B.A.R.O.C.K.
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| Editor(s) | Samuel Wittwer, Stiftung Preußische Schlösser und Gärten Berlin-Brandenburg |
| Author(s) | Julia Rust, Samuel Wittwer, Mark Gisbourne |
| Size | 30 x 42 cm |
| Pages | 64 |
| Illustrations | 52 |
| Design | Margret Eicher, Susanne Wehr |
| Cover | Hardcover with gilded edges |
| Language(s) | English, German |
| ISBN | 978-3-947563-31-9 |
Artistic Interventions in the Caputh Palace. Contemporary Parallels to the Baroque Era
Four international women artists spent more than three years studying Caputh Palace near Potsdam and creating works specifically for this magnificent location. The tapestries by Margret Eicher (b. 1955, Viersen; lives and works in Berlin), the floral scans by Luzia Simons (b. 1953, Quixadá, Brazil; lives and works in Berlin), the wax sculptures by Rebecca Stevenson (b. 1971; lives and works in London), and the ceiling painting projections by Myriam Thyes (b. 1963, Luxembourg; lives and works in Düsseldorf) blend into the surrounding space both naturally and surprisingly. With twelve double-page collages, the large-sized catalog is an artistic commentary on the ambitious project.
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Otto Dix in Baden-Württemberg
Museumsführer9,80€ Read moreSeven Museums Jointly Present the World’s Largest Collection of Works by the Famous German Painter.
In 1933, after the loss of his professorship in Dresden and mounting defamation by the National Socialists, Otto Dix (b. 1891, Untermhaus; d. 1969, Singen) retired to Lake Constance, where he lived for more than thirty years. Together, seven museums in the state of Baden-Württemberg — including the museum in his former home in Hemmenhofen — have the world’s most comprehensive collection of his works at their disposal, providing insight into all facets of his creative work: from the social criticism of the major works, at times depicted with brutal verism, to the old masterly glaze painting of his inner emigration and the expressive alla prima paintings of the late years. For the first time ever, this treasure trove is presented in one volume.
The participating museums: Kunstmuseum Albstadt, Zeppelin Museum Friedrichshafen, Museum Haus Dix, Gaienhofen-Hemmenhofen, Kunsthalle Mannheim, Kunstmuseum Singen, Kunstmuseum Stuttgart, Staatsgalerie Stuttgart.
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Gabriel Vormstein
40€ Add to cartGabriel Vormstein (b. Konstanz, 1974; lives and works in Berlin) explores themes of impermanence, temporality, and futility through a unique visual language. He paints using newspapers as a canvas, and creates installations out of tree branches and other organic matter. These “poor” materials subvert a prevailing notion in Western culture that an artwork should be eternally preserved. Through the adaptation of various styles and symbols, Vormstein’s paintings likewise speak to the transience of art historical and cultural trends. Over 300 pages, this richly illustrated book provides an overview of Vormstein’s oeuvre over the past two decades, while also offering an atmospheric glimpse into the artist’s source material and working methods. The publication is enriched by an essay by Gean Moreno, who characterizes Vormstein’s work as follows: “Gabriel Vormstein’s paintings and sculptures (…) announce their condition as withering artifacts, as if no other manner of existing was available to them (and maybe to us, as well).”
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Stephan Kaluza
Mechanik Sehnsucht. Kunsterzeugung und Betrachtung14€ Add to cartUngewohnte Antworten aus der Sicht des Kunsterzeugers
Die Frage, was Kunst ist und wie sie entsteht, wird gerne von denen beantwortet, die sie selbst nicht erzeugen. Die Betrachtung und Interpretation steht im Vordergrund und damit eine wissenschaftliche Distanz zur Kunst. Es gibt aber durchaus die Eigen-Betrachtung derer, die Kunst aktiv herstellen und naturgemäß einen inneren Blick auf die prozessualen Bedingungen haben, die überhaupt erst das entstehen lassen, was anschließend betrachtet und beurteilt wird. Diese Sichtweise ist nicht zwangsläufig identisch mit der von außen. Nicht die Interpretation oder eine deduktive Schlüssigkeit steht hier im Vordergrund, sondern ein ableitender und besonders ein schöpferischer Sinn, der sich aus dem Prozess des Kunstherstellens von selbst ergibt.
Die Arbeiten von Stephan Kaluza (geb. 1964 in Bad Iburg, lebt und arbeitet in Düsseldorf) wurden unter anderem im Ludwig Museum Koblenz, im State Contemporary Art Museum, Seoul, in der Kunsthalle Osnabrück, im Palacete des Artes Rodin, Salvador, im Museum on the Seam, Jerusalem, sowie in der KAI 10 | Arthena Foundation, Düsseldorf, ausgestellt.
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Photography of Presence
24€ Add to cartThe Importance of the Moment in Artistic Photography
Can photographs exist which represent concrete places? In view of the daily flood of images, this question seems superfluous at first. Only on closer inspection does the distance between the visual experience of places and the media images generated from them become apparent. “There is nothing in this world that does not have a decisive moment,” Henri Cartier-Bresson once stated. The present volume examines this decisive moment and explores the question of how artistic photography can describe the gap between spatial reality and photographic image and make the present at the time the photograph was taken visible.
With works by Viktoria Binschtok, Julian Faulhaber, Mareike Foecking, Stephanie Kiwitt, Nikolaus Koliusis, Barbara Probst, and Wolfgang Zurborn as well as texts by Holger Kube Ventura.
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auf Erkundung
Anne Deuter und Monika Supé25€ Add to cartA Dialogue on Time
The two artists Anne Deuter (b. 1986, Halle; lives and works in Halle) and Monika Supé (b. 1967, Munich; lives and works in Munich) engage in self-exploration to find ways to convey an experience of body, space, and time. Grappling with formalist elements, they devise their compositional practices in graphite and ink and in words and images, respectively. Enhanced by selected works by contemporary poets, the publication opens up new perspectives on what it means to exist in time.
Anne Deuter studied visual art and art history at the Ernst-Moritz-Arndt-Universität Greifswald. She rounded out her education in the book art program at Burg Giebichenstein Kunsthochschule Halle. Monika Supé studied architecture at the Technischen Universität München and completed a doctorate on visual perception training at the Technische Universität Kaiserslautern. Since 1995, she has taught in the design divisions of various universities.
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Michael Williams
New Paintings40€ Add to cartAwkward Uncertainty
Michael Williams (b. 1978, Doylestown, Pa.; lives and works in Los Angeles) makes work that interrogates the history of painting, often by dismantling its components into their constituent parts. His pictures employ form to reflect on the complexity and contradictions of modern life. He works on canvas, availing himself of a range of techniques including oil painting, collage, and inkjet prints. In his new works, Williams examines the relationship between painting and photography, transferring the chilly aloofness that is characteristic of the latter onto the former. The photographic “negative” yields a smooth canvas disencumbered of its painterly qualities and the medium’s historic ballast. The book includes several foldout plates that illustrate Williams’s creative approach, and a brief essay by his Austrian fellow painter Tobias Pils.
Michael Williams studied fine arts at Washington University, St. Louis, and has exhibited widely, including at the Wiener Secession, Vienna, and the Museum of Modern Art, New York.
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Jean-Marie Biwer
D’après nature42€ Add to cartPainterly Investigations of the Present
For over four decades, Jean-Marie Biwer (b. 1957, Dudelange, Luxembourg; lives and works in Basbellain, Luxembourg) has made art that records his fine-grained observations. Grappling with the grand themes of art history – the landscape, the human figure, the still life – Biwer consistently questions the role painting can play in a world shaped by a deluge of images and information. Responding to the omnipresence of the latter and reacting to the increasingly frantic pace of our lives, he creates paintings that allow the intensity of the present moment to unfold. The richly illustrated book gathers his most important works since 2005.
“These things are there, we just need to look at them. They are simple, but today they have the power to bring so much to people.”—Jean-Marie Biwer
Jean-Marie Biwer’s work has been shown throughout Europe and in 1993 he represented Luxembourg at the 45th Biennale di Venezia. His works can be found in the Musée National d’Histoire et d’Art Luxembourg, IKOB, Museum of Contemporary Art, Eupen, and Mudam Luxembourg – Musée d’Art Moderne Grand-Duc-Jean amongst others.
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Sebastian Stöhrer
Residents40€ Add to cartIf there’s an artist whose oeuvre merits the title “creation,” it is Sebastian Stöhrer. Shaping clay—essentially, soil—he molds his “residents”: colorful and friendly-looking sculptural beings, some of them enhanced with sticks or branches reminiscent of limbs. Despite their air of levity and humor, they are not the products of mere momentary inspiration or a whim. It takes decades of dedicated experimentation with the kiln based on the millennia-old art of ceramics as well as expert knowledge of chemistry and physics to create such colors and shapes. Stöhrer has been called an alchemist, and indeed he has made it his mission to vindicate this researcher’s craft, an ancestor of the natural sciences. Alchemy, like Stöhrer’s oeuvre, combines pure rationality with coincidence and a scintilla of magic. The artist plays an intuitive and sensual game with his clay and the virtually incalculable chromaticity of the glazes—chaos, anarchy, and irrepressible urges being an integral dimension of all creation. In Stöhrer’s “residents,” we encounter the embodiments of that creation: likenesses of ourselves and perhaps also heralds of a future more good-natured version.
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Simone Haack – Untangling the Strands / Démêler les Fils
24€ Add to cartSimone Haack’s (b. Rotenburg/Wümme, 1978; lives in Berlin) most recent body of work delves into the theme of hair as a parameter of identity straddling the division between nature and culture. Her second publication with DCV is released on the occasion of two exhibitions: Untangling the Strands at Berlin’s Abguss-Sammlung Antiker Plastik, a collection of casts of ancient sculpture, which are seen in dialogue with her hair pictures; and Helix of Realism at Galerie Droste, Paris, which is part of the official program of events around the grand Surrealism exhibition held at the Centre Pompidou in celebration of the Surrealist Manifesto’s centennial. The new book is the first to shed light on the aspect of the surreal in the artist’s oeuvre and uncovers a major source of her visual inspiration: the dream diaries that Haack has kept since she was seventeen and the interest in the unconscious they reflect. It is above all the logic of the dream as well as feelings and moods that inform her paintings.
Haack: “My goal is to use the means of realism to visualize what cannot be seen. To get into an automatism that lets the unconscious speak in order to infuse the pictures with a life of their own. To shed light on the domain where the myths originate.”
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Anna Bogouchevskaia
Shouldn’t Be Gone25€ Add to cartAnna Bogouchevskaia (b. Moscow, 1966; lives and works in Berlin) sees her work in sculpture as a geopolitical engagement with concerns on the intersection between figuration and abstraction. Macroscopic aluminum drops, bizarre bronze flowers, fog and snow made of silver—the artist, a committed environmentalist, has created a peculiar and fascinating world of evanescent natural phenomena. Focusing on two molecules—carbon dioxide and water—in their various states of aggregation, she draws attention to the threats posed by climate change.
The publication Shouldn’t be gone presents Bogouchevskaia’s most recent works since 2019: an urgent message of warning from an artist whose sculptural oeuvre even today has the air of a monument to a world in demise.
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Weltkulturerbe Völklinger Hütte 1999 – 2019
29,90€ Read moreDie Geschichte einer neuen Industriekultur
Die Völklinger Hütte gehört zu den wichtigsten Industriedenkmälern der Welt. Mit herausragenden Ausstellungen und Veranstaltungen ist das Kulturprojekt weit über die Grenzen des Saarlands hinaus bekannt geworden. Der Künstler Ottmar Hörl konzipierte hier sein großangelegtes Skulpturenprojekt 100 Arbeiter und Christian Boltanskis Installation in der Sinteranlage wurde zum hochemotionalen Erinnerungsort für die hier verpflichteten Zwangsarbeiter. Noch bis zum Jahr 1986 war die Völklinger Eisenhütte in Betrieb und wurde 1994 als erstes Industriekulturdenkmal aus der Hochphase der Industrialisierung in die renommierte Liste des UNESCO-Weltkulturerbes aufgenommen. Das Buch zum 25. Jubiläum dieser Auszeichnung zeigt die vielfältigen und eindrucksvollen Aufnahmen einer Transformation – vom größten Schrotthaufen Europas zum Begnungszentrum der Menschen mit der Kunst. Es dokumentiert die gelungene Umstrukturierung einer hochproduktiven Eisenverhüttungsstätte zu einem Ort für Kultur im 21. Jahrhundert.
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Gregor Hildebrandt
A Blink of an Eye and the Years are Behind us48€ Add to cartFor the past two decades, Gregor Hildebrandt (b. Bad Homburg, 1974; lives and works in Berlin) has transformed analog audiotapes, cassettes, and records into collages, sculptures, panel paintings, and installations. Melding visual art with music, he has charted a complex creative vision crossing boundaries of medium and genre that he continually refines. Before using a tape, he records selected music—typically a single song—on it, whose lyrics he quotes in the work’s title. The artist’s output draws on his personal repertoire of bands that share a romantic narrative of loneliness and a melancholy keynote. The same attitude toward life is reflected in Hildebrandt’s work. The book offers insight into all periods of the artist’s oeuvre and is rounded out by archival materials from Hildebrandt’s studio, his project space Grzegorzki Shows, and the music label Grzegorzki Records that illustrate his creative process.
Gregor Hildebrandt studied at Kunsthochschule Mainz from 1995 until 1999 and at the Berlin University of the Arts from 1999 until 2002. He was a fellow of the Deutsches Studienzentrum in Venice in 2003 and worked in Vienna on a fellowship from the German Academic Exchange Service in 2005–06. He has been professor of painting and graphic art at the Academy of Fine Arts in Munich since 2015.
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Flatland
35€ Read moreBetween the Dimensions
The title of this book quotes a literary work by Edwin A. Abbott that was first published in 1884 and gradually gained considerable fame: an allegorical satire whose protagonists are geometric figures, narrated by a square that relates its discovery of a three-dimensional world. Flatland examines the ways in which artists have found inspiration in the formal vocabularies of abstraction since the 1960s. The lavishly designed book gathers works from the past six decades that challenge orthodox interpretations of abstraction.
Contributing artists: Laëtitia Badaut Haussmann, Francis Baudevin, Philippe Decrauzat, Marie-Michelle Deschamps, Angela Detanico / Rafael Lain, Hoël Duret, Sylvie Fanchon, Liam Gillick, Mark Hagen, Christian Hidaka, Sonia Kacem, Tarik Kiswanson, Vera Kox, Sarah Morris, Reinhard Mucha, Damián Navarro, Camila Oliveira Fairclough, Bruno Peinado, Julien Prévieux, Eva Taulois, John Tremblay, Pierre Vadi, Elsa Werth, Raphaël Zarka
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Beate Passow
Monkey Business24€ Add to cartDrawing on the Past to Build a Better Future
Beate Passow (b. Stadtoldendorf, Germany, 1945; lives and works in Munich) creates installations, photodocumentaries, and collages that seek to salvage her subjects from oblivion, though as she sees it, her art is an effort to come to terms not so much with the past as with the present. When her compositional inventions touch on painful memories, their objective is not to arrive at new insights. Rather, she aims to uncover visible and verifiable states of affairs and throw them into sharp relief. In her cycle of pictures Monkey Business, the artist unfolds a mysterious fairy-tale world with a political edge. Strange animals and mythical figures populate the large-format black-and-white tableaux, which a closer look reveals to be woven tapestries. The unusual protagonists roam readily identifiable locations: Gibraltar, New York’s Wall Street, Brussels, or the island of Lampedusa. Behind these ostensibly simple facts of geography loom the darker aspects of contemporary European politics: Passow’s work calls for a debate on the systems, economic structures, and political movements that rule the continent.
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Elias Sime
Echo የገደል ማሚቶ35€ Add to cartEthiopia’s multi-award-winning artist Elias Sime (born 1968 in Addis Ababa) impresses with monumental wall reliefs made of ornamentally interwoven wires and cables or sawn-up circuit boards. For years, together with his team, he has been tirelessly
reworking discarded electronic components into complex and colorful assemblages. In doing so, he draws on traditional Ethiopian techniques of weaving, braiding and carving. Sime is interested in the “biography of the material” and each collage is a search for traces (of the local and global past). The artist obtains the electronic waste, which the countries of the global North are known to like to “dispose of” in the African continent, from the flea markets in Addis Ababa. His friezes are monuments both to the throwaway society and to global networking and interaction.
Echo የገደል ማሚቶ, a richly illustrated book, gives an overview over the artist’s fascinating career and is published on the occasion of the solo show at the Kunstpalast Düsseldorf. The volume includes insightful essays by Felicity Korn and Andria Hickey as well as an important conversation with Hans-Ulrich Obrist from 2016. Also discussed is the Zoma Museum complex, which was initiated by Sime (together with the curator Meskerem Assegued)—a total work of art that is exemplary for sustainability and community building.
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Sonia Gomes
I Rise – I’m a Black Ocean, Leaping and WideRead more“My Work is Black, it is Feminine, and it is Marginal. I‘m a Rebel.”
The biomorphic sculptures of Sonia Gomes (b. 1948, Caetanópolis, Brazil; lives and works in Belo Horizonte, Brazil) have an eerie, almost magical presence. As the daughter of a black mother and a white textile industrialist, she grew up between two worlds. But the African culture and spirituality of her mother and grandmother, as well as an interest in rituals, processions, and myths, made a lasting impact on her life and her later work as an artist. As a teenager, Gomes began deconstructing textiles and items of clothing to create her own style and to make both items for practical use and craft objects. Having previously participated in the 56th Biennale di Venezia in 2015, Sonia Gomes now counts among the most influential artists in Brazil.
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MK Kaehne
Π = 3,1415935€ Add to cartThe biography of conceptual artist MK Kaehne (b. Vilnius, 1963; lives and works in Berlin) oscillates between Vilnius, Moscow and Berlin. Influenced by Russian Constructivism, he draws and builds suitcase sculptures with a department store aesthetic, a reversal of the readymade principle. His focus gradually shifted from the formal to the psychological, towards life-size figures such as It’s me (2023): a hyper-realistic replica of himself, lying upside down in the mud, with a garden gnome next to him. Kaehne’s work is strictly analytical, but the results are full of tragedy and irony. Unintentional drawings, in which biographical, Dadaist and political elements merge, accompany his oeuvre. A total work of art that traces personal and social development.
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On Air
Der Klang des Materials in der Kunst der 1950er bis 1970er Jahre40€ Add to cartOn Air showcases a distinctive art form, the sound sculpture, retracing its evolution from the early 1950s, when artists begin dismantling the conventional boundaries of art, to the early 1970s. In no more than a quarter-century, the range of possible answers to the question “What is art?” grows vastly larger. Propelled by the idea of the work of art as a machine and instrument, sounds, noises, tones, vibrations, silence, words, breath become a “tangible” sculptural material. Artists enrich visual perception by adding the acoustic dimension, interweave seeing and hearing, explore time and space with fresh zeal. In emerging artistic genres such as performance, installation, or media art, sound is an integral component of the work. The book focuses on sound objects by Yaakov Agam, Joseph Beuys, Hermann Goepfert, Yves Klein, Jannis Kounellis, Bruce Nauman, Robert Rauschenberg, Jean Tinguely, David Tudor, Timm Ulrichs, and others.
With five scholarly essays and numerous illustrations and notes on individual works, the comprehensive publication offers an attractive introduction to the subject.
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Susanne Rottenbacher
Radiationen40€ Add to cartIn expansive compositions in light, Susanne Rottenbacher (b. Göttingen, 1969; lives and works in Berlin) visualizes the fire of life in its timebound and fluid dimension. Plotinus called fire the “spiritual potency of beauty.” Pursuing a similar vision, Rottenbacher’s works orchestrate light as energy in space. To this end, the artist, who studied light and stage design in the United States and the United Kingdom, creates weightless luminous choreographies realized in colorful LED technology in combination with acrylic glass as a translucent vehicle of form. The results are installations in three dimensions that are deeply silent yet unfold in a magical ecstasy of light.
In Christian sacred architecture, light has been deployed and perceived since the Middle Ages as the aesthetic equivalent of the divine mind’s lucidity. The history of light art, by contrast, is much younger, going back to the years after the First World War. Having built her creative practice over the past fifteen years, Rottenbacher not only continues a century-old tradition of light art in Europe and the U.S.; her works also anticipate a future in which humanity will have room for feelings no less than for scientific knowledge.
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Fritz Overbeck und Hermine Overbeck-Rohte
Der Briefwechsel38€ Add to cartIntimate Glimpses from the Marriage of Two Worpswede Artists
In the final years of the nineteenth century, numerous painters settled in the village at the foot of Weyerberg hill, followed by young women who took classes with the local artists. Fritz Overbeck (b. Bremen, 1869; d. Bröcken near Vegesack, 1909) and Hermine Overbeck-Rohte (b. Walsrode, 1869; d. Bremen, 1937) became one of Worpswede’s husband-and-wife creative duos, though their union has been less celebrated than those of Otto Modersohn and Paula Becker or Rainer Maria Rilke and Clara Westhoff. Like the stories of their more famous neighbors, theirs exemplifies life and work in the artists’ colony, but also the dogged struggle for equality in the creative professions. Yet unlike those other relationships, theirs did not break up over the conflict between art and marital life; it lasted until Fritz Overbeck’s tragic early death. In a first, this book contains virtually the entire extant correspondence between the Overbeck-Rohtes in unabridged form and with numerous annotations. Offering fresh and nuanced insight into the lives and oeuvres of its protagonists, it makes for moving and entertaining reading.
