Sabine Folie Books

Since the 1960s Dorothy Iannone has been making oversized figurative paintings populated with a psychedelic, utopian mix of characters, objects and ornamental themes. Her work, much of it created for, with or about her one-time lover Dieter Roth, developed in the context of the experimental 60s, and years later, her unbowed expressiveness and vitality continue to inspire a new generation, including the curators of the 2006 Whitney Biennial. In this monograph Kunsthalle Wien contrasts her work with that of Lee Lozano, whose work will be shown along with Iannone's at the museum this season. Iannone and Lozano are very different, but Iannone's broad-minded messages of love and Lozano's caustic, hard-core eruptions both use uncompromising styles that combine graphics and comics-like gesture with texts. Both artists also began their careers far ahead of their time and appear today to have been precursors of many contemporary trends.

What is it that separates the search for gold in Miami Beach or Manhattan from the desire to erect idols like the golden calf? As Matthew Weinstein's transcultural, high-tech, easy-going haven for urban neurotics nothing. They are all just Universal Pictures .

The exhibition at Kunsthalle Wien focuses on the work of two women who resisted all attempts at appropriation - even by feminist theory. Both artists, each using her own means, developed an aesthetic of vehement self-exposure, which occasionally offended their contemporaries.

This exhibition catalogue presents the continuous cross-references between media works (photos, videos, reproductions), wall paintings, Ernst Caramelle's (b. 1952) 'Gesso Pieces', drawings, watercolours, the 'light works,' and prints.Looking at these cross-references allows us to understand the artist's complex and rich concepts and images. Abstraction and symbolic figuration, including expressive floral formlessness, permanently interact in Caramelle's work.A Résumé addresses the themes of artistic productivity, the role of the artist, his involvement in the market and the museum, and negotiations between institutions and artists. This involves pictorial wit, slapstick, diagrammatic forms, pataphysical strategies, comic-like elements, and linguistic quasi-aphorisms with nonsensical undertones.Published on the occasion of the exhibition, Ernst Caramelle: A Résumé at Museum Moderner Kunst Stiftung Luwig Wein/mumok, Vienna (30 November 2018 - 28 April 2019).

Tadeusz Kantor, who lived from 1915 to1990, was one of Poland's most important he painted, created, directed, mounted happenings and founded a key independent theater in Krakow. Along with his own works on paper, objects, photographs and films, The Impossible Theater brings us his descendents, artists of the younger generation, represented by installations, performances and projects. Like Kantor, they cast themselves in roles that call for mediation in the social world.