





Tim David Trillsam
Willkommen im Panoptikum
![]() | |
---|---|
Author(s) | Dorothee Baer-Bogenschütz |
Design | Benjamin Wolbergs |
Size | 21 x 28 cm |
Cover | Hardcover |
Pages | 144 |
Illustrations | ca. 100 |
Language(s) | German |
ISBN | 978-3-96912-226-6 | Release July 2025 |
With his idiosyncratic figurative bronze sculptures Tim David Trillsam (born 1985 in the Swabian Alb) has hit a nerve. The artist’s “self memorials” ask the viewer to remember the transience and illusion of this very self. Although Trillsam employs a loaded material that evokes many great sculptors before him, his own sculptures resist the past. His figures are tangibly protagonist of the present and they provoke with their exaggerated sensuality, twisted bodies, and oversized hands and feet. “The oversizing is programmatic. As is the skeptical approach to the human species. Trillsam proceeds as a thoughtful questioner with doubt yet also irritation,” writes Dorothee Baer-Bogenschütze. Her in-depth art-historical analysis is part of this forthcoming book about Trillsam’s oeuvre since 2012.
Release July 2025
More books
-
Birgitta Thaysen
Amor and Psyche24€ Add to cartAspects of Love
The fine art photographer Birgitta Thaysen (b. Gelsenkirchen, Germany, 1962; lives and works in Düsseldorf) studied with Bernd and Hilla Becher at the Düsseldorf Academy of Fine Arts and in Nan Hoover’s master class. Her photographic oeuvre encompasses urban motifs as well as likenesses of humans. In black-and-white portrait shots, she revisits the ancient myth of Amor and Psyche; embodiments of the yearning for love and the bafflements of the soul, the title characters have long been vehicles for variegated interpretations in visual art. Thaysen chose to shoot her portraits at Künstlerverein Malkasten, Düsseldorf, where the tale is present in an adaptation as a lavishly made wallpaper from the nineteenth century. She captured the protagonists lying on the floor, bedded on cushions, their heads upside down, for a vertiginous exploration of states of mind between self-abandonment and doubt.
Birgitta Thaysen studied art with Bernd and Hilla Becher at the Düsseldorf Academy of Fine Arts. Her conceptual photographic series have been seen by wide audiences in numerous exhibitions.
-
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.
-
Zwischen Freiheit und Moderne
Die Bildhauerin Renée Sintenis29€ Read moreThe Successful Sculptor and Symbol of the “Neue Frau”
Renée Sintenis (b. 1888, Glatz; d. 1965, Berlin) belongs to the first generation of professional female sculptors at the beginning of the twentieth century. She made skillful use of her business relations with her gallerist Alfred Flechtheim, who introduced her to collectors in Paris, London, and New York. The market for, in particular, her lively, small animal sculptures was quite lucrative. These experienced renewed popularity in the 1950s through her Berlin Bear statuette, which has been presented in a small version at the Berlin International Film Festival since 1960. The catalog sheds light on the sculptor’s diverse oeuvre and provides insight into the self-image of one of the most successful women artists of the Weimar Republic, who embodied the type “Neue Frau” (new woman) due to her dazzling appearance.
-
G. I. Widmann
Retrospektive24€ Add to cartA Tribute to the 100th Birthday. One of the Important Figurative Positions of the Young Federal Republic of Germany
She was an unusual painter who sought to hide her gender behind a pseudonym, while at the same time addressing her own circumstances as an independent artist and single mother in her large-format canvases. Gudrun Irene Widmann (b. 1919, Reutlingen; d. 2011, Reutlingen) created an oeuvre that lays claim to being one of the most important figurative positions of the 1950s and ’60s. This retrospective volume pays testimony to a strong personality and sheds light not only on her self-image as an artist but also on the influences of society and personal contexts — representative of the situation of female artists in general.
Gudrun Irene Widmann studied at the academies in Düsseldorf, Stuttgart, and Vienna during the Second World War. She worked in her own studio in her hometown of Reutlingen until her death.
- Out of stock
Thomas Lehnerer
Grott18€ Read moreA Facsimile by the Theologian and Artist
The genesis of images is a central aspect of the work of the Munich-based theologian and artist Thomas Lehnerer (b. Munich, 1955; d. ibid., 1995). In drawings and sculptures, as well as in spatial and conceptual works, the production of images creates a counter-world to our own lives. By transferring fundamental experiences of human existence into art, Lehnerer creates an equivocal, anthropological space for observation and reflection. The artist’s book Grott, published in 1986, contains ambiguous elements. All drawings are positioned on the right page. In the not yet dried state, a double image was formed on the left side, which relativizes the “primary image.” The depictions of animals, people, and the environment were drawn nearly without interruption from a single line. In this style of continuous movement, the overall image can be traced back to its beginning. For Lehnerer, it was important to understand human (self-)consciousness from the perspective of the history of evolution, since there are countless models of thought and belief within this narrative. Grott refers in the title, as well as in the drawings, to the charged relationship between the earthly and the spiritual.
-
Jenny Michel
Doors, Windows and Cells38€ Add to cartThe Detritus of Our Society
For around two decades, the artist Jenny Michel (b. Worms, 1975; lives and works in Berlin) has devoted herself to minute particles such as dust, cobwebs, and electromagnetic fields in space. Her fascination with orders of knowledge, symbolism, and utopian visions is reflected by installations, drawings, prints, and sculptures that she exhibits in carefully composed sprawling ensembles. Aggregating fantastic fragments of the world manufactured from paper, adhesive tape, staples, and other industrially made small parts, Michel builds disconcertingly dense structures—human knowledge is transformed into the debris of civilization, its legibility lost beneath palimpsestic layers of meanings and resignifications. The extensive monograph surveys major series in the artist’s oeuvre and presents new works on paper.
Jenny Michel studied at Kunsthochschule Kassel and the Academy of Fine Arts Vienna. Her work has been on view at Museum Wiesbaden, the Draiflessen Collection, the Schirn Kunsthalle, Frankfurt, and Berlinische Galerie, among other venues. In 2010, Michel was honored with the HAP Grieshaber Prize.
-
Sinje Dillenkofer
Archives Vivantes34€ Add to cartSinje Dillenkofer’s (b. Neustadt a.d.W., 1959) body of work ARCHIVES VIVANTES inquires into the idea of the “archive,” harnessing the means of visual art to allow us to see and perceive what the archive does not reveal. With staged photographs that combine conceptual rigor with a wide spectrum of creative techniques and devices, Dillenkofer’s pictorial essay turns the spotlight on specimens, artifacts, graphic art, and writings compiled by the explorer and naturalist Alexander von Humboldt (1769–1859) and the ornithologist Carlo von Erlanger (1872–1904). Examining the archive as a model of nature and reality as well as a mirror of “human nature,” the artist develops compositional ideas inspired by the peculiar features of the objects in the collections in visual analogies, pictorial spaces, and spatial compositions. Animals and plants that died long ago “in the service of science” are vividly embodied through the distinctive use of light and shadow. The resulting pictures consider the archive in a new context, framed by our complex relationships with nature, humankind, society and its values and ideals, circumstances and constellations of power. The pictures were taken in six German collection archives: at the Museum bei der Kaiserpfalz Ingelheim, the Naturhistorisches Museum Mainz, the Senckenberg Forschungsinstitut und Naturmuseum Frankfurt, the Stadtmuseum Berlin, and the Stuttgart State Museum of Natural History. Dillenkofer was the first artist to be invited by the Berlin State Library—Prussian Cultural Heritage to translate Humboldt’s American travel diaries into art.
Sinje Dillenkofer studied at the Stuttgart State Academy of Art and Design and has taught at universities and art academies. Her work is held by the Victoria & Albert Museum in London, the ZKM | Center for Art and Media Karlsruhe, the Staatsgalerie Stuttgart, and the Berlinische Galerie, among others.
-
Julius Hofmann
Western Philosophies35€ Add to cartJulius Hofmann (b. Göttingen, 1983; lives and works near Göttingen) has mastered the traditional aspects of painting and commands a broad repertoire of creative techniques. This expertise enables him to call conventional painting in question by combining it with the aesthetic of 1990s computer graphics. The simple and often grotesque symbolism of the imperfect digital imagery contrasts with a perfectionistic figurative painting. This approach lends his pictures a disconcerting and unexpected quality.
Western Philosophies is an episode in Hofmann’s ongoing work confronting consumerist society with its dark secrets and its indifference. Meanwhile, his creative process is also an exploration of the artist’s personal fears and frustrations. In depicting his figures, landscapes, and machines, he draws our attention to the painterly originality of structures and surfaces. The protagonists, to his mind, play a subordinate role, typically serving him as vehicles—he is more interested in the “how” than in the “what.”
Julius Hofmann studied painting with Neo Rauch and Heribert C. Ottersbach at the Academy of Fine Arts Leipzig (HGB) from 2005 until 2011. His work is represented in international collections and institutions.
-
Laura Schawelka
Double Issues24€ Add to cartSales Spaces without Merchandise
In her installations, Laura Schawelka (b. 1988, Munich; lives and works in Berlin) makes use of photography, video, and sculpture in a multilayered dialogue. In her latest works, the artist focuses on the role of photography in the development of modern consumer society. What does it mean if goods are only communicated through other goods, such as computers, cell phones, tablets? If this withholding of the genuine object is precisely what prompts the desire for it? The artist creates sales spaces without merchandise, in which images, photographs, and videos have replaced consumer goods of any kind.
Laura Schawelka studied at the Städelschule in Frankfurt am Main as a student of Tobias Rehberger master-class. In 2015, she was awarded the Master of Fine Arts at the California Institute of the Arts in Los Angeles, and in 2017 she moved to Paris as the recipient of a studio bursary of Hessische Kulturstiftung.
-
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.
-
Arantxa Etcheverria
Doors38€ Add to cartThe 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.
-
Tim Eitel
Propositions for Afterimages 2015–202436€ Add to cartTim Eitel initiates an exchange between recollection and painting. The work on his pictures, he says, is “a conversation about reality and memory” in which he engages the canvas. In the course of this dialogue, Eitel reflects on personal experiences, creating a standalone figural-abstract reality that needs to be internally consistent—the canvas has a strong will of its own. That makes the scenes depicted in his paintings analogues or afterimages of a situation rather than renditions of it. They are characterized by a certain openness that enables the beholders to inject their own recollections into the pictorial space as well. The dialogue between canvas and artist thus gives way to a colloquy between audience and finished work. Not by coincidence, many of the paintings by Eitel gathered in this catalog show people in museums: these scenes facilitate the leap into the pictorial space. The beholders have experienced a situation like the one shown in the pictures in the past or are experiencing it right now, and so they are already at the heart of the works; they become part of the painting, and the picture becomes a particle of their recollection.
-
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.
- temporarily not available
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.
-
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.
- Release May 2025
Simone Haack
NEW MAGICAL REALISM44€ Add to cartTalking about magical realism today, we typically think of the literary genre. Yet when Franz Roh coined the term, he was referring to a tendency in German visual art in the years before the rise of fascism. What marked a major departure from Expressionism and abstraction has seen a renaissance in the New Magical Realism pioneered by Simone Haack since the turn of the millennium, now framed by a comparable geopolitical situation. The influence of Giorgio de Chirico and his pittura metafisica is unmistakable in Haack, as are those of the New Objectivity, Kafkaesque painting, and the metaphysical dimension of Surrealism. One of the most eminent artists of our time.
- Out of stock
Supernatural
Sculptural Visions of the BodyRead moreThe future of human corporeality in the Anthropocene era
Given the technological development in biogenetics, humans will be able to make existential modifications to all living things, Nature, the animal world and human likenesses in future. What will bodies of the future look like? Who or what will we be? Supernatural offers us some answers in its hyperrealistic and realistic sculptures. These visionary works not only exemplify the impact of the digital revolution and genetic engineering on “posthumans” and the environment, but also illustrate, including in their own hybrid creations, how increasingly blurred the line between nature and culture is now becoming. Technological innovations are also having more and more effects on trends in the latest hyperrealistic sculptures. In using 3D printing to perfect their creation processes and pushing sculptural boundaries to encompass robotics and synthetic biology, artists are opening the door to new design possibilities in artefact, biology and technology for themselves as well.
The book presents works by Anne Carnein, Isa Genzken, Glaser/Kunz, Thomas Grünfeld, Sam Jinks, Josh Kline, Krištof Kintera, Reiner Maria Matysik, Alex May and Anna Dumitriu, Fabien Mérelle, Patricia Piccinini amongst others.
-
Maria Balea & George Crîngașu
The Mythenstein Project18€ Add to cartMaria Balea (b. Sighetu Marmației, 1990; lives and works in Cluj-Napoca, Romania) and George Crîngașu (b. Focșani, 1988; lives and works in Cluj-Napoca and Rome) are among the youngest members of the School of Cluj, which has attained international renown in Adrian Ghenie, Hortensia Mi Kafchin, and Ciprian Mureșan. The overarching theme in their works in a range of media is the lived reality of today’s young people between a physical world defined by uncertainties and a virtual parallel universe whose boundless possibilities make it a fascinating yet also often deceptive safe haven. Both artists roam this dizzying kaleidoscope of worlds on a quest for beauty: Balea, through a romantically idealized focus on remnants of untouched or deserted nature; Crîngașu, by abandoning himself to the graphical possibilities of the digital realm, where beauty is often bound up with the bending of natural laws and the physical impossibility of architecture. Yet both, the retreat to an ostensibly natural state and the escape into garish artificiality, are overshadowed by a nameless menace.
-
Francesca Martí
Passage and Presence42€ Add to cartFrancesca Martí’s (b. Sóller, Mallorca; lives in Mallorca and Stockholm) art revolves around themes like transformation, communication, and deformation, the power of self-determination, the instability of memory, and the effects of the chaos caused by migration and the migration prompted by chaos. In a collaborative process, a multitude of performers, dancers, and musicians help make her vision a reality. The book presents performances, sculptures, and visual works from Francesca Martí’s most important exhibitions in Spain, Germany, the Netherlands, Slovakia, and China. The portraits of the various series the artist has developed over the past ten years, including Cocoon, Planet of Fusions, Migrant Angel, Dreamers & Believers, Copper and Flux, are rounded out by her drawings, photographs, and making-of shots from her studio in Mallorca.
-
Peter Hermann
Skulpturen24€ Add to cartDefying the Classical Canon
The figures of Peter Hermann (b. 1962, Bietigheim; lives and works in Ludwigsburg) stand and gaze. Made of limewood or bronze, his sculptures are precisely crafted in the manner of the old masters and thus stand in opposition to other contemporary positions. Nevertheless, in their static severity, their shortened and slightly caricatured limbs, and with a certain irony that accompanies this, they also defy the classical canon of figurative sculpture. Peter Hermann finds his themes in everyday life and succeeds in letting this apparent everydayness vibrate further in the encounter between the artwork and the viewer.