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Karla Black
The expansive sculptures by Karla Black are of an ambiguous, fragile beauty. Delicate pastel shades and foils, light and reflections give them a weightless impression despite their large formats. The works move between installation, painting and performance and ultimately claim to be independent sculptures. The Scottish artist works with materials of daily use and cosmetics, with paint, gypsum powder and transparent tape, with Vaseline, lipstick and nail polish. The texture, "feeling", is crucial to the selection. Black installs her site-specific sculptures herself, works with her hands, rubs, smears, mixes. This direct examination of the material is understood as a means of communication and a means of understanding her surrounding world. For the Schirn Kunsthalle Frankfurt the artist will develop a new spatial sculpture for the publicly accessible rotunda. Karla Black lives and works in Glasgow. In 2011, she represented Scotland at the 54th Venice Biennale and was nominated for the Turner Prize in the same year. Her work has been shown in numerous international solo and group exhibitions.
Aernout Mik
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Walking beside time
In Walking beside time, Kirstine Roepstorff comes to grips with the interaction of space, time and sound. In her collages and space installations she fragments visible reality, dissolving it into formlessness in order to then give it a new shape. In doing so, the artist is not concerned with transience, but with the simultaneity of the past, present and future. Through the intentional staging of the individual objects, the deliberate lighting and the closed concept of the whole, she has created a fascinating artistic synthesis in Walking beside time. Exhibition: Kunstpalais, Erlangen, Germany, 2013.
Philip-Lorca DiCorcia
This is the first-ever European publication to present a representative cross-section of the work of US-American photographer Philip-Lorca diCorcia. Born in 1951, diCorcia is one of the most influential photographers of our time. His images oscillate between everyday moments and theatrically staged arrangements. The realistic representation and the apparently documentary style in his works are subverted by a highly elaborate visual concept. One of diCorcia’s main themes is whether reality can be represented and this is one of the continuous threads linking his photographs, most of which he creates as series. Exhibition: Schirn Kunsthalle, Frankfurt am Main, Germany (20.06. - 08.09.2013) / De Pont Museum of Contemporary Art, Tilburg, the Netherlands (05.10.2013 - 19.01.2014).
Daniel Richter
Die neue Serie des deutschen Malers Daniel Richter stellt eine Zäsur im Werk des Künstlers dar. Die Gemälde der neuen Serie bestechen durch ihre Materialität. Richter verzichtet fast gänzlich auf das Malen mit dem bewährten Pinsel. Dies führt zu einem grundsätzlich gewandelten Erscheinungsbild. Richter vermeidet eine klare Sinnbildlichkeit und lässt keinen Raum für anekdotische Deutungen. Dennoch spiegeln seine Bilder seine starke Haltung gegenüber der Kunst und der Welt wider. Es handelt sich um eine bemerkenswerte Weiterentwicklung im Œuvre des Künstlers. In einem Interview gibt Daniel Richter dazu Auskunft; ein Essay führt in die neue Werkserie ein.
WE NEVER SLEEP
Espionage is linked to obtaining rare secrets or confidential information without the permission of the beholder. If in the past, national governments spied on individuals or states, in times of digital communication private individuals are in the capacity of revealing hidden governmental secrets or whistle-blowers fight their government's spying their own citizens. This created perfect grounds for a renewed interest in the mechanisms of secrecy. This book is dedicated to the fascination of espionage as source of current artistic inspiration. International artists address the topic from a contemporary perspective with their works touching aspects of espionage such as surveillance, paranoia, threat, camouflage, cryptography, manipulation, cold-blood and betrayal. The book presents a multitude of artistic strategies as well as unexpected objects and touches the Golden Age of espionage during the Cold War as well as the context of media super-exposure.
Machine Art in the Twentieth Century
An investigation of artists' engagement with technical systems, tracing art historical lineages that connect works of different periods. “Machine art” is neither a movement nor a genre, but encompasses diverse ways in which artists engage with technical systems. In this book, Andreas Broeckmann examines a variety of twentieth- and early twenty-first-century artworks that articulate people's relationships with machines. In the course of his investigation, Broeckmann traces historical lineages that connect art of different periods, looking for continuities that link works from the end of the century to developments in the 1950s and 1960s and to works by avant-garde artists in the 1910s and...
Daniel Richter
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