Bøker utgitt av Hatje Cantz

It was the pioneering spirit in American Paper Art that sparked Therese Weber's interest in the material far beyond its conventional use. As an artist and researcher, she has since devoted herself to the medium and its cultural history, translating the process of paper pouring and dipping into an individual language of images and form. From paper creations using paper fiber and pulp painting, to research into prehistoric rock carvings and site-specific installations and performative actions in remote desert and mountain regions, Therese Weber's artistic practice displays a methodological diversity. Her research trips and prolonged stays in Japan, China and Central Asia were decisive for the artist's concepts. This book presents the focal points of her work, but also shows how the artist interweaves different media and themes. Exploring the spatial context between center and periphery, the notion of borders and border crossings is at the heart of her visual vocabulary and charecterizes her artistic language.THERESE WEBER (*1953 Switzerland) is one of the most important protagonists of Paper Art. The Swiss artist weaves photography, drawing, object and performative actions into an innovative visual language. Expeditions to the Far East and to Central and Southeast Asia have shaped her artistic research focus over the past thirty years.

Coupling defeat and despair with rebellious humor, Danish artist Peter Linde Busk explores the grotesque conditions of human existence. Populating his works with tragic and awkward figures like fallen heroes, jesters, or outlaws in abstract spaces of detailed ornamentation, his figurations are meticulously composed using a great variety of textures and techniques, and often incorporate random material relics from previous works. Similarly, his titles are wry quotes or poetic fragments: it is from Rilke that Peter Linde Busk has borrowed the title of the book, Who speaks of victory? To endure is all. This richly illustrated monograph features a major essay by art historian Maria Fabricius Hansen juxtaposing Linde Busk's work with medieval mosaics and the grotesques of Renaissance art. A catalogue raisonné of works from 2015 to 2022 is supplemented by short prose texts and a playlist by writer Minna Grooss that suggests a sound track to the materially emphatic works by Linde Busk.PETER LINDE BUSK (*1973, Copenhagen) is one of the most renowned Danish artists of his generation. Educated in London, New York and Düsseldorf and working in multiple media such as painting, sculpture, relief, and mosaic, a central theme of his work is seeing the beauty and value in what is normally considered failed. This is evident both in his motifs and in his choice of materials such as discarded matter or studio debris. Linde Busk lives and works in Berlin.

Influenced by her experiences of war and migration, Simone Fattal has transcended the boundaries of both media and geography like few other artists of her generation. In her collages, she combines pieces from her private archive with historical events in the Arab world. Made up of individual parts and reassembled, these works suggest the fragility of an identity shaped by migration. Her more abstract ceramic sculptures reference ancient myths and archaeological finds. Fattal's first solo exhibition in Germany is accompanied by the artist's first comprehensive monograph, which combines essays by long-time companions with new scholarly contributions by international authors.SIMONE FATTAL (*1942, Damascus) was born in Syria and raised in Lebanon. She studied philosophy at the École des Lettres in Beirut and at the Sorbonne in Paris, before returning to Beirut and starting to paint in 1969. Fleeing the Civil War in 1980, she settled in California. Fattal currently lives in Paris, and she has had recent exhibitions at the Whitechapel Gallery, London, Bergen Konsthall, MoMA PS1, New York and the Musée Yves Saint Laurent, Marrakech.

At the intersection of art, architecture and design, environments create and transform space into an immersive experience, inviting the audience to engage and interact. So far, art history has been focused on the works of male artists mostly from the US and Europe. Inside Other Spaces. Environments by Women Artists 1956 - 1976 aims to signpost a different narrative by highlighting women's fundamental contributions to this field. Redefining the canon, the exhibition features 11 pioneering women artists from three generations, spanning Asia, Europe, and the Americas, including Judy Chicago, Aleksandra Kasuba, and Lygia Clark. Given the experimental nature of such environments, many of these original works were deconstructed or destroyed. The detailed reconstructions, which are carried out with the help of restorers and based on archival photographs, construction plans, and material lists, are presented here for the first time. Conceived as a reference book for the historiography of environments, the publication comprises a wealth of visual material also on artists not featured in the show, such as Yayoi Kusama and Yoko Ono, providing leading scholars' essays and extensive bibliographies on environments and individual artists.

With numerous images, texts and a catalogue raisonné, this book gives insight into the aesthetic specificity and complexity of Helga Fanderl's Super 8 work, conveying its origins and development, process and materiality, and form and poetic nature. Her films, varying programmes and site-specific projections evoke the permanence of the impermanent. Constellations of the artist's short texts, as well as those of different authors and of film images, photographs and documents represent and reflect the many facets of her work. The book's graphic design alludes to the density and rhythmic nature of her filmic practice.

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-that was 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. Much remained a draft. 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.

Experiences of violence and loss take shape in the work of internationally acclaimed Colombian artist Doris Salcedo. Although her sculptures and installations are often based on concrete events, feelings of grief, alienation and loss of home take on a universally valid, heartfelt expression in her works. Different materials such as stone and cement, wooden furniture, grass, petals, hair or pieces of clothing are transformed/processed and charged with meaning. Rarely do individual pain and collective grief find such a touching form and is their social overcoming formulated so forcefully. Created in close collaboration with the artist, the catalogue brings together seven series of works and features a total of over 100 individual pieces.DORIS SALCEDO (*1958, Bogotá) is internationally renowned for her sculptures, site-specific installations and public interventions that address the traumas of violence, racism and other forms of marginalization. In 2003, on the occasion of the Istanbul Biennial, she stacked 1,550 chairs between two buildings; in 2007, she drove a 167-meter-long crack into the Turbine Hall of the Tate Modern for her work Shibboleth. Her most recent work Uprooted (2020-22) will be presented at the Sharjah Biennial.

gmp · Architekten von Gerkan, Marg und Partner ist ein Architekturbüro mit Gründungssitz in Hamburg und sieben Standorten weltweit. Mit seinem generalistischen Ansatz und der Erfahrung aus rund sechzig Jahren realisiert gmp Projekte im Dialog mit der Bauherrschaft und den beteiligten Planungsdisziplinen in jedem Maßstab und kulturellen Kontext, in jeder Planungsphase und auf allen Kontinenten. Die Bandbreite der Projekte reicht vom Wohnhaus bis zum Hochhaus, vom Stadion bis zum Konzertsaal, vom Bürobau bis zur Brücke, von der Türklinke bis zur Stadtplanung.

Oberschwaben (Upper Swabia), between the Black Forest, Lake Constance and the Allgäu, offers a richness of Baroque architecture and picturesque rolling landscapes. Axel Hütte's images are not intended as portrayals of a cultural landscape and its history. They are photographic images, but not necessarily photographically realistic images. They are, collectively, titled Reflexio. Hütte works with the inversion of the colour spectrum, the reflection of the pictorial space. The photographer's interventions in the realistic image are a radical transformation of what the eye initially registered, they contradict experience; negate customary perception. Instead, they are an autonomous aesthetic construct and reveal a different side of reality. The two themes in these works-"Baroque" and "landscape"-thus become equivalent tools for thoroughly investigating pictorial realities.AXEL HÜTTE (*1951, Essen) studied photography in Düsseldorf Art Academy in Bernd and Hilla Becher's class, and is considered one of main representatives of the Düsseldorf School of Photography. His images take on a painterly quality as strives to make the world experienceable as real and at the same time as imagination. His works are part of the world's most important photo collections. Hütte lives and works in Düsseldorf.

Candida Höfer created a new series of works in Liechtenstein in autumn and winter 2021. It forms the starting point and the focus of the first exhibition conceived jointly by Kunstmuseum Liechtenstein and the Hilti Art Foundation. The publication documents this group of twenty photographs, which reflect her ongoing exploration of scenes of cultural life and architecture. A production diary, in the form of a collage of emails, text messages and notes by those involved in the project, affords an insight into the various processes, from the initial idea for the show to the final selection of works. Another section documents the exhibition itself, including selected works from classical modernism to the present from the collections of both institutions.Candida Höfer (* 1944 in Eberswalde, Germany) is among the most important representatives of the Düsseldorf School of Photography associated with Bernd and Hilla Becher. Her works are in international collections and have been exhibited widely and worldwide, including the documenta 11, 2002. Höfer lives and works in Cologne.

Reena Saini Kallat's practice evolves around the tension between the concept of barriers in a world fundamentally shaped by mobility and interaction. Exploring the divisive narratives around national and geopolitical borders and their impact on identity and self-image for people and their immediate environment, she is also concerned with social and psychological barriers. That barriers give way, and can be subverted, is an idea that is pronounced in Kallat's work using electric cables twisted to resemble barbed wire. She uses the paradox of the existence of technology for free flow of information and restriction on movement. In order to expose the ambiguity of national narratives, the figure of the hybrid has come to hold symbolic potential in her practice, as a truant against dividing lines: Kallat creates hybrids of animals and plants that are strongly associated with national identity, only to show that nature defies the violent cleaving through land and nature, and uses the motif of the river, which is often both, border and lifeline to both sides. Kallat's work reveals the idea of isolation as an illusion, and instead suggests to embrace a pluralism of cultures.REENA SAINI KALLAT (*1973, Delhi) is one of the most acclaimed contemporary artists from India. Having studied painting in Mumbai, where she also lives today, her practice spans drawing, sculpture and installation, photography and video. Her interest in political and social borders resonates with the continuing aftershocks of the Partition in India, which her paternal family experienced. Her work is widely exhibited at international institutions including the Museum of Modern Art, New York, and Tate Modern, among many others.

Mixing seemingly deadpan architectural portraiture with poetically frozen moments of daily life, photographer Kris Graves reveals the living history of racism and elitism in the United States.In Privileged Mediocrity, Graves shows us both the brutality and beauty of American life. Each image of a person or a place tells its own complex, moving story and cumulatively capture a longing for the unfulfilled promise of a true democracy. Racism can be seen in infrastructure and planning nationwide, from the human and built environment impacts of redlining and unsustainable public housing; to spaces where homeless communities are able to exist temporarily before they are dismantled. This book seeks to explore the subtleties of the built realities and the planned experience across racial, class, and gender lines. It explores how racism, capitalism, and power have shaped the country and how that can be seen and experienced in everyday life.KRIS GRAVES (*1982, New York) is a photographer and publisher based in New York and California. Using a mix of conceptual and documentary practices, he photographs the impact of systemic unfairness on the built environment. Graves received his BFA in Visual Arts from S.U.N.Y. Purchase College and has been published and exhibited globally, including MoMA, New York; Getty Institute, L.A.; and National Portrait Gallery in London.

In her artistic practice, Andrea Büttner combines art history with social and ethical issues. Since the early 2000s, she has been exploring a wide range of themes such as work, poverty, shame and care in monastic forms of coexistence, but also on arts and crafts as a political field. Examining the ambivalent tension between aesthetics and ethics, the internationally renowned artist uses various conceptual methods. Best known for her large-scale woodcuts, Büttner has since used a variety of media, including etching, painting, photography and video installations, glass art and textiles. For her publications and exhibitions, Büttner composes her works thematically to create site-specific installations that can be experienced as gradually unfolding narratives.German artist ANDREA BÜTTNER (*1972, Stuttgart) studied fine arts, philosophy and art history in Tübingen and Berlin. Focussing on the relationship of shame and art, she received her PhD from the Royal College of Art in London in 2010. She took part in dOCUMENTA 13 and was shortlisted for the Turner Prize in 2017. Büttner currently is Professor of Art in Contemporary Context at the Kunsthochschule Kassel. She lives and works in Berlin.

The exhibition A War in the Distance, the central project of the 2022 edition of steirischer herbst festival, took place at Neue Galerie Graz / Universalmuseum Joanneum and invited visitors to engage with historical and contemporary works directly or indirectly about wars past and present. Confronting lesser-known 19th- and 20th-century paintings from Neue Galerie Graz's collection with works made by artists today, it uncovered hidden stories from the uncomfortable past. This richly illustrated publication documents this exhibition as well its surrounding festival program. Throughout, Russia's war of aggression in Ukraine was ever present, like a filter, impossible to erase or forget.Every year for a month, STEIRISCHER HERBST, one of the oldest interdisciplinary festivals of contemporary art in Europe, turns the city of Graz and the province of Styria in Austria into a parcours of installative and performative works. Since 1968, the festival has offered a platform for public debates, critical positions, and dialogues between the arts.

Since the 1990s, painter and filmmaker Sarah Morris has created a body of work that has been inspired by her interest in the psychology of urban environments. Her complex abstractions, that derive their vivid colors from each city's unique vocabulary and palette, trace the social and bureaucratic topologies of contemporary cities to reveal the architecturally encoded politics. In her films-a parallel practice intimately intertwined with her painting-Morris further explores the psycho-geography and the dynamic nature of cities in flux through multi-layered and fragmented narratives. She purposely leaves her work open for interpretation, conveying a heightened sense to the viewer of both our complicity in a larger system and an increasingly disorienting experience of modern urban existence.Featuring more than 50 paintings, impressions of her filmic work, drawings, and models for on-site installations as well as an in-depth interview with the artist, the catalogue offers the first comprehensive overview of Morris' oeuvre.New York-based artist SARAH MORRIS (*1967, Sevenoaks/UK) is internationally known for her geometric abstractions and non-narrative films. Influenced by her degree in Philosophy and Semiotics at Brown University in 1989, she started to create paintings using bold text inspired by newspapers and advertisements. In the mid 1990s, she began to deconstruct architectural landscapes in order to explore concealed structures of power.

Anthony Amies' paintings assert a classical conception of painting. From the mid 1970s, the British artis pursued a radical counter-concept to the art of his time with a stylistically peculiar landscape painting. They are calm and enigmatic pictures that do without any scandal. In large-scale drawings and oil paintings, he plays with the "blot" technique: Amies abstracts the landscapes to convey an idea rather than a realistic image. The reduction to land and sea is a reflection on England and the loss of its individual landscapes to the monotony of industrial and urban proliferation and sprawling housing estates. In this idiosyncrasy¿the assertion of the genre of landscape painting and in the painterly quality of the works as a contribution to the assertion of painting in art¿lies the importance of this English painter.ANTHONY AMIES (1945, Norwich-2000, London) was educated at Great Yarmouth College of Art in the 1960's and later at London's Slade School of Fine Art. Refusing to conform to the zeitgeist, he found his visual language inspired by Cozens' blot technique in the early 1970s, and would persist with it until his untimely death in 2000. Amies received the Arts Council Award in 1977 and worked teaching art in Camden from 1973-1995 at the Camden Institute and the Camden School of Art.

John Isaacs gilt weithin als einer der einflussreichsten Künstler seiner Generation. Diese umfangreiche Publikation ist der erste umfassende Überblick über sein Werk von den 90er Jahren bis in die Gegenwart.

Ted Stamm's paintings, drawings and performative works show the New York artist's constant engagement with his time and his tireless experimental way of working. He developed a minimalist visual language that often appears strictly geometric and simple, yet conveys a great sense of freedom. His iconic works and cross-media conceptual approaches went on to influence a wide range of artists in the generation that followed. This new monograph on the work of the American artist is the most comprehensive published to date. Examining Ted Stamm's series and artistic language through essays by renowned scholars that place his work in the context of its time and discuss his contribution to the art historical canon, it provides an in-depth insight into Stamm's multifaceted oeuvre.

Plastic is everywhere. It permeates our everyday lives, is inexpensive and available worldwide. Thanks to their literally astonishing plasticity, plastics soon began to fascinate artists as well-both as a symptom and a symbol of mass culture. In the brief history of the "Plastic Age" the versatile substance transformed though: from the epitome of progress, utopian spirit, and democratization of consumerism into a threat. Plastic World offers a broad panorama of the artistic use of plastic and a position towards a matter that matters to us all. Through more than 100 objects, assemblages, installations, environments and films by some 50 international artists, this catalogue explores a spectrum ranging from the euphoria of pop culture in the 1960s and the futuristic influence of the space age, to the "trash" works of Nouveau Réalisme and the ecocritical positions of today. FEATURED ARTISTS SUCH AS: Monira Al Qadiri, Archigram, Arman, Lynda Benglis, César, Christo, Öyvind Fahlström, Haus-Rucker-Co, Eva Hesse, Hans Hollein, Craig Kauffman, Kiki Kogelnik, Gino Marotta, James Rosenquist, Pascale Marthine Tayou and Pinar Yoldas.

Where is Charles Simonds? Throughout the 1970s, hisdiminutive Dwellings, tiny architectural ruins of an imaginary civilization, could be found throughout the crumblinginfrastructure of downtown New York. Preoccupied withthe relationship between the grown and the built, thearchaeological and the urban, Simonds shared friendshipand ideas with Gordon Matta-Clark and Robert Smithson.Like Lucy Lippard, with whom he lived during that decade,Simonds believed in combining art and activism, alwayspreferring what he called the "real world" to the art world.Yet despite taking part in many of the seminal exhibitionsand art events of 1970s New York, Simonds has left fewtraces on art history. In order to explain Simonds's absencewhile simultaneously arguing for his central place within it,Jules Pelta Feldman reconsiders the decade's self-conception, finding that Simonds exemplifies much of what hasbeen ignored in 1970s art¿and much of what establishesit as a unique period of experimentation and possibility.

¿ One of the great artists, ahead of her time¿ Rebelled against social and political conventions¿ Unconventional view of her work

Industrial factories are major contributors to air pollution, toxic spills, and the emission of greenhouse gasses into the atmosphere. Manufacturing remains critically important to both the developing and the advanced world, but it must change. Fast. In 2020, the Norwegian design furniture manufacturer Vestre decided to prove that another future of industrial production is possible. Together with the Danish architects of Bjarke Ingels Group (BIG) they worked out plans for a green factory while preserving the surrounding recreational Norwegian forests: The Plus. The wooden building has been planned to achieve the world's highest sustainability rating, BREEAM Outstanding, as well as to be a public space, a destination for people to visit and enjoy. Thus began a challenging yet exciting journey toward building "the world's most environmentally friendly furniture factory." Making The Plus takes readers through the construction process of the world's most environmentally friendly furniture factory, documented from the very beginning by renowned photographer Einar Aslaksen. It also broadens our view on how architecture, industry, nature, and public space must be completely intertwined in our move toward a sustainable future. It aims to be a manifesto forthe "green shift."VESTRE is an Oslo-based urban furniture maker with offices all over the world. For more than 75 years, the family-owned company has been driven by the mission to create social and caringpublic meeting places for millions of people. It is committed to the UN's Sustainable Development Goals.

3D technology is not uncommon-we encounter it in cinema and in the virtual reality of video games. But even though creating an optical illusion of spatial depth, where there is none, is one of the oldest techniques in photography, stereoscopy receives little attention in contemporary photography. Unjustly so, as Sebastian Cramer's timelessly fascinating works show. It is a unique aesthetic experience that these seemingly alien plants in cyan and red have to offer, which-when viewed through the enclosed 3D glasses-unfold into voluminous photo- graphic sculptures. Two Views on Plants is a book about our visual perception of space that is fundamental to our human experience.Two Views on Plants is a Tête-bêche book and comes with two 3D glasses.SEBASTIAN CRAMER (*1962, Berlin) is a German director, cinematographer, and photographer. An acclaimed 3D expert, he has worked on several major film productions with directors like Wim Wenders and Michel Comte. He has received numerous awards for his artistic works and technical inventions. In 2013 Cramer began the Two Views project, a contemporary expression of traditional stereo photography.

Yasser Alwan photographed in and around Cairo, recording encounters with people in the streets, at the racetrack, in cafes, and in places of work-tanneries, quarries, bookshops, or potteries. His portraits of workers living in conditions of unimaginable poverty and political dispossession are remarkable for their refusal of the clichés of social documentary and photojournalism. They show people between anger, pride, and perseverance, yet convey a sense of trust toward the photographer. Complementary to his intimate images of friends and family form a collective portrait of the middle class seen in the relaxed informalities of daily life. This collection of Alwan's photographs offers an unprecedented and unique picture of Egyptian society, introducing an outstanding body of work in contemporary photography from the Arab world.YASSER ALWAN (*1964, Lagos - 2022, Cairo) was born in Nigeria to Iraqi parents. He studied and worked in Lebanon, Iraq, the United States, Sudan, and Jordan before moving to Egypt in 1993. He taught photography at various institutions, including the German University in Cairo. His photographs have been exhibited internationally.

Strict non-violence, the renunciation of possession and universal tolerance are the guiding principles of Jainism - a religious community that is found around the world, yet which is hardly known outside India. Combining masterpieces of Jain art from the collection of the Museum Rietberg, richly illustrated essays, and interviews with Jains from Europe, the US, and India, Being Jain: Art and Culture of an Indian Religion provides impressive insights into the unique lifestyle and ethical values cultivated by Jainism over many centuries. The catalogue explores the contributions that the living tradition of contemporary Jainism can make to deal with the fundamental challenges the world faces today: climate change, rampant consumerism, ethnic and religious intolerance, and social inequality. A board game inside the book encourages readers to reflect on their own everyday behavior and to venture out in new directions.

Nocturnal forest scenes and fantastic narratives, illuminated through spotlights that allude to Berlin's neonlit nightlife-the latest paintings, VR installations, and poems by American artist Brandon Lipchik offer glimpses into his very own surreal dreamscape. Like a director in a theater, he stages his digitally composed mythical and uncanny scenes full of erotic allusions, transforming them into a collage-like physcial presence on canvas. Between dense foliage reminiscent of Henri Rousseau and the computer game aesthetic of the 1990s, Lipchik creates a unique visual language. This richly illustrated publication is both: an exhibition catalog and a survey of the artist's oeuvre to date. A separately designed section presents Lipchick's VR works and provides insights into the post-digital practice of the emerging artist.BRANDON LIPCHIK (*1993, Erie, PA) studied painting at the Rhode Island School of Design and at Brown University. He has had solo exhibitions in New York, Berlin, Santa Monica, Amsterdam and Paris; this is his first institutional solo show. He lives in New York and Berlin.

André Bauchant, Camille Bombois, Séraphine Louis, Henri Rousseau, and Louis Vivin had no artistic training, yet these five painters left a lasting mark on the Paris art scene of the early 20th century. Decisive for their discovery was their contact with German art dealer Wilhelm Uhde and his joint exhibition The Painters of the Sacred Heart in 1928 that brought together the stylistically diverse artworks of these self-taught artists. In their individual techniques and motifs, often borrowed from nature or their immediate surroundings, he saw a unique emotionality, a radiating freshness and accessibility, which he felt was lacking in the theory-laden discourse of academically trained modernist artists. Having since fallen into oblivion, this book is a joyful rediscovery of a chapter of art history that only recently has found new appreciation.