Jochims, Reimer and Wolf Wezel (editors) – Albers, Josef, Eugen Gomringer, Heinz Gappmayr, Friedrich Achleitner, Gerhard Rühm, and other artists and authors.

[CONCRETE POETRY] UNd: Prevue für mittelbare Kunst [ANd: Prevue for mediated art]. Nos I and II (all published) in 2 issues.

Munich: Omega Press, 1966. Folios (ca. 29.7 × 21.2 cm). Original pictorial staple-stitched self-wrappers and original printed, blind-stamped folder; [16] pp.; 23 unbound leaves and [12] thread-stitched pp. with reproductions of artworks. Wrappers and folder somewhat dust-stained; a few leaves with tiny, barely perceptible creases at the corners; else very good. Item #55208

One of 189 numbered copies signed by the publisher in the printer's note; besides this, 11 copies were published in a deluxe edition. Reimer Jochims, who was not only in charge as editor, but whose work is also the subject of the first issue, initially studied art history and archaeology. He wrote his doctoral thesis on the art theory of Konrad Fiedler. Fiedler's theory of “pure visibility”, which later authors contrasted with “recognizable seeing”, is likely to have had a formative influence on Jochim's own painterly practice and his exploration of “concrete poetry”. Instead of the mediality of canvas and paint as well as paper and typography, these were to become perceptible for themselves, in their concretion. From the mid-1950s, Jochims devoted himself to painting as a self-taught artist and in 1971 was awarded a chair in both free painting and art theory at the Städelschule in Frankfurt am Main. The second issue impressively documents the fact that Jochims was already well connected. In the first issue, Jochims presented his gradient paintings, which consist of up to thirty glazed layers of paint and reveal a gradient of color contours between warm and cold or light and dark. (Cf. Germaid Ruck, AKL LXXVIII, 2013, p. 111).

Fondazione Bonotto PVC10030.

As of June 2025, KVK, OCLC show three copies in North America.

Price: €1,500.00

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