Bøger udgivet af VFMK

What is - a picture? This question runs through the oeuvre of Anita Stöhr Weber as she addresses it at its very roots. For even before there can be an assessment with regard to representation, crucial things have to be taken into account: material and support, surface and format, haptics, context, color and texture. They are just as much a part of a picture as they are the picture itself. Toeing the line between minimalism, concrete and conceptual art, Anita Stöhr Weber unites three groups of works from 15 years of exploring questions of digital image creation into this artist book and transfers them into a fourth: a careful study on image-making by way of a book. Every detail of the product carries her argument further: the choice of paper, format and binding, printing surface, position and alignment of the illustrations are just as much a part of ponderation as is the relationship between the printed page and the printed sheet.This is a book about pictures, a literal picture book and it is wrapped in a cover that can be folded in four different ways, thus turning what is read into something that can also be grasped.

Michael Ornauer (*1979, Vienna) studied figurative painting in the master classes of Hubert Schmalix and Amelie von Wulffen. The graduate of the Academy of Fine Arts Vienna exhibited in numerous solo and group shows and was nominated for the Bank Austria Kunstforum Prize. But in 2017, Ornauer broke with figuration and turned to abstraction - a drastic new beginning. The diary entries here come from this time. The artist's intimate notes on change and development are available as a book and allow an unusual look behind the canvas and between the brushstrokes of an artist's career.

"Up into the unknown" is the phrase the architects Colin Fournier and Peter Cook came up with for the futuristic architecture of the Kunsthaus Graz. To this day, this is to be understood as an invitation to explore the limits of the imagination and to test alternative ideas and utopias in a laboratory for art. Since 2003, the Kunsthaus has been an institution without a collection. Today it claims to be a museum. With its architecture of hybrid spaces, site-specific invitations to confrontation and the mission to be a production site for contemporary art, the Kunsthaus Graz is a space and place of potentiality and otherness.Blueprint for a Museum is to be understood as a draft for a museum, a blueprint that simultaneously reflects abstract categories of the institution and resonates with concrete programme concepts. The publication thus follows the idea of experimentation that the Kunsthaus Graz has embodied since its foundation.

Häuserfassaden, Straßenschluchten, Fahrzeuge und Bürgersteige - seit Anfang der 2000er Jahre hat der belgische Maler Koen van den Broek sein urbanes Umfeld zum Thema gemacht. Er bewegt sich mit Leichtigkeit an der Grenze von Abstraktion und Wirklichkeit.Ausgangspunkt für seine Gemälde sind Fotografien, die er auf Reisen aufnimmt. Brücken, Gehwegplatten und Straßenlaternen lösen sich aus ihrem ursprünglichen Kontext und entwickeln ein Eigenleben. Es scheint, als würden seine Gemälde diese Details selbst heranzoomen, Farben, Licht und Schatten arrangieren und komponieren. So werden die zunächst unscheinbaren und menschenleeren Plätze durch das Hinzufügen weniger Details zu prächtigen Straßenbildern; Schatten erzeugen spannende Kontraste, und der großzügige monochrome Farbeinsatz lenkt den Blick. Die Ausstellung Of(F) Road zeigt einen Querschnitt durch Koen van den Broeks malerisches Schaffen von 1998 bis in die Gegenwart.Koen van den Broek (*1973 in Bree, Belgien) studierte zunächst Architektur in Löwen und anschließend Malerei Breda. Seine Arbeiten sind unter anderem im Astrup Fearnley Muset (Oslo), im Los Angeles County Museum of Art, im SMAK (Gent) und im Museum of Contemporary Art Antwerpen zu finden.

Under the title "Hollow Ground" and playing off one of its most distinctive architectural elements, Kunstraum Lakeside in their 2023 annual publication centers its program on contemporary modes of existence. Just as the visible floor surface of the art space, once opened, reveals the underlying technical infrastructure, works by the invited artists uncover the fundamental conditions of life today. "Hollow Ground" explores performances reshaping reality in both analog and digital space, while interrogating the technological and/or social scripts that prefigure individual lifeworlds in the twenty-first century. If nothing else, it is also about the fragility of the human body, its vulnerability. With posters by Michail Michailov, UBERMORGEN, Robin Waart, Stephanie Misa, Barbara Kapusta.

Recently, artistic works by women have increasingly entered the public view - and with this the obstacles that women artists once had to battle to a much greater degree than they do today. Now, in the twentyfirst century, there is no longer a dearth of role models for female artists of the younger and middle generations. How do they reflect on female creativity today? How do they write themselves into the genealogy through their own artistic work? How do they view the women who have long been ignored by history books, forgotten and even actively banned from the narrative? How do they relate to their ancestors and pioneers, to the women who were active in the visual arts and other artistic fields? The exhibition Auf den Schultern von Riesinnen [On the Shoulders of Giantesses] delves into archives that have long remained unexplored, searching out the legacies of the creative women upon whose shoulders today's artists stand.

The quintessence of the installations and sculptures of Berlin artist Monika Goetz inheres in their contradictions, their transparency and opaqueness, and their fragility and their massiveness, formally, thematically, and in terms of content. In her work, she defines and transforms interiors and exteriors, creating new spaces. Things, human figures, and experiments encounter one another in an unusual environment, they are uprooted, displaced, or rearranged. The principle of disturbance, investigation, and the conversion and transformation of places, buildings, spaces, and interstices are at the core of Monika Goetz's artistic work. (Anke Hervol)

The publication delves into Lavinia Lanner's world of drawing. It traces the artist's path from early years until now. Texts and interviews with the artist give a vast insight into the essence of her abstract imagery in 3B pencil on paper, more and more expanding into space. The journey leads through depictions of found objects, organic structures, forgotten relicts of everyday life shown in a drawn close-up, resurrected in the new environment and context with main interest in the ambiguity of shapes and their respective overlappings and boundaries. ONLY DRAW WHEN YOU ARE TIRED is meant to be a process-oriented guide through Lanner's studio life, an invitation to reflect on the very basic means of drawing as well as an unsaid instruction on how to turn everyday life into a set of pencil lines.

Which artistic works can and should we preserve for the future? What structural conditions are needed to ensure the scope for both preserving the old and enabling the new?With the sheer amount of art constantly increasing while space becomes ever scarcer, Austria's Bundesimmobiliengesellschaft (BIG) faces major challenges when it comes to preserving the artistic works in and around its properties. An interdisciplinary conference, organised by BIG in cooperation with the University of Applied Arts Vienna, served to bring together experts from a variety of fields and to illuminate the issue of the preservation and archiving of art in public spaces from different perspectives.This publication was published as a review and extension of the conference "The Archiving of the presence" about dealing with art in public spaces, that was held in November 2021 in Vienna.

In her installations made of steel and glazed ceramics, the sculptor Lisa Seebach draws delicate spatial structures.Situational spaces open up to the viewer, evoking memories of things that are inextricably linked to people's everyday world:"Across the silence, it whispers befogged words that dance around my body and usher me into the next room. The floor seems soft, or absent, but I manage to proceed. It feels almost as if I was floating among the figures that appear before and beside me. They refuse to inform me about their roles in the game: This make-believe dream plays me like a puppet on a string, nudges me around, and finds pleasure in watching me tumble in wonder, and wonder why nothing has happened to me yet in this uneasy situation. I feel certain that this house is a body, and that my surroundings allow it to breathe.Breathe in, breathe out, faster at times, then again slowly. It is the rhythm of this breath that rocks me back and forth, leaves me adrift, causes ever-changing encounters with racks, fixtures, and all the objects that catch, hold, and return my gaze. Even though these configurations seem strange to me, I am certain that we are no strangers. They have always been with me."

A guide to the collection with over one hundred descriptions provides an engaging and informative look into the collection's focal points. With its several hundred artworks, the collection spans the nineteenth century to the present and is presented in its various facets through the framework of changing exhibitions.

Die Vujicic-Sammlung stellt einen kontinuierlichen Prozess der Entdeckung visueller Kunstpraktiken in Kroatien und anderen Ländern der Region von den 1950er Jahren bis heute dar mit dem Ziel, einen dauerhaften Dialog zwischen Künstlern, Kuratoren, Institutionen und Privatsammlern herzustellen. Dieses Buch "To Live a Quiet Life" kann als Diskussion über eine Kunstsammlung mit Sitz in Zagreb verstanden werden, die sich weitgehend auf Werke, Praktiken und Bewegungen konzentriert, die ihren Ursprung in Kroatien und anderen Ländern der Welt haben ehemaliges Jugoslawien in der Zeit nach dem Zweiten Weltkrieg. Darüber hinaus muss es aber auch als der persönliche, aber dennoch bemerkenswert präzise Blick eines Einzelnen auf die Entwicklung künstlerischer Ideen verstanden werden, die auf internationaler Ebene längst einen Raum für kritische Reflexion von Kunst, Gesellschaft und Alltag geschaffen haben.

How does breakfast look after a one-night stand? What do restaurant critics do right, wrong, or not at all? What fine-dining menu does artificial intelligence recommend for this evening? With the new issue of their somewhat different cooking magazine The Healthy Times, three top chefs from Austria - Lukas Mraz, Philip Rachinger, and Felix Schellhorn alias Healthy Boy Band - are once again cooking on an open fire: Issue 4, "Handjobs," explains the handicraft of gastronomy.The fourth issue, just released under the title "Handjobs," delivers on its promise of breaking taboos, but also focuses once again more on the genre of the classic cooking magazine and includes themes from everyday life. With writers like Nora Voit, Sara Geisler, Lorraine Haist, Andrea Petrini, David Bogner, Florian Holzer, Alexander Rabl and David Zilber, The Healthy Times is once again filled with fantastic articles such as "The Triumph of the Chopstick Trick" or "Twilight of the Wait Staff." In any case, the magazine is spreading "Keinen Käse (no nonsense)." Every issue appears in a new, independent design. With 260 pages in a manageable format, this issue as well is a work of art in itself which, alongside its contentual orientation under the editorship of Melissa Graf, also breaks aesthetic borders with its design by Simon Walterer and Wolfgang Ortner.

This publication offers the first comprehensive overview of Lovro Artukovic's practice spanning over the past four decades -exploring his figurative paintings, drawings and graphics that tap into contemporary urban culture with immediate intimacy and lash imagery. Lovro Artukovic was born in Zagreb, Croatia in 1959, where he graduated at the Academy of Fine Arts Zagreb. He was teaching there until moving to Berlin in 2001, where he still lives and works. His most notable exhibitions include: Museum of Modern Art Zagreb, Deutsche Bank Kunsthalle Berlin, Museum of Modern Art Dubrovnik, and Art Pavilion Zagreb. The first monograph of Lovro Artukovic is a publication published by Verlag für Moderne Kunst for Nomad, which marks the start of a mutual effort to introduce the work of talented and promising Central and Eastern European visual artists to international audiences.

The smaller-than-life-sized figures that populate the wood-paneled rooms of the Museum of Tyrolean Regional Heritage appear dark and grotesque. There are strange figures made of plaster, textile and bronze that you encounter here. Some things about them seem familiar, others seem terribly strange. What is body, what is mask, what is costume?Markus Wörgötter's series of works "Affektproband" includes several dozen sculptures. A selection of these is shown in the exhibition of the same name in the Museum of Tyrolean Regional Heritage. The title "Affektproband" is a word created by the artist himself and describes the principle of the series. This sees plastic, in analogy to the body, as a site of forces and transformation. As "affective subjects," these bodies seem permeable to forces that exceed the boundaries of their bodies: through their presence, the historical ambience mutates into a stage, as, alongside drawings and historical reference works, they expose the rooms as a production of the museum theater. With this in mind, Markus Wörgötter creates his own work, mostly by hand. He works as an artist, photographer and author in Vienna.

"Lay on another stratumone that adds weight and measureone that deepens the intensityone that raises the stakesone that builds up the pressureone that puts the icing on the cake3 Stratum StrataArs Gratia Artis4 Christian Stock's cubes are multi-layered, mini dramasSerialised paintings"Graham Domke, REMEMBERING, REPEATING AND WORKING THROUGHA series of maxims and interludes for Christian Stock

In February 2022, photographer Max Manavi-Huber traveled 2,400 meters above sea level to the Great Rift Valley in Iten, Kenya. Considered to be one of the most wondrous natural landscapes in the world, the region is home to the majority of the country's world-class distance runners and elites in the making. With just a notebook, 30 rolls of Portra 400 film, and a vintage Mamiya RB67, Manavi-Huber set out to understand one of the world's most dominant and successful running cultures. The images in this book capture the humble and unfiltered way of life in this countryside of East Africa, where an inherited rawness, purity and allegiance to the sport of running continues to cultivate history-making champions. All film was processed and scanned in Germany at Safelight Berlin. Images were hand-printed in Paris by Lucas De L'Estang.Born in Schladming in the Austrian alps, Max Manavi-Huber is a visual artist based in Vienna. After earning a degree in graphic design from the New Design University in St. Pölten, Austria, he served as an art director for eight years before segueing into photography full time in 2020. A self-taught photographer with boundless range, Manavi-Huber's style gravitates toward unconventional subjects across the worlds of fashion, lifestyle, and sports. His imagery explores the union of movement, shadow, and framing, simultaneously capturing abstract beauty to evoke ineffable sentiment. His photography has been exhibited across Europe, his commercial portfolio includes campaigns for Asics, Salomon, and Parel studios. Champions (2023) is his debut art book.

Nika Kupyrova borrows her themes from literature and digital culture and translates them into large-scale multi-media installations that envision exhibition spaces as parallel worlds for the viewer to explore. HXWXD is the artist's first monograph that non-chronologically and playfully revisits four solo exhibitions over the last six years. HXWXD recognises the absurdity of publishing a book in the age of digital media and asks questions about sculpture and its photographic reproduction, 2D and 3D as well as a the malleable border between the digital and the analogue. The structure purposefully challenges a traditional book format: in the absence of page numbers the viewers are encouraged to start from the center and explore in every direction.

The impressive biography of the artist Herwig Zens, who was born in Himberg near Vienna, bears witness to his formative influence on the Austrian cultural landscape. In parallel with his career as a professor of art education at the Academy of Fine Arts Vienna, he produced an extensive oeuvre that earned him international acclaim. In his work, Zens most notably tested the technical limits of printmaking. He succeeded, for example, in printing his etched diary on a 40-meter-long roll of paper. Thanks to the generous donations of Gerda Zens and Johannes Scheer, the State Collections of Lower Austria hold not only, since 2020, several versions of the etched diary, but also Zens's complete printed oeuvre and an extensive archive covering the work of the artist, who died in 2019. To mark his anniversary year in 2023-Herwig Zens would have been 80-the State Collectionsof Lower Austria are honoring the artist with this collection catalog, which is devoted to subjectsthat Zens pursued throughout his life: death, the dance of death, Francisco de Goya, and the etched diary.

Palio di Vita chronicles Mueller's Black Flamingo Sad Boys (BFSBs), the Naxos Racing Team (NRT), and residents of Tiberio Beach Resort (TBR) through a meticulously curated selection of works since the hedonist gang made their first appearance in 2016.Known for his cacophonous, large-scale paintings, Mueller captivates viewers with intense colors and manipulation of forms. The book will delve into the BFSBs' unconventional lifestyle, as they wander from one opulent location to another, indulging in parties and pleasures and, later, as their will to party their lives away slowly diffuses into retreat, rest, and refuge.Mueller's highly painterly works bring these characters into a new light, showcasing the influence of the Neo-Romantic movement in his art. This movement, known for its emphasis on emotions, subjectivity, and a return to the exploration of the self, adds a distinct layer to Mueller's artistic expression. Further, his fascination with this movement permeates his new compositions, as observed through his renewed focus on the natural world. These scenic works are of personal significance to the artist - of which one crucial scene unfolds in autumn, amidst a landscape he calls his birthplace.These paintings are more than mere images; they are portals to the creative universe of the artist, inviting viewers to step into his world, where unconventional characters and surreal events converge. They serve as gateways to the depths of human emotion and this upcoming publication is an opportunity to discover the artworks in-depth.The monograph, designed by Buero Nardin and published in English by The Verlag für moderne Kunst (VFMK), will feature text by Marlies Wirth, providing further insight into Mueller's artistic vision and the narrative behind the BFSBs.

The Kunsthaus and Kunsthalle Nürnberg are collaborating to present the international group exhibition 'Who's Afraid of Stardust? Positions of Contemporary Queer Art'. The exhibition features works by 30 artists who address aspects of queer life and so make substantial contributions to the current debate on diversity with their individual perspectives on societal power structures.The focus of this comprehensive magazine is on the artists participating in the exhibition, but at the same time, the magazine provides a treasure trove for all readers for whom queerness is still new territory. In addition to a glossary explaining key terms, the magazine also contains interviews with scholars of gender and queer studies, texts on queer pop and film history, ballroom culture, queer fashion, the history of Prides in Germany and the development of § 175. Literary and socio-political texts by Hengameh Yaghoobifarah, Daniel Schreiber and Benno Gammerl, among others, complement this multi-perspective view of queer culture.

Publikation zu einem zentralen Thema der gegenwärtigen Gesellschaft, welches tief in der Kunstgeschichte verakert ist, reflektiert im Spiegel der zeitgenössischen Kunst.«Wie in allen von Dolores Denaro herausgegebenen monografischen Publikationen werden Kurator/innen, Kunstkritiker/innen, Künstler/innen oder/und Kunstsammler/innen gebeten, ihre persönlichen Erlebnisse bei der Begegnung mit einem der künstlerischen Werke eines/einer anderen Kunstschaffenden zu beschreiben. In diesen treten für die Leser/innen des Buches ausgewählte Werke in einer Art Pop-Up in den Raum und vermitteln deren Aura. Dies hat sich jetzt über mehrere Publikationen hinweg bewährt. Viele Rückmeldungen zeugen von der Dankbarkeit der Leser*innen darüber, da sie die Originale oft nicht sehen können.»¿Bei dieser Publikationen geht dies neu noch darüber hinaus, da auch diese Kunstschaffenden auf jeweils 6 Seiten vorgestellt werden. Hierbei wurde eine Mischung verschiedener Generationen und Berühmtheitsgrade angestrebt, womit die weite Verbreitung des Themas verdeutlicht wird.

Marguerite Hersberger (b. 1943, Basel) is part of the successor generation of Zurich Concretists and has been enriching art discourse in Switzerland since the mid-1960s. With her approach based on principles of order, systems, sequences and variations, this artist, who works as a sculptor of light and form, has also realized numerous architecture-related projects. This publication brings these together in a richly documented list of works. In addition, texts by Burkhard Meltzer and Margit Weinberg Staber shed new light on Hersberger's position within art history, while a conversation between the artist and Sabine Schaschl, director of Museum Haus Konstruktiv, reveals the interplay between independent works and architecture-related commissions.

A decade after an overwhelming mental health crisis shook his family, illustrator Francesco Ciccolella stumbles upon a series of sketchbook drawings that prompt him to contemplate a world of complex emotions. What if there's more to these sketches than meets the eye?"Between The Lines" is an autobiographical visual essay that explores what it's like when a loved one is caught in the grip of despair. Giving a poignant and intimate glimpse into his emotional turmoil and coping, Ciccolella weaves images and words to create a poetical meditation on mental health and the act of drawing. Join him on this beautifully personal journey of self-reflection.

"All this would not be possible without a person who experiences, who embarks on the journey, who keeps recalling the place in their anticipation beforehand and in their memory afterwards, subtly altering it each time, whose actual encounter with the place deviates from their expectations ... and so this one place subsists in countless variations." (Thea Mantwill)In ICHNVSA we become silent fellow travellers of Talisa Lallai on a photographic road trip through the island of Sardinia. In the spring of 2022, the German artist set out to explore the places that form the background to her family origins. On the search for traces of her Sardinian father, ICHNVSA stands for the overlaying of history. Derived from the Greek "ichnôussa" (footprint), this is the original name for Sardinia, which the shape of the island resembles.

With "Wunderblock BETA", DOCK 20 launched a new exhibition format devoted exclusively to digital art. In a monthly rotation, video and media artworks were shown online as well as taken into public space. Via a shop window converted into a screen in the entrance area of DOCK 20, the works were shown daily in the evening hours.In the course of the first exhibition cycle, a wide range of contemporary, young positions from the German-speaking world of media art were shown - established names alongside young, experimental artists, some of whom presented their first works. In interviews with the artists, the works are placed in a contemporary context and their perspectives are made accessible. It is therefore not only an exhibition of nine works, but also an exhibition about the art-making of digital artists. of artists working digitally.

Chiharu Shiota's site-specific installation with the evocative title "Who am I Tomorrow?" at the former assembly hall of Kunstraum Dornbirn unfolds the fascinating impression of a living, oversized and independent organism. It seems to hover above the visitors, precisely fitted into the protective historical architecture, connected to it by an uncountable number of red connecting lines. Shiota here turns the inside out.The representability of the inner, of psychological states - experiences, traumas, fears, blows of fate or moments of happiness, a sense of security or social mortification - finds its correspondence in the giving of artistic form. In this, the personal, the intimate, intertwines with the public. For Shiota, her art is a home, a medium of communication with the world. And she constantly creates this sense from within herself, taking her own experiences as her impetus and subject. For almost three decades, she has been developing a consistent, highly aesthetic and internationally successful formal language.

"TheCityAsAHouse" is a visually stunning art book that challenges the concept of the private home. In this experiment, a 30-year-old European lives in Tokyo without a private home, relying only on a smartphone. Traditional private spaces such as bedrooms, kitchens, and bathrooms are abolished, and public spaces become the norm for daily needs. The book explores the implications of the shift of privacy to non-domestic spaces and asks whether a new form of nomadic living is emerging.It also explores the potential for new artistic and architectural possibilities and infrastructure for society. The book includes various types of data collected during the experiment and offers a digital journey through the game experiences to discover new perspectives. "TheCityAsAHouse invites readers to reflect on the future of society and living without traditional homes, and encourages them to embrace the possibilities that lie ahead.

For the past seven years, the international artists' collective COSMOS has been running an experimental laboratory whose goal and purpose has been to create time and space to come together, exchange, travel, learn, listen and narrate. The core group of the collective is composed of eight artists* from Colombia, Croatia and Switzerland: Esneider Gamboa Burbano, Tea Hatadi, Sylvia Jaimes, Almira Medaric , Bojan Mucko, Goran skofic, Mirjam Wanner, and Josip Zanki.This publication "Chaos" is a reflection on how the previous artistic practice can be adapted and developed to new political and social conditions, thus continuing the joint work. The invited authors Eliana Otta, Jenny Fonseca Tovar and Rebekka Ray formulate critical questions and describe new bridges and spaces for COSMOS to move towards and in which they could meet anew.