Search results for ""kerber verlag""

John Peter Askew’s pictures show us the poetry of the everyday. Three years in the editing, WE II is a companion volume to WE which Charlotte Cotton described as “A wonderful book... a beautiful, close, incredibly touching and vast photographic story…” While WE II is an epic portrait across generations of a single family from the easternmost point in Europe, 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. This work, stretching back over a quarter of a century, is a timely and idiosyncratic chronicle, embracing friendship, communality, and kindness.

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The Norwegian artist Rune Guneriussen (* 1977) was an artist-in-residence at the Museum Kunst der Westküste on the island of Föhr in 2018. He laid the cornerstone for the new work series Lights go out at several locations on the island. Further installations were subsequently created in the Danish coastal town of Skagen as well as in various regions of Norway. Guneriussen takes us on a journey through forests and wetlands, to bodies of water and stretches of coast. The self-constructed light objects look technoid and call to mind high-rise buildings, route markers, or mythical creatures. On the beach or in forest moss, they seem to be loosely distributed or austerely composed, and are photographed in the twilight of the blue hour. It is shown that the often fascinating-seeming balance between the manmade and nature of previous works becomes increasingly unstable in the new series Lights go out. Texts by Katrin Hippel, Håvard Johansen, Christiane Morsbach, Klara Scheuren, Ulrike Wolf-Thomsen. Text in English and German.

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The third in the series of art books by Niina Lehtonen Braun, Mädchen lass los/Let Go Girl, examines the theme of the various roles and tasks of women and the enormous pressure they bring with them. What kinds of expectations do women have of themselves and which ones come from society itself? How do they deal with the fear of failure? Between 2017 and 2021 the artist created more than 500 collages that gave a voice to mothers, daughters, partners, friends, and artists, which remains warm and humorous despite all of the exigencies. The book contains a selection of these works and a companion essay by Dr. Christine Nippe. Text in English and German.

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Nachume Miller (1949–1998) was a German-born artist who made a name for himself on the American modern art scene after immigrating to New York City in 1974. Identified as a rising star, Miller’s first major exhibition was the Guggenheim’s Young American Artists: 1978 Exxon National Exhibition, where he became the youngest artist ever to present work at the museum. Throughout his career, he kept an almost daily record of his creative process. This monograph is a collection of pages from his sketchbooks spanning the years 1976 to 1998 and providing insight into his life, work, and inventive practices. Meticulously dated, the sketchbooks are filled with plans and ideas for potential paintings, expressive watercolours and drawings, diary entries about family life, commentary on the art world, notes to himself, and simple to-do lists. More than sketchbooks, they reveal an intimate look inside the mind of a prolific and masterful artist.

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The young Kuwaiti Monira Al Qadiri (*1983) is one of the most important artistic voices of the Gulf region. She poetically combines the social upheavals of the past 30 years as well as the acute effects of the oil industry and belief systems with traditional elements from myth and history. By showing the ruptures between past and present symbolically - for instance, glass as a ghostly trace of the drilling machines in the desert - she quasi-speculates into a possible future. This book provides moving insights into Monira Al Qadiri's work of the past years.

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In Life in the New, Marius Svaleng Andresen delves into the complexity of urban development and its impact on people, with the district of Novi Beograd, Belgrade, Serbia, as a backdrop. How does the relationship between people and architecture change as cities grow and become denser? Through interviews with the area's inhabitants and photographs that blend documentary and art, Life in the New explores what lies beyond the facade of the brutalist and socialist buildings of modernism. Impressive architectural forms and complex geometries recede into the background to reveal everyday life in all its mundane glory: its little dramas, its melancholy, its discomforts, quirkiness, and humour. Every now and then, however, Andresen discovers moments of pure beauty, the fragile, unpremeditated poetry of the everyday that thrives amidst the formality of the architects’ grand visions.

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Sportives! is a collection of black and white portraits of women practicing a sport represented at the Paris 2024 Olympic and Paralympic Games. Women of all ages, of all origins, coming from all regions of France, amateurs in the first sense of Olympism. All Olympic and Paralympic sports are represented. The artistic vision is the encounter between women's sport and the gaze of a photographer. Eric Mistler combines all the emotions created by sport with the timelessness of black and white photography. For Mistler, each shooting session is a moment of complicity and empathy with the woman practicing her sport; he offers a subtle mix of pure portraits and portraits in action. By his vision he sublimates the splendour of sport. Text in English and French.

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This catalogue raisonné of printed works by Ilya and Emilia Kabakov comprises some 90 works from 19812023. Some of these are series and consist of several prints. This graphic part of the Kabakov oeuvre, recently acquired by the Van Abbemuseum, Eindhoven, offers insight into the varied work of these two artists, comprising drawings, works with garbage, albums, paintings, and installations.

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Inwelt by Maximilian Prüfer (b. 1986) is the continuation of the 2016 publication Brut and encompasses the various series of works by the artist in the intervening period. Prüfer’s work employs a number of procedures of his own invention that reveal the traces left by insects and other natural phenomena. He analyses animal behaviour in order to then compare it to human behaviour. For instance, in his series Forming Thoughts, which he began in 2020, the artist explores the pathways and tracks made by ants. In doing so, he attempts to establish a direct link to neurological structures and to draw conclusions regarding the behaviour of creatures that live as collectives, as well as humankind’s understanding of nature.

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In his new catalogue Ballad for Space Lovers, the artist Sebastian Hosu (*1988) traces his creative work of the past years since completing his master class studies in Leipzig. The centre of the creative work and life of the Romanian-born artist is the old Leipziger Baumwollspinnerei (cotton-spinning mill), one of the most important artist centres in Germany of our time. Hosu’s pictures are distinguished by an expressive characteristic style, as if created in just one single breath. His dynamic, often flesh-coloured forms give rise to the suggestion of bodies and flow into a living natural environment. Whether luminous oil painting or charcoal drawings — Hosu’s pictorial works have a strong physical presence and take viewers along with them on a journey through space and time. Text in English and German.

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Jason Langer (*1967) lived on a kibbutz in Israel from the age of six to eleven, formative years which have shaped him to this day, so when he was invited to Berlin in 2008 to photograph the city, he met the suggestion with trepidation. Associating the German capital with its 20th century atrocities, he saw it as a cold, unfriendly place. Even so he accepted, and from 2009-2013 he explored the city mostly on foot, with two film cameras and black and white film. He photographed Berlin with an eye towards places where Jewish people were deported or killed but also took it as an opportunity to confront and update his preconceived notions and find a new narrative of contemporary Germany and the German people. Photographing the streets, people he met on the way, and acquaintances who grew to be friends, he tracked traces of the Holocaust, the Cold War, and imagined the freedom and creative expression of the roaring '20s.

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In his figurative painting, Tim Sandow (*1988) brings together the imagined cliché of a type of person with a superabundance of details. Situations that seem to come from day-to-day life appear perplexing at second glance. The paintings give the impression that they are inviting us into their world and ultimately cause us to recoil again and again from the vacant stares of the people who populate the pictures. Text in English and German.

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Karaoke bars and noisy motorbikes, AIDS and capitalism, Buddhism and homosexuality, the allure of Western brands and a worn out country, marked by war – the works of Vietnamese artists Truong Tan, Nguyen Minh Thanh, Nguyen Quang Huy and Nguyen Van Cuong are both blunt and introspective, marked by fury and tenderness. Their work stands for a society on the brink of change – and they mark the beginning of a new art, the onset of contemporary art in Vietnam. Their unconventional works, their art performances and installations – the first ever in Vietnam – have established them as the most important protagonists of a free young art scene that emerged in Hanoi in the early 1990s. Their works have found their place not only in the collections of leading museums such as Singapore Art Museum and National Gallery Singapore, Solomon R. Guggenheim Foundation New York or Fukuoka Asian Art Museum; even recent art historical surveys in Vietnam itself now honour their names as ground-breaking artists. Four extensive artist sections are the core of the book. The archive of German artist Veronika Radulovic enables us to make these radical works accessible for the first time. Don’t Call it Art! tells the initial story of four artists and thereby bridge a gap in Vietnamese art history of the 20th century.

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Dominik Schmitt (*1983) is primarily interested in philosophical and biological questions about the self and the unimaginably vast network of causes and effects to which everything in life is subject. Through his mixed-media technique, involving acrylics, oils, and pencils on collaged canvas, he combines the human and the animal, depicting their organs with allusions to the aesthetics of biological illustrations of bodies. Schmitt’s images are dominated by a dark, almost gloomy colour palette. This publication provides an overview of Schmitt’s recent paintings. Text in English and German.

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Claire Morgan’s (*1980) sculptures shake up our notion of a world neatly separated into nature and culture. She allows nature to break into the context of art by creating minimalist arrangements of plastic bits, seeds, and corpses. The artist uses taxidermy animals to fracture this supposed geometrical clarity, intermingling the artificial and the constructed with life and death. With her spaces and eco-poetic sculptures, Morgan creates a refuge for nature as still life, deftly bringing us closer to the endangered beauty and fragility of her fauna. Text in English and German.

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Salvage: The title alludes to the reused and recycled content of Jackie Nickerson's 2020 series of studio portraits that explore the homogeneity of portraiture - balance, similarity, proportions, size - that characterise the genre. With her photographic examination of old masters and modern paintings, Nickerson (* 1960) illuminates the way in which artists over centuries interpret the observed world in their own way by using common visual techniques and means of expression in different media.

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After the Excitement is the first monograph on the artistic work of Linus Riepler (* 1984). The main focus is on his large, expansive installations and sculptures from the last ten years. In particular, it is worked out how the use of space, the interaction with the viewer and the representation of scenic narratives run through Riepler's entire oeuvre. With texts and essays by art historian and curator Daniela Hahn as well as companions from previous exhibition projects. Text in English and German.

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Jana Sophia Nolle’s (*1986) Living Room is a conceptual photographic study documenting temporary homeless shelters recreated in various San Francisco living rooms. The artist worked closely with unhoused persons to understand their improvised dwellings and subsequently approached wealthy people to reconstruct and photograph these shelters in their homes. While Nolle forms an aesthetically striking photographic “inventory, a typology of improvised dwellings, cataloging their various attributes”, her photographs confront the urging socio-political dichotomy of lives most precious and lives most precarious.

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Adrian Sauer (*1976) explores the nature of photography, occupying himself with the current state of the medium in pictures, self-written programs, texts, and installations. In his artistic work, he examines the functionality and pitfalls of photography and questions its big promise of being a reliable, objective reproduction of reality. His new book of works brings together “photo works” of the past ten years and simultaneously provides insights into the migration to digital photography and the new possibilities for showing and seeing that arise from it. Text in English and German.

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Shopping carts: they stand in front of supermarkets day in and day out without attracting any attention. But when they are removed from their usual surroundings, they develop a strange power of attraction. In Berlin, shopping carts are frequently, quite often in nocturnal 'actions,' repositioned, knocked over, hung up, or loaded with curious things. Over two years, the photographer Luca Ellena (*1997) 'portrayed' numerous shopping carts in such unusual surroundings. This has resulted in an absurd artist’s book filled with unexpected stories that we can only imagine. Text in English and German.

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The work of Dries Verhoeven (*1976) blurs the boundaries between installation art and performance. He creates unsettling and ambiguous situations in public spaces, art institutions, and theatres, which disrupt the given relationships between spectators and performers. In Doubt, his first monograph contextualises his latest creations among earlier works. This book includes essays by author Christiaan Weijts, theatre and performance scholar Maaike Bleeker, as well as critic Evelyne Coussens, illuminating Verhoeven's witty sidestepping of the conventions of the various disciplines. Text in English and Dutch.

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The Jewish Museum Frankfurt presents The Female Side of God, based on numerous objects from cultural history and contemporary works of art. In a close reading of these works, the exhibition catalogue introduces this hardly known and oftentimes even 'suppressed tradition'. Comprehensible descriptions of these visual representations of a female deity, which can be found throughout the centuries, alternate with five essays, resulting from an interdisciplinary symposium of the research association 'Religious Positionings'. A highly topical publication, comprising faith, science, and art. Text in English and German.

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What does the current Chinese art scene look like? What talents can you discover here? The art platform BMCA regularly organises art exhibitions and projects that give Chinese artists the opportunity to present themselves. Based on selected works from the BMCA art collection, texts and documents, the new publication presents these 5-year projects and shows how exciting and versatile young art is in China. The book follows the stories of some of China's most exciting young talents and provides insights into a variety of artists and curators. Text in English and simplified Chinese.

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The Bauhaus was one of the most important schools of art, design, and architecture, whose visionary designs continue to be regarded as icons of modernity today. This book provides an in-depth presentation of the second-largest Bauhaus collection in the world. It includes objects from all the phases and fields at the renowned institution, including student works by Marianne Brandt, Josef Albers, or Marcel Breuer, as well as works by Paul Klee, Wassily Kandinsky, or Gunta Stölzl. Objects and materials found in the Bauhaus buildings in Dessau - the Bauhaus Building, the Masters' Houses, the Employment Office, and the Dessau-Törten estate - are presented as well. The book also provides an introduction to the history and development of the school.

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The first of Deutsche Bank Collection's new exhibition series, presented at 'PalaisPopulair' in Berlin, is dedicated to the fascinating artistic medium of paper. The World on Paper shows how the everyday and at the same time sensual material paper opens up surprising possibilities, even in an era of innovative technologies. The publication also documents the fact that works on paper in particular give rise to connections with other media and hence visualise current art in all its breadth. Artists: Doug Aitken, Josef Albers, Georg Baselitz, Joseph Beuys, Hanne Darboven, Ellen Gallagher, Hermann Glöckner, Katharina Grosse, Eva Hesse, Anish Kapoor, William Kentridge, Martin Kippenberger, Imi Knoebel, Maria Lassnig, Markus Lüpertz, Heinz Mack, Helen Marten, Joan Mitchell, Takashi Murakami, Wangechi Mutu, Bruce Nauman, Blinky Palermo, Sigmar Polke, Neo Rauch, Gerhard Richter, James Rosenquist, Karin Sander, Kara Walker, Andy Warhol, Lawrence Weiner, et. al. Text in English and German.

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Dale Grant's Fading Beauty is a collection of photographs capturing the distinctive features displayed by flowers during their life cycle. Flowers all begin life looking rather similar but it is at the moment when they begin to wither and after some time die, that their true individual beauty can be witnessed as the vivid colours of their petals eventually become transparent and muted in tone. Dale Grant sees his images of flowers as portraits and in this direction he sets out to explore life's uniqueness and constant change.

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In 1956, the journalist and photographer Milli Bau set out in a VW-bus to explore the countries along the Silk Road. She spent a longer period of time at some locations, but only passed through others. She later lived in Tehran and worked as a correspondent. Her Rolleiflex and her journal accompanied her on her extraordinary journey, to lands of which some can hardly still be visited today. In her photographs, it is possible to see nearly 20 years of cultural and contemporary history. The publication is a document of contemporary history by a travelling journalist who left Germany in the 1950s and found herself in the world. Milli Bau is an outstanding example of the life of a woman who should not be forgotten. Text in English and German.

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Having lived in the US for almost two decades, Vaterland professor of photography Joerg Colberg (*1968) attempts to understand the political, historical and social developments in his native country, Poland. Text in English, German, and Polish.

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Christine Ödlund’s (*1963) first monograph is composed as a coherent whole, with each part interacting and resonating with the next. Paying particular attention to the proper way of interacting with the multiple forms of intelligence surrounding us, Ödlund finds an inexhaustible source of inspiration in the concept of Deep Listening which states that listening implies becoming aware of oneself as part of a universal whole. The works are the result of the artist transposing sound into form and image, notably through the use of plant pigments. By contemplating the botanical motifs and the soft colours of these works on paper, we might be able to approach the plant kingdom not only with fresh eyes but possibly also with fresh ears.

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atelierJAK has been working on the film project Soul Blindness for a number of years. The main character in the film is JAK, who suffers from visual agnosia. Soul Blindness does not have a preconceived script. The plot of the film develops further with each exhibition and each artwork, until there are finally thirty film clips, each of them exactly three minutes long. This makes it possible to continuously develop both the storyline itself and the setting ever further. The publication provides insights into the exhibition FAULTY REVERIES. It presents sculptures and installations that enter into interaction with one another, become props, and form the backdrops for the film through their interplay. Besides sculpture, drawing, writing, and language, the use of digital processes also plays a significant role. Text in English and German.

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The dedicated art dealer Rudolf Zwirner and the artist Jakob Mattner meet to look back at his over 40-year-long career. They discuss the fascination with perspective, the poetic means of light, the change of position, and procedure of reversal through which the essence of art can be achieved without withholding information from the viewer: the secret of transcendence, its cause and effect. Text in English and German.

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Uta Zaumseil's woodcuts tend to take a long time to make due to the size of the format and the elaborate implementation of several colours. The artist makes use of the rare, rather risky technique known as the ''lost plate'', in which parts of the surface are constantly removed. Zaumseil shatters the viewer's expectations, since large sections of the images are as familiar as they are inexplicable. Text in English and German.

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Tor Seidel: In Uncharted Territories is the foretelling title of the first institutional solo exhibition by German photographer and artist Tor Seidel (*1964) in the United Arab Emirates. All artworks - specifically produced for the exhibition - are born out of a sense that realities are shifting in a time of utmost uncertainty: the recent, ongoing global COVID-19 pandemic. They address how perceptions shift in a time of existential crisis, how our awareness is challenged, certainties are crushed, global patterns of economy and mobility deaccelerate, and social interaction is put to the test. COVID-19 marks a turning point for the global community, having affected each and every one of us, while the future is still unknown. Thus, Tor Seidel takes the viewer on a journey with an open-ended narrative. Text in English and German.

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With The Assembled Human the Museum Folkwang inquires into the ambivalent relationship between humans and machines. It's a conflicted relationship, fluctuating between utopia and nightmare, and it still influences our present time. From the conveyor belt to cybernetics and today's digital revolution, from Cubism, Futurism, and Constructivism into the recent present with Ed Atkins, Jon Rafman, Avery Singer, or Anna Uddenberg, the show traces the transformation of technology, presenting a wide panorama of artistic visual worlds: human beings as hybrid creatures, blended with their own self-made machines. Featuring 200 works by 100 artists as well as prolific essays, this extensive catalogue goes in-depth into this highly current issue. Artists: Walter Heinz Allner, Bettina von Arnim, Gerd Arntz, Ed Atkins, Giacomo Balla, Joachim Bandau, Lenora de Barros, Willi Baumeister, Thomas Bayrle, Rudolf Belling, Ella Bergmann-Michel, Renato Bertelli, Umberto Boccioni, Wilhelm Braune, John Cage, Helen Chadwick, Computer Technique Group (CTG), Charles A. Csuri, Mariechen Danz, Fortunato Depero, Walter Dexel, Otto Dix, Marcel Duchamp, Raymond Duchamp-Villon, Charles & Ray Eames, Max Ernst, Alexandra Exter, OEyvind Fahlstroem, Harun Farocki, William Allan Fetter, Otto Fischer, Herbert W. Franke, Carl Grossberg, George Grosz, Richard Hamilton, Barbara Hammer, Sidsel Meineche Hansen, Raoul Hausmann, John Heartfield, Lynn Hershman Leeson, Eva Hesse, Lewis Wickes Hine, Heinrich Hoerle, Rebecca Horn, Vilmos Huszar, Boris Ignatowitsch, Fritz Kahn, Wassily Kandinsky, Anne-Mie van Kerckhoven, Friedrich Kiesler, Konrad Klapheck, Jurgen Klauke, Paul Klee, Heinrich Kley, Josh Kline, Iwan Kljun, Gustavs Klucis, Alexander Kluge, Kiki Kogelnik, Germaine Krull, Boris Kudojarow, Helmuth Kurth, Jurgen van Kranenbrock, Maria Lassnig, Fernand Leger, Alice Lex-Nerlinger, Roy Lichtenstein, El Lissitzky, Hilary Lloyd, Goshka Macuga, Rene Magritte, Kasimir Malewitsch, Man Ray, Etienne-Jules Marey, Remy Markowitsch, Caroline Mesquita, Laszlo Moholy-Nagy, Johannes Molzahn, Alexei Morgunow, Martin Munkacsi, Eadweard Muybridge, Otto Neurath, Katja Novitskova, ORLAN, Tony Oursler, Trevor Paglen, Nam June Paik, Eduardo Paolozzi, Georgi Petrusow, Antoine Pevsner, Walter Pichler, Jon Rafman, Robert Rauschenberg, Timm Rautert, Alexander Rodtschenko, Thomas Ruff, Walter Ruttmann, James Shaffer, Arkadi Schaichet, Xanti Schawinsky, Helmut Schenk, Oskar Schlemmer, Nicolas Schoeffer, Franz Wilhelm Seiwert, Avery Singer, Stelarc, Friedemann von Stockhausen, Thayaht, Paul Thek, Jean Tinguely, Patrick Tresset, Anna Uddenberg, Andor Weininger, Erwin Wendt, Hugo von Werden, George Widener. Text in English and German.

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Since 1953, the ars viva Prize for Visual Arts has been awarded each year to outstanding young artists living in Germany, whose artistic works show an individual style of language and an awareness of contemporary questions. This year the Kulturkreis der deutschen Wirtschaft im BDI e. V. (Association of Arts and Culture of the German Economy at the Federation of German Industries) has awarded the prize to Karimah Ashadu (*1985), Thibaut Henz (*1988) and Cemile Sahin (*1990). The publication accompanies the awardees''s exhibitions at the Kunstverein in Hamburg and at the Galerie für Zeitgenössische Kunst Leipzig. Text in English and German.

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How do we value the life we are living? For 15 years, photographer Tim Mitchell has studied 21st century objects and commodities, as their transformation testifies to our ever-changing everyday values. He is a poignant observer of social and environmental issues and in his first monograph Product, he asks what sustainable, ethical models of production and utilisation could be. The book addresses the glamorous chaos of Paris Fashion Week as well as the repercussions of global clothes recycling and the financial crisis in Greece; economical, sociological and art historical essays provide further context.

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State of Change provides an overview of the artistic work of Karen Irmer (b. 1974). In her photographs and film installations, which are as poetic as they are analytical, Irmer reflects upon the relationship between illusion and reality, but also between the artwork and the viewer. Her work is characterised by atmospheric moods and pared-back visual language. The recurrent subject is landscape, in which she seeks contemplation and immersion as an alternative to the overstimulated reality of modern life, in which it often appears these things are no longer possible.Text in English and German.

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