REGULAUTO Bourdoon Haenni Diff Increases Ecart Croit Pressure Precission

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Lot Description: YOU ARE LOOKING AT ONE(1) HAENNI GAUGE P/N: 63/413.233 SIZE: 2-1/2" 316S/S CONNECTION MATERIAL RANGE: 0-2000 PSI / BAR CONNECTION: 1/4" NPT CENTER BACK MOUNT CASE: STAINLESS STEEL FILLABLE NEW SURPLUS IN FACTORY BOX

HAENNI 60PSI 400KPA GAUGE NEW.

HAENNI® GAUGE Lot Description: YOU ARE LOOKING AT ONE(1) GAUGE, HAENNI® P/N: 63/412.211 SIZE: 2-1/2" BRASS CONNECTION MATERIAL RANGE: 0-60 PSI / 0-400 KPA CONNECTION: 1/4" NPT CENTER BACK MOUNT CASE: STAINLESS STEEL FILLABLE

The Ecart group, founded by John Armleder, Patrick Lucchini and Claude Rychner, goes as far back as their childhood friendships, but it was the 1969 opening of the Ecart gallery in Geneva--which many considered the most important alternative space in Europe during the 1970s--that made it official. Ecart members eventually produced a dozen or so Super-8 films, some directed by Endre Tot and Gunther Ruch, which are compiled for the first time on this DVD. Titles include One Day Movie Hall, Fluxtheatre, Pieds, Why not Stop? (Part One), Trace, and The Crissier-Walk (Ecart Meets Adelina & Egon von Furstenberg). They are emblematic of the group's singular collective economy, and also attest to the era's increasingly intersecting media (performance, film, installation), to aesthetic and conceptual freedom and to the hybrid nature of artistic movements, from conceptual art to action, from individual poetics to the sharing of signatures, that characterized the 1970s.

The Ecart group, founded by John Armleder, Patrick Lucchini and Claude Rychner, goes as far back as their childhood friendships, but it was the 1969 opening of the Ecart gallery in Geneva--which many considered the most important alternative space in Europe during the 1970s--that made it official. Ecart members eventually produced a dozen or so Super-8 films, some directed by Endre Tot and Gunther Ruch, which are compiled for the first time on this DVD. Titles include One Day Movie Hall, Fluxtheatre, Pieds, Why not Stop? (Part One), Trace, and The Crissier-Walk (Ecart Meets Adelina & Egon von Furstenberg). They are emblematic of the group's singular collective economy, and also attest to the era's increasingly intersecting media (performance, film, installation), to aesthetic and conceptual freedom and to the hybrid nature of artistic movements, from conceptual art to action, from individual poetics to the sharing of signatures, that characterized the 1970s.