Search

In addition to Miki Kratsman's comprehensive archive, which documents the development of the Israeli-Palestine conflict and its consequences for the daily life of the civil population, his first solo exhibition in Europe focuses on new work that selects the Bedouin population as a central theme. The Bedouin--a minority of the Arabic minority in Israel--have attracted increasing interest in the last years, both from the media and from state-run institutions. The process of integration of the Bedouin into Israeli society occurs on two levels--the formal one, i.e. through governmental policy, and the informal one, i.e. through changing relations with the Israeli society in general and Jewish society in particular. Published on the occasion of the exhibition at Ursula Blickle Stiftung, March 6-April 17, 2011. Contributors Dana Arieli-Horowitz, Vanessa Joan Müller, Raphael Zagury-Orly

The films, photos, installations, and graphic artworks of Austrian artist Markus Schinwald create a highly charged aesthetic collection of curios in which the human being stands in the focal point of observation. Physical extensions, prostheses, and mechanical apparatuses transform human beings into marionette-like dolls and simultaneously give mechanical automatons a mystical habitat all their own. In his latest film entitled “Children's Crusade,” the artist links motifs from children's crusades of the High Middle Ages with legends of the Pied Piper, which arose at nearly the same time. The rat-catching piper appears as a doll or mannequin, i.e. an idea that has come to life from a perverted sort of Christendom. Conceived as an artist's book, Markus Schinwald presents the entire spectrum of the artist's wideranging oeuvre. The book was published on the occasion of the exhibition Tableau Twain, September 1 – October 24, 2004, a cooperative project of Frankfurter Kunstverein and Siemens Arts Program. Contributors Vanessa Joan Müller, interview by Markus Heinzelmann

This book is published on occasion of the parallel exhibitions Silke Otto-Knapp presented in two markedly different locations: on Fogo Island, Newfoundland, and at the Kunsthalle Wien Karlsplatz, Vienna. The contrasting influences of place--between rural and urban, new and old world--is evident in the selection of works presented and compiled in this catalogue. The partnering of these exhibitions clearly brings into focus questions about art and its contexts. The tensions between nature and culture provide an appropriate figure for the artwork: a context imagined and devised for the circumstances of its own activation. Questions of Travel includes essays by Susan Morgan and Vanessa Joan Müller and a conversation between Otto-Knapp and Nicolaus Schafhausen. Müller reflects on how the tensions Otto-Knapp's artwork engenders are the substance of its experience, while Morgan approaches the work via three significant influences: the cultural geographer J. B. Jackson; avant-garde dancer Anna Halprin and her husband, the landscape architect Lawrence Halprin; and the poems of Elizabeth Bishop. In the conversation with Schafhausen, Otto-Knapp likens the art exhibition to "a theatre situation that is both distinctly separate from reality and engaged with it at the same time." As the activating element of an exhibition, the viewer could also be said to embody the reality of a work's engagement. Otto-Knapp took the title for this project, "Questions of Travel," from Bishop's poem of the same name, which has been reprinted for this catalogue. Published on the occasion of Otto-Knapp's exhibitions "Questions of Travel (Wien)," Kunsthalle Wien Karlsplatz, March 12-May 25, 2014, and "Questions of Travel (Fogo Island)," Fogo Island Gallery, April 16-August 31, 2014. Copublished with Fogo Islands Arts and Kunsthalle Wien Contributors Elizabeth Bishop, Susan Morgan, Vanessa Joan Müller, Nicolaus Schafhausen

Marcel Odenbach is widely known as a pioneering video artist—however, the connections between his video works and his ongoing works on paper call for due recognition. Many of his works reflect the lasting impact of National Socialism up to the present day, all the while bestowing a universal perspective on what is usually constituted as a specifically German concern. Reflections on the familiar and the foreign, elements of his own biography, the interplay between subjective remembrance and collective memory—all of these are crucial themes in his work, which make their claim on the aesthetic as well as the political level. Departing from his eponymous exhibition at Kunsthalle Wien, this publication examines new works by Odenbach and contextualizes them within a broader context. Named after an early poem by Ingeborg Bachmann, the exhibition reflected the atmosphere of the postwar period that dominates Bachmann's poetry, which itself is shaped as much by the search for authenticity and truthfulness as it is by the traumatic memory of the past. The exhibited works developed a series of interconnected motifs linking memorial remembrance of the atrocities committed during the Nazi period to individual memories. The complex history of the African continent was likewise presented through film as well as collages that created multilayered vectors pointing as much from the past toward the present as vice versa. Copublished with Kunsthalle Wien

A major new work by London-based contemporary British video artist Hannah Rickards at the Fogo Island Arts, Grey Light is a two-screen projected video installation with eight channels of sound. Structured rhythmically around the pattern of a foghorn sounding, the piece embraces the foghorn as an auditory marker for non-visibility, or imagelessness. This slender exhibition catalog and artist book, the second publication from Fogo Island Arts, features Rickards striking new photographic imagery drawn from the installations materials and production process. Like Rickardss work, the publication aims to bridge the distance between visual experience and its expression in language, whether spoken, written or gestural. Text by British arts writer Melissa Gronlund and conversation between Rickards and internationally distinguished curator Nicolaus Schafhausen. Rickardss work has been widely exhibited in Canada, Los Angeles, New York, Paris, The Walker Art Center, Minneapolis, Whitechapel Gallery, London, Johann Koenig, Berlin and Witte de With, Rotterdam.

Catalog of an exhibition from June 7 to Nov. 22, 2009.

Augustine in Carthage, and Other Poems is the daring new collection of poetry from Alessandro Porco.Equally crude and charming, locker-room macho and sensitive, these poems are always singularly marked by formal ingenuity and stylistic élan. a poet

In his solo exhibition that reflects the MAK Vienna collection, Thomas Bayrle combines traditional craft techniques with the computer-generated art of the Information Age.Using the metaphors of dyeing, weaving, and programming, Bayrle explores the ambivalence of art, craft, and industry and gives rise to kaleidoscopic shapes--Mass Ornaments. He develops his legendary 'superforms' as a reference to cultural and industrial icons like Jesus Christ, Mao, the highway, or the smartphone.He composed the oversize stage set iPhone meets Japan (working title, 2017) for the MAK Columned Main Hall out of iPhones; under the auspices of digital interconnectivity, it oscillates between a couple who briefly indulge in a play of scents, and architectural elements. With Bayrle's project, the MAK becomes the arena for a newly established interaction between art and craft, artist and weaver.Drenched in blue, Bayrle has created the ornamental image area of the iPhone Piet� (working title, 2017), a tapestry woven by hand in France, using smartphones--simultaneously ornament, apparatus, and adornment--and has translated the cultural code of the piet� into an atmospheric portrayal of social and political events.The publication accompanies the exhibition, Thomas Bayrle: If It's Too Long - Make It Longer at MAK Vienna (25 Octpber 2017 - 2 April 2018), and features a conversation between Thomas Bayrle and Nicolaus Schafhausen.English and German text.