Bücher veröffentlicht von Verlag der Buchhandlung Walther Konig

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 realm of the imaginary, which has always been regarded as the primal domain of art, has expanded progressively under the influence of new technologies in the early years of the twenty-first century. Through a process of mutual interaction, the imaginary permeates and shapes reality-and vice versa. The imaginary potential of the visual image has become increasingly significant. This ongoing process is designated by the concept of the image. The works presented in this exhibition explore the image at the moment of its fundamental reconfiguration. Changes affecting the origin, distribution, function, and mission of the image have made it both the point of departure and the principal object of artistic analysis.The artists featured in this exhibition respond to the permanent transformation and free circulation of images with a gesture of focused attention. Existing images are reformatted without concern for their materiality. Rhythmic delays are employed for the purpose of exploring the imaginary potential of images as well as the feedback of the real that is discernible in them. Freed from the yoke of hierarchies, all images are equal, interchangeable and placeless. They are a pure medium of reflection.Text: Alex Kitnick, Susanne Pfeffer, Seth Price, D.N. Rodowick

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.

"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.

The four large-format pictures, which Gerhard Richter first called "abstract pictures," but later titled Birkenau, were produced in 2014. They were based on photos taken at an execution. An essay by art historian Benjamin H. D. Buchloh explains the creation of these pictures. Richter has also made archive photos, documenting phases of the painting process, available for use in this book.

A facsimile of the Series D, 1961 edition of Duchamp's Museum in a Box.