Karola Kraus Boeken

Der Katalog erscheint anlässlich der gleichnamigen Ausstellung in der Staatlichen Kunsthalle Baden-Baden

First monograph devoted to the Californian artist whose films and theatrical mises-en-scène have recently been presented at the Lyon Biennale 2003 and the Whitney Biennial 2004. * * Made for a three-part exhibition that takes stock of Sullivan’s dramatic and narrative experiments, the monograph reunites the artist’s major scripts from works made in the last few years. * * The performative tension of the artist’s work is accompanied by a “Brechtian” deconstruction of divisions between genre and media, which is explored in texts by the curators of the exhibitions, Beatrix Ruf, Susanne Titz, and Karola Grässlin, as well as by Sebastian Egenhofer, Nicolas Baume, and the artist. * * Published with Kunsthalle Zürich, Neuer Aachener Kunstverein, and Kunstverein Braunschweig.

Michael Apothekerman - first catalogue devoted to the work of German artist Michael Krebber. Texts by Merlin Carpenter and Mayo Thompson. Published to coincide with Krebber's first retrospective exhibition at the Kunstverein Braunschweig, 2000.

Since the 1960s, Los Angeles has been an international center for the arts. The book showcases Los Angeles’ role by featuring works by selected artists.

What relationships are there between words and images, between the speakable and the visible? How do readers recognize or invent the meaning of a story? How do memory and history, fact and fiction mesh? And what emotional ties or breaks result from the sense of pleasure taken in the text that comes about during the act of reading? With his art, Alejandro Cesarco (*1975 in Montevideo, Uruguay) invokes the legacy of international Conceptual Art, of language- and literature-based compositions by such artists as Marcel Broodthaers or Lawrence Weiner, as well as of works by Félix González-Torres or Louise Lawler, to mention just a few examples. His text works, photographs, collages, films, artist's books, and installations call concepts of authorship and subjectivity into question, and contain both autobiographical as well as literary references. Cesarco sets out to explore the emotional dynamics in interpersonal relationships and gender-specific role distribution by verbal means. In the process, the potential offered by narration, translation, and reference to history is of central importance.

To expose, to show, to demonstrate, to inform, to offer looks back at international art activities around 1990. The publication includes installations, publications, objects, projects, films, and interventions by more than 50 artists and groups. They all question traditional forms of exhibiting and address the pressing social challenges of their time. The words to expose, to show, to demonstrate, to inform, to offer may seem to define the functions of an exhibition very clearly, but around 1990 there were many open questions as to how art should be exhibited and brought to an audience. At the time the AIDS crisis was reaching its climax, questions of identity and gender were passionately debated, social mechanisms of exclusion were a key issue, and the consequences of rapidly spreading globalization were felt everywhere. To expose, to show, to demonstrate, to inform, to offer presents internationally renowned artists like Felix Gonzalez-Torres, Louise Lawler or Christopher Williams and also projects that to date have rarely been considered in museums.

For the publication, that will appear on the occasion of the Austrian contribution to the Biennale Arte 2022, Jakob Lena Knebl and Ashley Hans Scheirl have conceived a glossy magazine entitled Soft Machine. Adopting various retro-styles from the history of graphic design, the magazine as a medium offers the opportunity to contextualise the complex artistic approaches and, at the same time, to share the stage with designers,0theoreticians, sponsors, and production partners. In addition to texts, it will also feature interviews on current discourses and photo spreads that afford insight into the dazzling and profound intellectual worlds of Jakob Lena Knebl and Ashley Hans Scheirl and their inspirations.00Texts: Gerald Bast, Hussein Chalayan, Attilia Fattori Franchini, Daniel Kalt, Guilherme Pires Mata, Markus Pires Mata, Susanne Neuburger, Monica Titton, Thomas D Trummer, Barbara Urbanic.00Exhibition: Venice Biennale, Austrian Pavilion, Venice, Italy (23.04. - 27.11.2022)

Georg Baselitz, geboren 1939 als Hans-Georg Kern in Deutschbaselitz, Sachsen, verstößt in seinem Werk kontinuierlich festgelegte Kategorien und Regelmäßigkeiten. Die Vieldeutigkeit seiner Werke ebenso wie die kunsthistorischen, zeitgeschichtlichen und biografischen Anspielungen und Bildreferenzen, die ironische Distanz und die Experimentierfreudigkeit machen deutlich, wie er seine Malerei unaufhörlich neu denkt und erfindet. In der Skulptur, der sich Baselitz erstmals 1979 widmet, kämpft er wie in seiner Malerei gegen Harmonie und Symmetrie. In vergleichbarer Weise wie der Maler Baselitz in seinen Gemälden den einzelnen Pinselzügen eine größtmögliche Freiheit einräumt, so behandelt der Bildhauer Baselitz das Holz mit Kettensäge, Beil und Stecheisen. Durch den rohen Kraftakt entstehen in der Skulptur schroffe Linien, Kerben und Einschnitte. Skulptur ist, so der Künstler, ein kürzerer Weg als die Malerei, um das gleiche Problem auszudrücken, weil Skulptur primitiver, brutaler und vorbehaltloser als Malerei ist. Die lebhafte Sprachkraft der bildnerischen Mittel ist im Medium Skulptur viel direkter lesbar und viel weniger verschlüsselt. Das vorliegende Buch ist ein Catalogue raisonné, der von der ersten Skulptur „Modell für eine Skulptur“ (1979/80) bis zu der neuesten Skulptur „Volk Ding Zero“ (2009) alle 58 Skulpturen, die in den letzten dreißig Jahren entstanden sind, dokumentiert. Damit wird es zu einem wissenschaftlichen Nachschlagewerk, in dem erstmalig alle Skulpturen vereint sind.

The book Museum der Wünsche presents highlights from the mumok’s collections (Wassily Kandinsky, Paul Klee, Alberto Giacometti, Piet Mondrian, František Kupka, René Magritte, Pablo Picasso, etc.) together with works that are still available in the market and might complement and expand the collections in thematic terms. Given the scant acquisitions budgets that now hamper efforts to purchase additional works of art at almost all museums, this form of presentation has proven an ideal way to win the support of private patrons and sponsors. To lend more depth to its collections, the museum hopes to buy works by Cy Twombly, Dan Flavin, Blinky Palermo, and Fred Sandback, among others; by acquiring art by younger artists such as Monika Sosnowska, Phil Collins, Tacita Dean, and Stephen Prina, it wishes to open its doors to the twenty-first century.