Bøger om Avantgarde

Christian Lollike er en ener i nyere dansk scenekunst. Den kontroversielle dramatiker går helt tæt på, hvad det vil sige at være menneske i vores tid. Han fletter kunst og virkelighed sammen og konfronterer os med voldsomme temaer som terror, krig og flygtninge.Lollikes værker er unikke, men i deres legesyge trækker de samtidig på historiske formeksperimenter. I hans forestillinger finder man derfor spor fra både den tidlige avantgarde, performancekunsten, dokumentarteatret og ikke mindst det postdramatiske teater.Scenekunst på kanten tager læseren med fra det eksperimenterende teaters rødder til den levende kunst, vi ser på scenen i dag. Og den viser Lollike som kunstner, menneske og teatermanden, der provokerer og inviterer til debat og eftertænksomhed. Dansk teaters enfant terrible er ikke bange for at gå til kanten – og videre endnu.Det er bogen til alle kunst- og teaterinteresserede, der vil vide mere om dansk teaters store provokatør.Birgitte Dam er cand.mag. i dansk og teatervidenskab og har undervist i litteratur ved bl.a. Københavns Universitet. Hun har udgivet adskillige bøger om scenekunst og anmeldt teater ved Dagbladet Information og tidsskriftet Peripeti.

Sonja Åkesson (1926-1977) var en svensk digter, prosaist, dramatiker og kunstner. Hun var den første til at indføre kvinders hverdagsliv i den svenske lyrik. Hun skrev om de hjemmegående og de arbejdende, mødrene og døtrene, de gifte og de enlige, og var i sin levetid en af de mest læste digtere i Sverige. Jag bor i Sverige udkom i 1966 med en grammofonskive & er det første af Sonja Åkessons værker der udkommer på dansk.

Nu udkommer den første monografi om den danske kunstner Franciska Clausen (1899-1986) i 35 år. Bogen undersøger Clausens liv og værk og præsenterer det hidtil bredeste udvalg af kunstnerens værkproduktion. Blandt andet belyses for første gang hendes omfattende portrætproduktion, som sideløbende med avantgardeværkerne udgjorde kernen i hendes kunstneriske virke, ligesom hun også skabte reklamer og plakater.Bogen fortæller også om Clausens skuffelse over den manglende anerkendelse, hun mødte i Danmark, da hun kom hjem efter at have været en del af den internationale kunstelite i Berlin og Paris i 1920’erne og 1930’erne.Udkommer op til den store retrospektive udstilling om Franciska Clausen på ARoS den 8. oktober.

Ernst Jünger (1895-1998) er en af de største og samtidig mest omstridte tyske forfattere i det 20. århundrede. Da Første Verdenskrig brød ud i august 1914, meldte han sig straks under fanerne, og i efteråret 1918 modtog han Tysklands højeste militære udmærkelse, Pour le mérite, for sin krigsindsats.I 1920 debuterede Jünger med den selvbiografiske I stålstormen, der regnes for en af de bedste bøger, der er skrevet om Første Verdenskrig, og har begejstret læsere som André Gide, Jorge Luis Borges og herhjemme Thorkild Bjørnvig.Op gennem 1920'erne markerede Jünger sig som en af sin generations vigtigste forfattere, på samme tid ultrakonservativ og eksperimenterende avantgardist med forbindelser til bl.a. den franske surrealisme.Interessen for Jünger og hans forfatterskab, der omfatter romaner, fortællinger, essayistik, filosofi og dagbøger og strækker sig over det meste af det 20. århundrede, har siden Murens fald været støt stigende både internationalt og i Danmark.Soldat, arbejder, anark. Ernst Jüngers forfatterskab er den første samlede fremstilling af denne fascinerende århundredskikkelse på dansk. Den er skrevet af førende danske og internationale eksperter og følger forfatterskabet fra debuten om soldaterlivet i skyttegravene over mellemkrigstidens interesse for arbejderen frem til alderdomsværkets dyrkelse af den uafhængige anark.Med bidrag af Christian Benne, Karl Heinz Bohrer, Anders Ehlers Dam, Heinrich Detering, Carl-Göran Heidegren, Søren Harnow Klausen, Kathrin Maurer, Daniel Morat, Adam Paulsen, Michael Karlsson Pedersen, Jan Rosiek, Kasper Hedegård Schiølin og Frederik Stjernfelt.

Fortællingen om samtidskunsten må handle om den ekstreme markedsgørelse og instrumentalisering af kunsten, der har fundet sted inden for de seneste årtier. Men den må samtidig også handle om, hvordan samtidskunstinstitutionen har været rum for fremvisning og diskussion af politiske konflikter, der for en stor dels vedkommende ikke har fundet sted andre steder i takt med, at tidligere venstre-politiske offentligheder er blevet afviklet, og politik er blevet reduceret til administration. Det er historien om samtidskunsten som et sted for politisk engagement og systemkritik. Selvom kunstens relative autonomi er under pres og hele tiden muterer, så er det kunstneriske felt og det enkelte kunstværk stadigvæk kendetegnet ved at være delvist uden for den kapitalistiske produktions- og administrationslogik. Og denne partielle adskillelse, den relative autonomi, udstyrer kunsten med et transgressivt potentiale. Som relativ autonom sfære er kunsten på én og samme tid en udfordring og en bekræftelse af det kapitalistiske samfund og værdiformens abstrakte dominans. Som Adorno formulerer det, er vareform- en autonomiens historiske mulighedsbetingelse. Det betyder ikke, at kunsten kun er ideologisk (i en dårlig forstand), den har bevaret sin historiske oprindelses emancipatoriske logik, og om ikke andet negativt afspejler den et løfte om lykke. Der er noget subversivt ved kunsten, den er en art oprør. Det er således ikke nok at udpege aporien – kunsten undergraver og bekræfter samfundet, kultur og barbari hænger sammen – nej, aporien skal på en eller anden måde analyseres og overskrides. Den er netop ikke ahistorisk, en invariant, men historisk og kan derfor ændres. Eller som Debord siger, kunsten er revolutionær (eller den er ikke).

Dette er bagsiden af bogen – og medaljen, fordi her er der intet nyt under sofaen. Nej, det nye er inde i bogen, og hvis DU, kære læser, skal få lyst til at åbne den, og ikke mindst læse i den, bør jeg nok fortælle lidt om den legendariske Kalle Mathiesen, og komme med et uddrag: "Kalle Math’Ismen er troen på, at du skal turde tvivle på det, du er allermest sikker på. Fordi evigheden ligger inde i pauserne imellem tankerne. Det eneste, vi kan være sikre på her i verden, er, at vi ikke kan være sikre på noget som helst, fordi alting forandrer sig hele tiden. Tag alle de største katastrofer i verden: 9/11, ISIS, Hitlers Tyskland, Cirkusrevyen, Nick og Jay, Justin Bieber – ja, jeg kunne blive ved. Alle disse katastrofer har dét til fælles, at de er skabt i hovedet på en mand eller kvinde, der aldrig turde tvivle på deres sikkerhed. Når man lukker sig for den evige, kosmiske forandring, lukker man sig også om sig selv. Som den stortalende sønderjyske misforståelse med storheds-vanvid, jeg er, spørger folk mig tit: "Hvordan kan du holde dig selv ud?" Jeg svarer altid: "Den eneste grund til, at jeg kan holde mig selv ud, er, at det er mig, der betaler for alle mine drinks."

Undersøgende, gennemillustreret bog om nye beskuerinvolverende former for samtidskunst. Bl.a. om Superflex, Das Beckwerk, Christoph Schlingensief m.fl.

"This book should be seen as a diary filled with writings, poetry, cut-outs, collages, photographs, and drawings printed on the stationary papers which keep the memory of my journeys." Marina Abramovic Never before published, this self-curated, intensely personal collection of travel notes and sketches by the world's most revered performance artist offers readers a kind of iconography of Abramovic's daring and utterly original body of work. An artist's notebooks are arguably the most authentic means of understanding her process, techniques, and impulses. And, for a performance artist, a rare, permanent record of how she develops her craft. Compiled over the course of four decades on stationery from various hotels, and other temporary residences, this collection of Marina Abramovic's original drawings, collages, poetry, writings, cut-outs, photographs and doodles offers glimpses of a brilliant mind in constant motion. Beautifully produced and packaged, it takes readers on a journey through Abramovic's thoughts-and traces the evolution of the most fruitful phase of her career. "My home was everywhere I went because my home was my own body." With the archival material elegantly reproduced in their original size on high-quality paper, this collection offers Abramovic's enormous fanbase unprecedented access to her creative process.

Den første fyldige introduktion til fotografen der i Danmark og internationalt gjorde fotografiet til en kunst.Keld Helmer-Petersen fortsætter med at eksperimentere med fotografiets grænser helt frem til sin død i 2013 og samarbejder karrieren igennem med en lang række arkitekter, billedkunstnere og forfattere.Inger Ellekilde Bonde er kunstfaglig registrator ved Den Frie Udstillingsbygning og har flere års erfaring med formidling af fotografiske udstillinger. I de seneste år har hun forsket i dansk fotografi i efterkrigstiden.

På frontlinjen belyser den hidtil marginaliserede danske avantgardekunstnergruppe Linien IIs historie, fra gruppen blev stiftet i 1947 til dens opløsning i 1952 – samt dens videre efterliv helt frem til i dag. Bogen stiller både skarpt på gruppens kunstneriske og politiske arbejde, hvorved gruppen indskrives i et bredere kunst- og kulturhistorisk perspektiv. Som monografi er der tale om den første bog af sin slags, eftersom Linien II, i modsætning til f.eks. Cobra, aldrig tidligere er blevet beskrevet indgående. Dette er et paradoks, eftersom Linien II havde stærke forbindelser til mange fremtrædende kunstnere uden for Danmark, heriblandt Josef Albers, Jean Arp, Le Corbusier, Hans Hartung og Alberto Giacometti, ligesom Linien II både fik etableret udstillinger i USA og England i dens egen epokale samtid, hvilket Cobra f.eks. aldrig opnåede. Med denne monumentale monografi, hvor navnlig kunstens sociale og politiske potentiale udfoldes indgående, er der endelig føjet nye og hidtil ukendte aspekter til såvel Linien IIs historie specifikt, som til den danske efterkrigstidskunst generelt.Bogen er rigt illustreret i farver.

In 1931, the English designer Gerald Summers (1899-1967)-creatorof the iconic bent plywood armchair -and his partner, Marjorie Butcher (1909-1996), opened their London shop, Makers of Simple Furniture. For almosta decade until closing in 1940, the firm produced hundreds of ingenious designs in plywood. Conceived, in Gerald's words, as "furniture for the concrete age," this singular body of work shaped the notion of the modern interior in Britain. Gerald Summers & Marjorie Butcher: Makers of Simple Furniture, 1931-1940 tells for the first time the compelling story of the firm and its dedicated proprietors. Drawingon Marjorie's vivid recollections and a wealth of unpublished material-including never-before-seen images, personal correspondence, workshop documents, and illustrated specification sheets-the book reveals the magnitude of their achievements and restores a neglected chapter in the history of modern design.  This publication is made possible in part by a grant from the Graham Foundation for Advanced Studies in the Fine Arts. GERALD SUMMERS (1899-1967) is one of the foremost furniture designers of the twentieth century. Born in Alexandria, Egypt, he worked as an engineer before starting his design career. In 1931, he and his partner, MARJORIE BUTCHER (1909-1996), opened Makers of Simple Furniture in London. They managed the firm for almost ten years, producing hundreds of pieces for the modern home. In 1940, wartime exigencies brought an end to the enterprise. They redirected their energy to Gerald Summers Ltd., a supplier of engineering parts. MARTHA DEESE is an authority on Gerald Summers. She earned a master's degree in decorative art history from Cooper-Hewitt Museum/Parsons School of Design, New York, and worked for three decades as an administrator at The Metropolitan Museum of Art, New York. Her groundbreaking article on Summers and his firm, Makers of Simple Furniture, published in the Journal of Design History in 1992, remains the principal source on the designer.

Das Dichter-Duo Flörke & Rosenbusch spaziert literarisch, performt Literatur und schreibt: ernsthaft, unterhaltsam, unbeirrt und stets mit frischen Fragen für die Gegenwart. Die beiden scheiben einzeln und kollektiv = zwei AutorInnen mit (mindestens) drei Schreibweisen.Mehr: www.hamburgerliteraturreisen.de.

Installed in a loosely chronological order, the exhibition will give an overview of Tapta's oeuvre, which is mainly divided into two "periods": the textile works made in the 1960s until the early 1980s and the works in neoprene from the 1980s to 1990s. The exhibition first focuses on Tapta's textile works, in which she steadily distanced herself from traditional weaving by applying experimental techniques such as twisting her woven pieces and, in particular, through the use of ropes, which she knotted and joined together into organic volumes. Her work protruded outwards from the wall, became more three-dimensional and increasingly interacted with the space and the viewer, who was invited to experience the works not only visually but also in a tactile and physical manner, stepping around and even inside them.In addition to about twenty original textile works, the exhibition will premiere the unique reconstruction recently made of Tapta's Forms for a Flexible Space (1974). This imposing installation made of cords, in which the visitor can enter and taka a seat, is-as far as is known-the only still existing environment of which Tapta created several in the early 1970s. However, since the original is in extremely poor condition, an exhibition copy was made last year during the Tapta exhibition at Wiels, Brussels, and will be shown in its entirety for the first time at Muzeum Susch. Tapta's activation of the viewer, as seen in the textile sculptures, also manifests itself in the black neoprene works that she began to make in the late 1980s and which-following an intermediate phase of experimenting with rubber and stretching ropes across the vaults of the exhibition spaces-marked a radical turn in her use of materials. Handcrafted rope sculptures now gave way to sculptures and installations from the industrially manufactured material, neoprene-further developing, however, her idea of flexible sculpture. Large black surfaces connected by metal bars and bolts form open structures, through or past which the viewer can walk. Sometimes, the different elements of the sculpture are connected by hinges, allowing their shape to be changed-according to the size of the space or the will of the visitor.Some of the archival documents that will be shown next to the scale models, feature Tapta as a professor at the La Cambre National School of Visual Arts in Brussels. From 1976 to 1990, she led the textile workshop there, renaming it Flexible Sculpture. This commitment as a teacher was as important to her as her artistic practice. Rather than instructing her students in a particular technique, she prioritised the development of an open and critical mind. Her students included Ann Veronica Janssens, Monica Droste and Marie-Jo Lafontaine. Tapta (the pseudonym of Maria Wierusz-Kowalska, born Maria Irena Boyé) was born in Poland in 1926 and came to Belgium as a political refugee with her husband, Krzysztof, after taking part in the Warsaw Uprising of 1944. She studied weaving at the La Cambre National School of Visual Arts, Brussels, from where she graduated in 1949. Shortly afterwards, the couple moved to the Belgian Congo (now Democratic Republic of the Congo), where they lived from 1950 to 1960. On their return to Belgium in 1960, until her sudden death in 1997, she worked in Brussels as an artist and-from 1976 until 1990-as a professor at La Cambre.

An experimental "book" geared toward younger audiences to expose the hypocrisy of modern society, mores, politics, education, and technologies

A prolific writer, photographer, portraitist, and documentarian, Lucia Moholy defies categorization. She was as active in avant-garde circles as she was in the field of information science, advancing an expansive understanding of visual reproduction. While previous publications on Moholy have limited her accomplishments to the five years she spent at the Bauhaus, Lucia Moholy: Exposures presents the full breadth of her writings and photographs for the first time. Extensive essays drawing on new archival discoveries offer insights into her early life in turn-of-the-century Prague, her involvement in the radical social movements of the 1920s in Weimar Germany, her emigration to London, where colleagues and friends included members of the Bloomsbury Group as well as her wartime involvement with microfilm and scientific documentation and her work in the Middle East on behalf of UNESCO. Acknowledging her reception by contemporary artists such as Jan Tichý, the publication demonstrates how Moholy's interdisciplinary approach to photography anticipated the medium's post-analogue present.LUCIA MOHOLYs (1894-1989) photographs in the aesthetics of the New Objectivity continue to shape the international reception of the Bauhaus to this day. After studying art history and philosophy in her native Prague, she worked as an editor before arriving at the Bauhaus with her husband László Moholy-Nagy in 1923. Her bestselling book A Hundred Years of Photography 1839-1939 was highly influential for the recognition of the medium as an art form. In 1959 she settled in Switzerland, where she continued to work as an art critic.

Ugo Rondinone's 2022 exhibition the water is a poem unwritten by the air / no. the earth is a poem unwritten by the fire at the Petit Palais in Paris explores the theme of transformation. Ugo Rondinone presents three ensembles of sculptures and a monumental video installation. Earth, sky, air, water and fire are invoked in the fullness of their spiritual dimension. Under the museum's painted ceilings, the first ensemble welcomes visitors in a farandole of suspended bodies painted in a clouded sky camouflage, underlining the ephemeral melding of air and water. A second ensemble is composed of seated sculptures of dancers at rest made from a blend of wax and earth collected from seven continents. The centerpiece artwork titled burn to shine, is a film installation presented in a monumental charred wood cylinder. The artwork depicts bodies coming together throughout movement, with dancers and musicians gathered around a fire in the desert from sunset to sunrise. In echo with John Giorno's poem titled You Got To Burn To Shine. This catalogue is a unique document of the dialogue between Rondinone's works confronted with the museum's architecture and its collections.UGO RONDINONE (*1964, Brunnen, Switzerland) is recognized as one of the major voices of his generation, an artist who composes searing meditations on nature and the human condition while establishing an organic formal vocabulary in sculpture, painting, video, and performance. The New York-based artist borrows from ancient and modern cultural sources; his works exude pathos and humor, going straight to the heart of the most pressing issues of our time.

Christiane Löhr schafft einen einzigartigen skulpturalen und installativen Kosmos mit Materialien aus der Natur. Organische Elemente wie Flugsamen, Pflanzenstängel, Kletten, Baumblüten, Pferde- und Hundehaar nutzt sie als Konstruktionsmaterial für ihr organisch-abstraktes Formenrepertoire. Auf überraschende Weise transformiert sie die vergänglichen Materialien in präzise konstruierte, zarte Skulpturen, mal filigran, mal raumgreifend. Passend zu der groß angelegten Überblicksausstellung lässt sich der Katalog als eine Art Anthologie verstehen: Neben aktuellen Texten von Julia Wallner, Jutta Mattern, Astrid von Asten und Tiziano Scarpa vereint er Essays diverser Autor*innen zum Werk der Künstlerin aus den vergangenen Jahrzehnten. Ergänzt wird er durch In-Situ-Fotos der Skulpturen im lichtdurchfluteten Bau des Arp Museums Bahnhof Rolandseck von Richard Meier.CHRISTIANE LÖHR (*1965, Wiesbaden), die in Köln und in Prato in der Toskana arbeitet, ist eine der wichtigsten Stimmen im aktuellen Diskurs um neue, zeitbezogene Ansätze in der Skulptur. Ihre Werke sind weltweit zu sehen, u.a. war sie Teilnehmerin der von Harald Szeemann kuratierten 49. Biennale di Venezia. Einzelausstellungen wurden ihr in der Panza Collection, Varese, im Kunsthaus Baselland, im Skulpturenpark Waldfrieden, Wuppertal sowie im Haus am Waldsee, Berlin gewidmet.

To commemorate the 50th anniversary of Picasso's death, this spectacular volume of the artist's early paintings and sculptures is being reissued. The paintings from his so-called Blue and Rose periods to early Cubism, created between 1901 and 1907, are milestones on Picasso's path to becoming the most famous artist of the twentieth century. In 2019, the Fondation Beyeler presented some 80 masterpieces from renowned museums and private collections in its most prestigious exhibition to this date. They are not only among the most valuable works of art ever to exist, but are widely viewed as some of modernism's most beautiful and emotive artworks. This volume brings the early work of this exceptional artist to life in a unique way.PABLO PICASSO (1881-1973) is regarded as the epitome of the twentieth-century artist. In addition to his paintings and sculptures, his graphic works also enjoy special fame.

The Edizioni Conz of the Italian collector, publisher and photographer Francesco Conz-including portfolios, large silkscreen prints on fabrics and objects-are among the finest and most elaborate art editions of the second half of the 20th century. A friend and patron of Viennese Actionism, Fluxus, Concrete Poetry, and Lettrism, he was an obsessive, knowledgeable enthusiast open to all the arts, for whom hospitality, the magic of community, and respect for the arts were more important than any mercantile aspirations. This publication is the first comprehensive catalogue raisonné of the editions published by Conz between 1972 and 2009. Comprising more than 500 editions, it is both a reflection of his passions and a memorial to the art of the avant-gardes. Texts by contemporaries such as Alison Knowles, Dick Higgins, Milan Knizak, Eugen Gomringer, Emmett Williams, Nicholas Zurbrugg, and others complete the richly illustrated catalogue.FRANCESCO CONZ (1935-2010) grew up in a wealthy family ofAustro-Hungarian descent in the Italian Veneto. After cominginto contact with the art scene in Berlin and New York in the early1970s, he traveled to art festivals around the world and invitedartists to the Palazzo Baglioni in Asolo for happenings and per-formances. Since 2016, the Berlin-based Archivio Conz has beenworking to catalogue, research, and restore his extraordinarycollection for the public, which includes more than 4,000 worksand commissioned editions by over 300 international artists, aswell as 30,000 photographs and ephemera.

Dette er en bog om musikværker, som mange har hørt om – men de færreste har hørt. Da Arnold Schönberg i 1918 dannede Selskabet for private opførelser, opstod et brud i musikhistorien. Selskabet var beregnet til, at nye musikværker kunne opføres uden publikum, der efter komponistens opfattelse ikke havde evne til at vurdere ny musik. Bruddet mellem komponist og publikum var derefter en realitet og nåede sit højdepunkt i den amerikanske komponist Milton Babbits herostratisk berømte artikel ”Who Cares if You Listen?” Den tilsyneladende mangel på interesse for publikum kom i 1900-tallet til udtryk i en række værker, som fik mange lyttere til at mene, at moderne komponister helt havde mistet interessen for formidling og dialog med udenforstående. Denne bog handler om en række af de komponister og værker, som i deres mangel på forankring i en traditionel musiktradition vakte furore, skabte vrede og var medvirkende til at fremmedgøre det moderne publikum overfor den europæiske kunstmusik. Bogen behandler fx John Cages stykke med 4 minutter og 33 sekunders tavshed og Karlheinz Stockhausens Helikopter-Quartett, hvor de fire strygere befinder sig adskilt fra hinanden i hver deres helikopter. Undervejs stilles spørgsmålet: Var værker som disse bare pjat og provokation, eller lå der dybere filosofiske og kulturhistoriske overvejelser bag? Om forfatterens seneste udgivelse, Sjostakovitj – en sovjetkunstner, skrev pressen: ”Andet og mere end en komponistbiografi” – Politiken ”En absolut anbefalelsesværdig bog” – Berlingske ”Litterære vitaminer og kalorier i hobetal” – Kristeligt Dagblad ”Selv den mest forslugne læser vil føle sig forkælet af denne bog. Så medrivende et sprog er ikke hverdagskost” – Weekendavisen

A collection of free verse poems that delve deep into the sense of self, freedom, and the magical connection between the inner world and the external world; created for the truth found within, and the flutter that comes with dreams.

Demonstrating a wide array of influences-from Chinese calligraphy to Expressionism-Liu Wei's work deals with universal themes of humanity. With a career spanning over thirty years, he has proved a master of rendering human flesh and combining figuration with text and abstraction. Liu Wei's deft grasp of technique and acute awareness of color and composition is evident in his lush landscapes, in which flora and fauna often escape the confines of the canvas and spill out onto the Rococo-style frames. Featuring texts by distinguished specialists in contemporary Chinese art, this first major English-language monograph provides an in-depth look at the historical context and traces his development from his early paintings reflecting disenchantment with political and artistic utopias through the lenses of skepticism and satire, to lush landscapes, striking portraits, and more recent philosophic and contemplative calligraphic works on paper. LIU WEI (*1965, Beijing), studied printmaking at the Central Academy of Fine Arts in Beijing, where he still lives today. He first rose to prominence as a preeminent figure in China's "cynical realism" movement of the 1990s. His paintings have been shown in museum exhibitions and biennials worldwide, including the Museum of Contemporary Art, Sydney, the Singapore Art Museum, the San Francisco Museum of Modern Art, and the Venice Biennale.

György Ligeti is a composer whose stance always extended into a multidimensional field. The old and the new in music, or, more generally, artistic and scientific thinking as a whole, were his closest and most inspiring companions and everything new had to be further developed. Yet for him, nothing could be really new without a deep relationship with the old. And the power of the old had to be woven into every new idea. This necessity to subsume what came before into all things new was also his "torture rack". His students in Hamburg experienced this great seeker, this indeed desperate seeker in a most intense way. And he imbued upon us the extreme necessity of taking the next steps, and challenged us to participate and challenged us as, in a great game, to join in the search.A great many of György Ligeti's students collaborated on this book. The result is a colorful bouquet of articles, some of which provide astonishing insights into the person, the teacher, the composer György Ligeti, and all in all include many aspects that would scarcely be accessible to a musicologist coming from outside this inner circle.

The Emscherkunstweg (Emscher Art Trail) currently comprises 24 works of public art on the banks of the Emscher River in the heart of the Ruhr region in western Germany. Once the most polluted river in Europe, the Emscher has been dramatically transformed from a drainage system into a natural river landscape. Between 2010 and 2016, three Emscher art exhibitions accompanied this ecological tour de force. Since 2019, the permanent works of art resulting from these exhibitions have formed the starting point for the expansion into the Emscher Art Trail.This volume is the first to offer an overview of all the works, in particular the new works by Julius von Bismarck/Marta Dyachenko, David Jablonowski, Markus Jeschaunig, Sofía Táboas and Nicole Wermers. It also addresses questions surrounding the preservation and potential of art in public space and its relationship to the region's industrial culture. The book is an ideal travel companion and reference work for discovering art on over 100 kilometers of cycle paths.

Unknown to many, Niko Pirosmani is revered as a legend in his native Georgia. Conveying a sense of poignant empathy, his portraits, animal paintings, landscapes and scenes from everyday life painted around 1900 in a flourishing Tbilisi draw on medieval iconography and testify to a deeply felt sense of belonging. At the same time, the avant-garde recognised a novel and radically new form of painting in his work. Like Henri Rousseau or Marc Chagall, Pirosmani is one of the exceptional yet difficult to categorize proponents of early modern art. This catalogue demonstrates Pirosmani's qualities in numerous illustrations, showing how his rapid brushstrokes on black oilcloth give the sparsely applied colors a glow as if coming from a dark depth. Pirosmani was a master of concentration¿and a storyteller. As expertly explained in the catalogue by a selection of Georgian art historians, he was a unique artist, a contradictory figure and an important part of the art scene in Tbilisi, then considered the "Paris of the East." Born into a peasant family, NIKO PIROSMANI (1862 - 1918) arrived in Tbilisi in 1870. Painting portraits and tavern signs for room and board, he came to the attention of the Georgian and Russian avant-garde in 1912, who presented him a year later as the "Rousseau of the East" in the Moscow exhibition Mischén alongside works of Natalia Goncharova, Mikhail Larionov, Kazimir Malevich and Marc Chagall. An exhibition in Paris was planned, yet never to happen due to the First World War. Pirosmani died impoverished in 1918. Today he is Georgia's most celebrated artist.

Ash Keating ist bekannt für seine spektakulären Bemalungen ganzer Gebäude und riesiger Wände. Wie kein anderer hat er den Einsatz von Feuerlöschern als Werkzeug für seine abstrakten Arbeiten im öffentlichen Raum perfektioniert und lässt dabei Raum für Zufall und Improvisation. Inspiriert von Licht und Farben seiner Heimat Australien zeigt die energetische Farbigkeit seiner Malerei mit ihren flüssigen, vertikalen Verläufen eine beinahe transzendente Sehnsucht. In einer öffentlichen performativen Aktion verwandelt er im August 2023 das ehemalige Verwalterhaus in der Parkanlage des Museums Langmatt in ein gewaltiges, dreidimensionales Kunstwerk. Er ergänzt seine Präsentation durch neue Bilder im Park und setzt sie in den historischen Innenräumen des Museums in Dialog mit den französischen Impressionisten der Sammlung. Die Publikation gibt einen exemplarischen Einblick in das vielseitige Schaffen des Künstlers und dokumentiert seine Ausstellung im Museum Langmatt.

2019 begann Stefan Marx mit seiner Serie von Monotypien. In Zusammenarbeit mit dem Berliner Siebdrucker Björn Wiede entwickelte er seine eigene Arbeitsweise: In drei Arbeitsgängen entstehen drei Einzelbilder - ein positives, ein negatives und ein »Geisterbild«, der ghost. An diesem neuen Ansatz faszinierten ihn zunächst der fette Farbauftrag und die Intensität der Pigmente. Beim Farbauftrag wird die Bildoberfläche selbst nicht berührt - die Bildfindungen ergeben sich über die Bearbeitung des Drucksiebs. Ein großer Teil dieser Monotypien sind Schriftbilder, doch es gibt ebenso figürliche Bildmotive, darunter Tierzeichnungen und andere Zeichen aus dem Motivinventar von Stefan Marx.Dieses Buch schließt an den Band Schriftbilder an: Auch Monotypien hat Stefan Marx als Künstlerbuch entwickelt und arbeitet mit einer faszinierenden Verschränkung zwischen den Abbildungen der Werke und den Entwurfskizzen aus seinen Notizbüchern.STEFAN MARX (*1979 Schwalmstadt, Hessen) ist Zeichner, Skateboarder und Kulturphilosoph. Seine unverwechselbare Handschrift findet sich auf Papier, Leinwand, Porzellan und Textilien. Er entwirft für verschiedene Labels, veröffentlicht im Eigenverlag Zines, zeigt seine Arbeiten bei zahlreichen internationalen Ausstellungen, Art Book Fairs und in Galerien. Marx lebt und arbeitet in Berlin.

From today's perspective, Leon Polk Smith's dynamic, geometric abstractions can be understood as a missing link in art history. His work connects the European avant-garde with the American Abstract Expressionism of the 1940s and 1950s via references to the work of Piet Mondrian. Smith's pioneering role in the hard-edge style with its neat monochromatic fields of color as well as his shaped canvases are in turn developments that transpired from America to Europe. Departing from the rectangular canvas allowed Smith to conceive new interrelations between his sophisticated two-color compositions and the spatial context. Most notably, his unique Constellations series, created between 1967 and 1975, marks the high point of his career, and won him artistic acclaim beyond America's borders. Alongside the early compositions from the 1940s and the multi-part shaped canvases, this book features collages, reliefs and painted objects and proposes a new reception of Smith's decades-spanning oeuvre.LEON POLK SMITH (1906 - 1996) is one of the most important representatives of geometric abstraction. Born in Chickasha in the then called Indian Territory, later to become Oklahoma, his first paintings, created in the 1930s, are rooted in the indigenous culture that surrounded him. Smith moved to New York in 1944, where he came into contact with the works of Mondrian and De Stijl.

Adam Pendleton initiierte diese Gruppenausstellung als eine Erkundung künstlerischer Sprache. Einige Werke enthalten Wörter, aber vor allem geht es um Ideen, Prozesse und Technologien, die in das Konzept der Malerei einfließen.In Zusammenarbeit mit Galerie Max Hetzler

Jakub Julian Ziólkowski's vibrant works are bizarre and alluring. In his wild, surreal cosmos of mutant humans, organic forms and circulatory systems, the Polish painter mixes cultural symbols, the decorative and the fantastical. Juxtaposing the spiritual and the microscopic, he creates a universe bristling with detail and a kaleidoscope of references-from Hiernoymos Bosch visions of heaven and hell and James Ensor's grotesque allegories to Philip Guston.Yet, his paintings show a highly personal world that is populated by a recurring cast of characters. This publication is the first comprehensive overview of his work from 2005 to the present, giving insights into his artistic practice in different media: from painting to sculpture, ceramics as well as drawing. The book includes essays by Olga Tokarczuk, winner of the Nobel Prize in Literature and Cecilia Alemani, curator of the 59. Venice Biennale, an in-depth interview with the artist, as well as texts by philosopher Kajetan Mlynarski and psychologist Bartlomiej Dobroczynski.JAKUB JULIAN ZIÓLKOWSKI (*1980, Zamosc, Poland) is one of the most eminent Polish contemporary painters. He trained at the Jan Matejko Academy of Fine Arts in Kraków, where he lives and works today. Since 2003, his work has been shown in numerous group and solo exhibitions, including Hauser & Wirth, London (2017), Neues Museum Nürnberg (2017), and the 55. Biennale di Venezia (2013).