Search results for ""kerber verlag""

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

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

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

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

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

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The catalogue Friedrich Einhoff. 100+ includes 100 works on paper by the Hamburg-based artist Friedrich Einhoff (1936–2018) as well as 32 further works on canvas dating from various periods of his work. Einhoff’s pieces, which employ a wide range of painting and drawing techniques, all revolve around the central image of humankind and its ambivalent and fragile nature. Anonymous traces of figures, torn off fragments of bodies and facial contours oscillate between concentration and dissolution and speak to an image of humankind that is subject to constant change. In their alienation, displacement and fragmentation, in their isolated juxtaposition, his figures search for their sacrosanct state of being. Text in English and German.

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This publication spans more than 40 years of artistic work by the painter Henning Bertram (b. 1962). Many in the Rhineland know him through his large-scale charcoal drawings of seemingly archaic fragments of architecture. This book provides for the first-time insight into Bertram’s early work and the spectrum of his artistic career— an unremittingly explorative path, switching between the abstract and the figurative, culminating in a surprising corporeality evident in his current work. Text in English and German.

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In her art, Ines Doujak (b. 1959) examines complex interrelationships and goes directly to the heart of explosive issues. From a queer-feminist perspective, she unsparingly analyses the mechanisms and ramifications of the neoliberal market economy and the relationship between production and consumption, capital and exploitation, colonialism and neocolonial rule, racism and gender roles. For the very first time, Nevertheless provides an overview of Doujak’s artistic oeuvre from the last 30 years, encompassing a multitude of different media. The extensive plate section is supplemented by autobiographical fragments and quotations relating to the pictures. Text in English and German.

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In the past three years, the Kunsthalle Bega Box in Timișoara, Romania, successively became a laboratory and experimental space for young and mid-career Romanian artists, showcasing comprehensive projects involving research and representation and engaging the audience in a phenomenological cultural experience. The book offers an overview of the projects that have taken place at Kunsthalle Bega Box since its opening. Texts by the curators and artists provide insights into the theoretical discourses underlying the exhibitions. Artists: Dorian Bolca, Irina Bujor, Dreaming About my Unborn Child Group, Oláh Gyárfás, Tijana Kačarević, Lera Kelemen, Bogdan Matei, Mihai Mihalcea, Adrian Oncu, Teo Papadopol, Gavril Pop, Laurian Popa, Nicoló Filippo Rosso, George Roșu, Șerban Savu, Ioana Maria Sisea, Ana Maria Szöllösi, Ioana Terheș, Miki Velciov, Dan Vezentan, Mihai Zgondoiu. Text by Horea Avram, Kilobase Bucharest, Alina Cristescu, Dana Diminescu, Anca Verona Mihuleț, Iris Ordean, Mihai Pop, Laurian Popa, Maria Orosan Telea, Dan Vezentan. Text in English and Romanian.

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Two things resonate in Tom Nagy’s photographic portraits of icebergs and Antarctic landscapes: the untameable, irrepressible energies of nature and the fragility of its jagged shapes, which are minimalistic and narrative, static and mobile, majestic and delicate all at the same time. Nagy’s photographs enable us to experience this ephemeral nature becoming a picture and thus prevent them from vanishing for good. In his portraits of icebergs, they become ephemeral sculptures, which drift in the solitary silence of the Antarctic waters like artworks, to then ultimately dissolve completely. From the perspective of the photographer, the Antarctic landscape encourages us to contemplate the cycle of life and to sense our own impermanence. Text in English and German.

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The first institutional presentation with works by Sven Drühl took place in 2002 under the title Die Aufregung at the Museum Morsbroich in Leverkusen. The rooms in which the museum presented the then young positions have been used by the Kunstverein Leverkusen Schloss Morsbroich e. V. for many years. Sven Drühl, who is known for his artistic adaptations and remixes, has now returned to this location with his new landscape paintings, which are based purely on virtual models. In the place where his artistic career began, the artist is now showing paintings and bronzes from the past six years. Text in English and German.

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Roland Fischer (*1958) is a conceptual photo artist who works in series and is active internationally. With his series of large-format works, he has been part of the photographic avant-garde since the 1980s. In his oeuvre, Fischer concentrates on two complexes of works: people and architecture. All of the conceptual series on these two themes are presented in the catalogue. Matter-of-fact, very precisely exposed faces are central to series such as Nuns and Monks, Los Angeles Portraits, and Chinese Pool Portraits. The artist deals with architecture amongst other topics in the work series Cathedrals, Alhambra, and New Architectures. What interests Roland Fischer, therefore, is not the documentary character of photography. His concentrated photo works of famous buildings and façades are pictorial creations with an autonomous character. Text in English and German.

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Arcadia – a utopian land where man lives in harmony with nature, where war, worry and disease are absent, where tranquillity, solidarity and happiness are everlasting – has a long tradition stretching back to antiquity. Originally a remote landscape in the Peloponnese, said within ancient Greek mythology to be inhabited by the gods and spirits of nature, this earthly paradise was transformed into an imaginary idyll by the Roman poet Virgil in his pastoral poems, and has lived on in Western art, intellectual history, and the imagination ever since. In Arcadian Sketchbook – photographed between 2020-2021 – Wolfgang Strassl wanders along his nearby river in search of peace of mind, amongst many others who were seeking the same at the time. As he explains, “I looked for Arcadia, simply on my own doorstep, and I found it there.”

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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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