Mathieu : Galerie Veranneman,
14.1.71 - 6.2.71

This rare Fluxus portfolio, designed by Ben Vautier, embodies late-1960s dematerialised art: the work *is* a bundle of ideas, instructions, and attitudes. *Participations…* operates as a catalogue for a “non-material” exhibition and, at the same time, as a logistical trace of a festival announced as worldwide, from 1 to 15 June 1969. Instead of objects, the folder offers contributions reproduced through plain printing, stencil, or photocopy—an aesthetic of speed, circulation, and intention. It gathers voices that redrew the boundaries of art: from George Maciunas and Robert Filliou to Daniel Buren, Dieter Roth, Wolf Vostell, Joseph Beuys, with Marcel Duchamp as a conceptual horizon. The deliberately ironic tables of contents and playful notes on the submissions affirm a Fluxus principle: seriousness needs play. As a numbered first edition limited to 502 copies, it stands as an emblematic document of the moment when art became protocol, performance, and network.

This large and sumptuous edition of Sombre printemps brings together one of Unica Zürn’s most haunting texts and an original burin frontispiece by Hans Bellmer. Issued by Pierre Belfond as the French translation of Dunkler Frühling, it appeared when Zürn’s name had become inseparable from Bellmer’s. That proximity is not merely biographical here; it shapes the entire aura of the book, in which text and image seem to emerge from the same disturbed inner world. The deluxe issue, printed on vélin d’Arches and accompanied by an additional proof on japon nacré, gives the volume a distinctly bibliophilic status. Bellmer’s signed frontispiece does not simply decorate the text, but stands as a visual counterpoint to Zürn’s claustrophobic prose. The publication is all the more poignant for having followed so closely upon Zürn’s death, as though the book became both tribute and posthumous memorial. Within the Cahiers du Regard, it ranks among the most charged and desirable collaborations. For the collector, this copy unites literary intensity, surrealist resonance, and exceptional material refinement.

A rare illustrated book that explores the decadence and sensual darkness of Catholicism. Hans Bellmer's engravings transform Bouvier's texts into a graphic exploration of forbidden desires. This work, situated at the intersection of literature and art, reveals a unique symbiosis between the provocative texts on the dark side of religion and Bellmer's unsettling, surrealist aesthetic. Bellmer's nine original burin engravings unveil a world of physical and psychological ambiguity and attest to his mastery as a printmaker and his fascination with the human form in all its distortions. The book is a testament to the subversive power of the illustrated edition and the way art and literature can reinforce each other to create an unforgettable statement.

This spectacular bibliophile edition of *Le Cœur à gaz* merges poetry and avant-garde theatre in a visually striking object. Illustrated with twelve lithographs by Sonia Delaunay, including seven full-page plates, it showcases the collaboration between Dadaist poet Tristan Tzara and modernist artist Delaunay. The prints are based on her 1923 costume designs, evoking the radical spirit of the time.