Kunstnere, kunstmonografier

Art and stories of strong women, dreamers and survivors; women who were forged in flame. Featuring the art of Elizabeth Leggett, with stories and poems by Melinda Snodgrass, Cammie Lee Leary, Carrie Vaughn, Cindy O'Quinn, Emily Mah, Stephanie Ellis, Michelle Garza and Melissa Lason, Agatha Andrews, Louise Monroe, Lezlie Revelle Zucker, Caroline Spector, Jess Phillips, Catherine McCarthy, and Jane Lindskold.

In her photographic series Paris - 9 Rue de l'Université, Frizzi Krella (b. 1970) explores the seemingly mundane subject of a window front undergoing renovation work. With her precise eye, she transforms her observations into a multifaceted reflection of the moment, a composition of the ephemeral. Krella's photographs are an invitation to investigate the world, with its various distortions and compositions, as if it were a puzzle. They are an opportunity to delight in the playful appropriation of the various layers of reality and coincidence in order to assimilate the things we have seen into the cosmos of our own experience of art and the world around us. Thus, her work takes us all the way back to the very origins of photography and to the Paris of two centuries ago, when moments first began to achieve timelessness.

Nu.dity never goes out of style! One fashion photographer throws all the rules overboard and photographs his favorite models without clothes. The result is a transitioning of boundaries, full of relish, shameless, hot and free and easy. Skin is the most stylish form of clothing, after all.

Die Publikation widmet sich dem Wandel von Männlichkeit(en), den Bildende Künstler:innen seit den 1970er Jahren und aktuell mehr denn je verhandeln. Die vielfältigen künstlerischen Prozesse, in denen die Vorstellung von Männlichkeit als scheinbar universale, unumstößliche Konstante sukzessiv durch die Annahme einer Pluralität von Männlichkeiten abgelöst wird, beleuchten die kunst- und kulturwissenschaftlichen Beiträge des Bandes in vier Sektionen: Postphallische Männlichkeit, Queering Masculinities, Optimierte Männlichkeit(en) und Verletzlichkeit. Ausgehend von der Prämisse, dass Männerkörper keinen intrinsischen Wesenskern besitzen, sondern sozial konstruiert und somit transformierbar sind, werden Visionen zukünftiger Männlichkeit(en) diskutiert und greifbar gemacht.

Under the name MÜLHEIMER FREIHEIT, Hans Peter Adamski, Peter Bömmels, Walter Dahn, Jirí Georg Dokoupil, Gerard Kever and Gerhard Naschberger exhibited together for the first time in November 1980 at the Paul Maenz Gallery in Cologne and soon thereafter internationally. The way they purposefully questioned the pseudo-individual "creative" artist ego in an unpathetic and humorous way ensures them a special status in the "Hunger nach Bildern" [hunger for images] to this day. Clearly more and different than just "Wilde Malerei" [wild painting] in their approach. MÜHLHEIMER FREIHEIT was an announcement that was to shape the art scene in Europe for an entire decade. The book, with many illustrations of works, offers for the first time an overview of the group's history, made vivid by numerous previously unpublished photographs by Benjamin Katz.Text: Axel Heil, Sophie Hirschmüller, Toby Kamps, Paul Maenz.Artists:Hans Peter Adamski, *1947Peter Bömmels, *1951Walter Dahn, *1954Jirí Georg Dokoupil, *1954Gerard Kever, *1956Gerhard Naschberger, *1955

Max Oppenheimer war Expressionist der ersten Stunde. Mit der großen Schau wird das gleichermaßen unbekannte wie überraschende Oeuvre des Künstlers neu beleuchtet und dessen Motivschatz - von Porträts und religiösen Themen über Stillleben sowie Gruppenkompositionen bis hin zu Musiker- und Tierdarstellungen - erschlossen.Text: Alfred Fehringer, Kerstin Jesse, Lisa Smit, Aline Marion Steinwender.

Marguerite Hersberger (b. 1943, Basel) is part of the successor generation of Zurich Concretists and has been enriching art discourse in Switzerland since the mid-1960s. With her approach based on principles of order, systems, sequences and variations, this artist, who works as a sculptor of light and form, has also realized numerous architecture-related projects. This publication brings these together in a richly documented list of works. In addition, texts by Burkhard Meltzer and Margit Weinberg Staber shed new light on Hersberger's position within art history, while a conversation between the artist and Sabine Schaschl, director of Museum Haus Konstruktiv, reveals the interplay between independent works and architecture-related commissions.

Füsun Onur ist eine der bedeutendsten Künstlerinnen der Türkei. 2022 hat sie den Türkischen Pavillon auf der Biennale von Venedig bespielt. Zwar ist ihr beeindruckendes und vielseitiges Werk durch regelmäßige Beteiligungen an Gruppenausstellungen einem internationalen Publikum kontinuierlich zugänglich gewesen, hat aber bislang keine ausreichende Würdigung erfahren. Der Katalog zur Retrospektive stellt Arbeiten aus den 1960er Jahren bis heute vor.Text: Merve Yesilada Çaglar, Yilmaz Dziewior, Barbara Engelbach und Emre Baykal, Süreyyya Evren, Füsun Onur, Nilüfer Sasmazer.

Welcome to the captivating world of Little Miss Nightmare as she ventures through a whimsically spooky world, bringing adorable charm to every page. Dive into illustrations, let your creativity run wild, and find solace in the therapeutic art of coloring. Let your artistic expression flourish as you bring these delightful characters to life, making them an ideal companion for relaxation, stress relief, and a deeper exploration of your creative talents.This Coloring Book feature30 unique coloring pages, no repeatSingle-sided print to prevent bleed throughLarge-sized 8.5 x 11-inch pagesSuitable for markers, gel, pens, coloring pencils, and fine linersPremium finish cover designHours of art therapy and relaxation.

A critical investigation of Adam Pendleton's deep engagement with abstraction.   Adam Pendleton's exploration of abstraction-through painting, drawing, screen printing, sculpture, language, book arts, and film-over the past five years constitutes the core of this study and the exhibition that spawned it. The book features essays by exhibition curator Meredith Malone and senior scholars Hal Foster and Joshua Chambers-Letson along with a conversation between Pendleton and the critic and theorist Isabelle Graw. These texts illuminate the artist's fundamental understanding of abstraction as a conscious articulation of unimagined alternatives and a mechanism of both resistance and active engagement.   Painting is a central focus of Pendleton's work, and Isabelle Graw, in her interview with the artist, elucidates painting as a "primary form" for Pendleton, noting how the medium conceptually and theoretically informs how he moves through and operates in other forms as well as how his works address viewers as "cognizant participants." Hal Foster takes up Pendleton's engagement with bookmaking as another form of activation, arguing that the artist's creative compilations of texts and images activate readers and viewers, existing as resources to help us not only survive but flourish. Joshua Chambers-Letson's close reading of Pendleton's experimental film What Is Your Name? Kyle Abraham, A Portrait stimulates consideration of how artistic practice can be a means to negotiate with, dance with, and live with grief at the intersection of Black and queer love and loss. Meredith Malone contextualizes Pendleton's recent work, examining his multifaceted approach to abstraction as a "philosophical disposition" as well as a device to realize a more expansive, chaotic, and fluid space for both artist and viewer.   With more than 1,400 high-quality reproductions and full transcripts of two of the artist's recent films juxtaposed with extensive stills from each, To Divide By is Adam Pendleton's most ambitious publication to date. It is published on the occasion of an exhibition of the same name at the Mildred Lane Kemper Art Museum at Washington University in St. Louis in fall 2023.

"Though widely recognized as the founder of the legendary Fluxus movement, George Maciunas has long been a puzzling figure in the history of twentieth-century art. Many have questioned whether he should be considered an artist at all. In Fluxus Administration, critic and art historian Colby Chamberlain reveals the consistent artistic practice hidden behind Maciunas's varied work in architecture, music, performance, publication, graphic design, film, and real estate as an attempt to create models for community through structures of bureaucracy. In this deeply researched study, Chamberlain traces how Maciunas's art insinuated itself into settings as unlikely as the routes of the postal service, the fine print of copyright law, the zoning strictures of urban planning, and the corridors of hospitals. These shifting frames of reference expand our understanding of where an artistic practice can operate and what forms it might assume. In particular, Chamberlain draws on media theory to highlight Maciunas's ingeniously crafted paperwork, much of which is beautifully reproduced here for the first time"--

The Romanian-German artist Miron Schmückle is a singular position within contemporary art. Growing up in Romania under Nicolae Ceaüescu, he dreamed of other worlds that seemed forever inaccessible due to the Iron Curtain. From the beginning, Schmückle's uniquely coherent pictorial cosmos has been linked to the idea of primeval forests and jungles, oscillating between hyperrealism and undisguised escapism, precise observation of nature and exuberant imagination. His almost scientific approach belies the fact that his complex creations have not sprung from nature but from imagination. Schmückle's fascinating hybrid creatures intertwine notions of scent and poison, beauty and transience, anatomy and sexuality to create an oeuvre between truth and invention that is both timeless and ostensibly fallen out of time.This monograph comprises works from the past 15 years and gives insights into the artist's concepts and technique through an in-depth interview with art scholar and journalist Simon Elson.MIRON SCHMÜCKLE (*1966 Sibiu, Romania) emigrated toGermany in 1988 and studied from 1991-96 at the MuthesiusUniversity of Fine Arts and Design in Kiel in Renate Anger's classfor experimental painting, and at the HFBK Hamburg in the classfor performance with Marina Abramovic in 1994. He moved intohis first studio in Hamburg in 1997. Since 2008, he has lived andworked in Berlin. He received his doctorate in 2016, with a studyon Joris Hoefnagel's 16th century cabinet miniatures..

Ugo Rondinone's 2022 exhibition the water is a poem unwritten by the air / no. the earth is a poem unwritten by the fire at the Petit Palais in Paris explores the theme of transformation. Ugo Rondinone presents three ensembles of sculptures and a monumental video installation. Earth, sky, air, water and fire are invoked in the fullness of their spiritual dimension. Under the museum's painted ceilings, the first ensemble welcomes visitors in a farandole of suspended bodies painted in a clouded sky camouflage, underlining the ephemeral melding of air and water. A second ensemble is composed of seated sculptures of dancers at rest made from a blend of wax and earth collected from seven continents. The centerpiece artwork titled burn to shine, is a film installation presented in a monumental charred wood cylinder. The artwork depicts bodies coming together throughout movement, with dancers and musicians gathered around a fire in the desert from sunset to sunrise. In echo with John Giorno's poem titled You Got To Burn To Shine. This catalogue is a unique document of the dialogue between Rondinone's works confronted with the museum's architecture and its collections.UGO RONDINONE (*1964, Brunnen, Switzerland) is recognized as one of the major voices of his generation, an artist who composes searing meditations on nature and the human condition while establishing an organic formal vocabulary in sculpture, painting, video, and performance. The New York-based artist borrows from ancient and modern cultural sources; his works exude pathos and humor, going straight to the heart of the most pressing issues of our time.

Ein außergewöhnliches Künstlerinnenbuch der nächsten Biennale-Teilnehmerin Österreichs 2024.Ringgebundene Fotografien, Installationsansichten, Aquarelle und Filmstills fügen sich zu einer blätterbaren Werkcollage zusammen. Versehen mit einem transparenten PVC-Cover und ergänzt durch ein Gespräch mit der Künstlerin.

Zur Ausstellung erscheint ein Buch mit einem Essay von Daniel Muzyczuk, der die Hintergründe von Ridniys neuem Film The District und sein Interesse an der Theorie des Sehens des polnischen Künstlers Wladyslaw Strzeminski (1893-1952) beleuchtet. In einem Gespräch mit Anna RemeSová, das ursprünglich sieben Monate nach Kriegsausbruch im tschechischen Online-Kunstmagazin Artalk veröffentlicht wurde, skizziert Ridnyi erstmals die Idee für den Film, der nun in der Secession uraufgeführt wird. Neben zahlreichen Abbildungen beinhaltet das Buch eine künstlerische Intervention: Sie besteht aus einer Postkartenserie, die insgesamt acht Motive aus The District zeigt, einer persönlichen Erkundung seiner Erinnerungen an den weitgehend zerstörten Stadtteil Nord-Saltivka in Charkiw, in dem er während seiner Schulzeit lebte. Jedes Buch enthält ein zufällig ausgewähltes Motiv, wie eine geteilte Erinnerung.Text: Anna RemeSová.

Mai Lings erste Monografie erscheint anlässlich ihrer Ausstellung NOT YOUR ORNAMENT in der Secession, 15. September - 12. November 2023. Sie umfasst ein Gespräch zwischen dem Verein Perilla von und für asiatische Diaspora und dem in Wien ansässigen Künstler*innenkollektiv Mai Ling sowie einen Auszug aus Anne Anlin Chengs Buch Ornamentalism (2019), ins Deutsche übersetzt von Nicole Suzuki. Künstlerische Intervention: Stick Together, Kudzu-Bioplastik-Aufkleber auf dem Schutzumschlag, hergestellt in Wien von Mai Ling. Jeder Aufkleber hat eine andere Form und Größe.Text: Weina Zhao.

Tormented space is a series of incredible art worlds featuring impossibility and incredible beauty beyond the works of M.C. Escher. Like Douglas Hoftstadter through an AI-inversion lens of modern Stable Diffusion prompts, come explore this tortured and fantastic world of unresolvable, non-euclidean geometry where fantastic monsters as well as unimaginable wonder exist at every turn.

Guy Ben Ner macht aus wenig viel, indem er sich selbstund sein privates Umfeld radikal in seine künstlerischePraxis mit einbezieht. Die Wohnung seiner Familie in TelAviv dient dem Videokünstler genauso als Drehort wie dieFilialen einer Möbelkette. In diesen oft grotesken Settingsoffenbart sich der Einfluss von Wirtschaft und Politik aufdie intimsten menschlichen Beziehungen.Dabei ist es die Diskrepanz zwischen improvisierten Drehsituationenund der Stringenz der künstlerischen Konzepte,die sein Werk auszeichnen. Im Gespräch mit dem engenFreund und Künstlerkollegen Christian Jankowski gibt BenNer Einblick in den Entstehungsprozess seiner Werke. Dennwas im Video improvisiert und zufällig wirkt, basiert aufmonatelangen Recherchen und gründet in einem umfangreichenfilmhistorischen Wissen. Entlang von Begriffen wie»Ästhetik«, »Fantasie«, »Familie« oder »Zitat« entwickeltKuratorin Fanni Fetzer ein Alphabet des Widerstands in BenNers OEuvre. Die Publikation will die klare politische Haltungdes Künstlers und seine Strategie, spielerisch Widerstandzu leisten, vermitteln. Der Videokünstler GUY BEN NER (*1969, Ramat Gan, Israel) lebt und arbeitet in Tel Aviv. 2003 schloss er sein Studium der bildenden Kunst an der Columbia Universität in New York City ab. 2005 bespielte er an der Biennale Venedig den israelischen Pavillon und wurde 2022 mit einer umfassenden Retrospektive im Tel Aviv Museum of Art geehrt.

Platforms of Reality is a multi-layered analysis and interpretationof Heaven Baek's work, which explores how individualsand society interact both in reality and on stage.It ranges from the artist's early works to her most recentpractice, in which she questions the reality of video timelines,instant realities, and collective memories. Her wellscriptedperformances are spatial visualizations of theflood of real information that has somehow lost its purposeand meaning.The book is divided into four chapters, each exploring adifferent sense of reality and bringing together her artisticapproaches. The metaphor of the platform can beimagined as stages for her work, where trains depart fromdifferent tracks with different destinations, crossing pathsas they meet continuously. Baek attempts to permeatesocial collectives with her research and artistic methods-from drawing to video to installation.HEAVEN BAEK (*1984, Busan, South Korea) studied Media Arts in Melbourne, and received her Master's degree from the Glasgow School of Art. She uses staged reality to bring her videos and installations to fruition, magnifying mechanisms of society and social interaction. She lives and works in Seoul and Berlin.

Der österreichische Maler Herbert Brandl hat sich mitseinen großformatigen, gestisch expressiven Arbeitenals einen der wichtigsten Vertreter der zeitgenössischenMalerei etabliert. Seine Bilder oszillieren zwischenAbstraktion und Gegenständlichkeit, Beobachtungen derNatur stehen häufig im Mittelpunkt seiner Arbeiten. Seinunbändiger Schaffensprozess und ein kraftvoller und experimentellerUmgang mit Farbe zeichnen sein faszinierendesWerk aus.Die Publikation dokumentiert Herbert Brandls AusstellungSpirit Lead Me in der Wiener Galerie nächst St. StephanRosemarie Schwarzwälder. Ein Interview von Hans UlrichObrist mit dem Künstler und die Beiträge von CathérineHug und Thomas D. Trummer vertiefen die Auseinandersetzungmit Brandls Werk.HERBERT BRANDL (*1959, Graz) zählt zu den bedeutendstenösterreichischen Künstlern der Gegenwart. Von 2004 bis 2019lehrte er als Professor an der Kunstakademie in Düsseldorf.2007 vertrat er Österreich bei der Venedig-Biennale und nahmneben zahlreichen internationalen Ausstellungen 1992 an derDocumenta IX in Kassel und 1989 an der São Paulo Biennale teil.

”Læs denne stodder, for helvede, og lær!” Med de ord modtog forfatteren Gabriel García Márquez en lille bogpakke af sin ven og kollega Álvaro Mutis. Bogpakken indeholdt et af de mindste, men mest betydningsfulde forfatterskaber i latinamerikansk litteratur: romanen Pedro Páramo og novellesamlingen Sletten brænder – skrevet af mexicaneren Juan Rulfo.Til Rulfos forfatterskab føjede sig en løbende produktion af fotografier, som ifølge Susan Sontag gjorde ham til ”den bedste fotograf, jeg kender fra Latinamerika.” Og til fotografierne føjede sig diverse former for virksomhed inden for den mexicanske filmindustri.Med denne bog om Juan Rulfo gives der introduktioner til forfatterskabet, et signalement af det fotografiske værk og en oversigt over filmarbejdet, kombineret med perspektiveringer til læsninger af det aktuelle Mexico såvel som læsninger i andre verdenshjørner. Tør vi sige: Læs om denne stodder, for helvede, og lær!Illustreret med fotos af Juan Rulfo

With "Wunderblock BETA", DOCK 20 launched a new exhibition format devoted exclusively to digital art. In a monthly rotation, video and media artworks were shown online as well as taken into public space. Via a shop window converted into a screen in the entrance area of DOCK 20, the works were shown daily in the evening hours.In the course of the first exhibition cycle, a wide range of contemporary, young positions from the German-speaking world of media art were shown - established names alongside young, experimental artists, some of whom presented their first works. In interviews with the artists, the works are placed in a contemporary context and their perspectives are made accessible. It is therefore not only an exhibition of nine works, but also an exhibition about the art-making of digital artists. of artists working digitally.

Chiharu Shiota's site-specific installation with the evocative title "Who am I Tomorrow?" at the former assembly hall of Kunstraum Dornbirn unfolds the fascinating impression of a living, oversized and independent organism. It seems to hover above the visitors, precisely fitted into the protective historical architecture, connected to it by an uncountable number of red connecting lines. Shiota here turns the inside out.The representability of the inner, of psychological states - experiences, traumas, fears, blows of fate or moments of happiness, a sense of security or social mortification - finds its correspondence in the giving of artistic form. In this, the personal, the intimate, intertwines with the public. For Shiota, her art is a home, a medium of communication with the world. And she constantly creates this sense from within herself, taking her own experiences as her impetus and subject. For almost three decades, she has been developing a consistent, highly aesthetic and internationally successful formal language.

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Christiane Löhr schafft einen einzigartigen skulpturalen und installativen Kosmos mit Materialien aus der Natur. Organische Elemente wie Flugsamen, Pflanzenstängel, Kletten, Baumblüten, Pferde- und Hundehaar nutzt sie als Konstruktionsmaterial für ihr organisch-abstraktes Formenrepertoire. Auf überraschende Weise transformiert sie die vergänglichen Materialien in präzise konstruierte, zarte Skulpturen, mal filigran, mal raumgreifend. Passend zu der groß angelegten Überblicksausstellung lässt sich der Katalog als eine Art Anthologie verstehen: Neben aktuellen Texten von Julia Wallner, Jutta Mattern, Astrid von Asten und Tiziano Scarpa vereint er Essays diverser Autor*innen zum Werk der Künstlerin aus den vergangenen Jahrzehnten. Ergänzt wird er durch In-Situ-Fotos der Skulpturen im lichtdurchfluteten Bau des Arp Museums Bahnhof Rolandseck von Richard Meier.CHRISTIANE LÖHR (*1965, Wiesbaden), die in Köln und in Prato in der Toskana arbeitet, ist eine der wichtigsten Stimmen im aktuellen Diskurs um neue, zeitbezogene Ansätze in der Skulptur. Ihre Werke sind weltweit zu sehen, u.a. war sie Teilnehmerin der von Harald Szeemann kuratierten 49. Biennale di Venezia. Einzelausstellungen wurden ihr in der Panza Collection, Varese, im Kunsthaus Baselland, im Skulpturenpark Waldfrieden, Wuppertal sowie im Haus am Waldsee, Berlin gewidmet.

What would happen if humankind were to disappear? What would planet earth look like without us? In his monograph The World Without Us, Rainer Zerback (b. 1958) shows us such a world-in quiet images, shimmering with heat but without any trace of apocalyptic bluster. Targeted image editing brings individual everyday items into sharp focus. We encounter only traces of human civilization: cars, electricity pylons, all kinds of different dwellings. What at first glance gives the impression of peaceful seclusion, is at second glance unsettling and disconcerting.Rainer Zerback began Contemplationes at the end of the 1990s and continued the series until 2022. It comprises a total of sixty-nine works, fifty of which are collected for the first time in this publication. In her accompanying text, cultural scientist Lotte Dinse for the first time in reception history develops the interpretation of the series as a depiction of a 'World without Us'.