"The drawings were made in a basement in Brussels during the winter of 2009. They were first shown at Kunsthalle Basel from January 16 until March 14, 2010, in an exhibition with the title "Projekt 13." After this exhibition they went back to the basement and stayed there for a few years. They were rediscovered in the beginning of 2014 after a site visit to Kunsthalle Wien. It was decided that "Projekt 13" had to be exposed again in a different form in Vienna. The result of this decision was the exhibition "Das Wunder des Lbens" at Kunsthalle Wien."--Page [479].
Irish artist Gerard Byrne (1969) focuses on the way photography and film have influenced visual culture in the twentieth century. Byrne's conceptually-based photos and videos explore the genealogies underlying each picture, the different frames which guide its perception, as well as the references in which a mediated image evolves. Demonstrating a wide-ranging engagement with quotation and citation, the work seizes upon mass-media forms that were never intended to serve as ''models,'' but now have become such. ----------- George Baker has written a theoretical essay where he links Byrne's work to theater and notes that the presence of avant-garde dramatist Bertolt Brecht has never been less discussed, but more widely explored, than in the last decade of artistic practice. The author traces ''a set of provisional conjectures about the 'underground connection' of ... contemporary art to the present forms of capitalist crisis. They are new forms on both sides--the crises and transformatio
In addition to Miki Kratsman's comprehensive archive, which documents the development of the Israeli-Palestine conflict and its consequences for the daily life of the civil population, his first solo exhibition in Europe focuses on new work that selects the Bedouin population as a central theme. The Bedouin--a minority of the Arabic minority in Israel--have attracted increasing interest in the last years, both from the media and from state-run institutions. The process of integration of the Bedouin into Israeli society occurs on two levels--the formal one, i.e. through governmental policy, and the informal one, i.e. through changing relations with the Israeli society in general and Jewish society in particular. Published on the occasion of the exhibition at Ursula Blickle Stiftung, March 6-April 17, 2011. ContributorsDana Arieli-Horowitz, Vanessa Joan Müller, Raphael Zagury-Orly
Die erste Monografie der Künstlerin versammelt die Arbeiten der letzten vier Jahre. Alexandra Birckens Skulpturen und Installationen bestehen aus Holzstückchen, Ästen, Steinen, Metall, getrockneten Pflanzen und Leder, die zusammengestrickt wurden. Sie haben vielfältige Formen: knuddelige, wollbedeckte Stummel und raketenförmige Objekte; Netze, in denen sich sowohl Müll als auch kleine Schätze verfangen haben, schwere Knospen und Blüten, die an einem aus einem Topf ragenden Ast hängen. Birckens Umgang mit der Kostbarkeit und Erbärmlichkeit von Mode und Blumenarrangements weist eine therapeutische und kunsthandwerkliche Ästhetik auf, mit der sie amulettartige Objekte herstellt, die spirituelle oder gar okkulte Eigenschaften besitzen.
This publication is the result of a special collaboration between Witte de With, centre for contemporary art, Rotterdam, and one of Rotterdam's most iconic photographers, Otto Snoek. Its overriding ambition is to engage with the city via visual images and narratives, thereby testing the book form as site of urban portraiture. A native of Rotterdam since birth, Snoek has documented the city as a diverse social space in striking, colour images. The book comprises 51 recent photographs from Snoek's long-term photo essay 'Hometown', which is his ongoing documentation of Rotterdam that he began in 1997. Central to the new images in the publication is the 'mix' of the 174 cultures coexisting in this Dutch city; here local festivals such as the Summer Carnival, the Bavaria City Racing and the Red Bull Air Races serve as exemplary sites. All selected images have never before been published and are taken from 2006 onwards. In addition, two young writers, both closely associated with Rotterdam, were commissioned to respond to Snoek's images and their own impressions of Rotterdam with a short story. They are Rachida Azough and Tina Rahimy. The book has thus taken on the form of a triptych, in which three parallel personal stories combine to give us a heterogeneous portrait of this very contemporary city. English and Dutch text.
Historical events and our knowledge of them mould our understanding of today's world. The interdisciplinary authorship of this volume focuses on the connection between past and future. A bold and unusual publication whose approaches and themes extend from biographical experiences via intergenerational exchange to the discussion of current social phenomena. To what extent does (lack of) knowledge of the past influence our view of the present and our tales of the future? Authors from the realms of history, art, philosophy, journalism, poetry, gender and urban studies investigate complex everyday reality in history and the present and direct their attention towards the shifts in political hegemonies which lead to ostracism, denigration and destruction. They have explicitly chosen an international perspective which shows that polarisation and radicalisation are universal social manifestations in a globally interlinked world. Exhibition: NS-Dokumentationszentrum München, Germany (28.11.2019 - 18.10.2020)
Why isn t there a Kunsthalle in bigger cities like London, Berlin or NewYork? Is it a myth to speak of internationality in relation to art? Thispocket-sized soft-cover book provides answers to some of the 100questions about the concept of the Kunsthalle asked over the last twoyears of artists, theorists, economists, architects and other expertsregarding topics relevant to the international art world today. Publishedto coincide with a Kunsthalle - a temporary art exhibition - supportedby local artists and collectors in Cologne, The Question of the Dayexamines various ways of understanding this new institutional exhibitionmodel and how it might be implemented globally.
This book documents Gillick's project for the German Pavilion at the Venice Biennale 2009. It contains an introduction by the curator, a text by Liam Gillick about his work as well as the text spoken by the kitchen cat present in the "She speaks from the present and fights against the echoes of building's interior. Its history is one of misrepresentation, misunderstanding and desires. Thus, the pavilion becomes a location for endless self-circulating histories that--in the end--represents our history as well."
Pecafil is named after the bright yellow, biodegradable building material which Michael Beutler used for a series of outdoor sculptures in the city of Frankfurt am Main. At stake in most of the German artist's work is an experimental sculpture process where basic materials – wood, plaster, or glass – are used to analyze the standardization of common goods. His temporary, playful structures and forms constitute “a serious continuation of 20th century sculpture and architecture traditions and can function as almost pedagogical in relation to traditional public art. Seldom have attitudes from art history and the amateur carpenter been so interwoven”. Maria Lind This first monographic book discusses issues of art in public space and the social-political implications of Beutler's work. ContributorsThomas Bayrle, Maria Lind, Ariane Müller
