Bücher veröffentlicht von Verlag der Buchhandlung Walther Konig

A founding member of the Black British Arts Movement, Claudette Johnson is considered one of the most significant figurative artists of her generation. For over 30 years she has created large-scale drawings of Black women and men that are at once intimate and powerful. Working in a variety of media, ranging from monochrome works in dark pastel to vast sheets brightly coloured in vibrant gouache and watercolour. Johnson's distinctive drawings of friends, relatives, and often herself seek, as the artist puts it, "to tell a different story about our presence in this country".Ed.: Elizaveta Shneyderman, Grace Storey.Text: Dorothy Price, Claudette Johnson and John Akomfrah.

Founded in 2005, adamo-faiden reformulated their role as architects in the new Argentinian social context upon their return to Argentina after the crisis. Among their first projects were residential and office buildings, others were added to this tried-and-true typology that have consolidated adamo-faiden as one of the reference studios in the Southern Cone. This issue includes their recent work, from single family houses to commercial buildings.Text: Bruther, Enrique Walker. Photographs: Javier Agustín Rojas.

This monograph includes the latest works built by the Barcelona studio of Víctor Rahola (also in his time in partnership with Jorge Vidal), from the expansion of the library of the Biology Faculty of the University of Barcelona, passing through the wineries in Mont-Ras to various hotels in the Balearic Islands. In addition to the works, three texts by the architect himself reflect on important issues contemporary architecture, specially in the Mediterranean area. Foreword by the critic Josep Quetglas.

Zwischen 1927 und 1991 wechselten die Sprachen von 25 Millionen Menschen im Sowjetimperium bis zu dreimal das Alphabet. Dieses interaktive musikalische Klangbuch bietet Kindern wie Erwachsenen eine Reise durch die ABCs im ehemaligen Sowjetreich.

BAST have taken a proactive attitude to research in order to experiment with the diverse potentialities of each project. At each step of the design phase, they propose multiple different solutions. As a result, they do not follow a set formal method; instead, their projects go through an evolutionary process. BAST's architecture practice is located in Toulouse, France. The architects recall ideas of modern assemblage and montage: the structural unit is challenged by the superposition of logics, façade layers, colliding structures, sections. The overall logic derives from resemblances, things that look like something else, but are not exactly what we expect. These elements are mixed together. Controlling the resulting combination requires a very clear idea, because otherwise the building site can soon descend into chaos. The structural principle provides the logic, and the design sequence drives together these elements. Once the design principle has been defined, regardless of whether the window frame is here or there, the catalyst is already in place. The fragments can then be assembled with an eye to a promising future.Conversation with Jo Tailleau and Tiphaine Abenia. Photos by BAST.

Dieses Buch ist eine Reise - an Orte der Inspiration, in den Backstagebereich, in Archive, Notizbücher, Textwelten und damit durch über 120 Produktionen (Theater, Hörspiele, Filme, Installationen) von Rimini Protokoll. Es ist der Versuch das Oeuvre nach zwanzig Jahren kollektiver Arbeitspraxis in Werkgruppen zusammenzufassen und chronologisch zu dokumentieren.Text: John McGrath, Helgard Haug, Stefan Kaegi, Imanuel Schipper, Daniel Wetzel

The catalogue traces the evolution of Posenenske's practice from early experiments with mark making to transitional aluminum wall reliefs to industrially fabricated modular sculptures, which are produced in unlimited series and assembled or arranged by consumers at will. Posenenske exhibited widely during the brief period [1956-68] that she was active as an artist, alongside peers such as Hanne Darboven, Donald Judd, and Sol LeWitt. Her work is distinguished by its radically open-ended nature: she used permutation and contingency as playful conceptual devices to oppose compositional hierarchy and invite the public to collaborate by reconfiguring her variable sculptures. Embracing reductive geometry, repetition, and industrial fabrication, she developed a form of mass-produced Minimalism that addressed the pressing socioeconomic concerns of the 1960s by circumventing the art market and rejecting established formal and cultural hierarchies. Text: Alexis Lowry, Isabelle Malz, Rita McBride, Jessica Morgan, Charlotte Posenenske, Daniel Spaulding, Catherine Wood

The publication "The Invention of the Neuen Wilden" aims to put a new perspective on the phenomena of the so-called "Neue Wilde". Instead of focussing on the production of paintings by those involved - and a corresponding catalogue of these paintings - it is much more interested in the emergence of the painting boom out of potent interplay between artists, gallerists, collectors and art historians. Here the focus is especially on personal backgrounds and the context in which painters worked. The argument shows that the artistic practises of the "Neuen Wilden" had little to do with a generalised "return" to panel painting and thus to a traditional concept of art. Painting was in fact embedded in an extended network of artistic production, which was particularly characterised by a destabilisation in the division between high and popular culture as well as by various media, genres and collaborative forms of praxis. Hitherto neglected photographic and documentary material as well as artists' posters, records, newspapers, video works and artists' books testify to the artists' experimental bent on one hand, their proximity to self-organised, subcultural phenomenon, such as the punk or new wave scenes of the 1980s on the other. On this basis, the much-described "return" to painting can be exposed as a hugely simplified narrative, while sketching out a complex image of the situation around 1980.Text: Thomas Bayrle, Andreas Beitin, Werner Büttner, Diedrich Diederichsen, , Catherine Dossin, Brigitte Franzen, Ramona Heinlein, Christian Höller, Katrin Köppert, u.a.

As a co-founder of ZERO, Otto Piene is considered a major protagonist in post-1945 abstract art. After the break up of ZERO at Bahnhof Rolandseck in 1966, he continued to develop his oeuvre in the most varied of materials for the remainder of his life. With a focus on recurring motifs, such as the circle as a symbol of the cosmos, the catalogue reflects on a wide range of his creative output, from the early pattern, fire and smoke pieces, to the heavier pottery and the lighter air and light work. Astounding parallels become clear when the work is placed in dialogue with selected pieces by Lucio Fontana, bringing to life the way art expands from the image into a sensory spatial experience.Text: Astrid von Asten, Choghakate Kazarian, Barbara Könches, Oliver Kornhoff, Jutta Mattern, Anabel Runge, Tómas Saraceno, Stephan von Wiese

Rosemarie Trockel gelang in den 1980er-Jahren der Durchbruch als Künstlerin. Seither hat sie es sich zur Aufgabe gemacht, mit der ihr eigenen analytischen Schärfe, ihrem Humor und der Sinnlichkeit ihrer Werke eine kritische Bestandsaufnahme von Kunst, gesellschaftlichen Strukturen und Geschlechterrollen vorzunehmen. Ihre Arbeiten verweigern sich dabei einer wiedererkennbaren Handschrift. Grenzen und Einschränkungen geht sie konsequent aus dem Weg. Der Katalog zeichnet die Laufbahn der Künstlerin nach, von ihren feministischen Untersuchungen der 1990er-Jahre bis zu jüngeren Arbeiten, in denen sie sich thematisch mit Tierethik, künstlerischen Prozessen und der Frage auseinandersetzt, was Kunst sein kann.

"Die Ruhrgebietsfotografien" vereint Klassiker und bisher unvero¿ffentlichte Aufnahmen eines der wichtigsten Fotografen der Neuen Sachlichkeit, der fu¿r die Fotografie des Ruhrgebiets stilbildend geworden ist. Der Katalog zeigt das vielseitige Werk von Renger-Patzsch, das im Ruhrgebiet entstanden ist. Mit etwa 70 Fotografien wird sein gro¿ßtes freies Projekt, die "Ruhrgebietslandschaften" aus den Jahren 1927 bis 1935, vorgestellt. Die Aufnahmen stehen fu¿r die Entdeckung der Industrielandschaft als ku¿nstlerisches Bildmotiv. Erga¿nzt werden sie durch 130 u¿berwiegend unbekannte Auftragsfotografien aus den 1920er bis 1960er Jahren. Sie reichen von Architektur- und Portra¿tbildern bis hin zu Objekt- und Industrieaufnahmen. Sowohl die freien als auch die angewandten fotografischen Arbeiten zeichnen sich durch ihre hohe handwerkliche und a¿sthetische Qualita¿t aus.

Der Katalog bietet den bislang umfassendsten Überblick über Daniëls' Schaffen von den späten 1970er-Jahren bis 1987 und seine ab 2007 entstandenen Zeichnungen und Notizen. Anhand von Gemälden und zum Teil auch von bislang unpublizierter Werke vollzieht der reich illustrierte Band die Entwicklung von Daniëls' Bildsprache nach und erkundet die Bedeutung von Wiederholung und Variation in seinem Werk. Eine breite Auswahl von Zeichnungen vervollständigt den Überblick und erlaubt ein genaueres Verständnis seiner künstlerischen Entwicklung.