CAO FEI

I watch that worlds pass by

Renate Wiehager, Christian Ganzenberg & Wang Xiaoyu (Eds.)

The seventh in the Daimler Art Collection artist’s book series is designed by inter- nationally known noted Chinese artist Cao Fei (b. 1978) in collaboration with Wang Xiaoyu of The Pavilion, Beijing. Inspired by a conversation with artist Hu Fang, this publication brings together three projects from the artist’s filmic oeuvre exploring the spaces, aesthetics, relationships and politics of the virtual life—Town, Haze & Fog and RMB City. Stills from her films, photographs of sets, sketches, text, storyboards and illustrations pack this survey book accompanied by articles never before published in English by Chris Berry, Hou Hanru, Hu Fang and Jiang Jun plus new texts by Shumon Basar, Huang Chien-hung, Christian Ganzenberg and others. An interview with the artist by Hans Ulrich Obrist in which the basis of her work is outlined completes this rich oveure. Cao Fei’s invitations to numerous biennials including Venice (2015) has attracted great interest, representative of an awakening to young transnational Chinese art.

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THOMAS FEUERSTEIN

Trickster

Hans-Peter Wipplinger (Ed.)

Conceptual, multi-media artist Thomas Feuerstein (born 1968) revels in the contradictory spaces between art and science, fact and fiction, and individuality and community. In this extensively illustrated exhibition catalog, the Austrian-born Feuerstein focuses on one of the big personalities of the wild 1920s, Arthur Cravan, a boxer, magazine editor, Dadaist and dandy. Half a century later, Cravan stalked idol-like through the history of Pop and fed the myth of the anarchic anti-hero. The artist’s exuberant work features biology, literature, art history, philosophy, medicine, cybernetics, religion, sex, economics and mass media, and the impact of bio-politics on the individual and the dream of eternal youth. With texts by Elisabeth Bronfen, Candyman, Gerhard J. Lischka, Astrid Mania and an interview with Sabeth Buchmann.

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THOMAS FEUERSTEIN

Psychoprosa

The multilayered exhibition Psychoprosa by Swiss artist Thomas Feuerstein is a feat of alchemical imagination. Occupying the borderline between art and science, Feuerstein makes installations that resemble greenhouses, laboratories, cooling chambers and factories. Pipes linking apparatuses growing algae and fungi meander through space while synthetic hallucinogens and viscous slimes form transparent, liquid sculptures. Questioning and reframing the overlap of imagination and observable fact, Feuerstein’s first major exhibition in Germany is beautifully conveyed in this substantial museum catalog pairing full-bleed color installation photographs with a lighthearted novella by the artist, For He’s A Jelly Goo Fellow, about a “slime age,” when humanity protoplasmically merges to form a new collective. Gallerie im Taxispalais director Beate Ermacora walks us through the exhibition and explicates the artist’s work; curator Jurgen Tabor discusses the artist’s drawings; and metaphysics philosopher Graham Harman engages with the artist in an enlightening conversation.

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FGA#20 - THE SWISS ISSUE

Mienke Terpsma & Rob Hamelijnck

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FGA #29: ITALIAN CONVERSATIONS

Art in the Age of Berlusconi

Rob Hamelijnck and Nienke Terpsma

This quintessentially 21st-century travelogue, 29th in the ever- provocative series Fucking Good Art, records artist/editors Rob Hamelijnck & Nienke Terpsma as they explore Italy’s challenging contemporary artistic and political scene in seven cities, from Rome to Palermo to Torino. In a series of rich travel journals incorporating experiences, conversations, texts by Italian artists and extensive black- and-white and color images, the authors paint a picture of Italy’s money- starved and organization-poor cultural system in the wake of media- mogul Silvio Berlusconi’s disastrous, right-wing reign as prime minister. Rome’s edgy Nomas Foundation underwrote this essential book, in which Italy may serve as a warning for the effects of the dramatic cutbacks in funding for cultural programs now being implemented across Europe.

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FIA BACKSTRÖM

Nordic Pavilion – 54th Venice Biennial, 2011

Fia Backström, featured in this catalog from the Nordic Pavilion of the 2011 Venice Biennale, has enjoyed increasing international acclaim in recent years. For more than a decade, she has divided her time between Stockholm and New York, participating in numerous exhibitions including the Whitney Biennial in 2008 and MoMA 2010. Backström produces events, environments and projects which challenge our habitual notions of what constitutes an exhibition: its institutional context, the dialogue with the audience, and even the works of art that are presented. Occasionally she incorporates works by other artists into her work. She works with structures around politics, authorship and the capacity of images to generate meaning. Contributions by Goldin + Senneby, Tim Griffin and Cecilia Widenheim.

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FICTION

J. Parker Valentine

Although deeply grounded in drawing, J. Parker Valentine’s diverse practice spans film, video, photography, collage and sculpture. Valentine pushes the limits of mark making in this artist’s book, exploring many possibilities of narrative and image. Rendered on both uncoated and brown paper stock that mimics the artist’s drawing paper and including a selection of reoriented and manipulated images, Fiction offers a sense of Valentine’s improvisatory approach. Also included are three essays: Sculpture Center (NY) curator Mary Ceruti describes Valentine’s lasso sculptures as oscillating between drawing and sculpture; Serralves Museum director Suzanne Cotter touches on Valentine’s interrogation of the limits of drawing as a medium; and Christiane Maria Schneider, curator of Valentine’s exhibition at the Langen Foundation (Neuss, Germany), considers how each of the works presented are affected by the relationships they enter into in situ. Valentine was a 2013 artist in residence at Artpace, San Antonio, Texas.

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FIGURING MOTION

Terry Rosenberg

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Karen Finley

Pooh Unplugged, An Unauthorized Memoir

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ROSE FINN-KELCEY

From the 1970s, artist Rose Finn-Kelcey became a central figure in the emerging communities of performance and feminist art in the UK. The complex thinking embodied in her work has touched on such themes as power and the dilemmas of mastery; the myth of the artist; the gaining of a voice; the deceptions of value; the nature of collaboration; the surrogate performer; spirituality; longing and death. This book, extensively illustrated, is the first comprehensive mono- graph on this artist’s work, documenting more than four decades of Finn-Kelcey’s art. Includes over 150 illustrations and essays by Guy Brett, Sarah Kent and Michael Stanley.

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