Reena Saini Kallat's practice evolves around the tension between the concept of barriers in a world fundamentally shaped by mobility and interaction. Exploring the divisive narratives around national and geopolitical borders and their impact on identity and self-image for people and their immediate environment, she is also concerned with social and psychological barriers. That barriers give way, and can be subverted, is an idea that is pronounced in Kallat's work using electric cables twisted to resemble barbed wire. She uses the paradox of the existence of technology for free flow of information and restriction on movement. In order to expose the ambiguity of national narratives, the figure of the hybrid has come to hold symbolic potential in her practice, as a truant against dividing lines: Kallat creates hybrids of animals and plants that are strongly associated with national identity, only to show that nature defies the violent cleaving through land and nature, and uses the motif of the river, which is often both, border and lifeline to both sides. Kallat's work reveals the idea of isolation as an illusion, and instead suggests to embrace a pluralism of cultures.REENA SAINI KALLAT (*1973, Delhi) is one of the most acclaimed contemporary artists from India. Having studied painting in Mumbai, where she also lives today, her practice spans drawing, sculpture and installation, photography and video. Her interest in political and social borders resonates with the continuing aftershocks of the Partition in India, which her paternal family experienced. Her work is widely exhibited at international institutions including the Museum of Modern Art, New York, and Tate Modern, among many others.
Mixing seemingly deadpan architectural portraiture with poetically frozen moments of daily life, photographer Kris Graves reveals the living history of racism and elitism in the United States.In Privileged Mediocrity, Graves shows us both the brutality and beauty of American life. Each image of a person or a place tells its own complex, moving story and cumulatively capture a longing for the unfulfilled promise of a true democracy. Racism can be seen in infrastructure and planning nationwide, from the human and built environment impacts of redlining and unsustainable public housing; to spaces where homeless communities are able to exist temporarily before they are dismantled. This book seeks to explore the subtleties of the built realities and the planned experience across racial, class, and gender lines. It explores how racism, capitalism, and power have shaped the country and how that can be seen and experienced in everyday life.KRIS GRAVES (*1982, New York) is a photographer and publisher based in New York and California. Using a mix of conceptual and documentary practices, he photographs the impact of systemic unfairness on the built environment. Graves received his BFA in Visual Arts from S.U.N.Y. Purchase College and has been published and exhibited globally, including MoMA, New York; Getty Institute, L.A.; and National Portrait Gallery in London.
In her artistic practice, Andrea Büttner combines art history with social and ethical issues. Since the early 2000s, she has been exploring a wide range of themes such as work, poverty, shame and care in monastic forms of coexistence, but also on arts and crafts as a political field. Examining the ambivalent tension between aesthetics and ethics, the internationally renowned artist uses various conceptual methods. Best known for her large-scale woodcuts, Büttner has since used a variety of media, including etching, painting, photography and video installations, glass art and textiles. For her publications and exhibitions, Büttner composes her works thematically to create site-specific installations that can be experienced as gradually unfolding narratives.German artist ANDREA BÜTTNER (*1972, Stuttgart) studied fine arts, philosophy and art history in Tübingen and Berlin. Focussing on the relationship of shame and art, she received her PhD from the Royal College of Art in London in 2010. She took part in dOCUMENTA 13 and was shortlisted for the Turner Prize in 2017. Büttner currently is Professor of Art in Contemporary Context at the Kunsthochschule Kassel. She lives and works in Berlin.
The exhibition A War in the Distance, the central project of the 2022 edition of steirischer herbst festival, took place at Neue Galerie Graz / Universalmuseum Joanneum and invited visitors to engage with historical and contemporary works directly or indirectly about wars past and present. Confronting lesser-known 19th- and 20th-century paintings from Neue Galerie Graz's collection with works made by artists today, it uncovered hidden stories from the uncomfortable past. This richly illustrated publication documents this exhibition as well its surrounding festival program. Throughout, Russia's war of aggression in Ukraine was ever present, like a filter, impossible to erase or forget.Every year for a month, STEIRISCHER HERBST, one of the oldest interdisciplinary festivals 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.
Anthony Amies' paintings assert a classical conception of painting. From the mid 1970s, the British artis pursued a radical counter-concept to the art of his time with a stylistically peculiar landscape painting. They are calm and enigmatic pictures that do without any scandal. In large-scale drawings and oil paintings, he plays with the "blot" technique: Amies abstracts the landscapes to convey an idea rather than a realistic image. The reduction to land and sea is a reflection on England and the loss of its individual landscapes to the monotony of industrial and urban proliferation and sprawling housing estates. In this idiosyncrasy¿the assertion of the genre of landscape painting and in the painterly quality of the works as a contribution to the assertion of painting in art¿lies the importance of this English painter.ANTHONY AMIES (1945, Norwich-2000, London) was educated at Great Yarmouth College of Art in the 1960's and later at London's Slade School of Fine Art. Refusing to conform to the zeitgeist, he found his visual language inspired by Cozens' blot technique in the early 1970s, and would persist with it until his untimely death in 2000. Amies received the Arts Council Award in 1977 and worked teaching art in Camden from 1973-1995 at the Camden Institute and the Camden School of Art.
John Isaacs gilt weithin als einer der einflussreichsten Künstler seiner Generation. Diese umfangreiche Publikation ist der erste umfassende Überblick über sein Werk von den 90er Jahren bis in die Gegenwart.
In 1980 Peter Halley painted his first 'prisons', re-deploying the language of geometric abstraction in response to physical and bureaucratic environments. Radically deconstructing the language of abstraction, he re-imagined it not as a utopian source of liberation, but as dystopian symbols of the regulation of physical and social space and the impact of technology on contemporary life. As he wrote in 1990: "I wanted to draw attention to this geometricised, rationalised, quantified world. I saw it as a world characterised by efficiency, by regimentation of movement, bureaucracies, whether in the corporation, government, or university."Working in the era of the mass adoption of personal computers and the advent of the Internet, he developed a tightly organized system of discrete, geometric forms that he refers to as 'prisons', 'conduits', and 'cells'. Adopting non-traditional materials such as Roll-A-Tex, a paint additive that provides a readymade texture, and Day-Glo fluorescent colors, he evoked a pervasive mechanization of the human touch and referenced the presence of technology in the ersatz postmodern environment. Set within the context of a prolific period of painting and critical writing in the 1980s, this catalogue traces the development of Halley's singular pictorial vocabulary.
Plastic is everywhere. It permeates our everyday lives, is inexpensive and available worldwide. Thanks to their literally astonishing plasticity, plastics soon began to fascinate artists as well-both as a symptom and a symbol of mass culture. In the brief history of the "Plastic Age" the versatile substance transformed though: from the epitome of progress, utopian spirit, and democratization of consumerism into a threat. Plastic World offers a broad panorama of the artistic use of plastic and a position towards a matter that matters to us all. Through more than 100 objects, assemblages, installations, environments and films by some 50 international artists, this catalogue explores a spectrum ranging from the euphoria of pop culture in the 1960s and the futuristic influence of the space age, to the "trash" works of Nouveau Réalisme and the ecocritical positions of today. FEATURED ARTISTS SUCH AS: Monira Al Qadiri, Archigram, Arman, Lynda Benglis, César, Christo, Öyvind Fahlström, Haus-Rucker-Co, Eva Hesse, Hans Hollein, Craig Kauffman, Kiki Kogelnik, Gino Marotta, James Rosenquist, Pascale Marthine Tayou and Pinar Yoldas.
Where is Charles Simonds? Throughout the 1970s, hisdiminutive Dwellings, tiny architectural ruins of an imaginary civilization, could be found throughout the crumblinginfrastructure of downtown New York. Preoccupied withthe relationship between the grown and the built, thearchaeological and the urban, Simonds shared friendshipand ideas with Gordon Matta-Clark and Robert Smithson.Like Lucy Lippard, with whom he lived during that decade,Simonds believed in combining art and activism, alwayspreferring what he called the "real world" to the art world.Yet despite taking part in many of the seminal exhibitionsand art events of 1970s New York, Simonds has left fewtraces on art history. In order to explain Simonds's absencewhile simultaneously arguing for his central place within it,Jules Pelta Feldman reconsiders the decade's self-conception, finding that Simonds exemplifies much of what hasbeen ignored in 1970s art¿and much of what establishesit as a unique period of experimentation and possibility.
¿ One of the great artists, ahead of her time¿ Rebelled against social and political conventions¿ Unconventional view of her work
Industrial factories are major contributors to air pollution, toxic spills, and the emission of greenhouse gasses into the atmosphere. Manufacturing remains critically important to both the developing and the advanced world, but it must change. Fast. In 2020, the Norwegian design furniture manufacturer Vestre decided to prove that another future of industrial production is possible. Together with the Danish architects of Bjarke Ingels Group (BIG) they worked out plans for a green factory while preserving the surrounding recreational Norwegian forests: The Plus. The wooden building has been planned to achieve the world's highest sustainability rating, BREEAM Outstanding, as well as to be a public space, a destination for people to visit and enjoy. Thus began a challenging yet exciting journey toward building "the world's most environmentally friendly furniture factory." Making The Plus takes readers through the construction process of the world's most environmentally friendly furniture factory, documented from the very beginning by renowned photographer Einar Aslaksen. It also broadens our view on how architecture, industry, nature, and public space must be completely intertwined in our move toward a sustainable future. It aims to be a manifesto forthe "green shift."VESTRE is an Oslo-based urban furniture maker with offices all over the world. For more than 75 years, the family-owned company has been driven by the mission to create social and caringpublic meeting places for millions of people. It is committed to the UN's Sustainable Development Goals.
Yasser Alwan photographed in and around Cairo, recording encounters with people in the streets, at the racetrack, in cafes, and in places of work-tanneries, quarries, bookshops, or potteries. His portraits of workers living in conditions of unimaginable poverty and political dispossession are remarkable for their refusal of the clichés of social documentary and photojournalism. They show people between anger, pride, and perseverance, yet convey a sense of trust toward the photographer. Complementary to his intimate images of friends and family form a collective portrait of the middle class seen in the relaxed informalities of daily life. This collection of Alwan's photographs offers an unprecedented and unique picture of Egyptian society, introducing an outstanding body of work in contemporary photography from the Arab world.YASSER ALWAN (*1964, Lagos - 2022, Cairo) was born in Nigeria to Iraqi parents. He studied and worked in Lebanon, Iraq, the United States, Sudan, and Jordan before moving to Egypt in 1993. He taught photography at various institutions, including the German University in Cairo. His photographs have been exhibited internationally.
Nocturnal forest scenes and fantastic narratives, illuminated through spotlights that allude to Berlin's neonlit nightlife-the latest paintings, VR installations, and poems by American artist Brandon Lipchik offer glimpses into his very own surreal dreamscape. Like a director in a theater, he stages his digitally composed mythical and uncanny scenes full of erotic allusions, transforming them into a collage-like physcial presence on canvas. Between dense foliage reminiscent of Henri Rousseau and the computer game aesthetic of the 1990s, Lipchik creates a unique visual language. This richly illustrated publication is both: an exhibition catalog and a survey of the artist's oeuvre to date. A separately designed section presents Lipchick's VR works and provides insights into the post-digital practice of the emerging artist.BRANDON LIPCHIK (*1993, Erie, PA) studied painting at the Rhode Island School of Design and at Brown University. He has had solo exhibitions in New York, Berlin, Santa Monica, Amsterdam and Paris; this is his first institutional solo show. He lives in New York and Berlin.
André Bauchant, Camille Bombois, Séraphine Louis, Henri Rousseau, and Louis Vivin had no artistic training, yet these five painters left a lasting mark on the Paris art scene of the early 20th century. Decisive for their discovery was their contact with German art dealer Wilhelm Uhde and his joint exhibition The Painters of the Sacred Heart in 1928 that brought together the stylistically diverse artworks of these self-taught artists. In their individual techniques and motifs, often borrowed from nature or their immediate surroundings, he saw a unique emotionality, a radiating freshness and accessibility, which he felt was lacking in the theory-laden discourse of academically trained modernist artists. Having since fallen into oblivion, this book is a joyful rediscovery of a chapter of art history that only recently has found new appreciation.
The Prix Ars Electronica is the world's longest-running media art competition. Richly illustrated, and with texts and statements by the jury, this book brings together the winners of 2022 selected out of 2.338 projects submitted from 88 countries in the categories Computer Animation, Interactive Art +, Digital Communities and u19-create your world. What is more, the volume also provides insights into the work of Laurie Anderson, this year's recipient of the Golden Nica for Visionary Pioneer of Media Art.Also included is a best-of of the STARTS Prize, commissioned by the European Commission. The focus of this highly remunerated competition was on innovative projects at the intersection of science, technology and art (= Science, Technology and ARTS).
Neither naïve escapism into virtual worlds, nor the technological utopia of space colonization will save us from facing the big, uncomfortable questions. With this year's theme Welcome to Planet B, Ars Electronica is an invitation to take part in an exciting thought experiment: What if we had already mastered the great challenges of the 21st century? How would we live (together)? And most importantly: What would our path there have looked like?We will need every bit of technology, but the biggest innovation project has to be ourselves, our ability to rise to the challenge as a global community-a reinvention of humanity!Planet B is not the second chance for another place where we can continue as before, it is the cipher for the indispensable, new, and in many forms completely different life and action on this only planet that exists for us.
LIKE THIS. Natural Intelligence As Seen by Art brings together a series of specific commissions by ten internationally renowned artists for der TANK, the exhibition space of the Institute Art Gender Nature at the heart of the FHNW Academy of Art and Design's campus in Basel. Curated by Chus Martínez and supported by [N.A!] Project, the artistic projects conceived between 2016 and 2021 by Mathilde Rosier, Julieta Aranda, Cecilia Bengolea, Eduardo Navarro, Ingela Ihrman, Teresa Solar, Beatriz Santiago Muñoz, Raffaela Naldi Rossano, Alessandro De Francesco, and Gil Pellaton all share a common denominator: their interest in exploring the multilayered dimensions of our relationship with nature, and the slow but continuous change of the art system's perception and engagement with the natural world.The book, however, is not a closing chapter, but evidence of an art practice that empathizes with all forms of life, that focuses on nature as the very substance that allows for a shared experience of life with mutual responsibilities, and that embraces the coexistence of ancient knowledge and modern science.
Unlimited, Art Basel's pioneering exhibition platform for projects that transcend the classical art-show booth, has been a vital part of the most important art fair since 2000. Every year, more than 70 artists are invited to contribute to this exceptional platform. The concept of this large exhibition is unique and popular with both collectors and visitors, showing oversized works to their best effect in a gigantic, 17,000 square-meter hall, including massive sculptures and paintings, video projections, large-scaled installations, and live performances. Like its predecessors, the 2022 edition of Unlimited promises to attract considerable attention. All contributing artists and their works shown are presented in the Unlimited catalog."Anyone who missed the big special show Unlimited at Art Basel can get an impression of it through this illustrated volume. This large, museum-quality exhibition has been expanding the boundaries of art since the year 2000."- Bücher Magazin.ART BASELJune 16-19, 2022
Drawing on draftsmanship, painting, literature, and installations, Michael Tedja's oeuvre erupts into a flamboyant and visually playful whole. His boisterous storms of imagery recall the CoBrA movement of artists from Copenhagen, Brussels and Amsterdam briefly banded together after World War II. Aiming to banish bourgeois rituals as well as theorizing around avant-garde art, they embraced expressionist spontaneity, an unrestrained use of vivid colors, folkloric elements, handwriting and graffiti. But Michael Tedja has taken out the folkloric and anti-intellectual, his painting is a kind of IQ test. With abstract and figurative visual vocabulary complementing each other, Tedja's imagery is expressive and linguistic, full of references and autobiographical elements. This monograph encompasses large-scale paintings, his overwhelming installation of large drawings Hypersubjective, as well as The Color Guide Series. Here, Tedja deploys textured paint, crayon and chalk on commercial paper stock-the color bars printed along the paper's edge are left exposed-turning mass-produced standard into something decidedly unique. Yet by constantly recycling and repurposing images, Tedja explores the alterability of meaning within the visual context of globalization. MICHAEL TEDJA (*1971, Rotterdam) is a leading Dutch contemporary artist. He studied at the Gerrit Rietveld Academy and the Sandberg Institute in Amsterdam, where he also lives today. He had solo exhibitions at the Cobra Museum for Modern Art, Centraal Museum Utrecht, Locust Projects in Miami, the Stedelijk Museum Bureau Amsterdam, as well as numerous international group exhibitions.
The incessant trend to throw away rather than to repair, demolish rather than refurbish has been a topic of discussion and criticism for years-at the same time, resource consumption and the waste continue to increase. To counteract this trend, students at the University of Applied Sciences in Munich and ETH Zurich have been developing sustainable and imaginative concepts for repairing a wide variety of objects, applying them both manually and by using digital techniques such as 3D printing. Beyond restoration, many projects aim to further develop and improve the repaired objects constructively, materially, or even in terms of design, lending them new value. This publication presents a wide variety of approaches and projects, complemented by essays by notable personalities from the fields of architecture, preservation, design, manufacturing, and craftsmanship.SILKE LANGENBERG (*1974) is professor of Construction Heritage and Preservation at ETH Zurich. Previously, she was professor for Design and Construction in Existing Contexts, Conservation and Building Research at the University of Applied Sciences in Munich, where she initiated a Repair Class.
Frank Kunert's works are as ambiguous as life itself. Constantly questioning the human condition, the artist translates his interpretations of the world into meticulous miniature models and captures them photographically. Kunert's constructions contain intelligent observations about the delicate task of balancing work and life, or the whimsicality of the everyday. Following his illustrated volumes Topsy-Turvy World, Wonderland and Lifestyle, Carpe Diem reveals the contradictions of our existence-between euphoria and impending misery. Comedy and tragedy are closely intertwined in the work of model maker and photographer: Kunert leads us into a parallel universe that seems surreal yet strangely familiar. FRANK KUNERT's (*1963, Frankfurt am Main) interest was initially focused on landscape photography. During his training as a photographer in the 1980s he came to know and love studio work. Since then, he has gradually specialized in designing and photographing miniature models.
Why are we creative? Why are we not? In The Dialectic of Creativity, Hermann Vaske explores these questions in conversations with Marina Abramovic, Vivienne Westwood, David Hockney, Georg Baselitz, Björk, Jeff Koons, Zaha Hadid, Christo, Yoko Ono, Oliviero Toscani, Damien Hirst, Jim Jarmusch, Shirin Neshat, David Bowie, and many more of the most influential creatives of our time, identifying the stimuli as well as the beta blockers, the killers of creativity: Spirituality, sex, money, fear, nurture, ambition versus censorship, self-censorship, bureaucracy, compromise, distraction, gatekeepers. Often it is those very blockages, the threats to creativity that allow it to thrive. A dialectical synthesis of opposites. Today, as we are facing an existential threat to our planet, it is time to come up with new ideas, more creative than ever. The Dialectic of Creativity explores all facets of creativity-artistic, intellectual, philosophical, and scientific. It is accompanied by a film trilogy and an exhibition.HERMANN VASKE (*1956) is a director, writer and producer. As a director, he worked with stars such as Dennis Hopper, Harvey Keitel and John Cleese. For more than 30 years, he has asked many of the world's leading creatives: "Why are you creative?" As they all added an artifact to their answer, Vaske turned his quest into a film trilogy accompanied by an exhibition. His films were shown at the Venice, Cannes, Toronto, and Palm Springs festivals and won numerous awards.
. Critical collection history. Investigation of the long term repercussions of cultural violence. Masterpieces of Franz Marc, Paula Modersohn-Beckers, and Oskar Kokoschka
The immediate physical presence of color is central toKatharina Grosse's creative endeavor. Through an open-endedprocess in which painting takes on the form ofa performance, color embodies movement, making itssensory impact tangible. These issues not only drive herdramatically large site-related works painted across varioussurfaces in public places, they also inform her studiopaintings, which have played an equally central role in herpractice from the start. Bringing together 160 paintings,this publication serves as the first in-depth reference bookon this important aspect of Grosse's work.Five essays and an insightful interview with the artistexplore how Grosse expands the concept of painting¿not just in open space, but also on canvas¿through avariety of ways, including her disregard of the traditionalframe and her use of stencils, cut canvases, and elementalmaterials.KATHARINA GROSSE (*1961, Freiburg i. Br.) is one of the most distinguishedcontemporary painters working today. After studyingpainting at the art academies in Münster and Düsseldorf (1982-1990), it was in 1998 that she first used a spraying technique foran installation at the Kunsthalle Bern. This became a decisivemoment in her work and was essential in her ongoing experimentswith the properties of paint and the status of paintingtoday. She lives in Berlin and New Zealand.
This book is a comprehensive recollection of the exhibition highlights of Zurich's Museum Haus Konstruktiv from 2015 to 2022. Bringing together what has been separated in space and time, this retrospective reveals various links between contemporary artistic practices and the art-historical legacy of Constructivist, Concrete and Conceptual Art. A series of insightful conversations with the artists Etel Adnan, Claudia Comte, Elisabeth Goldring-Piene, Brigitte Kowanz, Alicja Kwade, Dóra Maurer, Amalia Pica, Tomás Saraceno, as well as in-depth texts on Imi Knoebel and William Kentridge are accompanied by exhibition views that verge between spectacular and calmly focused presentations. Many of the texts and installation shots have not been published before-their recontextualization shows, above all, what it takes to curate concise and relevant exhibitions of contemporary art today.SABINE SCHASCHL (*1967), Director and Chief Curator of Museum Haus Konstruktiv in Zurich since 2013, is an art historian and curator of numerous exhibitions on contemporary art as well as author and editor of various scholarly publications and catalogues.
As a painter, filmmaker, and photographer Ulrike Ottinger created an entire artistic universe. Analogous to the exhibition at the Staatliche Kunsthalle Baden-Baden, the book Cosmos Ottinger approaches the multi-layered work of this visionary artist through eight stations. Screenplays, film props, objects, costumes, fabric collages, and photographs provide an insight into Ottinger's extensive oeuvre spanning the past 60 years. Cosmos Ottinger is also a visu- alization of the artist's life, an open-minded view into the world. Putting that world on a stage, the contributions by Çagla Ilk, Misal Adnan Yildiz, Katharina Sykora, Hannelore Paflik-Huber, Johanna Sentef, Hannah Black and Katharina Müller illuminate how Ottinger has used her distinct visual language to consistently question social structures of power, explore queer identities, and advocate for solidarity. Living in 1960's Paris, ULRIKE OTTINGER (*1942, Constance) was part of the artistic circle of the "Nouvelle Figuration," before she moved to Berlin in 1973, where she became a pioneer of avantgarde film. Her work has been shown at major international festivals and retrospectives, including New York's MoMA, the Venice Biennale, and the Berlinale.
Art and Objecthood illuminates the role of found objects and unconventional materials in the oeuvre of world-renowned artist Jean-Michel Basquiat. His creative fervor saw no bounds, he painted and drew on everything around him-from chairs to refrigerators, but also on items he encountered on the street: discarded windows and doors, mirrors, wood boards, and subway tiles. Interweaving art and life, these three-dimensional works are not only integral to New York's cultural landscape in the 1980s but are also symbols of Basquiat's engagement with, and transformation of, the reality around him. This publication presents new scholarship by leading Basquiat scholars and art historians and is the first comprehensive survey to explore Basquiat's use of found objects and unorthodox supports and their role in addressing issues of social inequality, political thresholds, and racial boundaries in the United States.JEAN-MICHEL BASQUIAT (1960-1988, New York City) is known for his raw gestural style of painting. His distinct approach was characterized by a rich fusion of text, symbols, and imagery. He was one of the first African American artists to achieve major international acclaim, and is celebrated for his prolific, albeit short artistic career.
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