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Exhibitions

On the occasion of the 2011 advancement award “Catalogs for Young Artists” given to David Zink Yi by the Alfried Krupp von Bohlen und Halbach-Stiftung, for the first time there is an artist’s book by David Zink Yi. In the center of the book is the two-channel video installation Horror Vacui (2008). The work documents rehearsals of the band De Adentro y Afuera, which Zink Yi founded together with Cuban musicians, and combines them with recordings of music-based rituals of Afro-Cuban origin: Cajon, Tambor Batá and Wiro. Zink Yi juxtaposes the band’s rehearsals and the ritual practices in the video - as in the book - in an equilibrated way, thus revealing the structural similarity of these everyday actions. The essence of this similarity lies in the nature of imagining space as collective plenitude, as polyrhythm. Horror Vacui stands for Zink Yi’s artistic involvement with cultural everyday practices such as dance, music or meals - not so much as ethnic attributions rather than as examples of the establishment of identity and community. It is the artist’s first comprehensive publication.

This comprehensive oeuvre catalog (1999-2011) documents for the first time the broad oeuvre of the artist. In addition to text-based works and photographs, Laura Horelli in particular uses video as a medium, sometimes also in multi-channel video installations. In her research she focuses on communicative processes and their media, political and social requirements in the globalized world. Horelli’s conceptual objective is to approach “reality” in a subjective way, in order to excerpt urban environments, events and relationships from her past and current residences from their original contexts and to link them in a new way. This creates an intertext, which connects the different courses of time as well as their subtexts, and at the same time undermines the documentary-representative.

This publication is the first extensive documentation of previously unknown artistic work from the 1960s by Ulrike Ottinger and marks the award of the 2011 Hannah-Höch-Preis to the internationally renowned filmmaker. Previously unknown and unshown paintings, objects, prints and photographs open up a completely new perspective on her visual world and work.

Karin Sander's work often emerges from the context of the respective location. Her interventions in found conditions, in which she often makes use of the medium already present in the system, are usually surprising and open up a new perspective to what is otherwise familiar. This publication has been specially designed as an artist's book. Alongside documentation of the exhibition in the Neue Berliner Kunstverein, it contains an image bibliography of Karin Sander's artistic work from the past 30 years.

In 1966, the filmmaker Hartmut Bitomsky became a student at the German Film Academy in its very first year, along with e.g. Wolf Gremm and Wolfgang Petersen. Among the best known of his so far about 40 films is the Germany-trilogy Deutschlandbilder (Pictures of Germany, 1983), Reichsautobahn (1985, awarded the Grimme Preis in Gold) and Der VW Komplex (The Volkswagen Complex, 1988). The book documents the work of one of the most influential documentary filmmakers of his generation.

With a preface by Marius Babias, a text by Hedwig Saxenhuber and an interview with Raluca Voinea.

In his young international career, Ciprian Mureşan has already created an oeuvre that is spread across various media, including drawing, animation film, video installations, and sculpture. This comprehensive publication offers a survey of his artistic work, including his contributions to the Venice Biennial Auto-da-Fe and Dog Luv (2009), which translate literary models into images, and in so doing achieve a unique interpretation of the present. Mureşan’s very young oeuvre is systematically catalogued and set in relation to overviews of research on post-Communist societies, globalization theory, and their overlaps with aesthetic debates. Extensive illustrations, which also include previously unpublished material, provide a broad insight into the artist’s work.

With a preface by Marius Babias and Stella Rollig, as well as a text by Stella Rollig

This publication emerged in cooperation with Lentos Kunstmuseum Linz and provides a comprehensive overview of Asta Gröting’s oeuvre from 1981 to today. In an essay by Stella Rollig, continuities and breaks in Gröting’s sculptural and film work are sketched out. Her sculptures have received international recognition ever since the 1980s. As of the 1990s, her work expanded in terms of media by way of video and performance. In the block of film works The Inner Voice (1993–2004), Gröting developed a series of videos with ventriloquists around the world. At the foreground of this study are everyday psychosocial actions as artistic material, in contrast to the materiality of the sculptures. To that extent, Gröting’s sculptures possess a social dimension by engaging with their physicality in an expanded debate about developments that take place in the field of tension between self and the community.

With a preface by Marius Babias and Katrin Klingan, an introduction by Gaby Hartl and Frank Kaspar, and texts by Everett Frost, Michael Glasmeier, Petra Maria Meyer, a historical archive and radio plays on CD.

During the emergence of the historical avant-garde, the arts formed a mutually fertile synthesis, until a separation and specialization into individual disciplines took place in the 1930s. Despite the dominance of the dialog-centered radio play, radio is a place where this interaction of the arts is explored anew over and over. The exhibition project „Sounds. Radio-Art-New Music“ made it possible to experience radio as an artistic medium. Five radio works that emerged in the framework of the German-Czech radio art project rádio d-cz in 2009 formed the core of the exhibition and are included in the publication as audio CDs. Writers, artists, audio play dramaturges, noise collectors, and musicians engaged with the German-Czech lifeworld for rádio d-cz. In the archive part of the book, they are complemented with descriptions of historical and contemporary reference pieces. An interview recalls the history of the experimental studio in Bratislava in the 1960s to the 1980s, until the boom of “postcommunist sounds” in the 1990s. Select writers complement the tracks with discussions on the history and present of the medium radio in relationship to fine art and new music, interspersed with the original artistic score of Rolf Julius.

With a preface by Marius Babias and texts by T. J. Demos and Bert Rebhandl

In recent years, the artist Hito Steyerl has gained great international recognition for her work at the intersection between film and fine art. Her films combine elements of experimental film, auteur cinema, documentary film, and video art. This is the first monograph to examine Steyerl’s oeuvre in several facets, with contributions from film, art, and cultural historians. Numerous illustrations show the stylistically honed visual language in Steyerl’s work, which is schooled in discourse analysis. Through montage, she uses elements from popular culture and politics, Hollywood and independent cinema, interviews and off-commentary to assemble provocative film analyses of the present.

With texts by Marius Babias, Eugen Blume and an interview by Clemens Krümmel

Based on the historicity of the site, the artist Thomas Kilpper develops his interventionist works in buildings usually destined for demotion or sale. They form the “artistic material” into which he inscribes himself. In his floor cuttings, Kilpper works on the floor of the building for months, primarily cutting images of historical figures into it. In the condensation of figures and the course of events, new perspectives on historical facts are freed and the social position of the artist is also reflected. Prints are made of the floor cuts, which stand in the tradition of the wood cut and from an independent artistic work. The book documents Kilpper’s intervention State of Control (2009) at the former Ministry for State Security of the GDR and shows works from the solo show at n.b.k. (2009).

With texts by Marius Babias, Sophie Goltz and audio archive with René Block, Katja Jedermann, Wolf Kahlen, Jörn Merkert, Olaf Metzel, Barbara Straka, Christian Wagner, et al.

In 1969, Neue Berliner Kunstverein was founded as a private initiative of Berlin residents. The exhibition and outreach project Kunst und Öffentlichkeit: 40 Jahre Neuer Berliner Kunstverein looked over the past four decades by showing perspectives of art outreach in today’s Berlin’s art world and beyond that emerge from a re-definition of the relationship between art and publicity and the questions faced by such an institution faces: the importance of fine art for society, civil participation, and the activation of publicity. Divided into thematic chapters, the book documents a cartography of Berlin that links the history of the institution with artistic and cultural developments in both divided and united Berlin. Explored are the founding of the association, the emergence of the two collections Artothek and Video-Forum, as well as select historical exhibitions such as Aktionen der Avantgarde (1973/74) and Skupturenboulevarde (1987).

With texts by Marius Babias, Anetta Mona Chişa, Lucia Tkáčová, and Raluca Voinea.

The artists Anetta Mona Chişa (Prague) and Lucia Tkáčová (Bratislava) have been collaborating since 2000 while also pursuing their individual careers. They have participated in numerous international exhibitions and biennales. In their collaborative works, they address gender relations as well as their role as Eastern European artists in an art world dominated by the West. Their video works and installations break with consumerist expectations and initiate processes of reflection. This publication is the first monograph on Anetta Mona Chişa and Lucia Tkáčová.

With texts by Marius Babias, Brigitte Franzen, Hagen Kopp, Silke Wagner, Florian Waldvogel, et al.

The artist Silke Wagner is considered one of the most substantial representatives of her generation; her work is highly influential. Wagner’s artistic interventions move beyond traditional artistic media and fields of action. With her works, she mobilizes publicity and creates potential for communication and new spaces for action. Collaborations with “kein mensch ist illegal” or anti-racist groups involve the artist in social movements and confront her with socially relevant issues such as the construction of the Other in the course of Europeanization. This book is the first comprehensive monograph on Wagner.

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