Spring 2021

EDITORIAL

When we wrote the editorial for the fall preview in February 2020, "viral" still seemed an acceptable adjective to us. As a possible metaphor for the fact that something prevails—in a positive sense. It is not only in this respect that we have learned a lot since the spring, or should we say: Have we been taught a lesson? With this first program since and with the novel corona-virus, we want to speak to you with titles that continue to open up the changed world to us, through the experi-ence of the pandemic, despite the pandemic, in defiance of the pandemic, or all at once. What is certain is we are no longer sure about anything that was once considered a certainty just over half a year ago. In such a situation, images often help, because they sometimes show what we cannot yet grasp in thought or language. And through pictures our program reveals new insights, outlooks, and overviews of different topics, the role of things in the world, and digital media. They’re about a new look at old knowledge—about Der Blaue Reiter, for instance. Or about lesser-known women whom one would like to get to know better, like Ottilie W. Roederstein. We would also like to talk about older gentlemen, such as Joseph Beuys, whose birthday will be celebrated for the 100th time in 2021, and whose art has not lost any of its topicality to this day. We have books about those moments of pause that the coronavirus has given us, such as Tom Hegen’s photo-graphs of grounded airplanes. We also have books on how awareness can turn into productivity, which is what the book by Sean Scully (in conversation with David Carrier), the interviews with museum people by András Szántó, or Philipp Zitzlsperger’s design discourse all stand for. Max Siedentopf’s Survival Guide also represents this, albeit each with its own themes.

Zoe Leonard has sent us around four hundred pictures of the Rio Grande River from the United States. It marks the border between the USA and Mexico. This river is an intense metaphor for the separation of two nations, the marking of the other, a strict line between what is home and what is foreign, between languages and differences, between one side and the other. All of these themes affect us in Europe deeply: migration, the EU, the failure to reach a consensus on common values, Brexit, nationalism, rivers as borders—these images also show how comprehensive, how global, their themes are.

But above all, we would like to extend to you, dear book people, a very personal greeting. In these exceptional times, when so little is known about what lies before us, you have shown us what books mean to you to such an extent and with such commitment that we must thank you directly. If proof had been needed that books really do exist, it could not have been provided more wonderfully than in the months since last March. No wonder then, that our view of the future looks bright; with books, fore-sight and wisdom, together we can master any challenges that the coming months might bring.

We thank each and every one of you for every purchase, for every reading, for every digital click, for every look in our virtual shop window and every contribution to Art on the Beat.

With warm greetings and—on-the-beat— Sven Fund, Nicola von Velsen, and the Hatje Cantz team

Dear Book Lovers,

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 2 Rodin / Arp 3 Joseph Beuys 4 Ottilie W. Roederstein 5 Zoe Leonard 6 Group Dynamics 7 The Picasso Connection 8 On Everyone’s Lips 9 Anni and Josef Albers 10 Schule des Augenblicks 11 Gerhard Richter. Bibliographie

New Series 12 Tal Sterngast. Twelve Paintings 13 Dirk Boll. Was ist diesmal anders? 14 Philipp Zitzlsperger. Das Design-Dilemma 15 András Szántó. The Future Museum

Art 16 Franz Gertsch 17 Tools for Utopia 18 Christo and Jeanne-Claude 19 Abstract Painting,

Art History and Politics 20 Josef Albers. Suchen und Finden 21 Leonilson 22 Michael Morgner 23 Italian Architectural Drawings 24 Thomas Schütte 25 Andrew Bick 26 Lea Grebe 27 Cristina Iglesias 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

Photography 40 Frank Horvat 41 Tom Hegen 42 Angelika Platen 43 Erwin Olaf 44 Christine Turnauer 45 Jon Lowenstein 46 Daniel Freeman 47 Romeo Alaeff 48 Julien Guinand 49 Michele Nastasi 50 Sandra Ratkovic 51 Peter Nitsch 52 Roger Ballen 53 Max Siedentopf 54 Pascale Weber

Architecture 55 Erik Dhont 56 Candide: 12 57 Women in Architecture 58 Discreet Beauty of Simplicity 59 Gabriel Guevrekian 60 Rights of Future Generations 61 Eyes of the City

63 Backlist

70 Editions / Special editions

72 Credits

73 Contact

Rodin / ArpEDITORRaphaël Bouvier on behalf of Fondation Beyeler, Riehen/BaselTEXTSAstrid von Asten, Raphaël Bouvier, Catherine Chevillot, Lilien Feledy, Tessa Paneth-Pollak, Jana TeuscherGRAPHIC DESIGNBonbon

English240 pp. ● ca. 125 ills. ● 27.4 x 31 cm ● hardcoverca. €58.00, $68.00, £58.00December 2020

EXHIBITIONS Fondation Beyeler, Riehen/BaselJanuary 31–May 16, 2021 Arp Museum Bahnhof RolandseckJune 26–November 14, 2021

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 in-fluential work from a protagonist of twentieth-century ab-stract 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 con-tent. 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 also includes paintings, drawings, and poems.

● Clever comparisons ● Sculpture of the modern age● Exhibition catalogue from the Fondation

Beyeler

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

ISBN 978-3-7757-4875-9English

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Every person is an artist: Practices in cosmopolitics with Joseph BeuysEDITORSEugen Blume, Susanne Gaensheimer, Isabelle Malz, Catherine Nichols

Englishca. 360 pp. ● ca. 200 ills. ● 24 x 30 cm ● softcover with flapsca. €48.00, $55.00, £48.00March 2021

EXHIBITIONK20, Kunstsammlung Nordrhein-Westfalen, DüsseldorfMarch 27–August 15, 2021

Beuys in the 21st Century

In thirteen chapters, the exhibition and the accompany-ing catalogue offer profound insight into the cosmopoli-tan 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, speak-ing, 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 perspec-tive, they confirm, question, and expand upon his theses about the possibilities of a future conceived via art.

JOSEPH BEUYS (1921–1986) fundamentally changed the twenti-eth-century as a draftsman, sculptor, teacher, politician, activist, ac-tion, 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.

● How art contributes to society and politics● Transcultural dialogues with contemporary

artists● 100th birthday of Joseph Beuys 2021

With B-Town Warriors, Ruth Bader Ginsburg, Phyllida Barlow, Nelly Ben Hayoun-Stépanian, Fatou Bensouda, Huma Bhabha, Dineo Seshee Bopape, Angela Davis, Dusadee Huntrakul, Jes Fan, Charles Foster, Bill Gates, Núria Güell, Anna Halprin, Donna Haraway, Raphael Hillebrand, Jenny Holzer, Michel Houellebecq, Lazar Kunstmann | L’ux, Jeong Kwan, Mierle Laderman Ukeles, Zoe Leonard, Goshka Macuga, Antanas Mockus, Baptiste Morizot, Bruce Nauman, Tuan Andrew Nguyen, Sister Rosemary Nyirumbe, Howey Ou, William Pope.L, Cia Rinne, Tejal Shah, Vandana Shiva, Santiago Sierra, Patti Smith, Edward Snowdon, Christopher D. Stone, Suzanne Lacy, The Otolith Group, Thich Nhat Hanh, Greta Thunberg, Malala Yousafzai, among others

ISBN 978-3-7757-4866-7English

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

Ottilie W. RoedersteinEDITORSZürcher Kunstgesellschaft / Kunsthaus Zürich; Sandra Gianfreda / Städel Museum, Frankfurt am Main; Alexander Eiling and Eva-Maria HöllererTEXTSAlexander Eiling, Sandra Gianfreda, Eva-Maria Höllerer, Barbara Rök, Iris SchmeisserGRAPHIC DESIGNFine German Design

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

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

A Tough Woman

Ottilie W. Roederstein, born to German parents in Zurich in 1859, was one of the leading painters in the German-speak-ing world during her lifetime. She also enjoyed early recog-nition 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 cat-alogue.

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.

● Monographic exhibition● The rediscovery of a great Swiss-German

artist● Painter between tradition and modernity

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

ISBN 978-3-7757-4795-0English

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Zoe LeonardAl Rio / To the RiverCOPUBLISHED WITHMudam Luxembourg — Musée d’Art Moderne Grand-Duc Jean EDITORTim JohnsonWRITERSC.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 VillavicencioGRAPHIC DESIGNJoseph Logan

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

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

Along the River Border

Zoe Leonard is among the most influential artists of her gen-eration. Her work merges photography, sculpture, and instal-lation, 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, histori-cal, 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 art-ists, essayists, journalists, poets and scholars. Conceived as an alternate form of circulation for the work, the publica-tion 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-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.

● Interdisciplinary texts● Highly topical themes● Two volume edition

ISBN 978-3-7757-4878-0English, French, Spanish

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Group DynamicsThe Blue RiderEDITORSMatthias Mühling, Annegret Hoberg, Anna Straetmans, Städtische Galerie im Lenbachhaus and Kunstbau MünchenTEXTSAnnegret Hoberg, Isabelle Jansen, Matthias Mühling, Vanessa Joan Müller, Anna StraetmansGRAPHIC DESIGNmagma design

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

EXHIBITIONS1. Group dynamics—The Blue Rider, Lenbachhaus, March 23, 2021–March 5, 20232. Group dynamics—Collectives of Modernity, Lenbachhaus, October 19, 2021–April 24, 2022

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.

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-ty, dedicated to groups of artists working worldwide. This catalogue will also be published by Hatje Cantz.

● New views on the Blue Rider● Comprehensive work exhibition● Aesthetics, globalization and society

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

ISBN 978-3-7757-4841-4English

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The Picasso ConnectionThe Artist and His GalleristEDITORKunsthalle BremenTEXTSMichael Hertz, Kai Hohenfeld, Manuela Husemann, Barbara Nierhoff-WielkGRAPHIC DESIGNone / one

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

EXHIBITIONKunsthalle Bremen, November 21, 2020–March 21, 2021

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 exhi-bitions? 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 col-lections 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 re-garded 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-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.

● Picasso’s prints in post-war Germany● A lively chapter in gallery history● A treasure from the print collection at the

Kunsthalle Bremen

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

ISBN 978-3-7757-4805-6English

On Everyone’s LipsThe Oral Cavity in Art and CultureEDITORUta RuhkampTEXTSAndreas 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 VedderGRAPHIC DESIGNMario Lombardo

English352 pp. ● 350 ills. ● 24 x 31 cm ● hardcover€48.00, $55.00, £48.00November 2020

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

Stimulating Art from a Stimulating Physical ZoneMouth, lips, tongue, and teeth—speech, pain, and screams—eating, swallowing, spouting off, and spitting—lust and passion: the oral cavity is an extremely stimu-lating 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 compan-ion 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 connec-tions for the public. The exhibition On Everyone’s Lips is curated by UTA RUHKAMP.

● All about the mouth● Thematic exhibition ● Cultural history of the oral

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

ISBN 978-3-7757-4800-1English

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2 x 2: Anni and Josef Albersby Lake VereaEDITORKaren SteinTEXTSLake Verea, Brenda Danilowitz GRAPHIC DESIGNRutger Fuchs

English192 pp. ● ca. 300 ills. ● 16 x 15.5 cm ● softcoverca. €24.00, $26.00, £24.00 February 2021

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 pho-tographer duo Lake Verea has joined forces with the Josef and Anni Albers Foundation to trace the material and intel-lectual 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 his-tory 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. 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 photogra-phy. Their works are accordingly represented in the most renowned exhibitions and collections.

● An album about Anni and Josef Albers● The other biography● Exceptional making-of of art

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Evans’s early influences included Paul Grotz, a young German writer and photographer who introduced him to the Leica camera. He knew Berenice Abbott, the sculptor turned photographer who had brought Eugène Atget’s pictures to New York, where they were exhibited at Julien Levy’s gallery in 1931 and 1932. Lincoln Kirstein, the writer and patron of the arts, was a close friend. In February 1931 Kirstein described Evans as living in ‘a particularly depressing penurious hole in the wall’ – at 14th Street and 5th Avenue. Evans shared his hole in the wall with Hans Skolle, a German painter and photographer. Kirstein added that their poverty was ‘really so sad’, and he wondered how they kept themselves clean. Kirstein published an influential arts journal, Hound and Horn, to which Evans contributed.

WALKER EVANS

The problem in the 1930s was to make photographs count for something. The most usual way of doing 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 – as a kind of movie.

GIRL IN  FULTON STREET, NEW YORK. 1929Fulton Street is in the Lower East Side of New York, not far from the Brooklyn Bridge. Evans, using a 35 mm camera, took three pictures of the girl. The sign to the left advertises the FULTON BILLIARD PARLOR and one above extols SPAGHETTI, but both were trimmed when the picture was printed in American Photographs in 1938. The picture in its definitive printing in 1938 was straightened to emphasize those three vertical sections. Evans liked systematically structured images.The girl looks resolute. Man, represented by three felt hats with bands, moves in single file to the right – a stroke of luck recognized after the event. There is always the question of what sets Evans apart as one of photography’s major artists. He may 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, represents something like militant womanhood.

Child in back yard. 1932In 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. 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.

Schule des AugenblicksFotografien von Talbot bis RuffTEXTSIan Jeffrey, Max KozloffGRAPHIC DESIGNdooreman

German440 pp. ● 400 ills. ● 17 x 24 cm ● hardcoverca. €34.00, ca. $40.00, ca. £34.00February 2021

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 itself on glass and paper. But soon it revealed its possibili-ties for artistic mise-en-scène. Digital photography and its potential for manipulation multiply the expressive dimen-sions 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 illumi-nated 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.

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

Schule des SehensBilder von Giotto bis Warhol€28.00, ca. $45.00, ca. £25.99ISBN 978-3-7757-4588-8 (German)

ISBN 978-3-7757-4861-2German

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A prodigy, Shore took up photography at the age of eight, inspired by a TV programme, Love that Bob, which featured a successful commercial photographer. Aged fifteen, he worked with Andy Warhol at The Factory and in 1968 published black-and-white pictures in Andy Warhol (Moderna Museet, Stockholm). In 1970 he attended a ten-day workshop run by Minor White, poles apart from the world 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.

STEPHEN SHORE

Survey pictures are innately mysterious. They invite naming and reading: this is a miniature chapel, for instance, and those are mountains far off, and a fine display of clouds. Naming and reading are tautological and redundant exercises, for we know that those are stones and fences and onions anyway. Documentary returns us to early childhood in the first instance, before raising supplementary questions. The chapel would have been just large enough to be delivered to its site by truck. The sign to the right advises us to ‘Drive Safely, Drive with God’ – who may 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. 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.

U.S. 10, POST FALLS, IDAHO, USA. August 25, 1974Idaho, in the far northwest of the USA, is mountainous with rivers and waterfalls. The artist who decorated THE FALLS got straight to the point in that painting of the operative bit of a waterfall. SELECT FRUIT, the boxes say, and those are onions in the foreground, along with corn cobs.

Bellevue, Alberta. August 21, 1974There 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’, devised by the architects and planners Venturi and Rauch. The chapel is part advert and part functioning building, for the sign says ‘Walk In’. In the exhibition the picture was intended to show that ‘the symbol is more important than the building’.

b. 1947

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Gerhard Richter – Retrospektive (Museumsausgabe)Bonn, 1993Herausgeber: Kunst- und Ausstellungshalle der BundesrepublikDeutschland, Bonn Redaktion: Annette Kulenkampff, Antje UtermannText: siehe EinzelbändeGestaltung: Rainald SchumacherAusstellung: 23.9.-21.11.1993 (Paris, folgende siehe unten)Format: 25,0 x 28,0 cm3 Bände (Schuber/Offsetdruck-Überzug: 25,2 x 28,8 x 4,8 cm)Auflage: 3600 Exemplare

Gerhard Richter – Retrospektive (Verlagsausgabe)Ostfildern, 1993Herausgeber: Kunst- und Ausstellungshalle der BundesrepublikDeutschland, Bonn Redaktion: Annette Kulenkampff, Antje UtermannText: sh. EinzelbändeGestaltung: Rainald SchumacherAusstellung: 23.9.-21.11.1993 (Paris, folgende siehe unten)Format: 25,3 x 28,6 cm3 Bände (Schuber/Offsetdruck-Überzug: 25,8 x 29,2 x 5,4 cm)Auflage: 1500 Exemplare

8855 Die broschierte Museumsausga-be (8855//IIaa Rücken des Schubers +8855//IIbb Rücken der drei Bände), alsauch die leinengebundene Ausgabedes Verlags (8855//IIcc + 8855//IIdd, wie vor)erschienen in aufwändig hergestell-ten Schubern. 8855//IIII Band I, Katalogder Ausstellung, enthält auf S. 4–19Grußwort, Danksagungen und Vor-worte der Kuratoren Wenzel Jacob,

Kasper König, Suzanne Pagé undBjörn Springfeldt. Der Tafelteil mitüberwiegend auf rechten Seitenstehenden Farbabbildungen, diesein chronologischer Folge auf S.23–174, darin auf den S. 121–141 alle15 Bilder des Werkes 18. Oktober1977. S. 176–190 Verzeichnis derausgestellten Werke, die Fotonach-weise und das Impressum für alle

drei Bände. Band I und Band IIIgedruckt auf Samtoffsetpapier.8855//IIIIII Band II, Texte, in Schwarzauf Werkdruckpapier gedruckt. AufS. 4 Kurzbiografien der Autoren.Buchlohs Essay Die Malerei amEnde des Sujets, ab S. 7 gliedertsich in neun Kapitel: Atlas: dasArchiv der Anomie; Ema (1966)oder ein Akt in der Neoavantgarde;

Geteiltes Gedächtnis: Zwei Skulp-turen für einen Raum von Paler-mo; Das Subjekt als Specimen:Achtundvierzig Portraits; 18. Okto-ber 1977; Betty; Richters Faktur:Zwischen Synekdoche und Spekta-kel; Gerhard Richter und die Alle-gorie des abstrakten Kabinetts;Pandora-Malerei: Vom Versagender Abstraktion zur heroischen

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Band II: TexteText (in deutscher, englischer und französi-scher Sprache): Benjamin H. D. Buchloh, Peter Gidal, Birgit Pelzer112 S. Offsetdruck, 52 Abbildungen, Faden-heftung4 S. Umschlag, Offsetdruck, Mattkaschur

Band III: Werkübersicht 1962-1993Text (in deutscher, englischer und französi-scher Sprache): Atelier Gerhard Richter,Dietmar Elger236 S. Offsetdruck, (die Abbildungsseitenunpaginiert) 1892 Abbildungen, Fadenhef-tung4 S. Umschlag, Offsetdruck, Mattkaschur

Travestie. Der mit Referenzabbil-dungen durchsetzte Text endet aufS. 78. Das 5. Kapitel ist eine über-arbeitete Fassung des Aufsatzesvon 1989 (sh. 5577); das 8. Kapitelwurde in Texte zur Kunst, Heft 8,1992, abgedruckt. Auf S. 81–96 Mit-schrift eines Gesprächs, das Buch-loh 1986 mit Richter führte. S.99–103 der Beitrag Unendliche

Endlichkeit von Peter Gidal undauf S. 105–111 Das tragische Begeh-ren von Birgit Pelzer. Dieser Auf-satz erschien zur Pariser Ausstel-lung als Sonderdruck (sh. 8811). 8855//IIVVBand III, Werkübersicht 1962-1993,auf S. 6–145 sämtliche Werkabbil-dungen der Arbeiten Richters imVerhältnis 1:50 mit den WVZ-Num-mern in drei Reihen übereinander;

gedruckt in sechs Farben, nebendem Vierfarbdruck Glanzlack aufden Abbildungen und Silber für dieSpiegel-Arbeiten. Erläuterungenund Legenden zur Werkübersichtvon Dietmar Elger auf S. 146–196;S. 197–234 Anhang mit Biografie,Ausstellungsverzeichnissen, Biblio-grafie, Filmliste und den Fotonach-weisen. Weitere Ausstellungorte:

Bonn, Kunst- und Ausstellungshal-le der Bundesrepublik Deutschland(10.12.1993-13.2.1994); Stockholm,Moderna Museet (12.3.-8.5.1994);Madrid, Museo Nacional Centro deArte Reina Sofia (8.6.-22.8.1994).Fortsetzung im Anhang.

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Band I: Katalog der AusstellungText (in deutscher, englischer und französi-scher Sprache): Wenzel Jacob, KasperKönig, Suzanne Pagé, Björn Springfeldt196 S. Offsetdruck, 150 Abbildungen,Fadenheftung4 S. Umschlag, Offsetdruck, Mattkaschur

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Gerhard Richter. BibliographieKataloge · Künstlerbücher · Monographien · 1962–2020EDITORGerhard Richter Archiv, DresdenTEXTSDr. Dietmar Elger, Heinrich Miess, Gunnar SchmidtGRAPHIC DESIGNGroba Perez Canto

German440 pp. ● 2300 ills. ● 24 x 30 cm ● clothboundca. €58.00, ca. $68.00, ca. £58.00February 2021

Bibliophilic: Artist Books and Surveys of WorksIn a longstanding cooperation with the Gerhard Richter Archive, Dresden, Heinrich Miess has compiled this com-prehensive 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, exem-plary double pages have been selected to document the de-velopment 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 pub-lications 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-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

ISBN 978-3-7757-4867-4German

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Gerhard RichterFlorenz, 1976Herausgeber: Edizioni Masnata-SpagnoliRedaktion: Renzo Spagnoli, Francesco MasnataText: Giorgio CortenovaGestaltung: Galerie/Gerhard RichterAusstellung: Januar/Februar 1976Format: 15,0 x 21,1 cm36 S. Offsetdruck (unpaginiert), 11 Abbildungen, Klebebindung, 4 S.Umschlag, OffsetdruckAuflage: 1000 Exemplare

Gerhard Richter – Atlas der Fotos, Collagen und SkizzenKrefeld, 1976Herausgeber: Kaiser Wilhelm Museum KrefeldRedaktion: Gerhard StorckText: Gerhard Storck u. a. (Zitate)Gestaltung: Tünn KonerdingAusstellung: 8.2.-14.3.1976Format: 16,9 x 23,0 cm; 32 S. Offsetdruck (unpaginiert), 28 Abbildungen, Drahtklammerheftung, 4 S. Umschlag, Offset-druckAuflage: unbekannt

1177 Der erste in Italien publizierteKatalog Gerhard Richters, erschie-nen zur Ausstellung in der GalerieRenzo Spagnoli. S. 3-7 unbetitelterEssay von Giorgio Cortenova; S. 8/9doppelseitiges Porträtfoto und aufS. 10/11 Zitat Richters aus einemBrief vom 23.2.1975 an Edy de Wil-de über die Entstehung der grauenBilder in italienisch und englisch.

Auf S. 13-35 Abbildungsteil, unter-brochen von Kurzbiografie undAusstellungsverzeichnis auf S. 24-26, gedruckt in Schwarz auf mattemPapier; alle Bilder angeschnittenund überwiegend auf rechten Sei-ten 1177aa. Der in Schwarz auf leich-tem Karton gedruckte Umschlagwurde glanzkaschiert.

1188 Trotz des geringen Umfangesanschauliche Darstellung des Atlasdurch die Text- und Bildzusammen-stellung: Einem Auszug aus Witt-gensteins Tractatus folgt StorcksBeschäftigung mit Gerhard Richt-ers Sammelwerk, die in kleinenTextblöcken den Abbildungsteildurchfließt, unterbrochen vonEhrenzweigs Zitat und abgeschlos-

sen mit einer Textstelle aus Wien-ers Die Verbesserung von Mitteleu-ropa. Die Auswahl der Motive zeigtganze Tafeln und Einzelbilder desAtlas in Gegenüberstellungen, aufS. 4/5 als Beispiel den 1188aa Zeitungs-ausriss Sekretärin mit LineaturenRichters zur Übertragung desMotivs auf Leinwand und eine Wie-dergabe des Ölgemäldes.

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Gerhard Richter – Das grafische WerkHamburg, 1976Herausgeber: Deutsche BP AktiengesellschaftRedaktion/Text: unbekanntGestaltung: –Ausstellung: 18.3.-30.4.1976Format: 20,9 x 21,0 cm20 S. Offsetdruck, 7 Abbildungen, Drahtklammerheftung, 4 S. Umschlag, OffsetdruckAuflage: 600 Exemplare

Gerhard RichterParis, 1977Herausgeber: Centre national d’art et de culture GeorgesPompidou – Musée national d’art moderneRedaktion: Daniel AbadieText: Benjamin H. D. Buchloh, Pontus HultenGestaltung: Gerhard RichterAusstellung: 1.2.-21.3. 1977Format: 21,9 x 24,8 cm; 76 S. Offsetdruck, 66 Abbildungen,Fadenheftung, 4 S. Umschlag, OffsetdruckAuflage: unbekannt

1199 Umschlag in Schwarz gedrucktauf lederartig strukuriertemPapier; Inhaltsseiten auf leichtdurchscheinendem, rauhem Werk-druckpapier. Texte stark ver-größert vom maschinengeschriebe-nen Originalmanuskript. S.3Selbstbildnis in Offset von 1971;S.4/5 Biografie, Ausstellungen undLiteratur; S. 6-8 und S. 20

Erklärungen zur Ausstellung. 1199aaDas Verzeichnis der ausgestelltenGrafiken auf den S. 9-19 enthält kei-ne Angaben zu Format und Aufla-ge. Sh. auch 1144, Butin usw.

2200 Katalog zur ersten Einzelaus-stellung Richters in Frankreich.Unter dem Titel Ready-Made, pho-tographie et peinture dans la pein-

ture de Gerhard Richter enthält die-ses Buch zugleich einen erstenEssay Buchlohs, in den kommendenPublikationen einer der führendenInterpreten der Arbeit Richters.Auf S. 3 Vorwort von Pontus Hul-ten, dem damaligen Direktor desCentre Pompidou; S. 4–9 Die Vesuv-Bilder von 1976. 2200aa Der, mit zahl-reichen spaltenbreiten Abbildun-

gen durchsetzte Text Buchlohsbeginnt mit S. 11 und endet, viermalunterbrochen durch Strecken ganz-seitiger Bildtafeln auf S. 58. S.59–69 die Grau-Gemälde von 1975als Tafeln und auf vier Installati-onsfotos; S. 71–73 Angaben zur Bio-grafie, Autorenliste und das Aus-stellungsverzeichnis.

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Tal Sterngast. Twelve PaintingsExcursions in the Gemäldegalerie of the Staatliche Museen zu BerlinFOREWORDMichael Eissenhauer TEXTTal SterngastCOVER DESIGN studio stg

English112 pp. ● 12 ills. ● 14 x 21 cm ● softcover€24.00, $26.00, £24.00November 2020

Familiar Images Read Differently

Berlin’s Gemäldegalerie is known for its outstanding col-lection 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 af-fect 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● A pleasurable reading of great paintings

Tal Sterngast. Zwölf Bilder€24.00, $26.00, £24.00ISBN 978-3-7757-4766-0 (German)

ISBN 978-3-7757-4767-7English

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Das Museum als Safe Space

Caravaggio, Amor Vincit Omnia (1601–1602)

Michelangelo Merisi da Caravaggios Bild Amor Vincit Omnia aus dem 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 das Gemälde auf provokative Weise darauf anlegt, seine Betrachter zu adressieren und zu konfrontieren, lenkt es deren Blick auch hin-ter 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-ters hineinprojiziere, den er gleichsam einhülle und verschlinge. Wir sehen uns aufgehen in dieser Sphäre, deren Effekt mit einem Gyroskop2 verglichen werden kann, einem Kreiselinstrument, das von Bewegung und Neigung unbeeinflusst bleibt.

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 (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 2010.2 Frank Stella, Working Space, Cambridge/London 1986, S. 1–22.

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Also available as an ebook

Tal Sterngast. Twelve Paintings. Excursions in the Gemäldegalerie of the Staatliche Museen zu Berlin€ 24,00 [D], € 26,00 [A], CHF 27,50ISBN 978-3-7757-4907-7 (ebook, English)

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

Dirk BollWas ist diesmal anders? Wirtschaftskrisen und die neuen KunstmärkteTEXTDirk BollILLUSTRATED BYKathrin Jacobsen

German160 pp. ● 6 ills. ● 12 x 19 cm ● softcoverca. €18.00, ca. $20.00, ca. £18.00November 2020English edition will be published 2021

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 experi-enced 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 transfor-mation. Whether the economic crises of 1990 or 2010, the bursting of the first Internet bubble in 2000, or the coro-navirus crisis—every decade leads to a completely differ-ent 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

ISBN 978-3-7757-4811-7German

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

Philipp ZitzlspergerDas Design-Dilemma zwischen Kunst und ProblemlösungTEXTPhilipp ZitzlspergerGRAPHIC DESIGNNeil Holt

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

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

ISBN 978-3-7757-4863-6German

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

András SzántóThe Future of the Museum28 DialoguesGRAPHIC DESIGNNeil Holt

English320 pp. ● 30 ills. ● 12 x 19 cm ● softcoverca. €22.00, ca. $25.00, ca. £22.00November 2020

CONVERSATION PARTNERS: Marion Ackermann, Cecilia Alemani, Anton Belov, Meriem Berrada, Daniel Birnbaum, Thomas P. Campbell, Tania Coen-Uzzielli, Rhana Devenport, María Mercedes González, Max Hollein, Sandra Jackson-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 Wahler, Marie-Cécile Zinsou

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 internation-al 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 particu-lar 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 of-fer 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 with art-world leaders since the early 1990s, including as a frequent moderator of the Art Basel Conversations series.

● New museum concepts● Culture debate● Lively dialogues

András Szántó. The Future of the Museum28 Dialoguesca. €22.00, $25.00, £22.00ISBN 978-3-7757-4828-5 (ebook)

ISBN 978-3-7757-4827-8English

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 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 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-rial undertaking, as the first Italian woman invited to lead the Venice Biennale.

CECILIA ALEMANIDirector & Chief Curator, The High LineNew York City, USA

A MUSEUM WITHOUT A CEILING

The Public Realm

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Franz GertschDie Siebziger / The SeventiesEDITORAnna WesleTEXTSAngelika Affentranger-Kirchrath, Jean-Christophe Ammann,Kathleen Bühler, Luciano Castelli, Andreas Fiedler, Matthias Frehner,Helmut Friedel, Franz Gertsch, Maria Gertsch-Meer, Josef Helfenstein,Cathérine Hug, Anette Hüsch, Peter Iseli, Rita Kersting, Harald Kunde,Christiane Lange, Rainer Michael Mason, Elisabeth Nowak-Thaller,Anna M. Schafroth, Erika Schlessinger-Költzsch, Hemma Schmutz,Bernhart Schwenk, Samuel Vitali, Guido de Werd, Anna Wesle,Beat WismerGRAPHIC DESIGNKerstin Riedel

German, English208 pp. ● 90 ills. ● 23.8 x 29 cm ● hardcover€44.00, $50.00, £44.00October 2020

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

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 him-self. 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 interna-tional 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

ISBN 978-3-7757-4809-4German, English

Saintes Maries de la Mer III1972

66 Saintes Maries de la Mer III, 1972

60 61

60–

67

Saintes Maries de la Mer III 1972Acryl auf ungrundierter BaumwolleAcrylic on unprimed cotton260 × 370 cm

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 Brise, einige Wolken ziehen über den tiefblauen Himmel. Unter der Sonne funkeln die aufschäumenden Wellen wie Edelsteine.Es ist der Strand der weißen Pferde der Camargue und ihrer verwegenen Reiter, die in wildem Galopp im Sand dahinstürmen, und es ist der Strand der Roma und Sinti und ihrer Kinder. Ein Ort, den Franz Gertsch mit seiner Fa-milie 1971 besuchte.Vier dunkelhaarige Mädchen in festlichen Kleidern und Röcken spielen hinter einem Steinwall am Meeresufer. Ein Kind bückt sich, um Muscheln im Sand zu entdecken, ein anderes Mädchen hat soeben Meerwasser in eine Plas-tikflasche gefüllt, diesen Schatz vielleicht eben aus den Wellen geborgen, zwei andere Mädchen eilen neugierig herbei. Keines der Kinder würdigt uns Erwachsene mit einem Blick. Die Kinder entdecken die Welt, sind ganz in ihrem Tun versunken. Sie genießen den herrlichen Son-nentag am Meer.Es gibt sie noch, diese unbeschwerte Kindheit, irgendwo in Frankreich, in Saintes-Maries-de-la-Mer. Ein Ort der Frei-heit und der Lebensfreude. Eine 2330-Seelen-Gemeinde an der Mittelmeerküste im Südosten Frankreichs.Vincent van Gogh verweilte im Mai 1888 an diesem Platz, wo er Skizzen für das weltberühmte Gemälde Fischerboo-te am Strand fertigte. In den 1950er- und 1960er-Jahren zog es wieder viele Künstler und Aussteiger an diesen ma-gischen alten Kraftplatz, wo seit dem 12. Jahrhundert be-rühmte Wallfahrten stattfinden. In diese heimliche Haupt-stadt des Naturparks Camargue pilgern am 24. und 25. Mai Tausende Gläubige, vorwiegend Sinti und Roma aus ganz Europa, um die Schreine der heiligen Maria Jakobäa und der heiligen Maria Salome, die seit 1448 Ziel der Pilger sind, zu verehren und um der Prozession der heiligen Sara zu folgen. Sinti und Roma – über Jahrhunderte hinweg als fahrendes Volk ausgegrenzt und davon in ihrer Kultur stark geprägt – identifizieren sich mit der zu ihren Leb-zeiten verfolgten schwarzen Sara, der Schutzpatronin der

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

Brise, einige Wolken ziehen über den tiefblauen Himmel.

Unter der Sonne funkeln die aufschäumenden Wellen wie

Edelsteine.

Es ist der Strand der weißen Pferde der Camargue und

ihrer verwegenen Reiter, die in wildem Galopp im Sand

dahinstürmen, und es ist der Strand der Roma und Sinti

und ihrer Kinder. Ein Ort, den Franz Gertsch mit seiner

Familie 1971 besuchte.

Vier dunkelhaarige Mädchen in festlichen Kleidern und

Röcken spielen hinter einem Steinwall am Meeresufer. Ein

Kind bückt sich, um Muscheln im Sand zu entdecken, ein

anderes Mädchen hat soeben Meerwasser in eine Plas-

tikflasche gefüllt, diesen Schatz vielleicht eben aus den

Wellen geborgen, zwei andere Mädchen eilen neugierig

herbei. Keines der Kinder würdigt uns Erwachsene mit

einem Blick. Die Kinder entdecken die Welt, sind ganz in

ihrem Tun versunken. Sie genießen den herrlichen Son-

nentag am Meer.

Es gibt sie noch, diese unbeschwerte Kindheit, irgendwo

in Frankreich, in Saintes-Maries-de-la-Mer. Ein Ort der

Freiheit und der Lebensfreude. Eine 2330-Seelen-Ge-

meinde an der Mittelmeerküste im Südosten Frankreichs.

Vincent van Gogh verweilte im Mai 1888 an diesem Platz,

wo er Skizzen für das weltberühmte Gemälde Fischer-

boote am Strand fertigte. In den 1950er- und 1960er-Jah-

ren zog es wieder viele Künstler und Aussteiger an diesen

magischen alten Kraftplatz, wo seit dem 12. Jahrhundert

berühmte Wallfahrten stattfinden. In diese heimliche

Hauptstadt des Naturparks Camargue pilgern am 24. und

25. Mai Tausende Gläubige, vorwiegend Sinti und Roma

aus ganz Europa, um die Schreine der heiligen Maria Jako-

bäa und der heiligen Maria Salome, die seit 1448 Ziel der

Pilger sind, zu verehren und um der Prozession der heili-

gen Sara zu folgen. Sinti und Roma – über Jahrhunderte

ART

17

Tools for UtopiaSelected Works from the Daros Latinamerica CollectionEDITORMarta Dziewańska TEXTSAsociación Arte Concreto-Invención, Waldemar Cordeiro, Marta Dziewańska, Ferreira Gullar, James Koch, Gyula Kosice, Mario Pedrosa, Rhod Rothfuss, Nina ZimmerINTERVIEWS WITH Sara Alonso Gómez, Javier Castro, Paz Errázuriz, Lenora de Barros, Eduardo Jorge de Oliveira, Regina José Galindo, Miguel A. López, Paulina E. Varas, Miguel Àngel Rojas, Sylvia SuárezGRAPHIC DESIGNBłażej Pindor

German, English92 pp. ● 80 ills. ● 22.5 x 29.3 cm ● softcover€38.00, $44.00, £38.00October 2020

EXHIBITIONMuseum of Fine Arts Bern, October 30, 2020—March 21, 2021

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 representa-tion and become active agents for societal transformation.By displaying historical alongside contemporary work, and by presenting historical manifestos alongside recent con-versations with the artists, the project examines the ways in which the urge to “actively inhabit the present” is contin-ued, 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 cata-logue expound bold visions of art, politics, and subjectivity that are particularly relevant for today’s tensions in Latin America and beyond.

● Latin American art● Insight into a world-famous collection● The other avant-garde

ISBN 978-3-7757-4837-7 German, English

language in the area of the visual arts?My choice for studying Linguistics, the ‘science that guides the Human Sciences’, came about in a rather skewed man-ner, and perhaps reveals the divided heart I had at the time, between opting to deepen my knowledge of the visual lan-guage and/or verbal language. On the one hand, my pas-sion for visual arts pushed me toward a Fine Arts faculty, or perhaps Architecture… and on the other, I was interested in investigating the system and mechanisms of language through semantics, morphology and syntax, and through this obtain the instruments that would allow me to pen-etrate the world of poetics and of literary studies. I can state with all certainty that ‘The Functions of Language’ by Roman Jakobson was one of the most significant pa-pers in my education. I thought the concept that defines the Poetic Function was brilliant, and also valid for artistic procedures. I did an unfinished masters degree in the area of Literary Theory and Comparative Literature, where I de-veloped a dissertation project focused on the word/image relationship, completing a good part of the credits at the University of São Paulo’s School of Communications and Arts (ECA). Linguistics, semiotics and their foundations were platforms for the knowledge of the mechanisms of languages for me, especially of the Portuguese language itself. At the same time, it was a way of reconciling my in-terests for the visual, the verbal and the vocal, and helped me to build a broader vision of the possibilities offered by different language forms.

Even those that are not greatly familiar with your work are ex-posed to the everyday aspects raised to the highest level of irony. In what way can irony be a political tool in Brazilian society? Is this dimension of parody, of dissimulation and enjoyment on your horizon as an artist?Irony and parody are fundamental resources for creativity, and, as we know, have been found in the arts and in po-etry over millennia. Particularly in the modern era, for ex-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 fundamental aspects of the framework of ideas proposed by our modernism and also appear as a notable nuance 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 and meanings that disconcert and dissimulate the meaning and cause reactions in the receptor. For example, the rep-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

time unravels

and unweaves

by growing

longer

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of hair

GETTING HAIRY

To M

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glance to be a comical scene, however hiding melancholy feelings and perplexity.

There is something of ‘against tedium’ (Maiakovski) in your work. Could you comment on the playful dimension, such as, for example, the installation Ping-Poema for Boris? There is an affective dimension in it of Russian constructivism (Rodchen-ko, Malevich, El Lissitzky, Maiakoviski). Perhaps you have giv-en this affective and playful dimension to the European, Ameri-can, Latin American, and particularly Brazilian avant garde. Must one rebel against all the signs of tedium?In 2000, with my installation Ping-poema para Boris, (Ping-poem for Boris) I explore for the first time other elements of the ping-pong game, such as paddles, hooks and a ta-ble. The installation was born as a homage to the writer, translator and essayist of Russian origin, Boris Schnaid-erman, who along with Augusto and Haroldo de Campos translated into Portuguese and put into circulation in our language Russian authors that were important to my ed-ucation and to a whole generation of Brazilian poets and artists. In this installation, each piece is inspired on con-structive concepts conceived by the Russian avant-garde, by artists such as Malevich, El Lissitzky, by the poet May-akovsky and his beloved Lilia Brik, who always impressed me as an image, in the photo by Rodchenko for the cover

Fugit velis prerum a nis adi alist, sin corum hil etumet plabor aut litas ad que sin ne net utate nihil ium ea quiant.Ipienih ictibus eum ex es dolore experias idus enis aut volorepudam hitios doluptata veni-tios mincit evellit, ten-im reperia sitempero beatem quatur apellab orrovit aborro tet do-lupta con excereicid ut hilibus apicipidion con conet ullaccum etur? Sunti tor ibus, volore cum, imet aut est, om-nihilibus maiorro di aut odition porpor andae. Nequoditae. Solorro do-loreped mos sandam aut lanisquo doluptu mqui-di beaquas volupta vero omnia consequis alis pliquas pelessit offic te dolupta tenimus, vidu-ciis quistibus sequatem similla borernam num, omnia voluptatur? Ebis quam, invella vel in non pellab ides eatas aut ommolupta ati odic tet quiande ndemporum hit poremodior sume omni-mi, officium que esent.Caturit laut es eaturibus

TO SEE OUTLOUD

to be

in oneself

just

for be ing

hop ping

on the

sy lla ble

of si len cePhotos: Pisco Del Gaiso

Fugit velis prerum a nis adi alist, sin corum hil etumet plabor aut litas ad que sin ne net utate nihil ium ea quiant.Ipienih ictibus eum ex es dolore experias idus enis aut volorepudam hitios doluptata veni-tios mincit evellit, ten-im reperia sitempero beatem quatur apellab orrovit aborro tet do-lupta con excereicid ut hilibus apicipidion con conet ullaccum etur? Sunti tor ibus, volore cum, imet aut est, om-nihilibus maiorro di aut odition porpor andae. Nequoditae. Solorro do-loreped mos sandam aut lanisquo doluptu mqui-di beaquas volupta vero omnia consequis alis pliquas pelessit offic te dolupta tenimus, vidu-ciis quistibus sequatem similla borernam num, omnia voluptatur? Ebis quam, invella vel in non pellab ides eatas aut ommolupta ati odic tet quiande ndemporum hit poremodior sume omni-mi, officium que esent.Caturit laut es eaturibus

ART

18

Christo and Jeanne-ClaudePrints and Objects Catalogue RaisonnéEDITORJörg SchellmannINTRODUCTION BYMatthias KoddenbergTEXTJörg SchellmannGRAPHIC DESIGNJörg Schellmann

German, English272 pp. ● 300 ills. ● 25.7 x 30.4 cm ● Hardcover€44.00, $50.00, £44.00January 2021

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 to-gether 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 or-der to finance these enormous works of art by themselves, Christo and Jeanne-Claude began making saleable edi-tions, multiples or—early on in their career—prints, collag-es, 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 re-cently Christo alone with the Floating Piers.

● Long out of stock● Expanded new edition with all projects● Complete list of graphics and objects

ISBN 978-3-7757-4883-4 German, English

ART

19

Sean Scully and David Carrier in Conversation Abstract Painting, Art History and PoliticsTEXTSDavid Carrier, Sean ScullyGRAPHIC DESIGNNeil Holt

English180 pp. ● 20 ills. ● 19 x 26 cm ● halfcloth€44.00, $50.00, £44.00December 2020

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 philoso-pher David Carrier for several in-depth interview sessions. Their conversations explore these and many more ques-tions about Scully’s life, work, and ideas. The result is a rich manuscript that very closely approaches the status of au-tobiography. 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-al eye-opener for Scully’s art, which can be (re)discovered through his words.

SEAN SCULLY (*1945, Dublin) is one of the most famous artists of his generation. In addition to numerous exhibitions worldwide, he has been honored with important awards such as the Guggenheim Fel-lowship and Harckness Fellowship.DAVID CARRIER (*1944) is a philosopher and art critic. His contribu-tions 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.

● Making of his work● Fascinating insights into Scully’s life● Artistic-philosophical reflections

Danto on Scully €35.00, $39.16, £31.17ISBN 978-3-7757-3963-4 (English)

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

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. Catalogue Raisonné of the Paintings. Volume II, 1980–1989 €98.00, $150.00, £90.00 ISBN 978-3-7757-4232-0 (English)

ISBN 978-3-7757-4806-3 English

I’m basically a metaphorical or philosophical thinker, I think about the meaning of things. In Soft Ending I took the lines and painted the picture green, turned it around, painted it yellow, turned it around and then sprayed maroon red over it. It is one of my favorite paintings. I was thinking of the primitivism of Morocco, I was very inspired by it. But then I come back to this industrialized city and I intuitively used an industrial way of putting paint on. DC Your art always has a subject, in that

very broad sense of “subject.” In that way it’s always representational, not formal.

SS Yes. Some people make art from strategies. ‘I have a bucket of blue paint, I have a bucket of orange paint, I have a bucket of red paint, I make these moves and I accept the result’. But to my mind that’s decoration, decoration for intellectuals. It doesn’t have any potential in it for any other artist, because it’s basically a tautology: It’s this way because I did this. DC The artist is in effect saying: ‘Here’s

how I got the paint on, here’s how I got the line on’.

SS In the 90s there was an addiction to deconstruction, and I never wasted five minutes on that. You didn’t have to because everywhere you walked you could hear the word “deconstruction.” The information was

don’t fit in, who are hard to figure out, who matter ultimately.

SS If it was the people who fit in who mattered, then everybody would be a superstar. If you have the courage to do something when you’re risking everything, then you’re likely to revert to a position, or you might end up in the gutter. But either way, it’s better than being mediocre. I’d rather kill myself. DC Backs and Fronts was very hard to figure

out, but once you’d made that the later transitions, the Walls of Light, and the 90s were not as hard. People should have been prepared.

SS By then I’d already laid up my agenda, which was to paint the grid but to reimagine it, to repossess it. I wanted to send it in a very different direction. DC Angel (1983) is really unusual. The

stripes on the left, they’ve become lines; but visibly hand drawn lines, not your stripes of the late 70s. But that’s a technique that you didn’t develop at this point.

SS You will love this story. I painted Angel in my mind, which is what I do very often. I imagine things and I can see things, as in a holograph where you can project a three dimensional dimension in real space. I can see things in space before I physically make them. And in this way I made that painting on an

flying around like confetti at a Greek wedding. And you got some on you whether you read about it or not, and that was more than enough to get the idea. The idea was pretty thin. And these people took themselves amazingly seriously. And meanwhile, I have to say; to his great credit Frank Stella was, like myself, making things that were visually assertive. Stella works in a very different way from me of course, mechanically. But he was making positive art. He wasn’t taking any notice of this deconstructive nonsense, which hasn’t got any legs anyway. And now deconstruction is completely defunct. DC It’s as if abstract painting had to be over-intellectualized. When you look back, Greenberg didn’t do that. He was very intuitive. But abstraction became bookish. SS It hardened into a set of rules and it became authoritarian. DC Maybe because it became academic,

there was a felt need for a lot of footnotes. SS Generally speaking the history of art has been in the direction of demythologizing and later on in our time deconstructing. That’s the same thing as demythologizing. If you trace the history of art from Giotto, it gets more and more pulled down to the street level, or the level of the marketplace. And these big themes have fun poked at them and then they’re

airplane coming back from Pittsburgh, where I saw you. I had an exhibition in Pittsburgh, the one John Caldwell made at the Carnegie Museum. I was looking out of the airplane window and studying the clouds. The pollution makes for these extraordinary orange-green colors and I painted one side and I drew the other side. I was thinking of body and lack of body, and I called it Angel. Before that I had made another one called Angelica (1982) where the division wasn’t in the middle, which is something actually I should return to. It almost looks like a curtain’s been drawn back. DC And there’s another unusual related

work from this period, By Night and By Day (1983). There are these options that didn’t get pursued but are still there for you.

SS I’ve made them lately, the one behind my head, where I still use the spray gun, which I used to use in 1969 in Newcastle. Soft Ending (1969) was the first painting that I made after my first visit to Morocco. I was interested in what happens when pattern hits industrial civilization. I always think about what things are or what they mean. I’m not somebody who makes things that look nice. That’s why process art was never interesting to me. And that’s why I was at odds with everyone in the 90s.

30 31

Scully Find

ing H

imself in N

ew Yo

rk

By Night and By Day 1983 Soft Ending 1969

ART

Abstract Painting, Art History and Politics Sean Scully andDavid Carrier in Conversation

20

Josef Albers. Suchen und FindenSearch Versus Re-SearchEDITORHeinz Liesbrock INTRODUCTIONGottfried BoehmTEXTSJosef Albers, Gottfried BoehmGRAPHIC DESIGNIngo Offermanns

German112 pp. ● ca. 70 ills. ● 14.8 x 24 cm ● softcoverca. €20.00, $22.00, £20.00April 2021

Artist and Thinker

Josef Albers is regarded not only as one of the most distin-guished 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 art-ist 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

ISBN 978-3-7757-4864-3 German

14 15

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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

xvii [ → 18 ]

From color temperature to humidity in color

Josef Albers, Titeltitel Titel Titeltitel, 19??

22 23 xviiKolumnentitel Kolumnentitel

Metur aut vendiossi des illuptatem nonsectibus modi autx vo-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

ART

21

LeonilsonDrawn 1975–1993EDITORSKrist Gruijthuijsen, Louisa EldertonTEXTSEduardo Brandão and Jan Fjeld, Leda Catunda, Krist Gruijthuijsen, Albert Hien, Yuji Kawasima, Lisette Lagnado, Ivo Mesquita, Adriano PedrosaGRAPHIC DESIGNEstúdio Campo

English400 pp. ● 260 ills. ● 17 x 24 cm ● softcover€48.00, $55.00, £48.00November 2020

EXHIBITIONSKW Institute for Contemporary Art, Berlin, GermanyNovember 28, 2020—February 14, 2021 Moderna Museet, Stockholm, SwedenMarch 13—May 23, 2021 Malmö Konsthall, Malmö, SwedenJune 18—August 29, 2021 Serralves Museum, Porto, PortugalNovember 18, 2021—April 25, 2022

A Legendary Personality

The Brazilian artist Leonilson can be counted among the pioneering Latin American artists of his time. His multi-faceted 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 embroider-ies 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 world-wide 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● First restrospective in Europe

ISBN 978-3-7757-4813-1 English

ART

22

Michael MorgnerWerkverzeichnis Gemälde und PlastikenEDITORThomas Weckerle, WRT Stiftung TEXTSStefan Behrens, Jeannette Brabenetz, Wolfgang Holler, Ulrich Kavka, Ulrich Krempel, Brigitta Milde, Cornelia Nowak, Jutta Penndorf, Eleonore ReinartzGRAPHIC DESIGNTorsten Köchlin and Joana Katte

Germanca. 400 pp. ● 600 ills. ● 24 x 30 cm ● hardcoverca. €98.00, $114.00, £98.00March 2021

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 ex-tensive 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

ISBN 978-3-7757-4839-1 German

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Italian Architectural Drawings from the Cronstedt Collection Nationalmuseum, StockholmEDITORNationalmuseum Stockholm TEXTAnna BortolozziGRAPHIC DESIGNHans Cogne

Englishca. 304 pp. ● 260 ills. ● 21 x 28 cm ● hardcover with dustjacket€58.00, $68.00, £58.00November 2020

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 build-ings 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 examina-tion 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 mu-seum 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

● Cross section of the Renaissance, Baroque, and Mannerism

● With completely new research results

ISBN 978-3-7757-4802-5 English

8584

39. Rome: San Crisogono, Ionic capital, half elevation

Anon. French draughtsman, mid- to second half of the 16th centuryPen and dark brown ink, some construction lines in black chalk, brown wash, compass, straightedge and freehand28 × 20.9 cmNM H CC 1427

PAPER: light white laid paper (distance between chain lines 2.9 cm)

WATERMARK : non visible

INSCRIPTIONS: pied; A Sainct Grisoguene A Rome (at bottom cen-tre). Various measurements

MEASUREMENTS: French pieds. Scale with 1 unit (French pied) = 6.4 cm

PROVENANCE: Carl Johan Cronstedt and descendants; Erik Lan g-en skiöld; gift to the Nationalmuseum of Stockholm 1941

BIBLIOGRAPHY: unpublished

The drawing shows an ancient capital from the me-dieval basilica of San Crisogono. In the 12th century, the early Christian one-bay church was rebuilt with

40.

40. Tivoli (Campagna Romana): Tempio della Tosse?, longitudinal section and front elevation

Anon. French draughtsman, mid- to second half of the 16th centuryPen and brown ink over black chalk, construction line in black chalk, grey wash, compass, straightedge and freehand59.5 × 43.6/44.3 cmNM H CC 839

PAPER: folded in the middle, upper right corner and upper left edge repaired, small holes

WATERMARK : Grape 20 INSCRIPTIONS: Various measurements

MEASUREMENTS: various; scale: French pieds

PROVENANCE: Carl Johan Cronstedt and descendants; Erik Lan g-en skiöld; gift to the Nationalmuseum of Stockholm 1941

BIBLIOGRAPHY: unpublished

The drawing is a longitudinal section and front eleva-tion of a circular building, two storeys high, below a shallow dome. The edifice stands on a basement, and there is a small entrance vestibule on columns at the

two rows of eleven ancient columns, probably from the Baths of Septimius Severus. Between 1618 and 1628, the architect Giovan Battista Soria undertook a complete renovation of the basilica, commissioned by Cardinal Scipione Borghese, chiselling off the old spolia capitals and setting in their place Ionic ones made of painted stucco. The drawing, which shows an exceptional de-gree of draughtsmanship, bears close comparison with a plate published by Philibert Delorme in his Le pre-mier tome de l’Architecture (Fig. 1).

OTHER DRAWINGS: BAV, Vat. lat. 7721, fol. 12r, Giovanni Colonna da Tivoli, c. 1554. Prints: Delorme 1567, 165

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 win-dow 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 like-ly 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 low-er stage is perfectly circular, whereas the two rectangu-lar niches on the cross-axis protruded on the exterior to the height of the lower storey; the dome has no cen-tral oculus and, even if archaeological evidence shows an earlier atrium, modern authors refer to a quite dif-ferent 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-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 1302 (Cat. no. 60) and of NM H CC 2296 (Cat. no. 46), which bear watermarks that had long existed in France. No evident matches with watermarks published in the common repertoria could be found. According to Bri-quet (Briquet 1923, vol. IV, pp. 643–44), a grape of such form and size associated with a monogram can be found in central and southern France during the last quarter of the 16th century. A fantasy reconstruction of the Tempio della Tosse by Giovanni Battista Mon-tano is in the Soane Museum SJSM (Fairbairn 1998, II, p. 670, n. 1150)

LITERATURE: Giuliani 1970, 203–215; Rasch 1998, 53–106

OTHER DRAWINGS: BAV, Barb. lat. 4424 (Codex Barberini), fol. 30v, Giuliano da Sangallo, post 1464–ante 1516; Berlin, Kunstbibl., Hdz 4151, fols 72r–v, anon. Destailleur D2, 3rd quarter of 16th century; Florence, Uffizi, 689Av, Sallustio Peruzzi, post 1536–ante 1567; Montreal, CCA, 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 quarter of 16th century; Vienna, Albertina, inv. Egger 297r and 298r, anon. Italian A, late 15th century; Windsor, RL 19286, Pirro Ligorio and the Codex Ursiniano copyist; Windsor, RL 10843, fol. 47, Sangallo Copyist 2. Prints: for a complete list, see Rasch 1998, pp. 62–63 and plates 30–35

39.

Fig. 1, Philibert Delorme, Ionic capital, print from Le premier tome de l’architecture, Paris 1568, V, fol. 164v

4746

5. Rome: Pantheon, entablature over the interior of the main door (upper left) and of the main interior order (lower right), profile elevation

Anon. late 16th-century French draughtsman, Hand B of the Cron-stedt CollectionPen and brown ink over grey chalk, straightedge, freehand56.8 × 43.1 cmNM H CC 1316

PAPER: heavy weight, lined on to a secondary support of late 16th-century rough paper using a starch paste and trimmed to size

WATERMARK : Tree 28 WATERMARK OF THE SECONDARY SUPPORT: Pilgrim 7

INSCRIPTIONS: cornice de la retonde par dedens (at centre, refer-ring to the profile on the right). Various measurements

MEASUREMENTS: Roman palmi; no scale

PROVENANCE: Carl Johan Cronstedt and descendants; Erik Lan g-en skiöld; gift to the Nationalmuseum of Stockholm 1941

BIBLIOGRAPHY: Yerkes 2017, 152, fig. 96

5 .

Fig. 1

Fig. 2

The drawing shows the profiles of the intersecting cor-nices above the interior main door of the Pantheon: on the left the entablature over the main door, on the right the entablature of the main order. At the lower centre is a plan of a floral coffer in the cornice. The drawing appears to be a copy after a drawing in Munich (Cod. Icon. 209e, fols. 16–17). The Stockholm copyist outlines only part of the moulding decoration but adds some partial measurements in the cornice of the attic storey, most likely collating another source. Drawings of the main interior order of the Pantheon are relatively fre-quent in the 16th century, yet the two drawings in Mu-nich and Stockholm stand out for their large size and for the combination of the profiles of the two entabla-tures on the same sheet. The drawing is part of a group of nine drawings of the Pantheon by the same Hand B (see Cat. no. 2).

LITERATURE: De Fine Licht 1968; Nesselrath 2008; Yerkes 2011; Yerkes 2013; Nesselrath 2015; Yerkes 2017

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, 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

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Thomas SchütteKrefeld PavillonEDITORChristiane Lange TEXTSJulian Heynen, Christiane LangeGRAPHIC DESIGNNeil Holt

German, English120 pp. ● 100 ills. ● 17 x 23 cm ● softcoverca. €28.00, $32.00, £28.00available

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

ISBN 978-3-7757-4844-5 German, English

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Andrew Bickoriginal/ghost/compendiumEDITORSabine Schaschl, Museum Haus Konstruktiv, Zürich TEXTSJo Melvin, Sabine Schaschl, John Wood GRAPHIC DESIGNHarald Pridgar

English, German160 pp. ● 120 ills. ● 26 x 29 cm ● hardcover€40.00, $46.00, £40.00December 2020

Grid and Free-hand PaintingWhen 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 mul-tifaceted interplay between order and freedom, painting and drawing, past and present. The transitions are hardly noticeable, bringing the extremes together and captivat-ing the viewer.

ANDREW BICK (*1963, Coleford, Great Britain) studied painting at the Chelsea School of Art. He places his work in the tradition of construc-tivism. 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

ISBN 978-3-7757-4856-8 English, German

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ISBN 978-3-7757-4870-4German, English

Lea GrebeHolometabolieEDITORFriedrich Meschede, BBK Nürnberg Mittelfranken e.V.AUTHORSPetra Lange-Berndt, Friedrich MeschedeGRAPHIC DESIGNstrobo B M

German, English292 pp. ● 273 ills. ● 24 x 31 cm ● hardcover€40.00, $46.00, £40.00November 2020

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 sci-ence 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 litera-ture, 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

8685

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Liquid SculptureThe Public Art of Cristina IglesiasEDITORSIwona Blazwick and Richard Noble TEXTSOctavio 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 RendellGRAPHIC DESIGNStuart Smith

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

Public Art and Society Today

Can a sculpture be a river? Can contemporary art unite conflicting systems of belief? Do other species appreciate culture? And can public art revive communities and eco-systems? Cristina Iglesias’ horizontal fountains, submerged rooms and tropical mazes bring together language, architec-ture 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.

Spanish artist CRISTINA IGLESIAS (*1956) creates profound spaces of the imagination. Renowned for her sculptures woven, cast or con-structed from metal, wood and alabaster, Iglesias also creates out-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 as a habitat for animals.

● Art in public space● Urban regeneration, multi-culturalism and

environmentalism ● With texts by renowned authors

ISBN 978-3-7757-4823-0 English

LIQUID SCULPTURE

THE PUBLIC ART

OF CRISTINA IGLESIAS

SMITH_Cristina Iglesias_covers_a.indd 16 16/09/2020 15:24

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Jenny BrockmannInformed DesireEDITORWillms Neuhaus Foundation TEXTSJenny 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 WolfGRAPHIC DESIGNAndrea Nicolò

German, English96 pp. ● 103 ills. ● 23 x 28 cm ● hardcover€38.00, $44.00, £38.00available

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 pre-sented around the world.

● Winner of the 2020 Willms Neuhaus Prize● Interface between nature and science● Master of communication

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

29

ART

Abstraction Today from a Young American Tour de Force Landon Metz’s abstract paintings reflect the artist’s delib-erate 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, creat-ing pattern and rhythm. Metz’s artworks communicate a contemporary voice engaging directly with the larger di-alogue 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 and works in Brooklyn, New York.

● Immersive abstraction from a young contemporary master

● Studied and deliberate creation of form● Collection of recent work from this

rising US star

Landon MetzEDITORJeffrey GroveGRAPHIC DESIGNRutger Fuchs

Englishca. 112 pp. ● ca. 64 ills. ● 22 x 27 cm ● hardcoverca. €38.00, ca. $44.00, ca. £38.00March 2021

ISBN 978-3-7757-4885-8 English

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Wo sind wir hier, Nathan Egel?EDITOR AND TEXTThomas Wessel

German84 pp. ● 47 ills. ● 24 x 34 cm ● softcoverca. €28.00, $32.00, £28.00February 2021

Art History and Contemporary Painting

What connects a Baroque repertoire of forms with contem-porary art? Or the visual language of the Renaissance with to-day’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 con-text. 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

18 19

SiE träuMtE voM rEitEnohnE titEl

ISBN 978-3-7757-4825-4German

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Brigitte WaldachSchimmer und GlanzEDITORMarta HerfordTEXTSRoland Nachtigäller, Brigitte Waldach, Heiner Wemhöner GRAPHIC DESIGNAndrea Schürings, büro für mitteilungen

German, English120 pp. ● 80 ills. ● 22 x 28.5 cm ● hardcoverca. €30.00, $35.00, £30.00December 2020

EXHIBITIONMarta Herford, Herford, September 21, 2020–January 17, 2021

Visualization of Thought Processes

In picturesque text clouds, spatial drawings, and sound installations, Brigitte Waldach explores surprising con-nections 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 refer-ence systems in Brigitte Waldach’s oeuvre.

BRIGITTE WALDACH (*1966, Berlin) studied art education, art sci-ence, 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 ● Large-format drawings

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

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Andreas ErikssonCutoutsTEXTKirsty BellPHOTOS BYÅke E:son Lindman

English112 pp. ● ca. 80 ills. ● 21.4 x 31.3 cm ● hardcoverca. €38.00, $44.00, £38.00October 2020

A Brief Ontology of Painting

Painting in between abstraction and representation al-ways 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 wonder-ful, 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

ISBN 978-3-7757-4869-8 English

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64.

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.

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Hidden PatternsVisualizing Networks at BarabásiLabEDITORAlanna Stand, Well Said NYCTEXTSAlbert-Lászlo Barabási, Mónica Bello, Julia Fabényi, Kathleen Forde, József Készman, Isabel Meirelles, Carlo Ratti, Matthew Ritchie, András Szantó, Peter WeibelGRAPHIC DESIGNFerenc Eln

English192 pp. ● ca. 100 ills. ● 25 x 28 cm ● hardcoverca. €40.00, $46.00, £40.00October 2020

EXHIBITIONSLudwig Museum, Budapest, October 10, 2020—January 17, 2021ZKM, Karlsruhe, February 27–August 8, 2021

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 doc-uments 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 il-lustrated compendium features dozens of full-color visual-izations 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 tech-nology 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).

● From the pioneer of complex data● Understanding networks● The design of our times

ISBN 978-3-7757-4862-9 English

3-methylglutaconicaciduria

Aarskog-Scottsyndrome

ABCDsyndrome

Abetalipoproteinemia

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Achondrogenesis_Ib

Achondroplasia

Achromatopsia

Acquiredlong_QT_syndrome

Acromegaly

Adenocarcinoma

Adenoma,periampullary

Adenomas

Adenosine_deaminasedeficiency

Adrenocorticalcarcinoma

Adult_iphenotype

Afibrinogenemia

Alagillesyndrome

Albinism

Alcoholdependence

Alexanderdisease

Allergicrhinitis

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Alzheimerdisease

Amyloidneuropathy

Amyloidosis

Amyotrophiclateral

sclerosis

Androgeninsensitivity

Anemia

Angelmansyndrome

Angiofibroma,sporadic

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Aniridia,type_II

Anorexianervosa

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129

Aorticaneurysm

Apertsyndrome

Apolipoproteindeficiency

137

Aquaporin-1deficiency

144

Arthropathy

Aspergersyndrome

Asthma

Ataxia

Ataxia-telangiectasia

Atelosteogenesis

Atherosclerosis

Atopy

Atrialfibrillation

Atrioventricularblock

Autism

Autoimmunedisease

Axenfeldanomaly

182

Bare_lymphocytesyndrome

Barthsyndrome

Bart-Pumphreysyndrome

Basal_cellcarcinoma

192

Beckermusculardystrophy

Benzenetoxicity

198

Birt-Hogg-Dubesyndrome

Bladdercancer

Bloodgroup

217

Bothniaretinal

dystrophy

Branchiooticsyndrome

Breastcancer

Brugadasyndrome

Butterflydystrophy,

retinal

Complement_componentdeficiency

Cafe-au-laitspots

Ca�eydisease

Cancersusceptibility

Capillarymalformations

Carcinoidtumors,

intestinal

Cardiomyopathy

Carneycomplex

275

Cataract

287

Cerebellarataxia

Cerebralamyloid

angiopathy

Cervicalcarcinoma

Charcot-Marie-Toothdisease

Cleftpalate

Coatsdisease

Co�n-Lowrysyndrome

Coloboma,ocular

Coloncancer

347

Conedystrophy

Convulsions

Cornealdystrophy

Coronaryartery

disease

Costellosyndrome

Coumarinresistance

Cowdendisease

CPTdeficiency,

hepatic

Cramps,potassium-aggravated

377

378

379

Craniosynostosis

Creatinephosphokinase

Creutzfeldt-Jakobdisease

Crouzonsyndrome

Cutislaxa

396

Deafness

Dejerine-Sottasdisease

Dementia

Dentindysplasia,

type_II418

Denys-Drashsyndrome

422

Desmoiddisease

Diabetesmellitus

Diastrophicdysplasia

434

439

441

Duchennemusculardystrophy

Dyserythropoieticanemia

Dysfibrinogenemia463

EBD

Ectodermaldysplasia

Ectopia

Ehlers-Danlossyndrome

Elliptocytosis

474

Emphysema

Endometrialcarcinoma

EnhancedS-cone

syndrome

Enlargedvestibularaqueduct

Epidermolysisbullosa

Epidermolytichyperkeratosis

Epilepsy

Epiphysealdysplasia

Episodicataxia

Epsteinsyndrome

Erythrokeratoderma

Esophagealcancer

Estrogenresistance

Exudativevitreoretinopathy

Eyeanomalies

Factor_xdeficiency

Fanconianemia

Fanconi-Bickelsyndrome

Favism

Fechtnersyndrome

Fovealhypoplasia

549

Frasiersyndrome

558

Fundusalbipunctatus

G6PDdeficiency

Gardnersyndrome

Gastriccancer

Gastrointestinalstromaltumor

Germ_celltumor

Gerstmann-Strausslerdisease

Giant-cellfibroblastoma

Glaucoma

Glioblastoma

594

604

Goiter

GRACILEsyndrome

Graft-versus-hostdisease

Gravesdisease

Growthhormone

HDL_cholesterollevel_QTL

Heartblock

Hemangioblastoma,cerebellar

Hematopoiesis,cyclic

Hemiplegic_migraine,familial

Hemolyticanemia

Hemolytic-uremicsyndrome

Hemorrhagicdiathesis

665

Hepaticadenoma

Hirschsprungdisease

Histiocytoma

HIV

Holoprosencephaly

Homocystinuria

Huntingtondisease

Hypercholanemia

Hypercholesterolemia

Hypereosinophilicsyndrome

Hyperinsulinism

733

Hyperlipoproteinemia

Hyperostosis,endosteal

Hyperparathyroidism

Hyperproinsulinemia

Hyperprolinemia

Hyperproreninemia

Hypertension

Hyperthroidism

Hyperthyroidism

Hypertriglyceridemia

Hypoalphalipoproteinemia

Hypobetalipoproteinemia

Hypocalcemia

Hypocalciurichypercalcemia

Hypoceruloplasminemia

Hypochondroplasia

Hypodontia

Hypofibrinogenemia

Hypoglycemia

Hypokalemicperiodic

paralysis

Hypothyroidism

792

Ichthyosiformerythroderma Ichthyosis

IgE_levelsQTL

803

Incontinentiapigmenti

Infantile_spasmsyndrome

809

Insensitivityto_pain

Insomnia

Insulinresistance

Intervertebral_discdisease

Iridogoniodysgenesis

Iris_hypoplasiaand_glaucoma

Jackson-Weisssyndrome

Jensensyndrome

830

833

Kallmannsyndrome

Keratitis

843

Keratoconus

845

847

Kniestdysplasia

Larsonsyndrome

868

Leanness,inherited

Lebercongenital_amaurosis

Leighsyndrome

Leopardsyndrome

Leprechaunism

Leprosy

Leukemia

Lhermitte-Duclossyndrome

Liddlesyndrome

LiFraumenisyndrome

Li-Fraumenisyndrome

Lipodystrophy

Lipoma

Lissencephaly

Listeriamonocytogenes

Loeys-Dietzsyndrome

Long_QTsyndrome

913

Lungcancer

Lymphoma

930

Macrocyticanemia

Macrothrombocytopenia

Maculardegeneration

Maculopathy,bull’s-eye

Malaria

942

Maple_syrup_urinedisease

Marfansyndrome

Marshallsyndrome

MASSsyndrome

Mast_cellleukemia

959

May-Hegglinanomaly

McCune-Albrightsyndrome

Medulloblastoma

Melanoma Memoryimpairment

Menieredisease

Meningioma

Menkesdisease

Mentalretardation

Merkel_cellcarcinoma

Mesangialsclerosis

Mesothelioma

Migraine

1016

Miyoshimyopathy

MODY

Mohr-Tranebjaergsyndrome

Morningglorydisc

anomaly

Muenkesyndrome

Muir-Torresyndrome

Multipleendocrineneoplasia

Musculardystrophy

Myasthenicsyndrome

Myelodysplasticsyndrome

Myelofibrosis,idiopathic

Myelogenousleukemia

Myeloperoxidasedeficiency

Myocardialinfarction

Myoclonicepilepsy

1056

1057

MyopathyMyotilinopathy

Myotoniacongenita

Myxoma,intracardiac

Nasopharyngealcarcinoma

Nephropathy-hypertension

Nethertonsyndrome

Neuroblastoma

Neuroectodermaltumors

Neurofibromatosis

1096

Neurofibromatosis

Neurofibrosarcoma

Neuropathy

Neutropenia

Nevosyndrome

11041105

Nicotineaddiction

Nightblindness

Nijmegen_breakagesyndrome

1113

Non-Hodgkinlymphoma

Nonsmall_celllung_cancer

Noonansyndrome

Norriedisease

Obesity

Obsessive-compulsivedisorder

Occipital_hornsyndrome

Oculodentodigitaldysplasia

Oligodendroglioma

Oligodontia

1140

Omennsyndrome

Opticatrophy

Orolaryngealcancer

OSMEDsyndrome

Osseousheteroplasia

1153

Osteoarthritis

Osteogenesisimperfecta

Osteopetrosis

Osteoporosis 1164

Osteosarcoma

Ovariancancer

1174

Pancreaticcancer

1183

Paragangliomas

Paramyotoniacongenita

Parathyroidadenoma

Parietalforamina

Parkes_Webersyndrome

Parkinsondisease

Partingtonsyndrome

PCWH

Pelizaeus-Merzbacherdisease

Pendredsyndrome

Perinealhypospadias

Petersanomaly

Peutz-Jegherssyndrome

Pfei�ersyndrome

Pheochromocytoma

Pickdisease

Piebaldism

1229

Pilomatricoma

1232

Placentalabruption

Plateletdefect/deficiency

1239

Polycythemia

Polyposis

PPM-Xsyndrome

Preeclampsia

Primarylateral_sclerosis

1263

1267

Prostatecancer

Proudsyndrome

Pseudoachondroplasia

Pseudohypoaldosteronism

Pseudohypoparathyroidism

Pyropoikilocytosis

1297

Rabson-Mendenhallsyndrome

Renal_cellcarcinoma

Retinal_conedsytrophy

Retinitispigmentosa

Retinoblastoma

Rettsyndrome

Rhabdomyosarcoma

Rheumatoidarthritis

Rh-modsyndrome

Rh-negativeblood_type

Riegersyndrome

Ring_dermoidof_cornea

Rippling_muscledisease

Roussy-Levysyndrome

Rubenstein-Taybisyndrome

Saethre-Chotzensyndrome

Salivaryadenoma

1347

SARS,progression_of

Schizophrenia

Schwannomatosis

Sea-blue_histiocytedisease

Seasonala�ective_disorder

Sebastiansyndrome

Self-healingcollodion_baby

Sepsis

1383

Sezarysyndrome

Shah-Waardenburgsyndrome

Shprintzen-Goldbergsyndrome

Sick_sinussyndrome

1396

Simpson-Golabi-Behmelsyndrome

1401

SMEDStrudwick_type

1414

Somatotrophinoma

Spastic_ataxia/paraplegia

Spherocytosis

Spinal_muscularatrophy

Spinocereballarataxia

1432

Spondyloepiphysealdysplasia

Squamous_cellcarcinoma

Stargardtdisease

Sticklersyndrome

Stomachcancer

Stroke

1456

Supranuclearpalsy

Supravalvar_aorticstenosis

Syndactyly

Systemic_lupuserythematosus

Tangierdisease

1476

T-celllymphoblastic

leukemia

Tetralogyof_Fallot

1490

Thrombocythemia

Thrombocytopenia

Thrombophilia

Thyroidcarcinoma

Thyrotoxicperiodic

paralysis

Tietzsyndrome

Toenaildystrophy,

isolated

1518

1528

Turcotsyndrome

1545

Urolithiasise

Ushersyndrome

Uterineleiomyoma

van_Buchemdisease

1555

Ventriculartachycardia

Verticaltalus

Viralinfection

Vitelliformmacular

dystrophy

Vohwinkelsyndrome

von_Hippel-Lindausyndrome

Waardenburg-Shahsyndrome

Waardenburgsyndrome

Wagnersyndrome

WAGRsyndrome

Walker-Warburgsyndrome

Watsonsyndrome

Wegenergranulomatosis

Weill-Marchesanisyndrome

1586

Williams-Beurensyndrome

Wilmstumor

Wiskott-Aldrichsyndrome

Witkopsyndrome

Wol�-Parkinson-Whitesyndrome

1614

Zlotogora-Ogursyndrome

Adrenaladenoma

Adrenal_corticalcarcinoma

Aneurysm,familial_arterial

Autoimmunethyroiddisease

Basal_cellnevus_syndrome

Carcinoid_tumorof_lung

Central_coredisease

Coronaryspasms

2385

2785

Maculardystrophy

Medullary_thyroidcarcinoma

Pancreaticagenesis

3212

3229

Thyroidhormone

resistance

3512

3558

Combinedimmunodeficiency

Multiplemalignancysyndrome

Optic_nervehypoplasia/aplasia

5233

Renaltubularacidosis

Multiplesclerosis

Renaltubular

dysgenesis

ABCA1

ABCA4

ADA

ADRB2

AGRP

JAG1

AGTAGTR1

ALOX5

ALOX5AP

APC

APOA1

APOA2

APOB

APOE

APPFAS

AQP1

AR

STS

ATM

ATP1A2

ATP7A

BAX

CCND1

BCS1L

BDNF

BMPR1A

BRCA1

BRAF

BRCA2

C6

CACNA1A

CACNA1S

CACNB4

CASP8

CASP10

CASR

CAV3

RUNX1

CBS

CD36

CDH1

CDKN2A

CHRNA4

COL1A1

COL1A2

COL2A1

COL3A1

COL7A1

COL8A2

COL9A2

COL9A3

COL11A1

COL11A2

COMP

KLF6

COX15

CP

CPT2

CRX

CRYAB

NKX2-5

CTLA4

CTNNB1

CYP1B1

CYP2A6

DBH

ACE

DCTN1

DCX

DES

TIMM8A

COCH

NQO1

DMDDSP

DSPP

SLC26A2

ECE1

EDN3

EDNRB

EGFR

EGR2

ELA2

ELN

EP300

EPHX1ERBB2

EYA4

ESR1

EYA1

F5

F7

FBN1

FCGR3A

FCMD

FGA

FGB

FGD1

FGFR1

FGFR3

FGFR2

FGG

FOXC1

FLNB

G6PD

GABRG2

GARS

GATA1

GCK

GCNT2

GCSL

GDNF

GJA1

GJB2GJB3

GPC3

GNAI2GNAS

GSS

MSH6

GYPC

GUCY2D

HEXB

CFH

HNF4A

HOXD10

HRAS

HSD11B2

HSPB1

HTR2A

IL2RG

IL10

IL13

INS

INSR

IPF1

IRF1

JAK2

KCNE1

KCNH2

KCNJ11

KCNQ1

KCNQ2

KIT

KRAS

KRT1

KRT10

LAMA3

LMNA

LOR

LPP

LRP5

SMAD4

MAPT

MATN3

MECP2

MEN1

MET

CIITA

MITF

MLH1 NR3C2

MPO

MPZ

MSH2

MSX1

MSX2

MUTYH

MXI1

MYF6 MYH6MYH7

MYH8

MYH9

MYO7A

NBN

NDP

NDUFV1

NDUFS4

NF1

NF2

NOS3

NRL

NTRK1

OPA1

SLC22A18

PAFAH1B1

PARK2

PAX3

PAX6

PAX9

PDGFB

PDGFRA

PDGFRL

PDE6B

PDHA1

ENPP1

SLC26A4

PGK1

SERPINA1

PIK3CA

PITX2 PITX3

PLEC1

PLOD1

PLP1

PMP22

PMS2

PPARG

PRKAR1A

PRNP

PRODH

PSEN1

PTCH

PTEN

PTPN11

PTPRC

PVRL1

RAG1

RAG2

RASA1

RB1

RDS

REN

RET

RHAG

RHCE

RHO

RLBP1

RP1RPGR

RPE65

RPS6KA3

RYR1

RYR2

SCN4A

SCN5A

SCNN1B

SCNN1G

SDHA

SDHBSDHD

SGCD

SHH

SLC2A2

SLC4A1

SLC6A4

SLC6A8

SLC34A1

SNCA

SOX3

SOX10

SPTA1

SPTB

STAT5B

ELOVL4

STK11

ABCC8

TAP2

TAZ

TBP

TCF1

TCF2

TG

TGFBR2

TGM1

THBD

TNF

TP53

TPO

TSHR

TTN

TTR

TYR

USH2A

VHL

VMD2

WAS

WT1

XRCC3

PLA2G7

HMGA2

DYSF

AXIN2

MAD1L1

RAD54L

IKBKG

TCAP

PTCH2

WISP3

BCL10

PHOX2B

LGI1

VAPB

MYOT

KCNE2

NR2E3

USH1C

FBLN5

POMT1

GJB6

SPINK5

CHEK2

ACSL6

CRB1

AIPL1

RAD54B

PTPN22

BSCL2

VSX1FOXP3

PHF11

PRKAG2

NLGN3

CNGB3

RETN

RPGRIP1

NLGN4X

ALS2

CDH23

DCLRE1C

PCDH15

CDC73

OPA3

BRIP1

MASS1

ARX

FLCN

30 31

Fig. 6: World Finance Corporation and Associates, c. 1970-84: Miami, Ajman, and Bogota-Caracas (Brigada 2506: Cuban Anti-Castro Bay of Pigs Veteran) (7th Version), by Mark Lombardi, 1999.

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 and Attack Tolerance of Complex Networks,” employed this strategy.8 The visualiza-tion, which appeared in Nature in 2000, uses color to show levels of connectedness. The five nodes with the highest number of links are encoded in red, and their first 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 largest cluster of protein interactions (fig. 9). In that diagram, node colors stand for the phenotypic effect of removing the corresponding protein and, hence, are a fun-damental feature of conveying the scientific findings. In general, colors can facilitate perception of many network features, such as patterns of connectedness behavior, distribution of nodes in different parts of the network, and the presence and location of clusters, among others.

In the BarabásiLab’s 2007 The Human Disease Network (see page 62), which depicts the genetic origins of how diseases are related, disorders are grouped by

color. We can examine the cyan cluster of cancers and even fathom the relationships between different types of cancers, as well as their connections to other morbidities, thanks in part to the color of nodes. In this diagram, the nodes also encode quan-titative values, with their sizes standing for the number of genes associated with that disease. Adding to its communicative value is a clear layout with node overlaps avoided, and a minimum number of link crossings. In the early days, and whenever possible, researchers would painstakingly rearrange nodes to clarify the topology and highlight connectedness between elements. Such manipulation of nodes in the arts is still common practice.

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

Fig. 7: The BarabásiLab’s Random vs. Scale-free Networks, as published in “Error and Attack Tolerance of Complex Networks,” in Nature, July 27, 2000.

Fig. 8: Four stills from an animated digital visualization of the BarabásiLab’s The Human Disease Network, which Barabási screened during his 2012 TEDMED Talk.

ART

34

Peter Weibel(Post-)Europa? Lovis-Corinth-Preis 2020EDITORKunstforum Ostdeutsche Galerie Regensburg TEXTSBazon Brock, Agnes Tieze, interview by Agnes Tieze with Peter WeibelGRAPHIC DESIGNW. Maier

German, English128 pp. ● ca. 95 ills. ● 23 x 28 cm ● softcover€38.00, $44.00, £38.00available

EXHIBITIONKunstforum Ostdeutsche Galerie Regensburg, October 3, 2020–January 31, 2021

“Europe’s rebirth must be the goal.”―Peter WeibelPeter Weibel, the long-standing CEO of the ZKM | Zentrum für Kunst und Medien (Center for Art and Media) in Karls-ruhe, and the recipient of the Lovis-Corinth-Preis in 2020, has influenced the international scene of media art as an artist as well as a theorist and curator. His artistic oeuvre comprises conceptual art, performance, experimental film, video, and computer art as well as his exploration of music. This publication offers insight into Weibel’s diverse work. One main area consists of works in which the artist takes up core questions about Europe. In other works crit-ical of the system, which always question the usual con-cept of art as well, Weibel addresses migration, expulsion, war, and terrorism as well as economic and ecological catastrophes. The Lovis-Corinth-Prize was first awarded by the KünstlerGilde e. V. in the Kunstforum Ostdeutsche Galerie Regensburg in 1974.

Under the conditions of the nascent age of media, since the 1960s PETER WEIBEL (*1944, Odessa) has created an oeuvre that dares to conceive of artistic creativity as an open field of action. He is head of the ZKM, Karlsruhe until 2023. Since 2017 he has been director of the Peter Weibel Research Institute for Digital Culture at the Universität für angewandte Kunst in Vienna.

● Winner of the Lovis-Corinth-Prize 2020● Media pioneer, artist, curator and author● Works between art and science

ISBN 978-3-7757-4793-6German, English

35

ART

Marco GodinhoWritten by WaterEDITORCasino Luxembourg – Forum d’art contemporain, Luxembourg TEXTSLéa Bismuth, Sally Bonn, Thierry Davila, Paul di Felice, Christophe Gallois, Hélène Guenin, Béatrice JosseGRAPHIC DESIGNStudio Manuel Raeder, Berlin

English, Frenchca. 304 pp. ● 204 ills. ● 21 x 28 cm ● hardcoverca. €40.00, $46.00, £46.00October 2020

“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 im-pressive 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 accom-panied by seven essays, which are just as thought-provok-ing and a wide range of singular works and recent exhibi-tions 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

ISBN 978-3-7757-4814-8 English, French

36

Genaro Strobel Size TEXTLeón Krempel

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

ISBN 978-3-7757-4877-3 German, English

Woodcuts à la Carte

Genaro Strobel creates monumental works on paper us-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 vis-ibly 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

ART

GENARO STROBEL GENARO STROBEL SIZESIZE

37

Lonnie van Brummelen and Siebren de HaanDrifting Studio PracticeTEXTSLonnie van Brummelen and Siebren de HaanGRAPHIC DESIGNMatthias Hübner

Dutch, English352 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

Documentaries by the Dutch Artist Duo

In  Drifting Studio Practice, artists Lonnie van Brummelen and Siebren de Haan discuss their participatory documen-taries 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 de-velops 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

ART

38

Romanian Contemporary Art 2010–2020Rethinking the Image of the World: Projects and SketchesEDITORSAdrian Bojenoiu, Cristian Nae TEXTSAdrian Bojenoiu, Iara Boubnova, Sabin Bors, Carmen Casiuc, Ionut Cioana, Liviana Dan, Caroline Dumalin, Catalin Gheorghe, Bogdan Ghiu, Jesi Khadivi, Anca Verona Mihulet, Cristian Nae, Daniel Ricardo Quiles, Magda Radu, Raluca VoineaGRAPHIC DESIGNa r c Timo Grimberg

English208 pp. ● 180 ills. ● 23.9 x 30.4 cm ● softcover€40.00, $46,00, £40,00October 2020

ISBN 978-3-7757-4651-9English

ISBN 978-3-7757-4826-1German, Czech

Grenzen in der KunstTschechische Kunst in drei GenerationenEDITORKunstforum Ostdeutsche Galerie Regensburg TEXTSMiroslav Petricek, Agnes Tieze, Jindrich Toman, Oto Urban

German, Czech128 pp. ● ca. 55 ills. ● 23 x 28 cm ● paperback with flaps€34.00, $40.00, £34.00December 2020

EXHIBITIONKunstforum Ostdeutsche Galerie Regensburg, May 21–August 15,2021

● Survey of the Romanian art scene● Fascinating contemporary art● Artistic positions on burning issues of the day

● The art of dissolving boundaries● Toyen, Jetelovà, Kintera: Three generations in

dialogue● A culture of memory

ART

39

Marianna ChristofidesDays In BetweenCOPUBLISHED WITHNational Museum of Contemporary Art (MNAC), BucharestEDITORSBrenda Hollweg, Marianna ChristofidesASSOCIATE EDITORAndrei Siclodi TEXTSBernd Bräunlich, Érik Bullot, Marianna Christofides, Katerina Gregos, Brenda Hollweg, Vanessa Joan Müller, Elena Parpa, Andrei Siclodi, John SundholmGRAPHIC DESIGNbaldinger•vu-huu

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

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 ex-hibition 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 ma-terialism, 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 2019, Christofides was finalist for the Berlin Art Prize. She is currently fellow of the Berlin Artistic Research Grant Programme and prize win-ner of the innogy Foundation VISIT 2020. She lives and works in Berlin.

ASSOCIATE INSTITUTIONS Berlin Senate Office for Culture and Europe (DE); Stiftung Kunstfonds, Bonn (DE); Künstlerhaus Büchsen-hausen, Innsbruck (AT); MNAC Bucharest (RO); ENSA Bourges (FR); Berlin Artistic Research Grant Programme (DE)

● A critical exploration of the Balkans● Long-term project based on a 16mm essay film● Artist book, reader and visual essay in one

ISBN 978-3-7757-4882-7 English

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Frank HorvatSide WalkEDITORJordan AlvesINTRODUCTIONAmos GitaiTEXTFrank HorvatGRAPHIC DESIGNFrançois Dézafit

English160 pp. ● 90 ills. ● 17 x 24 cm ● clothbound€38.00, $44.00, £38.00October 2020

EXHIBITIONMaison Doisneau, Gentilly, October 2, 2020—January 10, 2021

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 il-lustrated book. From 1979 to 1986, New York was a kind of refuge for the photographer. Here he surrendered him-self 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

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ISBN 978-3-7757-4849-0English

Please don’t Smile € 48,00, $75.00, £45.00ISBN 978-3-7757-4028-9

Photographic Autobiography € 38,00, $55.00, £35.00 ISBN 978-3-7757-4208-5

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Tom HegenAerial Observations on AirportsEDITORNadine BarthTEXTAlain de BottonGRAPHIC DESIGNTom Hegen

English176 pp. ● 100 ills. ● 22.5 x 31 cm ● clothboundca. €54.00, ca. $62.00, ca. £54.00October 2020

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 pic-tures 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

ISBN 978-3-7757-4851-3English

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Angelika PlatenMeine FrauenTEXTSSwantje Karich, Julia VossGRAPHIC DESIGNAndreas Koch

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

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 fe-male visual artists. Here, she shows an exciting, varied, pho-tographic 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

ISBN 978-3-7757-4881-0German, English

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Erwin OlafEDITORRoger Diederen, Kunsthalle MünchenTEXTSDaniel Hornuff, Anja Huber, Claudia Peppel, Franziska Stöhr, Estelle VallenderGRAPHIC DESIGNFlorian Frohnholzer, SOFAROBOTNIK

German224 pp. ● 220 ills. ● 24 x 30 cm ● hardcoverca. €34.00, ca. $40.00, ca. £34.00March 2021

EXHIBITIONKunsthalle of the Hypo-Kulturstiftung MunichMarch 19–August 22, 2021

The Fracture Behind the High-Gloss AestheticsFor 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 compre-hensive 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

ISBN 978-3-7757-4879-7German

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Christine TurnauerI saw more than I can tellTEXTSChristian Feest, Dennis Francis, Christine TurnauerGRAPHIC DESIGNMargarethe Hausstätter

English88 pp. ● 34 ills. ● 26 x 32 cm ● hardcover€38.00, $44.00, £38.00available

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 complete-ly themselves, and when they wear their traditional costumes, it becomes a spontaneous expression of pride and inner free-dom. 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 por-traits, 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 pho-tographer since 1979. Focusing on black-and-white portrait photogra-phy, 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

black-and-white photographs● The 1980s powwow scene

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(English)

ISBN 978-3-7757-4822-3English

Chief from the Kanai tribe Alberta, Canada, 1986

Maggi Black Cettle, Blackfoot tribe Alberta, Canada, 1986

Kelly and Mervin Good Eagle, Blackfoot tribe, fancy dancer Alberta, Canada, 1986

Rose Ann Abramson, Shoshone-Bannock tribe, traditional dancer Alberta, Canada, 1986

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Jon LowensteinSouth SideEDITORChloé Zanni, NOORTEXTJon LowensteinGRAPHIC DESIGNJacob Birch, spine studio

English208 pp. ● 150 ills. ● 20.3 x 25.4 cm ● swiss binding with hardcover€40.00, $46.00, £40.00February 2021

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 docu-mentary 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 col-laborative 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 re-nowned 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

● Contribution to the current political dialogue in the USA

● Masterly documentary photography

ISBN 978-3-7757-4847-6English

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

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A young man floats in the air while jumping on a trampo-line at a summer block club party in the Auburn-Gresham neigbhorhood on Chicago’s South Side.

Man taking a nap during his lunch break. He was exhaust-ed as his wife had just had their first baby and he was up all night.

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Daniel FreemanMidnight on MainEDITORNadine Barth TEXTDaniel FreemanGRAPHIC DESIGNJulia Wagner, grafikanstalt

English128 pp. ● 78 ills. ● 20 x 30 cm ● hardcover€44.00, $50.00, £44.00October 2020

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 beau-ty amplified through the prolonged and peaceful interludes of calm that stretch between dusk and dawn. Urban land-scape 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.

● Haunting nocturnal photography● Images of a lesser-shown America● With an essay by the artist

ISBN 978-3-7757-4817-9English

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Romeo AlaeffIn der FremdePictures from HomeEDITORNadine BarthTEXTSRomeo Alaeff, Yuval Noah Harari, Eva Hoffman, Joseph Kertes, Rory MacLean, Christian Rattemeyer, Charles SimicGRAPHIC DESIGNanschlaege.de

English180 pp. ● 110 ills. ● 28 x 26 cm ● hardcover€44.00, $50.00, £44.00October 2020

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 ex-plores 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● With essays by renowned writers

ISBN 978-3-7757-4820-9English

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Julien GuinandTwo MountainsTEXTSJean-Francois Chevrier, Hidetaka Ishida, Jean-Christophe ValmaletteGRAPHIC DESIGNDavid Poullard

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

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

ISBN 978-3-7757-4818-6English, French

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Michele NastasiArabian TransferEDITORNadine BarthGRAPHIC DESIGNAlessandro C. Busseni, propp.it

English96 pp. ● 56 ills. ● 32 x 22.5 cm ● hardcoverca. €44.00, ca. $50.00, ca. £44.00March 2021

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 me-tropolises 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 cit-ies and architecture, which are exhibited and published internation-ally. 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

ISBN 978-3-7757-4873-5English

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Sandra RatkovicMerseyside and BrexitEDITORNadine BarthGRAPHIC DESIGNKathrin Uecker

English88 pp. ● 45 ills. ● 28 x 19 cm ● softcover€28.00, $32.00, £28.00October 2020

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

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 inter-national 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 RatkovicMoskau Moscow Mockba€29.80, $40.00, £26.99 ISBN 978-3-7757-4256-6(German, English, Russian)

ISBN 978-3-7757-4838-4 English

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Peter NitschTango In The Big MangoEDITORNadine Barth GRAPHIC DESIGNSuzy Wong

English160 pp. ● 80 ills. ● 24.5 x 30 cm ● hardcoverca. €40.00, ca. $46.00, ca. £40.00March 2021

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 cap-tured the streets, people, and life in the Thai capital with his sensitive feel for the right moment and the special de-tail. 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

ISBN 978-3-7757-4824-7 English

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Roger BallenRoger the RatEDITORNadine Barth TEXTRoger BallenGRAPHIC DESIGNAnja Haering

English128 pp. ● 61 ills. ● 22 x 22 cm ● hardcover€28.00, $32.00, £28.00available

EXHIBITIONARTCO, Berlin, October 1–31, 2020

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 im-ages 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

ISBN 978-3-7757-4819-3 English

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Max SiedentopfHome Alone A Survival GuideEDITORNadine Barth GRAPHIC DESIGNMax Siedentopf

English104 pp. ● 210 ills. ● 12 x 14 cm ● softcover€12.00, $14.00, £12.00available

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 dif-ferent 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, photogra-pher, 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 SiedentopfHome Alone Survival Guide€11.99, $13.99, £11.99ISBN 978-3-7757-4796-7 (ebook)

ISBN 978-3-7757-4797-4English

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Pascale WeberFor Cats Only / Nur für KatzenEDITORNadine BarthGRAPHIC DESIGNThomas Lemaître

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

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 back-ground, 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 sud-denly 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

ISBN 978-3-7757-4855-1 German, English

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Erik DhontLandscape Architects Works 1999–2020EDITORSErik Dhont, Suzanne KrizeneckyTEXTSuzanne KrizeneckyINTRODUCTIONMichael JakobPHOTOS BYJean-Pierre Gabriel together with Georg Aerni and Reiner LautweinGRAPHIC DESIGN Jurgen Persijn

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

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 cre-ates 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 sculptur-al 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 crea-tive 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 in-stitutions from all over the world.

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

ISBN 978-3-7757-4815-5 English

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Candide: Journal for Architectural KnowledgeNo. 12EDITORAxel SowaTEXTSNicholas Boyarsky, Lard Buurman, Davide Deriu, Ela Kacel, Markus Lanz, Bettina Lockemann, Clare Melhuish, Elisabeth Neudörfl, Birgit Schillak-Hammers, Mary N. WoodsGRAPHIC DESIGNAdriaan Mellegers

Englishca. 140 pp. ● 50 ills. ● 17 x 24 cm ● softcoverca. €20.00, ca. $22.00, ca. £20.00November 2020

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 geog-raphy. 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 ur-ban 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 num-ber 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

ISBN 978-3-7757-4853-7 English

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Women in ArchitectureFrom History to FutureEDITORUrsula SchwitallaINTRODUCTIONOdile DecqTEXTSDirk Boll, Sol Camacho, Beatriz Colomina, Patrik Schumacher, Ursula Schwitalla, Ernst Seidl

English280 pp. ● 400 ills. ● 24 x 30 cm ● hardcover€48.00, $55.00, £48.00January 2021

Architecture and Gender

Why do women architects still not receive the recognition their work deserves? Women in Architecture is a manifesto for the great achievements of female architects. The voic-es of thirty-six internationally active women architects are heard through their own projects. This diverse panorama is supplemented by essays on pioneering female architects, and analyses that get to the bottom of the structural dis-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 exhi-bition curator and art consultant. As chairwoman of the Tübinger Kunst geschichtliche Gesellschaft e.V., lecturer, and associate member of the Association of German Architects (BDA), she has been respon-sible for the lecture series “Architecture Today” at the University of Tübingen for twenty years.

● Overview of women architects today● Current topic● Historical insights

ISBN 978-3-7757-4857-5English

Frauen in der ArchitekturRückblicke, Positionen, Aussichten€48.00, $55.00, £48.00ISBN 978-3-7757-4868-1 (German)

WomenArchitecture

Ursula Schwitalla (Ed.)

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Frauen Architektur

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Ursula Schwitalla (Hg.)

129128 Seat Frame Armchair

Discreet Beauty of SimplicityJörg SchellmannEDITORJörg SchellmannTEXTSMateo Kries, Jörg SchellmannGRAPHIC DESIGNMaximilian Riedel, Boros, Berlin

German, English312 pp. ● 168 ills. ● 21 x 28 cm ● hardcoverca. €44.00, $50.00, £44.00December 2020

The Art of Reduction

For all their simplicity, the most important goal of Jörg Schellmann’s furniture designs is to “avoid banality and re-veal 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

ISBN 978-3-7757-4854-4 German, English

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

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Gabriel GuevrekianThe Elusive ModernistTEXTHamed KhosraviGRAPHIC DESIGNMarco Ugolini, objectif.co.uk

English384 pp. ● 303 ills. ● 23.4 x 29.4 cm ● hardcover€48.00, $55.00, £48.00November 2020

Cosmopolitan, Avant-Gardist, Architect: Life and Work of the Modern 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 protag-onists of the European avant-garde in Paris. During the 1930s, he spent a few years in Iran to design public build-ings and later, after the Second World War, he took teach-ing 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 tangi-ble 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.

● Unique compilation of micro-narratives on Guevrekian’s life

● Fresh reading of modern architecture’s history

● Independent and complete narrative of lesser-known visual material

ISBN 978-3-7757-4433-1 English

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Already announced in Fall 2018

Rights of Future GenerationsPropositionsCO-PUBLISHED WITH the Sharjah Architecture Triennial EDITORSAdrian Lahoud, Andrea BagnatoTEXTSNadia Abu El Haj, Houria Bouteldja, Gayatri Chakravorty Spivak, Denise Ferreira da Silva, Alia Mossallam, Edwin Nasr, Jasbir K. Puar, Françoise VergèsGRAPHIC DESIGNMorcos Key

English, Arabic432 pp. ● 100 ills. ● 24 x 32 cm ● hardcoverca. €58.00, ca. $68.00, ca. £58.00February 2021

Toward an Architecture of Solidarity or The Urgency of the FutureCommunities 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 pres-ent 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 coloni-al 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 exhibi-tion 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 archi-tecture 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

first Triennial

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

ISBN 978-3-7757-4872-8English, Arabic

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Eyes of the CityArchitecture and Urban Space after Artificial IntelligenceEDITORSValeria Federighi, Monica Naso, Daniele BelleriTEXTSDaniele 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, Philip F. Yuan, et al.GRAPHIC DESIGN Alessandro Saglietti

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

Technology and the City

What effects does digitization have on architecture? What role does artificial intelligence play in designing urban spac-es? 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 multifac-eted, 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 associat-ed 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 ur-ban 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

ISBN 978-3-7757-4880-3 English

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Late GothicThreshold to Modernity

€40.00, $46.00, £40.00Exhibtion: Gemäldegalerie Staatliche Museen Berlin, 19.2.–27.6.2021

Francisco de Goya

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

Close-Up

€58.00, $68.00, £58.00Exhibition: Fondation Beyeler tba

CLOSE-UP

BERTHE MORISOT, MARY CASSATT, PAULA MODERSOHN-BECKER,

LOTTE LASERSTEIN, FRIDA KAHLO, ALICE NEEL, MARLENE DUMAS,

CINDY SHERMAN, ELIZABETH PEYTON

ISBN 978-3-7757-4755-4English

ISBN 978-3-7757-4657-1English

Attention! These exhibitions and publications have been 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

ISBN 978-3-7757-4757-8English

ISBN 978-3-7757-2593-4English

Jean-Michel Basquiat

€49.80, $65.00, £45.00

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

ElementalIncremental Housing and Participatory Design Manual

€39.80, $60.00, £35.00

ISBN 978-3-7757-4181-1German, English

Fred HerzogModern Color

€38.00, $48.00, £35.00

ISBN 978-3-7757-4209-2English

Watercolors by Finn Juhl

€39.80, $60.00, £35.00

ISBN 978-3-7757-4713-4English

Gerhard RichterLandscape

€44.00, ca. $50.00, ca. £44.00

ISBN 978-3-7757-4329-7English

Wolfgang Tillmans

€58.00, $85.00, £55.00

Topseller

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ART

Beethoven Moves€48.00, $55.00, £48.00ISBN 978-3-7757-4749-3

Helmut FederleBasics on Composition€40.00, $46.00, £40.00ISBN 978-3-7757-4786-8

Louise BourgeoisArt to Read€16.00, $18.00, £16.00ISBN 978-3-7757-3227-7

FREUDBerggasse 19€54.00, $62.00, £54.00ISBN 978-3-7757-4735-6

Adrian GheniePaintings 2014 to 2019€58.00, $85.00, £55.00ISBN 978-3-7757-4352-5

Miriam CahnWriting in Rage€25.00, $39.95, £22.99ISBN 978-3-7757-4487-4

Donatien GrauLiving Museums€22.00, $25.00, £22.00ISBN 978-3-7757-4753-0

Clémentine DelissThe Metabolic Museum€18.00, $20.00, £18.00ISBN 978-3-7757-4780-6

Katharina GrosseIt Wasn’t Us€44.00, $50.00, £44.00ISBN 978-3-7757-4728-8

Louise BourgeoisThe Spider and the Tapestries€28.00, $45.00, £25.99ISBN 978-3-7757-3997-9

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Shilpa GuptaDrawing in the Dark€40.00, $46.00, £40.00ISBN 978-3-7757-4721-9

Taro IzumiEx€40.00, $46.00, £40.00ISBN 978-3-7757-4737-0

Staging nature and life€44.00, $50.00, £44.00ISBN 978-3-7757-4673-1

Paul KleeLife and Work€48.00, $55.00, £48.00ISBN 978-3-7757-4719-6

Stefan MarxType Works€ 38.00, $59.95, £35.00ISBN 978-3-7757-4690-8

In the Name of the Image€44.00, $50.00, £44.00ISBN 978-3-7757-4733-2

PicassoThe Blue and Rose Periods€60.00, $85.00, £55.00ISBN 978-3-7757-4505-5

Edward HopperA Fresh Look at Landscape€58.00, $68.00, £58.00ISBN 978-3-7757-4654-0

Edward HopperA–Z€18.00, $20.00, £18.00ISBN 978-3-7757-4656-4

House of Europe€22.00, $25.00, £22.00ISBN 978-3-7757-4745-5

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Vittorio SantoroExperience Implies Movement€68.00, $75.00, £68.00ISBN 978-3-7757-4744-8

Armin Mueller-StahlRockets to the Moon€28.00, $32.00, £28.00ISBN 978-3-7757-4723-3

Nicole SchuckValued Animals€68.00, $75.00, £68.00ISBN 978-3-7757-4711-0

Vivian Suter€48.00, $65.00, £40.00ISBN 978-3-7757-4551-2

InnerSean Scully€58.00, $65.00, £45.00ISBN 978-3-7757-4164-4

Franz Erhard WaltherShifting Perspectives€64.00, $75.00, £64.00ISBN 978-3-7757-4707-3

Richard Shiff Sensuous Thoughts€30.00, $35.00, £30.00ISBN 978-3-7757-4750-9

Ting Yin YungCatalogue Raisonné€88.00, $100.00, £88.00ISBN 978-3-7757-4758-5

Gerhard Richter Catalogue Raisonné Vol. 5€248.00, $375.00, £225.00ISBN 978-3-7757-3230-7

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Aby Warburg: Bilderatlas MNEMOSYNE €200.00, $230.00, £198.00ISBN 978-3-7757-4693-9

PHOTOGRAPHY

Clemens AscherThere is no Release from the Brain Police€34.00, $40.00, £34.00ISBN 978-3-7757-4774-5

Rwandan Daughters€54.00, $75.00, £50.00ISBN 978-3-7757-4547-5

Polar Bears€16.00, $24.95, £14.99ISBN 978-3-7757-4599-4

Aram DikiciyanScheinzeit€38.00, $44.00, £38.00ISBN 978-3-7757-4777-6

Olaf Otto BeckerSiberian Summer€68.00, $75.00, £68.00ISBN 978-3-7757-4790-5

Lars EidingerAutistic Disco€30.00, $35.00, £30.00ISBN 978-3-7757-4781-3

Kate BellmAmor€54.00, $62.00, £54.00ISBN 978-3-7757-4660-1

Female Photographers OrgThe Body Issue€28.00, $45.00, £25.99ISBN 978-3-7757-4663-2

Coincidences at Museums€16.00, $24.95, £14.99ISBN 978-3-7757-4558-1

Donald GrahamOne of a Kind€60.00, $70.00, £57.00ISBN 978-3-7757-4691-5

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Photography to the Test of Abstraction€40.00, $46.00, £40.00ISBN 978-3-7757-4771-4

Sanna KannistoObserving Eye€40.00, $46.00, £40.00ISBN 978-3-7757-4791-2

Sofie KnijffTranslations€38.00, $44.00, £38.00ISBN 978-3-7757-4776-9

Frank KunertLifestyle€18.00, $20.00, £18.00ISBN 978-3-7757-4376-1

Achim MohnéDI_GI_TA_LIS€44.00, $50.00, £44.00ISBN 978-3-7757-4769-1

Jean-Luc MylayneAutumn of Paradise€30.00, $45.00, £26.99ISBN 978-3-7757-4523-9

Thomas NeumannExact Confidence Limits€40.00, $46.00, £40.00ISBN 978-3-7757-4759-2

Kristian SchullerAnton’s Berlin€48.00, $75.00, £45.00ISBN 978-3-7757-4671-7

Elfie SemotanContradiction€48.00, $75.00, £45.00ISBN 978-3-7757-4607-6

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Inez & VinoodhI See You in Everything €25.00, $39.95, £22.99ISBN 978-3-7757-4679-3

ARCHITECTURE

gmp × Architekten von Gerkan, Marg und Partner€58.00, $68.00, £58.00ISBN 978-3-7757-4787-5

Mr. Bawa I Presume€40.00, $46.00, £40.00ISBN 978-3-7757-4714-1

Obra Gruesa / Rough Work€78.00, $90.00, £78.00ISBN 978-3-7757-4710-3

Structure Systems€42.00, $62.00, £37.00ISBN 978-3-7757-1876-9

101 Danish Design Icons€39.80, $60.00, £35.00ISBN 978-3-7757-4212-2

Lina Bo Bardi€49.80, $75.00, £45.00ISBN 978-3-7757-3853-8

HundertwasserFor Future€18.00, $29.95, £16.99ISBN 978-3-7757-4698-4

LandmarksThe Modern House in Denmark€39.80, $60.00, £35.00ISBN 978-3-7757-3803-3

Manifesta 13 MarseilleLe Grand Puzzle€30.00, $35.00, £30.00ISBN 978-3-7757-4763-9

Richard NeutraThe Story of the Berlin Houses 1920-1924€48.00, $75.00, £45.00ISBN 978-3-7757-4515-4

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Stefan MarxUntitled, 2020

Enamel plate with 4 bores Format: 29 x 21 cmEd.: 30, 5 a.p. € 800.00 [D] Order No: 604690available

Julius von Bismarck Feuer mit Feuer (Shirt), 2019

T-shirt, digital print on cotton jerseysigned and numbered, with book in a boxEd.: 50€ 280.00 [D]Order No.: 604561available

Sanna Kannisto 1 – Great Tit on a Katsura Branch, 20192 – Aegithalos caudatus, 2019 Pigment print on Hahnemühle Photo Rag Baryta, 315 gr/m² Sheet size: 30 × 45 cm Picture size: 26 × 40 cm Ed.: 25, 2 a.p., signed and numbered € 670.00 [D]Order No.: 604791available

Santeri Tuori (Special Edition)Time Is No Longer RoundForest #46, 2020

Clothbound, Print in book2020, Pigment print on Hahnemühle paperSheet size: 21 x 29.5 cmEdition of 50 € 230.00 [D]ISBN 978-3-7757-4821-6available

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1

ISBN 978-3-7757-4821-6 German

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Helmut FederleThe Awakening, 1986/2020

Black and white print on Baryt paper Sheet size: 24.6 x 30.3 cmEd.: 20, 5 a.p.€ 690.00 [D]Order No: 604786available

Christiane LöhrUntitled, 2020

Spit bite aquatint on Revere 250 gEnrico MagnaniChine collé on Japanese paperSheet size: 43 x 34 cm Image size: 27 x 20 cmEd.: 20, 5 a.p., signed and numbered€ 950.00 [D]Order No: 604666available

Achim MohnéKletterhortensie (Hydrangea petiolaris), 2018/20

Pigment print on Hahnemühle paperSheet size: 40 x 30 cm Ed.: 20 + 2 a.p. signed and numbered on verso € 690.00 [D]Order No: 604769available

Olaf Otto BeckerSiberian Summer (Special Edition)

Clothbound, Print in book, limited edition of 50 copies€ 230.00 [D] ISBN 978-3-7757-4858-2available

ISBN 978-3-7757-4858-2German

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CREDITS

2Auguste Rodin, La Méditation sans bras, ca. 1884© Musée Rodin, Photo : Christian Baraja

Hans Arp, Wachstum, 1938© Solomon R. Guggenheim Foundation, New York. All Rights Reserved / VG Bild-Kunst, Bonn 2020

5© Zoe Leonard. Support for the artwork has been given by Galerie Gisela Capitain, Cologne, the Graham Foundation for Advanced Studies in the Fine Arts, John Simon Guggenheim Memorial Foundation, and Hauser & Wirth, New York.

6Gabriele Münter, Kandinsky and Erma Bossi on the table, 1912 / VG-Bildkunst Bonn, 2020Städtische Galerie im Lenbachhaus und Kunstbau München, Gabriele Münter Stiftung 1957

Members of Der Blaue Reiter (from left to right: Maria and Franz Marc, Bernhard Koehler, Vasily Kandinsky (seated), Heinrich Campendonk, and Thomas von Hartmann), Munich, ca. 1911–12

7Pablo Picasso, Flying Dove (in Rainbow), October 10, 1952, Lithography, Kunsthalle Bremen – Der Kunstverein in Bremen / Copyright Succession Picasso / VG Bild-Kunst, Bonn 2020Photo: Die Kulturgutscanner, Berlin

Michael Hertz on his desk, Bremen, May/June 1955, Zentralarchiv des internationalen Kunsthandels (ZADIK), Köln, A13, X, 1,1 Photo: Rudolph Stickelmann, Bremen

13© Kathrin Jacobsen

14Leonilson, Kika, ca. 1976, Courtesy Projeto Leonilson, Photo: Ana Paula Latorre CeccatoPortrait Leonilson, 1983, Courtesy Projeto LeonilsonPhoto: Ronaldo Miranda

28Jenny Brockmann: Open Lab Irreversible Moment, exhibition view at Ernst Schering Foundation, Berlin, 2016, photo: Bernd Hiepe, © the artist

31History Now_ Arendt, 2016; History Now_ Jesus, 2016, © Brigitte Waldach, Courtesy: Collection Christoph Hertz

34Peter Weibel, Patridioten, Courage, Sprache, Chair, 1966/2014, Archiv Peter WeibelPhoto: Tobias Wootton

Peter Weibel, Aus der Mappe der Hundigkeit, 1968, © Archiv Peter WeibelPhoto: Archiv Peter Weibel

36Genaro Strobel, Farbkreis 1, 2019 / © VG Bild-Kunst, 2020

38Ciprian Mureșan, All Images from Robert Rauschenberg: Thirty-Four Illustrations for Dante’s Inferno, 2018 Courtesy the artist and Plan B Cluj, BerlinPhoto: Mathias Schormann

Geta Brătescu, Către alb (Towards White), 1975, Courtesy of The Estate of Geta Brătescu, Hauser & Wirth and Ivan Gallery BucharestPhoto: Mihai Brătescu

Krištof Kintera, Revolution, 2005© Krištof Kintera 

Toyen (Marie Čermínová), La Dame de pique, 1926; Privatsammlung | Private collection courtesy Adolf Loos Apartment and Gallery Prague / © VG Bild-Kunst, 2020

41Photos: © Tom Hegen

439.45 am from series April Fool, 2020; The Kite from the series Palm Springs 2018; Portrait 5 from series Hope, 2005

46Photos: Daniel Freeman

47Photos: Romeo Alaeff

48Baptist Church Nachi Katsuura Wakayama Prefecture Kii Peninsula, 2017; Sabo work in Hongu Tanabe Wakayama Prefecture Kii Peninsula, 2015Photos: Julien Guinand

49Doha, 2017; Riyadh, 2017Photos: Michele Nastasi

50Gärtner; Milchflasche; Lifeguard Photos: Sandra Ratkovic

52Photos: © Roger Ballen

53© Max Siedentopf

54Photos: © Pascale Weber

55Photos: Jean-Pierre Gabriel / VG Bild-Kunst, Bonn 2020

57Regine Leibinger, Wohnhaus Prenzlauer Berg, Berlin © Simon Menges

Fabienne Hölzel, Makoko Neighborhood Hotspot, Lagos © Fabulous Urban

61Photos: © Dalila Tondo

Images copyrights for works reproduced: artists and their legal heirs.

COVER ILLUSTRATIONS:© Zoe Leonard. Support for the artwork has been given by Galerie Gisela Capitain, Cologne, the Graham Foundation for Advanced Studies in the Fine Arts, John Simon Guggenheim Memorial Foundation, and Hauser & Wirth, New York.

Joseph Beuys, Scheveningen, 1976Photo: © Caroline Tisdall

EDITORIAL ILLUSTRATION:75 Years Hatje Cantz. Art on the Beat, © Torsten Köchlin and Jana Katte

CONTENT ILLUSTRATIONS:Hans Arp, Wachstum, 1938© Solomon R. Guggenheim Foundation, New York. All Rights Reserved / VG Bild-Kunst, Bonn 2020

Leonilson, Kika, ca. 1976, Courtesy Projeto LeonilsonPhoto: Ana Paula Latorre Ceccato

Photo: © Tom Hegen

Anna Heinger, Bamboo Hostel, Baoxi, China © Jenny Jl

Prices, specifications, and terms subject to change without notice.

Copy deadline: September 14, 2020

ISBN 978-3-7757-4859-9English

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