Valérie Knoll Livres

The atmosphere in Jill Mulleady's paintings is one of foreboding; of an underlying tension about to be unleashed. Tragedy lurks in open suitcases, displays of sea creatures, and sinks filled with dirty dishes. Another nightmarish layer lies dormant behind the dream like setting of almost all her compositions. You can't quite put your finger on it: it lies in the future, beyond the painting. It is the feeling of change yet to come. This publication is released following Mulleady's first institutional exhibition at the Kunsthalle Bern and presents the artist's paintings from 2015 to 2021. Philipp Kaiser, John Kelsey and Valérie Knoll provide a variety of perspectives in their essays as they delve into her approach as a painter with a background in theatre.Texts in English and German.

The volume was published following Tobias Kaspar?s 2018 solo exhibition at Kunsthalle Bern. Titled ?Independence,? it featured teddy bears marching in troops through the galleries and rappelling from the glass ceiling, extras in front of pieces of scenery from a stage version of One Flew over the Cuckoo?s Nest. Just like in the ?lm, where one of the inmates derails the rules of the asylum, Kaspar?in adopting the rules of art and fashion, which he uses, subverts and perverts?asserted independence within the institution?s set of rules. The publication assembles numerous works and exhibitions of the past ten years, including The Street, the blockbuster the artist realized at the Cinecittà Studios in Rome in 2016. Many other texts as well as a roundtable discussion with Anke Dyes, Jakob Schillinger, Tobias Kaspar himself and the editors, Valérie Knoll and Hannes Loichinger, provide a range of different perspectives on Kaspar?s practice.00Exhibition: Kunshalle Bern, Switzerland (22.09. - 02.12.2018).

Der Band dokumentiert monografisch die Neupräsentation und –Installation eines Einzelwerks: Tobias Kaspars ortspezifisch konzipierte Installation Bodies in the Backdrop. Für seine Installation arbeitete der Künstler mit Auszügen aus Peggy Guggenheims Autobiografie Confessions of an Art Addict sowie Fotografien, die 2011 im Guggenheim-Palazzo in Venedig entstanden. Im Fokus der Arbeit steht die Selbstdarstellung des Kunstsammlers als Typus ebenso wie die privaten Verwicklungen, die beim Aufbau einer Sammlung nicht ausbleiben: im Spannungsfeld von Liebe und Geld. Die Begleitpublikation zu Bodies in the Backdrop versammelt Text- und Bildfragmente der Ausstellung. Einer der beiden Textbeiträge Elisabeth Lebovicis kreist um die sogenannte Bol Sein (Brustschale) Marie Antoinettes und eröffnet damit die Narration des Katalogs.

The New York gallery American Fine Arts whose name today is largely synony mous with that of its gallerist, Colin de Land, stands for a gallery practice in which a decided deviation from conventional models overlaps with successful activities within the institutional frame of the art market. Even today, AFA and de Land prove to be uncontested projection screens for the desire for independence or for bohemian resistance against the dictates of the market. Particularly in retrospect, a consistent image of the gallery just does not present itself. Faced with the obvious risk of romanticization, this publication seeks to understand how AFA actually functioned as a gallery within its specific context. Contributions from artists and academics including Andrea Fraser, Karl Holmqvist and Tobias Kaspar, Christian Philipp Muller, Josef Strau, Axel John Wieder, among others.