Installationskunst

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Over the past five decades Nancy Rubins has transformed everyday objects into dynamic, otherworldly assemblages in a multitude of scales, dimensions and mediums. Fluid Force presents a comprehensive survey of Rubins' gravity-defying practice and invites us to linger on her investigations of materiality-from early explorations of wood and clay to two-dimensional photo-collages, graphite sculptural drawings, and complex sculptures comprising found domestic objects (from televisions to toasters and hair dryers) and large salvaged objects such as boats, mattresses and airplane parts. Rubins' fascination with form and matter is unmistakable as she explores and challenges preconceived notions of what sculpture and drawing could and can be. With over 90 photographs and new texts by Phong H. Bui, Eric Shiner and Yayoi Shionoiri, Fluid Force is a much-needed publication that celebrates Rubins' extensive career and her brilliance in uniting the worlds of art and engineering-a reminder that what appears solid and static is in fact in a constant state of change.

Site-specific sculptures in dialogue with pre-Columbian works, from a midcareer American artist known for his use of natural materialsThis catalog follows the 2022 exhibition of works by US-born, Mexico-based sculptor Alma Allen (born 1970) in Diego Rivera's iconic Museo Anahuacalli in Mexico City. Through 26 newly commissioned sculptures installed among the volcanic architecture and grounds of the museum, this volume delves into Allen's ongoing engagement with time, form and hybridity. The publication features more than 70 illustrations alongside a long-form interview with the artist by exhibition curator Karla Niño de Rivera, an analysis on site specificity by world-renowned architect Mauricio Rocha and an essay concerning the mythologies shared across Rivera's and Allen's work by curator and critic Mimi Zeiger. The symbolic and ritualistic potentials enacted by Allen's contemporary intervention are in dialogue with Mesoamerican culture. Informed by the unique experience of how time is perceived at Museo Anahuacalli--where the ancient and present collide--the authors discuss different facets of the museum and collection (the Aztec goddess Coatlicue, the energy of Colima figures and these objects' historical use as portals into other worlds) in relation to Allen's work.

Sculpture of the Exposition Palaces and Courts, a classical book, has been considered important throughout the human history, and so that this work is never forgotten we at Alpha Editions have made efforts in its preservation by republishing this book in a modern format for present and future generations. This whole book has been reformatted, retyped and designed. These books are not made of scanned copies of their original work and hence the text is clear and readable.

Sculpture in Spain, a classical book, has been considered important throughout the human history, and so that this work is never forgotten we at Alpha Editions have made efforts in its preservation by republishing this book in a modern format for present and future generations. This whole book has been reformatted, retyped and designed. These books are not made of scanned copies of their original work and hence the text is clear and readable.

Dede Fox, Montgomery County Poet Laureate from 2017-2022, presents her latest body of work in "The Woodlands Art Benches: Sparking Connections." Inspired by the art bench installations throughout her home community in the Woodlands, TX, Fox has created a beautiful collection of original poems and colorful photographs that deserves to be showcased. This revised edition includes more information on art bench donors and locations.

A key theme pervading the work of Alex Müller (*1969) is her investigation of the complex phenomenon of time. Again and again, the artist finds impressive images representing time - both its progress as well as its relative nature. For Kunsthalle Nürnberg, Alex Müller has developed an exhibition that combines biographical allusions, cultural and art historical references. In eight chapters, the exhibition takes us on a journey through the artist's universe.Numerous everyday objects become charged with a specific meaning in Alex Müller's oeuvre. Any material can become an artistic material in her work. The artist underlines the open narratives of her art by cleverly playing with the boundaries of painting, drawing, sculpture, installation, film, sound, and performance.Stories are hinted at, but never fully told. The titles evoke associations with specific people, books, films, or events. Alex Müller's art always suggests something unspoken, encouraging further thought, and represents the perpetual search for the self as well as a varied exploration of transience.

This new edition, published in 2011 to mark the centenary of Henri Gaudier-Brzeska arrival in Britain from France, includes previously unpublished material and new essays that re-contextualise the book art historically.

Potenziale nicht-institutioneller Ansätze auslotend, hat der Zu¿rcher Ku¿nstler Lukas Hofkunst seit den 1980er-Jahren ein vielschichtiges und eigenständiges OEuvre geschaffen. Er entwickelt und realisiert seine kraftvollen Interventionen dezidiert abseits des traditionellen Kunstbetriebs und verknu¿pft sie mit unterschiedlichsten gesellschaftlichen Kontexten. Seine Skulpturen, Interventionen, Bilder und Performances haben - lange bevor es wieder salonfähig wurde - auf gesellschaftlichen «purpose» gesetzt. Hofkunsts Werke sind im besten Sinne integrativ; sie mischen sich subtil und glaubwu¿rdig ein in dringliche, gesellschaftliche Fragestellungen.

Es werden 31 (meist) neu konzipierte Werke gezeigt - u.a. von Louise Bourgeois, VALIE EXPORT, Dan Graham, Thomas Houseago, Alfred Hrdlicka, Iman Issa, Anna Jermolaewa / Manfred Grübl, Kapwani Kiwanga, Goshka Macuga, Hans Op de Beeck, Kara Walker, Lois Weinberger, Franz West, Fritz Wotruba, Heimo Zobernig.Text: Joanna Warsza, Christiane Erharter, Miroslav Halák, Sergey Harutoonian, Sabine Knierbein / Alexandra Ullmann, Axel Köhne, Andrea Kopranovic, Georg Lechner, Stella Rollig, Claudia Slanar, Mechtild Widrich, Luisa Ziaja.

Judith Fegerl explores the possibilities of electrical energy as sculptural and imaging material in a techno-poetic way. In "on/" she provokes a reflection on the availability and use of resources in a site-specific, symbiotic setting.The exhibition has symbiotically merged with and switched on Kunstraum Dornbirn. Electricity flows. For Fegerl's sculptural works, however, the electricity comes not from the socket as usual but from a solar power plant on the south side of the exhibition space that was specially designed and installed for the exhibition - a reference steeped in history, since the former assembly hall of the Rüsch Works built in 1893 constructed turbines for the first hydroelectric power plants.

Wir ist Zukunft. Visionen neuer Gemeinschaften kreist um die Sehnsucht nach einer idealen Gemeinschaft, eines harmonischen Lebens mit der Natur und miteinander. Das Buch blickt in sechs Kapiteln auf 120 Jahre künstlerische Visionen des Zusammenlebens: Ausgehend von der Lebensreformbewegung um 1900, über die visionären Architekturentwürfe von Bruno Taut oder Wenzel Hablik zu Constants Stadtutopie New Babylon, in deren Zentrum der spielerische Mensch stehen sollte; vom Hippie-Modernismus der 1960er-Jahre, über den Afrofuturismus bis zu zeitgenössischen Positionen, die eine Symbiose aller Lebewesen in und mit der Natur anregen. Die vorgestellten Werke sind Ausdruck eines Strebens nach neuen Lebensentwürfen in Gegenwart und Zukunft. Die künstlerische Perspektive wird in der Publikation durch wissenschaftliche und persönliche Beiträge und ein Künstlerinterview erweitert. In seiner nachhaltigen Gestaltung ist der Katalog ebenfalls einem Ideal auf der Spur.

Jeewi Lee is interested in all the traces-the intimate imprints and distinctive markings-that we leave behind and that inhabit the spaces surrounding us. Abstract compositions of rescued stories, worn-out pavements and stripped down wallpapers, cut out floors, grains of sand that have traveled millions of years around the world, coffee stains or burnt wood. These traces, both human and historical, become vessels of stories and memories, inscribed on various materials, bearing witness to the past, present, and future. This publication offers a comprehensive exploration of the manifold tracings of the Berlin-based Korean artist over the past decade. It provides insight into her highly conceptual way of working and unveils previously unseen documentation of her deeply personal process of creation.JEEWI LEE (*1987, Seoul) is a Berlin-based South Korean-German artist. She studied painting at the Berlin University of the Arts and at Hunter College University in New York, graduating in 2014 with a master in fine arts and since 2018 holds an MFA from the postgraduate program Art in Context. Her multidisciplinary practice encompasses site-specific installations and interventions, video and image series that predominantly deal with traces that question our visual perception, while also reflecting their own production process.

Rainer Jacob (b. Jena, 1970; lives and works in Leipzig) has anonymously installed objects made of ice in public settings in cities including Berlin, Leipzig, Paris, Moscow, Oslo, Prague, and Budapest since 2013. He then allows them to dematerialize and records the process in photographs. Radiators, wall outlets, QR codes, and the Duchampian pissoir are among his recurrent motifs. The impermanence of the ice objects builds bridges to street art, Fluxus, and action art. Critical observations on the unequal distribution of resources and political power in contemporary society, his works reflect on our perceptions and question the idea of originality in art while also probing the outer limits of sculpture.The publication showcases the ice objects of the past ten years, embedding them in a decade that has marked a sea change in the life of humankind: JustICE captures an artist's distinctive perspective on societal processes.

Ossian Fraser (b. Edinburgh, 1983; lives in Munich and Berlin) molds and captures evanescent moments. Working with volatile materials such as water, dust, or light, the artist exposes the latent potentials of unremarkable situations in the urban fabric and natural scenes. A tunnel in a city, a rock face in the mountains become points of departure and elementary components of his site-specific interventions, which he records in photographs. The book is the first to offer comprehensive insight into Fraser's artistic practice. Series of pictures showcasing his conceptual and poetic pieces alternate with conversations that not only demarcate the framework in which his art operates, but also touch on the great issues of our time.Ossian Fraser studied fine arts and sculpture at the Alanus University of Arts and Social Sciences, Bonn, from 2006 until 2009 and at the Weißensee Kunsthochschule, Berlin, from 2009 until 2013, rounding out his education in Albrecht Schäfer's master class in 2013-2014.

Knifemaking has become one of the USA's fastest growing hobbies. This is a book that every knifemaker would love to have.Antler Knife's detailed step-by-step instructions concern 1) selecting and preparing the material for the knife's handle and sheath (e.g., the antler, the leather, the wood and the bark), then 2) using the material to build a classic and authentic antler knife the Scandinavian way. Most of the comprehensive and valuable instructions in this book, whose author lives in northern Sweden, concern the intricacies of working with antler, a subject in which the author has over 50 years of experience. The instructions will help you to avoid mistakes and to learn important procedures, tricks and tips so you can develop your own style.Although the author uses reindeer antler for this knife, he explains you could also use moose or caribou antler.The author says, "I hope this book will lower the reader's learning threshold for working with antler, easing the knifemaker into this amazing hobby, and inspire readers to use their imagination and do something new".

Rocce Energetiche Oggi - progettare l'armonia della Terra attraverso le composizioni di pietra. Le antiche pietre trasmettono energie della terra benefiche ed abilitano punti di ancoraggio, per l'armonia degli spiriti del luogo. Le antiche tradizioni di cura, divinazione, realizzazione dei desideri ed intenti, fertilitä, combinati con alcune pietre continua dall'antico mondo al quotidiano di oggi. Tutti possono sintonizzarsi con le dimensioni sottili, attraverso l'arte della radiestesia ed altre forme di super sensibilitä, percezione. Collegandoci ed interagendo, possiamo migliorare il Feng Shui di un luogo, ottenendo un personale miglioramento. Fatti ispirare per scoprire tu stesso le energie magiche, associate ai siti megalitici antichi ed alle pietre energetiche moderne. Scopri come creare una configurazione di pietre in armonia con la terra e lavora con un rituale assieme alla terra sacra. L'autrice Alanna Moore, e¿ rabdomante, geomante da oltre 40 anni, con la sensibilitä e percezione delle energie, degli spiriti del luogo, insegna a livello internazionale, ed incorpora la conoscenza dei misteri della terra nel disegno di Permacultura e dei Giardini Bio Energetici.

DER GROSSE BOGENDer »große Bogen« oder auch »arc de cercle ist mit seiner Ambivalenz des Kontrollverlusts und der Beherrschung ein verführerisches Motiv, das eine lange Tradition in der Kunst- ­und Kulturgeschichte hat. Es findet sich in Darstellungen von Tanz und Akrobatik, beschreibt aber auch physische oder psychische Krankheiten: Der überstreckte (Frauen-)Körper drückt ekstatische Entrückung oder auch eine psychotische Störung aus, ­im Tanz aber steht er für virtuose Körper­beherrschung und Expressivität. Mit »Arch of Hysteria« widment das Museum der Moderne, Salzburg, eine Ausstellung diesem bildmächtige Motiv. Es werden Kunstwerke der letzten 100 Jahre aus verschiedenen Kontexten gezeigt und so der Vielfalt der Ausdrucksmöglichkeiten nachgegangen, die der Pose innewohnen - bis hin zu ihrer Umwandlung in ­abstrakte, aber dennoch expressive und daher ­unverkennbare Formen. Buch und Ausstellung ­beleuchten die (kunst)geschichtlichen Wurzeln des Motivs ebenso wie aktuelle Fortschreibungen in Malerei, Zeichnung, Skulptur, Fotografie, Video- sowie Performancekunst. Unter den Protagonist­Innen finden sich u. a. Denis Darzacq, Max Ernst, Georg Herold, Gustav Klimt, Alfred Kubin, Auguste Rodin, aber auch Alexandra Bircken, Louise Bourgeois, Ronit Porat, Barbis Ruder, Charlotte Rudolph, Valerie Schmidt und VALIE EXPORT; dabei sind viele Arbeiten extra für die Schau entstanden und werden in diesem Buch erstmals ­abgebildet.Ausstellung:Museum der Moderne Salzburg, 21/7/2023 - 14/1/2024

Die Form im Dienst des InhaltsDie Installationen der in Berlin lebenden Künst­lerin Sung Tieu (*1987 Hai Duong, Vietnam) ­be­schäf­tigen sich mit dem wechselseitigen (Zwangs-) Verhältnis von Bürokratie und Identität. Ausgangspunkt ihrer Arbeiten bilden ihre ­Recherchen über das Anwerbeabkommen für vietnamesische VertragsarbeiterInnen in der ehemaligen DDR. Vor dem Hintergrund ihrer eigenen Biografie begann sie sich mit den komplexen soziopolitischen Hintergründen dieses spezifischen Migrationskontextes zu beschäftigen. Es überlagern sich darin Aspekte des Arbeitsregimes, der Regulierung von Wohnraum und der Kontrolle der Privatsphäre. Diesen migrationspolitischen und ökonomischen Zusammenhängen spürt Sung Tieu in ihrer ­Archivarbeit systematisch nach und verdichtet ihre Forschungsergebnisse in Rauminstallationen, die Objekte, architektonische Interventionen, Dokumente, Zeichnungen, Videos und Toneinspielungen miteinander kombinieren, zu atmosphärisch eindrucksvollen audiovisuellen Erzählungen. ­Formalästhetisch sind ihre Arbeiten an Minimal Art und Konzeptkunst angelehnt. Was zunächst im Widerspruch zum politisch-narrativen Ansatz der Künstlerin zu stehen scheint, repräsentiert ­jedoch eine Form des kritischen Engagements, das den konventionellen Glauben an die Auto­nomie der Kunst und ihrer Interpretation auf die Probe stellt. Für Tieu steht die Form im Dienst des Inhalts. Das zeigt auch die Gestaltung dieser Publikation, die einen Teil von Tieus Recherchematerial und Archivalien sowie ihre gesamten ­Serien bürokratischer Dokumente in einer strengen Rasterstruktur reproduziert. Kunsthistorische ­Essays und ein Interview mit der Künstlerin geben uns zusätzlich Auskunft über weitere wichtige ­Einflüsse und Bezüge ihres Kunstschaffens.Ausstellungen:Kunst Museum Winterthur, 16/9 - 19/11/2023Kunsthalle Nürnberg, 9/3 - 9/6/2024

Gregor Schneider Preisträger Ernst Franz Vogelmann-Preis für Skulptur 2023Den Räumen nie entkommen zu können, weil sie gesellschaftlich und durch Tabus aufgeladen sind, weil sie neben ihrer physischen auch eine psychische Wirkung entfalten, kennzeichnet die künstle­rische Haltung von Gregor Schneider. ­Gregor Schneider, 1969 in Rheydt geboren, ist 2001 mit »Totes Haus u r« schlagartig einer breiten Öffentlichkeit bekannt geworden, nachdem die Arbeit auf der Biennale in ­Venedig mit dem Goldenen Löwen ausgezeichnet worden war. Nun erhält er, nach Roman Signer, Franz ­Erhard Walther, Thomas Schütte, Richard Deacon und Ay¿e Erkmen, den Ernst Franz Vogelmann-Preis 2023 für Skulptur. Der seit 2016 an der Kunst­­­akademie Düsseldorf lehrende Künstler »schaut hinter die Fassade der Dinge und definiert nebenbei die Begriffe Bildhauerei und Installation neu«, begründete die Jury ihre Wahl. Und in der Tat, seine biografisch fundierte Agenda bildet den ­irritierenden ­Ausgangspunkt seiner Arbeiten, die die Be­sucherInnen zu handelnden AkteurInnen ­werden lassen.Ausstellung:Kunsthalle Vogelmann, Heilbronn, 15/7 - 29/10/2023