OLAF HOLZAPFEL & NAHUM TEVET

The Rough Law of Gardens

Richard Flantz (Ed.)

The Rough Law of Gardens documents Berlin-based German artist Olaf Holzapfel (b. 1967) and Tel Aviv-based Israeli sculptor Nahum Tevet’s (b. 1946) eponymous joint exhibition exploring the intergenerational differences between two artists. Holzapfel and Tevet each reject the global logic of growth and traverse the bounds of sculpture and painting to produce work that involves ideas on materiality, learning, and memory. Rather than a conventional two-person show, however, the concurrent exhibitions and the accompanying softcover catalog highlight the ways in which work by one artist is developed, exaggerated, inverted, or simply ignored in the work of the other. The juxtaposition of the very different approaches of these two artists raises questions regarding the relationship, or lack thereof, between art practices, and reflects their respective connection with or isolation from historical circumstances and social realities. With introductory essay by curator Galia Bar Or, this exhibition was concurrently shown at the Kunstmuseum, Germany, and the Mishkan Museum of Art, Israel (2015).

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HOME AND AWAY AND OUTSIDE

Tobias Rehberger

Max Hollein (Ed.)

The Golden Lion award at the 2009 Venice Biennale underscores the fact that Tobias Rehberger is one of today’s most influential and successful contemporary artists. Now the Schirn Kunsthalle in Frankfurt presents a wide-ranging retrospective. The exhibition features high-profile projects such as the installation New York Bar Oppenheimer during Frieze New York 2013, a dizzying blackand- white sculpture as well as a working cafe. This catalog not only documents the exhibition but also includes other featured work. Rehberger makes use of conventional materials from everyday life, thwarting the artificial character imagined by their form and coloring. He contradicts expectations further when his works function as objects of day-to-day use, walking the line between functional demands and the aesthetic directives of “fine art.” An essay from curator Matthias Ulrich positions Rehberger’s work in historical conceptual art.

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DOM SYLVESTER HOUÉDARD

Andrew Hunt & Nicola Simpson (Eds.)

Widely recognized by his contemporaries as one of the leading theorists and outstanding practitioners of concrete poetry, Dom Sylvester Houédard (1924–92) is an unsung intellect of the 20th century. This elegant oversized hardback monograph reinstates the Benedictine monk and artist as an important pioneer in the countercultural and transnational art movement of the 1960s and early 1970s, especially within kinetic and concrete poetry. Presented for the first time in full-color illustrations are an extensive array of Houédard’s spare and highly personal “typestracts”—typewriter works from the 1960s and early 1970s. Houédard’s work is deeply relevant to our digital age and the man himself would have been delighted by the permutational possibilities offered by a tweet, or the visual shorthand of emojis and hashtags. Introduction and essays and interview by curators Nicola Simpson, Charles Verey, Guy Brett and Andrew Hunt on the artist, his work, and his context, as well as numerous writings including an autobiographical statement by Houedard.

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HEDWIG HOUBEN

Grip

Zoë Gray (Ed.)

In her first monograph, Brussels-based Dutch artist Hedwig Houben (b. 1983) explores her playful, multifaceted practice from a range of artistic angles. Richly illustrated throughout with drawings and photographs, the book documents her literal and symbolic performances, engaging videos and large sculptural installations produced within the last eight years. Featuring both the artist’s voice and an analysis of her work by three different writers, it contains an introduction of her cast of characters like The Hand, The Pyramid, The Cone, The Cylinder and The Other made from plaster, plywood and Plasticine. Three scripts written by Houben, translated from Dutch to English, accompany an analysis of her work by three different writers; an artist interview by curator Vanessa Desclaux; an exploration of Houben’s humour by German-based American artist Rita McBride; and an in-depth look of Houben’s recent work Personal Matters and Public Affairs by Zoë Gray, senior curator at Wiels Contemporary Art Centre, Belgium.

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HOW TO FRAME

On the Threshold of Performing and Visual Arts
Foreign Affairs Festival 2012–2016

Barbara Gronau, Matthias von Hartz & Carolin Hochleichter (Eds.)

Uncertainty, the present, diversity, theater production and classical dance—these are the themes around which the international performing arts festival Foreign Affairs has drawn artists and audiences over the past four years. Investigating theory and art, global and local realities, Foreign Affairs invites an array of international performing artists to question prevailing political and economic structures on a chosen topic. Believing that our world can be changed, Foreign Affairs takes a distanced look at our own society. How to Frame is both manual and query. It is a collection of ideas, knowledge and experience from all five festivals, including the most recent on the topic of uncertainty, in cooperation with William Kentridge. As artistic director, Kentridge worked with participating artists to develop projects for stage, urban spaces and night exhibitions at the Haus der Berliner Festspiele. With contributions from artists Carolin Hochleichter, Ragnar Kjartansson and Catherine Wood among others.

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IKA HUBER

Coelin

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HUGO BOSS ASIA ART

Award for Emerging Asian Artists 2015

The Hugo Boss Asia Art Award is at the forefront of emerging artists in Asia, discovering and supporting new talent. An exquisite catalog chronicling the second edition of the award is presented in an over-the-top, lush, oversized publication. Projects by the six nominated artists, all born in early 1980s—Huang Po-Chih (Taiwan), Moe Satt (Myanmar), Vandy Rattana (Cambodia), Maria Taniguchi (Philippines), Yang Xinguang and Guan Xiao (Mainland China)—are presented in full-bleed color illustrations luxuriously printed on thick cover stock that portray the artists’ installations and processes along with accompanying essays offering insights into each artist’s practices and reflecting on the rapid changes and key challenges within these regions. The projects range from Rattana’s poetic photo series and videos on American bombing sites around Cambodia and their effect on the landscape and its inhabitants to Hugo Boss award winner Maria Tanaguchi’s brick wall paintings conveying the abject violence of frontiers and borders.

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Steven Hull

Ab Ovo

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TOM HUMPHREYS

Plates

Tom Humphreys—Plates is an artist’s book of works produced between 2009 and 2016. Using industrially manufactured porcelain plates as his base material, British artist and curator Tom Humphreys (b. 1972) presents 420 plates from his series on a 1:1 scale, one plate per page, in this oversized voluminous publication. With this tome in hand, one might think it is too much of a good thing, but upon close inspection one becomes mesmerized by the design of each plate. The surfaces incorporate painted glazes along with the artist’s hand-drawn imagery or applied photographic transfers and found materials. Like a sketch, each work results from a simple gesture. Joining artisanal craft and digital production, the presentation of the works explores the politics of art production, presentation and consumption. This unique publication follows the exhibition Under the Wing at the independent art space Forde in Geneva (2017).

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Peter Hutchinson

Dreamed Paradises

This retrospective catalog of works by Peter Hutchinson constitutes one of the most important of the past few decades. The British-born, U.S.-based Hutchinson – a pioneer of Ecological Art, also called Earth Art or Land Art – visualizes our world as an artistic utopia. His photo-collages, object boxes, sculptures and films, as well as documentary and poetic texts, articulate fundamental questions about man’s relationship to the world we inhabit. Hutchinson’s use of natural materials and development of outdoor, site-specific artworks mean that many of his pieces are located on the interface between art and nature. This volume, documenting more than 20 years of lyrical work, does justice to Hutchinson’s stunning vision of “dreamed paradises.” Includes an interview with the artist and several fine essays.

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