PETER SAUL

Martina Weinhart (Ed.)

Long before “Bad Painting” became a central concern of contemporary art, San Francisco–born painter Peter Saul (b. 1934) deliberately offended good taste. Employing a crossover of Pop Art, Surrealism, Abstract Expressionism, San Francisco funk and cartoon culture of the 1960s, Saul addressed the pressing political and social topics of his time. Vietnam, Reagan, protests, sex, drugs and the American dream clash in paintings rendered in screaming Day-Glo colors. Returning to San Francisco from Europe in 1956, Saul became a major figure in the 1960s and 1970s before moving to Austin, Texas, in 1980. His early work from the 1960s, recently reembraced by young curators and artists in the United States and Europe, has led to this first solo exhibition in Germany at the Schirn Kunsthalle, Frankfurt (2017). The vividly illustrated softcover catalog captures Saul’s vision of this tumultuous time in over 100 color reproductions. Saul’s work has long been collected by museums worldwide, from Centre Pompidou, Paris, to MoMA, NY.

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SCHAUBILDER

Thomas Thiel (Ed.)

As conversations between art, information design and science have grown in recent years, interest in the visual language of diagrams has exploded. Infographics, including diagrams, graphs of stock markets or schematic drawings, do not just serve display purposes but convey arguments pictorially—they present, organize and impart knowledge. In a network society in which images have become core media, the need for visual translations and an illustrative order is patently obvious. This companion publication to the exhibition and symposium Schaubilder (Diagrams) presents ten artists who deal with diagrammatic forms in their work. The additional texts from art theory, philosophy and information design encourage an ongoing discussion of the theme, by Nicolas Bourquin, Ruth Buchanan, Luis Jacob, Eva Kotátková, Susanne Leeb, Niloufar Tajeri and Kirsten Wagner, among others.

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Thomas Schütte

Big Buildings: Models and Views 1980 – 2010

Internationally acclaimed as one of the most significant contemporary German artists – especially since winning the prestigious Golden Lion at the Venice Biennale in 2005 – Schütte creates sculptures and installations addressing many issues with irony, humor and intensity. This impeccably produced, full-color exhibition catalog is the first retrospective publication he has allowed during his impressive career, stretching back 30 years. Schütte’s work encompasses voluminous sculptures that reflect the life of ordinary people, architectural models, memorial sites, drawings and watercolors. The exhibition catalog is part of a series from the Museo Reina Sofia, Madrid, featuring monographs on some of the great contemporary artists of today including Sigmar Polke, Gerhard Richter and Georg Baselitz.

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MIRA SCHENDEL

Monotypes

Taisa Palhares

Brazilian artist Mira Schendel (1919–1988) is one of Latin America’s most significant and prolific postwar artists whose paintings, drawings and sculptures address themes of existence, language and meaning. Accompanying her 2015 London exhibition of monotypes, this substantial and elegant exhibition catalog includes almost 200 color reproductions of these delicate works printed on rice paper. Giving background to Schendel’s history and process is an essay by exhibition curator Taisa Palhares (co-curator of the Schendel retrospective at the Tate Modern, 2013). Schendel lived in Milan and Rome before emigrating to Brazil in 1949 and settling in São Paulo, where she became part of an intellectual circle of critics, psychoanalysts, physicists and philosophers—many of them Jewish émigrés like herself. Schendel was included in the 1968 Venice Biennale and her work has been exhibited extensively in Brazil, Mexico, E urope and the USA.

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Markus Schinwald

Markus Heinzelmann and Nicolaus Schafhausen

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CHRISTOPH SCHLINGENSIEF

German Pavillon: 54th Venice Biennale 2011

The provocative German actor/director/artist Christoph Schlingensief was deep into planning Germany’s 2011 Venice Biennale pavilion when he died in August, 2010, at age 49. Rather than attempt to complete Schlingensief’s project, curator Susanne Gaensheimer and a circle of Schlingensief’s closest collaborators turned the pavilion into a tribute to this multifaceted artist. This extensively illustrated catalog focuses on existing theatrical productions and films by Schlingensief, offering insights into central aspects of his work, focusing particularly on the artist’s engagement with his own illness and biography, the wide field of cinema and film, and his initiative to found an “opera village” in the African nation of Burkina Faso. Includes commentary and tributes from over 30 internationally renowned curators, artists, critics and performers, including Voxi Bärenklau, Thomas Demand, Boris Groys, Carl Hegemann, Hans Ulrich Obrist, René Pollesch and more.

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KEVIN SCHMIDT

EDM House

Rosemary Heather & N icolaus Schafhausen (Eds.)

Kevin Schmidt is best known for addressing notions of displaced spectacle by staging elements of urban culture against the backdrop of the natural world. This compact but elegant exhibition publication, the fourth in the series from the artists’ residency, Fogo Island Arts, documents the installation and film EDM House (2013) in which Schmidt transformed the abandoned British Columbia homestead where he lived for four months into a meeting place of the urban and rural. By superimposing EDM (electronic dance music) and colored lights onto the remote location, Schmidt imbues the scenery with a chilling and exhilarating sense of displacement augmented by his disorienting camera work, and critiques our pioneering expeditions into the natural world. This slender volume includes stunning color photographs of the installation plus reflections on Schmidt’s practice by writer Jeff Derksen, a fictional narrative by novelist Michael Turner, and artist interview by Jack Stanley.

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Jochen Schmith

Certain Arrangements

As the world reels from the recent financial meltdown, the always-relevant artist collective Jochen Schmith makes its comment on the situation – and on the perennial question of how value is determined in the art world – with the fascinating site-based project documented in this catalog. A bunch of tulips at the entry to the Salve Hospes Villa tips you off: the subject is the first great speculative bubble, Dutch merchant banks gambling on tulip bulbs in the 1630s, which ended in massive financial disaster and prices plunging more than 95 percent. As viewers tour the bourgeois villa, they experience interventions set up by Jochen Schmith – founded in 2000 by Carola Wagenplast, Peter Hoppe, and Peter Steckroth – like projections, veils and a copy of the stolen Brueghel painting “Flowers in a Glass Vase” painted by an assembly line in China. A playful, smart and thought-provoking project.

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JULIAN SCHNABEL

Deus Ex Machina

A fascinating selection of new works by international art superstar Julian Schnabel comes together in this catalog of his first major solo exhibition in Germany since 2004. The synthetic backgrounds for these new pieces are mostly enlarged snapshots—photographs of images such as Indian deities or of historic paintings—taken by the artist himself. Also an acclaimed film director, Schnabel uses these materials and their history as reference points, or “fragments of the world.” He says that “using existing material adds an ethnographic aspect to the work, in that it introduces a real place and a real time to the aesthetic reality.” This slim, large-format book includes reproductions and installation photos and a text by critic Robert Fleck.

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LEANDER SCHÖNWEGER

Die Nebel lichten sich/ The Fog Disperses

A deserted campsite, a car with no one inside … Is anybody home? What has happened? E volving from a project awarded the Kunsthalle Wien Prize 2014, the intent of contemporary artist Leander Schönweger’s latest installation, Die Nebel lichten sich (The Fog Disperses), documented in this slender exhibition catalog, is to engage the mystery rather than offer solutions. By leaving the event unexplained, Schonweger teases out questions regarding the power of knowledge, and the imbalance between control and controllability. Photographic fragments, preparatory notes, texts and recent sketches accompany color photographs of the installation. Both exhibition and catalogue are the outcome of a cooperative project between the Kunsthalle Wien and the University of Applied Arts. F oreword by Gerald Bast and curator and director of Kusthalle Wien, N icolaus Schafhausen.

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