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KW
A Leading Laboratory for Contemporary Art Turns Thirty KUNST-WERKE BERLIN e.V. is one of the world's most highly renowned organizations for contemporary art. For three decades, the KW Institute for Contemporary Art has been a vital scene of progressive creative practices; pursuing distinctive visions, the curators who have worked here, including Klaus Biesenbach, Anselm Franke, Susanne Pfeffer, and Krist Gruijthuijsen, have set major trends in the international art world. Since KW's early days, the avant-garde program of exhibitions and transdisciplinary events has made significant contributions to the discourse of contemporary art and its impact beyond art's own disciplinary boundaries. Fla...
Clémentine Deliss
For quite some time now, ethnographic museums in Europe have been compelled to legitimate themselves. Their exhibition-making has become a topic of discussion, as has the contentious history of their collections, which have come about through colonial appropriation. Clearly, this cannot continue. That the situation can be different is something that Clémentine Deliss explores in her current publication. She offers an intriguing mix of autobiographically-informed novel and conceptual thesis on contemporary art and anthropology. Reflections on her own work while she was Director of Frankfurt's Weltkulturen Museum (Museum of World Cultures) are interwoven with the explorations of influential f...
Renée Green
Catalog of an exhibition held in Berlin, at the KW Institute for Contemporary Art and the daadgalerie, October 22, 2021 to January 9, 2022.
Constructing New Berlin
Berlin is poised to emerge as one of the world's most exciting centers of contemporary art. As artists from different countries flock to the new capital of re-unified Germany, its major museums are undergoing a massive renovation while grant programmes and inexpensive studio space are giving new talents the chance to create and display their art. Published in conjunction with a major exhibition at the Phoenix Museum of Art, this catalogue is the first comprehensive survey of the artistic renaissance of post-wall Berlin. Many of the works - which include paintings, sculpture, photography, film, installation sound and performance art - were completed in this century. In addition to colour illustrations of each of the works, this volume includes essays on the Berlin art scene, the city's recent architecture, and what the future may hold for this exciting nexus of creativity.
Free Berlin
An alternative history of art in Berlin, detaching artistic innovation from art world narratives and connecting it instead to collective creativity and social solidarity. In pre- and post-reunification Berlin, socially engaged artists championed collective art making and creativity over individual advancement, transforming urban space and civic life in the process. During the Cold War, the city’s state of exception invited artists on both sides of the Wall to detour from artistic tradition; post-Wall, art became a tool of resistance against the orthodoxy of economic growth. In Free Berlin, Briana Smith explores the everyday peculiarities, collective joys, and grassroots provocations of exp...
Hedi Slimane
Praise for Hedi Slimane's Intermission, his first photo book: "If you thought Hedi Slimane's talents began and ended with tailoring, you are so wrong--his latest project, Intermission, shows off His Slimness's skills as a photographer." --Nylon Fresh from the latest season of menswear couture and his last book project, an imaginative artist's book that melded photographs of draped fabrics with impossible materials, here is Hedi Slimane's latest creation. Here is Berlin, heard not as the symphony of a large city but as a quiet, emotive ballad. Here is Berlin, as Hedi Slimane has captured it, photographing his surroundings, his friends and the ordinary places where unglamorous lives are led in the German capital. In intense photos that visualize a young generation's attitude toward life, Slimane reveals the shared desire for something other than feelings of security and prefabricated ideas.
Four Or Five Roses
So far, the work of Austrian artist Peter Friedl (*1960) has managed to elude stylistic classification. Investigating the social, political, and cultural realities at work in institutionalized practice, his projects have been called "conceptual, aesthetic acts"--usually they are subtle forays into institutional criticism with political insight. Four or Five Roses continues Friedl's exploration of the stereotypical language of the monologue genre. The book contains some 45 children's "monologues," edited by the artist from numerous interviews and conversations recorded on playgrounds in South Africa. Faithfully transcribed and translated into English from different South African languages (Afrikaans, Northern and Southern Suthu, Zulu, Xhosa...), the "edited monologue" then becomes a hybrid genre, both fictionalised speech and serious counter-voice. What is ultimately at stake is how discursive strategies operate as a political tool, endlessly reshaped and manipulated for the sake of persuasion. The texts are accompanied by color illustrations of the actual South African playgrounds.
Ilit Azoulay
Third in the KW Pocket Series is the catalog Shifting Degrees of Certainty from the exciting young Israeli artist, Ilit Azoulay. During her 2013 five-month residency at the KW Institute for Contemporary Art, Azoulay traveled throughout Germany collecting and photographing objects and architectural fragments in towns and cities from Berlin to Bamberg, as well as in the KW building itself. Her interest in the archaeology of cities resulted in the 2014 exhibition of the same title at the KW Berlin. Documented in this pocket-sized catalog accompanying the exhibition are images of the 93 objects she photographed, the site-specific installation, and narratives Azoulay developed about her finds based on correspondence with squatters, botanists and taxidermists. Combined with texts from the exhibition audio guide, the publication, edited by curators E llen Blumenstein and Adela Yawitz, also features an essay by Katia Reich examining the projects archival character.
