Böcker utgivna av Hatje Cantz

Following more than forty years of photographic storytelling of Jewish life around the world, Frédéric Brenner spent three years exploring Berlin -- a stage for a vast spectrum of expressions and performances of Judaism. In his new photographic essay he portrays individuals -- newcomers, old timers, converts, immigrants and others - who have made Berlin their home or are just passing through. Via a series of fragmentary insights into this incubator of paradox and dissonance, he reflects on conflicting narratives of redemption and gives light to an ever so present absence. Like a shattered mirror, these images offer a polyphonic, sometimes bizarre and disturbing reflection of and on a topography of displacement and estrangement in contemporary human condition, far beyond the story of Berlin or of Jews.FRÉDÉRIC BRENNER (*1959) is known for exploring questions of longing, belonging and exclusion. His major opus, Diaspora: Homelands in Exile is the result of a twenty-five-year search in over forty countries to create a visual record of the Jewish people at the end of the twentieth century. He has published seven books, his most recent book is An Archeology of Fear and Desire (2014). He lives in Berlin and Jerusalem.

Published on the occasion of Ali Kaaf's exhibition Ich bin Fremder. Zweifach Fremder at the Museum für Islamische Kunst in the Pergamonmuseum Berlin, the catalogue documents the sculptural intervention created in the context of the Mschatta Façade. The eventful history of this icon of Islamic architectural culture is not only a metaphor for human existence, but also equally for the biography of the German-Syrian artist. The volume is augmented to include works on paper from past groups of works in the Rift series and Byzantine Corner, which illustrate Kaaf's intermedial working method. In subtle, abstract imagery, he works with layerings, incisions, burns, photography and digital image processing. Through the artistic exploration of breakages and reassemblages, complex spatial voids emerge that reflect both intercultural and internal processes.Algerian-born German-Syrian artist ALI KAAF (*1977) lives and works in Berlin, where he studied fine arts at the Universität der Künste. His works are equally influenced by European and Arabic culture and art tradition and can be found in both European and Asian collections.

. Brilliant portraits. Stars in front of the camera. Leica masterpieces

Tomanova's first book Young American (2019), featuring a foreword by acclaimed photographer Ryan McGinley, sold out shortly after its publication. Art and fashion magazines overflowed with enthusiasm. Tomanova now presents, with art historian Thomas Beachdel, her second volume on youth in New York City with a foreword by the iconic Kim Gordon. Deftly entwining portraiture and landscape, the photographer expands and recontextualizes the significance and meaning of each. Tomanova shows us a powerful and vital panorama of identities of people and place, and a compelling future free of binary gender models and outmoded definitions of beauty. MARIE TOMANOVA grew up in Mikulov, Czech Republic. After studying painting, she moved to New York and turned to photography. Her work explores themes of identity, gender, immigration, and memory.

In conversations and interviews Joseph Beuys mentioned Marcel Duchamp more than any other artist. And hardly anyone else seems to have challenged him more than this artist from the previous generation. Direct evidence of this is his oft-cited action Das Schweigen von Marcel Duchamp wird überbewertet (The Silence of Marcel Duchamp is Overrated) from 1964, through which Beuys attempted to shift focus onto the political and social dimensions of his concept of expanded art. The associations and connections between the artists go deep. Both used similar radical strategies to rejuvenate the concept of art and the role of art in everyday life; their questions had a number of aspects in common. This richly illustrated catalogue is the first to undertake a profound exploration of this multilayered relationship, while investigating both artists' future-oriented potential.MARCEL DUCHAMP (1887-1968) was one of modernism's most influential artists. From 1913 on, his readymades, objects, installations, and word games radically questioned the common concept of art.JOSEPH BEUYS (1921-1986) fundamentally altered art after 1960 in his many roles as a draftsman, sculptor, performance and installation artist, teacher, politician, and activist. At the center of his concept of expanded art and the universal work of art is the vision of changing society.

. Compendium of art criticism. Plurality of voices and styles of writing. With short comments on each art critique

Heidi Bucher's fascination with the interplay between art and fashion gave rise to wearable genderless body sculptures back in the early 1970s in California. The works celebrated her concept of sculpture as something between performance and object. Already at this time, she began to experiment with unusual materials such as rubber, which she applied to surfaces in liquid form and pulled off again with great physical force after it had solidified. With material transformations that were at once radical and sensual, she investigated human forms of existenceand their embedding in power structures. In doing so, she was always dedicated to a critical subversion of normative gender roles. This monograph presents Bucher's oeuvre from its beginnings in Zurich in the 1940s, to the experimental phase in New York and Los Angeles in the 1960s and 1970s and the main body of work with architectural and human skins, to the works she created in the last years of her life on Lanzarote.The sculptor and performative artist HEIDI BUCHER (1926-1993) was raised in Switzerland, studied under Johannes Itten in Zurich, and enjoyed her initial successes in the late 1960s in New York and California. Her works can be found in numerous museums and private collections around the world.

. Architecture in the digital age. Urban planning in data capitalism. The debate on digital rights

. Art and migration. Unique range of materials . New contextualization

The American architectural firm of Sparano + Mooney in Salt Lake City, Utah and Los Angeles, CA, stands for sustainable and innovative buildings that are harmoniously embedded in spectacular mountain landscapes. In this volume, architectural critic Michael Webb presents ten projects with the aid of photographs, drawings, sketches and texts, visualizing the process by which architectural ideas are conceived and realized. The architects respond in their plans to the overwhelming natural surroundings with restrained forms and the innovative detailing of materials. The firm's models, sketches, conceptual drafts and fully executed buildings offer a thoughtful perspective on developing architecture that thrives on the relationship between concept and place. Accompanying essays relate the buildings to their regional contexts and also highlight analogies to Land Art.MICHAEL WEBB is a Los Angeles-based British author who has written more than twenty books on architecture and design. He was named an honorary member of the American Institute of Architects and made a Chevalier de l'Ordre des Arts et des Lettres for his services to French culture.

Architecture shapes our lives to a greater extent than almost any other art form. This also applies to the buildings planned by the firm gmp · Architekten von Gerkan, Marg and Partner. With tremendous openness to building on any scale and typology under a wide variety of cultural as well as contextual conditions, the long-established firm has realized airports, soccer stadiums, and cultural buildings all over the world.Since its founding in 1965, the firm has undertaken more than 500 projects in twenty-three countries and has been honored with numerous awards for its buildings. Its extensive oeuvre is reflected in numerous publications, including this profusely illustrated 13th volume of the well-known series of monographs. The fifty buildings and projects from 2011 to 2015 discussed here range from the seat of the Vietnamese National Assembly to the Tianjin Cultural Center, Bund SOHO in Shanghai, Baku Crystal Hall, the stadiums built or converted for the 2014 World Cup in Brazil, the New Hans Sachs House in Gelsenkirchen, Germany, and Pier A-West at Frankfurt Airport. gmp · Architekten von Gerkan, Marg und Partner was founded in 1965 by MEINHARD VON GERKAN (1935-2022) and VOLKWIN MARG (*1936). Their very first building, Berlin's Tegel Airport, caused an international sensation. gmp is still one of the world's leading architectural firms.

No question that the Bauhaus was the most influential institution on architecture in the twentieth century. But does this aesthetic legacy live on in buildings? In what shape do we encounter it today, after about 100 years, in changing cityscapes? The photographer Jean Molitor has examined this question in depth all around the world. In his new illustrated volume bau2haus, he tracks the architecture that owes something to the Bauhaus and its special style across the globe. In strongly contrasted black-and-white photographs he draws attention to these fascinating structures. Selected with a meticulous eye, the photos play with perspective, perfectly balancing the openness and existing volume of each building. The result is a vivid history of architecture that readers will hardly be able to get enough of. Previously published by Hatje Cantz:bau1haus - die moderne in der welt (2018)JEAN MOLITOR (*1960) studied fine arts photography at the Hochschule für Grafik und Buchkunst in Leipzig. He is known around the globe as a documentary filmmaker as well as a specialist in street and architectural photography. His works have been seen in many exhibitions worldwide. He is based in Berlin.

Margrit Linck is one of the twentieth century's most prominent ceramics artists. Over the course of her five-decade-long career, the ceramicist developed utilitarian pottery as well as a unique artistic oeuvre that deserves to be rediscovered. This book therefore focuses on her sculptures, which break up the simplicity and formal language of utilitarian ceramics and expand them into the playful and surreal: jugs grow birds beaks, vases take on feminine forms. On the one hand, we encounter the artist and ceramicist Margrit Linck through a personal perspective, and on the other, her work is presented within the context of twentieth-century art movements, especially Surrealism. The attractive illustrated section allows readers to delve deeper into the work and makes its clear how current and refreshing Linck's work remains to this day. MARGRIT LINCK (1897-1983) grew up in Wichtrach, near Bern. In the 1930s she and her husband, the sculptor Walter Linck, often sojourned in Paris, where they encountered avant-garde art. Back in Switzerland in the 1940s, she was the first woman to open up her own ceramics studio. Up until her death she continued to produce an impressive series of ceramic sculptures, which were shown both in Switzerland and abroad.