Bøger udgivet af Hatje Cantz

Unlimited, Art Basel's pioneering exhibition platform for projects that transcend the classical art-show booth, has been a vital part of the most important art fair since 2000. Every year, more than 70 artists are invited to contribute to this exceptional platform. The concept of this large exhibition is unique and popular with both collectors and visitors, showing oversized works to their best effect in a gigantic, 17,000 square-meter hall, including massive sculptures and paintings, video projections, large-scaled installations, and live performances. Like its predecessors, the 2022 edition of Unlimited promises to attract considerable attention. All contributing artists and their works shown are presented in the Unlimited catalog."Anyone who missed the big special show Unlimited at Art Basel can get an impression of it through this illustrated volume. This large, museum-quality exhibition has been expanding the boundaries of art since the year 2000."- Bücher Magazin.ART BASELJune 16-19, 2022

An influential figure in Eastern Europe's 1960s neo-avantgarde, Stano Filko synthesized Dada, Pop Art, Fluxus, and Conceptual Art into a universalist vision of art and life. Influenced by subjects such as modernist architecture and mathematical algorithms, but also by spiritual transcendence and the cosmos, he designed pneumatic objects and interactive environments, assemblages, text-based works, performances, and happenings that attempted to circumvent state repression. Having fled to West Germany in 1981, Filko exhibited at documenta 7 in Kassel in 1982, and then relocated to New York, where he took up Neo-Expressionist painting, embracing a rainbow-colored chakra system, System SF, that he explored for the rest of his life. Not least thanks to his curiosity, experimental approach, and self-criticism Filko's works sustain a character of contemporaneity and remain meaningful today.STANO FILKO (1937, Velká Hradná-2015, Bratislava) was considered one of the most influential Slovakian artists from the 1960s until his death. Following achievements as a conceptual artist, he became "persona non grata" as a result of the suppression brought about by the Prague Spring in 1968. After having managed to escape to West Germany in 1981, he relocated to New York in 1982. In 1990 he returned to Bratislava, where he transformed his Snescenkova studio house into a Gesamtkunst- werk designed according to the principles of his System SF.

Drawing on draftsmanship, painting, literature, and installations, Michael Tedja's oeuvre erupts into a flamboyant and visually playful whole. His boisterous storms of imagery recall the CoBrA movement of artists from Copenhagen, Brussels and Amsterdam briefly banded together after World War II. Aiming to banish bourgeois rituals as well as theorizing around avant-garde art, they embraced expressionist spontaneity, an unrestrained use of vivid colors, folkloric elements, handwriting and graffiti. But Michael Tedja has taken out the folkloric and anti-intellectual, his painting is a kind of IQ test. With abstract and figurative visual vocabulary complementing each other, Tedja's imagery is expressive and linguistic, full of references and autobiographical elements. This monograph encompasses large-scale paintings, his overwhelming installation of large drawings Hypersubjective, as well as The Color Guide Series. Here, Tedja deploys textured paint, crayon and chalk on commercial paper stock-the color bars printed along the paper's edge are left exposed-turning mass-produced standard into something decidedly unique. Yet by constantly recycling and repurposing images, Tedja explores the alterability of meaning within the visual context of globalization. MICHAEL TEDJA (*1971, Rotterdam) is a leading Dutch contemporary artist. He studied at the Gerrit Rietveld Academy and the Sandberg Institute in Amsterdam, where he also lives today. He had solo exhibitions at the Cobra Museum for Modern Art, Centraal Museum Utrecht, Locust Projects in Miami, the Stedelijk Museum Bureau Amsterdam, as well as numerous international group exhibitions.

The incessant trend to throw away rather than to repair, demolish rather than refurbish has been a topic of discussion and criticism for years-at the same time, resource consumption and the waste continue to increase. To counteract this trend, students at the University of Applied Sciences in Munich and ETH Zurich have been developing sustainable and imaginative concepts for repairing a wide variety of objects, applying them both manually and by using digital techniques such as 3D printing. Beyond restoration, many projects aim to further develop and improve the repaired objects constructively, materially, or even in terms of design, lending them new value. This publication presents a wide variety of approaches and projects, complemented by essays by notable personalities from the fields of architecture, preservation, design, manufacturing, and craftsmanship.SILKE LANGENBERG (*1974) is professor of Construction Heritage and Preservation at ETH Zurich. Previously, she was professor for Design and Construction in Existing Contexts, Conservation and Building Research at the University of Applied Sciences in Munich, where she initiated a Repair Class.

Frank Kunert's works are as ambiguous as life itself. Constantly questioning the human condition, the artist translates his interpretations of the world into meticulous miniature models and captures them photographically. Kunert's constructions contain intelligent observations about the delicate task of balancing work and life, or the whimsicality of the everyday. Following his illustrated volumes Topsy-Turvy World, Wonderland and Lifestyle, Carpe Diem reveals the contradictions of our existence-between euphoria and impending misery. Comedy and tragedy are closely intertwined in the work of model maker and photographer: Kunert leads us into a parallel universe that seems surreal yet strangely familiar. FRANK KUNERT's (*1963, Frankfurt am Main) interest was initially focused on landscape photography. During his training as a photographer in the 1980s he came to know and love studio work. Since then, he has gradually specialized in designing and photographing miniature models.

Why are we creative? Why are we not? In The Dialectic of Creativity, Hermann Vaske explores these questions in conversations with Marina Abramovic, Vivienne Westwood, David Hockney, Georg Baselitz, Björk, Jeff Koons, Zaha Hadid, Christo, Yoko Ono, Oliviero Toscani, Damien Hirst, Jim Jarmusch, Shirin Neshat, David Bowie, and many more of the most influential creatives of our time, identifying the stimuli as well as the beta blockers, the killers of creativity: Spirituality, sex, money, fear, nurture, ambition versus censorship, self-censorship, bureaucracy, compromise, distraction, gatekeepers. Often it is those very blockages, the threats to creativity that allow it to thrive. A dialectical synthesis of opposites. Today, as we are facing an existential threat to our planet, it is time to come up with new ideas, more creative than ever. The Dialectic of Creativity explores all facets of creativity-artistic, intellectual, philosophical, and scientific. It is accompanied by a film trilogy and an exhibition.HERMANN VASKE (*1956) is a director, writer and producer. As a director, he worked with stars such as Dennis Hopper, Harvey Keitel and John Cleese. For more than 30 years, he has asked many of the world's leading creatives: "Why are you creative?" As they all added an artifact to their answer, Vaske turned his quest into a film trilogy accompanied by an exhibition. His films were shown at the Venice, Cannes, Toronto, and Palm Springs festivals and won numerous awards.

Guido Reni was the star painter of the Italian Baroque, one of Europe's most successful artists, sought after by prominent patrons. Whether his subject matter was the Christian heaven or the world of classical mythology, Guido Reni was unmatched in his ability to translate the beauty of the divine into painting, which earned him the name "il divino". Later misunderstood and sidelined, he deserves to be rediscovered. Drawing on new research findings, the catalog accompanying the exhibition at the Städel Museum provides insights into his artistic activities, but also his ambiguous personality. Bringing together his fascinating paintings, drawings, and etchings for the first time in more than thirty years, it offers a new perspective on one of the greatest names of Italian art.Working in Bologna and Rome, GUIDO RENI (1575-1642) made his name with religious and mythological subjects. Already seen by contemporaries as a counterpart to his rival Caravaggio, "The Divine" became one of the most influential figures of European painting for two centuries.

. Critical collection history. Investigation of the long term repercussions of cultural violence. Masterpieces of Franz Marc, Paula Modersohn-Beckers, and Oskar Kokoschka

Slovenian artist Jasmina Cibic belongs to a young generation of artists who are engaging critically with the legacy of the former Yugoslavia. Set against this background, her exhibition Most Favored Nation questions the validity of the concept of international relationships that extends the same privileges of bilateral treaties to multilateral relationships. Cibic critically examines the mechanisms of nation-building and soft power as an indirect form of exercising power through cultural dominance. Decoding the complex entanglement of political concerns and cultural production, the London-based artist translates the political mechanisms influencing artists into room-filling installations, performances, and intricate films. This catalogue traces the immersive spatial architecture in the tradition of the debating salon.JASMINA CIBIC (*1979, Ljubljana) is an internationally renowned artist, working with film, sculpture, performance and installation. In 2013 she represented Slovenia at the 55th Biennale di Venezia. Most recently her work has been shown in solo exhibitions at Musée d'art contemporain - MAC Lyon, Museum Sztuki Lódz, Museum of Contemporary Art Ljubljana and CCA Glasgow.

The immediate physical presence of color is central toKatharina Grosse's creative endeavor. Through an open-endedprocess in which painting takes on the form ofa performance, color embodies movement, making itssensory impact tangible. These issues not only drive herdramatically large site-related works painted across varioussurfaces in public places, they also inform her studiopaintings, which have played an equally central role in herpractice from the start. Bringing together 160 paintings,this publication serves as the first in-depth reference bookon this important aspect of Grosse's work.Five essays and an insightful interview with the artistexplore how Grosse expands the concept of painting¿not just in open space, but also on canvas¿through avariety of ways, including her disregard of the traditionalframe and her use of stencils, cut canvases, and elementalmaterials.KATHARINA GROSSE (*1961, Freiburg i. Br.) is one of the most distinguishedcontemporary painters working today. After studyingpainting at the art academies in Münster and Düsseldorf (1982-1990), it was in 1998 that she first used a spraying technique foran installation at the Kunsthalle Bern. This became a decisivemoment in her work and was essential in her ongoing experimentswith the properties of paint and the status of paintingtoday. She lives in Berlin and New Zealand.

This book is a comprehensive recollection of the exhibition highlights of Zurich's Museum Haus Konstruktiv from 2015 to 2022. Bringing together what has been separated in space and time, this retrospective reveals various links between contemporary artistic practices and the art-historical legacy of Constructivist, Concrete and Conceptual Art. A series of insightful conversations with the artists Etel Adnan, Claudia Comte, Elisabeth Goldring-Piene, Brigitte Kowanz, Alicja Kwade, Dóra Maurer, Amalia Pica, Tomás Saraceno, as well as in-depth texts on Imi Knoebel and William Kentridge are accompanied by exhibition views that verge between spectacular and calmly focused presentations. Many of the texts and installation shots have not been published before-their recontextualization shows, above all, what it takes to curate concise and relevant exhibitions of contemporary art today.SABINE SCHASCHL (*1967), Director and Chief Curator of Museum Haus Konstruktiv in Zurich since 2013, is an art historian and curator of numerous exhibitions on contemporary art as well as author and editor of various scholarly publications and catalogues.

As a painter, filmmaker, and photographer Ulrike Ottinger created an entire artistic universe. Analogous to the exhibition at the Staatliche Kunsthalle Baden-Baden, the book Cosmos Ottinger approaches the multi-layered work of this visionary artist through eight stations. Screenplays, film props, objects, costumes, fabric collages, and photographs provide an insight into Ottinger's extensive oeuvre spanning the past 60 years. Cosmos Ottinger is also a visu- alization of the artist's life, an open-minded view into the world. Putting that world on a stage, the contributions by Çagla Ilk, Misal Adnan Yildiz, Katharina Sykora, Hannelore Paflik-Huber, Johanna Sentef, Hannah Black and Katharina Müller illuminate how Ottinger has used her distinct visual language to consistently question social structures of power, explore queer identities, and advocate for solidarity. Living in 1960's Paris, ULRIKE OTTINGER (*1942, Constance) was part of the artistic circle of the "Nouvelle Figuration," before she moved to Berlin in 1973, where she became a pioneer of avantgarde film. Her work has been shown at major international festivals and retrospectives, including New York's MoMA, the Venice Biennale, and the Berlinale.

Art and Objecthood illuminates the role of found objects and unconventional materials in the oeuvre of world-renowned artist Jean-Michel Basquiat. His creative fervor saw no bounds, he painted and drew on everything around him-from chairs to refrigerators, but also on items he encountered on the street: discarded windows and doors, mirrors, wood boards, and subway tiles. Interweaving art and life, these three-dimensional works are not only integral to New York's cultural landscape in the 1980s but are also symbols of Basquiat's engagement with, and transformation of, the reality around him. This publication presents new scholarship by leading Basquiat scholars and art historians and is the first comprehensive survey to explore Basquiat's use of found objects and unorthodox supports and their role in addressing issues of social inequality, political thresholds, and racial boundaries in the United States.JEAN-MICHEL BASQUIAT (1960-1988, New York City) is known for his raw gestural style of painting. His distinct approach was characterized by a rich fusion of text, symbols, and imagery. He was one of the first African American artists to achieve major international acclaim, and is celebrated for his prolific, albeit short artistic career.

Since 2016, French documentary photographer Zen Lefort has undertaken road trips from Arizona to New Mexico, crossed Utah, Colorado, and South Dakota. Living with and documenting the life of Native Americans, he witnessed the largest gathering in Native American history: the Standing Rock protests against a Dakota pipeline project-a demonstration of resistance in both a defense of Indigenous sovereignty and cultural preservation. His series Indian Land is a sensitive and honest engagement with the lives of North America's indigenous peoples today. Members of the Navajo and Lakota tribes relate their story to Lefort, and paint a picture of indigenous life in the reservation, their persisting rituals, and their contemporary culture. Thus, the volume draws a portrait that bears traces of a violent history and tells of political struggles by unequal means.Born in Corse, ZEN LEFORT (*1993) started working as a photographer's assistant in Paris at the age of 17. Documenting the conflict in Central Africa in 2014 and later the Maïdan revolution and the war in Eastern Ukraine as a press photographer, he has devoted himself to longer term projects since 2016. He spent six years in the United States documenting the lives of Native Americans, and lived several months immersed in Indian reservations.

Concerned primarily with the medium of painting, the work of Tina Gillen examines how we relate to the world around us, namely through the themes of landscape and dwelling. Her paintings often originate in photographic images that she modifies, simplifies, pictorially "translates," and pairs with other elements to arrive at compositions that purposefully nurture a certain ambiguity, somewhere between abstraction and figuration, construction and improvisation, the surface of the canvas and the translation of a space. This book is being published in conjunction with her exhibition Faraway So Close, presented at the Luxembourg Pavilion as part of the 59th International Art Exhibition - La Biennale di Venezia. Richly illustrated, the catalogue also includes three essays addressing various aspects of Tina Gillen's work-the relationship between painting and space, the ties between painting and photography, and the meaning of landscape today-as well as an extensive interview with the artist.TINA GILLEN (*1972, Luxembourg) works at the intersection between figuration and abstraction. She has had solo exhibitions at Bozar, Brussels (2015); Mudam Luxembourg (2012) and M-Museum, Leuven (2010). Gillen teaches painting at the Royal Academy of Fine Arts Antwerp, she lives and works in Brussels.

This is the fourth monograph of the American artist Ann Mandelbaum. It offers both analog black and white work from 1990-2000 and also digital color images from 2007-present. None of the 100 examples have been exhibited or published before. The richness of the volume lies in the 35 year process delineated. It reveals a continual obsession with the organic world-woven within abstraction and sensation-and processed originally through the depths of the darkroom and subsequently on the digital screen. The varied imagery spans the history of the medium, including the photogram and multiple printing. Throughout, surreal techniques employ sculpture, collage, and the language of drawing. Regardless of medium, Mandelbaum consistently reinvents and rediscovers a language of surprise.

From the 1960s to the 1980s Charlotte March was one of the leading international fashion photographers. The major retrospective at Deichtorhallen Hamburg lays the foundation for the rediscovery of this iconic photographer's oeuvre and offers a comprehensive overview of all her creative periods for the first time. From her little-known early work, inspired by the Humanist Photography movement, that reveals her sensitive eye for the margins of society in post-war Hamburg, to her journeys to Italy in the 1960s, as well as her highly-influential fashion and advertising photography. The narrative of her imagery for magazines such as twen, Stern, Harper's Bazaar, Vanity Fair, Elle, and Vogue reveals an emancipatory attitude and evokes the notion of a new lifestyle and the social upheaval of the 1960s. The exhibition and catalogue illuminate March's multifaceted work and attest to her status as one of the most important female photographers of the second half of the 20th century.Born in Essen, CHARLOTTE MARCH (1929-2005) studied at the Alsterdamm School of Art in Hamburg. Beginning as a fashion illustrator and graphic designer, she decided for a career as a photographer in 1956. Her estate, comprising nearly 7.000 works, has been part of the Falckenberg Collection since 2006.

As one of the key figures of Brazil's Neo-Concrete movement of the late 1950s and early 1960s, Lygia Pape developed a specific understanding of geometric abstraction that resulted in a radical new conception of concrete-constructivist art, challenging an overly rigid rationalism by moving toward more subjective, multi-sensorial modes of expression. Marking Pape's first solo exhibition in Germany, this richly illustrated book presents the artist's unusual creative power in all its breadth, drawing on a body of documents from the artist's archive that is published here for the first time. Against the backdrop of the tension between Brazil's vibrant avant-garde and the growing political repression under the military dictatorship (1964-1985), Pape's work reflects ethical and socio-political issues and harnesses experimental explorations not just of metaphorical geometric, but social space to create poetic manifestations of subtle resistance. Emphasizing the primacy of the viewers' sensorial experiences, Pape went as far as to declare them to be the actual creators of her works. LYGIA PAPE (1927-2004) played a central part in shaping modern art in Brazil. A member of the Rio de Janeiro-based Grupo Frente, dedicated to concrete art and geometric abstraction, she signed the Manifesto Neoconcreto in 1959. Her work traverses abstract-geometric paintings, drawings, woodcuts, ballet compositions, sculptures and poems, as well as experimental films, immersive spatial installations as well as explorations of public space and collective performances.

. First publication by the artist. Conceptual conjunction between text and art. Large-scale works in public space

Femxphotographers.org's second publication Mind Over Matter focuses inward. Womxn's bodies are frequently sexualized while their minds are vilified and their voices silenced. This is true throughout history and in different cultures worldwide. A book about female vision, the power of the mind, as well as dreams and fantasies, logic and intuition, Mind Over Matter is an exploration of inner strength, courage, determination, willpower, and support in complex and individual series. Edited by Roula Seikalyi and with contributions by photographers from the team as well as many guest artists and writers, the publication has the character of an illustrated reader. FEMXPHOTOGRAPHERS.ORG is an independent, non-hierarchical collective, dedicated to the promotion of fine art photographers, who expose and deconstruct the dominant male gaze in photography. They shape contemporary discourse by releasing thematic publications, organizing exhibitions and panels, providing photographers with an empowering network of solidarity and mutual support.

The revised and extended BMW Art Guide by Independent Collectors presents 304 private collections of contemporary art accessible to the public-featuring large and small, famous and the relatively unknown. Succinct portraits of the collections with countless color illustrations take the reader to 51 countries, often to regions or urban districts that are off-the-beaten-path. This practical guide is a collaborative publication stemming from the partnership between BMW and Independent Collectors, the international online platform for collectors of contemporary art. To date, neither the Internet nor any book has ever contained a comparable assembly of international private collections, including several that have opened their doors to art lovers and connoisseurs for the first time.

The revised and extended BMW Art Guide by Independent Collectors presents 304 private collections of contemporary art accessible to the public-featuring large and small, famous and the relatively unknown. Succinct portraits of the collections with countless color illustrations take the reader to 51 countries, often to regions or urban districts that are off-the-beaten-path. This practical guide is a collaborative publication stemming from the partnership between BMW and Independent Collectors, the international online platform for collectors of contemporary art. To date, neither the Internet nor any book has ever contained a comparable assembly of international private collections, including several that have opened their doors to art lovers and connoisseurs for the first time.

Using the theme of Currency to invite reflection on the contemporary power of the photograph to relay and relate meaning across distance, the Triennial of Photography Hamburg explores the value of photography in the 21st century. The extension of this economic term to art and visual culture allows for a sustained engagement with photography and its relationship to value-making, canon-making, access, circulation, and knowledge production. At a time when the production, distribution, and consumption of photographic images has become ubiquitous and we have learned to structure our contemporary world through a lens, the digital image has become the currency of exchange on social platforms. Fostering interdisciplinary dialogue, the Critical Reader Lucid Knowledge: The Currency of the Photographic Image gathers international perspectives that reflect on how photography shapes today's narratives, as well as our perception and experience of the world.With numerous photo exhibitions and events in Hamburg museums, exhibition venues, and galleries, the 8th edition of the TRIENNIAL OF PHOTOGRAPHY HAMBURG is a global survey of current developments in photography. A discursive forerunner to the exhibitions, the international symposium Lucid Knowldge: The Currency of the Photographic Image, which took place from September 30-October 2, 2021, initiated the critical exchange and reflections the Triennal aims to encourage.

The collections of ethnographic museums contain numerous fragments that bear witness to practices of sharing and connecting. They include fragments from history, remnants of destruction, and once powerful objects made up of single parts. This publication shows how these things were handled in the past, and still are today. It sheds light on what it means to divide, repair, reassemble, even to let something fall apart. In each instance, it is always a matter of (re)storing or creating a new order. Instead of seeing fragments exclusively as signs of loss or as witnesses to the inexorable passage of time, the authors focus on the power of connecting, the art of separating, and the force of destruction in the pieces presented.The MUSEUM DER KULTUREN BASEL (MKB) is the largest anthropological museum in Switzerland and one of the most eminent of its kind in Europe. The MKB collections are renowned throughout the world and include over 340,000 objects, around 50,000 historical photographs, and roughly 200,000 documentary images.

A leading voice in Lebanon's cultural diaspora, Rabih Mroué's acclaimed body of work addresses the contested memory of historical events that include the Lebanese civil war, the Arab Spring, and the Syrian Revolution. Spanning theater, art, and literature, his diverse oeuvre is situated at the intersection of personal and political imaginaries, media critique, and concepts of authorship: through scripted conversations, confessions, reports, and questions, Mroué ceaselessly interrogates ways of speaking. Published on the occasion of his receipt of the Ernst Schering Foundation's Prize for Artistic Research in 2020, this anthology illuminates Mroué's work of the past 20 years through 20 interviews. New interviews and an introductory essay by the curator Nadim Samman draw a portrait of the artist.RABIH MROUÉ, (*1967, Beirut) is an actor, director, playwright, visual artist, and co-founder of the Beirut Art Center. Living and working in Berlin, he currently is an associate director of Kammerspiele Munich. Internationally acclaimed, he has had solo exhibitions at MoMA New York (2015), SALT, Istanbul (2014), documenta 13, Kassel (2012), as well as major group exhibitions at the Institute of Contemporary Art Boston (2018) or Haus der Kulturen der Welt, Berlin (2017).

Accompanying the first exhibition of outstanding British artist Mark Wallinger's paintings in Switzerland, this catalogue focuses on his large-scale Action Paintings, complemented by a series of new, polychrome small-scale paintings. Despite their many differences from the works of French Impressionism the collection of the Museum Langmatt is centered around, light and movement remain the central elements here as there. A homage to the term coined by Harold Rosenberg who claimed that for action painters the canvas was not a representation but an extension of the mind itself, these performative works move from image to action. Created by sweeping paint-laden hands across the canvas in active freeform gestures, they make intense reference to the body, intensified by the use of plasticine which creates soft, relief-like effects.

On one of Spencer Ostrander's early visits to Times Square, the rain began to fall. The people in the crowd, suddenly draped in plastic, were transformed into abstract, brilliant reflections of the massive advertising that surrounded them. Designed to entrap the consumer with illusions of status, the good life, and happiness by product, the vast LED light boards turned visitors into walking ads for MTV, Coca-Cola, and The Lion King. And when the flickering LEDs hit his camera's sensor, they created streaks of color and lines that don't exist, but are part of the photos, a technical mirage that perfectly suits Ostrander's subject-the empty allure of late capitalism. Moving among the people with his camera, Ostrander began to see sorrow, tenderness, despair-a hidden story that starts to reveal itself in his photographs.SPENCER OSTRANDER (*1984, Seattle) has lived in New York City for the past two decades. He has done extensive work in all forms of photography and has recently completed two other book projects: Bloodbath Nation, with a long text on American gun violence by Paul Auster and Long Live King Kobe.