Udstillingskataloger og kunstsamlinger

LULU MARIE VINDUER VIIFotobogen VINDUER VII er efterfølgeren til VINDUER, VINDUER II, VINDUER III og VINDUER IV, VINDUER V og VINDUER VI som udkom i 2017, 2018, 2019, 2020, 2021 og 2023. Bøgerne er resultatet af forfatter og digter Lulu Maries vandreture med blikket på byers glasportaler. Mennesker bor, gardiner blafrer og planter vokser. I VINDUER VII er der vinduesfotos fra blandt andet Amager, Frederiksberg, København K, Køge, Lund, Rødvig, Rønne, Sorø, Vesterbro og Ørestad.”Det er vinduer, som de ser ud i nuet. I det jeg går forbi med mit kamera. Det er det flygtige øjebliksbillede, jeg præsenterer. Dét vindue, dén skærm. Jeg når ikke at blive stoppet – for jeg lurer ikke. Ingen når at opdage mit snapshot. Jeg er videre. Klik. Væk. Og værket er mit.”Lulu Marie er cand.it og forfatter til digtsamlingerne Vejviseren Bløder (2020), MUS (2018) og I kræets top bor en storm (2016), romanen Bløder (2008) samt til fotobøgerne Vinduer (2017), Vinduer II (2018), Vinduer III (2019), Vinduer IV (2020), Kunst og keramik i Flækkesville (2019) Fotomix (2019), Fotomix II (2021), Vinduer V (2021) og Vinduer VI (2023). I 2022 udkom vinylpladen Seclusion.

Hanns Eisler was Arnold Schönberg's favourite pupil. He worked intensively with Bertolt Brecht andcomposed the GDR's national anthem. Veronika Eberhart's artistic study focuses on the years 1938to 1948, which the composer spent together with his wife Lou(ise) in exile in Los Angeles. Shortlyafter their arrival, the two became the focus of FBI investigations. They were bugged and followed.In 1947, Eisler was finally called before the House Un-American Activities Committee (HUAC), and ayear later he and his wife were deported from the USA. The book contains images from Eberhart'slatest film Garten sprengen (2022) and a series of new sculptural and photographic works thatcan be seen in her exhibition at the IKOB Museum of Contemporary Art in Belgium.Veronika Eberhart is an artist, filmmaker, and musician.

How We Hold: Rehearsals in Art and Social Change is an invitation to arts educators, facilitators, organisers and those who are interested in working collectively with others, who want to use creative practice to work towards change, through personal and social transformation. Designed to be used both within organisations and as a tool to critique them, How We Hold supports dissenting and oppositional conversations, and offers pragmatic challenges to neoliberal and colonial models of education and administration still found in museums, arts organisations and other institutions today.Ed.: Layla Gatens and Jemma Egan.

Bruno Pacheco has immersed himself in the medium of painting for nearly 30 years, during which time he has worked across innumerable subjects and styles. Fluidity is central to his approach. This fully-illustrated monograph is the largest on the artist's work to date.Text: Jennifer Higgie, Barry Schwabsky, Anthony Spira.

The state of the world's forests has become an alarming indicator of the imbalances that existbetween the planet's tree population and humanity's production of carbon dioxide. Logging andthe profit-oriented exploitation of woodlands are accelerating the ecological crisis, while climatechange fuels deforestation. The publication Into the Woods, which accompanies the exhibitionof the same name, focuses on the forest as a habitat, its ecological processes, and the threats itfaces. Works by eighteen contemporary artists examine how humans influence the condition offorests and cause their destruction, while at the same time exploring the collective and symbioticnature of the forest ecosystem.With works by Rodrigo Arteaga, Anca Benera & Arnold Estefán, Eline Benjaminsen, Alma Heikkilä,Monica Ursina Jäger, Markus Jeschaunig, Isa Klee, Susanne Kriemann, Jeewi Lee, Antje Majewski,Richard Mosse, Katie Paterson, Oliver Ressler, Abel Rodríguez, Diana Scherer, Rasa smite & Raitissmits.The publication appears in conjunction with the Klima Biennale Wien 2024, 5 April - 14 July 2024

Artist Angela Glajcar works with fragile materials-torn strips of paper, delicate glass fabrics,and plastic-which she layers and curves to create sculptural forms that, with the help of incidentlight, develop into bodies that seem to glow from within. The sculptor made a name for herselfon the basis of her tiered paper sculptures: "terforations". The term comes from a combinationof foramen (hole) and terra incognita (unknown or unexplored territory). The catalogue raisonné,which includes more than 1,600 objects, reliefs, and spatial installations, gives a comprehensiveaccount of the trajectories involved in the development of artistic works that are often temporaryand site specific.Angela Glajcar, b. 1970 in Mainz, studied at the Academy of Fine Arts (AdBK) Nuremberg. Her workshave featured in exhibitions around world at venues that include Landesgalerie Niederösterreich,Jeonbuk Art Museum (South Korea), Kunstmuseum Bochum, National Museum of Women in theArts, Washington, DC, MOCA Jacksonville. She won the Paper Art Award in 2021. Sasa Hanten-Schmidt is the editor of the catalogue raisonné. As a court expert on art and head of AngelaGlajcar's studio, she has had a close connection with the artist's work for more than a decade

Pan Daijing devises performances and exhibitions as Gesamtkunstwerke, total works of art inwhich architectural intervention, light, sound, and movement interact to tell stories that go beyondlanguage. Her haunting compositions for voice and electronic instruments combine opera andnoise music. Mute-in which the artist and composer examines silence and liveness-is Pan'sbiggest solo exhibition to date. This monograph is published in conjunction with the exhibitionand in collaboration with Tai Kwun Contemporary is the first comprehensive presentation of Pan'swork in the dynamic zone straddling music and visual art.Pan Daijing, b. 1991 in Guiyang, China, lives as an artist and composer in Berlin. She is one of thewinners of the prestigious Preis der Nationalgalerie 2024. Sarah Johanna Theurer, b. 1988, is acurator, whose focus is on time-based arts and techno-social entanglements. She is currentlyworking in the Haus der Kunst in Munich.

US artist Heather Sheehan, who has lived in Cologne since the mid-1990s, combines elements of performance, textile sculpture, installation and video art, analog black and white photography, poetry and narrative in her work to explore and present individual mythology.For her project Sylta, the whaler's widow who cries (2020-2024), the artist combined a sequence of 40 black and white self-portraits, a short story and the costume she sewed herself into a visual and verbal narrative. Isolated with an analog camera and typewriter in a thatched house on the coast of an island in the Wadden Sea of the North Sea, Sheehan felt herself transported into the role of a pregnant widow of a whaling captain. In the short story Ich bin Sylta, she reveals the startling synchronicity of experiencing fiction during the creative process.

"An Endless Thread serves as a long-overdue celebration of Grant, who has long advocated for the intersection of cultural pride, style, and a maintaining of tradition.”—VoguePart look-book, part memoir, and part history, this beautifully illustrated monument to a singular designer who helped inspire the growing Indigenous fashion movement is also a powerful demonstration of the enduring resonance and possibilities of Haida art.Inspired by a discussion with celebrated Haida artist Bill Reid, Haida designer Dorothy Grant made it her life’s mission to bring her culture’s traditional art into contemporary fashion while adhering to the principle of Yaguudang, or respect for oneself and others. The 1989 launch of her Feastwear collection, featuring modern silhouettes hand-appliquéd with Northwest Coast formline, immediately established her at the forefront of Indigenous fashion in North America, and she has since hosted runway shows and trunk sales from Paris to Vancouver to Tokyo. Her clients include Indigenous leaders, national politicians, and global celebrities, and her garments can be found in museums and galleries around the world, including the Metropolitan Museum of Art.Dorothy Grant: An Endless Thread is the first monograph to celebrate her trailblazing career. It features new photography of dozens of garments spanning the past four decades, modeled in studio and natural settings in Vancouver and Haida Gwaii, alongside sketches, traditional button robes and spruce-root weaving, and personal stories and reflections from Grant. Essays by Haida repatriation specialist and museologist Sdahl Ḵ’awaas Lucy Bell and curator India Rael Young place Grant in the long continuum of Haida fashion and trace the many innovations and accomplishments of her journey, and Haida curator and artist Kwiaahwah Jones, a longtime assistant to Grant, shares behind-the-scenes insights and memories. An associated exhibition, Dorothy Grant: Raven Comes Full Circle, opens at Haida Gwaii Museum in July 2024.

An eighty-year overview of wood and argillite carving by Indigenous women artists on the Northwest Coast.Though women of the Northwest Coast have long carved poles, canoes, panels, and masks, many of these artists have not become as well known outside their communities as their male counterparts. These artists are cherished within their communities for helping to keep traditional carving practices alive, and for maintaining the dances, songs, and ceremonies that are intertwined with visual art production. This book, and an associated exhibition at the Audain Art Museum, gathers a range of sculptural formats by Indigenous women in order to expand the discourse of carving in the region.Both the exhibition and publication are co-curated by Dana Claxton, artist, filmmaker and head of the University of British Columbia’s Department of Art History, Visual Art and Theory; and Dr. Curtis Collins, the AAM’s Director & Chief Curator. Commentaries by Skeena Reece, Claxton, and Marika Swan, and interviews with artists Dale Campbell and Mary Anne Barkhouse are presented alongside more than one hundred artworks from public and private collections across North America, including several newly commissioned pieces.Featured artists include:Ellen Neel (Kwakwaka'wakw, 1916–1966)Freda Diesing (Haida, 1925–2002)Doreen Jensen (Gitxsan, 1933–2009)Susan Point (Musqueam, b. 1952)Dale Campbell (Tahltan, b. 1954)Marianne Nicolson (Kwakwaka’wakw, b. 1969)Arlene Ness (Gitxsan, b. 1970s)Melanie Russ (Haida, b. 1977)Marika Swan (Nuu-chah-nulth, b. 1982)Morgan Asoyuf (Ts’msyen, b. 1984)Cori Savard (Haida, b. 1985)Cherish Alexander (Gitwangak, b. 1987)Stephanie Anderson (Wetsuwet’en, b. 1991)Veronica Waechter (Gitxsan, b. 1995)

Hannover - Mont Ventoux Avec Christian Ratschlag, son lauréat 2023, le PRIX SPRENGEL poursuit sans dévier dans la nouvelle direction engagée en 2021. Lancé par Bernhard et Margrit Sprengel en 1979, la responsabilité en a été transférée à la fondation de la caisse d'épargne de Basse-Saxe Niedersächsische Sparkassenstiftung en 1991 et il est géré et attribué conjointement par la Niedersächsische Sparkassenstiftung et le ministère de la science et de la culture (MWK) de Basse-Saxe depuis 2021. Le changement d'orientation est lié à une forte augmentation de la dotation financière, mais aussi et surtout à la bourse de voyage en Europe qui est désormais associée au prix, avec une exposition au musée Sprengel de Hanovre et la publication d'un catalogue. L'intention derrière l'attribution, justifiée par la longue et riche histoire des échanges culturels entre les peuples, de la bourse de voyage qui fait partie intégrante du concept de prix et d'exposition est l'ancrage de la Basse-Saxe dans l'Europe et de son idée spécifique d'un ordre social libéral-démocratique.   Exposition : Sprengel Museum Hannover,  18/11/2023 - 3/3/2024

Pensées et sentiment ! Louisa Clement s'intéresse dans son travail à la question de la présence humaine dans l'artificiel ou, le cas échéant, à la présence de l'artificiel dans l'humain. Elle a d'abord fait sensation avec son oeuvre « Représentantes » (Repräsentantinnen) (2021) où elle fait intervenir 10 clones robotisés qui, en plus d'une ressemblance parfaite avec elle, disposaient par le biais de la technologie d'un accès à toutes les informations et données personnelles la concernant. L'IA leur permettait d'imiter l'artiste et de la reproduire le plus fidèlement possible jusqu'à en devenir les revenants, pourtant dotés chacun d'une vie propre. Louisa Clement a aussitôt été élue à l'unanimité pour le prix d'art de la ville de Bonn 2023 : « Malgré sa jeunesse, l'artiste Louisa Clement a déjà créé une oeuvre à la force et la cohérence exceptionnelles... et a convaincu [le jury avec son] projet [inédit] qui se situe à la jonction de l'art et de la science, tout en traitant des sujets d'actualité brûlants tels que le rapport entre l'homme et l'intelligence artificielle, l'individu et l'algorithme, l'expérience et le flux de données. » Pour l'exposition au Kunstmuseum de Bonn (22.2-16.6.2024), elle développera et perfectionnera son travail actuel intitulé « Compression » (2023), une capsule métallique de 2 cm de haut qui contient un ADN synthétique généré à partir des jeux de données tirées de l'oeuvre complet de l'artiste jusqu'à aujourd'hui et doit le conserver pendant 1000 ans.

Auto und Küche prallen in Lena Henkes Ausstellung "Good Year" im Museum Marta Herford aufeinander und stellen kleinbürgerliche Ideale, Markenversprechen und Heimatdefinitionen auf das Tablett. In der raumgreifenden Rauminstallation P7340LH adaptiert Henke eine von Poggenpohl in Kooperation mit Porsche-Design auf den Markt gebrachte Küche und presst Reifen in die Rasterordnung einer Küchenzeile.Als "Manual" erweitert der Künstlerkatalog die Bildwelten dieser Pole zwischen Lifestyleästhetik sowie Fragen von Prägung, Identität und Rollenbildern. Das produktive Arbeiten mit Recherchematerial und seine Umsetzung in Comics oder Collagen ist Teil von Henkes vielschichter Praxis, die sich von der Bildhauerei in weitere Dimensionen zieht und dabei stark vom räumlichen und umweltorientierten Denken geprägt ist.Lena Henke wurde 1982 in Warburg geboren, sie lebt und arbeitet in Berlin und New York. Sie ist die 5. Preisträgerin des Marta-Preis der Wemhöner Stiftung

The book to be released in conjunction with Tishan Hsu's exhibition recent work 2023 contains an essay by Laura Brown that reconstructs the creative techniques he has devised and honed over the past four decades and turns the spotlight on the early 2000s as a watershed moment when digital image editing programs suddenly produced within seconds many of the effects Hsu had anticipated. In a conversation with Martha Schwendener, Hsu dwells on the early years of his career and discusses his great theme: the fusion of body and technology in an increasingly virtual world.As a creative intervention, Hsu has produced a mutating series of eight title images for the downloadable version of the book. The printed dust cover, which exists only in the analog version, features all eight motifs, like a preprinted sleeve for collectible cards, complete with the exact period during which they can be downloaded from the web.

Charlie Prodger works across moving image, writing, sculpture, drawing and printmaking. Through the prism of queer subjectivity, her work explores intertwined relations between the body, landscape, language, technology and time. To accompany her exhibition and the presentation of the complete film trilogy-Stoneymollan Trail, BRIDGIT, and SaF05-a book with a substantial essay by Sarah Hayden is released in Secession's publication series. The London-based author and professor of literature and visual culture analyzes the significance of voice and voiceover in Prodger's video works. For the book, the artist has created a series of image pairings of production photos and video stills from the final part of the trilogy, SaF05.

An electroacoustic, olfactory, and textual project by artist Florian Hecker.Florian Hecker is an artist whose work is realized through the technical manipulation of sensory data. By utilizing machinic scales and registers, Hecker creates environments marked at once by overwhelming complexity and vexing subtlety, where audience members are led to dwell on the outer limits of their own perceptual capacities.Resynthesizers took place in Laurel Canyon, Los Angeles, in the Fitzpatrick-Leland House, a tri-level residence designed by Rudolf Schindler and built in 1936. Centered around a trio of compositions produced using a novel algorithm for texture synthesis, the exhibition also featured three olfactory accords selected by Marc vom Ende and Philip Kraft of Symrise, and three electrophoretic displays transmitting a libretto by Robin Mackay.The molecular construction of sensory experience enabled by the technical manipulation and synthesis of materials emerges as a central theme of Resynthesizers. The regime of these ‘immaterials’ disjoins sensation from inherited conceptual models, and in the encounter with its resyntheses we are challenged to reintegrate sense and formulate new concepts.Designed by NORM, Zurich, this meticulously assembled document features exhibition documentation by Fredrik Nilsen Studio and data visualizations by Axel Roebel alongside essays by Wendy Hui Kyong Chun and Alex H. Barnett, Marc Vom Ende and Philip Kraft, Robin Mackay, and Luciana Parisi.

English edition This catalogue provides a spectacular overview of painting on the theme of football in European artistic modernism. Here, painting gets to the bottom of football's mystique. And vice versa, since football with its aesthetics, dynamics, rites, and contradictions inspires artists and reveals innovative, surprising perspectives and artistic possibilities. This culminates in impressive interplay between the two worlds. Accessing 20 th -century European art through football and deciphering the fascinating as well as contradictory game of football as a European phenomenon through the perspective of modernist painting uncovers new knowledge in both fields. More than 100 works of art from national and international collections are examined. The catalogue is designed along the same conceptual lines as the European Championship itself: each nation participating in the EURO 2024 is represented by at least one artist, so underlining the fundamental concept of a diverse but united Europe. A new standard work, and a cultural contribution to the 2024 European Football Championship in Germany Exhibition: Deutsches Fußballmuseum, Dortmund, , May 27, 2024 to January 7, 2025 Look inside Artists: Sybil Andre, Dieter Asmus, Willi Baumeister, Cecil Walter Hardy Beaton, Peter Blake, Umberto Boccioni, Carlo Carrà, Ithell Colquhoun, Charles Cundall, Salvador Dalí, Giulio D'Anna, Raoul de Keyser, Nicolas de Staël, Alexander Deineka, Robert Delaunay, Brendan Ellis, George Eisler, Paul Feiler, Ludvig Find, Hubert Andrew Freeth, Fritz Genkinger, Harald Giersing, John Heartfield, Bernhard Heisig, Robert Henderson Blyth, Peter Howson, Hundertwasser, MiloS Jiránek, Ilja Kabakow, Ernst Ludwig Kirchner, Paul Klee, Pyke Koch, Maria Lassnig, Karel Lek, Elizer Lissitzky, Rene Magritte, Jarmo Mäkila, Kasimir Malewitsch, Colin Middleton, Joan Miró, Omer Mujadzic, Peter Nagel, FrantiSek Xaver Naske, Paul Nelson, Rainer Neumaier, Christopher Nevinson, Felix Nussbaum, Claes Oldenburg, Wolfgang Petrik, Pablo Picasso, Sigmar Polke, Peter Rohn, Alexander Nikolajewitsch Samochwalow, Thorsten Schlüter, Valentin Sidorov, Jens Sondergaard, Warwara Fjodorowna Stepanowa, Ivan Tabakovic, Lawrence Tonybee, Bart van der Leck, Alan Welsford, Thomas Webster, Rik Wouters et al.

Hans Uhlmanns (1900-1975) Metallplastiken und Zeichnungen prägten das Bild deutscher Nachkriegsmoderne. Von den Nationalsozialist*innen 1933 inhaftiert, entwarf er im Gefängnis Skizzen filigraner Drahtköpfe, die er nach seiner Entlassung verwirklichte. In den 1950er-Jahren entwickelten sich seine figurativen Formen zu abstrakten Kompositionen weiter. Die Ausstellungin der Berlinischen Galerie zeichnet anhand von rund achtzig Werken Uhlmanns Schaffensperioden von den 1930er- bis in die 1970er-Jahre nach und untersucht neben seinem zeichnerischen und bildhauerischen Schaffen seine Rolle innerhalb der West-Berliner Kunstszene. Es ist die erste umfassende Retrospektive seit mehr als fünfzig Jahren.

Grace Weaver spends July to September 2022 in Morocco. She is not only curious to retrace what Matisse, Bacon und Beckett experienced but also to explore the foreign impacts on her artistic work. A brilliant series of 105 collages comes into being, created during all stages of the trip and drawn only with scissors. The collages present women, each seen in her own way and equally interwoven with her ornamental surroundings. Glued into one, traditional Moroccan patterns and ornaments blend with Western brand names and logos, Arabic writing clashes with colonial French and English. This decorative trait defines the spaces, in which Weaver's women reside. The scissors, in turn, transform everything into an ornament. The lavishly designed book presents the collages as elaborate facsimiles and, completed by Eric Degenhardt's travel photographs, allows us to immerse ourselves, as Grace Weaver's women do, in unending ornamental intricacies.Gespräch zwischen Eric P.S. Degenhardt und Grace Weaver.

Anish Kapoor (b. 1954) is one of the most influential artists of our time. Over the past four decades, the Indian-British artist has created a body of ground- breaking works out of materials such as wax, stone, pigment and polished stainless steel. Kapoor’s monumental works simultaneously envelop and over- whelm the observer. At the same time, the artist examines what we cannot see, through his iconic works that distort the exhibition spaces and the architecture in which they are embedded.This book was published in conjunction with the exhibition Anish Kapoor – Unseen at the ARKEN Museum of Contemporary Art. It offers a unique insight into how the artist’s use of materials, surfaces and colours has evolved and been refined from the early years of his career to the present. Four essays and an interview with Anish Kapoor delve into an array of poetic, philosophical and existential questions prompted by Kapoor’s seductive and sometimes disturbing works.

Anish Kapoor (f. 1954) er en af vores samtids mest indflydelsesrige kunstnere. Indisk-britiske Kapoor har skabt en lang række banebrydende værker over de seneste fire årtier i materialer som voks, sten, pigment og blankpoleret rustfrit stål. Kapoors monumentale værker er omsluttende og overvældende. Samtidig undersøger han det, vi ikke kan se, igennem sine ikoniske værker, der forvrider og forvrænger udstillingsrummene og den arkitektur, værkerne er bygget ind i.Denne bog er udgivet i forbindelse med udstillingen Anish Kapoor – Unseen på ARKEN Museum for Samtidskunst, og den giver et unikt indblik i, hvordan kunstnerens arbejde med materialer, overflader og farver er blevet forfinet og udviklet helt fra de tidlige år til nu. Igennem fire essays og et interview med Anish Kapoor udfoldes en række poetiske, filosofiske og eksistentielle spørgsmål med udgangspunkt i Kapoors forførende og til tider foruroligende værker.

Tremulations präsentiert Objekte aus dem Archiv des Swedenborg-Hauses sowie Schriften und Kunstwerke u.a. von Marcel Duchamp, Meret Oppenheim, Yayoi Kusama und Apichatpong Weerasethakul. Die Publikation stellt die Orthodoxien des institutionellen Kuratierens in Frage und nimmt dabei wenig Rücksicht auf die traditionellen Formen der Kategorisierung der Welt. Sie kombiniert Elemente aus dem Archiv des Swedenborg-Hauses, darunter die Ohrknochen des Mystikers Emanuel Swedenborg, mit Werken der modernen und zeitgenössischen Kunst und Literatur. Der Katalog ist nach Swedenborgs "Neun Regeln der Tremulation" gegliedert und wird in Kapiteln unterteilt, die sich im physischen, zeitlichen und virtuellen Raum des Swedenborg-Hauses manifestieren. Swedenborgs Regeln sind ein Schema, um historische und zeitgenössische Formen der Verbreitung und Übertragung zu erforschen: Spiegelbilder, Träume, Reflexionen, divinatorische Visionen, Phantasien, Erinnerungen, Prophezeiungen und Halluzinationen sowie filmische Projektionsformen, die sich älterer Vermittlungstechnologien als Fernsehen und Video bedienen, sowie postkinematische und virtuelle Formen: The Bridge von Mark Leckey; Hilma af Klint: The Temple und It will End in Stars von Nathalie Djurberg & Hans Berg.

Zuhören als gemeinsame Erfahrung  In ihrem künstlerischen Schaffen erforscht Liliana Moro (geb. 1961 in Mailand, Italien, lebt und arbeitet ebenda) unterschiedliche Ausdrucksmittel wie Klang, das gesprochene und geschriebene Wort, Skulptur, Performance, Zeichnung, Collage und Video. Ihre Werke stellen dabei ein fragiles Gleichgewicht zwischen scheinbar einfachen Materialien und Objekten her. Moros Werk ist bis heute von ihrer Leidenschaft für das Theater geprägt, wollte die Malerin doch ursprünglich Szenografie studieren. Die Auseinandersetzung mit Samuel Beckett, dessen Werk die Grundlage mehrerer ihrer Arbeiten bildet - Beckett befreite die Bühne von jeglichem Exzess und nutzte den Bühnenraum auch als skulpturales Element - verbindet Moro mit einem umfassenden Blick auf den Raum sowie auf Körper in diesem. Dabei gehen ihre Werke oft von alltäglichen Gegenständen und Situationen aus und fordern uns auf, zuzuhören und uns sowohl physisch als auch intellektuell in diesen Settings zu beteiligen.  Die Monografie Andante con moto. Liliana Moro spannt einen Bogen von Moros Arbeiten aus den späten 1980er-Jahren bis hin zu aktuellen Werken und Neuproduktionen für die titelgebende Ausstellung im Kunstmuseum Liechtenstein. Die Essays schrieben Milovan Farronato und Fabio Cherstich. Neben Transkripten und Aufzeichnungen zu Klangarbeiten umfasst das Buch ein Gespräch zwischen der Künstlerin und der Kuratorin Letizia Ragaglia, die auch das Vorwort schrieb.    Listening as a Shared Experience  Liliana Moro's (b. Milan, 1961; lives and works in Milan) creative practice explores a range of media including sound, spoken and written word, sculpture, performance, drawing, collage, and video. Her works strike a delicate balance between deceptively simple materials and objects. Moro's oeuvre has long been informed by her passion for the theater; the painter initially wanted to study scenography. Her ongoing engagement with the oeuvre of Samuel Beckett, which underlies several of her works-Beckett radically uncluttered the stage and activated the theatrical space as a sculptural element-goes hand in hand with an encompassing inquiry into the setting of art and the bodies in it. Often inspired by mundane objects and situations, Moro's work prompt us to listen and become both physically and intellectually involved.  The monograph Andante con moto. Liliana Moro traces an arc from Moro's works of the late 1980s to her most recent output and new works created for the exhibition of the same title at Kunstmuseum Liechtenstein. With essays by Milovan Farronato and Fabio Cherstich, transcripts and notes on sound works, and a conversation between the artist and the curator Letizia Ragaglia, who also wrote the foreword.

Stolz. Habgier. Lust. Zorn. Völlerei. Neid. Trägheit.Welchen Einfluss haben diese moralischen Setzungen heute auf unser Handeln? In allen Kulturen und Religionen werden Standards und Gesetze formuliert, die das Zusammenleben regeln und dem menschlichen Agieren Grenzen setzen. In der Bibel sind es die zehn Gebote, im Mittelalter wurden diese durch die christlichen sieben Todsünden ergänzt. Deren Interpretation und die Schwere der Bestrafungen hat sich laufend den gesellschaftlichen Verhältnissen angepasst.Die Kunsthalle Krems hat dreizehn internationale Künstler:innen eingeladen mit aktuellen Kunstwerken die sieben Todsünden zu kommentieren. Außerdem verfassten 7 Autor:innen Texte zu den einzelnen Sünden.Künstler:innen: Julia Belova, Christa Biedermann, Adam Dallos, Nathalie Djurberg & Hans Berg, Rob Frogoso, Ev van Hettmer, Teresa Margolles, Jonathan Meese, Herta Muller, Ulrike Ottinger, Dan Perjovschi, Nedko SolakovAutor:innen: Juri Andruchowytsch, Noemi Kiss, Ana Marwan, Verena Stauffer, Michael Stavaric, Katharina Tiwald, Alexander Urosevic

Das OEuvre des österreichischen Künstlers Alfredo Barsuglia ist so vielfältig wie die gegenwärtige Kunst selbst. Er ist nicht einzuordnen und doch zieht sich ein roter Faden durch sein Schaffen, der die unterschiedlichen Medien miteinander verbindet und Themen wie Realität und Fiktion, Privat und Öffentlich, Ökologie und Ökonomie raffiniert auf den Prüfstand stellt.Kunst und Kommunikation liegen für den in Wien lebenden Künstler Alfredo Barsuglia ganz nahe beieinander. Viele seiner Arbeiten sind vielschichtig zu interpretieren und regen gerade deshalb zum Diskurs an. Anlehnung nimmt der Künstler dabei am Prinzip der Mise en Scène, bei der die Schaffung einer Wirklichkeitsillusion im Vordergrund steht. Barsuglias szenische Erzählungen und artifizielle Settings schaffen eine Deutungsfülle, die den Betrachter:innen auch die eigene Rolle im Set vor Augen führt.

Throughout their careers, the artist duo Elmgreen & Dragset (Michael Elmgreen, b. Copenhagen, Denmark, 1961, and Ingar Dragset, b. Trondheim, Norway, 1969, live and work in Berlin) have eschewed the traditional "White Cube" exhibition format by creating large-scale installations and staging narrative situations in which autobiographical quotes blend with fictional stories and cultural references. For the solo exhibition READ, Elmgreen & Dragset have transformed Kunsthalle Praha into a minimalist version of a modern public library to prompt reflections on our relationship with physical books and knowledge in the age of digital media. With new works by Elmgreen & Dragset as well as performances, videos, collages, paintings, and sculptures by other artists, READ also probes the relation between books and the making of art.This richly illustrated publication documents the dynamic interaction between language, books, and art. With contributions from renowned scholars and a curatorial text by Elmgreen & Dragset.

Wie stellen Künstler sicher, dass ihr Werk auch in späteren Jahrhunderten noch bekannt ist? Wie erreichen sie ein geographisch fernes Publikum? Um 1600 lautet die Antwort darauf: durch Druckgraphik. Mit hochkarätigen Werken zeigen Hendrick Goltzius (1558-1617) und Peter Paul Rubens (1577-1640) wie man auf diese Weise internationalen Erfolg erzielte.Da leicht zu vervielfältigen und zu verschicken, avancierte die Druckgraphik um 1600 zum perfekten Gesandten im kunstdiplomatischen Dienst der eigenen Sache. Anhand von 160 virtuosen Kupferstichen zeigt der Band, wie innovativ und strategisch klug Goltzius und Rubens das Medium nutzten, um das Publikum zu betören, Begehrlichkeiten zu wecken und die eigenen künstlerischen Neuschöpfungen zu verbreiten. Neben den Gemälden wurden die Stiche zu begehrten Sammelobjekten, die die Karriere der beiden Maler entscheidend beflügelten.

1532 reist der holländische Maler Maarten van Heemskerck (1498-1574) von Haarlem nach Rom. Mit dem Zeichenstift in der Hand entdeckt er Antike und Renaissance. Seine faszinierenden Zeichnungen führen uns durch das Rom des 16. Jahrhunderts. Eine Reise in virtuosen Bildern durch die Zeit.Kolosseum - Forum Romanum - Kapitolsplatz: Er war überall. Als einer der ersten nordalpinen Künstler unternahm Maarten van Heemskerck eine reine Künstlerreise nach Italien. Seine Skizzen zeigen bewunderte antike Bau- und Bildwerke, aber auch die zeitgenössische Kunst Raffaels und Michelangelos. Der prächtige Band lädt ein, Van Heemskercks Zeichenpraxis, die römische Topographie und die sozialen Netzwerke des 16. Jahrhunderts sowie die spannende Restaurierungsgeschichte seines römischen Skizzenbuchs kennen zu lernen.