Bøger udgivet af VFMK

For the past seven years, the international artists' collective COSMOS has been running an experimental laboratory whose goal and purpose has been to create time and space to come together, exchange, travel, learn, listen and narrate. The core group of the collective is composed of eight artists* from Colombia, Croatia and Switzerland: Esneider Gamboa Burbano, Tea Hatadi, Sylvia Jaimes, Almira Medaric , Bojan Mucko, Goran skofic, Mirjam Wanner, and Josip Zanki.This publication "Chaos" is a reflection on how the previous artistic practice can be adapted and developed to new political and social conditions, thus continuing the joint work. The invited authors Eliana Otta, Jenny Fonseca Tovar and Rebekka Ray formulate critical questions and describe new bridges and spaces for COSMOS to move towards and in which they could meet anew.

Das aktuelle Buch ¿Flussrand Eins ¿ Uferlos¿ ist Teil einer Trilogie. Hiermit liegt nun der zweite Band vor. Neben einem ausführlichen Eingangstext zum Thema Collage erzählt der Künstler Markus Redl in sehr persönlichen Texten von sich selbst: von seiner Herkunft, seinen Eltern, vom Altern und dem schrittweisen Aus-dem-Leben-Gehen. Versammelt sind ebenso Erfahrungsberichte, die reportagenartig Informationen über Carrara, das Material Stein, die Industrie und den Kunstmarkt sowie das Biotop der Universität für angewandte Kunst in Wien in den 2000er Jahren liefern.Diese Mischung passt zu dem Operationsmodus Collage, der sich durch das Buch zieht und reflektiert die sprachliche Bearbeitung von Themen die Markus Redl in seiner Kunst beschäftigen. Neben den Zyklen von Zeichnungen, gibt es auch Textcollagen, die sich aus Fragmenten von Autor:innentexten zusammensetzen. Diese sind als performative Texte, in denen Figuren sprechen, also als Bühnentexte, verfasst. Sie beinhalten chorische Elemente, räumliche Struktur, durch Bühnen- und Zuschauer:innenraum, sowie Vorder- und Hintergrund für den Chor. Diese Textcollagen sind als Akte gekennzeichnet und ziehen sich durch das ganze Buch, sie referieren auf die Themen in den Fließtexten und auch in den Zeichnungen, sodass sich ein dramaturgischer, dialogischer Bogen zwischen Zeichnung, Zeichen, Schrift und Bild entspinnt.

Best of "Beings & Creatures" from the exhibition series of the same name at the Graz art centre < rotor >. Works by 34 artists deal with life on a damaged earth, new and old relationships under the influence of the multispecies discourse, appropriated and constructed figures, and entities beyond the tangible.The book "Beings & Creatures" was created for the exhibition series of the same name in the art center < rotor > and documents the work of 34 artists. A life on a damaged earth with new and old kinships under the influence of the multispecies discourse are discussed. Present and fleeting, apparently real and supposedly imaginary beings and creatures appear. Humans do not have a special position in the sense of posthumanism, they represent one of many species. The threat to biodiversity, the role of vulnerable beings, but also the exchange of alliances and ways out are outlined.

The feeling of a new beginning after happily overcoming the millennium jump was abruptly ended with 9/11. Topics such as the ongoing turbo-capitalism, migration, the questioning of the cult of monuments, and the convergence of aesthetics and economy accompanied by a hypocritical handling of urgent environmental issues by western industrialized nations in the information age were decisive for artists. Both alienated nature and the observation of one's own body and the burgeoning selfie cult through the new smartphones steered questions of perception. In addition to the criticism of the consumer age, postcolonial and gender issues, the still sluggish processing of National Socialism in Austria (even after the Restitution Act of 1995) was another factor that, instead of confidence, caused rather ironic to cynical breaks - especially in the case of "Golden Adele". by Klimt.In addition to in-depth essays, the publication offers a generously illustrated insight into the more than 5,000 works in the City of Vienna's collections from the 2000s.

Judith Fegerl explores the possibilities of electrical energy as sculptural and imaging material in a techno-poetic way. In "on/" she provokes a reflection on the availability and use of resources in a site-specific, symbiotic setting.The exhibition has symbiotically merged with and switched on Kunstraum Dornbirn. Electricity flows. For Fegerl's sculptural works, however, the electricity comes not from the socket as usual but from a solar power plant on the south side of the exhibition space that was specially designed and installed for the exhibition - a reference steeped in history, since the former assembly hall of the Rüsch Works built in 1893 constructed turbines for the first hydroelectric power plants.

Sophie Thun acts in a multi-layered manner in the fields of action of photography. They explore the conditions of photographic representation in order to make the construction of images and identity visible. Confident and eager to experiment, she contrasts the classic image of woman as muse and model with an artistic work that questions traditional viewing regimes and breaks down existing power structures.

The renovation of the listed building of the Kunsthalle Rostock in 2020 represents for the museum a moment of upheaval, pause, farewell and new beginning at the same time. Rostock is thus preserving an important symbol of the museum and urban development of the GDR from 1969. At the same time, the idea of developing an installation that takes up this upheaval in terms of content and forms a bridge to the history of the Kunsthalle Rostock is being developed together with the Berlin based artist Andrea Pichl.For this, the sculptor used discarded architectural fragments from the exterior and interior of the Kunsthalle Rostock and reassembled them in the form of a newspaper kiosk of the Deutsche Post newspaper distribution from the 1970s. This approach, typical of Andrea Pichl, illustrates her intense involvement with the architecture of so-called Eastern Modernism.The bilingual catalog details the creation of the artwork and the artist's associated photographic projects. In addition, a chronology of the building embeds it in the history of the Kunsthalle. Contributions by German and international authors illuminate aspects of construction, art history, and cultural history in an international context.

I What Is at StakeII The Power of ArtIII Need for TransformationIV Material AgencyIn its four parts, this volume brings together positions in art, design and architecture that lookat how nature and human beings can achieve an ecological balance in their mutualenvironment and how people can live, work and operate sustainably within a global ecology.Each of the 25 contributions examines current scenarios and possible solutions, seekingperspectives on an ecology that is meant to empower actors in the fields of art, architectureand design to assume responsibility now.

Since the 1990s, Pia Fries has undisputedly been one of the leading international figures in painting. Born in Beromünster (CH) in 1955, the artist has lived in Düsseldorf since the 1980s and in recent years has worked as a professor at Berlin University of the Arts and the Academy of Fine Arts in Munich. This publication was created to accompany Pia Fries's solo exhibition at Kunsthaus Baselland and is the first to combine current and historical exhibition photographs with a variety of different texts, including a literary text by Sophia Remer, an art history essay by journalist and author Niklaus Oberholzer, and a conversation between Pia Fries and Ines Goldbach.

The MINING Kollektiv deals with the question of how temporary, site-specific art can establish itself as an art form within processes of renovating or dismantling. In that endeavor, it searches for new interfaces between art, architecture, film, archaeology, culture of remembrance and sustainable building practices. Through artistic interventions in places best described as 'spaces in transition', Ursula Gaisbauer and Friedrich Engl thematize the sustainable handling of resources and materials both in the construction industry and in the field of art. The collective stages these spaces in their moments of purposelessness to create walk-in, atmospheric interpretations of space with materials found on site, complemented by sound and video. In these works, artwork and the random arrangement of materials are not clearly distinguishable; the roles of artists, demolition workers, and viewers are all renegotiated.The book "MINING: Spaces in Transition" documents and extends the projects MINING: Untertage (São Paulo, 2018) and MINING: Filmhaus (Vienna, 2020), highlighting ways in which the moment of transition can be interpreted artistically and played with in an installative way. In doing so, it reflects both the experimental and exploratory nature of the collective's working methods and the spatial and cinematic experience of the exhibition. In addition to views of the exhibition and successions of pictures that bring the processes and video works to life, the publication contains the project manifesto, an interview with the MINING Kollektiv, historical backgrounds, commentaries by the cooperation partners, poetical experience reports and photos by visitors.

Models play a vital role in Monika Sosnowska's creative process. Made from simple materials such as paper, cardboard, wood and wire, Sosnowska uses hand-made models as a way to develop sculptural form and explore the relation between sculpture, architecture, and experience. In a photo essay about her models, curated by the artist herself, she gives unprecedented insight into her practice. In addition, her use of models is contextualized by two new essays by Martin Waldmeier and Tom Emerson. Moreover, a catalogue of selected models permits readers to trace Sosnowska's journey from installation work to sculpture, offering a valuable resource for anyone interested in her work.

LARRY'S LIST is proud to announce the release of the second edition of the PRIVATE ART MUSEUM REPORT 2023. The report provides a systematic exploration of the global landscape of privately founded contemporary art museums with analyses by continent, country, and city. It gives an overview of museums that have opened over the past years and provides an understanding of their legal setup and operations. A deep-dive chapter explores the social media activities of the museums.

Rachel Lumsden's large format works engage us in a highly immersive experience. Paintings that at first glance appear to be figurative also pursue the goal of abstraction, albeit one that finds meaning in its relationship with the visible world. Lumsden's visual motifs emerge, brush mark for brush mark on the canvas, eventually converging with their true subject matter through her adept handling of material and astonishing pictorial inventiveness. The publication includes works from the last seven years and is released on the occasion of her solo exhibition at the art centre Villa Bernasconi, Geneva, Switzerland.

Models are among the working tools of creative people of all kinds. They serve to concretize ideas and give them a form so that they become negotiable. In the publication Drafting Facilities - Thinking with Models, specialists from architecture, art, philosophy, neuropsychology, climate science, economics and artificial intelligence reveal how they work with this tool and how it changes the way we look at the world.

Two artists complementing each other in their conceptual approaches: Ingrid Wiener (* 1942) weaves inclusive worldviews, paints her dreams and takes photos of the vast landscapes of Canada from the plane. She creates a gigantic chess board of 64 carpets from an artistic correspondence of the everyday and sings as if inspired by a faraway protocol. Martin Roth (1977-2019) starts with painting, expands into space, creates landscapes, and devotes himself to conceptual and minimal art from the perspective of everything alive. Carpets overgrown with grass, birds working hidden away for the beauty of clean modernity, ducks mapping the studio infiltrate the institutional. What unites both is the consistently inclusive and eternally inquiring gaze from a distance creating a vision of a posthuman worldview.

Focus of the 4. Industrial Art Biennial is post-industrialisation, as it plays a crucial role in the current period of upheaval in the Antropocene. Christoph Doswald and Paolo Bianchi invited 29 artists and commissioned a large number of site specific projects, addressing issues of economic sustainability, cultural diversity, climate change, etc.. Landscapes of Desire is relying on the power of networking to overcome the boundaries of political and social borders. Artworks are sensory tools and methods to successfully challenge thought-patterns. "We need more artful thinking for a sustainable world", state the curators. The 4th Industrial Art Biennial is conceived as an experimental laboratory, re-shaping the rich social, economical and cultural topography of Istria.With works by Lara Almarcegui, Cristian Andersen, Charlie Billingham, Vanessa Billy, Werner Feiersinger, Fernanda Figueiredo, Clare Goodwin, Tatjana Gromaca, Igor Grubic, Manaf Halbouni, Raphael Hefti, Gregor Hildebrandt, Christian Jankowski, Nikita Kadan, Sandra Knecht, Joseph Kosuth, Lena Lapschina, Sonia Leimer, Olaf Nicolai, Seçkin Pirim, Anna Piva, Marko Pogacnik, Tanja Helena Roscic, Karin Sander, Arcangelo Sassolino, Talaya Schmid, Natalia Stachon, Stefanos Tsivopoulos, Viktor ZahtilaA comprehensive catalogue - published with Verlag für moderne Kunst (Vienna) -, is featuring all interventions, documented by reknown photographer Jules Spinatsch . Contributions by Paolo Bianchi, Marie-Janine Calic, Christoph Doswald, Isabella Flego and Tatjana Gromaca.

FERROZINE 536 presents twelve projects by the artist Ottjörg A.C. from the last 20 years. Ottjörg has lived in many different countries for long periods of time - among these, in Germany, Austria and Russia, later repeatedly in China, and for several years in Brazil. His artwork originates from all over the world, inter alia color imprints of scribbled school desks from five continents. Ottjörg combines the analogue experience of traces and testimonies of the past with printing processes. His most important tool is communication. By printing on site - wherever a press can be found - participation and exchange with people of diverse heritages is extended to the technical production of the artwork. Where is the connection between the Pampas of Latin America and the foundation piles of Berlin's Imperial Palace? How is it possible to mention Albrecht Dürer and Kasimir Malevich in one breath? What does horse castration have to do with colonial rule? How can worthless banknotes be profitably recycled? This publication has some ideas to offer.

In the spirit of a rendezvous, the Heidi Horten Collection offers a meet-up with artists in the collection whose biographies were shaped by France. The exhibition and accompanying catalogue embark on an artistic journey of discovery from the Parisian artists' districts of Montmartre and Montparnasse to the South of France - the Midi - and thus to places that have contributed to the emergence of major art movements in the twentieth century.

Founded in 2017, the Warwick Collection is a young and growing collection of contemporary art with a focus on relevant German and next generation artists. The collection explores themes related to abstraction, conceptualism and aesthetics comprised of works on canvas, performance, photography and sculpture.This first comprehensive catalogue serves the ambition of creating an enduring collection that tells the narrative of current and future generations of artists.

The group show "Here and Now. Vienna Sculpture 2022" affords an insight into the current sculptural output in the Austrian capital. Sculptures, wall objects and installations by international artists living and working in Vienna show, both in their respective characteristics and in the exciting interplay with each other, what contemporary sculpture is currently treating and can be.With works by Sasha Auerbakh, Kerstin von Gabain, Birke Gorm, Siggi Hofer, Michael Kienzer, Sonia Leimer, Angelika Loderer, Constantin Luser, Fritz Panzer, Rudolf Polanszky, Peter Sandbichler and Toni Schmale.The catalogue consists of a booklet with texts and 13 posters.

Diving into art means the dissolution of boundaries between the artwork and its recipients: a relationship that is usually captured under the aquatic metaphor of immersion. Accompanying an exhibition that brings together new and historical, temporary and permanent immersive works of contemporary art at the Museum unter Tage and Situation Kunst in Bochum, this catalog asks about the critical potential of an artistic engagement with artificial atmospheres, augmented and virtual realities from the perspective of art and exhibition history as well as media studies. If immersion includes mental activation and thus re-emergence, it concomitantly opens new perspectives on our handling of social environments.

In its 2022 annual publication "A Sense of Relatedness", Kunstraum Lakeside investigates an array of different types of relationships: The focus is connecting lines, entanglements, assemblages, networks, or kinships and their underlying mechanisms; it explores encounters between the human and nonhuman, between the material and immaterial, between the organic and technical, and, last but not least, between places and times. In the annual program "A Sense of Relatedness", Kunstraum Lakeside traced the ubiquitous longing for a sense of clarity, comprehensible entities, and predictable outcomes, and contrasted it with images that accommodate the incomplete, diverse, and volatile-they are not images of the either-or but of the as-well-as.

In her film installations, Isa Rosenberger weaves traces of history - forgotten or marginalised, often feminist and Jewish women's history - into multi-perspectival historiographies in which gaps and voids are constitutive. In the film realisation, Rosenberger uses montage: linguistic and visual, documentary and fictional narrative levels switch, fragment and join up again, always tied in with current issues and discourses.Taking this into account, the exhibition in Kunsthaus Graz is oriented towards the idea of the 'stage' as a performative space, as a space of memory and experience that should be activated. Shadows, Gaps, Voids is Isa Rosenberger's most comprehensive show to date and features six older works and a new piece, a co-production with Stiftung Bauhaus Dessau.

The artist Gunda Gruber (Salzburg, AT, 1971) has been working for many years on the intersection between video, photography, graphic art, and architecture. Many of her series consist of layered elements and multimedia installations that challenge our perceptions of space and time and make for a vivid experience of discontinuities and uncertainties as well as the artist's creative process. Stages of reality overlap in Gruber's oeuvre as the space of film becomes an extension of the physical universe; structures borrowed from nature undergo abstraction, and social arrangements are subjected to scrutiny. Dialogue is central to her practice: the artist's engagement with her materials; the interactions between the forms and strata within a work; and, finally, the works' dialogue with the beholders.This book is published on occasion of the artist's first museum exhibition for the award of the 2022 Grand Prize for Visual Art of the State of Salzburg, and included three new essays on Gunda Gruber's artistic practice by Andrea Kopranovic, Didi Neidhart, and Tina Teufel.

The publication revolves around the polarized nature of the resident-host encounter. The space of residency generated between artist and host leads to the establishment of a temporary community whose "episodic" nature corresponds to the nature of the "postmodern" world. From the perspective of the host, the presence of the artists resembles an episodic plot, where each part - despite the uniqueness of the artistic interventions - is to some extent an open form, in fact, it can be built anew each time. Like film characters, artists assume their roles in subsequent episodes. Creating such a space in a social structure requires trust, openness and a strong sense of empathy, as well as a willingness to share one's resources. From the outset, the editors did not aim to present an analysis of the operation of individual spheres of artist residencies, but rather to compile in dialogue a polyphonic publication that illustrates the nuances of residency work and artists' experiences, as well as the unstable constellations of artist residencies with its open-ended structure. Artist residency programs can serve as a model for dealing with the ever-changing contemporary world and societies. All this makes it possible to fulfill the dream of a world where there is a balance between acceptance and separateness. This world offers authenticity, permanent change and constant transformation.

Keith Sonnier-this name is primarily associated with the light works of the artist, who was born in Louisiana in 1941, in the Deep South of the USA. Since the 1960s, Sonnier has continuously developed works with various light sources, which has decisively shaped the reception of his art to this day. Equally essential, however, is the unbroken and open-minded interest in a wide variety of materials and media. Sonnier has also been engaged in diverse cultures throughout his life, has traveled and created works of art using local handicrafts.The exhibition, comprising around forty works from five decades, and the accompanying publication honor the work of the artist-who died in July 2020-in its diversity and the individual attitude that emerges in it. The English "Lightsome", which can mean 'bright' as well as 'carefree, cheerful', refers not only to Sonnier's art, but also to his person.

300 Zeichnungen / Cartoons stellen Fragen wie "Sind Bäume abends müde?" oder "Isst man im Leben einen ganzen Supermarkt?".Barthaare von Plato, Kant, Nietzsche und Mozart werden gezeigt, ebenso Ameisen im Stress oder der Unterschied zwischen jungem und altem Apfel.Der Zeichner, Christian Heiss, Architekt und Eigentümer des gleichnamigen Architekturbüros Atelier Heiss Architekten, teilt Beobachtungen und stellt solche zentralen Fragen - sind doch fast alle Dinge des Lebens mit der Architektur verbunden.Die Texte, in Englisch und Deutsch verfasst, stammen von ihm, ein Vorwort hat Wojtech Czaja beigetragen.Apropos: Gibt es dicke Elefanten?

The monograph of the artist Eduard Tauss presents the series "Farbkörper" and "Offene Formen", which were created in recent years in an organic and material-gestural formulation. "The paint has freed itself from the pictorial carrier and, by means of its own malleable substance, becomes an expression of itself and serves as the subject of its contemplation in the space." Eduard Tauss' series of works arise in dialogue with or investigation of the material of synthetic resin and are situated in the art-historical context of the "extension of painting." Angela Stief offers a precise and comprehensive examination of his artistic production, while Florian Steininger focuses on Tauss' paintings of "Offene Formen". The essay "Embodying Colour" casts light on the historical ramifications of the term "autonomy of colour," and Manisha Jothady addresses the dissolution of the categorization of artistic genres. Paint which unfolds its organic-sculptural potential and manifests itself as a gesture of material or color.

"The Double You Series" is based on the eponymous body of works that Günther Selichar created in 2020-2022. Instead of text, the artist's book contains pictures of words: color images of four different screens with varying pixel shaped and scans from a variety of printed publications featuring diverse fonts. They spell the questions "Who?", "What?", "Where?", "When?" and "Why?", which guide journalist's investigations and structure their output. With his text images, the media artist and theorist draws a line from early printed mass-media reproductions to texts on screens. The book prompts us to reflect on facts, which have lately often been supplanted by narratives.