Bøger udgivet af Hatje Cantz Verlag GmbH

Seit 12 Jahren veranstaltet die Schwarz Foundation unter anderem auf der griechischen Insel Samos regelmäßig Ausstellungen im Art Space Pythagorion sowie das Samos Young Artists Festival. Durch seine Lage an der griechisch- türkischen Grenze steht Samos symbolisch für drängende Themen unserer Zeit wie: Die Flucht über das Mittel- meer nach Europa, geopolitische Auseinandersetzungen an den Grenzen Europas, oder Auswirkungen der durch Menschen verursachten Veränderungen der Weltmeere. A Decade of Cultural Production stellt das Wirken der Schwarz Foundation vor, deren erklärtes Ziel es ist, durch Musik und Kunst Dialog zu fördern und dem europäischen Gedanken Ausdruck zu verleihen. Das Buch beleuchtet, wie sich in den von ihr vorangetriebenen Projekten mit diesen Fragen von Migration, gesellschaftlicher Verant- wortung, Umweltschutz und interkulturellem Zusam- menleben auseinandergesetzt wird.Die Schwarz Foundation wurde als private Stiftung mit Sitz in München im Jahr 2010 mit dem Ziel ins Leben gerufen, durch Musik und Kunst den Dialog zwischen unterschiedlichen Kulturen und Ländern zu fördern. Ihr primäres Ziel bei der Gründung lag darin Brücken zwischen dem Zentrum und der Peripherie unterschiedlichen Regionen Europas zu bauen, und den europäischen Gedanken in seiner geschichtlichen Entwicklung an den Rändern Europas insbesondere der südöstlichen Mittelmeerregion zu fördern.Herausgeberin des Buches ist die Gründerin und Geschäftsführerin der Schwarz Foundation, Chiona Xanthopoulou-Schwarz, eine gebürtige Athenerin und Wahl-Münchnerin. Sie ist Mitglied der Internationalen Psychoanalytischen Assoziation und der Deutschen Psychoanalytischen Gesellschaft und hat lange in München als Psychoanalytikerin gearbeitet, bevor sie sich im Kulturbereich betätigte.Mit-Herausgeberin ist die international renommierte Kuratorin Katerina Gregos, die künstlerische Leiterin des Nationalen Museums für zeitgenössische Kunst (EMST) in Athen. In ihrer kuratorischen Arbeit für die Schwarz Foundation hat sie stets die Beziehung zwischen Kunst, Gesellschaft und Politik erforscht, mit besonderem Blick auf Fragen der Demokratie, der Menschenrechte, der Wirtschaft, der Ökologie.

For 12 years, the Schwarz Foundation has been organizing regular exhibitions on the island of Samos at Art Space Pythagorion as well as the Samos Young Artists Festival. Due to its location on the Greek-Turkish border, Samos symbolizes one of the most pressing humanitarian issues of our time: Migrants crossing the Mediterranean Sea, geopolitical conflicts at the borders of Europe, and the human impact on the oceans around he world. A Decade of Cultural Production presents the work of the Munich-based Schwarz Foundation, whose declared aim is to promote dialogue through music and art. The book highlights how its projects deal with issues of migration, social responsibility and intercultural coexistence.

Sonia Delaunay's work appears today as fresh and relevant as ever. The modernist pioneer's ingenious color patterns dissolved the boundaries between visual and applied art. She further developed her painterly experiments in fashion, fabric patterns, interior design, book and object art, merging geometric abstraction and the sculptural qualities of pure color.Maison Sonia Delaunay is dedicated to Sonia Delaunay as a mediator between artistic-philosophical design and the beauty of everyday life. It particularly focuses on new research into textiles, fashion, and interior design. Drawing on never-before-published sources, the publication examines her international collaborations with entrepreneurs and artists, and illuminates how she redefines the relationship between art and industry in the process to design for a visionary, modern life.SONIA DELAUNAY (1885, Odessa-1979, Paris) was trained in St. Petersburg, Karlsruhe, and Paris around 1900, and initially established herself as a portrait painter before dedicating her work to abstraction around 1913. With her husband Robert Delaunay, she experimented with the concept of "Simultané" based on the use of intense color contrasts. During a stay in Portugal and Spain in World War I, she expanded her art to the objects of life. Back in Paris in the 1920s, she combined her ambitions in painting and design with her fashion and furnishing house "Sonia Delaunay." Her influence continues to this day, her patterns being as modern as ever.

Günter Zachariasen, 1937 auf Sylt geboren und seit Jahrzehnten in Nordfriesland zuhause, fühlt sich stark mit dem Land verbunden, ohne dass die Landschaft selbst zum Motiv seiner Gemälde wird. Der Künstler hat sich von allem Gegenständlichen gelöst. Seine oft monumentalen Werke sind malerische Abstraktionen und zugleich höchst sinnliche Resultate einer Erforschung des inneren Ich. Die von Zachariasen dargestellte farbige Leere spiegelt Weite, Offenheit und Entgrenzung wider. Eine zentrale Rolle spielt das Licht: Woher kommt es? Durchdringt es dichten Nebel? Welche Distanzen hat es zurückgelegt, bevor es unser Auge erreicht? Das sanft gestimmte Kolorit wird von fein nuancierten Farbverläufen getragen - fast scheint es, als würden einige Bereiche das Licht nicht nur sammeln, sondern auch aussenden. In seiner Kunst berührt Zachariasen Aspekte der Malerei, die vermutlich nur sie allein entfalten kann.

Following on the widely read The Future of the Museum: 28 Dialogues, which explored how museums are changing through conversations with today's generation of museum directors, New York-based author and cultural strategy advisor András Szántó's new compilation turns its attention to architects. The conclusion of The Future of the Museum was that the "software" of art museums has evolved. Museum leaders are "working to make institutions more open, inclusive, experiential, culturally polyphonic, technologically savvy, attuned to the needs of their communities, and engaged in the defining issues of our time." It follows that the "hardware" of the art museum must also change. Conversations with a carefully selected group of architects survey current thinking in the field, engaging not only architects who have built some of the world's most iconic institutions, but also members of an emerging global generation that is destined to leave its mark on the museum of the future.CONVERSATION PARTNERS:Kunlé Adeyemi (NLÉ), David Adjaye (Adjaye Associates), Paula Zasnicoff Cardoso & Carlos Alberto Maciel (Arquitetos Associados), David Chipperfield (David Chipperfield Architects), Minsuk Cho (Mass Studies), Elizabeth Diller (Diller Scofidio + Renfro), Frida Escobedo, Sou Fujimoto (Sou Fujimoto Architects), Lina Ghotmeh (Lina Ghotmeh - Architecture), Bjarke Ingels (BIG | Bjarke Ingels Group), Kabage Karanja & Stella Mutegi (Cave_bureau), Li Hu & Huang Wenjing (OPEN), Jing Liu & Florian Idenburg (SO - IL), Yansong Ma (MAD Architects), Winy Maas (MVRDV), Roth - Eduardo Neira (Roth Architecture), Stephan Schütz (gmp Architekten), Kerstin Thompson (_KTA), Xu Tiantian (DnA Design and Architecture), Kulapat Yantrasast (WHY), Liam Young (SCI-Arc)ANDRÁS SZÁNTÓ (*1964, Budapest) 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.

Even though we often hardly give it a second thought, we spend virtually every moment of our lives in two worlds: the analog world and the world of digital information, signals, and networks. Whether visualizing invisible data streams or tracking down cell phone towers disguised as palm trees, Peter Jellitsch's works constantly revolve around the connections between real and artificially produced reality. Using means of repetition, fragmentation, maximization, and minimization, he creates images that are filled with abstract-looking textures and have a cartoon-like style. The publication Artifacts of the Future provides a broad insight into Jellitsch's eponymously titled current series of works. PETER JELLITSCH (*1982 in Villach, Austria) studied at the Academy of Fine Arts and the University of Applied Arts in Vienna after completing a carpentry apprenticeship. His works have been shown in numerous exhibitions in Europe and the USA and are in collections such as the San Francisco Museum of Modern Art, the Austrian Museum of Applied Arts, the Museum Moderner Kunst Kärnten and the Kupferstichkabinett of the Academy of Fine Arts Vienna. Peter Jellitsch has been a lecturer at the Academy of Fine Arts Vienna since 2011.

Nach Autistic Disco ist O Mensch der neue Bildband des Berliner Schauspielers Lars Eidinger. Er vereint mit der Handykamera sowie mit der Spiegelreflexkamera entstandene Fotografien der letzten drei Jahre mit zum Teil wesentlich älteren Aufnahmen. Eidingers Bilder ähneln nur an der Oberfläche scheinbar harmlosen Momentaufnahmen. In einer Gesellschaft der Singularitäten und der verschwindenden Grenzen zwischen Mensch und Maschine erscheint die absurde Realität des Alltags wie eine kolossale Fotomontage. Wohl aus dem Blick eines Schauspielers, der weiß, dass die wechselseitige Präsenz von Gutem und Bösem der Kern einer jeden wahrhaften und berührenden Figur ist, entstehen bei Lars Eidinger Bilder, die die menschliche Ambiguität ins Zentrum rücken.Zu einzelnen Werken hat die japanische, in Berlin ansässige Dichterin Yoko Tawada Kurzgedichte in Form von Haikus geschrieben. Der Interpretationsraum wird dadurch noch um eine poetische Ebene erweitert.LARS EIDINGER (*1976, Berlin) gilt als einer der profiliertesten Schauspieler Deutschlands, gefeiert für seine expressiven Auftritte von großer performativer Kraft als langjähriges Ensemblemitglied der Berliner Schaubühne, sowie für seine abgründigen und zugleich von einer geradezu zärtlichen Sensibilität geprägten Darstellungen im Film. Anknüpfend an seinen ersten Bildband, gibt Eidinger der Fotografie als Ausdrucksform und Mittel der Selbsterkundung zunehmend mehr Raum.

Proprietary algorithms, secret data troves, and inscrutable systems rule the day. How is this registered in art? In Poetics of Encryption Nadim Samman explores works that highlight the hidden dimensions of our technological landscape. Running counter to erroneous claims regarding a new culture of transparency and openness, such artworks address black sites, black boxes, and black holes-all the while, toggling between enlightened concern and occult dreaming.NADIM SAMMAN is Curator for the Digital Sphere at KW Institute for Contemporary Art, Berlin. He read Philosophy at University College London before receiving his PhD from the Courtauld Institute of Art. Widely published, in 2019 he was First Prize recipient of the International Award for Art Criticism (IAAC). Major curatorial projects included the 4th Marrakech Biennale (2012), the 5th Moscow Biennale for Young Art (2015) and the 1st Antarctic Biennale (2017).

The images in Bill Jacobson's when is a place suggest risks and uncertainties. They question both the nature of perception and our existential place in the world, themes explored throughout his five decades of making photographs. Jacobson's use of a defocused lens, bleached out skies, and an otherwise curious tonal range challenge boundaries of traditional photographic practice. Diffuse horizon lines dramatically bisect distant landscapes, the subtle curves of vague human bodies, and unknown spaces suggestive of architecture play prominent intertwining roles. Jacobson's original large-scale prints are analog silver gelatin, printed by him in a traditional black and white darkroom. Created between 2018 and 2020, the images were made in Virginia, the south of France, upstate New York, and a studio in New York City.

There is more to numbers than sums; they can also conceal histories, too. In this case, world-famous architectural history. For five years the renowned Neue Nationalgalerie (New National Gallery), designed by Ludwig Mies van der Rohe, was closed to the public for renovation. Nevertheless, the photographer Michael Wesely was able to accommodate "four guests" inside the iconic building: four cameras, each one pointing in a different direction, were installed on the ceiling. Every day they took between 360 and 730 pictures with an exposure time of 90 seconds each. Edited into bewitching montages, this fascinating synopsis allows readers to envision the building's metamorphosis as it was undergoing renovations. The long exposure time is an aesthetic coup, for ephemeral, restless, rapid movements contrast with the still, timeless quality of the architecture, presenting a sophisticated interplay of identity and change.This book is published on the occasion of the re-opening of the Neue Nationalgalerie, Berlin, August 2021. It is a slightly altered special edition of the original numbered edition of April 2021.The photographer MICHAEL WESELY (*1963) is a celebrated master of the long exposure. His precise approach to this photographic technique, tailored to each object, brought him world renown. His unique aesthetic can be found in numerous exhibitions and collections around the globe. He lives in Berlin.