Книги издательства Walther Konig
Since Wolfgang Tillmans first exhibited his multi-part installation on tables with the title Truth Study Centre ten years ago, this group of works has become an integral component of his exhibitions. Frequently rooted in the local conditions and the period of their inception, these collages composed of texts, images and objects seek to gain a clear perspective on our increasingly complex age. The question of redistribution also plays an important role for Tillmans in the majority of his other truth study centre installations: ‘asking this question kind of innocently, may remind oneself that the specific way something is distributed today, is not done so by following a law of nature, but by a complex set of moral and political choices’, states Tillmans. The scope and complexity of this long-term project is revealed for the first time in this book and in the parallel exhibition at Hamburger Bahnhof. An essay by Thomas McDonough places Tillmans’ project within the context of twentieth-century collage, from Hannah Hoch to Robert Rauschenberg.
Among the most acclaimed sculptors of his generation, Anish Kapoor (born 1954) has captured the popular imagination with his biomorphic, optically baffling public sculptures such as the famous ‘Cloud Gate’ in Chicago’s Millennium Park and ‘Sky Mirror’ at the Rockefeller Center in New York. The ambition of Kapoor’s imagination compels him to reach for the most sensational effects and scales in his work; as he once told an interviewer, his inspirations are ‘the mythical wonders of the world, the Hanging Gardens of Babylon and the Tower of Babel.’ Published on the occasion of Kapoor’s exhibition at Martin-Gropius Bau in Berlin, this ample volume is illustrated with works spanning the length of Kapoor’s career. It also includes many new works created for the exhibition, as well as pictures of the monumental installation being conceived for the Martin-Gropius Bau’s central atrium.
This comprehensive volume appraises the life and work of Mikhail Larionov (1881-1964), avant-garde Russian painter and lifelong partner Natalia Goncharova. It covers his painting, drawing and works for the theatre as well as his under-recognised work as a curator of several key exhibitions of the modernist era. His work as typical of its time is characterised by a great deal of experimentation - his pictogram-like image and text combinations are even more radical than those of his time as the founder of Rayonism. On over 300 pages and illustrated throughout, over 300 major works are shown, many of them from the collections of the Parisian Centre Pompidou and the Moscow Tretyakov Gallery. One section of the catalogue is dedicated to Larionov’s personal collection, reproducing photographs pertaining to the Ballet Russes, Russian and Asian luboks and the personal library of the artists, as well as other documents. These are published together with a chronology highlighting key events from Larionov’s life?exhibitions, performances, his work on various publications and his meetings with other artists.
By combining and colliding the unexpected, the US artist John Baldessari, born 1931, creates conceptual works that raise questions regarding what art is, how art is made, and what art can look like. After concluding in the 1960s that a photographic image or a text were more adequate expressions of his artistic intentions than painting, John Baldessari’s practice took a new direction. Since then, Baldessari has combined subjects from the imagery of popular culture with linguistic examinations, creating works that challenge artistic norms and boundaries. This catalogue, published to accompany the exhibition at Moderna Museet, Stockholm, spans Baldessari’s entire career and shows the breadth of his artistic practice: you will encounter paintings, photographs, the moving images and the traces of performative acts. The book also includes a wide selection of Baldessari’s own writings from 1968–2011.
Gerhard Richter created one of the most controversial and fascinating political painting-cycles of all time, with his Baader-Meinhof series. In 2002, he returned to the theme of media and political truth with his artist’s book War Cut. For this project, Richter photographed 216 details of his abstract painting ‘No. 648-2’ (1987), and, working on a long table over a period of several weeks, combined these 4 x 6-inch details with 165 texts on the Iraq war, published in the German Frankfurter Allgemeine Zeitung newspaper on the dates of the war’s outbreak. ‘My method was to attach a number of texts to a number of images without having to think about whether something would be better positioned to the left or the right, above or below,’ Richter told an interviewer, for a New York Times feature on the publication. ‘I placed these images so that a connection develops in terms of colours, structures and other characteristics … Some images match the cruelty and the madness described in the texts shockingly well and others can even serve as illustrations when the texts speak of deserts and other landscapes.’ Originally published only in German in 2004, this long-awaited English version of this important artist’s book presents Richter’s powerful attempt to accommodate the extremity of war. For this edition, Richter applied the same process of text selection to The New York Times, using the same dates of the war’s outbreak.
The James Simon Gallery, the new entrance building between the Kupfergraben and the Neues Museum, marks the architectural conclusion of the Museuminsel ensemble in Berlin after 180 years. Together with the Archaeological Promenade, it forms the centrepiece of the master plan developed in 1999, which has since served as the starting point for all further planning on Museumsinsel. This book, published by David Chipperfield Architects on the occasion of the opening, is dedicated to the building and its cultural contexts. Photographs by Thomas Struth present the completed building, both within its urban context as well as in intimate close-ups. Texts by prominent architects, historians and sociologists complement the artistic photographic documentation.