Search results for ""kerber verlag""

In his work, Dor Guez (b. 1982) explores the relationship between art, memory, storytelling and historiography. The examination of archives, maps, and local narratives has become the hallmark of his approach. Amid Imperial Grids was born out of his artistic analysis of the work of artist Felix Nussbaum and the Felix Nussbaum Haus in Osnabrück, designed by Daniel Libeskind. Here, Guez has created a truly unique site-specific installation based on the interweaving of biography and history, the past and memory, cartography, and the demarcation of borders. He addresses the peculiarities of the architecture and creates a content-rich spatial setting that reflects on concepts such as nation, culture, history, identity, territoriality, and geopolitics. Text in English and German.

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Tanz auf der Klinge (Dance on a Knife’s Edge) is the first monograph by the artist Willehad Eilers aka Wayne Horse (b. 1981). This publication features works created between 2018 and 2023, presenting the many facets that make up the artist’s universe - from blind drawing to graffiti and monumental oil paintings. Eiler’s visual world, made up of grotesquely lewd scenes, reveals a generous portion of humour while exploring the darkest depths of society. Studio images and photographs from Eiler’s everyday life provide shed light on his creative process. This visual journey is accompanied by interviews with the artist, brief explanatory texts, and the notes that in many cases served as the starting points for the works depicted here. Text in English and German.

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With her first comprehensive monograph Infinite Walk, Katharina Lehmann (b. 1984) invites the reader on an individual artistic journey through her impressive oeuvre. The process of creating her works involve the artist walking back and forth using her unique thread-drip painting technique to create a fabric made up of hundreds of thousands of kilometres of yarn and acrylic paint which Lehmann then uses in a multitude of ways to create spatial installations, objects and pictures. Like a journey, the book also has several stages. In a total of eight chapters, the publication illuminates the artist's most significant creative phases to date. Beginning with 2014, which Katharina Lehmann described as her personal ground zero', the presentation extends to the present day and provides an outlook to new horizons.Text in English and German.

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Paco Knöller Unter mir der Himmel (Beneath Me, the Sky) is being published to accompany the exhibition of the same name at the Hilti Art Foundation’s museum space in Vaduz, Liechtenstein. The exhibition features numerous works by the artist (b. 1950) dating from the 1980s to the present day. The works, created exclusively with oil pastels, examine various aspects of human existence in the context of human and natural history. Photographs of the installation provide direct insight into the exhibition, which also features sculptures from the Hilti Art Foundation’s collection. Text in English and German.

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The Schaubühne Berlin is one of the foremost German-language theatres and has a unique artistic profile. Between 2018 and 2022, renowned artists Christian Jankowski, John Bock, Olaf Nicolai, Katharina Sieverding, and Monica Bonvicini designed a series of posters for the theatre. The outcome: striking two-dimensional artworks that, when inserted into Berlin’s cityscape, created a kind of temporary urban exhibition. The array of artistic executions in the poster campaigns ranges from humorously grotesque scenes or fanciful tableaux featuring members of the ensemble to purely conceptual approaches devoid of any text or imagery, to posters that use round cut-outs to capitalise on their ever-changing impact in the urban space. This publication brings together for the first time all of the designs alongside accompanying texts and interviews. Authors: John Bock, Monica Bonvicini, Thomas Irmer, Christian Jankowski, Thomas Ostermeier, Antonia Ruder, Katharina Sieverding, Christian Tschirner Text in English and German.

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Building on his interest in evolution, philosophy, and society, in his project A Gift From Him Maximilian Prüfer (b. 1986) explores the destruction of natural habitats to make way for agriculture in China. To this end, Prüfer took two trips to the Szechuan Province, where the fruit trees need to be pollinated by hand due to insect deaths caused by the increased use of pesticides. These developments are attributable to Mao’s campaign to “Destroy the Four Olds,” which entailed the killing of around two billion sparrows in order to restore the natural equilibrium. Prüfer documented the entire manual pollination process in photos, collected items, and films which make for an ambivalent exploration of the cultural evolution of humankind. Text in English and German.

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Six Berlin-based artists set out in search of their inner self and travelled down paths that could not be more diverse: Frauke Bohge, Catherine Bourdon, Andrea Cataudella, Sayyora Muin, Katrin Salentin and Anna-Lisa Unkuri expressed their respective self-enquiry through painting, drawing, collage-making, photography, sculpture, and installation. However, none of them provide any absolute answers to their questions, nor ever fully expose their innermost selves. Singer-songwriter Jan Plewka contributes a lyrical exploration to the project (together with his colleague Marco Schmedtje) in the form of his song Wie ein Geist (Like a Ghost). In it, he considers the works of the artists and lends words and sound to his thoughts and feelings as an inquisitive observer. (Watch the video at www.von-clowns.com) Text in English and German.

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In his work, Veit Mette (*1961) deconstructs and reconstructs imagery. For example, he projects photographs from the collections of Kunsthalle Karlsruhe and the Peter August Böckstiegel Museum onto heads and bodies which he presents both digitally and in physical exhibitions. For his latest work, he visited a specialised facility for patients with eating disorders, the Klinik am Korso, to explore issues relating to our public image and self-image. Patients were asked to select images from the painting collection at Staatliche Kunsthalle Karlsruhe, which were then projected onto their faces. Texts written by the men and women who were photographed accompany the images. Text in English and German.

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Since the end of the 1990s, through her videos, sculptures, photographs, art installations, and performances, the internationally acclaimed Brazilian artist Cinthia Marcelle (b. 1974) has been critically examining the established and hierarchical social structures upon which our daily lives are built. Marcelle uses collective action as the medium through which to break down rigid mechanisms and organisational forms and to renegotiate new ones. This publication is the first comprehensive monograph of Marcelle’s work and provides multidimensional and analytical insight into her work, reflecting the complex societal discourse it explores. It was created through the artist’s close cooperation with the Museum Marta Herford and the Museu de Arte de São Paulo Assis Chateaubriand (MASP). Text by Anna Roberta Goetz, Eungie Joo, Leandro Muniz, Adriano Pedrosa, Kathleen Rahn, Ana Raylander Mártis dos Anjos, Isabella Rjeille Text in English and German.

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An extensive publication with numerous illustrations titled Healing: Life in Balance is being published to accompany and exhibition at the Weltkulturen Museum in Frankfurt. The book presents all the participating international artists in personal conversations on the topic of healing and, based on the museum’s collection, expands the ethnological view to include interdisciplinary perspectives by international scholars and activists. The book opens up a polyphonic dialogue and offers possibilities for designing postcolonial, global coexistence and a healthy life in balance. Artists: Marina Abramović, La Vaughn Belle, Elena Bernabè, Roberta Carvalho, Magnus Døvigen, Alejandro Durán, Marco del Fiol, Ayrson Heráclito, Feliciano Lana, Naziha Mestaoui, Michael O’Neill, Roldán Pinedo.

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The Wiener Variationen (Viennese Variations) comprise 18 piano compositions. Alexander Wiener also describes his pieces as sound-sketches or mental sound-diagrams. They are dated chronologically and reveal spontaneous moods, circumstances and experiments. Alexander Wiener composed the pieces Wiener Variation 15B and Wiener Variation 32B To the Mother Earth for the ballet AcroDuo by Elena Petrichenko and Sergey Chumakov. Each of the compositions is accompanied by video images and hitherto unpublished lighting interventions. In addition, to accompany the publication, the Alexander Wiener Prize, which encourages musical exploration of Wiener's work, has also been established. Text in English and German.

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This book is a restless chronology of works by Australian-born, internationally exhibiting artist Richard Dunn (b. 1944) who explores the contemporary potential of art with full awareness of its modernist heritage. Thinking Pictures includes Dunn's own foreword and notes on his work, providing an insight into his thinking, of which this book is an illuminating, partial archive. It reveals how Dunn's visually seductive and speculative works explore the perception and interpretation of the social and historical context of art. Dunn uses a variety of materials and formal orientations—photography, realist painting, abstract constructions, filmic montage and digital techniques, installations, light and sound—as strategies to interact with and subvert conventional styles of image-making to reveal something new and current. Dunn seeks to engage us in his exploration of how we perceive the particularities of place, including history, architecture, and ideas, bringing together the personal and the global.

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Is contemporary art’s recurring turn to a material with a rich tradition an attempt to free the precious metal from its historical heritage, from grandeur and pathos? Is the saying “all that glitters is not gold” thus put to a test by transferring or shifting the always sought-after, glittery material to other contexts? The exhibition Doré | Vergoldet | Gilded and accompanying catalogue bring together works of contemporary art that deal with gold as a material and colouring agent and thus reflect the notions of value and symbolic power connected with it. Artists: Antje Blumenstein, Olivia Breckemeyer, Ruth Campau, Marianne Engel, Luka Fineisen, Niklas Goldbach, Eckart Hahn, David Krippendorff, Claudia Kugler, Alicja Kwade, Andréas Lang, Via Lewandowsky, Michael Müller, Sebastian Neeb, Andrea Pichl, Johanna Reich, Julian Röder, Stéphanie Saadé, Michael Sailstorfer, Karin Sander, Karina Spechter, Henrik Strömberg, Philip Topolovac, Panos Tsagaris, Frauke Wilken, Andrea Winkler, Clemens Wolf, He Xiangyu. Text in English, German and French.

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There is a trace of timeless arithmetic validity in the work of Ruth Maria Obrist. Her objects and installations explore themes such as mathematics – chaos and order – space, void, proportion, and volume. Over the years, the ocean, too, caught between beauty, destruction and healing, has been a central theme. Ruth Maria Obrist’s works are of a profound materiality. Using bitumen, white glue, mercuchrome, gold or rust, she creates sensory surfaces that – formally reduced to the essential – exude a poetic ease. This book covers works from the years 2000 to 2021, including some of the numerous projects that Ruth Maria Obrist realised together with architects and in public spaces. Text in English and German.

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Smavos, Tnösis, Cephandrion, and Graue Sonne: These words do not come from science fiction, but are instead the titles of ceramics by Gereon Krebber that are being presented in the exhibition Keramocringe at the Skulpturenmuseum Glaskasten in Marl, along with room-dividing works made of burnt wood. This publication documents the sculptures and architecture in the final ensemble before the museum moves to its new location. An in-depth conversation between the artist and Georg Elben, the director of the museum, describes Krebber’s working method and the effect of his works. In the second text, the art historian Maria Müller-Schareck shows how pivotal clay is as a key material for understanding Krebber’s practice. Text in English and German.

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A special exhibition of the Nationalgalerie – Staatliche Museen zu Berlin in dialogue with the collections of Galeri Nasional Indonesia (Jakarta, Indonesia), MAIIAM Contemporary Art Museum (Chiang Mai, Thailand), and Singapore Art Museum (Singapore), funded by the German Federal Cultural Foundation and initiated and funded by the Goethe Institut. Nation, Narration, Narcosis: Collecting Entanglements and Embodied Histories at Hamburger Bahnhof is dedicated to the relationship between art and political protests, historical trauma, and social narratives from the 19th century to now. The works on display explore the effects of nation-building, colonialism or the Anthropocene on societies, their narratives, as well as the ecology of our planet. Departing from Beuys’s concept of the social sculpture, the exhibition confronts the notion of nation contained in the name "Nationalgalerie" with alternative concepts of connectivity, solidarity, and individuality. Artists:Agan Harahap, Albert Samreth, Amanda Heng, Ampannee Satoh, Apichatpong Weerasethakul, Arahmaiani, Bruce Nauman, Bussaraporn Thongchai, Carl Schnebel, Charles Lim, Chulayarnnon Siriphol, Dolorosa Sinaga, Germaine Krull, Gregor Schneider, Gülsün Karamustafa, Hannah Höch, Ho Tzu Nyen, Holly Zausner, Jeroen de Rijke & Willem de Rooij, Joseph Beuys, Karl Hofer, Käthe Kollwitz, Kawita Vatanajyankur, Klaus Staeck, Korakrit Arunanondchai, Marcel Odenbach, Marina Abramović, Mary Wigman, Melati Suryodarmo, Ming Wong, Natalia LL, Natasha Tontey, Nguyên Bá Viet, Noa Eshkol, Orawan Arunrak, Öyvind Fahlström, Raoul Dufy, Ray Langenbach, Rudolf Jordan, Semsar Siahaan, Shane Bunnag & Pichet Klunchun, Soydivision, Stephanie Comilang, Sung Tieu, The Forest Curriculum, Tina Haim-Wentscher, Tita Salina, un.thai.tled, Valie Export, Vandy Rattana, Via Lewandowsky Texts by Sven Beckstette, Stefan Dreyer, Patrick D. Flores, Gridthiya Gaweewong, Anna-Catharina Gebbers, Pujita Guha, Gabriele Knapstein, Charlotte Knaup, Rosalia Namsai Engchuan, Ariel Orah, Grace Samboh, David Teh, Abhijan Toto, Sarnt Utamachote, Hortensia Völckers, June Yap Text in English and German.

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His mostly precisely composed, large-format paintings, with deserted spaces as their main motif, made Ben Willikens (*1939) famous in the second half of the 1970s. The exhibition and accompanying catalogue present nearly 50 works created between 1971 and 2021 and thus span the artist’s entire oeuvre. Three groups of works form the central pillars: the Anstaltsbilder of the 1970, in whose motifs Willikens processes a dark chapter in his life, and the series ORTE (PLACES) And ORTE 2 (PLACES 2), which deal with Willikens’s examination of the architecture of the National Socialist period. There are also various works from the series Räume der Moderne (Spaces of Modernity). Text in English and German.

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Hermann Nitsch, born in Vienna in 1938, is a co-founder of Viennese Actionism, and one of the international pioneers of the Performance Art Movement. This Austrian universal artist’s world-famous painting actions have made a major contribution to the development of art post 1945. More than 90 of these painting actions have been staged thus far, the most recent were held at the Bayreuth Festival in the summer of 2021 to accompany a new production of the opera The Valkyrie. Nitsch’s 20th painting action took place at the Vienna Secession in 1987 and is the only instance in which the artist’s action works have remained fully available. This is probably Nitsch’s most important integrated work of this kind. It symbolises his extraordinary artistic development and constitutes an unrepeatable contemporary document which exudes an international radiance.

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A quiet revolution is going on in contemporary painting; young artists are ignoring the taboos of modernism and delving into figurative painting. The exhibition >1000 Words at the Galerie Rothamel is staying abreast of this development. For five centuries European painting depicted histories, faces, and legends. As development began speeding up, modernism broke with this tradition and shifted the artistic snapshot, the shock, into focus. The longing for stories remained. The painters in the exhibition >1000 Words took up the challenge. Their narratives are complex, virtuoso — and astoundingly traditional. Artists: Ellen Akimoto, Undine Bandelin, Ivana de Vivanco, Jonathan Kraus, Nguyen Xuan Huy, Marten Schädlich. Text in English and German.

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Mihai Olos (1940-2015) was one of the most prominent Romanian artists of the 1970s. Being interested in various media - painting, sculpture, happenings, Land Art, and even literature - he developed a coherent conceptual system of modular morphologic structures (knots), ultimately leading him to his utopian project, the “universal city” of Olospolis. This monograph is published as a follow-up to the exhibition The Ephemerist. A Mihai Olos Retrospective, organised by the National Museum of Contemporary Art - MNAC Bucharest in 2016. The publication compiles a representative selection of artworks, photographs from the artist’s archive, which are being published for the first time, and essays on the oeuvre and life of Mihai Olos.

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A key element in Christian Jankowski's (*1968) practice of art involves feeding interventions peppered with humour into media contexts and closed systems. The paths of transmission and moments of disruption materialised in the exhibition Sender and Receiver at Fluentum, which featured a selection of new and previously rarely seen works. The show has been conceptually extended via the eponymous catalogue: Jankowski’s art from the past two decades has been documented in extensive photo series and is accompanied by a variety of texts that examine the content in depth. Of particular interest: a piece on the current coronavirus pandemic. In it, the artist gives so-called essential workers a temporary platform on select television formats in order to publicly share their personal experiences and impressions in a time when living conditions have been altered by the pandemic. The result is a complex stratum of unconventional narratives layered on top of television’s usual working order. Text in English and German.

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As a book, Elín Jakobsdóttir—In the First Place is like a hunt for the sources of artistic creativity: the Icelandic artist’s (*1968) childhood home was buried under the ashes of a volcanic eruption. Themes that touch upon the power and beauty of nature are woven into her works of art. Her translocal references to Iceland, Scotland, and Berlin not only reflect these diverse places, but also make up the depth of her work. Jakobsdóttir’s oeuvre is characterised by a strong lyricism and intensity, with allusions to the subconscious. Text in English and German.

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Memory responds to the acquisitions Deutsche Bank has made over the past decade, many of which are by artists from Africa and/or are of African descent. By focusing on personal narratives, alternative perspectives and lesser-known stories, the exhibition seeks to identify the unstable, exploit the slippages, and make clear that the struggle against balance of power is the struggle of memory against forgetting. Artists: Yto Barrada, Sammy Baloji, Mohamed Camara, Samuel Fosso, Anawana Haloba, Lubaina Himid, Lebohang Kganye, Wangechi Mutu, Toyin Ojih Odutola, Zohra Opoku, Paulo Nazareth, Jo Ractliffe, Berni Searle, Mikhael Subotzky, Dineo Sehee Bopape, Kara Walker, Alberta Whittle, Joy Cheong Wong. Text in English and German.

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This monograph presents a thorough overview of the work of the Danish artist Thomas Bang (b. 1938). Essays by four Danish art historians trace his years as a painter in the early 1960s, his subsequent development as a sculptor in the late 1960s, and his activity on the New York art scene through the 1980s. The primary emphasis of the book is on Bang’s three-dimensional work and the analysis of the range of issues on which his object- and installation-oriented work has been focused for several decades. Thomas Bang has throughout his career focused on various issues of fragility and vulnerability as physical as well as psychological states. The emphasis of his sculpture is on creating a broad field of operations, where alterations of apparent initial intentions and meaning are gradually established in the development of the work.

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When do painterly gestures become objects or spaces? When the colours and lines in a picture become the subject, do they then flirt with or repel one another? Fascinated by the gaudy banality of day-to-day life, Anna Nero (*1988) scratches on the surface of things with the help of quotes from advertising, fashion, and comics as well as samples of abstract and concrete painting. The question of the 'thingness' of a picture as a painterly image or real ceramic object, the question of its material characteristics, its use, its “essence” is central to her work and also the focus of her first monograph. Text in English and German.

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Collapsing industrial buildings and overgrown wastelands suggest that Berlin's Schöneweide district once experienced a different present. Today, the numerous abandoned sites provide a place for many young people to meet in secret. Over three years, photographer Janina Wick established contact with them and visited them, explored the abandoned sites, portrayed the youngsters and also captured the architectural changes. With fresh design, the book documents her perceptive observations and research into youth culture. Text in English and German.

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First monograph by croatian artist Luiza Margan who is dealing with traces of the past and ruptures in official historiography. Text in English and German.

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Serena Ferrario (*1986) is the 7th winner of the renowned Horst Janssen Graphic Prize, which this year will be awarded at the Kunsthalle Hamburg for the first time. The catalogue accompanying the exhibition not only documents the various facets of Ferrario’s work with its large-scale installations, with a focus on her graphic works, collages, and films, but also explicitly takes a look behind the scenes with the title Where the Drawings Live. It is about an open process that not only provides insights into her studio work, but also reveals in particular the connection between the individual mediums in which her figures — whether drawn or real in film — live. In addition to numerous pictures, including installation views from the Kunsthalle Hamburg, the catalogue also contains an interview with Serena Ferrario. Text in English and German.

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In Mother Tongue, Mika Sperling (*1990) examines how origins and culture influence interpersonal relationships based on her personal family history. Language plays a key role in this. Her young daughter and her Vietnamese stepmother are the focus of the photographic examination. Sperling experiments with perspectives, close-ups, and reflecting surfaces and shows the surroundings and personal objects of the individuals portrayed. Trained in a documentary tradition, Sperling represents a new generation of photo-essayists that takes up historical references and processes them in various mediums and objects so as to engage more intensively with the audience. Text in English, with additional texts in German, Russian and Vietnamese.

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Italy has been, and remains, a dream destination for many tourists. Travellers to the country enjoy its cultural history, beaches, climate, and wonderful food, but if one looks behind the beautiful backdrop of the historical old cities and magnificent landscapes, one often encounters the other side of Italy: citizens’ dissatisfaction with their own country, poverty, chaos, environmental pollution, the mafia, and violence, as well as a corrupt, decadent political system. In his journeys from the south to the north of the country, the photographer Christian Jungeblodt (*1962), who lived in Italy for a long time himself, makes the closeness of beauty and ugliness, luster and squalor, grandeur and the abyss visible. Essays by renowned authors like Petra Reski and John Hooper accompany this photo book with its wealth of colour photographs and black-and-white smartphone photos. Text in English and Italian.

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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 Dutch.

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Ellen Akimoto’s (*1988) painting is figurative, contemporary, and captivating in its inventiveness. As Wolfgang Ullrich notes, she does not simply cite “stylistic means from the repertoire of the more recent history of painting,” but instead combines them “in surprising, humorous relations to one another and, in combination, transforms them into something new.” Thus, the “monochrome surfaces of Suprematism” alternate with a meticulously detailed realism originating from Neue Sachlichkeit or a “painted landscape painting is suddenly transformed into an abstract painting” and “merges with the face of a woman.” Text in English and German.

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Marta Volkova (*1955) and Slava Shevelenko (*1953) were born in the Soviet Union, that distant country which seems to exist only in history books and all their work seems to stem from this legendary beginning. In the era of fabulators, perverse mechanics of alternative facts and ill-intentioned fake news forgers, Volkova and Shevelenko are like story tellers: their work is expressed in vast narrative installations. Their rich, multifaceted projects explore the boundaries between reality and fiction. Using subjects from the collective mythology - the Yeti, the so-called Tunguska meteorite in Siberia - they interweave these with moral, social, philosophical or political metaphors which in turn resonate with the realities of today's world. In this publication a number of selected projects are presented, made by Volkova and Shevelenko between 2009 and 2020.

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Tony Franz (*1985) challenges the perceptual habits of his viewers. His technically sophisticated drawings - done unfailingly with pencil on paper - open up diverse associative spaces. Franz always approaches his pictorial themes anew, deceiving the eye on a high illusionistic level and examining the close relationship between text and drawing. Drawing as a medium therefore allows him to reflect on the in part subconscious, in part superficial way in which images and words are perceived. The language of the world of advertising and consumption, how it is received, its raptures and contradictions, play a central role for Tony Franz. Text in English and German.

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The metal sculptures and drawings of Hans Uhlmann (1900 1975) shaped the image of German postwar modernism. Arrested by the National Socialists in 1933, Uhlmann sketched filigree wire heads during his incarceration. He went on to realise these pieces following his release. In the 1950s, his figurative forms developed further into abstract compositions. With around 80 works, the exhibition at the Berlinische Galerie traces Uhlmann's creative periods from the 1930s to the 1970s and explores not only his drawings and sculptures but also his role within the West Berlin art scene. This is the first comprehensive retrospective of his work in more than 50 years.Text in English and German.

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In the monograph with the title Premonition, Miguel Rothschild (*1963) presents a selection of works from his two most recent series. The Berlin-based, Argentine artist occupies himself in them with spirits and the apocalypse. The mystically connoted photographs of skies and forests are given a second level — in terms of both content and the visual — by means of burn holes. Here, the spirits of the forest ascend between the treetops, there it is a baroque or romantic sky that receives these demonic and at the same time alluring souls. Rothschild’s ambiguous visions prompt us to interrogate our relationship to nature.

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Show Time initially awakens thoughts of glittering entertainment, shiny surfaces, and fancy stunts — a world that does not really belong in a museum. But here the title is associated with something more literal: time being shown to us. In Sabine Groß's (*1961) exhibition at the Museum für Vor- und Frühgeschichte Saarbrücken, archaeological finds meet contemporary art for the first time. As a professor of sculpture, Groß has specialised for many years in this type of confrontation, practising a kind of “archaeology of the future” in which she presents recent significant works of art as potential archaeological objects. Published to accompany an exhibition Sabine Groß. Show Time – Eine Archäologie der Zukunft, which runs from 11 December 2020-7 November 2021 at Museum für Vor- und Frühgeschichte, Saarbrücken, Germany. Text in English and German.

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To mark one year from opening the new station, Art on the Underground launch a new publication on the work of Alexandre da Cunha at Battersea Power Station in London. Sunset, Sunrise, Sunset is a monumental kinetic sculpture for the Underground station. Stretching 95m and 60m in length, the artwork incorporates two friezes that face each other along the length of the ticket hall. The artwork was inspired by the former control room at Battersea Power Station and its system of vertical bars that regulated the production and output of electricity into the city. Combining this with resonances of the daily flow of dawn to dusk, Sunset, Sunrise, Sunset refers to cycles, routine, the everyday and eternity. Designed by Fraser Muggeridge Studio, the book features essays from art historian Dr Lisa Blackmore exploring the artist’s practice, a geographical and social history of the local area from architecture and design writer Gillian Darley, an essay on commissioning the work by Eleanor Pinfield and a creative prose work from experimental writer Rebecca Watson.

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The work of Li-Wen Kuo (*1980) documents a perpetual measuring of the space of painterly possibility. For her, any achieved position, any accomplished painting, bears in itself the task of being overcome. The logic of form which gives this development a direction, though, is concealed by the paintings’ independent existence. For each painting is, at the same time, grown out of itself; it possesses its own centre of force by which it is organised. By virtue of their individuality, these paintings allow a dialogical relationship with the spectator. Li-Wen Kuo’s work aspires to the inexhaustibility of this relationship. Text in English and German.

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Myriam Holme (*1971) walks a fine line between painting and sculpture. Her concept of painting is based on the experimental and processual, with both being observed from the material perspective. Her painting can be thought of as expansive and incomplete; it does not settle into what already exists but remains in constant motion. Holme has already received numerous awards for her work, and her pieces are on display in national and international museums and exhibition spaces. The monograph Myriam Holme, 2010–2020 features works from the past decade along with essays by Christiane Schürkmann and Jörg van den Berg. Text in English and German.

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The Eiffel Tower in China? Sebastian Acker: Traces of Other Places unites photos, film stills, and notes from an often surreal-looking journey undertaken by the Berlin-based artist Sebastian Acker (*1981) and his collaborator, Phil Thompson, through China’s copy-laden landscape, where not only have they erected sections of European cities, but also built a replica of an entire Austrian village. Simultaneously contemporary and anachronistic, the pictures in the book resist simple definitions of authenticity and imitation, not only by examining the theme of the reality experienced in the replicas, but also by shedding light on the tourism industry’s performative promotion of the European originals. Text in English and German.

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Apocalypse and beginning - what we might think of as contradictory is harmonised by the painter Willem Julius Müller (*1979). In Apocalypse as Beginning, he combines the states of decline and ascent, beginning and end, before and after. Even Müller’s painting is suspended in the (post)apocalyptic tension: in his apocalyptic, deserted, or abandoned landscapes we find ourselves before and after the apocalypse or at the beginning - in places that could be ending as well as beginning. Just as the so often proclaimed death of painting fuelled its own resurrection, the failure of humanity in Müller’s paintings may “refer to the continuation of humanity beyond the human” (Jörg Scheller). Text in English and German.

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For his new book 07:27:47, photographer Jonas Dahlström studied urban environments in Sweden. With the immediacy of street photography, he captured their beauty in a continuous sequence of images taking place during exactly 12 hours. Focusing on the interaction of light, shadows, and architecture, the aesthetics of his stunning photographs are strict, clear, and minimalist. Regardless, these external landscapes can be read as “internal landscapes” projected outwards. They tell a tale of fragility, loneliness, and isolation, of human existence holding out against such anonymous, concrete habitats. Text in English and Swedish.

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Reduction as a painterly approach: Master of Reduction shows juxtapositions of and relationships between painterly ideas by artist Daniela Trixl. Her work is a fund of abstract pictorial inventions, which can either be found on canvas or paper or for overpainting of a poster or newspaper picture. For Trixl, “reduction” always means the relation to visual reality. With an art historical classification by Katrin Dillkofer. Text in English and German.

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Without darkness, no light—without night, no day. In the past three years, Jürgen Heinrich has extensively occupied himself with the “night”: in art, literature, and music. He has personally circled around the phenomenon of the night in various phases of his work. In painting, drawing, and artist’s book, he has dedicated himself to all the facets of the night. For him, the night has become a metaphor of a pendulum swinging between the light and the dark, between melancholy and lightness. Literary texts and scholarly positions by various authors accompany these extraordinary pictorial worlds. Text in English and German.

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Seditiously garish paintings, watercolours, animated films, absurd journals, and extensive installations - all of these are only a small part of the practice of the young artist duo Mehmet & Kazim. Initially active in the graffiti and Hip Hop scene, both of them studied with Markus Oehlen at the Academy in Munich. Kissing Cousins is both an elaborately designed artist book and a detailed monograph on their work at the same time. Supplemented by a conversation with Florian Matzner, their pictorial strategies are shown very directly - subtly oriented toward art history, which is then promptly thrown 'out the window' again.

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Over three decades, the painting of Anton Henning (*1964) has been both a challenge and an inspiration. For him, “even more modern” means showing the lasting significance of modernism for the present. The first volume of his large-scale catalogue of works of 2018 was a basic introduction to his work as a painter. “Vol. 2” now offers an unexpected shift of perspective to his in-depth examination of art history from the Renaissance to Romanticism. A rare interview with Anton Henning about his practice and his artistic self-image supplements the extensive picture section. Text in English, German, French, and Japanese.

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Markus Oehlen (*1956) is one of Germany's most unmistakable painters. As an anarchic pictorial inventor, since the 1980s he has revolted against any visual convention and aesthetic convenience. Due to his integration of digital techniques and the contemporary reservoir of images, he creates stunningly hybrid paintings. Collage-like fragments of art history and popular culture interfere with each other. Abstraction and figuration swiftly blend into one another. With the utmost freedom, Oehlen expands the possibilities of today's painting in his both daring and calculated pictorial experiments.

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