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At the center of the project Body. Gaze. Power. A Cultural History of the Bath is a global social practice that is as old as humankind itself. Even though it has always been associated with cleansing rituals, what is revealed here are centuries of bathing references that go far beyond such topics as hygiene, health, and wellness. In fact, as the site where the act of bathing occurs, the bathroom has always been ideologically, religiously, socially, and culturally charged, and it remains so to this day. The catalogue features objects and works of art from various epochs, lands, and cultures, from seventeenth-century barber’s bowls, heaters, or nineteenth-century hammam sandals, to works by artists ranging from Albrecht Dürer to David Hockney, Thomas Demand to Zoe Leonard. Besides the many illustrations, informative texts help readers to immerse themselves in the pleasures of various bathing cultures.
SELECTED FEATURED ARTISTS:
Patrick Angus, Joseph Beuys, Giuseppe Cesari, Atelier de Jacques-Louis David, Maurice Denis, Thomas Demand, Albrecht Dürer, Martin Engelbrecht, Rainer Fetting, Friedrich Wilhelm Gmelin, Nan Goldin, David Hockney, Nicolas René Jollain, Ute Klophaus, Leonard Koren, Katarzyna Kozyra, Lee Miller, Pablo Picasso, Chiharu Shiota, Gaston de la Touche, Ben Vautier, Eugène Viollet-le-Duc, Friedrich Weinbrenner
EXHIBITION
Staatliche Kunsthalle Baden-Baden
March 7–June 21, 2020
The Deutsche Bank honors the Japanese Koki Tanaka as Artist of the Year 2015. Tanaka follows Wangechi Mutu (Kenya), Yto Barrada (France/Morocco), Roman Ondák (Slovakia), Imran Qureshi (Pakistan), and Victor Man (Romania) as the sixth international artist to be presented with this award. “Koki Tanaka is one of the most original artists of his generation to emerge on the global art scene in the last decade. A shrewd observer of the most ‘indifferent’ matters of the everyday, he always manages to magically transform them into fantastic events with a sense of humor, offering open but pungent implications that reveal the uncanniness of existence,” explains Chinese curator Hou Hanru. Tanaka (*1975 in Tochigi, Japan) became known through installations and performances in which he implements everyday objects and material found in situ. A major share of his work consists of participatory projects that incorporate actors and exhibition viewers. Tanaka represented Japan at the 55th Venice Biennale in 2013, where his unsettlingly simple experiments proved that collaborations can pose a huge challenge.
The catalog focuses on her drawings and printmaking work and highlights the modernity of her artistic approach. The selection of presented works and a new, unbiased perspective offer a fresh view of the artist and the unbroken expressive power of her works.
KÄTHE KOLLWITZ (1867–1945) is one of the most outstanding graphic artists of the 20th century. In 1898, she achieved great recognition with her first graphic cycle, A Weaver's Revolt, and in 1919 she was appointed the first female professor at the Berlin Academy of Arts. With unparalleled drastic-emotional intensity, her work condenses the existential experiences of being human.
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 itself on glass and paper. But soon it shone through its possibilities for artistic mise en scène. Digital photography and its possibilities of manipulation multiply the expressive dimensions of the 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.
A cultural history of nature may sound like a paradox, but a second glance proves it to be a clever theme. For though we are used to perceiving nature and culture as opposites, they are actually closely interwoven. This is precisely what Klaus Littman shows us in his startling project Tree Connections. In 2019, around three hundred trees were planted in the pitch at the Wörthersee football stadium in Klagenfurt. The result is the extraordinary experience of witnessing a confrontation between two otherwise strictly separate kinds of spaces. Blending the natural and the constructed worlds blurs their boundaries, making them practically indistinguishable. At the same time, the breathtaking views of this unique project offer fascinating insights into our current, unecological ideas and activities. An exhibition curated by Littmann will take place at the Basel H. Geiger Kulturstiftung starting in May 2021, featuring works by Alexandre Calame, Joseph Beuys, Christo, Jannis Kounellis, Giuseppe Penone, Günther Uecker, Tony Cragg, Michael Sailstorfer, Miriam Cahn, and Sol LeWitt, among others.
KLAUS LITTMANN (*1951) studied at the Düsseldorf Kunstakademie in the 1970s. His encounters with Joseph Beuys there influenced his creativity. He enjoys international renown as an artist, a mediator of art, and curator. Littmann is based in Basel.
The book collects excerpts from literary classics that deal with the process of developing an idea in different ways. Contemporary authors from the fields of art, music, and psychology address these topics within the context of their disciplines and their own experiences. Designs, actions, and architectural concepts from ten years of teaching by architect and chair holder Hilde Léon at Leibniz University Hannover are the result of risk and reflection, everything that the title "The Controlled Delusion of Grandeur" promises.
Social inequality, population growth, climate change. The artist Dawn DeDeaux does not shy away from difficult topics. Since the 1970s, she has been probing humanity’s present and future in videos, performances, and installations. This catalogue, published to coincide with her first comprehensive museum exhibition at the New Orleans Museum of Modern Art, presents DeDeaux’s work spanning five decades: from early multimedia works using radio and satellite to recent works from her MotherShip series, in which she imagines humanity’s escape from a destroyed Earth. In her work, art is always closely intertwined with philosophy, science, and new technologies. Consequently, the text contributions go beyond art to contextualize her work.
DAWN DeDEAUX (*1952) is a pioneer in the field of art and new technology. Based in New Orleans, she has had participated in exhibitions at the Whitney Museum of American Art, Mass MoCa, and the Transart Foundation for Art and Anthropology, among others.
This publication provides a comprehensive overview of Ulrich Vogl’s current artistic practice. The starting point of his work is his fascination with everyday objects and places, their stories and moods. In his works, Vogl either integrates them unchanged, reshapes them, or leaves them only as references. Some of Vogl’s pieces are movable, some work with shadows, sound, and projections, often they are cinematic or time-based, low-tech, revealing their mode of production. They are always part of a playful, experimental, and conceptual process, at the end of which is a work reduced to its essentials. The book presents a large amount of what Vogl calls “cognitive catalysts.”
ULRICH VOGL (*1973) studied in Munich, Berlin, and New York. He creates wall works, sculptures, installations, and works in public space. He has lived and worked in Berlin since 1999.
Fantastic natural landscapes and fictional stories, paired with the neon-colored light games of Berlin nightlife-the latest paintings, VR installations and poems by the American artist Brandon Lipchik offer insights into his very personal wonderland. His dark, but also humorous scenes, which are brimming with homoerotic covers, he presents his pieces on a theater stage like a director like a director.
With this new work cycle, the art palace shows the world's first institutional solo exhibition Brandon Lipchiks. The richly illustrated publication is an exhibition catalog and an overview of the previous overall work, and also shows in a section of influences, ideas and digital work processes designed by the artist.
Suzanne Duchamp (1889, Blainville-Crevon – 1963, Neuilly-sur-Seine) grew up in an extraordinary artistic environment at the beginning of the 20th century. From 1919, she was married for the second time to the Swiss painter and graphic artist Jean Crotti, with whom she also collaborated artistically, which was honored in 1983 in the exhibition Tabu Dada: Jean Crotti & Suzanne Duchamp: 1915–1922 (Kunsthalle Bern, Centre Pompidou, Paris).
FILIP MARKIEWICZ (*1980, Esch/Alzette) is a Luxembourgish artist who works with a very broad spectrum of media: from painting and drawing to video works and installations. Under the name RAFTSIDE, he has also been working as a composer for film and theatre since 1999. In 2015, Markiewicz represented Luxembourg at the 56th Venice Biennale.
Vilhelm Hammershøi (1864–1916) is considered the most important representative of Danish interior painting. At the time of his death, he was a widely celebrated painter – his admirers included Rainer Maria Rilke and Emil Nolde. Later, his work outside his homeland increasingly fell into oblivion until he was 'rediscovered' throughout Europe a good hundred years later. To this day, his monochrome interiors, in whose meditative stillness a subtle play of light and shadow unfolds, continue to impress.
The book revisits the history of the Modern Movement through the legacy of one of its protagonists, Gabriel Guevrekian (c. 1900—1970). Born in Istanbul, Guevrekian 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 Sauvage, 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 a serial adoption of personae. He made every discipline meaningful, every city central, every period epochal simply by his own very tangible engagement with it.
Evaporating Suns Explore myths from the region of the Arabic golf along 13 artistic positions. The fundamental is fundamental that the mythical and factual behave as two pages A medal: Myths do not tell mere fiction, rather they are able to show a truth much more urgently than dry facts. At the center of the publication are the work of contemporary artists, complemented by essays from authors from the golf region, who have dealt with the folklore and the popular myths of their homeland. By creating your own universes with cynicism, satire and fiction and rewriting the history of your societies, you can see myths as an opportunity to open up new access to current topics such as the environment, gender policy and social power structures.
The cultural foundation Basel H. Geiger, founded in 2018 by the artist Sibylle Piermattei-Geiger and her husband Rocco Piermattei, creates a cultural offer with current political or cultural references in the Basel exhibition rooms. Two to three art and themed exhibitions annually offer freedom for concepts outside of the established institutions.
“We are all inside this thing—but how?” This book explores 21st century art’s reckonings with the technosphere. Almost unimaginable in its complexity and scale, a man-made megastructure surrounds all of us, and often seems inescapable. Outlining the poetics of encryption that are involved with this infrastructural condition, Samman explores dramatic motifs including confinement, capture, and burial, as well as access and exclusion from secured domains. Poetics of Encryption excavates the art of our times as it quests through caves, cables, codes, satellites, and icons. Toggling between enlightened concern and occult dreaming it surveys a counter-intuitive aesthetic of the interface: addressing those who cannot write code, this analogy in contemporary art stages its own "digital," both virtually and analog.
NADIM SAMMAN is Curator for the Digital Sphere at KW Institute for Contemporary Art, Berlin. He read Philosophy at University College London before receiving his PhD from the Courtauld Institute of Art. Widely published, in 2019 he was First Prize recipient of the International Award for Art Criticism (IAAC). Major curatorial projects included the 4th Marrakech Biennale (2012), the 5th Moscow Biennale for Young Art (2015) and the 1st Antarctic Biennale (2017).
Juan Grimm is considered the father of landscape architecture in Chile. His designs persistently underscore the sublimities of nature and incorporate the environments surrounding them. Although he works mainly with local flora, he creates breathtakingly new landscape textures. As South America’s most important landscape architect, he has designed and built nearly one thousand hectares of garden, as well as private and public parks in Chile, Argentina, Peru, and Uruguay, including the gardens of the Bahá’í Temple in Santiago and of a Benedictine abbey.
Featuring drawings, photographs, interviews, and extensive companion essays, this book presents Grimm’s body of work, his methods, his sources of inspiration, and his artistic aims. Selected examples, ranging from small gardens to large parks, illustrate Grimm’s development over the course of thirty years. At the same time, it is not only Grimm’s work that is on display, but the model of Chilean landscape architecture of which his work is exemplary.
The project presents works by more than 50 artists, including Rebecca Allen, Cory Arcangel, LaTurbo Avedon, Meriem Bennani, Ian Cheng, Harun Farocki, Cao Fei, Porpentine Charity Heartscape, Pierre Huyghe, Rindon Johnson, KAWS, Sondra Perry, Jacolby Satterwhite, Sturtevant, and Suzanne Treister.
The exhibition catalog is designed to be a future standard work. In addition to texts by renowned theorists, curators, and critics, a series of newly commissioned contributions offer diverse perspectives on the relationship between gaming and media art.
This playful volume features rounded corners, a PVC dust jacket with screen printing, and stickers with various digital avatars.
The Nationalmuseum, Stockholm, holds the most extensive collection of Dutch master drawings in Sweden. It comprises important works by Rembrandt and his pupils, as well as drawings by Abraham Bloemart, Jan van Goyen, Herman Saftleven, Willem van de Velde and many other artists. Although trade contacts between the Netherlands and Sweden were lively in the seventeenth century, they account for only a small part of the collection. The bulk of the drawings was acquired by Swedish collectors in the eighteenth and nineteenth centuries. Foremost among them was Count Carl Gustaf Tessin, whose acquisitions at the 1741 Paris sale of the financier Pierre Crozat make up the core of the collection.
This catalogue, the result of a long-term research project, includes almost 600 drawings, of which approximately 130 are previously unpublished. Besides the Nationalmuseum, it draws on the collections of the Royal Academy of Fine Arts in Stockholm, The Gothenburg Museum of Art, the Uppsala University Library and other institutions.
The catalog traces the path of a seeker who, in an era marked by a belief in progress, yearned for a spiritual space beyond technology. Published for Franz Marc's first monographic exhibition in over twenty years, the publication offers a comprehensive insight into the work of this extraordinary artist.
FRANZ MARC (1880–1916) is considered one of the most important painters of German Expressionism. A study of literature and linguistics and his bilingual upbringing by his French mother shaped him, as did his intensive engagement with the art of his time. At the age of 36, he died near Verdun in the First World War.
For the first time, the prominent German artists Joseph Beuys (1921–1986), Bazon Brock (* 1936), and Wolf Vostell (1932–1998), who collaborated in the sixties, are being presented in a single publication. In addition to parallels in the content of their work, such as their examination of the Holocaust, the three friends shared certain interests in terms of their approach. All three were involved in developing teaching practices as a form of performance art and in shifting communication, discussion, and demonstrations to the heart of their work. The radical emancipation of the individual and social reform were also common goals. Not only groundbreaking for the development of the expanded concept of art, their practices also made a fundamental contribution to the performative turn and the development of participatory concepts in twentieth century art.
Exhibition: ZKM | Museum für Neue Kunst, Karlsruhe 24.5.–9.11.2014, gefördert von der Kunststiftung NRW
A man caught in and behind wallpaper, a chimpanzee in a lifeboat, mountain climbers and hikers in the middle of a polar sea à la Caspar David Friedrich: Ethan Murrow (*1975 in Greenfield, Massachusetts) plays with the dimensions we are familiar with and tells a scarcely conceivable story with each of his pictures. Their references lie in personal experiences, historical sources, or in the romanticizing landscapes of the Hudson River School, from which his fantasy springs. At first glance one believes to be looking at edited black-and-white photographs, until it quickly becomes apparent that these are meticulously prepared pencil drawings. Murrow examines the boundary between the artist’s fiction and depicted reality. Yet this volume deals not just with his pencil drawings—for the first time, one can also marvel at the extensive works he magically conjures on walls with a ballpoint pen.