Bücher veröffentlicht von VFMK

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.

Marguerite Hersberger (b. 1943, Basel) is part of the successor generation of Zurich Concretists and has been enriching art discourse in Switzerland since the mid-1960s. With her approach based on principles of order, systems, sequences and variations, this artist, who works as a sculptor of light and form, has also realized numerous architecture-related projects. This publication brings these together in a richly documented list of works. In addition, texts by Burkhard Meltzer and Margit Weinberg Staber shed new light on Hersberger's position within art history, while a conversation between the artist and Sabine Schaschl, director of Museum Haus Konstruktiv, reveals the interplay between independent works and architecture-related commissions.

A decade after an overwhelming mental health crisis shook his family, illustrator Francesco Ciccolella stumbles upon a series of sketchbook drawings that prompt him to contemplate a world of complex emotions. What if there's more to these sketches than meets the eye?"Between The Lines" is an autobiographical visual essay that explores what it's like when a loved one is caught in the grip of despair. Giving a poignant and intimate glimpse into his emotional turmoil and coping, Ciccolella weaves images and words to create a poetical meditation on mental health and the act of drawing. Join him on this beautifully personal journey of self-reflection.

Chiharu Shiota's site-specific installation with the evocative title "Who am I Tomorrow?" at the former assembly hall of Kunstraum Dornbirn unfolds the fascinating impression of a living, oversized and independent organism. It seems to hover above the visitors, precisely fitted into the protective historical architecture, connected to it by an uncountable number of red connecting lines. Shiota here turns the inside out.The representability of the inner, of psychological states - experiences, traumas, fears, blows of fate or moments of happiness, a sense of security or social mortification - finds its correspondence in the giving of artistic form. In this, the personal, the intimate, intertwines with the public. For Shiota, her art is a home, a medium of communication with the world. And she constantly creates this sense from within herself, taking her own experiences as her impetus and subject. For almost three decades, she has been developing a consistent, highly aesthetic and internationally successful formal language.

With "Wunderblock BETA", DOCK 20 launched a new exhibition format devoted exclusively to digital art. In a monthly rotation, video and media artworks were shown online as well as taken into public space. Via a shop window converted into a screen in the entrance area of DOCK 20, the works were shown daily in the evening hours.In the course of the first exhibition cycle, a wide range of contemporary, young positions from the German-speaking world of media art were shown - established names alongside young, experimental artists, some of whom presented their first works. In interviews with the artists, the works are placed in a contemporary context and their perspectives are made accessible. It is therefore not only an exhibition of nine works, but also an exhibition about the art-making of digital artists. of artists working digitally.

"All this would not be possible without a person who experiences, who embarks on the journey, who keeps recalling the place in their anticipation beforehand and in their memory afterwards, subtly altering it each time, whose actual encounter with the place deviates from their expectations ... and so this one place subsists in countless variations." (Thea Mantwill)In ICHNVSA we become silent fellow travellers of Talisa Lallai on a photographic road trip through the island of Sardinia. In the spring of 2022, the German artist set out to explore the places that form the background to her family origins. On the search for traces of her Sardinian father, ICHNVSA stands for the overlaying of history. Derived from the Greek "ichnôussa" (footprint), this is the original name for Sardinia, which the shape of the island resembles.

"TheCityAsAHouse" is a visually stunning art book that challenges the concept of the private home. In this experiment, a 30-year-old European lives in Tokyo without a private home, relying only on a smartphone. Traditional private spaces such as bedrooms, kitchens, and bathrooms are abolished, and public spaces become the norm for daily needs. The book explores the implications of the shift of privacy to non-domestic spaces and asks whether a new form of nomadic living is emerging.It also explores the potential for new artistic and architectural possibilities and infrastructure for society. The book includes various types of data collected during the experiment and offers a digital journey through the game experiences to discover new perspectives. "TheCityAsAHouse invites readers to reflect on the future of society and living without traditional homes, and encourages them to embrace the possibilities that lie ahead.

Wirtschaftsmythen und Fake News kontern - am Arbeitsplatz, in der Familie, am Stammtisch und online. Fakten, Hintergründe und mehr für kluges Diskutieren - verteidigen Sie sich gegen diesebeliebten wirtschaftspolitischen Mythen:Nur Verzicht kann das Klima noch retten.Weniger arbeiten hilft gegen den Arbeitskräftemangel.Der freie Markt ist ständig in der Krise.Wer Steuern senkt, zerstört den Sozialstaat.Die Jungen können sich nichts mehr aufbauen.Die Digitalisierung nimmt uns die Arbeitsplätze weg.Freihandel nützt nur den Großkonzernen.Neoliberalismus ist eine Erfindung der Reichen zur Unterdrückung der Massen.Die Armen werden immer ärmer.Bildung wird vererbt.

For the past seven years, the international artists' collective COSMOS has been running an experimental laboratory whose goal and purpose has been to create time and space to come together, exchange, travel, learn, listen and narrate. The core group of the collective is composed of eight artists* from Colombia, Croatia and Switzerland: Esneider Gamboa Burbano, Tea Hatadi, Sylvia Jaimes, Almira Medaric , Bojan Mucko, Goran skofic, Mirjam Wanner, and Josip Zanki.This publication "Chaos" is a reflection on how the previous artistic practice can be adapted and developed to new political and social conditions, thus continuing the joint work. The invited authors Eliana Otta, Jenny Fonseca Tovar and Rebekka Ray formulate critical questions and describe new bridges and spaces for COSMOS to move towards and in which they could meet anew.

Das aktuelle Buch ¿Flussrand Eins ¿ Uferlos¿ ist Teil einer Trilogie. Hiermit liegt nun der zweite Band vor. Neben einem ausführlichen Eingangstext zum Thema Collage erzählt der Künstler Markus Redl in sehr persönlichen Texten von sich selbst: von seiner Herkunft, seinen Eltern, vom Altern und dem schrittweisen Aus-dem-Leben-Gehen. Versammelt sind ebenso Erfahrungsberichte, die reportagenartig Informationen über Carrara, das Material Stein, die Industrie und den Kunstmarkt sowie das Biotop der Universität für angewandte Kunst in Wien in den 2000er Jahren liefern.Diese Mischung passt zu dem Operationsmodus Collage, der sich durch das Buch zieht und reflektiert die sprachliche Bearbeitung von Themen die Markus Redl in seiner Kunst beschäftigen. Neben den Zyklen von Zeichnungen, gibt es auch Textcollagen, die sich aus Fragmenten von Autor:innentexten zusammensetzen. Diese sind als performative Texte, in denen Figuren sprechen, also als Bühnentexte, verfasst. Sie beinhalten chorische Elemente, räumliche Struktur, durch Bühnen- und Zuschauer:innenraum, sowie Vorder- und Hintergrund für den Chor. Diese Textcollagen sind als Akte gekennzeichnet und ziehen sich durch das ganze Buch, sie referieren auf die Themen in den Fließtexten und auch in den Zeichnungen, sodass sich ein dramaturgischer, dialogischer Bogen zwischen Zeichnung, Zeichen, Schrift und Bild entspinnt.

Best of "Beings & Creatures" from the exhibition series of the same name at the Graz art centre < rotor >. Works by 34 artists deal with life on a damaged earth, new and old relationships under the influence of the multispecies discourse, appropriated and constructed figures, and entities beyond the tangible.The book "Beings & Creatures" was created for the exhibition series of the same name in the art center < rotor > and documents the work of 34 artists. A life on a damaged earth with new and old kinships under the influence of the multispecies discourse are discussed. Present and fleeting, apparently real and supposedly imaginary beings and creatures appear. Humans do not have a special position in the sense of posthumanism, they represent one of many species. The threat to biodiversity, the role of vulnerable beings, but also the exchange of alliances and ways out are outlined.

The feeling of a new beginning after happily overcoming the millennium jump was abruptly ended with 9/11. Topics such as the ongoing turbo-capitalism, migration, the questioning of the cult of monuments, and the convergence of aesthetics and economy accompanied by a hypocritical handling of urgent environmental issues by western industrialized nations in the information age were decisive for artists. Both alienated nature and the observation of one's own body and the burgeoning selfie cult through the new smartphones steered questions of perception. In addition to the criticism of the consumer age, postcolonial and gender issues, the still sluggish processing of National Socialism in Austria (even after the Restitution Act of 1995) was another factor that, instead of confidence, caused rather ironic to cynical breaks - especially in the case of "Golden Adele". by Klimt.In addition to in-depth essays, the publication offers a generously illustrated insight into the more than 5,000 works in the City of Vienna's collections from the 2000s.

The publication Geta Bratescu. Drawing as a Dance is published on the occasion of the solo exhibition Geta Bratescu. Drawing as a Dance at the Kunstmuseum Ravensburg. Drawing and writing have been congenial forms of expression for Geta Bratescu (1926, Ploie¿ti - 2018, Bucharest) from the very beginning and have determined her artistic work throughout her life. The catalog focuses on the written oeuvre of the Romanian artist, which has been less well known until now, and presents a broad selection of her texts, translated from Romanian into German for the first time. The writings provide insight into Bratescu's literary practice and are complemented by explanatory essays and illustrations.

Judith Fegerl explores the possibilities of electrical energy as sculptural and imaging material in a techno-poetic way. In "on/" she provokes a reflection on the availability and use of resources in a site-specific, symbiotic setting.The exhibition has symbiotically merged with and switched on Kunstraum Dornbirn. Electricity flows. For Fegerl's sculptural works, however, the electricity comes not from the socket as usual but from a solar power plant on the south side of the exhibition space that was specially designed and installed for the exhibition - a reference steeped in history, since the former assembly hall of the Rüsch Works built in 1893 constructed turbines for the first hydroelectric power plants.

Sophie Thun agiert vielschichtig in den Handlungsräumen der Fotografie. Sie erforscht die Bedingungen der fotografischen Abbildung, um die Konstruktion von Bildern und von Identität sichtbar zu machen. Selbstbewusst und experimentierfreudig setzt sie dem klassischen Bild der Frau als Muse und Modell ein künstlerisches Werk entgegen, das traditionelle Blickregimes hinterfragt und bestehende Machtstrukturen aufbricht.

Sophie Thun acts in a multi-layered manner in the fields of action of photography. They explore the conditions of photographic representation in order to make the construction of images and identity visible. Confident and eager to experiment, she contrasts the classic image of woman as muse and model with an artistic work that questions traditional viewing regimes and breaks down existing power structures.

On July 12, 2023, the painter and sculptor Zbynek Sekal would have turned 100. The Kampa Museum in Prague, the Museum Liaunig in Neuhaus/Suha and the Sprengel Museum Hannover are dedicating three exhibitions and a joint book to the important artist of the Czech avant-garde, providing insight into his oeuvre - drawings, paintings, collages, material pictures, wire objects as well as sculptures in bronze, stone, plaster and wood. Sekal's multifaceted oeuvre cannot be separated from his eventful life story, which was marked early on by violence, imprisonment and isolation: in 1941, the politically active 18-year-old was arrested and interned in Prague's Pankrác prison, and later in the Theresienstadt and Mauthausen concentration camps. The suppression of the Prague Spring in 1968 prompted Sekal to emigrate. A DAAD scholarship took the artist first to Berlin, and in September 1970 he came to Vienna, where he lived and worked until his death in 1998.

This publication charts the Haus der Kunst München exhibition Trace-Formations of Likeness, drawn exclusively from The Walther Collection. The exhibition explores portrait photography and the tracing of societal transfor-mation across geographic spaces as well as contrasting sociopolitical and cultural landscapes. Portrait photog-raphy has been deployed as a means to shape identity, to advocate for social change, and as a subversive strategy for visibility, often through an intimate investigation of the politics of memory, history, and embodiment. This book encompasses works from the last two hun-dred years and brings together artists from Africa, the Americas, Europe, and Asia. The juxtaposition of archival, documentary, and vernacular photography offers a global context to reflect on the divergent trajectories of historical and contemporary photography today. Collectively, these works showcase the medium's capacity as both an instrument for empowerment and a formation of the self, as well as its complex uses as a tool for control and subjugation.

Since the 1990s, Pia Fries has undisputedly been one of the leading international figures in painting. Born in Beromünster (CH) in 1955, the artist has lived in Düsseldorf since the 1980s and in recent years has worked as a professor at Berlin University of the Arts and the Academy of Fine Arts in Munich. This publication was created to accompany Pia Fries's solo exhibition at Kunsthaus Baselland and is the first to combine current and historical exhibition photographs with a variety of different texts, including a literary text by Sophia Remer, an art history essay by journalist and author Niklaus Oberholzer, and a conversation between Pia Fries and Ines Goldbach.

I What Is at StakeII The Power of ArtIII Need for TransformationIV Material AgencyIn its four parts, this volume brings together positions in art, design and architecture that lookat how nature and human beings can achieve an ecological balance in their mutualenvironment and how people can live, work and operate sustainably within a global ecology.Each of the 25 contributions examines current scenarios and possible solutions, seekingperspectives on an ecology that is meant to empower actors in the fields of art, architectureand design to assume responsibility now.

Models play a vital role in Monika Sosnowska's creative process. Made from simple materials such as paper, cardboard, wood and wire, Sosnowska uses hand-made models as a way to develop sculptural form and explore the relation between sculpture, architecture, and experience. In a photo essay about her models, curated by the artist herself, she gives unprecedented insight into her practice. In addition, her use of models is contextualized by two new essays by Martin Waldmeier and Tom Emerson. Moreover, a catalogue of selected models permits readers to trace Sosnowska's journey from installation work to sculpture, offering a valuable resource for anyone interested in her work.

Models are among the working tools of creative people of all kinds. They serve to concretize ideas and give them a form so that they become negotiable. In the publication Drafting Facilities - Thinking with Models, specialists from architecture, art, philosophy, neuropsychology, climate science, economics and artificial intelligence reveal how they work with this tool and how it changes the way we look at the world.

Rachel Lumsden's large format works engage us in a highly immersive experience. Paintings that at first glance appear to be figurative also pursue the goal of abstraction, albeit one that finds meaning in its relationship with the visible world. Lumsden's visual motifs emerge, brush mark for brush mark on the canvas, eventually converging with their true subject matter through her adept handling of material and astonishing pictorial inventiveness. The publication includes works from the last seven years and is released on the occasion of her solo exhibition at the art centre Villa Bernasconi, Geneva, Switzerland.

Two artists complementing each other in their conceptual approaches: Ingrid Wiener (* 1942) weaves inclusive worldviews, paints her dreams and takes photos of the vast landscapes of Canada from the plane. She creates a gigantic chess board of 64 carpets from an artistic correspondence of the everyday and sings as if inspired by a faraway protocol. Martin Roth (1977-2019) starts with painting, expands into space, creates landscapes, and devotes himself to conceptual and minimal art from the perspective of everything alive. Carpets overgrown with grass, birds working hidden away for the beauty of clean modernity, ducks mapping the studio infiltrate the institutional. What unites both is the consistently inclusive and eternally inquiring gaze from a distance creating a vision of a posthuman worldview.

Focus of the 4. Industrial Art Biennial is post-industrialisation, as it plays a crucial role in the current period of upheaval in the Antropocene. Christoph Doswald and Paolo Bianchi invited 29 artists and commissioned a large number of site specific projects, addressing issues of economic sustainability, cultural diversity, climate change, etc.. Landscapes of Desire is relying on the power of networking to overcome the boundaries of political and social borders. Artworks are sensory tools and methods to successfully challenge thought-patterns. "We need more artful thinking for a sustainable world", state the curators. The 4th Industrial Art Biennial is conceived as an experimental laboratory, re-shaping the rich social, economical and cultural topography of Istria.With works by Lara Almarcegui, Cristian Andersen, Charlie Billingham, Vanessa Billy, Werner Feiersinger, Fernanda Figueiredo, Clare Goodwin, Tatjana Gromaca, Igor Grubic, Manaf Halbouni, Raphael Hefti, Gregor Hildebrandt, Christian Jankowski, Nikita Kadan, Sandra Knecht, Joseph Kosuth, Lena Lapschina, Sonia Leimer, Olaf Nicolai, Seçkin Pirim, Anna Piva, Marko Pogacnik, Tanja Helena Roscic, Karin Sander, Arcangelo Sassolino, Talaya Schmid, Natalia Stachon, Stefanos Tsivopoulos, Viktor ZahtilaA comprehensive catalogue - published with Verlag für moderne Kunst (Vienna) -, is featuring all interventions, documented by reknown photographer Jules Spinatsch . Contributions by Paolo Bianchi, Marie-Janine Calic, Christoph Doswald, Isabella Flego and Tatjana Gromaca.

FERROZINE 536 presents twelve projects by the artist Ottjörg A.C. from the last 20 years. Ottjörg has lived in many different countries for long periods of time - among these, in Germany, Austria and Russia, later repeatedly in China, and for several years in Brazil. His artwork originates from all over the world, inter alia color imprints of scribbled school desks from five continents. Ottjörg combines the analogue experience of traces and testimonies of the past with printing processes. His most important tool is communication. By printing on site - wherever a press can be found - participation and exchange with people of diverse heritages is extended to the technical production of the artwork. Where is the connection between the Pampas of Latin America and the foundation piles of Berlin's Imperial Palace? How is it possible to mention Albrecht Dürer and Kasimir Malevich in one breath? What does horse castration have to do with colonial rule? How can worthless banknotes be profitably recycled? This publication has some ideas to offer.

In the spirit of a rendezvous, the Heidi Horten Collection offers a meet-up with artists in the collection whose biographies were shaped by France. The exhibition and accompanying catalogue embark on an artistic journey of discovery from the Parisian artists' districts of Montmartre and Montparnasse to the South of France - the Midi - and thus to places that have contributed to the emergence of major art movements in the twentieth century.

Founded in 2017, the Warwick Collection is a young and growing collection of contemporary art with a focus on relevant German and next generation artists. The collection explores themes related to abstraction, conceptualism and aesthetics comprised of works on canvas, performance, photography and sculpture.This first comprehensive catalogue serves the ambition of creating an enduring collection that tells the narrative of current and future generations of artists.

The group show "Here and Now. Vienna Sculpture 2022" affords an insight into the current sculptural output in the Austrian capital. Sculptures, wall objects and installations by international artists living and working in Vienna show, both in their respective characteristics and in the exciting interplay with each other, what contemporary sculpture is currently treating and can be.With works by Sasha Auerbakh, Kerstin von Gabain, Birke Gorm, Siggi Hofer, Michael Kienzer, Sonia Leimer, Angelika Loderer, Constantin Luser, Fritz Panzer, Rudolf Polanszky, Peter Sandbichler and Toni Schmale.The catalogue consists of a booklet with texts and 13 posters.