SUSAN KOOI

Lonely Planet: Campania Felix

Guus van Engelshoven (Ed.)

Lonely Planet: Campania Felix is the first part of a trilogy in which multidisciplinary visual artist Susan Kooi (b. 1988) travels to Italy, Portugal and Japan to work with various traditions of ceramic crafts. The project reflects on how artifacts signify meaning during their lifespan and are carriers of meaning for extraction in the future, with Kooi seeking evidence of an object’s use and meaning, both real and fictitious, with the resulting stories forming this series. For Campania Felixis, Kooi traveled to the Italy’s Campania region, exploring a terra-cotta factory, Naples, and Pompeii, among other locations. An alternative travel guide accompanies the objects on view in the exhibition at Media and Moving Art (MAMA) in Rotterdam and tells the tales of these artifacts that are found and made by Susan Kooi. Contributions include Hanna Bervoets, Maurits de Bruijn, Nathalie Hartjes, Vincent Hunink, Tommi Vasko and Marloes de Vries.

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DOINA KRAAL

TOUCHE-À-TOUT
Some frames for the wonder of the world, featuring some of the wonders of the world

Merel van den Berg, Doina Kraal & Freek Lomme (Eds.)

A fascinating publication, nuanced and engaging, on the wonders and mysteries of optical devices and the natural world. From the first camera obscura to virtual reality, Dutch artist Doina Kraal (b. 1980) sets out in her exhibition and elaborate artist’s book, Toucheà- Tout, to lead the viewer on a marvelous journey. The inspiration for Touche-à-Tout was her fascination with the historical rarekiek: a wooden backlit peepshow box invented in the 18th century. Krall’s multidimensional book explodes with the textured materials, objects and stories from her wanderings, collecting, and installations. Creating sensory experiences that one can touch, smell, feel, see and hear, she brings her research and global travels into intimate focus. From historical maps and scientific drawings to Kraal’s own drawings, handwritten notes and a sculptural interpretation of the Internet cloud, the book’s pages are embedded with smells, tastes and objects, including a business card and a coin tucked into the binding—a marriage of our earliest visual inventions to our present visual technologies, beautifully wrapped in one package.

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BETTINA KRIEG

Abysse

Thomas Andrae, Moritz Kaufmann

Bettina Krieg’s complex and obsessively detailed pen-and-ink drawings reveal fragments of human existence, countless layers of ideas, images and feelings. This slim but elegant exhibition catalog includes multiple fold-outs and mylar inserts to accurately reproduce the young, Berlin-based artist’s extraordinary “narrative clouds,” as curator Christian Ganzenberg describes them in one of several outstanding texts. He lauds the artist’s “exuberant richness of detail” and the “precise, almost Old Master-like alignment and the unusual saturation of the depths.” Scrap-metal yards, destroyed cars, insects, birds, waterfalls, exploding machines, fish scales, tentacles, cells, cables: Krieg herself can barely describe her inspirations for these works which are at once abstract and figurative.

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SUSANNE KRIEMANN

Hilke Wagner & Axel Wieder (Eds.)

Texts by Steve Rushton, Yvonne Scheja, Axel Wieder; with a foreword by Tom Trevor and Hilke Wagner

In her photographic projects, Susanne Kriemann takes a research-oriented approach: dealing with archival and forgotten documents in particular is a central aspect to her work. The found photo material then frequently serves as a starting point for her own images. Formal or thematic analogies generate multifaceted layers of association, which address the circumstances in which the historical images were produced, their preservation, as well as their link to the present day—and always also examine her own medium of photography.

This publication was created as part of the solo exhibitions “Cold Time” at the Kunstverein Braunschweig and “Modelling (Construction School)” at Arnolfini in Bristol. Even if the exhibitions were organized entirely independently of one another, the joint effort in producing this catalogue made it possible to go beyond simple exhibition documentation and provide a more in-depth view into the work of Kriemann. In a certain sense, this catalogue is connected to the artist’s earlier publication entitled Reading Susanne Kriemann (Sternberg Press, 2011), consisting exclusively of texts. Here, however, the main point of the publication is to let the images speak for themselves.

Design by Sandra Kastl

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SUSANNE KRIEMANN

Duskdust

Susanne Kriemann & Lívia Páldi (Eds.)

A literal mountain of industrial debris is the subject of Berlin-based photographic artist Susanne Kriemann’s second artist book from Sternberg. Now a nature preserve and site of an eco-hotel, the former limestone mining site is located on the northeastern edge of the Swedish island Gotland. Over the course of this compact but lushly illustrated book, Kriemann’s portraits of the massive pile of cement tailings at different times of day and under different weather conditions kaleidoscope into multiple images that become almost cinematic. The images are followed by insightful and poetic writings by writers Kirsty Bell, Maria Barnas and media theorist Jussi Parikka and conclude with historic photographs of the industrial site. In her expansive projects, Kriemann investigates issues of historiography, archival knowledge and the connections between art, literature and archaeology. As Bell writes, “Waste and ruin, work time and nonwork time, ash and debris, notes, thoughts, experiences. How does material organize itself? From sculpture to mountain; tunnel to camera; sun to furnace; dusk to dust—this project thrives on analogy.”

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KRÜGER & PARDELLER

Aesthetic Basic Chronicle, Vol. 1

A work of both art and theory, Aesthetic Basic Chronicle is a visual and conceptual encyclopedia composed of hundreds of object installations, displays, and projects by the Austrian artist/curator/editorial team Krüger & Pardeller. Aligning itself with a socially activated political understanding of aesthetics and organized alphabetically by concepts such as abstraction, accumulation, activation pixel, polarization, position, uncertainty, universal and variable, the book invites a consideration of the political and social motives behind classification. Essays by Sabeth Buchmann, Johan Frederik Hartle, Kathi Hofer, Ilse Lafer, Marin Prinzhorn, Ruth Sonderegger, and George Toepfer thoughtfully examine Kruger & Pardeller’s oeuvre in relation to the role of “situation-specific” art, institutional critique and the space of the book.

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GARY KUEHN

Christiane Meyer-Stoll (Ed.)

American minimalist artist from the 1960s Gary Kuehn is featured in the comprehensive retrospective catalog published to coincide with his retrospective at Kunstmuseum Lichtenstein. Created in close collaboration with the artist, this long overdue survey provides insights covering five decades of sculptural, painterly and graphic work in which he explored the transformative power of physical processes and external forces. Interviews, artist texts and over 200 reproductions with emphasis on the 1960s make this book an indispensable document on the artist who participated in groundbreaking exhibitions, Eccentric Abstraction (1966), and When Attitudes Become Form (1969). Collected by numerous museums such as MoMA NY, The Whitney Museum and The Albertina. Texts by curators Cindy Hinant, Christiane Meyer-Stoll, Julian Rose, and republished historic texts by David Gray, Harris Rosenstein, George Segal, Seth Sieglaub and Andreas Vowinckel.

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GUILLERMO KUITCA

No Tomorrow

An evocative, alienated world of maps, memory and imagination pervades the art of Argentine artist Guillermo Kuitca, whose work is in the collections of such prestigious institutions as the TATE Modern, the Metropolitan Museum and the Hirschhorn. Kuitca’s psychologically and politically charged paintings use architecture, floor plans, baggage carousels and topography to create the paradox of a figure-less world in which human beings are constantly present. Some newer paintings adopt as a starting point a heavy, grey-brown form; in contrast, the map paintings seem to emerge from pure colors as aimless, wandering, wispy traces of light or air. This comprehensively illustrated exhibition catalog presents an important new body of work from one of the most original and relevant contemporary artists.

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GUILLERMO KUITCA

Michael C. FitzGerald

During a residency at Hauser & Wirth Somerset in June 2013, Argentinean artist Guillermo Kuitca created an immersive wall painting in the dining room of the residential building. This mural represents the first time Kuitca painted an entire space completely surrounding the viewer, and it subsequently triggered a shift in his artistic practice. The resulting new body of work forms the focus of this publication, which offers fascinating insights into matters of domestic space and architecture. This petite book book features a detailed record of Kuitca’s work with 60 color plates and an essay by professor of fine arts at Trinity College, Hartford, Michael C. FitzGerald, who has written extensively on Picasso and published several exhibition catalogs accompanying exhibitions at the Museum Picasso, Barcelona; the Whitney Museum of American Art, NY; and the Wadsworth Atheneum, Hartford.

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Friedrich Kunath

Home wasn’t Built in a Day

As the title of this exhibition catalog suggests, German artist Friedrich Kunath specializes in the sly, humorous tweaking of commonplace sentiments and ideas, uncovering an entirely new level of meaning beneath. Whether he’s creating drawings, texts, objects, photographs or videos, Kunath deals with themes like longing, loneliness and wanderlust. He combines personal life experiences with highbrow art-historical references into ironic installations that lead the viewer to evocative, metaphorical realizations – and frequently some rueful laughter. Whether it’s photos of a disappointed snowman on a beach vacation or a guy in bed reading a book titled “How to Get Up and Get Dressed,” this artist has much to say about contemporary life. The full-color catalog, shows works and installations from his recent Kunstverein Hannover show.

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