Böcker utgivna av Hatje Cantz

Known for her paper art and collages, Marion Eichmann spent many weeks in the Reichstag building and the enclosed parliamentary buildings. Not only did she visit the plenary chamber, the floor designated to the parliamentary groups and the committee rooms, but she also keenly observed in corridors, canteens, libraries, and connecting tunnels the everyday life of a highly complex machinery that keeps the heart of democracy beating almost invisibly-focussing her interest at once on the iconic facades and settings familiar to the public, and on the rarely visible workspaces, devices, and often-overlooked details essential to the smooth daily operation of Parliament. Created as part of a commissioned project by the German Bundestag, the series of more than 80 papercuts documented in this volume in its entirety, provides a unique insight into the artist's creative process and working methods.MARION EICHMANN (*1974, Essen) studied at the Berlin University of the Arts and Weißensee Academy of Art Berlin. Longer working stays took her to Tokyo, New York, and Istanbul. In 2017, her spatial installation Laundromat received special attention at art KARLSRUHE and at the Haus am Lützowplatz/IG Metall-Haus, Berlin.

The art of Boris Lurie (*1924, Leningrad) and Wolf Vostell (*1932, Leverkusen) is determined by the breach of civilization in Germany in 1933, which made the German genocide of German and European Jews possible. Both artists make the Shoah the subject of their work in a radical way. Initially working-independently of one another-with the means of painting, they turned during the 1950s to exploring the stylistic devices of the first avant-garde, including techniques of collage and montage. Vostell later develops the subject further in his happenings and video art while Lurie takes up writing. In 1964 the artists met in New York and began a lifelong friendship-this is the first exhibition to present their works together.After surviving several labor and concentration camps, the Jewish artist BORIS LURIE (1924-2008) emigrated to New York in 1946, where he established the NO!art movement in 1959. Often through direct references to the Shoah, Lurie commented on the society and consumer culture of his time.The German artist WOLF VOSTELL (1932-1998) was a protagonist of the Fluxus movement and a pioneer of happening- and video art. Vostell confronted post-war European audiences with its recent past in a variety of ways.

Piet Mondrian had a decisive influence on the development of painting from figuration to abstraction. On the occasion of his 150th birthday, Mondrian Evolution is dedicated to his multifaceted work and artistic development. Initially working in the tradition of late-nineteenth century Dutch landscape painting, Symbolism and Cubism subsequently took on great significance for him. It was not until the early 1920s that the artist focused on a wholly non-representational pictorial vocabulary, concentrated on the rectangular arrangement of black lines with surfaces in white and the primary colors blue, red, and yellow. In separate chapters, this path is traced through motifs such as windmills, dunes, the sea, farms reflected in the water, and plants in various forms of abstraction.PIET MONDRIAN (1872-1944) was one of the pioneers of abstract art. Hailing from a strict Calvinist family, the artist became famous for his compositions of black lines and rectangular fields in primary colors, but his early work was influenced by 19th century Dutch landscape painting.

Fujiko Nakaya is one of Japan's most important contemporary artists. Participating in the 1960s performances of the New York-based collective Experiments in Arts and Technology (E.A.T.), she became internationally renowned for her immersive fog artworks. First created for the Pepsi Pavilion at Expo '70 in Osaka they defy traditional conventions of sculpture by generating temporary, atmospheric transformations that physically engage with the public. Driven by early ecological concerns, Nakaya's groundbreaking work is based purely on water and air-elements that have particular significance in light of the climate crisis. From the artist's early paintings to her fog sculptures, single-channel videos, installations and documentation that reveal Nakaya's cultural and social references, this in-depth survey offers a comprehensive overview of the distinguished artist's work.FUJIKO NAKAYA (*1933, Sapporo) studied at Northwestern University in Illinois. Since the creation of the first water-based fog sculpture in 1970, her works have been incorporated in the designs of public spaces, major museums, and parks around the world. In 2018, she received the Praemium Imperiale, awarded by the Japanese state for outstanding achievements in the field of the arts.

In his monumental photographs, taken with a large-format analogue camera, Pawel Bownik examines "artificiality" in photography. Drawing inspiration from the classic iconography of historical still lifes, and genre painting, as well as the aesthetics of 1940s American cinema, he questions historical norms of representation. Carefully dissecting the elementary components of his subjects, his work is driven by his attention to minutiae. Flowers are disassembled, only to be surgically reconstructed - without hiding their artificiality. Alternatively, he challenges the historical narratives symbolized by traditional costumes. Turning them inside-out introduces the possibility of a different reading: In their reversed state, the intricate embroideries not only reveal their materiality, but also speak of their socio-historical context. Undercoat encompasses Bownik's work from the past decade, informed by the artist's awareness of the underlying patterns that give form to our surroundings and how we perceive them.Warsaw-based artist PAWEL BOWNIK (*1977) studied philosophy and sociology in Lublin, as well as photography and multimedia at the Poznan Academy of Fine Arts. His work has been exhibited in numerous group shows in Poland and beyond.

Pivotal in modern art's move towards abstraction, Piet Mondrian's oeuvre is extraordinarily versatile and complex. Not only did he paint and draw, he also wrote extensively about his thoughts and theories on art and life. Moving from traditional Dutch landscape painting to a pronounced rhythmic framework focusing on compositional structure rather than naturalistic representation, Mondrian was profoundly impressed by contemporary culture. Thus, he was not only inspired by the pattern of the extensive Dutch canal system, but also by the rhythm of jazz and the foxtrot. Demonstrating the impact of his oeuvre, Yves Saint-Laurent's famous "Mondrian Dress" even made him a fashion icon posthumously. Celebrating the 150th anniversary of his birth, Ulf Küster entertainingly leads through well- and lesser-known aspects of Mondrian's life and work offering inspiring impulses for reflection and further engagement with the fascinating artist.PIET MONDRIAN's (1872-1944) early work was influenced by the Dutch landscape painting of the 19th century. However, it was his strictly abstract geometric compositions that gained the artist world fame. He worked in Paris, London and New York, where he was active in the avant-garde circles of his time. The art historian ULF KÜSTER (*1966, Stuttgart) has been working at the Fondation Beyeler in Riehen | Basel since 2004, where he curates internationally acclaimed exhibitions. He has written numerous publications, among them his text on Louise Bourgeois in the series Art to Read and Edward Hopper A-Z, published by Hatje Cantz.

Travel is a fundamental experience of human existence. For Max Beckmann it was of existential importance both in a symbolic, but also in a deeply personal sense. In the 1920s, he regularly traveled to the noble health resorts and palace hotels on the Dutch, Italian, and French coasts. His defamation as a "degenerate" artist by the Nazi regime, however, forced him to retreat, first from Frankfurt to Berlin and subsequently into exile in Amsterdam. His emigration to the United States marked the culmination of a life entwined with the longing to travel as well as uprooting, transit, and exile. Max Beckmann. DEPARTURE assembles an outstanding selection of artworks and initiates a dialogue with hitherto unseen objects and materials from the Max Beckmann Archive. It shows Beckmann's relationship to film and literature as a producer of images of aspirations and longing resonating with notions of identity and home.MAX BECKMANN (1884-1950) is one of the most important artists of the 20th century. A star of the Berlin Secession, Beckmann's career was slowed by World War I and a personal crisis, but continued in the 1920s. After the Nazis forced him to resign his professorship in Frankfurt in 1933, he went into exile in Amsterdam in 1937 and subsequently emigrated to the US in 1947. Teaching in St. Louis and New York, he became the most successful German artist in the United States of his time.

"She, a woman of high beauty, created like no other to be Medea, Madonna, Iphigenia, Aspasia, decided one sunny winter day to escape her loneliness and to leave La Rotonda. She bought a ticket 'Aller jamais retour. Berlin Tegel'." This is the opening scene of Ulrike Ottinger's momentous 1979 film Ticket of No Return-the woman of high beauty was Tabea Blumenschein. Unconcerned by all conventions, Blumenschein adored transformation: in a distinctive, avant-garde aesthetic, the two women embraced various different identities and challenged many norms, in the process revealing the performativity of gender. Initiating a dialog between the two artists' perspectives, these books bring together for the first time Blumenschein's drawings with Ottinger's photographs from their joint performance sessions.ULRIKE OTTINGER (*1942) is one of the most important German filmmakers. Moving to Berlin in 1973, she became a pioneer of avant-garde cinematography. Ottinger's photographic works, feature films and documentaries have been shown at major international festivals and retrospectives, including the MoMa in New York, Berlinale, the Documenta and the Venice Biennale.TABEA BLUMENSCHEIN (1952-2020) was a cult figure of West Berlin's queer feminist subculture in the 1970s and 80s. For about ten years, she played a key role in Ottinger's films as leading actress and costume designer, and was part of legendary avantgarde punk collective Die tödliche Doris. In the 1990s she withdrew from the public, yet remained active as an artist until her death.

Europe is often defined in either strictly political terms or through rather vague cultural notions. But where do these definitions come from? Were they ever true? And do they make sense in today's globalized world? Exploring Europe through various perspectives, this exhibition catalogue offers a view of what constitutes Europe and Europeans. It is structured around six clichés about Europe, which-like all clichés-contain a grain of truth, but also express a bias.

Focussing on the potentials of creative and artistic thinking in scientific research as well as industrial production, this exhibition shows how collaborations between art and science can substantially support the creation of innovative, sustainable, and ethical solutions to the struggles and issues of contemporary societies. Conceived in collaboration with Ars Electronica, an international platform and festival pioneering in the development of strategies and competencies for the digital transformation, the exhibition is curated by Martin Honzik, chief curator at Ars Electronica and Laura Welzenbach, Head of Ars Electronica Export.

Earthbound-In Dialogue with Nature gathers forward-thinking works that propose alternative ways of shaping the complex relationship between human activities and the ecosystem-visionary approaches that emphasize the need for dialogue through new forms of interaction and consciously intervene in the current debate to initiate change. Created in collaboration with HEK, Haus der elektronischen Künste¿a young institution from Basel dedicated to digital culture¿and curated by HEK director Sabine Himmelsbach and Boris Magrini, this exhibition demonstrates that precisely where other strategies fail, art can open up new perspectives.

Hacking Identity-Dancing Diversity opens a vivid kaleidoscope of artistic notions of identity that reflect upon the particular and the universal, the aesthetic and the intellectual, the historical and the futuristic, the human and the non-human. Organized in cooperation with the ZKM | Center for Art and Media Karlsruhe, a unique cultural institution in Europe, expanding the original tasks of a museum by combining research, exhibitions and performances, the exhibition is curated by Anett Holzheid, scientific consultant at ZKM, and Peter Weibel, its chairman and director.

Athens as a Project is an interdisciplinary publication at the intersection between architecture and photography with a wider reference to contemporary art and urban history. With a particular focus on current metropolitan phenomena and the transformation of cities, it presents the findings of decade-long research project conducted by Platon Issaias on Athens and the specifics of Greece's urban environments that contribute to broader a discussion of the complex politics of urban development in the Mediterranean and the Global South. Partnering with photographer Yiorgis Yerolymbos, Issaias offers original and unique perspectives on the city of Athens, its architecture, recent history, and contemporary life. Texts, architectural drawings and photographs form an Atlas of Athens encompassing exemplary projects, atmospheres and everyday practices¿that go beyond the effects of the economic crisis of the 2010s and the ongoing pandemic.PLATON ISSAIAS (*1984, Athens) is Head of Projective Cities, an MPhil programme in Architecture and Urban Design at the Architectural Association. He is a founding member of Fatura Collaborative, a research and design collective established in 2009. YIORGIS YEROLYMBOS (*1973, Paris) studied photography and architecture in Greece and the UK. His photography has been published internationally. Most notably, he captured the ten-year development of Renzo Piano's Stavros Niarchos Foundation Cultural Centre, in the stunning photographic essay Orthographs.

In her multidisciplinary work, Berlin-based artist Hannah Hallermann combines clear, essential forms with complex social issues. She calls her sculptures, which often resemble abstract architectural elements or sports equipment, "Tools for Social Transformation". They serve her as instruments for analyzing the present and establishing new parameters. In her first solo catalogue, her work is presented extensively and brought into an exchange with various narratives and text formats concerned with transformation.HANNAH HALLERMANN (*1982, Nuremberg) lives and works in Berlin. She was awarded with the Stiftung Kunstfonds (2016, 2020), the Pollock-Krasner Foundation grant (2020) and the Sonderstipendium des Landes Berlin (2020). Her work is part of the Sammlung Hoffmann and the Staatliche Kunstsammlung Dresden.

Some 40 carefully chosen juxtapositions of masterpieces by both artists trace a dialogue that ranks among the most fascinating in art history. This publication brings Pablo Picasso's (1881-1973) encounter with the Cretan-born old master Doménikos Theotokópoulos, better known as El Greco (1541-1614), vividly to life. El Greco's unmistakable painting style won him considerable fame in his day. Soon after his death, however, his work was largely forgotten. It was only around 1900 that an El Greco revival was launched, with Picasso advancing the cause. His engagement with the Greek-Spanish master not only went far deeper than has previously been assumed but also lasted much longer. From his first encounter with El Greco's works shortly before 1900 until the end of his life, Picasso not only referenced but engaged in a fascinating artistic dialogue with the old master.The KUNSTMUSEUM BASEL houses the oldest public art collection in the world. For the exhibition, curators Carmen Gimenez and Josef Helfenstein bring together prestigious loans from around the world with a core group of Picasso's works from their own collection.

A characteristic of 20th- and 21st-century artistic production is that casual acquaintances and close intimates, friends, lovers, or sometimes even rivals come together to work collaboratively on the realization of a single work of art. Amitié et créativités collectives is focused on the genesis of these works and explores the conditions that contributed to the concentration and liberation of these creative energies. Beginning with the groundbreaking socio-cultural upheaval of the 19th century, the publication examines for the first time a variety of works of diverse genres and techniques from different time periods. Featuring works by Salvador Dalí and Luis Buñuel, Francis Picabia and René Clair, Jean Tinguely and Yves Klein, William Burroughs and Brion Gysin, Jenny Holzer and Lady Pink; and many more, this publication. brings together more than one hundred works.

Edward Hopper's world-famous paintings articulate an idiosyncratic view of modern life. With his impressive subjects, independent pictorial vocabulary, and virtuoso play of colors, Hopper continues to influence to this day the image of the United States in the first half of the twentieth century. He began his career as an illustrator and became famous around the globe for his oil paintings. They testify to his great interest in the effects of color and his mastery in depicting light and shadow. The Fondation Beyeler is devoting its large exhibition in the spring of 2020 to Hopper's iconic images of the vast American landscape. The catalogue gathers together all of the paintings, watercolors, and drawings from the 1910s to the 1960s on display in the exhibition, and supplements them with essays focused on the subject of depicting landscape. EDWARD HOPPER (1882-1967) is the master of American Realism. His paintings captured life during his era. His method of painting rapidly became the stylistic foundation of a type of American modernism. A source of inspiration for countless painters, photographers, and filmmakers, his body of work continues to be influential to this very day. EXHIBITION Fondation Beyeler, Riehen/Basel January 26-July 26, 2020

The series Mi Sangre by Roj Rodriguez started as a photo documentation of a personal journey to retrace his Mexican heritage and has evolved into a fine art project aimed at highlighting Mexican culture on both sides of the US-Mexico border. Everyday aspects of Mexican life as well as its culture and popular iconography are documented here. Both in terms of how they exist in Mexico and how Mexican Americans in the US reinterpret them. With each of the subjects portrayed, Roj Rodriguez engaged in sometimes casual, sometimes insightful conversations.Mi Sangre includes proud and elegant charros, beautiful and skilled "escaramuzas", joyful and coy children, wise and innocent elders, vibrant and talented mariachi musicians, loving and welcoming families, and fine art reinterpretations of Loteria iconography.ROJ RODRIGUEZ (*1971 in Texas) was immersed in the visual arts at an early age. In 2000, he moved from Texas to NYC and spent almost two decades perfecting his craft. Today, he lives and works in Austin.

Viktoria Binschtok's photographic works are physical echoes of the image flows produced by our digitally connected world. Her works become part of the larger net that Binschtok consciously casts over divergent visualities dissecting the vastness of our daily digital image production. The precise layering of her large-scale photo-objects generates visual connections with both subtle and apparent references to current realities-immaterial concepts which thus take on a physical shape in new contexts of meaning, creating feedback loops between online and offline.The book opens with Three People on the Phone, an early series Binschtok photographed on the streets of Tokyo in 2004, visualizing how the absorbed presence of the people immersed in a dialogue with their devices connects the physical space of the city with the channels of the new, digital world-an interaction that is constantly reiterated in Binschtok's work.Moscow-born artist VIKTORIA BINSCHTOK (*1972) studied Photography and Media Arts at the Academy of Visual Arts Leipzig. Today, she lives and works in Berlin. In addition to institutional solo exhibitions at the Museum Folkwang Essen, C/O Berlin, and Kunstmuseum Bonn, she has participated in numerous international group exhibitions.

Ruttkowski;68 celebrates its 10th year anniversary! As homage to his early deceased friend, DJ Sven Ruttkowski, born in 1968, Nils Müller founded the gallery in his friend's former apartment at Bismarckstrasse 68 in Cologne, in 2010. The gallery quickly expanded in Cologne and now also has a space in Paris. Ruttkowski;68 broadens the notion of art through radical authenticity, references to subcultures, pop culture as well as art history. This book provides an insight into the most exciting exhibitions and sets a platform to tell the stories of artists, friends, and supporters of the gallery. A space that is more than just an exhibition space-a space where not only creating art, but a way of living is celebrated.Ruttkowski;68 represents the following artists: Hendrik Beikirch, Jenny Brosinski, Asger Carlsen, Francesco Igory Deiana, Lars Eidinger, Philip Emde, Jårg Geismar, Henrik Godsk, Antwan Horfee, Mark Jenkins, Paa Joe, Conny Maier, Stefan Marx, Filippo Minelli, Christian Rex van Minnen, Joakim Ojanen, C.O. Paeffgen, Parra, Ricardo Passaporte, Frédéric Platéus, Devin Troy Strother, Stefan Strumbe, Pablo Tomek, Fabian Treiber, Henrik Vibskov, Thomas Wachholz, and Daniel Weissbach.

The legacy of the art and cultural scientist Aby Warburg offers many subjects for reassessment. Almost unknown until now are the artifacts he collected on a journey through the southwest of the US in 1895/96 and donated to the Museum für Völkerkunde in Hamburg (today Museum am Rothenbaum). The results first unfolded in Warburg's famous lecture on the "snake ritual" of the Hopi (1923). Following Warburg's transdisciplinary approach, this publication examines his guiding principles in assembling his collection as well as his reading of Pueblo art and culture. It pays tribute to the works and their artistic significance and sheds light on the circumstances of acquisition in the sociopolitical environment of the Pueblo communities of the time. The contemporary fascination with the snake ritual is also a topic. Set against this are the previously neglected perspectives and strategies of Pueblo leaders to regain interpretive sovereignty over culturally sensitive content and imagery.ABY WARBURG (1866-1929) is considered as the founder of a modern art history oriented towards cultural studies. His research was mainly concerned with the investigation of the afterlife of antiquity in the Renaissance, which he recorded in his iconic Bilderatlas Mnemosyne.

Nina Malterud is one of Norway's most prominent ceramics artists. Over the course of her five-decade-long career, she has developed a unique artistic oeuvre with references to traditional ceramic objects like plates, bowls, and tiles, but the emphasis is more on expression than on function. She explores the possibilities of clay and glazes in a free and undogmatic way, and is open to the visual results that can arise through controlled coincidences. The traces of the process are an essential part of her visual language. Sometimes the motifs are recognizable, but for the most part, she works with abstraction. The pieces radiate both tenderness and fragility, strength, and power. Combined with the materiality and weight of ceramics, the results are artworks with a strong sensory appeal.NINA MALTERUD (*1951) is a Norwegian artist. She studied at the National College of Art and Design in Oslo and works in Bergen, where she holds a professorship at the Institute of Ceramics of the National Academy of the Arts. Her sculptures are in collections of numerous Norwegian art museums.

Jari Silomäki's Atlas of Emotions is the result of an elaborate research process. For this, the artist - who is primarily known as a photographer - studied the stories of people who actively participate in digital discussion forums. Who are the people who hide behind alter ego names on digital platforms? Silomäki researched their backgrounds - also to find out how sometimes bizarre opinions are formed in the first place. He compiled his research in a manuscript and had actors reenact this fusion of imagination and reality in his studio, interpreting the scenes and domestic environments. JARI SILOMÄKI (*1975) is a Finnish artist. He studied photography at Muurla College, Turku Art Academy and Aalto University School of Art and Design. Atlas of Emotions at Finnish Museum of Photography in Helsinki (2020) was his largest solo exhibition to date.

Published on the occasion of the Hawai'i Triennial 2022 (HT22), Pacific Century-EHöomau no Moananuiakea examines key art historical backgrounds and contemporary discussions on art, expanding the frame of reference for the Asia-Pacific region. Essays by the co-curators lay out the critical approaches that shaped the framework of the Triennial around the fluid concept of a Pacific Century. A selection of texts by artists and scholars reflects upon the field of art history in the region. Also included is a newly commissioned conversation with Homi K. Bhabha, illuminating his theoretical criticism that continues to carve out a new discursive space where the marginalized can find agency. Participating HT22 artists-from Hawai'i, Asia-Pacific, and beyond-are highlighted in a dedicated section with an original introductory text and images.

As treasure troves of creativity, the homes of artists reflect the intellectual worlds of their creators. Starting with the Villa Stuck in Munich-the aesthetic, conceptual cosmos and life's work of the aristocratic artist Franz von Stuck-this unique volume integrates the artist's house as a category into the international context and is the first to assign these buildings the status of major works. About twenty examples bring to life the fascination that these artistic fantasies hold for art lovers, including both existing projects and some which, although they have been lost, were of unique importance in their day and still retain their charisma. Along with paintings, sculptures, and photographs closely related to the houses, plans and models convey the correlation between art and life as well as the kind of harmony of the arts expressed in Richard Wagner's historical concept of the total work of art. (German edition ISBN 978-3-7757-3592-6) Houses featured (selection): Sir John Soane's Museum, London; William Morris Red House, Bexleyheath; Louis Comfort Tiffany's Tiffany House, New York City; Mortimer Menpes's flat, London; the Fernand Khnopff Villa, Brussels; Jacques Majorelle's villa and garden, Marrakesh; Kurt Schwitters' MERZbau, Hannover; Max Ernst's house, Arizona Exhibition schedule: Museum Villa Stuck, Munich, November 21, 2013-March 2, 2014

Spatializing Justice calls for architects and urban designers to do more than design buildings and physical systems. Architects should take a position against inequality and practice accordingly. With these thirty short, manifesto-like texts-building blocks for a new kind of architecture-Spatializing Justice offers a practical handbook for confronting social and economic inequality and uneven urban growth in architectural and planning practice, urging practitioners to adopt approaches that range from redefining infrastructure to retrofitting McMansions.These building blocks call for expanded modes of practice, through which architects can imagine new spatial procedures, political and economic strategies, and modalities of sociability. Challenging existing exclusionary policies can advance a more experimental architecture, one not bound by formal parameters. Architects must think of themselves as designers not only of things but of civic processes, complicate the ideas of ownership and property, and imagine new sites of research, pedagogy, and intervention. As one of the texts advises, "the questions must be different questions if we want different answers." Cruz and Forman are principals in ESTUDIO TEDDY CRUZ + FONNA FORMAN, a research-based political and architectural practice in San Diego. They lead a variety of urban research agendas and civic/public interventions in the San Diego-Tijuana border region and beyond. The work has been exhibited widely in prestigious cultural venues across the world.

This book brings together a selection of paintings and sculptures by internationally renowned artist Enrique Martínez Celaya from 2005 to the present. Since his installation Schneebett at the Berlin Philharmonie in 2004, his work has changed formally, but it has remained intellectually and emotionally challenging. Born in Cuba and now living in Los Angeles, Martínez Celaya combines art with philosophy, literature, and science. Published to accompany the exhibition at the USC Fisher Museum of Art in Los Angeles, this book conveys Martínez Celaya's work as an artistic, poetic, and intellectual mapping of an existential landscape that the artist traverses. ENRIQUE MARTINEZ CELAYA (*1964) worked as a physicist before turning to art. Today, his works are exhibited worldwide, including at the Phillips Collection in Washington, D.C., the Hermitage in St. Petersburg, and the Museum der bildenden Künste in Leipzig.