Die Aufstellung thematisiert die Weitergabe von Traumata des 2. Weltkriegs im Wohnhaus meiner Familie. Ausgangspunkt ist ein Archiv von 500 Metallobjekten, die mein Großvater, ein ehemaliger Wehrmachtssoldat, über mehrere Jahrzehnte im Keller unseres gemeinsamen Wohnhauses fertigte. Die Objekte werden in der handwerklichen Routine zu Trägern des Traumas. Um den Einfluss der unausgesprochenen Kriegserlebnisse auf den Familienalltag zu zeigen, setze ich die Metallgegenstände sowohl mit Kriegsfotografien als auch Familienfotos ins Verhältnis, die Ausschnitte aus dem Alltag meiner Familie bis in die frühen 2000er Jahre zeigen.

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Exhibition catalogue of Simon Kocjančič’s solo show “Hide and Seek” in Galleria Škuc.

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The publication of The Against, the book that documents the process, development and results of the homonymous exhibitions that simultaneously took place last Spring at multiple sites in New York.
The book not only displays the uncontrollable compulsion of graffiti bombing by 21 artists from different parts of the US, Canada and Mexico. This remarkable book focuses on those who are the exceptional graffiti bombers in the last decade. The objective was to take all of these artists, bring them together in one place, and see how they collaborate as a shared experience in New York, being the mecca of graffiti bombing. The main theme, the subject of the book, is the very work of these masters working together. In the realm of graffiti, it’s very hard to get the very top artists all the time, because some of them are either incarcerated, or they won’t relate to galleries’ projects. But the ones selected are the top bombers we could get now. Rooming together and sharing styles and techniques was a unique, collaborative experience for those involved; a graffiti bombing League; a gathering of talents; the dream team of graffiti. The book shows their singularities and differences in a remarkable display of strength and imagination, shapes, and colors.
The Martinez Gallery Books has published several books on graffiti, focusing on different themes, social and health issues, and a variety of topics related to our daily life. As the evolution of graffiti from the 90s to now has shown, you have to be more well-versed in art now, even as a bomber. We can say that the world of graffiti is ever-growing, and that, in this changing context, would be an ideal opportunity to discuss and assess what bombing is today in comparison. This book offers that opportunity and opens up the field to different alternatives and trends within graffiti culture.

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Published on the occasion of the eponymous exhibition held at Malmö Konsthall in 1999. The exhibition was organized and conceived by Bera Nordal.

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Catalogue published in conjunction with the eponymous exhibition held at Malmö Konsthall from 22 March to 7 May, 1978.

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“I’m interested in the resonances, the re-habitualizations, and the echoes of that historical moment in the contemporary.”

For more than three decades, Tony Cokes (b. 1956, Richmond, USA; lives and works in Providence, USA) has been exploring in his work the ideology and affect politics of media and popular culture as well as their social impact. Starting from a fundamental critique of the representation and visual commodification of African-American communities in film, television, advertising, and music videos, Cokes has developed a unique form of video essay that radically rejects ­representational imagery. These fast-paced works consist of found text and sound material from diverse sources such as critical theory, online journalism, literature, and­ popular music.

The US artist’s first institutional solo exhibition in Germany also marks the first ­comprehensive collaboration between Kunstverein München and Haus der Kunst. The thematic starting point for Cokes’s new productions is the ideological and propagandistic entanglements of both exhibition venues during the Nazi era as well as their cultural-political role in the context of the 20th Olympic Games in Munich in 1972.

The publication Fragments, or just Moments accompanies the eponymous exhibition and translates stills from the newly produced video essays into a book format while examining the significance of Cokes’s work in terms of a contemporary approach to institutional critique. The essays are written by Tina M. Campt and Tom Holert, with an introduction by Emma Enderby and Elena Setzer (Haus der Kunst) as well as Maurin Dietrich, Gloria Hasnay, and Gina Merz (Kunstverein München).

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This special issue is the cataLog for Model Behavior, a group exhibition of models, architectural and otherwise, curated by the Anyone Corporation and presented by The Irwin S. Chanin School of Architecture at The Cooper Union in New York City. The exhibition, which ran October 4–November 18, 2022, questioned the role of the model in projecting or eliciting social behavior. In addition to documenting the 55 exhibited works with four-color images and project descriptions, the 160-page cataLog includes essays by curator Cynthia Davidson; by architecture theorists Jörg H. Gleiter, Kiel Moe, and Christophe Van Gerrewey; and by art historian Annabel Jane Wharton.

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MODEL BEHAVIOR

OCTOBER 4 – NOVEMBER 18, 2022

A GROUP EXHIBITION CURATED BY THE ANYONE CORPORATION AND PRESENTED BY THE IRWIN S. CHANIN SCHOOL OF ARCHITECTURE OF THE COOPER UNION FOR THE ADVANCEMENT OF SCIENCE AND ART

Models, whether physical or digital, are intrinsic to architecture. Just as science, mathematics, politics, economics, and other fields use models to visualize, reflect, and predict behaviors, so do architectural models. Model Behavior, a group exhibition curated by Log editor Cynthia Davidson, designed by New Affiliates (Ivi Diamantopoulou and Jaffer Kolb), considered how architectural models contribute to shaping social behaviors. Model Behavior featured 70 works and objects by 45 artists and architects including artists Olafur Eliasson, Isamu Noguchi, Ekow Nimako, and Thomas Demand, and architects Peter Eisenman, Darell Wayne Fields, Greg Lynn, Forensic Architects (Eyal Weizman), First Office (Anna Neimark and Andrew Atwood), MALL (Jennifer Bonner), Ensamble (Débora Mesa and Antón García-Abril), and Höweler and Yoon (Eric Höweler and Meejin Yoon).

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Catalogue from Patti Smith’s exhibition and poetry reading on the occasion of Arthur Rimbaud’s 123rd birthday (October 20, 1854) at the Galerie Veith Turske on October 20, 1977. The book contains images of Smith’s paintings and drawings as well as photographs and poetry, in English and German.

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This publication is part of Motion, a major exhibition by Dutch artist, graphic designer, and educator Karel Martens at Kunstverein München.

Co-edited by Martens and Julie Peeters, the bulk of the content for this book comes from the video Not for Resale – a sequence of photographs from Martens’ studio wall in Hoog Keppel in 2000. The videos Lost & Found (2004), and Tol (2008) are also included in the book, as well as a transcription of a conversation between Martens and Kunstverein director Chris Fitzpatrick, followed by an afterword (both in English and German).

Edited by Karel Martens and Julie Peeters
Texts by Chris Fitzpatrick and Karel Martens
Designed by Julie Peeters

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One space, One structure, A set of regulations.

Temporary City is an exhibition that starts from the basis: the artist. No theme or curator is involved. During the course of one week fifteen artists worked in the Atelierhof Kreuzberg and challenged, negotiated and discussed their practices in order to use these as a base to develop an exhibition. Their works were presented on an architectural structure, an ‘obstacle’ designed for the show. The result of this process could be seen during the exhibition Temporary City Berlin 2009.

Artists: Anton Cotteleer, Ilke De Vries, Yoko Enoki, Paul Hendrikse, Anouk Kruithof, Nicolas Leus, Katrin Plavcak, Olivier Schrauwen, Nele Tas, Iris Van Dongen, Stijn Van Dorpe, Ada Van Hoorebeke, Tamara Van San, Sarah Westphal, Nada Sebestyén.

Texts, Introduction: Nele Tas; Exhibition Diary: Christophe Van Gerrewey; No Such Things as a Plan: Andreas Müller; St Curatus at the Crossroads: Christoph Tannert.

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