Bücher veröffentlicht von VFMK

"Für Kunst und Freundschaft" lautet das Motto des Künstler*innenkollektivs BorgoEnsemble. Im Jahr 2009 ursprünglich als Musikgruppe von dem Objekt- und PerformancekünstlerReiner Bergmann begründet, entwickelte sich in den Folgejahren eineumtriebige Künstler*innengruppen in Nürnberg. Ihr Potential zeigte das Ensemblebisher an unterschiedlichen Standorten, darunter ein Verwalterhäuschen, einWohngebäude und ein Autohaus, die jeweils nicht nur als Treffpunkte, sondern auch alsAusstellungs- und Veranstaltungsorte genutzt wurden.Grundlage für das kreative Zusammenwirken des seit 2019 als eingetragener Verein ineiner ehemaligen Postfiliale agierende Borgo Ensemble ist ein erweiterter Kunstbegriff,der neben Malerei, Zeichnung, Skulptur und Installation auch Musik, Performance, philosophischeVorträge und das legendäre Cinema borgese - eine Kurzfilmreihe - umfasst. DerBand stellt nicht nur die bisherigen Standorte, sondern auch 32 Hauptprotagonist*innenmit ihren Werken vor. Texte von Reiner Bergmann, Andrea Dippel, Matthias Egersdörfer,Ludwig Frambach, Max Hanisch und Marian Wild führen in Geschichte und Gegenwartdes Borgo Ensemble ein.

Michael Ornauer (*1979, Vienna) studied figurative painting in the master classes of Hubert Schmalix and Amelie von Wulffen. The graduate of the Academy of Fine Arts Vienna exhibited in numerous solo and group shows and was nominated for the Bank Austria Kunstforum Prize. But in 2017, Ornauer broke with figuration and turned to abstraction - a drastic new beginning. The diary entries here come from this time. The artist's intimate notes on change and development are available as a book and allow an unusual look behind the canvas and between the brushstrokes of an artist's career.

Museen und Galerien geben im Allgemeinen dem Publikum vor, was Kunst ist und wie sie präsentiert wird. Wie ist das aber im Privaten? Macht es einen Unterschied, ob die Kunst zu Hause geerbt, erworben oder selbst geschaffen wurde? Entscheidet hier jede*r selbst, was ausstellungswürdig oder Kunst ist?Auf einen Aufruf in der Mitarbeitenden-Zeitung von BASF meldeten sich zahlreiche Personen, die Kunst daheim haben: Gekauft, Geerbt oder selbst produziert. Die Künstlerin Mia Unverzagt besuchte, fotografierte und interviewte die Teilnehmenden. Die Ausstellung Aber mit Kunst kann man auch leben gewährt einen Einblick in private Haushalte, auf persönliche Gegenstände und in die Gedanken der Teilnehmenden zu der Kunst mit der sie sich eingerichtet haben und leben.

"Up into the unknown" is the phrase the architects Colin Fournier and Peter Cook came up with for the futuristic architecture of the Kunsthaus Graz. To this day, this is to be understood as an invitation to explore the limits of the imagination and to test alternative ideas and utopias in a laboratory for art. Since 2003, the Kunsthaus has been an institution without a collection. Today it claims to be a museum. With its architecture of hybrid spaces, site-specific invitations to confrontation and the mission to be a production site for contemporary art, the Kunsthaus Graz is a space and place of potentiality and otherness.Blueprint for a Museum is to be understood as a draft for a museum, a blueprint that simultaneously reflects abstract categories of the institution and resonates with concrete programme concepts. The publication thus follows the idea of experimentation that the Kunsthaus Graz has embodied since its foundation.

Häuserfassaden, Straßenschluchten, Fahrzeuge und Bürgersteige - seit Anfang der 2000er Jahre hat der belgische Maler Koen van den Broek sein urbanes Umfeld zum Thema gemacht. Er bewegt sich mit Leichtigkeit an der Grenze von Abstraktion und Wirklichkeit. Ausgangspunkt für seine Gemälde sind Fotografien, die er auf Reisen aufnimmt. Brücken, Gehwegplatten und Straßenlaternen lösen sich aus ihrem ursprünglichen Kontext und entwickeln ein Eigenleben. Es scheint, als würden seine Gemälde diese Details selbst heranzoomen, Farben, Licht und Schatten arrangieren und komponieren. So werden die zunächst unscheinbaren und menschenleeren Plätze durch das Hinzufügen weniger Details zu prächtigen Straßenbildern; Schatten erzeugen spannende Kontraste, und der großzügige monochrome Farbeinsatz lenkt den Blick. Die Ausstellung Of(F) Road zeigt einen Querschnitt durch Koen van den Broeks malerisches Schaffen von 1998 bis in die Gegenwart. Koen van den Broek (*1973 in Bree, Belgien) studierte zunächst Architektur in Löwen und anschließend Malerei Breda. Seine Arbeiten sind unter anderem im Astrup Fearnley Muset (Oslo), im Los Angeles County Museum of Art, im SMAK (Gent) und im Museum of Contemporary Art Antwerpen zu finden.

Under the title "Hollow Ground" and playing off one of its most distinctive architectural elements, Kunstraum Lakeside in their 2023 annual publication centers its program on contemporary modes of existence. Just as the visible floor surface of the art space, once opened, reveals the underlying technical infrastructure, works by the invited artists uncover the fundamental conditions of life today. "Hollow Ground" explores performances reshaping reality in both analog and digital space, while interrogating the technological and/or social scripts that prefigure individual lifeworlds in the twenty-first century. If nothing else, it is also about the fragility of the human body, its vulnerability. With posters by Michail Michailov, UBERMORGEN, Robin Waart, Stephanie Misa, Barbara Kapusta.

"Schilf schneiden" steht sinnbildlich für eine nachhaltige Umgangsform mit der Kulturlandschaft. Dieser Idee folgend versucht dieses Buch die gegenwärtigen baulichen Strukturen rund um den Neusiedlersee räumlich zu erfassen, deren Ausprägungenprogrammatisch, typologisch und morphologisch im Kontext der Geschichte zu analysieren, um gegenwärtig gültige Fragen und Antworten im richtigen Umgang mit der Kultur- und Naturlandschaft des Schilfgürtels zu formulieren. Die Kommerzialisierung des Sees, die sozial-räumliche Einbindung der Dorfzentren, die Nutzung durch den menschlichen Lebensstil und das Problem der Zerstörung von Natur- und Lebensraum durch bauliche Eingriffe werden diskutiert.

Recently, artistic works by women have increasingly entered the public view - and with this the obstacles that women artists once had to battle to a much greater degree than they do today. Now, in the twentyfirst century, there is no longer a dearth of role models for female artists of the younger and middle generations. How do they reflect on female creativity today? How do they write themselves into the genealogy through their own artistic work? How do they view the women who have long been ignored by history books, forgotten and even actively banned from the narrative? How do they relate to their ancestors and pioneers, to the women who were active in the visual arts and other artistic fields? The exhibition Auf den Schultern von Riesinnen [On the Shoulders of Giantesses] delves into archives that have long remained unexplored, searching out the legacies of the creative women upon whose shoulders today's artists stand.

The quintessence of the installations and sculptures of Berlin artist Monika Goetz inheres in their contradictions, their transparency and opaqueness, and their fragility and their massiveness, formally, thematically, and in terms of content. In her work, she defines and transforms interiors and exteriors, creating new spaces. Things, human figures, and experiments encounter one another in an unusual environment, they are uprooted, displaced, or rearranged. The principle of disturbance, investigation, and the conversion and transformation of places, buildings, spaces, and interstices are at the core of Monika Goetz's artistic work. (Anke Hervol)

The artist Peter Weibel and Loys Egg have shared for many years a friendship which has found expression in a number of joint projects. The history of the Hotel Morphila Orchestra began in 1978 with the project "Bibliotheca Insomnia." There were intensive discussions during the work of collaboration. They discovered shared preferences for various authors, artists and musicians."Since Loys was able to play guitar, there gradually arose a wish to create a new type of music which, similarly to our material painting, actuates musical material with language. [...] The name of the band was a tribute to Strindberg, because we knew that during his sojourns in Paris he stayed at the Hotel Orphila. Loys was even able to discover a photograph of the hotel. Thereupon, in allusion to Orpheus (the god of song) and Morpheus (the god of sleep) as well as to morphine, I came up with the neologism 'Hotel Morphila Orchester.'" (Peter Weibel)

Which artistic works can and should we preserve for the future? What structural conditions are needed to ensure the scope for both preserving the old and enabling the new?With the sheer amount of art constantly increasing while space becomes ever scarcer, Austria's Bundesimmobiliengesellschaft (BIG) faces major challenges when it comes to preserving the artistic works in and around its properties. An interdisciplinary conference, organised by BIG in cooperation with the University of Applied Arts Vienna, served to bring together experts from a variety of fields and to illuminate the issue of the preservation and archiving of art in public spaces from different perspectives.This publication was published as a review and extension of the conference "The Archiving of the presence" about dealing with art in public spaces, that was held in November 2021 in Vienna.

In her installations made of steel and glazed ceramics, the sculptor Lisa Seebach draws delicate spatial structures.Situational spaces open up to the viewer, evoking memories of things that are inextricably linked to people's everyday world:"Across the silence, it whispers befogged words that dance around my body and usher me into the next room. The floor seems soft, or absent, but I manage to proceed. It feels almost as if I was floating among the figures that appear before and beside me. They refuse to inform me about their roles in the game: This make-believe dream plays me like a puppet on a string, nudges me around, and finds pleasure in watching me tumble in wonder, and wonder why nothing has happened to me yet in this uneasy situation. I feel certain that this house is a body, and that my surroundings allow it to breathe.Breathe in, breathe out, faster at times, then again slowly. It is the rhythm of this breath that rocks me back and forth, leaves me adrift, causes ever-changing encounters with racks, fixtures, and all the objects that catch, hold, and return my gaze. Even though these configurations seem strange to me, I am certain that we are no strangers. They have always been with me."

This book by Swiss artist Séverin Guelpa presents a decade of innovative artistic engagement on several continents. Structured around three- to four-weeks immersions and exhibitions, the MATZA artistic manifesto he founded in 2014 transcends borders, exploring extreme natural and urban territories around the world. Founded on the conviction that artists are crucial players in understanding contemporary challenges, MATZA tackles environmental, social and political issues in equal measure, stimulating the idea of a collective intelligence built up over the course of projects, between artists, scientists and local residents.In almost 10 years, MATZA has taken on nine sites on 4 continents, from the Mojave desert (USA) to the Swiss glaciers, each time bringing together communities of artists and scientists. Projects such as MATZA Amboy, MATZA Aletsch and MATZA Kerkennah have explored crucial issues such as drought, melting glaciers and the depletion of marine resources. MATZA never simply observes; it immerses itself physically and collectively, seeking to radically rethink our relationship with nature, with each other and with the world around us. The matze, taken from a vernacular tradition in the Upper THE DESERT, THE GLACIER AND THE SUPERSTRUCTURE MATZA, 10 years of field research, experimentation and collective art investigation.Valais (Switzerland), symbolizes communal and democratic commitment. Echoing this tradition, MATZA emerges as a contemporary response to urgent social change. Séverin Guelpa's artistic exploration is rooted in a desire to rethink ways of living together, reflecting the aspirations of a society in the throes of change. The project began in Amboy, California, where Guelpa is carrying out the initial stages of the project. After several stages on glaciers, MATZA expanded its scope to urban contexts such as Meyrin and Lausanne in Switzerland, as well as international metropolises like Medellín and Cúcuta in Colombia. In partnership with the Edgelands Institute, MATZA has been looking at the complex dynamics of urban centers since 2022, now exploring the implications of digitization and security on the social contract between city dwellers.The book THE DESERT, THE GLACIER AND THE SUPERSTRUCTURE retraces in images the three major stages of the project carried out between the Mojave Desert in the USA, the Aletsch Glacier in the Swiss Alps and three urban construction sites between 2014 and 2021. The book places great emphasis on the images, whose graphic treatment and choice of paper on which they are printed are adapted to each stage. The three parts of the book are each accompanied by a text by Guelpa and punctuated by contributions from curators, experts and critics who have accompanied the artist throughout his work. They include artist and researcher Mathilde Chenin (FR), curators Bill Fox (USA), Olivier Kaeser (CH), Simon Lamunière (CH) and Dorothea Strauss (CH), art historian and architectural critic Marc Frochaux and university professor and sustainability specialist Marco Janssen (USA).

Die Sammlung Heidi Horten beherbergt ein Meisterwerk von Gustav Klimt mit dem Titel "Kirche in Unterach am Attersee", das zwischen 1915 und 1916 entstanden ist. Das Kunstwerk wird in einem der "Kabinett"-Räume neben grafischen Arbeiten von Künstlern der gleichen Zeit ausgestellt. Diese Werke werden im Dialog mit zeitgenössischen Werken aus der Sammlung Heidi Horten gegenübergestellt. Das verbindende Element ist das Quadrat - sozusagen Klimts Markenzeichen -, das im "Wien um 1900" außerordentliche Popularität erlangte und seitdem von erstaunlich vielen zeitgenössischen Künstlern übernommen wurde. Die von Tobias G. Natter kuratierte Ausstellung wird von einem Katalog begleitet, der eine Publikationsreihe zu Focus on, einer neuen Ausstellungsreihe der Heidi Horten Collection, eröffnet.

A guide to the collection with over one hundred descriptions provides an engaging and informative look into the collection's focal points. With its several hundred artworks, the collection spans the nineteenth century to the present and is presented in its various facets through the framework of changing exhibitions.

Die Vujicic-Sammlung stellt einen kontinuierlichen Prozess der Entdeckung visueller Kunstpraktiken in Kroatien und anderen Ländern der Region von den 1950er Jahren bis heute dar mit dem Ziel, einen dauerhaften Dialog zwischen Künstlern, Kuratoren, Institutionen und Privatsammlern herzustellen. Dieses Buch "To Live a Quiet Life" kann als Diskussion über eine Kunstsammlung mit Sitz in Zagreb verstanden werden, die sich weitgehend auf Werke, Praktiken und Bewegungen konzentriert, die ihren Ursprung in Kroatien und anderen Ländern der Welt haben ehemaliges Jugoslawien in der Zeit nach dem Zweiten Weltkrieg. Darüber hinaus muss es aber auch als der persönliche, aber dennoch bemerkenswert präzise Blick eines Einzelnen auf die Entwicklung künstlerischer Ideen verstanden werden, die auf internationaler Ebene längst einen Raum für kritische Reflexion von Kunst, Gesellschaft und Alltag geschaffen haben.

How does breakfast look after a one-night stand? What do restaurant critics do right, wrong, or not at all? What fine-dining menu does artificial intelligence recommend for this evening? With the new issue of their somewhat different cooking magazine The Healthy Times, three top chefs from Austria - Lukas Mraz, Philip Rachinger, and Felix Schellhorn alias Healthy Boy Band - are once again cooking on an open fire: Issue 4, "Handjobs," explains the handicraft of gastronomy.The fourth issue, just released under the title "Handjobs," delivers on its promise of breaking taboos, but also focuses once again more on the genre of the classic cooking magazine and includes themes from everyday life. With writers like Nora Voit, Sara Geisler, Lorraine Haist, Andrea Petrini, David Bogner, Florian Holzer, Alexander Rabl and David Zilber, The Healthy Times is once again filled with fantastic articles such as "The Triumph of the Chopstick Trick" or "Twilight of the Wait Staff." In any case, the magazine is spreading "Keinen Käse (no nonsense)." Every issue appears in a new, independent design. With 260 pages in a manageable format, this issue as well is a work of art in itself which, alongside its contentual orientation under the editorship of Melissa Graf, also breaks aesthetic borders with its design by Simon Walterer and Wolfgang Ortner.

This publication offers the first comprehensive overview of Lovro Artukovic's practice spanning over the past four decades -exploring his figurative paintings, drawings and graphics that tap into contemporary urban culture with immediate intimacy and lash imagery. Lovro Artukovic was born in Zagreb, Croatia in 1959, where he graduated at the Academy of Fine Arts Zagreb. He was teaching there until moving to Berlin in 2001, where he still lives and works. His most notable exhibitions include: Museum of Modern Art Zagreb, Deutsche Bank Kunsthalle Berlin, Museum of Modern Art Dubrovnik, and Art Pavilion Zagreb. The first monograph of Lovro Artukovic is a publication published by Verlag für Moderne Kunst for Nomad, which marks the start of a mutual effort to introduce the work of talented and promising Central and Eastern European visual artists to international audiences.

Heinz Wägers Bedeutung für die neuere, mittlerweile 60 Jahre andauernde Architekturgeschichte Vorarlbergs ist nicht vordergründig, aber mannigfach. Vieles verlief ohnedies in kooperativen und vielfach verflochtenen Bewegungen, die kaum singuläre Geschichtsträger kannten. Bis heute entzieht sich diese bemerkenswerte Architekturgeschichte allen Manifesten und akademischen Theoriebildungen. Umso bedeutsamer ist Heinz Wägers Beitrag als Ideenträger. Seine Sozialisation an der Hochschule für Gestaltung in Ulm bildete einen international verortbaren Ausgangspunkt, von dem aus er seit 1960 mit seinem Werk über fünf kultur- und architekturgeschichtliche Epochen hinweg zum gebauten Diskurs der Vorarlberger Baukultur beitrug.

The smaller-than-life-sized figures that populate the wood-paneled rooms of the Museum of Tyrolean Regional Heritage appear dark and grotesque. There are strange figures made of plaster, textile and bronze that you encounter here. Some things about them seem familiar, others seem terribly strange. What is body, what is mask, what is costume?Markus Wörgötter's series of works "Affektproband" includes several dozen sculptures. A selection of these is shown in the exhibition of the same name in the Museum of Tyrolean Regional Heritage. The title "Affektproband" is a word created by the artist himself and describes the principle of the series. This sees plastic, in analogy to the body, as a site of forces and transformation. As "affective subjects," these bodies seem permeable to forces that exceed the boundaries of their bodies: through their presence, the historical ambience mutates into a stage, as, alongside drawings and historical reference works, they expose the rooms as a production of the museum theater. With this in mind, Markus Wörgötter creates his own work, mostly by hand. He works as an artist, photographer and author in Vienna.

"Lay on another stratumone that adds weight and measureone that deepens the intensityone that raises the stakesone that builds up the pressureone that puts the icing on the cake3 Stratum StrataArs Gratia Artis4 Christian Stock's cubes are multi-layered, mini dramasSerialised paintings"Graham Domke, REMEMBERING, REPEATING AND WORKING THROUGHA series of maxims and interludes for Christian Stock

In February 2022, photographer Max Manavi-Huber traveled 2,400 meters above sea level to the Great Rift Valley in Iten, Kenya. Considered to be one of the most wondrous natural landscapes in the world, the region is home to the majority of the country's world-class distance runners and elites in the making. With just a notebook, 30 rolls of Portra 400 film, and a vintage Mamiya RB67, Manavi-Huber set out to understand one of the world's most dominant and successful running cultures. The images in this book capture the humble and unfiltered way of life in this countryside of East Africa, where an inherited rawness, purity and allegiance to the sport of running continues to cultivate history-making champions. All film was processed and scanned in Germany at Safelight Berlin. Images were hand-printed in Paris by Lucas De L'Estang.Born in Schladming in the Austrian alps, Max Manavi-Huber is a visual artist based in Vienna. After earning a degree in graphic design from the New Design University in St. Pölten, Austria, he served as an art director for eight years before segueing into photography full time in 2020. A self-taught photographer with boundless range, Manavi-Huber's style gravitates toward unconventional subjects across the worlds of fashion, lifestyle, and sports. His imagery explores the union of movement, shadow, and framing, simultaneously capturing abstract beauty to evoke ineffable sentiment. His photography has been exhibited across Europe, his commercial portfolio includes campaigns for Asics, Salomon, and Parel studios. Champions (2023) is his debut art book.

Nika Kupyrova borrows her themes from literature and digital culture and translates them into large-scale multi-media installations that envision exhibition spaces as parallel worlds for the viewer to explore. HXWXD is the artist's first monograph that non-chronologically and playfully revisits four solo exhibitions over the last six years. HXWXD recognises the absurdity of publishing a book in the age of digital media and asks questions about sculpture and its photographic reproduction, 2D and 3D as well as a the malleable border between the digital and the analogue. The structure purposefully challenges a traditional book format: in the absence of page numbers the viewers are encouraged to start from the center and explore in every direction.

The impressive biography of the artist Herwig Zens, who was born in Himberg near Vienna, bears witness to his formative influence on the Austrian cultural landscape. In parallel with his career as a professor of art education at the Academy of Fine Arts Vienna, he produced an extensive oeuvre that earned him international acclaim. In his work, Zens most notably tested the technical limits of printmaking. He succeeded, for example, in printing his etched diary on a 40-meter-long roll of paper. Thanks to the generous donations of Gerda Zens and Johannes Scheer, the State Collections of Lower Austria hold not only, since 2020, several versions of the etched diary, but also Zens's complete printed oeuvre and an extensive archive covering the work of the artist, who died in 2019. To mark his anniversary year in 2023-Herwig Zens would have been 80-the State Collectionsof Lower Austria are honoring the artist with this collection catalog, which is devoted to subjectsthat Zens pursued throughout his life: death, the dance of death, Francisco de Goya, and the etched diary.

Franz Vana (*1951) uses language and formal painting discourse for his distanced pictorial analyses. This makes him one of the most interesting mavericks among the Austrian artists of his generation. This publication presents an overview of his work and combines it with texts by Brigitte Borchhardt-Birbaumer, Katrin Bucher Trantow, Ferdinand Schmatz, Franz Vana, Martin Zeiller.This artist book is published on the occasion of: Franz Vana. ARBEITEN : SCHLAFEN @ Sol LeWitt's Wall. Performed at Kunsthaus Graz.

Palio di Vita chronicles Mueller's Black Flamingo Sad Boys (BFSBs), the Naxos Racing Team (NRT), and residents of Tiberio Beach Resort (TBR) through a meticulously curated selection of works since the hedonist gang made their first appearance in 2016.Known for his cacophonous, large-scale paintings, Mueller captivates viewers with intense colors and manipulation of forms. The book will delve into the BFSBs' unconventional lifestyle, as they wander from one opulent location to another, indulging in parties and pleasures and, later, as their will to party their lives away slowly diffuses into retreat, rest, and refuge.Mueller's highly painterly works bring these characters into a new light, showcasing the influence of the Neo-Romantic movement in his art. This movement, known for its emphasis on emotions, subjectivity, and a return to the exploration of the self, adds a distinct layer to Mueller's artistic expression. Further, his fascination with this movement permeates his new compositions, as observed through his renewed focus on the natural world. These scenic works are of personal significance to the artist - of which one crucial scene unfolds in autumn, amidst a landscape he calls his birthplace.These paintings are more than mere images; they are portals to the creative universe of the artist, inviting viewers to step into his world, where unconventional characters and surreal events converge. They serve as gateways to the depths of human emotion and this upcoming publication is an opportunity to discover the artworks in-depth.The monograph, designed by Buero Nardin and published in English by The Verlag für moderne Kunst (VFMK), will feature text by Marlies Wirth, providing further insight into Mueller's artistic vision and the narrative behind the BFSBs.

The Kunsthaus and Kunsthalle Nürnberg are collaborating to present the international group exhibition 'Who's Afraid of Stardust? Positions of Contemporary Queer Art'. The exhibition features works by 30 artists who address aspects of queer life and so make substantial contributions to the current debate on diversity with their individual perspectives on societal power structures.The focus of this comprehensive magazine is on the artists participating in the exhibition, but at the same time, the magazine provides a treasure trove for all readers for whom queerness is still new territory. In addition to a glossary explaining key terms, the magazine also contains interviews with scholars of gender and queer studies, texts on queer pop and film history, ballroom culture, queer fashion, the history of Prides in Germany and the development of § 175. Literary and socio-political texts by Hengameh Yaghoobifarah, Daniel Schreiber and Benno Gammerl, among others, complement this multi-perspective view of queer culture.

Publikation zu einem zentralen Thema der gegenwärtigen Gesellschaft, welches tief in der Kunstgeschichte verakert ist, reflektiert im Spiegel der zeitgenössischen Kunst. «Wie in allen von Dolores Denaro herausgegebenen monografischen Publikationen werden Kurator/innen, Kunstkritiker/innen, Künstler/innen oder/und Kunstsammler/innen gebeten, ihre persönlichen Erlebnisse bei der Begegnung mit einem der künstlerischen Werke eines/einer anderen Kunstschaffenden zu beschreiben. In diesen treten für die Leser/innen des Buches ausgewählte Werke in einer Art Pop-Up in den Raum und vermitteln deren Aura. Dies hat sich jetzt über mehrere Publikationen hinweg bewährt. Viele Rückmeldungen zeugen von der Dankbarkeit der Leser*innen darüber, da sie die Originale oft nicht sehen können.»¿Bei dieser Publikationen geht dies neu noch darüber hinaus, da auch diese Kunstschaffenden auf jeweils 6 Seiten vorgestellt werden. Hierbei wurde eine Mischung verschiedener Generationen und Berühmtheitsgrade angestrebt, womit die weite Verbreitung des Themas verdeutlicht wird.

Hannes Schüpbach enters into dialogue with Kira Blazek Ziaii, Stephen Watts, Éléonore Bernard, Heba Raphaëlle Meffre, Flurin Cuonz, Marco Baschera and Jiajia Zhang, exploring the concept of movement that starts within us - in dance, poetry, fashion, music and language. How singular are our gestures? Where do transitions between individuals come into play? Where does a shared cultural space come into being? In this venture (the title references Montaigne's renowned Essais, in which he contemplates existence on the basis of his own observations and reflections) Hannes Schüpbach addresses a pivotal aspect of artistic work.This publication pairs lively conversation with images from Schüpbach's 16mm film Essais and contains an essay by Philippe-Alain Michaud (Curator in charge of the film collection at the Centre Pompidou, Paris). It accompanies presentations in Switzerland, elsewhere in Europe, and in the United States.

SYSTEMRELEVANT is a show that takes possession of the term "systemically relevant", a term that has been the subject of much discussion in recent years. This exhibition rethinks it, asking questions without knowing the answers. It is also an establishment of position for the new artistic director of the Künstlerhaus, a consciously personal and programmatic show that does not shy away from using the means of an exhibition to think about what an (analogue) art space in the twenty-first century can be like. SYSTEMRELEVANT is vibrantly diverse as a matter of course; cross-disciplinary thinking and participatory projects are seen as significant and enriching. SYSTEMRELEVANT is just a suggestion, a (permeable) framework and imaginative space that can inspire, touch, and make us think. Is all of this relevant to the system? The works of art speak for themselves.