Bøger udgivet af VFMK

The 5th volume in the series about KÖR Kunst im öffentlichen Raum (Public Art Vienna) shows the projects that were implemented and initiated by Public Art Vienna between 2017 and 2019. The priorities set by the Public Art jury are diverse and are reflected in the chapters of the book-for example in "Public Art and Urban Development", which illuminates projects in urban development areas of Vienna, their history and residents. "Public Art as Urban and Architectural Experiments" shows projects that created leeway and free space in the city and gave places other uses for a short period of time. In "Public Art and Public Housing" and "Public Art and Young People" there can be found two focal points by the jury that specifically address the residents of the city. The Kunstplatz am Graben, used annually by Public Art, and the newly designed Kunstplatz am Reumannplatz also find their way into this volume and show projects in those prominent places that shape the cityscape every summer. In addition to some performance projects that made the urban space a new experience, traditional topics such as Public Art's engagement with public transport and commemoration accompanied the Public Art jury intensively during their creative period, which enabled many projects to be implemented under these conditions that sustainably upgrade the public space.

Vasily Klyukin combines with his monumental, geometric-abstract, modular steel and polycarbonate structures (up to 6m) the precision of physical laws with the impulsive artistic gesture and with anthropological reflections on our time. The painted concentric and irregular metal structures address Klyukin's notions on the era of the Anthropocene and the conditio humana. Vasily Klyukin lives and works between Moscow and Monaco.

The opulent volume "Abstrock 2" is a collection of Franziska Maderthaner's paintings from 2018 to mid 2021. Her art is dominated by encounters of figures from the Old Masters with radical abstractions. This virtuoso painter confronts historical epochs with wit and irony.

The themes of equality, climate change, globalization, shift to the right and digitization dealt with by the artist become tangible in several series of images from the recent years and form into a unified narrative about our crisis-ridden present.The exhibition title "Hopesters"-composed of the terms "Hope" and "Hipster"-refers to contradicting or fragile alliances in dealing with the complexity of our present. It is a deliberately ambiguous term that on the one hand wants to give hope for change through engagement, but also includes the downside of today's populist protest movements. Anna Meyer developed a very idiosyncratic painterly vocabulary on major future topics, which prompts people to reorient themselves.

Peter Sandbichler's art is driven by his interest in perception, modular structures and the physical impact of his work on the viewer. For Kunstraum Dornbirn, Sandbichler developed two gigantic sculptures. With the 26-metre-long cardboard spiral TWIST # 03 and the 26-part elephant skull SKULL # 06, he gauges the space of the former assembly hall in order to translate its history into the present. This book accompanying the exhibition shows the large installation from construction to final presentation. In addition to an extensive interview between the curators and the artist, texts by Thomas D. Trummer and David Schalko accompany the comprehensive photo documentation by Günter Richard Wett.

Christiane Fichtner is an artist on the move. Living largely as a nomad, she finds herself on a journey of on-going encounter with what is new, unfamiliar. For 20 years her working system of constant note-taking has been her travel companion, assembling and ordering what she finds.Even more, the "LOOSE LEAF ARCHIVE" is both a catalyst and weaver of shapes in her artistic practice. It draws together individual strands, creates densities and gradually approaches formats that will become exhibits. In the Heftarchiv, as it is called in German, the step from the as yet unfinished towards the staged object is accompanied and subsequently documented as a description of what is depicted.The book "LOOSE LEAF ARCHIVE / HEFTARCHIV" takes the viewer into something rough-edged, something in the act of flowing. In its strong visual form it replicates the energies that the artist needs to continue to develop her work through her daily doings.

This photographic foray through Rome's worlds of memory and knowledge leads Cornelia Mittendorfer not only into auratic stores of memory, but also to many locations. As a result of the "digital turn," these encyclopedic palaces of knowledge are being seen in a new light. Toute la mémoire du monde-The whole memory of the world (Alain Resnais): but what memory and which world are we speaking of-and for whom? The rapid flow of information and the transformation of knowledge in our society is based on a sort of "live" knowledge that updates at every second. Even digitized information will always require interpretation. Thinking about memory and recollection in relation to knowledge and interpretation led Mittendorfer to her own memory of the Eternal City. Ultimately, the project became a probing of her own memory and a photographic probing of the memory of knowledge spaces. This kind of seeking excludes the myths as much as possible, but that is ultimately an impossible undertaking.In the narrative of the image-text combinations, Rolf Sachsse identifies both Ginzburgian forensics and the Debordian-Bernsteinian dérive as a possible principle of construction, but he also reveals the fictional strand: an elusive "I" who never appears in the picture, wanders through Rome's worlds of knowledge in interplay with a figure and opens up space for viewers to insert themselves into the picture.

Peter Sandbichler is a versatile artist, whose work relentlessly revolves around a series of recurring parameters. By establishing an inverse relationship between the many associative images and a chronological index, this monograph offers a revealing overview of his oeuvre. This cross-sectional approach enables the reader to give equal consideration to each of the many media, while also underlining the extent to which the form of presentation is a decisive component of the artist's work. The book opens with four texts that shed light upon relevant aspects of his current projects from four very different perspectives.

THE FREE LUNCH MAGAZINE will zusammen mit seinen Leser:innen Art und Beschaffenheit der drängenden Probleme unserer Zeit verstehen. Denn nur Verständnis eröffnet einen Dialog und nur im Austausch miteinander kann Neues entstehen. In der soeben erschienen, zweiten Ausgabe verfolgen wir durch das Thema "Entropie" den Umgang mit globalen Ressourcen und suchen nach alternativen Wegen eines gesellschaftspolitischen und ökonomischen Fortschritts. International renommierte Künstler:innen, Wissenschafter:innen, Autor:innen, Aktivist:innen, Architek:innen, Designer:innen, überprüfen zusammen mit uns was möglich ist.

The Scottish artist France-Lise McGurn paints on canvases as well as directly on the walls of exhibition spaces, often combining the two to create an immersive experience. In her work she draws on a collected archive of images from films, club flyers and magazines, as well as her own experiences, ranging from life in a city, partying and dreams to motherhood and female sexuality. Bodytronic refers to the rhythmic, the trance and the moving body. Individual body parts float unrestrained across the different surfaces, connecting the canvases with the wall painting they are placed directly on to. The swift brushstrokes and repeated marks spill freely across canvases onto surrounding surfaces, animating the space with suggestions of pleasure, continual motion and the layered quality of contemporary experience. McGurn's archetypal figures suggest both the distance of city life and the strange intimacy of urban connection.The solo exhibition and accompanying publication show a selection of new works that McGurn produced during the COVID-19 lockdown. Confinement has highlighted for her the gap between private and public lives, specifically the response to certain kinds of behaviour.

Bianca Regl, who lives in Beijing and Vienna, has developed a systematic approach to painting, which, like her rigorous work with color and experiments in impasto, highlights her proclivity for mastery. The paintings mix gestural, painterly accents, which have been freed of their imitating tendencies and established themselves as immediate expressions sui generis, with mimetic tendencies, thus forming a vivid and cohesive entirety in which the movement of the represented is well cared for in the fluidity of the representation. The publication "Between the Apple and the Plate" is an overview of paintings and exhibitions of recent years and is accompanied by the essay "The Strong Wind in Our Sails", authors choice of Robert Pfaller.

"Mel Ramos. The definitive catalogue raisonné of original prints" is a complete documentation of all printed works on paper reproduced in color. Richly illustrated, the publication includes two essays by art historians and curators Claire Breukel and Jeanette Zwingenberger, who analyze Ramos' lifelong artistic engagement with the female nude. The catalog is an invaluable resource for researchers, collectors, and aficionados alike. From a very early stage in his artistic career, Ramos has incorporated printed editions into his oeuvre. While the earliest of these were still in an abstract expressionistic manner, the artist really started engaging with the medium when he began working in his characteristic Pop Art style in the mid 1960s. Against the background of the cultural revolution of the late 1950s and early 1960s, these artists reflected on the world around them and found inspiration in the everyday, in consumer goods, and the bourgeoning mass media. Especially the latter led to experiments with commercial printing methods such as silk-screening. Art was to be brought out of the confines of elite institutions and made easily available. Questions were raised about the attributes of an artwork: originality, uniqueness, and authenticity were contested.

Das Buch "Colormaster" entsteht anlässlich Manuel Frankes gleichnamigen Projektes, das 2018 für den Garten des Frankfurter Städel Museums entwickelt wurde. Exemplarisch zeigt die große Skulptur, wie sich Frankes Kunst in eine gegebene, perfekt gestaltete Umgebung einfügt und dieses Gefüge zugleich befragt, stört und neu lesbar macht.Mit profanen Industrie-Materialien, die Franke auf unorthodoxe Weise einsetzt, werden gewohnte räumliche Zusammenhänge uminterpretiert, indem er die Kontexte verschiebt oder Farb- und Formensembles nachhaltig durchmischt.Das Buch bildet nicht nur die jüngste Arbeit im geschützten Bereich des Museumsgartens ab, sondern darüber hinaus weitere verwandte Interventionen an unterschiedlichsten Orten - vom urbanen U-Bahnhof, über die Autobahn bis zum Rokoko-Tempel. Texte von Martin Engler, Stephan Berg und Renate Wiehager sowie ein aus Anlass der Frankfurter Arbeit geführtes Gespräch des französischen Begründers der In-situ-Kunst, Daniel Buren, mit Manuel Franke beleuchtenunterschiedliche Aspekte dieses künstlerischen OEuvres und reflektieren dessen Fortentwicklung in der Tradition der ortspezifischen oder ortssensitiven Kunst seit den 1960er-Jahren.

Seit den 1980er-Jahren entstehen in Niederösterreich künstlerische Projekte im öffentlichen Raum. Österreichische und internationale Künstlerinnen und Künstler werden eingeladen, um die aktuellen gesellschaftlichen Fragestellungen sowie das Verbrechen der nationalsozialistischen Ära aufzuarbeiten. Die in niederösterreichischen Städten, Dörfern oder Landschaften entstandenen Werke, welche oft kontroverse kulturpolitische Positionen vertreten, spielen eine wichtige gesellschaftliche Rolle und tragen zur öffentlichen Diskussion bei.Die Publikation "Landmarks. Kunst im öffentlichen Raum Niederösterreich" stellt in Bildern und Texten eine repräsentative Auswahl von sowohl permanenten als auch temporären künstlerischen Arbeiten vor, die nach Orten und Themen geordnet sind. In einem breiten Bogen von früheren bis zu aktuellen Projekten, zu denen unter anderem Platzgestaltungen, Mahnmale, aber auch performative oder partizipatorische Projekte gehören, präsentiert das Buch das Land Niederösterreich als einen wichtigen Ort zeitgenössischer Kunst mit hoher künstlerischer und gesellschaftlicher Relevanz.

No one thought that Lukas, Philip and Felix, alias the Healthy Boy Band, would accomplish a second issue of their newly founded magazine but somehow they did it. Welcome to The Healthy Times 2. The Healthy Boy Band is a cooking and art collective that was founded by the three Austrian top cooks Lukas Mraz, Philip Rachinger, and Felix Schellhorn.The Healthy Boy Band always moves in the creative conflict zone between fine dining and "trash food," classic gastronomy and performance art.In 2020, the collective founded their magazine The Healthy Times, which is published twice a year. The main aim of the publication is to pay tribute to the rich diversity of cooking and gastronomy.In the second edition of The Healthy Times, all of the Healthy Boy Band's events, happenings, and performances to date are presented chronologically. Lukas will be a father soon, Philip already has 2 children, so the days of unlimited pleasure are probably numbered.But while everything so far has been so much fun, we've decided to name this magazine "FUck N Forever" as a tribute to the Babyshambles. Because one thing is clear, we're always going to have our fun somehow."Fun Forever" also trips off the tongue more easily. This art magazine or art catalogue or book, who knows exactly what it is, should be a historic document that shows everything that has made the Healthy Boy Band into what it is today.Three simple guys, who can cook really well, are sometimes a little shocking, but, above all, want to make people enthusiastic about gastronomy.The second issue is dedicated to their moms - Ira, Marion und Susi.