Bücher veröffentlicht von VFMK

Keith Sonnier-this name is primarily associated with the light works of the artist, who was born in Louisiana in 1941, in the Deep South of the USA. Since the 1960s, Sonnier has continuously developed works with various light sources, which has decisively shaped the reception of his art to this day. Equally essential, however, is the unbroken and open-minded interest in a wide variety of materials and media. Sonnier has also been engaged in diverse cultures throughout his life, has traveled and created works of art using local handicrafts.The exhibition, comprising around forty works from five decades, and the accompanying publication honor the work of the artist-who died in July 2020-in its diversity and the individual attitude that emerges in it. The English "Lightsome", which can mean 'bright' as well as 'carefree, cheerful', refers not only to Sonnier's art, but also to his person.

300 Zeichnungen / Cartoons stellen Fragen wie "Sind Bäume abends müde?" oder "Isst man im Leben einen ganzen Supermarkt?".Barthaare von Plato, Kant, Nietzsche und Mozart werden gezeigt, ebenso Ameisen im Stress oder der Unterschied zwischen jungem und altem Apfel.Der Zeichner, Christian Heiss, Architekt und Eigentümer des gleichnamigen Architekturbüros Atelier Heiss Architekten, teilt Beobachtungen und stellt solche zentralen Fragen - sind doch fast alle Dinge des Lebens mit der Architektur verbunden.Die Texte, in Englisch und Deutsch verfasst, stammen von ihm, ein Vorwort hat Wojtech Czaja beigetragen.Apropos: Gibt es dicke Elefanten?

The monograph of the artist Eduard Tauss presents the series "Farbkörper" and "Offene Formen", which were created in recent years in an organic and material-gestural formulation. "The paint has freed itself from the pictorial carrier and, by means of its own malleable substance, becomes an expression of itself and serves as the subject of its contemplation in the space." Eduard Tauss' series of works arise in dialogue with or investigation of the material of synthetic resin and are situated in the art-historical context of the "extension of painting." Angela Stief offers a precise and comprehensive examination of his artistic production, while Florian Steininger focuses on Tauss' paintings of "Offene Formen". The essay "Embodying Colour" casts light on the historical ramifications of the term "autonomy of colour," and Manisha Jothady addresses the dissolution of the categorization of artistic genres. Paint which unfolds its organic-sculptural potential and manifests itself as a gesture of material or color.

Since the beginning of mankind, it has interfered with nature and its surface by its very existence, whether by deforestation, planting or by building houses and cities: welcome to the anthropocene!Still nowadays and in our country, an enormous amount of land is sealed every day and thus forever withdrawn from permanent biological production. And no, we will not suddenly stop maximizing our profits and chasing the eternal premise of progress through growth. And no, we will not stop building either! But maybe, there is a way to continue building without causing a higher degree of sealing? Or could it be possible to erect buildings that actually counteract sealing? Freely according to the motto, each additional house reduces the total sealing by a certain value x?In this thesis, existing buildings are analyzed and evaluated for their degree of sealing using an existing tool and a tool developed within the framework of this thesis. The aim of this empirical study is to present prototypes that not only have a sealing-neutral effect, but also a sealing reducing effect, i.e. to develop houses that positively influence the sealing factor of their surroundings simply by their existence: With each of these new houses, our environment becomes a little bit better! To date, there is one determining factor to counteract sealing: the greening factor! In the course of this thesis, it quickly becomes clear that another factor is important: the so-called lift factor, i.e. the elevation of the building from the ground. However, and somehow surprisingly, a third factor is discovered in the end...

The author of the book lovingly calls it a naïve attempt to make the art world a little bit happier. After living and working in the art world for the past fifteen years, Christoph Noe brought pen to paper to gather some thoughts on how to navigate in the culture industry."It first developed foremost as a guide for myself as I continuously challenge the mission that I am on in the art world, asking myself why I am still doing what I am doing. Or sometimes, more dramatically, "If art is used in therapy, why do we almost need therapy when working in the art industry?" With a strong believe in the power of art and cultural creation and over multiple conversations and with the encouragement of my art- world crew, I came to the conclusion that these guidelines can function as a possible motivator, as a collection of thoughts or critical questions not only for myself but also for other people and collaborators working in the scene."Christoph NoeSomewhere in the art world, September 2022

Mit 440 Fotografien beleuchtet dieses in seiner Art einzigartige Buch wichtige und auch uns prägende Meilensteine in der Musikgeschichte. Voices bietet Einblicke in die Lebensgeschichten von 70 Stimmen aus der zeitgenössischen Musik- und Theaterwelt.Herausragende Interpretinnen und Interpreten teilen ihre persönlichen Erfahrungen über die Zusammenarbeit mit renommierten Persönlichkeiten der Musik- und Theaterszene. Und sie gewähren auch ganz private Einblicke: in das Musizieren zu Hause mit der Familie, in soziale Hintergründe und sensible Themen wie Rückschläge, Ängste oder lang ersehnte Wertschätzung und wie sie den Schlüssel zu ihrer Stimme gefunden haben. Dieses beeindruckende Buch repräsentiert erzählte Musikgeschichte von 1945 bis heute.Die Texte basieren auf Gesprächen mit Christine Cerletti und Thomas Voigt, die während der Pandemie 2021 und 2022 geführt wurden, oder sie wurden von den Künstlerinnen und Künstlern selbst verfasst. Sie bieten vielfältige Zugänge und zeichnen nach, wie die Bühne zu einem emotionalen Raum wird.

With its 440 photographs, this book, which is unique in its kind, highlights important milestones in the history of music that have also been formative for us. VOICES offers insights into the life stories of artists. Outstanding performers tell us about experiences with their colleagues, renowned personalities in the music and theater scene. And they also give us glimpses into their private realms: making music at home with their families, social backgrounds, and such sensitive themes as setbacks, fears, or long-yearned-for appreciation, and how they found the key to their voices. This impressive volume represents history from 1945 to the present, passed down by way of personal accounts.The texts are based on conversations conducted by Christine Cerletti and Thomas Voigt during the pandemic in 2021/22, or they were written by the artists themselves. Choosing diverse approaches, they outline how the stage can become an emotional space. Their stories are musical history narrated from a personal perspective. The desire to share things is incredibly strong. What remains after the caesura established by the pandemic: (musical) theater is closeness.

On the occasion of the 100th birthday of Erwin Heerich (1922-2004), the Stiftung Insel Hombroich is exhibiting drawings, sculptures, models, built and unbuilt works from its extensive collection. The exhibition conveys the theme of walk-in sculptures in its breadth for the first time and offers insights into the thinking and work of Heerich, who never saw himself as an architect but always as a sculptor.Heerich's linking of art and architecture is evident in clearly contoured, plastically conceived spaces and pavilions that were developed from a consistent sculptural approach and that are both autonomous object and sheltering building on the outside and inside.The exhibition is accompanied by the publication Hundert Jahre Erwin Heerich. Die begehbare Skulptur. In a handy format, it offers an overview of all the walk-in sculptures in Hombroich and presents them in short texts. Photographs by Tomas Riehle and Iwan Baan complement the volume.

Daniela Keiser (b. 1963) is a concept and installation artist, who already has very considerable experience of working with aspects of image science, photography, collage, and language. This is also exemplified in her new group of works. The starting point for her project was Keiser's long-term interest in the cyanography that was invented 1842 and soon put into practice by Anna Atkins (1799-1871), one of the first women to make a name as a photographer. Keiser has breathed new life into this process from the early days of photography. In a multi-step sequence, she creates cyanotypes from found photographs and digital shots of her own.This specific photographic technique is also a trigger of sorts for various motivic and thematic hooks in Keiser's project. She homes in on diverse phenomena: landscapes, settlements, globalisation, agricultural trade and colour per se. The cyanotypes from various thematic fields are being brought together in the book. The texts it contains take very different approaches to Daniela Keiser's art: from philosophical, art-historical and ethnographic to astro-physical, architectural, geo-chemical, geological and poetic - creating an exhilarating, polyphonic chorus that is a fitting match for Keiser's own artistic process.