Bøger udgivet af Hatje Cantz

With Boring Book, photographer and artist Vitali Gelwich presents a retrospective of his previously unpublished photographic works. Intimate images open up the world of the Russian-born artist, who grew up in a Brandenburg prefabricated housing estate. Somewhere between street culture, high fashion, and post-Soviet aesthetics, the images unfold the artist's identity. Gelwich has established himself as a sought-after fashion and portrait photographer, and with this publication he now invites us into his personal narrative. He finds beauty in the suburbs, among otherwise often excluded groups or at the margins of society - the human being is always at the center for him. A testimony of our time, but also of the artist's perception. VITALI GELWICH (*1990) is a fashion photographer and artist. He was born in Russia and grew up in Germany, today he lives and works in Berlin. He is self-taught and works on book and art projects in addition to his photographic work.

They fascinate us today as they did 500 years ago: elaborate compositions of exotic fruits or platters with oysters, floral arrangements and skulls, exquisitely decorated musical instruments and scientific instruments. Magical things testify to exuberant wealth and hedonism as well as to the enlightened curiosity and religious fervor of the Baroque era. This lavishly illustrated book that even features a pictorial glossary sets the stage for the internationally renowned collection of still lifes housed in Dresden's Gemäldegalerie (Picture Gallery). Focusing on the dazzling masterpieces of Dutch and Flemish painting, this book examines the genre in all its diverse facets. What meaning, what content, and what function did still lifes have, what allegories and symbols are concealed in their coded messages? How did the artists take the game of optical illusion to extremes? More than 70 still lifes from the Dresden collection by painters such as Cornelis de Heem, Abraham Mignon, Rachel Ruysch, and Frans Snyders provide a unique insight into the golden age of this magical genre.

Dieter Roth not only made a significant contribution to the art history of the 20th century with his radical use of organic materials, but was also active as a writer. This charming and personal book offers an intimate view of the artist, who died in 1998. In addition to the foreword by Björn Roth, Dieter Roth's son, it features numerous previously unpublished photos and documents from the artist's long friendship with Beat Keusch and Erika Streit. In four episodes, the book introduces us to Dieter Roth's most important works and favorite places: from the Schimmelmuseum in Hamburg, the Roth-Raum in Basel, to Iceland and the Basel restaurant Chez Donati - unique insights into the life and work of the great artist.DIETER ROTH (1930-1998) made transience tangible in his art. In the 1960s, he created works from chocolate and wrote concrete poetry. Roth participated several times in the documenta in Kassel and designed the Swiss pavilion at the Venice Biennale in 1982. Born in Hannover, he lived in Austria, Iceland, the USA, and Switzerland.

A museum is not only a place where you can look at art. It is also a unique environment where art can breathe and develop and where we can encounter it face to face. An interplay of many different specialists, aesthetic flair and organizational talent are necessary to make this possible. This charming book makes it child's play taking a look behind the scenes of how a museum operates. Informative and profusely illustrated with endearing pictures, it deals with all the different fields that have to work together in order to realize a successful exhibition. We follow the various creative steps involved in making a work of art a reality. We accompany the works on their journeys around the world and into the museum. And we learn about the genesis of an exhibition from the initial conception to the day-to-day operations for the public.DORO GLOBUS has made a name for herself as a publisher and editor of art books with an accomplished eye and many years of experience. As an author, she writes texts on art history and is also the managing director of David Zwirber Books in London. ROSE BLAKE is a multi-award winning artist and illustrator. She studied at Kingston University and the Royal College of Art. Her children's books are produced in cooperation with renowned institutions (including Tate Modern) and artists such as David Hockney.

They fascinate us today as they did 500 years ago: elaborate compositions of exotic fruits or platters with oysters, foral arrangements and skulls, exquisitely decorated musical instruments and scientific instruments. Magical things testify to exuberant wealth and hedonism as well as to the enlightened curiosity and religious fervor of the Baroque era. This lavishly illustrated book that even features a pictorial glossary sets the stage for the internationally renowned collection of still lifes housed in Dresden's Gemäldegalerie (Picture Gallery). Focusing on the dazzling masterpieces of Dutch and Flemish painting, this book examines the genre in all its diverse facets. What meaning, what content, and what function did still lifes have, what allegories and symbols are concealed in their coded messages? How did the artists take the game of optical illusion to extremes? More than 70 still lifes from the Dresden collection by painters such as Cornelis de Heem, Abraham Mignon, Rachel Ruysch, and Frans Snyders provide a unique insight into the golden age of this magical genre.

In collaboration with the sculptor Leelee Chan, a world- and time-spanning project has been selected for the 9th BMW Art Journey - an initiative of BMW and ART Basel. Chan explores old and new materials in order to enter them into a dialogue with the present day. On her travels across Italy in 2020, she learned about traditional techniques used to extract and work marble, copper, iron and bronze. In Switzerland and Germany, including at BMW's Munich headquarters, she met engineers and scientists in order to lean about nanotechnologies and postindustrial materials. This richly illustrated volume brings together essays, documentary photographs, and works inspired by the trip to examine the core questions of Chan's project: What does it mean to be a sculptor in the current time? What can we learn from the materials of yesterday? And how can tomorrow's materials ensure our sustainable future?LEELEE CHAN's (*1984) whimsical and intimate sculptures are composed of everyday objects and reflect her experiences in Hong Kong. She earned an MFA from the Rhode Island School of Design and a BFA from the School of the Art Institute of Chicago. Her work is exhibited worldwide.

Hong Kong in 2020: It is a medical, economic, and, above all, political state of emergency - all at the same time. The complexity of this crisis is difficult to put into words. But it can be expressed in pictures. Elisabeth Neudörfl set off for the lively metropolis to capture the situation on the ground in photographs. She encountered a city deeply marked by protests and its struggle for democracy, the intransigence of power, and the onset of the Covid-19 pandemic. Neudörfl's images were taken, on the demonstration routes and at the universities. Signs of dystopia are everywhere: closed stores, streets without traffic, deserted metro stations. The graffiti alone reflect the conflicts and the changes in the city. With these images, viewers are in a position to form their picture of the catastrophe.ELISABETH NEUDÖRFL (*1968) studied photography in Dortmund and Leipzig. She deals in her photographic oeuvre with the urban space as an expression of social, political, and historical discourses. She is a professor of documentary photography at the Folkwang Universität der Künste in Essen.

Following more than forty years of photographic storytelling of Jewish life around the world, Frédéric Brenner spent three years exploring Berlin -- a stage for a vast spectrum of expressions and performances of Judaism. In his new photographic essay he portrays individuals -- newcomers, old timers, converts, immigrants and others - who have made Berlin their home or are just passing through. Via a series of fragmentary insights into this incubator of paradox and dissonance, he reflects on conflicting narratives of redemption and gives light to an ever so present absence. Like a shattered mirror, these images offer a polyphonic, sometimes bizarre and disturbing reflection of and on a topography of displacement and estrangement in contemporary human condition, far beyond the story of Berlin or of Jews.FRÉDÉRIC BRENNER (*1959) is known for exploring questions of longing, belonging and exclusion. His major opus, Diaspora: Homelands in Exile is the result of a twenty-five-year search in over forty countries to create a visual record of the Jewish people at the end of the twentieth century. He has published seven books, his most recent book is An Archeology of Fear and Desire (2014). He lives in Berlin and Jerusalem.

"I have kept a diary since my school days," HP Zimmer remarked in 1984. This is also true of the time of the artists' group SPUR he co-founded in 1957. He wrote to "seek my own point of view in the midst of often turbulent events and sometimes controversial debates." This book presents representative excerpts from the manuscript, which was reviewed by the artist in the early 1990s. Stylistically aware and (self-) critical, Zimmer comments on the cultural and social climate of postwar Germany. He provides insights into the contemporary German art scene and its European network with close ties to the Situationist International. The debates recorded by Zimmer in his diaries - about painting and artistic freedom as well as revolution, boxing matches, crime series, and the threat of nuclear war - are still strangely relevant to us today.HP ZIMMER (1936-1992) studied at the Hamburg Kunsthochschule and the Munich Kunstakademie in the late 1950s. SPUR, which he co-founded, was one of the first post-war avant-gardes groups in the Federal Republic. In 1982, HP Zimmer became a professor of painting at the Hochschule für Bildende Künste in Braunschweig.

Published on the occasion of Ali Kaaf's exhibition Ich bin Fremder. Zweifach Fremder at the Museum für Islamische Kunst in the Pergamonmuseum Berlin, the catalogue documents the sculptural intervention created in the context of the Mschatta Façade. The eventful history of this icon of Islamic architectural culture is not only a metaphor for human existence, but also equally for the biography of the German-Syrian artist. The volume is augmented to include works on paper from past groups of works in the Rift series and Byzantine Corner, which illustrate Kaaf's intermedial working method. In subtle, abstract imagery, he works with layerings, incisions, burns, photography and digital image processing. Through the artistic exploration of breakages and reassemblages, complex spatial voids emerge that reflect both intercultural and internal processes.Algerian-born German-Syrian artist ALI KAAF (*1977) lives and works in Berlin, where he studied fine arts at the Universität der Künste. His works are equally influenced by European and Arabic culture and art tradition and can be found in both European and Asian collections.

For over twenty years Liliane Tomasko has explored the themes of dreams, sleep, and the unconscious. This book follows the development of her work as a painter. It begins with figurative works in oil on canvas in which she captures the material qualities of unmade beds, piles of clothes, and other melancholy still lifes and somber interiors. It then traces the gradual dissolution of these initial motifs and the emergence of her abstract paintings in which intertwined lines and layers of color are woven into visual structures and materialized as emotions that allow us to look deep into our innermost being.LILIANE TOMASKO (*1967) is a Swiss artist of Hungarian origin. She attended Camberwell College in London from 1991-92, completed a BA in Fine Arts at Chelsea College of Art & Design in 1995 and graduated with an MA in Fine Arts from the Royal Academy of Arts in 1998. Tomasko lives and works in Bavaria and New York.

Bringing together twenty-two years and 484 projects in one book is a mammoth task. Especially when it involves the influential work of two icons of the design field. With their firm AAS, Pierre Jorge Gonzalez and Judith Haase quickly made design history. Their purist yet offbeat style has left its mark on built spaces across the globe, from large-scale art installations to retail stores and luxurious private dwellings. They focus in particular on a skillfully staged choreography of space and light. The distinctiveness of their style is also expressed in this magnificent illustrated publication. Committed to the aesthetics of social media, the book functions like a stream of fascinating impressions and experiments with exciting image breaks. True to their own style and always daring the new, the book shows and is a typical AAS project.Gonzalez Haase AAS was founded in 1999 by JUDITH HAASE and PIERRE JORGE GONZALEZ. With their unique style, the Berlin duo quickly established themselves as a design firm that is in high demand around the world. Their select concepts have shaped the design of numerous museums, exquisite offices, and commercial spaces.

At the onset of WWII, the visionary Dada artist Hannah Höch retreated to a secluded house on the outskirts of Berlin, fleeing persecution for her radical collage work and her unflagging opposition to fascism. In the decades that followed, the surrounding garden became her artistic muse, but it was also a means of survival: its fruits and vegetables were a vital source of sustenance during wartime, and its soil served as the hiding place for her priceless collection of Dada artworks, deemed "degenerate" by the Nazi regime. Eighty years later, this richly illustrated yet deeply researched book reimagines Höch's garden from an artist's perspective. It brings together Höch's botanical collages and garden photographs with deep archival cuts exploring her connection with writer Til Brugman; new art by the artists Scott Roben and Johanna Tiedtke, based on visits to Höch's garden; and an essay by the writer Alhena Katsof that understands Höch's collage practice as a form of pruning. Together, these elements interweave past and present, private and public, personal and political, öering new views into Höch's lush refuge.SCOTT ROBEN is an artist and writer living in Berlin. He holds an BA in Visual and Environmental Studies from Harvard College and an MFA from the Milton Avery Graduate School of the Arts at Bard College. His writings on art have appeared in Frieze, Art in America, and Texte zur Kunst. JOHANNA TIEDTKE is an artist living in Berlin. She has earned MFA degrees from both the Hochschule für bildende Künste in Hamburg and the Milton Avery Graduate School of the Arts at Bard College. Her works have been exhibited at the Villa Romana in Florence, at the Austrian Cultural Center in New York, and at the Museum Marta in Herford, among others. She has been awarded stipends from the DAAD and Kunstfonds Bonn.

. Brilliant portraits. Stars in front of the camera. Leica masterpieces

Tomanova's first book Young American (2019), featuring a foreword by acclaimed photographer Ryan McGinley, sold out shortly after its publication. Art and fashion magazines overflowed with enthusiasm. Tomanova now presents, with art historian Thomas Beachdel, her second volume on youth in New York City with a foreword by the iconic Kim Gordon. Deftly entwining portraiture and landscape, the photographer expands and recontextualizes the significance and meaning of each. Tomanova shows us a powerful and vital panorama of identities of people and place, and a compelling future free of binary gender models and outmoded definitions of beauty. MARIE TOMANOVA grew up in Mikulov, Czech Republic. After studying painting, she moved to New York and turned to photography. Her work explores themes of identity, gender, immigration, and memory.

In conversations and interviews Joseph Beuys mentioned Marcel Duchamp more than any other artist. And hardly anyone else seems to have challenged him more than this artist from the previous generation. Direct evidence of this is his oft-cited action Das Schweigen von Marcel Duchamp wird überbewertet (The Silence of Marcel Duchamp is Overrated) from 1964, through which Beuys attempted to shift focus onto the political and social dimensions of his concept of expanded art. The associations and connections between the artists go deep. Both used similar radical strategies to rejuvenate the concept of art and the role of art in everyday life; their questions had a number of aspects in common. This richly illustrated catalogue is the first to undertake a profound exploration of this multilayered relationship, while investigating both artists' future-oriented potential.MARCEL DUCHAMP (1887-1968) was one of modernism's most influential artists. From 1913 on, his readymades, objects, installations, and word games radically questioned the common concept of art.JOSEPH BEUYS (1921-1986) fundamentally altered art after 1960 in his many roles as a draftsman, sculptor, performance and installation artist, teacher, politician, and activist. At the center of his concept of expanded art and the universal work of art is the vision of changing society.

. Compendium of art criticism. Plurality of voices and styles of writing. With short comments on each art critique

Heidi Bucher's fascination with the interplay between art and fashion gave rise to wearable genderless body sculptures back in the early 1970s in California. The works celebrated her concept of sculpture as something between performance and object. Already at this time, she began to experiment with unusual materials such as rubber, which she applied to surfaces in liquid form and pulled off again with great physical force after it had solidified. With material transformations that were at once radical and sensual, she investigated human forms of existenceand their embedding in power structures. In doing so, she was always dedicated to a critical subversion of normative gender roles. This monograph presents Bucher's oeuvre from its beginnings in Zurich in the 1940s, to the experimental phase in New York and Los Angeles in the 1960s and 1970s and the main body of work with architectural and human skins, to the works she created in the last years of her life on Lanzarote.The sculptor and performative artist HEIDI BUCHER (1926-1993) was raised in Switzerland, studied under Johannes Itten in Zurich, and enjoyed her initial successes in the late 1960s in New York and California. Her works can be found in numerous museums and private collections around the world.

Heidi Bucher's fascination with the interplay between art and fashion gave rise to wearable genderless body sculptures back in the early 1970s in California. The works celebrated her concept of sculpture as something between performance and object. Already at this time, she began to experiment with unusual materials such as rubber, which she applied to surfaces in liquid form and pulled off again with great physical force after it had solidified. With material transformations that were at once radical and sensual, she investigated human forms of existenceand their embedding in power structures. In doing so, she was always dedicated to a critical subversion of normative gender roles. This monograph presents Bucher's oeuvre from its beginnings in Zurich in the 1940s, to the experimental phase in New York and Los Angeles in the 1960s and 1970s and the main body of work with architectural and human skins, to the works she created in the last years of her life on Lanzarote.The sculptor and performative artist HEIDI BUCHER (1926-1993) was raised in Switzerland, studied under Johannes Itten in Zurich, and enjoyed her initial successes in the late 1960s in New York and California. Her works can be found in numerous museums and private collections around the world.