Bøker utgitt av Kerber Christof Verlag

Unter dem Titel Masquerades: Drawn to Metamorphosis präsentiert die 18. Ausgabe der MOMENTA Biennale de l'image dreiundzwanzig Künstler*innen, deren Projekte Prozesse der Transformation, Mimikry und Mutation in Gang setzen. Ziel der Biennale ist es, die Dynamik von Sichtbarkeit und Unsichtbarkeit zu beleuchten, die die Beziehungen zwischen sich selbst und dem Anderen, zwischen dem Menschen und seiner Umwelt bestimmt, unabhängig davon, ob es sich um eine pflanzliche, tierische oder technologische Um - gebung handelt. Diese Publikation enthält die Beschreibungen der Ausstellungen, einen Essay von Anne Anlin Cheng über das metamorphe Potenzial des "Hautbewusstseins", ein Fotoportfolio von Chris Curreri und einen Essay der Kuratorin Ji-Yoon Han, der den Begriff des Bildes durch das Prisma des Biennale-Themas betrachtet.

In "Life in the New", Marius Svaleng Andresen delves into the complexity of urban development and its impact on people, with the ex-Yugoslavian district of Novi Beograd, Serbia, as a backdrop. How does the relationship between people and architecture change as cities grow and become denser? Through interviews with the area's inhabitants and photographs that blend documentary and art, Life in the New explores what lies beyond the facade of the brutalist and socialist modernistic buildings.Impressive architectural forms and complex geometries recede into the background to reveal everyday life in all its mundane glory: its little dramas, its melancholy, its discomforts, quirkiness, and humor. Every now and then, however, Andresen discovers moments of pure beauty, the fragile, unpremeditated poetry of the everyday that thrives amidst the formality of the architects' grand visions.

"Paco Knöller. Unter mir der Himmel (Beneath Me, the Sky)" is being published to accompany the exhibition of the same name at the Hilti Art Foundation's museum space in Vaduz, Liechtenstein. The exhibition features numerous works by the artist (b. 1950) dating from the 1980s to the present day. The works, created exclusively with oil pastels, examine various aspects of human existence in the context of human and natural history. Photographs of the installation provide a direct insight into the exhibition, which also features sculptures from the Hilti Art Foundation's collection.

The Schaubühne Berlin is one of the foremost German-language theatres and has a unique artistic profile. Between 2018 and 2022, visual artists Christian Jankowski, John Bock, Olaf Nicolai, Katharina Sieverding and Monica Bonvicini designed a series of posters for the theatre. The outcome: striking two-dimensional artworks that when inserted into Berlin's cityscape, created a kind of temporary urban exhibition. The array of artistic executions in the poster campaign ranges from humorously grotesque scenes or fanciful tableaux featuring members of the ensemble to purely conceptual approaches devoid of any text or image, to posters that use round cut-outs to capitalize on their ever-changing impact in the urban space. This publication brings together for the first time all of the designs alongside accompanying texts and interviews.

The artist book "Marcel van Eeden - 1898" is being published to coincide with the Hans-Thoma Prize 2023. The prize-winner, Marcel van Eeden (* 1965), explores Thoma's little-known travels to the Netherlands in 1898. He reflects on Thoma's analysis of Rembrandt van Rijn or Paulus Potter, under the problematic influence of cultural theorist Julius Langbehn. Present-day gum bichromate images of the places Thoma visited alongside historical quotes by Thoma and Langbehn result in a multifaceted, critical consideration of nationalistic views on culture.

Jan Krickes (* 1977) Fotoserie Andauernde Heimkehr präsentiert eine komponierte Abfolge von Landschaftsaufnahmen, die - losgelöst von einer Chronologie - eine Reise jenseits einer erkennbaren physischen Route bilden. Es sind Eindrücke nicht konkreter Orte, flüchtige Impressionen von Naturstrukturen oder Lichtspielen, die auf eine ganz eigene Art die urbane Energie und Schnelligkeit der Street Photography in die Landschaftsfotografie übertragen. Die großformatige Publikation erscheint anlässlich der ersten Museumsausstellung des Künstlers im Museum Künstlerkolonie auf der Mathildenhöhe Darmstadt.

The catalogue "Max Neumann. Journey" comprises around eighty paintings and works on paper from all periods of work by the painter and graphic artist Max Neumann (b. 1949) who is an important representative of German figuration. His enigmatic human figures seated in enraptured pictorial settings are not geared towards capturing a subjective, distinct portrayal, but towards the crystallization of an unmistakable manlike allegory. His characters, in their at once disconcerting and graceful silhouettes, fall out of time and history being markers of a human state of mind. Neumann does not intend to narrate any incidents; he rather traces emotional human qualities confronting the viewer with his own desires, fears, obsessions and phantasms.

"Character Arc", the documentary photo series by Pascal Haas (b. 1976), features a collection of portraits of Berlin-based actors. The photos, taken between 2021 and 2023, depict the actors personally, in the park or on the street-outside of their roles, away from the stage and the set. The serene black-and-white analogue portraits show the artists as approachable, free from any artifice. In this way, the images reveal both their strength and their vulnerability, reflecting the uncertainties of the modern age. The rhythm of the series is based on the seasons, as can be discerned from the light, the clothes they are wearing, and the natural surroundings.Actors: Leonie Benesch, Pit Bukowski, Marie Burchard, Marlene Burow, Luka Dimic, Maren Eggert, Mala Emde, Michelangelo Fortuzzi, Luisa-Céline Gaffron, Franz Hartwig, Jacob Matschenz, Wanja Mues, Johannes Nussbaum, Rick Okon, Valerie Pachner, Anneke Kim Sarnau, Daniel Sträßer, Sabin Tambrea, Mina Tander, Lena Urzendowsky, Sebastian Urzendowsky, Luise Wolfram

"Conversation with My Other Me" is a photo art book by Danish photographer René Riis featuring a series of multi-photograph portraits.A unique cabinet of mirrors created specifically for this purpose captures one-of-a-kind portraits of various individuals: a mixture of prominent public figures, among them dancers, politicians, actors and sporting personalities, as well as unknowns with a charismatic presence.What makes these multi-photographs so extraordinary is that the person is portrayed from five different angles. In addition, in front of the mirrors, the subjects develop a personal and unique dynamic with themselves. It is, after all, a highly unusual experience to see oneself from so many different perspectives simultaneously.

This publication spans more than forty years of artistic work by the painter Henning Bertram (b. 1962). Many in the Rhineland know him through his large-scale charcoal drawings of seemingly archaic fragments of architecture. This book provides for the first time an insight into Bertram's early work and the spectrum of his artistic career - an unremittingly explorative path, switching between the abstract and the figurative, culminating in a surprising corporeality in his current work.

In her art, Ines Doujak (b. 1959) examines complex interrelationships and goes directly to the heart of explosive issues. From a queer-feminist perspective, she unsparingly analyses the mechanisms and ramifications of the neoliberal market economy and the relationship between production and consumption, capital and exploitation, colonialism and neocolonial rule, racism and gender roles.For the first time Nevertheless provides an overview of Doujak's artistic oeuvre from the last thirty years, encompassing a multitude of different media. The extensive picture section is supplemented by autobiographical fragments and quotations relating to the pictures.

The catalogue "Friedrich Einhoff. 100+" includes 100 works on paper by the Hamburg-based artist Friedrich Einhoff (1936-2018) as well as 32 further works on canvas dating from various periods of his work. Einhoff's pieces, which employ a wide range of painting and drawing techniques, all revolve around the central image of humankind and its ambivalent and fragile nature. Anonymous traces of figures, torn off fragments of bodies and facial contours oscillate between concentration and dissolution and speak to an image of humankind that is subject to constant change. In their alienation, displacement and fragmentation, in their isolated juxtaposition, his figures search for their sacrosanct state of being.

The notion of motherhood and how to define it are hugely complex. Scarcely another concept has provoked a more diverse range of associations, emotions and stereotypes nor shifted so frequently throughout the history of humankind. Today, the topic is more political than ever.This book provides an overview of how contemporary art reflects perceptions of motherhood and mothering. Fourteen examples illuminate various aspects from a biological, psychological and social perspective. Another topic that is included in these considerations is that of non-motherhood. In addition, the ambivalent attitude of the arts and cultural sector towards artists who decide to become mothers is examined, as is the artistic exploration of motherhood in terms that go beyond heteronormative, cis-gendered relationships.

Veit Mette (*1961) beschäftigt sich mit der Dekonstruktion und Neukonstruktion von Bilderwelten. Bilder aus der Sammlung der Kunsthalle Karlsruhe und dem Museum Peter August Böckstiegel projiziert er auf Köpfe und Körper und präsentiert sie digital und in Ausstellungen.In seiner neuesten Arbeit besucht er die Klinik am Korso, eine Einrichtung für essgestörte Patient*innen und beschäftigt sich mit der Frage von Fremd- und Eigenbild. Die Patient*innen wählten aus Bildern der Gemäldesammlung der Staatlichen Kunsthalle Karlsruhe Motive aus, die ihnen auf ihr Gesicht projiziert wurden. Begleitet werden die Bilder durch Texte der Frauen und Männer die fotografiert wurden

What does your body know? With this question artist Yvonne Buchheim invited people into her studio for portraits attempting to capture body knowledge. What she did not know was the story her own body would tell.In this art book she shares her story of healing from cancer. Her artworks are poetic reiterations between visual and written language revealing the many facets that serious illness can have on the body and mind. The artwork is complimented by two essays that explore fragility and resilience in surviving illness.Kopfüberleben (Life Turned Upside Down) presents us with creative forms of storytelling that use drawing, photography and stop-motion filmmaking not as documents but as a narrative of self-discovery.

Helmut Middendorf is one of Germany's most renowned painters. As a member of the neo-expressionists, the Neue Wilden, he left a lasting impression on the artistic landscape of the 1980s. In 2022, Middendorf showed an exhibition entitled Berlin SO 36 revisited at the Museum Schloss Derneburg, Hall Art Foundation. SO 36 was the name of an area of Kreuzberg, but also of the famous music venue that inspired many of the artist's works. Middendorf lived and worked in Berlin Kreuzberg's SO 36 district throughout the 1970s and 80s. As well as the documentation accompanying the exhibition at the Museum Schloss Derneburg, this publication presents a wide selection of paintings and works on paper dating from that era, most of which are being republished here for the first time in many years. A large number of hitherto unseen photographs from the artist's private archive also feature.

Fünf Berliner Künstlerinnen und ein Künstler haben sich auf die Suche nach dem eigenen Selbst begeben und dabei Wege beschritten, wie sie unterschiedlicher nicht sein könnten: Malend, zeichnend, collagierend, fotografierend, plastisch formend und installierend haben Frauke Bohge, Catherine Bourdon, Andrea Cataudella, Sayyora Muin, Katrin Salentin und Anna-Lisa Unkuri ihren jeweiligen Selbstbefragungen Ausdruck verliehen. Dabei geben die sechs Künstler*innen keine absoluten Antworten auf ihre Fragestellung und sich selbst nie vollständig preis.Songwriter und Sänger Jan Plewka steuert (mit seinem Kollegen Marco Schmedtje) dem Gesamtkonzept mit seinem Song Wie ein Geist eine lyrische Auseinandersetzung bei. Darin betrachtet er die Werke der Künstler*innen und gibt als neugieriger Außenstehender seinen Gedanken und Gefühlen in Wort und Ton Ausdruck. (Video auf www.von-clowns.com)

Light, color, materiality. These are perhaps the most significant components of Wolfgang Kessler's (b. 1953) paintings. An additional characteristic is the tranquility and introversion of the figures, who are usually depicted individually before a black background. In contemporary painting, this practice is unusual. At the same time, it touches upon recollected images and a notion of beauty that are buried in our cultural memory. When the question arises as to whether painting is or may be beautiful, one likes to look far back to art-historical frames of reference. One might arrive, for instance, at Delacroix's works, which started to engage with subjects that extended beyond the common notion of beauty.Terribly Beautiful - Wolfgang Kessler is a painter of quiet yet aggressive, power.The comprehensive publication offers a detailed insight into Wolfgang Kessler's complete paintings from 2013-2022.

With Kunstmuseen Krefeld's exhibition dialogue Adolf Luther / Julio Le Parc: Interactive Spatial Experiences, two visionary positions met at Ludwig Mies van der Rohe's villas Haus Lange and Haus Esters: Krefeld native Adolf Luther (1912-1990, Krefeld) and French-Argentine artist Julio Le Parc (b. 1928 in Mendoza, Argentina, now living in Paris). Both artists use their installation-based works to break down the boundaries between art and its viewers. The interactivity and experimental character of both artistic approaches express their sociopolitical agendas. The catalog-duo documents all of the works displa yed at these iconic houses. Also contained in the publications are essays that shed new light on Luther and Le Parc, including, among others, one by internationally renowned art historian Serge Lemoine. In addition, writings by both artists, some previously unpublished, usher readers into a deeper understanding of the radical nature of their approaches. This is the first German-language monograph on Julio Le Parc in fifty years.

Inwelt von Maximilian Prüfer (*1986) ist die Fortsetzung der 2016 herausgegebenen Publikation Brut und umfasst die seitdem entstandenen Werkserien des Künstlers. Prüfer arbeitet an verschiedenen selbstentwickelten Verfahren, welche die Spuren von Insekten und Naturphänomenen sichtbar machen. Hierbei analysiert der Künstler das Verhalten von Tieren, um es anschließend mit menschlichem Verhalten zu vergleichen. In seiner 2020 begonnenen Werkserie Forming Thoughts etwa, untersucht er die Wege und Straßen von Ameisen. Er versucht hierbei, einen direkten Bezug zu neurologischen Strukturen herzustellen und Rückschlüsse über das Verhalten kollektiver Lebewesen sowie das Naturverständnis des Menschen zu ziehen.

Building on his interest in evolution, philosophy and society, in his project A Gift From Him Maximilian Prüfer (*1986) explores the destruction of natural habitats to make way for agriculture in China. To this end, Prüfer took two trips to the Szechuan Province, where the fruit trees need to be pollinated by hand due to insect deaths caused by the increased use of pesticides. These developments are attributable to Mao's campaign to "Destroy the Four Olds", which entailed the killing of around two billion sparrows in order to restore the natural equilibrium. Prüfer documented the entire manual pollination process in photos, collected items and films which make for an ambivalent exploration of the cultural evolution of humankind.

Memory responds to the acquisitions Deutsche Bank has made over the past decade, many of which are by artists from Africa and/or are of African descent. By focusing on personal narratives, alternative perspectives and lesser-known stories, the exhibition seeks to identify the unstable, exploit the slippages, and make clear that the struggle against power is the struggle of memory against forgetting.artists:Yto Barrada, Sammy Baloji, Mohamed Camara, Samuel Fosso, Anawana Haloba, Lubaina Himid, Lebohang Kganye, Wangechi Mutu, Toyin Ojih Odutola, Zohra Opoku, Paulo Nazareth, Jo Ractliffe, Berni Searle, Mikhael Subotzky, Dineo Sehee Bopape, Kara Walker, Alberta Whittle, Joy Cheong Wong

In 2013, five years after the world has been convulsed by a global banking and financial crisis, Isaac Julien premiered his film PLAYTIME to address an important question: Can capital be rendered visible? By following the stories of six protagonists-interconnecting figures in the world of art and finance-Isaac Julien subsequently found narrative images for the process of capital interlocking at a global level, intertwining a macroscopic and a microscopic perspective dialectically, as it were.The Palais Populaire and the Wemhöner Collection have joined forces to shed new light on PLAYTIME from today's perspective and to testify to the work's topicality, as capital as a medium plays into almost all political, social and societal issues and influences the lives of nearly every human being on this planet.

Since the end of the 1990s, through her videos, sculptures, photographs, art installations, and performances, internationally acclaimed Brazilian artist Cinthia Marcelle (*1974) has been critically examining the established and hierarchical social structures upon which our daily lives are built. Marcelle uses collective action as the medium through which to break down rigid mechanisms and organisational forms and to renegotiate new ones. In the course of her career, she has developed a multifaceted and interdisciplinary oeuvre in which gestures, themes and materials are repeatedly applied using radically different methods and manifestations. Her work is a determined further development of the socio-critical art of Brazil in the twentieth century, which combined material experimentation with conceptual rigour and a unique collaborative approachThe importance of Marcelle's oeuvre has already been recognised in countless project-specific solo exhibitions, as well as her involvement in group exhibitions by renowned museums and at a number of noteworthy Biennales - in 2017, for example, she performed in the Pavilion of Brazil at the 57th Venice Biennale. However, the exhibition at the Museu de Arte de São Paulo (MASP) (2022) and then at the Museum Marta Herford (2023) will be the first large-scale overview of her work.

In the past three years, the Kunsthalle Bega Box in Timi?oara, Romania, successively became a laboratory and experimental space for young and mid-career Romanian artists, showcasing comprehensive projects involving research and representation and engaging the audience in a phenomenological cultural experience.The book offers an overview of the projects that have taken place at Kunsthalle Bega Box since its opening. Texts by the curators and artists provide insights into the theoretical discourses underlying the exhibitions.Artists:Dorian Bolca, Irina Bujor, Dreaming About my Unborn Child Group, Oláh Gyárfás, Tijana Kacarevic, Lera Kelemen, Bogdan Matei, Mihai Mihalcea, Adrian Oncu, Teo Papadopol, Gavril Pop, Laurian Popa, Nicoló Filippo Rosso, George Ro?u, ?erban Savu, Ioana Maria Sisea, Ana Maria Szöllösi, Ioana Terhe?, Miki Velciov, Dan Vezentan, Mihai Zgondoiu

The Wiener Variationen (Viennese Variations) comprise eighteen piano compositions. Alexander Wiener also describes his pieces as sound-sketches or mental sound-diagrams. They are dated chronologically and reveal spontaneous moods, circumstances and experiments. Alexander Wiener composed the pieces Wiener Variation 15B and Wiener Variation 32B To the Mother Earth for the ballet AcroDuo by Elena Petrichenko and Sergey Chumakov. Each of the compositions is accompanied by video images and hitherto unpublished lighting interventions.In addition, to accompany the publication, the Alexander Wiener Prize, which encourages musical exploration of Wiener's work, has also been established.

For over twenty years, Gisela Krohn (*1966) has made landscapes the focus of her paintings. In Krohn's large-scale works, humans appear only in the form of the mark they have left on nature. She depicts asphalt roads and man-made pathways cutting through forests, attesting to human intervention into nature. For Gisela Krohn, this exploration of the landscape also always involves looking into herself and her relationship with the environment. With her subtle play of colour and fascinating compositions, the artist succeeds in capturing the beauty of nature while simultaneously highlighting the threat it is under.

From 1963 onwards, Mel Ramos (1935-2018), one of the first Pop Art artists, developed his focus on provocative and seductive imagery. Echoing the aesthetic of magazines and advertisements, he positioned female bodies atop consumer goods in various erotic - at times almost vulgar - poses. By referencing and showcasing them in this way, Ramos exposed the marketing strategies employed in the advertising industry. This new catalogue presents around seventy works on paper dating from every phase and series of his oeuvre and conveys the artist's graphic conquest of the picture surface, as well as his meticulous composition. The preliminary sketches are shown alongside the final large-scale oil paintings with their typical Pop Art colour palette.

Since 1953, the Kulturkreis der deutschen Wirtschaft im BDI e. V. has awarded the annual ars viva prize for visual arts to outstanding young artists based in Germany. The award honours work that demonstrates a distinct language of form and an awareness of contemporary issues in relation to (cultural) history. This year's award includes exhibitions at the Goethe-Institut Paris and the Haus der Kunst, Munich. The ars viva prize 2023 will be awarded to Paul Kolling (*1993), Shaun Motsi (*1989) and Leyla Yenirce (*1992).Artists:Paul Kolling (*1993), Shaun Motsi (*1989) und Leyla Yenirce (*1992)