Böcker utgivna av Hatje Cantz

- The forests of the North - Borealis - in art- Unique paintings of the northern hemisphere- Fascinating exhibition on Nordic modernism

¿ Das Louisiana Museum zu Gast in der Schweiz¿ Spitzenwerke des 20. und 21. Jahrhundert¿ Gertschs Schaffen im Kontext von Pop Art und Farbfeldmalerei

¿ Illusion und KI in der zeitgenössischen Kunst¿ Hipper Ausstellungsort mit Fokus auf junge Kunst¿ Hochkarätige Beiträge in Bild und Text

¿ Digitalisierung, Deep Fakes, Social Media satirisch kommentiert¿ Gesellschaftsparodien aus Politik und Popkultur¿ zwei institutionellen Ausstellungen in Deutschland

Surrealism was an internationalist political movement. Surrealists denounced European colonial policies, they organized to resist against fascist governments and movements, they fought for the Spanish Republic, were persecuted, escaped into exile, died in the war against National Socialists. They wrote poetry, honed the deconstruction of an ostensibly rational language in an ostensibly rational world, they worked on paintings and collective drawings, they made photographs, and collages. As an allied method for emancipatory causes, Surrealism has been revisited in 1968, and by the Black Civil Rights Movement. The catalog accompanying the exhibition at the Lenbachhaus brings together central texts of political surrealism from the first manifestos to the present day in the form of a reader.

¿ Hilarious motifs¿ Perfect gift for a friend¿ Unique collection

The discourse of crisis has recently been replaced by the discourse of evil. The crimes and human tragedies in Ukraine or Israel-Palestine have prompted us to point to monstrous, singular evils, yet we forget that evil lives among us. Even in our polarized world, there are vast moral gray zones, that authoritarian forces could weaponize. The 2023 edition of steirischer herbst, Humans and Demons, explored how people negotiate such gray zones, how to confront evil, and how ethical judgments can still be made. In a combination of essays and shorter literary texts, the festival reader further examines the return of radical evil.Every year for a month, STEIRISCHER HERBST, the oldest interdisciplinary festival of contemporary art in Europe, turns the city of Graz and the province of Styria in Austria into a parcours of installative and performative works. Since 1968, the festival has offered a platform for public debates, critical positions, and dialogues between the arts.

In a time of collapsing dichotomies and ethical quandaries, the 2023 edition of steirischer herbst turned to a character-driven storytelling strategy to explore how people navigate gray zones. It created a world populated by a cast of tricksters: a jazz-loving Nazi, an émigré artist, a dissident's dissident, and a phantasmal heroine. This richly illustrated publication showcases the festival's four group exhibitions held throughout Graz, including essays on the unusual protagonists, and documents the performances and cabaret shows.Every year for a month, STEIRISCHER HERBST, the oldest interdisciplinary festival of contemporary art in Europe, turns the city of Graz and the province of Styria in Austria into a parcours of installative and performative works. Since 1968, the festival has offered a platform for public debates, critical positions, and dialogues between the arts.

This monograph takes a look at how the increasing multipolarity of our world affects art. It is a diagnosis of the socio-political contexts that surround art and questions what the upheavals in geopolitics, economic and social policy mean for the field of art today. The text is divided into four sections. First, the phenomenon is conceptualized and theorized. This is followed by an in-depth examination of the interrelationships using documenta fifteen as a case study, an exhibition that can be seen as a crystallization point for current political shifts. This is followed by an in-depth reading of Chinese art policy, which oscillates between particularist and universalist claims, in order to arrive at the concluding section, which opens up a horizon of thought and experimentation that helps us to come to terms with the era of multipolarity.

The Prix Ars Electronica is the world's longest-running media art competition. With the award-winning works of international artists as a trend barometer, it offers an inspiring, current and forward-looking insight into the interface between art, technology, and society. With numerous images, texts and statements, this book shows the winners of 2024, who were selected from over 4,000 submissions from 100 countries in the categories New Animation Art, Interactive Art+ and u19-create your world. It also provides an insight into the winning project of the first Prix Ars Electronica 2024 AI in ART Award and the results of the S+T+ARTS-Prize, S+T+ARTS-Prize Africa and Prize for Citizen Science, which were awarded on behalf of the European Commission.

We have reached a point of no return. Despite all our fears, worries, and anger, it is important to acknowledge and face current problems and disasters. Hope can emerge from this collective unease as a unifying element. It drives us both as individuals and as a society, gives us the courage to rethink, act differently and fundamentally change our behavior-in short: to turn the tide. We have long had the ideas, technologies and tools to do so. Ars Electronica 2024 will put on show people whose ideas, projects and actions give us good reason to hope that we can still turn the corner. Hope lies in the common sense of the individual and the wisdom of the masses. Let's turn the tide!

In the face of the ongoing climate emergency, can humanity keep chipping at its food sheds via urbanization? This is the paradoxical question raised by residential forms of urbanization: On the one hand, housing settlements across the world devour thousands of hectares of arable fields at the periphery of growing cities. On the other hand, housing is a human right. This publication investigates these complexities. After On Architecture and Greenwashing (2024), it is the second volume in the series The Political Economy of Space and presents a cross-section of positions on architecture and its political economies from different perspectives.

Textilgestaltung als künstlerisches Ausdrucksmittel: Soft Power zeigt handwerklich oder industriell gefertigte Werke textiler Kunst und beleuchtet auch ihre weltweite Produktion und Verwendung in unserem Alltag. Am Beispiel der Leipziger Baumwollspinnerei und des VEB Vowetex Plauen werden das Rohmaterial und seine Weiterverarbeitung aufgezeigt. Wandbehänge und Archivmaterial des Zirkels für künstlerische Textilgestaltung Potsdam beleuchten den Aspekt des 'künstlerischen Volksschaffens'. Neben dieser historischen Betrachtung liegt der zweite Schwerpunkt auf zeitgenössischer Kunst mit Textilien mit Arbeiten von u.a. Magdalena Abakanowicz, Caroline Achaintre, El Anatsui, Leonor Antunes, Rufina Bazlova, Edith Dekyndt, Claus Dobberke, Toni Ebel, Gee's Bend Quiltmakers, William Kentridge, Joanna Louca, Mägorzata Mirga-Tas, Otobong Nkanga, Willem de Rooij, Gabriele Stötzer, Sung Tieu, Rosemarie Trockel und Hamid Zénati.Magdalena Abakanowicz, Caroline Achaintre, Wilder Alison, El Anatsui, Leonor Antunes, Ouassila Arras, Rufina Bazlova, Kevin Beasley, Mariana Chkonia, Edith Dekyndt, Claus Dobberke, Toni Ebel, Gee's Bend Quiltmakers, Philipp Gufler, William Kentridge, Maria Lai, Joanna Louca, Manuel Mathieu, Rosemary Mayer, Elrid Metzkes, Mägorzata Mirga-Tas, Sandra Mujinga, Gulnur Mukazhanova, Otobong Nkanga, Willem de Rooij, Ramona Schacht, Gabriele Stötzer, Sung Tieu, Rosemarie Trockel, Johanna Unzueta, Hamid Zénati, u.a.

When Abdul Rahman Munif embarked on the first extensive study in Arabic about Marwan Kassab Bachi, he mailed the artist asking about how his art emerged, its contextual influences, and timely interpretations. Marwan recorded his answers on seven audio tapes and sent them to Munif, but also started writing his memoirs in Arabic. This book is an anthology of the letters exchanged between two friends, Marwan in Berlin and Munif in Damascus, from 1990 to 2004.

Anlässlich der Ausstellung Ugo Rondinone. Cry Me a River erscheint bei Hatje Cantz eine gleichnamige Publikation. In fünf Beiträgen wird Ugo Rondinones Materialverbundenheit, sein großes Interesse an Landschaft, Natur und Elementen kunsthistorisch kontextualisiert. UGO RONDINONE (*1964, Brunnen) komponiert eindringliche Meditationen über die Natur und den Zustand des Menschen und entwickelt dabei ein organisches formales Vokabular, das eine Vielzahl von bildhauerischen und malerischen Traditionen miteinander verbindet. Seine hybriden Formen strahlen Pathos und Humor aus und treffen die drängendsten Fragen unserer Zeit direkt ins Herz.

This monograph presents Kaldahl's experimental work in clay sculpture. His compositions and materializations are the result of intuitive improvisations and a direct yet subtle response to material and spatial qualities. Kaldahl has worked with a myriad of spatial themes and ornaments that frequently reappear in his formal vocabulary, and which arise out of a methodical, gradual, and experimental process. This catalogue includes an introductory essay by Brooklyn-based curator, writer, and historian Glenn Adamson. Copenhagen-based writer and curator Jorunn Veiteberg draws connections to contemporary and historical developments with ceramic practices in fine art and craft. Further, Kaldahl's own voice is present in the publication in a number of highly engaging statements. MARTIN BODILSEN KALDAHL (*1954) is a ceramic artist based in Copenhagen and has been exhibiting and curating for thirty-five years in Los Angeles, New York, Amsterdam, Saint Petersburg, Milan, Munich, Brussels, Paris, Berlin, London, Oslo, and Copenhagen.

The publication is dedicated to the current works of the British artist Libby Heaney on quantum computing. She worked as a quantum physicist before turning to art. Her scientific approach has enabled her to use the quantum computer to create immersive visual worlds. Her oeuvre includes video installations, game environments, sculptures, performances and participatory experiments. Heaney's work is examined in several essays from different perspectives.

¿ Recent works from the last decade of Robert Longo's renowned career¿ Includes works made in response to global current events, and grounded in art history¿ Charcoal drawings reflecting on symbols of power and authority

Re-creating the Citadel and the Photographs of Kaveh Golestan is a political archaeology of a little-known crime committed in the early days of the nascent Islamic state in Iran in 1979. The starting point and artistic core of the book are sixty-one photographs taken between 1975 and 1977 by photographer Kaveh Golestan, who documented Tehran's red-light district a few years before it was violently set ablaze and wiped from the urban landscape and social memory. The book recovers the site and the social and spatial experiences associated with the area: its relationship to human life, the polis, social aesthetics, politics and dynamics, and the relationship between marginal and metropolitan citizenry. The project restores it to social memory and the public domain as a catalyzing moment in the establishment and preservation of a state-imposed project of violence against citizens and history itself. KAVEH GOLESTAN (1950-2003) was an Iranian photojournalist and artist. The first exhibition of the recovered material curated by Vali Mahlouji was showcased at the Foam Museum of Photography, Amsterdam (2014), and then traveled to the Musée d'art Moderne, Paris and MAXXI Museum, Rome (2014 2015). Consequently, the materials toured Photo London Fair (2015), Tate Modern, London (2017-18), Rohtas Gallery2, Lahore (2020), De le Warr Pavilion (2019), and Arnolfini (2019-2020). Tate Modern acquired the project in 2016.

Arnell's take on the world has had a significant impact on the history of design. As a branding expert, as a creative mind, as a source of ideas in the fields of fashion, beauty, lifestyle, and architecture. He has directed global campaigns, designed iconic products, and advised well-known personalities. Often his photographs not only provide the blueprint for entire marketing strategies, but also create their own trends, such as the Brooklyn Bridge , which became the signature image for the then newly founded DKNY label. Peter Arnell is a master of images and a designer of his environment, both aesthetically and conceptually. City Visions focuses on Peter Arnell's urban photographs. Although most were taken in NYC, they are more about the idea of the city: light and shadow, about shapes and contrasts-a poetic-abstract visual flux of images that is a pleasure to the eye. PETER ARNELL (*1958, Brooklyn, New York) began his career with Robert A.M. Stern and Michael Graves, where he supervised various book publications. In 1980 he founded Arnell/Bickford, specializing in design, branding, and product development. He has created campaigns for Samsung, Chanel, Gucci, Pepsi, Reebok, Chrysler, Nespresso, and the Special Olympics. His New York Times bestseller Shi ft: How to Reinvent Your Business , YourCareer, and Your Personal Brand was published in 2010. HatjeCantz published a major survey of his work in 2022: Peter Arnell,Portfolio, 1980-2020 .

¿ Abstract and conceptual painting¿ Complex, highly interesting artistic position¿ Celebrating an outstanding, previously underestimated artist

This lavishly illustrated volume tells the story of German film based on the collection holdings of the Deutsche Kinemathek. From its beginnings in 1895 to the present day, it illustrates the artistic and technical, political and social developments that have shaped, and continue to shape, the history of film in Germany.Twelve chapters, organized by decade, and more than 450 texts present famous and lesser-known films. They pay tribute to this important cultural technique and its audiences as well as to all those personalities whose creativity established German film's diversity. Around 2,700 objects from all areas of the collection illustrate a period of 130 years and form an overwhelming overview of the Kinemathek's archive holdings.

Familie ist ein seltenes Thema in der zeitgenössischenKunst. Feministische Künstlerinnen haben ihre Rolleals Frauen, Versorgerinnen und Mütter thematisiert,eine kritische Auseinandersetzung mit dem ThemaFamilie hat jedoch weitgehend gefehlt. Burning Downthe House. Rethinking Family befasst sich mit Überzeugungenund Widersprüchen, die die Familie als Institutionverkörpert. Sie wirft einen genauen und kritischenBlick auf Familienkonstrukte und bietet einen seltenenÜberblick über zeitgenössische Kunstpraktiken, die sichmit dem Thema auseinandersetzen. Gleichzeitig problematisiertsie den Begriff der Familie und verkompliziertihre stereotype, bürgerliche Darstellung, die unserevisuelle Kultur seit Jahrhunderten geprägt hat.

¿ Indian painting from the seventeenth to nineteenth century¿ Synergy of music, poetry and painting¿ Moods and emotions in pictures and sound

In our age of "polycrisis," wherein multiple seismic events occur simultaneously, how do we visualize our place in a world that is no longer recognizable? "Olivia Erlanger: If Today Were Tomorrow" reimagines what it means to inhabit a planet. Shifting between notions of home-as an architecture, a neighborhood, a world, or a feeling-Olivia Erlanger continues her decade-long disruption of what she refers to as the "semiotics of suburbia," or the symbols and myths of suburban life. In this new body of work, the artist expands our understanding of home as a greater ecosystem containing not only houses but also their interiors and surrounding infrastructure. This publication contains Erlanger's debut solo museum exhibition in the US, showcasing her sculptural, filmic, and installation-based work.