






Leszek Skurski
Catalogue raisonné Vol. 1: Works from 1990–2024
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| Author(s) | Mark Gisbourne |
| Design | allcreativ studio |
| Size | 24 x 27 cm |
| Cover | Hardcover with open spine |
| Pages | 380 |
| Illustrations | |
| Language(s) | German, English |
| ISBN | 978-3-96912-152-8 |
Leszek Skurski (b. Gdańsk, 1973; lives and works in Fulda and Mallorca) is known for his singular and immediately recognizable white paintings. Small black and gray figures emerge from the white landscapes, always set in relation to one another, in pairs or groups. Exposed on the expansive and boundless-seeming plane, they silently tell a story that remains as open-ended as the pictures. In a few spare brushstrokes or lines drawn with the palette knife, Skurski’s superb neoimpressionism deftly captures the atmosphere that weighs down on his characters and holds his compositions in suspense.
The extensive monograph presents over two thousand works from more than three decades. Essays embed the various bodies of work in their art-historical contexts.
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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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SERIES
Prints from Warhol to Wool40€ Add to cartA Creative Strategy and Technique of Modernism
Series are open systems, telling stories, toying with rhythms, permitting variations, and documenting creative processes. Andy Warhol’s famous silkscreen prints made the serial iteration of images his trademark stratagem. In the mid-1960s, Pop Art and Fluxus had established the fine art print as a medium in which seminal work was being done. New graphic techniques such as serigraphy and offset printing, used with aggressive colors and punchy motifs, not only allowed for large numbers of copies, they also opened the door to an unprecedented engagement with the imagery of popular print and advertising media. Opening with an inquiry into how serial fine art prints are made, the book presents and contextualizes the explosive visual and political energy of graphic series. The numerous illustrations and essays are rounded out by an interview with Thomas Schütte and Ellen Sturm.
With works by Josef Albers, Joseph Beuys, Ulla von Brandenburg, John Cage, Helen Cammock, Nina Canell, Jim Dine, Dan Flavin, David Hockney, Jenny Holzer, Olav Christopher Jenssen, Donald Judd, Ronald B. Kitaj, Maria Lassnig, Sol LeWitt, Roy Lichtenstein, Richard Lindner, Robert Mangold, Brice Marden, Stefan Marx, Bruce Nauman, Dennis Oppenheim, Nam June Paik, Sigmar Polke, Gerhard Richter, Dieter Roth, Fred Sandback, Nora Schultz, Thomas Schütte, Dasha Shishkin, Frank Stella, Rosemarie Trockel, Victor Vasarely, Wolf Vostell, Andy Warhol, Corinne Wasmuht, Emmett Williams, Christopher Wool, and others.
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Dissonance
Platform GermanyRead moreA Changed Vision—New Painting from Germany
Post-reunification Germany has emerged as an important forum for international painting. The generation of artists born in the 1970s and 1980s eschew alignment with collective tendencies and resist clearly definable influences. Meanwhile, their art has registered the cultural and sociological dislocations and divergences since the fall of the Iron Curtain with seismographic precision.
The editors of Dissonance – Platform Germany present eighty-one of the most significant painters living and working in Germany in the past two decades. They have the courage of strong opinions, turn the spotlight on unsuspected treasures, and tease out the unexpected value in aesthetically thrilling achievements of programmatic pluralism. A vital survey of one of the most exciting chapters in the more recent history of art in Germany.
Some of the presented artists have graciously agreed to allow DCV to release limited editions of their works, which you can find here.
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Judit Reigl
Kraftfelder / Centers of Dominance28€ Add to cartBeginning in the 1950s, Judit Reigl (b. Kapuvár, Hungary, 1923; d. Marcoussis, France, 2020) builds a singular creative oeuvre between abstraction and figuration, between Surrealism and gestural painting. After studying art in Budapest, Reigl flees Hungary in 1950; arriving in Paris, she is introduced to André Breton, who organizes her first exhibition in 1954. Under the influence of the École de Paris, she branches out into écriture automatique, then shifts toward free expression. Like her contemporaries Jackson Pollock and Helen Frankenthaler in New York, she lays out ever larger unprimed canvases on the floor and works them with a brush, her fingers, or other instruments. After 1966, bodily shapes emerge from her abstractions, and figures reappear in the pictures.
On occasion of Reigl’s centenary and the gift of three major works, the Neue Nationalgalerie mounts the artist’s first solo exhibition at a museum in Germany. The book surveys the oeuvre of one of the most important protagonists of European art in the second half of the twentieth century.
Judit Reigl studied painting at the Academy of Fine Arts in Budapest from 1942 until 1945 and was a fellow at the Hungarian Academy in Rome in 1947–48. From 1950 onwards, she lived and worked in France.
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Roman Ondak
The Day After Yesterday48€ Add to cartThe internationally acclaimed Slovakian conceptual artist Roman Ondak (b. 1966) responds to the historical specificities of Central Europe while also reflecting on the functioning of society in today’s global world in works that highlight the cyclical nature of processes and the reciprocal mirroring of the past and the present. His distinctive creative traits include the use of ordinary objects and materials as well as everyday situations, which he transfers into the exhibition space. This richly illustrated catalogue with essays by Barbora Ropková and Dieter Roelstraete accompanies the exhibition The Day After Yesterday at Kunsthalle Praha and explores Ondak’s artistic universe, in which existential and societal themes naturally intertwine with a biography of his own family.
THE DAY AFTER YESTERDAY
KUNSTHALLE PRAHA, PRAGUE, CZECH REPUBLIC
NOVEMBER 13, 2025 UNTIL MARCH 9, 2026
more info here - Release January 2026

Frank Morrison
38€ Add to cartThe dynamic Neo-Mannerist images of painter and illustrator Frank Morrison (born 1971, lives in Atlanta) celebrate the resilience and dignity of African Americans in everyday life. A child of institutionalized racism in the US, he can testify that creativity and solidarity could never be suppressed in the segregated and brutally marginalized communities. Hip-hop and graffiti are resistance. Clichés of inner-city struggle are vividly refuted in this book. The volume documents Morrison’s recent exhibitions, one of which is dedicated to the younger generation: frame-braking images that interweave narrative forms of comics and pop art with illustration. Morrison’s gallery calls the book an explosive tribute to genius flourishing in institutionalized exile.
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GOTT&GILZ
Supernatural Beings54€ Add to cartGOTT&GILZ clothe provocative nudity into the guise of art-historical classics
The female nude is a constant of art history whose vicissitudes illustrate changing forms of representation and the wild swings of public morality. Many a nude was initially condemned as smut only to be reclassified a few years later as beautiful and becoming and inducted into the hallowed halls (the opposite has also happened). GOTT&GILZ’s photographic paintings build on this long tradition of depictions of naked women by men—theirs is the proverbial “male gaze.” It is a debt they are quick to acknowledge, with nods to Klimt, Schiele, Pollock, et al. No wonder some have responded to their work with kneejerk indignation. Unlike in those art-historical references, then, the impudence lies not in the shattering of traditional norms of representation but in quoting them: the past as affront. The women in the pictures as well as the artists themselves flaunt their desires, shamelessly and relentlessly confronting us with the historic roots of our social and psychological realities.
Freedom is the key idea in the two artists’ oeuvre: the freedom to be authentic and express oneself without shame. Their subtly provocative play with aesthetic conventions and taboos has not only made a splash on the arts scene, it has also prompted vital discussions about gender roles, body images, and the right to sexual self-determination.
By letting it all hang out, they allow us to see ourselves as we are instead of presenting a picture of what we (supposedly) should be like. The insolence of it!
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Bilder des Wohnens
18€ Add to cartThe Cognitive Registers of Photography
All over the world, housing shortages and living conditions are urgent concerns of political and academic debates. Scholars at the FH Bielefeld conducted a three-year research project on Bilder des Wohnens. Architekturen im Bild, focusing on questions of the representation of space and hybrid forms of visualization between documentation and staging as well as photography as an archive of architectural knowledge and tool in the planning process. The book draws on studies of twentieth-century social utopias such as Tashkent, Uzbekistan, an embodiment of the urban-planning ideal of Soviet modernism, and explorations of social and cultural spaces along the coasts of northern Morocco and southern Spain, as well as a photographic typology of urban fabrics in Germany and other sociocultural studies that grapple with the significance of living spaces today.
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Emmanuel Bornstein
Wildwechsel25€ Add to cartLike the deer that tests our vigilance by suddenly crossing the road, Emmanuel Bornstein’s (b. Toulouse, 1986; lives and works in Berlin) art, which is rarely winsome and often disturbing, forces us to grapple with reality. In his earlier work, the German-French artist often focused on the Holocaust and the Second World War, creating pictures profoundly informed by his own family’s story. Exploring Berlin, the epicenter of that dark history, inspired searching meditations in series that turned the spotlight on traces of what had happened. More recently, Bornstein has sought to disentangle his art from subjective experience, shifting his focus to the analysis and reconstruction of contemporary events. Wildwechsel retraces the evolution of his oeuvre as reflected in his biography, which exemplifies the cultural exchange between Germany and France.
Emmanuel Bornstein studied painting first at the École Nationale Supérieure des Beaux-Arts de Paris, then at the Berlin University of the Arts. His works are held in numerous private and institutional collections in New York, Paris, Berlin, Vienna, Madrid, and Istanbul.
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Erich Hörtnagl
Unforgettable – Unforgotten48€ Add to cartHow can a life be remembered—what remains, what vanishes?
In Unforgettable | Unforgotten, Erich Hörtnagl brings together photographic fragments that are more than just memories: they are symbols of lived time. Roland Barthes’ concept of the “punctum” experience—that instant when a detail in an image pierces the heart—provides a key to Hörtnagl’s photographic gaze. It is not the spectacular events but the quiet and incidental things that move us. The seemingly insignificant becomes a projection screen for memory, loss, and emotion. The focus is not on what is staged, but on what eludes creative control.
Accompanied by insightful writings by Alois Schöpf and Kurt Höretzeder, a quiet monologue emerges about happiness and missed opportunities, about what we receive—and what we give. A book that doesn’t provide answers but asks questions: What makes a life worth living? What remains unforgettable or unforgotten?
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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.
- Shortlist German Photo Book Award 2019/2020

Arina Dähnick
The MIES Project45€ Add to cartIn the Footsteps of Ludwig Mies van der Rohe
In her photographic works, Arina Dähnick (b. 1965, Krefeld; lives and works in Berlin) deals with urbanity, spatial reality and visual perception. She discovered the architecture of Ludwig Mies van der Rohe in 2012, when, after a thunderstorm, she perceived the Neue Nationalgalerie in a both fascinating and paradoxical spatial experience of boundless vastness – and a simultaneous feeling of being held. From then on she photographed the building under various conditions until its closure in 2015, afterwards following in Mies van der Rohe’s footsteps from Berlin to Brno, from Chicago to New York. Dähnick captured his most famous buildings – including the Villa Tugendhat, the Seagram Building, and the Lake Shore Drive Apartments – in impressive photo series, which have been exhibited during the Chicago Architecture Biennial amongst others. The book was awarded the silver medal of the Deutscher Fotobuchpreis.
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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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Michelle Jezierski
Verge28€ Add to cartHow does a simple line become a horizon? When do we begin to see colors and shapes as a landscape? Michelle Jezierski’s painting homes in on the tipping point at which our perception begins to oscillate between color/surface and space/representation. At that very point, she captures the essence of the landscape as such, which is not a concrete place but a metaphor for inner states of affairs. To get there, Jezierski distills what she sees in her surroundings down to the elements of painting—shapes and colors—which just barely intimate a pictorial space while persistently drifting toward abstraction. The defining feature of her technique is that she layers several pictorial planes and spaces on the canvas in staggered arrangements. “Perpetually discovering new ways to unsettle the visual space,” as she puts it, she engenders ruptures and structures that open up multiple perspectives and a portal for reflection on one’s own perception. Above all, however, the cuts lend her pictures a peculiar rhythm that powerfully pulls in the gaze, making the reader paging through this catalogue forget time and space.
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Agostino Iacurci
10€ Add to cartAgostino Iacurci’s (b. Foggia, Italy, 1986; lives and works in Berlin) paintings, sculptures, installations, and murals are based on vegetal forms and botanical subjects. Lucid compositions in radiant colors unfurl fantastical ornaments that transcend the division between figuration and abstraction and the hierarchical distinctions of applied art, design, fine art, and folk art. His central theme is the painted garden, in which he stages plants, humans, architecture, geometry, and decoration in a fashionably theatrical landscape. In Iacurci, the interpenetration of nature and civilization is real, integrating mythological motifs from across the history of art and culture, from antiquity to futurism and postmodernism, into his singular style.
Agostino Iacurci studied fine arts at the Accademia di Belle Arti in Rome. Since 2009, he has realized numerous large-format murals and installations for public and private institutions. He has also worked with international brands including Apple, Adidas, Hermès, and Starbucks.
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Jan Zöller
10€ Add to cartJan 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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The Scharf Collection.
Goya – Monet – Cézanne – Bonnard – Grosse48€ Add to cartThe Scharf Collection is a German private collection of French art from the nineteenth and twentieth centuries and international contemporary art. Now in its fourth generation, it continues a branch of the renowned Otto Gerstenberg Collection in Berlin, which encompasses everything from the beginnings of modernism, represented by Francisco de Goya, to the French avant-garde of the second half of the nineteenth century with Gustave Courbet, Edgar Degas and the entire graphic oeuvre of Henri de Toulouse-Lautrec. The richly illustrated catalog accompanies the collection’s first comprehensive exhibition at the Alte Nationalgalerie – Staatliche Museen zu Berlin and the Kunstpalast in Düsseldorf.
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schneider+schumacher
39€ Add to cartA Review and Prospect of the Work of the Frankfurt‑based Architectural Office on the Occasion of its Thirtieth Anniversary
schneider+schumacher is an internationally operating team of architects with headquarters in Frankfurt am Main. On the occasion of its 30th anniversary they present a book in the shape of a red box, whose chapters “Beauty,” “Endurance,” “Curiosity,” “Land Art,” “Integrating,” “Transitions,” and “Made in Germany” cover issues and values that have determined their work since its founding. Renowned authors shed light on the respective concept and its significance for the history of schneider+schumacher, while the office’s works are presented in large-format illustrations – including the extension to the Städel Museum in Frankfurt, the Siegerland motorway church, and the new pavilion of the Frankfurt Book Fair. In architectural practice, it becomes clear how Till Schneider and Michael Schumacher and their team implement their thematic and theoretical orientation into their working methods, design approach, and understanding of architecture.
- Release January 2026

Charles Moore
On painting16€ Add to cartFor On Painting, New York-based art historian and curator Charles Moore, interviewed four women artists about their practice, asking them to reveal their motives and aspirations. This publication consists of four interviews, each containing an introduction by Moore and illustrations of the artist’s works. Danielle Mckinney, who paints exclusively Black women, reflects on her experiences as a woman growing up in the US South. Nicola Staeglich creates subtle layered abstract works to evoke new perspectives and the potential for change. Nirit Takele elaborates on how her Ethiopian Jewish heritage has shaped her painting practice. Jorinde Voigt, who creates complex installations inspired by notation systems, discusses the use of algorithms and the beauty to be found in the unexpected.
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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.





















