Udstillingskataloger og kunstsamlinger

Shara Hughes (geb. 1981 in Atlanta, lebt und arbeitet in New York) bezeichnet ihre Bilder und Zeichnungen als psychologische oder erfundene Landschaften. Ihre Steilküsten, Flussläufe, Sonnenuntergänge und üppigen Gärten, die oft von abstrakten Mustern eingerahmt werden, zeugen von märchenhaften Orten und paradiesischen Stimmungen. Die Gemälde nutzen, wie der New Yorker schrieb, "alle möglichen Tricks, um zu verführen, und schaffen es dennoch, als arglose Visionen von gar nicht so fernen Welten zu erscheinen". Mit Ölfarbe, Pinsel, Spachtel und Spray zelebriert die Künstlerin die Malerei an sich und zitiert dabei nicht selten die Meister anderer Kunstepochen.

THE COLLECTION OF THE NEUE NATIONALGALERIE, BERLINThe Neue Nationalgalerie in Berlin, the last building designed by Mies van der Rohe, has been closed a full six years for refurbishment. To mark its reopening the museum is presenting the highlights of its classical modernist collection under the title "The Art of Society, 1900-1945". Visionary, critical, resigned or utopian, the paintings and sculptures bear witness to art's dialogue with prevailing social conditions - from the German Empire to the First World War, the Weimar Republic and ultimately National Socialism. The catalogue documenting all works in the exhibition traces the major artistic tendencies during the first half of the 20th century in thirteen chapters. "The Art of Society, 1900-1945" offers a renewed encounter with works by Edvard Munch, Ernst Ludwig Kirchner, Tamara de Lempicka, Lotte Laserstein, Otto Dix, George Grosz, Max Beckmann, and many others that is as captivating as it is illuminating.

Never before has an exhibition moved the public as profoundly and changed the view of personal corporeality as strongly as has Gunther von Hagens BODY WORLDS. Through the aesthetic presentation of real, anatomically prepared human bodies, the exhibition uses death to convey descriptive knowledge about life and lets it become a deeply impressive encounter with ones bodily interior. About 45 million people worldwide have experienced this encounter. This catalog shows the extraordinary: anatomical specimens that have been prepared and preserved with a special technique invented by Gunther von Hagens. In addition to the medical-anatomical description of the human body, the catalog contains contributions to the topics of anatomy and plastination, posed specimens, and mandatory interment, as well as articles written by renowned scientists from the fields of anatomy and medical history, philosophy, aesthetics and art history, biology, and religious studies. The chapter about the anatomy and function of the human body is divided into the following sub-chapters: 1. The Locomotive System 2. The Nervous System 3. The Respiratory System 4. The Cardiovascular System 5. The Digestive System 6. The Urinary Tract 7. Reproductive Organs 8. Prenatal Development 9. Whole-Body Plastinates. New, revised edition with attractive design and color illustrations. A bestseller and standard work!

Bogen indeholder 5 videnskabelige artikler om dansk sølv på dansk og engelsk.

Ny bog viser en række fænomenale arkitekttegninger af københavnske bygninger – og giver indblik i, hvorfor den danske hovedstad er så gennemdesignet. Mange, der besøger København, bemærker, hvor gennemdesignet byen er – ikke bare restauranter, butikker og de danske møbelklassikere, men også hele byrum, hvor bygninger og gadeinventar går op i en højere enhed. Med bogen ”Byen på Tegnebordet - Drawing a city” – og en udstilling af samme navn fra 25/3 til 15/11 2021 – inviterer Københavns Museum os ind i maskinrummet hos dem, der over en 100 år lang periode tegnede meget af det København, vi kender i dag. Få bl.a. historien om Den Hvide Kødby, den præmierede Enghavepark, det kæmpe rensningsanlæg Lynetten, de ikoniske sporvogne og de mere ydmyge pissoirer. Udgangspunktet er en helt enestående samling af arkitekturtegninger mm: Stadsarki­tektens tegningssamling på 180.000 tegninger – en samling, som tilmed er ukendte for de fleste. Bogen er rigt illustreret med nogle af de bedste arkitekturtegninger fra København gennem tiderne og fotos af det gamle København. Men også af byen lige nu med den anerkendte fotograf Jens Markus Lindhes monumentale fotografier. Forord ved Louise Jacobsen og tekster af Stefanie Høy Brink og Regitze Lindø Westergaard. Desuden temaartikler der indkredser tegnestuens virke: Otto Käszner beskriver udviklingen i stadsarkitektens funktion, mens Claus M. Smidt tager os forbi otte meget forskellige stadsarkitekter, der hver satte deres præg på byen. Svend Haller Baggesen skildrer, hvordan tegningsarkivet var et uund­værligt arbejdsredskab ved både ombygninger og nybyggeri. Tore Leifer perspektiverer, hvordan bygninger, skabt med ét formål for øje, får nyt liv, når deres funktion ændres. Endelig beskriver Camilla van Deurs, hvad stadsarkitektens rolle er i dag, og hvilken indflydelse denne har haft på byens rum før og nu. Med sine mange hidtil upublicerede arkitekturtegninger og nye by fotos er bogen den oplagte gave til alle, der interesserer sig for København og for byens design.

Har våben fra den islamiske verden særlige karakteristika? Med udgangspunkt i utallige genstande fra danske samlinger diskuteres centrale aspekter vedrørende islamiske våben og rustninger: De forskellige typer og ikke mindst de forskellige sammenhænge, hvori de blev brugt i krigsførelse, i jagt og som statussymboler. Andre forhold, der behandles, er den rolle, våben og rustninger spiller i koranen og haditherne, deres historiske overgang fra trofæer til museumsobjekter, deres inskriptioner og den historiske Furusiyya-litteratur – de fundamentale manualer til praktisk uddannelse og moralsk dannelse for datidens ædle, islamiske krigere. Indeholder også 150 katalogtekster, primært om forskellige typer af våben og rustninger fra det Osmanniske Rige, Safavidriget og Mogulriget. Derudover præsenteres en række miniaturemalerier, der illustrerer, hvordan våben og rustninger blev brugt i deres historiske sammenhænge.

Susanne Ussing bevægede sig på tværs af kunstarterne som keramiker, arkitekt og billedkunstner. Hun stod bl.a. bag en række opsigtsvækkende og provokerende udstillingsvinduer for Nørgaard paa Strøget samt en række innovative sanse- og børneudstillinger. Hun var en af 1970’ernes feministiske stemmer, og kunstkritiker Mikael Wivel har betegnet hende som ”en af tidens mest originale begavelser”.Hun forholdt sig kritisk til sin samtid og udfordrede bl.a. det konventionelle boligbyggeri med byggeeksperimenter i Thylejren i 1970. Bogen rummer syv artikler af eksperter indenfor kunst, arkitektur og litteratur og kommer hele vejen rundt om Ussings værker fra 1960’erne og frem til hendes død i 1998. Desuden bidrager forfatteren Peter Laugesen, der kendte Susanne Ussing personligt, med et nyskrevet digt. Bogen kaster nyt lys på en markant skikkelse i dansk kunsthistorie og henvender sig til alle, der interesserer sig for billedkunst og arkitektur – og alt det midt imellem.

Monografien House of the Ax er udgivet i 2012 i anledning af udstillingen House of the Ax, som blev vist i Kunstforeningen GL STRAND. Kataloget er gennemillustreret med tegninger og malerier samt private fotografier og ledsages af en tekst af kunsthistoriker Sara Hatla Krogsgaard. Hardcover.

Beskriver designeren og møbelsnedkeren Kristian Vedels (1923-2003) virke. Bl.a. hans pionerarbejde med plastikdesign af brugsgenstande af alle slags og hans tidløse børnemøbler. I 1960 udtalte den amerikanske designmæcen Edgar Kaufmann junior, at "Vedels design vil starte en ny trend for amerikanske designeres brug af plastik". Denne bog har til formål at beskrive designeren og møbelsnedkeren, Kristian Vedels virke, der præsenteres hovedsageligt projekter fra 40'erne, 50'erne og 60'erne udvalgt ud fra hans eget tegnearkiv. Vedels virke var præget af en kompromisløs, undersøgende tilgang til forarbejdningsmetoder og materialer. Gennem årene raffinerede og videreudviklede han sine design i en stræben efter den form, der kunne opfylde hans strenge krav til multifunktionelle, ergonomiske og rationelle brugsgenstande. Kristian Vedels legemøbler, fugle, dukker og figurskitser er karakteriseret ved en helt særlig lune og tilstedeværelse. Rigt illustreret med fotos, skitser og tegninger

Guide til danske kunstmuseer – med et par afstikkere syd for grænsen. Carsten Boldt er kompetent og har både en usædvanlig allround viden og en kærlighed til kunsten, som man skal lede længe blandt professionelle kunst-forståere for at finde … Bogens forfatter synes på hjemmebane, hvad enten vi er på de små upåagtede museer, f.eks. i Nymindegab eller på Statens Museum for kunst. Nøgtern, let humoristisk og ukrukket i skildringerne af den rige kunst, danske museer rummer. Fra Ancher og Krøyer i nord, Søndergaard og Carl-Henning Petersen i vest, Nolde og Franciska Clausen i syd, Høst i øst og alt det meget andet med guldalder og HuskMitNavn indimellem. I alt ca 70 kunstmuseer! Hvem skulle have troet det? DANSKE KUNSTMUSEER vil være et hjælpsomt værktøj. Således at enhver, der bare er en smule kunstnysgerrig, ca. 1 million danskere vel, nemt kan orientere sig i den danske museumsverden. Og tilrettelægge den næste tur … og den næste …

Catalogue to a major traveling exhibition focused on Banksy, the world's most popular graffiti artist whose real identity remains unknown despite his domination of the global street art scene for over twenty-five years. This accessible volume devoted to the enigmatic artist known as Banksy showcases pivotal works from private collections grouped to reveal Banksy's key reference points and creative drives. The show features more than 100 original iconic works--always topical and certainly never dull--including Girl with Balloon, Gangsta Rat, Monkey Queen, along with lesser-known examples in other media such as "Banksy of England" banknotes, satiric CD covers, posters, and rare T-shirt designs. Laced with caustic and critical messages, Banksy's works examine capitalism, consumerism, war, social control, freedom, and other features of our time with groundbreaking freshness and immediacy. Insightful essays explore such topics as Banksy's philosophy, relationship to the art market, and choice to remain incognito. Banksy's paintings, sculptures, prints, infographic cladograms, and tube maps are accompanied by detailed contextual analysis and a time line with highlights of Banksy's career.

What is - a picture? This question runs through the oeuvre of Anita Stöhr Weber as she addresses it at its very roots. For even before there can be an assessment with regard to representation, crucial things have to be taken into account: material and support, surface and format, haptics, context, color and texture. They are just as much a part of a picture as they are the picture itself. Toeing the line between minimalism, concrete and conceptual art, Anita Stöhr Weber unites three groups of works from 15 years of exploring questions of digital image creation into this artist book and transfers them into a fourth: a careful study on image-making by way of a book. Every detail of the product carries her argument further: the choice of paper, format and binding, printing surface, position and alignment of the illustrations are just as much a part of ponderation as is the relationship between the printed page and the printed sheet.This is a book about pictures, a literal picture book and it is wrapped in a cover that can be folded in four different ways, thus turning what is read into something that can also be grasped.

"Up into the unknown" is the phrase the architects Colin Fournier and Peter Cook came up with for the futuristic architecture of the Kunsthaus Graz. To this day, this is to be understood as an invitation to explore the limits of the imagination and to test alternative ideas and utopias in a laboratory for art. Since 2003, the Kunsthaus has been an institution without a collection. Today it claims to be a museum. With its architecture of hybrid spaces, site-specific invitations to confrontation and the mission to be a production site for contemporary art, the Kunsthaus Graz is a space and place of potentiality and otherness.Blueprint for a Museum is to be understood as a draft for a museum, a blueprint that simultaneously reflects abstract categories of the institution and resonates with concrete programme concepts. The publication thus follows the idea of experimentation that the Kunsthaus Graz has embodied since its foundation.

Under the title "Hollow Ground" and playing off one of its most distinctive architectural elements, Kunstraum Lakeside in their 2023 annual publication centers its program on contemporary modes of existence. Just as the visible floor surface of the art space, once opened, reveals the underlying technical infrastructure, works by the invited artists uncover the fundamental conditions of life today. "Hollow Ground" explores performances reshaping reality in both analog and digital space, while interrogating the technological and/or social scripts that prefigure individual lifeworlds in the twenty-first century. If nothing else, it is also about the fragility of the human body, its vulnerability. With posters by Michail Michailov, UBERMORGEN, Robin Waart, Stephanie Misa, Barbara Kapusta.

Häuserfassaden, Straßenschluchten, Fahrzeuge und Bürgersteige - seit Anfang der 2000er Jahre hat der belgische Maler Koen van den Broek sein urbanes Umfeld zum Thema gemacht. Er bewegt sich mit Leichtigkeit an der Grenze von Abstraktion und Wirklichkeit. Ausgangspunkt für seine Gemälde sind Fotografien, die er auf Reisen aufnimmt. Brücken, Gehwegplatten und Straßenlaternen lösen sich aus ihrem ursprünglichen Kontext und entwickeln ein Eigenleben. Es scheint, als würden seine Gemälde diese Details selbst heranzoomen, Farben, Licht und Schatten arrangieren und komponieren. So werden die zunächst unscheinbaren und menschenleeren Plätze durch das Hinzufügen weniger Details zu prächtigen Straßenbildern; Schatten erzeugen spannende Kontraste, und der großzügige monochrome Farbeinsatz lenkt den Blick. Die Ausstellung Of(F) Road zeigt einen Querschnitt durch Koen van den Broeks malerisches Schaffen von 1998 bis in die Gegenwart. Koen van den Broek (*1973 in Bree, Belgien) studierte zunächst Architektur in Löwen und anschließend Malerei Breda. Seine Arbeiten sind unter anderem im Astrup Fearnley Muset (Oslo), im Los Angeles County Museum of Art, im SMAK (Gent) und im Museum of Contemporary Art Antwerpen zu finden.

Recently, artistic works by women have increasingly entered the public view - and with this the obstacles that women artists once had to battle to a much greater degree than they do today. Now, in the twentyfirst century, there is no longer a dearth of role models for female artists of the younger and middle generations. How do they reflect on female creativity today? How do they write themselves into the genealogy through their own artistic work? How do they view the women who have long been ignored by history books, forgotten and even actively banned from the narrative? How do they relate to their ancestors and pioneers, to the women who were active in the visual arts and other artistic fields? The exhibition Auf den Schultern von Riesinnen [On the Shoulders of Giantesses] delves into archives that have long remained unexplored, searching out the legacies of the creative women upon whose shoulders today's artists stand.

Critical Geography reexamines traditional Western and historical understandings of geography while expanding these investigations to new realms. Borrowing its name from the subdiscipline of geography that questions and challenges power structures, inequality, and the dominant ideologies shaping physical space, Critical Geography explores how space, place, and communities are influenced by social, economic, ecological, and political forces. By critically analyzing these dynamics, the artists and writers in the publication provoke conversations around social justice, environmental sustainability, and transformative change. Critical Geography surveys a diverse range of image-based practices, representing artists from photographers and storytellers whose works shed light on systemic oppression, violence, and urgent environmental concerns to image-makers who appropriate mapping, social media, and technology to explore inequality in colonial and post-colonial contexts.

Between 1532 and 1536/37, the Dutch artist Maarten van Heemskerck traveled to Rome, strolled through the city, visited art collections and antique gardens, made pilgrimages to the holy sites, and filled his sketchbook with drawings. Most of the sheets created there and now kept in Berlin come from a sketchbook whose original binding has been lost. The latest art-technological investigations at the Berlin Kupferstichkabinett have now largely reconstructed the original sequence of the book's pages. This forms the basis of the present facsimile. In his fascinating studies, Van Heemskerck captured ancient sculptures and ruins, the admired art of Michelangelo and Raphael, and Roman cityscapes. In doing so, he demonstrated a special flair for composition and perspective as well as an extraordinary drawing sensibility. In the sketchbook, the artist found his personal field of experimentation and at the same time created a valuable pool of motifs from which he would draw throughout his life. Tatjana Bartsch has been Deputy Head of the Photographic Collection at the Bibliotheca Hertziana - Max Planck Institute for Art History since 2011. Christien Melzer has been curator for Dutch and English art before 1800 at the Kupferstichkabinett of the Staatliche Museen zu Berlin since 2020.

Ephra is an NGO based in Berlin. Ephra was founded by artist Rebecca Raue and focuses on empowering kids through contemporary art. The exhibition is the result of many years of studio visits with children from elementary schools.

In her works, Nina Annabelle Märkl (b. 1979) develops permeable viewing spaces that lie at the interface between drawing, object, and installation. The viewers move through landscape-like settings in modular spatial installations, entering into various dialogues with the works. In addition, through the shift in perspective, they can experience the possibility of seeing themselves in their own observations and can question the structures of their perception.The monograph Scapes unites various strands of Nina Annabelle Märkl's work in the diversity of their links and leaps between drawing and spatiality, which follow on from one another in the diversity of manifestation or interpenetrate one another in individual arrangements.

This lavishly illustrated book by Dr Godfrey Evans, Principal Curator of European Decorative Arts at National Museums Scotland, examines the enormous palace of the premier peers of Scotland, and the thousands of outstanding works of art acquired by twelve dukes over 250 years.

Überleben ist eine gemeinschaftliche Praxis. Wir können es nicht allein tun; wir brauchen einander. Wir brauchen Werkzeuge und Praktiken, die uns helfen, uns zu verbinden, zu verstehen, gemeinsam zu bauen, zu überleben in diesem Zeitalter der Klimakrise, des technologischen Umbruchs, des existenziellen Schmerzes. Wir brauchen Worte, Werte und Ideen, die über den menschlichen Raum hinausgehen. Wir müssen lernen; und wir müssen verlernen. Wir brauchen ein Handbuch fürs Überleben.Die Kunst in diesem Buch setzt sich mit der Natur auseinander, mit den planetarischen, transzendentalen Fragen der globalen Zusammenhänge sowie mit der Gemeinschaft, dem Sinn für das Spielerische, der Zusammengehörigkeit und den gemeinsamen Erfahrungen durch die Kultur. Ein hochwertiges und reich bebildertes Buch mit innovativen Texten, die der Idee folgen, dass wir lernen müssen, in Widersprüchen zu leben und zu denken, ohne uns selbst zu verlieren.Künstler*innen:Panteha Abareshi, Yalda Afsah, Abbas Akhavan, Assemble, Mohammed Bourouissa, Andrea Bowers, James Bridle, Sam Chermayeff, Edith Dekyndt, Simon Denny, Cao Fei, Liam Gillick, Lawrence Abu Hamdan, Lubiana Himid, Leon Kahane, Kablusiak, Paul Kolling, Carolyn Lazard, Sharon Lockhart, Taus Makhacheva, Shaun Motsi, Goshka Macuga, Jota Mombaça, New Red Order (NRO), Olaf Nicolai, Christelle Oyiri, Celine Pages & Christine Marchal, Trevor Paglen, Grayson Perry, Bruno Serralongue, Jeremy Shaw, Charles Stankievech, Ron Terada, Syrus Marcus Ware, Emmanuel Van der Auwera, u.a.

The catalog accompanying the ALBERTINA Museum exhibition presents Alfred Kubin's (1877-1959) view of the world of evil, the predominant theme of his life and work. For him, one of the most outstanding draughtsmen of the 20th century, the aesthetics of evil proved to be the antithesis of the idyll, the deliberate suppression of a hideous reality. Defenseless, he finds himself confronted with uncanny dream phenomena and a pronounced fear of the feminine, sexuality, night and being at the mercy of fate. Trapped in his dark visions, evil is inexhaustible for him and determines his life. Essays by Elisabeth Dutz (ed.), Natalie Lettner and Brigitte Holzinger explore Alfred Kubin's graphic cosmos of the sinister, the iconography of evil, his nightmares and obsessions. The Austrian draughtsman and graphic artist ALFRED KUBIN was born in Leitmeritz in Bohemia in 1877. After traumatic childhood experiences in Zell am See and subsequent mental crises, he began his artistic training in Munich in 1898. He processed his nightmares and obsessions in a large number of fantastic drawings. In 1906, he married and bought a property in Zwickledt near Wernstein am Inn, where he lived until his death in 1959.

Frans Hals is one of the most important portrait painters of all time. He was the first artist in Holland to paint social outsiders and genre figures as well as the middle classes, thus giving hitherto unknown visibility to marginalized groups in society. Hals' works are characterized by an unusual liveliness and apt characterization. His sketch-like paintings, executed with loose, bold brushstrokes, had a decisive influence on modernist painting.  In addition to a large selection of paintings by Hals, the comprehensive catalogue accompanying the Berlin exhibition also shows works by those around him and situates him as an exceptional figure in the context of his time. Among the 70 works illustrated and presented with concise catalog entries are around 50 of Hals' most important paintings from collections in Europe, the USA and Canada-including highlights such as Isaac Abrahamsz. Massa and Beatrix van der Laen from the Rijksmuseum in Amsterdam, the Young Man with a Skull from the National Gallery in London and The Lute Player from the Musée du Louvre in Paris. Frans Hals (Antwerpen 1582/83-Haarlem 1666)

The catalog not only focuses on the work of the artist Sven Drühl, but also pays tribute to him as a collector and theorist. Drühl has shown his conceptual landscape paintings, neons and bronzes in numerous institutional exhibitions for over 20 years. Now, for the first time, the Hans Erni Museum Lucerne and the Museum Wiesbaden are presenting Drühl's collection of 19th century paintings alongside his works: from Eugen Bracht to Janus La Cour and Carl Spitzweg. Drühl's many years of theoretical work - as guest editor of Kunstforum International and author of numerous art-science articles - will also be presented here. SVEN DRÜHL (*1968, Nassau) studied art and mathematics. He became internationally known through his compilations of famous landscape paintings. With a PhD in art theory, he is also an author and editor of publications on contemporary art.

Installed in a loosely chronological order, the exhibition will give an overview of Tapta's oeuvre, which is mainly divided into two "periods": the textile works made in the 1960s until the early 1980s and the works in neoprene from the 1980s to 1990s. The exhibition first focuses on Tapta's textile works, in which she steadily distanced herself from traditional weaving by applying experimental techniques such as twisting her woven pieces and, in particular, through the use of ropes, which she knotted and joined together into organic volumes. Her work protruded outwards from the wall, became more three-dimensional and increasingly interacted with the space and the viewer, who was invited to experience the works not only visually but also in a tactile and physical manner, stepping around and even inside them.In addition to about twenty original textile works, the exhibition will premiere the unique reconstruction recently made of Tapta's Forms for a Flexible Space (1974). This imposing installation made of cords, in which the visitor can enter and taka a seat, is-as far as is known-the only still existing environment of which Tapta created several in the early 1970s. However, since the original is in extremely poor condition, an exhibition copy was made last year during the Tapta exhibition at Wiels, Brussels, and will be shown in its entirety for the first time at Muzeum Susch. Tapta's activation of the viewer, as seen in the textile sculptures, also manifests itself in the black neoprene works that she began to make in the late 1980s and which-following an intermediate phase of experimenting with rubber and stretching ropes across the vaults of the exhibition spaces-marked a radical turn in her use of materials. Handcrafted rope sculptures now gave way to sculptures and installations from the industrially manufactured material, neoprene-further developing, however, her idea of flexible sculpture. Large black surfaces connected by metal bars and bolts form open structures, through or past which the viewer can walk. Sometimes, the different elements of the sculpture are connected by hinges, allowing their shape to be changed-according to the size of the space or the will of the visitor.Some of the archival documents that will be shown next to the scale models, feature Tapta as a professor at the La Cambre National School of Visual Arts in Brussels. From 1976 to 1990, she led the textile workshop there, renaming it Flexible Sculpture. This commitment as a teacher was as important to her as her artistic practice. Rather than instructing her students in a particular technique, she prioritised the development of an open and critical mind. Her students included Ann Veronica Janssens, Monica Droste and Marie-Jo Lafontaine. Tapta (the pseudonym of Maria Wierusz-Kowalska, born Maria Irena Boyé) was born in Poland in 1926 and came to Belgium as a political refugee with her husband, Krzysztof, after taking part in the Warsaw Uprising of 1944. She studied weaving at the La Cambre National School of Visual Arts, Brussels, from where she graduated in 1949. Shortly afterwards, the couple moved to the Belgian Congo (now Democratic Republic of the Congo), where they lived from 1950 to 1960. On their return to Belgium in 1960, until her sudden death in 1997, she worked in Brussels as an artist and-from 1976 until 1990-as a professor at La Cambre.

Die Publikation Remnants konzentriert sich hauptsächlich auf die visuelle Seite von Paul Hutchinsons Arbeit und zeugt von der Weiterentwicklung seiner Bildsprache. Remnants beschreibt eine Werkgruppe, die Hutchinson seit 2021 produziert - Rückstände, die bei dem Versuch entstanden sind, Graffiti von U-Bahnwägen zu entfernen, stehen hier im Mittelpunkt. Daneben sehen wir vertraute Bezüge zu Hutchinsons Stimme: Zeichen des Wandels im urbanen Raum, Bilder, die auf Fragen von Klasse, Zugang, Zugehörigkeit anspielen. Wir sehen Momente von Fragilität und Rauheit und wir sehen, wie sich die Stadt selbst artikuliert. Allgemein wird ein Gefühl des gesellschaftlichen Wandels vermittelt, ein Moment, in dem die Überreste einer früheren Ordnung noch greifbar sind, aber es ist unklar für wie lange. Die Publikation zeigt ausgewählte Arbeiten aus den Jahren 2019-2024. PAUL HUTCHINSON (*1987, Berlin) hinterfragt kritisch die Entwicklung sozialer Prozesse im urbanen Raum. In seiner fotografischen Praxis und in seinen Texten setzt er sich mit innerstädtischer Kultur und Bedingungen sozialer Mobilität auseinander und oszilliert dabei zwischen Dokumentation, Fiktion und Poesie. Seine Arbeiten wurden in zahlreichen Einzel- und Gruppenausstellungen gezeigt, zuletzt in der Kunst-Station Wolfsburg via Städtische Galerie Wolfsburg, während des Europäischen Monats der Fotografie Berlin und im Kunstverein Ulm. Er lebt und arbeitet in Berlin.

Marco Stanke (*1987) wurde 60 Jahre nach Alf Lechner (1925-2017) geboren. Trotzdem weisen ihre künstlerischen Positionen vielschichtige Bezüge auf. In Stankes Malereien ist die Leinwand nicht bloß ein Bildträger. Seine Arbeiten sind vielmehr räumliche Gebilde aus Nessel, Keilrahmen und Farbe. Stanke faltet, schneidet, biegt, stapelt und durchbohrt die Leinwände und erprobt die körperlichen Grenzen des Bildes, das er in den Raum ausdehnt. Seine Werke sind teils Bild, teils Relief oder Skulptur, und erst im Zusammenspiel dieser unterschiedlichen "Teile", wie Stanke selbst sie nennt, ergibt sich am Ende das vollständige Bild.Hierin besteht die vordergründigste Verbindung zu Lechner, dessen Skulpturen ebenfalls als Fragmente eines kontinuierlichen Arbeitsprozesses betrachtet werden müssen. Zentral hierfür ist seine Praxis der Teilung, in deren Folge räumliche Beziehungen zwischen den Fragmenten und den Betrachter*innen erforscht und materialbezogene Herstellungsprozesse offengelegt werden können, ganz im Sinne seiner Maxime: "Durch Teilen ist es möglich, mehr über das Ganze zu erfahren."Dieser Ansatz klingt im Titel der Kataloges teil's teil's wider, der als Aufforderung zu verstehen ist, tiefer in Materien einzutauchen. Darüber hinaus suggeriert der Titel auch, dass etwas nicht klar zuordbar ist und verweist so auf die Zusammenstellung von Stankes und Lechners Arbeiten und die gemischte Natur des Ausstellungskonzepts.