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523 West 24Th Street, New York, New York 10011 Tel: 212
MATTHEW MARKS GALLERY 523 West 24th Street, New York,New York 10011 Tel: 212-243-0200 Fax: 212-243-0047 Katharina Fritsch Press Packet O’Grady, Megan. “The Master of Allusion.” , February 23, 2020, pp. 154–59. T: The New York Times Style Magazine Stamberg, Susan. “With Surprising Sculptures, Katharina Fritsch Makes The Familiar Fun.” , April 20, 2020. NPR Pobric, Pac. “Katharina Fritsch.” , February 7, 2018. The Brooklyn Rail “Katharina Fritsch.” , December 18 & 25, 2017, p. 22. The New Yorker Eler, Alicia. “She’s the artist behind that giant blue chicken coming to the Minneapolis Sculpture Garden.” , May 15, 2017. Star Tribune Luke, Ben. “Cocking a Snook at Nelson: Katharina Fritsch.” , September 9, 2013. London Evening Standard Barnett, Laura. “Katharina Fritsch on her Fourth Plinth cockerel sculpture.” , July 24, 2013, p. 16. The Guardian Morgan, Jessica. “From Out There to Down Here.” no. 87, 2010, pp. 34–45. Parkett, Criqui, Jean-Pierre. “‘This Dream is About You’: Katharina Fritsch and the Laws of Animal Attraction.” , no. 87, 2010, pp. 46–57. Parkett Burton, Johanna. “Katharina Fritsch.” 47, no. 1, September 2008, pp. 456–57. Artforum Levin, Kim. “Katharina Fritsch.” , Summer 2008, p. 160. ARTnews Schwendener, Martha. “Katharina Fritsch.” , December 2004, p. 100. Time Out NY Withers, Rachel. “Katharina Fritsch, Tate Modern, London.” 40, no. 5, January 2002, p. 134. Artforum Kino, Carol. “Katharina Fritsch at Matthew Marks.” 88 no. 11, November 2000, p. 162. Art in America , Karmel, Pepe. “Katharina Fritsch.” , May 10, 1996, p. C23. The New York Times Garrels, Gary. “Disarming Perception.” , no. 25, 1990, pp. 34–43. -
Neue Adels-Bibliographie: Neuerscheinungen 1
Bill: Neue Adels-Bibliographie: Neuerscheinungen 1. Quartal 2021 und Nachträge 2000-2020 (Supplement) Dr. phil. Claus Heinrich Bill, M.A., M.A., B.A.: NeueNeue Adels-Adels- BibliographieBibliographie Arbeitspapier der Neuerscheinungen des 1. Quartals (Jänner bis März) 2021 mitsamt Nachträgen für 2000 bis 2020 der Monographien, Sammelbände und Aufsätze zum Adel in den deutschsprachigen Ländern. Die Inhalte dieser Quartals-Liste werden bei ihrem Erscheinen zugleich in den Hauptband eingefügt. Zweck der vorliegenden Liste ist es, Forschenden ein aktuelles Monitoring über die Novitäten zu geben. Herausgegeben vom Institut Deutsche Adelsforschung Forstweg 14 in 24105 Kiel - Düsternbrook im Selbstverlag des Instituts Deutsche Adelsforschung in Sonderburg © April 2021 1 / 8 Bill: Neue Adels-Bibliographie: Neuerscheinungen 1. Quartal 2021 und Nachträge 2000-2020 (Supplement) Achnitz, Wolfgang (Hg.): Wappen als Zeichen. Mittelalterliche Heraldik aus kommunikations- und zeichentheoretischer Perspektive, Berlin 2006, 209 Seiten [Aufsatzband mit sieben Beiträgen, die naturgemäß auch den Adel tangieren]. Aichinger, Philipp: Mit Adelstitel in den Arrest? Was künftig passieren kann. Wird das Adelsaufhebungsgesetz weiter- hin nicht novelliert, darf man Verstöße entweder gar nicht oder nur noch sehr hart sanktionieren, in: Die Presse (Wien), Ausgabe vom 7. November 2019, Seite 4 [betrifft den Fall Karl Habsburg und dessen Vorgehen wider das Adelsaufhe- bungsgesetz von 1919]. Aichinger, Philipp: Wo die Prinzenrolle noch erlaubt ist, in: Die Presse (Wien), Ausgabe vom 27. Dezember 2019, Seite 4 [betrifft Grundbucheinträge mit ehemaligem Adelstitel in Österreich; ferner den Fall von Karl Habsburg und dessen Klage wider das Adelsaufhebungsgesetz 1919]. Andermann, Kurt: Die Vornehmen in der Gemeinde. Überlegungen zu dörflichen Oberschichten im deutschen Südwes- ten während des späten Mittelalters und der frühen Neuzeit, in: Gustav Pfeifer / Kurt Andermann (Hg.): Soziale Mobili- tät in der Vormoderne. -
Martin Kippenberger, 43, Artist of Irreverence and Mixed Styles
THE NEW YORK TIMES OBITUARIES 11.3.1997 Martin Kippenberger, 43, Artist Of Irreverence and Mixed Styles By ROBERTA SMITH Martin Kippenberger, widely regarded as one of the most talented German artists of his generation, died on Friday at the University of Vienna Hospital. He was 43 and had moved to Vienna last year. The cause was cancer, said Gisela Capitain, his agent and dealer. A dandyish, articulate, prodigiously prolific artist who loved controversy and confrontation and combined irreverence with a passion for art, Mr. Kippenberger worked at various points in performance art, painting, drawing, sculpture, installation art and photography and also made several musical recordings. He was a ringleader of a younger generation of „bad boy" German artists born mostly after World War II that emerged in the wake of the German Neo-Expressionists. His fellow travelers included Markus and Albert Oehlen, Georg Herold and Günter Förg, and they sometimes seemed almost as well known for their carousing as for their work. Mr. Kippenberger once made a sculpture titled „Street Lamp for Drunks"; its post curved woozily back and forth. In New York City, Mr, Kippenberger was known for a well-received show of improvisational sculptures at Metro Pictures in SoHo in 1987. The pieces incorporated an extensive range of found objects and materials and sundry conceptual premises. He considered no style or artist's work off-limits for appropriation, though his paintings most frequently resembled heavily worked, seemingly defaced fusions of Dadaism, Pop and Neo-Expressionism and often poked fun at the art world or himself. His penchant for mixing media, styles and processes influenced younger artists on both sides of the Atlantic. -
Ausstellun- Gen Exhibitions
Einzelausstellungen Eröffnung / inauguration: 19. November / カーテン (デニム) / 藤田祐幸氏による講演 Bernhard Fibicher, Kunsthalle Bern, Bern, Maria Eichhorn Aktiengesellschaft (Plug In #26), AUSSTELLUN- Solo Exhibitions November 19, 1993 [permanent] (1989/97) / Curtain (Denim) / Lecture by 27. Oktober – 9. Dezember / October 27 – kuratiert von / curated by Charles Esche und / Yuko Fujita (1989/97), Masataka Hayakawa December 9, 2001 and Christiane Berndes, Van Abbemuseum, 1987 1994 Gallery, Tokio / Tokyo, 28. Oktober – Eindhoven, 2. Juni 2007 – 28. Februar 2010 / GEN Arbeiten 1986/87, Galerie Paranorm, Berlin, Leinwand / Pinsel / Farbe, kuratiert von / 29. November / October 28 – November 29, 2002 June 2, 2007 – February 28, 2010 5.–19. März / March 5–19, 1987 curated by Ursula Prinz, Berlinische Galerie, 1997 23 Kurzfilme / 23 Filmplakate (1995/2002) / EXHIBITIONS Museum für Moderne Kunst, Photographie 23 Short Films / 23 Film Posters (1995/2002), 2008 Projekt Hollmannstraße, Eckgrundstück / und Architektur, Berlin, 9. September – 1998 Galerie Hauser & Wirth & Presenhuber, Joint Account No. 1711601, Bank of Fukuoka, plot of land at the corner of Hollmannstraße / 28. Oktober / September 9 – October 28, 1994 „The Artist’s Reserved Rights Transfer and Zürich / Zurich, 15. Januar – 14. Februar / Yahata Branch 411 (2001), Prohibited Imports Lindenstraße, Berlin, 6. Juni – August 1987 / Sale Agreement“ von Seth Siegelaub und Bob January 15 – February 14, 2002 (2003), Billboard Istanbul Biennial 1995 June 6 – August 1987 [genaue Laufzeit nicht 1995 Projansky, kuratiert von / curated by Hildegund (2005), von 12,37 bis 36,08 = 24,94 von dokumentiert / exact dates not documented] Chair Events, 1969, af George Brecht / 33 1/3, Amanshauser, Salzburger Kunstverein, Curtain (Red), Masataka Hayakawa Gallery, 100% (2007), Galerie Barbara Weiss, Berlin, 1969, af John Cage / Flux Ping-Pong, 1976, af Salzburg, 10. -
Martin Kippenberger Self-Portraits at Christie's London on October 11 & 12
PRESS RELEASE | LONDON | 19 SEPTEMBER 2012 FOR IMMEDIATE RELEASE AN IMPORTANT COLLECTION OF MARTIN KIPPENBERGER SELF-PORTRAITS AT CHRISTIE'S LONDON ON OCTOBER 11 & 12 Martin Kippenberger (1953-1997) Untitled (from the series Hand-Painted Pictures) oil on canvas / 71 x 59in. (180.4 x 149.8cm.) / Painted in 1992 Estimate: £2,500,000-3,500,000 London - In an unprecedented event, Christie’s Post-War & Contemporary Art Department will offer on October 11 and 12 an important collection of Martin Kippenberger (1953-1997) self-portraits, including thirteen works on paper and the seminal oil on canvas, Ohne Titel (Untitled), from the series Hand-Painted Pictures) (1992) (estimate: £2,500,000-3,500,000; illustrated above). The latter was previously exhibited in the major retrospectives of the artist’s work held at the Centre Georges Pompidou, Paris in 1993, Tate Modern, London in 2006, MoCA, Los Angeles and MoMA, New York in 2009. Assembled over the course of a twenty- five year friendship, this collection belongs to someone who knew the artist so well, that these works offer a unique insight and portrait of the artist. Charismatic and irreverent, Martin Kippenberger is remembered for his conceptual and expressive transformation of the 1980s and 1990s art scene. Francis Outred, Christie's Head of Post-War & Contemporary Art, Europe: “Martin Kippenberger's revolutionary influence on contemporary art practice continues to grow by the day. At the source of his wild approach to and disdain for the preconceived notions of the artist's role in society was his own self. His self- portraits lie at the heart of his oeuvre and I have never seen such an outstanding collection, which so accurately documents his development from the 1970s to his tragic, early death in 1997. -
Parkett+87+Fritsch+Katharina.Pdf
Katharina Fritsch Katharina Fritsch From Out There to Down H ere JESSICA MORGAN KATHARINA FRITSCH, DISPLAY STAND II, Fritsch’s works are thus taken to be madeleines, in 2001, glass, aluminum, and objects dating the Proustian sense, evoking the lost memory and from 1981 - 2001, detail / WARENGESTELL II, imaginary world of childhood. Glas, Aluminium, Objekte, Detail. While I am familiar with the sources from which many of Fritsch’s representations are thought to be derived, I have never been entirely convinced by PH x 3040 x Vs”; O T O G R A P H (BL8 A C K F O R E S THOUSE), 2006/2008,paint, silkscreen, plastic, Much has been said of the unconscious in the work of the psychoanalytic reading of her work. Perhaps I lh Katharina Fritsch. It has been described as “sinister am separated from the work by a generational, or and uncanny”1* and said to deal with “the dark side even a national, sort of schism; I do feel quite far of the psyche.”2* From her early representations of removed from any underlying phobias derived from rats, a monk, and a ghost, to her recent sculptures of devils, rats, and religious fables. In the urban Lon a giant, a snake, and an octopus, the ur-myths and fa don of my childhood, the real threats were burglars, bles supposedly summoned by these forms have gen muggers, and random street violence. When I look erally been thought to lead us unwittingly to assess at Fritsch’s RATTENKÖNIG (Rat-King, 1991-93), DOK their—and our own—greater psychological depths. -
Johnen Galerie Is Pleased to Present Martin Honert's Fifth Solo
Johnen Galerie is pleased to present Martin Honert’s fifth solo exhibition with the gallery. A special opening reception concurrently with 2016 Gallery Weekend Berlin will take place on Friday April 29 from 6–9 PM. Since the early 1990’s, Martin Honert (b. 1953 in Bottrop, Germany) has been redefining the possibilities of contemporary sculpture. Honert attended Fritz Schwegler’s master class at the Academy of Fine Art Düsseldorf in the 1980s and, like his fellow students Katharina Fritsch and Thomas Demand, has redefined the concept of medium specificity. This has resulted in an extremely varied oeuvre: for each work the artist develops an individual process and materiality. Honert first attracted international attention when his work was exhibited in the German Pavilion at the 46th Venice Biennial in 1995 (with Katharina Fritsch and Thomas Ruff). In 2012, Honert was the subject of a major retrospective at the Hamburger Bahnhof in Berlin. Also in the same year, a large survey of Honert’s work, co-curated by Jeff Wall, was exhibited at the Vancouver Art Gallery. Honert works in his studio over a period of several years producing each of his works by hand. Painstakingly crafted and elaborately staged three-dimensional works capture the ambivalence associated with memories from childhood, to understand the perseverance of an image whose significance is not immediately apparent, not even to the artist himself. Commenting on the centrality of childhood to his work, Honert has said, “My childhood was no doubt just as dull and boring as anyone else’s. What’s important to me is to explore things that may well have happened a long time ago but continue to exist for me as an image, a memory.” The exhibition will include three works: two new large-scale installations, VSG-Gruppe 2015–16, Ziegelei 2015–16 and Schlafsaal, Modell 1:5, 2013. -
Thomas Demand Roxana Marcoci, with a Short Story by Jeffrey Eugenides
Thomas Demand Roxana Marcoci, with a short story by Jeffrey Eugenides Author Marcoci, Roxana Date 2005 Publisher The Museum of Modern Art ISBN 0870700804 Exhibition URL www.moma.org/calendar/exhibitions/116 The Museum of Modern Art's exhibition history— from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists. MoMA © 2017 The Museum of Modern Art museumof modern art lIOJ^ArxxV^ 9 « Thomas Demand Thomas Demand Roxana Marcoci with a short story by Jeffrey Eugenides The Museum of Modern Art, New York Published in conjunction with the exhibition Thomas Demand, organized by Roxana Marcoci, Assistant Curator in the Department of Photography at The Museum of Modern Art, New York, March 4-May 30, 2005 The exhibition is supported by Ninah and Michael Lynne, and The International Council, The Contemporary Arts Council, and The Junior Associates of The Museum of Modern Art. This publication is made possible by Anna Marie and Robert F. Shapiro. Produced by the Department of Publications, The Museum of Modern Art, New York Edited by Joanne Greenspun Designed by Pascale Willi, xheight Production by Marc Sapir Printed and bound by Dr. Cantz'sche Druckerei, Ostfildern, Germany This book is typeset in Univers. The paper is 200 gsm Lumisilk. © 2005 The Museum of Modern Art, New York "Photographic Memory," © 2005 Jeffrey Eugenides Photographs by Thomas Demand, © 2005 Thomas Demand Copyright credits for certain illustrations are cited in the Photograph Credits, page 143. Library of Congress Control Number: 2004115561 ISBN: 0-87070-080-4 Published by The Museum of Modern Art, 11 West 53 Street, New York, New York 10019-5497 (www.moma.org) Distributed in the United States and Canada by D.A.P./Distributed Art Publishers, New York Distributed outside the United States and Canada by Thames & Hudson Ltd., London Front and back covers: Window (Fenster). -
Milch Casefertig.Rtf
TRIALS OF WAR CRIMINALS BEFORE THE NUERNBERG MILITARY TRIBUNALS UNDER CONTROL COUNCIL LAW No. 10 VOLUME II NUERNBERG OCTOBER 1946-APRIL 1949 ________ For sale by the Superintendent of Documents, U. S. Government Printing Office Washington 25, D. C. - Price $2.75 (Buckram "The Milch Case " CASE NO. 2 MILITARY TRIBUNAL NO. II THE UNITED STATES OP AMERICA —against — ERHARD MILCH VII.JUDGMENT........................................................................................................................ 5 A. Opinion and Judgment of the United States Military Tribunal II* ................................... 5 COUNT TWO.................................................................................................................... 5 COUNT ONE..................................................................................................................... 9 COUNT THREE .............................................................................................................. 18 SENTENCE ............................................................................................................................. 22 B. Concurring Opinion by Judge Michael A. Musmanno.................................................... 23 COUNT ONE................................................................................................................... 23 COUNT TWO.................................................................................................................. 23 COUNT THREE ............................................................................................................. -
Schweizer Grand Prix Kunst Grand Prix Suisse D'art Gran Premio
Schweizer Grand Prix Kunst Prix Meret Oppenheim 2018 Grand Prix suisse d’art Gran Premio svizzero d’arte Grond premi svizzer d’art 4 Vorwort 5 Avant-propos 6 Prefazione 7 Foreword 8 Einleitung 10 Introduction 12 Introduzione 14 Introduction 16 Samuel Gross en conversation avec Sylvie Fleury 45 Samuel Gross in conversation with Sylvie Fleury 52 Yasmil Raymond in conversation with Thomas Hirschhorn 84 Yasmil Raymond im Gespräch mit Thomas Hirschhorn 94 Stefano Moor in conversazione con Luigi Snozzi 127 Stefano Moor in conversation with Luigi Snozzi 137 Anhang Annexe Appendice Appendix Vorwort Renommee und mit seinem intellektu- Avant-propos entre urbanisme et architecture dans ellen Format eine legendäre Figur der le village de Monte Carasso au Tessin Der Prix Meret Oppenheim wurde Architekturszene. Sein Projekt zwischen Le Prix Meret Oppenheim a été est toujours une fgure de référence, 2001 durch das Bundesamt für Städtebau und Architektur im Dorf créé en 2001 par l’Ofce fédéral de plusieurs décennies après sa mise en Kultur (BAK) in Zusammenarbeit Monte Carasso im Tessin dient auch la culture en collaboration avec la œuvre. La Commission a choisi de lui mit der Eidgenössischen Kunst- Jahrzehnte nach seiner Umsetzung noch Commission fédérale d’art. Il honore remettre le prix Meret Oppenheim pour kommission eingerichtet. Er würdigt als Referenz. Die Kommission zeichnet des artistes, architectes, commis- honorer son infuence sur les jeunes Kulturschafende aus den Bereichen ihn mit dem Prix Meret Oppenheim aus, saires, chercheurs et critiques qui font générations d’architectes. Kunst und Architektur, Kuratorinnen um seinen Einfuss auf die nachfolgen- rayonner la création suisse au-delà de Nous exprimons notre admiration et und Kuratoren sowie Kritikerinnen den Generationen von Architektinnen nos frontières et à travers les années. -
Martin Kippenberger
Martin Kippenberger 1953 Born in Dormund, Germany 1972–76 Hamburger Hochschule für Bildende Kunst 1997 Passed away SOLO EXHIBITIONS (selected) 2019 Martin Kippenberger, Bundeskunsthalle Bonn, Bonn, Germany 2018 MOMAS – Museum of Modern Art Syros, Palermo, Istituto Svizzero di Roma, Italy at Fondazione Sant’Elia, Palermo, Italy; MAMCO, Geneva, Italy [Cat.] Body Check. Martin Kippenberger. Maria Lassnig, Museion Foundation. Museum of modern and contemporary art Bozen, Italy; Lenbachhaus, Munich, Germany [Cat.] 2017 Hand Painted Pictures, Skarstedt, New York, CA, USA [Cat.] Buying is Fun, Paying Hurts, Bergamin&Gominde, São Paulo, Brazil 2016 Martin Kippenberger, Bank Austria Wien, Vienna, Austria [Cat.] Das, mit dem alles anfing. Der, mit dem alles anfing, Galerie Gisela Capitain, Cologne, Germany 2015 Martin Kippenberger, Taka Ishii Gallery, Tokyo, Japan [Cat.] 2014 ‚Du kommst auch noch in Mode’ – Plakate von Martin Kippenberger, Museum Folkwang, Essen, Germany [Cat.] Window Shopping, Capitain Petzel, Berlin, Germany [Cat.] The Raft of Medusa, Skarstedt, New York, CA, USA [Cat.] 2013 Sehr gut; Very Good, Hamburger Bahnhof, Museum für Gegenwart, Berlin, Germany [Cat.] 2011 Kippenberger miró a Picasso, Museo Picasso Málaga, Málaga, Spain [Cat.] 2008 The Problem Perspective, Museum of Contemporary Art, Los Angeles, CA, USA; The Museum of Modern Art, New York, NY, USA [Cat.] 2006 Martin Kippenberger, Tate Modern, London, UK; K 21, Düsseldorf, Germany [Cat.] 2004 Kippenberger: Pinturas, Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain -
Ingrid Wildi Merino
INGRID WILDI MERINO! [email protected]! [email protected]" [email protected]" http://www.ingridwildimerino.net! http://www.dislocacion.cl! !http://www.arquitecturadelastransferencias.net! ! 1963 Born in Santiago, Chile, lives and works in Geneva, Switzerland! 1968 - 1981 Primary and secondary education in Santiago, Chile! 1981 Emigrates to Switzerland! 1985 - 1987 Studies at Zürcher Hochschule der Künste, ZHdK, Zürich, Switzerland! 1987 - 1995 Works at the Spinnerei collective studio in Wettingen, Aargau, Switzerland! 1990 - 1991 Residence in São Paulo, Brazil! 1994 - 1997 Studies visual arts at the Zürcher Hochschule der Künste, ZHdK, Zürich, Switzerland! 1997 Graduates in 1997, mentor Bernd Hoppner! 1998 - 2000 Post Graduate studies in mixed media at the HEAD, Geneva University of Art and Design, Geneva, !Switzerland(Instructors: Sylvie Defraoui, Ursula Biemann, Dominique Gonzalez-Foerster)! ! ! solo exhibitions! ! 2009! !De Gerardo, Video Installation, Video Tank, Zürich! 2008! !Processing the Invisible, Galerie Traversée, Munich, Germany! 2007! Historias breves, Museo de Arte Contemporáneo, Santiago, Chile! !Historias breves, Galeria Gabriela Mistral, Santiago, Chile! 2006! !Quelquepart ll, (in collaboration with Mauricio Gajardo) Kunsthaus Glarus, Switzerland! 2004! De palabra en palabra, Kunsthaus Aarau, Switzerland! !De palabra en palabra, Centre d’Art Contemporain, Geneva, Switzerland! 2001! !Ouvrir et fermer les yeux, Planet 22, Geneva, Switzerland! 1995! !Ohne Titel, Trudelhaus Gallery, Baden,