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Johannes Nagel
- First publication about the young rising star of the German ceramic scene- Book presentation and exhibition at Arnoldsche Art Publishers, Stuttgart (DE), 15 to 17 June 2018Happenstance and gesture play a central role in the creative work of the ceramicist Johannes Nagel (b. 1979). His objects, which are orientated towards traditional ideas of vessels but are also freely composed, examine the associations between form and idea. Using work techniques such as burrowing into sand to form negative figurations for casting, he successfully performs his work directly and manually, lending the process of searching a tangible presence. The publication focuses on Nagel's oeuvre from the last four years. Earlier work groups are also presented as highlights. The collector Jörg Johnen and the philosopher Marcel René Marburger set Nagel's work in relation to artistic tendencies of the twentieth century and shine a light on the intellectual-historical background of the gestural as an intermediary between the power of imagination and its manifestation in an object. Text in English and German.
KAI.
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Homo bellicus
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Re:vue
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Weiser
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Heterogeneous Objects
Heterogeneous objects provides various essays that explore the encounter of photography with other media since the 1960s. The essays offer new ways of thinking about photography beyond modernist notions of medium specificity and autonomy based upon the idea that a photograph does not rely on a coherent system of codes but is almost always encountered as a fragmented, partial object. Addressing recent debates in art history and photography theory, film studies, and media theory, the contributions cover a broad array of approaches, relating photography to issues of the panorama, surveillance, sculpture, transformation and processuality, and the development of new media categories. Rather than conceiving of photography as a medium, the aim is to reconsider the photograph as a historically, theoretically, and culturally embedded heterogeneous object that is always related to, in contact with, or shaped by other media.
Over the head
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Art as Capital
In global terms, creative industries are on the rise, as are new media investigations in art and initiatives that encourage innovation in the arts, for end-use in the economy. However, there is a significant lack of critical reflection on this form of creative production. This important book points out the dangers and downfalls that accompany such a boom of the creative industries and the subordination of art to the economy and politics. Specifically, it shows that art, as a mode of social and aesthetic practice, is losing the very thing which it has striven for so desperately in the course of modernity: its independence from other spheres of human activity.
A Class of Their Own
The pioneer group of the Düsseldorf School The ‘Düsseldorf School’ has become a household name in the art world for one of the most successful and influential strains of modern photography. Coined in the late 1980s, the name refers mainly to the pioneer group of students of the late Bernd Becher, who in 1976 became the first professor for creative photography at a German arts academy. His students included Andreas Gursky, Candida Höfer, Axel Hütte, Thomas Ruff, and Thomas Struth, all of them today internationally acclaimed artists in their own right. Whereas ‘Düsseldorf School’ initially was used as a handy term for a group of artists with the same university’s background, it quickly turned into a powerful brand name both in critical and commercial contexts. Despite its welcomed impact on the art scene, the members of the ‘School’ felt rather ambiguous about their perception as a group which turned them into stars but simultaneously risked levelling individual profiles and differences. What exactly connects and distinguishes them aesthetically is for the first time thoroughly explored in Maren Polte’s pioneering study.
