Search results for ""kerber verlag""

With the exhibition catalogue Back into the Light: Four Women Artists – Their Works, Their Paths, the Jüdisches Museum Frankfurt has dedicated itself to four rediscovered women artists. Erna Pinner (1890–1987), Rosy Lilienfeld (1896–1942), Amalie Seckbach (1870–1944), and Ruth Cahn (1875–1966) shaped the artistic life of the 1920s in Frankfurt am Main and were also noticed supra-regionally. National Socialist rule brought an end not only to the cosmopolitan way of life that they cultivated, but also threatened their work and their lives. Renowned art historians examine the works of the four artists in essays for the catalogue. Numerous illustrations and hitherto unpublished documents and letters accompany these texts. The various historical contexts of their individual lives and fate are also presented in cultural studies essays by international experts.

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Berlin and Chicago-based photographer Andrea Wilmsen challenges our perception of interiors in her photographs of the Bode Museum in Berlin, Germany. Her focus varies from fragmented views of architectural details to carefully composed close-up details of empty walls, creating unique portraits of the museum. Wilmsen is inspired by the American philosopher and art critic Arthur C. Danto and his book titled The Transfiguration of the Commonplace, which questions what makes an object a work of art. Yet, she takes the question further and is driven to uncover what makes art spaces special stages for prestigious artworks. Wilmsen is driven by how we prioritise certain works of art over others, and further, where the boundaries lie between what we consider art and what is visible outside of the works that are established as art in a museum. Text in English and German.

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Jonathan Monk (*1969) is known for his witty appropriation of art history, his re-staging of conceptual and minimalist art works, his critique of both the exhibition circus and the aesthetic category of originality. Exhibit Model is an installation of photo-papers, depicting his works in different exhibition contexts. Site-specifically modified, it has been shown before in Muttenz, Copenhagen, and Montreal. For its fourth iteration, at KINDL Zentrum für zeitgenössische Kunst in Berlin, he combined it with works by fellow artists, the 'invited guests'. Text in English and German.

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The transition from the analogue to the digital age has radically changed our present. The global flow of data shapes social systems, but the circulation and processing of data does not seem to be linked to the reality of our lives. As Deutsche Bank's 'Artist of the Year', young Lebanese artist Caline Aoun (*1983) reveals how data manifests itself materially and how inseparable the real and the virtual world have become. For her, the permanent flood of images and data resembles 'noise' that dominates our lives. Instead of further intensifying this media noise, she lends it a material dimension in order to create new experiences, forms of silence, and empty spaces, and to show otherwise scarcely tangible connections. Text in English and German.

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In Adriatico, the photographer Riccardo Fregoso (*1981) seeks out places where he spent vacations in his childhood and youth. For this, he travelled the coasts of the Abruzzo and the Molise, to then focus his gaze northwards to the Marche and southwards to Apulia. The Adriatic coast, which is an almost heavenly place in Fregoso’s memories, consists in reality of an endless stringing together of concrete buildings, which were hastily erected during the economic boom in Italy. In his photos, Fregoso captures the region shaped by mass tourism, with all its contradictions and its particular light. Adriatico is a homage to summer, the vacation atmosphere, and the photographs of Luigi Ghirri. Text in English and Italian.

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Photography creates worlds — or at least first of all mountains of pictures. Eight Days A Week tries to make the world emerge from these mountains by putting the motifs in a sort of sequence of natural history. Seven attempts at this are undertaken — starting from the suspicion that the divine creation also perhaps does not succeed on the first try. More precisely, there are seven plus one attempts, and in each of them, the world is no longer created in seven days, but instead along with one additional day. After the original creation is completed each time punctually for the Sabbath, the Anthropocene dawns on Day 7+. Text in English and German.

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Since 1953, the Kulturkreis der deutschen Wirtschaft has awarded the ars viva prize to outstanding young artists based in Germany. The award honours work that demonstrates a distinct language of form and an awareness of contemporary issues. This year’s award includes exhibitions at Brücke-Museum, Berlin and the Kai Art Center, Tallinn, Estonia. The ars viva prize 2022 will be awarded to Tamina Amadyar (*1989), Lewis Hammond (*1987) and Mooni Perry (*1990). Text in English and German.

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The fact that artist agencies in New York are familiar with Neumarkt in Bavaria is thanks to the chamber music hall located there. Its exceptional acoustics were what prompted the local businessman Ernst-Herbert Pfleiderer to establish the Neumarkter Konzertfreunde. For over 40 years, this association has been organising a series of concerts that are popular with both musicians and audiences. In order to trace the personal connections between artists and friends of concerts, the OSTKREUZ photographer Frank Schinski was commissioned to capture moments of closeness: in the artists’ dressing rooms, on trips, and at musicians’ homes. This resulted in this unique behind the scenes look at this very famous series of concerts: with pictures that offer all the protagonists of a very special stage.

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How will we deal with manmade climate change? Can the bioeconomy, whose foundation is no longer fossil — but rather bio-based raw materials, play a key role in coping with the climate crisis? Must we not instead scrutinise our social mentalities themselves? The art project Bio Bio SUV of Sebastian Jung and the research group flumen addresses these questions. The starting point for the artistic research is Sebastian Jung’s series of drawings of a car stunt show. The possibilities and impossibilities of a new economy are outlined by an eight-person think tank. In the interventions Jeder Vogel hat ein Auto (Every Bird Has a Car) and Die Pinguine am Starnberger See sind beinahe ausgestorben (The Penguins on Lake Starnberg Have Almost Become Extinct) Sebastian Jung devotes himself to the human view of nature and home. He creates productive irritations and invites viewers to interact with them. Texts by Viola Bronsema, Dennis Eversberg, Holger Gerdes, Alex Giurca, Franz-Theo Gottwald, Christiane Grefe, Rafaela Hillerbrand, Sebastian Jung, Zoritza Kiresiewa, Monica Navas Males, Sophia Pietryga, Ulrich Schurr. Text in English and German.

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INSEX is the debut monograph by the American photographer Alex Stoddard (*1993), in which he explores the parallels between metamorphosis in the natural world and human coming-of-age. Through staged, highly stylised images, Stoddard invites viewers into a colourfully dark world of budding sexuality and crawling insects. The previously unreleased series of 70 images paints a surreal picture of adolescence in a glorious frenzy of buzzing hormones and sprouting wings. Each scene features a youthful subject — often Stoddard himself — in a state of change or paired with a many-legged counterpart. INSEX marks the artist’s first cohesive collection of work.

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As an anniversary edition The Opéra is reinventing itself with its tenth edition and yet has remained true to its attitude: the classic and modern interpretation of the human body in all its facets, perspectives, forms and interpretations. What's new? For the first time, a male title motif questions the boundaries and definitions of masculinity and femininity. The magazine is divided into a classic and a contemporary act, which are separated by the so-called intermezzo. The classic part has numerous black and white stretches with very sensitive body contemplations, while the contemporary part is extraordinarily colourful - almost loudly designed. For the first time, a woman was in charge of the design: Christina Rollny, who is only 22 years old, gives Volume X an experimental and at the same time refreshingly young look.

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With the municipal buildings of “Red Vienna,” the utopia of enabling weaker individuals in society to also have a good life was realised. Originally erected in the 1920s to provide affordable living space for the working class as well as urban infrastructure, communal ownership of housing also makes it possible today to integrate people who would otherwise have limited opportunities in neoliberal society. The relevance of municipal ownership to the current situation consists as well of the possibility to exert an attenuating influence on real estate speculation and rising rents. With her camera, Gisela Erlacher (*1956) follows the parcourse through the archways of superblocks such as the Sandleiten-Hof, Goethe-Hof, and Karl-Marx-Hof. She portrays residents and visitors in all their diversity and gives them space to present themselves beyond stereotyped depictions. Text in English and German.

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The figure is a constant in the work of Hans Thomann (*1957). The sculptor is interested in the question of how people present and perceive themselves. Thomann sounds out cultural conceptions, which quite often turn out to be fragile illusions, in life-size human sculptures of figures from Superman and dwarves to Jesus. Ambivalence, just like humour, is one of the artist’s constant companions. With his works, which include numerous installations in public spaces and commercial premises, Hans Thomann continuously reflects on human existence. His examinations also comprise sacred spaces, in which he realises critical or provocative interventions. Text in English and German.

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A longing for togetherness – for love – shows insistently in this 17th edition of MOMENTA Biennale de l’image. The artists and authors invite us to forge intimate kinships with nonhuman life-worlds. They propose that we listen to – and observe, smell, touch, speak to – the land, the water, the air not with the aim of distantly understanding, grasping, or exploiting, but to resonate, to vibrate, to be together. Or, perhaps, with no aim at all. They make room for stories that dwell in the blurred boundaries between technology and ancestral wisdoms, weaving in both human and nonhuman modes of knowing. They celebrate that we are in relation with nature, that we are of nature. Artists: Frances Adair Mckenzie, Abbas Akhavan, alaska B, BUSH Gallery (Jeneen Frei Njootli, Gabrielle L’Hirondelle Hill, Peter Morin, and Tania Willard), Scott Benesiinaabandan, Jen Bervin, Anna Binta Diallo, Charlotte Brathwaite, Carolina Caycedo, Julien Creuzet, Léuli Eshrāghi, Maryse Goudreau, Ayesha Hameed, Taloi Havini, Ts̱ēmā Igharas, Lisa Jackson, Anne Duk Hee Jordan, Hamedine Kane, Kama La Mackerel, Candice Lin, Ange Loft, Chloë Lum and Yannick Desranleau, Malik McKoy, Alex McLeod, Caroline Monnet, Sandra Mujinga, Faye Mullen, New Red Order (Adam Khalil, Zack Khalil, Kite, and Jackson Polys), Thao Nguyen Phan, Laura Ortman, Sabrina Ratté, Tabita Rezaire, Jamilah Sabur, Beatriz Santiago Muñoz, Susan Schuppli, Tejal Shah, Erin Siddall, Miriam Simun, P. Staff, Eve Tagny, Joce Two-Crows Tremblay, Susanne M. Winterling, T’uy’t’tanat-Cease Wyss.

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The catalogue for the group exhibition The Nature of Abstraction combines seven artistic positions in abstract-gestural painting from the Rhineland. On display are artists who have dedicated themselves to abstract painting. Their self-referential work fluctuates between the poles of dissolution and development of form. Despite their formal precision, the process of creating the paintings can be seen in the marks left behind on the canvases. Thus, an affinity to Informalism, Tachism, or Abstract Expressionism from the post-war period becomes apparent. However, these references are not directly cited, but rather updated and reflected through contemporary strategies. We find ourselves in an era when individual expression of freedom is threatened by powerful systems of authoritarian control and the digital availability of individual data and profiles. The kind of painting that favours a subjective gesture and thus mirrors humanistic values of individuality might be an answer. Artists: Laura Aberham, Max Frintrop, Ina Gerken, Jan Holthoff, Jan Kolata, Becker Schmitz, Sabine Tress Text in English and German.

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Marc Brandenburg (* 1965) strolls through cities, photographing his impressions and then drawing them “like a human photocopier.” In this almost meditative process, he finds beauty in social conditions. His pencil drawings, reversed into negatives, capture everyday, ephemeral motifs. Brandenburg is interested in moments when inner and outer states unite, when human beings merge with their costumes, their clothing, or their dwellings. Formal and conceptual aspects of drawing, as well as a fundamental examination of representation, are more important to him than the motifs themselves. The publication Hirnsturm II accompanies the exhibition of the same name, a visual essay that combines drawings from a period of over 25 years with more recent works. Text in English and German.

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This monograph on the Romanian conceptual artist Miklós Onucsán (*1952) is an observation of his artistic practice over a period of four decades. The book’s title is the result of Onucsán’s Axiom (2005): “White becomes darker with wear, while black becomes lighter. That is why white is forever black and black is forever white.” This transition between the states of objects and the modalities of their interpretations form one of the principles behind Onucsán’s practice. The book Therefore white is black worn away for good and black is white worn away for good unites a range of essays by Sven Spieker, Magda Radu, Bogdan Ghiu, Mihnea Mircan, and Mădălina Brașoveanu, as well as an interview with the artist. Text in English and Romanian.

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Janina Roider (*1986) is part of a young generation of painters whose work is positioned amid a fascination for technological progress, profound knowledge of art history, and a seismographic sensibility for current events. She confidently makes use of digital tools as well as gestural, analogue brushstrokes, which are equalised on the canvas. Fiction and reality blend on both contextual and formal levels. Make It Newer! is an ode to Günther Förg, the abstract artist whose spirit of invention she has adopted as a role model. The title is programmatic. The book’s dimensions transport the explosive force of her paintings, which collide with each other on a large scale. Featuring essays by Florian Matzner, Hans-Jörg Clement, and Johannes Ungelenk, as well as an interview with Birgit Sonna. Text in English and German.

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Becoming Photography looks back at the more than 30-year-long career of the Canadian artist Chuck Samuels (*1956). Samuels often photographs or films himself to explore the themes of memory, photography, and cinema. This catalogue contains analytical essays by Mona Hakim and Joan Fontcuberta. Hakim, a close colleague of Samuels, observes all of the artist’s serial work, while Fontcuberta analyses the presence of truth and falsehood in his oeuvre.

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Have you ever watched Douglas Gordon cook? Do you know Harun Farocki’s favourite dal? Would you like to nibble straight from the pot with Keren Cytter or recreate Agnieszka Polska’s pirogi with trumpets of death? Cookbooks are a dime a dozen. And there’s even a certain tradition of artists’ cookbooks. But there is only the one Videoart at Midnight Artists’ Cookbook: 80 of the most renown video artists of our time reveal their favourite recipes. Some simple, others elaborate, yet all to be recreated. And the best thing about this book is that each and every single recipe tells its own personal story. Artists Monira Al Qadiri, Ulf Aminde, Julieta Aranda, Marc Aschenbrenner, Ed Atkins, Yael Bartana, Lucy Beech, Bigert & Bergström, John Bock, Pauline Boudry & Renate Lorenz, Erik Bünger, Martin Brand, Ulu Braun, Klaus vom Bruch, Filipa César, Creischer & Siekmann, Keren Cytter, Chto Delat, Christoph Draeger, Antje Engelmann, Shahram Entekhabi, Köken Ergun, Theo Eshetu, Simon Faithfull, Christian Falsnaes, Harun Farocki, Omer Fast, Fischer & el Sani, Dani Gal, Delia Gonzalez, Douglas Gordon, Andy Graydon, Assaf Gruber, Mathilde ter Heijne, Isabell Heimerdinger, Benjamin Heisenberg, Kerstin Honeit, Christian Jankowski, Anja Kirschner, Knut Klaßen, Korpys/Löffler, Zhenhua Li, Joep van Liefland, Melissa Logan, Dafna Maimon, Antje Majewski, Melanie Manchot, Lynne Marsh, Bjørn Melhus, Almagul Menlibayeva, Ari Benjamin Meyers, Eléonore de Montesquiou, Matthias Müller, Bettina Nürnberg & Dirk Peuker, Marcel Odenbach, Stefan Panhans, Mario Pfeifer, Agnieszka Polska, Ulrich Polster, Mario Rizzi, Julian Rosefeldt, Willem de Rooij, Safy Sniper, Anri Sala, Erik Schmidt, Sandra Schäfer, Amie Siegel, Pola Sieverding, Martin Skauen, Jan-Peter E.R. Sonntag, Vibeke Tandberg, Rebecca Ann Tess, Guido van der Werve, Gernot Wieland, Ming Wong, Ina Wudtke, Shingo Yoshida, Katarina Zdjelar, Stefan Zeyen, Tobias Zielony

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The Opéra has been reinvented — at least to some extent. After eight successful editions with alternating art direction, the editor, Matthias Straub has entrusted the design legend Mirko Borsche (ZEIT magazine, SZ magazine, and many more) with the creative re-launch of the ninth edition. This refreshing new approach to the pictures and typography will bring The Opéra into its next decade. The proven structure and the artistic gaze in the selection of photographers and pictures are also central in Volume IX: The Opéra embodies contemporary nude photography and stands for an unconditional commitment to art and the body. Artists: Shiori Akiba, Kimbra Audrey, Jim de Block, Martina Borsche, Eva Bukareva, Arthur Cadre, Indira Cesarine, Barron Claiborne, Stephane Coutelle, Francois Delebecque, Emmet Green, Samy Husson, David PD Hyde, Arnoldas Kubilius, Anna Lazareva, Joanne Leah, Maud Levavasseur, Lin Zhipeng, Julia Luzina, Mia Macfarlane & Julien Crouigneau, Gerhard Merzeder, Stefan Milev, Veronique Pecheux, Laurence Philomene, Christina Rollny, Maya Ruska, Ryuta Sakurai, Caroline Senecal, Joanna Szproch, Slava Thisset, Sean Patrick Watters, Leafy Yeh, Ziqian Liu

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Since 2009, the artist collective SCHAUM operates in lieu of the average person, upon which the experimental set-ups for the current processes of self-optimising are imposed. In photographic series, sculptures, installations, and performances the test subjects as well as simple found objects are alienated, conceptually “abused”, and fused with old-masterly allegories and Christian iconography. SCHAUM are “already on their way to a post-human variation” of the defective human being, from which eventually “an artificial creature, an artefact of itself” (Jean-Pierre Wils) shall arise. Text in English and German.

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Christo and Jeanne-Claude rank among the most popular artist couples of our time. They were unrivalled in breaking the art world's tight boundaries and arousing the enthusiasm of a broad public, across all social strata, for their spectacular shrouding's of buildings and landscapes. The PalaisPopulaire presents the Jochheim Collection and traces the history of Christo and Jeanne-Claude's breathtaking large-scale projects; complemented by their rarely seen early works. Of course, the wrapping of the Reichstag takes centre stage, which enabled all of Berlin to shine in a most unique way 25 years ago. Text in English and German.

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As a young boy, renowned Norwegian photographer Bjørnar Øvrebø often played along the inaccessible and unknown banks of Oslo's longest river, the Alna. Memories of this time inspired his latest book. For four years he photographed the hidden sides of the gloaming forestal landscape, which is often overlooked by most. His large-format photographs convey the unique beauty found in these mystic water meadows. The accompanying text by Torgeir Rebolledo Pedersen, one of Norway’s foremost poets, further enhances the fascinating and wondrous river Alna – even for those who have yet to see it for themselves. Text in English and Norwegian.

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Julia Steinigeweg (*1987) deals with the future inability to distinguish between reality and simulation. Her photographs are dystopian stagings of futuristic-seeming scenes and moments in Singapore, and first reveal their fictitiousness upon closer examination: a hammer made of wood, a firmament consisting of LEDs, or the robot-lookalike of its creator Nadia Magnenat-Thalmann - all of them masterpieces of deception. Supplemented with excerpts from conversations with an app that imitates the linguistic behaviour of the person opposite, Steinigeweg makes the clear boundaries between levels of reality blur. Text in English and German.

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Internationally renowned artist Heiner Meyer (b.1953) utilises Pop Art strategies, combining visual material from a vast variety of contexts. His paintings combine comic figures, compositions by Picasso or Hockney, and advertising for modern luxury brands, condensing them into a new pictorial creation that allows for a diverse range of reflections that update the critical potential of Pop Art in the face of contemporary consumerism.The publication Pop Art Now shows various views of the installation and paintings from the exhibition at the Kunstforum Wien, as well as recent works from the last two years. In her text, art historian Dr Renée Gadsden provides insights into the exhibition and Heiner Meyer's oeuvre since the beginning of his artistic career.Text in English and German.

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H2O-scapes by Sylvie Leblanc (b. 1959) are photographic studies of the sky and the water, created between 2009 and 2023 in La Malbaie, Canada. All 57 photographs were taken from the same location and depict the various physical states of the water in and above the Saint Lawrence River. Sometimes the landscape is entirely shrouded in fog without any visible horizon line; sometimes the outlines of islands are visible. Dramatic cloud formations, drifting ice floes or soft waves: Leblanc''s landscape remains the same and yet is presented in a multitude of different ways. Her photographs transform the dynamic play of the water molecules into a moment of stillness and a space for dreams and contemplation.Text in English and German.

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In his latest series of works, entitled 1.000 Odysseen, Winfried Muthesius (b. 1957) uses his photographs to explore the globally divisive topics of refugeeism and displacement. The artist, who lives and works in Berlin and Cape Verde, photographed items washed ashore on the remote beaches of the Cape Verde islands. These disturbingly poetic images for the most part show details of damaged or destroyed flip-flops — the simple footwear of people living in poverty. In the exhibition at the Stiftung Christliche Kunst Wittenberg, Muthesius enters into a dialogue with Oskar Kokoschka’s piece Rest on the Flight into Egypt, using this example to evoke humankind’s long history of flight and exile. This book features numerous images from the series, with hitherto unpublished drawings by the artist, images of works from his broken gold series, as well as texts by Pia Beckmann, Christhard-Georg Neubert, and an interview with Winfried Muthesius. Text in English and German.

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Is Islam a part of Germany? And, if so, since when has this been the case? What is everyday life like for Muslims living there? What form does social co-existence take? In Moin und Salam, the photojournalist Julius Matuschik, together with the political and religious studies scholar Raida Chbib, explores these issues among others, yet they refrain from proffering any one-dimensional answers or conclusive evaluations. Through impressive historical images, true-to-life photographs, and texts on the history and contemporary status of Islam in Germany, this volume guides the reader through historical traces and stories from the past to the present day. The illustrated book is an invitation to the reader to discover the diversity and the vibrant spectrum of Muslim life in Germany through its carefully researched written and visual portrayals.Text in English and German.

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Andreas Chwatal: Ink Wash on Paper brings together 300 of the most important works on paper by the Munich-based artist (b. 1982) from over the last 17 years. The artworks, some of them drawn in minute detail, are part of a continuous, fictitious pictorial narrative, which is presented in full for the first time here. With a text section featuring art-historical analysis, an interview with the artist, and a comprehensive overview of all works, this first monograph is like a catalogue raisonné of Chwatal’s oeuvre. At the same time, it illuminates the narrative style and method of ink wash drawing, which is highly distinctive in contemporary art. Text in English and German.

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Character Arc, the documentary photo series by Pascal Haas (b. 1976), features a collection of portraits of Berlin-based actors. The photos, taken between 2021 and 2023, depict the actors personally, in the park or on the street — outside of their roles, away from the stage and the set. The serene black-and-white analogue portraits show the artists as approachable, free from any artifice. In this way, the images reveal both their strength and their vulnerability, reflecting the uncertainties of the modern age. The rhythm of the series is based on the seasons, as can be discerned from the light, the clothes they are wearing, and the natural surroundings. Actors: Leonie Benesch, Pit Bukowski, Marie Burchard, Marlene Burow, Luka Dimić, Maren Eggert, Mala Emde, Michelangelo Fortuzzi, Luisa-Céline Gaffron, Franz Hartwig, Jacob Matschenz, Wanja Mues, Johannes Nussbaum, Rick Okon, Valerie Pachner, Anneke Kim Sarnau, Daniel Sträßer, Sabin Tambrea, Mina Tander, Lena Urzendowsky, Sebastian Urzendowsky, Luise Wolfram. Text in English and German.

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Jan Kricke’s (b. 1977) photographic series Endless Homecoming presents a carefully composed sequence of landscape images which, uncoupled from any chronology, represent a journey beyond any discernible physical route. These are impressions of undefined locations and fleeting images of natural structures or plays of light that transpose the urban energy and speed of street photography to landscape photography in a unique way. This large-format collection is being published to coincide with the artist’s first museum exhibition at the Museum Künstlerkolonie at Mathildenhöhe in Darmstadt. Text in English and German.

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What does your body know? With this question the artist Yvonne Buchheim invited people into her studio for portraits attempting to capture body knowledge. What she did not know was the story that her own body would tell. In this art book, Buchheim shares her story of healing from cancer. Her artworks are poetic reiterations between visual and written language, revealing the many effects that serious illness can have on the body and mind. The artwork is complemented by two essays that explore fragility and resilience in surviving illness. Kopfüberleben (Life Turned Upside Down) presents us with creative forms of storytelling that use drawing, photography, and stop-motion filmmaking not as documents but as a narrative of self-discovery. Text in English and German.

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Interventions is a photobook by Adrian Bugge (b. 1981) presenting 57 images of human intervention in Norwegian nature. Bugge has been taking photographs for 15 years, from Kirkenes in the far north of Norway to Oslo in the south. Along the way he has stumbled across interventions on a magnitude of which many in Norway are unaware. The book contains a foreword by Bugge with an account of the background to the project, and a research-oriented text by the geologist Henrik H. Svensen, who addresses the consequences of these interventions. Text in English and Norwegian.

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Helmut Middendorf is one of Germany’s most renowned painters. As a member of the neo-expressionists, the Neue Wilden, he left a lasting impression on the artistic landscape of the 1980s. In 2022, Middendorf showed an exhibition entitled Berlin SO 36 Revisited at the Museum Schloss Derneburg, Hall Art Foundation. SO 36 was the name of an area of Kreuzberg, but also of the famous music venue that inspired many of the artist’s works. Middendorf lived and worked in Berlin Kreuzberg’s SO 36 district throughout the 1970s and 80s. As well as the documentation accompanying the exhibition at the Museum Schloss Derneburg, this publication presents a wide selection of paintings and works on paper dating from that era, most of which are being republished here for the first time in many years. A large number of hitherto unseen photographs from the artist’s private archive also feature. Text in English and German.

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From 1963 onwards, Mel Ramos (1935-2018), one of the first Pop Art artists, developed his focus on provocative and seductive imagery. Echoing the aesthetic of magazines and advertisements, he positioned female bodies atop consumer goods in various erotic - at times almost vulgar - poses. By referencing and showcasing them in this way, Ramos exposed the marketing strategies employed in the advertising industry. This new catalogue presents around 70 works on paper dating from every phase and series of his oeuvre and conveys the artist’s graphic conquest of the picture surface, as well as his meticulous composition. The preliminary sketches are shown alongside the final large-scale oil paintings with their typical Pop Art colour palette. Text in English and German.

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In his second book, Jürgen Geiselhart presents private residences in several newly constructed villas that are oriented stylistically toward extremely diverse models in the history of architecture and art. His individual architectures and interior architectures from the years 2017 to 2022 are based firstly on the wishes of the clients and search for a contemporary implementation with respect to the execution of details and materials on this basis. In a very personal conversation, Jürgen Geiselhart describes the creation history and design ideas of the private residences, which are presented over 280 pages of expressive digital photography. Text in English and German.

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In Broken Holiday Album, the photographer Verna Kovanen (*1989) invites readers to accompany her on a journey to the Mediterranean white sand beaches and the holiday resorts of her childhood. The abandoned travel destinations, which were once built to satisfy our need for escapism, today seem more like stage settings caught in a time capsule. The poetic and subtle photographs can be viewed picture by picture or — owing to the leporello form — in a panorama view that extends over nearly six meters. The passport concealed in the book’s cover pocket gives us insights into the artist’s personal life and family history. Memories and imagination, underlying themes in Verna Kovanen’s artistic work, are also prominent in this book.

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In her work, the photo artist Catrine Val addresses the role of women in diverging cultural and political systems. The project Memory Unsettled is based on the statement of a 94-year-old woman in which she compares the loss of all her belongings in a flood with memories of the experiences of war in her youth, from which she has never recovered. The vulnerability of our existence, but also the power to believe in the future and to fight for it unreservedly, to create a new feeling of security, is the topic of this publication. The project has obtained a particular urgency against the backdrop of the current displaced persons situation. Authors from various disciplines shed light on the photographs from the perspective of philosophy, history, or image theory, and show how intermeshed our here and now is with the past as well as the future. Text in English and German.

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