Search results for ""Kerber Verlag""

In 2013, five years after the world has been convulsed by a global banking and financial crisis, Isaac Julien (b. 1960) premiered his film PLAYTIME to address an important question: Can capital be rendered visible? By following the stories of six protagonists — interconnecting figures in the world of art and finance — Isaac Julien subsequently found narrative images for the process of capital interlocking at a global level, intertwining a macroscopic and a microscopic perspective dialectically, as it were. The Palais Populaire and the Wemhöner Collection have joined forces to shed new light on PLAYTIME from today’s perspective and to testify to the work’s topicality, as capital as a medium plays into almost all political, social, and societal issues and influences the lives of nearly every human being on this planet. Texts by Zeigam Azizov, Philipp Bollmann, Anna Herrhausen, Isaac Julien. Design by Pit Stenckhoff, Anna Bühler, Flo Paizs, Neue Gestaltung, Berlin. Text in English and German.

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The monograph Scapes unites various strands of Nina Annabelle Märkl's work in the diversity of their links and leaps between drawing and spatiality, which follow on from one another in the diversity of manifestation or interpenetrate one another in individual arrangements. Text in English and German.

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Lisa Klein (*1958) circles around her aspiration to the beautiful in a loop consisting of analogue and digital images. The book presents the groups of works "Körperumkreisungen and "Vorhandene Dinge". In her interview with herself, the artist examines works that were created for the most part in the past ten years. This fictional dialogue makes reference on the one hand to the works presented, and on the other to her artistic development and her attitude toward art. The publication also includes a text by the artist’s colleague Anton Herzl, a careful consideration of Lisa Klein’s working method. Text in English and German.

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In his paintings, the artist Szilard Huszank (*1980) deals with the possibilities and peculiarities of the landscape as a subject, exploring it through new contexts in refreshing and unusual ways. Enthused by the colour palettes of classic modernism, yet far from parody, he has developed an inimitable canon of colour and a formal vocabulary all his own. Always gliding into abstract solutions, the colours and content demand the eye’s attention. Text in English and German.

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When Michael Biedowicz bade farewell to DIE ZEIT in 2020, photographer Michael Wesely set out in search of a suitable gift for the man who, for 23 years, had immersed himself in all sorts of issues surrounding images, photographs and how best to communicate them. What came to mind were ideas about DIE ZEIT and time itself. Wesely, whose artistic technique of choice is long exposure, took portrait photographs – each with an exposure time of five minutes – of individuals at DIE ZEIT who had been particularly important to Biedowicz. In turn, those individuals were asked to pose a question to Biedowicz, whose response was recorded in images with various lengths of exposure. The portraits and Biedowicz’s answers provide a unique insight into a life lived for and with photography. Text in English and German.

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The internationally active sculptor and performance artist Paweł Althamer (*1967) often works on projects in planned or chance collaborations that attempt to break open socially charged structures. He examines his self-portrait again and again in a spiritual way, free from any concrete religious viewpoints. Althamer broadens the conventional concept of art with unusual techniques, materials, and approaches. Social initiatives significantly determine his artistic program. The publication is produced on the occasion of the exhibition to mark Paweł Althamer being awarded the 2022 Lovis Corinth Prize and is dedicated to his projects so far as well as to new works. Text in English and German.

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The catalogue Angela Hampel – The Artistic Work is being published on the occasion of the exhibition with the same title at the Städtische Galerie Dresden. It contains more than 180 illustrations, as well as scholarly texts on Hampel’s artistic media: painting, graphics, installation, performance, artist books, and work in public space. A look back at her reception in the 1980s, a discussion of her current artistic work, and an extensively illustrated biography provide never-before-published insights into Angela Hampel’s life and oeuvre. Text in English and German.

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In January 1971 Joseph Beuys's (*1921 – †1986) first museum exhibition outside of Germany took place at the Moderna Museet in Stockholm. The photographer Lothar Wolleh (*1930 – †1979) accompanied Beuys on his journey and photographed the installation of this exhibition. These photographs formed the basis for an artist book by Beuys and Wolleh, which became famous under the title “Unterwasserbuch”. The present publication features a new edition of the “Unterwasserbuch” as well as the rich history of the “Projekt Unterwasserbuch” in two volumes, both in a single slipcase. The books tell the story of two soul mates, while also testifying to the creative discourse of the early 1970s. Text in English and German.

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Lubomir Typlt (*1975) is one of the well-known representatives of contemporary Czech figurative painting. The pictures of the former A.R. Penck student captivate with their expressive colours, heavy brushstrokes and his relentless view of the human form. The catalogue Somnambul assembles his latest images in which adolescent girls and boys oscillate between fear and aggression, captivity and freedom, as well as isolation and solidarity. Typlt’s visual worlds are relentless, angular metaphors. They appear terrifying, but admonish that nothing can be more terrible than ignorance and numbness.

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In 1987, Berlin as a whole became a laboratory for architecture. A wide range of notable buildings with a unique density was created in the East and the West in connection with the city’s 750th anniversary. While the buildings were vilified at the time, they now appear as important witnesses to a “postmodern” era of building, which called the traditional architecture of the modern living environment into question. Today, the buildings have disappeared, been modified, or are threatened with demolition. For the first time, the exhibition and publication examine the significance of the architectural visions developed in East and West Berlin in the final decade before the fall of the Berlin Wall. Architects included: Hinrich and Inken Baller, Christian Enzmann and Bernd Ettel, John Hejduk with Moritz Müller, Josef Paul Kleihues, Michael Kny and Thomas Weber, Hans Kollhoff, Dorothea Krause, Rob Krier, Peter Meyer, Frei Otto with Hermann Kendel, Martin Küenzlen and Günther Ludewig, Manfred Prasser, Günter Stahn, Helmut Stingl, James Stirling and Michael Wilford, Peter Stürzebecher, Kjell Nylund and Christof Puttfarken, Oswald Mathias Ungers, Solweig Steller-Wendland, and many more.

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Jan-Ole Schiemann (*1983) belongs to a young artist generation, subjecting painting to a critical actualisation. On the fringes of figuration and abstraction, he extracts fragments of advertisement, comics, and architecture from their original context. Almost transparently, he interweaves and layers structures, logos, topographies, graffiti, and everyday textures. This complex surface mesh, always full frontal, yet equally deep, dissolves the fabric of reality as a flashing, constantly renewed and self-generating hyper-text, into which one can actively immerse oneself or trace the origins of individual elements.

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Roger Turesson (*1956) is an award-winning photojournalist for Stockholm's Dagens Nyheter and one of Sweden's foremost photographers. Keeping aloof from major events, royalty, and celebrities, he turns his camera onto everyday life. Most of all, his heart is with the common people - in his own neighbourhood as well as in the world's most sealed in countries as North Korea. With great empathy and respect, he shows people struggling to survive in arduous times, times torn by war and terror, seeking passage to a better life. His new book is full to the brim with such gut-wrenchingly beautiful moments.

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Alexandru Radvan's (*1977) new monograph Mythical Flesh presents his varied practice and gathers paintings, collages, temperas, sculptures, and installations of the past five years. In this series of works, all named after fundamental myths, mythical and mythological characters appear, taking the shape of ancient goddesses, titans, centaurs, hunters, or explorers. For Radvan, the reference to these myths of humanity equals an analysis of the present and forms the foundation of his work. This rich survey publication is completed by essays on Radvan's artistic development by Diana Dochia and Mark Gisbourne. Text in English and German.

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With his trusted 35mm camera, Ron Hoffer plunged into the turbulent post-Soviet world of the late 1980s and early 1990s. In a myriad of images, he captured the beauty as well as the daily challenges, friends and strangers alike had to face in Czechoslovakia or East Germany, while trying to cope with the adventurously new economic and political realities. Thirty years after the fall of the Berlin wall, Ron Hoffer's vignettes of women, the youth, everyday culture, and devastated landscapes turn this book into a very personal memento and photographic tribute to this astonishing time of global optimism.

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Catrin Huber (*1968) works with architectural, fictional and imagined spaces as well as with site-responsive practices. Fascinated by ancient Roman wall painting, she developed site-specific installations in a topical dialogue with two Roman houses at the world-heritage sites of Herculaneum and Pompeii. This intricately designed book presents Huber's versatile spatial interventions, discusses the complex relation between her installations and their respective archaeological settings (local/temporal), and re-evaluates the daring concept of a historiographic turn within the arts. Text in English, German and Italian.

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Wolfram Ullrich (*1961) oscillates between painting and sculpture. For decades, he has used his refined techniques to amaze viewers with his perfect trompe l'oeils. Optically speaking, his intensely colourful, often multi-part wall reliefs develop an enormous sense of physicality and practically seem to project into the space. Their dynamic arrangement transforms the entire appearance of a space. In this publication the MKK Ingolstadt presents Ullrich's multifaceted, consequential oeuvre all together for the first time, covering all stages of his work. Text in English and German.

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In a spectacular move, the Albertina presents Sean Scully from a hitherto unfamiliar side with a series of large figurative paintings of his son Oisín playing on the beach of Eleuthera, an island in the Bahamas. Scully's inimitable pictures used to rely solely on paint - applied with a strong, but above all abstract gesture - the new series however appears like a surprising point of reversal. Yet, the new paintings are a return to his earliest beginnings, as, in the 1950s, Scully embarked along the Fauves and German Expressionism from realism into the realm of pure colour. Even today, abstraction, as he sees it, is still infused with memories of figurative sources. This richly illustrated catalogue brings together all Oisín-Paintings, enriched by graphic works from Albertina's collection, extensive material from Scully's private archive, as well as in-depth essays by Werner Spies and Elisabeth Dutz elaborating on this newly obtained painterly freedom.

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Uwe Hand's (*1952) painting is unique. His images open up vast spaces for the imagination... It almost seems as if the elements of nature have been transformed into painting. A masterly use of countless layers, colours, pigments and even sand are applied, abrasively excavated, and rebuilt again until an image comes into being: abysmal in its surreal and dreamy motives, graceful in its rugged materiality. With inspiration ranging from the Baroque to the films of Hitchcock, Tarkovsky and David Lynch, Uwe Hand creates paintings so intriguing that one hardly wants to turn away. Text in English and German.

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John Peter Askew (*1960, UK) is an artist who works with the camera to create dense, poetic images of domestic life, and of the historical forces that shape who we are. Since 1996 he has photographed the Russian city of Perm, the easternmost city in Europe, as part of a project investigating the state of modern Europe. While We is an extended epic portrait across generations of a single family, the Chulakovs, these photographs transcend their particular circumstances. Askew pays attention to our 'best selves', asking us to imagine the possibility of a better, more playful world, and pointing towards who we might yet become.

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Axel Grünewald (*1954) looks at the edges of the present. For more than five years, he has repeatedly travelled through the coastal regions of Morocco and southern Spain, to the continental border between Europe and Africa. His photographs show the sea, barren landscapes, and people on both sides of the Strait of Gibraltar. However, Grünewald doesn't name any concrete place; his images do not belong to either side. They're at once empathetic and oppressive, depicting the invisible and seemingly insurmountable space separating North and South where people are 'stranded', defenseless, with all their hopes for a better life in the unknown. Axel Grünewald looks to where Europe turns away. Text in English and German.

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'Real' animals are increasingly disappearing. Today, animals are 'optimised' almost entirely based on the ideas of people: they are created in the laboratory, bred as organ donors, and their flesh is grown in petri dishes. How are common perceptions of animals changing as a result? The designers and artists in the publication go on a search for the 'right degree' in designing such creatures. They delve through the possibilities of the human-animal relationship and design scenarios for a different future. Artists: Martin Avila, BLESS, Melanie Bonajo, The Center for Genomic Gastronomy, Kurzgesagt - In a Nutshell, Center for PostNatural History, Marcus Coates, Thalia de Jong, Aleksandra Domanovic, Konstantin Grcic, Christine Herdin/Katharina Wahl, Max Kosoric/Sanne Pawelzyk, Silvia Knüppel, Dietrich Luft, Christien Meindertsma, Next Nature Network, Ana Rajcevic, Veronica Ranner, Peter Schäfer, Johanna Schmeer, Susana Soares, Sputniko, ThreeASFOUR, Thomas Thwaites, Marije Vogelzang, Pinar Yoldas. Text in English and German.

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Titled Masquerades: Drawn to Metamorphosis, the 18th edition of the MOMENTA Biennale de l’image presents 23 artists whose projects activate processes of transformation, mimicry, and mutation. Its goal is to shed light on the dynamics of visibility and invisibility defining the relationships between self and other, between humans and their environment, whether that environment is vegetal, animal, or technological. This publication assembles the descriptions of the exhibitions, an essay by Anne Anlin Cheng on the metamorphic potential of “skin consciousness,” an original portfolio of photographs by Chris Curreri, and an essay by the curator Ji-Yoon Han that reflects on the notion of the image through the prism of the Biennale’s theme. Artists: Bianca Shonee Arroyo-Kreimes, Bianca Baldi, Rémi Belliveau, Valérie Blass, Michèle Pearson Clarke, Chris Curreri, Lindsay Katsitsakatste Delaronde, Mara Eagle, Jeannette Ehlers, Séamus Gallagher, Lynn Hershman Leeson, siren eun young jung, Marion Lessard, Tuan Andrew Nguyen, Marianne Nicolson, Kristina Norman, Meky Ottawa, Émilie Pitoiset, Naomi Rincón Gallardo, Anette Rose, Hito Steyerl, Maya Watanabe, Carey Young.

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Today, 426 million children are growing up in war zones. Since 1919 Save the Children has been protecting and promoting the well-being of children in more than 110 countries. For its 100th anniversary, this global, large and independent children's rights organisation is teaming with the Swiss photojournalist Dominik Nahr to present the stories of 10 children and a 'baby of hope', all of whom survived the wars of the past century. This touching illustrated volume tells of their fates, of everyday life in war, of escape and persecution, but also how they found hope and their own paths, despite the adversity they faced. Guest authors: Anne-Sophie Mutter, Ingo Zamperoni, Jon Swain, Anne Watts, Margrethe Vestager, Ban Ki-moon, Professor Wole Soyinka, Mayte Carrasco, Marcel Mettelsiefen, Ulrike C. Tscharre, Amir Hassan Cheheltan, Dr. Gerd Müller

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Those in search for the essence of humanity will discover beauty and ugliness, light and shadow on their way towards it. For the eighth time, The Opéra sets out to present the human body as it was created or independently formed and shaped. In their diverse works, numerous photographers from all over the world once more share the same curiosity to explore human emotions. All of them, some reluctant and observing, others delightedly engaged and orchestrated, act out the great spectacle that is human existence.

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Abstract art was never dead. Since its revolutionary beginnings at the dawn of the 20th century, it has repeatedly flourished and survived all animosities, even bans. And more than that: today in particular, artists and museums are increasingly devoting themselves to this theme, in the world’s most important art metropolises and in unprecedented diversity. Aspects of contemporary abstract art, coupled with historical reminiscences, are the focus of the publication on the occasion of the third exhibition, showcasing works from the Deutsche Bank Collection at the PalaisPopulaire. The selection includes works from 1959 to 2021. Included are not only drawings and photographs but also, for the first time, significant paintings and prints. Artists: Markus Amm, Rana Begum, Otto Boll, Kerstin Brätsch, Cabrita, Ernst Caramelle, Carlos Cruz-Diez, Adriana Czernin, Helmut Federle, Günther Förg, Günter Fruhtrunk, Franziska Furter, Rupprecht Geiger, Katharina Grosse, João Maria Gusmão + Pedro Paiva, Erwin Heerich, Bernhard Härtter, Daniel Hunziker, ShŌichi Ida, Jürgen Jansen, Olav Christopher Jenssen, Jennie C. Jones, Kapwani Kiwanga, Imi Knoebel, Norbert Kricke, Tadaaki Kuwayama, Thomas Locher, Fabian Marti, Bernd Minnich, Wilhelm Müller, Nima Nabavi, Albert Oehlen, Susanne Paesler, Blinky Palermo, Jorge Pardo, Georg Karl Pfahler, Charlotte Posenenske, Lothar Quinte, Gerhard Richter, Peter Roehr, Ulrich Rückriem, Fred Sandback, Karin Sander, Kai Schiemenz, Richard Serra, Dieuwke Spaans, Ulrich Wendland, Claudia Wieser, Beat Zoderer Text in English and German.

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2017: 80 years of the New Bauhaus in Chicago - 2019: 100 years of the Bauhaus in Germany. In connection with these two anniversaries, the Goethe-Institut in Chicago organised a series of exhibitions from 2016 to 2018. Starting from the interdisciplinary Bauhaus idea, ten artists from Chicago and Germany were invited to create 'A Little Piece of Bauhaus / Ein Stück Bauhaus' in a situational and site-specific way. The Goethe-Institut thus became an open platform for boundary-transcending artistic dialogues between the 'old' and 'new' Bauhaus, between past and future. Artists: Heike Albrecht, Assaf Evron, Doug Fogelson, Anke Loh, Luftwerk, Christina Wildgrube, Rebecca Wilton, Serene Wise, Monika Wulfers Text in English and German.

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Lena Mattsson (*1966) is a distinguished Swedish artist. Her practice includes photography, performance and social critique, as well as film and video art. Her new book encompasses her whole career, yet at the same time, it highlights her most recent works and future perspectives: especially Mattsson’s works on legendary Swedish publisher Bo Cavefors or her latest experiments with light and projections. The selection of photographs, film stills, and documentary material forms the basis for the profound discussion of her work by Lars Gustaf Andersson, John Peter Nilsson, and Charlotte Wiberg.

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A portrait of the most powerful men in the world through his own words. To 'overtrump' oneself or others does not necessarily have negative connotations. It also means to get the maximum out of oneself, to constantly better ones standing, and to learn from what has come before. With this collection of quotations, Sven Lindhorst-Emme shows a broad sampling of Donald Trump's verbalisations, and thus, of how he thinks, and ultimately leave it to the reader to create their own picture. The quotations that make up this publication are often contradictory: they impress, shock, surprise, amaze, amuse, provoke anger, sadden, or leave one incredulous and confused. From interviews to television appearances to speeches and a number of social media channels - Donald Trump is everywhere.

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The brothers Chen Yufan (*1973) and Chen Yujun (*1976) have been working together non-stop on their huge project Mulan River since 2008. Starting with a river near their hometown of Putian, in the province of Fujian, they discovered a way to add the cultural and social experiences of “Chinese who return home to their cities from overseas” to the context of contemporary art. Inspired by profound transformations in society and their unique ancestral history, Mulan River took on a variety of artistic forms over the years, including installation, painting, and video. “Mulan River refers to that local geographic position, while also symbolising a fluid cultural space. This concept of ‘fluidity’ is not only manifest in the Chen brothers’ content and subject matter, but more importantly, it brings a new understanding of their working approach to art.” Mulan River has already been on display numerous times as part of various exhibitions. This is the first publication to cover the entire work of art. Text in English and Chinese.

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The first monograph on New Leipzig School painter and sculptor Sebastian Neeb presents his artistic cosmos in which, with subtle irony, the artist balances art on its edge. Text in English and German.

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Photographer Stefanie Schweiger (*1979) and author Phoebe Hui (*1983) set out in search of ancient wisdom, hidden worlds, alternative medicine, and faith, in China. In words and images, they tell stories about their encounters with Chinese masters of healing and lore. Their paths lead them to Buddhist secret societies, shamans, hermits, Taoists, herbalists, Tibetan doctors, bimos, feng shui experts, and monks. They explore if the wisdom passed down for thousands of years can be reconciled with contemporary Chinese life. The book lays out a nuanced panorama of China's diverse beliefs, many of which are virtually unknown in the West.

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Mie Olise Kjærgaard (b. 1974) conquers an artistic domain closely linked to the idea of the genius male painter: expressive, figurative, large-scale paintings. Composed of turbulent brushstrokes, her works on their huge canvases exude a wildness and power. Kjærgaard is utterly convincing in her adoption of the genre and translates the expressive force of gestural painting into a world of female experience. Her works depict active women in sportswear and flip-flops, their hair standing wildly on end. They ride mythical creatures, hang from the railings of ships, play a round of tennis, or hurtle through the neighbourhood on skateboards. Ferocious Expeditions brings together her works from recent years, accompanied by texts that give insight into the work of this Danish painter.

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Bears All Things (from the Finnish Kaiken se kestää) is a lifelong art project by the artist couple Mammu and Pasi Rauhala. The project, which has taken place every year since 2013, comprises photographs of the artists going about their daily lives, from renovating their home, to gardening always in the same getup: their wedding attire. Their gestures and appearance, always very serious, are a nod to the tradition of the family portrait. With a generous dose of humour, the works encourage the audience to reflect on the institution of marriage and issues of interpersonal relationships, both on the individual and the societal level.

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In her photographic series Paris – 9 Rue de l’Université, Frizzi Krella (b. 1970) explores the seemingly mundane subject of a window front undergoing renovation work. With her precise eye, she transforms her observations into a multifaceted reflection of the moment, a composition of the ephemeral. Krella’s photographs are an invitation to investigate the world, with its various distortions and compositions, as if it were a puzzle. They are an opportunity to delight in the playful appropriation of the various layers of reality and coincidence in order to assimilate the things we have seen into the cosmos of our own experience of art and the world around us. Thus, her work takes us all the way back to the very origins of photography and to the Paris of two centuries ago, when moments first began to achieve timelessness. Text in English, German and French.

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Chemical Alterations presents a photographic series by Doug Fogelson (b. 1970) that reflects the range of impacts caused by climate change around the planet. Using a process that combines traditional landscape photography with a chemical bath of toxic cleaning products to alter the original analogue film, Fogelson illustrates what are often invisible changes to the environment. Such changes culminate as disastrous events like fire, flood, drought, increasingly powerful storms, and overall global warming. Images of natural spaces that include mountains, deserts, volcanoes, jungles, oceans, rivers, and forests become represented in a state of flux. Through the processing of the film, traces such as bubbles, crystals, fingerprints, and dust are integrated into the images, probing the borderline of abstraction. The Chemical Alterations series has been in-progress over a decade and exhibited through various iterations internationally at both galleries and museums including: The Royal Geographic Society, United Kingdom, Museum Belvedere, Netherlands, The Museum of Contemporary Photography, Chicago, Alpenium Produzentengalerie, Luzern, SFO Museum, San Francisco, The University of Michigan Museum of Art, Ann Arbor, Sasha Wolf Projects, NYC, Klompching Gallery, NYC, The Arts Club of Chicago and others. It has been covered by The Brooklyn Rain, Humble Arts Foundation, Ain’t Bad, The OD Review, Great Lakes Writers Corps, and others.

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In Broken Memories Andréas Lang explores the themes of recollection and history in Turkey. In a series of photographs and videos, he reflects on the disappearance, the discontinuity and the multiple layers of historical writings as well as the overwriting that leaves visible traces of a collective memory long since rendered invisible. He focuses on the contemporary approach to history, but especially on places with links to the later Ottoman Empire, the Armenian heritage and the 1915 genocide. Lang describes his work as visual archaeology that exposes the many layers of history and of mythology, as well as of the present day. Text in English, Turkish and Armenian.

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Existing Otherwise (XO) was conceived as an exhibition and discourse program in Berlin and Tamale (Ghana) by Isabel Lewis, Ibrahim Mahama, and Solvej Helweg Ovesen. The book presents the transformative artworks and discourses developed within the realm of this contemporary art project that happened during coronavirus pandemic times. Artists, choreographers, sustainable leadership thinkers, and scientists reflect in interviews and “reschooling” lectures about the future of coexistence, how to accept societal and physical collapse, recycling, and the space that art holds for transformation. Artists: Ana Alenso, Dirk Bell, Rüzgâr Buşki, Eli Cortiñas, Sarah Ama Duah, Irene Fernandez Arcas, Gloria Höckner, Emily Hunt, Ato Jackson, Anton Kats, Justin F. Kennedy, Sandra Stephanie Kyeraa, Isabel Lewis, Tracy Naa Koshie Thompson, Hannah Toticki, Éva Mag, Rachel Monosov, Ania Nowak, Anna Nowicka, Ingrid Ogenstedt, Dmitry Paranyushkin, Thomias Radin, Jimmy Robert, Moran Sanderovich, Colin Self, Viron Erol Vert, RA Walden, Ziggy Zeitgeist. Authors: Jem Bendell, Övül Ö. Durmuşoğlu, Va-Bene Elikem Fiatsi, Nadine Isabelle Henrich, Isabel Lewis, Ibrahim Mahama, Nitsan Margaliot, Ute Müller-Tischler, Solvej Helweg Ovesen, Malte Pieper, Kathrin Pohlmann, Maja Smozsna. Text in English and German.

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The catalogue Max Neumann – Journey comprises around 80 paintings and works on paper from all creative phases of the painter and graphic artist Max Neumann (b. 1949), who is an important representative of contemporary German figuration. His enigmatic human figures seated in enraptured pictorial settings are not geared toward capturing a subjective, distinct portrayal, but toward the crystallisation of an unmistakable humanlike allegory. His characters, in their at once disconcerting and graceful silhouettes, fall out of time and history as symbolic markers of a human state of mind. Neumann does not intend to narrate any incidents; he rather traces emotional human qualities, confronting the viewer with his own desires, fears, obsessions, and phantasms. Text in English and German.

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The notion of motherhood and how to define it are hugely complex. Scarcely another concept has provoked a more diverse range of associations, emotions and stereotypes nor shifted so frequently throughout the history of humankind. Today, the topic is more political than ever. This book provides an overview of how contemporary art reflects perceptions of motherhood and mothering. Fourteen examples illuminate various aspects from a biological, psychological and social perspective. Another topic that is included in these considerations is that of non-motherhood. In addition, the ambivalent attitude of the arts and cultural sector towards artists who decide to become mothers is examined, as is the artistic exploration of motherhood in terms that go beyond heteronormative, cis-gendered relationships. Text in English and German.

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