Udstillingskataloger og kunstsamlinger

Zoe Zenghelis' paintings create an unprecedented imaginary inspired by metropolitan structures, landforms and abstract tectonics. Born in Athens in 1937, she began her career as a founding member of Office for Metropolitan Architecture (OMA), where her contributions created new opportunities for the group at the vanguard of architectural representation. Within, alongside and beyond this collaboration, Zenghelis developed a body of work exhibiting a playful and iconoclastic evocation of a very particular urban form - one that is perhaps a surreal mix of the Aegean landscape of her youth and metropolitan cities such as Paris, Berlin, New York or London. She has lived and worked in the latter since 1955. Do You Remember How Perfect Everything Was? traces the development of Zenghelis' artistic career through her paintings, projects and teaching. Published to accompany her first major retrospective exhibition, this monograph assembles an extensive selection of Zenghelis' work from the early 1960s to 2020, alongside a unique collection of her paintings as a member of OMA. Containing a number of studies, sketches and archival documents, it reviews the working process behind Zenghelis' OMA projects and teaching methods at the Architectural Association.

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!

Completely unexpected, seven trunks and a couple of wooden bins arrive to the Ontological Museum in Stockholm. The anonymous donation contains notes and diaries, photographic negatives on glass plates, a peculiar cranium and dried in traces of scent. The diaries turn out to be written by Beata Gardelius, palaeontologist at the Swedish Museum of Natural History. The photographs and the drawings are done by Inga-Lisa Blomgren, assistant at the Institute of Geology in Uppsala. The research material is nothing than remarkable. In September 1897, Beata Gardelius and Inga-Lisa Blomgren disappear during the expedition to the Siljan Ring. The faith of the two women has until now remained unknown.

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.

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 …

”Jeg er helt på det rene med, at min kunst har et formål, ”skrev den tyske kunstner Käthe Kollwitz i 1922. ”Jeg vil virke i denne tid, hvor menneskene er så rådvilde og trængende. ”Käthe Kollwitz var professionelt aktiv som kunstner i de fem mest turbulente årtier af Tysklands historie, fra 1890’erne til begyndelsen af 1940’erne. I en tid, hvor kunsten blev italesat og idealiseret som fri, brugte hun sin kunst som talerør for dem, der havde mest brug for det.Denne rigt illustrerede bog er udgivet i forbindelse med en stor retrospektiv udstilling på SMK – Statens Museum for Kunst og giver et indblik i Kollwitz’ kompromisløse billedsprog, både i hendes fortolkninger af historien, i beskrivelserne af dybe eksistentielle erfaringer og i kritikken af den sociale og politiske virkelighed. Gennem en række essays introducerer bogen Kollwitz’ liv og kunst. Den åbner nye historiske og nutidige vinkler på hendes eksperimenterende grafiske værker og deres banebrydende udsagn om kvinder, klassesamfund og krigstraumer og dykker ned i en kunstneriskverden, hvor lys og mørke, sorg og håb eksisterer side om side.

“I acknowledge that my art is purposeful,” the German artist Käthe Kollwitz wrote in 1922. “I want to make an impact in these times, when people are so helpless and in need.” Käthe Kollwitz was active as an artist during the five most turbulentdecades in Germany’s history, from the 1890s to the early1940s. At a time when art was predominantly spoken of and idealised as free, she used her art to give a voice to thosewho needed it most.This richly illustrated book is published in connection with a large retrospective exhibition at SMK – National Gallery of Denmark and offers insights into Kollwitz’s uncompromisingvisual language, both in her interpretations of history, her descriptions of deep existential experiences, and her critique of social and political realities. Through a number of essays, the book introduces Kollwitz’s life and work. It opens new historical and contemporary perspectives on her experimental graphic works and their ground-breaking statements about women, class-based society, and war traumas, while also delving into an artistic world where light and darkness, sorrow and hope exist side by side.

Katalog fra udstillingen Sindre og Dyrene under Lundbye Kunstfestival 2024 i Kalundborg og med alle billeder fra udstillingen. I alt 18 forskellige guldaldermalere var repræsenteret med værker lånt af private samlere, Den Hirschsprungske Samling og Vestjysk Kunst Fond. Tekster af Maja Lisa Engelhardt, Bertel Haarder, Ib Ostenfeld, Allis Helleland og Torben Elmedal. Format 22 x 25 cm, 109 sider og trykt på Narayana Press.

Munch's ability to capture and convey sensation and feelings through the materials of art, places the Norwegian artist at the forefront of European art at the turn of the last century. This catalogue examines these connections, demonstrating his continuing exploration of the conditions of sight.

Against All Odds – Historical Women and New Algorithms explores the lives and works of 24 Nordic artists around 1900 through pioneering combinations of historical reinscribing and new technology. These women defied the gender norms of their time, formed their own communities across Europe and succeeded against all odds. Later, several were written out of art history. Why? Is it possible to write these women into the narrative that excluded them without changing the story? Discover how technology, critical thinking and art merge in a tribute to pioneers of the past. Through cross-aesthetic approaches, immersive installations and AI-generated dialogues, the exhibition and catalogue challenge our understanding of the past and open new perspectives on art history.

Bogen Æter er lavet i forbindelse med udstillingen af samme navn, som blev vist påKunstCentret Silkeborg Bad 13. januar – 2. juni 2024. Projektet tog begrebet ’æter’ op sommetafor for det, der ikke kan måles og vejes. Ved at udfordre deres materialers fysiskebegrænsninger, blev kunstnernes værker også til broer mellem domæner. De forskellige fagligheder der har arbejdet sammen om projektet, har udviklet ny viden og tilgange til ideen om æteren gennem research, der har fokuseret ikke kun på koncepter men også materialerne, som den altid foranderlige æter interagerer med.The book Aether was produced in connection with the exhibition of the same name, shown at Silkeborg Bad Art Centre from 13 January to 2 June 2024. The project took up the concept of ‘the ether’ as a metaphor for that which cannot be measured and weighed. By challenging the physical restraints of their materials, the artists’ works also became bridges between domains. The different specialists who have worked together on the project have developed new knowledge and approaches to the idea of the ether, through research focused not only on concepts but also the materials, with which the ever-changing ether interacts.Koncept og kuratering / Concept and curationVinni Frederiksen og/and Ane Fabricius ChristiansenVærker af / Works byHanne FriisAnett BiliczkiGrethe WittrockKasper KjeldgaardBarbara SkovmandAne Fabricius ChristiansenInge Lise WestmanLise Seier PetersenVinni FrederiksenErna SkúladottírPekka PaikkariPipaluk LakeEssays af / byHelge Krah, Neils Bohr InstituteChristopher Sand-Iversen, SixtyEight Art InstituteTone Roald, University of CopenhagenSoftcover, 216 sider, fuld farve.

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.

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.

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.

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 examines the power structures, inequality, and the dominant ideologies that shape physical space. By critically analyzing these forces, the publication stimulates conversations about social justice, environmental sustainability, and transformative change. The artistic practices featured in the book shed light on systemic oppression, violence, and pressing environmental issues, and encompass a wide range of image-based practices that make inequality visible in both colonial and postcolonial contexts, including mapping, social media, and technology. FOTOFEST is a Houston-based contemporary arts organization co-founded by photojournalists Frederick Baldwin and Wendy Watriss. The use of photography or related media to examine social, cultural, and political histories as well as contemporary life is central to FotoFest's mission. In addition to year-round programming, FotoFest organizes a city-wide biennial project that includes large-scale central exhibitions, curated lectures, performances, a symposium, and a film program.

This catalogue is an immersive adventure through the what, how and why of a contemporary art exhibition for children and adults alike. It is a journey through the 2023 exhibition Thoughts Play Hide and Seek by Ephra in Berlin. Curated by Rebecca Raue, the catalogue features works by Paula Anke, Ilit Azoulay, Olafur Eliasson, Ethan Hayes-Chute, Jeppe Hein, Claudia Hill, Christian Jankowski, Anne Duk Hee Jordan, Nadia Kaabi-Linke, Ali Kaaf, Wie-yi T. Lauw, Dafna Maimon, Wolfgang Karl May, Ayumi Paul, Ana Prvacki, Karin Sander, Yorgos Sapountzis, Tomás Saraceno, Nadine Schemmann, Vlado Velkov, Ulrich Vogl and Nicole Wendel.

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 examines the enormous palace of the premier peers of Scotland, and the hundreds of outstanding works of art acquired by twelve Dukes over 300 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 ALBERTINA modern exhibition presents Alfred Kubin's view of the world of evil, the predominant theme of his life and work. The aesthetics of evil prove to be the antithesis of a tranquil idyll for him, one of the most outstanding drawing artists of the twentieth century. Trapped in his fantasies, he finds himself confronted with uncanny dream apparitions and a pronounced fear of the feminine, the night, and fate. This catalogue explores Kubin's graphic cosmos of the ominous, his nightmares and obsessions and the iconography of evil. ALFRED KUBIN (1877-1959) was an important Austrian draughtsman and graphic artist. In 1898, after a traumatic childhood in Zell am See and a series of mental crises, he began his artistic training in Munich. Kubin worked through his nightmares and obsessions in a large number of fantastic drawings.

Frans Hals is one of the most important portrait painters of all time. Like Rembrandt, the famous Dutch Baroque master's striking portraits of the bourgeoisie and social outsiders are distinguished by their extraordinary vividness and accurate depiction. His sketch-like paintings, executed with bold brushstrokes, had a decisive influence on modernist painting. This comprehensive publication coincides with the first major survey exhibition of Hals' oeuvre in more than thirty years. FRANS HALS (1582/84-1666) was born in Antwerp, the son of a cloth merchant. In 1610 he was accepted into the Haarlem Guild of St. Luke. Hals created hundreds of genre paintings, individual, and group portraits and enjoyed great public prestige. Despite his fame during his lifetime, it was not until the nineteenth century that he was enthusiastically rediscovered by the Impressionists and Realists.

This catalogue pays tribute to the artist Sven Drühl as a collector and theorist. For more than twenty years, he has been exhibiting his conceptual landscape paintings, neons and bronzes in institutional exhibitions. Now, for the first time, the Hans Erni Museum Lucerne and the Museum Wiesbaden are showing Drühl's collection of nineteenth-century paintings alongside his works: from Eugen Bracht to Janus La Cour and Carl Spitzweg. Another key aspect is Drühl's theoretical work, in which he has made a name for himself, as a guest editor of Kunstforum International and as the author of numerous articles on art history. 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.