Bücher veröffentlicht von Kerber Christof Verlag

Christian Hellmich (b. 1977) creates works characterized by gestural abstraction and the asymmetric arrangement of planes of color, which are used to develop a kind of geometric grid pattern that dissects the pictorial space. This avoids any uniform perspective so that spaces penetrate into one another, and various image planes appear simultaneously. The fragments of motifs Hellmich assembles are taken from his extensive image archive of photographs, magazine cuttings, Internet sources, postcards and more. His approach is shaped by society's handling of images in today's mediatized age. References to architectural structures and comic-like shapes trigger associations without being clearly categorizable, rousing interest in their assumed decryption.

"Tanz auf der Klinge" (Dance on a Knife's Edge) is the first monograph by the artist Willehad Eilers aka Wayne Horse (b. 1981). This publication features works created between 2018 and 2023, presenting the many facets that make up the artist's universe-from blind drawing to graffiti and monumental oil paintings. Eiler's visual world, made up of grotesquely lewd scenes, reveals a generous portion of humor while exploring the darkest depths of society.Studio images and photographs from Eiler's everyday life provide an insight into his creative process. This visual journey is accompanied by interviews with the artist, brief explanatory texts and the notes that in many cases served as the starting points for the works depicted here.

In "Chemical Alterations 2012-2022" präsentiert Doug Fogelson eine Fotoserie, die die vielfältigen Auswirkungen des Klimawandels auf unserem Planeten widerspiegelt. Mit einem Verfahren, in dem traditionelle Landschaftsfotografien einem chemischen Bad aus giftigen Reinigungsmitteln ausgesetzt werden, um den analogen Originalfilm zu verändern, veranschaulicht Fogelson die oft unsichtbaren Veränderungen der Umwelt. Diese Veränderungen kulminieren in katastrophalen Ereignissen wie Bränden, Überschwemmungen, Dürren, immer stärkeren Stürmen und der allgemeinen globalen Erwärmung. Bilder von Naturräumen wie Bergen, Wüsten, Vulkanen, Dschungeln, Ozeanen, Flüssen und Wäldern werden in einem Zustand des Wandels dargestellt. Durch die Bearbeitung des Films werden Spuren wie Blasen, Kristalle, Fingerabdrücke und Staub in die Bilder integriert, die sich an der Grenze zur Abstraktion befinden.

"Andreas Chwatal. Ink Wash on Paper" versammelt die 300 wichtigsten Papierarbeiten des Münchner Künstlers (*1982) der letzten 17 Jahre. Die bisweilen minutiös gezeichneten Arbeiten sind Teil einer fortlaufenden, romanhaften Bilderzählung, die hier erstmals vollständig präsentiert wird.Durch einen Textteil mit kunsthistorischer Analyse, ein Künstlerinterview sowie einer ausführlichen Übersicht aller abgebildeten Arbeiten, besitzt die Erstmonografie den Charakter eines Werkverzeichnisses. Zugleich wird die in der Gegenwartskunst einzigartige Erzähl- und Zählweise der lavierten Pinselzeichnungen beleuchtet.

Flying across Fantastica astride Falkor the luck dragon, meeting the Childlike Empress, sitting in the attic with Bastian; joining Momo as she escapes the Men in Grey; brewing a batch of "satanarchaeolidealcohellish notion potion", or embarking on an adventure with Jim Button and Luke. These famous stories have moved and delighted readers across the globe for decades now. In them, fantasy and reality collide again and again.Ende's literary cosmos of fantastic creatures and heroes has been translated into visual pictorial worlds by a wide array of illustrators and artists. The resulting variety of drawing styles, techniques and imagery and the catalog that accompanies the impressive exhibition at Schloss Oberhausen not only depicts Michael Ende's extensive works, but also showcases several icons of illustration. Now, for the first time, these magnificent pictorial worlds can be explored in one comprehensive volume.

Unter dem Titel Masquerades: Drawn to Metamorphosis präsentiert die 18. Ausgabe der MOMENTA Biennale de l'image dreiundzwanzig Künstler*innen, deren Projekte Prozesse der Transformation, Mimikry und Mutation in Gang setzen. Ziel der Biennale ist es, die Dynamik von Sichtbarkeit und Unsichtbarkeit zu beleuchten, die die Beziehungen zwischen sich selbst und dem Anderen, zwischen dem Menschen und seiner Umwelt bestimmt, unabhängig davon, ob es sich um eine pflanzliche, tierische oder technologische Um - gebung handelt. Diese Publikation enthält die Beschreibungen der Ausstellungen, einen Essay von Anne Anlin Cheng über das metamorphe Potenzial des "Hautbewusstseins", ein Fotoportfolio von Chris Curreri und einen Essay der Kuratorin Ji-Yoon Han, der den Begriff des Bildes durch das Prisma des Biennale-Themas betrachtet.

In "Life in the New", Marius Svaleng Andresen delves into the complexity of urban development and its impact on people, with the ex-Yugoslavian district of Novi Beograd, Serbia, as a backdrop. How does the relationship between people and architecture change as cities grow and become denser? Through interviews with the area's inhabitants and photographs that blend documentary and art, Life in the New explores what lies beyond the facade of the brutalist and socialist modernistic buildings.Impressive architectural forms and complex geometries recede into the background to reveal everyday life in all its mundane glory: its little dramas, its melancholy, its discomforts, quirkiness, and humor. Every now and then, however, Andresen discovers moments of pure beauty, the fragile, unpremeditated poetry of the everyday that thrives amidst the formality of the architects' grand visions.

"Paco Knöller. Unter mir der Himmel (Beneath Me, the Sky)" is being published to accompany the exhibition of the same name at the Hilti Art Foundation's museum space in Vaduz, Liechtenstein. The exhibition features numerous works by the artist (b. 1950) dating from the 1980s to the present day. The works, created exclusively with oil pastels, examine various aspects of human existence in the context of human and natural history. Photographs of the installation provide a direct insight into the exhibition, which also features sculptures from the Hilti Art Foundation's collection.

The Schaubühne Berlin is one of the foremost German-language theatres and has a unique artistic profile. Between 2018 and 2022, visual artists Christian Jankowski, John Bock, Olaf Nicolai, Katharina Sieverding and Monica Bonvicini designed a series of posters for the theatre. The outcome: striking two-dimensional artworks that when inserted into Berlin's cityscape, created a kind of temporary urban exhibition. The array of artistic executions in the poster campaign ranges from humorously grotesque scenes or fanciful tableaux featuring members of the ensemble to purely conceptual approaches devoid of any text or image, to posters that use round cut-outs to capitalize on their ever-changing impact in the urban space. This publication brings together for the first time all of the designs alongside accompanying texts and interviews.

The artist book "Marcel van Eeden - 1898" is being published to coincide with the Hans-Thoma Prize 2023. The prize-winner, Marcel van Eeden (* 1965), explores Thoma's little-known travels to the Netherlands in 1898. He reflects on Thoma's analysis of Rembrandt van Rijn or Paulus Potter, under the problematic influence of cultural theorist Julius Langbehn. Present-day gum bichromate images of the places Thoma visited alongside historical quotes by Thoma and Langbehn result in a multifaceted, critical consideration of nationalistic views on culture.

Jan Krickes (* 1977) Fotoserie Andauernde Heimkehr präsentiert eine komponierte Abfolge von Landschaftsaufnahmen, die - losgelöst von einer Chronologie - eine Reise jenseits einer erkennbaren physischen Route bilden. Es sind Eindrücke nicht konkreter Orte, flüchtige Impressionen von Naturstrukturen oder Lichtspielen, die auf eine ganz eigene Art die urbane Energie und Schnelligkeit der Street Photography in die Landschaftsfotografie übertragen. Die großformatige Publikation erscheint anlässlich der ersten Museumsausstellung des Künstlers im Museum Künstlerkolonie auf der Mathildenhöhe Darmstadt.

The catalogue "Max Neumann. Journey" comprises around eighty paintings and works on paper from all periods of work by the painter and graphic artist Max Neumann (b. 1949) who is an important representative of German figuration. His enigmatic human figures seated in enraptured pictorial settings are not geared towards capturing a subjective, distinct portrayal, but towards the crystallization of an unmistakable manlike allegory. His characters, in their at once disconcerting and graceful silhouettes, fall out of time and history being markers of a human state of mind. Neumann does not intend to narrate any incidents; he rather traces emotional human qualities confronting the viewer with his own desires, fears, obsessions and phantasms.

"Character Arc", the documentary photo series by Pascal Haas (b. 1976), features a collection of portraits of Berlin-based actors. The photos, taken between 2021 and 2023, depict the actors personally, in the park or on the street-outside of their roles, away from the stage and the set. The serene black-and-white analogue portraits show the artists as approachable, free from any artifice. In this way, the images reveal both their strength and their vulnerability, reflecting the uncertainties of the modern age. The rhythm of the series is based on the seasons, as can be discerned from the light, the clothes they are wearing, and the natural surroundings.Actors: Leonie Benesch, Pit Bukowski, Marie Burchard, Marlene Burow, Luka Dimic, Maren Eggert, Mala Emde, Michelangelo Fortuzzi, Luisa-Céline Gaffron, Franz Hartwig, Jacob Matschenz, Wanja Mues, Johannes Nussbaum, Rick Okon, Valerie Pachner, Anneke Kim Sarnau, Daniel Sträßer, Sabin Tambrea, Mina Tander, Lena Urzendowsky, Sebastian Urzendowsky, Luise Wolfram

"Conversation with My Other Me" is a photo art book by Danish photographer René Riis featuring a series of multi-photograph portraits.A unique cabinet of mirrors created specifically for this purpose captures one-of-a-kind portraits of various individuals: a mixture of prominent public figures, among them dancers, politicians, actors and sporting personalities, as well as unknowns with a charismatic presence.What makes these multi-photographs so extraordinary is that the person is portrayed from five different angles. In addition, in front of the mirrors, the subjects develop a personal and unique dynamic with themselves. It is, after all, a highly unusual experience to see oneself from so many different perspectives simultaneously.

Die LUDWIGGALERIE Schloss Oberhausen feiert ihr 25-jähriges Bestehen und präsentiert dazu einen Sammlungsschwerpunkt ihrer Namensgeber. Erstmals wird die qualitätvolle und originelle Porzellansammlung von Peter und Irene Ludwig umfangreich in Oberhausen vorgestellt. Über Jahrzehnte hat das Aachener Mäzenenpaar feinstes Meißener Porzellan gesammelt und besondere Freude an der Darstellung von Berufen gehabt. Heute wird dieses "weiße Gold" in Bamberg aufbewahrt.Neben einer Würdigung von Peter und Irene Ludwig umfasst die Publikation auch den Blick zurück auf die letzten 25 Jahre. Zahlreiche Ausstellungen mit Beständen aus der umfangreichen Sammlung Ludwig konnten realisiert werden, ebenso wie Präsentationen zu Comic und Karikatur, zur Fotografie und den für das Ruhrgebiet so bedeutenden Landmarken.

This publication spans more than forty years of artistic work by the painter Henning Bertram (b. 1962). Many in the Rhineland know him through his large-scale charcoal drawings of seemingly archaic fragments of architecture. This book provides for the first time an insight into Bertram's early work and the spectrum of his artistic career - an unremittingly explorative path, switching between the abstract and the figurative, culminating in a surprising corporeality in his current work.

In her art, Ines Doujak (b. 1959) examines complex interrelationships and goes directly to the heart of explosive issues. From a queer-feminist perspective, she unsparingly analyses the mechanisms and ramifications of the neoliberal market economy and the relationship between production and consumption, capital and exploitation, colonialism and neocolonial rule, racism and gender roles.For the first time Nevertheless provides an overview of Doujak's artistic oeuvre from the last thirty years, encompassing a multitude of different media. The extensive picture section is supplemented by autobiographical fragments and quotations relating to the pictures.

Simone Lucas und Sven Kroner (beide * 1973) studierten an der Düsseldorfer Kunstakademie Malerei und sind seither ein Paar. Beide arbeiten von Beginn an figurativ, oft auf großformatigen Leinwänden.Simone Lucas kreiert komplexe Welten, wie beispielsweise in Schulräumen agierende junge Wissenschaftler*innen, die sich mit dem Universum beschäftigen; oder aber aus mehreren Szenen bestehende Gemälde, bei denen es keine Trennung zwischen Außen und Innen gibt, wo Pflanzen und wilde Tiere in die Interieurs eindringen. Neue Arbeiten zeigen Mischwesen mit menschlichen und tierischen Zügen, Pflanzenmenschen mit pilzartigen Körpern oder von Blumen überwucherten Köpfen. Lucas' surrealistisch anmutende Bilder beeindrucken durch Vielschichtigkeit, überraschende Motive und malerische Opulenz.Sven Kroners umfangreiches Werk beginnt mit Naturdarstellungen: Seen, Panoramastraßen, steile schneebedeckte Berghänge, weiträumige Wald-, Fluss- und Gewitterlandschaften. Seit 2013 malt Kroner vermehrt subtile Ansichten von Innenräumen: die Treppen in seinem Haus, Fenster, Vitrinen mit schiefen Glaspatten, Aquarien, Dioramen und menschenleere Bahnhöfe unter blaugrauem Firmament. Kroners Bilder haben häufig eine dystopische Anmutung, weil sie Spuren menschlichen Wirkens zeigen, ohne Personen abzubilden.

The notion of motherhood and how to define it are hugely complex. Scarcely another concept has provoked a more diverse range of associations, emotions and stereotypes nor shifted so frequently throughout the history of humankind. Today, the topic is more political than ever.This book provides an overview of how contemporary art reflects perceptions of motherhood and mothering. Fourteen examples illuminate various aspects from a biological, psychological and social perspective. Another topic that is included in these considerations is that of non-motherhood. In addition, the ambivalent attitude of the arts and cultural sector towards artists who decide to become mothers is examined, as is the artistic exploration of motherhood in terms that go beyond heteronormative, cis-gendered relationships.

Veit Mette (*1961) beschäftigt sich mit der Dekonstruktion und Neukonstruktion von Bilderwelten. Bilder aus der Sammlung der Kunsthalle Karlsruhe und dem Museum Peter August Böckstiegel projiziert er auf Köpfe und Körper und präsentiert sie digital und in Ausstellungen.In seiner neuesten Arbeit besucht er die Klinik am Korso, eine Einrichtung für essgestörte Patient*innen und beschäftigt sich mit der Frage von Fremd- und Eigenbild. Die Patient*innen wählten aus Bildern der Gemäldesammlung der Staatlichen Kunsthalle Karlsruhe Motive aus, die ihnen auf ihr Gesicht projiziert wurden. Begleitet werden die Bilder durch Texte der Frauen und Männer die fotografiert wurden

Interventions is a photobook by Adrian Bugge (b. 1981) presenting 57 images of human intervention in Norwegian nature. Bugge has been taking photographs for fifteen years, from Kirkenes in the far north of Norway to Oslo in the south. Along the way he has stumbled across interventions on a magnitude of which many in Norway are unaware. The book contains a foreword by Bugge with an account of the background to the project, and a research-oriented text by geologist Henrik H. Svensen, who addresses the consequences of these interventions.

What does your body know? With this question artist Yvonne Buchheim invited people into her studio for portraits attempting to capture body knowledge. What she did not know was the story her own body would tell.In this art book she shares her story of healing from cancer. Her artworks are poetic reiterations between visual and written language revealing the many facets that serious illness can have on the body and mind. The artwork is complimented by two essays that explore fragility and resilience in surviving illness.Kopfüberleben (Life Turned Upside Down) presents us with creative forms of storytelling that use drawing, photography and stop-motion filmmaking not as documents but as a narrative of self-discovery.

Helmut Middendorf is one of Germany's most renowned painters. As a member of the neo-expressionists, the Neue Wilden, he left a lasting impression on the artistic landscape of the 1980s. In 2022, Middendorf showed an exhibition entitled Berlin SO 36 revisited at the Museum Schloss Derneburg, Hall Art Foundation. SO 36 was the name of an area of Kreuzberg, but also of the famous music venue that inspired many of the artist's works. Middendorf lived and worked in Berlin Kreuzberg's SO 36 district throughout the 1970s and 80s. As well as the documentation accompanying the exhibition at the Museum Schloss Derneburg, this publication presents a wide selection of paintings and works on paper dating from that era, most of which are being republished here for the first time in many years. A large number of hitherto unseen photographs from the artist's private archive also feature.

Corina Gertz fotografiert Frauen in traditioneller Kleidung auf der ganzen Welt. Dabei liegt ihr Fokus auf der stilleren Seite des Porträts, der Rückenansicht. Das Individuum bleibt im Verborgenen, nur die Kleidung ist Informationsträger.Skulptural und malerisch leuchten prächtige Stoffe und kostbare Stickereien vor einem tiefschwarzen Hintergrund, fotografisch gefasst in einer klaren und ausdruckstarken Bildkomposition. Die Porträts erzählen von traditionellem Wissen, Konventionen, Bräuchen und Praktiken. Sie spiegeln Gertz' Interesse an ästhetischen, politischen, sozialen und kulturellen Kontexten wider.

In 1923, the young painter Franz Radziwill (1895-1983) made an unusual decision: having recently enjoyed artistic success in cities including Bremen, Hamburg and Berlin, Radziwill moved to the sedate little town of Dangast, by the Wadden Sea, where he was to live and work for sixty years. At the same time, Radziwill underwent a stylistic volte-face. He loosened his ties with Expressionism in order, over the course of just a few years, to develop his version of Magic Realism. The exhibition Alles auf Anfang! explores this spectacular sea change. Based on a large range of works, the catalogue traces this stylistic change, illuminates Radziwill's later view of his early work and examines the contextual aspects - What were the living conditions that Radziwill encountered a century ago in Dangast? To what extent does his relationship with nature and urban life reflect the artist's view of Modernism?

Fünf Berliner Künstlerinnen und ein Künstler haben sich auf die Suche nach dem eigenen Selbst begeben und dabei Wege beschritten, wie sie unterschiedlicher nicht sein könnten: Malend, zeichnend, collagierend, fotografierend, plastisch formend und installierend haben Frauke Bohge, Catherine Bourdon, Andrea Cataudella, Sayyora Muin, Katrin Salentin und Anna-Lisa Unkuri ihren jeweiligen Selbstbefragungen Ausdruck verliehen. Dabei geben die sechs Künstler*innen keine absoluten Antworten auf ihre Fragestellung und sich selbst nie vollständig preis.Songwriter und Sänger Jan Plewka steuert (mit seinem Kollegen Marco Schmedtje) dem Gesamtkonzept mit seinem Song Wie ein Geist eine lyrische Auseinandersetzung bei. Darin betrachtet er die Werke der Künstler*innen und gibt als neugieriger Außenstehender seinen Gedanken und Gefühlen in Wort und Ton Ausdruck. (Video auf www.von-clowns.com)

Light, color, materiality. These are perhaps the most significant components of Wolfgang Kessler's (b. 1953) paintings. An additional characteristic is the tranquility and introversion of the figures, who are usually depicted individually before a black background. In contemporary painting, this practice is unusual. At the same time, it touches upon recollected images and a notion of beauty that are buried in our cultural memory. When the question arises as to whether painting is or may be beautiful, one likes to look far back to art-historical frames of reference. One might arrive, for instance, at Delacroix's works, which started to engage with subjects that extended beyond the common notion of beauty.Terribly Beautiful - Wolfgang Kessler is a painter of quiet yet aggressive, power.The comprehensive publication offers a detailed insight into Wolfgang Kessler's complete paintings from 2013-2022.

Inwelt von Maximilian Prüfer (*1986) ist die Fortsetzung der 2016 herausgegebenen Publikation Brut und umfasst die seitdem entstandenen Werkserien des Künstlers. Prüfer arbeitet an verschiedenen selbstentwickelten Verfahren, welche die Spuren von Insekten und Naturphänomenen sichtbar machen. Hierbei analysiert der Künstler das Verhalten von Tieren, um es anschließend mit menschlichem Verhalten zu vergleichen. In seiner 2020 begonnenen Werkserie Forming Thoughts etwa, untersucht er die Wege und Straßen von Ameisen. Er versucht hierbei, einen direkten Bezug zu neurologischen Strukturen herzustellen und Rückschlüsse über das Verhalten kollektiver Lebewesen sowie das Naturverständnis des Menschen zu ziehen.

Building on his interest in evolution, philosophy and society, in his project A Gift From Him Maximilian Prüfer (*1986) explores the destruction of natural habitats to make way for agriculture in China. To this end, Prüfer took two trips to the Szechuan Province, where the fruit trees need to be pollinated by hand due to insect deaths caused by the increased use of pesticides. These developments are attributable to Mao's campaign to "Destroy the Four Olds", which entailed the killing of around two billion sparrows in order to restore the natural equilibrium. Prüfer documented the entire manual pollination process in photos, collected items and films which make for an ambivalent exploration of the cultural evolution of humankind.

Since the end of the 1990s, through her videos, sculptures, photographs, art installations, and performances, internationally acclaimed Brazilian artist Cinthia Marcelle (*1974) has been critically examining the established and hierarchical social structures upon which our daily lives are built. Marcelle uses collective action as the medium through which to break down rigid mechanisms and organisational forms and to renegotiate new ones. In the course of her career, she has developed a multifaceted and interdisciplinary oeuvre in which gestures, themes and materials are repeatedly applied using radically different methods and manifestations. Her work is a determined further development of the socio-critical art of Brazil in the twentieth century, which combined material experimentation with conceptual rigour and a unique collaborative approachThe importance of Marcelle's oeuvre has already been recognised in countless project-specific solo exhibitions, as well as her involvement in group exhibitions by renowned museums and at a number of noteworthy Biennales - in 2017, for example, she performed in the Pavilion of Brazil at the 57th Venice Biennale. However, the exhibition at the Museu de Arte de São Paulo (MASP) (2022) and then at the Museum Marta Herford (2023) will be the first large-scale overview of her work.