Книги издательства HATJE CANTZ
This catalogue focuses on Robert Longo’s (born 1953) recent series of charcoal drawings of well-known Abstract Expressionist paintings. The original paintings are immediately recognizable, but it is the overlooked or imperceptible details of the complex surface, the tactility of the paint, the brushstrokes and the pattern of the canvas that Longo has made visible in his translation from color to black and white, paint to charcoal. Exploring his ambivalence toward painting, Longo’s drawings address the historical magnitude of Abstract Expressionism in art-historical and cultural contexts. Along with the Abstract Expressionist drawings, the book includes Longo’s enormous seven-panel drawing of the US Capitol building and a 17-foot high black wax– surfaced sculpture of an American flag that appears to collapse into or fall through the floor.
In thirteen chapters, the exhibition and the accompanying catalogue offer profound insight into the cosmopolitan thinking of Joseph Beuys, as manifested in his actions, which are presented in the form of video projections and photographs. For it is in this capacity?as an acting, speaking, and moving figure?that Beuys examined the central, radical idea of his expanded concept of art: "Every human being is an artist." The goal of his universalist approach was to renew society from the ground up. To this day, his influence can be felt in artistic and political discourses. In this exhibition, contemporary artists and representatives from various areas of society enter into a multilayered, transcultural dialogue with Beuys. From today’s perspective, they confirm, question, and expand upon his theses about the possibilities of a future conceived via art. With B-Town Warriors, Phyllida Barlow, Nelly Ben Hayoun-Stepanian, Fatou Bensouda, Huma Bhabha, Dineo Seshee Bopape, Angela Davis, Dusadee Huntrakul, Charles Foster, Nuria Guell, Donna Haraway, Raphael Hillebrand, Jenny Holzer, Michel Houellebecq, Mierle Laderman Ukeles, Zoe Leonard, Goshka Macuga, Tuan Andrew Nguyen, Milk Tea Alliance, William Pope.L, Tejal Shah, Vandana Shiva, Santiago Sierra, Patti Smith, Edward Snowdon, Christopher D. Stone, Suzanne Lacy, The Otolith Group, Thich Nhat Hanh, Greta Thunberg, Malala Yousafzai
Difficult to categorize and branded as “naive”—art history had and still has a hard time with works by the great autodidacts: artists such as Henri Rousseau, Andre Bauchant, Morris Hirshfield, Bill Traylor, Alfred Wallis, or Seraphine Louis are far too often isolated in the light of an exotic primitivism, so to speak. Instead, the publication and the exhibition at the Museum Folkwang, since its founding the first museum worldwide devoted to modern art, surround their energy-laden works with key works from the modern era. It is not by chance that many of the autodidacts fascinated the established artists of today with their paintings and sculptures, and often sponsored them. From this perspective, even contemporaries such as Miroslav Tichy make a contribution to the development of art and are no longer merely its antagonists.
Pavel Pepperstein (born 1966), long since acknowledged as the central figure in Russia's contemporary art scene, constitutes an important link between the older generation of Moscow Conceptualists and young aspiring artists in his country. In Pepperstein's graphic, painterly works, mysterious hybrid worlds open themselves up to the viewer's gaze. Motifs from Russian and ancient mythology encounter avant-garde forms in the style of El Lissitzky or Kasimir Malevich that are combined, much like collages, with Hollywood or science-fiction scenes. The artist adds a handwritten, annotative element to this bold blend. His playful gestures break through the confines of the familiar and ironically blend Russian icons with images taken from Western pop culture. This catalogue gathers a selection of stories by Pepperstein, taken from his short story collection The Secret of Our Time, and his recent works on canvas.
With The Great Hidden Inspirer, the fourth volume in the Poiesis series, the renowned Duchamp researcher Michael R. Taylor investigates the role of Duchamp as the “secret mastermind” at decisive moments in art history. In his eponymous essay, “The Great Hidden Inspirer,” Taylor reveals that it was Duchamp who, while in exile in New York between 1942 and 1947, helped Surrealism out of its crisis and gave the movement a new direction.The volume celebrates the 100th anniversary of what is probably Duchamp’s most provocative stroke of genius, Fountain, and contains another one of Taylor’s essays, “Blind Man’s Bluff,” which describes the backstory of how the urinal shook the art world. The attempts at the time to classify this provocative object are evidence of the difficulties its critics faced at the start of the twentieth century as they sought to free themselves from traditional aesthetic concepts. Language : German, English
What new paths have sculptors opened up since the end of World War II? Based on late works by Constantin Brancusi and Alberto Giacometti, this unique comprehensive volume illustrates the exciting and multifaceted developments in this dynamic art form. It demonstrates how the classic notion of form and sculpture was set in motion, became more abstract, was brought closer to the ordinary everyday object, dissolved spatial or conceptual boundaries, or even reconstituted itself by returning to figurative traditions. The long and top-class list of the artists being presented ranges from Pablo Picasso, Henry Moore, and Jean Tinguely to Franz West, Damien Hirst, and Monika Sosnowska. On the basis of selected works from the Kunstmuseum Basel and outstanding loans from international museums and private collections, the tour opens up a dense, extremely rich world of contrasts. (English edition ISBN 978-3-7757-4071-5) Featured artists (selection):Absalon, Carl Andre, Jean Arp, Max Bill, Louise Bourgeois, Constantin Brancusi, Alexander Calder, John Chamberlain, Eduardo Chillida, Peter Fischli und David Weiss, Katharina Fritsch, Alberto Giacometti, Robert Gober, Duane Hanson, Eva Hesse, Damien Hirst, Donald Judd, Mike Kelley, Jeff Koons, Mario Merz, Henry Moore, Bruce Nauman, Claes Oldenburg, Gabriel Orozco, Pablo Picasso, Charles Ray, Richard Serra, Monika Sosnowska, David Smith, Jean Tinguely, Oscar Tuazon, Danh Vo, Franz West Ausstellung/Exhibition: Kunstmuseum Basel 19.4.–18.9.2016
As early as in the late nineties, Dominik Lejman (*1969 in Gdansk) began re-exploring the boundaries of painting by combining videos with paintings. Timothy Persons characterized it as follows: “These mergings provoke and confront our prejudices of what we think a painting should be in the same manner as the Suprematists did in using collage as a technique to defy the boundaries of their generation’s assumptions of what a painting was.” In his work, Lejman pays particular attention to architecture and spaces as well as to the question of how they influence or even determine people’s patterns of movement. The structures that the Polish artist uncovers in the process and presents in his installations are extremely fragile, often last only for several moments, cause the limits of space to blur, and in part directly involve the viewer.
In an environment which is in parts so complex that roads cannot be constructed, railways and stations have become the lifeblood system of the largest country in the world. Station Russia explores how they, and the people who use them, navigate the vast and often empty expanse of the Russian landscape in the historical perspective. In a new exhibition conceived and created for the 16th Venice Architecture Biennale, the Russian pavilion has been transformed into a train station with five halls: »The Geography of Free Space«, »The Architectural Depot«, »The Waiting Hall of the Future«, »The Crypt of Memories«, and »Aboard the Free Space«. In these halls, contemporary Russian architects, designers and artists create multimedia installations, as well as demonstrate photographs, models and artefacts, to investigate the past of the network and to present their vision of its future. The focus of the exhibition and the accompanying catalogue forms a parallel with the history of the Russian pavilion itself, which was inaugurated in 1914. The building’s architect, Alexey Shchusev, was also responsible for the Kazan Railway Station – the Moscow terminus of the South-Eastern Railway.