Bøger udgivet af Verlag der Buchhandlung Walther Konig

With "allotment gardeners" Martin Parr created a new series which he realized in five allotments in Düsseldorf and Krefeld. He met Mathis, just 15 years old, who runs the garden for his father, a multi-generational operation growing strictly organic fruit and vegetables, and he also spoke with young parents who share a garden, with Ingo the cactus breeder, with Michael the miniature train enthusiast, and with Petra the "tomato woman"."Allotment gardeners" is the loving view on one of the original German clichés: the allotment gardeners. With his own British-humorous look, Martin Parr created portraits of allotment gardeners that go beyond the persons.

Nearly thirty years after the fall of the Berlin Wall (the Anniversary will be celebrated in 2019), what do we know about East German photography? This body of work - a territory, borne of a country that, since the 1920s has played a central role in the history of photography; a period spanning four decades, from 1949 to 1989 - should be brought to light. From the various perspectives possible, the book focusses on how, in an authoritarian state relying on the physical constraints of the body (denial of the individual in favour of 'the people', confinement within G.D.R. borders, normativity bodies regarded as tools of production and vectors of ideology, constant Stasi surveillance), photography was a medium where the individual asserts, resists and expresses its freedom. The photographs presented here represent the decade predating the fall of the Wall and were taken by 14 different photographers.Photographers: Tina Bara, Sibylle Bergemann, Kurt Buchwald, Lutz Dammbeck, Christiane Eisler, Thomas Florschuetz, York der Knoefel, Gabriele Stötzer, Ulrich Wüst, Ute Mahler, Eva Mahn, Sven Marquardt, Barbara Metselaar, Berthold Helga Paris, Manfred Paul, Rudolf Schäfer, Gundula Schulze Eldowy,

The publication "The Invention of the Neuen Wilden" aims to put a new perspective on the phenomena of the so-called "Neue Wilde". Instead of focussing on the production of paintings by those involved - and a corresponding catalogue of these paintings - it is much more interested in the emergence of the painting boom out of potent interplay between artists, gallerists, collectors and art historians. Here the focus is especially on personal backgrounds and the context in which painters worked. The argument shows that the artistic practises of the "Neuen Wilden" had little to do with a generalised "return" to panel painting and thus to a traditional concept of art. Painting was in fact embedded in an extended network of artistic production, which was particularly characterised by a destabilisation in the division between high and popular culture as well as by various media, genres and collaborative forms of praxis. Hitherto neglected photographic and documentary material as well as artists' posters, records, newspapers, video works and artists' books testify to the artists' experimental bent on one hand, their proximity to self-organised, subcultural phenomenon, such as the punk or new wave scenes of the 1980s on the other. On this basis, the much-described "return" to painting can be exposed as a hugely simplified narrative, while sketching out a complex image of the situation around 1980.Text: Thomas Bayrle, Andreas Beitin, Werner Büttner, Diedrich Diederichsen, , Catherine Dossin, Brigitte Franzen, Ramona Heinlein, Christian Höller, Katrin Köppert, u.a.

As a co-founder of ZERO, Otto Piene is considered a major protagonist in post-1945 abstract art. After the break up of ZERO at Bahnhof Rolandseck in 1966, he continued to develop his oeuvre in the most varied of materials for the remainder of his life. With a focus on recurring motifs, such as the circle as a symbol of the cosmos, the catalogue reflects on a wide range of his creative output, from the early pattern, fire and smoke pieces, to the heavier pottery and the lighter air and light work. Astounding parallels become clear when the work is placed in dialogue with selected pieces by Lucio Fontana, bringing to life the way art expands from the image into a sensory spatial experience.Text: Astrid von Asten, Choghakate Kazarian, Barbara Könches, Oliver Kornhoff, Jutta Mattern, Anabel Runge, Tómas Saraceno, Stephan von Wiese

Enjoyment appears as purely private matter, but this is by far not thecase. Ever since Aristotle the philosophical social critique is tormentedby the question, whether the libidinal tendencies of human subjectsallow the construction of a just political-economic order. It seemed at first that in modernity this problem had been overcome. Economic liberalism and utilitarianism argued that egoistic private interests and social justice were directly linked and that capitalism united libidinal andpolitical economy in the best possible manner. But the political-economic panorama soon turned out significantly more complex and contradictory.TomSic's essay recalls central Marxian and Freudian insights andcircumscribes the political stakes of psychoanalysis under the generalbanner of a Critique of Libidinal Economy.

Rosemarie Trockel gelang in den 1980er-Jahren der Durchbruch als Künstlerin. Seither hat sie es sich zur Aufgabe gemacht, mit der ihr eigenen analytischen Schärfe, ihrem Humor und der Sinnlichkeit ihrer Werke eine kritische Bestandsaufnahme von Kunst, gesellschaftlichen Strukturen und Geschlechterrollen vorzunehmen. Ihre Arbeiten verweigern sich dabei einer wiedererkennbaren Handschrift. Grenzen und Einschränkungen geht sie konsequent aus dem Weg. Der Katalog zeichnet die Laufbahn der Künstlerin nach, von ihren feministischen Untersuchungen der 1990er-Jahre bis zu jüngeren Arbeiten, in denen sie sich thematisch mit Tierethik, künstlerischen Prozessen und der Frage auseinandersetzt, was Kunst sein kann.