Search results for ""Kerber Verlag""

Photographer Piet Niemann (b. 1991) re-visited the EXPO-site and documented the current state in a comprehensive body of work, 20 years after the world fair took place. Sustainability and the successful development of the exhibition site into a “city of the future” are often promised by politicians – similar to the Olympics. But is this actually the case? Twenty years later, it is interesting to find out what has remained and been delivered from these often full-bodied promises — or not. Piet Niemann has planned to make a photographic observation of all EXPO sites, twenty years after the world expositions have taken place. Thus, the declared goal is a documentary work that grows steadily, enabling a reflective view of the past and ideally initiates reflections on responsible action in the future.

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Simone Zaugg – Thoughts to Go is a monograph with podcasts that provides an overview of the diverse situative and context-related, interdisciplinary works of Simone Zaugg (*1968), as well as insight into the artistic processes and strategies that are the foundation of her oeuvre. As an analogue medium, the book outlines her temporary and ephemeral works but also contains QR codes that give readers access to digital podcasts. In the audio sessions the artist and experts from the fields of art, politics, and science explore the question of what art can contribute to today’s socially relevant debates. Text in English and German.

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Focusing on recent works, the richly illustrated monograph Black Lemons provides an introduction to the work of Danish artist Emily Gernild (*1985). In conversation with editor and curator Milena Høgsberg, the artist explores how she builds her assertive, textured, colourful paintings, drawing from everyday life, dreams, curious idioms, or types of historical still life painting, determined to squeeze more out of them. With great ease she moves between oil paint and rabbit skin glue and pigment, allowing her to investigate the dynamic relationship between figure and ground in different ways. Art historian and writer Grant Klarich Johnson situates Gernild's practice in the landscape of contemporary painting, drawing comparisons to other generations of women artists, who have also explored genres historically deemed “lesser”.

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

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

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

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

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

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

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

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

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

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

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

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

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

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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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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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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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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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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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