Kirkeby, Per, Timm Ulrichs, Joseph Beuys, Lene Adler Petersen, Aagard Andersen, Henning Christiansen, Erik Hagens, Henrik Have and other artists.

[FLUXUS ASSEMBLAGES AS TIME CAPSULES, OR THE DISPERSION OF ART] Ta' box. Nos. 1–4 (all published excepting the special festival issue, no. 2 2/1, which was released in a smaller print run).

Copenhagen: Panel 13, 1969–1970. Quartos (37 × 25 cm). Original transparent plastic bags, of which the bags of no. 1 and 2 are printed in color, with the original shipping envelopes with title and publisher stamps for the first two issues;
includes original art works and prints, found objects (for example, a pinecone, an artificial flower, a metal plaque, a cookie, a wooden stick, ointment, a fabric sample, a crumpled typescript, a photopolymer halftone plate, a penny, postcards, coat check tickets, etc.), copy art, photographs, posters, texts and original drawings, and more. Issues 1 and 2 are still unopened; the wide variety of materials, some of which are organic, are subject to the aging; under these circumstances, very good. Item #55574

Near-complete run of the neo-avant-garde assemblage periodical, which can be regarded as a continuation of the Danish journal ta’ (1967–1968). The irregular special issue 2 1/2, which is not included here, was produced during the three-week exhibition “Festival 200” at Charlottenborg for a very small circle of people. Also, different from the other issues, it was not distributed as a collection in a clear plastic bag, but only in a brown envelope. The regular issues were sent to subscribers and sold individually in a circulation of 250 copies. (See below: Thomas Hvid Kromann)

"ta’BOX was in many ways a lucky dip, which included not only poetry and offset prints but also posters, envelopes, documentary material, handbills, issues of other magazines from the left wing or counterculture and even objects such as spruce cones and the notorious cannabis cookies. ta’BOX is a time capsule from the 1960s, which is characterised by its material instability and may therefore undergo potential transformation over time, although the magazine was not, strictly speaking, meant to be a processual work. Today these small transparent plastic bags containing items of no value, due to the passing of time and to their ephemeral character, have become expensive collectors’ items. The impermanence of ta’BOX and the fact that the magazine, due to the inclusion of three-dimensional objects, cannot be reproduced, raises interesting questions for future avant-garde philology in terms of how to preserve and present this material." (Thomas Hvid Kromann, A Time Capsule from the Sixties – The Little Magazine ta’ BOX (1969–1970), in: A Cultural History of the Avant-Garde in the Nordic Countries 1950–1975, Leiden 2016, p. 208-211.)

It was planned that ta’ BOX would be published by h. m. bergs forlag, but the inclusion of a cannabis cookie in the first issue was too much for the publisher, Berg. After some discussion in the press, ta’ BOX was finally published by Panel 13, a very small publishing house run by composer Henning Christiansen, which had already published artist’s books by Hans-Jørgen Nielsen and Per Kirkeby as early as 1965. "ta’ BOX" bears similarities to internationally renowned assemblage periodicals such as the German “Omnibus News,” the Canadian “Notebook,” and the American “Assembling”. Key influences likely include the assemblage tradition of the avant-garde movements of the 1910s and 1920s, as well as George Maciunas’ Fluxus boxes from the 1960s and the two contemporary, more exclusive American assemblage magazines "Aspen: The Magazine in a Box” and William Copley’s “Shit Must Stop”, featuring a wide range of multiples by artists such as Marcel Duchamp, Sol LeWitt, Yoko Ono, John Cage, and many others. The participants themselves were responsible for the editorial oversight of these projects, which allowed for a high degree of diversity. Despite – or perhaps precisely because of – its avant-garde nature, the public impact of ta’ BOX remained rather limited, as the handmade editions failed to find an audience beyond the circle of neo-avant-gardists and a few isolated figures in the counterculture. (ibid.)

Not in Hendricks, Fluxus Codex.

As of April 2026, KVK, OCLC show three holdings in North America.

Price: €2,500.00

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