Bøger udgivet af Walther Konig Verlag

The recent boom in contemporary French art is assessed in this volume through works by 12 artists born since the 1960s: Saadane Afif, Dove Allouche, Ismail Bahri, Guillaume Bresson, Sophie Bueno-Boutellier, Nicolas Chardon, Damien Deroubaix, Nick Devereux, Vincent Ganivet, Benjamin Swaim, Vincent Tavenne and Yann Tom.

Borrowing the strategy of a commercial perfume launch, Francesco Vezzoli (born 1971) created a signature perfume called "Greed" and commissioned Roman Polanski to direct a 60-second commercial starring Natalie Portman and Michelle Williams. A series of needlework portraits of women in art history--Tamara de Lempicka, Eva Hesse, Leonor Fini--presented them as endorsers of the perfume.

For the past 30 years, German artist Thomas Stimm has examined our planet from the perspective of the solar system, fabricating sculptural and painted vignettes adorned with speech bubbles and logos that describe our planet--"Terra"--as a "home in space" for Terranians of all continents. This volume surveys Stimm's cheerful utopian vision.

Since the mid 1990s, the Dutch artist Marcel van Eeden (born 1965) has used drawing to attempt to forge a relationship with the world prior to his birth. Based on print media published exclusively before the year 1965, his drawings also weave imaginary celebrities into their narratives, ultimately evolving into a self-contained world from which their author is emphatically absent. This volume surveys his work.

This first monograph devoted to the work of the influential and transgressive New York City painter of all things excessive, queer, abject, kitsch and twisted features selected works from 1994-2004--including drawings, paintings, collages and installations. Eisenman's work runs the gamut of visual references from Surrealism to Pointillism to WPA murals to name but a few, deftly moving from orgiastic crowds to Dionysian sacrifices, minotaur hunts and romps through art history and pop culture. Yet the wit and scope of Eisenman's vision often disguise the intimacy of her work. Here, cliches are turned inside out, gender roles are questioned and one is engaged without fully realizing that the lushly painted scenes are always revealing something very personal. Features an essay by the painter Amy Sillman, a "panel discussion" between some of Eisenman's paintings by Matt Sharpe and a biography.

In their latest monograph, the Danish-Norwegian duo Elmgreen & Dragset address the world of celebrity: rumor-mongering, life in the public eye, the mechanisms of the media, its formation of myths and how those myths endlessly bombard us with staged presentations of the self. Two allegorical installations on celebrity and its implications of "the one" (the celebrity) and "the many" (the rest of us) were devised for the duo's exhibition at the ZKM Center for Art and Media in Karlsruhe, and are here documented across 100 color plates. In one of the museum's atriums, Elmgreen & Dragset installed a full-scale high-rise apartment block; the other atrium was converted into a neoclassical ballroom. Also documented in this volume are The Welfare Show and the widely acclaimed 2009 Venice Biennale project, The Collectors. The book includes interviews with the duo and with French philosopher Paul Virilio.

The ongoing influence of Marcel Broodthaers (1924-1976) has extended itself to video art, Relational Aesthetics and text art of all kinds. This volume assesses that multifarious influence, in works by Tacita Dean, Olivier Foulon, Andreas Hofer, Henrik Olesen, Kirsten Pieroth, Stephen Prina, Rirkrit Tiravanija, Joëlle Tuerlincks, Susanne M. Winterling and Cerith Wyn Evans.

Concept Action Language surveys the linguistic and performative strategies of the 1960s avant garde, in works by Fluxus artists such as George Brecht, Robert Filliou, George Maciunas, Ben Vautier and Robert Watts, Nouveau Réalistes such as Daniel Spoerri and Pop artists such as Robert Indiana, Claes Oldenburg and Andy Warhol.

Demonstrating that the self-portrait has lost none of its relevance to contemporary art trends, this volume assesses the genre in the second half of the twentieth century. It includes examples by Bas Jan Ader, Joseph Beuys, General Idea, Martin Kippenberger, Maria Lassnig, Bruce Nauman, Albert Oehlen, Cindy Sherman, Katharina Sieverding and Andy Warhol.

Eminem as emblem of America throughout Alex Da Corte's oeuvreThis book exhaustively documents Philadelphia-based installation artist Alex Da Corte's (born 1980) preoccupation with the musician Eminem across four exhibitions. From Detroit to Cologne, from an artist-run space to a major international museum, Da Corte's work parallels Eminem's career through his thirties, reappearing, evolving alongside America, explaining more of himself each time. Eminem's place in culture and his role in Da Corte's practice, as well as the larger story of American identity, is explored through recent and commissioned essays by Hilton Als, Charlie Fox, William Pym, Martine Syms and Moritz Wesseler, as well as manipulated found texts and an extensive Q&A with Danish filmmaker Jørgen Leth, whose 1982 work Andy Warhol Eating a Hamburger strongly informs the discussion. True Life is both an uncompromising reference book and a work of fantasy.

Material culture and biopolitics: on Daniel Knorr's multimedia explorations of the politics of thingsRomanian artist Daniel Knorr's (born 1968) eclectic oeuvre includes photography, sculptural installation and performance. The artist, who lives in Berlin and Hong Kong, is known for deploying materials such as cocaine and smoke to explore political and theoretical topics. This monograph addresses Knorr's analysis of social issues and the art system itself.

Plans, documentation and photographs from David Chipperfield's massive Amorepacific complex in KoreaThis book compiles 860 documents produced by David Chipperfield Architects during the planning and construction process of the Amorepacific headquarters in Seoul. These are complemented by two series of photographs by architectural photographer Laurian Ghinitoiu. Built between 2010 and 2018 for the Korean beauty and cosmetics company Amorepacific as their headquarters, the Chipperfield creation encompasses a museum, a library, an auditorium, a kindergarten, restaurants, laboratories and offices for 7000 employees. It is situated between a new business district, a large park and a small-scale mixed-use neighborhood, and was built from various materials (concrete, aluminum, glass, granite, textile, wood) from the region and across the world.

Addressing and reimagining the frailty of global economic systems and the precariousness of our era, Human Condition draws on works by Lida Abdul, Marcel Dzama, Maria Lassnig, Mark Manders, Kris Martin and Adrian Paci, and writings on ethics and judgment by Hannah Arendt, Judith Butler, Jeremy Rifkin and others, to reexamine conceptions of humanity in unstable times.

Humble celebrations of nature's small wonders from acclaimed photographer Bernhard FuchsIn his most recent work, carried out in his home terrain of Mühlviertel in Upper Austria, photographer Bernhard Fuchs (born 1971) captures details of stones, water, trees and sky, on long walks taken regularly between 2014 and 2019.

The transition between a dream and reality is sometimes blurry and jagged--moments of panic, confusion, fear, joy, a trail of thoughts that carries emotions from one world to the next. This delicate, ever-shifting boundary between real and virtual environments is explored in Videodreams, the exhibition catalogue of recent video installations by Stan Douglas, Rodney Graham, Joan Jonas, Sharon Lockhart and other artists whose work is represented through multiple video or installation photographs. Selected texts by leading theoreticians of cinema and cultural studies examine the archaeology of backstages and location sets in a thorough investigation of artificiality and illusion.

A founding member of Fluxus and the concrete poetry movement, Emmett Williams (1925-2007) made several performances and poems that stand today as defining gems of those genres. Among them is the book-length concrete poem Sweethearts, first published by Something Else Press (where Williams was editor in chief) in 1968, and back in print for the first time, still sporting its classic cover by Marcel Duchamp. Sweethearts is an anagrammatic erotic encounter between a "he" and a "she," whose entire vocabulary is derived from the word "sweethearts." The letters maintain the same spacing in every word on each page, lending the volume a flipbook dimension that Williams enhances by organizing the text to read backwards, so that the reader can flip the book with her or his left hand (thus the front cover is on the back, and vice versa). Richard Hamilton described Sweethearts as being "to concrete poetry as Wuthering Heights is to the English novel... compelling in its emotional scope, readable, a sweetly heartfelt, jokey, crying, laughing, tender expression of love."

Taking its title from Deleuze, this exhibition and catalogue consider the body linguistically. In what sense do bodies produce language, how are they themselves grasped and defined by it, and what spaces for action are opened up by this understanding? With art by John Baldessari, Allan Kaprow, Mary Kelly, Francesca Woodman and others.

Eva Hesse is best known for the ethereal sculptures she created out of latex and fiberglass, a body of work that shows affinities with the concerns of Minimalism but cannot be easily characterized under any particular art movement. The majority of publications about her too-brief oeuvre have focused almost exclusively on the sculptures she produced after 1965. This slipcased, two-volume edition offers the first pronounced consideration of the transformative time prior to that year. Volume I documents Hesse's production from 1962 to 1966 through reproductions of drawings, collages, sculptures, and plastic reliefs. Volume II presents, for the first time ever, her notebooks from 1964 and 1965, a watershed year in her artistic practice. This primary material is reproduced in its original English (alongside German translations).

Designed to mimic a Christie's catalogue, this artist's book documents Christian Jankowski's auction-performance in which the auctioneer sells off the artist's clothes (which he wears during the auction) and even, finally, his hammer. The book alternates the transcription of this comical event with a description of items sold.

Focusing on Sigmar Polke's artistic strategies of the 1970s, this volume retrieves the artist's largely forgotten series Wir Kleinbürger!, also known as We Petty Bourgeois!. This series is situated alongside other works from this era, by the artist and by his contemporaries, in media including photography, film, drawing and paintings.

Korean-born American artist Cody Choi (born 1961) works in a plethora of media--painting, sculpture, neon lighting, installation, ink drawing and computer graphics. Culture Cuts addresses cultural conflicts between the Western and Eastern hemispheres, as well as the artist's own questions of identity and assimilation.

Essays and conversations from the unclassifiable American advocate for surrealism and predecessor of pop art, William N. CopleyFor readers interested in the extraordinary life, work, and artistic milieu of the great American surrealist and proto-pop painter William Nelson Copley (1919-96), this volume will come as a thrilling revelation and a long-awaited peek into the mind of one of 20th-century art's most influential yet least recognized protagonists. Though best known for his radical work as a painter--which he pursued under the name CPLY--Copley was also a talented writer and the texts gathered here present his most significant essays, articles and conversations. Among Copley's reflections on art and artists is "Portrait of the Artist as a Young Dealer," a vividly humorous account of his brief tenure as a dealer in surrealist art in 1940s Los Angeles. Also included are key interviews and correspondence illuminating Copley's own practice and a selection of his newspaper articles, originally published in the 1950s and reprinted now for the first time.

Austere seriality: an inspired pairing of two influential American conceptualistsWorking from the 1960s on, Lewis Baltz (1945-2014) and Sol LeWitt (1928-2007) developed pared-down visual languages to explore the structures of spatial processes and permutation. Baltz, in photographic series such as The Prototype Works, Tract Houses and Park City, united traditions of documentary photography and avant-garde art to depict the iconography of postindustrial society--signs, walls, parking lots, suburban homes. LeWitt's works in sculpture, such as his Serial Project and his massive Black Cubes, highlight an absence of function and an austere seriality. Much like Baltz, LeWitt deploys consistent measurement as the basis for many of his works. Both artists' groundbreaking works are included in this suggestive pairing. Works by both artists are documented in numerous exhibition views and individual illustrations with further illumination from texts by Baltz and LeWitt.

In the mid-1990s, German artist Peter Piller (born 1968) worked at a Hamburg press agency, collecting clippings and monitoring where and how the paid ads of clients would appear in print. During his daily press survey, Piller collected and organized photographs, here published and arranged thematically in Peter Piller: Archive.

There are some artists who are never forgotten simply because other artists will constantly cite them as examples. Paul Thek (1933-1988) is one such artist. Revered for his disarming humor and irreverent handling of artworld proprieties, and much lamented for his premature death from AIDS at the age of 55, the likes of Vito Acconci, Bruce Nauman, Mike Kelley, John Miller, Paul McCarthy, Kim Gordon and Matthew Barney have all sung his praises. Tales the Tortoise Told Us is a three-part Thek compendium, composed of writing by Margit Brehm, Axel Heil and Roberto Ort (who discuss the artist's ambivalent relationship with his homeland, and Thek's odd place in the Beat and Hippie generation), a large spread of reproductions of Thek works and a chronologically-arranged survey of works from 1963 up to the artist's death in 1988.

Lima-born, Toronto-based artist Luis Jacob's installation "Habitat," detailed here, was realized in 2005 at Toronto's Art Gallery of Ontario. The extensive work comprises six interconnecting rooms for meeting, yoga, DJing, reading, sleep and one devoted to the contrast between hard and soft, which feature ceramic objects presented under museum vitrines.

Bulgarian artist Ivan Moudov is most known for performances directly involving the public, which humorously question basic social phenomena--such as "Traffic Control," in which the artist manned traffic intersections in three European cities dressed as a police officer. This long-awaited retrospective surveys works from 1998 to the present.

In 2013, Dia Art Foundation commissioned Thomas Hirschhorn to build Gramsci Monument, an overwhelming, complex and excessive outdoor sculpture that measured 8,000 square feet and was located on the grounds of Forest Houses, a New York City Housing Authority development in the Bronx, New York. On display for 77 days, with daily and weekly events organized by the artist, Gramsci Monument concluded Hirschhorn's series of "monuments" dedicated to philosophers, which began in 1999. Grounded in the love of Antonio Gramsci's work and life, specifically his fundamental concept of the "organic intellectual," this publication takes the form of a manual that details the complexity of creating an art work in public space, bringing together contemporary scholarship alongside accounts from residents, participants and visitors.

German-Finnish artist Matti Braun creates layered installations that allow objects from one culture to come into contact with those of another, resulting in intentional misunderstandings: a 2003 exhibition includes, among other references, lines by Indian poet Rabindranath Tagore and imagery from Steven Spielberg's 1982 E.T., for instance. This is Braun's first comprehensive monograph.

Crime Terror Riots, by German artist Jochem Hendriks (born 1959), is based on undercover film and photography recordings culled from German police archives from the period 1973-85. The material reveals an era of political unrest, terrorist attacks and hostage exchanges.