German text only. The scarcity of ideas of a mass exhibition is a leap from quality to quantity and it constructs uselessness, a reconstruction of that which one would have liked to have at the outset of a career, namely a parade, a demonstration of the idea of autonomy, i.e. of the uncontrolled, uncurated, and unmanipulated. Instead it is what one gets when a career declines, what comes to the fore. A merging of the private into art, yet from there into the public, into the space you enter, the space you will find yourself in if you have come. Namely an uncurated exhibition with 'artist friends' (artist friends aren't friends without art, but artists with whom to symbiotize in a coexistence (to take a noun and to verbalize it)). But don't let yourself be put off by this toying with grammatical terms - they are meaningless and, as it were, ingenerative.
"Nearly 40 years ago Gerhard Theewen founded Salon magazine with contributions by both known and unknown young artists. Between 1977 and 1982 eleven issues were published. A special retrospective twelfth issue appeared in 1992 and a reprint of all the issues was compiled in two volumes in 2008. In the spring of 2016 Salon was revived and again it has no texts or essays but presents artist?s contributions created especially for the magazine. Salon = a magazine AS art, not ON art."
More Sky was initially published in 1970 as a loose-leaf ring binder, and now the 1973 edition is reproduced in facsimile here. The book may be considered the first compendium of Piene's work after the ZERO period in Germany.The title itself is a programmatic attempt to expand the arts. More sky - that was the dream of Otto Piene and his generation, to overcome at last the narrow confines of museums and instead to turn public space, the air and the sky into a site where art happens.Nature as a model for the arts: as was already the case in experiments within the Bauhaus tradition, Piene intended to execute his artistic works in the dimensions of earth, water and fire, and ultimately into technological media as well.The vibrant, colorful cover of his book, featuring a hand-painted title, the sun and a floating cloud, perfectly reflects this exhilarating utopia of a better world, closer to nature.Published on the occasion of the exhibition Otto Piene: More Sky at Neue Nationalgalerie, Berlin, 17 July - 31 August 2014.
In The Rise and Fall of American Art, 1940s-1980s, Catherine Dossin challenges the now-mythic perception of New York as the undisputed center of the art world between the end of World War II and the fall of the Berlin Wall, a position of power that brought the city prestige, money, and historical recognition. Dossin reconstructs the concrete factors that led to the shift of international attention from Paris to New York in the 1950s, and documents how ’peripheries’ such as Italy, Belgium, and West Germany exerted a decisive influence on this displacement of power. As the US economy sank into recession in the 1970s, however, American artists and dealers became increasingly dependent on th...
"With his formally stringent yet multifaceted works, the artist Joannis Avramidis (1922-2016) counts among the most outstanding figures of Austrian sculpture after 1945. His oeuvre invariably revolved around the human form.Built from circular segments, he abstracted his figures and transformed them into unmistakable, intrinsically harmonious sculptures.Seeking a consolidation of the figural coupled with an abstractness of form, Avramidis oriented himself on Greek archaic and classical sculpture as well as on artists such as Hans von Mar�es, Constantin Brancusi and Wilhelm Lehmbruck.In 1962 Avramidis represented Austria at the Venice Biennale.This publication offers a comprehensive insight in the artist's lifework.Published on the occasion of the exhibition, Joannis Avramidis at Leopold Museum, Vienna (19 May - 4 September 2017).English and German text."
What does an assemblage made out of crumpled newspaper have in common with an empty room in which the lights go on and off every five seconds? This book argues that they are both examples of a 'precarious' art that flourished from the late 1950s to the first decade of the twenty-first century, in light of a growing awareness of the individual's fragile existence in capitalist society. Focusing on comparative case studies drawn from European, North and South American practices, this study maps out a network of similar concerns and practices, while outlining its evolution from the 1960s to the beginning of the twenty-first century. This book will provide students and amateurs of contemporary art and culture with new insights into contemporary art practices and the critical issues that they raise concerning the material status of the art object, the role of the artist in society, and the relation between art and everyday life.