Karin Sander Knihy

An exploration of the relationship between the Swiss and Venezuelan pavilions at the Giardini della Biennale in Venice. The Swiss Pavilion at the 18th International Architecture Exhibition of the Venice Biennale exhibits itself and the relations to its immediate surroundings. The exhibition is a conversation over the shared boundary of the pavilions of Switzerland (1952, designed by Bruno Giacometti) and Venezuela (1954, designed by Carlo Scarpa), the only two in the Giardini not fully detached: they share one wall. Artist Karin Sander and art historian Philip Ursprung temporarily open this wall and dismantle the gates from the Swiss Pavilion, thus revealing unanticipated connections between the two neighbors, both distant and close. The complementing book offers a manifesto, a play with the two buildings as dramatis personae, and three brief topical essays. Ten conversations with architectural historian Kurt W. Forster, photographers Paolo Gasparini and Guido Giudi, and Venezuelan architects Elisa Silva and Margarita López-Maya round off this volume.

Instead of presenting the reader with a chronological survey of her work, Karin Sander has created an alphabetical ordering on 450 pages, based on the titles of her works. She pairs works that lie far apart in place and time of their creation. Artichoke, from the 2012 work group Kitchen Pieces, for instance, appears next to the AstroTurf Floor Piece, an Artificial Turf object in the New York Museum of Modern Art from 1994. These illuminating and inspiring chance juxtapositions cause the book to resemble a deck of cards freshly shuffled for the start of a new game. Text: : Marc Angélil & Sarah Graham, Katja Blomberg, Suzanne Hudson, Eva Menasse, Karin Sander, John Waters, Harald Welzer

Das Schaffen von karin Sander ist überraschend, vielfältig und doch unverwechselbar. Dies ist insbesondere bei den sogenannten „Gebrauchs- Bildern“ der Fall: „Diese entstehen an dem Ort, an dem sie hängen. Die grundierten Bildträger werden ohne vorherige Manipulation an einen ausgesuchten Ort transportiert und verbleiben dort ungeschützt für einen zu bestimmenden Zeitraum. Sie sammeln die spezifische Patina ihres Ortes und bilden diesen ab. Zeitraum, Name des Ortes und Grösse bestimmen das Bild und geben ihm seinen Titel“, Karin Sander.

A one-day work of art? In the business section of The New York Times ? Karin Sander's Wordsearch exploits the power of the newspaper as medium--and also reproduces its ephemerality. Sander asked 250 New Yorkers, each of whom speaks a different language, to donate a word in their mother tongue--a word that holds a special personal significance. Each of the words was translated into every one of the other 249 languages in the project, for a total of 62,500 words, from which Sander fashioned a work of art analoguous to the stock market listings in the business section of the newspaper. Wordsearch thus creates not only an unusual portrait of a multicultural metropolis, but also a work that was simultaneously experienced on October 4, 2002, by millions of Times readers around the world. This catalogue consists of an original copy of the newspaper from that day plus a lengthy insert about the project that was published in The New York Times Sunday Magazine on the previous Sunday. This project was produced for the Deutsche Bank's art series Moment . Edited by Dr. Ariane Grigoteit, Britta Färber and Friedhelm Hütte. Paperback, 8.5 x 11.75 in. 94 pages, 63 color, 20 b/w, 0 duotone, 0 illustrations