Jan Zöller
 | |
|---|---|
| Editor(s) | Robert Grunenberg |
| Author(s) | Oliver Koerner von Gustorf |
| Design | OOR Studio, Berlin; Vladimir Llovet |
| Size | 15 x 21 cm |
| Cover | Softcover |
| Pages | 40 |
| Illustrations | 25 |
| Language(s) | German, English |
| ISBN | 978-3-96912-136-8 |
Jan Zöller’s (b. Haslach, 1992; lives and works in Karlsruhe) art has the aura of a jerry-rigged, cosmic, comedic theater. Flames gutter, pant legs and elbows dance, run, and go up in fire. Wells, basins, and tubs are central motifs, symbolizing communal settings, but also the circulation of vital energies, of human and economic interconnections. Zöller’s paintings take fractured or antiquated systems, today’s art world among them, and reforge them into something new. In painting, he reflects on what being an artist means to him, driven by an interest less in a dialogue with art history or other contemporary painters than in the psychosocial relationships and conditions that inform his work. His paintings, sculptures, and installations probe the discrepancy between economic production and the spiritual and magical dimension of art.
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Jan Zöller
Ritual Believer40€ Add to cartJan Zöller’s (b. Haslach, 1992; lives and works in Karlsruhe) paintings, sculptures, and installations probe the discrepancy between economic production and the spiritual and magical dimension of art. The artist’s book Ritual Believer surveys the so-called charcoal paintings series, created between 2019 and 2023. For these works, the artist paints directly in charcoal on the unprimed canvas, making it impossible to correct “blunders.” Another distinguishing feature is the virtual absence of color; the austerity of the compositions contrasts with Zöller’s other, often intensely colorful paintings. The motifs that are the hallmark of his oeuvre—birds, running legs—are complemented by writing and text. Another aspect of this shift is that the works’ titles play a central part and almost figure as a creative element in their own right. For the text in the book, the artist sent the titles of the works shown to his brother, who wove them into a story. An appendix presents scanned archival materials. Notebooks and zines Zöller produced between 2015 and 2017 provide interesting insight into how he finds his motifs and his compositional process.
Jan Zöller studied with Marijke van Warmerdam and Leni Hoffmann at the Akademie der Bildenden Künste Karlsruhe from 2012 until 2017 and with Jean-Marc Bustamante and Götz Arndt at the École Nationale Supérieure des Beaux-Arts de Paris in 2016.
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Jan Zöller
Keine Zeit zum Baden38€ Add to cartJan Zöller’s (b. Haslach im Kinzigtal, 1992; lives and works in Karlsruhe) art brims with personal references and experiences that he translates into his distinctive personal visual idiom. His paintings are theatrical arrangements for which he draws on a multifarious repertoire of motifs. Zöller’s first monograph Keine Zeit zum Baden presents new works engaging with the exhibition space such as a floating installation with blue tiles from the exhibition of the same title at Städtische Galerie Ostfildern and videos and large-format paintings from the cycle Badebrunnen that were created between 2019 and 2022. The bathtubs in the pictures hint at private moments of relaxation; the fountains, at the “eternal cycle” of nature. The title Keine Zeit zum Baden (No Time for Bathing), then, gestures toward the subjects of the works, but also suggest the dilemma of striking a healthy balance between life, work, and one’s vocation.
Jan Zöller studied with Marijke van Warmerdam und Leni Hoffmann at the State Academy of Fine Arts Karlsruhe from 2012 until 2017 and with Jean-Marc Bustamante at the École Nationale Supérieure des Beaux-Arts de Paris in 2016. He won the Federal Prize for Art Students of the Bundeskunsthalle, Bonn, in 2018, followed by Stiftung Kunstfonds’s working fellowship in 2021.
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Tobias Pils
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GOTT&GILZ
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Slawomir Elsner
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Elsner works almost exclusively in series. What makes this book special is that it includes an index in which eleven of these bodies of work are reproduced in their entirety. The Old Masters series alone comprises 143 works made in the years after 2014. It is complemented by the series Windows on the World (2008–2010), Feuerwerk- und Luftabwehr (2004), Unsere Sonnen (2004–2005), the watercolors of Tagstücke and Nachtstücke (2014–2021), and others.
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Simone Demandt
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Cahier #1
Heinz Gappmayr22€ Add to cartDo we think in images or in language? Can writing visualize time? Heinz Gappmayr (1925-2010) was interested in text as a spatial event and in letters as architecture. Although his works were often presented in the context of Visual Poetry, Gappmayr himself preferred the more neutral term text to lyricism. His understanding of written language as a conceptual medium and typography as an indicator of physicality was closer to Lawrence Weiner’s approach than to that of the Concrete Poets. This volume accompanies an exhibition at the Tiroler Landesmuseum and includes Gappmayer’s most important art-in-architecture projects, as well as a complete notebook from 1961, with commentary by Gaby Gappmayr, the artist’s daughter. A conversation with her provides valuable philosophical insights into her father’s work.
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Pieter Slagboom
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Philip Loersch
Renteninformation 202230€ Add to cartA satirical audiobook, read by Johannes Steck
with free download link on the inside
You’ve read right, and you’re going to hear it: a bureaucratic document—we’re all familiar with it, for a new one arrives every year—is the subject of this inspired collaboration between the graphic artist Philip Loersch and the virtuoso vocalist Johannes Steck.
The “Renteninformation”—an official letter on cheap paper informing the recipient about their expected future retirement benefits—makes many cultural workers, and others, crack up or break out in tears: arriving unexpectedly, it launches us on an emotional roller coaster between excitement, fascination, resignation, and sheer madness.
The manuscript for this audiobook is Loersch’s actual Renteninformation for 2022. Its intonation is the culmination of a series of works the artist has pursued since 2016. Every year, he has produced a naturalist colored-pencil drawing of his Renteninformation, embedding it in idyllic scenes—in the garden on a summer afternoon, amid autumn foliage, or on a frozen lake, delicately and accurately executed down to the smallest leaf of grass and the tiniest letter.
“Renteninformation 2022” is the ideal gift for all vinyl lovers who need to close a “pension gap” in their collections and a stunning audio experience that redefines what the satire of reality itself and conceptual art can do.
Philip Loersch (b. Aachen, 1980) is best known for his unconventional drawings. His works combine painstaking imitations of printed writing with hyperrealist colored-pencil drawings; for instance, he transfers pages from encyclopedias not only onto paper, but also onto three-dimensional objects such as soapstone. His art has been exhibited at renowned institutions such as Kunsthaus Zürich, Museum Kunstpalast Düsseldorf, and Hamburger Kunsthalle. He has won numerous fellowships and awards, including the Kunstpreis Berlin für Bildende Kunst, and helped initiate the exhibition series “Drawing Wow.”
Johannes Steck (b. Würzburg, 1966) is one of Germany’s best-known audiobook narrators, having sold over four million copies, including of books by Simon Beckett and Ken Follett, in a three-decade career. Television viewers also know his voice from trailers on Kabel 1 and DMAX and documentaries on ZDF, BR, and Sky. His work has garnered awards including the 2012 HörKules.
