Enrico Baj | L'uovo di saffo

Enrico Baj  

L'uovo di saffo

Self-published, 1999  

43.6 x 18 x 18 cm

Edition of 40 signed and numbered copies

Enrico Baj

Enrico Baj died on this day, twenty-one years ago, in Vergiate, Italy.

Enrico Baj | Baj at Marconi's

Enrico Baj

Baj at Marconi's

Milan, Italy: Studio Marconi Editore, 1969

45 x 40.1 cm. (bag)

Edition of 30

A multiple to commemorate Enrico Baj’s exhibition Baj at Marconi’s, in 1969. The work consists of a screen=printed plastic shopping bag with handles, containing two screen-printed plastic ties, four postcards, three exhibition brochures, mannequin arm, and a promotional button.

Enrico Baj | Cravatta

Enrico Baj

Cravatta

Milan, Italy: Achille Mauri Editore, 1969 

[84] pp., 30.5 x 31 cm., hardcover

Edition size unknown

Printed Matter had copies of this book/multiple a couple of years ago for $200 and I failed to order one, which I now regret, seeing copies sell for for twice that, in only half as good condition. 

Mostly, though, I want someone to make me a tie to wear that matches this one. 

“The tie is the minimal structure upon which I have focused in my recent work. The tie is the decoration preferred by today’s men because it entirely substitutes medals, military and civil decorations. The tie is the best symbol of today’s western culture and thought.”

- Enrico Baj, 1970

Enrico Baj | Personaggio decorato

Enrico Baj

Personaggio decorato

Cologne, Germany: Edition Mat Mot, 1965

46 x 55 x 4.5 cm.

Edition of 100 signed and numbered copies

Enrico Baj made his New York debut in 1960, when Marcel Duchamp and André Breton included him in a group exhibition at D’Arcy Galleries titled “Surrealist Intrusion in the Enchanter’s Domain.” He was one of the last artists who Breton aligned with Surrealism. 

In a 1963 essay, Breton described Baj's series Generals (pictured below), which would remain the artists' best known work: 

"A quite recent period in Baj's work has singled out from this brutish regiment several incarnations of the 'general in full dress uniform', a category summed up unforgettably by Benjamin Péret as being 'the grossly glided, perfectly poverty-stricken' [....] Had it not been for Baj, I would have been less attuned to the sight of the goldbeaters'-skins bulging out from behind all this paraphernalia."

These absurdist military characters adorned with medals and military regalia, which the artist found in flea markets, first appeared in his work in 1959, and in the next two years he produced around forty of the 'generals'. He would periodically return to them throughout his career, until his death in 2003. 

They were also the basis for his contribution to the Editon Mat Mot Collection 65. Personaggio decorato (or "Decorated Figure", in English) became the subject of a debate about authorship and value within the Mat Mot series. 

Baj's gallerist, Arturo Schwarz, wished to handle sales of the work, and objected to their low cost, fearing it would undermine his gallery prices. The work, he argued, was too similar to Baj's larger practice and would undercut sales and impact market value. 

Presumably at his urging, Baj initially refused to sign the multiples. Daniel Spoerri (founder and co-editor of Edition Mat Mot) eventually capitulated and agreed to indicate that the works were fabricated by Spoerri, distinct from an 'original' (see above pink poster). This ran counter to Spoerri's goal with the series, which was to de-emphasize the hand of the artist. 

Enrico Baj | La cravate ne vaut pas une médaille

Enrico Baj
La cravate ne vaut pas une médaille
Genève, Switzerland: Edition Rousseau, 1972
38 x 38 cm.
Edition of 160 signed and numbered copies

The Tie is Not Worth a Medal contains 21 folders of screenprints on handmade paper, some featuring mixed media additions such as plastic, felt and collaged paper. The final folder is signed "HC baj." They are housed in a white imitation leather slipcase, onto which is mounted a Lego board.

Auction records vary, with the size being listed as 38cm., 39.5cm., 40cm., and 40.5cm., and the edition size as either being 160, or 200, which is unusual, given that the work is numbered. The work has a value of between three and four thousand dollars.