VIEHOF COLLECTION

International Contemporary Art

Dirk Luckow (Ed.)

Assembling over 950 works in painting, drawing, photography, sculpture, installations and video with an emphasis on German art from the postwar era through today, Deichtorhallen Hamburg presents one of the most significant German private collections of contemporary art: the Viehof Collection. The comprehensive catalog focuses on outstanding groups of work by artists including Georg Baselitz, Joseph Beuys, Candida HoÅNfer, JoÅNrg Immendorff, Sigmar Polke, Daniel Richter and Rosemarie Trockel. Edited by curator Dirk Luckow, the extraordinary range of this collection includes an overview of Minimalism as represented by Carl Andre and Dan Flavin and others; the 1980s in Cologne as defined by Walter Dahn, Georg Herold, Martin Kippenberger and Albert Oehlen; the Düsseldorf School of Photography with Struth, Ruff and Sasse; and the figurative art of the 21st century in works by Peter Doig, Thomas Houseago, Jonathan Meese, Neo Rauch, Tal R, Corinne Wasmuth and many others. Essays by noted independent curator Philipp Kaiser, Susanne Titz, Wolfgang Ullrich and others. Full list of contributors include Carl Andre, Siegfried Anzinger, Stephan Balkenhol, Georg Baselitz, Joseph Beuys, Marcel Broodthaers, André Butzer, James Lee Byars, Mircea Cantor, Tony Cragg, Walter Dahn, Peter Doig, Elger Esser, Peter Feldmann, Dan Flavin, Günther Förg, Eberhard Havekost, Erwin Heerich, Georg Herold, Candida Höfer, Jonathan Horowitz, Thomas Houseago, Jörg Immendorff, Robert Indiana, Christian Jankowski, Hubert Kiecol, Martin Kippenberger, Per Kirkeby, Wiliam Kentridge, Imi Knoebel, Jannis Kounellis, Mark Leckey, Josephine Meckseper, Jonathan Meese, Meuser, Mario Merz, Boris Mikhailov, Juan Muñoz, Hermann Nitsch, Albert Oehlen, Julian Opie, Jorge Pardo, Pavel Pepperstein, Manfred Pernice, Raymond Pettibon, Otto Piene, Peter Piller, Sigmar Polke, Tal R, Arnulf Rainer, Neo Rauch, Tobias Rehberger, Daniel Richter, Thomas Ruff, Bojan Sarcevic, Jörg Sasse, Markus Schinwald, Gregor Schneider, Corinna Schnitt, Thomas Schütte, Norbert Schwontkowski, Cindy Sherman, Michael Smith, Kim Sooja, Beat Streuli, Andreas Siekmann, Thomas Struth, Wolfgang Tillmans, Rosemarie Trockel, Günther Uecker, Joep van Lieshout, Dan Vo, Jeff Wall, Andy Warhol, Corinne Wasmuht, Zink Yi and Thomas Zipp.

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VIGGO MORTENSEN

Recent Forgeries

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BILL VIOLA

Installations

Dirk Luckow & Kira Perov (Eds.)

To mark the 500th anniversary of Martin Luther’s Protestant Reformation, a comprehensive solo exhibition by renowned American media artist Bill Viola (b. 1951) will take place at contemporary museum Deichtorhallen Hamburg, June through September 2017. Featured are 13 large-scale video installations from 1991 to the present, some more than 30 feet high. Viola has long explored core themes of human life—birth, emotion, spirituality, love and death with a particular interest in the mystical traditions of Christianity, Zen Buddhism and Islam. His works convey the experience of the sublime and the spiritual in the global language of the 21st century, encouraging the viewer to reflect on the fundamental questions of life and one’s own existence. Documenting this monumental show is the extensively illustrated catalog featuring 80 full-color plates along with essays by Bill Viola, Dirk Luckow, Dorothee Böhm and Wulf Herzogenrath. A few past exhibitions include Grand Palais, Paris; MoMA, NY; the American Pavilion, 46th Venice Biennale; and the Palazzo Strozzi, Florence.

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Visible

Where Art Leaves Its Own Field and Becomes Visible as Part of Something Else

Angelika Burtscher and Judith Wielander

Visible documents a research project by Cittadellarte-Fondazione Pistoletto in collaboration with Fondazione Zegna. The publication highlights nine curators, who showcase 41 ways of making art. The purpose of the book is to “focus on artists who have demonstrated their capacity to deal affirmatively with the need to develop new economic models, the distribution of resources, the accessibility of information, the urgency to rethink ecology and landscape issues, the potential of differences and the development and experimentation of participatory and democratic political models.” The nine curators are Cecilia Canzani, Anna Colin, Hu Fang, Emiliano Gandolfi, Julieta Gonzalez, Raimundas Malasauskas , Mihnea Mircan, Gabi Ngcobo and Elvira Dyangani Ose.

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CECILIA VISSERS

Beyond

Sculptor Cecilia Vissers’s hard-edged minimalist sculptures in aluminum and steel are grounded in remote and dramatic landscapes. This first major survey of Vissers’s work from 2009 through the present includes color installation shots of her sculptures and black-and-white photographs of the landscapes that inspired them. In essays and interviews, art historian Cees de Boer highlights the relationship of Vissers’s work to the landscapes of Scotland and Ireland; art historian Alistair Rider discusses her use of materials and industrial processes; and gallerist Vilis, director at Inde/Jacobs in Marfa, Texas, focuses on her relationship to the Chinati Foundation and other minimalist artists, including Donald Judd, Carl Andre and others. With a career beginning in the early 1990s, Dutch artist Vissers restricts her palette to gray, black and orange and through a deeply considered shaping of the object, inspires a feeling of deep spatial awareness and the loneliness of being outdoors among the forces of nature.

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Marianne Vitale

Oh Don’t Ask Why

The recent work of New York–based artist Marianne Vitale and a very smart interview between the artist and artist Mauricio Cattelan make this slender but oversized exhibition catalog from CFA, Berlin, a compelling snapshot of Vitale’s work. A selection of totemic steel sculptures (some installed in New York on the High Line), a large-scale installation comprised of a saloon bar facing shelves of emotionally evocative papier mâché masks and a series of textured wall pieces made with reclaimed wood and old tar roofs were all inspired by the artist’s current interest in America’s frontier history. Vitale first came to wide attention through her performances in RoseLee Goldberg’s Performa 07 and 09 and was included in the 2010 Whitney Biennial. Recently she has tapped into the anxieties surrounding America’s frontier history with sculptural pieces that invoke the deep hunger for autonomy and freedom that drove the ruthless expansion.

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Voice Over

On Staging and Performative Strategies in Contemporary Art

Cecilia Widenheim

The publication Voice Over is the first part of an ongoing project examining staging, theatricality, and performative strategies in contemporary art practices. It includes contributions by the artists Miriam Bäckström, Goldin+Senneby, Saskia Holmkvist, Fia-Stina Sandlund, and by Geist magazine, staging the spheres of invisibility, the voices of corporate culture, the manipulative power of contemporary role play, in addition to a cinematic re-reading of an iconic theater play, informed by feminist theory. It also includes an essay by curator and writer Anselm Franke – “Afterword on the Theatre of Transgression” – and an introduction by Iaspis’ director, Cecilia Widenheim.

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JORINDE VOIGT

Botanic Code

Botanic Code began as a walk in the park, and ripened into a dazzling and complex work of art – and an evocative oversized exhibition catalog. German artist Jorinde Voigt spent a year walking through some of the world’s greatest botanical gardens (including Sydney, Cologne, Mexico City and Berlin), taking photos of plants that caught her fancy. She assigned each plant colors on the Pantone scale, then, using a computer algorithm, transferred those colors proportionately to a series of 12-foot-long rods. When all the rods for each garden were completed, they were mounted together, forming something like a delicate barcode for each distinct garden. Full-color glossy pages show the rod installations, like minimalist sculpture; a separate section on laid paper, bound into the center of the book, explains the artist’s mathematical methodology.

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VOLKER HUELLER

Nostalgia without Being Nostalgic

Margit Brehm & Daniel Kunitz

The first encounter with a picture by Berlin-based artist Volker Hueller has “something of the déjà-vu about it,” writes Margit Brehm in this monograph-exhibition catalog on the most recent works by the student of influential German painter Norbert Schwontkowski. “We cannot avoid the impression that what we are seeing as something new does set off an echo in our memory.” This particularly luxurious publication has printed linen covers and fold-out pages and includes reproductions, installation photos and photos taken in the context of the artist’s studio. Known for attaching foreign material such as fake fur, plastic sheeting, imitation reptile skin, metal filings, straw to the surface of his paintings, Hueller chooses not to quote reality, but to absorb it into his fictional world.

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VOLUME 2

Richard Maloy / Jeena Shin / Koki Tanaka / Meredith Johnson / Jim Allen / Campbell Patterson / Dave / Alicia Frankovich / Cao Fei / Liz Maw

An exciting curator makes all the difference in defining the direct contribution of an institution to an art scene. Lauded most highly under the 2009-2011 leadership of Emma Bugden, Auckland’s Artspace has become a driving force in New Zealand’s contemporary art world through its innovative and often risk-taking exhibitions and events. This catalog fully documents the work of 10 artists who showed at Artspace during Bugden’s tenure through essays and installation photos.

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