Udstillingskataloger og kunstsamlinger

Die vorliegende Publikation würdigt die konzeptionelle Kunstpraxis des Wolfgang-Hahn-Preisträgers 2023. Mit Aktionen, Installationen, Filmen, Malerei und Zeichnungen nimmt er die Gesellschaft und ihre Unsicherheiten in den Blick, um in seinen Werken Impulse für das Zusammenleben zu setzen.Text: éstor García Canclini, Matthias Mühling.

Einblicke in das Frühwerk des Künstlers, insbesondere in seine bisher nie veröffentlichten Performance Pieces aus den 1960er Jahren. Die Publikation enthält umfangreiches unveröffentlichtes Material.Ed.: Barbara Wien

Benoît Piérons künstlerische Praxis ist durch seine lebenslange Erfahrung mit Krankheit sowie eine Kindheit geprägt, die er größtenteils im Krankenhaus verbrachte. Er beschäftigt sich mit dem medizinischen und gesellschaftlichen Umgang mit kranken Körpern, mit Erfahrungen des Wartens und der Ungewissheit. Mit Objekten aus Krankenhauslaken Decken, Flaggen, Kissen und Plüschtier-Fledermäusen treten an die Stelle der rigiden Infrastruktur des Krankenhauses sinnliche Körper, die, so der Künstler, der Krankheit "Plastizität" verleihen. Indem er Parallelen zwischen Haut und Stoff, zwischen medizinischen Stichen und dem Nähen herstellt, erschafft Piéron aus individuellen Schicksalen künstlerische Objekte und erobert den kranken Körper aus den Händen der Medizin zurück. Mit der Medizin teilt Piéron die "kindliche Neugier", wissen zu wollen, was unter seiner Haut vor sich geht. Ihm geht es allerdings nicht um die "Reparatur" eines als krank verstandenen Körpers, sondern darum, jenen institutionellen und gesellschaftlichen Kräften Widerstand zu leisten, die seinen Körper als "krank" einstufen. So verwandelt Piéron seine Krankheit in eine Kunst des Überlebens.Text: Élisabeth Lebovici. Benoît Piéron im Gespräch mit Manuela Ammer

Die erste Monographie zu einer in Deutschland bislang wenig beachteten Künstlerin. Enthält umfangreiches Bildmaterial aus Raspés Archiv, Film-Stills sowie Installationsansichten.Text: Kari Rittenbach, Emily LaBarge, Anna Gritz, Eva Wilson.

Die Zeit war aus den Fugen, als Albert Oehlen Ende der 1970er die ersten Bilder malt. Angesichts der deutschen Geschichte, des Terrorismus, »No Future«, »1984« und der permanenten Bedrohung durch einen totalen Atomkrieg konnte auch die Malerei nicht länger so tun, als sei die Welt in Ordnung. Die Welt zerbricht und mit ihr die Malerei. Da sämtlichen Symbole, Zeichen und Mittel beschädigt und bedeutungslos geworden waren, zeigt Oehlen die Malerei in ihrer ganzen Fragwürdigkeit. Wie unterscheidet sich eine authentische Geste von einer stumpfen Reproduktion, ein echtes Gefühl von einer desillusionierten Kopie? Oehlen macht die Brüchigkeit zur Grundlage seiner Bilder. Er erfindet ein offenkundig fragmentiertes Bild, das so haltlos ist wie die Realität, an der es teilhat. Spuren, Reize und Nachbilder der Realität blitzen stroboskopisch über seine Leinwände. Erstmals hat Albert Oehlen eine raumgreifende All-Over-Installation geschaffen. Auf großen Papierrahmen gemalt besetzen diese die gesamten Wände der beiden Ausstellungsräume.

This book seeks to highlight some of the difficult imperial histories and legacies embedded in the Ethnographic Collection of the National Museum of Ireland and enable dialogue with source communities as well as Irish audiences. Ethnographic material acquired as part of the British Empire, represents the duality of Irish participation with the structure and practices of Empire and Ireland's own experience as Britain's oldest colony.From the late 18th to the early 20th century, Irish explorers, soldiers, colonial officers, and administrators enforced British rule abroad against a backdrop of calls for self-governance, the repeal of the Union, rebellion, and civil war. Irish emigrants contributed to the advance of the colonial frontier. Trophies from battlefields in South Africa, Sudan and Ethiopia and taken during sanctioned looting of the royal palaces of Benin, Nigeria and Kumasi, Ghana, were displayed as symbols of their victory and evidence of the 'civilizing' power of the Empire. However, expeditions also depended on local experts for supplies and were reliant on what Indigenous people were prepared to trade. Indigenous artists actively engaged with colonial markets and enriched precontact art forms with tradegoods and created portable souvenirs. Diplomatic gifts also drew Western visitors into their own networks of influence. The collections therefore also offer insights into Indigenous creativity and innovation, as well as resistance. Examining the Collection through a modern lens of biographies as part of decolonizing practices reveals the multi-layered identities of the collectors, the objects themselves and their creators. Part I offers in-depth histories of the institutions whose collections were transferred to the Dublin Museum of Science and Art in 1877, reconnects donors and traces objects' journeys to the museum, as gifts, loot, military and missionary collecting. Part II is divided geographically and focuses on the individual donors and artists and the life histories of specific objects, their contexts and uses.

Art pottery was made in Ireland during the nineteenth century, in response to a demand for art industry products, from consumers influenced by the ideals of the Arts and Crafts Movement. It also reflected developments in design education and the rise of national identity during the Celtic Revival. The story of "Irish Art Pottery", made in Dublin during the 1870s and 1880s, opens a door onto a previously unexplored world; an artistic community where, against the backdrop of controversy about James Whistler's exhibition of paintings at the Dublin Sketching Club, social change led to the beginning of women's education and recognition of artisans' rights. This work documents the National Museum's collection of Vodrey Dublin Pottery (VDP) and the ceramics hand-painted by Herbert Cooper and his students at the Queen's Institute (QI). It includes a small number of objects from the Ulster Museum, part of an original acquisition of Vodrey Dublin Pottery by the Department of Science and Art in Dublin during the 1880s. These functional and ornamental objects range from tea and coffee sets, mustache cups and dessert plates, to bulb pots, jardinières, vases, and ornamental plaques, reflecting fashionable taste in home decoration of the middle and upper classes in Dublin during the late nineteenth century.

Ettore Roesler Franz ha lasciato ai posteri una traccia inestimabile dei suoi tempi attraverso le sue opere che sono un dono per le generazioni future. Un pittore all'avanguardia che nei suoi acquerelli ha immortalato vedute, scorci, ma anche la condizione sociale, fisica e psicologica delle persone ritratte. Questo catalogo ad opera di Francesco e Pierluigi Roesler Franz nasce per favorire la conoscenza dei quadri di collezioni private del loro prozio Ettore meno noti rispetto a quelli della serie di Roma Sparita di proprietà dei musei del comune di Roma. I quadri scelti da Pierluigi Roesler Franz sono molto suggestivi in particolare gli acquerelli dedicati alla via Appia Antica, agli antichi acquedotti romani, alle paludi laziali, ad alcuni squarci e monumenti di Roma, come il Colosseo. Il testo, in italiano e in inglese, è aggiornato di tutte le novità delle ricerche di Francesco Roesler Franz emerse negli ultimi anni sulla vita e sul contesto familiare del pittore e sul significato esoterico nascosto nei suoi quadri.

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

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.

»Der er mange måder at se på. Hvis man forsøger at få øjnene til at stille skarpt på et punkt mellem stålet og de rosa rododendroner, der spejler sig i stålet – så har du faktisk den oplevelse af den virkning, jeg tilstræber, nemlig at opleve spejlingens magi.«Sådan fortæller billedkunstneren Polano, der arbejder i en række medier og materialer fra skulptur over grafik til maleri.Siden hun var helt ung har Bente Polano eksperimenteret med forskellige materialer, og gennem alle hendes værker skimtes en legende tilgang til skildringen af mennesket – og især menneskets forhold til naturen. Polano eksperimenterer i sine værker med spejlinger, lys og skygge, mens hun formidler menneskelige grundfølelser som melankoli, isolation og ensomhed, men også et rum for eftertanke.Polano debuterede på Charlottenborg sammen med kunstnerkollektivet Valsedronningerne, som hun gennem flere år arbejdede sammen med om bl.a. en udsmykning af Hvidovre Hospital.Bogen er forfattet af kunstkritiker Torben Weirup, og mellem hans portræt af Bente Polanos kunst og atelierliv møder vi også små citater fra Polanos egne notesbøger, der giver et unikt indblik i de kunstneriske tilblivelsesprocesser.Torben Weirup går i bogen ikke kun i dybden med Polanos kunst. Gennem værker fra 1970’erne til i dag tegner Weirup et spændende billede af udviklingen i Polanos kunst såvel som dansk kunsthistorie.

This volume celebrates the 10th anniversary of Museo Jumex, Mexico City’s most important contemporary art museum, and its unique collection.Located in the vibrant Polanco neighborhood of Mexico City, Museo Jumex opened its doors to the public in 2013 as a one-of-a-kind museum devoted to the production and discussion of contemporary art.Founded by Eugenio López Alonso, a pioneer in the realm of contemporary art collecting in Mexico, and designed by Sir David Chipperfield, 2023 winner of the Pritzker Architecture award, Museo Jumex has achieved international recognition for its dual mission of bringing works of renowned international artists to Mexico for the first time and elevating the work of today’s Mexican and Latin American artists.This book invites us through a visual journey to revisit the most remarkable exhibitions of the last 10 years and to discover Latin America’s most important art collection, Colección Jumex.This very special publication features important contributions from international renowned artists and curators such as Jeff Koons, Melanie Smith, Jessica Morgan, Humberto Moro, Abraham Cruzvillegas, Patrick Charpenel, María Minera, David Chipperfield, and Massimiliano Gioni.

This volume celebrates the 10th anniversary of Museo Jumex, Mexico City’s most important contemporary art museum, and its unique collection.Located in the vibrant Polanco neighborhood of Mexico City, Museo Jumex opened its doors to the public in 2013 as a one-of-a-kind museum devoted to the production and discussion of contemporary art.Founded by Eugenio López Alonso, a pioneer in the realm of contemporary art collecting in Mexico, and designed by Sir David Chipperfield, 2023 winner of the Pritzker Architecture award, Museo Jumex has achieved international recognition for its dual mission of bringing works of renowned international artists to Mexico for the first time and elevating the work of today’s Mexican and Latin American artists.This book invites us through a visual journey to revisit the most remarkable exhibitions of the last 10 years and to discover Latin America’s most important art collection, Colección Jumex.This very special publication features important contributions from international renowned artists and curators such as Jeff Koons, Melanie Smith, Jessica Morgan, Humberto Moro, Abraham Cruzvillegas, Patrick Charpenel, María Minera, David Chipperfield, and Massimiliano Gioni.

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.

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.

** THE NEW YORK TIMES BESTSELLER AND SUNDAY TIMES ART BOOK OF THE YEAR 2023 **A revelatory portrait of a great museum and the moving story of one guard's quest to find solace and meaning in art'Who would have thought that the outstanding art book of you would have been written not by a curator or an art historian or even an artist - but by a museum guard?' Sunday TimesWhen Patrick's older brother dies at twenty-six, all he wants is to retreat. So, he does. He quits his job and seeks refuge in the most beautiful place he can think of: New York's Metropolitan Museum of Art.All the Beauty in the World recounts Patrick's time as a museum guard, keeping quiet vigil over some of our greatest treasures and uncovering the Met's innermost secrets. As his connection to the art and the life that swirls around it grows, so does Patrick - and gradually he emerges transformed by heartbreak, community and the power of art to illuminate life in all its pain, pleasure and hope.'As luminous as the old masters paintings' Daily Mail'Consoling and beautiful' Guardian'Marvellous' Daily Telegraph'A beautiful tale about beauty. It is also a tale about grief, balancing solitude and comradeship, and finding joy in both the exalted and the mundane' Washington Post*New York Times bestseller, Nov 24

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.

Eine Leseprobe finden Sie unter "https://verlag.sandstein.de/reader/98-777_GrossesKinol"Seit es Kino gibt, ist das Plakat das wichtigste Medium in der visuellen Kommunikation von Film. Es bringt das Kino auf die Straße, weckt Gefühle und verdichtet die Handlung des Films zu einem einzigen prägnanten Bild. Das Buch stellt Filmplakate der 1900er bis 2020er Jahre aus der Sammlung Grafikdesign der Berliner Kunstbibliothek vor. Es lädt ein zu einer Reise durch Jahrzehnte der Filmplakatgestaltung - von expressionistischen Lithografien im Stummfilmkino über die moderne Grafik für Neue Filmkunst und Atlas in den 1960er Jahren bis hin zu aktuellem Design zwischen Papier und Pixel. Was ein gutes Plakat ausmacht, liegt dabei stark im Auge des Betrachters. 26 Profis und Promis aus Schauspiel, Regie, Kinobetrieb, Filmwissenschaft, Kunst und Grafikdesign stellen ihr Lieblingsplakat vor. Mit dabei sind Klassiker, Kultfilme und grafische Glanzstücke. Zudem enthält das Buch Plakat-Stories von 1905 bis 2023, vertiefende Essays sowie ein umfassendes Glossar zu Begriffen des Filmplakats.

Since 1953, the Kulturkreis der deutschen Wirtschaft im BDI e. V. has awarded the annual ars viva prize for visual arts to outstanding young artists based in Germany. The award honours work that demonstrates a distinct language of form and an awareness of contemporary issues. This year's award includes exhibitions at the Rudolf-Scharpf-Galerie of the Wilhelm-Hack-Museum in Ludwigshafen, and at the Belvedere 21 in Vienna, as well as an artist residency on Fogo Island, Canada. The ars viva prize 2024 will be awarded to Atiéna R. Kilfa (b. 1990), Daniel Lie (b. 1988) and caner teker (b. 1994).

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.

SKETCHBOOK MAIN STREET SALINAS is an addition to my series of books meant to inspire you to make them your own. Whereas my sketchbooks usually contain some fictional stories to help inspire your creativity, for this book, I worked with three community members to write the included non-fiction stories-one for each of the three blocks depicted. I thank these friends for their generous participation. This collection of sketches was compiled over nine months. I take you inside a few locations with multiple sketches. I have immense gratitude for those places that are kind enough to encourage me to hang out with my sketchbook and laptop. With grand apologies, I wasn't able to include everyone that make our City Center special. ¿ Maybe next time...¿¿¿¿ I travel the world with my fictional chef character, creating not only a novel, but also SKETCHBOOKS for this collection. For this one, I stayed close to my home in downtown Salinas. I have also two other local sketchbooks, one titled SKETCHBOOK CENTRAL COAST CALIFORNIA and another, SKETCHBOOK CHERRYBEAN COFFEE, a collection from a couple of years of drawing within one local coffeeshop. For twenty years, I owned and operated Pajaro Street Grill with my wife Lisa, R.I.P. my darling Nar. It was just a hop, skip and a jump from these blocks of Oldtown Salinas. I still live in the rear of the building, though I can often be found out sketching and writing in town. I discovered that my writing skills are enhanced feeding off the energy of being out in public. In 2022 I released SKETCH/COOKBOOK, PAJARO STREET GRILL, a most unusual cookbook that you can also make your own. In case you haven't heard, coloring books for grown-ups are quite the rage. As of the publication of this book, I have also published seven Omar T, travel fiction, culinary adventure novels. They are independent, you do not need to read them in order, though there are some recurring mentions for those who do. The first in the series, Omar T in Monterey California is a Central Coast story. Omar and his family travel to a different location for each of these culinary adventures. The travel fiction aspect is enhanced with descriptions of actual sites, restaurants, bookstores, galleries and shops-including sketches, favorite lists and recipes. Diversity in race, religion, culture, language and sexual orientation not only exists within Omar's family, it is celebrated in these tales. I call this story telling "Mystery Lite" because it is not centered on murder and violence. Any mystery is based on an intriguing aspect of a place's actual history. Omar T novels are meant to be comfort reading, filled with the best of life, romance of the heart mind and soul. Come join the journey. Whether you take it along or you allow it to take you...

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.

The exhibition "(RE)VERSVS. Reuse and Redemption in the Patrimony of the Vatican Library and in the Art of Sidival Fila" is the result of a profound reflection by the artist and the curators of the Vatican Library on the theme of reuse - redemption, conceived as two different, and at times opposing, possibilities of using and valorising an ancient, or simply previous or extraneous, material in a new and different way. It presents a recovery of fragments and discards of manuscripts, textiles, marbles and other materials that, in the case of reuse, defines their new purpose, while in the case of redemption celebrates them in themselves, in their ontological value, regardless of their possible new utility. The exhibition concludes in the Sala Barberini with the site-specific installation 'Natura Artificialis', a work that represents the Brazilian artist's integral vision, the starting point of his critical view of the human race and the erroneous idea of nature seen solely as being at the service of man.Ed.: Cristiano Grisogoni. Text: Giacomo Cardinali, Emanuele Coccia, Emanuele Dattilo, Simona De Crescenzo, Delio Vania Proverbio.

With the Danner Prize, four further honorary awards, and an exceptional exhibition in Landshut's Heiliggeistkirche, the Danner Foundation acclaims outstanding arts and crafts achievements in 2023 for the fourteenth time. The artists and objects are the epitome of artisanal perfection and new design-based ideas. They are presented in the catalogue in expansive photographs and informative concept descriptions, while the significance and evolution of the arts and crafts are examined from various angles by authors of renown.

Young artists reflect on the Pinault Collection's monumental exhibition of 20th-century photographyThe landmark Chronorama: Photographic Treasures of the 20th Century from Condé Nast's archives is responded to in this book with painting, sculpture, performance and photography from four artists: Tarrah Krajnak (born 1979), Eric N. Mack (born 1987), Giulia Andreani (born 1985) and Daniel Spivakov (born 1996).

In Contradictions - Bringing The Past Forward Barbara Gothard visually interprets the legacy of 23 African Americans who homesteaded in the Mojave Desert in 1910, informed by her own desert life as an African American female artist.