Walther König Knihy

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

‘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.

A chronological record of overheard and collected remarks, from movie quotes to elevator chats This artist’s book by New York–based artist Lutz Bacher (born 1962) is a chronological record of remarks collected by Bacher from a variety of sources, including cable television advertisements, movies, news broadcasts, radio, novels, airplanes, subways, sidewalks and elevators between 2013 and 2018.

"In 1903 W. E. B. Du Bois's text The Souls of Black Folk made history as a work of sociological thought, and would go on to become a cornerstone of African American literature. In it, Du Bois combined music, history and memoir to advance a vital message of resistance in the uniquely dehumanising context of the so-called 'Jim Crow' era. It was in this collection that Du Bois, in 'Of Our Spiritual Strivings', wrote of the 'double consciousness' experienced by the Black subject -- a 'sense of always looking at one's self through the eyes of others, of measuring one's soul by the tape of a world that looks on in amused contempt and pity'. Refusing this fate, Du Bois passionately and creatively makes the case for the rights of Black people of the South to be treated with equality and justice. Over a century later, artist Christina Quarles brings new energy to Du Bois's unfinished project, speaking to his melodious text with her own distinctive visual poetics, testing and inverting the 'double consciousness' idea. Quarles, whose work is informed by her own daily experience with ambiguity, engages with the world from a position that is multiply situated."-- Provided by publisher

This book is a free associative recount of the 'I Prefer Not To' lecture series staged by architect Peter Swinnen at the ETH Department of Architecture (Zürich).Twelve particular guests touch upon various attitudes of professional abstinence and/or obstinacy.In an offbeat manner, 'I Prefer Not To' can be understood as a critical re-assessment of architecture's social and political ethos, often tightly contained and devoid of any unforeseen mischief.Through the words, positions and works of the speaker guests 'I Prefer Not To' managed -- for a brief moment -- to install an unformatted stage for problematization and debate.Each lecture is introduced by an editor's note, contextualizing specific choices and unadapted zooms.Contributors include Luc Tuymans, Christian Kerez, Something Fantastic, Anne Lacaton, Jan De Vylder, Philip Ursprung, Tom Emerson, Laurent Stalder, François Charbonnet, Anri Sala, Maarten Delbeke, Finn Williams, Arno Brandlhuber, ETH Studio Swinnen, Sophia Holst and Beatriz Van Houtte.

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).

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.

This is an anthology of the artist?s collected comics from 2011 to 2020, only allegedly a casual branch of her practice. It includes November (2011) and At the cool table (2013) as well as lesser known, shorter comics of the last few years. Von Wulffens comics address the social codes of the art world, the daily life of being a female artist, and nightmare-like, surreal psychogeographies. They poignantly and parodically observe fears of failure, loneliness, competition, so-called good taste, and sexual affairs, while questioning a clear cut distinction between high and low, artistic genius and amateurism.00Exhibition: KW Institute for Contemporary Art, Berlin, Germany (28.11.2020 - 14.02.2021).

Ripeness is black with Victor Man. His greys and modulated blacks are non-minimalist, anti-hard edge. They are alien to the uniform, pigmentary, black paintings of Motherwell, Kline, Newman, or Still, which originate in a conceptually sensorial take on color. Man?s work also differs from the overlytextured, narcissistic, and self-consciously hand-crafted blacks of Hartung or Soulages. The blue-green-black tones in Victor Man are ?gments rather than pigments. They are reminiscent of the medieval grisaille, that consummate technique for encapsulating a dazzling0Texts: Rachel Corbett, Enzo Cucchi, Erwin Kessler, Karl Holmqvist00Exhibition: Galerie Neu, Berlin, Germany (11.09. - 31.10.2020).

New poems from Jimmie Durham juxtaposing observations of nature with scientific studies American artist Jimmie Durham's (born 1940) third book of poetry, Particle/Word Theory collects 38 poems written between 2014 and 2019, and 13 drawings. These poems, for Durham, express his belief that "art and science are the same thing."

"2020 lud Juliette Blightman Dorothy Iannone zu einer Zusammenarbeit im Rahmen einer gemeinsamen Ausstellung für den Kölnischen Kunstverein ein. Die Arbeit (Ta)Rot Pack (1968-69) von Iannone ist Ursprung für das dreiteilige Projekt: "Liebe ist die Inspiration für meine Arbeit. Ich schuf (Ta)Rot Pack, eine Serie von 27 Karten, die das Leben Dieter Roths - meines Geliebten und meiner Muse - darstellen, während der ersten Phase unserer Beziehung." Dorothy Iannones (Ta)Rot Pack führte Juliette Blightman zur Idee einer weiteren Version der Tarot-Karten: ihrer Serie Stages of Seed Development (2020). "Ich bildete die Original-Tarotkarten nach, indem ich jede Arbeit nach einer Karte der Großen Arkana benannte und darauf verschiedene Motive meiner eigenen Arbeiten zeige."Die Publikation ist die zeitlose Manifestation dieses Ausstellungsprojekts in der Nebeneinanderstellung der Tarot-Karten beider Künstlerinnen."

Myths and Manifestos? is a compendium of dramatic and polemical texts written and released, by the artist entity Studio for Propositional Cinema between 2009 and 2021. Scripts for a play, a libretto, and an epic poem are punctuated by manifestos and public speeches that act as bridges between them. Together they reflect and warn of an encroaching ideological dark age in which our culture?s communicational forms are becoming increasingly endangered and alienated from our collective control, while making some modest proposals for how we can make space to relearn and retain them, if0there is still enough time to do so

An ethereal late work by the Smithsons, hidden in a German forest In 1984, German furniture-maker Axel Bruchhäuser reached out to architectural duo Alison (1928–93) and Peter Smithson (1923–2003) with a playful letter ostensibly written by his cat and addressed to theirs. The letter between cats inquired about commissioning the Smithsons to build several lookouts on Bruchhäuser’s home, known locally as the “Hexenhaus” (the “Witches’ House”―a common name in the area where the Brothers Grimm wrote their fairy tales). Started in 1986 and completed in 2001, and located in a dense forest in Hessen, the renovation that the Smithsons undertook constituted an example of what they called “law of the conglomerate.” Step by step, the house was expanded and opened to admit the light as well the trees, which became part of the interior. The house’s primary materials are wood and glass, providing a poetic example of latticework and a stunning use of natural light.

Two iconic female artists reflect on life, death, motherhood and painting This volume presents the full transcript of a conversation between artists Luchita Hurtado (born 1920) and Julie Mehretu (born 1970). Recorded on 16mm film by fellow artist Tacita Dean (born 1965), the discussion took place on their shared birthday in 2020, marking a combined age of 150 years.

The life and legacy of the influential Californian art movement, from James Turrell and Helen Pashgian to recent artists such as Anish Kapoor and Olafur Eliasson This volume pays homage to Southern California's pioneering Light and Space movement, providing insight into the atmosphere of the 1960s and '70s LA art scene, highlighting female protagonists and exploring its interdisciplinary approaches to art and technology. Light & Space also discusses the movement's legacy in contemporary artistic practices, and features special sections on, and interviews with, Light & Space artists. Artists include: Anish Kapoor, Ann Linn Palm Hansen, Ann Veronica Janssens, AVPD, Bruce Nauman, Connie Zehr, Craig Kauffman, De Wain Valentine, Doug Wheeler, Elyn Zimmerman, Eric Orr, Fred Eversley, Helen Pashgian, James Turrell, Jeppe Hein, John McCracken, Judy Chicago, Karin Sander, Laddie John Dill, Larry Bell, Lita Albuquerque, Mary Corse, Olafur Eliasson, Peter Alexander, Robert Irwin, Ron Cooper and Susan Kaiser Vogel.

The publication is thought as a guide to the work of Katarzyna Kobro (1898-1951), a Polish avant-garde sculptor. 0She is a prominent representative of the Constructivist movement in Poland. 00Through essays, as well as descriptions of some of her pieces and projects, readers will understand her work as an example of avant-garde experiments with space, which are eagerly evoked in contemporary artistic practices

Revolutions of Choice marks Barkow Leibinger?s third edition of their atlas series following Bricoleur Bricolage (2013) and An Atlas of Fabrication (2009). Complimenting Barkow Leibinger?s retrospective exhibition of the same title at the Haus am Waldsee in Berlin (2020) this manual-like format, like the earlier editions, focuses on the practice?s material experimentation and research with an emphasis on processes. Rather than a chronological ordering of projects these investigations are selected around six work areas: bundles, casting, topographical, liminal façade, ultrastructural, and frames.0Produced between 2014 and 2021 this collection marks Barkow Leibinger?s0ongoing commitment to architecture as an evolving discipline that responds0to emerging technologies and materiality and how imagination and experimentation harness them.00Text: Frank Barkow, Philip Ursprung, Ludwig Engel, Brett Steele

'K.H. Hödicke: Malerei 1961-2015' is published on occasion of the exhibition of work from Karl Horst Hödicke, Hall Art Foundation, Germany, 2020/22.A pioneering figure of 1980s neo-expressionism and an important inspiration for the Neue Wilde painters, Hödicke is best known for his variegated depictions of Berlin, where people, landscapes, and architecture take on an almost folkloric quality.This catalogue comprises approximately 40 paintings and sculptures produced between the mid-1960s and the mid -1990s, including works in which Hödicke portrays West Berlin during the separation.English and German text.Published on occasion of the exhibition 'Karl Horst Hödicke: Berlin kommt nach Niedersachsen', 6 Sep 2020 - 20 Mar 2022, Hall Art Foundation, Kunstmuseum Schloss Derneburg, Germany.

The taste of Studio Jeppe Hein by artist couple Silke and Jeppe Hein is not a typical cookbook, just as it isn't merely an art book.Besides recipes from the studio kitchen, it provides an exclusive insight into the studio and the art that is created there.Images of artworks, studio life and exhibition projects mingle with images of ingredients, the roof garden, the kitchen and shared lunches.Artists Sophie Kitching, Jose Dávila, Lilibeth Cuenca Rasmussen and Anselm Reyle each hosted a rainbow dinner.Author and philosopher Finn Janning contributes with a Philosophy of the Saucepan.The book illustrates Silke and Jeppe Hein's great passion for art and cooking and how important eating together is to them in their life and work.

Das Pendel-Experiment des Physikers Léon Foucault gilt bis heute als eines der berühmtesten in der Geschichte der Wissenschaften. Hat also Foucaults Pendel immer noch mit uns zu tun? In seinem Buch geht Michael Hagner dieser Frage nach und erschließt die wissenschaftlichen, politischen, religiösen und ästhetischen Kontexte des vielfach wiederholten Versuchs. Dabei zeigt sich, wie die Frage nach dem Zusammenhang von kosmischen Vorgängen und menschlichen Belangen vom 19. Jahrhundert bis heute in immer neuen Konstellationen aufgeworfen wird.

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

"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

Die Bonsais auf Norbert Schoerners Fotografien sind aus der Aufzucht der Familie Abe, die in der Nähe von Fukushima lebt. Seit drei Generationen ziehen diese Meister - Kurakichi, sein Sohn Kenichi und sein Enkelsohn Daiki - Bonsai aus Samen. Dabei handelt es sich ausschließlich um Samen von Baumarten, die im Schatten des Vulkanberges Azuma-Kofuji zu finden sind. Für seine Fotografien stieg Schoerner auf den Berg und nahm eine Reihe von Landschaftsbildern auf. Davon ließ er Abzüge so großformatig anfertigen, dass wenn die Bonsais der Familie Abe davor aufgestellt und im richtigen Licht fotografiert wurden, die Miniaturkiefern aussahen wie ausgewachsene Bäume. Es entstehen konstruierte dioramahafte Umgebungen. Angesichts der Auswirkungen des nuklearen Desasters des Kernkraftwerks Fukushima Daiichi 2011 auf die Ökologie der Region unmöglich, diese Werke unabhängig von dieser Katastrophe zu betrachten. Der Betrachter der Bilder wird unmittelbar mit den zerstörerischen Folgen dieses Ereignisses und den Versuchen der Menschheit, die Natur für ihre eigene Zwecke zu nutzen und zu beherrschen, konfrontiert.