



Arantxa Etcheverria
Doors
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| Editor(s) | Baril Gallery, Solly Gold Studio |
| Author(s) | Alina Şerban, Ami Barak |
| Design | Arantxa Etcheverria |
| Cover | Hardcover with debossing |
| Size | 21 x 21 cm |
| Pages | 156 |
| Illustrations | 80 |
| Language(s) | English, French |
| ISBN | 978-3-947563-81-4 |
The Mythical Power of Grids
Arantxa Etcheverria’s (b. 1975, France; lives and works in Bucharest) creative practice encompasses painting, sculpture, performance, photography, and film. Since 2006, she has been especially interested in modernist architecture, a ubiquitous sight in her adopted country, Romania. Blending rationalism with speculation, the artist draws on historical references including post-Communist turbo architecture, Op art, and minimalism for works that balance between figuration and abstraction, construction and deconstruction. This book documents Etcheverria’s more recent panel paintings and installations, seen in interaction with actors in monochrome costumes. With essays by the Paris-based Romanian curator and critic Ami Barak and the art historian and curator Alina Şerban.
Arantxa Etcheverria studied fine arts at Villa Arson, Nice, and stage design at the Théâtre national de Strasbourg.
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Note: This publication is released in German, English and Dutch. When ordering, please let us know which edition you would like to receive. Use the annotation box on the checkout page.
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Zwischen Freiheit und Moderne
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Felix Schramm
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Kai Schiemenz
Priel38€ Add to cartTidal creeks are watercourses that crisscross coastal mudflats. Running between sandbars, they flush deposits out into the sea with the falling tide, and when the tide rises, the water flows back in. In other works, tidal creeks are effectively rivers in the sea. Delving into the implications of this idea, the book presents Kai Schiemenz’s (b. Erfurt, 1966; lives and works in Berlin) major works and projects of the past four years. The publication offers insight into the provenance of selected bodies of work and their genesis. Kai Schiemenz’s art examines the city, spaces, and architecture. His small-format sculptures are self-contained creations that combine digital technologies with natural materials like wood or paper. At the same time, they function as models for expansive installations and outdoor and indoor architectures in which Schiemenz orchestrates sight lines to construct spaces whose permeability makes the audience an integral aspect of the work. If his sculptures are architecture, his exhibitions are landscapes in which the visitors encounter one another as they would in a park. Their central question, time and again, concerns the impact of the built environment and urban landscapes on their inhabitants.
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nolde/kritik/documenta (German)
42€ Add to cartEmil Nolde (1867–1956) ranks among the best-known classic modernists. Contemporary perceptions of the artist and his oeuvre are informed by mythmaking as well as its deconstruction. After the Second World War, Nolde himself and art historians of the time portrayed him as a victim of Nazi persecution. More recent critics have drawn attention to his anti-Semitic views and his opportunism in his dealings with the Nazi authorities.
With support from the Nolde Foundation, Seebüll, the Düsseldorf-based conceptual artist Mischa Kuball (b. 1959) delved into the documentary record to shed light on this profoundly ambivalent figure and frame a critical perspective on Emil Nolde’s output and actions. The first fruits of his endeavors were shown at the Draiflessen Collection, Mettingen, in the winter of 2020–2021.
Kuball continued his research at the invitation of the documenta archive, Kassel. Based on his findings, the exhibition project “nolde / kritik / documenta” illuminates the ways in which life and oeuvre are interwoven and inquires into the contradictions of modernism, which Emil Nolde as a man and artist may be said to have embodied. The focus of the new project is on the staging of Nolde’s works at the first three editions of the documenta exhibition series (1955, 1959, 1964), which were instrumental to establishing the “Nolde myth.”
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Franz Erhard Walther
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”Artists give so much time, passion, and energy to their books that they are as important as very big installations. ‚Manifestations‘ is a very important artist book.“
Hans Ulrich Obrist, Artistic Director, Serpentine Galleries, London”The new catalogue raisonné by Franz Erhard Walther is a masterpiece of parergon aesthetics. With his ‚Manifestations‘, the blurring of the boundaries between work and design, Franz Erhard Walther, after his performative sculptures, has achieved another great success for the emancipatory differentiation of the concept of the work of art.“
Peter Weibel, Director, ZKM | Center for Art and Media, Karlsruhe”Franz Erhard Walther is nothing less than an exceptional 20th-century artist who has consistently questioned and fundamentally changed what a work of art can be. The innovative power of his comprehensive oeuvre is, of course, primarily evident in his art, but this publication of his manifold designs also provides an overview that is as wonderful as it is extraordinary.“
Andreas Beitin, Director, Kunstmuseum WolfsburgFranz Erhard Walther studied at the Werkkunstschule Offenbach am Main and the Staatliche Hochschule für Bildende Künste – Städelschule in Frankfurt am Main. He completed his education with a stint at the Kunstakademie Düsseldorf, where Gerhard Richter and Sigmar Polke were among his fellow students. His works were on display at documenta 5, 6, 7, and 8, and in 2017, Walther received the Golden Lion at the 57th Biennale di Venezia.
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Martin Krumbholz
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Martin’s friend and interlocutor, the novel’s first-person narrator, embeds the novella in a narrative framework that mirrors its motifs: love as passion, eros and sex, loyalty and betrayal, manliness and chivalry, art, film, and music. Alberto Moravia’s novel Contempt, glamorously adapted for the silver screen by Jean-Luc Godard, is reread and discussed as a MeToo story.
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