Walther König Knihy

‘The ghosts of Gertrude Stein and Francis Ponge hover about these short texts, in which objects become subjects, surface depth and language reality.’ – Tom McCarthy‘In Commuters, the material world is being remade: as confounding and saturated as we pretend that it isn’t.’ – Sally O’Reilly‘…a way of seeing that is startlingly original, and profoundly consoling.’ – Claire-Louise BennettAboard a beaten bus, fragile passengers are transported to a gloomy stop, while a cat stares silently, alone in a stationed trailer.‘Commuters’, the third book of writing by British artist Toby Christian (b.1983), bids us to work with a new train of accounts, travelling between objects and spaces from Vienna to Matera, Liverpool to London.Written in Christian’s trademark dazzling detail, passages teem with feral poetics in descriptions that tilt between the headspaces of guided meditation and hyper-forensic rave. ‘Commuters’ is a searching shuttle through alternative text, zooming to a stellar end.With an introduction by Chris Fite-Wassilak.

Ljubow Popowa gehört zu den ?Amazonen± der russischen Avantgarde. Ihr grandioses Werk entstand in der kurzen Zeitspanne zwischen 1908 und 1924. Trotz ihres frühen Todes mit fünfunddreißig Jahren arbeitete die Künstlerin in praktisch allen Genres der bildenden Kunst und hinterließ ein kolossales Erbe: Landschaften und Stillleben, Aktstudien und Zeichnungen von Bäumen, kubistische Bilder und Zeichnungen, suprematistische0Arbeiten, konstruktivistische Kompositionen, Entwürfe für das Theater, Schriftplakate, Buchillustrationen und Stoffdesigns.0Ljubow Popowa verstand es, die unterschiedlichsten Kunstrichtungen zu atemberaubenden Innovationen zu verbinden. Doch als Meisterin mit unbändigem malerischem Talent blieb sie sich stets selber treu.0Die Sammlung der Werke von Ljubow Popowa in der SEPHEROT Foundation (Liechtenstein) repräsentiert den gesamten Entwicklungsweg dieser brillanten Vertreterin der russischen Avantgarde und offenbart die Originalität und Vielschichtigkeit ihres Werks

The ?Pictograms, Signs of Life, Emojis: The Society of Signs? catalogue explores the questions: What objectives, and hopes are linked to the development of the modern language of images, including emojis? To which issues of their time are they each reacting to? Do they expand our possibilities of expression or do they limit them by defining stereotypes? The focus of this catalogue is on lexicons and systems of pictorial signs devised by designers and artists like Gerd Arntz, Marie and Otto Neurath, Otl Aicher,0Yukio ?ta or Wolfgang Schmidt and others. How functional or engaging do the designers consider their pictorial signs to be? Are they interested in universal forms of communication or personal spaces of retreat, rapid transmission of information or complex or poetic forms of language, abstraction or individualisation?00Exhibition: Leopold-Hoesch-Museum, Düren, Germany (24.09.2020 - 11.04.2021) / Museum für Neue Kunst, Freiburg, Germany (07.05. - 12.09.2021).

"In seiner konzeptionellen Arbeit greift Joerg Waehner auf ein umfangreiches Archiv zurück, das er als Entgegnung auf die Sammelwut des DDR-Staates und seiner Sicherheitsorgane, mal in innerer Abwehr und mal zur äußeren Verteidigung, gar zu einer parallelen Entleerung der Allmacht eines Staates angelegt hat, 'denn auch er beobachtete, notierte, sammelte - die Beweise für das, was unglaublich, ja, absurd wäre, wenn er es nicht getan hätte', wie Katja Lange-Müller Waehners Arbeitsweise beschrieb. Die Aufbereitung seines Archivmaterials ist für Waehner künstlerische Strategie und Methode, um sich in der Gegenwart mit der Vergangenheit auseinanderzusetzen und für den Betrachter eine Möglichkeit zur sinnlichen Wahrnehmung zeitgeschichtlicher Momente zu schaffen."-- Velagshomepage

A tribute to the life of a German Jewish gallery owner, from dispossession to success in Canada In 1934, the art dealer Max Stern (1904-86) took over Galerie Stern, which was founded by his father on Königsallee in Düsseldorf. This publication follows Stern's extraordinary life, from being forced to abandon his business to the Nazis, to becoming one of Canada's most influential gallery owners.

An artist's book-cum-diaristic account of one frenetic year in Murillo's life This publication presents a year in the life of Colombian artist Oscar Murillo (born 1986), whose work spans many mediums, exploring cross-cultural ties in the globalized economy. Following him from Croatia to New York to Berlin and beyond, By Means of a Detourchronicles a single year of the artist's life. The year chosen, 2019, also serves as the culmination of the first ten years of Murillo's much-acclaimed career--of constant travel, research and making work. The book's form--printed on mock loose-leaf paper and scattered with iPhone screenshots and frenzied doodles--reflects the frenetic nature of Murillo's life and the year he chose to document. The book's inconsistencies and rough, unfinished appearance are the product of a collaboration with Olu Odukoya, whose anarchic and anti-authoritarian--or "primitive," as he calls it--spirit have helped to produce a volume with particular design flair.

In her stirring essay, Art on the Frontline, scholar and activist icon Angela Y. Davis asked, in 1985, ?How do we collectively acknowledge our popular cultural legacy and communicate it to the masses of people, most of whom have been denied access to the social spaces reserved for arts and culture?? Looking to the cultural forms born of Afro-American struggles, Davis insists that we attempt to understand, reclaim and glean insight from0these in preparing a political offensive against the racial oppression endemic to capitalism. Working from a site of racial uprising some 35 years later, artist Tschabalala Self responds to Davis?s words with a new series of characteristically vibrant, challenging and provocative works on paper. Her series of three individual subjects emerge collectively as something greater than their parts, suggesting in the ebbs and flows in joy and disdain a kind of0shared social consciousness