Ulf Aminde – miserere

with a text by Felix Ensslin

edited by Cordelia Marten

The artist’s book presents an overview of all works by Ulf Aminde which came up over the last five years, and illustrates the artist’s close connections with the theater. Through the images’ autonomy – they cannot be seen as simple copies or stills of Ulf Aminde’s films –, a kind of meta-narration was created, which tells about the artist’s entire work. The images have been photographed as collages: Aminde in the role of the director and as a protagonist in an image tableau which one can’t escape. The result is an impressive panorama, a network of actors and director as a description of a radical way of working, asking a question for subjectivity.

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Paul Vanouse – Fingerprints...

published by Jens Hauser and Heike-Catherina Mertens, Schering Stiftung

with texts by Simon A. Cole, Jens Hauser, Hans-Jörg Rheinberger and Paul Vanouse

The publication Fingerprints… by Paul Vanouse is the first volume of the Ernst Schering Foundation’s Publication Series dedicated to selected The biomedia installations of Paul Vanouse challenge the codes and images of contemporary molecular biology. In four theoretical essays, criminologist Simon A. Cole, science historian Hans-Jörg Rheinberger, curator Jens Hauser and the artist himself reflect upon the criticism of genomics inherent in the installations of “Fingerprints…” from an aesthetic, political and techno-philosophical angle.

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Florian Dombois – What Are the Places of Danger Works 1999–2009

published by Kunsthalle Bern

with an introduction by Philippe Pirotte

Kunsthalle Bern presents 34 projects by Florian Dombois (*1966), 2010 winner of the Deutscher Klangkunst-Preis (German Sound Art Prize), and one of the international protagonists in artistic research. In his work of the last decade, he deals with landscape, labilities, seismic and tectonic activity, scientific and technical fiction and the poetics of technology. Documentations of his projects are supplemented by six essays by Dombois – published for the first time in English.

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Filipa César – Montrage

published by Doreen Mende

with texts by Galit Eilat, Colin MacCabe, Eglantina Monteiro, Helena Vilalta, including a conversation between Filipa César and Doreen Mende

Montrage is an exhibition in book format with cinematographic projects of the Portuguese artist Filipa César. The central themes are remembrance, politics and language in regard to film. César applies the technique of montage marking the space for a ‘third gaze’ (Godard) of the spectator. Yet as in her films, she relies neither on a linear temporality nor on a dialectical organization of what is depicted here, instead, letting readability emerge in a crystalline space between the images and words.

Design: Manuel Raeder

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Selected exhibitions:

2010 12th Architecture Biennial, Venice
        29th São Paulo Biennial, São Paulo
        Manifesta 8, Cartagena
        SOLAR- Galeria de Arte Cinemática, Vila do Conde

Transient Spaces

edited by Marina Sorbello and Antje Weitzel

published on the occasion of the exhibition at ngbk, Berlin

with essays by Zygmunt Bauman, Adrian Franklin, Ursula Biemann, Chiara Brambilla, Michael Zinganel, Paula Bialski, Tom Holert, Mark Terkessidis, Thomas Kilpper, Heidrun Friese, Aureliana Sorrento amongst others

Over the past two years, the interdisciplinary project Transient Spaces – The Tourist Syndrome has been addressing current issues of mobility through workshops, seminars, lectures, and exhibitions in Italy, Lithuania, Romania, and Germany.

This volume, published on the occasion of the project’s final exhibition in Berlin (NGBK and Kunstraum Kreuzberg/Bethanien), offers a multifaceted approach to themes such as tourism, migration and new forms of flexible living and being permanently on the move, through essays, texts, interviews, case-studies and artists’ interventions. The publication is an important document of the recent debate on questions of representation related to contemporary mobility issues.

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Erik Steinbrecher – Schluss mit Öko/An End to Eco

published by Roman Kurzmeyer, Basel/Berlin 2010

Curator Roman Kurzmeyer regularly invites artists to engage for a week, with the mountain village and surrounding area of the Walensee in Switzerland. When Erik Steinbrecher set out from Berlin on his way to the artists’ colony at Walensee, he brought with him a famous Berliner “fast food” specialty, as a sort of multiple: 1000 Berliner Buletten (meatballs), which were first “hung up” in a barn and finally – spectacularly – burnt in a bonfire.

This publication documents the story of Erik Steinbrecher’s Berlin Buletten-Installation in the former artists’ village.

Design: Stephan Müller

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Matthew Antezzo – Doppelpunkt

with a text by Erlend Hammer

published by Bernd Milla, Kunstverein Göttingen

Matthew Antezzo’s painting is influenced by Fluxus, Constructivist and Conceptual Art. His current catalogue revolves around decisive turning points in the history of media, such as the invention of the transistor radio and the computer. At the same time, the publication forms a collage of works dating from the last twenty years of Antezzo’s career.

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Paolo Chiasera – Relic and Fetish

with texts by Dieter Roelstraete, Andreas Schlaegel and Andrea Viliani

edited by Paolo Chiasera and Cordelia Marten

Chiasera’s range is manifold: it extends from painting and drawing through sculpture and installation to film and performance. He carves heads out of wood, emerges disguised in the roles of the most diverse figures in the history of art, dedicates to them their own archive or sculpts enormous sculptures out of clay only to blow them up and generate something new once again. Paolo Chiasera’s work changes its form frequently and allows the viewer to take in various angles. The artist’s book presents various projects that were customized in collaboration with the graphic designer Till Gathman on varying paper, quality and size.

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Kathrin Sonntag – SUPERKALIFRAGILISTIKEXPIALIGETIK

including a conversation between Mary Poppins and Grant H. Atkinson

published by Janneke de Vries, GAK Gesellschaft für Aktuelle Kunst Bremen

The artist’s publication documents the exhibition by the Berlin artist Kathrin Sonntag (*1981) in the GAK Gesellschaft für Aktuelle Kunst in Bremen and communicates her thoughts in book form. Kathrin Sonntag is interested in the moment in which a normally thoroughly readable object comes out of itself: the magic en route, which can still be found in the commonplace. Like the exhibition, the catalogue, too, takes a playful approach to the connections between the different elements and reveals relationships in form, color and content. A fictional conversation between Mary Poppins (who lends the exhibition and the book its title) and Grant H. Atkinson (an anagram of “Kathrin Sonntag”) gives an introduction to both the presentation and publication.

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THE WORLD ACCORDING TO…: Olaf Nicolai

Artist's magazin

published by The Office, Berlin 2010

THE WORLD ACCORDING TO seeks to challenge an artist to work in an unfamiliar way: using any source other than his own work, he develops an idea, a concept, a subject or a vision which can only be realized on paper. On 64 blank pages, he creates a special project by collecting images, texts, graphs, and/or by inviting artists, friends, family-members to generate content and to contribute to it.

Olaf Nicolai’s (*1962) works are conceptually invested and often marked with (socio-)cultural references. The artists’ magazine was published on the occasion of the exhibition Warum Frauen gerne Stoffe kaufen, die sich gut anfühlen in the “Arbeiterkammer”, Vienna. The magazine comprises extensive references and an apparatus without actually printing the original (imaginary) text.

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Felix Meyer – la belle indifférence

This artist’s book captivates first and foremost through its simplicity of form, color and means of reproduction. Simultaneously, a link is established to the XEROX books of the 1960s – of Seth Siegelaub, for example.

“La belle indifférence” (relative indifference, lit. beautiful indifference) is a term coined by the psychoanalyst Pierre Janet and refers to the symptom of hysterics, a quite conspicuous disregard for their obvious and quite severe physical symptoms.

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Claudia Christoffel

with literature by Tanja Dückers and a text by Ludwig Seyfarth

„Claudia Christoffel’s photographs, collages and photo-collages systematically leave the question of what we are actually looking at, which (reality) levels it has to do with, unclear. The means of representation do not serve the purposes of presentation but refer in the end back to themselves. With subtle, almost invisible interventions she brings sense and order into disarray.“ Ludwig Seyfarth
Claudia Christoffel’s first monograph provides an overview of her conceptual photographic works, which were created during residencies in Chile (2006), New York (2007) and in the mountain village of Olevano Romano in Italy (2009).

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Theater of Peace

published by ngbk, Berlin

edited by Dietrich Heißenbüttel, Anke Hagemann, Karin Kasböck, Christoph Leitner und Gunda Isik

Every day, theaters of war around the world are at the center of media attention. Working for peace on the other hand is unspectacular, slow, and not very appealing. How can a place, an initiative, an artistic work become a theater of peace? What alternative perspectives can be used to counter asymmetrical conditions of visibility? Is it even possible to make peace visible, to represent it? The book Theater of Peace brings together artistic and activist strategies that make visible the hidden stories behind the different scenes of crisis around the world, intervene into public discourse, and resist the logic of war.

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fake or feint, Berlin 2010

The exhibition series fake or feint took place from January until July 2009 in project spaces at Berlin’s Alexanderplatz as well as in the Kino Arsenal. Thematically it focused on the idea of a politics of the surface, which was explored following concepts such as marking, masquerade, staging, display, disturbance, and deviance. Subsequently a publication was compiled, that transfers the formats of documentation and contextualisation developed and tested during the project into book form. The documentation of the six exhibition and film scenarios is juxtaposed with a selection of text excerpts, that are to create a narrative along the concepts relevant to the project. Edited by Martin Beck, Adrian Bremenkamp, Joerg Franzbecker together with Arsenal – Institute for Film and Video Art.

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Matts Leiderstam – Nachbild / After Image, Badischer Kunstverein, Karlsruhe 2010

With texts by Anja Casser and Wolfgang Ullrich

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Grönlund-Nisunen – Works Werke, Berlin 2010

With texts by Jyrki Siukonen and Carl Michael von Hausswolff.

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Stefan Eichhorn, Andrea Legiehn, Margret Hoppe, Hans-Christian Lotz – Marion-Ermer-Prize 2009

The Marion-Ermer-Prize, initiated in 2001, is considered an important patron of young art in the new Federal States today. In 2009 the award went to Stefan Eichhorn, Andrea Legiehn, Margret Hoppe and Hans-Christian Lotz. The publication comprises one booklet and four individually conceived artist’s books with essays written by Ellen Blumenstein, Christian Driesen, Vanessa Joan Müller, Thibaut de Ruyter, and Raimar Stange.

Jury 2009: Ellen Blumenstein (curator of the exhibition), Giovanni Carmine (Kunsthalle St. Gallen), Vanessa Joan Müller (Kunstverein für die Rheinlande und Westfalen, Düsseldorf), Dieter Roelstraete (MuHKA, Antwerpen), Christian Sery (Director HfBK Dresden)

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GAK Bremen, Künstlerhaus Bremen, Halle für Kunst Lüneburg, Kunstverein Harburger Bahnhof – Space Revised #1–4, Berlin 2009

Appropriation and loss of space, spatial deviations and social space are the four perspectives from which this cooperation project looked at the current positioning of recent artistic debates on space. In exhibitions initiated by the four institutions, space was not presented as an abstract container, but as a tangible phenomenon, a multilevel landscape, full of hills and valleys. The catalogue presents a huge range of images as well as the artists’ biographies and essays by Kerstin Stakemeier, Janneke de Vries, Stefanie Böttcher, Roger Behrens et al.

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Claudia Wieser and Bernd Ribbeck – Ich und Du, Berlin 2009

With texts by Gertrude Wagenfeld-Pleister and Noemi Smolik, edited by the Oldenburger Kunstverein.

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Andrea Büttner – I believe every word you say, Badischer Kunstverein, Karlsruhe 2009

With texts by Dan Fox, Anja Casser and a conversation with Daniel Pies.

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Kim Nekarda – Marlène et Héléna, Berlin 2009

With texts by Kim Nekarda and Maria Zinfert.

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Sabine Gross – Dauerbrenner, Berlin 2009

Text by Andrea Jahn

published by Kunstverein Friedrichshafen

The catalogue, with its detailed images of the material Sabine Gross uses, gives an overview of her installations of the past years.

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Iris Schomaker – songs of love and hate, Berlin 2009

In the series "Neun" Landeskulturzentrum Salzau, Vol 1

Iris Schomaker’s faces, figures, and landscapes are works reflecting on abstraction using iconic forms. She engages with fundamental questions of painting by combining parameters of painting, weighing them against one another: line and color, surface and space.

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Robert Gfader – Chess drawings
Berlin 2009

In a collaborate drawing session, Austrian artists Robert Gfader (*1967) and Klaus Auderer (*1968) established a dialogue and produced 40 drawings that can be read from two sides. They present the outcome as a limited edition printed on a drawing block of the finest Römerturm drawing paper. The uniqueness of the cover and style of this artist book is owed to the original paper and block used to produce this work.

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Dani Gal - Chanting Down Babylon
Berlin 2009

An artist’s book accompanying the exhibition of the same title at Halle für Kunst, Lüneburg, with an introduction by Eva Birkenstock and Hannes Loichinger.

In 1992, shortly after its take-off from Schiphol Airport, a freight plane owned by Israeli airplane company El Al crashed into a residential complex in Bijlmermeer, Amsterdam. For the exhibition and the book, Dani Gal visited the occupants of the Bijlmermeer district and journalist Vincent Dekker for the purpose of entering into a dialogue with them on the plane crash and the reassembled everyday life in the reconstructed building. Based on comprehensive research, oriented by the atmospheres and worlds of subjective memories and experiences, the book gives an overview of various occurrences and stories woven into a complex weave of abstract and formal connections.

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THE WORLD ACCORDING TO…: Iñaki Bonillas
First issue of the artist magazine published by THE OFFICE, Berlin 2009

THE WORLD ACCORDING TO seeks to challenge an artist to work in an unfamiliar way: using any source other than his own work, he or she develops an idea, a concept, a subject or a vision which can only be realized on paper. On 64 blank pages, he creates a special project by collecting images, texts, graphs, and/or by inviting artists, friends, family-members to generate content and to contribute to it.

With a regard for the aesthetics and the conceptual practices of the 1960s and 1970s, Iñaki Bonillas’ (*1981) work is an investigation of photography, the photographic medium and the possibilities of the construction of the image. For the first issue of THE WORLD ACCORDING TO, he opens his personal library for us. From William Blake to Roberto Juarroz and Georg Christian Lichtenberg.

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Egill Sæbjörnsson - The Book
Berlin 2009

Texts by Holger Kube Ventura, Bernd Milla, Christian Schoen, Karolin Tampere and Matthias Wagner K., published in conjunction with Reykjavik Art Museum, Frankfurter Kunstverein and Kunstverein Göttingen, Berlin 2009

"Egill Sæbjörnsson's (*1973) approach is conceptual, experimental and poetic and his work playfully crosses boundaries to other art forms. Egill belongs to those performance-based artists, who synaesthetically apply their great talent in many artistic fields to their work." (Christian Schoen)

Egill Sæbjörnsson is a musician as well as a contemporary artist and continually appears in new roles. This book speaks his language in terms of putting things to life, "animating" ideas, and playfully looking at "reality" and its projections.

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Rapedius/Rindfleisch – falten, schichten, wandeln
Kunstverein Göttingen, 2009

Rapedius/Rindfleisch work in the traditional genre of landscape that they interpret anew with their own idiosyncratic conception. In their works they research the quality and malleability of their material. “‘Folding’ (falten) stands for the folding and unfolding of the paper, ‘layering’ (schichten) for the stacking, piling and collecting of paper cups and cardboard boxes and ‘transforming’ (wandeln) for the conversion and alteration of natural phenomena in cultural objects, respectively for the deformation of the material. At the same time, the German ‘wandeln’ has the double meaning of ‘wandering’ and connotes here the wandering of the viewer through the artists’ fictitious landscapes.” (Susanne König)

The meticulousness of the installations is mirrored in the realization of the catalogue being an artist book printed on precious paper. The careful work with material, the feel of the paper, the change of the paper quality, the work with images and the exclusive binding make this book an extraordinary print product.

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Erik Steinbrecher - Wind in Athens
Athens Biennial, Summer 2009

For the 2009 Athens Biennial Erik Steinbrecher smuggled carrots from Germany into Athens’ National Archaeological Museum and sprayed “fresh air” from “BLIX” canned fresh air in the idyllic National Garden. Steinbrecher manipulated the photo series documenting this activity with the airbrush tool of an image editing software and had it bound as a small artist book.

WIND IN ATHENS is a limited artist edition: the 100 copies of the print run contain a signed large format card depicting the can containing fresh air.

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Gregor Hildebrandt, Berlin 2009

With texts by Heinz Stahlhut and Frank-Thorsten Moll

The use of audio cassette and video tape is characteristic for Gregor Hildebrandt’s work. The artist is not only interested in the specific materiality, but also in the texture of the audiotape as a storage medium for music. Including the multifaceted cosmos of Hildebrandt’s references into music, film, literature and the history of art, his work appears as a complex collage of figurative associations. Hildebrandt avails of his everyday’s reality and uses this as a material without any aesthetic-theoretical barriers. In this process, he connects aspects of Conceptual and Minimal Art with personal life and the experience of pop culture.

The catalogue is published in conjunction with the exhibitions ...und doch lässt etwas Kirschen blühen im April, Vattenfall Europe Mining & Generation, Cottbus, and Der Himmel im Raum, Berlinische Galerie, Landesmuseum für Moderne Kunst, Fotografie und Architektur.

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Bo Christian Larsson - On And On Is How We Are, Berlin 2009

Swedish-born Hamburg based artist Bo Christian Larsson‘s (*1976) first extensive monograph includes drawings and objects made over the past years as well as photographs of his performances and installations. His works center on the inner visions of the individual and the dialogue taking place between internal and external worlds. His imagery delves into fantastic forests, utopian cities, gloomy creatures and blinding lights. The book contains an essay by Adina Popescu and an interview with Birgit Sonna, along with a brief introduction to Larsson’s drawings by Caroline Dowling.

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Upcoming exhibitions:

June 2009           Walking in my mind, Hayward Gallery, London, UK
                          (Curated by: Stephanie Rosenthal and Mami Kataoka)
September 2009  Solo show: Magazin4, Bregenzer Kunstverein, Bregenz, Austria
November 2009   Solo show: Steinle Contemporary, Munich, Germany

www.bochristianlarsson.com

Benedikt Hipp I, Berlin 2009

With texts by Gregor Jansen and Jörg Scheller

Benedikt Hipp’s first survey catalog shows his paitings in wonderful image quality and with numerous details.

“Hipp contributes to a philosphy of life aimed at a true basis in the sense of Søren Kierkegaard, and lends it a contemporary and indeed strengthening, universally comprehensible shape, namely, in the form of aesthetics, ethics and religiosity. His mental abstraction grasps melancholy in a structural and methodical manner, and thus as a kind of ornament. He shifts the mood away from what can be grasped as concrete, grotesque and real, to a fascinating, almost spiritual relation of the individual in the dark light of the Saturnine.” (Gregor Jansen)

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Channa Horwitz – Searching Structures, Berlin 2009

With a text by Clemens Krümmel

Channa Horwitz has been working on numeric systems, rhythms, motions and on the ways to visualize the given structures since the early 60'. Presented as paintings the diagrams represent time, whilst colours represent motion. She exhibited with Sol Lewwitt and will have her first mayor solo show at Kunstverein Potsdam in Spring 2009.

Her compositions became choreographic scores, which have been interpreted in multimedia interpretations. This book is the first survey catalog of her work.

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Exhibitions (Selection):

2009 Aanant & Zoo, Berlin
        Kunstverein Potsdam

Riccardo Previdi - Fraktur, published by De Vleeshal, Middelburg 2009

With texts by Lorenzo Benedetti and Daniel Baumann in conversation with the artist

Riccardo Previdi constructs ambiguous situations: inconsistent forms of design, architecture and pop- culture are combined to form something new. For De Vleeshall in spring 2009, the artist installed Fraktur, starting with the traditional typeface of the same name.

The result is a particular dualism that illuminates cultural subtext. The accompanying booklet shows Riccardo Previdis diverse strategies and working methods in a playful and ambiguous way.

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Exhibitions (Selection):

2008 The Opposite of What We Now Know To Be True, Sommer & Kohl, Berlin
        CYK - Black To The Future, Galerie Iris Kadel, Karlsruhe
2007 Art Statements, Art Basel

space thinks, Berlin 2009

With texts by Dorothea Kolland, Uwe Jonas/Birgit Anna Schumacher and Sergej Stoetzer

As part of the “space thinks” series, eight artists (Etienne Boulanger, Franz Hoefner & Harry Sachs, Folke Köbberling & Martin Kaltwasser, Matthias Schamp, Schumacher & Jonas) carried out temporary artistic interventions in urban public spaces in the Berlin district of Neukölln until February 2009. These works deal with the many-faceted contexts offered by the neighbourhoods where the interventions took place. The projects is informed by the concept of “spacing” in urban and spatial sociology: According to “spacing”, the make-up and identity of any given space depends very much on the group (or “community”) that perceives and inhabits the space and also on the nature of the relationships between the various groups present in the space.

The book accompanying the exhibition is at the same time functioning as an independend reader und compiles contributions focussing on temporary interventions in the public space. A documentation of the art works is completed by artists biographies and list of exhibtions by the participating artists.

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FUTURE7. Pas de deux, Berlin 2009

With texts by Jennifer Allen and Markús Thór Andrésson

The work Pas de deux by FUTURE7 consists of two books. They have the same size, the same number of pages, and they are based on the same text and image material. While one book has been designed by RomyRichterTypographie, the concept of the other was invented by Nikolai von Rosen and Florian Wojnar, since 1997 operating together under the name FUTURE7.
Within this idea, Pas de deux refers to FUTURE7s general way of working as well as to their Kollektor-project. The publications will be released as an edition of 500 signed copies.

The fifty original collages the book has been made of, are also offered for sale.

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Cairoscape – Images, Imagination and Imaginary of a Contemporary Mega City, ed. by Marina Sorbello and Antje Weitzel, Berlin 2009

Cairoscape - Images, Imagination and Imaginary of a Contemporary Mega City offers insights into the dynamics of contemporary art and culture in Egypt. Taking the Arab-African megalopolis of Cairo as a starting point, Cairoscape proposes a different way of looking at modern cities and at the phenomenon of contemporary urbanization and translocality.

The book functions both as documentation of the project and as a reader. The first section focuses on the exhibition, with information on the art works and interviews with the artists. The second section is a compilation of essays and other contributions on urbanism, media criticism, image politics and art and culture in Egypt and the Middle East.

With contributions by: Mona Abaza, Doa Aly, Gilles Aubry, Claudia Basrawi, Nermine El Ansari, Sherif El Azma, Hala Elkoussy, Rana El Nemr, Shady El Noshokaty, Haytham El Wardany, Ulrike Freitag, Maia Gusberti, Khaled Hafez, Sonja Hegasy, Hermann Huber, Iman Issa, Ahmed Khaled, Hassan Khan, Susanne Kriemann, Maha Maamoun, Hany Rashed, Christoph Oertli, Samuli Schielke, Katarina Ševi?, Randa Shaath, Sascha Thoma, Achim von Oppen, Ben Wittner, Nora Younis

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Michael John Whelan. RED SKY MORNING,
Berlin 2009

With a text by Christoph Kivelitz

The video- and film works by Michael John Whelan (*1977 in Dublin) “are situated between photography and painting. His images of mundane landscapes and places in his vicinity float off into a place beyond time and space. Diffuse spatial elements eliminate the horizon line and thus any possible vanishing point of the viewer. The artist provides platforms for experiences for the viewer, within which patterns of space and time merge and dissolve. The notion of solitude and detachment becomes transformed into a gesture of slowness and meditation – into a visionary concept opposing the lived reality: a call for contemplation and decelaration.” (Christoph Kivelitz)

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Exhibitions (selection):

2009 Kunstverein Bochum
2008 Dirt. Geometry, Reiman le Bègue Galerie, Düsseldorf
2007 in flagranti, Kunstverein Dortmund (G)

Andreas Bunte. May the Circle Remain Unbroken and other works with film, Berlin 2009

With texts by Michelle Cotton, Yilmaz Dziewior, Katerina Gregos and a conversation between Kathrin Meyer und Andreas Bunte

In his 16mm films Andreas Bunte (*1970) “skillfully mixes facts with newly produced material, uses oginal source texts and invents characters (…). The production of his films is preceeded by extensive research. But it is not only an interest in history that moves him: by working with the power inherent in utopian projects he makes the almost superhuman will to change society perceptible in an impressive way.” (Silke Hohmann, Monopol 2/2008, translation: argobooks)

Andeas Bunte’s artist book has been designed in the style of a film magazine from the 1960s (“Film”) that has become a classic because of its large-format film stills and sequences as well as its beautifully simple typography. Numerous images from Bunte’s archive of research material supplement the texts, written by international critics and curators, that discuss four of his film installations.

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Exhibitions (Selection):

2009 Kunstverein Bielefeld
2008 Elisabeth Dee, New York (G)
        Kunstverein Hamburg (G)

Rooms Look Back, Basel 2009

Accompanying the exhibition at Kunsthalle Basel under the same name, curated by Simone Neuenschwander. With texts by Annette Amberg, Marc Glöde and Simone Neuenschwander

The book Rooms Look Back addresses the idea that rooms are able to look back. The centre stage were rooms as places in which alternative or fictive narrations can be constructed. The artists Rosa Barba, Ursula Mayer and Margaret Salmon were concerned with different representations of theatrical, real or fictional concepts of space in the medium of film and presented their works each in one of the rooms on the ground floor of Kunsthalle Basel. Furthermore alternating projects under the title Inserts took place: “Inserted” one after the other, the works by Manuela Leinhoß, Swantje Hielscher and Davide Cascio extended and contrasted with the exhibition’s theme using sculpture, object, drawing, and collage: Thereby they included further artistic strategies that are dealing with different references to architecture and (utopian) concepts of space.

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Integration Impossible?
The Politics of Migration in the Artwork of Tanja Ostoji?, Berlin 2009

With essays by Pam Allara, Manuela Bojadžijev, Adele Eisenstein, Rune Gade, Marina Gržini?, Suzana Milevska, Tanja Ostoji?, Judith Surkis and Sefic Tatli?

Tanja Ostoji? (*1972 Belgrade) is known for her Situationist performances involving her own body and personal life. Her recent works, such as Looking for a Husband with EU-Passport, Crossing Borders Series and Naked Life, focus on various aspects of migration, but also include feminist ideas. The texts and images in this book are composed by outstanding Balkan, EU and US theorists and expand on the themes explored in this body of work, supplying additional insights. The book comprises colour images, written descriptions and commentaries on the three larger projects by the artist, as well as transcripts from discussions carried out in the framework of the actual works.

“The real scandal of her work lay not in its sexual explicitness, but in how it located sex at the centre of European politics.” – Judith Surkis

“The expelled, the displaced, the ghettoised, the imprisoned, the immigrated, the war refugees and the Roma: all these marginalised and excluded people treated as “homo sacer” are subjects of Tanja Ostoji?’s interest.” – Suzana Milevska

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Exhibitions (Selection):

2008–09 Re.act Feminism, Akademie der Künste Berlin
2008      Integration Impossible?, Kunstpavillon Innsbruck;
             Galerie im Taxispalais Innsbruck (A)
2007      Global Feminisms, Brooklyn Museum, NY

Heiko Blankenstein. Drawings, Berlin 2009

With a text by Isabel Zürcher

Heiko Blankensteins (*1970) obsessive drawings and lightboxes with their figurative imagery and multiple narrative levels can be seen in a tradition of outsider artists such as Henry Darger. This full color catalog gives an overview over the major works of the last years and additionally shows fascinating details.

Heiko Blankenstein “places his own work into existing iconography. Not all motives derive from the author himself, but instead converge as a result of unrestricted combinatorics, embedding studies of nature as well as art history in a new state of aggregation. Astronomical and alchemist illustrations of early modern times have devised their genotype in them, depictions of cosmologic models, the prospectus of old master landscapes, interior spaces of historic examples of architecture. Visionary solar systems overlap treetops, while their gnarled trunks, like models of a seismogrphic survey, disband any expectation of natureHeiko Blankenstein.” (Isabel Zürcher)

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Exhibitions (Selection):

2008 Solo presentation 101, tokyo art fair
2007 every eye sees differently, the drawing room, London (G)
2005 Lombard Freid Fine Arts, New York

EMBEDDED ART – Art in the Name of Security, Berlin 2009

Accompanying the exhibition at the Academy of Fine Arts, Berlin, curated by Olaf Arndt, Janneke Schönenbach, Moritz von Rappart and Cecilia Wee

As the waves of international terrorism reach vital organs all over the world at the beginning of the 21st Century, new threats curtail the dream of a peaceful, undivided and secure world. In response to these circumstances, state and private organisations across the globe are producing new tactics, strategies and technologies to fight the dangers threatening our democracies and jeopardising our understanding of the term “civilisation”. Indeed, everything that can be performed “in the name of security” appears desirable: security has now become an ideology. The publication “embedded art. Art in the Name of Security” interrogates these pressing issues, appropriating the words of composer Gershon Kingsley to ask its audience, “what would you give for security?” As a reference book to the subject, the publication compiles cutting-edge contributions by sociologists, historians, media artists, politicial and cultural scientists such as Peter Bexte, Alfred McCoy, Steve Goodman, Ken Hollings, Wolfgang Pircher, Florian Rötzer und Steve Wright.

Design: Gunter Rambow

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Artists: ADAM BROOMBERG & OLIVER CHANARIN ALEXANDER KROHN & MOHAMED BAKRI ANDREAS STRAUSS ANGELIKA SCHNEIDER- VON MAYDELL BBM CAMERON BOBRO CHRISTINA ZÜCK & ZAHID HUSSEIN FONS HICKMANN GEORG SCHMALHOFER GUNTER RAMBOW HANSWERNER KROESINGER HEIDI SPECKER JACQUES COETZER & AHMED ALBEEK JOHN JORDAN JONATHAN BARNBROOK JÖRG MÖLLER YÖRN BUTTELMANN KALLE LAAR KEN HOLLINGS & RATHNA RAMANATHAN KEVEN MCALESTER KLAUS STAECK & REMOTEWORDS KORPYS / LÖFFLER LARS VAUPEL LILLEVAN & ZAJI CHALEM LUTZ WESTERMANN & PETER HALASZ (†) MONIKA SCHEDLER MORITZ R® NEVILLE BRODY OLIVER KUNKEL OMAR VULPINARI PAUL B DAVIS & GERSHON KINGSLEY PETER KENNARD & CAT PICTON PHILLIPPS RICHARD DEDOMENICI SALLY GUTIERREZ SIMON TYSZKO STEVE GOODMAN AKA KODE9 & TOBY HEYS THOMAS HEISE TIMM ULRICHS U.R.A./FILOART VALENTINAS KLIMASAUSKAS VASSILIOS GEORGIADIS YUKO SHIMIZU AND ZSOLT BARAT

SUSI POP bin ich, Berlin 2009

With texts by Günter Erbe and Annette Tietenberg

In the unfocused area of crossover, in the reverberating chambers among the realms of music, design, and art, there is often a lot of talk about remix, sampling, or cover versions. SUSI POP prefers a concept that sounds more antiquated, but much more charming: medley. Derived from the Latin misculare, miscere, “to mix,” “medley” announces a compilation of familiar melodies. Such a mixture not based on chronologies, questions of style, or work complexes. Anything’s allowed. From the plethora of pictures that are exhibited in museums and circulate as images in catalogs, magazines, or data networks, SUSI POP selects icons by recognized greats like Gerhard Richter, Lucian Freud, Jackson Pollock, or Pablo Picasso, and reproduces them on a 1:1 scale. Her art can be understood as a contemporary version of the appropriation art practiced in the 1970s and 1980s. (Annette Tietenberg)

The catalogue compiles various work groups since SUSI POPS beginning 21 ago until today.

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Exhibitions (Selection):

2009 Man Son, Kunsthalle Hamburg
2008 Just Different, CoBRa Museum, Amstelveen, NL
2007 TERRY ATKINSON and SUSI POP ...are leaving the agmoas sector,
        Zwinger Galerie, Berlin

Jonathan Monk. Coloured People in Black and White, Berlin 2008

In the series Kunst und Theorie. Künstlerhäuser Worpswede No. 6 edited by Bernd Milla.

Jonathan Monk’s (*1969) field is conceptual art of the 1960s and 1970s. He approaches art history and works on its subjects with a certain sense of humor.

Ed Ruscha’s artist book with 15 photographies of gorgeous cactuses, Colored People (1973), was first named “People in Color”. What Jonathan Monk and Ed Ruscha have in common at least, is their preference for titles, which open an additional level.

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Exhibitions (Selection):

2008 Haus der Kunst, München
        Palais de Tokyo, Paris
        Kunsthalle Düsseldorf

BUY BUY by Erik Steinbrecher
Kunst Halle Sankt Gallen, 2008

published on the occasion of the exhibition A Town (Not a City), a group show at Kunst Halle Sankt Gallen, curated by Giovanni Carmine and Thomas Boutoux in collaboration with bookhorse, Zurich

Erik Steinbrecher’s (*1963) photographic series are beautiful image archives and at the same time informative social studies. In BUY BUY the swiss artist living in Berlin focuses on package deals and price tags of international fast food restaurants and bargain shops. The booklet complies the “best offers” with its affectionally drawn typography and impressive combination of colors as well as the palette of hand made price tags and impressive shop window arrangements.

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Exhibitions (Selection):

2008 Galerie Barbara Weiss
        Mimétisme, Extra City, Antwerp
        Stampa Basel

Stefan Schuster: Unfinished Journeys, Berlin 2008

Stefan Schuster's new artist book is a travel journal of a kind: He sets off to tell stories of travelers and night birds, which could happen everywhere and to all of us. With one single sentence he is opening a tune and raises a field of memories of special trips, late nights out and returns on early mornings.

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Exhibitions (Selection):

2008 remixed, Alexandra Saheb, Berlin
        freunde und bekannte, sparwasserhq, Berlin (G)
2006 don’t be so strict with yourself, croynielsen, Berlin

Antonia Low. Low Deluxe, Berlin 2008

Antonia Low (1972 in Liverpool) finds her material and her ideas on building sites, in the streets and in empty spaces of her hometown Berlin. The artist experiments with everyday material in expansive installations; she obstructs the view, exposes structures, analyses given situations and through this manages to unsettle general points of view:

The artist book documents the often temporary artworks and shows fascinating details. “As a modern archaeologist she looks back to the past, hoping to lay bare and to discover hidden treasures. With almost forensic precision she tries to penetrate reality, searching to grasp the past and the present.” (Hilde Teerlink) The artist book is documentating the often temporary works and its details.

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Exhibitions (Selection):

2008 Das Experiment von Käselow, Refugium II, Berlin
2006 Westfälische Kulturarbeit, Westfälisches Landesmuseum Münster
2006 Jugend forscht, etc., Klara Wallner Galerie, Berlin

Max Frey. Neue Galerie am Joanneum Graz, Berlin 2008

With an Essay by Günther Holler-Schuster

Austrian artist Max Frey is conducting experiments on the cutting edge between kinetics and cybernetics. Here, contexts of perception meet programmed coincidence. Motion, light and contingency are his key notes.

The book, published on the occasion of his solo exhibition at Neue Galerie am Landesmuseum Joanneum Graz, is at the same time the first monographical publication on the artist. With numerous full-page color plates, it gives a survey on his work so far. Additionally, it contains an extendable set of cards, each showing one work with one color photograph and a short description.

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Exhibitions (Selection):

2008 Neue Galerie am Landesmuseum Joanneum, Graz
        New Talents, Art Cologne
        Krobath Wimmer, Wien
2007 Parrotta Contemporary Art, Berlin

Peggy Buth. Desire in Representation, Travelling through the Musée Royale,
Jan van Eyck Academie, Maastricht 2008

“Desire in Representation”, an artist’s book in two parts, is the result of a comprehensive documentation and research project which began at the Royal Museum for Central Africa founded in Tervuren (near Brussels) in 1907. It combines documentary photo material of the museal representation of Central Africa and its colonisation with a narrative created by quotations of travelogues and adventure stories, archival images and historic documents from the colonial days of Belgium and Germany. The publication focuses on the colonisers’ desires, expectations and aspirations and the way in which these find expression in their self-portrayals and in the images of the ‘other’. An appendix lists the sources used and provides further references through additional information and image material.

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Exhibitions (Selection):

2008 Brussels Biennial
2007 made in germany, kestnergesellschaft/Sprengel Museum/Kunstverein Hannover
2006 Tales from the Travel Journal Vol.I, Contemporary Art Centre, Vilnius Litauen

Susanne Bürner. Only You, Berlin 2008

Susanne Bürner (1970) shows ecstatic fans expressing longing and despair through their mimics and gestures. For the reader, however, the subject of attraction is off-frame, hidden to the viewer and therefore missing. The book functions as a container of these people while the subject is outside the book as well as we as the readers are.

“Susanne Bürner explores the thresholds of representation. How does the viewer absentmindedly become the actor of cinema’s fantasy? Bürner produces subject–object relationships that problematise the question of inhabiting a world conceived as representation. “(Vincent Honoré).

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Exhibitions (Selection):

2008 Goethe-Institut, Honkong
        Past Forward, Zabludowicz Collection, London (G)
2007 Performance Z-A: a Pavillion and 26 Days of Events, Storefront
        Gallery, New York
        Macho Painter Scum, Prag Biennale

Luca Trevisani. The effort took its tools, Berlin 2008

With texts by Luca Cerizza, Dominic Eichler, Simone Menegoi

Luca Trevisani’s (1979) beautiful, flamboyant book with its overlaid images, collages, and eccentric typo serves as an archive of his sources, readings and inspirations as well as a documentation of his recent works.

“If Trevisani works quickly, it is the present-day condition that demands it; the awareness of being part of this constant flow of data, materials and images in transformation that does not permit the solid state. In the liquid modernity there is less and less space for definitive form: everything flows, really. It’s only a short leap from Heraclitus to bytes.” (Luca Cerizza) References include Klaus Bach, Berthold Burkhardt, and Frei Otto, Jean Baudrillard, Alice Munro, Petra Blaisse, Marco Belpoliti, Bruno Munari, Peter Sloterdijk.

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Exhibitions (Selection):

2008 Manifesta 7, Trentino (G)
        Galerie Mehdi Chouakri, Berlin (S)
        Gio Marconi, Milan (S)
        Künstlerhaus Bethanien, Berlin

Egill Saebjörnsson, Berlin 2008

In the series Kunst und Theorie by Künstlerhäuser Worpswede, No 3, edited by Bernd Milla

Since the late 1990s Egill Sæbjörnsson (*1973) has been developing a unique approach towards the use of material, style and subject. Sæbjörnsson has built up a language different from others combining installations, video, performance, music, photography and theater. His works sometimes seem different in-between them but there is an underlying thread that connects the works in a rich and complex way. She Was a Fighter is a small book with drawings and texts and an audio CD with Sæbjörnsson compositions. It shows a new side on this otherwise multifaceted Icelandic artist living in Berlin since 1999.

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Exhibitions (Selection):
2008 Egill Sæbjörnsson, I8 gallery, Iceland
2007 Three Daily Exercises, Kölnischer Kunstverein “egillegillegill”,
        Cueto Projects, 21st Street New York, curated: Gyonata Bonvicini.
        New York, USA 5 Bottles, Falkecharlotte,
        Ellen de Bruijne Project, Amsterdam
2005 An Idear 4 Thwoo Feet, Two Hands & 4 Corners, Performance,
        Gallery Isabella Bortolozzi, Berlin

further exhibitions and information under www.egills.de

Skafte Kuhn. Hervor aus Gebirgen des Nichtmehr, Berlin 2008

“Sound artist“ Skafte Kuhn presents an artist book, which looks like a precious special edition of an LP album. The texts are taken from song lyrics of 13 LPs by Anne Clark, the Rolling Stones, Johnny Cash or ACDC. Sakfte Kuhn transformed them into the poetic language of Schlegel, Tieck or even Shakespeare, juxtaposing them with 13 ink-pencil portraits showing the individual singers.

“Skafte Kuhn went through the recent history of music and selected lyrics dealing with darkness, gloominess and the colour black. (…) It is … surprising how little historical and contemporary thought differ, how strongly emotionality and individualism appear as constants,” (Bettina Steinbrügge)

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Exhibitions (selection):
2008 "Legend", Departmental Domain Charmande, FR (G)
2006 "Es braucht die Nacht zu glauben.", Galerie Iris Kadel, Karlsruhe (S)
2003 "Morgen kommt heute und Gestern wird folgen", Bakery,
        Projectspace Annet Gelink, Amsterdam, NL, (S)

Johannes Buchholz. Drawings, Berlin 2008

Published on the occasion of the exhibition at the Morat-Institute, Freiburg

As in the „thin cities“ Zenobia, Ottavia and Armilla in Italo Calvino’s Invisible Cities “the cityscapes of Johannes Buchholz (*1961) seem to detach themselves from an above and below, right and left, near and far. The artist begins each series of drawings on site. He installs himself on balconies and roofs, places where he can get an overview. Incidental constructions, dynamic and rhythmic lines gather on the paper.” (Annette Thomas)

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Exhibitions (Selection):
2007 Kunstpreis Tempelhof-Schöneberg, Berlin (G)
2006 Goldberg Zyklus, Galerie Alexandra Saheb,
        Berlin Bochumer Künstlerbund, Museum Bochum
2005 Der Englische Gruß & Goldberg-Zyklus, Martinskirche, Müllheim/Baden
1997 Künstler aus Baden, Musée Jenisch, Vevey, CH (G)
1994 Bochumer Künstlerbund, Museum Bochum (G)

Peter Pommerer, Berlin 2008

In the series Kunst und Theorie by Künstlerhäuser Worpswede, No 2, edited by Bernd Milla.

Peter Pommerers (*1968 Stuttgart) drawings and wall paintings develop an unique cosmos of image stories, signs and ornaments. Bist Du ein Wandelicht so melde Dich starts with David Bowies Major Tom, leads over Adam and Eve and paradise to the northern german marshes, however, ends in total silence with the work pssst...stille.. The ‘walking light’ (Wandellicht) was an instrument of nautical navigation systems using Labyrinths.

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Exhibitions (selection):
2007 carlier I gebauer, Berlin
2005 Sprengel Museum, Hannover
2003 actionbutton, Hamburger Bahnhof Berlin, (G)
2000 Galerie Foksal, Warschau

Männerfantasien, Berlin 2008

Published by Ellen Blumenstein for COMA, Centre for Opinions in Music and Art

Männerfantasien II is investigating male subjectivity and men’s changing self-perception in increasingly blurred gender formation and contradicting role models. The title and scope is inspired by cultural theorist Klaus Theweleit’s late 1970s bestseller Male Fantasies. Theweleit described a pathological idea of „real masculinity“, and thus set the discourse on masculinity in Germany rolling.

The combination of images and texts in this book presents a selection of “male fantasies” in the sense that each contribution allows the artists’ personal perspective on his work and to locate it in the context of male fantasies.

With works by: Alejandro Cesarco, Brock Enright, Matt Greene, Nicolás Guagnini, Michael Kunze, Rodney McMillian, Michael Müller, Pablo Pijnappel, Adam Putnam, Mladen Stilinovic, Charlie White.

Design: Alexander Hahn

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Adib Fricke. A Gorilla in a Mirror, Berlin 2008

With a text by Knut Ebeling, published by Edzard Brahms/Realace, Berlin 2008

This book has not the shape of a line but of a ball, without beginning and end. It starts at each spot, on each page. One takes a stroll in a kaleidoscope-like labyrinth, made of sentences and assertions, that begins nowhere and ends nowhere so that eventually the statements circle around the reader like projections of a mirror ball. (Knut Ebeling)

With A Gorilla in a Mirror, Adib Fricke, linguist in technical times, who undertakes an archeology of digital writing, has created an elaborate artist book. Printed high-quality, with four full tone colors and protective lacquer, it makes for an outstanding visual experience.

The book is being released at the exhibition in the Gallery Realace, Wilhelmstraße 138, Berlin.

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Exhibitions (Selection)
2007 A Matter of Space, Realace, Berlin
2006 My Private Corpus, Villa Grisebach Gallery, Berlin
2004 You Can Dump Me, Poetische Positionen, Kasseler Kunstverein, Kassel
2003 Marmelade aus Mexiko, IMH Campus Charité Mitte, Berlin

further exhibitions and informationen under www.TheWordCompany.de

Poul Gernes. Continued, Berlin 2007

With texts by Yves Mettler and Ben Kaufmann, published by Galerie Ben Kaufmann

Recently rediscovered Danish artist Poul Gernes (1925–1996), was little known beyond his home country until up to the 1980s. This certainly changed by the time his flags were shown at the documenta 12 – by invitation of Cosima von Bonin. However, a range of young artists had already modelled on his room design for a while. This is due to the fact that Poul Gernes pioneered in designing public and private buildings and this way added color to the cities long time before public art became popular. Amongst room presentations his work embraces series of pictures with magnificent colored patterns, letters and flower sequences which are thoroughly documented in the magazine, following Gernes’ understanding of design. The only existing print of a lithography by the artist from 1964 serves as a sample for the cover.

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Steven Black. Works 2002–2007, Berlin 2007

With a text by Timm Rautert, published by Galerie Alexandra Saheb

Steven Black’s first catalogue provides an overview of his art works of the past five years. His sensitive oil paintings portray friends, acquaintances, former fellow students and teachers in only barely suggested spaces. The sketchiness of the surroundings form a strong contrast to the relief-like, well-elaborated faces and mirrors on the one hand the portraying process and on the other hand the relationship between painter and model. The catalogue has been produced in close collaboration with the artist. A short essay from the perspective of the model/of those portrayed and a curriculum vita of the artist complement the exhibition catalogue’s illustrations.

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The catalogue is published on the occasion of an exhibition of Steven Blacks work at Galerie Alexandra Saheb, Berlin 30 October to 20 December 2007.