Claudia Christoffel - C50

The book by Bremen artist Claudia Christoffel C50 is printed in deep black on black paper - interrupted by pages in the so-called Baker-Miller Pink, which according to studies is supposed to have a calming effect, brightening the mood, and therefore used in hospitals and prisons. The book contains playlists of favourite songs from artist friends, alternating with medical reports. C50 is the technical term for breast cancer, its title set in a famous horror script.

“C50”     “C50”    



Heidi Specker - Via Napione 2

At the address, Via Napione 2, Turin, Heidi Specker visits the home of Carlo Mollino (1905-73). This publication, “Via Napione 2,” leads us through the house of his eccentric apartment, which was arranged to stage women erotically. The apartment was designed solely for this purpose and was never inhabited – a highly private stage. In harmony with this intimacy, “Via Napione 2” is approached in a very personal way. The artist's publication shows such moments through closeups of sculpture, furniture and walls, how a curtain falls or the view from the window to the river. “Via Napione 2” is the second edition of the original publication.

“Specker”     “Specker”     “Specker”    



Diana Sirianni - Neubarock

Edited by Adela Yawitz

With texts by Nina Mende, An Paenhuysen, and Adela Yawitz

In “The Open Work” (1962) Umberto Eco sees the origin of the unfinished work in Baroque, that this indefinable period “marks the advent of a new scientific awareness as the tactile is replaced by the virtual,” and that subjectivity – the work’s “openness” – would prevail. Eco believes that this was when the world was in motion, transforming, where individual creativity was called on for interpretation. Diana Sirianni connects this to our present day, as Baroque’s space is torn down, split, cut and pasted onto the exhibition space. Familiar elements are remixed to disarticulate our understanding, presenting an anarchistic attitude; rejecting order to redefine reality. Structures are purposefully shuffled and persistently changed, creating another indefinable space with each viewer’s movements through the room. Like Diana Sirianni’s practice, “Neubarock” presents different layers, interpretations, and arrangements for the reader.

“Sirianni’s collages feature digital images that have become handcrafted, tangible image-objects, which in turn construct new spaces. They thereby prompt substantial questions about the relation between 2-dimensionality and 3-dimensionality, reality and reproduction, memory and live experience. What might occur when an abstract, 2D design, with its digital images, moves from the computer screen to a materially palpable 3D construction in an exhibition space? And to what extent can a construction made up of reproduced image material unfold in a real space?” (Nina Mende)

“Neubarock” was developed for the workshop “Collage as an Attitude” at the Universität der Kunste Berlin, 2015–16.

“Neubarock”     “Neubarock”    



Berenice Güttler - Fitting

Edited by Niedersächsische Sparkassenstiftung and the state of Lower Saxony in collaboration with Kunstverein Göttingen and Städtische Galerie Nordham

With texts by Berenice Güttler, Dr. Gabriele Heinen-Kljajić, Sebastian Körbs, Dr. Thomas Niemeyer, Prof. Dr. Annette Tietenberg and Helmut Wenzel

Berenice Güttler’s practice stems from experiences as a trained seamstress, from which the artist extends the use of textile materials from enveloping pieces of clothing to beyond the body – to the point of absurdity. Fitting illustrates just how the artist has changed material to painting, sculpture and performance, and how a traditional approach to clothing is disturbed through supposed violations of the rules.

“Berenice Güttler’s vocation is the mantle that extends around the body, surrounds it, caresses it, protects it, yields it to its pressure, registers the traces of its expansion or exerts pressure upon it, presses it into prescribed forms and makes it less receptive to outer influences through a layer of armour.” (Prof. Dr. Annette Tietenberg)

On occasion of the New York-Stipend 2016, this book is presented by the Niedersächsischen Sparkassenstiftung and the lower state of Saxony in association with the Kunstverein Göttingen and Städtische Galerie Nordham.

“Berenice     “Berenice    



Villa Romana 2016

This annual edition of the Villa Romana Prize shows artists Flaka Haliti, Nico Joana Weber, Jonas Weichsel and Stefan Vogel as the winners of 2016. The collective catalogue shows works from the artists’ Florentine fellowship period.

Flaka Haliti addresses the consequences of authoritarian interference, boundaries and marginalisation. Provocative sculptures- metal rods, IKEA bags, marble blocks- reposition the gaze by igniting discussions between image and power.
Nico Joana Weber’s photographic essay explores exclusion and ornament, nature as design, as she refers to Le Corbusier’s Architectural Promenade through observation of and movement in the structure. She asks how urban space and art historical details can communicate with human nature and vegetation. Or maybe, how can they protect themselves from these forces?
Jonas Weichsel suggests 3D space through geometric abstract painting. A range of precise lines and minimal forms made up of interference colours composes a space that cannot be digitally achieved.
A series of photographs and collages presents Stefan Vogel’s quest for conflict between abstraction and everyday life, representation and worthlessness. Pots and pans, MDF, grass and electricity cables are just some of the objects at the forefront of his work.



Sharon Paz - Shadows of reality

Edited by Angelika Richter, with a text by Ines Lindner

Sharon Paz was born in Israel but now lives and works in Berlin. She recognises the city’s history and its past political conflicts, creating work that layers these with Israeli policies to project new constructions of reality. She concretes power relations through an architecture or a landscape, with no more than the shadows of its inhabitants as part of the image. Through the layers, this book uncovers the artist’s poignant attempts to present a complex story.

“Sharon     “Sharon    



Erik Steinbrecher: PARTY

This year sees an election campaign and the candidates of the parties are present everywhere showing different slogans but the same pose: in a suit and tie looking to the camera with confidence and a bright smile. Erik Steinbrecher makes them all the same in his latest publication PARTY: Whether nationally conservative or left-liberal, the hopefuls in Germany or France, Switzerland, Great Britain or the USA are here alienated by the tomato slaughter to the point of being unrecognisable. Yet the reader still tries to find out who they are.



Alex Müller - Der Hutmacher, das Orchester, der Fenchel

Edited by Alex Müller

With texts by Uche Nduka, Marcus Maida and Alex Müller

Berlin artist Alex Müller presents a collection of multimedia works in three parts: the milliner, the orchestra and the fennel. Each part incorporates a literary piece that leads the reader through Müller’s visual narrative, be that through poetry or prose to accompany paint and porcelain.

“How much apparently identical entities can differ, the piano playing Twins demonstrate. A dance of twenty different fingers is captured by the flying-along camera. Chapeau! The recorder is lacquered in a mahogany-resembling lacquer, its small stow-away-bag is dark blue, almost indigo. Its mouthpiece is about to show traces of use, becoming softer and smoother to the touch at ‘Mrs. Wolf’s’ playing. ‘Mrs. Wolf’ is well-versed in joinery and adjournment since both relate to the lake.” (Alex Müller, 2017)

“Alex     “Alex    



Egill Sæbjörnsson - When Egill met the trolls

Edited by the Icelandic Art Center and Egill Sæbjörnsson

With a text by Stefanie Böttcher

Egill Sæbjörnsson’s new publication, When Egill Met the Trolls, recounts the tale of how he befriends Ūgh and Bõögâr: two Icelandic trolls turned artists who plan to seize the Icelandic Pavilion at the 57th International Art Exhibition – the Venice Biennale. This book will accompany the artist’s Out of Controll in Venice collaboration piece with Ūgh and Bõögâr as this year’s Icelandic contribution, for which the trolls will commandeer space. The book tells us of how this comes to be.

In a world where countless control mechanisms are implemented in societies, the anarchic trolls remain exempt from this. They know no limit. For this, Sæbjörnsson wonders how Ūgh and Bõögâr could capsize current balances of power and exert control through the unchecked creativity of his new friends.

“Egill“     “Egill”    



Heidi Specker, Beate Terfloth – Spinnen am Abend

Käuzchensteig 10 was the address of the artist studio building in Berlin Dahlem, in which Beate Terfloth and Heidi Specker worked in the mid-2000s. Originally it was built for the “state artist” Arno Breker in 1939–1942 by order of Adolf Hitler.

After World War II the Berlin Government took responsibility for the house and divided it into several studio spaces. Jimmie Durham, Helen Mirra, Emmett Williams and Wolf Vostell worked here, some of them at the invitation of the DAAD Artists in Berlin Program.

2009 the studios were closed and later reopened as Kunsthaus Dahlem, an exhibition venue for postwar German modernism. The drawings of Beate Terfloth and the photographs of Heidi Specker were created while they were studio neighbours in Käuzchensteig 10.

“Heidi     “Beate    



Andreas Bunte – Suspended Duration

Published with the Norwegian Research Fellowship Program at The Academy of Fine Art, Oslo

With a conversation between Gerard Byrne and Andreas Bunte

"Between 1950 and 2010, the Institute for Scientific Film (IWF) in Göttingen released nearly 8,000 scientific films. Of these, 3,100 were catalogued in the Encyclopedia Cinematographica. The purpose of the archive was to document in filmic “specimens” any type of terrestrial motional process—isolated and stripped of all incidental elements. The reproduction and growth of bacteria, chip formation in metal processing, or the passing of sand grains through the meshes of a sieve were the subject of filmic analyses as well as human gymnastic movements or plant growth. Distinguishing between human and non-human processes was irrelevant for this concept. Only the quantifiable, objective documentation of the motional process per se was critical.
With these specimens of reality scientists were able to conduct research—more effectively than if studying reality itself. Slow motion, time-lapse and microscopic magnification made visible what was otherwise invisible to the human eye. The complex interconnectedness of reality was also broken down into clearly identifiable units: an elephant’s gait, trot, and food ingestion each form a separate “specimen of motion”; chip formation in steel turning is presented separate from the machine operator’s movements or the motion of gears inside the lathe’s motor.

The aim of the films documented in this book is to include such conditionalities, „sideshows”, or „side events” as parameters of equal significance in the concept of distanced filmic observation.” (Andreas Bunte, July 2016)

“Bunte”     “Bunte”    



Roman Schramm

Published by Barlach Halle Hamburg and Kunstverein Jesteburg

With texts by Thom Bettridge, Kathrin Meyer and Dominikus Müller

In Roman Schramm’s work, one is confronted with different genres of photography, as Schramm combines techniques ranging from macro photography and 3D collages, to portraying a self-made play dough sculpture. Lately “Schramm moved away from the strict works, shaped by the precise and extremely stylish approach of classical photographic subject like still life photography or portrait photography, to a freer, more playful approach to what an image is capable of being, how you can compose and assemble it.” (Dominikus Müller)

“Schramm”     “Schramm”    



Miriam Böhm - wie fast

Published by Nina Schallenberg for Wilhelm-Hack-Museum Ludwigshafen

With texts by Katarina Burin, Nina Schallenberg and a foreword by René Zechlin

Miriam Böhm uses photography as a means of addressing the medium of photography itself. ”Since its beginnings in the 19th century, photography has oscillated between two poles. The one is the conviction that, on account of its technical-chemical production, a photographic image is of unshakable validity with regard to the reality depicted. The other is the notion that photographs are just as constructed as drawings or paintings. In the compositional abysses and gaps of Miriam Böhm’s photographic works, these two poles merge: on the one hand they leave us in our belief in the truth of the depiction; on the other hand their formal breaks challenge that belief. It is our expectations – with regard to photographic images as well as our own perception – that are thus constantly raised for new renegotiation.” (Nina Schallenberg)

“Böhm”     “Böhm”    



Edit Oderbolz - The Moon is Shining from the Left

Published by Ines Goldbach, Kunsthaus Baselland and Simone Neuenschwander, Kunstverein Nürnberg

This monograph was published on the occasion of solo exhibitions of Edith Oderbolz at Kunsthaus Baselland and Kunstverein Nürnberg in 2017.

Edit Oderbolz creates her sculptures and installations with simple, logical actions and placements. Through their appearance, their size, the arrangement and combination of materials, and their presence in the space, the works raise a wide range of questions on spatial conditions and their effect on our actions and being—and on redefining sculpture itself.

Reaching far beyond formal, aesthetic explorations, the artist reveals in a unique and visually powerful manner her critical engagement with the sculptural and existential meaning of space. The spatial arrangements that are created by the artist’s simple, precise gestures and actions have the ability to energize their immediate surrounding space, transforming its atmosphere. (Ines Goldbach)

“Oderbolz”     “Oderbolz”    




with texts by Christine Gückel-Daxer, Thoman Mang, Dr. Gabriele Heinen-Kljajić, and a foreword by Bettina Roggmann

Since 2012, when he began his series OXXXOXXXOXXOOOXOOXXOO, Ingo Mittelstaedt has celebrated with appreciative devotion the photographic potential of transforming surfaces into structure and the elusive instant into an artistic image. In thirty-eight analogue black and white photographs so far he explores the process of abstraction inherent in the medium as well as the aesthetic alienations resulting from the change from three to two dimensions. (Christine Gückel-Daxer)

The catalogue is presented along with an exhibition on the occasion of the awarding of the New York Stipend 2015 by the Niedersächsische Sparkassenstiftung and the State of Lower Saxony in Schloß Agathenburg.

“Mittelstaedt”     “Mittelstaedt”    



Freedom of Space

a preface by Tim Renner and texts by Network of the Independent Berlin Project Spaces and Initiatives, Andreas Koch, Raimar Stange, Heidi Sill and Michal B. Ron

Freedom of Space was published to mark the fifth anniversary of the Berlin City Parliament and the Senate Chancellery - Cultural Affairs awarding independent project spaces for their excellent initiatives and programming. The 20 awards of 30,000 € each acknowledge innovative achievements and largely volunteer efforts and ensure appropriate public awareness.

Award winners in 2016 include: Apartment Project e.V., ausland / projekt archiv e.V., Errant Bodies - Sound Art Space, Group Global 3000 e.V., grüntaler9 - a space towards the performative, Kulturpalast Wedding International e.V., Kunsthaus KuLe e.V., LAGE EGAL, Neue Berliner Räume e.V., Scriptings Showroom and publishing house, super bien! gewächshaus für zeitgenössische kunst, Zwitschermaschine

"Project spaces and the alternative scene so often associated with them, […], are not marginalised today, but still exist clearly in the shadow of the 'mainstream' operatingsystem" (Raimar Stange), which makes it even more interesting to read and see about them in this publication.

“Freedom     “Freedom    



Villa Romana 2015

with texts by Anna Maria Ortese, Gabi Scardi, Rainer Krause, Johannes Paul Raether, Discoteca Flaming Star with Alisa Margolis, Justin Randolph Thompson and Jonathan Lahey Dronsfield

Each year since 1905 the Villa Romana Prize, along with a ten-month residency opportunity, has been awarded to artists at the beginning of their careers. The fellows work together on exhibition projects and events as well as a publication that is produced at the end of their stay in Florence.

Judith Raum devotes her artistic work to complex narratives and their contingencies, e.g. collisions between their subjective and objective vehicles.
With his system of "identitecture", performance artist Johannes Paul Raether creates an imaginary lounge where different avatar characters animate and anticipate future identities and involve the visitor in confrontations about self-determination, gender and the future that are magical and critical in equal parts.
The compositions of painter Alisa Margolis, that comprise Baroque vanitas motifs, pop-cultural events as well as NASA photographs of "deep-space", depict an emphatic event space between coherence and collapse.
Using her videos, interventions and performances, Anike Joyce Sadiq creates zones of social contact and discusses practices of alienation and exclusion.

“Villa     “Villa    



Private Exposure

with texts by Alice Montanini, Fabiola Flamini and Eilidh McCormick

In the newest edition of the partnership between the Olbricht Foundation and the London Metropolitan University's Master's degree program Curating the Contemporary, the curators Fabiola Flamini, Alice Montanini and Eilidh McCormick tackle the idea of personal revelation, disclosure of secrets and a state of individual vulnerability, of being exposed.

With works by Marina Abramović, Barry X Ball, Jeremy Blake, Don Brown, John De Andrea, Rineke Dijkstra, Charles Fréger, André Gelpke, Paul Graham, Victor Guidalevitch, Nicky Hoberman, John Isaacs, Johannes Kahrs, Alicja Kwade, Leigh Ledare, Zoe Leonhard, Philip-Lorca diCorcia, Tony Oursler, Evan Penny, Gerhard Richter, Pipilotti Rist, Zbigniew Rogalski, Gino Rubert, Sam Taylor-Johnson, Timm Ulrichs, Erwin Wurm, Jian Zhang.

“Private     “Private    



Daniel Stubenvoll - Wir fördern Wendigkeit! (We advance Mobility!)

with a text by Marina Rüdiger

The hand cart is an everyday tool - especially for booksellers and publishers. The volume is a witty tribute to this instrument through the format and language of instruction manuals.

"The 'laws of movement' are behind the continuous desire for innovation in art - its urge to break through established formats and to widen its field. And so, is art tangible when it is mobile. The hand cart is the central motif of this volume - it is tangible and mobile." (Marina Rüdiger)

“Daniel     “Daniel    



Benjamin Appel – Too big for my room

Published by Kunststiftung Baden-Württemberg, Stuttgart

The artist's book was published on the occasion of the exhibition Zu groß für mein Zimmer (Too big for my room). In this autobiographical work Benjamin Appel plays with the associations and memory space of a specific recollection about a piece of land in his native Ecuador. On this field stood, in his subjective perception, 400 avocado trees. Since this land no longer exists in its original form, there is no evidence for the existence of these trees. As a testimony to the trees, Benjamin Appel chose a representative photo of an avocado tree from an image database, which is displayed 400 times in the artist's book. (Madeleine Frey)

Benjamin Appel (born 1978) lives and works in Karlsruhe and Leipzig. He studied at the Academy of Fine Arts in Karlsruhe under Prof. Daniel Roth.




Carsten Fock

Published by Städtischen Galerie Wolfsburg and DG, Deutsche Gesellschaft für christliche Kunst

with a conversation between the artist and Sebastian Preuss and texts by Susanne Pfleger and Benita Meißner

German painter Carsten Fock's (1968) large-format monograph depicts his artistic development between 2009-2015 by introducing a collection of solo shows from this period. The works presented in the book lead the reader through the artist's investigation of the possibilities of contemporary painting and the incorporation of gallery spaces in his exhibition concepts. (Benita Meißner)
The catalogue was published on the occasion of two parallel exhibitions (Scendere a terra, Städtische Galerie Wolfsburg and God is in the House, Galerie der Deutsche Gesellschaft für christliche Kunst, München).

“Carsten     “Carsten    



Dirk Bell

With texts by Kathrin Meyer and Juliette Blightman

This publication was printed on the occasion of the WIEDERKEHRT (Returns) exhibition by Dirk Bell (born 1969 in Munich, lives and works in Berlin) at the Kunstverein Hildesheim. Dirk Bell often works with found materials, that, with their own histories, allure speculations on their origins, users and evolution. In the exhibition the Kehrwieder tower, the home of the Kunstverein Hildesheim, is such a treasure trove. (Kathrin Meyer) The poster is a reproduction of his work WARTEZIMMER (Waiting Room, 2014, textile tape on the floor, about 500 x 500 cm), written in Dirk Bells typeface LOVEPHABET that he has developed in 2007.




Timo Seber - TWITCH

Published by Gesellschaft für Aktuelle Kunst, Bremen

with texts by Janneke de Vries, Christian Liclair and Philipp Wüschner

Timo Seber's (born 1984 in Cologne, lives and works in Berlin) artist publication TWITCH accompanies his solo show at Gesellschaft für Aktuelle Kunst Bremen and offers an incisive perspective on the universal, timeless topic of longing for the ideal. Through objects stripped of their original functions, the artist provides a glimpse into the world of professional video gaming where success is no longer determined by physical advantage, social status or level of education. TWITCH is a representation of a social utopia in which we are invited to cast aside traditional modes of social interaction and seek out new ways of being in the world. (Janneke de Vries)

“Timo     “Timo    



Falling Fictions

with a text by Amy E. Brown, Alejandro Alonso Díaz, Rosie Snaith, and an interview with Francesco Pedraglio

The publication and exhibition ‘Falling Fictions’ are the product of a collaboration between me Collectors Room Berlin / Olbricht Foundation with the London Metropolitan University and the Whitechapel Gallery as part of the Master’s degree in ‘Curating the Contemporary’. The three-strong student team – Amy E. Brown, Alejandro Alonso Diaz, and Rosie Snaith – have chosen the theme of metafiction as a strategy to approach the objects in the Olbricht Collection, as a fine line between reality and fiction, and to reveal the way they incarnate stories within stories.

‘Falling Fictions’ takes its shape from a commissioned text by artist and writer Francesco Pedraglio. In his story an object begins to fall. As it falls, it falls through thirteen Heavens and nine Underworlds before coming to rest, finally, on Earth. Throughout the process of falling, and in each layer, the object changes form, shifting to become something else, both physically and conceptually, gathering new meaning. The tale gradually picks up pace, reaching a crescendo akin to the collision an object might make on the floor of the exhibition room, where it lands fully-formed.

Participating Artists: Doug Aitken, Joseph Beuys, KP Brehmer, Bazon Brock, Al Chang, Hansjoachim Dietrich, Marcel Dzama, Slawomir Elsner, Claire Fontaine, Imi Giese , KH Hödicke, John Isaacs, Ragnar Kjartansson, André Kertész, Imi Knoebel, Bernd Lohaus, Konrad Lueg, David Ostrowski, Blinky Palermo, Francesco Pedraglio, Sigmar Polke, Gerhard Richter, Diter Rot, Reiner Ruthenbeck, Gerhard Rühm, Jean-Paul Sartre, Tomas Schmit, Gavin Turk, Wolf Vostell, Lawrence Weiner, Stefan Wewerka, Lambert Maria Wintersberger, WOLS and objects from the Wunderkammer

“Falling     “Falling    



Renato Ranaldi

with an introduction by Angelika Stepken and texts by Renato Ranaldi from the years 1976, 1978, 2010 and 2011

“On the evening of 29 November 2014 the artist Renato Ranaldi presented three works executed in the 1970s. […] The three works require the presence of the artist-agent to demonstrate the innumerable possibilities offered by “Theory” and the sonority of the “Timparmonico”. The idiophone has to be tapped, struck or lightly touched in order to absorb and transform the sounds emanated by the cavity of the metallic body. The bases, architraves and columns of “Theory” require the hand of a player to construct arbitrary conceptual architectures. In the film “Swoons” we see one visitor after another enter Ranaldi’s former studio and collapse before the cine-camera. […]

What Renato Ranaldi presents as the persistent core and motive of his artistic production is a parade of casualties and failures, the relentless exercise of a linguistic collapse charged with humour apropos projects and representations.

Through his works and texts documented in the catalog, Renato Ranaldi recalls the 1970s as a paradise of restlessness packed with friends and the loss of a certain creative specific tension due to the utopia of that period. However, the works have not been extinguished by the passage of time: they seep beyond the constraints of time, aspiring to avoid being pigeonholed by History, confident that they can evade it again, thus eluding their institutional mummification.” (Excerpt from the introduction by Angelika Stepken)

“Ranaldi”     “Renato    



Moritz Fehr - Undersound

with texts by Kathrin Meyer, Clemens Krümmel and Florian Sprenger

The artist book Undersound is published on the occasion of Moritz Fehr’s (*1981, lives and works in Berlin) solo exhibition at the Hildesheimer Kunstverein. The bronze shimmering cover shows the imprint of the Californian Colosseum-mine, where ore and cyanide had been excavated to win gold and silver.

Today the postindustrial landscape is a fallow region, however it provided fertile ground for Fehr’s multimedia working process. Working with field recordings, Sound Art or the latest 3D technologies, the artist researched and depicted the deserted terraces of the mine: the origin of resources for today’s infrastructure. In other works, he followed and reflected on the path of energy, from the plug socket to the transformer station, across power plants and solar cells, visualized in stereoscopic video works and audio compositions.

Moritz Fehr Colosseum, Produktionsbild, 2015“
class=     Sandro Botticelli, Der Höllentrichter, ca. 1480 und Moritz Fehr: Colosseum, video still, 2015    



Villa Romana Fellows 2014

with a text by Angelika Stepken and an interview by Angelika Stepken with Petrit Halijaj

The final publication of the selected Villa Romana Fellows of 2014 – Ei Arakawa and Sergei Tcherepnin, Natalie Czech, Loretta Fahrenholz, Petrit Halijaj and Alvaro Urbano – comprises of five individual booklets, including posters and post cards that document and provide a commentary on their individual and collective work from their fellowship period in Florence.

The post card series “Time is What Prevents Everything from Happening at Once“, reflects Ei Arakawa’s and Sergei Tcherepnin’s time at the Villa Romana. Natalie Czech translated keywords of art criticism into the language of flowers; the result is a floral lexicon of sentiments from which a 'Critic’s Bouquet' can be plucked. Alvaro Urbano and Petrit Halijaj brought the art historically shaped Florentine scenery to life by means of ghost-like promenading sculptures and a canary aviary. Furthermore, Halijaj seized the opportunity of the Villa Romana Prize to initiate his own short-term residency program, “Hajde!”, enabling young Kosovo-based artists the opportunity to have a two-week visit to Florence. Loretta Fahrenholz contributes four of her current film posters to the annual publication, including the cover image of the post-apocalyptic city symphony, "Ditch Plains".

The Villa Romana Prize is Germany’s oldest art fellowship. Ever since 1905, it is awarded annually, usually to four artists. It includes a ten-month fellowship in the artists‘ house Villa Romana, a free studio, and a monthly stipend. Every year, at the end of their stay in Florence, the publications of the Villa Romana Fellows are jointly conceived by the artists.



Claudia & Julia Müller

with texts by Christiane Rekade, Adam Szymczyk, Anna Wesle and Nina Zimmer

Swiss artists Claudia (*1964) and Julia Müller (*1965) live and work in Basel and Berlin. They are sisters who have been working together for more than 20 years. In their large-scale installations they combine murals, collages, drawings, sculptures, and video works.

The publication provides an overview of their work from the last decade, the period during which they became two of the most important protagonists of the Swiss art scene. To allow visual and reflective space for the Müllers’ inherent conceptual leaps, the catalogue lets viewers discover analogies, parallels, gaps, and contradictions in a panorama of artworks and subjective memories.

Claudia & Julia Müller: Spaziergang (Passage), 2010     Claudia & Julia Müller: DING AN SICH, Balance Akt 2012    



Queensize - Female Artists from the Olbricht Collection

with an interview with Siri Hustvedt, text by Nicola Graef, and artist questionnaires published by me Collectors Room Berlin/Stiftung Olbricht

The catalogue “Queensize“ is published on the occasion of the eponymous exhibition curated by Nicola Graef and Wolfgang Schoppmann at me Collectors Room Berlin, which is dedicated to female positions from the Olbricht Collection. The title is derived from the standard US bed format, serving as a metaphorical frame for the extensive portrayal of women from the perspective of international contemporary female artists. Gender codes, pubertal role plays, fantasies of men and women as well religiously legitimated acts of violence accentuate the timeliness and urgency of questions around gender issues in the “(art) world” of the 21st century. In an age of globalization, digitalization and refugee flows, fundamental imbalances continue to maintain a central importance.

With works by: Ellen Altfest, Helene Appel, Monika Baer, Tina Barney, Vanessa Beecroft, Katharina Bosse, Louise Bourgeois, Ulla von Brandenburg, Rineke Dijkstra, Nathalie Djurberg, Marlene Dumas, Nicole Eisenman, Sylvie Fleury, Hope Ginsburg, Jitka Hanzlová, Mona Hatoum, Almut Heise, Laurie Hogin, Jenny Holzer, Klara Kristalova, Makiko Kudo, Marie-Jo Lafontaine, Abigail Lane, Sharon Lockhart, Teresa Margolles, Alex McQuilkin, Hellen van Meene, Dawn Mellor, Marilyn Minter, Sükran Moral, Elizabeth Peyton, Patricia Piccinini, Chloe Piene, Bettina Rheims, Daniela Rossell, Cindy Sherman, Laurie Simmons, Taryn Simon, Carolein Smit, Anj Smith, Kiki Smith, Rebecca Stevenson, Kirsten Stoltmann, Anett Stuth, Paloma Varga Weisz, Katharina Wulff, Lynette Yiadom-Boakye, Lisa Yuskavage

Marlene Dumas: Morning Dew and Willendorf, 1997     Queensize - Female Artists from the Olbricht Collection    



Lena Inken Schaefer - The days are long, the nights are cold

with texts by Jan Brandt, Roman Ehrlich, Hanna Lemke, Nils Markwardt and Dominikus Müller

The first comprehensive publication on Lena Inken Schaefer’s (* 1982; lives and works in Berlin) practice The days are long, the nights are cold presents the collection of artist’s works dating from 2007. Here we observe Schaefer’s objects, installations and actions emanate with mystery from associative contexts. Be it through the ornaments derived from the devalued Deutsche Mark-banknotes of 1922 or through St. John’s wort-stained pyjamas, the works of Schaefer reveal new possibilities for the patterns to emerge. The artist takes the patterns through the process of continuous dissemblance, use and misuse that enrich them with fresh analogies.

"Ultimately Lena Inken Schaefer’s œuvre (including her role as an artist) reveals itself as a system that is part of what it organizes and what it thereby attempts to say. Although at one point, individual series seem to be linked together with an underlying theme, at that very moment individual elements become disjointed—just when everything was starting to look all too ‚similar.’"(Dominikus Müller)

Lena Inken Schaefer: Earth carousel, 2014     Lena Inken Schaefer:Work on Display 1–5, 2014    



Viktoria Binschtok - Cluster

The artist book by Viktoria Binschtok (b. 1972, lives and works in Berlin) is published on the occasion of her first solo exhibition in Germany at Kunstverein Göttingen. In her photographic work, consisting of own productions but also appropriated image sources, the artist examines the reproduction of available circumstances. By shifting our awareness, she provides a deeper insight through the daily custom and consumption of photography into the subliminal use of image contents.

In the series “Cluster” Viktoria Binschtok employs searching engines of the Internet to her artistic work. She transfers her own photographic material into the digital process and observes the associations of the research algorithm. Thus, the “Cluster” series are not just a confrontation with new strategies of image generation in the context of digital media; moreover, the artist is investigating the visual language influenced by contemporary computer screen-based culture.

“Photography in the age of its global availability: The time is now. I press the algorithm-button that momentarily brings this assembly line to a halt…and I avail myself–to my, your, and other people’s pictures.” (Viktoria Binschtok)



Erik Steinbrecher - Ernst Thälmann

This documentation of Erik Steinbrecher offers a fresh view onto former GDR’s monument history. Ernst Thälmann was the leader of communist party during much of the Weimarer republic in Germany. The Ernst-Thälmann-Park monument and adjacent park, housing and public bath in Prenzlauer Berg, Berlin was opened in 1986 by Michail Gorbatchow, in the last years of the GDR. Today, although in the 1990s, a commission of historians decided its demolition, it is under protection of historic buildings and monuments – but is slowly being overgrown by nature. Erik Steinbrecher took pictures of this – somehow romantic and old fashioned – venue and shows how Berlin deals with its recent history.



Sabine Groß - The Wonderful World of Representatives

with texts by Sonja Klee and Ludwig Seyfarth

In her newest artist book, sculptor Sabine Groß presents her work from 2008- to the present.

"The art of Sabine Groß has a comic element, or, better still, an ironic element to it. Irony speaks through her works as they reflect and perform reality without being “real” themselves. Their materials and presentation are not congruent, but rather correspond in their contradiction. Instead of using what seems to be stone or metal, Gro. works with epoxy or acrylic resin and polystyrene. A painted canvas is, in fact, an image made from acrylic resin and paint. A battered book sculpture is actually a two-dimensional ditone print. Shot through, cut up, exploded, or partially burnt, charred books about art, collapsing canvasses, paper works that are singed and torn, crumbling frames, gaping white cubes, a sticky, oozing “Blue Period,” etc. – the surfaces are pure trompe-l’oeil, meticulously produced by the artist to achieve the perfect illusion, which is only evident upon close inspection." - (Sonja Klee, Kunstverein Schwäbisch Hall)

This is Sabine Groß’s second catalogue published by argobooks.

Sabine Groß     Sabine Groß    



Kirstine Roepstorff - Horizons of the Moving Mind

Published by Kordula Fritze-Srbic at Kunstverein Göttingen

Danish artist Kirstine Roepstorff (*1972 in Denmark) employs the medium of collage and sculptures to create startling visual worlds out of found imagery and new materials through the use of copies, cutouts, and rearrangements. Her technique of "reappropriating" is coupled with an interest in the in-between space as both a formal and conceptual element in her work.

The artist book is published on the occasion of the solo-exhibition »When You Light a Lantern in the Summer Night Many Strange Things Come Flying» curated by Kordula Fritze-Srbic at Kunstverein Göttingen. 9 artworks that Roepstorff has maintained in her private collection and does not offer for sale form the centre piece of the book. Each of these pieces are presented in it's own book-within-a-book, and function as the anchor point around which a personal narrative of words and images evolves. Kirstine Roepstorff creates a rhythmical sequence of collages, sculptures, texts, scanned brass pieces, and found footage – unfolding yet another story behind the story of her personal collection.

The Artist Edition of 100 is numbered and comes with individual stickers on the cover.



EXOTICA – ... and 4 other cases of the self

Published by the Olbricht Collection, Berlin

With texts by Fanny Nina Borel, Myrto Katsimicha and Elisabetta Rabajoli

EXOTICA revolves around and explores the question of the "self" in our current "information-society,". The self is more exposed than ever, blurring the boundaries between the private and public resulting in the fragmentation of self. The most elusive and least known phenomenon is no longer the universe, but the human being and therefore the classical categorizations of objects in the "Wunderkammer" are redefined for the human as. Artificialia, naturalia, scientifica and mirabilia have been redefined as instincts, simulacra, mind, oddities and exotica.

With work by Marina Abramović, Sylvie Fleury, Terence Koh and others.




Hella Gerlach - Move and Scale (cancelset)

Texts by Melissa Canbaz and Kathrin Meyer

The publication translates Hella Gerlach’s one-day performative intervention Move and Scale (cancelset) in the Egyptian collection of the Roemer- und Pelizaeus-Museum (Hildesheim) into the medium of the book. Gerlach set visual, sculptural, acoustic and performative markers that introduced aspects of embodiment, empathy and sculptural animation into the museum display.

The Artist Edition of 100 is numbered and comes with individual stickers on the cover.



Villa Romana Fellows 2013

With Contributions by Alberto Boralevi and Jonathan Shaughnessy

As Villa Romana Fellows, Shannon Bool, Mariechen Danz, Heide Hinrichs and Daniel Maier-Reimer all lived and worked in Florence for ten months in 2013. Their final publication comprises four individual books in a portfolio that documents and provides a commentary on their works and groups of works from this period. Shannon Bool introduces pieces including new marble works and a film about a rediscovered Mamluk carpet at the Palazzo Pitti. Mariechen Danz focuses on a new group of graphic works on aluminium, while Heide Hinrichs groups sketches and sculptures under the title silent signs. Daniel Maier-Reimer has given the conceptual design of his book to Till Krause, who has chosen to focus on Maier-Reimer's last Italian trip. Every year, at the end of their stay in Florence, the publications of the Villa Romana Fellows are jointly conceived by the artists and realised with the graphic designer Axel Feldmann (London).



Peter Wächtler - Der Pöbelanwalt

Text by Peter Wächtler

The artist book Der Pöbelanwalt contains a new short story by Peter Wächtler as well as close-up photographs of animal sculptures that he presented at the Kunstverein Hildesheim in 2013. The figures with their distorted faces, marked by the hard labor of carrying stones, are juxtaposed with a tragicomical absurd story set in the context of medical service.



Alicia Frankovich - Today This Technique is the Other Way Around

Texts by Kathrin Meyer and Eleanor Ivory Weber

This publication documents three recent works by Alicia Frankovich dealing with post-fordist labor, flexibility and their meaning for contemporary lives: the performance Free Time, the video Today This Technique is the Other Way Around, and an untitled sculpture.



Pinar Yoldas - An Ecosystem of Excess

Volume 5 of the Ernst Schering Foundation’s Publication Series

Climate change, environmental pollution, and world hunger—the negative consequences of our consumer society are omnipresent. But when we want to raise public awareness for such uncomfortable issues, laying out the pure facts or wagging our finger has little effect. The artist Pinar Yoldas has chosen yet another path. Through a change in perspective, she points out dangers caused by the plastics polluting the oceans while also creating a unique future scenario. The Ernst Schering Foundation in Berlin is proud to present Pinar Yoldas’s first solo exhibition in Germany, An Ecosystem of Excess. On display are idiosyncratic sculptural creations and drawings based on Yoldas’s interdisciplinary exploration of synthetic biology, preimplantation genetic diagnosis, and microbiology. Inspired by the discovery of plankton-like microorganisms that inhabit the surface of plastic marine debris and develop new ecosystems in the oceans, An Ecosystem of Excess imagines complex life forms that grow and thrive in an extreme, man-made environment. Pinar Yoldas’s ecosystem of excess is not merely a bleak vision of the future of our environment; it is a testimony to an optimistic belief in the renewal of all life.

Contributors: Linda Amaral-Zettler, Jennifer Gabrys, Kristoffer Gansing, Michael Hardt, Chris Jordan, Ingeborg Reichle, Pinar Yoldas




Artist's magazine

Published by The Office, Berlin 2014

GUY GOLDSTEIN (*1974 Haifa, Israel) lives and works in Tel Aviv, Israel as a visual artist, musician, educator and graphic designer. His work is based on sound but includes many media, in which the process of translation between forms becomes an unpredictable, crucial component of the final piece. His installations, drawings and videos contain a delicate balance of designed purpose and unforeseeable disruptions, playing with the limits of control and its loss.

In this issue of THE WORLD ACCORDING TO, Guy Goldstein follows a roundabout trail of seemingly random events found online, which many appear to be clues of intertwined global connections. The alternative narrative spins between quoted Internet pages, found images and forgotten virtual anecdotes, as Goldstein investigates links that form a web of online facts, and weaves an idiosyncratic new story through them.



annette hollywood - The Art Song Collection

In her newest artist book, annette hollywood plays with and recreates the covers of popular love-song singles by replacing the commonly used word "love" with "art." In doing so, annette hollywood draws connections between the popular music and art industry. annette hollywood has been ironically confronting the mechanics and paradoxes of the art market for years now. The love song, perhaps one of the last existential genres that openly relies on emotionality and pathos, forms the raw material for the work. Its' emotions are here translated to art, captured in slices as thin as the records themselves, carefully kept behind glass and offered as a consumable mass commodity in the jukebox. The Art Song Collection is presented in the size of a 7 inch single itself.



Pas de Deux: 5 X 2 X 2

The publication documents encounters between artists from the southern Mediterranean and a curator from the northern and eastern part of the Mediterranean sea. They share a dialogue about artistic approaches to the question “Where are we now?”

This question, central to the Marrakech Biennale 2014, is recontextualized in Florence as a metaphor of the Mediterranean. By defining regions in terms of their network of cultural impact, Pas de Deux: 5 x 2 x 2 considers the Mediterranean Sea both as a rich historical and as a contemporary platform for dialogue.

Contributors: Alya Sebti, Angelika Stepken, Anna Raimondo + Younes Baba Ali, Basak Senova + Simohamed Fettaka, Yasmina Reggad + Ismael Leamsi, Charlotte Bank + Younes Atbane, Nora Razian + Atef Berredjem



THE WORLD ACCORDING TO…: Patricia Esquivias

Artist's magazine

published by The Office, Berlin 2013

PATRICIA ESQUIVIAS (*1979 in Caracas, Venezuela. Lives and works in Madrid, Spain).

Since 2005, Patricia has created videos that weave found images, history, and personal anecdotes into narratives that convey her insights about contemporary culture. Esquivias acts as narrator in these vignettes while the camera is filming her hands scrolling through images and videos on her laptop, and inserting physical pictures as she speaks. The connections that Esquivias creates in her work are often idiosyncratic and difficult to locate, offering the viewer an opportunity for contemplation and discovery.

In this issue of THE WORLD ACCORDING TO Patricia Esquivias introduces the work of Fernando Garrido Rodríguez, an architect whom she’d met by chance while doing research for a video project on a group of residential houses that were built in Madrid in the late nineteen-fifties. Following her intuition, she asked Garrido to show her some of his work and discovered an entire oeuvre of innovative coastal architecture dating from the early nineteen-sixties to today. Patricia Esquivias dedicates this magazine to Garrido’s work, which has scarcely been documented or published before.



Arbeit und Leben, Roman Schramm, Guten Tag!

Published by Kunstverein Hildesheim

Roman Schramm’s images play with the relationship between obviousness and surprise, the look of high-tech and DIY, with colors and forms, and with the plain urging to become space. They remind us of the diversity of genres and traditions of image making, as we see images through other images and integrate new ones into our memory on a daily basis. It is, as if Roman Schramm’s pictures were watching themselves come into being. Schramm works like a painter in the sense that he indicates space, challenges things to appear differently, simulates light and translates inner images with the help of his color palette and tools. The single elements are generated, assembled, layered, cut, and edited. His playful methods create different images and motives, colors and textures that result in surfaces that deviate from traditional indexical understandings of photography.



Marion Ermer Prize 2013

With two texts by Angelika Richter

The Marion Ermer prize supports young artists from the former East Germany since 2001. This year’s edition of the prize for upcoming artists, features three outstanding photographers and one sculptor whom all studied Leipzig’s Academy of Visual Arts. The exhibition is held at the Neues Museum Weimar. The beautifully designed box presentation includes 4 catalogues and one booklet.




Iñigo Manglano-Ovalle – Bird in Space at MACH10

Iñigo Manglano-Ovalle tests Constantin Brâncuşi’s 1923-26 Bird in Space at ten times the speed of sound. Through a whimsical experiment, the sculpture as aesthetic object is taken out of its usual context of reception. The icon of modernity leaves a theoretical orbit and performs a hypothetical re-entry into the Earth’s atmosphere. Tested at the US Air Force’s hypervelocity wind tunnel at the Arnold Engineering Development Center in Silver Spring, Maryland, Brâncuşi’s Bird is considered to be a key work of the 20th century, and art historians have seen it as a revolutionary new beginning in sculpture and the birth of modernity. With BIRD IN SPACE AT MACH 10 Manglano-Ovalle brings it back to Berlin.




Heidi Specker – Three Women

An autumn trip to Schull, in West Cork, Ireland, brings together three women; stage designer Anna Viebrock, artist Heidi Specker, and a schoolmate from the 1960s. The trip begins in Venice with a scarf in a Bottega Veneta shop. Fabric, light and friendship play main roles in this photographic itinerary, published on the occasion of Miss Read 2013, the Berlin Artist Book Fair.



Paule Hammer – Tagebuch

Published by Kunstverein Göttingen

In this artist book, Paule Hammer’s personal realities and private philosophies are woven into dense, pop-inspired compositions of text and image. The density and intensity of his hand-written texts is countered by the brilliant colors of his paintings and his borrowings from pop culture.



Villa Romana Fellows 2012

The 2012 edition of the annual publication of the Villa Romana Fellows, features Nina Budde, Sophie Reinhold and Yorgos Sapountzis. The Villa Romana Prize is Germany’s oldest art fellowship. Since 1905, it has been annually awarded to three or four artists. Its goal is to give exceptional artists the opportunity to concentrate on the development of their artistic work throughout a lengthy residency in Florence. The Villa Romana e.V., supported by the Deutsche Bank Foundation, the German Federal Delegate for Art and Media, and other private patrons, maintains the Villa Romana and the Villa Romana Prize.



Mario Rizzi – The Waiting / Al Inithar

With texts by Angelika Stepken and Hamid Dabashi

In The Waiting, Italian director Mario Rizzi explores time and waiting within Zaatari, a Syrian refugee camp seven kilometers south of the Syrian border in the Jordanian desert. For seven weeks, Mario Rizzi documents the lives of several Syrian women in this ongoing state of emergency, including Ekhlas, a 29-year-old widow and mother of three. The film emphasizes how often members of the community seem to be waiting for things; “That Syrian President Assad goes, to small events that give them hope or a small joy of her child's smile…But the most important is waiting for change, for peace.” (Rizzi 2013)

miserere    miserere   



Helen Mirra – Gehend

With texts by Peter Eleey, Yukio Lippit and Christina Végh

Helen Mirra’s newest print series examines the quality of aesthetic information through her record of walking throughout three distinct locations; Bonn, Zurich and Berlin. Reminiscent of archaeological specimens, Mirra presents her work through ink prints of objects found on her path that she has recorded every hour. The artist’s measurements do not recreate a given walk or serve as an orientation; rather they reveal the physical work and regardfulness that the artist performs in an almost ritualistic manner. The book is most carefully printed and elaborately bound with double cardboard and Iris linen.

Gehend” class=    “Gehend”   



Nina Tobien – Advertissement

For her artist book Advertissement, Nina Tobien draws on a specific historical event in 1777, when the magician Philadelphus Philadelphia, admired by Goethe and Schiller, was supposed to perform in Göttingen. Working from this historical encounter, Nina Tobien develops narrative constructions in a series of delicate black and white collages and installations that are based on an underlying system of order. A formal and conceptual structure underlying her work is the Möbius strip, a topological object discovered in Göttingen by Listing. Nina Tobiens uses the structure of the Möbius strip to suggest themes of inversion, mirroring, and the correspondence between the two worlds of science and magic. (Laura Schleussner)



Play – The Frivolous and the Serious

This year, two young curators, Anna-Antonia Strausberg (Germany/Mexico) and Philippa O’Driscoll (Great Britain) have selected works from the collection and assembled them under the title “PLAY – The Frivolous and the Serious”. The works all variously deal with the idea of playing and the game in all its variants. This topic also covers the interests of the Olbricht Foundation: both in its aim to embed art in a playful and sensual way, in the everyday life of our visitors – in particular children and young people – as well as in its ongoing occupation with the subject of collecting – art collecting, and the act of collecting in general, which can itself be seen as a “mature” form of play. “PLAY” not only features contemporary works, but also craftwork and historical artworks dating from the 16th century.

“PlAY”    “PLAY”   



Tommy Støckel's Art of Tomorrow and Other Fictions

The Art of Tomorrow and Other Fictions is a retrospective of Tommy Støckel's work from 2004. In addition to the texts that have accompanied his exhibitions, there are numerous black and white and color illustrations of his work, including his large-scale Styrofoam sculptures and expansive installations. The conscious recycling of old materials and the fragility of the works emphasize Tommy Støckels interest in virtuality, space and time as well as structures and surfaces. He choses to format this retrospective, based on the aesthetics of a paperback of a science fiction novel. Tommy Støckel lives and works in Berlin. He has studied at Royal Danish Academy of Fine Arts in Copenhagen and his exhibitions extend widely across the globe.



Lisa Oppenheim: Billowing

For her exhibition Everyones Camera shown at Kunstverein Göttingen, Lisa Oppenheim explores the history of the photographic medium. An atmospheric quality runs throughout the works on view, in which pattern, repetition, and the surface of the photograph itself play a central role. Her images of the moon, billowing smoke, flower arrangements, and patterned fabrics are produced without the help of a camera. Instead, the images are created with negatives that stem from the Internet, or are photograms created by using fabric or supermarket flowers placed directly on the photographic paper. With motifs that revisit early artistic photography combined with the saturated black or metallic sheen of the paper, Lisa Oppenheim’s works constitute a veritable homage to the hand-made print. (Laura Schleussner)

“Billowing”    “Billowing”   



Haroon Mirza– - - {}{}{}

With texts by Diedrich Diederichsen, Heike-Catherina Mertens and Franziska Solte

Haroon Mirza’s artworks revolve around the complex relationship between visuality and acoustics, unfolding in continuous loops as audio-visual, spatial compositions. In his acoustic assemblages, Mirza uses found, culturally coded objects and structures which he separates from their original function, turning them into triggers for sounds that form precise, self-generating compositions. This volume, consisting of a book and a DVD, documents his solo exhibitions in 2012: --{}{}{} {}--{}{}{}{}--{} at the Ernst Schering Foundation’s Project Space in Berlin, \|\|\|\| \|\|\ at the Kunst Halle Sankt Gallen and /\/\/\ /\/\ at the University of Michigan Museum of Art, Ann Arbor. These cryptic titles are translations of sound and art into sign-like representations.

“Haroon    “Haroon   



Pedro Wirz – Not the New, Not the Old, But the Necessary

With an introduction by John Besson and an interview between Adnan Yildiz and the artist

Pedro Wirz investigates how collaboration and participation create alternative ways of exhibition making, as well as how collective creativity and the issue of authorship can be balanced for investigating critical forms of experimental processes. The exhibition catalogue “Not the New, Not the Old, But the Necessary“ operates at different levels of conceptual approaches such as abstraction, participation and curation. Wirz continues his series of “Curated Sculptures” for this exhibition by inviting John Beeson, Giovanni Carmine, Carson Chan and Rebecca Lamarche-Vadel to curate a selection of artworks out of a list of 243 artworks from the artists that Pedro Wirz collaborated with in the last four years.

The final section is a group of works made of Origami – which is based on folding paper – is used not only as an artistic technique but also as an expression of abstraction in Wirz’s show. Reconsidering the impact of Japanese culture in Brazil, and bringing along his childhood experience with Origami, Wirz aims to create a social network of ideas, images, and practices in the form of an exhibition and an artist book. Essays by John Beeson, Adnan Yildiz.

Works by Adriana Lara, Alfred Boman, Aljoscha Lanz, Bevis Marein and Charlie Youle, Breena Murphy, Carlos Dias, Christian Mueller, Dan Perjovschi, Dan Solbach, Daniela Domingues, Emil Michael Klein, Friedemann Heckel, Jan Kiefer, Jonathan Zawada, Keichi Eanaami, Lucas Rampazzo, Lucas Wirz, Samuel Leuenberger, Sara Vidas, Stephan Doitschinoff, Thomas Jeppe, Tilman Schlevogt, Tobias Rehberger, Tobias Willa.

“Pedro    “Pedro   



Yunchul Kim: CARVED AIR

Volume 5 of the Ernst Schering Foundation’s Publication Series, Edited by Lucía Ayala

With texts by Lucía Ayala, Jaime E. Forero-Romero and Yunchul Kim

Korean artist Yunchul Kim proposes to carve the air, to aesthetically manipulate the materiality of the sky as a reflection of some core aspects of current astrophysics: the formation of galaxies through diverse physical instabilities acting on visible and dark matter, the methods of detecting and interpreting data, the cosmic dimensions of nano-particles, the effects of electromagnetic forces in shaping matter and the role of experiments and simulations as unique ways of approaching physical phenomena. CARVED AIR combines Kim’s artistic work on fluid dynamics and chemical physics with the scientific approach of the theoretical astrophysicist Jaime Forero and the historical view of the fluid skies of Lucía Ayala, art historian and curator of the exhibition. Together they explore the fluid materiality of the Universe from a scientific, artistic, historical, philosophical and poetic perspective. Kim’s exhibition at the Ernst Schering Foundation in Berlin is the first PUBLIC outcome of the FLUID SKIES collaboration.

Yunchul Kim: CARVED AIR     Yunchul Kim: CARVED AIR    



Villa Romana Fellows 2011

Contributors: Judith Hopf, Thomas Kilpper, Flo Maak, Henrik Olesen, Massimo Ricciardo, Nora Schultz, Josef Strau, Rebecca Ann Tess, Elisa van Joolen, Vincent Vulsma

The Villa Romana Fellowship was created in order to offer an opportunity to especially talented, primarily younger artists resident in Germany to further develop their art during a prolonged stay in Florence. Villa Romana hosts four fellows for ten months every year.

Featuring artists Thomas Kilpper, Henrik Olesen, Nora Schultz, Rebecca Ann Tess, Vincent Vulsma; with contributions by Judith Hopf, Thomas Kilpper, Flo Maak, Henrik Olesen, Massimo Ricciardo, Nora Schultz, Josef Strau, Rebecca Ann Tess, Elisa van Joolen, Vincent Vulsma.

< Judith Hopf, Untitled     < Judith Hopf, Untitled    



Jacqueline Doyen: Eclipse

Contributors: Justin Hoffmann, Meike Behm

In her sculptures, collages, and performances, Jacqueline Doyen examines the sculptural dimension of non-verbal communication whose socially or medially determined significance she successively exposes. She isolates individual protagonists from diverse newspapers and magazines from the context surrounding them, thus directing the viewer’s attention to postures and gestures which reveal clichés and automatisms. From this extensive image archive of seemingly random photographs of politicians and celebrities, Doyen compiles a grammar of gestures that underlies the rhetoric of power.

Jacqueline Doyen: Die Ausarbeitung der Spontaneität     Die Ausarbeitung der Spontaneität    




Artist Magazine

Published by The Office, Berlin 2012

Gert Jan Kocken’s (*1971, Ravenstein, NL) work consists of large scale photography installations and is based on an ongoing research into the remembrance and visual representation of important episodes in world history. Based on a collection of thousands of images sourced from the internet, Gert Jan illustrates religion’s problematic relationship with images. Meandering through time, somewhere between iconoclasm and iconophilism, he presents his manifold findings, demonstrating how images have been deployed to tell the story of the world, from its creation to the present day.

Contributors: Ellen Blumenstein, Katharina Fichtner, Frank Kalero, Maribel Lopez ( THE OFFICE)



Rehearsing Collectivity - Choreography Beyond Dance

Contributors: Franco Berardi Bifo, Tina di Carlo, Gabriele Brandstetter, Kai van Eikels, Chris Haring, Gabriele Klein, Vinzenzo Latronico, Boyan Manchev

“Rehearsing Collectivity – Choreography Beyond Dance deals with existing interconnections between the concepts of choreography (as the organization of bodily movement in space and time) and collectivity. (…) The issue of collectivity has taken on an increased political, social and cultural relevance in light of contemporary phenomena such as social networking, mass migration and new modes of participating in civil society. “Rehearsing Collectivity – Choreography Beyond Dance” is intended as a field of practice for testing and reflecting upon different forms of collectivity. The audience plays a central role in this sense – simply by sharing the space it already embodies a performative collectivity.” (Elena Basteri, Elisa Ricci, Emanuele Guidi)

With contributions by Aldo Giannotti, Boyan Manchev, Cesare Pietroiusti, David Levine, Franco “Bifo” Berardi, Ingrid Hora, Kai van Eikels, Libia Castro/Ólafur Ólafsson, Ligna, Liquid Loft/Chris Haring, Michael Koch, Nina Dick, Olivia Plender, Roman Ondák, San Keller, Tina di Carlo.

Featuring artworks by Libia Castro & Olafur Ólafsson, Nina Dick, Aldo Giannotti, Ingrid Hora, San Keller, Michael Koch, David Levine, Ligna Liquid Loft/ Chris Haring, Roman Ondák, Cesare Pietroiusti, Olivia Plender.

Olivia Plender: Audience Survey     Aldo Giannotti, Sam Keller, Ingrid Hora    



Katrin von Maltzahn - Records Journal Survey

Published for the exhibition Alphabet in BKV Potsdam

The clothbound artist's book acts as a kind of "Breviary", as a handy compact reference of codes and symbols and are incidentally an overview of the artist's work in recent years. Katrin von Maltzahn is a professor at the department of Painting & Graphic Art, Academy of Visual Arts Leipzig, Germany

Katrin von Maltzahn     Katrin von Maltzahn    



Vorratskammer / Pantry

zum Festival ÜBERLEBENSKUNST im Haus der Kulturen der Welt

Hrsg. myvillages, Kathrin Böhm, Wapke Feenstra, Antje Schiffers, Thomas Sprenger

In the summer of 2011 the Kulturstiftung des Bundes in cooperation with the Haus der Kulturen der Welt (House of World Cultures) in Berlin hosted Über Lebenskunst, a festival of culture and sustainability. Über Lebenskunst, aims to identify several different approaches to the issues of sustainable living in the 21st century and of sustainability as a cultural tool that can be developed and integrated through practice. The food and drink for the 8,000 festival-goers was provided by the Vorratskammer / Pantry, an art project from myvillages.org.

The concept of the Vorratskammer / Pantry goes far beyond the simple act of eating: it has to do with how food is collected, its origins, the way it is traded and exchanged and its history. All of these elements are part of this project. Producing and eating food is considered a cultural and social activity that is closely intermingled with farming and processing traditions as well as land use, but also with living in modern cities and topics as sustainability, environment, food processing and (over-)consumption. This publication gives an overview of this interesting art project by myvillages.org.






Ulf Aminde – miserere

with a text by Felix Ensslin

edited by Cordelia Marten

The artist’s book presents an overview of all works by Ulf Aminde which came up over the last five years, and illustrates the artist’s close connections with the theater. Through the images’ autonomy – they cannot be seen as simple copies or stills of Ulf Aminde’s films –, a kind of meta-narration was created, which tells about the artist’s entire work. The images have been photographed as collages: Aminde in the role of the director and as a protagonist in an image tableau which one can’t escape. The result is an impressive panorama, a network of actors and director as a description of a radical way of working, asking a question for subjectivity.

miserere    miserere   



Paul Vanouse – Fingerprints...

published by Jens Hauser and Heike-Catherina Mertens, Schering Stiftung

with texts by Simon A. Cole, Jens Hauser, Hans-Jörg Rheinberger and Paul Vanouse

The publication Fingerprints… by Paul Vanouse is the first volume of the Ernst Schering Foundation’s Publication Series dedicated to selected The biomedia installations of Paul Vanouse challenge the codes and images of contemporary molecular biology. In four theoretical essays, criminologist Simon A. Cole, science historian Hans-Jörg Rheinberger, curator Jens Hauser and the artist himself reflect upon the criticism of genomics inherent in the installations of “Fingerprints…” from an aesthetic, political and techno-philosophical angle.

miserere    Fingerprints   



Raumschiff Jugoslawien– Spaceship Yugoslavia

With texts by Gal Kirn, Todor Kuljic, Ozren Pupovac, Miško Šuvakovic, Ozren Pupovac, Oliver Ressler

The transformation of the European socialist state system after 1989 ushered in a new era of world history that notably brought in a hegemony in the so-called transitional societies. Post-communist politics devalue all aspects belonging to the former system as remnants of a totalitarian regime, enabling those with political sway to justify their present demands for freedom be it regarding ethnic identity or private ownership. If we want to discern a specific history of the Social Federal Republic of Yugoslavia, we run into an ambivalent image that is in no way singular in color or meaning, nor totalitarian. To what extent can the acknowledgement of the past be conceived, such that it may contribute to future processes of changed instead of reverting to nostalgia and revisionism?



Florian Dombois – What Are the Places of Danger Works 1999–2009

published by Kunsthalle Bern

with an introduction by Philippe Pirotte

Kunsthalle Bern presents 34 projects by Florian Dombois (*1966), 2010 winner of the Deutscher Klangkunst-Preis (German Sound Art Prize), and one of the international protagonists in artistic research. In his work of the last decade, he deals with landscape, labilities, seismic and tectonic activity, scientific and technical fiction and the poetics of technology. Documentations of his projects are supplemented by six essays by Dombois – published for the first time in English.

What Are the Places of Danger    What Are the Places of Danger   



Filipa César – Montrage

published by Doreen Mende

with texts by Galit Eilat, Colin MacCabe, Eglantina Monteiro, Helena Vilalta, including a conversation between Filipa César and Doreen Mende

Montrage is an exhibition in book format with cinematographic projects of the Portuguese artist Filipa César. The central themes are remembrance, politics and language in regard to film. César applies the technique of montage marking the space for a ‘third gaze’ (Godard) of the spectator. Yet as in her films, she relies neither on a linear temporality nor on a dialectical organization of what is depicted here, instead, letting readability emerge in a crystalline space between the images and words.

Design: Manuel Raeder

Montrage     Montrage    


Selected exhibitions:

2010 12th Architecture Biennial, Venice
        29th São Paulo Biennial, São Paulo
        Manifesta 8, Cartagena
        SOLAR- Galeria de Arte Cinemática, Vila do Conde


Transient Spaces

edited by Marina Sorbello and Antje Weitzel

published on the occasion of the exhibition at ngbk, Berlin

with essays by Zygmunt Bauman, Adrian Franklin, Ursula Biemann, Chiara Brambilla, Michael Zinganel, Paula Bialski, Tom Holert, Mark Terkessidis, Thomas Kilpper, Heidrun Friese, Aureliana Sorrento amongst others

Over the past two years, the interdisciplinary project Transient Spaces – The Tourist Syndrome has been addressing current issues of mobility through workshops, seminars, lectures, and exhibitions in Italy, Lithuania, Romania, and Germany.

This volume, published on the occasion of the project’s final exhibition in Berlin (NGBK and Kunstraum Kreuzberg/Bethanien), offers a multifaceted approach to themes such as tourism, migration and new forms of flexible living and being permanently on the move, through essays, texts, interviews, case-studies and artists’ interventions. The publication is an important document of the recent debate on questions of representation related to contemporary mobility issues.

Transient Spaces     Transient Spaces    



Erik Steinbrecher – Schluss mit Öko/An End to Eco

published by Roman Kurzmeyer, Basel/Berlin 2010

Curator Roman Kurzmeyer regularly invites artists to engage for a week, with the mountain village and surrounding area of the Walensee in Switzerland. When Erik Steinbrecher set out from Berlin on his way to the artists’ colony at Walensee, he brought with him a famous Berliner “fast food” specialty, as a sort of multiple: 1000 Berliner Buletten (meatballs), which were first “hung up” in a barn and finally – spectacularly – burnt in a bonfire.

This publication documents the story of Erik Steinbrecher’s Berlin Buletten-Installation in the former artists’ village.

Design: Stephan Müller



Matthew Antezzo – Doppelpunkt

with a text by Erlend Hammer

published by Bernd Milla, Kunstverein Göttingen

Matthew Antezzo’s painting is influenced by Fluxus, Constructivist and Conceptual Art. His current catalogue revolves around decisive turning points in the history of media, such as the invention of the transistor radio and the computer. At the same time, the publication forms a collage of works dating from the last twenty years of Antezzo’s career.

Doppelpunkt     Doppelpunkt    



Paolo Chiasera – Relic and Fetish

with texts by Dieter Roelstraete, Andreas Schlaegel and Andrea Viliani

edited by Paolo Chiasera and Cordelia Marten

Chiasera’s range is manifold: it extends from painting and drawing through sculpture and installation to film and performance. He carves heads out of wood, emerges disguised in the roles of the most diverse figures in the history of art, dedicates to them their own archive or sculpts enormous sculptures out of clay only to blow them up and generate something new once again. Paolo Chiasera’s work changes its form frequently and allows the viewer to take in various angles. The artist’s book presents various projects that were customized in collaboration with the graphic designer Till Gathman on varying paper, quality and size.

Relic and Fetish     Relic and Fetish    




including a conversation between Mary Poppins and Grant H. Atkinson

published by Janneke de Vries, GAK Gesellschaft für Aktuelle Kunst Bremen

The artist’s publication documents the exhibition by the Berlin artist Kathrin Sonntag (*1981) in the GAK Gesellschaft für Aktuelle Kunst in Bremen and communicates her thoughts in book form. Kathrin Sonntag is interested in the moment in which a normally thoroughly readable object comes out of itself: the magic en route, which can still be found in the commonplace. Like the exhibition, the catalogue, too, takes a playful approach to the connections between the different elements and reveals relationships in form, color and content. A fictional conversation between Mary Poppins (who lends the exhibition and the book its title) and Grant H. Atkinson (an anagram of “Kathrin Sonntag”) gives an introduction to both the presentation and publication.





Artist's magazin

published by The Office, Berlin 2010

THE WORLD ACCORDING TO seeks to challenge an artist to work in an unfamiliar way: using any source other than his own work, he develops an idea, a concept, a subject or a vision which can only be realized on paper. On 64 blank pages, he creates a special project by collecting images, texts, graphs, and/or by inviting artists, friends, family-members to generate content and to contribute to it.

Olaf Nicolai’s (*1962) works are conceptually invested and often marked with (socio-)cultural references. The artists’ magazine was published on the occasion of the exhibition Warum Frauen gerne Stoffe kaufen, die sich gut anfühlen in the “Arbeiterkammer”, Vienna. The magazine comprises extensive references and an apparatus without actually printing the original (imaginary) text.



Felix Meyer – la belle indifférence

This artist’s book captivates first and foremost through its simplicity of form, color and means of reproduction. Simultaneously, a link is established to the XEROX books of the 1960s – of Seth Siegelaub, for example.

“La belle indifférence” (relative indifference, lit. beautiful indifference) is a term coined by the psychoanalyst Pierre Janet and refers to the symptom of hysterics, a quite conspicuous disregard for their obvious and quite severe physical symptoms.

la belle indifférence    



Moritz Wiedemann – Selbstportrait (Self portrait)

In his artist’s book Selbstportrait Moritz Wiedemann (*1971) combines the results of his diary-style writing with those pertaining to his work as a visual artist, thereby portraying his artistic process and his work until now. At the heart of the book are questions about the sense and the nonsense of his way of life, the relationship between art and life, action and inaction.

When, during a long day in the studio, Wiedemann does nothing (or intends to do nothing), then he sleeps on the sofa, paces, listens to the radio, drinks coffee, reads, watches flies and describes this state skillfully, yet with the freedom of a literary dilettante.

Selbstportrait     Selbstportrait    



Claudia Christoffel

with literature by Tanja Dückers and a text by Ludwig Seyfarth

„Claudia Christoffel’s photographs, collages and photo-collages systematically leave the question of what we are actually looking at, which (reality) levels it has to do with, unclear. The means of representation do not serve the purposes of presentation but refer in the end back to themselves. With subtle, almost invisible interventions she brings sense and order into disarray.“ Ludwig Seyfarth
Claudia Christoffel’s first monograph provides an overview of her conceptual photographic works, which were created during residencies in Chile (2006), New York (2007) and in the mountain village of Olevano Romano in Italy (2009).

Claudia Christoffel     Claudia Christoffel    



Theater of Peace

published by ngbk, Berlin

edited by Dietrich Heißenbüttel, Anke Hagemann, Karin Kasböck, Christoph Leitner und Gunda Isik

Every day, theaters of war around the world are at the center of media attention. Working for peace on the other hand is unspectacular, slow, and not very appealing. How can a place, an initiative, an artistic work become a theater of peace? What alternative perspectives can be used to counter asymmetrical conditions of visibility? Is it even possible to make peace visible, to represent it? The book Theater of Peace brings together artistic and activist strategies that make visible the hidden stories behind the different scenes of crisis around the world, intervene into public discourse, and resist the logic of war.

fake or feint     Friedensschauplätze    



fake or feint, Berlin 2010

The exhibition series fake or feint took place from January until July 2009 in project spaces at Berlin’s Alexanderplatz as well as in the Kino Arsenal. Thematically it focused on the idea of a politics of the surface, which was explored following concepts such as marking, masquerade, staging, display, disturbance, and deviance. Subsequently a publication was compiled, that transfers the formats of documentation and contextualisation developed and tested during the project into book form. The documentation of the six exhibition and film scenarios is juxtaposed with a selection of text excerpts, that are to create a narrative along the concepts relevant to the project. Edited by Martin Beck, Adrian Bremenkamp, Joerg Franzbecker together with Arsenal – Institute for Film and Video Art.

Participating artists: Kaucyila Brooke, Claude Cahun, Daniela Comani, Keren Cytter, e-Xplo with Jaime Lutzo, Amy Granat, Tom Holert, Heiko Karn, Daniel Knorr, Annja Krautgasser, Katrin Mayer, Eran Schaerf, Eske Schlüters / Axel Gaertner, Sofie Thorsen / Katharina Lampert.

fake or feint    



Matts Leiderstam – Nachbild / After Image, Badischer Kunstverein, Karlsruhe 2010

With texts by Anja Casser and Wolfgang Ullrich

The catalogue documents Swedish artist Matts Leiderstam’s (*1956) solo exhibition at Badischer Kunstverein. The book shows new works especially created for the exhibition and various older work groups which Leiderstam has been continously expanding since the 1990s. Leiderstam is interested in the repressed aspects of historical pictures, which he detaches from their normative context within collections or archives and investigates from a contemporary point of view. He combines two contexts that are crucial for his gaze on paintings: The history of art and the history of homosexual culture. Leiderstam draws the attention to hidden homoerotic undertones, marginal details or latent connections.

Nachbild / After Image     Nachbild / After Image



Grönlund-Nisunen – Works Werke, Berlin 2010

With texts by Jyrki Siukonen and Carl Michael von Hausswolff.

Tommi Grönlund and Petteri Nisunen work as a collaborative unit, both as architects and visual artists. They create sculptural installations and interventions in urban and natural environments using sound, light and the architectural context as their primary material. The book undertakes a presentation of twenty of Grönlund-Nisunen’s works, projects and realized commissions with forty full page color plates. Each work is presented on a double spread and accompanied by captions written by the artists.

Works Werke     Works Werke



Stefan Eichhorn, Andrea Legiehn, Margret Hoppe, Hans-Christian Lotz – Marion-Ermer-Prize 2009

The Marion-Ermer-Prize, initiated in 2001, is considered an important patron of young art in the new Federal States today. In 2009 the award went to Stefan Eichhorn, Andrea Legiehn, Margret Hoppe and Hans-Christian Lotz. The publication comprises one booklet and four individually conceived artist’s books with essays written by Ellen Blumenstein, Christian Driesen, Vanessa Joan Müller, Thibaut de Ruyter, and Raimar Stange.

Jury 2009: Ellen Blumenstein (curator of the exhibition), Giovanni Carmine (Kunsthalle St. Gallen), Vanessa Joan Müller (Kunstverein für die Rheinlande und Westfalen, Düsseldorf), Dieter Roelstraete (MuHKA, Antwerpen), Christian Sery (Director HfBK Dresden)

Marion-Ermer-Prize 2009, Hans-Christian Lotz     Marion-Ermer-Prize 2009, Hans-Christian Lotz    



GAK Bremen, Künstlerhaus Bremen, Halle für Kunst Lüneburg, Kunstverein Harburger Bahnhof – Space Revised #1–4, Berlin 2009

Appropriation and loss of space, spatial deviations and social space are the four perspectives from which this cooperation project looked at the current positioning of recent artistic debates on space. In exhibitions initiated by the four institutions, space was not presented as an abstract container, but as a tangible phenomenon, a multilevel landscape, full of hills and valleys. The catalogue presents a huge range of images as well as the artists’ biographies and essays by Kerstin Stakemeier, Janneke de Vries, Stefanie Böttcher, Roger Behrens et al.

Participating artists: G. Bijl, C. Bodzianowski, B. Braine/L. C. Reed, W. Breuer, T. Brown, Y. Duyvendak, FLOSS, C. Haake, E. Hansdóttir, G. Hudson, C. Jankowski, G. Leblon, D. Maier-Reimer, B. Maire, K. Mayer, R. Nashashibi, E. Olofsen, Peles Empire, F. Pisano, K. Schiemenz, G. v. d. Werve and J. Wood/P. Harrison.

Space Revised #1–4    



Claudia Wieser and Bernd Ribbeck – Ich und Du, Berlin 2009

With texts by Gertrude Wagenfeld-Pleister and Noemi Smolik, edited by the Oldenburger Kunstverein.

At the Oldenburger Kunstverein Claudia Wieser and Bernd Ribbeck presented their approaches to spatial experience and design from various perspectives, and with different materials: ceramics and photocopy collages as well as paintings and drawings created with ballpoint pens, markers and touch-up sticks. The catalogue shows a wide selection of works by the artists which were made during the last couple of years.

Ich und Du     Ich und Du



Andrea Büttner – I believe every word you say, Badischer Kunstverein, Karlsruhe 2009

With texts by Dan Fox, Anja Casser and a conversation with Daniel Pies.

This first monograph of German artist Andrea Büttner (*1972) follows her solo exhibition at Badischer Kunstverein and was developed in close collaboration with the artist. In addition to drawing, photograph, video, reverse painting on glass and silkscreen, Büttner uses the technique of woodcut. It is the supposed antiquity of this medium - as well as the artistic tradition which it evokes - that refers to a fundamental question in her work: How is it possible to comprehend or to describe the threshold which is occupied by an artwork between the intimate practice of production and the public practice of exhibitions? Büttner's works not only thematize aspects of individual surrender, failure and shame, but also refer to the exemplary, utopian imagination of life-forms operating beyond these feelings of inadequacy.

I believe every word you say    



Kim Nekarda – Marlène et Héléna, Berlin 2009

With texts by Kim Nekarda and Maria Zinfert.

The book which Kim Nekarda designed in close collaboration with Michael Pfrommer presents an overview of his latest works. Within large-sized, colorful pictures painted symbols and signs of different times and cultures enter a symbiosis with shapes of things and persons as well as with real objects mounted on the canvas: “The space between painting and the viewer is a space animated by perception and memories, ensouled by ghosts. No illusion but presence.” (Kim Nekarda)

Marlène et Héléna    



Sabine Gross – Dauerbrenner, Berlin 2009

Text by Andrea Jahn

published by Kunstverein Friedrichshafen

"With her art that looks at art's reception, Sabine Gross formulates a remarkably confident and critical treatment of established artistic positions, which meanwhile include radical, anti-modernist statements such as Dada and Anti-Form. This stance reveals a very current, contemporary perception of art that considers the artwork's myth to be a construction and portrays it as such. ." (Andrea Jahn)

The catalogue, with its detailed images of the material Sabine Gross uses, gives an overview of her installations of the past years.

Dauerbrenner     Dauerbrenner



Iris Schomaker – songs of love and hate, Berlin 2009

In the series "Neun" Landeskulturzentrum Salzau, Vol 1

Iris Schomaker’s faces, figures, and landscapes are works reflecting on abstraction using iconic forms. She engages with fundamental questions of painting by combining parameters of painting, weighing them against one another: line and color, surface and space.

"Her subjects are a possibility for Iris Schomaker to explore painting and its potential for abstraction. Their visual solutions evoke peace and distance, and perhaps also make current moods visible in the isolation of the figures." (Antje Krause-Wahl)

songs of love and hate     songs of love and hate



Robert Gfader – Chess drawings
Berlin 2009

In a collaborate drawing session, Austrian artists Robert Gfader (*1967) and Klaus Auderer (*1968) established a dialogue and produced 40 drawings that can be read from two sides. They present the outcome as a limited edition printed on a drawing block of the finest Römerturm drawing paper. The uniqueness of the cover and style of this artist book is owed to the original paper and block used to produce this work.

Chess drawings     Chess drawings



Dani Gal - Chanting Down Babylon
Berlin 2009

An artist’s book accompanying the exhibition of the same title at Halle für Kunst, Lüneburg, with an introduction by Eva Birkenstock and Hannes Loichinger.

In 1992, shortly after its take-off from Schiphol Airport, a freight plane owned by Israeli airplane company El Al crashed into a residential complex in Bijlmermeer, Amsterdam. For the exhibition and the book, Dani Gal visited the occupants of the Bijlmermeer district and journalist Vincent Dekker for the purpose of entering into a dialogue with them on the plane crash and the reassembled everyday life in the reconstructed building. Based on comprehensive research, oriented by the atmospheres and worlds of subjective memories and experiences, the book gives an overview of various occurrences and stories woven into a complex weave of abstract and formal connections.

Chanting Down Babylon     Chanting Down Babylon



First issue of the artist magazine published by THE OFFICE, Berlin 2009

THE WORLD ACCORDING TO seeks to challenge an artist to work in an unfamiliar way: using any source other than his own work, he or she develops an idea, a concept, a subject or a vision which can only be realized on paper. On 64 blank pages, he creates a special project by collecting images, texts, graphs, and/or by inviting artists, friends, family-members to generate content and to contribute to it.

With a regard for the aesthetics and the conceptual practices of the 1960s and 1970s, Iñaki Bonillas’ (*1981) work is an investigation of photography, the photographic medium and the possibilities of the construction of the image. For the first issue of THE WORLD ACCORDING TO, he opens his personal library for us. From William Blake to Roberto Juarroz and Georg Christian Lichtenberg.



Egill Sæbjörnsson - The Book
Berlin 2009

Texts by Holger Kube Ventura, Bernd Milla, Christian Schoen, Karolin Tampere and Matthias Wagner K., published in conjunction with Reykjavik Art Museum, Frankfurter Kunstverein and Kunstverein Göttingen, Berlin 2009

"Egill Sæbjörnsson's (*1973) approach is conceptual, experimental and poetic and his work playfully crosses boundaries to other art forms. Egill belongs to those performance-based artists, who synaesthetically apply their great talent in many artistic fields to their work." (Christian Schoen)

Egill Sæbjörnsson is a musician as well as a contemporary artist and continually appears in new roles. This book speaks his language in terms of putting things to life, "animating" ideas, and playfully looking at "reality" and its projections.

The Book     The Book



Rapedius/Rindfleisch – falten, schichten, wandeln
Kunstverein Göttingen, 2009

Rapedius/Rindfleisch work in the traditional genre of landscape that they interpret anew with their own idiosyncratic conception. In their works they research the quality and malleability of their material. “‘Folding’ (falten) stands for the folding and unfolding of the paper, ‘layering’ (schichten) for the stacking, piling and collecting of paper cups and cardboard boxes and ‘transforming’ (wandeln) for the conversion and alteration of natural phenomena in cultural objects, respectively for the deformation of the material. At the same time, the German ‘wandeln’ has the double meaning of ‘wandering’ and connotes here the wandering of the viewer through the artists’ fictitious landscapes.” (Susanne König)

The meticulousness of the installations is mirrored in the realization of the catalogue being an artist book printed on precious paper. The careful work with material, the feel of the paper, the change of the paper quality, the work with images and the exclusive binding make this book an extraordinary print product.

Erik Steinbrecher     Rapedius/Rindfleisch



Erik Steinbrecher - Wind in Athens
Athens Biennial, Summer 2009

For the 2009 Athens Biennial Erik Steinbrecher smuggled carrots from Germany into Athens’ National Archaeological Museum and sprayed “fresh air” from “BLIX” canned fresh air in the idyllic National Garden. Steinbrecher manipulated the photo series documenting this activity with the airbrush tool of an image editing software and had it bound as a small artist book.

WIND IN ATHENS is a limited artist edition: the 100 copies of the print run contain a signed large format card depicting the can containing fresh air.

Erik Steinbrecher    



Gregor Hildebrandt, Berlin 2009

With texts by Heinz Stahlhut and Frank-Thorsten Moll

The use of audio cassette and video tape is characteristic for Gregor Hildebrandt’s work. The artist is not only interested in the specific materiality, but also in the texture of the audiotape as a storage medium for music. Including the multifaceted cosmos of Hildebrandt’s references into music, film, literature and the history of art, his work appears as a complex collage of figurative associations. Hildebrandt avails of his everyday’s reality and uses this as a material without any aesthetic-theoretical barriers. In this process, he connects aspects of Conceptual and Minimal Art with personal life and the experience of pop culture.

The catalogue is published in conjunction with the exhibitions ...und doch lässt etwas Kirschen blühen im April, Vattenfall Europe Mining & Generation, Cottbus, and Der Himmel im Raum, Berlinische Galerie, Landesmuseum für Moderne Kunst, Fotografie und Architektur.

Gregor Hildebrandt     Gregor Hildebrandt



Bo Christian Larsson - On And On Is How We Are, Berlin 2009

Swedish-born Hamburg based artist Bo Christian Larsson‘s (*1976) first extensive monograph includes drawings and objects made over the past years as well as photographs of his performances and installations. His works center on the inner visions of the individual and the dialogue taking place between internal and external worlds. His imagery delves into fantastic forests, utopian cities, gloomy creatures and blinding lights. The book contains an essay by Adina Popescu and an interview with Birgit Sonna, along with a brief introduction to Larsson’s drawings by Caroline Dowling.

Bo Christian Larsson     Bo Christian Larsson


Upcoming exhibitions:

June 2009           Walking in my mind, Hayward Gallery, London, UK
                          (Curated by: Stephanie Rosenthal and Mami Kataoka)
September 2009  Solo show: Magazin4, Bregenzer Kunstverein, Bregenz, Austria
November 2009   Solo show: Steinle Contemporary, Munich, Germany



Benedikt Hipp I, Berlin 2009

With texts by Gregor Jansen and Jörg Scheller

Benedikt Hipp’s first survey catalog shows his paitings in wonderful image quality and with numerous details.

“Hipp contributes to a philosphy of life aimed at a true basis in the sense of Søren Kierkegaard, and lends it a contemporary and indeed strengthening, universally comprehensible shape, namely, in the form of aesthetics, ethics and religiosity. His mental abstraction grasps melancholy in a structural and methodical manner, and thus as a kind of ornament. He shifts the mood away from what can be grasped as concrete, grotesque and real, to a fascinating, almost spiritual relation of the individual in the dark light of the Saturnine.” (Gregor Jansen)

Benedikt Hipp I     Benedikt Hipp I



Channa Horwitz – Searching Structures, Berlin 2009

With a text by Clemens Krümmel

Channa Horwitz has been working on numeric systems, rhythms, motions and on the ways to visualize the given structures since the early 60'. Presented as paintings the diagrams represent time, whilst colours represent motion. She exhibited with Sol Lewwitt and will have her first mayor solo show at Kunstverein Potsdam in Spring 2009.

Her compositions became choreographic scores, which have been interpreted in multimedia interpretations. This book is the first survey catalog of her work.

Channa Horwitz – Searching Structures     Channa Horwitz – Searching Structures


Exhibitions (Selection):

2009 Aanant & Zoo, Berlin
        Kunstverein Potsdam


Riccardo Previdi - Fraktur, published by De Vleeshal, Middelburg 2009

With texts by Lorenzo Benedetti and Daniel Baumann in conversation with the artist

Riccardo Previdi constructs ambiguous situations: inconsistent forms of design, architecture and pop- culture are combined to form something new. For De Vleeshall in spring 2009, the artist installed Fraktur, starting with the traditional typeface of the same name.

The result is a particular dualism that illuminates cultural subtext. The accompanying booklet shows Riccardo Previdis diverse strategies and working methods in a playful and ambiguous way.

Riccardo Previdi - Fraktur     Riccardo Previdi - Fraktur


Exhibitions (Selection):

2008 The Opposite of What We Now Know To Be True, Sommer & Kohl, Berlin
        CYK - Black To The Future, Galerie Iris Kadel, Karlsruhe
2007 Art Statements, Art Basel


space thinks, Berlin 2009

With texts by Dorothea Kolland, Uwe Jonas/Birgit Anna Schumacher and Sergej Stoetzer

As part of the “space thinks” series, eight artists (Etienne Boulanger, Franz Hoefner & Harry Sachs, Folke Köbberling & Martin Kaltwasser, Matthias Schamp, Schumacher & Jonas) carried out temporary artistic interventions in urban public spaces in the Berlin district of Neukölln until February 2009. These works deal with the many-faceted contexts offered by the neighbourhoods where the interventions took place. The projects is informed by the concept of “spacing” in urban and spatial sociology: According to “spacing”, the make-up and identity of any given space depends very much on the group (or “community”) that perceives and inhabits the space and also on the nature of the relationships between the various groups present in the space.

The book accompanying the exhibition is at the same time functioning as an independend reader und compiles contributions focussing on temporary interventions in the public space. A documentation of the art works is completed by artists biographies and list of exhibtions by the participating artists.

space thinks     space thinks     space thinks



FUTURE7. Pas de deux, Berlin 2009

With texts by Jennifer Allen and Markús Thór Andrésson

The work Pas de deux by FUTURE7 consists of two books. They have the same size, the same number of pages, and they are based on the same text and image material. While one book has been designed by RomyRichterTypographie, the concept of the other was invented by Nikolai von Rosen and Florian Wojnar, since 1997 operating together under the name FUTURE7.
Within this idea, Pas de deux refers to FUTURE7s general way of working as well as to their Kollektor-project. The publications will be released as an edition of 500 signed copies.

The fifty original collages the book has been made of, are also offered for sale.




Cairoscape – Images, Imagination and Imaginary of a Contemporary Mega City, ed. by Marina Sorbello and Antje Weitzel, Berlin 2009

Cairoscape - Images, Imagination and Imaginary of a Contemporary Mega City offers insights into the dynamics of contemporary art and culture in Egypt. Taking the Arab-African megalopolis of Cairo as a starting point, Cairoscape proposes a different way of looking at modern cities and at the phenomenon of contemporary urbanization and translocality.

The book functions both as documentation of the project and as a reader. The first section focuses on the exhibition, with information on the art works and interviews with the artists. The second section is a compilation of essays and other contributions on urbanism, media criticism, image politics and art and culture in Egypt and the Middle East.

With contributions by: Mona Abaza, Doa Aly, Gilles Aubry, Claudia Basrawi, Nermine El Ansari, Sherif El Azma, Hala Elkoussy, Rana El Nemr, Shady El Noshokaty, Haytham El Wardany, Ulrike Freitag, Maia Gusberti, Khaled Hafez, Sonja Hegasy, Hermann Huber, Iman Issa, Ahmed Khaled, Hassan Khan, Susanne Kriemann, Maha Maamoun, Hany Rashed, Christoph Oertli, Samuli Schielke, Katarina Ševi?, Randa Shaath, Sascha Thoma, Achim von Oppen, Ben Wittner, Nora Younis

Cairoscape     Cairoscape     Cairoscape    



Michael John Whelan. RED SKY MORNING,
Berlin 2009

With a text by Christoph Kivelitz

The video- and film works by Michael John Whelan (*1977 in Dublin) “are situated between photography and painting. His images of mundane landscapes and places in his vicinity float off into a place beyond time and space. Diffuse spatial elements eliminate the horizon line and thus any possible vanishing point of the viewer. The artist provides platforms for experiences for the viewer, within which patterns of space and time merge and dissolve. The notion of solitude and detachment becomes transformed into a gesture of slowness and meditation – into a visionary concept opposing the lived reality: a call for contemplation and decelaration.” (Christoph Kivelitz)



Exhibitions (selection):

2009 Kunstverein Bochum
2008 Dirt. Geometry, Reiman le Bègue Galerie, Düsseldorf
2007 in flagranti, Kunstverein Dortmund (G)


Andreas Bunte. May the Circle Remain Unbroken and other works with film, Berlin 2009

With texts by Michelle Cotton, Yilmaz Dziewior, Katerina Gregos and a conversation between Kathrin Meyer und Andreas Bunte

In his 16mm films Andreas Bunte (*1970) “skillfully mixes facts with newly produced material, uses oginal source texts and invents characters (…). The production of his films is preceeded by extensive research. But it is not only an interest in history that moves him: by working with the power inherent in utopian projects he makes the almost superhuman will to change society perceptible in an impressive way.” (Silke Hohmann, Monopol 2/2008, translation: argobooks)

Andeas Bunte’s artist book has been designed in the style of a film magazine from the 1960s (“Film”) that has become a classic because of its large-format film stills and sequences as well as its beautifully simple typography. Numerous images from Bunte’s archive of research material supplement the texts, written by international critics and curators, that discuss four of his film installations.

Rooms Look Back     May the Circle Remain Unbroken    


Exhibitions (Selection):

2009 Kunstverein Bielefeld
2008 Elisabeth Dee, New York (G)
        Kunstverein Hamburg (G)


Rooms Look Back, Basel 2009

Accompanying the exhibition at Kunsthalle Basel under the same name, curated by Simone Neuenschwander. With texts by Annette Amberg, Marc Glöde and Simone Neuenschwander

The book Rooms Look Back addresses the idea that rooms are able to look back. The centre stage were rooms as places in which alternative or fictive narrations can be constructed. The artists Rosa Barba, Ursula Mayer and Margaret Salmon were concerned with different representations of theatrical, real or fictional concepts of space in the medium of film and presented their works each in one of the rooms on the ground floor of Kunsthalle Basel. Furthermore alternating projects under the title Inserts took place: “Inserted” one after the other, the works by Manuela Leinhoß, Swantje Hielscher and Davide Cascio extended and contrasted with the exhibition’s theme using sculpture, object, drawing, and collage: Thereby they included further artistic strategies that are dealing with different references to architecture and (utopian) concepts of space.

Rooms Look Back     Rooms Look Back    



Integration Impossible?
The Politics of Migration in the Artwork of Tanja Ostoji?
, Berlin 2009

With essays by Pam Allara, Manuela Bojadžijev, Adele Eisenstein, Rune Gade, Marina Gržini?, Suzana Milevska, Tanja Ostoji?, Judith Surkis and Sefic Tatli?

Tanja Ostoji? (*1972 Belgrade) is known for her Situationist performances involving her own body and personal life. Her recent works, such as Looking for a Husband with EU-Passport, Crossing Borders Series and Naked Life, focus on various aspects of migration, but also include feminist ideas. The texts and images in this book are composed by outstanding Balkan, EU and US theorists and expand on the themes explored in this body of work, supplying additional insights. The book comprises colour images, written descriptions and commentaries on the three larger projects by the artist, as well as transcripts from discussions carried out in the framework of the actual works.

“The real scandal of her work lay not in its sexual explicitness, but in how it located sex at the centre of European politics.” – Judith Surkis

“The expelled, the displaced, the ghettoised, the imprisoned, the immigrated, the war refugees and the Roma: all these marginalised and excluded people treated as “homo sacer” are subjects of Tanja Ostoji?’s interest.” – Suzana Milevska

Integration Impossible?     Integration Impossible?     Integration Impossible?


Exhibitions (Selection):

2008–09 Re.act Feminism, Akademie der Künste Berlin
2008      Integration Impossible?, Kunstpavillon Innsbruck;
             Galerie im Taxispalais Innsbruck (A)
2007      Global Feminisms, Brooklyn Museum, NY


Heiko Blankenstein. Drawings, Berlin 2009

With a text by Isabel Zürcher

Heiko Blankensteins (*1970) obsessive drawings and lightboxes with their figurative imagery and multiple narrative levels can be seen in a tradition of outsider artists such as Henry Darger. This full color catalog gives an overview over the major works of the last years and additionally shows fascinating details.

Heiko Blankenstein “places his own work into existing iconography. Not all motives derive from the author himself, but instead converge as a result of unrestricted combinatorics, embedding studies of nature as well as art history in a new state of aggregation. Astronomical and alchemist illustrations of early modern times have devised their genotype in them, depictions of cosmologic models, the prospectus of old master landscapes, interior spaces of historic examples of architecture. Visionary solar systems overlap treetops, while their gnarled trunks, like models of a seismogrphic survey, disband any expectation of natureHeiko Blankenstein.” (Isabel Zürcher)

Drawings     Drawings    


Exhibitions (Selection):

2008 Solo presentation 101, tokyo art fair
2007 every eye sees differently, the drawing room, London (G)
2005 Lombard Freid Fine Arts, New York


EMBEDDED ART – Art in the Name of Security, Berlin 2009

Accompanying the exhibition at the Academy of Fine Arts, Berlin, curated by Olaf Arndt, Janneke Schönenbach, Moritz von Rappart and Cecilia Wee

As the waves of international terrorism reach vital organs all over the world at the beginning of the 21st Century, new threats curtail the dream of a peaceful, undivided and secure world. In response to these circumstances, state and private organisations across the globe are producing new tactics, strategies and technologies to fight the dangers threatening our democracies and jeopardising our understanding of the term “civilisation”. Indeed, everything that can be performed “in the name of security” appears desirable: security has now become an ideology. The publication “embedded art. Art in the Name of Security” interrogates these pressing issues, appropriating the words of composer Gershon Kingsley to ask its audience, “what would you give for security?” As a reference book to the subject, the publication compiles cutting-edge contributions by sociologists, historians, media artists, politicial and cultural scientists such as Peter Bexte, Alfred McCoy, Steve Goodman, Ken Hollings, Wolfgang Pircher, Florian Rötzer und Steve Wright.

Design: Gunter Rambow

EMBEDDED ART – Art in the Name of Security     EMBEDDED ART – Art in the Name of Security    




SUSI POP bin ich, Berlin 2009

With texts by Günter Erbe and Annette Tietenberg

In the unfocused area of crossover, in the reverberating chambers among the realms of music, design, and art, there is often a lot of talk about remix, sampling, or cover versions. SUSI POP prefers a concept that sounds more antiquated, but much more charming: medley. Derived from the Latin misculare, miscere, “to mix,” “medley” announces a compilation of familiar melodies. Such a mixture not based on chronologies, questions of style, or work complexes. Anything’s allowed. From the plethora of pictures that are exhibited in museums and circulate as images in catalogs, magazines, or data networks, SUSI POP selects icons by recognized greats like Gerhard Richter, Lucian Freud, Jackson Pollock, or Pablo Picasso, and reproduces them on a 1:1 scale. Her art can be understood as a contemporary version of the appropriation art practiced in the 1970s and 1980s. (Annette Tietenberg)

The catalogue compiles various work groups since SUSI POPS beginning 21 ago until today.

SUSI POP bin ich     SUSI POP bin ich    


Exhibitions (Selection):

2009 Man Son, Kunsthalle Hamburg
2008 Just Different, CoBRa Museum, Amstelveen, NL
2007 TERRY ATKINSON and SUSI POP ...are leaving the agmoas sector,
        Zwinger Galerie, Berlin


Jonathan Monk. Coloured People in Black and White, Berlin 2008

In the series Kunst und Theorie. Künstlerhäuser Worpswede No. 6 edited by Bernd Milla.

Jonathan Monk’s (*1969) field is conceptual art of the 1960s and 1970s. He approaches art history and works on its subjects with a certain sense of humor.

Ed Ruscha’s artist book with 15 photographies of gorgeous cactuses, Colored People (1973), was first named “People in Color”. What Jonathan Monk and Ed Ruscha have in common at least, is their preference for titles, which open an additional level.

Coloured People in Black and White     Coloured People in Black and White    

Exhibitions (Selection):

2008 Haus der Kunst, München
        Palais de Tokyo, Paris
        Kunsthalle Düsseldorf



BUY BUY by Erik Steinbrecher
Kunst Halle Sankt Gallen, 2008

published on the occasion of the exhibition A Town (Not a City), a group show at Kunst Halle Sankt Gallen, curated by Giovanni Carmine and Thomas Boutoux in collaboration with bookhorse, Zurich

Erik Steinbrecher’s (*1963) photographic series are beautiful image archives and at the same time informative social studies. In BUY BUY the swiss artist living in Berlin focuses on package deals and price tags of international fast food restaurants and bargain shops. The booklet complies the “best offers” with its affectionally drawn typography and impressive combination of colors as well as the palette of hand made price tags and impressive shop window arrangements.



Exhibitions (Selection):

2008 Galerie Barbara Weiss
        Mimétisme, Extra City, Antwerp
        Stampa Basel


Stefan Schuster: Unfinished Journeys, Berlin 2008

Stefan Schuster's new artist book is a travel journal of a kind: He sets off to tell stories of travelers and night birds, which could happen everywhere and to all of us. With one single sentence he is opening a tune and raises a field of memories of special trips, late nights out and returns on early mornings.

Unfinished Journeys     Unfinished Journeys    


Exhibitions (Selection):

2008 remixed, Alexandra Saheb, Berlin
        freunde und bekannte, sparwasserhq, Berlin (G)
2006 don’t be so strict with yourself, croynielsen, Berlin


Antonia Low. Low Deluxe, Berlin 2008

Antonia Low (1972 in Liverpool) finds her material and her ideas on building sites, in the streets and in empty spaces of her hometown Berlin. The artist experiments with everyday material in expansive installations; she obstructs the view, exposes structures, analyses given situations and through this manages to unsettle general points of view:

The artist book documents the often temporary artworks and shows fascinating details. “As a modern archaeologist she looks back to the past, hoping to lay bare and to discover hidden treasures. With almost forensic precision she tries to penetrate reality, searching to grasp the past and the present.” (Hilde Teerlink) The artist book is documentating the often temporary works and its details.

Low Deluxe     Low Deluxe    


Exhibitions (Selection):

2008 Das Experiment von Käselow, Refugium II, Berlin
2006 Westfälische Kulturarbeit, Westfälisches Landesmuseum Münster
2006 Jugend forscht, etc., Klara Wallner Galerie, Berlin


Max Frey. Neue Galerie am Joanneum Graz, Berlin 2008

With an Essay by Günther Holler-Schuster

Austrian artist Max Frey is conducting experiments on the cutting edge between kinetics and cybernetics. Here, contexts of perception meet programmed coincidence. Motion, light and contingency are his key notes.

The book, published on the occasion of his solo exhibition at Neue Galerie am Landesmuseum Joanneum Graz, is at the same time the first monographical publication on the artist. With numerous full-page color plates, it gives a survey on his work so far. Additionally, it contains an extendable set of cards, each showing one work with one color photograph and a short description.

Max Frey     Max Frey    


Exhibitions (Selection):

2008 Neue Galerie am Landesmuseum Joanneum, Graz
        New Talents, Art Cologne
        Krobath Wimmer, Wien
2007 Parrotta Contemporary Art, Berlin


Peggy Buth. Desire in Representation, Travelling through the Musée Royale,
Jan van Eyck Academie, Maastricht 2008

“Desire in Representation”, an artist’s book in two parts, is the result of a comprehensive documentation and research project which began at the Royal Museum for Central Africa founded in Tervuren (near Brussels) in 1907. It combines documentary photo material of the museal representation of Central Africa and its colonisation with a narrative created by quotations of travelogues and adventure stories, archival images and historic documents from the colonial days of Belgium and Germany. The publication focuses on the colonisers’ desires, expectations and aspirations and the way in which these find expression in their self-portrayals and in the images of the ‘other’. An appendix lists the sources used and provides further references through additional information and image material.

Desire in Representation     Desire in Representation    


Exhibitions (Selection):

2008 Brussels Biennial
2007 made in germany, kestnergesellschaft/Sprengel Museum/Kunstverein Hannover
2006 Tales from the Travel Journal Vol.I, Contemporary Art Centre, Vilnius Litauen


Susanne Bürner. Only You, Berlin 2008

Susanne Bürner (1970) shows ecstatic fans expressing longing and despair through their mimics and gestures. For the reader, however, the subject of attraction is off-frame, hidden to the viewer and therefore missing. The book functions as a container of these people while the subject is outside the book as well as we as the readers are.

“Susanne Bürner explores the thresholds of representation. How does the viewer absentmindedly become the actor of cinema’s fantasy? Bürner produces subject–object relationships that problematise the question of inhabiting a world conceived as representation. “(Vincent Honoré).

Susanne Bürner     Susanne Bürner


Exhibitions (Selection):

2008 Goethe-Institut, Honkong
        Past Forward, Zabludowicz Collection, London (G)
2007 Performance Z-A: a Pavillion and 26 Days of Events, Storefront
        Gallery, New York
        Macho Painter Scum, Prag Biennale


Luca Trevisani. The effort took its tools, Berlin 2008

With texts by Luca Cerizza, Dominic Eichler, Simone Menegoi

Luca Trevisani’s (1979) beautiful, flamboyant book with its overlaid images, collages, and eccentric typo serves as an archive of his sources, readings and inspirations as well as a documentation of his recent works.

“If Trevisani works quickly, it is the present-day condition that demands it; the awareness of being part of this constant flow of data, materials and images in transformation that does not permit the solid state. In the liquid modernity there is less and less space for definitive form: everything flows, really. It’s only a short leap from Heraclitus to bytes.” (Luca Cerizza) References include Klaus Bach, Berthold Burkhardt, and Frei Otto, Jean Baudrillard, Alice Munro, Petra Blaisse, Marco Belpoliti, Bruno Munari, Peter Sloterdijk.

Luca Trevisani     Luca Trevisani


Exhibitions (Selection):

2008 Manifesta 7, Trentino (G)
        Galerie Mehdi Chouakri, Berlin (S)
        Gio Marconi, Milan (S)
        Künstlerhaus Bethanien, Berlin


Egill Saebjörnsson, Berlin 2008

In the series Kunst und Theorie by Künstlerhäuser Worpswede, No 3, edited by Bernd Milla

Since the late 1990s Egill Sæbjörnsson (*1973) has been developing a unique approach towards the use of material, style and subject. Sæbjörnsson has built up a language different from others combining installations, video, performance, music, photography and theater. His works sometimes seem different in-between them but there is an underlying thread that connects the works in a rich and complex way. She Was a Fighter is a small book with drawings and texts and an audio CD with Sæbjörnsson compositions. It shows a new side on this otherwise multifaceted Icelandic artist living in Berlin since 1999.

Egill Saebjörnsson     Egill Saebjörnsson


Exhibitions (Selection):
2008 Egill Sæbjörnsson, I8 gallery, Iceland
2007 Three Daily Exercises, Kölnischer Kunstverein “egillegillegill”,
        Cueto Projects, 21st Street New York, curated: Gyonata Bonvicini.
        New York, USA 5 Bottles, Falkecharlotte,
        Ellen de Bruijne Project, Amsterdam
2005 An Idear 4 Thwoo Feet, Two Hands & 4 Corners, Performance,
        Gallery Isabella Bortolozzi, Berlin

further exhibitions and information under www.egills.de


Skafte Kuhn. Hervor aus Gebirgen des Nichtmehr, Berlin 2008

“Sound artist“ Skafte Kuhn presents an artist book, which looks like a precious special edition of an LP album. The texts are taken from song lyrics of 13 LPs by Anne Clark, the Rolling Stones, Johnny Cash or ACDC. Sakfte Kuhn transformed them into the poetic language of Schlegel, Tieck or even Shakespeare, juxtaposing them with 13 ink-pencil portraits showing the individual singers.

“Skafte Kuhn went through the recent history of music and selected lyrics dealing with darkness, gloominess and the colour black. (…) It is … surprising how little historical and contemporary thought differ, how strongly emotionality and individualism appear as constants,” (Bettina Steinbrügge)


Exhibitions (selection):
2008 "Legend", Departmental Domain Charmande, FR (G)
2006 "Es braucht die Nacht zu glauben.", Galerie Iris Kadel, Karlsruhe (S)
2003 "Morgen kommt heute und Gestern wird folgen", Bakery,
        Projectspace Annet Gelink, Amsterdam, NL, (S)


Johannes Buchholz. Drawings, Berlin 2008

Published on the occasion of the exhibition at the Morat-Institute, Freiburg

As in the „thin cities“ Zenobia, Ottavia and Armilla in Italo Calvino’s Invisible Cities “the cityscapes of Johannes Buchholz (*1961) seem to detach themselves from an above and below, right and left, near and far. The artist begins each series of drawings on site. He installs himself on balconies and roofs, places where he can get an overview. Incidental constructions, dynamic and rhythmic lines gather on the paper.” (Annette Thomas)

Johannes Buchholz     Johannes Buchholz     Johannes Buchholz


Exhibitions (Selection):
2007 Kunstpreis Tempelhof-Schöneberg, Berlin (G)
2006 Goldberg Zyklus, Galerie Alexandra Saheb,
        Berlin Bochumer Künstlerbund, Museum Bochum
2005 Der Englische Gruß & Goldberg-Zyklus, Martinskirche, Müllheim/Baden
1997 Künstler aus Baden, Musée Jenisch, Vevey, CH (G)
1994 Bochumer Künstlerbund, Museum Bochum (G)


Peter Pommerer, Berlin 2008

In the series Kunst und Theorie by Künstlerhäuser Worpswede, No 2, edited by Bernd Milla.

Peter Pommerers (*1968 Stuttgart) drawings and wall paintings develop an unique cosmos of image stories, signs and ornaments. Bist Du ein Wandelicht so melde Dich starts with David Bowies Major Tom, leads over Adam and Eve and paradise to the northern german marshes, however, ends in total silence with the work pssst...stille.. The ‘walking light’ (Wandellicht) was an instrument of nautical navigation systems using Labyrinths.

Bist Du ein Wandellicht so melde Dich     Bist Du ein Wandellicht so melde Dich


Exhibitions (selection):
2007 carlier I gebauer, Berlin
2005 Sprengel Museum, Hannover
2003 actionbutton, Hamburger Bahnhof Berlin, (G)
2000 Galerie Foksal, Warschau


Männerfantasien, Berlin 2008

Published by Ellen Blumenstein for COMA, Centre for Opinions in Music and Art

Männerfantasien II is investigating male subjectivity and men’s changing self-perception in increasingly blurred gender formation and contradicting role models. The title and scope is inspired by cultural theorist Klaus Theweleit’s late 1970s bestseller Male Fantasies. Theweleit described a pathological idea of „real masculinity“, and thus set the discourse on masculinity in Germany rolling.

The combination of images and texts in this book presents a selection of “male fantasies” in the sense that each contribution allows the artists’ personal perspective on his work and to locate it in the context of male fantasies.

With works by: Alejandro Cesarco, Brock Enright, Matt Greene, Nicolás Guagnini, Michael Kunze, Rodney McMillian, Michael Müller, Pablo Pijnappel, Adam Putnam, Mladen Stilinovic, Charlie White.

Design: Alexander Hahn

Männerfantasien     Männerfantasien



Adib Fricke. A Gorilla in a Mirror, Berlin 2008

With a text by Knut Ebeling, published by Edzard Brahms/Realace, Berlin 2008

This book has not the shape of a line but of a ball, without beginning and end. It starts at each spot, on each page. One takes a stroll in a kaleidoscope-like labyrinth, made of sentences and assertions, that begins nowhere and ends nowhere so that eventually the statements circle around the reader like projections of a mirror ball. (Knut Ebeling)

With A Gorilla in a Mirror, Adib Fricke, linguist in technical times, who undertakes an archeology of digital writing, has created an elaborate artist book. Printed high-quality, with four full tone colors and protective lacquer, it makes for an outstanding visual experience.

The book is being released at the exhibition in the Gallery Realace, Wilhelmstraße 138, Berlin.

Adib Fricke     Adib Fricke


Exhibitions (Selection)
2007 A Matter of Space, Realace, Berlin
2006 My Private Corpus, Villa Grisebach Gallery, Berlin
2004 You Can Dump Me, Poetische Positionen, Kasseler Kunstverein, Kassel
2003 Marmelade aus Mexiko, IMH Campus Charité Mitte, Berlin

further exhibitions and informationen under www.TheWordCompany.de


Poul Gernes. Continued, Berlin 2007

With texts by Yves Mettler and Ben Kaufmann, published by Galerie Ben Kaufmann

Recently rediscovered Danish artist Poul Gernes (1925–1996), was little known beyond his home country until up to the 1980s. This certainly changed by the time his flags were shown at the documenta 12 – by invitation of Cosima von Bonin. However, a range of young artists had already modelled on his room design for a while. This is due to the fact that Poul Gernes pioneered in designing public and private buildings and this way added color to the cities long time before public art became popular. Amongst room presentations his work embraces series of pictures with magnificent colored patterns, letters and flower sequences which are thoroughly documented in the magazine, following Gernes’ understanding of design. The only existing print of a lithography by the artist from 1964 serves as a sample for the cover.

Poul Gernes     Poul Gernes     Poul Gernes



Steven Black. Works 2002–2007, Berlin 2007

With a text by Timm Rautert, published by Galerie Alexandra Saheb

Steven Black’s first catalogue provides an overview of his art works of the past five years. His sensitive oil paintings portray friends, acquaintances, former fellow students and teachers in only barely suggested spaces. The sketchiness of the surroundings form a strong contrast to the relief-like, well-elaborated faces and mirrors on the one hand the portraying process and on the other hand the relationship between painter and model. The catalogue has been produced in close collaboration with the artist. A short essay from the perspective of the model/of those portrayed and a curriculum vita of the artist complement the exhibition catalogue’s illustrations.

Steven Black        Steven Black


The catalogue is published on the occasion of an exhibition of Steven Blacks work at Galerie Alexandra Saheb, Berlin 30 October to 20 December 2007.