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Be Nice, Share Everything, Have Fun
A comprehensive remix of art, discourse and propaganda. Based on the program of the Kunstverein MÜnchen between 2005 and 2009, the editors have collected and sorted what was said and shown and mixed it up, creating new constellations and relationships. This is a book as exhibition, an exhibition as book, designed by Scott King and RÉgis Tosetti. Complete list of artistic contributors: Nevin Aladag, Allora & Calzadilla, An American Family, An Architektur, Lutz Bacher, Stuart Bailey/DotDotDot, Cyril Blazcaron;o, Bodymap, Ayzit Bostan, Pauline Boudry & Renate Lorenz, Carol Bove, Leigh Bowery, Kaucyila Brooke, Victor Burgin, Tom Burr, William S. Burroughs, Gerard Byrne, Duncan Campbell, Marc C...
Door Between Either and Or
Door Between Either and Or is a compendium of a multifarious project initiated by Kunstverein München director Bart van de Heide in 2013/14, which included an exhibition at Kunstverein München and seminars and satellite events in Munich, London, and New York City. The goal was to reconsider binary distinctions in the early 21st century, to confront how such oppositions operate at the foundations of capitalism, gender, sexuality, and our cultural institutions, and to survey how these divisions have increasingly eroded in our contemporary moment. Exploring the relation between artistic production, public institutions, and social change, the anthology examines a creative economy where contradictions are usually self-generated, and where contemporary practices roam across different formats and disciplines and display a certain self-awareness and criticality towards their institutionalization.
Art and Society 1972–2022–2072
Since the advent of modernity, art has been associated with freedom, provocation and courage. In 1972, art was to unfold its potential as an emancipatory and creative force as part of the Gesamtkunstwerk of the XX. Olympic Games in Munich—according to the grand vision of its planners. The international avant-garde of the time, including Walter de Maria, Gerhard Richter, Andy Warhol and Dan Flavin, enthusiastically developed revolutionary concepts. Many of these remained in draft-form. After the tragic assassination of Israeli athletes, concepts such as the "Spielstraße" were canceled. This publication is the first to give an impression of the playful, participatory cultural programme of 1972. In the second part of the book, a multitude of voices from all over the world look to the future. International authors and artists use contemporary examples to convey the importance of the arts in shaping the democratic society of the future.
A - h Johannes Kahrs
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Anne-mie Van Kerckhoven. Serving Compressed Energy with Vacuum
Published in conjunction with an exhibition at Kunstverein München, this catalogue is presented as an integral part of the show, augmenting it through the presentation of subjects, aspects, and themes which are better suited to the printed medium or demand another kind of involvement. Anne-Mie Van Kerckhoven’s works involve painting, drawing, digital media, and video, and reflect her fascination from a female point of view with the representation of women in mass media, the connections between sex and technology, different knowledge systems, and the unconscious. Besides numerous works, projects, and images, the book includes insightful explanations by the artist. 0Exhibition: Kunstverein München, Germany (25.04-14.06.2015).
Beyond Objecthood
The rise of the exhibition as critical form and artistic medium, from Robert Smithson's antimodernist non-sites in 1968 to today's institutional gravitation toward the participatory. In 1968, Robert Smithson reacted to Michael Fried's influential essay “Art and Objecthood” with a series of works called non-sites. While Fried described the spectator's connection with a work of art as a momentary visual engagement, Smithson's non-sites asked spectators to do something more: to take time looking, walking, seeing, reading, and thinking about the combination of objects, images, and texts installed in a gallery. In Beyond Objecthood, James Voorhies traces a genealogy of spectatorship through t...
Brud/Aditya Mandayam
The Ooze is the twelfth publication in Kunstverein München's 'Companion' series, and corresponds to The Donut of Confusion - a mid-career retrospective by Brud (and also Season Zero of their TV show 'Gewgaw'). Brud is often described as a set of heuristics that gained sentience in the twenty-teens and will self-destruct sometime in the twenty-thirties. Brud focuses their attention somewhere between the stage, the screen, and the eye, to examine the cultural, political, and technological histories of sight (primarily through linguistic and musicological modes) and to expose the hidden structural and ideological precursors to contemporary communication. This 144-page publication contains a compendium of idiosyncratic texts by Aditya Mandayam, reproduced in facsimile from various English-language zines and chapbooks.
Comic Abstraction
Foreword by Glenn D. Lowry. Text by Roxana Marcoci.
