Welt ohne Inventar
 | |
|---|---|
| Author(s) | Reinhard Voss, Katja Hachenberg |
| Design | Renate Koch |
| Size | 14 x 20.5 cm |
| Cover | Hardcover |
| Pages | 112 |
| Illustrations | 26 |
| Language(s) | German |
| ISBN | 978-3-942924-22-1 | Out of stock |
The stories by Katja Hachenberg (b. 1972, Rhineland-Palatinate; lives and works in Karlsruhe) bridge the gap between fiction and reality. They urge the familiar to disappear and the usual to dissolve. Hachenberg is interested in complex and broken characters who oppose the conventions: outsiders, jailbreaker, dropouts. The relief faces of the sculptor Reinhard Voss (b. Rendsburg; lives and works in Karlsruhe) are juxtaposed with her texts. In dialogue, a relational panopticon of figures emerges which invites the reader for a visual and imaginative stroll.
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YAEL BARTANA
THE BOOK OF MALKA GERMANIARead moreShe Is Hope. She Is the Leader. She Is the Messiah. She Is History. She Is Fake.
The video artist Yael Bartana (b. Kfar Yehezkel, Israel, 1970; lives and works in Amsterdam and Berlin) makes work that explores the visual language of identity and the politics of commemoration. The critical scrutiny of collective expectations of political or religious salvation is a central concern in her art. In the video installation Malka Germania—Hebrew for “Queen Germany”—Bartana creates alternative realities from the German-Jewish past and present that bring scenes of the collective unconscious to light. The publication follows the epiphany of Malka Germania, a female redeemer figure, in five chapters whose layout is modeled on that of the Talmud, the central text in Rabbinical Judaism. This organization reflects the polyphonic complexity, rich nuance, and ambivalence that the work casts into visuals and underscores that there is no simple answer. The book includes an interview with the artist and contributions by Sami Berdugo, Christina von Braun, Michael Brenner, Max Czollek, and others. It is published on occasion of the exhibition Yael Bartana—Redemption Now at the Jewish Museum Berlin.
Yael Bartana studied at the Bezalel Academy of Arts and Design, Jerusalem, the School of Visual Arts, New York, and the Rijksakademie van beeldende kunsten, Amsterdam. Her work is held by collections all over the world and has been presented in solo exhibitions at venues including the Stedelijk Museum, Amsterdam, the Pérez Art Museum Miami, and the Moderna Museet, Malmö.
Click here for the German edition.
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Ute Bartel
mansionaticum25€ Add to cartAn unreal view of reality
In her works, Ute Bartel (b. 1961, Halle; lives and works in Cologne) deals with everyday circumstances, the “mansionaticum.” A term which at first glance seems epochal, but etymologically simply means “belonging to the household.” In a concrete confrontation with particular places and situations, she is interested in things in and of themselves, in their formal characteristics, such as their forms, colors, and structures. Using analog and digital techniques, she creates collages, objects, and works that project into the respective space. This generously illustrated monograph presents structures of familiar and yet unknown realities marked by highly pronounced forms and bold colors and provides comprehensive insight into one of the focal points of the artist’s oeuvre.
Ute Bartel studied at the Kunstakademie Münster, where she was a master student of Reiner Ruthenbeck. Her works have been widely exhibited at, among others, the Kunstverein Speyer, the Deichtorhallen Hamburg, and the Westfälischer Kunstverein, Münster.
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Julia Steiner
Am Saum des Raumes24€ Add to cartExpansive Worlds
The pencil drawings of Julia Steiner (b. Büren zum Hof, Switzerland, 1982; lives and works in Basel) are monumental in size. And yet they exude an air of delicacy and evanescence, sprawling across the edges of the paper and taking possession of the space around them. Processes frozen in an instant—like wind sweeping through clouds, light piercing the night, or the ground breaking apart—erupt with unexpected vigor. The beholder believes that he has identified a motif, only to lose sight of it a moment later in the abstraction of the painterly drawing. The artist’s oeuvre lays out a cosmos of images that crack and burst into pieces, explode and implode. The present book accompanies Julia Steiner’s first institutional solo exhibition in Germany.
Julia Steiner studied at the Bern University of the Arts (HKB) from 2002 until 2007, with a semester abroad at the Berlin University of the Arts in 2005. In 2018–19, she held an interim professorship at the Braunschweig University of Art (HBK), leading the drawing class. Steiner’s work has won her several accolades, including the 2009 Swiss Art Award and the 2017 STRABAG Artaward International (Vienna).
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Drucksache Bauhaus
38€ Add to cartThe Early Years of the Weimar Print Workshop
At the Staatliches Bauhaus in Weimar, the print workshop began operation in the spring of 1919 as the first workshop. Printmaking corresponded to the basic idea of the Bauhaus in that it realized the unity of art and craftsmanship in an ideal manner. With the groundbreaking project Bauhaus-Drucke. Neue Europaeische Graphik, four portfolios were created in which forty-five representatives of the European artistic avant-garde participated. In the announcement brochure of 1921, it stated: “The many who do not yet know about the work of the Bauhaus, and who cannot know, are to be made aware of us through this work.” The book presents the portfolios published between 1921 and 1924, together with other works printed at the Bauhaus by Lyonel Feininger, Wassily Kandinsky, and Oskar Schlemmer. The Stuttgarter Prolog also sheds light on the influence of Adolf Hölzel, whose students and later Bauhaus masters Oskar Schlemmer and Johannes Itten brought many of his ideas to the Bauhaus.
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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.
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Sonja Yakovleva
10€ Add to cartSonja Yakovleva (b. Potsdam, 1989; lives and works in Frankfurt am Main) uses pornographic representations and images from the internet as templates for papercuts, some in large formats, that grapple with personal and public stories about women, power relations, sexuality, and violence. The silhouettes show popular motifs that have served to ingrain fairy tales, myths, and ideologies in the collective consciousness from the colonial era to modernism and the early twenty-first century. Yakovleva, whose art is often associated with sex-positive feminism, appropriates this folkloristic visual idiom and hybridizes and sexualizes it. Dessous and strap-on dildos, for example, figure as preserved specimens of butterflies and insects, bringing historic scientific expeditions to mind. Yet her work also addresses the capitalist urge to categorize, evaluate, and market every kink.
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Maximilian Rödel
Celestial Artefacts50€ Add to cart“One must break free from wanting something and confine oneself instead to being something.” — Maximilian Rödel
Inky black, apricot, magenta, and a pastel purple: apparent monochromes, the paintings of Maximilian Rödel (b. Braunschweig, 1984; lives and works in Berlin) actually do not just traverse color spectrums; in a sense, they chart horizons of experience. To contemplate them is to embark on a voyage through space and time. Foreground and background are one, depth and surface at once; an undertow makes itself felt in which the nuances of color interweave, blur into one another, shimmer, flare up. The artist describes his pictures as an unfocused energy that already exists; he merely uncovers it.
The first publication on Rödel’s work presents the exhibition Celestial Artefacts at Neuer Aachener Kunstverein, with an emphasis on the Prehistoric Sunsets series (2018–2021). It is complemented by reproductions of selected works and an extensive index that also includes details from earlier series that are relevant in the context. Aperçus contributed by Rafael Horzon and Leif Randt and writings on art by Domenico de Chirico, Lena Fließbach, Stefanie Gerke, Philipp Hindahl, and Maurice Funken add another dimension to the paintings.
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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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Erich Hörtnagl
to be a man38€ Add to cart“A photograph is a secret about a secret. The more it tells you, the less you know.” The witty remark, attributed to Diane Arbus, succinctly captures the twofold code at work in Erich Hörtnagl’s (b. Innsbruck, 1950) pictures. Aesthetically appealing photographs, mostly in black and white, show men (and women) in a wide variety of cultural, social, and religious contexts: from Swedish bikers and drag queens to monks in Myanmar, from Turkish belly dancers to Tyrolean performers in traditional attire. What looks at first glance like a conventional photobook soon reveals itself to be a brilliantly staged interactive riddle around clichéd notions of masculinity with positive and negative connotations, around gender roles and persistent stereotypes. With the deftly composed visual meta-narrative in to be a man, Hörtnagl, a seasoned theater and film director, lures us into a trap, and the only way out is by taking the challenge head-on: by engaging in self-reflection and questioning our own prejudices and ideas.
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Vera Mercer
New Works28€ Add to cartBeauty and Melancholy, Joie de Vivre and Vanity
The American photographer Vera Mercer’s (b. Berlin, 1936; lives and works in Omaha and Paris) oeuvre defies easy summary. She started taking pictures in Paris in the 1960s, making portraits of her then husband Daniel Spoerri—who, like she, was initially training as a dancer—and other members of the Fluxus group and Nouveaux Réalistes, including Emmett Williams and Robert Filiou, Jean Tinguely and Jacques Villeglé. Around the same time, she also photographed Andy Warhol and Marcel Duchamp for various magazines; her friends Eva Aeppli and Niki de Saint Phalle were among her favorite sitters.
In the 1970s, she took a long creative hiatus: after moving to Omaha, Nebraska, she poured all her energy into starting a number of restaurants and developing an entire downtown neighborhood. But then, in the early years of the new millennium, she returned to photography, capturing breathtaking neo-baroque still lifes featuring flowers, fruits, freshly killed game, antique glasses, and illuminating candles in large formats.
Vera Mercer’s fourth monograph presents her most recent opulent still lifes in color, as well as a novelty in her oeuvre: restrained black-and-white flower pictures and portraits realized as small-format platinum prints.
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Ernst Gamperl
Zwiesprache Dialogue34€ Read moreUnique wooden sculptures as the result of a ten‑year process
Ernst Gamperl (b. 1965, Munich; lives and works in Tremosine) is fascinated by the dialogue with living material and the quality of the unpredictable. He creates room-sized wooden objects, into the design of which he incorporates the natural drying process, cracks, and irregularities—a revolutionary technique of woodturning which has led to completely new standards, technically often at the limits of what is feasible. In a ten-year process, Gamperl transformed a roughly 230-year-old uprooted oak into an ensemble of vessels and sculptures. The artist’s book conveys the fascination of the material and the craft, brings us close to the objects, and documents the challenging work process.
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Konkrete Progressionen
François Morellet & Vera Molnar, Manfred Mohr & Hartmut Böhm15€ Add to cartThanks to a generous donor, the Kunstmuseum Reutlingen | konkret welcomed a number of outstanding works to its collection in 2022. Titled Konkrete Progressionen, the first exhibition to showcase a selection from the gift features four internationally renowned artists whose works are derived from mathematical or geometric procedures: the concrete systematists Hartmut Böhm (1938–2021) and François Morellet (1926–2016) and the pioneers of computer-generated art Manfred Mohr (1938–) and Vera Molnar (1924–).
The book documents the serial paintings, drawings, collages, wall objects, and monumental installations and environments of steel beams or concrete blocks. The works play concrete games with the beholder’s ability to recognize patterns in binary contrasts or layered grids. They show sine waves, vector series, hypercubes, and markings derived from the circular constant π or the Fibonacci sequence—and in each instance demonstrate primarily how the basis of calculation takes on a life of its own.
The exhibition at the Kunstmuseum Reutlingen runs until April 14, 2024.
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Ann Wolff
Observations and Reflections44€ Add to cart“Art is coming from my inside. I am working as its servant.—I let it out not thinking too much—using my hands and gesture—choosing a material to put it on place. I do not use the art. It is using me.“
Ann Wolff (b. Lübeck, 1937; lives and works in Visby and Kyllaj, Sweden) has ranked among the most significant and most influential glass artists on the international scene for over five decades. Yet she has also worked in bronze, aluminum, nickel silver, and concrete, creating abstract as well as figurative sculptures, and produced a sizable oeuvre on paper: pastels, drawings, and fine art prints. Ann Wolff enrolled at the legendary Ulm School of Design in the 1950s to study visual communication with Otl Aicher. From 1993 until 1998, she was professor of “materials-related design” at the University of Fine Arts (HFBK) in Hamburg. Her works, which have garnered an array of prizes, have been shown in numerous solo exhibitions and are held by renowned public and private collections all over the world.
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Nicola Staeglich
Color Light Matter Mind36€ Add to cart“This painting springs from the ambition to paint color into the air.” (Ulrich Loock)
Nicola Staeglich’s (b. Oldenburg, 1970; lives and works in Berlin) work with color achieves a distinctive intermediate state between physical presence and atmospheric radiance. She stages painting now as a performative action with broad propositions in color, now as an installation in three dimensions with multilayered translucent painted panels. Color Light Matter Mind is Staeglich’s first monograph, setting recent works in relation to her earlier output (1998–2021). From the spiral-shaped reliefs to her Liquid Lights, the artist opens up a fresh dimension for color.
Nicola Staeglich studied at the Städelschule, Frankfurt, the Academy of Fine Arts Mainz, and the Chelsea College of Art, London. She won numerous fellowships and has been professor of painting/graphic art at the Hochschule der bildenden Künste Essen since 2015. Her work has been presented in numerous solo exhibitions in Germany and abroad and is held by private and public collections.
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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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Kensise Anders
10€ Add to cartKensise Anders’s work grapples with the reality of Black people’s lives. Born in Haiti, she was adopted by a German family when she was two. After a difficult childhood, with stints in a psychiatric institution and a boarding school, she eventually found art as a medium that lets her work through her experiences. She uses the crochet needle to create masks with which she ironically appropriates white identities and play carpets that show the world of her childhood—apartment blocks, streets; the “hole,” as she calls this environment. She also arranges crocheted threads on the canvas as though they were brushstrokes. One series of pictures is dedicated to a Black doll; another, to naked female bodies, including the artist’s own, with references to Courbet’s L’Origine du monde (1866). The works are acts of resistance to the prudishness of whites. Black dolls became popular in this country during the colonial era and never quite went away, like the racism in our society and in our heads. Anders’s weapon against that racism is the crochet needle, which she wields patiently and with flair as well as the necessary radicalism.
- Release April 2025
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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Mihai Olos
42€ Add to cartMihai Olos (b. Ariniș, Romania, 1940; d. Endingen am Kaiserstuhl, 2015) ranks among the most fascinating artists of the second half of the twentieth century. His adaptations of the formal vocabulary pioneered by Constantin Brâncuși are unrivaled in their creative originality. His works evince an utterly novel approach to the combination of materials from the culture of rural Romania with the visual strategies of modernism. His formidable oeuvre engages with conceptual and minimal art and comprises paintings, drawings, and sculptures, sometimes in the dimensions of land-art projects, as well as performances and poetry. Despite the constraints imposed by the communist system, his art and travels—during which he also met his kindred spirit Joseph Beuys—were dedicated to the unerring pursuit of his vision of social sculpture and radical utopian architecture.
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Stephan Kaluza
Das Rheinprojekt48€ Add to cartReinterpreting the Classical Panorama
The mythical character of the Rhine as a ‘German symbol’ has long been of profound interest to poets and visual artists. Today, however, the Rhine has lost the aura of a great romantic river along much of its course: from Basel to Rotterdam, it serves as a high-volume shipping lane, and sprawling industrial installations line its banks.
At the dawn of the new millennium, Stephan Kaluza (b. Bad Iburg, 1964; lives and works in Düsseldorf) went on an almost eight-months-long walking tour, following the Rhine from its source at the foot of Piz Badus in Switzerland to its debouchment into the North Sea near Rotterdam. During this thousand-mile trek along the river’s right bank, he stopped every minute—after between two and three hundred feet—to take a photograph of the opposite shore. In this way, his camera compiled a painstaking record of the Rhine in 21,449 individual shots. Digitally assembled in a single six-inch-tall composite image, the pictures form a two-and-a-half-mile stream.
What Kaluza created in this project would have been inconceivable before the development of digital photography, which made the seamless presentation of the pictures in a single panoramic band possible. What is more, the computers capable of processing the enormous quantities of data did not arrive until a few years ago. It took the artist’s assistants a full two years just to edit the images. Harnessing digital technology, Kaluza creates for photography what had been the exclusive precinct of painting: a sweeping holistic perspective. A large number of the fascinating panorama photographs were published in the imposing tome Der Rhein in 2007. Das Rheinprojekt now presents a freshly composed selection from this treasure trove.
Stephan Kaluza received a comprehensive education in Düsseldorf in the 1990s, studying photography at the city’s University of Applied Sciences, art history at the Academy of Fine Arts, and history and philosophy at Düsseldorf University. Since 1995, his work has been shown at numerous galleries in Seoul, Shanghai, Jerusalem, Los Angeles, Berlin and elsewhere. Kaluza’s plays have been performed in Düsseldorf, Berlin, and Stuttgart.
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Soulages
Malerei 1946–201942€ Read more“I paint not with black but with light.”
Pierre Soulages (b. Rodez, France, 1919; lives and works in Paris and Sète, France) is an eminent figure in abstract painting. A member of the Nouvelle École de Paris, he developed his first nonobjective pictures early on, in 1946, putting bars of bold color, typically black, on white grounds. His embrace of total non-representationality, an art that depicts nothing, that stands for nothing but itself, amounted to a radical challenge to the traditional values of painting. In 1979, his work entered a new phase, a painting he calls “outrenoir” or “beyond black.” Soulages now occupies a singular position, and not only by virtue of his choice of materials such as walnut stain and tar and implements like scrubbers, iron hooks, and spatulas. The book documents the arc of his oeuvre from his beginnings after World War II to the present. Illustrating the evolution of his art, it shows how he remained true to his creative vision, a consistency that is doubly imposing given the extraordinary length of his career.
Pierre Soulages studied at the École Régionale des Beaux-Arts, Montpellier, before moving to Paris in 1946. He contributed work to documentas I, II, and III and the 26th Biennale di Venezia. His work has been shown at the Museum of Fine Arts, Houston; the Hermitage Museum, Saint Petersburg; the Musée du Louvre and the Centre Pompidou, Paris; and the Musée Fabre, Montpellier. The Musée Soulages in his native Rodez opened in 2014.
