Bøger udgivet af Hatje Cantz Verlag GmbH

Some of Nick Brandt's subjects are humans, some are animals, but they all are creatures of equal and obvious personhood. The overwhelming sense in the photographer's ongoing global series The Day May Break is that they are all figuring out how to live in a new world. Each has arrived at the shoot at Senda Verde wildlife sanctuary in Bolivia through their own cascade of tragedy. Both extreme droughts and floods have destroyed people's homes and livelihoods. Victims of habitat destruction and wildlife trafficking, the animals are rescues that can never be released to the wild. People and animals were photographed in the same frame and indeed convey a sense of connectedness through a shared fate. Fog is the unifying visual, symbolic of the natural world rapidly fading from view; and an echo of the smoke from wildfires, intensified by climate change, devastating so much of the planet. But in spite of their loss, these people and animals are survivors, pioneers entering the new phase our world has reached. In The Day May Break they share their powerful stories.This set includes the volumes The Day May Break and The Day May Break - Chapter Two.NICK BRANDT (*1964, London) studied painting and film at St. Martin's School of Art, London. In 1992 he moved to California, where he still lives today. Since 2001, he has documented the destructive impact that humankind is having on the natural world and, as a result, on humans themselves. Chapter One of his seminal series The Day May Break featured photographs taken in Zimbabwe and Kenya in late 2020. Chapter Two, shot in Bolivia in 2022, is the first time in his 20 year career that Brandt has made work outside of Africa.

Life in its many forms is intertwined in manifold ways. Making the coexistence of different beings and worlds tangible through an exploration of objects, stories and works of art, this book shows that in many regions of the earth, our co-world is experienced as an animated being. Mountains and rivers are not just resources or backdrops to human endeavors, but powerful sources of life; plants and animals are not just food, but companions; ancestors and spirits influence everyday life. Understood in this way, local perspectives and alternative forms of social coexistence provide pathways to shared futures. A great variety of international authors tell stories of interwoven lives that invite us empathically and informed to rethink our relationships with the world.

To commemorate the 50th anniversary of Picasso's death, this spectacular volume of the artist's early paintings and sculptures is being reissued. The paintings from his so-called Blue and Rose periods to early Cubism, created between 1901 and 1907, are milestones on Picasso's path to becoming the most famous artist of the twentieth century. In 2019, the Fondation Beyeler presented some 80 masterpieces from renowned museums and private collections in its most prestigious exhibition to this date. They are not only among the most valuable works of art ever to exist, but are widely viewed as some of modernism's most beautiful and emotive artworks. This volume brings the early work of this exceptional artist to life in a unique way.PABLO PICASSO (1881-1973) is regarded as the epitome of the twentieth-century artist. In addition to his paintings and sculptures, his graphic works also enjoy special fame.

The Edizioni Conz of the Italian collector, publisher and photographer Francesco Conz-including portfolios, large silkscreen prints on fabrics and objects-are among the finest and most elaborate art editions of the second half of the 20th century. A friend and patron of Viennese Actionism, Fluxus, Concrete Poetry, and Lettrism, he was an obsessive, knowledgeable enthusiast open to all the arts, for whom hospitality, the magic of community, and respect for the arts were more important than any mercantile aspirations. This publication is the first comprehensive catalogue raisonné of the editions published by Conz between 1972 and 2009. Comprising more than 500 editions, it is both a reflection of his passions and a memorial to the art of the avant-gardes. Texts by contemporaries such as Alison Knowles, Dick Higgins, Milan Knizak, Eugen Gomringer, Emmett Williams, Nicholas Zurbrugg, and others complete the richly illustrated catalogue.FRANCESCO CONZ (1935-2010) grew up in a wealthy family of Austro-Hungarian descent in the Italian Veneto. After coming into contact with the art scene in Berlin and New York in the early 1970s, he traveled to art festivals around the world and invited artists to the Palazzo Baglioni in Asolo for happenings and performances. Since 2016, the Berlin-based Archivio Conz has been working to catalog, research, and restore his extraordinary collection for the public, which includes more than 4,000 works and commissioned editions by over 300 international artists, as well as 30,000 photographs and ephemera.

Exhibition spaces are physical places of knowledge production and exchange. Their spatial properties play an important role in contextualizing information. Virtual stagings of exhibitions should therefore retain these properties. The Beyond Matter research project (2019-23) aims to unravel the intertwining of physical and virtual structures and their impact on spatial aspects in art production, curating, and art education, and thus to identify ways to preserve cultural heritage in the digital age.This publication offers a comprehensive overview of the diverse research activities, exhibition and book projects, and symposia that have taken place or emerged in the course of the international Beyond Matter project at the various partner institutions.

Brenda Draney's work explores the complex nature of intimacy. Referencing her own memories and experiences, the Canadian artist examines the layered meanings embedded in everyday motifs and situations. The cumulative portrait that emerges references a collective self that encompasses not only her own experience but that of past generations and current community members. However, instead of simply reproducing these elements, she is more interested in addressing how their meanings can shift when filtered through individual interpretation. By deliberately leaving blank spaces in her paintings, Draney leaves room for viewers to place their own narrative within her imaginary spaces and to connect to the wide range of emotions tied to the nuanced experience of intimacy. The catalogue published in conjunction with Draney's solo exhibition at The Power Plant Art Gallery in Toronto, features a selection of existing and newly commissioned work, as well as various contributions from Canadian scholars and poets.BRENDA DRANEY (*1976, Sawridge First Nation, Treaty 8, with a strong connection to Slave Lake, Alberta, Canada) has been featured in various exhibitions. She is based in Edmonton, Alberta.

Clenched, raw and pressingly urgent: Chaïm Soutine's vivid paintings are testimonies to a sense of human vulnerability and an existence on the margins of society. Intensely colored, his meaty impasto portraits are thrown onto the canvas with broad brushstrokes, while his agitated, frenetic landscapes and paintings of slaughtered animals are expressions of an intense hunger for life and, at the same time, a deep alienation in an unsteady world that offers no support. Despite the recognition his work received, Soutine remained an outsider throughout his life, a stranger to the social manners of his adopted home in France. This catalogue focuses on the early masterpieces and series he created between 1919 and 1925: Under the overarching theme of emigration and uprooting, the contributions reveal the traces of Soutine's Jewish origins in his work, illuminating the significance of his motifs from the fringes of society as well as of blood and animal carcasses as metaphors; and show the influences of Soutine's art up to the present day. CHAÏM SOUTINE (1893 - 1943) grew up in a shtetl near Minsk - a youth marked by poverty, religious rigor and social exclusion. In 1913 he arrived in Paris and moved into the artist residence "La Ruche" (the "Beehive"), working alongside artists such as Chagall and Modigliani. Fleeing the Nazis, he died in 1943, but the international attention his work had received since the 1920s continued to have great influence on post-war art, inspiring Abstract Expressionism, new figurative painting as well as contemporary artists.

This book explores the central themes and techniques ofartist-made radio, emerging from over 20 years of practiceby a multitude of artists in the field. It brings to thepage excerpts of long-form radio works from the world'slargest exhibition of radio art, Radio Art Zone, a joint projectby the artist duo Mobile Radio (Sarah Washington &Knut Aufermann) and the Luxembourg community stationRadio ARA, which was broadcast for 100 days as part of theprogramme of the European Capital of Culture Esch2022.Interspersed with newly commissioned works rangingfrom micro-essays and texts on radio form, practice andpoetics, to radio plays and illustrations, it is full of uniqueimages which allow the imagination to expand outwardinto radio space. Radio Art Zone performs an exquisitetransformation from airwaves to paper, providing a treasuryof ideas and reflections about radio as art.

Wie kann man sich in einen Klang hineinversetzen? Welche Perspektiven öffnen sich durch das Aufeinandertreffen von Raum, Resonanz und Wahrnehmung? Und wie verändern sich dabei die Beteiligten? Der Künstler und Komponist Jan St. Werner, bekannt als Mitglied des Duos Mouse on Mars, entwirft mit Space Synthesis ein radikal neues Verständnis von Klang und Raum. Das Zusammenspiel von beidem wird zur Methode der Erkundung von Architektur und sozialen Zusammenhängen. Space Synthesis ist der Katalog zur ersten Einzelausstellung von Jan St. Werner und zugleich das Dokument einer Praxis, die sich gegen scheinbar feststehendes Wissen wendet und die produktive Kraft von Klang multiperspektivisch untersucht. Zahlreiche Beiträge vertiefen das Verständnis seiner künstlerischen Arbeit.JAN ST. WERNER (*1969, Nürnberg) bezieht sich in seinen Soundarbeiten stets auch auf den Austausch mit der bildenden Kunst. Werner realisierte Klanginterventionen und Ausstellungen im Rahmen der documenta 14 in Athen und Kassel, dem Haus der Kulturen der Welt in Berlin, Lenbachhaus und ebenso auf der 6. Ural Biennale. Werner lehrte an der Nürnberger Akademie der Bildenden Künste, am Massachusetts Institute of Technology (M.I.T.) in Boston und an der New York University Tisch School of the Arts in Berlin.

Cycling is not just a form of locomotion. Bike culture is in constant interaction with fashion, music, design, politics and urban planning. Cycling is a way of life and a form of protest. The Easy Rider Road Book shows the wild, subversive side of cycling and the powerful bond it can create between people. It aims to inspire utopian thinking and show where the bike can take us. The pioneers of this new bike culture can be found in subcultures across the globe. In New York and Berlin, bike punks are building both fantastic and sustainable vehicles out of scrap metal and old bike frames. Riding a bike is a form of emancipation: When thousands of teenagers ride through London during BikeStormz, they are expressing their hope for a better future. Similarly, the Chilangos Lowbike Club's Sunday rides through Mexico City are a symbol against violence. The bicycle is a promise of freedom. This book presents the bicycle as a vehicle for communal action that has the potential to change life in the city and, ultimately, the city itself.The MUSUKU, MUSEUM OF SUBCULTURES, is a Berlin-based project of artists and creatives. IT aims to reflect the enormous relevance of subcultures, to give space to their narratives, and to be a place of experimentation, discussion and discourse. The projects are conceived in collaboration with a diverse community as temporary exhibitions in changing venues as well as in the open street.

"He doesn't bother me," Picasso commented of the photographerEdward Quinn, after the latter had first photographedhim at work in the ceramics studio in the early1950s. This was undoubtedly one of the reasons why Quinnwas allowed to accompany the artist with his Leica for over20 years from 1951 onwards during his time on the Côted'Azur: in the studio, in private with his family, with artistfriends, at the bullfight, out and about, with lovers or simplyat the hairdresser's. The Quinn Archive holds a largestock of photographs of great intimacy, showing Picassoin everyday life and documenting his idiosyncratic character,his humor, and his enthusiasm in an amiable andlight-hearted way.Edward Quinn did not use a tripod with his camera, nor didhe illuminate the room artificially; his main concern wasto capture genuine pictures. As a viewer, you find yourselfon eye level with the protagonists. Almost like in the streetphotography we know today, there is a captivating senseof the casual moment. This book is a magical selection ofphotographs from Picasso's everyday life and shows thefamous artist in many unexpected situations.From 1949, EDWARD QUINN (1920, Dublin-1997, Altendorf/Switzerland) lived and worked on the Côte d'Azur as a press photographer for international magazines such as Life and Paris Match. During his 20-year friendship with Picasso, he took more than 12,000 photographs of the artist. From the 1960s onwards, Quinn concentrated his work entirely on the art scene, portraying the likes of Max Ernst, Alexander Calder, Francis Bacon, Salvador Dalí, Graham Sutherland, David Hockney and Georg Baselitz.

Louise Amelie's documentary photo series is an artistic exploration of the global phenomenon of migration and its many facets, which are often ignored in European migration politics. Migration has always been an integral part of human experience and will continue to be. Yet in public discourse it is presented as an aberration, while the existence of nation-state borders is hardly ever questioned. On the globe, Kyrgyzstan nestles inconspicuously next to Kazakhstan and China, but on the ground the vastness and heights of the mountains seem endless. In contrast to the natural beauty, prefabricated housing estates spring up in the capital, Bishkek. Here lives a young population that, despite all the adversities of post-Soviet reality, faces the world with great confidence. In a collection of portraying texts and photographs that foreground the individual stories, the book is an expression of solidarity and empathy, and shows that migration can mean both an opportunity as well as the painful loss of a beloved Missing Member.The artistic focus of director and photographer LOUISE AMELIE (*1991, Berlin) is on documentary and street photography. Her series, shot in the USA between 2016 and 2020, have been exhibited internationally and have been awarded the German Photo Book Prize and the Belfast Photo Festival. Since 2021, she has been exploring the theme of post-Soviet identity and migration in Central Asia, spending two and a half months in Kyrgyzstan for this project.

Making women in architecture visible-that is the goal of Diversity in Architecture e. V. (DIVIA). Celebrating its debut in 2023, its international award for women architects and urban planners aims to help achieve this goal. Following the announcement of 27 nominees, selected by an international Advisory Board with experts form the six continents, a high-profile jury has chosen the five finalists: May al-Ibrashy, Marta Maccaglia, Noella Nibakuze, Katherine Clarke & Liza Fior and Tosin Oshinowo. Each of them is a pioneer in her field and an embodiment of DIVIA's philosophy, inspired by trailblazing architect Lina Bo Bardi that "architecture is a social discipline." This catalogue retraces their paths and portrays their work. In conversation with them we learn about what drives them, the obstacles they have face(d) along the way, and the opportunities that lie in female leadership. This publication is a tribute to their cultural engagement, ethics, and deep sense of community- it is a recognition of their efforts to create environments that positively affect others and celebrates them as role models for the next generation of female architects.DIVIA-DIVERSITY IN ARCHITECTURE E. V. was founded by UrsulaSchwitalla and Christiane Fath in 2021. The platform's aim is toincrease the visibility of women in architecture and urban planningand to promote equality.

In den letzten 20 Jahren hat Camille Henrot eine von der Kritik gefeierte Praxis entwickelt, die sich zwischen Zeichnung, Malerei, Skulptur, Installation und Film bewegt. Mother Tongue ist die erste Publikation der Künstlerin, die sich ausschließlich auf Malerei und Zeichnung konzentriert und über 200 Werke aus den zwischen 2018 und 2022 entstandenen Serien System of Attachment, Wet Job und Soon vereint. Dieses jüngste Werk thematisiert die ambivalente Natur der Fürsorge und die Spannung zwischen dem gleichzeitigen Bedürfnis nach Bindung und Selbstbehauptung, das im Säuglingsalter beginnt und sich durch das ganze Leben zieht. Individuelle, intime Auseinandersetzungen führen dabei immer auch zu umfassenden Fragestellungen, wie den gesellschaftlichen Erwartungshaltungen an Mutterschaft und der Repräsentation des weiblichen Körpers. Der reich bebilderte Katalog wird begleitet von Texten von Emily Labarge, Legacy Russell, Marcus Steinweg, Hélene Cixous, Seamus Kealy und einem Gespräch zwischen Camille Henrot und der Kuratorin Julika Bosch. CAMILLE HENROT (*1978, Paris) gilt als eine der einflussreichsten Stimmen der zeitgenössischen Kunst. Referenzen aus Literatur, Psychoanalyse, Kulturanthropologie und der Banalität des Alltags aufgreifend, hinterfragt sie, was es bedeutet, sowohl privates Individuum als auch globales Subjekt zu sein. Henrots Arbeiten werden weltweit in Einzelausstellungen gezeigt, zuletzt im Munch Museum, Oslo; Palais de Tokyo, Paris; Kunsthalle Wien und New Museum, New York. Sie lebt und arbeitet zwischen Berlin und New York.

In the 1990s, queer youth, outcasts and artists, flocked to San Francisco to find one another and to experiment with art, self-expression, style, and gender. Rent was affordable, paving the way for queer bars, clubs, tattoo shops, galleries, cafes, bookstores, and women-owned businesses to emerge. A new wave of feminism embraced gender bending, and butch/femme culture flourished. The Mission District was the center of this queer cultural renaissance, and the feeling of community was palpable. Chloe Sherman was both a member of this community and an ardent visual chronicler. Her documentary photographic work on 35mm film stems from a commitment to capturing the vibrancy, tenderness, individuality, resilience, and joy within this subculture that was derided by mainstream society. Distilling the spirit of the time, her debut monograph is a candid portrait of a vibrant era that connects current and future generations to the pulse of San Francisco at a pivotal chapter in queer history.CHLOE SHERMAN (*1969, New York City) arrived in San Francisco in 1991 and earned her BFA in Photography at the San Francisco Art Institute. Her work has been exhibited internationally and featured in magazines such as Rolling Stone and Interview. Her documentary photography is deeply influenced by her fine arts training.

It is estimated that, as a result of climate change, illegal trade, and habitat loss from the encroachments of technology and industrialization, as many as one in eight species of birds is heading towards extinction. Created in close collaboration between Sean Scully and Kelly Grovier, each pairing of poem and drawing is devoted to the beauty and mystery of an individual species of bird. Scully's visual language, at once measured and impassioned, geometric and free-flowing, captures the essence of creatures that are, themselves, on the brink of becoming mere abstractions. Though his first series of iPhone drawings are consistent with his signature style, they reveal a fresh intimacy, playfulness, and exhilaration of gesture, color, and form that is in accord with the wonder of feathered flight. Created on a digital device, the drawings are, as Scully remarked, the ironic embodiment of "technology which is ruining nature turned inside out to protest its demise." Yet taken together, these duets aim to offer something uplifting in the face of an accelerating tragedy. "Hope" is, after all as Emily Dickinson famously wrote, "the thing with feathers / That perches in the soul."Having developed a style over the past five decades that is uniquely his own, SEAN SCULLY (*1945, Dublin) is one of the world's most acclaimed contemporary artists. He is known for his large-scale abstract sculptures, installations and paintings, comprised of vertical and horizontal color bands, blocks and geometrical forms as well as his intellectually engaging writings and lectures.KELLY GROVIER is a poet and cultural critic. Educated at the University of California, Los Angeles and at the University of Oxford, he is a feature writer for BBC Culture and co-founder of the international scholarly journal European Romantic Review.

As the opposition between illusion and reality dissolves and the boundaries between the world we inhabit and its virtual dimensions blur, Immerse! examines how computer-generated public spaces shape our current political and social discourses. What is the potential of virtual reality within the art field, when concepts such as presence and absence, material and immaterial are beginning to lose their validity?Realized as part of the international research project Beyond Matter that explores the shift in the production and mediation of visual art within institutional frameworks. Exhibition spaces are physical locations of knowledge production and exchange, where spatial qualities play an important role in the contextualization of information. One of the goals of the project is to develop virtual productions that maintain these sensual qualities, but add layers of digitized and born-digital content to defy transience and the dependency on geographical locations, and create entirely new immersive experiences.The catalogue offers the reflections on the theme by curators Corina L. Apostol and Lívia Nolasco-Rózsás as well as 19 visual essays by trailblazing artists and four in-depth theoretical texts by Helen Kaplinsky, Matthew Fuller, LukáS Likavcan, Zsolt Miklósvölgyi and Márió Z. Nemes that explore the concept of immersion.

From today's perspective, Leon Polk Smith's dynamic, geometric abstractions can be understood as a missing link in art history. His work connects the European avant-garde with the American Abstract Expressionism of the 1940s and 1950s via references to the work of Piet Mondrian. Smith's pioneering role in the hard-edge style with its neat monochromatic fields of color as well as his shaped canvases are in turn developments that transpired from America to Europe. Departing from the rectangular canvas allowed Smith to conceive new interrelations between his sophisticated two-color compositions and the spatial context. Most notably, his unique Constellations series, created between 1967 and 1975, marks the high point of his career, and won him artistic acclaim beyond America's borders. Alongside the early compositions from the 1940s and the multi-part shaped canvases, this book features collages, reliefs and painted objects and proposes a new reception of Smith's decades-spanning oeuvre.LEON POLK SMITH (1906 - 1996) is one of the most important representatives of geometric abstraction. Born in Chickasha in the then called Indian Territory, later to become Oklahoma, his first paintings, created in the 1930s, are rooted in the indigenous culture that surrounded him. Smith moved to New York in 1944, where he came into contact with the works of Mondrian and De Stijl.

In einem bewusst vielstimmigen Ansatz regt die Ausstellungund der sie begleitende Katalog 1,5 Grad dazu an,neugierig und innovativ, anteilnehmend und handelndder Klimakrise zu begegnen. Mehr als 30 internationaleKünstler*innen, darunter melanie bonajo, Julian Charrière,Olaf Holzapfel, Ernesto Neto, Otobong Nkanga, LaureProuvost und Marianna Simnett untersuchen das komplexeZusammenwirken von Mensch, Natur und Technikund formulieren Lösungsansätze: von der Speicherung großerDatenmengen in der DNA von Pflanzen, zu Algen alsEnergieträgern und Kleinstlebewesen als empathischenGesprächspartnern. Unter Einbeziehung aller Sammlungsbereicheder Mannheimer Kunsthalle sowie neuer Außen-Installationen auf dem Gelände der Bundesgartenschauin Mannheim stellt das Buch Ansätze vor, die mit Mittelnder Kunst die Koexistenz der Spezies neu denken und Hoffnungin einer beschädigten Welt spenden lässt.

Image Cities takes us on a journey through cities the Globalization and World Cities Research Network ranks highest according to their degree of "global interconnectedness." We find them in a process of transformation concealed behind dummy façades onto which a sense of heightened anticipation has been projected. It would be tempting to read these photographs as a polemic against the triumph of consumerism and a slowly numbing global visual-economic order that wraps itself around whatever once felt local and civic. Samoylova's photography is full of masterful refinements of the existing clichés of urban photography: Citizens dwarfed by giant images. Faces and bodies refracted through glass. The Pop-Cubism of visual bricolage. The minuscule human figures that stroll seemingly indifferent through city space while being at least partly somewhere else in their imaginations¿ their existence already a collage of places and times. Yet, Samoylova consciously engages with cliché, takes it apart and reassembles it, gambling that it can be taken to a level of pictorial sophistication that eludes any simple argument or statement. Instead, she invites us to reflect on photography's role in the creation of a gap between these citie's brand identity and their everyday reality.ANASTASIA SAMOYLOVA (*1984) grew up in Moscow. In 2008 she moved to the United States, where she graduated with a master's degree in Interdisciplinary Art from Bradley University, Illinois. Her work explores the tension between the staged perception of a bombastic materialism and reality. Living and working in Miami, Florida has become the backdrop for her combination of collage-like details with the genre of the road trip. Her recent series Flood Zones and Floridas have received great critical acclaim.

»Wie ein Besucher aus dem All versuche ich, einen Blick vonaußen auf den Lebensraum des Menschen zu werfen - vollerNeugier, aber auch mit Schrecken.« Die Möglichkeitendes Fotografischen bis an die Grenze des Mediums auslotend,geht Andreas Gefellers Blick dahin, wo das Sichtbaredas Unsichtbare berührt. Von frühen dokumentarischenSerien zu digital konstruierten Perspektiven undmetaphorisch lesbaren Arbeiten vereint die neue Publikationbislang nicht veröffentlichte Fotografien, Schlüsselbilderseiner bekannten Werkreihen und neueste Arbeiten.Die Retrospektive offenbart, wie der Fotokünstler Technikenwie extreme Langzeit- und Überbelichtungen überHighspeed-Blitzlicht-Aufnahmen bis zu digitalen Collagennutzt, um unsere menschlichen Wahrnehmungsgewohnheitenzu hinterfragen. In seiner Auseinandersetzung miteiner vom Menschen dominierten Natur schafft er Bildervon einer fast erhabenen abstrakt-malerischen Qualität,um von dort aus eine Entzauberung zu betreiben, die diewahre Realität des Gezeigten offenbart.ANDREAS GEFELLER (*1970, Düsseldorf) studierte an derFolkwang Universität der Künste Essen und schloss 2000 seinStudium mit Auszeichnung ab. Seine preisgekrönten Fotoarbeiten- darunter die 2012 mit dem Deutschen Fotobuchpreisausgezeichnete The Japan Series (Hatje Cantz) - werden internationalausgestellt und sind in wichtigen Sammlungen vertreten.Gefeller lebt und arbeitet in Düsseldorf.

Filip Markiewicz sees the Ultrasocial Pop project as a total work of art in which music,theater and fine arts penetrate and overlap each other. The ensemble of works producedfor the various exhibition locations is organized in the form of a visual essay, which in itsnon-linear form is based on the continuous changes occurring in social media news feeds.FILIP MARKIEWICZ (*1980, Esch/Alzette, Luxembourg) is a visual artist who works with various media, such as painting, drawing, video and installation. Under the name RAFTSIDE, he has also been active as a composer for film and theater since 1999. In 2015 Markiewicz represented Luxembourg at the 56th Venice Biennale.