is requested.
In Viviani´s Complete Catalogue Raisoneè it is stated as edition.
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Eric Andersen (b. 1940 in Antwerp, Belgium, lives and works in Copenhagen, Denmark) is a Danish artist frequently associated with Fluxus, working in performance and Intermedia art. Andersen studied music in his childhood and, as early as 1960, began defining numbered pieces with the recurring title Opus, a series of compositions and open-ended work instructions, played in the paradox of the interaction between the artist and the audience. Andersen has been a promoter of Intermedia experiments and events, as well as an active contributor to mail art, engaging in complex experiments involving digital technology. With Francesco Conz, he worked on several ambitious editions, such as The Banner, which, at fifty meters long, is the longest screen-print in the world. The remarkable portable Crying Stone materializes the itinerant installation Crying Space, developed by Andersen in the 1960s and since then activated worldwide. Original Opus scores are now in numerous private and public collections, including the Silverman Collection, New York and the Museo Nacional Centro de Arte Reina Sofía, Madrid. Andersen continues to perform in institutions such as the Museum of Contemporary Art Tokyo (2014), the Seoul Museum of Art (2016), the Nikolaj Kunsthal in Copenhagen (2014), and the Fondazione Mudima in Milan (2019).
