Bücher veröffentlicht von Verlag der Buchhandlung Walther Konig

In 1997, during a symposium at Centre Pompidou, Leo Bersani presented a prescient critique of the assimilative tendencies that made 'gays melt into the very culture they like to think of themselves as undermining.' Mired in micropolitics, for Bersani, queer activism had relinquished the radical task of reconfiguring the horizon of the possible. Later published as 'Gay Betrayals', Bersani's intervention champions a truly disruptive vision of homosexuality, one that betrays the relational, identitarian and communitarian foundations of bourgeois heterosexual respectability through 'antimonogamous promiscuity'.  Building on extensive artistic research into the politics of queer spaces and culture some 20 years later, artist duo Hannah Quinlan and Rosie Hastings revisit Bersani's polemic with a response in three acts. Through a kaleidoscopic array of drawings, preparatory sketches and egg tempera paintings, a narrative of everyday (homo)sociality comes into view. A series of statuesque figures are caught as they feel the outlines of existing power structures, try out new strategies of inclusivity and, ultimately, wrestle with the blurred lineaments of identity and community.

Mit einer prägnanten grafischen Gestaltung und zahlreichen Illustrationen wirft der Band einen frischen Blick auf das vielseitige Werk des Designkollektivs Metahaven. Das Kollektiv arbeitet erst seit kurzem mit dem bewegten Bild. Die Textbeiträge beleuchten, ob Metahaven den soziopolitischen Herausforderungen der Gegenwart, aber auch der Bildwissenschaft und Kunstgeschichte verpflichtet ist.

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.

Carla Juaçabas Büro arbeitet derzeit sowohl an öffentlichen als auch an privaten Projekten, vorwiegend Wohnungs- und Kulturbauten. Zu ihren ersten Arbeiten gehören eine Reihe von Häusern - Rio Bonito (2005), Varanda (2007), Minimal (2008) und Santa Teresa (2014) -, einige Ausstellungsdesigns und der ephemere Pavillon Humanidade in Rio de Janeiro, den sie zusammen mit der Bühnenbildnerin und Theaterregisseurin Bia Lessa entworfen hat. Mit dem Projekt Ballast wurde sie zur Architekturbiennale von Venedig 2018 eingeladen. Internationale Aufmerksamkeit erhielt Ihr Bau einer Kapelle Im Vatikan.

Arquitectura-G is a young architectural studio based in Barcelona run by Jonathan Arnabat, Jordi Ayala-Bril, Aitor Fuentes, Igor Urdampilleta that began its professional career in the midst of the economic crisis, when public architecture competitions in Spain were paralyzed and the private initiative for housing construction was frozen. Their first works were apartment renovations in Barcelona, the few opportunities that the market offered at the time, but for a few years they have begun to build new buildings, such as the Luz house, for which they received the Mies van der Rohe Award for Emerging Architecture in 2015. His work moves between references to the local architecture of the 1970s and 80s and a new version of hedonistic Mediterranean architecture. In addition to their works around Barcelona, they have also built four stores for the fashion brand Acne (Nagoya, Stockholm, New York and Paris) and are currently working on a residential project in Portugal.

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

Nearly thirty years after the fall of the Berlin Wall (the Anniversary will be celebrated in 2019), what do we know about East German photography? This body of work - a territory, borne of a country that, since the 1920s has played a central role in the history of photography; a period spanning four decades, from 1949 to 1989 - should be brought to light. From the various perspectives possible, the book focusses on how, in an authoritarian state relying on the physical constraints of the body (denial of the individual in favour of 'the people', confinement within G.D.R. borders, normativity bodies regarded as tools of production and vectors of ideology, constant Stasi surveillance), photography was a medium where the individual asserts, resists and expresses its freedom. The photographs presented here represent the decade predating the fall of the Wall and were taken by 14 different photographers.Photographers: Tina Bara, Sibylle Bergemann, Kurt Buchwald, Lutz Dammbeck, Christiane Eisler, Thomas Florschuetz, York der Knoefel, Gabriele Stötzer, Ulrich Wüst, Ute Mahler, Eva Mahn, Sven Marquardt, Barbara Metselaar, Berthold Helga Paris, Manfred Paul, Rudolf Schäfer, Gundula Schulze Eldowy,

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

Enjoyment appears as purely private matter, but this is by far not thecase. Ever since Aristotle the philosophical social critique is tormentedby the question, whether the libidinal tendencies of human subjectsallow the construction of a just political-economic order. It seemed at first that in modernity this problem had been overcome. Economic liberalism and utilitarianism argued that egoistic private interests and social justice were directly linked and that capitalism united libidinal andpolitical economy in the best possible manner. But the political-economic panorama soon turned out significantly more complex and contradictory.TomSic's essay recalls central Marxian and Freudian insights andcircumscribes the political stakes of psychoanalysis under the generalbanner of a Critique of Libidinal Economy.