Bøger udgivet af KANT

Art theorist and critic, graphic designer, artist, author and translator Karel Teige (1900-51) is today recognized not just as the creator of internationally acclaimed surrealist collages, but also as a leading figure of the European avant-garde. Teige spent his entire life commenting on and interpreting developments in the visual arts. His multifaceted theoretical writings helped shape the conceptual foundations of modern art, and his activities and intensive contacts with other members of the European avant-garde helped secure Czech art's place on the international art scene. His work anticipated, initiated and helped to develop the progressive artistic movements that fundamentally influenced art in the 20th century.Karel Teige was one of the great European intellectuals of his time; his efforts were aimed at creating not just a system of aesthetics but also an all-encompassing life philosophy. He was intensively interested in architecture and found inspiration in Germany's Bauhaus (where he spent a year lecturing); architectural functionalism would have looked completely different without his input. Teige's preference for rational, minimalist designs with an emphasis on the social uses of modern architecture was the "most functionalist functionalism" of his time.Teige's own work consisted primarily of a series of phenomenal collages that reveal the hidden and passionate aspects of his personality. His book designs set the tone for an entire generation, and his design principles remain valid today. Teige's complicated personality, full of contradictions, utopian dreams and a yearning for order and logic make him an indecipherable and deeply human individual, a perfect symbol for the 20th century.This comprehensive, nearly 800-page monograph, by the art historian Rea Michalová, takes a wide-ranging look at the evolution of Teige's ideological, theoretical and political views, and recalls important moments in his life and their significance within the international context. The book includes a rich set of illustrations, photographs from his life, and examples of his unique collages and graphic designs.

This 1980s series by Czech photographer Josef Moucha (born 1956), recalling the experience of compulsory military service under communist rule, is published here for the first time with introductory remarks by photographer Vladimír Birgus.

This selection of works by Czech documentary photographer Václav Podestát (born 1960) from the past 25 years features solitary figures in urban settings, inspired by Saint-Exupéry's quote "man sees only the world that he carries within himself."

This previously unpublished album contains 72 photographs by Czech photographer Jaromír Funke (1896-1945) that were likely taken in 1923, only four years into Funke's career. These photographs feature important buildings and monuments, as well as journeys undertaken with fellow Czech photographer Josef Sudek.

Man and Machine surveys the pop-esque paintings, reliefs, sculptures and installations of Czech artist Theodor Pistek (born 1932) that incorporate cars, engines and automotive components. It also provides previously unpublished material about the artist's accomplishments as an athlete and as a designer for films such as Amadeus.

Czech painter and sculptor Erika Bornová (born 1964) uses unconventional materials such as wax, polystyrene and polychrome to construct her often-provocative, erotic sculptures of human figures. This book provides a full survey of her work.

This volume presents sketches of both realized and unrealized designs by the Czech architect Martin Rajnis (born 1944), accompanied by Rajnis' personal reflections on the field of contemporary architecture and his life and working methods.

This volume examines the collaborative aspects of the work of Czech artist Jirí Kovanda (born 1953) through his collages, installations and sculptures.

Sport Is Art is the first publication to survey the depiction of sports in Czech art of the 20th and 21st centuries, focusing on the methods and techniques used by diverse artists to convey the dynamism and excitement of athletic events.

Czech photographer Dana Kyndrová (born 1955) offers a portrait of Russian culture from the 1970s to today. Kyndrová attempts to document not only historical events such as the departure of Soviet forces from Czechoslovakia in the 1990s, but also changes in Russian values and norms.

Czech photographer Jirí Hanke (born 1944) has traveled across the United States, putting together a series of images that highlight the formal and dramatic similarities between Czech and American urban landscapes. With unique pairings of photographs, this publication documents his month-long expedition.

This book represents a selection of 33 family homes designed and built in the Czech Republic after 1989. Photographic documentation of each unique dwelling is accompanied by scaled drawings and plans, offering exclusive insight into contemporary Czech architecture and urban design.

This book represents the work of pioneering Czech photographer Miroslav Machotka (born 1946) from the last 40 years. Machotka's striking and symbolic black-and-white images are shot mostly in the streets of Prague, where he currently lives, and in his hometown of Roudnice.

In Lust for Freedom, the photographs of Czech Pavel Hroch (born 1967) and writings of Jáchym Topol record the years following the Velvet Revolution in Prague, a celebratory time of newfound freedom after the fall of the communist regime in Czechoslovakia.

This publication presents eight Czech photographers of Slovak origin working in Prague in the 1970s and 80s: Tono Stano, Rudo Prekop, Vasil Stanko, Martin Strba, Miro Svolík, Kamil Varga, Peter Zupník and Jano Pavlík, known collectively as "the Slovak New Wave." The group--described variously as "photographers living in Bohemia" or "Czech photographers of Slovak origin"--constitutes a kind of shared cultural asset for both countries and an interesting phenomenon for anyone studying the links between Czech and Slovak photography. In the 1970s and 1980s, FAMU was the only higher-education establishment in Central Europe that taught photography, and it is perhaps surprising that the members of the Slovak New Wave remained uninfluenced by the Czech photographic tradition and were able to create their own unique identity at FAMU. Despite--or possibly because of--the fact that this was never an organized group with a declared statement of purpose, their relatively homogeneous visual language became one of the first examples of postmodernism in Czechoslovakia. This volume gives special emphasis to works that were never exhibited at the time, or were shown only on the fringe of the scene.

Sculptor Ladislav Zívr (1909-1980), a leading exponent of modernism in Czechoslovakia, most commonly worked with fired clay, aiming for simplicity and fecundity of form. This catalogue celebrates his life's work and documents his participation in the 1962 Venice Biennale.

Jirí Hanke (born 1944) worked as a clerk in a savings bank in Kladno, Czechoslovakia, where his office looked out onto the city square. Between 1981 and 2006 he photographed the public events that took place there, producing the now-celebrated series presented in this volume.

Ivo Loos (1934-2009) documented the Czech dictatorship of the 1970s in several widely acclaimed photo series. This book presents a selection from his series Faces, The Czechs, The Hot Dog Eaters, Journeys, Fairs and Cemeteries.

Vladimira Klumpar (born 1954) is a contemporary American artist of Czech origin who creates monumental, abstract, cast-glass sculptures. This volume surveys nearly three decades of work and includes an interview with Klumpar, who describes the glass-casting process.

This volume gathers Viktor Kolár's photographs from his five-year Canadian exile (1968-1973). For Kolár, the relative freedom of Vancouver, Toronto and Montreal challenged him to define his style. "To capture the 'new world' without self-censorship--that was my sole task."

Catalog of an exhibition held at Galerie hlavniho m'esta Prahy, M'estska knihovna, Praha, May 15-August 18, 2013; Mesiac fotografie, Dom umenia, Bratislava, November 5-December 1, 2013; and Muzeum um'eni Olomouc, May 15-September 14, 2014.

In mid-1960s Czechoslovakia, prior to the Soviet invasion, the hippie ethos reigned supreme. Photographer Jan Ságl (born 1942), now well known for his photographs of Paris, was on hand to document the communes, bands and performances of the time. He photographed the scenes around the artist Zorka Ságlová, the art theorist Vera Jirousová and bands such as the Primitives Group, the Plastic People of the Universe, DG 307, Aktual and others. In the spring of 1976, while Ságl and his wife were holidaying at their weekend cottage, the police cracked down on the circle around these bands, searching homes, interrogating "suspects" and making arrests. Ságl returned home just in time to hide his photographs, which would otherwise have led to many further arrests. They remained hidden, and were eventually thought lost, until 2012, when Ságl unearthed the images--compiling them in this astonishing, massive panorama of an otherwise undocumented Czech counterculture.

This illustrated volume narrates the story of postmodernism in Czech art, looking at works by Tomás Císar¡ovsky, Stanislav Divis, Jirí David, Petr Nikl, Petr Pisar¡k, Jan Merta, Jirí Suruvka and Antonín Strízek--artists who emerged on the Czech art scene in the late 1980s.

"What would it be like if I had been born somewhere else, in a different way, to other parents?" Czech photographer Dita Pepe (born 1973) casts herself as country girl, businessman's wife, mother of a large family, old woman and collector of rare china. This is the first monograph on her meticulously staged photographs.

Full Spectrum guides the reader on a tour through the photographic collection of the Moravian Gallery in Brno, Czech Republic, including examples of photographs covering nearly the entire history of the medium's existence, with texts that familiarize the reader with the reasons for and circumstances of its founding.

This definitive, 300-page, full-color monograph spans Antonín Strizek's (born 1959) entire career to date, surveying paintings from the late 1980s to the present. Strizek paints across the gamut of painterly genres, from animals, flowers and still lives to cityscapes and landscapes.

Passage presents 62 photographs of empty passages by Swiss photographer and artist Erwin Staeheli (born 1955) that directly confront the claustrophobic and alienating qualities of such spaces. "You find nothing comforting in the dark world of functionality," Staeheli says of this series. "Its emptiness is not silence."

Photographer Roman Burda (born 1966) is known for his exploration of African landscapes, especially in Ethiopia. His genuine and intimate relationships with the locals of the Omo River region have allowed him to document rapidly disappearing elements of African culture, including many controversial rituals and celebrations that have been outlawed.

Image plus narrative equals tableau--or "scenicity," the phenomenon of staging, in the visual and dramatic arts and in commerce. In this original and imaginative volume, scenicity is taken to describe any creative arrangement in a constructed, bounded space that is designed for viewing. This phenomenon, of course, has a history, and the authors look at the emergence of scenicity in painting and performance art (Masaccio, Vermeer, Duchamp, Dali, Beuys), staged photography (Daguerre, Halsman, Sherman, Crewdson, Witkin) and theater design (Palladio, Kysela), as well as in commerce, as a device in the staging of commercial goods in shop windows and advertising.

Exhibition held Oct. 28, 2009-Jan. 3, 2010, Dum u Kamenneho zvonu, Prague, Czech Republic.