Spring 2021 EDITORIAL

Dear Book Lovers,

When we wrote the editorial for the fall preview in Zoe Leonard has sent us around four hundred pictures February 2020, "viral" still seemed an acceptable adjective of the Rio Grande River from the United States. It marks to us. As a possible metaphor for the fact that something the border between the USA and Mexico. This river is an prevails—in a positive sense. It is not only in this respect intense metaphor for the separation of two nations, the that we have learned a lot since the spring, or should we marking of the other, a strict line between what is home say: Have we been taught a lesson? and what is foreign, between languages and differences, With this first program since and with the novel corona- between one side and the other. All of these themes affect virus, we want to speak to you with titles that continue us in Europe deeply: migration, the EU, the failure to reach to open up the changed world to us, through the experi- a consensus on common values, Brexit, nationalism, rivers ence of the pandemic, despite the pandemic, in defiance as borders—these images also show how comprehensive, of the pandemic, or all at once. What is certain is we are how global, their themes are. no longer sure about anything that was once considered a certainty just over half a year ago. In such a situation, But above all, we would like to extend to you, dear book images often help, because they sometimes show what people, a very personal greeting. In these exceptional we cannot yet grasp in thought or language. times, when so little is known about what lies before us, And through pictures our program reveals new insights, you have shown us what books mean to you to such an outlooks, and overviews of different topics, the role of things extent and with such commitment that we must thank in the world, and digital media. They’re about a new look you directly. If proof had been needed that books really do at old knowledge—about Der Blaue Reiter, for instance. Or exist, it could not have been provided more wonderfully about lesser-known women whom one would like to get to than in the months since last March. No wonder then, know better, like Ottilie W. Roederstein. We would also like that our view of the future looks bright; with books, fore- to talk about older gentlemen, such as Joseph Beuys, whose sight and wisdom, together we can master any challenges birthday will be celebrated for the 100th time in 2021, and that the coming months might bring. whose art has not lost any of its topicality to this day. We have books about those moments of pause that the We thank each and every one of you for every purchase, coronavirus has given us, such as Tom Hegen’s photo- for every reading, for every digital click, for every look in graphs of grounded airplanes. We also have books on how our virtual shop window and every contribution to Art on awareness can turn into productivity, which is what the the Beat. book by Sean Scully (in conversation with David Carrier), the interviews with museum people by András Szántó, or With warm greetings and—on-the-beat— Philipp Zitzlsperger’s design discourse all stand for. Max Sven Fund, Nicola von Velsen, and the Hatje Cantz team Siedentopf’s Survival Guide also represents this, albeit each with its own themes.

We celebrate 75 years of Hatje Cantz with the motto “Art on the Beat.” Here too, there will be events, discus- sions, and exhibition visits that will take place differently than planned in spring. The conditions of the pandemic demand new formats and special requirements for each personal meeting. We will provide information about the program on our digital channels. Together with Joana Katte, Torsten Köchlin has created our dynamic birthday logo, while our website will also get a new look for this great anniversary—but as with many good things, it will take a little time. CONTENTS

Highlights Photography

2 Rodin / Arp 40 Frank Horvat 3 Joseph Beuys 41 Tom Hegen 4 Ottilie W. Roederstein 42 Angelika Platen 5 Zoe Leonard 43 Erwin Olaf 6 Group Dynamics 44 Christine Turnauer 7 The Picasso Connection 45 Jon Lowenstein 8 On Everyone’s Lips 46 Daniel Freeman 9 Anni and Josef Albers 47 Romeo Alaeff 10 Schule des Augenblicks 48 Julien Guinand 11 Gerhard Richter. Bibliographie 49 Michele Nastasi 50 Sandra Ratkovic 51 Peter Nitsch New Series 52 Roger Ballen 53 Max Siedentopf 12 Tal Sterngast. Twelve Paintings 54 Pascale Weber 13 Dirk Boll. Was ist diesmal anders? 14 Philipp Zitzlsperger. Das Design-Dilemma 15 András Szántó. The Future Museum Architecture

55 Erik Dhont Art 56 Candide: 12 57 Women in Architecture 16 Franz Gertsch 58 Discreet Beauty of Simplicity 17 Tools for Utopia 59 Gabriel Guevrekian 18 Christo and Jeanne-Claude 60 Rights of Future Generations 19 Abstract Painting, 61 Eyes of the City Art History and Politics 20 Josef Albers. Suchen und Finden 63 Backlist 21 Leonilson 22 Michael Morgner 23 Italian Architectural Drawings 70 Editions / Special editions 24 Thomas Schütte 25 Andrew Bick 72 Credits 26 Lea Grebe 27 Cristina Iglesias 73 Contact 28 Jenny Brockmann 29 Landon Metz 30 Wo sind wir hier, Nathan Egel? 31 Brigitte Waldach 32 Andreas Eriksson 33 Hidden Patterns 34 Peter Weibel 35 Marco Godinho 36 Genaro Strobel 37 Lonnie van Brummelen and Siebren de Haan 38 Romanian Contemporary Art 2010–2020 38 Grenzen in der Kunst. Tschechische Kunst in drei Generationen 39 Marianna Christofides Two Masters in Dialogue

For the first time in a museum exhibition—and hence, in this catalogue—the groundbreaking work of a great innova- tor of late-nineteenth-century sculpture encounters the influential work from a protagonist of twentieth-century abstract sculpture: Auguste Rodin meets Hans (Jean) Arp. Both artists are characterized by their unique artistic innovations and the joy of experimentation; both strongly influenced their eras and have lost nothing of their topicality to this day. As sculptural milestones, the creations of Rodin and Arp illustrate in a vivid and exemplary way fundamental aspects in the development of modern sculpture. Rodin’s pioneering ideas and new artistic horizons for sculpture were taken up by Arp and fascinatingly developed, reinterpreted, or con- trasted. Indeed, both oeuvres exhibit numerous artistic af- finities and points of reference, which become a particularly revealing visual experience in this clever juxtaposition.

AUGUSTE RODIN (1840–1917) led sculpture to new forms of expression, ultimately approaching Impressionism stylistically with his dynamic surface, while also under the influence of Symbolism, in terms of content. Sculptures such as The Thinker, The Kiss or The Burghers of Calais are among the icons of modernism. HANS (JEAN) ARP (1886–1966), founder of the Dada movement in Zurich, is known for his biomorphic sculptures in plaster, stone, and bronze. He sought the expression of “organic abstraction.” His oeuvre

HIGHLIGHTS also includes paintings, drawings, and poems. Rodin / Arp ● Clever comparisons EDITOR ● Sculpture of the modern age Raphaël Bouvier on behalf of Fondation Beyeler, Riehen/Basel ● Exhibition catalogue from the Fondation TEXTS Astrid von Asten, Raphaël Bouvier, Catherine Chevillot, Lilien Feledy, Beyeler Tessa Paneth-Pollak, Jana Teuscher GRAPHIC DESIGN Bonbon

English 240 pp. ● ca. 125 ills. ● 27.4 x 31 cm ● hardcover ca. €58.00, $68.00, £58.00 December 2020

EXHIBITIONS Fondation Beyeler, Riehen/Basel January 31–May 16, 2021 Arp Museum Bahnhof Rolandseck June 26–November 14, 2021

Rodin / Arp ca. €58.00, $68.00, £58.00 ISBN 978-3-7757-4874-2 (German)

ISBN 978-3-7757-4875-9 English 2 Beuys in the 21st Century

In thirteen chapters, the exhibition and the accompanying catalogue offer profound insight into the cosmopolitan thinking of Joseph Beuys, as manifested in his actions, which are presented in the form of video projections and photographs. For it is in this capacity—as an acting, speaking, and moving figure—that Beuys examined the central, radical idea of his expanded concept of art: "Every human being is an artist." The goal of his universalist approach was to renew society from the ground up. To this day, his influence can be felt in artistic and political discourses. In this exhibition, contemporary artists and representatives from various areas of society enter into a multilayered, transcultural dialogue with Beuys. From today’s perspective, they confirm, question, and expand upon his theses about the possibilities of a future conceived via art.

JOSEPH BEUYS (1921–1986) fundamentally changed the twentieth-century as a draftsman, sculptor, teacher, politician, activist, action, and installation artist. His 100th birthday in 2021 is an occasion to rediscover, appreciate, and critically question his complex body of work and his international influence. HIGHLIGHTS

● How art contributes to society and politics ● Transcultural dialogues with contemporary artists ● 100th birthday of Joseph Beuys 2021 Every person is an artist: Practices in cosmopolitics with Joseph

With B-Town Warriors, Ruth Bader Ginsburg, Phyllida Barlow, Nelly Beuys Ben Hayoun-Stépanian, Fatou Bensouda, Huma Bhabha, Dineo Seshee Bopape, Angela Davis, Dusadee Huntrakul, Jes Fan, Charles EDITORS Foster, Bill Gates, Núria Güell, Anna Halprin, Donna Haraway, Raphael Eugen Blume, Susanne Gaensheimer, Isabelle Malz, Hillebrand, Jenny Holzer, Michel Houellebecq, Lazar Kunstmann | L’ux, Catherine Nichols Jeong Kwan, Mierle Laderman Ukeles, Zoe Leonard, Goshka Macuga, Antanas Mockus, Baptiste Morizot, Bruce Nauman, Tuan Andrew English Nguyen, Sister Rosemary Nyirumbe, Howey Ou, William Pope.L, Cia ca. 360 pp. ● ca. 200 ills. ● 24 x 30 cm ● softcover with flaps Rinne, Tejal Shah, Vandana Shiva, Santiago Sierra, Patti Smith, Edward ca. €48.00, $55.00, £48.00 Snowdon, Christopher D. Stone, Suzanne Lacy, The Otolith Group, March 2021 Thich Nhat Hanh, Greta Thunberg, Malala Yousafzai, among others

EXHIBITION K20, Kunstsammlung Nordrhein-Westfalen, Düsseldorf March 27–August 15, 2021

Jeder Mensch ist ein Künstler Kosmopolitische Übungen mit Joseph Beuys ca. € 44,00 [D], € 44,00 [A], CHF 49,00 ISBN 978-3-7757-4865-0 (Deutsch)

ISBN 978-3-7757-4866-7 English 3 A Tough Woman

Ottilie W. Roederstein, born to German parents in Zurich in 1859, was one of the leading painters in the German-speaking world during her lifetime. She also enjoyed early recognition in Paris. As one of the few women artists of her time, she successfully dedicated her entire life to art and led an un- conventional but respected existence in Germany together with her partner, the gynecologist Elisabeth H. Winterhalter. Although Roederstein’s early work adhered to the conventions of the academy, the painter increasingly opened herself up to other currents in her more mature work and in the 1920s found her way to an austere, objective visual vocabulary. Despite her international reputation as a portraitist and painter of still lifes, Roederstein fell into obscurity almost immediately after her death in 1937. Now, after several decades, the Kunsthaus Zürich and the Städel Museum in Frankfurt am Main are presenting the first monographic show of her work, accompanied by this comprehensive catalogue.

OTTILIE W. ROEDERSTEIN (1859–1937) had fought for her success: not only against the resistance of her parents, who did not want such a “dubious” activity for their daughter, but also against the numerous prejudices of that time. Like her friend Elisabeth H. Winterhalter, she fought for equal rights for women. She opened a teaching studio that was also for female students. HIGHLIGHTS

● Monographic exhibition Ottilie W. Roederstein ● The rediscovery of a great Swiss-German EDITORS artist Zürcher Kunstgesellschaft / Kunsthaus Zürich; Sandra Gianfreda / ● Painter between tradition and modernity Städel Museum, Frankfurt am Main; Alexander Eiling and Eva-Maria Höllerer TEXTS Alexander Eiling, Sandra Gianfreda, Eva-Maria Höllerer, Barbara Rök, Iris Schmeisser GRAPHIC DESIGN Fine German Design

English ca. 208 pp. ● ca. 230 ills. ● 21.5 x 28 cm ● hardcover €44.00, $50.00, £44.00 December 2020

EXHIBITIONS FREI. SCHAFFEND. Die Malerin Ottilie W. Roederstein, Kunsthaus Zürich, December 18, 2020–April 5, 2021 Städel Museum, Frankfurt am Main, May 19–September 5, 2021

Ottilie W. Roederstein €44.00, $50.00, £44.00 ISBN 978-3-7757-4794-3 (German)

ISBN 978-3-7757-4795-0 English 4 Along the River Border

Zoe Leonard is among the most influential artists of her generation. Her work merges photography, sculpture, and installation, balancing rigorous conceptualism with a distinctly personal vision. Al Rio / To the River, initiated in 2016, is an ambitious photographic project addressing the more than one-thousand miles of river boundary shared by the United States and Mexico. Leonard approaches the river, known as Rio Bravo in Mexico and Rio Grande in the United States, as a multifaceted leitmotif in which cultural, ecological, historical, social, political and economic concerns intersect. Published in two volumes, the first will feature Leonard’s photographs, while the second will bring together written contributions from a remarkable group of international artists, essayists, journalists, poets and scholars. Conceived as an alternate form of circulation for the work, the publication also provides an interdisciplinary reference for people interested in the river, environmental issues, borderlands culture and contemporary border issues.

ZOE LEONARD (*1961, Liberty, New York) works in photography, sculp- HIGHLIGHTS ture and installation. Her participation in Documenta IX brought her work to international attention. She has been the subject of solo shows at MOCA—Museum of Contemporary Art, Los Angeles (2018), Whitney Museum of American Art, New York (2018), and MoMA, New York (2015). She lives and works in New York City and Marfa, Texas. Zoe Leonard Al Rio / To the River ● Interdisciplinary texts ● Highly topical themes COPUBLISHED WITH ● Two volume edition Mudam Luxembourg — Musée d’Art Moderne Grand-Duc Jean EDITOR Tim Johnson WRITERS C.J. Alvarez, Ariella Azoulay, Cecilia Ballí, Remijio "Primo" Carrasco, Dolores Dorantes, Darby English, Álvaro Enrigue, Catherine Facerias, Nadiah Rivera Fellah, Josh T. Franco, Esther Gabara, Adolfo Guzman Lopez, Aimé Iglesias Lukin, Elisabeth Lebovici, Jose Rabasa, Cameron Rowland, Roberto Tejada, Karla Cornejo Villavicencio GRAPHIC DESIGN Joseph Logan

English, French, Spanish ca. 256 pp. + 336 pp. ● ca. 350 ills. ● 22.8 x 28 cm ● softcover, two volumes ca. €64.00, ca. $75.00, ca. £64.00 May 2021

EXHIBITIONS Mudam Luxembourg—Musée d’Art Moderne Grand-Duc Jean May 1–September 12, 2021 Musée d’Art Moderne de Paris October 15, 2021–February 6, 2022

ISBN 978-3-7757-4878-0 English, French, Spanish 5 Art as a Collaborative Process

“The whole work, called art, knows no borders and peoples, but humanity.” This is what Franz Marc and Wassily Kandinsky wrote in 1911 in their almanac Der Blaue Reiter (The Blue Rid- er). This programmatic publication established Der Blaue Reiter (ca. 1911–14) as one of the first transnational artist cir- cles. Their credo also inspires the Lenbachhaus to consider the work of the participating artists—among them Gabriele Münter, Alfred Kubin, Maria Marc and Elisabeth Epstein—not only aesthetically and historically, but also in its intellectual, socio-economic, and political context, for the Blue Rider circle advocated a global, equal understanding of art, not only in words, but also through images and deeds. Caught up in the time of the colonial world order before World War I, however, even they did not succeed in implementing an emancipatory practice of art beyond national affiliation and traditional hier- archies and genres. For the Lenbachhaus’s current exhibition catalogue, the idea of equal rights for all cultural production, as pursued in the almanac, is nevertheless fundamental. For the first time, the many connections that the Blue Rider made to Japanese woodcuts, Bavarian and Russian folk art, children’s drawings, contemporary music, and art from Bali, Gabon, Polynesia, New Caledonia, Sri Lanka, and Mexico are presented in their entirety.

HIGHLIGHTS The project is funded by the German Federal Cultural Foundation as part of the Museum Global program. It will be followed in the fall of 2021 by a second exhibition, Group Dynamics—Collectives of Moderni- Group Dynamics ty, dedicated to groups of artists working worldwide. This catalogue will also be published by Hatje Cantz. The Blue Rider

EDITORS Matthias Mühling, Annegret Hoberg, Anna Straetmans, Städtische ● New views on the Blue Rider Galerie im Lenbachhaus and Kunstbau München ● Comprehensive work exhibition TEXTS Annegret Hoberg, Isabelle Jansen, Matthias Mühling, Vanessa Joan ● Aesthetics, globalization and society Müller, Anna Straetmans GRAPHIC DESIGN magma design

English ca. 320 pp. ● 200 ills. ● 25 x 29 cm ● hardcover ca. €48.00, ca. $55.00, ca. £48.00 March 2021

EXHIBITIONS 1. Group dynamics—The Blue Rider, Lenbachhaus, March 23, 2021–March 5, 2023 2. Group dynamics—Collectives of Modernity, Lenbachhaus, October 19, 2021–April 24, 2022

Gruppendynamik. Der Blaue Reiter ca. €48.00, $55.00, £48.00 ISBN 978-3-7757-4840-7 (German)

ISBN 978-3-7757-4841-4 English 6 Picasso’s Success Story in Bremen

Without a doubt, Picasso is one of the most important and versatile artistic personalities of the twentieth century. But how does a body of work become so successful, and how does it wind up in major collections, museums, and exhibitions? Not infrequently, it is the courage of individuals who recognize genius in the works and advocate for them in the face of conservatism and criticism. In Picasso’s case, this role in Germany fell to the Bremen art dealer Michael Hertz. It was his commitment in the post-war period that resulted not only in the museumization of the artist after the Second World War, but that also greatly benefited Kun- sthalle Bremen, which has one of the most extensive collections of the artist’s prints. This volume brings together the outstanding printworks, including lithographs, linocuts, and book illustrations. Picasso’s oeuvre of prints can be regarded as a fascinating collection, in which can be read the triumph of the affordable medium in post-war Germany, as well as the dealer’s strong commitment.

PABLO PICASSO (1881–1973) is regarded as the epitome of the twen- HIGHLIGHTS tieth-century artist. In addition to his paintings and sculptures, his graphic works also enjoy special fame. MICHAEL HERTZ (1912–1987) made a name for himself in the post- war period as an art dealer. Through his contacts to the French art scene, he encountered the work of Picasso and became the exclusive representative for his printworks in Germany. The Picasso Connection ● Picasso’s prints in post-war Germany The Artist and His Gallerist ● A lively chapter in gallery history EDITOR ● A treasure from the print collection at the Kunsthalle Bremen Kunsthalle Bremen TEXTS Michael Hertz, Kai Hohenfeld, Manuela Husemann, Barbara Nierhoff- Wielk GRAPHIC DESIGN one / one

English ca. 224 pp. ● 471 ills. ● 22.5 x 27 cm ● hardcover €44.00, $50.00, £44.00 November 2020

EXHIBITION Kunsthalle Bremen, November 21, 2020–March 21, 2021

Die Picasso-Connection. Der Künstler und sein Bremer Galerist €44.00, $50.00, £44.00 ISBN 978-3-7757-4804-9 (German)

ISBN 978-3-7757-4805-6 English 7 Stimulating Art from a Stimulating Physical Zone Mouth, lips, tongue, and teeth—speech, pain, and screams—eating, swallowing, spouting off, and spitting— lust and passion: the oral cavity is an extremely stimulating zone of the body, in the truest sense of the word. Science and medicine are not the only fields that have in- vestigated it though. From antiquity to the present day, art and cultural history have done the same. The Kunstmuse- um Wolfsburg has pursued the wide-ranging path of this motif’s history in order to present the first comprehensive show about the mouth in the fall of 2020. The companion publication offers thematically dense essays that not only allow the reader to delve into the topic, but also go far beyond the exhibition itself. The mouth, its faculties and qualities, are closely examined through film history, ethnology, literary theory, and architecture.

The KUNSTMUSEUM WOLFSBURG has been collecting international contemporary art since 1994. With the acquisition of key works of late modernism and important additions from contemporary art, a top-class collection has been built up. Parallel to this, the museum presents an ambitious exhibition program, tracing cultural connections for the public. The exhibition On Everyone’s Lips is curated by UTA RUHKAMP. HIGHLIGHTS

● All about the mouth ● Thematic exhibition On Everyone’s Lips ● Cultural history of the oral The Oral Cavity in Art and Culture

EDITOR Uta Ruhkamp TEXTS Andreas Beitin, Hartmut Böhme, Horst Bredekamp & Kolja Thurner, Roland Garve, Birte Hinrichsen, Olaf Knellessen, Harald Lemke, Karin Leonhard, Jürgen Müller, Uta Ruhkamp, Beate Slominski, Marcus Stiglegger, Ulrike Vedder GRAPHIC DESIGN Mario Lombardo

English 352 pp. ● 350 ills. ● 24 x 31 cm ● hardcover €48.00, $55.00, £48.00 November 2020

EXHIBITION On Everyone's Lips. From Pieter Bruegel to Cindy Sherman Kunstmuseum Wolfsburg, October 31, 2020–April 5, 2021

In aller Munde. Das Orale in Kunst und Kultur ca. €48.00, ca. $55.00, ca. £48.00 ISBN 978-3-7757-4799-8 (German)

ISBN 978-3-7757-4800-1 English 8 Pair Constellations

They were not only two of the outstanding artists of the Bauhaus, but also a well-known couple. Their many famous works and the artists they influenced as teachers and role models bear witness to their life and work. But that is not all, as another ingenious couple literally shows us. The photographer duo Lake Verea has joined forces with the Josef and Anni Albers Foundation to trace the material and intellectual traces of their artistic creativity in their estate. Cor- respondence with Bauhaus colleagues, tubes of paint and fabric fibers are captured with an extraordinary feel and vividness. Seeing the objects gives wings to the imagination. For inevitably, one sees the hands of the artists at work, who formed their very own contribution to 20th century art history from these objects, conversations and trains of thought.

ANNI ALBERS (1899–1994) and JOSEF ALBERS (1888–1976) were both Bauhaus artists in Dessau and Berlin. Together they emigrated to the USA in 1933, where their path led them to Black Mountain Col- lege and finally to Bethany. With their textile art and his painting and theory, both left behind an oeuvre that was both independent and influential for later generations. HIGHLIGHTS

FRANCISCA RIVERO-LAKE CORTINA (*1973) and CARLA VEREA HERNÁNDEZ (*1978) always appear together as photographers. This, together with their extraordinary eye, makes them one of the most extraordinary and versatile phenomena in contemporary photography. Their works are accordingly represented in the most renowned exhibitions and collections. 2 x 2: Anni and Josef Albers by Lake Verea ● An album about Anni and Josef Albers ● The other biography EDITOR Karen Stein ● Exceptional making-of of art TEXTS Lake Verea, Brenda Danilowitz GRAPHIC DESIGN Rutger Fuchs

English 192 pp. ● ca. 300 ills. ● 16 x 15.5 cm ● softcover ca. €24.00, $26.00, £24.00 February 2021

96 97

206 207

ISBN 978-3-7757-4888-9 English 9 The Photographic Moment

Although it is still a relatively young art form, photography is characterized by a changeability and richness of facets that is unparalleled. Initially, as the “pencil of nature,” it amazed its viewers because it was able to capture reality Schule des itself on glass and paper. But soon it revealed its possibili- Augenblicks ties for artistic mise-en-scène. Digital photography and its potential for manipulation multiply the expressive dimensions of photographs to infinity. Ian Jeffrey takes us on a journey into the history of photography, where the great masters of this extraordinary medium pay their respects. As with a photograph itself, the most important stages in the development of this extraordinary medium are illuminated in order to finally arrive at a comprehensive picture of an inexhaustible wealth of creativity.

IAN JEFFREY (*1942) is a writer and art historian who has intensively studied the history of photography. He was a tutor and professor at Goldsmiths, University of London and is the recipient of the J. Dudley Johnston Award of the Royal Photographic Society, Bath. Fotografien von Talbot bis Ruff

● History of fine photography ● Great masters of photography ● Continuation volume to School of Seeing HIGHLIGHTS

WALKER EVANS Schule des Augenblicks Evans’s early influences included Paul Grotz, GIRL IN FULTON STREET, NEW YORK. 1929 a young German writer and photographer who Fulton Street is in the Lower East Side of New York, introduced him to the Leica camera. He knew not far from the Brooklyn Bridge. Evans, using Berenice Abbott, the sculptor turned photographer a 35 mm camera, took three pictures of the girl. The who had brought Eugène Atget’s pictures to New sign to the left advertises the FULTON BILLIARD York, where they were exhibited at Julien Levy’s PARLOR and one above extols SPAGHETTI, but gallery in 1931 and 1932. Lincoln Kirstein, the both were trimmed when the picture was printed American Photographs Fotografien von Talbot bis Ruff writer and patron of the arts, was a close friend. in in 1938. The picture In February 1931 Kirstein described Evans as in its definitive printing in 1938 was straightened living in ‘a particularly depressing penurious to emphasize those three vertical sections. hole in the wall’ – at 14th Street and 5th Avenue. Evans liked systematically structured images. Evans shared his hole in the wall with Hans The girl looks resolute. Man, represented by three Skolle, a German painter and photographer. felt hats with bands, moves in single file to the Kirstein added that their poverty was ‘really so right – a stroke of luck recognized after the event. sad’, and he wondered how they kept themselves There is always the question of what sets Evans clean. Kirstein published an influential arts journal, apart as one of photography’s major artists. He may TEXTS Hound and Horn, to which Evans contributed. have been a documentarist and an anti-graphic artist, but at the same time he looked for definitive images which might stand for a big idea. The ‘girl’, honoured by her placing in the central zone, Ian Jeffrey, Max Kozloff represents something like militant womanhood.

Child in back yard. 1932 GRAPHIC DESIGN In American Photographs, where the images are presented one to a spread, she follows Girl in Fulton Street, New York. The child, probably another New Yorker, looks to her left across a schematic drawing of an idealized young lady. dooreman Thus the child looks forward and the girl looks back in a tableau devoted to coming of age – with some reference to its allures and dangers. German

The problem in the 1930s was to make photographs count for something. The most usual way of doing 440 pp. ● 400 ills. ● 17 x 24 cm ● hardcover this was to juxtapose two images across a spread in such a way that they made a point – although often the point was coarse or whimsical. The idea in American Photographs was to imitate moving pictures with one image leading to and supplementing another. On the dust jacket for the original book, readers are urged to think of the book as following on ca. €34.00, ca. $40.00, ca. £34.00 – as a kind of movie. 222 223 February 2021

STEPHEN SHORE b. 1947 A prodigy, Shore took up photography U.S. 10, POST FALLS, at the age of eight, inspired by a TV programme, Love IDAHO, USA. August 25, 1974 that Bob, which featured a successful commercial Idaho, in the far northwest of the USA, is photographer. Aged fifteen, he worked with Andy mountainous with rivers and waterfalls. The artist Warhol at The Factory and in 1968 published black- who decorated THE FALLS got straight to the point and-white pictures in Andy Warhol (Moderna Museet, in that painting of the operative bit of a waterfall. Stockholm). In 1970 he attended a ten-day workshop SELECT FRUIT, the boxes say, and those are run by Minor White, poles apart from the world onions in the foreground, along with corn cobs. of Warhol, and Shore’s only formal training in the medium. In 1973, at the age of twenty-six, he showed his black-and-white pictures in the Metropolitan Museum in New York, ‘Landscape/Cityscape’. In 1975 he participated in the important ‘New Topographics’ exhibition at George Eastman House in Rochester, NY.

Bellevue, Alberta. August 21, 1974 There are substantial mountains in the distance, and a heroic sky. The picture was shown in an exhibition of 1976 at the Smithsonian Institution in Washington, DC, ‘Signs of Life: Symbols in the American City’, Survey pictures are innately mysterious. They invite naming and reading: this is a miniature chapel, for devised by the architects and planners Venturi instance, and those are mountains far off, and a fine display of clouds. Naming and reading and Rauch. The chapel is part advert and part are tautological and redundant exercises, for we know that those are stones and fences and functioning building, for the sign says ‘Walk In’. onions anyway. Documentary returns us to early childhood in the first instance, before raising In the exhibition the picture was intended to show supplementary questions. The chapel would have been just large enough to be delivered to that ‘the symbol is more important than the building’. its site by truck. The sign to the right advises us to ‘Drive Safely, Drive with God’ – who may Schule des Sehens be mindful of motorists’ transgressions. Then at Post Falls the vehicle drivers have left their doors open – for ventilation or in haste? There is no knowing where documentary analyses will end. The Chapel image, for instance, may have caught Shore’s eye because it juxtaposed the organic white and blue of the sky with the geometries of the building, also in white and blue. Bilder von Giotto bis Warhol Documentary in the 1970s and 1980s, which was a great era in the history of survey pictures, was unruly and promiscuous, likely to spring any number of surprises. Authorities and pundits such as Venturi and Rauch might point out a preferred meaning but the photographers of the period, and Shore in particular, had plenty of options in reserve – many of them temptations to reflect across a broad spectrum. €28.00, ca. $45.00, ca. £25.99

362 363 ISBN 978-3-7757-4588-8 (German)

ISBN 978-3-7757-4861-2 German 10 Bibliophilic: Artist Books and Surveys of Works In a longstanding cooperation with the Gerhard Richter Archive, Dresden, Heinrich Miess has compiled this comprehensive and fully illustrated index of all monothematic publications by Gerhard Richter himself and on his work. In this book of books, the individual works are presented in chronological order and are accompanied by precise descrip- tions and commentaries. In addition to the title pages, exemplary double pages have been selected to document the development of Gerhard Richter’s artistic work in synoptic form. For this book overview, distracting details—such as shad- ows of book blocks or in the centerfold, and yellowed paper edges—have been carefully retouched. The result is a clear and uniform overall picture of Richter’s body of work. The technical care taken in this publication is a congenial re- sponse to the complexity of the content of the various publications and their references to one another.

GERHARD RICHTER (*1932) grew up in Dresden and attended the art academy there. After escaping from the GDR, he attended the Düssel- HIGHLIGHTS dorf Art Academy, where he held a professorship in painting from 1971 to 1993. He lives and works in Cologne.

● Bibliophile overview of his work ● Book of all books ● With an introduction by Dietmar Elger Gerhard Richter. Bibliographie Kataloge · Künstlerbücher ·

01GRLay-Muster>Cantz_01GR Verz/NEU23.11.10 23.08.20 23:54 Seite 3 01GRLay-Muster>Cantz_01GR Verz/NEU23.11.10 23.08.20 23:54 Seite 4

1976 1976 / 1977 Monographien · 1962–2020

EDITOR Gerhard Richter Archiv, Dresden

17 18 19 20 Gerhard Richter Gerhard Richter – Atlas der Fotos, Collagen und Skizzen Gerhard Richter – Das grafische Werk Gerhard Richter Florenz, 1976 Krefeld, 1976 Hamburg, 1976 Paris, 1977 TEXTS Herausgeber: Edizioni Masnata-Spagnoli Herausgeber: Kaiser Wilhelm Museum Krefeld Herausgeber: Deutsche BP Aktiengesellschaft Herausgeber: Centre national d’art et de culture Georges Redaktion: Renzo Spagnoli, Francesco Masnata Redaktion: Gerhard Storck Redaktion/Text: unbekannt Pompidou – Musée national d’art moderne Text: Giorgio Cortenova Text: Gerhard Storck u. a. (Zitate) Gestaltung: – Redaktion: Daniel Abadie Gestaltung: Galerie/Gerhard Richter Gestaltung: Tünn Konerding Ausstellung: 18.3.-30.4.1976 Text: Benjamin H. D. Buchloh, Pontus Hulten Ausstellung: Januar/Februar 1976 Ausstellung: 8.2.-14.3.1976 Format: 20,9 x 21,0 cm Gestaltung: Gerhard Richter Format: 15,0 x 21,1 cm Format: 16,9 x 23,0 cm; 32 S. Offsetdruck (unpaginiert), 20 S. Offsetdruck, 7 Abbildungen, Drahtklammerheftung, Ausstellung: 1.2.-21.3. 1977 Dr. Dietmar Elger, Heinrich Miess, Gunnar Schmidt 36 S. Offsetdruck (unpaginiert), 11 Abbildungen, Klebebindung, 4 S. 28 Abbildungen, Drahtklammerheftung, 4 S. Umschlag, Offset- 4 S. Umschlag, Offsetdruck Format: 21,9 x 24,8 cm; 76 S. Offsetdruck, 66 Abbildungen, Umschlag, Offsetdruck druck Auflage: 600 Exemplare Fadenheftung, 4 S. Umschlag, Offsetdruck Auflage: 1000 Exemplare Auflage: unbekannt Auflage: unbekannt GRAPHIC DESIGN Groba Perez Canto

17 a 18 a 19 a 20 a

17 Der erste in Italien publizierte Auf S. 13-35 Abbildungsteil, unter- 18 Trotz des geringen Umfanges sen mit einer Textstelle aus Wien- 19 Umschlag in Schwarz gedruckt Erklärungen zur Ausstellung. 19a ture de Gerhard Richter enthält die- gen durchsetzte Text Buchlohs Katalog Gerhard Richters, erschie- brochen von Kurzbiografie und anschauliche Darstellung des Atlas ers Die Verbesserung von Mitteleu- auf lederartig strukuriertem Das Verzeichnis der ausgestellten ses Buch zugleich einen ersten beginnt mit S. 11 und endet, viermal nen zur Ausstellung in der Galerie Ausstellungsverzeichnis auf S. 24- durch die Text- und Bildzusammen- ropa. Die Auswahl der Motive zeigt Papier; Inhaltsseiten auf leicht Grafiken auf den S. 9-19 enthält kei- Essay Buchlohs, in den kommenden unterbrochen durch Strecken ganz- Renzo Spagnoli. S. 3-7 unbetitelter 26, gedruckt in Schwarz auf mattem stellung: Einem Auszug aus Witt- ganze Tafeln und Einzelbilder des durchscheinendem, rauhem Werk- ne Angaben zu Format und Aufla- Publikationen einer der führenden seitiger Bildtafeln auf S. 58. S. Essay von Giorgio Cortenova; S. 8/9 Papier; alle Bilder angeschnitten gensteins Tractatus folgt Storcks Atlas in Gegenüberstellungen, auf druckpapier. Texte stark ver- ge. Sh. auch 14, Butin usw. Interpreten der Arbeit Richters. 59–69 die Grau-Gemälde von 1975 doppelseitiges Porträtfoto und auf und überwiegend auf rechten Sei- Beschäftigung mit Gerhard Richt- S. 4/5 als Beispiel den 18a Zeitungs- größert vom maschinengeschriebe- Auf S. 3 Vorwort von Pontus Hul- als Tafeln und auf vier Installati- S. 10/11 Zitat Richters aus einem ten 17a. Der in Schwarz auf leich- ers Sammelwerk, die in kleinen ausriss Sekretärin mit Lineaturen nen Originalmanuskript. S.3 20 Katalog zur ersten Einzelaus- ten, dem damaligen Direktor des onsfotos; S. 71–73 Angaben zur Bio- Brief vom 23.2.1975 an Edy de Wil- tem Karton gedruckte Umschlag Textblöcken den Abbildungsteil Richters zur Übertragung des Selbstbildnis in Offset von 1971; stellung Richters in Frankreich. Centre Pompidou; S. 4–9 Die Vesuv- grafie, Autorenliste und das Aus- de über die Entstehung der grauen wurde glanzkaschiert. durchfließt, unterbrochen von Motivs auf Leinwand und eine Wie- S.4/5 Biografie, Ausstellungen und Unter dem Titel Ready-Made, pho- Bilder von 1976. 20a Der, mit zahl- stellungsverzeichnis. German Bilder in italienisch und englisch. Ehrenzweigs Zitat und abgeschlos- dergabe des Ölgemäldes. Literatur; S. 6-8 und S. 20 tographie et peinture dans la pein- reichen spaltenbreiten Abbildun- 48 49 440 pp. ● 2300 ills. ● 24 x 30 cm ● clothbound ca. €58.00, ca. $68.00, ca. £58.00 01GRLay-Muster>Cantz_01GR Verz/NEU23.11.10 23.08.20 23:54 Seite 5 01GRLay-Muster>Cantz_01GR Verz/NEU23.11.10 23.08.20 23:54 Seite 6

1993 1993 February 2021

85 85/I a 85/I b 85/I c 85/I d 85/II 85/III 85/IV Gerhard Richter – Retrospektive (Museumsausgabe) Gerhard Richter – Retrospektive (Verlagsausgabe) Band I: Katalog der Ausstellung Band II: Texte Band III: Werkübersicht 1962-1993 Bonn, 1993 Ostfildern, 1993 Text (in deutscher, englischer und französi- Text (in deutscher, englischer und französi- Text (in deutscher, englischer und französi- Herausgeber: Kunst- und Ausstellungshalle der Bundesrepublik Herausgeber: Kunst- und Ausstellungshalle der Bundesrepublik scher Sprache): Wenzel Jacob, Kasper scher Sprache): Benjamin H. D. Buchloh, scher Sprache): Atelier Gerhard Richter, Deutschland, Bonn Deutschland, Bonn König, Suzanne Pagé, Björn Springfeldt Peter Gidal, Birgit Pelzer Dietmar Elger Redaktion: Annette Kulenkampff, Antje Utermann Redaktion: Annette Kulenkampff, Antje Utermann 196 S. Offsetdruck, 150 Abbildungen, 112 S. Offsetdruck, 52 Abbildungen, Faden- 236 S. Offsetdruck, (die Abbildungsseiten Text: siehe Einzelbände Text: sh. Einzelbände Fadenheftung heftung unpaginiert) 1892 Abbildungen, Fadenhef- Gestaltung: Rainald Schumacher Gestaltung: Rainald Schumacher 4 S. Umschlag, Offsetdruck, Mattkaschur 4 S. Umschlag, Offsetdruck, Mattkaschur tung Ausstellung: 23.9.-21.11.1993 (Paris, folgende siehe unten) Ausstellung: 23.9.-21.11.1993 (Paris, folgende siehe unten) 4 S. Umschlag, Offsetdruck, Mattkaschur Format: 25,0 x 28,0 cm Format: 25,3 x 28,6 cm 3 Bände (Schuber/Offsetdruck-Überzug: 25,2 x 28,8 x 4,8 cm) 3 Bände (Schuber/Offsetdruck-Überzug: 25,8 x 29,2 x 5,4 cm) Auflage: 3600 Exemplare Auflage: 1500 Exemplare

85/II a 85/II b 85/III a 85/III b 85/IV a 85/IV b

85 Die broschierte Museumsausga- Kasper König, Suzanne Pagé und drei Bände. Band I und Band III Geteiltes Gedächtnis: Zwei Skulp- Travestie. Der mit Referenzabbil- Endlichkeit von Peter Gidal und gedruckt in sechs Farben, neben Bonn, Kunst- und Ausstellungshal- be (85/Ia Rücken des Schubers + Björn Springfeldt. Der Tafelteil mit gedruckt auf Samtoffsetpapier. turen für einen Raum von Paler- dungen durchsetzte Text endet auf auf S. 105–111 Das tragische Begeh- dem Vierfarbdruck Glanzlack auf le der Bundesrepublik Deutschland 85/Ib Rücken der drei Bände), als überwiegend auf rechten Seiten 85/III Band II, Texte, in Schwarz mo; Das Subjekt als Specimen: S. 78. Das 5. Kapitel ist eine über- ren von Birgit Pelzer. Dieser Auf- den Abbildungen und Silber für die (10.12.1993-13.2.1994); Stockholm, auch die leinengebundene Ausgabe stehenden Farbabbildungen, diese auf Werkdruckpapier gedruckt. Auf Achtundvierzig Portraits; 18. Okto- arbeitete Fassung des Aufsatzes satz erschien zur Pariser Ausstel- Spiegel-Arbeiten. Erläuterungen Moderna Museet (12.3.-8.5.1994); des Verlags (85/Ic + 85/Id, wie vor) in chronologischer Folge auf S. S. 4 Kurzbiografien der Autoren. ber 1977; Betty; Richters Faktur: von 1989 (sh. 57); das 8. Kapitel lung als Sonderdruck (sh. 81). 85/IV und Legenden zur Werkübersicht Madrid, Museo Nacional Centro de erschienen in aufwändig hergestell- 23–174, darin auf den S. 121–141 alle Buchlohs Essay Die Malerei am Zwischen Synekdoche und Spekta- wurde in Texte zur Kunst, Heft 8, Band III, Werkübersicht 1962-1993, von Dietmar Elger auf S. 146–196; Arte Reina Sofia (8.6.-22.8.1994). ten Schubern. 85/II Band I, Katalog 15 Bilder des Werkes 18. Oktober Ende des Sujets, ab S. 7 gliedert kel; Gerhard Richter und die Alle- 1992, abgedruckt. Auf S. 81–96 Mit- auf S. 6–145 sämtliche Werkabbil- S. 197–234 Anhang mit Biografie, Fortsetzung im Anhang. der Ausstellung, enthält auf S. 4–19 1977. S. 176–190 Verzeichnis der sich in neun Kapitel: Atlas: das gorie des abstrakten Kabinetts; schrift eines Gesprächs, das Buch- dungen der Arbeiten Richters im Ausstellungsverzeichnissen, Biblio- Grußwort, Danksagungen und Vor- ausgestellten Werke, die Fotonach- Archiv der Anomie; Ema (1966) Pandora-Malerei: Vom Versagen loh 1986 mit Richter führte. S. Verhältnis 1:50 mit den WVZ-Num- grafie, Filmliste und den Fotonach- worte der Kuratoren Wenzel Jacob, weise und das Impressum für alle oder ein Akt in der Neoavantgarde; der Abstraktion zur heroischen 99–103 der Beitrag Unendliche mern in drei Reihen übereinander; weisen. Weitere Ausstellungorte:

88 89

ISBN 978-3-7757-4867-4 German 11 Familiar Images Read Differently

Berlin’s Gemäldegalerie is known for its outstanding collection of European paintings from the thirteenth to eight- eenth century. Each chapter in this book is dedicated to one painting from the collection. In the breadth of this idiosyn- cratic selection, painting, as it discovers itself becomes a medium for the formulation of modern subjectivity. Each painting in focus unfolds its own making and its artistic concerns as they reflect contemporary issues, today. What are the paradoxes within which art is made by women? How does the primordial drive to destroy works of art affect today's art discourse? Where did the modern struggle of painting against the picture begin? Why does the Wild Man from early German Renaissance still haunt us? And why doesn’t it matter whether Jan Vermeer used an optical device for his paintings? Twelve Paintings highlights the cur- rentness of the Old Masters.

TAL STERNGAST (*1972, Israel) studied photography and film in Jeru- salem, London, and Berlin. She has published numerous essays and articles about contemporary art and film in international newspapers and art magazines. She has organized several exhibitions. This book is based on the article series “Alte Meister,” published in the weekend supplement of die tageszeitung from 2017 until 2019.

● A new view of old ● Successful series from the taz Tal Sterngast. Twelve Paintings ● A pleasurable reading of great paintings Excursions in the Gemäldegalerie

NEWSERIES of the Staatliche Museen zu Berlin

FOREWORD Michael Eissenhauer TEXT Tal Sterngast COVER DESIGN studio stg Das Museum als Safe Space

Caravaggio, Amor Vincit Omnia (1601–1602) English 112 pp. ● 12 ills. ● 14 x 21 cm ● softcover Michelangelo Merisi da Caravaggios Bild Amor Vincit Omnia aus dem €24.00, $26.00, £24.00 Jahr 1601 hat heute noch die Kraft, Museumsbesucher in seinen Bann zu ziehen. Hinter Amors nacktem Körper dirigiert seine Hand den Blick auf die andere Seite der Figur, ins Bild hinein. Obwohl es November 2020 das Gemälde auf provokative Weise darauf anlegt, seine Betrachter zu adressieren und zu konfrontieren, lenkt es deren Blick auch hinter den Rücken der Figur.1 Es eröffnet einen Raum in eine illusionäre Ferne, der den realen Raum im Atelier und im Museum erweitert. Am Ende seines radikalen Projekts einer Suche nach den Wurzeln der abstrakten Malerei kam der amerikanische Maler Frank Stella zu dem Schluss, dass Caravaggio eine neue Art des Bildraums erfunden habe, der sich jenseits der Bildoberfläche in den Raum des Betrach- Tal Sterngast. Twelve Paintings. Excursions in the ters hineinprojiziere, den er gleichsam einhülle und verschlinge. Wir sehen uns aufgehen in dieser Sphäre, deren Effekt mit einem Gemäldegalerie of the Staatliche Museen zu Berlin Gyroskop2 verglichen werden kann, einem Kreiselinstrument, das von Bewegung und Neigung unbeeinflusst bleibt. € 24,00 [D], € 26,00 [A], CHF 27,50 Das Jahr 2017 wird als das Jahr erinnert werden, in dem die Kunst von innen angegriffen wurde. Im Sommer dieses Jahres verursachte das auf der Whitney Biennale in New York gezeigte Bild Open Casket ISBN 978-3-7757-4907-7 (ebook, English) (2016) der Malerin Dana Schutz einen Aufruhr in der Kunstwelt. Schutz’ Bild gibt eine Ikone des afroamerikanischen Kampfs für Gleichheit, die Fotografie des vierzehnjährigen Emmet Till, wieder, der 1955 einem Lynchmord zum Opfer fiel. Die Spuren der Gewalttat sind auf dem Körper des toten Jungen zu sehen. Seine Mutter hatte darauf bestanden, ihren Sohn bei der Beerdigung im offenen Sarg zu

1 Siehe Michael Fried, The Moment of Caravaggio, Princeton 2010. Tal Sterngast. Zwölf Bilder 2 Frank Stella, Working Space, Cambridge/London 1986, S. 1–22.

14 15 €24.00, $26.00, £24.00 ISBN 978-3-7757-4766-0 (German) Sterngast_Aufbau.indd 14-15 04.09.20 17:23

ISBN 978-3-7757-4767-7 English 12 Also available as an ebook Financial Crises and the Art Market

To see, hear, and feel art is one thing—to know how art is distributed, traded, and appreciated is the other side of the coin. Whether on the stock exchange or the museum floor, both share a closely interwoven history. The experienced art dealer and mediator Dirk Boll tells it with the help of a fascinating constant: every ten years, the art and business market undergoes a profound shock or transformation. Whether the economic crises of 1990 or 2010, the bursting of the first Internet bubble in 2000, or the coronavirus crisis—every decade leads to a completely different assessment of art. This is especially true in the context of digital developments, from the virtual viewing room to new distribution opportunities, which are currently caus- ing the art world to undergo its most lasting changes. So, it is high time to take stock and see art with new eyes.

DIRK BOLL (*1970, Kassel) studied law and cultural management in Freiburg and Ludwigsburg and received his doctorate on the organi- zational forms of the art market. Since 1998 he has been working for Christie’s auction house. He has been the president of Christie’s Eu- rope, Middle East, Russia, and India since 2017.

● Financial markets and values of art ● Major crises and their potential ● A different history of art SERIES NEW Dirk Boll Was ist diesmal anders? Wirtschaftskrisen und die neuen Kunstmärkte

TEXT Dirk Boll ILLUSTRATED BY Kathrin Jacobsen

German 160 pp. ● 6 ills. ● 12 x 19 cm ● softcover ca. €18.00, ca. $20.00, ca. £18.00 November 2020 English edition will be published 2021

Was ist diesmal anders? Wirtschaftskrisen und die neuen Kunstmärkte ca. €18.00, $20.00, £18.00 ISBN 978-3-7757-4812-4 (ebook)

Don’t Be Afraid to Participate. The Little ABC €4.95, $7.50, £4.50 ISBN 978-3-7757-4178 (English, German)

ISBN 978-3-7757-4811-7 German 13 Design Reconsidered

The relationship between art and design has always been the subject of controversial discussion, not just since the Arts and Crafts movement began. The relationship between the two genres can look back on a long history of different positions, approaches, and new distinctions. A change in perspective is therefore urgently required. Zitzelsperger’s argument is a historical one that traces the points where art and design meet or repel each other from the Renaissance onward. Zitzelsperger locates the decisive turning point toward the end of the nineteenth century, when design became closely connected to the newly emerging philosophy of American pragmatism. Beyond ontology and the aesthetics of production, the author brings to light a new horizon that is open to the intentions underlying design and its practical realization.

PHILIPP ZITZLSPERGER (*1965) is Professor of Image Science and Dean of Research at the Design Department of the Fresenius Univer- sity of Applied Sciences and a private lecturer at the Institute of Art and Image History at the Humboldt University in Berlin.

● New research perspective ● History of design since the Renaissance ● Design philosophy Philipp Zitzlsperger Das Design-Dilemma

NEWSERIES zwischen Kunst und Problemlösung

TEXT Philipp Zitzlsperger GRAPHIC DESIGN Neil Holt

German ca. 320 pp. ● 40 ills. ● 14 x 21 cm ● softcover ca. €34.00, ca. $40.00, ca. £34.00 April 2021

Philipp Zitzlsperger ca. €34.00, ca. $40.00, ca. £34.00 ISBN 978-3-7757-4886-5 (ebook)

ISBN 978-3-7757-4863-6 German 14 What Public Institutions Are Capable Of

As museums worldwide shuttered in 2020 because of the coronavirus, New York-based cultural strategist András Szántó conducted a series of interviews with an international group of museum leaders. In a moment when economic, political, and cultural shifts are signaling the start of a new era, the directors speak candidly about the historical limita- tions and untapped potential of art museums. Each of the twenty-eight conversations in this book explores a particular topic of relevance to art institutions today and tomorrow. What emerges from the series of in-depth conversations is a composite portrait of a generation of museum leaders working to make institutions more open, democratic, inclu- sive, experimental and experiential, technologically savvy, culturally polyphonic, attuned to the needs of their visitors and communities, and concerned with addressing the de- fining issues of the societies around them. The dialogues offer glimpses of how museums around the globe are under- going an accelerated phase of reappraisal and reinvention.

ANDRÁS SZÁNTÓ (*1964, Budapest), PhD, advises museums, cultural institutions, and leading brands on cultural strategy. An author and editor, his writings have appeared in the New York Times, Artforum, the Art Newspaper, and many other publications. He has overseen the National Arts Journalism Program at Columbia University and the Global Museum Leaders Colloquium at the Metropolitan Museum of Art. Szántó, who lives in Brooklyn, has been conducting conversations NEW SERIES NEW with art-world leaders since the early 1990s, including as a frequent moderator of the Art Basel Conversations series. András Szántó The Future of the Museum ● New museum concepts 28 Dialogues ● Culture debate GRAPHIC DESIGN ● Lively dialogues Neil Holt

English 320 pp. ● 30 ills. ● 12 x 19 cm ● softcover ca. €22.00, ca. $25.00, ca. £22.00 November 2020

The Public Realm CONVERSATION PARTNERS:

CECILIA ALEMANI Director & Chief Curator, The High Line Marion Ackermann, Cecilia Alemani, Anton Belov, Meriem Berrada, New York City, USA Daniel Birnbaum, Thomas P. Campbell, Tania Coen-Uzzielli, Rhana Devenport, María Mercedes González, Max Hollein, Sandra Jackson- A MUSEUM WITHOUT A CEILING Dumont, Mami Kataoka, Brian Kennedy, Koyo Kouoh, Sonia Lawson, Adam Levine, Victoria Noorthoorn, Hans Ulrich Obrist, Anne Pasternak, Adriano Pedrosa, Suhanya Raffel, Axel Rüger, Katrina Sedgwick, Franklin Sirmans, Eugene Tan, Philip Tinari, Marc-Olivier One of the memorable experiences of my lifetime was collaborating with the Italian-born curator Cecilia Alemani on a project initiated by Art Basel that turned Wahler, Marie-Cécile Zinsou the Argentine capital of Buenos Aires into a city-wide outdoor museum. As the head of the art program of the High Line, New York’s immensely popular elevated park, Alemani, who was born in 1977 in Milan, is a leading proponent of inserting contemporary artworks András Szántó. The Future of the Museum in the public realm. We spoke when the High Line was still closed during the coronavirus epidemic, and while Alemani was busy preparing for her next major curato- 28 Dialogues rial undertaking, as the first Italian woman invited to lead the Venice Biennale. ca. €22.00, $25.00, £22.00 ISBN 978-3-7757-4828-5 (ebook)

ISBN 978-3-7757-4827-8 English 15 A Time of New Beginnings

In 1969, Franz Gertsch painted Huaa...!—which shows a man galloping wildly on horseback—after a film still from a magazine. Photographs have formed the basis for his work ever since, which he almost always takes himself. They include snapshots of the young Gertsch family, pictures from a trip to the South of France, photos of his encounters with Luciano Castelli and his dazzling circle of friends, and portraits of Patti Smith. This publication shows key works from the seventies, both in full views and with details in original size. Zeroing in on these almost abstract-looking details reveals the vibrant quality of the painting with its shimmering surfaces.

FRANZ GERTSCH (*1930) celebrated his 90th birthday in 2020. With his participation at documenta in Kassel in 1972 he rose to international fame as a Swiss Photorealist. The paintings in this book were done during this decisive creative phase.

● Icons of Photorealism ● The dawn of the seventies ● Monumental painting

60 61 Franz Gertsch 1972 60 Saintes Maries de la Mer III Acryl auf ungrundierter Baumwolle – Acrylic on unprimed cotton 260 × 370 cm 67 Die Siebziger / The Seventies

Elisabeth Nowak-Thaller 24. Mai, der Tag der Schutzpatronin der Roma und Sinti, das Fest der heiligen schwarzen Sara. Meeresrauschen, der Geruch von Salzwasser, das Glitzern der Wellen, nasser Sand und kühle Gischt, eine leichte EDITOR Brise, einige Wolken ziehen über den tiefblauen Himmel. Unter der Sonne funkeln die aufschäumenden Wellen wie Edelsteine. 24. Mai, der Tag der Schutzpatronin der Roma und Sinti, Es ist der Strand der weißen Pferde der Camargue und Anna Wesle das Fest der heiligen schwarzen Sara. ihrer verwegenen Reiter, die in wildem Galopp im Sand Meeresrauschen, der Geruch von Salzwasser, das Glitzern der Wellen, nasser Sand und kühle Gischt, eine leichte dahinstürmen, und es ist der Strand der Roma und Sinti Brise, einige Wolken ziehen über den tiefblauen Himmel. und ihrer Kinder. Ein Ort, den Franz Gertsch mit seiner ART Unter der Sonne funkeln die aufschäumenden Wellen wie Familie 1971 besuchte. Edelsteine. TEXTS Es ist der Strand der weißen Pferde der Camargue und Vier dunkelhaarige Mädchen in festlichen Kleidern und ihrer verwegenen Reiter, die in wildem Galopp im Sand Röcken spielen hinter einem Steinwall am Meeresufer. Ein dahinstürmen, und es ist der Strand der Roma und Sinti Kind bückt sich, um Muscheln im Sand zu entdecken, ein und ihrer Kinder. Ein Ort, den Franz Gertsch mit seiner Fa- milie 1971 besuchte. anderes Mädchen hat soeben Meerwasser in eine Plas- Vier dunkelhaarige Mädchen in festlichen Kleidern und tikflasche gefüllt, diesen Schatz vielleicht eben aus den Angelika Affentranger-Kirchrath, Jean-Christophe Ammann, Röcken spielen hinter einem Steinwall am Meeresufer. Ein Wellen geborgen, zwei andere Mädchen eilen neugierig Kind bückt sich, um Muscheln im Sand zu entdecken, ein anderes Mädchen hat soeben Meerwasser in eine Plas- herbei. Keines der Kinder würdigt uns Erwachsene mit tikflasche gefüllt, diesen Schatz vielleicht eben aus den einem Blick. Die Kinder entdecken die Welt, sind ganz in Wellen geborgen, zwei andere Mädchen eilen neugierig ihrem Tun versunken. Sie genießen den herrlichen Son- Kathleen Bühler, Luciano Castelli, Andreas Fiedler, Matthias Frehner, herbei. Keines der Kinder würdigt uns Erwachsene mit einem Blick. Die Kinder entdecken die Welt, sind ganz in nentag am Meer. ihrem Tun versunken. Sie genießen den herrlichen Son- Es gibt sie noch, diese unbeschwerte Kindheit, irgendwo nentag am Meer. in Frankreich, in Saintes-Maries-de-la-Mer. Ein Ort der Es gibt sie noch, diese unbeschwerte Kindheit, irgendwo in Frankreich, in Saintes-Maries-de-la-Mer. Ein Ort der Frei- Freiheit und der Lebensfreude. Eine 2330-Seelen-Ge - Helmut Friedel, Franz Gertsch, Maria Gertsch-Meer, Josef Helfenstein, heit und der Lebensfreude. Eine 2330-Seelen-Gemeinde meinde an der Mittelmeerküste im Südosten Frankreichs. an der Mittelmeerküste im Südosten Frankreichs. Vincent van Gogh verweilte im Mai 1888 an diesem Platz, Vincent van Gogh verweilte im Mai 1888 an diesem Platz, wo er Skizzen für das weltberühmte Gemälde Fischerboo- wo er Skizzen für das weltberühmte Gemälde Fischer- te am Strand fertigte. In den 1950er- und 1960er-Jahren boote am Strand fertigte. In den 1950er- und 1960er-Jah- zog es wieder viele Künstler und Aussteiger an diesen ma- Cathérine Hug, Anette Hüsch, Peter Iseli, Rita Kersting, Harald Kunde, ren zog es wieder viele Künstler und Aussteiger an diesen gischen alten Kraftplatz, wo seit dem 12. Jahrhundert be- rühmte Wallfahrten stattfinden. In diese heimliche Haupt- magischen alten Kraftplatz, wo seit dem 12. Jahrhundert stadt des Naturparks Camargue pilgern am 24. und 25. Mai berühmte Wallfahrten stattfinden. In diese heimliche Tausende Gläubige, vorwiegend Sinti und Roma aus ganz Hauptstadt des Naturparks Camargue pilgern am 24. und Europa, um die Schreine der heiligen Maria Jakobäa und der heiligen Maria Salome, die seit 1448 Ziel der Pilger sind, 25. Mai Tausende Gläubige, vorwiegend Sinti und Roma Christiane Lange, Rainer Michael Mason, Elisabeth Nowak-Thaller, zu verehren und um der Prozession der heiligen Sara zu aus ganz Europa, um die Schreine der heiligen Maria Jako- folgen. Sinti und Roma – über Jahrhunderte hinweg als bäa und der heiligen Maria Salome, die seit 1448 Ziel der fahrendes Volk ausgegrenzt und davon in ihrer Kultur stark geprägt – identifizieren sich mit der zu ihren Leb - Pilger sind, zu verehren und um der Prozession der heili- zeiten verfolgten schwarzen Sara, der Schutzpatronin der gen Sara zu folgen. Sinti und Roma – über Jahrhunderte Anna M. Schafroth, Erika Schlessinger-Költzsch, Hemma Schmutz, Bernhart Schwenk, Samuel Vitali, Guido de Werd, Anna Wesle, 66 Saintes Maries de la Mer III, 1972 Beat Wismer

Saintes Maries de la Mer III 1972 GRAPHIC DESIGN Kerstin Riedel

German, English 208 pp. ● 90 ills. ● 23.8 x 29 cm ● hardcover €44.00, $50.00, £44.00 October 2020

EXHIBITIONS Museum Franz Gertsch, Burgdorf, March 21–October 4, 2020 LENTOS Kunstmuseum, Linz, October 30, 2020–February 21, 2021

ISBN 978-3-7757-4809-4 German, English 16 Latin America’s Avant-Garde

Tools for Utopia: Selected works from the Daros Latinamerica Collection is an exhibition of works from the 1950s to the late 1970s by artists from Brazil, Venezuela, Uruguay, and Argentina: Gego, Hélio Oiticica, Carlos Cruz-Diez, Jesús Rafael Soto, Mira Schendel, Liliana Porter, Julio Le Parc, and Ana Mendieta. Created when many Latin American coun- tries were in conflict and ruled by dictators, these works— Concrete, Neo-Concrete, Conceptual—were means of transgression. They were not only created as reactions but as artistic counter-proposals to totalitarian systems: signs of genuine engagement and experiments that included in- gredients of social and political utopia. The exhibition and the accompanying publication are conceived as “tools,” re- ferring to the efforts of the artists to transcend representation and become active agents for societal transformation. By displaying historical alongside contemporary work, and by presenting historical manifestos alongside recent conversations with the artists, the project examines the ways in which the urge to “actively inhabit the present” is continued, further complicated, and questioned by artists of the following generations. Tools for Utopia asks to what extent such Latin American art movements acted as catalysts for the cultural, social, and political imagination. What do these ideas and hopes stand for today? The exhibition and catalogue expound bold visions of art, politics, and subjectivity that are particularly relevant for today’s tensions in Latin America and beyond. Tools for Utopia Selected Works from the Daros ● Latin American art

Latinamerica Collection ART ● Insight into a world-famous collection EDITOR ● The other avant-garde Marta Dziewańska TEXTS Asociación Arte Concreto-Invención, Waldemar Cordeiro, Marta Dziewańska, Ferreira Gullar, James Koch, Gyula Kosice, Mario Pedrosa, Rhod Rothfuss, Nina Zimmer INTERVIEWS WITH Sara Alonso Gómez, Javier Castro, Paz Errázuriz, Lenora de Barros, Eduardo Jorge de Oliveira, Regina José Galindo, Miguel A. López,

Fugit velis prerum a nis Fugit velis prerum a nis language in the area of the visual arts? glance to be a comical scene, however hiding melancholy adi alist, sin corum hil adi alist, sin corum hil My choice for studying Linguistics, the ‘science that guides feelings and perplexity. Paulina E. Varas, Miguel Àngel Rojas, Sylvia Suárez

etumet Mariângela Bordon To plabor aut litas etumet plabor aut litas the Human Sciences’, came about in a rather skewed man- ad que sin ne net utate ad que sin ne net utate ner, and perhaps reveals the divided heart I had at the time, There is something of ‘against tedium’ (Maiakovski) in your TO SEE nihilGETTING ium ea quiant. HAIRY nihil ium ea quiant. between opting to deepen my knowledge of the visual lan- work. Could you comment on the playful dimension, such as, OUTLOUD Ipienih ictibus eum ex Ipienih ictibus eum ex guage and/or verbal language. On the one hand, my pas- for example, the installation Ping-Poema for Boris? There is an es dolore experias idus es dolore experias idus sion for visual arts pushed me toward a Fine Arts faculty, affective dimension in it of Russian constructivism (Rodchen- GRAPHIC DESIGN enis aut volorepudam enis aut volorepudam or perhaps Architecture… and on the other, I was interested ko, Malevich, El Lissitzky, Maiakoviski). Perhaps you have giv- hitios doluptata veni- hitios doluptata veni- in investigating the system and mechanisms of language en this affective and playful dimension to the European, Ameri- tios mincit evellit, ten- tios mincit evellit, ten- through semantics, morphology and syntax, and through can, Latin American, and particularly Brazilian avant garde. to be im reperia sitempero im reperia sitempero this obtain the instruments that would allow me to pen- Must one rebel against all the signs of tedium? beatem quatur apellab beatem quatur apellab etrate the world of poetics and of literary studies. I can In 2000, with my installation Ping-poema para Boris, (Ping- orrovit timeaborro unravels tet do- orrovit aborro tet do- state with all certainty that ‘The Functions of Language’ poem for Boris) I explore for the first time other elements Błażej Pindor lupta con excereicid ut lupta con excereicid ut by Roman Jakobson was one of the most significant pa- of the ping-pong game, such as paddles, hooks and a ta- hilibus apicipidion con hilibus apicipidion con pers in my education. I thought the concept that defines ble. The installation was born as a homage to the writer, conet ullaccum etur? conet ullaccum etur? the Poetic Function was brilliant, and also valid for artistic translator and essayist of Russian origin, Boris Schnaid- in oneself Sunti toribus, volore Sunti toribus, volore procedures. I did an unfinished masters degree in the area erman, who along with Augusto and Haroldo de Campos cum, imet aut est, om- cum, imet aut est, om- of Literary Theory and Comparative Literature, where I de - translated into Portuguese and put into circulation in our nihilibus maiorro di aut nihilibus maiorro di aut veloped a dissertation project focused on the word/image language Russian authors that were important to my ed - oditionand porpor unweaves andae. odition porpor andae. relationship, completing a good part of the credits at the ucation and to a whole generation of Brazilian poets and Nequoditae. Solorro do- Nequoditae. Solorro do- University of São Paulo’s School of Communications and artists. In this installation, each piece is inspired on con- just loreped mos sandam aut loreped mos sandam aut Arts (ECA). Linguistics, semiotics and their foundations structive concepts conceived by the Russian avant-garde, lanisquo doluptu mqui- lanisquo doluptu mqui- were platforms for the knowledge of the mechanisms of by artists such as Malevich, El Lissitzky, by the poet May- di beaquas volupta vero di beaquas volupta vero languages for me, especially of the Portuguese language akovsky and his beloved Lilia Brik, who always impressed German, English omnia consequis alis omnia consequis alis itself. At the same time, it was a way of reconciling my in- me as an image, in the photo by Rodchenko for the cover pliquas pelessit offic te pliquas pelessit offic te terests for the visual, the verbal and the vocal, and helped for be ing dolupta tenimus, vidu- dolupta tenimus, vidu- me to build a broader vision of the possibilities offered by ciis quistibusby growing sequatem ciis quistibus sequatem different language forms. similla borernam num, similla borernam num, omnia voluptatur? Ebis omnia voluptatur? Ebis Even those that are not greatly familiar with your work are ex- 92 pp. ● 80 ills. ● 22.5 x 29.3 cm ● softcover quam, invella vel in non quam, invella vel in non posed to the everyday aspects raised to the highest level of irony. pellab ides eatas aut pellab ides eatas aut In what way can irony be a political tool in Brazilian society? hop ping ommolupta ati odic tet ommolupta ati odic tet Is this dimension of parody, of dissimulation and enjoyment on quiande ndemporum hit quiande ndemporum hit your horizon as an artist? poremodior sume omni- poremodior sume omni- Irony and parody are fundamental resources for creativity, longer mi, officium que esent. mi, officium que esent. and, as we know, have been found in the arts and in po- €38.00, $44.00, £38.00 Caturit laut es eaturibus Caturit laut es eaturibus etry over millennia. Particularly in the modern era, for ex - on the ample through works produced by the avant-garde at the beginning of the 20th century, they stand out as a pow- erful instrument for the expression of a critical vision. In the case of Brazil, irony, parody, humour and sarcasm are October 2020 fundamental aspects of the framework of ideas proposed like threads by our modernism and also appear as a notable nuance sy lla ble in tropicalism.3 In this sense, they are a universal politi - cal tool available to all and which don’t belong only to the world of artistic creation. I see in some of my works an ironic dimension and a presence of humour—the intention to seek unusual images of si len ce and meanings that disconcert and dissimulate the meaning and cause reactions in the receptor. For example, the rep - Photos: Pisco Del Gaiso of hair Photos: Star Image/Layout: Ricardo Falcão Photos: Star Image/Layout: etition of facial expressions of astonishment that appear in Fogo no Olho (Fire in the Eye) and Procuro-me (Look- ing for Myself). Or the pathetic aspect, in certain measure both tragic and comical of the images in Homenagem a George Segal (Homage to George Segal) or of Ela Não Quer ver (She Doesn’t Want to See). These dimensions are cer - tainly in my horizon as an artist, constructed both subjec- tively and intentionally. What I show often seems at first EXHIBITION Museum of Fine Arts Bern, October 30, 2020—March 21, 2021

ISBN 978-3-7757-4837-7 German, English 17 Art That You Can Buy

Christo and Jeanne-Claude: the man with the glasses and the woman with the red hair. Each one was born on the same day in 1935, and this unusual artist couple worked together until Jeanne-Claude’s death in 2009, changing the art world in the process. In large-scale actions they envel- oped buildings and entire landscapes in various materials, revealing at the same time their essence and beauty. In order to finance these enormous works of art by themselves, Christo and Jeanne-Claude began making saleable editions, multiples or—early on in their career—prints, collages, and objects. This completely revised, expanded, and up- dated catalogue of works, Prints and Objects, is testimony to the artists’ impressive scope and to their courage. Who else would have had the idea of building a 120-meter-tall truncated pyramid out of 410,000 oil barrels in the desert of the United Arab Emirates?

CHRISTO (1935–2020) and JEANNE-CLAUDE (1935–2009) were an artist couple who became known from the 1960s onwards primarily for their jointly realized spectacular wrapping projects, such as the wrapping of the Reichstag building, the Valley Curtains, and most recently Christo alone with the Floating Piers.

● Long out of stock ● Expanded new edition with all projects ● Complete list of graphics and objects Christo and Jeanne-Claude Prints and Objects Catalogue Raisonné

ART EDITOR Jörg Schellmann INTRODUCTION BY Matthias Koddenberg TEXT Jörg Schellmann GRAPHIC DESIGN Jörg Schellmann

German, English 272 pp. ● 300 ills. ● 25.7 x 30.4 cm ● Hardcover €44.00, $50.00, £44.00 January 2021

ISBN 978-3-7757-4883-4 German, English 18 Talking with the Artist

What makes a person an artist? How do works of art and their very own, extraordinary style come into being? And how does the prominent painter view his own work? The world-famous painter Sean Scully met with the philosopher David Carrier for several in-depth interview sessions. Their conversations explore these and many more questions about Scully’s life, work, and ideas. The result is a rich manuscript that very closely approaches the status of autobiography. Scully provides personal insights into his life and the important sources of inspiration for his career. He discusses his own view of his entire oeuvre, of art history and his position within it. Thus, this text becomes a liter- Abstract Painting, al eye-opener for Scully’s art, which can be (re)discovered Art History and Politics through his words. Sean Scully and David Carrier SEAN SCULLY (*1945, Dublin) is one of the most famous artists of his generation. In addition to numerous exhibitions worldwide, he has in Conversation been honored with important awards such as the Guggenheim Fel- lowship and Harckness Fellowship. DAVID CARRIER (*1944) is a philosopher and art critic. His contributions to art appear in ArtForum and ArtUS, among others. With this interview tape, he takes up an interest of his teacher Arthur C. Danto, whose texts on Scully were published by Hatje Cantz in 2015. Sean Scully and David Carrier in Conversation

● Making of his work Abstract Painting, Art History and ● Fascinating insights into Scully’s life Politics ● Artistic-philosophical reflections TEXTS David Carrier, Sean Scully GRAPHIC DESIGN

Neil Holt ART

English 180 pp. ● 20 ills. ● 19 x 26 cm ● halfcloth €44.00, $50.00, £44.00 December 2020

Inner: The Collected Writings and Selected Interviews of Sean Scully €58.00, $85.00, £55.00 ISBN 978-3-7757-4164-4 (English)

Sean Scully. Sculpture €64.00, $95.00, £60.00 ISBN 978-3-7757-4606-9 (English)

Danto on Scully

By Night and By Day 1983 Soft Ending 1969 €35.00, $39.16, £31.17 30 don’t fit in, who are hard to figure out, who airplane coming back from Pittsburgh, where I I’m basically a metaphorical or philosophical flying around like confetti at a Greek wedding. 31 matter ultimately. saw you. I had an exhibition in Pittsburgh, the thinker, I think about the meaning of things. In And you got some on you whether you read SS If it was the people who fit in who mattered, one John Caldwell made at the Carnegie Soft Ending I took the lines and painted the about it or not, and that was more than enough then everybody would be a superstar. If you Museum. I was looking out of the airplane picture green, turned it around, painted it to get the idea. The idea was pretty thin. And have the courage to do something when you’re window and studying the clouds. The pollution yellow, turned it around and then sprayed these people took themselves amazingly risking everything, then you’re likely to revert makes for these extraordinary orange-green maroon red over it. It is one of my favorite seriously. And meanwhile, I have to say; to his ISBN 978-3-7757-3963-4 (English) to a position, or you might end up in the gutter. colors and I painted one side and I drew the paintings. I was thinking of the primitivism of great credit Frank Stella was, like myself, But either way, it’s better than being mediocre. other side. I was thinking of body and lack of Morocco, I was very inspired by it. But then I making things that were visually assertive. I’d rather kill myself. body, and I called it Angel. Before that I had come back to this industrialized city and I Stella works in a very different way from me of

DC Backs and Fronts was very hard to figure made another one called Angelica (1982) intuitively used an industrial way of putting course, mechanically. But he was making Scully Finding Himself in New York out, but once you’d made that the later where the division wasn’t in the middle, which paint on. positive art. He wasn’t taking any notice of this transitions, the Walls of Light, and the 90s is something actually I should return to. It DC Your art always has a subject, in that deconstructive nonsense, which hasn’t got any were not as hard. People should have been almost looks like a curtain’s been drawn back. very broad sense of “subject.” In that way legs anyway. And now deconstruction is prepared. DC And there’s another unusual related it’s always representational, not formal. completely defunct. SS By then I’d already laid up my agenda, work from this period, By Night and By Day SS Yes. Some people make art from strategies. DC It’s as if abstract painting had to be Sean Scully. Catalogue Raisonné of which was to paint the grid but to reimagine it, (1983). There are these options that didn’t ‘I have a bucket of blue paint, I have a bucket over-intellectualized. When you look back, to repossess it. I wanted to send it in a very get pursued but are still there for you. of orange paint, I have a bucket of red paint, I Greenberg didn’t do that. He was very intuitive. different direction. SS I’ve made them lately, the one behind my make these moves and I accept the result’. But But abstraction became bookish. DC Angel (1983) is really unusual. The head, where I still use the spray gun, which I to my mind that’s decoration, decoration for SS It hardened into a set of rules and it stripes on the left, they’ve become lines; but used to use in 1969 in Newcastle. Soft Ending intellectuals. It doesn’t have any potential in it became authoritarian. visibly hand drawn lines, not your stripes of (1969) was the first painting that I made after for any other artist, because it’s basically a DC Maybe because it became academic, the Paintings. Volume II, 1980–1989 the late 70s. But that’s a technique that you my first visit to Morocco. I was interested in tautology: It’s this way because I did this. there was a felt need for a lot of footnotes. didn’t develop at this point. what happens when pattern hits industrial DC The artist is in effect saying: ‘Here’s SS Generally speaking the history of art has SS You will love this story. I painted Angel in civilization. I always think about what things how I got the paint on, here’s how I got the been in the direction of demythologizing and my mind, which is what I do very often. I are or what they mean. I’m not somebody who line on’. later on in our time deconstructing. That’s the imagine things and I can see things, as in a makes things that look nice. That’s why SS In the 90s there was an addiction to same thing as demythologizing. If you trace holograph where you can project a three process art was never interesting to me. And deconstruction, and I never wasted five the history of art from Giotto, it gets more and dimensional dimension in real space. I can see that’s why I was at odds with everyone in the minutes on that. You didn’t have to because more pulled down to the street level, or the €98.00, $150.00, £90.00 things in space before I physically make them. 90s. everywhere you walked you could hear the level of the marketplace. And these big themes And in this way I made that painting on an word “deconstruction.” The information was have fun poked at them and then they’re ISBN 978-3-7757-4232-0 (English)

ISBN 978-3-7757-4806-3 English 19 Artist and Thinker

Josef Albers is regarded not only as one of the most distinguished artists of the twentieth century, but as a teacher and master at the Bauhaus and later at Black Mountain Col- lege. He had a decisive influence on the work and style of these famous art schools. He is also one of the most accom- plished thinkers in his field and made a name for himself as an art theorist. His last major lecture series took him to Trinity College in Hartford, Connecticut, in 1965. His lectures reflect all of his life and creative experiences. At the same time, they represent the quintessence of his decades-long examination of sight as an artistic process of perception. The very unique idealism that resounds in his work has lost nothing of its topicality and fascination today. It is high time for this text to be accessible in a German translation. In this way, the creative power and thinking of this exceptional artist can be experienced first hand.

JOSEF ALBERS (1888–1976) studied and taught at the Bauhaus in Weimar and Dessau. Under Ludwig Mies van der Rohe, he was also deputy director of the art school. After fleeing to the USA, he taught at Black Mountain College and Yale University.

● Introduction by Gottfried Boehm ● Foundational text on art ● First time in the German language Josef Albers. Suchen und Finden Search Versus Re-Search

14 15 xvii [ → 18 ] From color temperature to EDITOR humidity in color Heinz Liesbrock Metur aut vendiossi des illuptatem nonsectibus modi autx vo- lorpos etur sed molum quasit, sae re nonsequi officius eum

ART nonsequia sitat as net excepta quiscid uciantibus, officil min- te qui que porro blantur mos diciuntiam, sitatum, cus dolor- porero doluptus, simet omnia nossumquos et doluptu ribu- INTRODUCTION sam eos magniment doluptis utendaest porent di vitet aces elit escil mxgnatiuntia excea nullatius unt unt facest, il imil expedit eum laut utenda quodionseque eatior alitia nis eatis- tem quodit ut es eiusam facculp aribus et volorit ianisint re- Gottfried Boehm pudae nonserchici si doluptae. Icit, te doluptat od et doluptin- cit evel inusam, sitas quaspere si omnia nonsequas saped que suntinvenda volut maior rest am expelec tempore henist ex- perum qui optam untio eum facil maximporunt quo int ulpa necum eum vel essitem at. TEXTS Emposanist labore, officiunt dolorposa sunt lanis eum que nus delloreped moluptatur sitatur sa nulla nonseque vo- loreh enitas doluptas re omnit magnaturion consequi ut pe- liquae. Bus mo maiosam que nos volorate est labo. Nem ali- Josef Albers, Gottfried Boehm cita sunt magnihit qui voles de prepudi ut esequi conseque et volorpor mincias aut fugitist repedig natiant etur rerferovi- dit qui vendaepro essinum ipsus demqui blaborest, nitions- eque veribus exere liciistrum nonsequ osande nestore dolum latis sitatibus. GRAPHIC DESIGN Piender cillora eceptiur, abo. Ut laceatur, quibus ma doles doluptate inihilit erro volorpo ssequossi cumet id que platur? Il ium doluptia vent volupta quiberi buscit exceris mo- lorio opta sim et licimus aligend ictotat emporro eosam, tor- runt ad quo ium ipsam resed quam sapicia doluptatem dolo- Ingo Offermanns repratum liciend andebitae labo. Ucil inctotatia pa dis volore, aliquaeperum aut molut ime accus cusam fugiatem ligenis es- tiumenda sequo qui cum harcium idestianimus as eturior ep- tati sitatur? Namenistio te eos vent. Anis alibus ium restem illab Josef Albers, Titeltitel Titel in nim consequi nulluptat dolum dolo bearchilit lamus suntur Titeltitel, 19?? arundaerro dem faccum sum fuga. Et officia dolor sequatquunt German 112 pp. ● ca. 70 ills. ● 14.8 x 24 cm ● softcover ca. €20.00, $22.00, £20.00 22 Kolumnentitel Kolumnentitel 23 xvii Metur aut vendiossi des illuptatem nonsectibus modi autx vo- April 2021 lorpos etur sed molum quasit, sae re nonsequi officius eum nonsequia sitat as net excepta quiscid uciantibus, officil min- te qui que porro blantur mos diciuntiam, sitatum, cus dolor- porero doluptus, simet omnia nossumquos et doluptu ribu- sam eos magniment doluptis utendaest porent di vitet aces elit escil mxgnatiuntia excea nullatius unt unt facest, il imil expedit eum laut utenda quodionseque eatior alitia nis eatis- tem quodit ut es eiusam facculp aribus et volorit ianisint re- pudae nonserchici si doluptae. Icit, te doluptat od et doluptin- cit evel inusam, sitas quaspere si omnia nonsequas saped que suntinvenda volut maior rest am expelec tempore henist ex- perum qui optam untio eum facil maximporunt quo int ulpa necum eum vel essitem at. Emposanist labore, officiunt dolorposa sunt lanis eum que nus delloreped moluptatur sitatur sa nulla nonseque vo- loreh enitas doluptas re omnit magnaturion consequi ut pe- liquae. Bus mo maiosam que nos volorate est labo. Nem ali- cita sunt magnihit qui voles de prepudi ut esequi conseque et volorpor mincias aut fugitist repedig natiant etur rerferovi- dit qui vendaepro essinum ipsus demqui blaborest, nitions- eque veribus exere liciistrum nonsequ osande nestore dolum latis sitatibus. Piender cillora eceptiur, abo. Ut laceatur, quibus ma doles doluptate inihilit erro volorpo ssequossi cumet id que platur? Il ium doluptia vent volupta quiberi buscit exceris mo- lorio opta sim et licimus aligend ictotat emporro eosam, tor- runt ad quo ium ipsam resed quam sapicia doluptatem dolo- repratum liciend andebitae labo. Ucil inctotatia pa dis volore, aliquaeperum aut molut ime accus cusam fugiatem ligenis es- tiumenda sequo qui cum harcium idestianimus as eturior ep- tati sitatur? Namenistio te eos vent. Anis alibus ium restem illab in nim consequi nulluptat dolum dolo bearchilit lamus suntur arundaerro dem faccum sum fuga. Et officia dolor sequatquunt ut omnihicit ex et inctorem et aut harum alisitia volupta sper- chi tatem. Ut quuntia sperepta dem volupta quaecea aceper- ferio bearcium nos es volor magnate mquatem nossi ut quaes sitatemquati dolore simodio. Nam, nat lab ilibus es et quunti- um faccaer ciatem nist qui sa sequibus assimpel idio minciis- quae si que nihil est que vendi occae qui voloreptat dolor aut

ISBN 978-3-7757-4864-3 German 20 A Legendary Personality

The Brazilian artist Leonilson can be counted among the pioneering Latin American artists of his time. His multifaceted oeuvre ranges from gestural, colorful paintings and drawings to cross-media installations and intro- spective embroideries. He was mainly recognized for the poetic power of his works, which are characterized by a turn toward subjectivity and an emphasis on emotion and inwardness. After a diagnosis of HIV in 1991, Leonilson’s artistic visual language changed significantly: his confron- tation with death shaped the diary-like pieces of his last years, and he reduced the visual motifs of his embroideries to a few abstract forms and text elements. Leonilson left behind around 4,000 works. Drawn 1975–1993 is the first comprehensive European retrospective of Leonilson’s work and assembles more than 250 works produced in this time period.

LEONILSON (1957–1993, Brazil) was interested in art early on. From 1978 to 1981 he studied fine arts in São Paulo, but left the university before graduating in order to dedicate himself entirely to his work. His paintings, drawings, and embroideries have been exhibited worldwide in solo and group shows, and many of them can be found in important institutional and private collections.

● First comprehensive catalogue ● Contemporary art from Brazil Leonilson ● First restrospective in Europe Drawn 1975–1993

EDITORS Krist Gruijthuijsen, Louisa Elderton ART TEXTS Eduardo Brandão and Jan Fjeld, Leda Catunda, Krist Gruijthuijsen, Albert Hien, Yuji Kawasima, Lisette Lagnado, Ivo Mesquita, Adriano Pedrosa GRAPHIC DESIGN Estúdio Campo

English 400 pp. ● 260 ills. ● 17 x 24 cm ● softcover €48.00, $55.00, £48.00 November 2020

EXHIBITIONS KW Institute for Contemporary Art, Berlin, Germany November 28, 2020—February 14, 2021 Moderna Museet, Stockholm, Sweden March 13—May 23, 2021 Malmö Konsthall, Malmö, Sweden June 18—August 29, 2021 Serralves Museum, Porto, Portugal November 18, 2021—April 25, 2022

ISBN 978-3-7757-4813-1 English 21 Invincible Mastery

Combining all of Michael Morgner’s works in this unique publication not only creates an impressive panorama of this extraordinary oeuvre, it also provides a glimpse of the life behind the paintings and sculptures. Raised in Chem- nitz and educated at the Academy of Visual Arts in Leipzig, Morgner was not only a freelance artist in the old German Democratic Republic, but also a free-thinking artist. Above all, however, this overview of his work bears witness to an artistic oeuvre in which Morgner works through his extensive repertoire of figures in a fascinating way, creating ever-new metamorphoses and making them shine at the boundary of abstraction. It is high time to examine this oeuvre and to explore and discover its creative diversity in a new way.

MICHAEL MORGNER (*1942, Chemnitz) was one of the most famous protagonists on the non-conformist art scene in the former East Ger- many. With his artistic work, as well as his commitment to the Galerie Oben and the Clara Mosch art group, he stood up to preconceived ideologies.

● Catalogue raisonné ● Attractive standard work ● Comprehensive survey of the artist’s oeuvre

Michael Morgner Werkverzeichnis Gemälde und Plastiken

ART EDITOR Thomas Weckerle, WRT Stiftung TEXTS Stefan Behrens, Jeannette Brabenetz, Wolfgang Holler, Ulrich Kavka, Ulrich Krempel, Brigitta Milde, Cornelia Nowak, Jutta Penndorf, Eleonore Reinartz GRAPHIC DESIGN Torsten Köchlin and Joana Katte

German ca. 400 pp. ● 600 ills. ● 24 x 30 cm ● hardcover ca. €98.00, $114.00, £98.00 March 2021

ISBN 978-3-7757-4839-1 German 22 Of Drawings and Preliminary Studies

This catalogue presents the first comprehensive study of the Italian architectural drawings in the Cronstedt Collec- tion in the Nationalmuseum Stockholm, discussing 181 drawings dating from around 1570 to around 1620. Among them are works by Francesco da Volterra, Carlo Maderno and other Roman architects, executed for churches, chap- els, palaces, gardens, and fountains—many constituting primary and almost unknown sources for late Mannerist and early Baroque architecture. Also included are plans and architectural details by French draughtsmen, meticu- lously documenting ancient monuments, as well as buildings by the Renaissance masters Bramante, Antonio da Sangallo, Michelangelo, and Vignola. Italian Architectural Drawings proposes new attributions in the light of recent scholarship, based on close examination of the drawings’ material (paper, medium, technique, mounting). Comparative illustrations and a photographic catalogue of the watermarks complete the volume.

The NATIONALMUSEUM STOCKHOLM is Sweden’s largest art museum and contains some 700,000 works of art. The collection focuses on painting, sculpture, works on paper, and design objects from the sixteenth century to the present.

● Architecture drawings from the Cronstedt Collection Italian Architectural Drawings ● Cross section of the Renaissance, Baroque, and Mannerism from the Cronstedt Collection ● Nationalmuseum, Stockholm

With completely new research results ART

EDITOR Nationalmuseum Stockholm TEXT 5. Rome: Pantheon, entablature over the The drawing shows the profiles of the intersecting cor- interior of the main door (upper left) and of nices above the interior main door of the Pantheon: on the main interior order (lower right), profile the left the entablature over the main door, on the right elevation the entablature of the main order. At the lower centre is a plan of a floral coffer in the cornice. The drawing Anon. late 16th-century French draughtsman, Hand B of the Cron- appears to be a copy after a drawing in Munich (Cod. stedt Collection Pen and brown ink over grey chalk, straightedge, freehand Icon. 209e, fols. 16–17). The Stockholm copyist outlines Anna Bortolozzi 56.8 × 43.1 cm only part of the moulding decoration but adds some NM H CC 1316 partial measurements in the cornice of the attic storey, PAPER: heavy weight, lined on to a secondary support of late 16th-century rough paper using a starch paste and trimmed to size most likely collating another source. Drawings of the main interior order of the Pantheon are relatively fre- WATERMARK: Tree 28 WATERMARK OF THE SECONDARY SUPPORT: Pilgrim 7 quent in the 16th century, yet the two drawings in Mu- nich and Stockholm stand out for their large size and GRAPHIC DESIGN INSCRIPTIONS: cornice de la retonde par dedens (at centre, refer- ring to the profile on the right). Various measurements for the combination of the profiles of the two entablatures on the same sheet. The drawing is part of a group MEASUREMENTS: Roman palmi; no scale of nine drawings of the Pantheon by the same Hand B PROVENANCE: Carl Johan Cronstedt and descendants; Erik Lan g- (see Cat. no. 2). en skiöld; gift to the Nationalmuseum of Stockholm 1941 LITERATURE: De Fine Licht 1968; Nesselrath 2008; Yerkes 2011; BIBLIOGRAPHY: Yerkes 2017, 152, fig. 96 Yerkes 2013; Nesselrath 2015; Yerkes 2017 Hans Cogne OTHER DRAWINGS representing one or the two entablatures with the same drawing conventions: Berlin, Kunstbibl., Codex Destailleur A, fol. 01r, Giovanni Antonio Dosio, post 1549-ante 1569; Florence, Uffizi, 85Av, Antonio da Sangallo the Younger, c. 1520; Flor- ence, Uffizi, 1387Ar, Giovanni Francesco da Sangallo, c. 1520; Florence, Uffizi, 1658Ar, Giovanni Battista da Sangallo, ante 1548; Florence, Uffizi 2020Ar, Giovanni Antonio Dosio, c. 1570; Fossombrone, Pas- sionei, Dis. vol. 3, fol. 15v, anon. Foro Semproniensis, post 1524-ante 1538; Oxford, Worcester, Ms B 2.3, fols. 12v–13r (Yerkes 2011, Cat. no. 9), mid 17th-century anon. French draughtsman; Munich, BSB, Cod. Icon. 209e, fols. 16v–17r, anon. French copyist, mid- to second half of the 16th century; Vienna, Albertina, inv. Egger no. 1–19, fol. 7v, Master C of 1519; Vienna, Albertina, inv. Egger no. 131r, anon. Italian G, second half of the 16th century. Prints: Palladio 1570, IV, 83

Fig. 1, Anon. French copyist, mid- to second half of the 16th century, English Fig. 1 Pantheon, entablature over the interior of the main door (upper left) and of the main interior order (lower right), profile elevation. Munich, BSB, Cod. Icon. 209e, fol. 16v

Fig. 2, Anon. French copyist, mid- to second half of the 16th century, Pantheon, entablature of the main interior order, profile elevation. Munich, BSB, Cod. Icon. 209e, fol. 17r ca. 304 pp. ● 260 ills. ● 21 x 28 cm ● hardcover with dustjacket €58.00, $68.00, £58.00

5. Fig. 2 46 47 November 2020

front. The upper storey has eight round-headed win- dows set within large shell-headed niches. In the interi- or, shell-headed niches alternate with rectangular-plan niches on the cross-axis. The plan, the form of the window and the size of the dome resemble what is known as the Tempio della Tosse along the via Tiburtina, near Tivoli. The edifice was built in the first half of the 4th century, and in the 10th century it was transformed into a church dedicated to the Virgin. The ruins of the temple are still visible today. The drawing, most likely intended as a reconstruction, displays several diver- gences from reality, particularly regarding the exterior of the structure, which was not completely excavated during the Renaissance (see Fig. 1): the plan of the lower stage is perfectly circular, whereas the two rectangular niches on the cross-axis protruded on the exterior to the height of the lower storey; the dome has no central oculus and, even if archaeological evidence shows an earlier atrium, modern authors refer to a quite different structure from the vestibule in the drawing. The measurements inscribed in the building are in French pieds. The diameter of the dome agrees with that of the standing building (c. 12.45 metres) and with the mea- 39. 40. surement given in Roman palmi in a drawing at the Al- bertina (inv. Egger 297r, Valori 1985, p. 57, XXXVIII). The drawing is traced on the same paper as NM H CC 39. Rome: San Crisogono, Ionic capital, two rows of eleven ancient columns, probably from the 40. Tivoli (Campagna Romana): Tempio della 1302 (Cat. no. 60) and of NM H CC 2296 (Cat. no. 46), half elevation Baths of Septimius Severus. Between 1618 and 1628, the Tosse?, longitudinal section and front elevation which bear watermarks that had long existed in France. architect Giovan Battista Soria undertook a complete No evident matches with watermarks published in the Anon. French draughtsman, mid- to second half of the 16th century renovation of the basilica, commissioned by Cardinal Anon. French draughtsman, mid- to second half of the 16th century common repertoria could be found. According to Bri- Pen and dark brown ink, some construction lines in black chalk, brown Pen and brown ink over black chalk, construction line in black chalk, wash, compass, straightedge and freehand Scipione Borghese, chiselling off the oldspolia capitals grey wash, compass, straightedge and freehand quet (Briquet 1923, vol. IV, pp. 643–44), a grape of 28 × 20.9 cm and setting in their place Ionic ones made of painted 59.5 × 43.6/44.3 cm such form and size associated with a monogram can be NM H CC 1427 NM H CC 839 stucco. The drawing, which shows an exceptional de- found in central and southern France during the last PAPER: light white laid paper (distance between chain lines 2.9 cm) PAPER: folded in the middle, upper right corner and upper left edge quarter of the 16th century. A fantasy reconstruction gree of draughtsmanship, bears close comparison with repaired, small holes WATERMARK: non visible a plate published by Philibert Delorme in his Le pre- of the Tempio della Tosse by Giovanni Battista Mon- WATERMARK: Grape 20 tano is in the Soane Museum SJSM (Fairbairn 1998, II, INSCRIPTIONS: pied; A Sainct Grisoguene A Rome (at bottom cen- mier tome de l’Architecture (Fig. 1). tre). Various measurements INSCRIPTIONS: Various measurements p. 670, n. 1150) OTHER DRAWINGS: BAV, Vat. lat. 7721, fol. 12r, Giovanni Colonna da MEASUREMENTS: French pieds. Scale with 1 unit (French pied) = Tivoli, c. 1554. Prints: Delorme 1567, 165 MEASUREMENTS: various; scale: French pieds LITERATURE: Giuliani 1970, 203–215; Rasch 1998, 53–106 6.4 cm PROVENANCE: Carl Johan Cronstedt and descendants; Erik Lan g- OTHER DRAWINGS: BAV, Barb. lat. 4424 (Codex Barberini), fol. 30v, PROVENANCE: Carl Johan Cronstedt and descendants; Erik Lan g- en skiöld; gift to the Nationalmuseum of Stockholm 1941 Giuliano da Sangallo, post 1464–ante 1516; Berlin, Kunstbibl., Hdz 4151, en skiöld; gift to the Nationalmuseum of Stockholm 1941 fols 72r–v, anon. Destailleur D2, 3rd quarter of 16th century; Florence, BIBLIOGRAPHY: unpublished Uffizi, 689Av, Sallustio Peruzzi, post 1536–ante 1567; Montreal, CCA, BIBLIOGRAPHY: unpublished Roman Sketchbook, fol. 50r, anon. Italian draughtsman of Montre- al CCA, c. 1530; Turin, AS, Cod. A.II.7.J.20, fol. 21, Pirro Ligorio, 3rd The drawing is a longitudinal section and front eleva- quarter of 16th century; Vienna, Albertina, inv. Egger 297r and 298r, anon. Italian A, late 15th century; Windsor, RL 19286, Pirro Ligorio Fig. 1, Philibert Delorme, Ionic The drawing shows an ancient capital from the me- tion of a circular building, two storeys high, below a and the Codex Ursiniano copyist; Windsor, RL 10843, fol. 47, Sangallo capital, print from Le premier dieval basilica of San Crisogono. In the 12th century, shallow dome. The edifice stands on a basement, and Copyist 2. Prints: for a complete list, see Rasch 1998, pp. 62–63 and tome de l’architecture, Paris plates 30–35 the early Christian one-bay church was rebuilt with 1568, V, fol. 164v there is a small entrance vestibule on columns at the

84 85

ISBN 978-3-7757-4802-5 English 23 Visit to Krefeld

Something is missing in the Kaiserpark in Krefeld. But what? Only one thing is certain: There is definitely no lack of artistic excellence. As early as 2019, Thomas Schütte, known for his architectural models, had already built his Krefeld Pavilion there, designed precisely for this location. The wooden building, with a diameter of fifteen meters and a curved copper roof, housed the exhibition of the Pro- jekt MIK initiative, which marked the 100th anniversary of the Bauhaus by exploring its close links to the silk industry. Now, Thomas Schütte himself has designed an exhibition for this space: a carefully chosen and staged cross-section of his work over the last five decades. The exhibition and its architectural space combine to form an impressive total work of art.

THOMAS SCHÜTTE (*1954, Oldenburg) studied with Fritz Schwegler and Gerhard Richter at the Düsseldorf Art Academy and is known for his special combination of architectural and sculptural elements. In 2005 he was awarded as best artist at the Biennale di Venezia.

● Documentation of the Krefeld Pavilion ● Exhibition of the famous artist ● Unique total work of art

Thomas Schütte Krefeld Pavillon

EDITOR Christiane Lange ART TEXTS Julian Heynen, Christiane Lange GRAPHIC DESIGN Neil Holt

German, English 120 pp. ● 100 ills. ● 17 x 23 cm ● softcover 6 7 ca. €28.00, $32.00, £28.00 Pav_06.indd 6-7 08.07.20 13:29 available

42 43

Pav_06.indd 42-43 08.07.20 13:30

ISBN 978-3-7757-4844-5 German, English 24 Grid and Free-hand Painting

When Andrew Bick goes about his painting, then it is not only in the spirit of creativity, but also in a rich actualiza- tion of art history. Influenced above all by English Con- structivism and System Art, Bick has found his own style. The starting point of each work is the grid. It structures the ground upon which Bick makes his shapes dance. Some lines define boundaries in the painting process, others are painted over, and sometimes the brush completely departs from the drawing’s guidelines and fills the pictorial space with the voluminous quality of its color. This creates a multifaceted interplay between order and freedom, painting and drawing, past and present. The transitions are hardly noticeable, bringing the extremes together and captivating the viewer.

ANDREW BICK (*1963, Coleford, Great Britain) studied painting at the Chelsea School of Art. He places his work in the tradition of constructivism. He was a research fellow at the Henry Moore Institute and is the winner of the Premio Internazionale Fiar.

● First monograph ● Contemporary art from England ● Contemporary Constructivism

Andrew Bick original/ghost/compendium

EDITOR ART Sabine Schaschl, Museum Haus Konstruktiv, Zürich TEXTS Jo Melvin, Sabine Schaschl, John Wood GRAPHIC DESIGN Harald Pridgar

English, German 160 pp. ● 120 ills. ● 26 x 29 cm ● hardcover €40.00, $46.00, £40.00 December 2020

ISBN 978-3-7757-4856-8 English, German 25 On an Aesthetics of Insects

Entropy seems to be an accepted norm in the world. Hu- man action, research, and order are able to offer less and less resistance in the face of it. Lea Grebe’s art, however, proposes a new perspective through the interface of science and technology. Over the years, she has built up an archive, documenting dead insects—where they were found, how they were found, and what state they were in when discovered. The insects have been cast in bronze in an elaborate process. By being transformed into durable material, it seems as if the creatures have undergone a final metamorphosis, in which they take on an ultimate, artificially maintained appearance. The emphasis on the individual is evidence of the search for a new, ecological, empathetic way of thinking that honors the independent and inimitable.

LEA GREBE (*1987, Munich) initially studied modern German literature, art history, and education. She has a master’s degree from the Academy of Fine Arts in Munich, and has been awarded numerous grants and scholarships.

● First overview of the artist’s work ● Art and science ● Artistic articulation of transience Lea Grebe Holometabolie

EDITOR Friedrich Meschede, BBK Nürnberg Mittelfranken e.V. ART AUTHORS Petra Lange-Berndt, Friedrich Meschede GRAPHIC DESIGN strobo B M

German, English 292 pp. ● 273 ills. ● 24 x 31 cm ● hardcover €40.00, $46.00, £40.00

85 86 November 2020

42 43

ISBN 978-3-7757-4870-4 German, English 26 Public Art and Society Today

Can a sculpture be a river? Can contemporary art unite LIQUID conflicting systems of belief? Do other species appreciate SCULPTURE culture? And can public art revive communities and eco- systems? Cristina Iglesias’ horizontal fountains, submerged rooms and tropical mazes bring together language, architecture and botany to create immersive spaces of contempla- tion. In this publication an international roster of curators, art critics, philosophers, architects and scientists discuss the social and ecological potential of art in urban and rural space. THE

Spanish artist CRISTINA IGLESIAS (*1956) creates profound spaces PUBLIC ART of the imagination. Renowned for her sculptures woven, cast or constructed from metal, wood and alabaster, Iglesias also creates out- OF door structures and installations using water. Her work can be found in inner cities or remote islands, as a site of pilgrimage for humans or CRISTINA as a habitat for animals. IGLESIAS

● Art in public space SMITH_Cristina Iglesias_covers_a.indd 16 16/09/2020 15:24 ● Urban regeneration, multi-culturalism and environmentalism ● With texts by renowned authors

Liquid Sculpture The Public Art of Cristina Iglesias

EDITORS ART Iwona Blazwick and Richard Noble TEXTS Octavio Aburto, Andrew Benjamin, Iwona Blazwick, Lynne Cooke, T.J. Demos, Estrella de Diego, Brian Dillon, João Manuel Fernandes, Luis Fernández-Galiano, James Lingwood, Michael Newman, Richard Noble, Andrea Schlieker, Jane Withers, Exequiel Ezcurra, Russell Ferguson, Jane Rendell GRAPHIC DESIGN Stuart Smith

English ca. 272 pp. ● ca. 160 ills. ● 24.5 x 29 cm ● hardcover ca. €44.00, $50.00, £44.00 February 2021

ISBN 978-3-7757-4823-0 English 27 Purposeful Coincidence?

Jenny Brockmann, winner of the 2020 Willms Neuhaus Prize, divides her time between Berlin and New York. Her work is characterized by a far-reaching, interdisciplinary discourse with participatory interaction and extensive artistic freedom of design. Although her artistic concerns focus on spatio-temporal and current social experiences, her works always provide room for coincidence. Since its establishment in 2013, the Willms Neuhaus Foun- dation—Coincidence and Design has been dedicated to the research of coincidence and diverse considerations of it. The foundation is dedicated to the promotion of art and science; it initiates and organizes interdisciplinary discourses, in particular to increase the interest of the arts, natural sciences, and humanities in this topic and to promote further projects and colloquia in an environment devoted to this theme.

JENNY BROCKMANN (*1976, Berlin) is an artist (UdK Berlin, master’s degree student under Rebecca Horn) and architect (TU Berlin). Her sculptures, participatory installations, and discursive projects are presented around the world.

● Winner of the 2020 Willms Neuhaus Prize ● Interface between nature and science ● Master of communication Jenny Brockmann Informed Desire

EDITOR Willms Neuhaus Foundation

ART TEXTS Jenny Brockmann, Felix Ekardt, Jenny Graser, Gert Hofmann, Martina Kumlehn, Corinna Lüthje, Heike Catherina Mertens, Birgit Möckel, Agnes Neuhaus-Theil, Ursula van Rienen, Sylvia Speller, Karsten Wolf GRAPHIC DESIGN Andrea Nicolò

German, English 96 pp. ● 103 ills. ● 23 x 28 cm ● hardcover €38.00, $44.00, £38.00 available

ISBN 978-3-7757-4816-2 German, English

28 Abstraction Today from a Young American Tour de Force Landon Metz’s abstract paintings reflect the artist’s deliberate and meditative attention that endures throughout each phase of the artist’s process. From stretching canvas to selecting his specific palette to the actual application of paint and subsequent creation of form, the end result of such intense concentration is an energy that seeming- ly reverberates from Metz’s work. Curving forms of mes- merizing color on individual canvasses are often exhibited as diptychs and triptychs, or serially installed next to one another in installations to form a larger dialogue, creating pattern and rhythm. Metz’s artworks communicate a contemporary voice engaging directly with the larger dialogue of abstraction’s expansive history. The forms and repetition found in nature are often sources of inspiration for Metz, the artist being from Arizona where rock forma- tions shaped over thousands of years are direct examples of the relationship between time, material, and form. This book brings together numerous examples of this young tour de force’s elegant oeuvre, while exemplifying the ways in which such a spirit of studied precision and de- liberation holds enduring value in a world that seems to move faster with each passing day.

LANDON METZ (*1985, Phoenix, Arizona) has had solo exhibitions in Norway, Italy, Denmark and Canada. He was the artist in residence at the ADN Collection in Bolzano, Italy in 2014. Metz was the subject of a solo exhibition at Museo Pietro Canonica in Rome in 2018. Metz lives Landon Metz and works in Brooklyn, New York. EDITOR Jeffrey Grove

GRAPHIC DESIGN ART ● Immersive abstraction from a young Rutger Fuchs contemporary master English ● Studied and deliberate creation of form ca. 112 pp. ● ca. 64 ills. ● 22 x 27 cm ● hardcover ● Collection of recent work from this ca. €38.00, ca. $44.00, ca. £38.00 rising US star March 2021

ISBN 978-3-7757-4885-8 English 29 Art History and Contemporary Painting

What connects a Baroque repertoire of forms with contemporary art? Or the visual language of the Renaissance with today’s aesthetics? The answer is a name: Nathan Egel. His work pursues a search for grace, beauty, and elegance as it explores stylistic elements and motifs of European painting history. Like collages, they combine to form energetic compositions in his large-format paintings. Wo sind wir hier, Nathan Egel? (Where are We Here, Nathan Egel?) not only demonstrates the witty contemporaneity of Egel’s works, but also shows us where they were created. In his Blackforest Studio—formerly a laundromat—Egel works in a field in between readymades and objets trouvés and stages his paintings in their own context. He creates impressive works that deliberately do not adhere to academic guidelines. This volume provides a first overview of Egel’s multifaceted oeuvre.

NATHAN EGEL (*1992, Müllheim, Baden) grew up as the seventh of eight children in a family influenced by art and music. His works have been shown at the Freiburg Concert House, the Artraum Gallery, and the KunstPalais Badenweiler.

● First survey of a young talent’s work ● Large formats on fold-out boards ● Figurative painting Wo sind wir hier, Nathan Egel?

EDITOR AND TEXT Thomas Wessel

German ART 84 pp. ● 47 ills. ● 24 x 34 cm ● softcover ca. €28.00, $32.00, £28.00 February 2021

ohnE titEl SiE träuMtE voM rEitEn

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ISBN 978-3-7757-4825-4 German 30 Visualization of Thought Processes

In picturesque text clouds, spatial drawings, and sound installations, Brigitte Waldach explores surprising connections from our cultural and contemporary history. In her impressive drawings she deals with Germany’s past, but also with literature, music, emotion, and violence. She succeeds in creating haunting constellations and il- luminating fields of context that challenge our senses and our thinking. In 2020 she was awarded the Marta Prize from the Wemhöner Foundation, which, for the first time, is combined with a solo exhibition at the Museum Marta Herford and a catalogue. This book not only brings together the pieces shown in the exhibition, but also sup- plements them with other key works. In this way, themes and motifs are contextualized and space is provided for the development of complex trains of thought and reference systems in Brigitte Waldach’s oeuvre.

BRIGITTE WALDACH (*1966, Berlin) studied art education, art science, and German language and literature, before completing her studies in fine arts at the Berlin University of the Arts as a graduate student under Georg Baselitz. Her large-format drawings and mul- timedia installations are in exhibitions and collections around the world.

● First monograph ● Winner of the Marta Prize from the Wemhöner Foundation Brigitte Waldach ● Large-format drawings Schimmer und Glanz

EDITOR ART Marta Herford TEXTS Roland Nachtigäller, Brigitte Waldach, Heiner Wemhöner GRAPHIC DESIGN Andrea Schürings, büro für mitteilungen

German, English 120 pp. ● 80 ills. ● 22 x 28.5 cm ● hardcover ca. €30.00, $35.00, £30.00 December 2020

EXHIBITION Marta Herford, Herford, September 21, 2020–January 17, 2021

ISBN 978-3-7757-4852-0 German, English

31 A Brief Ontology of Painting

Painting in between abstraction and representation always offers a promise of thought and feeling. Emotionally, as well as intellectually, it marks out new horizons. Andre- as Eriksson’s series Cutouts works with cut-out elements from discarded paintings. In Eriksson’s work, cutouts are resurrected and taken seriously in their very own, specific form. Hence, something that is outside the painting shifts into focus here, showing us its asymmetrical edges and the marks of its production, and manifesting as wonderful, painterly work.

ANDREAS ERIKSSON (*1975, Björsäter, Sweden) works as a painter, sculptor and photographer. He began his long-term project Cutouts in 2014. In 2011 he represented Sweden at the Venice Biennale. He lives and works in Medelplana, Sweden.

● Excellent painting ● With essays by Kirsty Bell ● Photo portraits by Åke E:son Lindman

Andreas Eriksson Cutouts

TEXT Kirsty Bell ART PHOTOS BY Åke E:son Lindman

English 112 pp. ● ca. 80 ills. ● 21.4 x 31.3 cm ● hardcover ca. €38.00, $44.00, £38.00

38. 39. October 2020

DIFFERENCE

Sometimes in Eriksson’s work, a kind of self-sufficient feedback loop is established whereby a finished work provides the literal starting point, or subject matter, for a new work. Fed back into the production machine, the work which follows becomes less about an external source—a landscape or photograph or glimpse—and more about the mechanics of composition or picture-making. Eriksson began making drawings of finished paintings— jagged topographies that delineate separate fields of color, texture or paint application—as templates for the weavings he commissioned. At a certain point, he began to employ these templates as a means for making new paintings, a kind of ready-made composition with which to engage in repetition and variation. For an exhibition in 2018, he showed thirty paintings all based on a single drawing. This strategy becomes a different way to cut a cross section through the activity of painting and present a different angle on the process. In some of the Cutouts, pencil lines visible beneath the paint reveal their origin in such templated works. Are the Cutouts fragments? Or ruins? Or more like found objects? They are put aside in the studio, saved, and time passes, during which they take on a new category of being. A transition occurs whereby the partial excerpt is allowed to stand in for the whole: separate, new, and complete. In an exhibition in spring of 2019, forty-five such fragments are grouped together and hung in a grid on a single wall, but they do not form a new whole. What they form is more like a proposition. A grid of possibilities, or discrete glimpses. Like flicking through a notebook or a private journal. These passages are like close-ups in a movie, moments of focus that bring us back to the immediacy of the brush, the hand, the eye, the head. Like film stills, they exist on their own terms; they do not require a larger narrative or momentum beyond their own intrinsic pictorial dynamics. They are shards of reality. Jewel-like moments, stilled.

64.

ISBN 978-3-7757-4869-8 English 32 The Beauty of Networks

Albert-László Barabási’s research has changed the way the world understands networks. For twenty-five years, he and his colleagues at the BarabásiLab have been developing the visual vocabulary of complexity, inspired by his pioneering research on everything from protein interactions to the spread of fake news. Their 2-D visualizations and 3-D data sculptures have enabled us to see how the complex systems that govern our lives actually function. Hidden Patterns documents the evolution of the BarabásiLab’s visual language. Published on the occasion of a retrospective exhibition of the BarabásiLab’s work, which will debut at the Ludwig Mu- seum in Budapest and then travel to ZKM | Center for Art and Media in Karlsruhe, Germany, this large-scale, richly illustrated compendium features dozens of full-color visualizations together with commentary and curatorial insights by leading voices in the worlds of art and design.

ALBERT-LÁSZLÓ BARABÁSI (*1967, Cârța, Romania) is a Distin- guished University Professor of Physics and the director of the Center for Complex Network Research at Northeastern University in Boston. He also holds an appointment in the Department of Medicine at Harvard University and directs a European Research Council project at Central European University, in Budapest, Hungary. The recipient of the 2018 Moholy-Nagy Prize for his humanistic approach to technology and the former head of the World Economic Forum’s Global Agenda Council on Complex Systems, Barabási is the author of The Formula (2018), Bursts (2010), Linked (2002), and the award-winning textbook, Network Science (2016). Hidden Patterns Visualizing Networks at ● From the pioneer of complex data BarabásiLab ● ART

Coats UnderstandingUrolithiasise Osteopetrosis disease networks NDP Caey van_Buchem Exudative disease disease vitreoretinopathy Norrie SLC34A1 disease 439 LRP5 Nevo Hyperostosis, syndrome COL1A1 endosteal PLOD1 217 PAX9 Oligodontia Osteogenesis Osteoporosis 1164 Ehlers-Danlos imperfecta Arthropathy syndrome Hypodontia COL3A1 Aneurysm, COL1A2 familial_arterial Myasthenic Witkop 733 syndrome syndrome EDITOR Heart Pseudoachondroplasia 3-methylglutaconicaciduria OPA3 WISP3 ●Optic Marfan block MSX1 atrophy OPA1 Aortic syndrome Paramyotonia Sick_sinus aneurysm congenita syndrome 3558 Intervertebral_disc Brugada SCN4A disease Glaucoma syndrome Syndactyly Spondyloepiphyseal COMP COL9A2 TheWeill-Marchesani designShprintzen-Goldberg Cramps, of ourZlotogora-Ogur timesdysplasia SCN5A Cleft syndrome syndrome potassium-aggravated Myotonia 2785 syndrome Parkes_Weber Basal_cell FBN1 Oculodentodigital palate COL9A3 1432 CYP1B1 congenita syndrome nevus_syndrome 1414 Hypokalemic Acquired dysplasia Peters MASS Epiphyseal FLNB PTCH Keratitis syndrome periodic long_QT_syndrome RASA1 anomaly Eye Ectopia Thyrotoxic paralysis MATN3 dysplasia Atelosteogenesis SHH anomalies Marshall Larson Capillary Basal_cell Holoprosencephaly Coloboma, periodic KCNH2 PVRL1 malformations GJA1 Incontinentia syndrome SLC26A2 syndrome carcinoma ocular paralysis pigmenti PTCH2 Wagner 26 Aniridia, Long_QT Osteoarthritis Diastrophic Alanna Stand, Well Said NYC IKBKG syndrome PAX6 type_II CACNA1S syndrome dysplasia Optic_nerve Morning COL11A1 Medulloblastoma Branchiootic EYA1 Atrioventricular syndrome hypoplasia/aplasia glory Foveal KCNE1 Ectodermal Achondrogenesis_Ib disc hypoplasia block LOR dysplasia SMED Rieger COL2A1 Strudwick_type syndrome anomaly 942 PITX2 FOXC1 126 Kniest Ring_dermoid PITX3 CPT 830 Bart-Pumphrey Cataract deficiency, Erythrokeratoderma 1586 Stickler dysplasia of_cornea KCNE2 syndrome syndrome Iridogoniodysgenesis hepatic Vohwinkel NKX2-5 syndrome GJB6 Bothnia Iris_hypoplasia RYR1 KCNQ1 843 OSMED Enhanced Alagille retinal and_glaucoma Axenfeld Tetralogy GJB3 syndrome S-cone 1105 1104 anomaly CRYAB CPT2 syndrome GJB2 syndromedystrophy Butterfly Maculopathy, of_Fallot 845 COL11A2 bull’s-eye Atrial Fechtner 549 dystrophy, Central_core retinal TEXTS Self-healing 792 May-Hegglin syndrome disease fibrillation JAG1 Retinal_cone NR2E3 RLBP1 collodion_baby anomaly Epstein dsytrophy 1518 Fundus KRT10 syndrome albipunctatus Macular Epidermolytic EBD Miyoshi VMD2 396 Toenail MYH9 NRL RDS dystrophy hyperkeratosis dystrophy, myopathy Myopathy MYH7 Sebastian Vitelliform TGM1 434 isolated DYSF Becker MYH6 syndrome Night macular MYF6 Duchenne ELOVL4 Ichthyosiform 1401 Myotilinopathy muscular Deafness blindness ABCA4 Stargardt dystrophy COL7A1 DES dystrophy muscular MYO7A RHO erythroderma Ichthyosis 847 Rippling_muscle disease KRT1 DSP dystrophy PCDH15 1229 Creatine disease DMD PDE6B Retinitis CRB1 STS MYOT phosphokinase EYA4 TIMM8A Epidermolysis PLEC1 CDH23 5233 144 Muscular Usher USH2A LAMA3 bullosa USH1C pigmentosa 1545 868 CAV3 COCH syndrome CRX Cone Somatotrophinoma RYR2 Walker-Warburg FCMD dystrophy Mohr-Tranebjaerg DSPP Ventricular syndrome TTN Cardiomyopathy syndromeJensen AIPL1 dystrophy Dentin MASS1 McCune-Albright tachycardia POMT1 syndrome SLC26A4 GUCY2D Albert-Lászlo Barabási, Mónica Bello, Julia Fabényi, Kathleen Forde, SGCD Meniere dysplasia, RPE65 syndrome GRACILE PRKAG2 disease GNAI2 Alexander type_II Menkes syndrome Wol-Parkinson-White 418 Convulsions GNAS 1232 BCS1L disease TCAP Pendred RPGR disease Osseous syndrome Enlarged Leber RPGRIP1 TAZ syndrome RP1 heteroplasia 1016 NDUFV1 COX15 vestibular congenital_amaurosis Roussy-Levy Barth aqueduct ATP7A Occipital_horn syndrome SDHA Leigh syndrome syndrome Acromegaly Cutis 474 1113 Macular Dejerine-Sottas NDUFS4 syndrome Hemolytic-uremic FBLN5 laxa syndrome degeneration Williams-Beuren Pseudohypoparathyroidism disease PMP22 1297 LMNA PDHA1 CFH CNGB3 ELN syndrome Vertical GCSL EGR2 Achromatopsia talus Maple_syrup_urine Stroke Factor_x Hypertriglyceridemia Supravalvar_aortic Neuropathy disease MPZ Rabson-Mendenhall deficiency stenosis HOXD10 syndrome József Készman, Isabel Meirelles, Carlo Ratti, Matthew Ritchie, András HSPB1 Pelizaeus-Merzbacher 913 Charcot-Marie-Tooth Leprechaunism Nephropathy-hypertension 1396 3212 F7 disease Spastic_ataxia disease ALOX5AP Apolipoprotein PLP1 DCTN1 INSR Hypoalphalipoproteinemia /paraplegia Amyotrophic 1347 594 deficiency APOA2 ALS2 GARS BSCL2 KCNJ11 Primary lateral HEXB Lipodystrophy Hypoglycemia Hypercholesterolemia lateral_sclerosis sclerosis Insulin 117 APOA1 VAPB Spinal_muscular resistance ABCC8 Hyperproinsulinemia TCF2 SARS, Myocardial Corneal atrophy 803 APOB PAFAH1B1 Hyperinsulinism progression_of infarction dystrophy COL8A2 FOXP3 275 INS THBD Amyloidosis 558 Hypobetalipoproteinemia 1456 Diabetes TTR VSX1 Coumarin Squamous_cell Myeloperoxidase APOE Amyloid Lissencephaly Nicotine Sea-blue_histiocyte FGA resistance CYP2A6 Non-Hodgkin carcinoma PPARG ACE deficiency Dysfibrinogenemia neuropathy Keratoconus addiction CHRNA4 mellitus disease Abetalipoproteinemia Szantó, Peter Weibel DCX LGI1 lymphoma GCK MPO 463 Infantile_spasm Epilepsy 377 syndrome HNF4A Hyperproreninemia Afibrinogenemia 2385 GABRG2 ACSL6 Glioblastoma MODY Hyperlipoproteinemia Myoclonic Myelodysplastic Renal FGB syndrome IPF1 APP Hypofibrinogenemia epilepsy KCNQ2 CACNB4 FAS SLC2A2 REN tubular Con-Lowry SLC6A8 ARX Myelogenous dysgenesis Alzheimer FGG syndrome 1057 Androgen leukemia CASP10 Thrombophilia Autoimmune Pancreatic ENPP1 disease Mental insensitivity Macrocytic disease agenesis Fanconi-Bickel 137 RPS6KA3 Ataxia syndrome Hemorrhagic Perineal anemia RETN AGTR1 AGT F5 retardation Partington IRF1 930 CBS diathesis hypospadias Gastric CASP8 HSD11B2 SERPINA1 NLGN4X syndrome AR ERBB2 1153 Preeclampsia EPHX1 Emphysema Asperger Proud Adenoma, Muir-Torre PTPN22 Apert 379 cancer TCF1 Homocystinuria syndrome syndrome 192 Listeria periampullary syndrome Coronary Hypercholanemia Thrombocytopenia syndrome monocytogenes Nonsmall_cell Saethre-Chotzen Ataxia-telangiectasia Obesity 198 NOS3 spasms NLGN3 Desmoid lung_cancer Cafe-au-lait MECP2 syndrome disease Schizophrenia Autism SOX3 spots Hypertension Placental Wiskott-Aldrich GRAPHIC DESIGN Pfeier KLF6 1183 ATM MSH2 PRODH FGD1 Adenomas Ovarian abruption syndrome syndrome FGFR2 Gardner MLH1 ADRB2 NR3C2 Hyperprolinemia WAS cancer Pilomatricoma Systemic_lupus Allergic PSEN1 809 Jackson-Weiss syndrome CDH1 BRCA1 rhinitis PPM-X Angelman APC Turcot erythematosus SCNN1B syndrome CTNNB1 EGFR Pseudohypoaldosteronism syndrome Rett syndrome MUTYH MAD1L1 Neuroectodermal syndrome AGRP Pick Crouzon Leanness, IL13 Atherosclerosis Seasonal syndrome FGFR1 PIK3CA tumors Rheumatoid disease Neutropenia Aarskog-Scott Craniosynostosis syndrome Prostate PMS2 Hepatic inherited arthritis Liddle aective_disorder syndrome RAD54B Adenocarcinoma SCNN1G syndrome HTR2A FCGR3A RAD54L adenoma Alcohol MSX2 cancer T-cell IL10 ALOX5 Kallmann dependence ELA2 MXI1 Endometrial lymphoblastic ECE1 syndrome Parietal Breast leukemia Lymphoma Graft-versus-host Anorexia Viral Neurofibrosarcoma carcinoma disease Supranuclear infection foramina cancer Asthma Dementia nervosa 1555 BAX BRAF palsy 96 1096 MAPT PTEN BRIP1 Colon HIV PHF11 182 PDGFRL Hematopoiesis, Obsessive-compulsive cyclic Ferenc Eln 129 Fanconi 1174 Estrogen SLC6A4 422 Lhermitte-Duclos cancer AXIN2 Neurofibromatosis NF1 Neurofibromatosis IgE_levels PLA2G7 ATP1A2 disorder syndrome BRCA2 1476 resistance anemia Li-Fraumeni QTL TNF MSH6 syndrome 1140 Watson Cerebral Oligodendroglioma EP300 PARK2 Leprosy PDGFB FGFR3 CHEK2 Rubenstein-Taybi MET syndrome Migraine ESR1 amyloid Simpson-Golabi-Behmel Giant-cell Multiple Platelet fibroblastoma Meningioma Muenke Osteosarcoma syndrome SNCA HDL_cholesterol angiopathy syndrome 1490 syndrome Cancer malignancy RUNX1 defect/deficiency level_QTL GPC3 susceptibility Coronary Hypochondroplasia XRCC3 TP53 syndrome BCL10 Sezary Sepsis BDNF ABCA1 SLC22A18 Lung FLCN syndrome Hirschsprung GDNF artery Achondroplasia Cervical cancer Memory disease Denys-Drash Wilms Melanoma Mesothelioma CD36 disease syndrome tumor carcinoma CCND1 impairment Tangier Cowden KRAS Atopy Mesangial disease NF2 Nijmegen_breakage Parkinson Malaria EDNRB disease sclerosis Histiocytoma CIITA WT1 Birt-Hogg-Dube NBN syndrome 287 Schwannomatosis disease Waardenburg-Shah Frasier Pancreatic Stomach Adrenal_cortical syndrome 1239 Bare_lymphocyte EDN3 syndrome WAGR Rhabdomyosarcoma carcinoma Leukemia PCWH syndrome cancer cancer TGFBR2 syndrome SPINK5 PHOX2B ABCD SOX10 Tietz syndrome NQO1 Benzene Thyroid Germ_cell toxicity syndrome syndrome 378 833 Nasopharyngeal Shah-Waardenburg BMPR1A carcinoma STK11 tumor DBH syndrome PAX3 carcinoma TAP2 Netherton Neuroblastoma 1614 Renal_cell STAT5B RET SMAD4 Bladder Peutz-Jeghers syndrome MITF carcinoma LPP cancer syndrome Multiple Wegener Aquaporin-1 Waardenburg von_Hippel-Lindau GYPC syndrome Esophageal PTPN11 441 sclerosis granulomatosis deficiency syndrome GATA1 Polyposis cancer Growth 347 AQP1 HRAS hormone PRKAR1A RB1 CDKN2A 3229 Medullary_thyroid Adult_i Orolaryngeal KIT Leopard Noonan Lipoma TBP Multiple Blood phenotype Pyropoikilocytosis TYR carcinoma GCNT2 Carney cancer syndrome syndrome PTPRC endocrine Loeys-Dietz Li neoplasia group complex Fraumeni Myxoma, TSHR Retinoblastoma syndrome VHL Dyserythropoietic SPTA1 English syndrome anemia intracardiac Costello Spherocytosis Albinism MYH8 NTRK1 syndrome Macrothrombocytopenia HMGA2 Adrenocortical Piebaldism SLC4A1 Anemia carcinoma Carcinoid_tumor Hyperthroidism Polycythemia Mast_cell 959 Salivary of_lung RHCE SPTB 1528 leukemia adenoma Huntington MEN1 Hemangioblastoma, Spinocereballar Adrenal Elliptocytosis Hypothyroidism cerebellar disease Uterine ataxia Parathyroid adenoma Insensitivity Gastrointestinal adenoma 1267 Renal stromal leiomyoma to_pain Hemolytic Pheochromocytoma RHAG JAK2 tumor Angiofibroma, 1383 DCLRE1C anemia tubular CDC73 sporadic TG 1263 Rh-negative acidosis CTLA4 PRNP Hyperparathyroidism RAG1 blood_type Goiter CACNA1A G6PD Rh-mod Thyroid GSS syndrome 192 pp. ● ca. 100 ills. ● 25 x 28 cm ● hardcover TPO PDGFRA Creutzfeldt-Jakob RAG2 hormone SDHB Insomnia resistance Graves Myelofibrosis, SDHD disease Omenn PGK1 Autoimmune disease idiopathic Episodic IL2RG syndrome G6PD thyroid ataxia Gerstmann-Straussler CASR Favism deficiency Hemiplegic_migraine, disease Hyperthyroidism 3512 disease Thrombocythemia ADA familial 604 1056 Paragangliomas Hypereosinophilic Hypocalciuric syndrome Cerebellar hypercalcemia Combined Adenosine_deaminase Merkel_cell ataxia immunodeficiency deficiency Carcinoid carcinoma Hypocalcemia tumors, intestinal CP C6 665 ca. €40.00, $46.00, £40.00 Hypoceruloplasminemia Complement_component deficiency October 2020

considered the father of modern neuroscience, Cajal was one of two recipients of the 1906 Nobel Prize in Physiology or Medicine. Incidentally, before he began studying medicine, he trained to be an artist. Interpreting the underlying structure of non-hierarchical representations, even those of small networks, can be tricky, especially when the overall interconnected- ness between elements is impossible to unravel linearly or otherwise. Since his first forays into visualization, Barabási has used a series of visual strategies that aid in revealing the hidden structures of networks. Perhaps the simplest of all, yet one of the most effective, is the color encoding of nodes. One of the lab’s earliest node-link diagrams to be published in a paper, “Error 8 and Attack Tolerance of Complex Networks,” employed this strategy. The visualiza- Fig. 7: The BarabásiLab’s Random vs. Scale-free tion, which appeared in Nature in 2000, uses color to show levels of connectedness. Networks, as published in “Error and Attack Tolerance of Complex Networks,” in Nature, The five nodes with the highest number of links are encoded in red, and their first July 27, 2000. neighbors in green (fig. 7). The image represents the lab’s breakthrough discovery: that scale-free networks behave very differently from random networks. Barabási’s subsequent visualization, published in Nature in the following year, was a map of the color. We can examine the cyan cluster of cancers and even fathom the relationships largest cluster of protein interactions (fig. 9). In that diagram, node colors stand for between different types of cancers, as well as their connections to other morbidities, EXHIBITIONS the phenotypic effect of removing the corresponding protein and, hence, are a fun- thanks in part to the color of nodes. In this diagram, the nodes also encode quan- damental feature of conveying the scientific findings. In general, colors can facilitate titative values, with their sizes standing for the number of genes associated with perception of many network features, such as patterns of connectedness behavior, that disease. Adding to its communicative value is a clear layout with node overlaps distribution of nodes in different parts of the network, and the presence and location avoided, and a minimum number of link crossings. In the early days, and whenever of clusters, among others. possible, researchers would painstakingly rearrange nodes to clarify the topology In the BarabásiLab’s 2007 The Human Disease Network (see page 62), which and highlight connectedness between elements. Such manipulation of nodes in the depicts the genetic origins of how diseases are related, disorders are grouped by arts is still common practice. Ludwig Museum, Budapest, October 10, 2020—January 17, 2021 The Human Disease Network is one of the lab’s most iconic images. Its signif - icance includes the different levels of knowledge and insight that it fosters—from the macro view of how diseases are interconnected to the micro understanding of particular genes. First published in 2007 in a paper for Proceedings of the National ZKM, Karlsruhe, February 27–August 8, 2021

Fig. 6: World Finance Corporation and Associates, Fig. 8: Four stills from an animated digital c. 1970-84: Miami, Ajman, and Bogota-Caracas visualization of the BarabásiLab’s The Human (Brigada 2506: Cuban Anti-Castro Bay of Pigs Disease Network, which Barabási screened Veteran) (7th Version), by Mark Lombardi, 1999. during his 2012 TEDMED Talk.

30 31

ISBN 978-3-7757-4862-9 English 33 ART has influenced theinternational asan scene ofmediaart andtherecipientruhe, oftheLovis-Corinth-Preis in2020, für Kunst undMedien(Center for andMedia)inKarls Art Peter Weibel, thelong-standingCEOofZKM|Zentrum goal.”―Peter Weibel “Europe’s mustbethe rebirth 34 ● ● ● für angewandte Kunst in Vienna. Peter Weibel Research Institutefor DigitalCulture at theUniversität the ZKM,Karlsruhe until 2023.Since 2017hehasbeendirector ofthe conceive creativity of artistic asanopen field ofaction. Heisheadof Under theconditions ofthenascent ageofmedia,since the1960s Galerie Regensburg in1974. by theKünstlerGilde e. V. intheKunstforum Ostdeutsche catastrophes. The Lovis-Corinth-Prize was firstawarded war, and terrorism as well as economic and ecological aswell, cept ofart Weibel addresses migration, expulsion, ical ofthesystem, whichalways questiontheusualcon takes upcore questionsaboutEurope. Inotherworks crit work. Onemainarea consists ofworks inwhichtheartist music. This publication offers insight into Weibel’s diverse film, video, aswellhis and explorationcomputer art of comprises performance, experimental conceptual art, aswellatheoristandcurator.artist oeuvre Hisartistic PETER WEIBEL PETER WEIBEL Works andscience betweenart Media pioneer, curator artist, andauthor Winner oftheLovis-Corinth-Prize 2020 (*1944, Odessa)has created anoeuvre(*1944, that dares to ISBN 978-3-7757-4793-6ISBN German, English - - - October 3,October 31, 2021 2020–January Kunstforum OstdeutscheGalerieRegensburg, available €38.00, $44.00, £38.00 128 pp. ●ca.95ills. ●23x28cmsoftcover German, English W. Maier Bazon Brock, Agnes Tieze, interview byAgnes Tieze withPeter Weibel Kunstforum OstdeutscheGalerieRegensburg Lovis-Corinth-Preis 2020 (Post-)Europa? Peter Weibel EXHIBITION DESIGN GRAPHIC TEXTS EDITOR

“It is no longer we who cross the land, the border, the sea; they are the ones who cross us.”―Marco Godinho Marco Godinho’s exhibition Written by Water was an impressive exploration of how we move today in a world en- gaged with current migration issues and its relation with the sea. Written by Water is a geopoetic odyssey that takes the reverse path of today’s migratory routes across the Mediterranean, the cradle of modern society and birth- place of founding narratives that underpin our common heritage. The documentation of the exhibition is accompanied by seven essays, which are just as thought-provok- ing and a wide range of singular works and recent exhibitions of the last fifteen years.

Born in Portugal and dividing his time between Paris and Luxem- bourg, MARCO GODINHO (*1978, Salvaterra de Magos) studied in Nancy, Lausanne, and Düsseldorf. Since 2006 his work has been shown in solo exhibitions and several group exhibitions, including at the Centre Pompidou, Metz; the CCK – Centro Cultural Kirchner de Buenos Aires; and at The Cube & VT Artsalon, Taipei.

● Represented the Luxembourg Pavilion at the 2019 Biennale di Venezia ● Artistic process to make the invisible visible ● Survey of the last fifteen years Marco Godinho Written by Water

EDITOR ART Casino Luxembourg – Forum d’art contemporain, Luxembourg TEXTS Léa Bismuth, Sally Bonn, Thierry Davila, Paul di Felice, Christophe Gallois, Hélène Guenin, Béatrice Josse GRAPHIC DESIGN Studio Manuel Raeder, Berlin

English, French ca. 304 pp. ● 204 ills. ● 21 x 28 cm ● hardcover ca. €40.00, $46.00, £46.00 October 2020

ISBN 978-3-7757-4814-8 English, French 35 Woodcuts à la Carte GENARO STROBEL Genaro Strobel creates monumental works on paper us- SIZE ing a printing process he developed, which starts with the classic woodcut, but also includes photography, painting, drawing, and collage. The medium of wood becomes the content, as the printing blocks are cut into commercially available types of veneer wood by high-precision lasers, working according to computer-generated templates. In this way, the wood grain in the compositions is always visibly imprinted and not simply reproduced. Even the source photographs, such as pictures from an inventors’ fair or the Messel pit, shine through in places. With a sense for large-scale compositions, Genaro Strobel always intro- duces new colors. This publication compiles a selection of his unique pieces, which are four to ten meters high and seven meters wide and on display at the Kunsthalle Darmstadt.

GENARO STROBEL (*1984, Frankfurt am Main) is the current Charlotte Prince Scholar of the Science City Darmstadt. He finished his studies at the Berlin University of the Arts and the Berlin-Weis- sensee Art Academy in 2014 through the Academy of Visual Arts in Leipzig. He has participated in numerous exhibitions at home and abroad.

● Modern interpretation of woodcuts ● Young artist ● Artist book Genaro Strobel Size

TEXT León Krempel ART

German, English ca. 64 pp. ● ca. 40 ills. ● 29.5 x 36.5 cm ● softcover ca. €20.00, $22.00, £20.00 January 2021

ISBN 978-3-7757-4877-3 German, English 36 Documentaries by the Dutch Artist Duo

In Drifting Studio Practice, artists Lonnie van Brummelen and Siebren de Haan discuss their participatory documentaries Episode of the Sea (2014) and Stones Have Laws (2018), which they made in collaboration with the Dutch fishing community of Urk and with the Saamaka and Okanisi ma- roons of Suriname, a former Dutch colony in the Amazon. The artists outline how they experimented with collective script writing and performative storytelling, including both human and other-than-human actors. Starting from their earlier artwork Monument of Sugar (2007), the account develops into a practice-driven exploration of co-authorship and (non)human rights as strategies to cope with the plan- tationocene.

LONNIE VAN BRUMMELEN & SIEBREN DE HAAN have collaborat- ed since 2002, producing film installations, sculptures and collages that explore cultural and geopolitical landscapes such as Europe’s borders, sites of resource production and global trade, and sites of cultural heritage. Their artworks have been shown in international art exhibitions and are held in public collections.

● Participatory documentaries ● Performative storytelling ● New-materialism and rights of nature

Lonnie van Brummelen and Siebren de Haan Drifting Studio Practice ART

TEXTS Lonnie van Brummelen and Siebren de Haan GRAPHIC DESIGN Matthias Hübner

Dutch, English 352 pp. ● ca. 45 ills. ● 17 x 24 cm ● hardcover €40.00, $46.00, £40.00 May 2021

ISBN 978-3-7757-4705-9 Dutch, English 37 Romanian Contemporary Art Grenzen in der Kunst 2010–2020 Tschechische Kunst in drei Rethinking the Image of the Generationen

World: Projects and Sketches EDITOR Kunstforum Ostdeutsche Galerie Regensburg EDITORS TEXTS Adrian Bojenoiu, Cristian Nae Miroslav Petricek, Agnes Tieze, Jindrich Toman, Oto Urban TEXTS Adrian Bojenoiu, Iara Boubnova, Sabin Bors, Carmen Casiuc, Ionut German, Czech Cioana, Liviana Dan, Caroline Dumalin, Catalin Gheorghe, Bogdan 128 pp. ● ca. 55 ills. ● 23 x 28 cm ● paperback with flaps Ghiu, Jesi Khadivi, Anca Verona Mihulet, Cristian Nae, Daniel Ricardo €34.00, $40.00, £34.00 Quiles, Magda Radu, Raluca Voinea December 2020 GRAPHIC DESIGN a r c Timo Grimberg EXHIBITION ART English Kunstforum Ostdeutsche Galerie Regensburg, May 21–August 15,2021 208 pp. ● 180 ills. ● 23.9 x 30.4 cm ● softcover €40.00, $46,00, £40,00 October 2020

● The art of dissolving boundaries ● Survey of the Romanian art scene ● Toyen, Jetelovà, Kintera: Three generations in ● Fascinating contemporary art dialogue ● Artistic positions on burning issues of the day ● A culture of memory

ISBN 978-3-7757-4651-9 ISBN 978-3-7757-4826-1 English German, Czech 38 Encounters with the Balkans

Days In Between is Marianna Christofides’s decade-long project of multi-layered encounters with “the Balkans,” one of Europe’s historically and geopolitically most con- tested “fracture zones.” Initially realized as a 16mm essay film, the project has continued to evolve in various modes: as multi-channel analogue film projection, site-specific audio installation, silkscreen prints, light sculpture, geologic-photographic assemblage, text and 16mm film study. This book draws on Christofides’s recent solo exhibition at MNAC, Bucharest and gives, for the first time, a profound insight into her diverse aesthetic work and unique artistic practice. It assembles nine critical voices from the arts and academic world. Thinking with new materialism, Deleuzian film theory and philosophical studies on time and space, the contributors highlight the multiple ways in which the artist’s work opens up conversations around landscape and space in postcolonial contexts, es- sayistic film practice and forms of critical-emancipatory knowledge production in the arts.

MARIANNA CHRISTOFIDES (*1980, Nicosia, Cyprus) is one of the most internationally acclaimed artists from Cyprus. She studied painting, photography, media art and film in Athens, London and Cologne. In 2011, Christofides represented Cyprus at the Biennale di Venezia. Her works have been showcased widely, among others at the Kunstmuseum Bonn (2019), the Museum of Contemporary Art Siegen (2018), the Akademie der Künste, Berlin (2016), the National Museum of Contemporary Art, Athens (2013) and BOZAR, Brussels (2012). In Marianna Christofides 2019, Christofides was finalist for the Berlin Art Prize. She is currently fellow of the Berlin Artistic Research Grant Programme and prize win- Days In Between ner of the innogy Foundation VISIT 2020. She lives and works in Berlin.

COPUBLISHED WITH ART ASSOCIATE INSTITUTIONS Berlin Senate Office for Culture and National Museum of Contemporary Art (MNAC), Bucharest Europe (DE); Stiftung Kunstfonds, Bonn (DE); Künstlerhaus Büchsen- EDITORS hausen, Innsbruck (AT); MNAC Bucharest (RO); ENSA Bourges (FR); Brenda Hollweg, Marianna Christofides Berlin Artistic Research Grant Programme (DE) ASSOCIATE EDITOR Andrei Siclodi TEXTS Bernd Bräunlich, Érik Bullot, Marianna Christofides, Katerina Gregos, ● A critical exploration of the Balkans Brenda Hollweg, Vanessa Joan Müller, Elena Parpa, Andrei Siclodi, ● Long-term project based on a 16mm essay film John Sundholm ● Artist book, reader and visual essay in one GRAPHIC DESIGN baldinger•vu-huu

English ca. 240 pp. ● ca. 250 ills. ● 20 x 26 cm ● hardcover ca. €38.00, $44.00, £38.00 February 2021

ISBN 978-3-7757-4882-7 English 39 New York Reflections

Photography is not only a medium, it is an artistic profes- sion. Behind the mechanics of the camera is the sensitive eye of the master. It would hardly be possible to find a clearer expression of this than Frank Horvat’s current illustrated book. From 1979 to 1986, New York was a kind of refuge for the photographer. Here he surrendered himself to the hustle and bustle of the streets, capturing their multifaceted lives. At the same time, he reflected in diary entries on his personal method of finding images and the significance of photography itself. The photographs and writings were created for himself personally, in between commissions. Many of them have never been published before and are presented in this illustrated publication for the first time. Horvat’s texts on thin Munken offset paper and his photographs on deep matte photo paper form the two sides of an oeuvre consisting of true photographic art.

FRANK HORVAT (*1928, Opatija) grew up in Italy and studied at the Brera Academy in Milan. His unique eye made him a renowned photo- journalist and a famous fashion photographer. He was one of the first to turn to digital photography.

● Previously unpublished work ● New York street photography ● With an introduction by Amos Gitai Frank Horvat Side Walk

EDITOR Jordan Alves INTRODUCTION Amos Gitai TEXT Frank Horvat GRAPHIC DESIGN François Dézafit

32 33 PHOTOGRAPHY English 160 pp. ● 90 ills. ● 17 x 24 cm ● clothbound €38.00, $44.00, £38.00 October 2020

EXHIBITION Maison Doisneau, Gentilly, October 2, 2020—January 10, 2021

Photographic Please don’t Smile Autobiography € 48,00, $75.00, £45.00 € 38,00, $55.00, £35.00 48 49 ISBN 978-3-7757-4028-9 ISBN 978-3-7757-4208-5

ISBN 978-3-7757-4849-0 English 40 Icarus on the Ground

“Above the clouds, freedom must be boundless . . .” The photographer Tom Hegen became internationally known with his aerial photographs, which deal primarily with the human landscape. They succeed in making us aware of what humans are doing to the Earth. How we shape and process it, and how we destroy it.What happens now, when airports are in a state of emergency and suddenly have to shut down due to health precautions, as was the case during the coronavirus pandemic? Tom Hegen took advantage of this historic moment for his work and went on helicopter flights to take unique aerial photographs of resting runways. His strictly structured compositions show the largest German airports in geometric clarity. It is not humankind who intervenes in nature here, but rather nature that influences us.

TOM HEGEN (*1991) is a photographer and designer based in Munich. He has received several awards, most recently the Red Dot Design Award (2018) and the German Design Award (2019). His pictures are represented in German and European institutions, and are regularly published in magazines such as GEO, Die Zeit, and FAZ.

● Airports at a standstill ● With a text by Alain de Botton ● Fine clothbound edition Tom Hegen Aerial Observations on Airports

EDITOR Nadine Barth TEXT Alain de Botton PHOTOGRAPHY GRAPHIC DESIGN Tom Hegen

English 176 pp. ● 100 ills. ● 22.5 x 31 cm ● clothbound ca. €54.00, ca. $62.00, ca. £54.00 October 2020

ISBN 978-3-7757-4851-3 English 41 Photographer’s Ladies Cut

For half a century, Angelika Platen has been photographing mainly black and white portraits of artists, including Georg Baselitz, Josef Beuys, Hanne Darboven, Bridget Riley, Marina Abramović, Katharina Grosse, and Andy Warhol. Platen’s third monograph, Meine Frauen (My Women), is the first to gather together the female art scene (in an art world still dominated by men). With her unmistakable character studies as part of her photo series, Platen Artists—taken in studios and galleries—and in a congruence of image and work, the artist devotes herself this time exclusively to female visual artists. Here, she shows an exciting, varied, photographic panorama of over one hundred female artists.

ANGELIKA PLATEN (*1942, Heidelberg) became the director of the Gunter Sachs Gallery after studying photography in Hamburg. She began working on her evocative, black-and-white portraits in the late 1960s. Today, she has gathered more than a thousand Platen Artists to form a fascinating gallery of personalities from half-a-century of living art history.

● New volume from the artist-photographer ● Previously unreleased photos ● Outstanding portraits of women

Angelika Platen Meine Frauen

TEXTS Swantje Karich, Julia Voss GRAPHIC DESIGN Andreas Koch

German, English ca. 256 pp. ● ca. 200 ills. ● 16.5 x 22 cm ● swiss binding €40.00, $46.00, £40.00 March 2021 PHOTOGRAPHY

ISBN 978-3-7757-4881-0 German, English 42 The Fracture Behind the High-Gloss Aesthetics For his photographs and films, the Dutch photographer Erwin Olaf creates a world that has been staged down to its smallest detail. It seems very similar to ours, but its artifici- ality give it an enigmatic sense. Still, with their visuals bor- rowed from the film and advertising industries, the works are only flawlessly striking on the surface; in fact, they deal with questions of democracy, equality, or self-determina- tion. Marking Olaf’s first comprehensive solo exhibition in Germany, the companion publication deals with essential aspects of Olaf’s art and offers an attractive survey of his multifaceted oeuvre from the past forty years. Olaf’s most recent works, some of which were created especially for the exhibition at the Kunsthalle Munich, will also be shown.

ERWIN OLAF (*1959) studied journalism. He began his career as a photographer for magazines and journals, often with a socio-political background. In addition to commercial work, he produced a comprehensive body of artistic work from the 1980s onward. With his idiosyn- cratic style, Olaf quickly attracted international attention. His works are shown in exhibitions worldwide.

● Catalogue of the artist’s first solo exhibition in Germany ● New photographs by the artist ● References to German art history Erwin Olaf

EDITOR Roger Diederen, Kunsthalle München TEXTS Daniel Hornuff, Anja Huber, Claudia Peppel, Franziska Stöhr, Estelle Vallender PHOTOGRAPHY GRAPHIC DESIGN Florian Frohnholzer, SOFAROBOTNIK

German 224 pp. ● 220 ills. ● 24 x 30 cm ● hardcover ca. €34.00, ca. $40.00, ca. £34.00 March 2021

EXHIBITION Kunsthalle of the Hypo-Kulturstiftung Munich March 19–August 22, 2021

ISBN 978-3-7757-4879-7 German 43 Eye to Eye

A magnificent volume and a journey through time: this is Christine Turnauer’s black-and-white photo series from 1986, now being published for the first time in book form. North American indigenous peoples travel thousands of miles to participate in traditional dance contests called powwows. With her portable studio tent, Christine Turnauer visited these from northern Alberta to southern Montana. The result: au- thentic and extraordinary portraits. The dancers are completely themselves, and when they wear their traditional costumes, it becomes a spontaneous expression of pride and inner freedom. It seems as if they have an inner connection to their an- cestors. What at first glance may seem like the black-and-white photographs of Edward S. Curtis, or other classics of “Native American” portrait photography from the late nineteenth and early twentieth centuries, differs in Christine Turnauer’s portraits, because the poses are not staged by the photographer, but arise from the active participation of those photographed.

CHRISTINE TURNAUER (*1946, Graz), formerly an assistant to the photographer Frank Horvat, has been working as a freelance photographer since 1979. Focusing on black-and-white portrait photography, she has already published two captivating, illustrated books with Hatje Cantz: Presence (2014) and The Dignity of the Gypsies (2018).

● Impressive contemporary document ● Studies of Native Americans in captivating Christine Turnauer black-and-white photographs ● The 1980s powwow scene I saw more than I can tell

TEXTS Christian Feest, Dennis Francis, Christine Turnauer GRAPHIC DESIGN Margarethe Hausstätter

English 88 pp. ● 34 ills. ● 26 x 32 cm ● hardcover €38.00, $44.00, £38.00 available PHOTOGRAPHY

Maggi Black Cettle, Blackfoot tribe Chief from the Kanai tribe Alberta, Canada, 1986 Alberta, Canada, 1986

Presence €58.00, $85.00, £55.00 ISBN 978-3-7757-3748-7 (German, English, French) The Dignity of the Gypsies €68.00, $85.00, £60.00 ISBN 978-3-7757-4307-5 Rose Ann Abramson, Shoshone-Bannock tribe, traditional dancer Kelly and Mervin Good Eagle, Blackfoot tribe, fancy dancer Alberta, Canada, 1986 Alberta, Canada, 1986 (English)

ISBN 978-3-7757-4822-3 English 44 Reality Check

Jon Lowenstein’s photographs show that photos are not stuck in a single moment, but can reveal a long and deeply felt story. His is a slow process built over decades. The documentary photographer’s themes are social injustice, racism, and systemic violence. With each project he develops deep, decades-long ties to the communities that he documents. His work on the situation of undocumented immigrants in the USA has already received a great deal of attention. For two decades Lowenstein has turned the camera lens to his own neighborhood, Chicago’s South Side. Often presented as a hotspot of social issues on the news, he uses his camera to record everyday life and transcend the headlines in collaborative and honest black-and-white photographs. Sup- plemented by oral histories, personal texts, and poetry the insight into the South Side deepens even further and fills the pictures with additional life.

JON LOWENSTEIN (*1970, Boston, Massachusetts)—member of the renowned photography agency NOOR—is one of the most intense artists of his generation. His work has already been awarded the John Simon Memorial Guggenheim Fellowship, a World Press Award, the Getty Im- age Grant and the Lange-Taylor Prize. In addition to the photographic series South Side, The Advocate, his documentary examining the lives of young activists on Chicago’s South Side will be released in 2021.

● Long-term documentation of the South Side of Chicago Jon Lowenstein ● Contribution to the current political dialogue South Side in the USA EDITOR ● Masterly documentary photography Chloé Zanni, NOOR TEXT Jon Lowenstein PHOTOGRAPHY GRAPHIC DESIGN Jacob Birch, spine studio

English 208 pp. ● 150 ills. ● 20.3 x 25.4 cm ● swiss binding with hardcover €40.00, $46.00, £40.00 February 2021

A young man floats in the air while jumping on a trampo- Man taking a nap during his lunch break. He was exhaust- line at a summer block club party in the Auburn-Gresham ed as his wife had just had their first baby and he was up 8 neigbhorhood on Chicago’s South Side. 9 all night.

A Pieta inspired pose by a couple at my friend Thunder’s wedding. 2012 10 11

ISBN 978-3-7757-4847-6 English 45 Promenade through the American Night

Nighttime has always captivated those who see the world differently. When everything has come to rest, lights are out, phones have gone silent and doors have been locked, a par- ralel world of nocturnal darkness and calm emerges. This fascination with the way things appear at night is deeply embedded in Daniel Freeman’s photography, and finds its way into Midnight on Main together with strong influences of American popular culture. Away from the frantic pace of large sleepless cities, Daniel Freeman explores the quieter side of the American night as a nocturnal flâneur, portray- ing the charm of small towns across the United States and of a lesser-shown America. Complemented by stars and moonlight, he follows what is still left of the American Dream and traces the special kind of American culture, that, since its invention, has not failed to amaze. Midnight on Main documents the silent grace and illuminated beauty amplified through the prolonged and peaceful interludes of calm that stretch between dusk and dawn. Urban landscape at its best.

DANIEL FREEMAN (*1984) lives in Buckinghamshire, England and has specialized in night photography for over a decade. He was awarded a Fellowship by the British Institute of Professional Photography, and named a Qualified European Photographer by the Federation of Euro- pean Professional Photographers for his nocturnal image capture. He currently lectures in Photography and holds night photography semi- nars and workshops on behalf of photographic institutes. Daniel Freeman Midnight on Main ● Haunting nocturnal photography ● Images of a lesser-shown America EDITOR ● With an essay by the artist Nadine Barth TEXT Daniel Freeman GRAPHIC DESIGN Julia Wagner, grafikanstalt

English 128 pp. ● 78 ills. ● 20 x 30 cm ● hardcover

PHOTOGRAPHY €44.00, $50.00, £44.00 October 2020

ISBN 978-3-7757-4817-9 English 46 Mystic Nights in Berlin

“Eight years after moving from New York City to Berlin, a feeling of alienation still haunts me. I wander the streets alone at night, camera in hand, trying to find my place in my latest ‘home.’” What does “home” mean when one is a stranger living in another country? Artist Romeo Alaeff explores this question in In der Fremde: Pictures from Home, a haunting, cinematic, and evocative survey of Berlin as seen through the lens of an eternal outsider. Framed by Alaeff’s complex familial background, spanning from Yemen to the former USSR, Poland, Israel, and the United States, the photographs are tinged with a deep sense of longing and touch on themes of migration, belonging, and the search for home. Inspiring essays by Yuval Noah Harari, Christian Rattemeyer, Charles Simic, Eva Hoffman, Rory MacLean, Joseph Kertes, and Romeo Alaeff illuminate a wide horizon of perspectives.

ROMEO ALAEFF (*1970, Brooklyn) lives in Berlin. Originally studying biomedical engineering, he received a BA in photography from Tulane University and an MFA from the Rhode Island School of Design. His works, which often deal with epistemological, psychological, or socio- logical issues, are exhibited worldwide.

● Cinematic tableaus of nocturnal Berlin ● Exploration of longing, strangeness and the search for home Romeo Alaeff ● With essays by renowned writers In der Fremde Pictures from Home

EDITOR

Nadine Barth PHOTOGRAPHY TEXTS Romeo Alaeff, Yuval Noah Harari, Eva Hoffman, Joseph Kertes, Rory MacLean, Christian Rattemeyer, Charles Simic GRAPHIC DESIGN anschlaege.de

English 180 pp. ● 110 ills. ● 28 x 26 cm ● hardcover €44.00, $50.00, £44.00 October 2020

ISBN 978-3-7757-4820-9 English 47 Steep Descents

Social and ecological developments are closely intertwined today. To what extent, however, is usually revealed too late and only at the moment of catastrophe. This is precisely what Julien Guinand’s spectacular documentary photographs show. His camera focuses on two mountain ranges in Ja- pan: the Kii Mountains, on the peninsula of the same name, and the Ashio in northern Tokyo. Both are places that have suffered greatly from man-made climate change, whether through the destructive power of a gigantic typhoon season or the immense stress of industrial copper mining. Guinand has tracked the massive environmental destruction that con- tinues to leave its traces. His pictures are impressive evidence of past disasters, which at the same time offer a warning view for the future.

JULIEN GUINAND (*1975, France) studied literature, music, and art and graduated from the École Nationale Supérieure de la Photographie d’Arles. With his interest in the environment, he captures images that bear witness to the human contribution to climate change and pollution.

● Current images of the environmental debate ● Documentary photographs from Japan ● Historical, photographic forensics

Julien Guinand Two Mountains

TEXTS Jean-Francois Chevrier, Hidetaka Ishida, Jean-Christophe Valmalette GRAPHIC DESIGN David Poullard

English, French ca. 184 pp. ● 98 ills. ● 21 x 28 cm ● hardcover ca. €34.00, ca. $40.00, ca. £34.00 April 2021 PHOTOGRAPHY

ISBN 978-3-7757-4818-6 English, French 48 Transit Dreams

Abu Dhabi, Doha, Dubai, Kuwait City, Manama, and Riyadh— as metropolises of the Arabian Peninsula, all of these cities are connected by more than just geography. They also stand for a booming economy and rapid urban development with avant-garde architecture set amid breathtaking landscapes. And last, but not least, these cities boast a bustling everyday life defined by immigrants from all over the world. Tradition meets Western modernity. What is home to one person is a stopover for another. Busy working life collides with a partying mentality. As gigantic places of transit, these metropolises represent transience, but also opportunity and dazzling encounters. Michele Nastasi has captured them all with a distinctive sense of presence, shaping an engaging journey through the cultural diversity and pulsating life of these cities.

MICHELE NASTASI (*1980, Milan) is known for his photographs of cities and architecture, which are exhibited and published internationally. He holds a PhD in History of Arts from the Ca’ Foscari University of Venice, and has done research work on the imagery of architecture.

● Arab metropolises ● Stunning architecture ● Urban life Michele Nastasi Arabian Transfer

EDITOR Nadine Barth GRAPHIC DESIGN Alessandro C. Busseni, propp.it PHOTOGRAPHY

English 96 pp. ● 56 ills. ● 32 x 22.5 cm ● hardcover ca. €44.00, ca. $50.00, ca. £44.00 March 2021

ISBN 978-3-7757-4873-5 English 49 Pictures and Brexit

The desire to depict other places and cultures is the driv- ing force behind Sandra Ratkovic’s photographs. To do so does not require any exoticism on her part, but a close look at everyday culture and its contradictions. That is why her most recent projects did not lead the German photographer to far-distant lands, but to a country that has become a stranger to itself. In England, Brexit divides minds, the economy, and politics, and leaves everyone looking at an uncertain future. In Merseyside, her detailed shots elicit a portrait of a country where serious patri- otism and kitsch permeate each other. The less they are differentiated, the stronger the feeling of inner conflict there is underlying them. That these photographs are at the same time replete with sensitivity toward the people shown is what makes Ratkovic’s subtle art so special.

SANDRA RATKOVIC (*1980, Frankfurt am Main) studied art history and fine arts photography. Her works are shown in numerous international exhibitions. She uses the camera for documentary shots that point out the bizarre and paradoxical in everyday life. Ratkovic lives and works in Berlin.

● Images of Brexit ● Pointedly street photography ● Complex portraits Sandra Ratkovic Merseyside and Brexit

EDITOR Nadine Barth GRAPHIC DESIGN Kathrin Uecker

English 88 pp. ● 45 ills. ● 28 x 19 cm ● softcover €28.00, $32.00, £28.00 October 2020 PHOTOGRAPHY

EXHIBITIONS Friedrich Naumann Foundation, Potsdam, October 22–November 15, 2020 Šok Zadruga Art Center, Novi Sad, Serbia, December 15, 2020–January 9, 2021

Sandra Ratkovic Moskau Moscow Mockba €29.80, $40.00, £26.99 ISBN 978-3-7757-4256-6 (German, English, Russian)

ISBN 978-3-7757-4838-4 English 50 Rhythm Bangkok

What happens when street photography, conceptual art, and documentation are combined? The result is a unique panorama of images, whose versatility allows it to capture the sometimes abysmal, sometimes dazzling multiple facets of Bangkok. The photographer Peter Nitsch has captured the streets, people, and life in the Thai capital with his sensitive feel for the right moment and the special detail. This illustrated book turns readers into companions on his visual tour of discovery. Nitsch’s camera makes us see the city’s rhythm as a tango, which owes its idiosyn- cratic movement to the interaction of different cultures. A comparison that not only rhymes with “mango” (Bangkok’s nickname) but also translates the sweet and sour taste of the fruit into visual intoxication.

PETER NITSCH (*1973) studied communications design in Munich and co-founded the first crossover skate and snowboard magazine, Playboard, as well as the design studio Rupa. His photographic works have been awarded numerous prizes and in 2020 he was appointed a member of the Royal Photographic Society of Thailand. Nitsch lives and works in Munich and Bangkok.

● Amusing street photography ● Bangkok up close ● Modern visual language Peter Nitsch Tango In The Big Mango

EDITOR Nadine Barth GRAPHIC DESIGN Suzy Wong PHOTOGRAPHY

English 160 pp. ● 80 ills. ● 24.5 x 30 cm ● hardcover ca. €40.00, ca. $46.00, ca. £40.00 March 2021

ISBN 978-3-7757-4824-7 English 51 Under the Sign of the Rat

Throughout his career, Roger Ballen has pursued a singular artistic goal: to give expression to the human psyche and visually explore the hidden forces that shape who we are. In these sixty black-and-white photographs Ballen creates a persona, Roger the Rat. Here, Ballen unveils a selection of uncanny photographs so completely different from his previous work, yet still possessing the unmistakable Balle- nesque aesthetic. Produced in Johannesburg between 2015 and 2020, Ballen creates and documents a part-human, part-rat creature who lives an isolated life outside of main- stream society. This book presents the cycle of photographs in the form of an impressive show that keeps the reader re- flecting upon them long after the last page has been turned.

ROGER BALLEN (*1950, New York City) has lived in South Africa since 1982 and is one of the most important and original art photographers working today. He is best known for his probing, often challenging images that exist in a space between painting, drawing, installation, and photography that is commonly referred to as Ballenesque.

● From the photographer of the band Die Antwoord ● Refined interaction of form and content ● A companion to the eponymous film Roger Ballen Roger the Rat

EDITOR Nadine Barth TEXT Roger Ballen GRAPHIC DESIGN Anja Haering

English 128 pp. ● 61 ills. ● 22 x 22 cm ● hardcover

PHOTOGRAPHY €28.00, $32.00, £28.00 available

EXHIBITION ARTCO, Berlin, October 1–31, 2020

ISBN 978-3-7757-4819-3 English 52 Getting You through Lockdown

The coronavirus pandemic initially called for self-isolation. Without further ado, Max Siedentopf turned his apartment upside down and recorded the results on camera: piles of cans become sculptures, haute couture clothing is made, monsters or traps and bizarre alternatives to toilet paper are discovered. He posted his actions on Instagram and invited followers worldwide to come up with their own versions of his various creations. This handy survival guide consists of different chapters that cheerfully vary the process of survival in self-chosen or prescribed isolation: from “Invent a new meal” to “Make a painting using tooth paste” to “Balance all your beauty products on top of each other,” everything is included.

MAX SIEDENTOPF (*1991 in Windhoek, Namibia)—artist, photographer, video director, freelance art director—was the creative director for the KesselsKramer agency from 2013 to 2020. He is the founder of the quarterly art magazine Ordinary.

● No danger of infection! ● Ready for shipping ● Also available as an e-book!

Max Siedentopf Home Alone A Survival Guide

EDITOR

Nadine Barth PHOTOGRAPHY GRAPHIC DESIGN Max Siedentopf

English 104 pp. ● 210 ills. ● 12 x 14 cm ● softcover €12.00, $14.00, £12.00 available

Max Siedentopf Home Alone Survival Guide €11.99, $13.99, £11.99 ISBN 978-3-7757-4796-7 (ebook)

ISBN 978-3-7757-4797-4 English 53 House of Cats

A close look transforms even the most ordinary things into fascinating objects full of idiosyncracies and magic. With charming tongue-in-cheek, the photographer Pascale Weber shows this through a very special object: the cat tree. Photographed as a still life against a colored background, we see the multifaceted and sometimes frivolous architectural capers of this extraordinary type of structure. Weber depicts them with their four-legged owners proudly presenting their homes. A particularly subtle humor char- acterizes these aesthetic studio images. Readers may suddenly wonder how this unique variety of forms could have been overlooked until now. And everyone may smile and ask themselves where they themselves would prefer to live.

PASCALE WEBER (*1985, Zurich) studied photo design at the School of Design in Bern and has made a name for herself with stylish still life photographs. Her pictures are frequently published in magazines, including Fräulein, Bolero, Faces, I love you, Landliebe, Intersection and NZZ Stil. She was nominated for the vfg Young Talent Prize for Photo graphy, Switzerland, for her Katzenbäume (Cat Trees) series.

● Conceptual still life photography ● For cat lovers ● Unique gift book

Pascale Weber For Cats Only / Nur für Katzen

EDITOR Nadine Barth GRAPHIC DESIGN Thomas Lemaître

German, English ca. 64 pp. ● 30 ills. ● 17 x 20 cm ● hardcover ca. €18.00, ca. $20.00, ca. £18.00 March 2021 PHOTOGRAPHY

ISBN 978-3-7757-4855-1 German, English 54 Garden Art in Its Most Beautiful Splendor

Landscape architecture is a form of high art for Erik Dhont, who has brought both nuance and sensitivity to various sites. Playing with flowers, grasses, shrubs or trees, he creates unique spaces, structures, and textures. His timeless green paradises, which are the result of true craftsman- ship, are deeply rooted in the European garden tradition. They stand for longevity, evolution, dreams, and life. In this second monograph, Dhont presents his creations from over the last twenty years, combining photographs with abstract drawings, colorful planting plans, and sculptural models that reflect on his artistic approach. Intimate views of seminal creations such as the garden of fashion designer Dries van Noten immerse one into Dhont’s creative and sensual universe.

ERIK DHONT (*1962, Anderlecht) is a landscape architect who has run an office in Brussels for over thirty years. His portfolio includes manifold realizations such as gardens, farmyards, urban development projects, and landscape restorations, commissioned both by individuals and institutions from all over the world.

● Stunning landscape architecture ● Well-known designer ● Wonderful garden shots

Erik Dhont Landscape Architects Works 1999–2020

EDITORS Erik Dhont, Suzanne Krizenecky TEXT Suzanne Krizenecky INTRODUCTION Michael Jakob PHOTOS BY Jean-Pierre Gabriel together with Georg Aerni and Reiner Lautwein GRAPHIC DESIGN ARCHITECTURE Jurgen Persijn

English ca. 240 pp. ● ca. 250 ills. ● 22,7 x 29 cm ● hardcover ca. €44.00, ca. $50.00, ca. £44.00 April 2021

ISBN 978-3-7757-4815-5 English 55 Built Imagery

In recent years, visual urbanism has emerged as a new research field. Photographers and researchers had been experimenting with critical visual methodologies in an- thropology, cultural studies, sociology, and cultural geography. They underlined the importance of reflexivity and questioned the uncritical use of both cameras and images. Yet, until now, a discussion of incorporating visual research methods into the knowledge of architectural design and urban planning has been very minimal. Candide N° 12 gathers voices of a cross-disciplinary dialogue between theoreti- cians and practitioners of urbanism and photography. The authors of the forthcoming issue provide answers to a number of key questions: What can architects, urban planners, and designers learn from photographers and visual artists and vice versa? How can we define a new common ground between making photography and designing urban spaces?

Candide. Journal for Architectural Knowledge was founded in 2009 by AXEL SOWA and SUSANNE SCHINDLER at the Department of Architectural Theory at RWTH Aachen University. The publication is dedicated to the discussion and dissemination of current discourses in architecture. Hatje Cantz has been publishing Candide since its sixth issue.

● Current debates in architecture ● Focus on visual urbanism ● With a text by Markus Lanz Candide: Journal for Architectural Knowledge No. 12

EDITOR Axel Sowa TEXTS Nicholas Boyarsky, Lard Buurman, Davide Deriu, Ela Kacel, Markus Lanz, Bettina Lockemann, Clare Melhuish, Elisabeth Neudörfl, Birgit Schillak-Hammers, Mary N. Woods GRAPHIC DESIGN Adriaan Mellegers

English ca. 140 pp. ● 50 ills. ● 17 x 24 cm ● softcover ca. €20.00, ca. $22.00, ca. £20.00 November 2020 ARCHITECTURE

ISBN 978-3-7757-4853-7 English 56 Architecture and Gender

Why do women architects still not receive the recognition their work deserves? Women in Architecture is a manifesto Women for the great achievements of female architects. The voices of thirty-six internationally active women architects are in heard through their own projects. This diverse panorama is supplemented by essays on pioneering female architects, Architecture and analyses that get to the bottom of the structural dis- Ursula Schwitalla (Ed.) crimination against women architects.

With Mona Bayr, Odile Decq, Elke Delugan-Meissl, Julie Eizenberg, Manuelle Gautrand, Annette Gigon, Silvia Gmür, Cristina Guedes, Melkan Gürsel, Itsuko Hasegawa, Anna Heringer, Fabienne Hoelzel, Helle Juul, Karla Kowalski, Anupama Kundoo, Anne Lacaton, Regine Leibinger, Dorte Mandrup, Rozana Montiel, Kathrin Moore, Farshid Moussavi, Carme Pinós, Nili Portugali, Paula Santos, Kazuyo Sejima, Annabelle Selldorf, Pavitra Sriprakash, Siv Helene Stangeland, Brigitte Sunder- Plassmann, Lene Tranberg, Billie Tsien, Elisa Valero, Natalie de Vries, Andrea Wandel, Helena Weber, and Lu Wenyu.

URSULA SCHWITALLA studied art history and works as an exhibition curator and art consultant. As chairwoman of the Tübinger Kunstgeschichtliche Gesellschaft e.V., lecturer, and associate member of the Association of German Architects (BDA), she has been responsible for the lecture series “Architecture Today” at the University of Tübingen for twenty years. Women in Architecture ● Overview of women architects today From History to Future ● Current topic ● Historical insights EDITOR Ursula Schwitalla INTRODUCTION Odile Decq TEXTS Dirk Boll, Sol Camacho, Beatriz Colomina, Patrik Schumacher, Ursula Schwitalla, Ernst Seidl

English 280 pp. ● 400 ills. ● 24 x 30 cm ● hardcover

€48.00, $55.00, £48.00 ARCHITECTURE January 2021

Frauen Frauen in der Architektur in der Architektur Ursula Schwitalla (Hg.) Rückblicke, Positionen, Aussichten €48.00, $55.00, £48.00 ISBN 978-3-7757-4868-1 (German)

ISBN 978-3-7757-4857-5 English 57 The Art of Reduction

For all their simplicity, the most important goal of Jörg Schellmann’s furniture designs is to “avoid banality and reveal subtle beauty.” This kind of simplicity—skillfully reduc- ing everything to the essentials—is anything but easy to achieve. It requires the special knowledge of aesthetics and the sort of artistic experience Schellmann has. As an art dealer and publisher, he has been working with the most important artists for over forty years. His furniture designs articulate his in-depth examination of Minimal and Con- cept Art. At the same time, they reflect an aesthetic that is equally inspired by industry and the workshop. This work, as fascinating as it is clear, is presented in this illustrated book and accompanied by texts by Mateo Kries, Donald Judd, and Liam Gillick, among others.

JÖRG SCHELLMANN (*1944, Kassel) became internationally known through his work as a gallery owner and publisher of art editions. After producing furniture based on other artists’ designs, he created his own line, which is distinguished by skillful minimalism and func- tionalism.

● Complete overview of Schellmann Furniture design ● Inspired by Minimal Art ● A biography dedicated to art and design Discreet Beauty of Simplicity Jörg Schellmann

EDITOR Jörg Schellmann TEXTS Mateo Kries, Jörg Schellmann GRAPHIC DESIGN Maximilian Riedel, Boros, Berlin

German, English 312 pp. ● 168 ills. ● 21 x 28 cm ● hardcover ca. €44.00, $50.00, £44.00 December 2020

128 Seat Frame Armchair 129 ARCHITECTURE

Forty Are Better Than One Edition Schellmann 1969–2009 €20.00, ca. $30.00, ca. £17.99 ISBN 978-3-7757-2236-0 (English)

ISBN 978-3-7757-4854-4 German, English 58 Already Cosmopolitan, Avant-Gardist, announced Architect: Life and Work of the Modern in Fall 2018 Movement’s Protagonist

This book revisits the history of the Modern Movement through the legacy of one of its principal protagonists, Ga- briel Guevrekian (c. 1900–1970). Born in Istanbul, Guevre- kian grew up in Tehran and then moved to Vienna to study architecture at the Kunstgewerbeschule; he later worked with Oskar Strnad, Josef Hoffmann, Adolf Loos, Henri Sau- vage, and Robert Mallet-Stevens and among his famous designs are the Cubist garden for Villa Noailles in France and two houses for the Vienna Werkbund exhibition. Not yet 30, Guevrekian was recognized as one of the protagonists of the European avant-garde in Paris. During the 1930s, he spent a few years in Iran to design public buildings and later, after the Second World War, he took teaching responsibilities in Europe and America. All his various pursuits, and the homes and nationalities he held in Asia, Europe and then America, led to the adoption of multiple personae. He made every discipline meaningful, every city central, every period epochal simply by his own very tangible engagement with it.

HAMED KHOSRAVI (*1979) is an architect, writer and educator. He studied and practiced architecture in Iran, Italy and the Netherlands. He currently teaches at the Architectural Association in London. His research and projects focus on the history and theory of architecture, territory, and politics of urban form. Gabriel Guevrekian The Elusive Modernist

● Unique compilation of micro-narratives on TEXT Guevrekian’s life Hamed Khosravi GRAPHIC DESIGN ● Fresh reading of modern architecture’s Marco Ugolini, objectif.co.uk history ● Independent and complete narrative of English 384 pp. ● 303 ills. ● 23.4 x 29.4 cm ● hardcover lesser-known visual material €48.00, $55.00, £48.00 November 2020 ARCHITECTURE

ISBN 978-3-7757-4433-1 English 59 Toward an Architecture of Solidarity or The Urgency of the Future Communities that, around the world, are fighting against environmental violence and for the rights of their future generations to survive set an example: It is not just the present that makes clear demands of us, but the future does, as well. It requires not only ecological responsibility, but also a culture of remembrance, a responsible approach to colonial history and diasporas, and a new political consciousness. The first Sharjah Architecture Triennial 2019 was dedicated to these topics. Hatje Cantz published an anthology in the year of the event, which compiles the results of the exhibition and its consequences for future architects. The second volume now takes a broader look, with the contribution of important authors and activists, at the challenges that a future worth living in will bring.

The SHARJAH ARCHITECTURE TRIENNIAL was founded with the aim of providing critical contributions to architectural and urban development. It takes place in Sharjah, UAE, with a focus on architecture from the Middle East, North and East Africa, and South and Southeast Asia.

● Interdisciplinary reflections on intergenerational and environmental justice ● Non-Western perspectives ● Comprehensive visual documentation of the Rights of Future Generations first Triennial Propositions

CO-PUBLISHED WITH the Sharjah Architecture Triennial EDITORS Adrian Lahoud, Andrea Bagnato TEXTS Nadia Abu El Haj, Houria Bouteldja, Gayatri Chakravorty Spivak, Denise Ferreira da Silva, Alia Mossallam, Edwin Nasr, Jasbir K. Puar, Françoise Vergès GRAPHIC DESIGN Morcos Key

English, Arabic 432 pp. ● 100 ills. ● 24 x 32 cm ● hardcover ca. €58.00, ca. $68.00, ca. £58.00 February 2021 ARCHITECTURE

Rights of Future Generations Conditions €28.00, $28.00, £32.00 ISBN 978-3-7757-4703-5 (English)

ISBN 978-3-7757-4872-8 English, Arabic 60 Technology and the City

What effects does digitization have on architecture? What role does artificial intelligence play in designing urban spaces? And how does this change the lives of people in the city? The Shenzhen Bi-City Biennale of Urbanism/Architecture 2019 addressed these questions and developed a multifaceted, multidisciplinary panorama of our present time and its visions of the future. The focus was on the new, omni- present visibility of architectural spaces and their associated responsiveness. Individualized design strategies, altered forms of behavior, and new movements through urban space are encountered. Dystopias and utopias, chances and risks meet to draw a panorama of the city of tomorrow. This illustrated book compiles the contributions to this unique project and makes them hauntingly tangible, page by page.

The SHENZHEN BI-CITY BIENNALE OF URBANISM/ARCHITEC- TURE was founded in 2005 and is dedicated to the exploration of urban space in all its facets. Alternating between the cities of Shenzhen and Hong Kong, and with an ever-changing team of curators, it is a focal point for contemporary and future architecture.

● Future visions of the city ● Digitization and architecture ● Multidisciplinary perspectives

Eyes of the City Architecture and Urban Space after Artificial Intelligence

EDITORS Valeria Federighi, Monica Naso, Daniele Belleri TEXTS Daniele Belleri, Michele Bonino, Edoardo Bruno, Valeria Federighi, Camilla Forina, Claudia Mainardi, Monica Naso, Carlo Ratti, Haohao Xu, Sun Yimin with the contribution of Gerhard Bruyns, Giovanni Durbiano & Alessandro Armando, Jeanne Gang, Vicente Guallart, Peter Hasdell & Diego Sepulveda-Carmona, Liu Jian, Mitchell Joachim, Geoff Manaugh, Sarah Mineko Ichioka, Antoine Picon, Albena Yaneva, ARCHITECTURE Philip F. Yuan, et al. GRAPHIC DESIGN Alessandro Saglietti

English ca. 304 pp. ● ca. 100 ills. ● 17 x 24 cm ● softcover ca. €38.00, ca. $38.00, ca. £44.00 March 2021

ISBN 978-3-7757-4880-3 English 61 Attention! These exhibitions and ISBN 978-3-7757-4657-1 publications have been English postponed due to the Corona pandemic.

Any further changes to publication dates listed in this catalogue will be communicated via our website: www.hatjecantz.com

Francisco de Goya

€58.00, $68.00, £58.00 September 2021 Exhibition: Fondation Beyeler, 10.10.2021–23.1.2022 CLOSE-UP

BERTHE MORISOT, MARY CASSATT, PAULA MODERSOHN-BECKER, LOTTE LASERSTEIN, FRIDA KAHLO, ALICE NEEL, MARLENE DUMAS, CINDY SHERMAN, ELIZABETH PEYTON

Late Gothic Threshold to Modernity Close-Up

€40.00, $46.00, £40.00 €58.00, $68.00, £58.00 Exhibtion: Gemäldegalerie Staatliche Museen Exhibition: Fondation Beyeler tba Berlin, 19.2.–27.6.2021

ISBN 978-3-7757-4755-4 ISBN 978-3-7757-4757-8 English English BACKLIST

ISBN 978-3-7757-2593-4 ISBN 978-3-7757-4209-2 English English

Jean-Michel Basquiat Watercolors by Finn Juhl

€49.80, $65.00, £45.00 €39.80, $60.00, £35.00

Topseller

ISBN 978-3-7757-4142-2 ISBN 978-3-7757-4713-4 English, Spanish English

Elemental Incremental Housing and Gerhard Richter Participatory Design Manual Landscape

€39.80, $60.00, £35.00 €44.00, ca. $50.00, ca. £44.00

ISBN 978-3-7757-4181-1 ISBN 978-3-7757-4329-7 BACKLIST German, English English

Fred Herzog Modern Color Wolfgang Tillmans

€38.00, $48.00, £35.00 €58.00, $85.00, £55.00

63 ART

Helmut Federle 64 Beethoven Moves Basics on Composition

€48.00, $55.00, £48.00 €40.00, $46.00, £40.00 ISBN 978-3-7757-4749-3 ISBN 978-3-7757-4786-8

Louise Bourgeois FREUD Art to Read Berggasse 19

€16.00, $18.00, £16.00 €54.00, $62.00, £54.00 ISBN 978-3-7757-3227-7 ISBN 978-3-7757-4735-6

Louise Bourgeois The Spider and the Adrian Ghenie Tapestries Paintings 2014 to 2019

€28.00, $45.00, £25.99 €58.00, $85.00, £55.00 ISBN 978-3-7757-3997-9 ISBN 978-3-7757-4352-5

Miriam Cahn Donatien Grau Writing in Rage Living Museums

€25.00, $39.95, £22.99 €22.00, $25.00, £22.00 ISBN 978-3-7757-4487-4 ISBN 978-3-7757-4753-0

Clémentine Deliss The Metabolic Katharina Grosse BACKLIST Museum It Wasn’t Us

€18.00, $20.00, £18.00 €44.00, $50.00, £44.00 ISBN 978-3-7757-4780-6 ISBN 978-3-7757-4728-8

64 ART

Shilpa Gupta Taro Izumi Drawing in the Dark Ex

€40.00, $46.00, £40.00 €40.00, $46.00, £40.00 ISBN 978-3-7757-4721-9 ISBN 978-3-7757-4737-0

Edward Hopper A Fresh Look at Landscape Staging nature and life

€58.00, $68.00, £58.00 €44.00, $50.00, £44.00 ISBN 978-3-7757-4654-0 ISBN 978-3-7757-4673-1

Edward Hopper Paul Klee A–Z Life and Work

€18.00, $20.00, £18.00 €48.00, $55.00, £48.00 ISBN 978-3-7757-4656-4 ISBN 978-3-7757-4719-6

Stefan Marx House of Europe Type Works

€22.00, $25.00, £22.00 € 38.00, $59.95, £35.00 ISBN 978-3-7757-4745-5 ISBN 978-3-7757-4690-8 BACKLIST Picasso In the Name of the The Blue and Rose Image Periods €44.00, $50.00, £44.00 €60.00, $85.00, £55.00 ISBN 978-3-7757-4733-2 ISBN 978-3-7757-4505-5

65 ART

Gerhard Richter Catalogue Raisonné Armin Mueller-Stahl Vol. 5 Rockets to the Moon

€248.00, $375.00, £225.00 €28.00, $32.00, £28.00 ISBN 978-3-7757-3230-7 ISBN 978-3-7757-4723-3

Vittorio Santoro Experience Implies Movement Vivian Suter

€68.00, $75.00, £68.00 €48.00, $65.00, £40.00 ISBN 978-3-7757-4744-8 ISBN 978-3-7757-4551-2

Nicole Schuck Franz Erhard Walther Valued Animals Shifting Perspectives

€68.00, $75.00, £68.00 €64.00, $75.00, £64.00 ISBN 978-3-7757-4711-0 ISBN 978-3-7757-4707-3

Aby Warburg: Inner Bilderatlas Sean Scully MNEMOSYNE

€58.00, $65.00, £45.00 €200.00, $230.00, £198.00 ISBN 978-3-7757-4164-4 ISBN 978-3-7757-4693-9

Richard Shiff Ting Yin Yung BACKLIST Sensuous Thoughts Catalogue Raisonné

€30.00, $35.00, £30.00 €88.00, $100.00, £88.00 ISBN 978-3-7757-4750-9 ISBN 978-3-7757-4758-5

66 PHOTOGRAPHY

Clemens Ascher There is no Release from the Brain Police Rwandan Daughters

€34.00, $40.00, £34.00 €54.00, $75.00, £50.00 ISBN 978-3-7757-4774-5 ISBN 978-3-7757-4547-5

Aram Dikiciyan Polar Bears Scheinzeit

€16.00, $24.95, £14.99 €38.00, $44.00, £38.00 ISBN 978-3-7757-4599-4 ISBN 978-3-7757-4777-6

Olaf Otto Becker Lars Eidinger Siberian Summer Autistic Disco

€68.00, $75.00, £68.00 €30.00, $35.00, £30.00 ISBN 978-3-7757-4790-5 ISBN 978-3-7757-4781-3

Female Photographers Kate Bellm Org Amor The Body Issue

€54.00, $62.00, £54.00 €28.00, $45.00, £25.99 ISBN 978-3-7757-4660-1 ISBN 978-3-7757-4663-2 BACKLIST

Coincidences at Donald Graham Museums One of a Kind

€16.00, $24.95, £14.99 €60.00, $70.00, £57.00 ISBN 978-3-7757-4558-1 ISBN 978-3-7757-4691-5

67 PHOTOGRAPHY

Inez & Vinoodh Jean-Luc Mylayne I See You in Everything Autumn of Paradise

€25.00, $39.95, £22.99 €30.00, $45.00, £26.99 ISBN 978-3-7757-4679-3 ISBN 978-3-7757-4523-9

Sanna Kannisto Thomas Neumann Observing Eye Exact Confidence Limits

€40.00, $46.00, £40.00 €40.00, $46.00, £40.00 ISBN 978-3-7757-4791-2 ISBN 978-3-7757-4759-2

Sofie Knijff Photography to the Translations Test of Abstraction

€38.00, $44.00, £38.00 €40.00, $46.00, £40.00 ISBN 978-3-7757-4776-9 ISBN 978-3-7757-4771-4

Frank Kunert Kristian Schuller Lifestyle Anton’s Berlin

€18.00, $20.00, £18.00 €48.00, $75.00, £45.00 ISBN 978-3-7757-4376-1 ISBN 978-3-7757-4671-7

Achim Mohné Elfie Semotan BACKLIST DI_GI_TA_LIS Contradiction

€44.00, $50.00, £44.00 €48.00, $75.00, £45.00 ISBN 978-3-7757-4769-1 ISBN 978-3-7757-4607-6

68 ARCHITECTURE

Landmarks 101 Danish Design The Modern House in Icons Denmark

€39.80, $60.00, £35.00 €39.80, $60.00, £35.00 ISBN 978-3-7757-4212-2 ISBN 978-3-7757-3803-3

Manifesta 13 Marseille Lina Bo Bardi Le Grand Puzzle

€49.80, $75.00, £45.00 €30.00, $35.00, £30.00 ISBN 978-3-7757-3853-8 ISBN 978-3-7757-4763-9

gmp × Architekten von Gerkan, Marg und Partner Mr. Bawa I Presume

€58.00, $68.00, £58.00 €40.00, $46.00, £40.00 ISBN 978-3-7757-4787-5 ISBN 978-3-7757-4714-1

Richard Neutra Obra Gruesa / Rough The Story of the Berlin Work Houses 1920-1924

€78.00, $90.00, £78.00 €48.00, $75.00, £45.00 ISBN 978-3-7757-4710-3 ISBN 978-3-7757-4515-4 BACKLIST

Hundertwasser For Future Structure Systems

€18.00, $29.95, £16.99 €42.00, $62.00, £37.00 ISBN 978-3-7757-4698-4 ISBN 978-3-7757-1876-9 Topseller

69 EDITIONS

Sanna Kannisto 1 – Great Tit on a Katsura Branch, 2019 2 – Aegithalos caudatus, 2019 Stefan Marx Untitled, 2020 Pigment print on Hahnemühle Photo Rag Baryta, 315 gr/m² Enamel plate with 4 bores Sheet size: 30 × 45 cm Format: 29 x 21 cm Picture size: 26 × 40 cm Ed.: 30, 5 a.p. Ed.: 25, 2 a.p., signed and numbered € 800.00 [D] € 670.00 [D] Order No: 604690 Order No.: 604791 available available

Santeri Tuori (Special Edition) Time Is No Longer Round Forest #46, 2020 Julius von Bismarck Feuer mit Feuer (Shirt), 2019 Clothbound, Print in book 2020, Pigment print on Hahnemühle T-shirt, digital print on cotton jersey paper signed and numbered, with book in a box Sheet size: 21 x 29.5 cm Ed.: 50 Edition of 50 € 280.00 [D] € 230.00 [D] EDITIONS Order No.: 604561 ISBN 978-3-7757-4821-6 available available

ISBN 978-3-7757-4821-6 German 70 EDITIONS

Christiane Löhr Untitled, 2020 Achim Mohné Kletterhortensie Spit bite aquatint on Revere 250 g (Hydrangea petiolaris), 2018/20 Enrico MagnaniChine collé on Japanese paper Pigment print on Hahnemühle paper Sheet size: 43 x 34 cm Sheet size: 40 x 30 cm Image size: 27 x 20 cm Ed.: 20 + 2 a.p. signed and numbered Ed.: 20, 5 a.p., signed and numbered on verso € 950.00 [D] € 690.00 [D] Order No: 604666 Order No: 604769 available available

Helmut Federle The Awakening, 1986/2020 Olaf Otto Becker Siberian Summer (Special Edition) Black and white print on Baryt paper EDITIONS Sheet size: 24.6 x 30.3 cm Clothbound, Print in book, limited Ed.: 20, 5 a.p. edition of 50 copies € 690.00 [D] € 230.00 [D] Order No: 604786 ISBN 978-3-7757-4858-2 available available

ISBN 978-3-7757-4858-2 German 71 CREDITS

2 28 46 Images copyrights for works Auguste Rodin, La Méditation sans Jenny Brockmann: Open Lab Photos: Daniel Freeman reproduced: artists and their legal bras, ca. 1884 Irreversible Moment, exhibition view heirs. © Musée Rodin, Photo : Christian at Ernst Schering Foundation, Berlin, 47 Baraja 2016, photo: Bernd Hiepe, © the artist Photos: Romeo Alaeff COVER ILLUSTRATIONS: Hans Arp, Wachstum, 1938 31 48 © Zoe Leonard. Support for the © Solomon R. Guggenheim History Now_ Arendt, 2016; History Baptist Church Nachi Katsuura artwork has been given by Galerie Foundation, New York. All Rights Now_ Jesus, 2016, © Brigitte Waldach, Wakayama Prefecture Kii Peninsula, Gisela Capitain, Cologne, the Reserved / VG Bild-Kunst, Bonn 2020 Courtesy: Collection Christoph Hertz 2017; Sabo work in Hongu Graham Foundation for Advanced Tanabe Wakayama Prefecture Kii Studies in the Fine Arts, John Simon 5 34 Peninsula, 2015 Guggenheim Memorial Foundation, © Zoe Leonard. Support for the Peter Weibel, Patridioten, Courage, Photos: Julien Guinand and Hauser & Wirth, New York. artwork has been given by Galerie Sprache, Chair, 1966/2014, Gisela Capitain, Cologne, the Archiv Peter Weibel 49 Joseph Beuys, Scheveningen, 1976 Graham Foundation for Advanced Photo: Tobias Wootton Doha, 2017; Riyadh, 2017 Photo: © Caroline Tisdall Studies in the Fine Arts, John Simon Photos: Michele Nastasi Guggenheim Memorial Foundation, Peter Weibel, Aus der Mappe der EDITORIAL ILLUSTRATION: and Hauser & Wirth, New York. Hundigkeit, 1968, 50 75 Years Hatje Cantz. Art on the Beat, © Archiv Peter Weibel Gärtner; Milchflasche; Lifeguard © Torsten Köchlin and Jana Katte 6 Photo: Archiv Peter Weibel Photos: Sandra Ratkovic Gabriele Münter, Kandinsky and CONTENT ILLUSTRATIONS: Erma Bossi on the table, 1912 / 36 52 Hans Arp, Wachstum, 1938 VG-Bildkunst Bonn, 2020 Genaro Strobel, Farbkreis 1, 2019 / Photos: © Roger Ballen © Solomon R. Guggenheim Städtische Galerie im Lenbachhaus © VG Bild-Kunst, 2020 Foundation, New York. All Rights und Kunstbau München, Gabriele 53 Reserved / VG Bild-Kunst, Bonn 2020 Münter Stiftung 1957 38 © Max Siedentopf Ciprian Mureșan, All Images from Leonilson, Kika, ca. 1976, Members of Der Blaue Reiter (from Robert Rauschenberg: Thirty-Four 54 Courtesy Projeto Leonilson left to right: Maria and Franz Marc, Illustrations for Dante’s Inferno, 2018 Photos: © Pascale Weber Photo: Ana Paula Latorre Ceccato Bernhard Koehler, Vasily Kandinsky Courtesy the artist and Plan B Cluj, (seated), Heinrich Campendonk, and Berlin 55 Photo: © Tom Hegen Thomas von Hartmann), Munich, Photo: Mathias Schormann Photos: Jean-Pierre Gabriel / ca. 1911–12 VG Bild-Kunst, Bonn 2020 Anna Heinger, Bamboo Hostel, Baoxi, Geta Brătescu, Către alb (Towards China © Jenny Jl 7 White), 1975, 57 Pablo Picasso, Flying Dove (in Courtesy of The Estate of Geta Regine Leibinger, Wohnhaus Rainbow), October 10, 1952, Brătescu, Hauser & Wirth and Ivan Prenzlauer Berg, Berlin Prices, specifications, and terms Lithography, Kunsthalle Bremen – Der Gallery Bucharest © Simon Menges subject to change without notice. Kunstverein in Bremen / Copyright Photo: Mihai Brătescu Succession Picasso / VG Bild-Kunst, Fabienne Hölzel, Makoko Copy deadline: September 14, 2020 Bonn 2020 Krištof Kintera, Revolution, 2005 Neighborhood Hotspot, Lagos Photo: Die Kulturgutscanner, Berlin © Krištof Kintera © Fabulous Urban

Michael Hertz on his desk, Bremen, Toyen (Marie Čermínová), La Dame 61 May/June 1955, Zentralarchiv des de pique, 1926; Privatsammlung | Photos: © Dalila Tondo internationalen Kunsthandels Private collection courtesy Adolf Loos (ZADIK), Köln, A13, X, 1,1 Apartment and Gallery Prague / Photo: Rudolph Stickelmann, Bremen © VG Bild-Kunst, 2020

14 43 Leonilson, Kika, ca. 1976, Courtesy 9.45 am from series April Fool, 2020; Projeto Leonilson, Photo: Ana Paula The Kite from the series Palm Springs Latorre Ceccato 2018; Portrait 5 from series Hope, Portrait Leonilson, 1983, Courtesy 2005 Projeto Leonilson Photo: Ronaldo Miranda

72 CONTACT

Thames & Hudson Contacts Rest of Europe KOREA AND TAIWAN Hatje Cantz Helen Lee Head Office BELGIUM & LUXEMBOURG [email protected] Mommsenstraße 27 Thames & Hudson Rosita Stankute 10629 Berlin 181A High Holborn [email protected] JAPAN Germany London WC1V 7QX Sian Edwards Tel. +49 30 3464678-00 Tel. +44 (0) 20 7845 5000 EASTERN EUROPE [email protected] Fax +49 30 3464678-29 Fax. +44 (0) 20 7845 5050 Sara Ticci [email protected] Tel.+44 7952 919 866 SOUTH EAST ASIA www.hatjecantz.de thamesandhudson.com [email protected] APD Singapore PTE Ltd [email protected] 52 Genting Lane Sales & UK Sales: [email protected] EASTERN MEDITERRANEAN, #06-05, Ruby Land Complex Communications Export: [email protected] BULGARIA, ROMANIA Singapore 349560 Stephen Embrey Tel. (65) 6749 3551 HEAD OF SALES & Christian Frederking Tel.+44 7952 919 866 [email protected] COMMUNICATIONS Group Sales Director [email protected] Danja Mathari [email protected] MALAYSIA APD Kuala Lumpur Tel. +49 30 3464678-21 FRANCE Andrius Juknys Nos. 22, 24 & 26 Jalan SS3/41 [email protected] Interart S.A.R.L. Head of Distributed Books Tel. +33 1 43 49 36 60 47300 Petaling Jaya [email protected] SALES MANAGER [email protected] Selangor Darul Ehsan Tel. (603) 7877 6063 Elisabeth Pagel Mark Garland ITALY, SPAIN, AND PORTUGAL [email protected] Tel. +49 30 3464678-20 Manager, Distributed Books Natasha Ffrench [email protected] [email protected] [email protected] INDIAN SUBCONTINENT KEY ACCOUNT MANAGER Ellen Morris Roli Books Ante von Postel Distributed Sales Coordinator THE NETHERLANDS M 75 Greater Kailash 2 Market Tel: +49 30 3464678-31 [email protected] Van Ditmar 110048 New Delhi, India [email protected] [email protected] Tel. +91 11 2921 0886 UK [email protected] HEAD OF PRESS DEPARTMENT SCANDINAVIA, BALTIC STATES, Ben Gutcher Jennifer Berndt RUSSIA, AND THE CIS PAKISTAN AND SRI LANKA Head of UK Sales Tel. +49 30 3464678-23 Per Burell Stephen Embrey [email protected] [email protected] Tel. +46 (0) 70 725 1203 Tel. +44 7952 919866 Michelle Strickland [email protected] [email protected] Senior Key Accounts Manager [email protected] Africa Australasia Ellen McDermot AFRICA (EXCLUDING SOUTH) AUSTRALIA, NEW ZEALAND, Key Accounts Executive Ian Bartley PAPUA NEW GUINEA, AND [email protected] [email protected] THE PACIFIC ISLANDS Distributors and Poppy Edmunds (maternity leave) Thames & Hudson Australia Pty Ltd SOUTH AFRICA, SWAZILAND, Sales Representatives Sales Manager, Gift 11 Central Boulevard [email protected] LESOTHO, NAMIBIA AND BOTSWANA Portside Business Park GERMANY, AUSTRIA, Jonathan Ball Publishers Melbourne 3207 VIC David Howson SWITZERLAND 66 Mimetes Road Tel. +61 (03) 9646 7788 [email protected] Denver, Johannesburg, 2094 South Africa KNV Zeitfracht GmbH [email protected] London, South East Verlagsauslieferung GmbH Tel. +27 (0) 11 601 8033 021 Brunette Mokgotlhoa Yvonne Espenhain Mike Lapworth [email protected] The Americas Industriestraße 23 Tel. +44 (0)20 7745 304088 70565 Stuttgart [email protected] CENTRAL, AND SOUTH AMERICA, Germany The Midlands, East Anglia Near and Middle East MEXICO AND THE CARIBBEAN Tel: +49 711 7899 2010 Natasha Ffrench Dawn Shield MIDDLE EAST INCL. EGYPT Fax: +49 711 7899 1010 [email protected] [email protected] [email protected] Stephen Embrey www.knv-zeitfracht.de London Tel. +44 7952 919 866 SEND ORDERS TO: [email protected] Hely Hutchinson Centre Ian Tripp SWITZERLAND Hachette Distribution Tel. +44 (0)20 7970 450162 AVA Verlagsauslieferung AG Milton Road [email protected] Centralweg 16 Asia Didcot Wales and Southwestern Counties 8910 Affoltern am Albis NORTH EAST ASIA Oxfordshire OX11 7HH Tel. +41 44 76242-50 Karim White Thames & Hudson Asia Customer Services Fax +41 44 76242-10 Tel. +44 (0)20 7740 768900 Units B&D 17/F Tel. + 44 (0) 1235 759555 [email protected] [email protected] Gee Chang ong Centre [email protected] www.ava.ch Northern England, Scotland & Ireland 65 Wong Chuk Hang Road Hong Kong North America GIFT REPS Jamie Denton Katherine Lee NORTH AMERICA Tel. +44 (0)20 7765 403182 Managing Director If you wish to stop receiving the Artbook | D. A.P. [email protected] [email protected] catalogue, please contact 75 Broad Street, Suite 630 South, Southeastern Counties/Gift New York, NY 10004 CHINA [email protected] Colin & Jill MacLeod Maggie Kong USA Tel. +44 (0)20 7710 852197 (Colin) [email protected] Subscribe to our newsletter at Tel. +1 212 627 1999 Tel. +44 (0)20 7885 720175 (Jill) www.hatjecantz.de/newsletter and Fax +1 212 627 9484 [email protected] HONG KONG AND MACAO we will inform you regularly about our [email protected] Wales & Southwestern Counties/Gift Ankie Cheng new releases, events and special offers. www.artbook.com [email protected] ISBN 978-3-7757-4859-9 English hatjecantz.com