Bøger udgivet af Hatje Cantz

Familie ist ein seltenes Thema in der zeitgenössischenKunst. Feministische Künstlerinnen haben ihre Rolleals Frauen, Versorgerinnen und Mütter thematisiert,eine kritische Auseinandersetzung mit dem ThemaFamilie hat jedoch weitgehend gefehlt. Burning Downthe House. Rethinking Family befasst sich mit Überzeugungenund Widersprüchen, die die Familie als Institutionverkörpert. Sie wirft einen genauen und kritischenBlick auf Familienkonstrukte und bietet einen seltenenÜberblick über zeitgenössische Kunstpraktiken, die sichmit dem Thema auseinandersetzen. Gleichzeitig problematisiertsie den Begriff der Familie und verkompliziertihre stereotype, bürgerliche Darstellung, die unserevisuelle Kultur seit Jahrhunderten geprägt hat.

¿ Indian painting from the seventeenth to nineteenth century¿ Synergy of music, poetry and painting¿ Moods and emotions in pictures and sound

In our age of "polycrisis," wherein multiple seismic events occur simultaneously, how do we visualize our place in a world that is no longer recognizable? "Olivia Erlanger: If Today Were Tomorrow" reimagines what it means to inhabit a planet. Shifting between notions of home-as an architecture, a neighborhood, a world, or a feeling-Olivia Erlanger continues her decade-long disruption of what she refers to as the "semiotics of suburbia," or the symbols and myths of suburban life. In this new body of work, the artist expands our understanding of home as a greater ecosystem containing not only houses but also their interiors and surrounding infrastructure. This publication contains Erlanger's debut solo museum exhibition in the US, showcasing her sculptural, filmic, and installation-based work.

From Rousseau to Richter, from Brancusi to Bourgeois, from Monet to Miró -this volume presents twenty-five inspiring highlights that have transformed art in innovative ways. These works were selected from the more than 400 works held in the collection of the Fondation Beyeler. Whether it is found in the radical light reflected in Monet's water lily pond or in Warhol's Flowers, whether it is found in Mondrian's abstract grids or Rothko'sexpressively luminous color fields, these twenty-five works attest to a visionary power reaching far beyond their present times. Such works are emblematic of the collection of modern art that has been carefully assembled by gallery owners Ernst and Hildy Beyeler and of the museum, which has become one of the most popular and successful venues in Europe since it was founded in 1997.

¿ First major retrospective in the German-speaking area in 20 years¿ Significant examples from all periods of creation¿ Well-known masterpieces alongside lesser-known pieces that are fresh to discover

For the fourth time, the Musée d'art et d'histoire de Genève (MAH) has awarded a Carte Blanche-in 2024 to the Belgian artist Wim Delvoye. The museum's collection and archives enter into an exchange with Delvoye's installations and sculptures, with his own collections of everyday objects and media images. Delvoye questions the boundaries between art and everyday life and immerses us in a playful abundance of objects, references and interventions.  The catalogue reflects his free association of ideas and feelings. Delvoye tears the objects out of our perceptual routine and gives them a new shine-an approach that this virtuoso of hybridity himself describes as "elegant vandalism." Wim Delvoye (*1965) is a belgian neo-conceptual artist and sculptor.

For the fourth time, the Musée d'art et d'histoire de Genève (MAH) has awarded a Carte Blanche-in 2024 to the Belgian artist Wim Delvoye. The museum's collection and archives enter into an exchange with Delvoye's installations and sculptures, with his own collections of everyday objects and media images. Delvoye questions the boundaries between art and everyday life and immerses us in a playful abundance of objects, references and interventions.  The catalogue reflects his free association of ideas and feelings. Delvoye tears the objects out of our perceptual routine and gives them a new shine-an approach that this virtuoso of hybridity himself describes as "elegant vandalism." Wim Delvoye (*1965) is a belgian neo-conceptual artist and sculptor.

¿ Eine der bedeutendsten Privatsammlungen in Europa¿ Schwerpunkt französischer Impressionismus¿ Historisches Ensemble in denkmalgeschützterParkanlage

¿ Renowned author, writer, and cultural journalist¿ The moving image in contemporary art¿ Sixty positions from over twenty countries

Alexander Calder (1898-1976) famously transposed modernist visual abstraction into three-dimensional space, initially doing so in the context of European abstract artists such as Mondrian. In 1933, leaving Paris for his native United States, he settled in an old farmhouse in Roxbury, Connecticut, where the forms of nature became a new source of inspiration for his creativity. By the summer of 1934, Calder was producing his first outdoor sculptures. His monumental standing mobile "The Tree" (1966) exemplifies this new tension between abstraction and figuration. This volume, published for an exhibition at the Fondation Beyeler, tracks Calder's evolution away from geometric abstraction and toward large-scale biomorphism via the tree motif. It includes maquettes that anticipate "The Tree" as well as a striking group of rarely seen sculptures from the 1930s to the 1950s.

Max Beckmann (1884-1950) moved to the United States in the late summer of 1947, and would spend the last three years of his life there. Impressively, Beckmann was able to make the utmost use of this radical (and late) relocation and was able to bring about significant transformations in his painting--producing among other works his triptych masterpiece "The Argonauts"--while also teaching at the art schools of St Louis, Missouri, and at the Brooklyn Museum in New York, where he also found time to mount a retrospective of prints and drawings. The vastness of the American continent, with its unending landscapes and roads, and its vast cities embodying an energetic modernist optimism all combined to propel Beckmann--who had never before experienced geographic space on such an imposing scale--into an extraordinary fervor of productivity. Today, Beckmann's last years seem all the more impressive when seen in relation to the concurrent emergence of abstract painting in New York and San Francisco (Philip Guston and Nathan Oliveira being among Beckmann's most vocal advocates at the time). This Art to Hear companion to Beckmann & America looks at these decisive final years through a guided audio tour of key works.

News of the fall of Constantinople on May 29, 1453, spread throughout Europe like wildfire. The geographic approach of the Ottoman Empire coincided with the emergence of a fascination with this highly developed culture and its groundbreaking scientific insights. Artists from every corner of Europe traveled to the shores of the Bosporus; trade flourished, as did cultural interchange, giving rise to a great number of works of art that reflect intercultural dynamism. This opulent volume presents examples of the early enthusiasm for the Near East and illustrates the allure that it exercised on Western artists, drawing attention to the influence of the Islamic world on Renaissance thought. Masterpieces by Giovanni Bellini, Vittore Carpaccio, Albrecht Dürer, Titian and other artists are included in this lavish publication.

The Post-Impressionists counted among their number a good many painters who were both determined and unconventional, and who went their own separate aesthetic ways, refusing to be subsumed by any categorization. Like Vincent van Gogh, Paul Gauguin was a particularly uncompromising example of this tendency. His quest for an independent artistic stance and an authentic lifestyle took the former stockbroker from Paris to Brittany before he made the decision to travel to Polynesia. Simplified forms, expressive colors and emphatic two-dimensionality characterize his seminal paintings. Today these count among the world's most treasured artworks. This extensive publication traces Gauguin's artistic development through reproductions of his masterworks of both painting and sculpture--from the multifaceted self-portraits and sacred paintings of his period in Brittany, and the idyllic, wistful paintings and archaic, mystical sculptures from Tahiti, to the late works made during his last years on the Marquesas Islands. In addition to its thorough investigation of Gauguin's multifaceted oeuvre, the volume also analyzes his influence on modern and contemporary artists. Paul Gauguin (1848-1903) was born in Paris and made his first extended voyage in 1866, embarking on a round-the-world journey. He began painting and drawing in 1871, quickly becoming acquainted with the Impressionist movement and attending a private art school. He participated in the fourth Impressionist exhibition (1879), soon after which he met Cézanne, while on holiday in Pontoise. He moved to Tahiti in 1891, where he made some of his best-known works, and died there in 1903.

¿ Lebanese Post War & Contemporary painter, etcher, sculptor, textile artist born in 1928¿ A discovery tour of one of the most important political artists of the Arab world ¿ Exhibited at this year's Biennale Venedig (Arsenale)

¿ First comprehensive volume on the artist's spatial alterations ¿ Subversive humor¿ Resonating social criticism

Becker's latest portrayal of the transformations wrought by climate change upon landscape comes with a limited-edition printGerman photographer Olaf Otto Becker (born 1959) has long been acclaimed for his photo-documentations of the effects of climate change on landscape, as well as the general influence of human behavior on nature. He first came to public attention with his captivating pictures of icebergs. Now, Becker has turned to the permafrost zone and its gradual retreat northward. Here he portrays earth and ice towering above wet beaches like abstract sculptures; he follows a group of researchers taking soil samples during the hot summer of 2019; and finally lands in the semi-decaying harbor town of Tiksi. This large-format limited edition comes with an archival pigment print titled Muostakh 07, Buor-Khaya Gulf, Siberia 08/2019. Measuring 8 x 10 inches, the print is signed and numbered; the book is published in an edition of 50 copies.

This volume examines Luis Buñuel's 1930 masterpiece L'Âge d'or as a source of inspiration for contemporary art. Here, artists such as John Bock, Keren Cytter, Julian Rosefeldt, Tobias Zielony and the artist duos Chicks on Speed and M+M present unconventional renderings of Buñuel's film.

Nadav Kander (born 1961) is a recipient of the renowned Prix Pictet and one of today's most successful photographers. Upon learning of the existence of two "closed" cities on the border between Kazakhstan and Russia, he decided to visit them. For Dust he photographed the desolated landscapes of the Aral Sea and the restricted military zones of Priozersk and Kurtchatov, which did not appear on any map until well after the end of the Cold War. Long-distance missiles were secretly tested in Priozersk, and hundreds of atomic bombs were detonated in the so-called Polygon near Kurchatov, until the program ended in 1989. The bombs were exploded in a remote but still populated area, and covert studies were made of the effects of the radiation on the unsuspecting inhabitants. Kander describes how the ticking of the Geiger counter on his belt while he photographed served as a foil against the aesthetic allure of the ruins.

In Walking the Sea, Anton Ginzburg (born 1974) charts a 26,000-square-mile area between Kazakhstan and Uzbekistan known as the Aral Sea. Looking to American Land art of the late 1960s and early 70s, and using film, photographs and sculptures, Ginzburg approaches the waterless sea as a readymade earthwork to make visible a territory and history that remains largely inaccessible.

¿ Lebenslange Freundschaft 'im Schatten derKrematorien' (Daniel-Henry Kahnweiler)¿ Erstmalige Publikation des Briefwechsels¿ Hinreißende Sammlung bedeutender Werke derModerne

Her American Girl in Italy-the street scene with the whistling Italians-is an icon. Now sensational negatives and slides have surfaced from the archive that reveal a little-known side of Ruth Orkin: that of the sensitive, interested, witty chronicler of the women's world of the 1940s and 1950s. Orkin thought up editorials like the tongue-in-cheek reportage Who works harder? comparing the lives of a career woman and a housewife. She documented the hustle and bustle in beauty salons and at cocktail parties, at dog shows and on Hollywood film sets. We meet Lauren Bacall, Jane Russell, Joan Taylor or Doris Day, but also waitresses, stewardesses and female soldiers, as wall as groups of female friends. What emerges is the image of women on the move, women who are beginning to cast off the conventions imposed on them, going their own way: self-confident, stylish, smart.American photographer, photojournalist, and filmmaker RUTHORKIN (1921-1985) grew up in Hollywood as the daughter of asilent film actress. She went on to be one of the first women tostudy photojournalism at Los Angeles City College. In 1943 Orkinmoved to New York City, working as a freelance photojournalist.Her photographs appeared in The New York Times, LIFE, Look,Ladies' Home Journal, and other publications. On the occasion ofwhat would have been her 100th birthday, exhibitions were heldacross Europe and North America. In 2021, Hatje Cantz publishedA Photo Spirit dedicated to her pioneering work.

Haegue Yang: The Cone of Concern documents the Koreanartist's solo exhibition at the Museum of ContemporaryArt and Design in Manila. Known for her unique interweavingof conceptual language and aesthetic vocabulary, Yang,who lives and works in Berlin and Seoul, is one of the mostwidely exhibited artists of today as well as a professor atthe renowned Städelschule in Frankfurt am Main.The Cone of Concern, which takes its name from a graphicaltool used in weather forecasting, which traces the pathof an oncoming storm, represents humanity's attempt toconfront natural phenomena. Yang explores this conceptas a way for the human imagination to understand ourown condition in the universe, and as a metaphoricalnotion of solidarity among those facing difficult circumstances.The publication revisits her complex layering ofobjects-woven anthropomorphic sculptures, light sculptures,rotating sound bells, whirlwind-derived structures,textile canopies, and sound elements-against a lenticularprint backdrop of a digitally altered meteorological image.HAEGUE YANG (*1971, Seoul) lives and works in Berlin and Seoul. Since 2017 she has been Professor at the Städelschule in Frankfurt am Main. Her work has been included in numerous exhibitions internationally, such as the Venice Biennale; documenta, Kassel; at Centre Pompidou, Paris; and at Museum Ludwig, Cologne.

Childhood never lets go of anyone. For many artists, it was the trigger for making art in the first place, and still is what drives them today.For Dream On Baby, Gesine Borcherdt asked 33 artists, including Ai Weiwei, Marina Abramovic, Lynda Benglis, Vaginal Davis, Marcel Dzama, Mona Hatoum, Jeff Koons, Gregor Schneider, and Jordan Wolfson, about their memories of childhood. The result is an anthology of deeply personal, sometimes tragic, sometimes funny, often heartbreaking and always surprising stories. Accompanied by never-before-seen childhood photographs and drawings, this book sheds new light on what it means to make art.GESINE BORCHERDT (*1976, Braunschweig) is a Berlin-basedcurator, art critic and author for Art Review, Ursula, Welt amSonntag, ART, and AD Germany. Recent exhibitions includeDream Baby Dream (2020) revolving around childhood fantasiesand traumas, and Home Is Where You're Happy (2023) at HausMödrath in Kerpen, Germany.

David Stephenson's stunning large format photographs ofcities at night across America, Australia and Asia reveal globalizedurban sprawl, energy use, and light pollution. Theseglowing "light cities" suggest much that is both good andbad in our industrialized society: extraordinary examples ofa monumental technological sublime, where awe, beauty,and human aspiration are tinged with the shadow of loomingenvironmental catastrophe, our engine of modernityseemingly running on empty. The accompanying essay byphotographic historian Keith F. Davis discusses the evolvingidea of the city as a key theme in photography, and whatit has symbolized, from the modernist city as an engineeringfeat, to the post-modernist city as a focus of energyand information.DAVID STEPHENSON (*1955, Washington D.C.) has lived inAustralia since 1982, when he took up a teaching post at theUniversity of Tasmania Art School. A fascination for vastness inspace and time has led him to travel and photograph extensivelyaround the world, with journeys to Europe, the Himalayas, andboth the Arctic and Antarctic. His photographs and video workshave been widely exhibited in galleries around the world.

In 1921, Sanyu was among many Chinese artists who lefthis homeland to travel abroad to learn foreign ways. InParis he enrolled at the Académie de la Grande Chaumière,where he delved into the world of sketching nudes fromlive models. Drawing on his training in Chinese calligraphy,his ink drawings are characterized by a unique curvilinearcertainty and fluidity. He started to paint in oil in 1929, underthe direction of author and art collector Henri-Pierre Roché.In contrast to his drawing, here he preferred to referenceimages or memories from his youth and his rich culturalheritage. After World War II. he traveled to New York, wherehe became roommates and close friends with the Swissphotographer Robert Frank, and became influenced by theNew York School. While he did not embrace abstraction, heborrowed elements that are evident in a diversified colorpalette. Sanyu returned to Paris in 1950, where his life wascharacterized by hopeful but false starts and debilitatingfailures. This catalogue raisonné is the first publication thatincludes all of his known oil paintings to date.

This book is a journey into the cosmos of the Brazilian-Swiss artist Pedro Wirz, in which humans and animals, but also legendary creatures coexist. His artistic investigation of the systemic devastation of diversity witnessed across biological, cultural, and ethnic fronts today is based on scientific explorations, but also on his very own experiences within a particularly threatened ecosystem. The child of an agronomist and a biologist, Wirz spent most of his youth in the tropical Vale do Paraíba in Brazil. To this day, his fascination with science as much as with indigenous mythologies continues to inform his work. He creates his sculptures and installations from a mixture of organic materials like wax, earth, wood, clay and straw as well as artifacts of the consumer world such as toy cars, dolls, textile remnants, Lego, old clothes and electronic devices. However, Wirz is also interested in new, promising materials such as mushroom threads, bamboo or nanomaterials. With his combination of paradoxical elements from the remotest past and the foreseeable future, from technological reality and poetic imagination, Pedro Wirz brings back the original familiarity that used to exist between science and mythology.PEDRO WIRZ (*1981, Pindamonhangaba, Brazil) is a Brazilian-Swissvisual artist dealing with the coexistence of different specieswithin an ecosystem. His work has been exhibited at KunsthalleBasel, Palais de Tokyo, Hessel Museum of Art, KünstlerhausStuttgart and Kunstverein Dortmund, among others.

In 1921, Sanyu was among many Chinese artists who lefthis homeland to travel abroad to learn foreign ways. InParis he enrolled at the Académie de la Grande Chaumière,where he delved into the world of sketching nudes fromlive models. Drawing on his training in Chinese calligraphy,his ink drawings are characterized by a unique curvilinearcertainty and fluidity. He started to paint in oil in 1929, underthe direction of author and art collector Henri-Pierre Roché.In contrast to his drawing, here he preferred to referenceimages or memories from his youth and his rich culturalheritage. After World War II. he traveled to New York, wherehe became roommates and close friends with the Swissphotographer Robert Frank, and became influenced by theNew York School. While he did not embrace abstraction, heborrowed elements that are evident in a diversified colorpalette. Sanyu returned to Paris in 1950, where his life wascharacterized by hopeful but false starts and debilitatingfailures. This catalogue raisonné is the first publication thatincludes all of his known oil paintings to date.

In 1921, Sanyu was among many Chinese artists who lefthis homeland to travel abroad to learn foreign ways. InParis he enrolled at the Académie de la Grande Chaumière,where he delved into the world of sketching nudes fromlive models. Drawing on his training in Chinese calligraphy,his ink drawings are characterized by a unique curvilinearcertainty and fluidity. He started to paint in oil in 1929, underthe direction of author and art collector Henri-Pierre Roché.In contrast to his drawing, here he preferred to referenceimages or memories from his youth and his rich culturalheritage. After World War II. he traveled to New York, wherehe became roommates and close friends with the Swissphotographer Robert Frank, and became influenced by theNew York School. While he did not embrace abstraction, heborrowed elements that are evident in a diversified colorpalette. Sanyu returned to Paris in 1950, where his life wascharacterized by hopeful but false starts and debilitatingfailures. This catalogue raisonné is the first publication thatincludes all of his known oil paintings to date.

A new platform for contemporary art situated on the outskirtsof Riyadh near the At-Turaif UNESCO World HeritageSite, the 2024 Diriyah Contemporary Art Biennale, AfterRain, features more than eighty artists of different generations,presents many contributions from Saudi Arabiaand the Gulf region, and includes newly commissionedprojects and time-based works of art. This internationalgathering of artists is founded on a commitment to fosteringdialogue between Saudi Arabia and other parts ofthe world. The catalogue provides a visual and spatial navigationof the exhibition and the Biennale Encounters, aseries of talks, workshops, performances, poetry readings.A compendium of essays, literary texts, and poetry, thisbook also serves as a logbook, highlighting the format ofthe Biennale as a work-in-progress that unfolds over timein diverse collaborations with artists, musicians, chefs,architects, farmers, and botanists. This large-scale internationalart project and its publication capture and reflecton an exciting moment within a changing Saudi Arabiancultural landscape.

Zhou Li's lyrical abstract paintings capture her acute sensoryobservations of the world: lightness and shadow,solidity and dissolution, the sense of being. Building uponthe history of European painting and the central tenetsof traditional Chinese art, the Shenzhen-based artist harnessesboth traditions to develop a distinct painterly language.Her free-flowing charcoal lines intersect with circlesof paint in a gauzy, gossamer palette.Organized in three sections, this publication presents threepivotal bodies of work. Lost in Green, created in the uniqueyear of 2020, turns our attention to the elemental shiftsof spring, harnessing its powerful symbolism of flux andregeneration. Tracing The Peach Blossom Spring uses coloras a healing force and tool for self-reflection, expressingemotional journeys in response to life cycles of birth andgrief. Water and Dreams focuses on the universal motifof water, drawing upon its rich cultural symbolism andcomplex representations throughout art history, religionand mythology. Insightful and poetic texts and a distinctivethematic colorway respond to each body of work.ZHOU LI (*1969, Hunan, China) creates paintings, sculptures, installations and public art using mixed media, including oil paint, washes of ink, charcoal and cotton cloth. After graduating from the Guangzhou Academy of Fine Arts in 1991, the artist spent eight years living in Paris, and eventually returned to China in 2003. Zhou Li has been the subject of critically acclaimed museum shows across China.