Bøger udgivet af VFMK

Die Linie und ihre serielle Wiederholung sind die zentralen Motive des Schaffens der Künstlerin Haleh Redjaian. In ihren Werken auf Papier, auf handgewebten Teppichen sowie in raumgreifenden Installationen treten gezeichnete, gewebte oder im Raum gespannte Linien immer wieder auf. Die entstehenden Raster, Muster und Strukturen weisen eine strenge geometrische Ordnung auf. Durch ihre subtilen Unregelmäßigkeiten, Verwischungen oder Unsauberkeiten verbergen sie jedoch nicht ihren manuellen Entstehungsprozess. Die resultierenden unendlichen Flächen und Repetitionen fordern bei den BetrachterInnen eine große Konzentration des Sehens ein.Das vorliegende Buch mit dem Titel "in sequence" dokumentiert Haleh Redjaians Ausstellung im Bregenzer Kunstverein im Jahr 2016, in welcher 15 Arbeiten auf einer Ausstellungsfläche von 300m2 präsentiert wurden. Die in der Ausstellung gezeigten Werke sind im Katalog von Texten begleitet, die sich mit den jeweiligen spezifischen Aspekten der Arbeiten befassen. Ergänzt wird die Publikation durch Werkverzeichnisse von Redjaians Teppicharbeiten und Rauminstallationen.

"What I also like is its fixed, focused view-it (photography) only grants the viewer one perspective and imposes a restricted gaze ..." In her first monograph "Bound by Echo", Nadine Bracht combines thematic circles that could not be more different - horses, photography and teaching at an art academy. In the phase when the horse lost its importance with the technical development of the automobile, photography continuously prevailed and became popular. This is the magic moment where, for Bracht, two topics intersect at a kind of historical juncture. As an artistic-technical teacher for photographic media at the Stuttgart Art Academy, she starts here with her research and reflections. She develops teaching formats, image strategies and narratives that stretch and expand the medium of photography in an interdisciplinary way, such as through photo walks, performance, video and sculpture.

In her artistic works, Franziska von den Driesch works with analogue and digital photography, video, and also photographic procedures that do not involve a camera. Her pictures, videos and installations focus on ushering the photographic material into visibility and interweaving material and apparent reality. The silver grain as an elementary particle of analogue photography, just like the pixel and the raster as building blocks of conveyed reality, become independent protagonists in her works. Photographic motifs are dissolved in layerings, or digitally generated images are transferred into analogue photography. The concept of virtual reality resonates as an implicit possibility.In his extensive essay Dr. Rainer Beßling, author and cultural journalist, traces out the fundamental motifs of these photographic works: grain, light, time, paper. The categories already point towards the multilayered, material referentiality of the works. Photography presents itself as a residue of physical encounters, as an index. Of central importance are the visual and auto-poetic potentials inherent to the photographic elements and the photographic processes. The text connects this artistic position with lines of tradition in photographic history and integrates them on a systematic level into what is a contemporary aesthetic and not only photographic discourse.

Since 2003, the accomplished editor Alexander Linn has been following the graphic work of André Butzer. With such intimate knowledge, great care and passion most of all, he now presents the first volume of the catalog raisonné of prints.Graphics are a fully valid part of Butzer's oeuvre from the very beginning and at all times, the prints catch up with the development of his painting in complete independence. Everything is there and decisively formulated. His iconic figures, colors and forms, the basic motifs and themes are present with a clarity only to be achieved in graphic art: From the simplest linocuts to elaborate series in a variety of graphic techniques to the grace and gorgeous colors of recent years.High time for this book, which already is an invaluable reference and an impressive testament to a graphic oeuvre with which André Butzer modestly but with the highest mastery inscribes himself in the long tradition of peintres graveurs.

Natasza Niedziólkas faszinierende Werke bewegen sich an der Schnittstelle von Malerei, Zeichnung und Textilkunst. Die Leinwand bildet den Träger für ihre abstrakten, haptischen Stickereien. In repetitiver Manier bringt die polnische, in Berlin lebende, Künstlerin über das Material und seine Verwendung eine Leichtigkeit und einen meditativen Gestus in ihre formal kraftvollen und sinnlichen Arbeiten, die an Marcia Hafif oder Agnes Martin denken lassen.Der Katalog versammelt vier Werkgruppen, die in den letzten Jahren entstanden und deren eindrückliche Detailaufnahmen Niedziólkas Arbeitsprozess sichtbar und eine Ästhetik erfahrbar machen, die ihre Werke auszeichnen. Natasza Niedziólka sieht die Bearbeitung ihrer Bildflächen als produktiv herausfordernde Tätigkeit, der die Zeit des Arbeitens als erinnerte, im Werk konservierte Zeit eingeschrieben ist. Das Sticken präsentiert sich als ereignishafter Prozess, und auch das Textile wird nicht als Objekt, sondern als Ereignis verstanden, das sich im sehenden Betrachten immer wieder aufs Neue aktiviert. (Vanessa Joan Müller)

Kudzanai-Violet Hwami (*1993, Zimbabwe) combines visual fragments in her paintings, revealing a multi-layered and personal vision of life. She experiments with photographs and digital image collages, using them to create large-scale works on paper or canvas with intensely pigmented oil paint, often employing other media and techniques such as silkscreen, pastel or charcoal. She draws her inspiration from a variety of sources, including archival, online or nude images, but also personal photographs, such as self-portraits or family pictures.

The pioneering artist Carolee Schneemann (1939-2019) embraced a wide range of mediums: from painting to performance, film and video to mixed media and installations, famously applying the gestural physicality of action painting to kinetic environments and performances centered on the body-more often than not, her own. Many of the artist's works have entered the canon of contemporary art, such as Eye Body (1963), Fuses (1964), Meat Joy (1964), Up To and Including Her Limits (1974) and Interior Scroll (1975).From Then and Beyond consists of interviews with Schneemann, conducted by art historian Oliver Kielmayer (Kunsthalle Winterthur) and curator Lara Pan at her home in New Paltz, New York. The transcript of these interviews, edited into 27 monologues and dialogues, is the last substantial testimony by the artist and is complemented by illustrations of her works and photographs of her house.

Monographic catalogue by Caroline Achaintre (born 1969) on the occasion of the exhibition "Caroline Achaintre. Shiftings" at the Kunstmuseum Ravensburg (20 November 2021 to 20 February 2022) and at the Kunsthaus Pasquart in Biel (10 April to 12 June 2022). "Shiftings" is Anchaintre's first museum exhibition in Germany and Switzerland. The catalogue and exhibition give insight into the memorable work of the German-French artist, which is characterized by its precision, experimentation and unconventionality. Anchaintre's ceramics, watercolours and imposing, large-scale tapestries are invitations for the viewers' imaginations to run free. The title "Shiftings" not only alludes to the fact that Anchaintre transfers traditionally established techniques such as tapestry or ceramics to the present day but also to her constant sounding out of the boundaries between abstraction and representation.

Painting, photography, film: A one-woman-production, Patricia Reinhart's artistic work presents itself as multilayered, sensual and poetic. Her art explores femininity as the mystery of being, regarding the self in a simultaneously exploratory, deconstructive and authentic way. In the medium of Ciné Collage, the artist interweaves literature, psychoanalysis, film and art history to create surreal-theatrical tableaus that use subtly-chosen narratives to subvert commonly accepted regimes of power and gaze. In painting, inner and outer abstract spaces touch to form color orgies that depict the universe as an interplay of an infinite number of elementary particles. Patricia Reinhart staging a self-portrait in a photo booth in a public area in Paris, selecting gestures and poses that call her own female identity into question. Oscillating between appropriation and dissolution of the history of visual media and literary models, Patricia Reinhart expands her own analyses, observations, and conceptions of the world in interrelated visual media. This monographic publication includes works from 2015 to 2022 by the artist, who resides in both Paris and Vienna.

Stéphanie Saadé (*1983, Lebanon) deals in her work with themes such as memory and the individual experience of time, scale and references to place. She subtly influences existing objects with quiet artistic interventions and places them in a loose network of references. They function as personal objets trouvés that do not speak language but think it. The artist explores the nature of memory, historicity or the condition humaine, using transposition, displacement and metaphor to explore the relationship between the intimate and the universal.The monographic publication appears on the occasion of the exhibition Stéphanie Saadé - Building a Home with Time. With sculptures, fabric works, videos, works in glass or with a video game, the artist develops different narratives around the theme of home. Building a Home with Time speaks to the slow process of forming a place, and at the same time the evolution and constitution of being, both of which are tied to each other and inseparable from the passage of time. Often her works place her personal life in scale with a part of completed history, but are also expanded by current events - such as the recent popular uprising, the devaluation of the Lebanese pound, hyperinflation, a global pandemic and a deadly explosion - which link the past and the present.

Wagen wir ihn! Den Blick hinter den "Vorhang unseres Lebens".Was entdecken wir? "Dämonen", die uns scheinbar zum Spielball ihrer Launen machen.In seinem "Dämonentheater" öffnet Michael Vonbank Einblicke in das spektakuläre Schauspiel innerer Transformation. Seine Chimären oder Grotesken erkunden in permanenter Verwandlung zwischen Mensch-sein, Tier-sein und Dämon-sein die Hintergründe unserer Existenz.In Malerei und Skulptur spürt Michael Vonbank individuellen und kollektiven "Dämonen" nach. In Installationen, Fotos und Videos greift er gesellschaftlich-kollektive "Dämonen" aus Migration und Religion auf.Im alten Griechenland stand "daimon" für eine innere Kraft, auf die wir "versessen" sind, da sie uns selber ausmacht. "Daimonion" stand für eine innere Stimme, die als Entscheidungshilfe dient.Die Archetypen in Vonbanks Werk bringen uns mit eigenen "Dämonen" in Verbindung. Die Geister, die wir rufen, rufen zurück. Diese dialogische Spannung macht die enorme Kraft seiner Arbeiten aus.

THE DISSIDENT GODDESSES' NETWORK is an interdisciplinary research project based on the important finds of female figurines from Lower Austria's early and prehistoric period. It identifies issues connected to these finds and examines them from today's perspective: What do these finds mean? Do they have an effect on the position of women today? What does the soil tell us, how are archaeology, economy and ecology interlinked? What recording systems could be used to map the things that the territory reveals? What future could be sketched out, what demands would have to be made? This book presents the results of a scientific-artistic research phase of the project that lasted several years, concluding with an exhibition at the State Gallery of Lower Austria in Krems entitled READING THE EARTH. A project by the Academy of Fine Arts Vienna in association with FORUM MORGEN

Die Healthy Boy Band hat es tatsächlich wieder getan. Nachdem sie 2020 ihr Magazin The Healthy Times gegründet haben, wird nun die bereits dritte Ausgabe veröffentlicht. Auch in dieser Ausgabe bleiben sie ihrem Kredo treu, dass Form und Inhalte des Magazins niemals gleichbleiben.Für die dritte Ausgabe konnten sie neben ihrem langjährigen Begleiter, den Gastrokritiker Andrea Petrini, auch die Performance-Künstlerin Sophia Süßmilch gewinnen.Im Design eines klassischen Taschenbuchs á la Suhrkamp oder Reclam, wurden die Seiten des Magazins genau aufgeteilt und jeweils von Süßmilch und Petrini mit Fotografien, Essays und Rezepten gefüllt, die sich mit der Frage beschäftigen, ob Essen Kunst sei.Außerdem hat die Healthy Boy Band Peter Kubelka für eine "Welterschleckung" in Wien getroffen.Die einzige Konstante im Magazin ist die große Abrechnung mit Severin Corti, die auch in der dritten Veröffentlichung von The Healthy Times nicht fehlen darf.In diesem Sinne, stay healthy!

This volume is the first to present and address in image and text the architecture-oriented works of Esther Stocker as a discrete body of work. The richly illustrated catalogue raisonné was compiled by the architect and curator Matthias Seidel of drj art projects Berlin, together with the cognitive psychologist and architecture scholar Martin Brucks and the artist herself. The book sheds light on Stocker's artistic development in relationship to the medium of architecture in a way that is vivid and comprehensible. Projects that are particularly important to her development are marked and featured with additional commentary. In addition, introductory texts delve deeper into Esther Stocker's concrete methods and approach to spatial work. The volume considers how Stocker, who began as a painter, transfers her fundamental interest in "order and disruption" to architectural space. The effects of her architecture-oriented works are also analyzed from a perception-psychological perspective along with a description of the underlying artistic principles.

The days when artists primarily painted in oils, chiseled marble or made finely chiseled etchings are long gone. Today, they sometimes cast sculptures out of gelatin, knot the same thread for years, or paste tomato paste all over the walls. Why do they do it? And how do they find fulfillment and meaning in numbering the leaves of a bush, boiling birds' nests to a pulp, or blowing up a garden hut? The art historian and journalist Sandra Danicke asked 22 international artists about their very own materials. How does one come up with it? How does one do it? What's the point of it all? The answers are surprising, instructive, sometimes touching.Joseph Grigely from Chicago - deaf since childhood - reports on his methods of making contact with hearing people - and how irritating wall installations result. Scotsman Simon Starling explains how he once traveled to Ecuador to procure the balsa wood for a model airplane, Sweden's Sofia Hultén tells of her love of discarded items from the dumpster, and Daniel Turner of New York tells how he managed to liquefy a cafeteria and turn it into a stain on the floor. It's all about alchemy, craft, imagination and a lot of trial and error.

Daniela Keiser (b. 1963) is a concept and installation artist, who already has very considerable experience of working with aspects of image science, photography, collage, and language. This is also exemplified in her new group of works. The starting point for her project was Keiser's long-term interest in the cyanography that was invented 1842 and soon put into practice by Anna Atkins (1799-1871), one of the first women to make a name as a photographer. Keiser has breathed new life into this process from the early days of photography. In a multi-step sequence, she creates cyanotypes from found photographs and digital shots of her own.This specific photographic technique is also a trigger of sorts for various motivic and thematic hooks in Keiser's project. She homes in on diverse phenomena: landscapes, settlements, globalisation, agricultural trade and colour per se. The cyanotypes from various thematic fields are being brought together in the book. The texts it contains take very different approaches to Daniela Keiser's art: from philosophical, art-historical and ethnographic to astro-physical, architectural, geo-chemical, geological and poetic - creating an exhilarating, polyphonic chorus that is a fitting match for Keiser's own artistic process.

The two-part publication includes Hannes Schüpbach: Explosion of Words / Explosion der Wörter. Dedicated to Stephen Watts. With an essay by Jo CatlingStephen Watts: Explosion of Words / Explosion der Wörter. 19 Poems.With German translations by Hannes SchüpbachCentral to the themes of the Swiss artist Hannes Schüpbach are the moments from which art is created. With his latest work, "Explosion of Words", a cinematographic photo installation extending frieze-like over 24 metres, he responds to the lived spaces of the poet and language activist Stephen Watts, who is based in London and works between extensive research on poetry and his own contributions as a poet to the ongoing "explosion of words". As a part of this project, Hannes Schüpbach has translated a selection of Stephen Watts' poetry into German.Accompanies exhibitions at Nunnery Gallery, Bow Arts (London) and Strauhof (Zürich), in 2021.

Jakob Gilg's catalog Die Vermessung is published in conjunction with his solo exhibition Mercator at Kunstverein Rosenheim. Published by Verlag für Moderne Kunst, it covers the last eight years of Jakob Gilg's artistic production. His work is an attempt to approach the scales and perspectives of measuring reality. He explores and questions them in his paintings, sculptures and drawings. Lively curiosity and deep interest in philosophy, cultural history and natural sciences provide him with a wide spectrum for the reflections in which the artist himself becomes an explorer and surveyor of social and interpersonal processes.With contributions by Dr. Olena Balun, Lilian Robl and Friedrich G. Scheuer.

Jan Pleitner, born in Oldenburg in 1984, is a contemporary painter. After studying at the art academy Düsseldorf the artist is living and working in the Region of Ostfriesland in the North of Germany. He describes his psychedelic, abstract painting as "neo-expressionist" or as "scifi-expressionism".His processual and physical pictorial invention creates its own contemporary position somewhere between the waves and impulses of the subconscious and logical concepts of perception. Painting that cannot easily be subordinated to a category and tries in a very idiosyncratic way to open doors for a new consciousness."The Temperatures of Time" is the artist's first publication that provides a retrospective overview of his early work from 2004-2020 with key exhibitions, main works and important stations in his creative work.The book is accompanied by an interview with Hannah Eckstein and texts by Christian Malycha and Declan Long.

AKT / NUDE is a complex artists' book dedicated to nude drawing as an art form.AKT / NUDE is more than a collection from twenty years of nude studies in the Department of Stage Design at the Mozarteum University Salzburg. The scenographic perspective and the proximity to theater, film and performance provide crucial impulses.The works by the young artists present a variety of unconventional and experimental approaches to the naked human body that go far past the academic study of nature and, in a certain sense, achieve a staging of the nude.Some 520 works by 68 students, impressions of instructional situations, texts by students and teachers as well as the thoughts of a nude model resonate in a conceptual space and enter into complex relationships with each other. They tell of artistic processes oscillating between perception and imagination-an emotionally moving encounter with nakedness, with the fragility of the body andof human existence.

Austria-based Ghanian photographer Eric Asamoah presents his first monograph named "The Day After Tomorrow". In his photo series, Asamoah shows us young men through time, finding contentment within the transitions of boyhood to adult-hood. "There is a sense of calm, exploration, and patience in the images and throughout the whole series, because it seems they [the subjects] are preparing for the day when they will find their peace, the answers and themselves." - Eric Asamoah The images were captured in Accra and Kumasi, Ghana. Eric Asamoah (b.1999 in Linz, Austria) is a photographer who works in multifaceted fields of photography.

MANFRED MAKRA / MODENA PARK is the current book publication of the Austrian painter. It presents the most important works painted in the years 2019 to 2021 in his Modena Park studio in Vienna. Texts by Karolin Schmidbaur, Bernd Hackl and the galerist and art manager Thomas Mark give an introduction into the image concept and art historical references of the current work cycles and series. With this publication Manfred Makra - who has been active as a fine artist for 40 years - gives us a first impression of his beginning late work and surprises with new visual insights concerning color, line, surface and space. His image concept references basic architectural priciples as well as influences of the aesthetic of Japanese Zen-Buddhism.

A body is a stone. A stone is a pillow. Things cannot be separated easily in Hilger's paintings. Material merges with flesh, fingers move like snakes. (Jurriaan Benschop)In her works, Veronika Hilger combines still life, landscape and portrait with an abstract visual language. In a fragile balance between abstraction and figuration, the artist conducts an intensive investigation of the history of painting as well as of its formal, technical and conceptual requirements, a perspective that is likewise mirrored in her ceramics.The publication conveys a comprehensive range of insights into both the painterly and the sculptural oeuvre from 2016 to today. The essay by the Dutch author and critic Jurriaan Benschop and an interview of the artist with Jana Baumann, curator at the Haus der Kunst in Munich, embed the works in a theoretical context and allow a multi-perspectival consideration of this complex artistic oeuvre.

Throwing Gestures examines the recent intensification of interest in gesture and the entanglement between gesture, media, and politics. The gestures discussed pass from body to body and between states of medial representation. Protest movements, the respective aesthetics specific to those movements, the perpetuation of socio-economic crises over many decades, the plight of gig workers in precarious employment and mechanisms for the quantification of work and leisure are some of the issues addressed. Fourteen contributors from diverse fields ranging from visual and performing arts, cultural studies, and cultural history, to media theory and political science, shed light on the many aspects that comprise mediatized gestures today. Developed from independent approaches brought together through interdisciplinary collaborations, Throwing Gestures combines conversational, artistic, and essayistic contributions with scientific articles. Image and text are juxtaposed. Readers are invited to leaf through the collection or approach the volume as a flipbook.

The Vienna-based photo collective Fountain's Edit sheds a light on the notion of discipline in six series and an accompanying glossary. The softcover book underlines and emphasizes their different photographic styles and aesthetics by using a different kind of paper for each series.

For Hello I Love You, Ludwig Nikulski traveled through Japan with a Japanese love letter. From Tokyo to the east coast, through the deserted region of Fukushima, over a road cut into the ice through the Hachimantai Mountains, to the west coast, through green hills back to Tokyo, he showed the letter to the people he met and documented his search.Hello I Love You won the bronze medal at the German Photobook Award 2018/19 and was a finalist for the Award for Emerging Artists in Mecklenburg-Western Pomerania 2018/19.

Biel-based duo RITZWIRTH enjoys a unique position in the Swiss art scene. Katia Ritz as an architect and Florian Hauswirth as industrial designer not only realise architectural projects but have since 2009 also produced installations together. A central focus are interventions that directly reference their surroundings and consequently differ greatly in their conception. Thanks to their independent approach and their hybrid practice between art, design and architecture Ritz and Hauswirth change the respective place in a surprising way. Their interventions include a remarkable range of projects from scenographic works such as the Zentrum Paul Klee or the Appenzell mountain station Hoher Kasten, via the Raketen Regenwasser Silo on the Gurzelan site in Biel, that can be used for various activities, and the extension of the Coupole Biel, through to a window installation comprising envelopes for the Ishinomaki Laboratory in Tokyo. They respond primarily to urban environments such as les Urbaines in Lausanne and Spazio Lampo in Chiasso, or they intervene in nature in the context of the sculpture triennale Bex & Arts. Sound is repeatedly integrated into their work by way of complementing the spatial.