Petra Lange Book order

The book is dedicated to artists who lived and worked together in Düsseldorf during the 1970s, and who actively influenced the historical program of Kunsthalle Düsseldorf. 'Singular I Plural. casts a fresh look at the differentiation of the arts of the later post-war period, as well as on subcultural impulses in German-speaking and European countries. The loosely yet cosmopolitically oriented group developed its strategies in the context of, and against the legacy of, German fascism. Through various artistic processes-- painting, photography, slide projections, performances, film, and music-- political themes such as colonial history, economics and gender were thoroughly examined in this post-Pop political arena. Works and further documentary material, including comics, ephemera, and records, are presented in this exhibition, not chronologically, but rather in the same labyrinthine way as the processual collaborations and debates of the artists during the 1970s. Exhibition: Kunsthalle Düsseldorf, Germany (08.07.-01.10.2017).

Die ganze Welt des Skulpturalen Dialektische Schärfe und luzide Absurdität zeichnen die Skulpturen und Objektkonstellationen von Alicja Kwade (geb. 1979 in Katowice, lebt und arbeitet in Berlin) aus. Gewitzt kombiniert die Bildhauerin elementare Materialien, alltägliche Dinge und kulturell geprägte Produkte. Mit ihren eindrücklichen „Bildern“ im Raum ergründet sie die conditio humana unter dem Einfluss der Physik ebenso wie unter dem des Spätkapitalismus. Aufgrund der konzeptuellen Konsequenz und sinnlichen Qualität ihrer Arbeit und ihres Gespürs für Material, Oberflächen und Raumbeziehungen erhielt die Künstlerin 2015 den mit einer Einzelausstellung verbundenen hectorpreis der Kunsthalle Mannheim. Der begleitende Katalog gewährt einen Einblick in ihr umfangreiches Werk seit 2001. Die Autoren Petra Lange-Berndt und Dietmar Rübel spüren Alicja Kwades Fragen nach Materie, Rohstoff und Produktion im Zeitalter der Moderne nach und stellen Bezüge zur Kunst des 20. Jahrhunderts her, u. a. zur Kunst- und Design-Produktion der 1920er Jahre, zur Arte Povera und zum Post-Minimalismus.

Mark Dion durchforstet in Dresden die Depots und Archive der weltberühmten Einrichtungen, um tradierte Ordnungssysteme zu befragen, mit denen Objekte aus der ganzen Welt gesammelt und präsentiert werden. Dafür transformiert der Künstler vermeintlich festgeschriebene Klassifikationen und stellt historische Sammlungskontexte zur Diskussion, indem er die Gegenstände der Sammlungen in komplexen Installationen neu anordnet

The first detailed catalogue raisonn ever produced on self-taught German painter Memphis Schulze (19442008) includes a complete document of the artists work through 1993 plus extensive personal photographs of Schulze, his friends including Sigmar Polke and Achim Duchow, and the Dusseldorf art scene of which he was a part for two decades. Assembled by his sons Max and Philip together with writer Katrin Menne, this book is a tribute to an artist little known outside of Europe but deeply influential to many younger artists of his time. An unexpected addition is a complete list of Schulzes legendary LP collection of American and London rock music from 195588, shared with the German art community in those post war years. Essays by Polke specialists Petra Lange-Berndt and Dietmar Rbel elucidate the social and aesthetic relationships within that scene and the influence of America and American culture on the younger German generation.

Sigmar Polke_s ten-part series Wir Kleinbürger! Zeitgenossen und Zeitgenossinnen occupies a very important place in the artist_s oeuvre owing to the unique variety of figures, traces, signs and quotations from popular imagery it contains: echoes of _Capitalist Realism_ from the 1960s blend with precursors to Polke_s chemical and optical experiments with colour in the 1980s as well as the political themes that were to become increasingly prominent in his work from the mid-1990s onwards. As such it provides a panoramic view of art and everyday life in the Federal Republic of Germany in a period marked by hippie culture, the new women_s movement and terrorism. Taking the Kleinbürger series as its starting point, this book provides for the first time insight into the whole of Polke_s artistic output in the 1970s, a topic hitherto neglected by art historians. Films, photographs, drawings and paintings, supplemented by documentary material and source images, serve not only to illustrate the diversity of his work across a range of media but also to present a completely new _ as a result of being long ignored _ image of Polke in the era of sex, drugs and rock_n_roll.