Preview and Complete Catalogue Hatje Cantz Verlag Fall 2011

Hatje Cantz Verlag Preview and Complete Catalogue 

Fall 2011

Dear Friends of Hatje Cantz, 

The GANSKE VERLAGSGRUPPE is taking over Hatje Cantz. 

This welcome news, which became public in early May, has 

brought a happy ending to yet another chapter in the sixty- 

five-year history of Hatje Cantz. 

Considering that sales of publishing companies are not 

always positive experiences, we are tremendously relieved 

that, like Hatje Cantz, GANSKE is committed to the same high 

standards and top-quality products. We are very excited and 

look forward to joining forces with our new colleagues. 

Hatje Cantz—including all of our employees, our offices in 

Stuttgart and Berlin, and our ambitious line of art books— 

will remain as is, fitting perfectly into GANKSE’s cultural 

portfolio. Publisher Thomas Ganske underscores this when 

he says, “As a company, Hatje Cantz is an outstanding ad- 

dition to our long-term concentration on art, design, and 

photography.” For Hatje Cantz, this represents an important 

step toward a future full of wonderful books on art. 

Early evidence of this lies right before you: our program for 

fall 2011. We are grateful to everyone who has loyally stood 

by us during this difficult period. 

We hope that you enjoy our many new and diverse publica- 

tions, and wish you great success with them. 

Annette Kulenkampff 

with Markus Hartmann and Cristina Steingräber

Pages 2/3 

time for art 

surreal oBjects 

Once again, our Time for Art event for book dealers 

(held on March 2 at the Schirn Kunsthalle Frankfurt) 

attracted a great deal of attention. With a tour of the 

exhibition Surreal Objects, which was followed by a 

reception, our goals were to awaken enthusiasm, make 

it possible for people to cultivate and to experience 

art first hand our contacts with book dealers. 

e-Books: new to our line 

of PuBlications 

Hatje Cantz began offering e-books in March; the 

initial selection has been limited to volumes of text 

only. Art for Sale is our first English title available 

in both digital and print form. The fundamentals of 

the art market are informatively and entertainingly 

explained by Dirk Boll, managing director of Christie’s, 

Zurich. Notebooks for dOCUMENTA (13) will follow. 

Our e-books will be distributed first through Libri and 

Apple, but other distributors, such as Ciando, will 

eventually carry Hatje Cantz products. 

Volume 1 of Gerhard richter’s 

cataloGue raisonné 

In fall 2011 the first fruits of an ambitious research 

project will be harvested. In September we will publish 

the first of a five-volume catalogue raisonné of the 

paintings and sculptures of Gerhard Richter. The 

catalogue not only comme morates the world-famous 

artist’s eightieth birthday in February 2012, but also 

accompanies the major retrospective opening in 

London in October 2011, which will move on to Berlin 

in February 2012, followed by Paris. 

eVeryone’s talkinG aBout 

the weather 

Everyone is talking about the consequences of 

climate change and the capricious weather around 

the world. Our books are also about the weather— 

in very different and creative ways. Kevin Erskine 

fascinates us with his photographs of supercells, 

which show us the breathtaking beauty of nature, 

while demonstrating its fear-inducing power 

(pp. 28–29). Matthias Braschler and Monika Fischer 

cast a critical eye on the sometimes cataclysmic 

effects of climate change around the world 

(pp. 32–33), while Olaf Otto Becker shows us how 

the weather affects art or, more precisely, photographs 

of it, for “at night, when it’s raining, the 

landscape seems thoughtful, the visual information 

is minimal, the composition has more room” 

(pp. 26–27). So, please, let’s talk about the weather. 

Book fairs: fall 2011 

We will have booths at the following fairs: 

Beijing International Book Fair, 

August 31–September 4, 2011 

London Art Book Fair, September 23–25, 2011 

Frankfurt Book Fair, October 12–16, 2011 

Offprint Paris, November 18–21, 2011 

Stuttgart Book Weeks, 

November 17–December 11, 2011 

wolfGanG tillmans’s 

ok to Print 

Hatje Cantz was thrilled to have been paid a visit 

by Wolfgang Tillmans, who spent two days in May 

overseeing the printing of his latest book, Abstract 

Pictures, in Ostfildern. This is the most comprehensive 

publication to focus on his nonfigurative works. 

The delicate streaks of color in the series Blushes 

and Freischwimmer, and the cast shadows in his Paper 

Drops were a particularly enjoyable challenge for 

the printers at Cantz. Tillmans was obviously having 

a great time at the machine during the printing 

of our Collector’s Edition, created when he added 

abstract designs and shapes to the back of register 

sheets left over from the print run of the book.

Form Follows Apple 

“Less, but better.” Dieter Rams 

© Apple, 2000, iBook / Photo: Maik Carstensen 

© Apple, 2002, iPod / Photo: Roman Raacke 

www.hatjecantz.com Highlights Design apple design 

5 

❙ A must for all Apple fans 

❙ Apple sets design standards—this lavishly illustrated volume explains why 

Featuring over three hundred ex- on numerous aspects of design 

amples of designs, this publication history, deepening one’s under- 

focuses on Jonathan Ive (* 1967 in standing of contemporary indus- 

London), Senior Vice President of trial design. Following an analysis 

Industrial Design for Apple, who of the forms and functions of 

since 1997 has been responsible for the featured products, the book 

the design of all of the company’s provides an explanation of the 

products. Over the past decade, inno vative production methods 

Ive and his team of designers and materials applied. Last but not 

wrote electronics design history least, it points out Apple design’s 

with their standard-setting iMacs, noticeable references to the 

iPhones, iPods, and iPads. Their simplified forms of the products 

user-friendly, distinct, and elegant manufactured by the successful 

design has made a significant con- German brand Braun, and lists the 

tribution to the brand’s cult status. Ten Rules for Good Design pro- 

This volume compares various apmulgated by the company’s chief 

proaches to design and casts light designer, Dieter Rams. 

Apple Design 

Ed. Sabine Schulze, Ina Grätz, 

foreword by Sabine Schulze, texts 

by Friedrich von Borries, Bernhard 

E. Bürdek, Ina Grätz, Harald Klinke, 

Bernd Polster, Henry Urbach, Thomas 

Wagner, Peter Zec, photos by Roman 

Raacke, graphic design by Jung 

von Matt 

C. 304 pp., c. 200 color ills., 

25 × 30 cm, softcover 

€ 39.80, $55.00, £35.00 

ISBN 978-3-7757-3010-5 (German) 

ISBN 978-3-7757-3011-2 (English) 

September 2011 

9 7 8 3 7 7 5 7 3 0 1 1 2 

Exhibition schEdulE: 

++ MusEuM für Kunst und GEwErbE, 

haMburG, auGust 26, 2011–January 15, 

2012

6 www.hatjecantz.com Highlights Art franÇois berthoud 

7 

❙ Elegant and erotic: unique illustrations from the world of fashion 

Swiss artist François Berthoud from Yves Saint Laurent, Bulgari, 

(* 1961) is one of today’s most out- Calzedonia, and Ferragamo to 

standing fashion illustrators. He Viktor & Rolf and Sonia Rykiel. Here, 

began his work in the fashion capi- the object being depicted and 

tal of Milan in 1982, and quickly Berthoud’s visual interpretation 

developed his inimitable signature combine to form a synthesis of 

illustrations of clothes, shoes, hand- the arts that essentially influences 

bags, perfumes, and accessories. the perception and successful 

Berthoud gained worldwide prom- marketing of the product. This 

inence through his work for maga- generous publication was develzines 

such as Vanity and Vogue. oped in collaboration with François 

His expressive, highly aesthetic lino- Berthoud himself. It presents 

cuts, drip paintings, and computer ori ginals, sketches, as well as work 

graphics accompany countless samples, allowing the reader to 

fashion advertising campaigns— appreciate the entire work process. 

François Berthoud 

Studio 

The Art of Fashion Illustration 

Ed. Museum für Gestaltung Zürich, 

Christian Brändle, text by Jeroen 

van Rooijen, graphic design by 

Patrick Roppel 

English / German 

The art of fashion illustration! 



€ 35.00, $55.00, £32.50 

ISBN 978-3-7757-3014-3 

July 2011 

9 7 8 3 7 7 5 7 3 0 1 4 3 


++ MusEuM für GEstaltunG, Zurich, 

JunE 22–octobEr 9, 2011

8 www.hatjecantz.com Highlights Art gerhard richter 

9 

Gerhard Richter 

Catalogue Raisonné 

Volume 1, Nos. 1–198, 

1962–1968 

❙ The launch of a monumental publishing project: the five-volume catalogue raisonné 

of Gerhard Richter’s paintings and sculptures 

Ed. Dietmar Elger for the 

Gerhard Richter Archiv, Staatliche 

Gerhard Richter’s oeuvre embraces ing and preparing this publication. Kunstsammlungen Dresden, 

in excess of three thousand indi- The five-volume catalogue raisonné text by Dietmar Elger, graphic 

vidual works. Over a period of five of all of Richter’s paintings and design by Gabriele Sabolewski 

decades he has created a stylisti- sculptures will be published over 

cally heterogeneous, complex body the next seven years. Aside from English / German 

of work that testifies to his status the richly colored illustrations, C. 520 pp., c. 520 ills, 420 in color, 

as the most important living artist many of them full-page, it includes 25 × 29 cm, clothbound 

of our time. This long-awaited first full technical details, information € 248.00, $325.00, £180.00 

volume of the catalogue raisonné about the artist’s handwritten Subscription price, per volume, 

is being released on the occasion notes, and the provenance, bibli- for purchase of all volumes 

of the artist’s eightieth birthday in ography, and exhibition list for each € 198.00 

February 2012. Dietmar Elger, direc- individual work. This information ISBN 978-3-7757-1978-0 

tor of the Gerhard Richter Archive is supplemented by commentary, October 2011 

at the Staatliche Kunstsammlungen 

Dresden, has spent years research- 

quotes, and comparison images. 

“One of the most influential painters working today.” 

The Museum of Modern Art, New York 

The first volume encompasses the works Gerhard Richter 

assigned numbers 1 to 198, covering the years 1962 to 1968. 

A total of 385 paintings and sculptures are listed, including 

more than 30 of which were previously unknown. 

9 7 8 3 7 7 5 7 1 9 7 8 0

10 www.hatjecantz.com Highlights Art documenta (13) 

11 

№ 018: Mario Bellatin 

The Hundred Thousand Books 

of Bellatin 

English / German, 28 pp., 1 ill., 

14.8 × 21 cm, softcover 

C. € 6.00, $10.00, £5.99 

ISBN: 978-3-7757-2867-6 

№ 019: Dario Gamboni 

The Listening Eye: Taking Notes 

after Gauguin 

English / German, 36 pp., 23 ills., 


C. € 6.00, $10.00, £5.99 

ISBN: 978-3-7757-2868-3 

№ 020: Romaine Moreton 

Poems from a Homeland 


10.5 × 14.8 cm, softcover 

C. € 4.00, $10.00, £3.99 

ISBN: 978-3-7757-2869-0 

№ 021: Cornelius Castoriadis 

Introduction by Nikos Papastergiadis 



C. € 8.00, $12.90, £7.99 

ISBN: 978-3-7757-2870-6 

№ 022: Suely Rolnik 

Archive Mania 



C. € 6.00, $10.00, £5.99 

ISBN 978-3-7757-2871-3 

№ 023: Nalini Malani 

& Arjun Appadurai 

The Morality of Refusal 

English / German, 48 pp., 23 ills, 


C. € 8.00, $10.00, £7.99 

ISBN 978-3-7757-2872-0 

№ 024: Mariana Castillo Deball 

& Roy Wagner 

Coyote Anthropology: 

A Conversation in Words 

and Drawings 

English / German, 24 pp., 

numerous ills., 

14.8 cm × 21 cm, softcover 

C. € 6.00, $10.00, £5.99 

ISBN 978-3-7757-2873-7 

№ 025: Annemarie Sauzeau 

Alighiero Boetti's One Hotel 



C.. € 6.00, $10.00, £5.99 

ISBN 978-3-7757-2874-4 

№ 026: Mario Garcia Torres 

A Few Questions Regarding the 

Hesitance at Choosing between 

Bringing a Bottle of Wine or 

a Bouquet of Flowers 



C. € 6.00, $10.00, £5.99 

ISBN 978-3-7757-2875-1 

№ 027: Franco Berardi Bifo 

Ironic Ethics 


10.5 cm × 14.8 cm, softcover 

C. € 4.00, $10.00, £3.99 

ISBN 978-3-7757-2876-8 

№ 028: Griselda Pollock 

Allo-Thanatography or Allo-Auto- 

Biography: A Few Thoughts on 

One Painting in Charlotte Salomon's 

Leben? oder Theater?, 1941–42 



C. € 6.00, $10.00, £5.99 

ISBN 978-3-7757-2877-5 

№ 029: Mariam & Ashraf Ghani 

Afghanistan: A Lexicon 

English, 48 pp., 72 ills., 


C. € 8.00, $12.90, £7.99 

ISBN 978-3-7757-2878-2 

№ 030: Pamela M. Lee 

Illegibility 


14.8 cm × 21 cm, softcover 

C. € 6.00, $10.00, £5.99 

ISBN 978-3-7757-2879-9 

№ 031: Alexander Kluge 

He Has the Heartless Eyes of One 

Loved above All Else 



C. € 4.00, $10.00, £3.99 

ISBN: 978-3-7757-2880-5 

№ 032: Doug Ashford, 

Julie Ault, Group Material 

AIDS Timeline 



C. € 8.00, $12.90, £7.99 

ISBN: 978-3-7757-2881-2 

№ 033: Donna Haraway 

SF: Speculative Fabulation 

and String Figures 



C. € 6.00, $10.00, £5.99 

ISBN: 978-3-7757-2882-9 

№ 034: Ingo Niermann 

Choose Drill 



C. € 4.00, $10.00, £3.99 

ISBN: 978-3-7757-2883-6 

dOCUMENTA(13): All publications available from Hatje Cantz 

❙ 100 Notes―100 Thoughts, an integral part of the activities 

of dOCUMENTA (13) prior to the actual exhibition 

As a prelude to the 2012 exhibition, the unpublishable, the voice— 

dOCUMENTA (13) and Hatje Cantz and the reader is our alibi and 

are publishing a series of note- ally. Notetaking encom passes 

books, 100 Notes—100 Thoughts, witnessing, drawing, writing, 

that is composed of facsimiles of and diagrammatic thinking; it is 

existing notebooks, commissioned spe culative, manifests a prelimi- 

essays, collaborations, and convernary moment, a passage, and 

sations. A note is a trace, a word, acts as a memory aid. Commis- 

a drawing that suddenly becomes sioned by dOCUMENTA (13)’s 

part of the thought process and is Artistic Director Carolyn Christovtransformed 

into an idea. This pub- Bakargiev together with Head 

lication project follows that path, of Department-Member of Core 

presenting the mind in a prologue Agent Group, Chus Martínez, 

state, in a prepublic arena. A space this series is edited by Head of 

for intimacy and not yet of criticism, 

dOCUMENTA (13) is publishing 

Publications, Bettina Funcke. 

dOCUMENTA (13) 

100 Notes―100 Thoughts 

docuMEnta (13) Exhibition: 

JunE 9–sEptEMbEr 16, 2012 

Release date for these notebooks: 


The notebooks are also available 

as e-books from the iBookstore 

and Libri.de 

For more information on 

dOCUMENTA (13) and all notebooks, 

please visit our website 

at www.hatjecantz.com

12 

9 7 8 3 7 7 5 7 2 9 8 7 1 

www.hatjecantz.com Highlights Art max beckmann 

13 

❙ Beckmann’s liberating new start in the United States 

Max Beckmann (1884–1950) 

moved to the United States in the 

late summer of 1947. He would 

spend the last three years of his 

life far away from Europe, years 

that signified a liberating, intense 

new start for him. The vastness of 

the foreign continent, its coasts, 

the atmosphere of its “wild” landscapes, 

and its big cities all formed 

a palpable source of inspiration 

for Beckmann, who had never before 

had this type of physical experience 

of space. Working with 

Art to Hear: Max Beckmann & America 

incredible energy and productivity, 

Beckmann produced numerous 

major works in these few short 

years. From today’s perspective, 

Beckmann’s independence is all 

the more impressive when seen 

in relation to the development 

of abstract art that was taking 

place in America at the same time. 

Beckmann retained his link to 

representationalism and its metaphorical 

themes, yet still managed 

to assert himself as a European 

painter of international status. 

The official audio guide and companion volume 

Audio sample at www.hatjecantz.com 

C. 48 pp., c. 42 ills., 

22 × 22 cm, hardcover, with CD 

€ 16.80, $30.00, £15.99 

ISBN 978-3-7757-2986-4 (German) 

ISBN 978-3-7757-2987-1 (English) 

October 2011 

Max Beckmann 

& America 

Ed. Jutta Schütt, Städel Museum, 

Frankfurt am Main, texts by David 

Anfam, Karoline Feulner, Ursula 

Harter, Lynette Roth, Stefana Sabin, 

Jutta Schütt, Christiane Zeiller, graphic 

design by Andreas Platzgummer 

C. 280 pp., c. 275 ills., 220 in color, 

23 × 28 cm, hardcover 

C. € 39.80, $60.00, £35.00 

ISBN 978-3-7757-2984-0 (German) 

ISBN 978-3-7757-2985-7 (English) 


9 7 8 3 7 7 5 7 2 9 8 5 7 


++ städEl MusEuM, franKfurt aM 

Main, octobEr 7, 2011–January 8, 

2012

14 www.hatjecantz.com Highlights Art max beckmann 

15 

❙ Highlights from the master’s oeuvre—the landscapes 

Max Beckmann is one of the titans of still lifes, making the viewer 

of modern art, although he con- aware of the artist’s presence. On 

sidered himself the last of the Old the other hand, the paintings are 

Masters. This publication exam- realistic reproductions of places he 

ines the artist’s landscape paint- visited, for which Beckmann also 

ings, which are not characterized made reference to photographs 

by layers of allegorical meaning, as or postcards. A third artistic idea 

are his works in other genres, and came from art itself: flashes of 

their splendid painterly qualities Beckmann’s immense knowledge 

are instantly perceptible. One of of art history can be seen in his 

the foundations for these land- citations of other works. Thus, his 

scapes is the potent experience of landscapes can be regarded as a 

nature. Personal objects belonging kind of summation of his under- 

to Beckmann frequently appear 

in the foreground, like remnants 

standing of the world. 

Max Beckmann 

The Landscapes 

Ed. Bernhard Mendes Bürgi, 

Nina Peter, texts by Hans Belting, 

Beatrice von Bormann, Eva Demski, 

Bernhard Mendes Bürgi, Nina Peter, 

Maren Stotz, graphic design by 

Schott & Schibig 

C. 208 pp., c. 135 ills., 115 in color 

24.5 × 30.5 cm, hardcover 

C. € 49.80, $75.00, £45.00 

ISBN 978-3-7757-3146-1 (German) 

ISBN 978-3-7757-3147-8 (English) 


9 7 8 3 7 7 5 7 3 1 4 7 8 


++ KunstMusEuM basEl, sEptEMbEr 4, 

2011–January 22, 2012

16 www.hatjecantz.com Highlights Art dalÍ, ernst, mirÓ 

17 

❙ New documentation of the origins, history, and current impact of Surrealism 

Surrealism arose during the period 

between the two World Wars and 

became one of the most influential 

artistic and literary movements 

of the twentieth century. Profoundly 

marked by the senseless 

experiences of World War I, the 

Surrealists, under the leadership of 

André Breton, took off “on a passionate 

search for freedom in all of 

its forms.” By incorporating the 

subconscious into the creative process, 

they developed completely 

new forms of expression. Simultaneously, 

they invented radically 

new ways of exhibiting their art. 

This presentational tradition is 

carried on in both private collections 

and public museums to this 

day. Featuring exemplary works 

by prominent Surrealists—from 

Salvador Dalí, Max Ernst, and 

Joan Miró to René Magritte, Yves 

Tanguy, and Meret Oppenheim— 

the reader will experience characteristically 

Surrealist modi operandi 

as well as Surrealist strategies. 

It is not only contemporary artists 

who find sources of inspiration 

and contemporary references in 

Surrealism. 

“I believe in the future transmutation of those two 

seemingly contradictory states, dream and reality. . .” 

André Breton 

Dalí, Ernst, Miró 

Surrealism in Paris 

Ed. Fondation Beyeler, texts 

by Philippe Büttner, Julia Drost, 

Annabelle Görgen-Lammers, 

Robert Kopp, Philip Rylands, 

graphic design by Marie Lusa 

C. 272 pp., c. 230 ills., 

c. 200 in color, 


C. € 49.80, $75.00, £45.00 

ISBN 978-3-7757-3160-7 (German) 

ISBN 978-3-7757-3161-4 (English) 


9 7 8 3 7 7 5 7 3 1 6 1 4 


++ fondation bEyElEr, basEl / riEhEn, 

octobEr 2, 2011–January 29, 2012

18 www.hatjecantz.com Highlights Art memyselfandi 

19 

Artists featured 

(selection): 

Rogi André 

Richard Avedon 

Cecil Beaton 

Bill Brandt 

Brassaï 

René Burri 

Robert Capa 

Henri Cartier-Bresson 

Lucien Clergue 

Jean Cocteau 

Denise Colomb 

Robert Doisneau 

David Douglas Duncan 

Jaques-Henri Lartigue 

Herbert List 

Dora Maar 

Madame d'Ora 

Willy Maywald 

Gjon Mili 

Lee Miller 

Inge Morath 

Arnold Newman 

Roberto Otero 

Irving Penn 

Edward Quinn 

Man Ray 

Gotthard Schuh 

Michel Sima 

André Villiers 

❙ Brilliant portraits or staged mythologizing scenarios: world-famous 

photographers see Picasso 

❙ A grand series of images comprised of around two hundred photos taken 

over a period of five decades 

Almost all of the great twentieth- 

century portraitists photographed 

Pablo Picasso, including Cecil 

Beaton, Henri Cartier-Bresson, 

Robert Doisneau, Man Ray, Irving 

Penn, and Lee Miller. Picasso was 

one of the most frequently photographed 

celebrities of the last 

century, as these staged portraits, 

classic sittings, and snapshots 

prove. This opulently illustrated 

volume is the first to examine 

the tense relationship between 

Picasso’s wish to control the presentation 

of his public persona and 

the ambitions and ideas of the 

famous photographers. Picasso 

becomes the example for an investigation 

into what kind of role 

the portrait of the artist plays in 

shaping his myth. While some of 

the photographers were commissioned 

by Picasso himself, were 

even friends with him, they considered 

themselves autonomous 

artists. Last but not least, the book 

examines the question of if (and 

to what extent) each of the photographic 

visual vocabularies was 

capable of asserting itself against 

the domineering presence of the 

century’s most famous artist. 

MemyselfandI 

Photographic Portraits of Picasso 

Ed. Museum Ludwig, Cologne, texts 

by Kerstin Stremmel et al., graphic 

design by Kühle und Mozer 


21.5 × 24 cm, hardcover 

C. € 29.80, $45.00, £26.99 

ISBN 978-3-7757-3198-0 (German) 

ISBN 978-3-7757-3199-7 (English) 


9 7 8 3 7 7 5 7 3 1 9 9 7 


++ MusEuM ludwiG, coloGnE, 

sEptEMbEr 23, 2011–January 16, 

2012 ++ MusEo picasso MálaGa, 

sprinG 2012

20 www.hatjecantz.com Highlights Art mondrian de stijl 

21 

❙ This volume deals with Mondrian’s path to the abstract as well 

as De Stijl's interdisciplinary approach 

With the exception of the Bauhaus, primary colors framed in black 

there is most likely no other art has long assumed a life of its own 

movement of the first half of the in art, fashion, advertising, and 

twentieth century that has had popular culture. One focus of the 

such an influence on our everyday publication is Mondrian’s develop- 

lives as the De Stijl group around ment toward abstraction—from 

Piet Mondrian and Theo van his early works in the circle of the 

Doesburg. Mondrian, alongside Neo-Impressionist luminists to 

Wassily Kandinsky and Kasimir his neoplasticist period. A second 

Malevich one of abstract painting’s focus is De Stijl’s interdisciplinary 

founding fathers, created strictly approach, which will be demon- 

geometrical paintings that today strated based on period furniture, 

are icons of modernism. Their char- clothing, and architectural drawacteristic 

structure with fields of ings and models. 

Mondrian De Stijl 

Ed. Lenbachhaus, Munich, texts 

by Helmut Friedel, Hans Janssen, 

Franz-W. Kaiser, Matthias Mühling, 

Felicia Rappe, Michael White, graphic 

design by Thomas Mayfried 


304 pp., 167 ills., 126 in color, 

21.4 × 26 cm, clothbound 

€ 39.80, $60.00, £35.00 

ISBN 978-3-7757-3023-5 

Available 

9 7 8 3 7 7 5 7 3 0 2 3 5 


++ Kunstbau, lEnbachhaus, Munich, 

april 16–auGust 15, 2011

22 www.hatjecantz.com Highlights Art from polaroid to impossible 

23 

❙ The art of Polaroid—the first presentation of the legendary 

instant film’s fascinating range of materials and techniques 

While the world evaporates into 

the digital, the anachronistic Polaroid 

snapshot dominates media 

and advertising. The recent sale of 

the photography collection owned 

by Polaroid’s inventor, Edwin Land, 

to the Viennese photography 

museum WestLicht marks an artmarket 

trend toward the analog. 

Beginning in the sixties, Polaroid 

supplied artists around the world, 

from Ansel Adams to Andy Warhol, 

with each one of the imperium’s 

latest products. In return, 4,400 

works by 800 photographers 

found their way into the company’s 

International Collection at 

their European headquarters near 

Frankfurt am Main. In 2008, when 

the last instant-film factory was 

rescued from demolition by the 

company Impossible, the founder’s 

commitment to collecting could be 

carried on as well. This publication 

features selected Polaroid masterpieces 

and new Impossible instant 

photography by contemporary 

artists such as Stefanie Schneider 

and Nobuyoshi Araki. 

From Polaroid to 

Impossible 

Masterpieces of Instant Photography 

The WestLicht Collection 

Ed. Achim Heine, Rebekka Reuter, 

Ulrike Willingmann, texts by 

Achim Heine, Barbara P. Hitchcock, 

Florian Kaps, graphic design by 

Heine / Lenz / Zizka 


192 pp., 230 color ills., 


€ 39.80, $60.00, £35.00 

ISBN 978-3-7757-3221-5 

June 2011 


++ wEstlicht, ViEnna, JunE 17– 

auGust 21, 2011 

9 7 8 3 7 7 5 7 3 2 2 1 5

24 www.hatjecantz.com Highlights Photography gregory crewdson 

25 

❙ Three key series by the American star photographer 

The American middle-class night- 

mare: nothing is clean, orderly, 

idyllic, or romantic. In his perfectly 

staged, hyper-realistic tableaux, 

photographer Gregory Crewdson 

(* 1962) reveals the claustrophobic 

limbo and abyss of spiritual repression 

that is the typical suburb. 

Here, hushed-up violence, alienation, 

isolation, and emptiness 

are nothing new or unfamiliar but 

part of the everyday experience 

next door. Crewdson goes to great 

lengths to set up his apocalyptic 

scenarios. The richness of detail 

Also available 

Gregory Crewdson 

1985–2005 

ISBN 978-3-7757-1622-2 

and mysterious atmosphere of 

the images from his series Beneath 

the Roses unfold a surreal, supernatural 

power of suggestion 

that mesmerizes the viewer. No 

less arresting are the works from 

Sanctuary, shot in the morbid 

ruins of Italy’s Cinecittà, and the 

unusual nocturne nature photos 

in Fireflies. 

Gregory Crewdson 

In a Lonely Place 

Texts by Craig Burnett, Gregory 

Crewdson, Jens Erdman Rasmussen, 

Felix Hoffmann, Estelle af Malmborg, 

graphic design by Naroska Design 


160 pp., 71 ills., 29 in tritone, 

31.3 × 21.7 cm, clothbound 

€ 34.00, $55.00, £32.50 

ISBN 978-3-7757-3136-2 

Available 

No distribution rights in the US 

and in Canada 

9 7 8 3 7 7 5 7 3 1 3 6 2 


++ KulturhusEt, stocKholM, 

March 19– JunE 12, 2011 ++ c/o 

bErlin, July 2– sEptEMbEr 4, 2011 

++ thE national MusEuM of photoG- 

raphy, copEnhaGEn, sEptEMbEr 22, 

2011–January 28, 2012 ++ followEd 

by aros aarhus KunstMusEuM ++ 

stEnErsEn MusEuM, oslo

26 www.hatjecantz.com Highlights Photography wim wenders 

27 

Collector’s Edition 

with an original work 

qby the artist 

Street Corner in Butte, 

Montana, 2003 

Available 

C-print, Diasec, behind acrylic glass on Dibond, with book / Image size: 40 × 50 cm / 

Limited edition of 24 + 6 a. p., signed and numbered 

€ 850.00 

“It is amazing how many different ideas of ‘fun’ 

co-exist in this world.” Wim Wenders 

Wim Wenders 

Places, strange and quiet 

❙ You only find what you’re looking for: Wim Wenders’s icons of wanderlust 

By Wim Wenders, 

graphic design by Matt Watkins 

“When you travel a lot, and when photographs taken from 1983 to 

you love to just wander around 2011 in countries all over the world. English 

and get lost, you can end up in the From his iconic images of exteriors 124 pp., 37 color ills., 8 foldouts, 

strangest spots. . . . I don’t know, it and buildings to his panoramic 17.1 × 20.5 cm, hardcover 

must be some sort of built-in radar depictions of towns and landscapes, € 24.80, $40.00, £22.99 

that often directs me to places this book presents the full range ISBN 978-3-7757-3148-5 

that are strangely quiet, or quietly 

strange.” Wim Wenders—painter, 

actor, writer, and one of the most 

successful contemporary filmmakers 

around—has assembled a 

fascinating series of large-scale 

of Wenders’s photography. Available 

9 7 8 3 7 7 5 7 3 1 4 8 5

28 www.hatjecantz.com Highlights Photography olaf otto becker 

29 

❙ Photographs of Icelandic landscapes between nature, civilization, 

and globalization 

For over ten years now, Olaf Otto case—often in the middle of 

Becker (* 1959 in Travemünde, the night—to capture nuances 

Germany) has traveled the high by weak light, while at the same 

northern spheres, sparing himself time generating the maximum 

no hardship. On a search for the possible technical quality. Becker’s 

never-before-seen image of pri- deliberately subjective perspective 

meval landscape, where the eye goes beyond the notion of simply 

encounters the boundaries of famil- reproducing reality, so that his 

iar vision and nature becomes a images are of great clarity, breadth, 

mirror of the soul, Becker observes and concentration. This publica- 

distinctive geographic features tion contains previously published 

and waits for the ideal light con- and new photographs of Iceland 

ditions to manifest. Then, and only that show primordial landscapes 

then, does he remove his heavy, alongside traces of civilization 

large-format camera from its and economic crisis. 



rby the artist 

Bjarnafoss Iceland 1999 


Pigment print in folder, with book / Sheet size: 32.9 ⊗ 40.8 cm / Image size: 31.5 ⊗ 39.6 cm / 


Preorder price € 580.00, after release € 680.00 

Olaf Otto Becker 

Under the Nordic Light. 

Iceland 1999–2011 

Texts by Petra Giloy-Hirtz et al., 

graphic design by Olaf Otto Becker 



34 × 27 cm, clothbound 

C. € 58.00, $85.00, £55.00 

ISBN 978-3-7757-3190-4 



Olaf Otto Becker 

Above Zero 

ISBN 978-3-7757-2437-1 

Broken Line 

ISBN 978-3-7757-1972-8 


++ wilhElM-hacK-MusEuM, 

ludwiGshafEn, sEptEMbEr 10– 

noVEMbEr 6, 2011 ++ stadthaus 

ulM, dEcEMbEr 11, 2011– 

March 20, 2012 

9 7 8 3 7 7 5 7 3 1 9 0 4

30 www.hatjecantz.com Highlights Photography supercell 

31 

❙ Fascinating and breathtaking large-format photographs of severe weather 

At the age of twelve, Kevin Erskine 

(* 1956 in Sharpsburg, Illinois) 

witnessed his first big storm: a 

category 4 tornado with wind 

speeds of over 207 miles per hour 

raged through the center of his 

hometown of Hoskins, Nebraska. 

Fascinated and inspired by this immense 

force of nature, Erskine 

began taking his first photographs 

with his father’s camera. His passion 

for photography and respect 

for nature still motivate him to 

capture supercells with his large- 

format camera. The images depict 

enormous cloud masses in continually 

different formations—be 

it before a thunderstorm, during 

a tornado, shined on by the red 

evening sun, or forebodingly dark 

purple or black by night. Erskine 

masterfully demonstrates the ambivalence 

between the terrifying 

force of nature and its stunning 

beauty. 

Supercell 

Kevin Erskine 

Texts by Richard Hamblyn, 

Redmond O'Hanlon 

English 



C. € 58.00, $85.00, £55.00 

ISBN 978-3-7757-3209-3 


9 7 8 3 7 7 5 7 3 2 0 9 3 


++ witZEnhausEn GallEry, 

nEw yorK, opEninG octobEr 2011

32 www.hatjecantz.com Highlights Photography peter bialobrzeski 

33 

Sheet size: 30 ⊗ 40 cm / Limited edition of 20 + 5 a. p., signed and numbered 




Rby the artist 

R&C116, Shanghai, 2010 


❙ Spectacular images from around the world: Peter Bialobrzeski 

presents some of his best photographs 

In his book of photos, The Raw 

and the Cooked, Peter Bialobrzeski 

sets forth the essence of his observations 

from his unique series 

of photos about the development 

of Asian mega-cities (Neon Tigers, 

Lost in Transition) and their slums 

(Case Study Homes). Starting with 

the simplest, homemade vernacular 

architecture, based on human 

proportions and made with found 

construction materials, his photos 

range as far as the exorbitant 

planned cities of glass, steel, and 

concrete. Buildings rise higher and 

higher into the sky, more and more 

resources are wasted, the new 

unmercifully shoves aside the old. 

Seductively beautiful tableaux 

from fourteen different countries 

depict the kind of “progress” that 

triggers a sense of anxiety and 

trepidation. Where is all of this 

leading? 

Peter Bialobrzeski 

The Raw and the Cooked 

Texts by Peter Bialobrzeski, 

Peter Lindhorst, graphic design 

by Peter Bialobrzeski 


“Big cities are a kind of indicator of civilization. They are the first things 

to reflect what we are going through.” Peter Bialobrzeski 



C. € 58.00, $85.00, £55.00 

ISBN 978-3-7757-3192-8 


9 7 8 3 7 7 5 7 3 1 9 2 8

34 www.hatjecantz.com 

Highlights Photography the human face of climate change 

35 

“In recent years everything has changed. The animals don’t have 

much fodder to eat and are more prone to illnesses, so the herds 

have decreased and the animals are not as fat as before.” 

Juliana Pacco Pacco, Lama Herder, Paru Paru, Peru 

❙ Compelling portraits of victims of climate change 

Earth’s atmosphere is steadily 

warming due to greenhouse gas 

emissions. While experts discuss 

the possible consequences and 

politicians are apparently powerless 

to do anything about it, untold 

numbers of people are already 

struggling with the devastating 

impact of a climate gone haywire. 

One of the greatest floods in the 

history of the region destroyed 

the home and business owned by 

Yang Gengbao and his wife in the 

Chinese province of Guangxi. The 

drying up of Lake Chad means that 

Abakar Maydocou Mahamat can 

no longer earn his livelihood as 

a fisherman. Margaret Aliurtuq 

Nickerson from western Alaska 

will soon have to leave her village, 

Newtok, since the ground is thawing, 

causing homes and streets 

to sink. In 2009, Mathias Braschler 

(* 1969 near Aarau) and Monika 

Fischer (* 1971 near St. Gallen) traveled 

to sixteen countries around 

the world, taking photographs of 

and conducting interviews with 

people whose ex istence is threatened 

by the consequences of 

climate change. 

The Human Face of 

Climate Change 

By Mathias Braschler, Monika Fischer, 

text by Jonathan Watts, graphic 

design by Peter Zimmermann 



C. € 29.80, $45.00, £26.99 

ISBN 978-3-7757-2806-5 (German) 

ISBN 978-3-7757-2807-2 (English) 


9 7 8 3 7 7 5 7 2 8 0 7 2 


++ coalMinE fotoGalEriE, wintErthur, 

auGust 31– octobEr 7, 2011 ++ and 

furthEr VEnuEs

36 Art 

www.hatjecantz.com 

www.hatjecantz.com Art 

37 

Erró 

Ed. Max Hollein, Esther Schlicht, 

graphic design by Heimann und 

Schwantes 



5 foldouts, 


C. € 39.80, $60.00, £35.00 

ISBN 978-3-7757-3168-3 



++ schirn KunsthallE franKfurt, 

octobEr 6, 2011–January 8, 2012 

❙ The world in portraits and landscapes, with elements of Surrealism, 

Pop Art, comics, and science fiction 

Icelandic artist Erró (* 1932 in 

Ólafsvík) is one of the great mavericks 

of twentieth-century art. 

Over the past fifty years, the artist 

has created an opulent, inimitable 

oeuvre as Pop as it is baroque, 

a body of work that is pithy and 

narrative alike, moralistic and unfathomable, 

full of social critique 

and humor, avoiding any type 

of categorization. His critical, narrative 

collages transform painterly 

reproductions of popular visual 

source materials into articulate, 

often disturbing tableaux. All 

of the major social themes find expression, 

as if they belonged to a 

comprehensive visual atlas of the 

modern world. This publication 

features Erró’s series Scapes, and, 

for the first time, presents the 

entire 1968 Monster cycle—double 

portraits that contrast official likenesses 

of prominent people with 

monstrously distorted visages. 

© Morgan Art Foundation / Artists Rights Society (ARS), New York, © VG Bild-Kunst, Bonn 2011 

❙ A reassessment of the works by the American painter of signs and symbols 

While best known for his iconic 

images of LOVE, Robert Indiana 

(* 1928 in New Castle, Indiana) has 

created a major body of work over 

the past fifty years that, besides 

encompassing various genres, 

spans different art movements 

such as assemblage, hard-edge 

abstraction, and Pop Art. This book 

brings together new scholarly 

insight into the work of this important 

artist, who has referred to 

himself as an “American painter 

of signs.” It addresses topics ranging 

from Indiana’s politically engaged 

works, his formative years 

in the unique artistic community 

of Coenties Slip in downtown 

Manhattan, and his place within 

the discourse of Pop to his allegorical 

depictions of gender and family. 

Thus, this book reassesses some 

of Indiana’s most significant works 

and sheds light on his place in 

the history of art. 

Robert Indiana 

New Perspectives 

Ed. Allison Unruh, texts by Thomas 

Crow, Jonathan Katz, Kalliopi 

Minioudaki, Robert Storr, Allison 

Unruh, graphic design by Verena 

Gerlach 

English 



C. € 45.00, $70.00, £40.00 

ISBN 978-3-7757-3135-5 


9 7 8 3 7 7 5 7 3 1 3 5 5

38 Art www.hatjecantz.com 


39 

Ellsworth Kelly 

Black & White 

Ed. Haus der Kunst, Munich, 

texts by Ulrich Wilmes et al., 

graphic design by Büro Sieveking 

C. 200 pp., c. 70 ills., 

22 × 26.5 cm, hardcover 

C. € 39.80, $60.00, £35.00 

ISBN 978-3-7757-3167-6 (German) 

ISBN 978-3-7757-3217-8 (English) 



++ haus dEr Kunst, Munich, 


++ MusEuM wiEsbadEn, opEninG 

fEbruary 2012 

❙ Comprehensive retrospective of the black-and-white works 

from 1948 to 2009 

The paintings by Ellsworth Kelly 

(* 1923 in Newburgh, New York) 

stand out due to their masterly 

interplay of form, color, and space. 

Unlike the works of most of his 

American contemporaries, who 

postulated a radical rejection of 

traditional European art history, 

Kelly’s monochromatic paintings 

evolved out of his study of European 

modernism. The key to the 

advancement of his own artistic 

vocabulary, however, lies in the 

forms of everyday objects: streets 

or paving stones, windows and 

façades in cities, or various plant 

forms. For Kelly, drawing is the 

most important means of developing 

and capturing a work. Accordingly, 

the graphic contrast between 

black and white plays a significant 

role and is crucial to his artistic 

self-discovery and overall subsequent 

development. 

❙ Provocative, nonconformist, and published for the first time in one volume: 

the writings of Richard Prince 

Richard Prince: Collected Writings 

is the first collection of selected 

short works by American artist 

Richard Prince (* 1949). Prince is 

mainly known for his photographs 

of iconic pictures from advertising 

and pop culture, such as the erotic 

Nurses paintings, the Marlboro 

cowboys, or his Jokes, text images 

of chauvinist jokes through which 

he holds a mirror up to the viewer. 

Written between 1974 and 2009, 

these thirty-five pieces of prose 

explore everything from Franz 

Kline to Woodstock, and include 

revealing musings on the revolutionary 

approach to photography 

central to Prince's technique. A 

literary text by Jonathan Lethem, 

author of the currently muchtalked-about 

novel Chronic City, 

rounds off this volume edited 

by Kristine McKenna. 



Sby the artist 

Greeting Card, 2011 


Greeting cards with foil-stamped jokes, handwritten by the artist, in envelope, 

with signed book / Card size: 21.6 ⊗ 14 cm / Limited edition of 100 each, signed and 

numbered in interior of card 

€ 180.00 each, set of three cards € 480.00 

Richard Prince 

Collected Writings 

Foreword by Kristine McKenna, 

texts by Jonathan Lethem, Richard 

Prince, graphic design by Green 

Dragon Office, Los Angeles 

English 



C. € 25.00, $40.00, £22.99 

ISBN 978-3-7757-3176-8 

August 2011 

No distribution rights in the US 

and in Canada 

9 7 8 3 7 7 5 7 3 1 7 6 8



41 

Cindy Sherman 

The Early Works, 1975–1977 

Catalogue Raisonné 

Essay by Gabriele Schor, 

graphic design by Maria-Anna Friedl 

C. 256 pp., c. 288 ills., 

c. 48 in color, c. 240 in duotone, 


C. € 39.80, $60.00, £35.00 

ISBN 978-3-7757-2980-2 (German) 

ISBN 978-3-7757-2981-9 (English) 

December 2011 


++ MusEuM of ModErn art, nEw 

yorK, opEninG fEbruary 2012 

❙ Role models and self-staging in the early works of the American 

conceptual artist 

For more than thirty years now, number of theatrical elements. 

Cindy Sherman (* 1954 in Glen Using a variety of wigs, make- 

Ridge, New Jersey) has been visual- up, mimicry, gestures, expressions, 

izing a whole gamut of role mod- and costumes, Sherman reveals 

els and female identities. Even as different social identities by 

a teenager, the artist loved to dress playing different roles. Gabriele 

up. Contrary to popular belief, the Schor, director of the SAMMLUNG 

famous Untitled Film Stills (1978– VERBUND, has performed a 

80) are not her earliest works, but scholarly assessment of the con- 

rather those photographs she took ceptual beginnings of her oeuvre 

as a student in Buffalo between and is now publishing a catalogue 

1975 and 1977. During those years, 

Sherman made playing with disguises 

her artistic concept, producing 

numerous previously unknown 

photographs that unite a striking 

raisonné of her early work. 

❙ Major pieces from the artist’s most important groups of works 

The enormous, photorealistic char- 

coal drawings by American artist 

Robert Longo (* 1953 in Brooklyn, 

New York) show the beauty and 

horror of the present day and age. 

His large-format works contrast 

the innocence of sleeping toddlers, 

the tranquil grandiosity of Earth 

and the planets, roses in bloom, 

and Gothic cathedrals with threatening 

images of atomic bomb explosions, 

fighter pilots, monster 

waves, sharks, and the muzzles of 

revolvers. Inexorably and seismographically 

precise, the winner of 

the 2005 Goslar Kaiserring and 

2010 inductee into the French 

Order of Arts and Letters records 

the state of our world. Longo’s 

powerful motifs give form and 

expression to the feelings of fear 

and longing felt by people in the 

twenty-first century, and affect 

the viewer with the full force of 

the medium. This large-format, 

elaborately designed book, printed 

on natural paper using an unusual 

quadtone process, has been created 

in close collaboration with the 

artist and affords a comprehensive 

overview of his charcoal drawings 

from the past decade. 

Robert Longo 

Retrospective 

Texts by Hal Foster et al., 

graphic design by Stapelberg & 

Fritz 

English 

C. 256 pp., ca 140 ills. in triplex, 

26.5 × 31 cm, half cloth 

C. € 58.00, $85.00, £55.00 

ISBN 978-3-7757-3196-6 


A Collector’s Edition 

is planned 

i n i 

9 7 8 3 7 7 5 7 3 1 9 6 6 


++ KunsthallE wEishaupt, ulM, 

noVEMbEr 28, 2010–sEptEMbEr 25, 

2011

42 Art 



43 

English / Japanese 



€ 49.80, $75.00, £45.00 

ISBN 978-3-7757-3156-0 

Available 




C. € 29.80, $45.00, £26.99 

ISBN 978-3-7757-3157-7 


Chiharu Shiota 

Ed. Caroline Stummel, text by Mami Kataoka, interview with the artist by James Putnam, 

graphic design by Margarethe Hausstätter 

❙ First monograph on the complete works of the Japanese installation and performance artist 

Chiharu Shiota (* 1972 in Osaka) exorable examination of life in the flows through hospital-type tubes, 

wraps expressive objects, a burned- manner of Marina Abramović or so that the network metaphor 

out piano, for instance, in cocoons Rebecca Horn. Here, as there, truth ranges from spider webs and inter- 

made of dark yarn. At the same is revealed through experience. personal relationships to neural 

time, the tradition and grace of cal- The body becomes a medium for links and the bloodstream. 

ligraphy delicately flash through. art. Shiota herself treads the public 

The artist’s oeuvre oscillates be- stage, at times sleeping in musetween 

Far Eastern spirituality and ums. Or her personal destiny finds 

Western existentialism. Traces and expression in kinetic sculptures as 

memories of places and things are a turn away from vivid black. In 

her artistic sources, as is the in- “animated” installations, red paint 


++ GErVasuti foundation, in co- 

opEration with haunch of VEnison, 

VEnicE, JunE 2–sEptEMbEr 10, 

2011 ++ followEd by MaruGaME 

GEnichiro inoKuMa MusEuM of 

contEMporary art, KaGawa, Japan 

Ján Mančuška 

Against Interpretation 

Texts by Karel Cisar, Katrin Meder, Hilke Wagner, graphic design by Sandra Kastl 

❙ Installations by the Czech spatial and text artist 

Ján Mančuška (* 1972 in Bratislava) through the space or in relation among other places. This publica- 

employs text and film in his three- to the works of art. Mančuška’s tion is the first survey of his work. 

dimensional works. He generally objects, interiors, and visual sen- 

includes the venue architecture in tences create a dramatic narrative, 

his installations and arranges the which the viewer mentally con- 

linguistic or visual fragments in denses into fictitious, cinematic 

such a way to create a very specific sequences. In 2005 the artist rep- 

mode of observation for each of resented the Czech Republic at the 

his works. Their reception depends Venice Biennale, and he also ex- 

on the way the observer moves hibited at the 4th Berlin Biennale, 

❙ Where does fashion stop and art begin? Erwin Wurm and Walter Van Beirendonck 

explore the border zone 

Austrian artist Erwin Wurm (* 1954) 

works with videos, drawings, sculp - 

tures, photos, and installations 

that take on anything but traditional 

forms. In his One Minute 

Sculptures, which marked Wurm’s 

international breakthrough, he 

used simple instructional drawings 

to invite viewers to themselves 

become sculptures. The artist also 

throws his own body into the battle 

by sculpting it with many layers 

of clothing or subjecting it to an 

extreme diet. He extended the 

idea of a voluminous body to lifeless 

objects such as cars and houses. 

Wurm's perplexing and often 

extremely ironic works have made 

him an extremely popular artist. 

The artist’s book presents Wurm’s 

latest work: furniture, drawings, 

outdoor sculptures, and—for the 

first time—clothing, developed in 

collaboration with the innovative 

Belgian fashion designer Walter 

Van Beirendonck. 

Erwin Wurm 

Wear Me Out 

Ed. Middelheimmuseum, Antwerp, 

Gemeentemuseum Den Haag, 

The Hague, interview with the artist 

by Sara Weyns, graphic design by 

BaseDesign 

English 



C. € 35.00, $55.00, £32.50 

ISBN 978-3-7757-3218-5 


9 7 8 3 7 7 5 7 3 2 1 8 5 


++ MiddElhEiMMusEuM, antwErp, 

May 29–sEptEMbEr 25, 2011 ++ 

GEMEEntEMusEuM dEn haaG, thE 

haGuE, JunE–sEptEMbEr 2011

44 Art 



45 




C. € 35.00, $55.00, £32.50 

ISBN 978-3-7757-3208-6 





C. € 35.00, $55.00, £32.50 

ISBN 978-3-7757-3219-2 


Daniel Bräg 

Ed. Florian Matzner, texts by Hans Dieter Huber, Florian Matzner, graphic design by Felix Kempf 

❙ First comprehensive monograph on the sculptor’s conceptual work 

Daniel and Karolin Bräg encounter humorous presentations of fruit 

each other at the intersection be- and plants as they grow, bloom, 

tween nature and art, where organic ripen, and wither. Wizened pears, 

structures meet human design. for instance, are implanted in their 

This pair of artists brings together own bed of mold, on refrigerated 

opposites: nature’s eternal cycle shelves next to jars containing pre- 

on the one side, and humankind’s served branches of freshly bloom- 

culturally determined era on the ing leaves and buds. The temporal 

other. The installations and photo- essence of nature thus acquires 

graphs by sculptor Daniel Bräg its own aesthetic and beauty, free 

(* 1964 in Pfullendorf, Germany) are of the overwhelming symbolism 


++ GalEriE iM prEdiGEr, schwäbisch- 

GMünd, July 8–octobEr 30, 2011 ++ 

KlostEr schussEnriEd, bad 

schussEnriEd, noVEMbEr 2011– 

March 2012 

Karolin Bräg 

Ed. Florian Matzner, texts by Markus Landert, Florian Matzner, graphic design by Felix Kempf 

❙ First comprehensive monograph on the conceptual artist’s oeuvre 

Karolin Bräg (* 1961 in Cologne) 

has spent more than twenty years 

persistently and penetratingly 

examining philosophical questions 

and answers that arise from the 

death of close family members 

and friends. Her work begins with 

intense conversations with people 

who have lost loved ones. Depending 

on her conversation partner, 

the artist comes into contact with 

people of all ages, from all walks 

of life, and their destinies. Exhaustive 

research goes into her sitespecific 

installations, in which the 

artist assembles and creatively 

transforms the various experiences, 

stories, and thoughts she has gathered. 

Fragments of text engraved 

in stone or metal invite visitors to 

of the Baroque memento mori, 

which compresses the process of 

decay into allegories of the frivolity 

of life. This publication features 

the artist’s own work as well as 

collaborative projects with conceptual 

artist Karolin Bräg. 

read them, inspiring them to overcome 

their speechlessness in the 

face of death. Bräg surprises the art 

world with in vigorating, realistic 

perspectives of a theme that is 

often dealt with in the abstract. 

❙ An extensive introduction to the work of Mona Hatoum from 1980 to the present 

Mona Hatoum (* 1952 in Beirut), homeland, also affect one’s rela- 

who has lived in London since 1975, tionship to one’s own mother. Just 

first became known in the eighties as viewers are drawn by the un- 

for her performances, which fofamiliar video images, which are 

cused on the relation between vio- overlaid with graphic characters, 

lence and her own body as well as they are also fascinated by the 

those of the members of her audi- electrified, dangerous crackle of 

ence. In installations, photographs, a large globe illuminated in red 

sculptures, and videos, the artist lights, Hot Spot III, a work that sym- 

has examined the human body as bolizes a world afflicted by conflicts 

a metaphor for oppression in a and catastrophes. This publication 

broader sense. The video Measures reveals all of the different facets 

of Distance, for example, shows of the artist’s visual subjects and 

how repressive forces can, by alienating 

a person from his or her 

language. 

Mona Hatoum 

Ed. Ingvild Goetz, Karsten Löckemann, 

Stephan Urbaschek, texts by Ingvild 

Goetz, Karsten Löckemann, Susanne 

Touw, Katharina Vossenkuhl, et al., 

graphic design by Schmid + Widmaier 

Design 




C. € 35.00, $55.00, £32.50 

ISBN 978-3-7757-3153-9 

November 2011 

9 7 8 3 7 7 5 7 3 1 5 3 9 


++ GoEtZ collEction, Munich, 

noVEMbEr 14, 2011–april 5, 2012

46 Art 



47 



€ 35.00, $60.00, £35.00 

ISBN 978-3-7757-3020-4 (German) 

ISBN 978-3-7757-3021-1 (English) 

Available 

English 



C. € 35.00, $55.00, £32.50 

ISBN 978-3-7757-3195-9 


Yto Barrada 

Riffs 

Ed. Deutsche Bank, texts by Pierre de Weck, Okwui Enwezor, Friedhelm Hütte, Marie Muracciole, Daniel Soutif, 

interview with the artist by Negar Azimi, graphic design by Marie Lusa 

❙ Named “Artist of the Year,” 2011 

Yto Barrada (* 1971 in Paris) lives 

and works in Tangiers. The city’s 

special location on the Straits of Gibraltar—the 

edge of Europe, which, 

despite its proximity, remains beyond 

reach for most of Tangiers’s 

inhabitants—has a strong influence 

on the artist’s work. The motifs 

of her photographs, films, and 

installations sharpen our con- 


++ dEutschE GuGGEnhEiM, bErlin, 

april 15–JunE 19, 2011 ++ and 

furthEr VEnuEs 

Mitra Tabrizian 

Another Country 

Film and photo artist Mitra 

Tabrizian (* in Teheran) addresses 

the relationship between the individual 

and society, positioning the 

protagonists in such a way that 

the political conditions underlying 

various cultures, regions, and 

si tuations are reflected in the composition 

of the images. Whether 

the picture is of a banker in the 


++ hEZi cohEn GallEry, tEl 

aViV, JunE–July, 2011 ++ turnEr 

contEMporary, KEnt, sEptEMbEr 

2011–January 2012 ++ iranian 

pulsE oi futuro, rio dE JanEiro, 

sEptEMbEr 15–octobEr 30, 2011 ++ 

sEsc são paulo opEninG January 

2012 ++ hEZi cohEn GallEry, tEl 

aViV, opEninG sEptEMbEr 2012 

sciousness of the transformation 

this region is undergoing, making 

us aware of the constantly shifting 

cultural, economic, and political 

boundaries. In her meditative photographs 

and 16mm films, Barrada 

documents the periphery of this 

rapidly growing city of millions, 

whose inhabitants seem to be 

trapped in a state of permanent 

Texts by Homi Bhabha, David Green, Hamid Naficy, graphic design by Andreas Platzgummer 

❙ The staged absence of human community and a democratic public sphere 

heart of London’s Financial District 

or of women in dark veils in the 

midst of the desert-like vastness 

of Iran, the people in them always 

seem strangely exposed, strewn 

across space for no apparent reason. 

People standing in line are 

isolated from their surroundings, 

while others are depicted in groups 

that do not seem to have any in- 

waiting, and where the surrounding 

natural environment is gravely 

endangered by urban development. 

The Deutsche Bank’s Artist 

of the Year prize is awarded to 

young artists who have already 

gained international recognition 

and whose oeuvre includes photography 

and works on paper. 

ternal cohesion. The artist deliberately 

forfeits the harmony of 

the golden ratio: although people 

are classically centered between 

the foreground and background, 

the center of the image deteriorates 

into an inhospitable zone. The 

publication assembles Tabrizian’s 

most recent works. 

❙ Documentation of the exhibition at the Arsenale Novissima curated by 

Alexander Ponomarev and co-curated by Nadim Samman 

This volume is part of the official the Japanese multimedia artist 

program accompanying the 2011 Ryoichi Kurokawa fuses natural and 

Venice Biennale and presents four digital forms to spectacular effect, 

internationally recognized contem- addressing global cooperation with 

porary artists, each represented respect to energy issues. Romanian 

by work on the theme of entropy painter Adrian Ghenie, known for 

commissioned specifically for the his dramatic, expressive paintings, 

exhibition. Alexander Ponomarev’s creates his largest work to date, 

previous career with the Russian while Belgian artist Hans Op 

navy left an indelible mark on his de Beeck continues his acclaimed 

creative practice, which is domi- Location series with a “total innated 

by large-scale aquatic instalstallation.” Besides documenting 

lations. At the Arsenale Novissimo, current works, this volume also 

Tesa 89, he debuts his monumen - contains an overview of the artists’ 

tal installation Formula. Nearby, an 

immersive audiovisual piece by 

previous works. 

One of a Thousand 

Ways to Defeat 

Entropy 

Hans Op de Beeck, Adrian Ghenie, 

Ryoichi Kurokawa, Alexander 

Ponomarev 

Ed. Nadim Samman, texts by 

John Bowlt, Nicoletta Misler, 

Alexander Ponomarev, Nadim 

Samman, Andrei Tolstoy 

English / Russian 



C. € 39.80, $60.00, £35.00 

ISBN 978-3-7757-3189-8 



++ VEnicE biEnnalE, JunE 4– 

noVEMbEr 27, 2011 

9 7 8 3 7 7 5 7 3 1 8 9 8



49 

Paul Pfeiffer 

Ed. Ingvild Goetz, Stephan 

Urbaschek, texts by Cornelia 

Gockel, Ingvild Goetz, Leo 

Lencsés, Paul Pfeiffer / Hal Foster, 

Stephan Urbaschek, graphic design 

by Schmid + Widmaier Design 




€ 35.00, $55.00, £32.50 

ISBN 978-3-7757-3152-2 

Available 


++ GoEtZ collEction, Munich, 

May 9–octobEr 1, 2011 

❙ A panoramic view of the artist’s oeuvre from 1998 to 

the present 

The video and sound installations, 

sculptures, and photographs by 

Paul Pfeiffer (* 1966 in Honolulu) 

deal with the phenomenon of 

the “afterglow” of mass-media 

images that are rooted in the 

collective memory of a globalized 

media society. In works like The 

Long Count or 24 Landscapes, he 

digitally manipulates found images—in 

this case of celebrities such 

as Mohammed Ali or Marilyn 

Monroe—cropping, retouching, 

duplicating, and layering them. 

The visual material appears in new 

dimensions, triggering a stream 

of thought in the viewer while 

melding works of art with personal 

memory. In this way, one can experience 

the role and functions of 

images in pop culture in relation 

to the (re)construction of history 

on both a social as well as an individual 

level. This publication extends 

to the artist’s oeuvre the 

recognition it deserves. 

Nedko Solakov 

All in Order, with Exceptions 

❙ On the trail of Nedko Solakov: a cross-section of his diverse body of work 

Texts by Iara Boubnova, Carolyn 

Christov-Bakargiev, Christy Lange, 

et al., graphic design by Nadine 

Nedko Solakov’s art breaks the the body of work created between 

Schmidt 

mold in many ways. Working in very 

different media, using found materials, 

drawing, painting, scribbling 

on walls, or videos, Solakov counteracts 

the principles and rules 

of order, deliberately including coincidences 

or accidents in his work. 

1980 to 2010. Yet these exemplary 

works can only be seen assembled 

in their entirety in this publication. 

Nedko Solakov (* 1957 in Cherven 

Briag, Bulgaria), who participated 

in the 2007 Venice Biennale and 

documenta 12, represents one of 

English 

C. 304 pp., c. 1,500 color ills., 


C. € 58.00, $85.00, £55.00 

ISBN 978-3-7757-3172-0 


In order to present the full range the crucial stances within European 

of his humorous oeuvre, the cata- art. This volume is the first to prologue 

All in Order, with Exceptions vide a comprehensive overview of 

has taken an unusual tack: each 

of the four venues has selected one 

piece from every year included in 

his oeuvre. 

9 7 8 3 7 7 5 7 3 1 7 2 0 


++ iKon GallEry, birMinGhaM, 

sEptEMbEr 21–noVEMbEr 20, 2011 

++ s.M.a.K., GhEnt ++ MusEu 

sErralVEs, porto ++ fondaZionE 

GallEria ciVica, trEnto

50 Art 



51 


C. 450 pp., c. 700 ills., 


C. € 28.00, $45.00, £25.99 

ISBN 978-3-7757-3180-5 



C. 330 pp., c. 250 ills., 

16.5 × 24 cm, softcover, 

with DVD 

C. € 48.50, $75.00, £45.00 

ISBN 978-3-7757-3181-2 


Ars Electronica 2011 

Origin—How All Began 

Ed. Hannes Leopoldseder, Christine Schöpf, Gerfried Stocker, graphic design by Gerhard Kirchschläger 

❙ Ars Electronica on a quest for how and where it all began 

The insatiable hunger for knowl- the international research instiedge; 

the desire to turn old knowltute, where over eight thousand 

edge on its head; the yearning to scientists from many different 

find out where we come from; the nations are attempting to under- 

longing to give meaning to our stand the creation of the universe 

existence and to anchor ourselves and the origin of all material, Ars 

within the big picture of the uni- Electronica 2011 is working in the 

verse: these fundamental, essential world of top level research. It’s also 

qualities of humankind are the about gaining a new perspective 

common sources of art and knowl- of institutions such as CERN. After 

edge. In cooperation with CERN, all, they are affording room for 


++ ars ElEctronica fEstiVal, linZ, 

sEptEMbEr 1–6, 2011 

CyberArts 2011 

Ed. Hannes Leopoldseder, Christine Schöpf, Gerfried Stocker, graphic design by Norbert Artner 

❙ The recipients of the Prix Ars Electronica 2011: the trend barometer of media art 

Brimming with pictures and texts 

by artists and members of the 

jury, this book documents the outstanding 

works from the Prix Ars 

Electronica 2011. The DVD presents 

a selection of prizewinning submissions 

dealing with current 

trends. Since its inception in 1987, 

the Prix Ars Electronica, the world’s 

most highly remunerated digital 


++ ars ElEctronica fEstiVal, linZ, 

sEptEMbEr 1–6, 2011 

arts award, has been an annual 

barometer of trends in digital creativity, 

and continues to be a trailblazer 

in discovering innovative 

art. Thirty-five international experts 

judge thousands of submissions 

in the categories Computer 

Animation / Film / VFX, Digital 

Music & Sound Art, Interactive Art, 

Hybrid Art, Digital Communities, 

thought, which is not only indispensible 

for science, but also urgently 

needed for the development 

of plans for sustainable societies. 

[the next idea], the voestalpine 

Art and Technology Grant, and the 

youth competition, u19—freestyle 

computing. 

❙ Documentation and material on selected sound installations by the team 

of Cardiff and Miller—with a DVD, 3D effects, and 3D glasses 

The Murder of Crows, the somber 

yet fascinating sound installation 

by the team of Canadian artists 

Janet Cardiff (* 1957) and George 

Bures Miller (* 1960), evokes semiconscious 

dream visions, ancient 

myths, and last but not least 

Goya’s etching The Sleep of Reason 

Produces Monsters, which shows 

birds swarm ing around the head 

of a sleeping man dreaming. Besides 

this work, the volume presents 

selected older projects by the 

two artists as well as an enlight- 

ening text by Carolyn Christov- 

Bakargiev, artistic director of 

dOCUMENTA(13). Rounding out 

this elaborately designed artist’s 

book are an extensive interview 

with the artists, detailed information 

about the recording and playback 

techniques they employ, a 

DVD and 3D reproductions, and 

astonishing ornithological and 

literary texts referring to the title 

work that illustrate humankind’s 

special relationship with crows. 

Janet Cardiff and 

George Bures Miller 

The Murder of Crows 

Ed. Art Gallery of Alberta, texts 

by Janet Cardiff, Carolyn Christov- 

Bakargiev, Catherine Crowston, 

George Bures Miller, graphic design 

by Verena Gerlach 

English 

112 pp., 65 ills. in color, 24 ills. in 3 D, 

23 × 16.5 cm, hardcover, with DVD 

and 3 D glasses 

€ 39.80, $60.00, £35.00 

ISBN 978-3-7757-3177-5 


9 7 8 3 7 7 5 7 3 1 7 7 5

52 Art 



53 




C. € 29.80, $45.00, £26.99 

ISBN 978-3-7757-3171-3 





C. € 39.80, $60.00, £35.00 

ISBN 978-3-7757-3205-5 


Angela Bulloch 

Time and Line 

Ed. Städtische Galerie Wolfsburg, texts by Susanne Pfleger, Christian Rattemeyer, Heinz Stahlhut, 

score by Ken Ueno, graphic design by Carsten Eisfeld 

❙ An artist who calls rules into question and treads new paths 

Every three years, the City of Berlin. Bulloch’s works often deal lication, along with Drawing 

Wolfsburg presents an art prize with spatial concepts, systems of Machines, a group of works begun 

called Junge Stadt sieht Junge rules, or viewer interaction. She be- in the nineties that make viewers 

Kunst (Young City Sees Young Art). came known for her Pixel Boxes— part of the production process. 

This year’s prize is going to one of cube-shaped, illuminated boxes It also features a new installation 

the most interesting contemporary capable of creating all sixteen mil- that responds specifically to the 

female artists in Germany, Angela lion colors of a television screen exhibition spaces at Schloss 

Bulloch (* 1966), an installation art- using just three basic colors. Draw- Wolfsburg. 

ist who works in both London and ings make up the core of this pub- 


++ städtischE GalEriE wolfsburG, 

april 3–sEptEMbEr 18, 2011 

Alexandra Vogt 

Texts by Annette Scholl et al., interview with the artist by Erwin Wurm, graphic design by 

Gabriele Sabolewski 

❙ First monograph on the young artist’s visual world, somewhere between distance and idolatry 

The arsenal of figures by Alexandra 

Vogt (* 1970 in Mussenhausen, 

Germany) are made up of mythical, 

sexual, animal people and horse 

maidens, all of them lost, wounded, 

or forgotten. Together with the 

latent, torturous conflicts, rituals, 

and entanglements involved in 

mainly female adolescence, they 


++ schafhof—EuropäischEs 

KünstlErhaus obErbayErn, frEisinG, 

opEninG octobEr 28, 2011 

form the center of her occasionally 

ironic, fragmented romanticism. 

These are images that oscillate 

between idolatry and distancing, 

projections and deconstructions. 

Vogt’s oeuvre refers to her own 

time and place, and—on a level of 

interpretation that is difficult to 

grasp entirely—to something pre- 

modern. Her works, most of them 

previously created in a kind of obscurity, 

are surprising in the great 

artistic autonomy of her visual 

vocabulary. Vogt’s paintings and 

photographs are being published 

for the first time in this comprehensive 

overview. 

❙ The life and work of the French-American sculptor in our 

Art to Read series 

Louise Bourgeois (1911–2010) was 

born on December 25, 1911. This 

book, which is devoted to the central 

themes of the late artist’s 

oeuvre, is being published on the 

occasion of her one-hundredth 

birthday. It examines her life, her 

exploration of the works of other 

artists, and the transformation of 

her emotions into works of art. 

Over the course of nine chapters, 

characteristic works are presented 

in the context of art history by 

comparing and contrasting them 

with works from the Beyeler 

Collection. The book brings home 

the fact that Bourgeois not only 

offset the important antagonism 

between the figurative and the 

abstract in modernism, she also 

helped to provide a unique interpretive 

level to modern art beyond 

that of the purely visible. This publication 

is an introduction to the 

life and work of a woman who was 

one of the most important artists 

of her time 

Art to Read 

Louise Bourgeois 

By Ulf Küster 



C. € 16.80, $30.00, £15.99 

ISBN 978-3-7757-3151-5 (German) 

ISBN 978-3-7757-3227-7 (English) 


“Look to my childhood to find the creative impulse 

for all of the past fifty years spent working, for all of 

my themes.” Louise Bourgeois 


++ fondation bEyElEr, basEl/ 

riEhEn, sEptEMbEr 3, 2011– 

January 8, 2012 

9 7 8 3 7 7 5 7 3 2 2 7 7

54 Art 



55 


70 pp., c. 35 ills., c. 33 in color, 


€ 22.00, $35.00, £19.99 

ISBN 978-3-7757-3158-4 


Stella Hamberg 

Sculpture 

Ed. Mönchehaus Museum Goslar, texts by Bettina Ruhrberg, Manfred Schneckenburger, 

graphic design by Maria Koehn 

❙ First monograph on the most recent sculptures of the Berlin-based artist 

The focus of the sculptural vocaous dialogue. Yet a unique lanbulary 

of Stella Hamberg (* 1975 in guage is spoken in each one of her 

Friedberg) is the human being, the visual worlds. The strong presence 

same figure that has predominant- of the figures contradicts the stoic 

ly stood at the center of sculpture autism in which they are and al- 

throughout the art history. For ways will be trapped. “An image is 

Hamberg, working on a sculpture like a mountain, and a mountain 

is like being involved in a continu- doesn’t move,” says the artist. 


++ MönchEhaus MusEuM Goslar, 

May 14–July 31, 2011 

“Germany’s most exciting sculptor.” 

stern.de 


C. 160 pp., c. 200 ills., 


€ 39.80, $60.00, £35.00 

ISBN 978-3-7757-3187-4 


Helfried Hagenberg 

Book Sculptures 

Since the seventies at the latest, 

the book has played an increasingly 

prominent role as an artistic medium. 

Helfried Hagenberg (* 1940 

in Hannover) was one of the first 

artists to work with paper in a 

sculptural context. His conceptual 

works retain the essential form 

of the book while at the same time 

taking it to different dimensions. 

The artist reflects the interplay 

between form and content, and 

regards his work as an “eternal 

search that takes place between 

vision and meaning.” He cuts, 

hones, folds, deconstructs, and 

shapes the “wood of the book” with 

the most delicate of techniques 

and mathematical precision, creating 

so-called psaligraphic sculp- 

This monograph is the first survey 

of Stella Hamberg’s current works. 

Ed. Helfried Hagenberg, texts by Martina Dobbe, Helfried Hagenberg, graphic design by Iris Grazikowske, 

Helfried Hagenberg 

❙ Book sculptures situated between notation and construction 

❙ Including a sculptural work by the artist 

“Book sculptures transport the logical into the visual and 

the associative into the graphic.” Helfried Hagenberg 

tures—sort of three- dimensional 

works made with scissors that 

portray the nature of the book. 

Containing various groups of 

works, sculptures, and collages, 

this extensive publication shows 

a different side of the book— 

not least through an integrated 

psaligraphic sculpture—in the 

truest sense of the word. 

❙ Filmic works that question the various forms of staging in the oeuvre of Rosa Barba 

Sicilian artist Rosa Barba (* 1972 degree that ultimately extends 

in Agrigento, Italy) has earned an into a conceptual practice . . .” A 

international reputation with her purely documentary publication 

films. She sounds out the movie would not be in the spirit of the 

industry with respect to various artist, which is why besides expert 

forms of staging, such as gesture, knowledge, comprehensive essays 

genre, and information, taking them by well-known authors bring per- 

out of the context in which they are sonal experience into play. Above 

normally seen and reshaping and all, however, the selection of film 

representing them anew. Accord- stills, preproduction sketches, and 

ing to Ian White:,“The effect of pictures by Barba herself help 

this contests and recasts truth and to turn this book, as it were, into 

fiction, myth and reality, metaphor 

and material, to a disorienting 

a work of art in its own right. 

Rosa Barba 

White Is an Image 

Texts by Lynne Cooke, Elisabeth 

Lebovici, Raimundas Malasauskas, 

Francesco Manacorda, Nataša 

Petrešin-Bachelez, Ian White, 

graphic design by Rupert Smyth 

English / French / Italian 



C. € 39.80, $60.00, £35.00 

ISBN 978-3-7757-3019-8 


9 7 8 3 7 7 5 7 3 0 1 9 8 


++ MusEo di artE ModErna E contEMporanEa 

di trEnto E roVErEto, 

May 25–auGust 28, 2011 ++ fondaZionE 

GallEria ciVica—cEntro di ricErca 

sulla contEMporanEità di trEnto, 

May 28–auGust 28, 2011

56 Art 



57 




€ 39.80, $60.00, £35.00 

ISBN 978-3-7757-3002-0 





€ 29.80, $45.00, £26.99 

ISBN 978-3-7757-3004-4 


Lothar Götz 

Don't Look Now 

Ed. Oliver Zybok, texts by Christoph Asendorf, Viola Weigel, Rob Wilson, Oliver Zybok, et al., 

graphic design by Frank Müller 

❙ Geometry with references to architecture 

London-based artist Lothar Götz 

(* 1963 in Günzburg, Germany) creates 

murals based on geometrical 

source materials, with an emphasis 

on architectural references and 

concepts of space. The starting 

points for his works are buildings, 

empty spaces, and architectural 

sites, to which he responds with 

keen intuition. Beginning with the 


++ GalEriE dEr stadt rEMschEid, 

March 27–May 29, 2011 ++ Kunst- 

hallE wilhElMshaVEn JunE 4– 

auGust 21, 2011 ++ followEd by 

KunsthallE GöppinGEn ++ dundEE 

contEMporary arts 

Joachim Grommek 

Without Squirrel Green 

In his geometrical, abstract works, board, which he covers first with them right off. Thus, the painting’s 

Joachim Grommek (* 1957 in Wolfs- a white ground, after which he ap- own materiality becomes the obburg) 

often refers to art history and plies a layer of paint that resemject of painting. Grommek’s works 

artists such as Kasimir Malevich, bles the texture of particle board. require that the viewer examine 

Piet Mondrian, Blinky Palermo, and Next, he adds precisely painted them very closely, since they ques- 

Robert Ryman. His paintings are layers of colored enamel to what is tion painting as a medium as well 

characterized by the “notion of the now a deceptively authentic parti- as the status of pictures in general 

authentic forgery” and the intercle board surface that so exactly as a sensuous medium of cogniplay 

of illusion and deception. The resemble strips of adhesive tape tion. 

artist’s basic material is particle that one thinks one could pull 


++ städtischE GalEriE wolfsburG 

March 20–sEptEMbEr 18, 2011 ++ 

followEd by GalEriE dEr stadt 

rEMschEid ++ wilhElM-hacK- 

MusEuM, ludwiGshafEn ++ haus 

KonstruKtiV, Zurich ++ KünstlErhaus 

bEthaniEn, bErlin 

given conditions of a space, he 

sees both the historical contexts 

and the modern, functionally 

determined concept of architecture 

as a formal challenge. Unique spatial 

characteristics and architectural 

constructions are recorded, 

while their geometrical principles 

are reinforced by means of intense 

coloration. Götz’s drawings are an 

important resource for his murals. 

Even though they are independent 

works, many of them are still used 

as preliminary sketches for later 

spatial elaborations. 

Ed. Oliver Zybok, texts by Nina Gülicher, Oliver Zybok, interview with the artist by Susanne Pfleger, 

graphic design by Ulrich Pester 

❙ First major monograph on the artist's treatment of illusion and deception 

❙ Catalogue raisonné of the artist’s works in the Germanophone world 

❙ Featuring in part previously unpublished photographic material 

With his conceptual, languageoriented 

works, American art legend 

Lawrence Weiner (* 1942 in 

the Bronx, New York) expanded the 

notion of sculpture. His radically 

abbreviated phrases avoid metaphors, 

citing everyday speech or 

sources from literature or the media. 

The works are intended to be 

able to be read and used by everyone. 

They serve as occasion for 

conversation, cause for thought, 

and they provide recipients with 

space for free association. About 

two thirds of his oeuvre, which 

comprises more than a thousand 

language-related works, has already 

been presented in the German-speaking 

world—some of it 

either translated by Weiner himself 

or conceived using German as 

a basis. Featuring over six hundred 

works, this is the first complete 

catalogue raisonné of the English / 

German works. The artist has assumed 

responsibility for the typography 

and cover design, as if the 

publication itself were one of his 

own works. Accompanying text 

and visual documents shed light 

on the creative process, in situ installations, 

and text strategies. 




NACH BILDENDE KUNST / 

NACH BILDENDE KÜNSTE, 2011 


Four-color screen print, with book / Image size: 50 ⊗ 32 cm / Limited edition of 20 + 5 a. p., 

signed and numbered 

Preorder price € 3,200.00, after release € 3,500.00 

Lawrence Weiner 

NACH BILDENDE KUNST / 

AFTER FINE ART 

Works in the German-Speaking 

World 

By Gabriele Wix, graphic design 

by Lawrence Weiner, Anja Lutz 


C. 160 pp., c. 30 ills., 


C. € 29.80, $45.00, £26.99 

ISBN 978-3-7757-2979-6 


9 7 8 3 7 7 5 7 2 9 7 9 6

58 Art 



59 

English 



C. € 39.80, $60.00, £35.00 

ISBN 978-3-7757-2995-6 




21.5 × 27 cm, half cloth 

C. € 35.00, $55.00, £32.50 

ISBN 978-3-7757-3183-6 


Rúrí 

Ed. Christian Schoen, texts by Gunnar J. Árnason, Laufey Helgadóttir, Dorothea van der Koelen, 

Halldór Björn Runólfsson, Christian Schoen, graphic design by Atli Hilmarsson 

❙ The first comprehensive monograph on the artist, with a catalogue raisonné 

Icelandic artist Rúrí (* 1951 in Reyk- identity in general. Influenced by is a way of giving shape to philosjavik) 

is one of the most important Fluxus and Conceptualism, she ophy, and she poses crucial ques- 

female artists in northern Europe. was one of the first performance tions about life in a manner unlike 

Her early work reflects the ten- artists in Scandinavia. Later themes any other artist. 

sions of a society in turmoil, and it of her actions, performances, pub- 

attests to the strong will required lic art projects, and poetic objects 

to assert oneself in the male-dom- centered on ethnicity, and she drew 

inated art world. In the eighties, worldwide attention with her 

she dealt with questions about her Archive—Endangered Waters at the 

own identity as well as cultural 2003 Venice Biennale. For Rúrí, art 


++ national GallEry of icEland, 

rEyKJaViK, March 3–May 6, 2012 

Christian Ruschitzka 

Leitmotifs 

Texts by Gerald Bast, Eva Blimlinger, Brigitte Felderer, Margarete Heck, Roman Horak, Guido Magnaguagno, 

Robert Pfaller, interview with the artist by Sasha Pirker, graphic design by Thomas Kussin 

❙ Surprise and artistic annoyance aggravate the boundary between sculpture and Conceptual Art 

Christian Ruschitzka (* 1962 in 

Mürzzuschlag, Austria) is one of 

country’s most extraordinary art- 

ists. As a sculptor, he circuits the 

concept of sculpture with as much 

wit and irony as he does with 

criticism and reflective thought. 

Simple objects, such as, for example, 

found pieces of furniture, are 

“skinned” as if they were part of 

a hunting ritual, their individual 

layers of paint stripped off and 

nailed like trophies onto the wall 

between sheets of plastic wrap. 

The artistic (re)arrangement of the 

elements of these objects makes 

visible their form of usage and calls 

to mind the effort that went into 

their manufacture. A glove directly 

integrated into the sculpture of a 

snowman playfully alludes to the 

use and usefulness of things. In 

the process, the authenticity and 

independent existence of things 

are brought to light—major motifs 

in the humorous artist’s work. 

❙ Monograph on the prizewinning work on the line in space 

Monika Grzymala (* 1970 in Zabrze, 

Poland) creates temporary interventions 

in space, which—closely 

responding to the site at which 

they are produced—turn the line 

into a three-dimensional drawing. 

Her works are based on the fundamental 

examination of drawing as 

a medium as well as the medium 

of paper. In order to be able to 

translate the line into sculpture, 

the artist appropriated the Washi 

technique of making paper by 

hand. The drawing in these new 

works is the relief-like, heavily 

textured paper itself. Once again, 

as in other installations of hers, 

colorfully mixed or strictly monochromatic 

strips of tape—a material 

capable of defining the line— 

are turned into a three-dimensional 

gesture. This monograph is 

published as part of the Berenberg 

Bank’s 2010 index kunstpreis series, 

which features the works of the 

prizewinners from 2000 to 2011. 



by the artist 

QAerial I–V, 2011 


High relief in handmade paper of mulberry, abaca, and kozo fibers in dark gray archival box, 

with certificate / Sheet size: 33 ⊗ 33 ⊗ 2 cm / Limited edition of 15 originals, signed 

€ 1,200.00 

Monika Grzymala 

Ed. Elena Winkel, texts by Petra 

Kipphoff, Catherine de Zegher, et al., 

interview with the artist by Elena 

Winkel, graphic design by Malte 

Kaune 




C. € 35.00, $55.00, £32.50 

ISBN 978-3-7757-3166-9 



++ 18th biEnnalE of sydnEy, 

JunE 27–sEptEMbEr 16, 2012 

9 7 8 3 7 7 5 7 3 1 6 6 9

60 Art 



61 

English 



C. € 39.80, $60.00, £35.00 

ISBN 978-3-7757-3164-5 


English 



€ 29.80, $45.00, £26.99 

ISBN 978-3-7757-3130-0 

Available 

Matthew Monahan 

Ed. Contemporary Arts Center, graphic design by Lena Mozer 

❙ A comprehensive monograph on the work of California’s most radical sculptor 

Matthew Monahan (* 1972 in Eure- part of his assemblages. Laura pieces with new sculptural works 

ka, California) assembles found van Grisven notes in this respect: embracing Zaha Hadid’s architec- 

materials into dynamic sculptures. “Monahan searches for images, ture and responding to the un usual 

His work pays homage to ancient icons of hope and faith, and in spatial relationships and perspec- 

and contemporary cultures and equal measure of despair and pain, tives of the venue’s spaces. The 

exhibits references to works by cutting across history, across cul- publication is the first comprehen- 

Joseph Beuys, Dieter Roth, or Isa tures. He modernizes these images sive book project on the artist to 

Genzken. Besides his sculptures, he and makes them utterly his own.” date. 

creates detailed charcoal drawings For this exhibition, Matthew 

that are frequently an integral Monahan combines signature 


++ contEMporary arts cEntEr, 

lois & richard rosEnthal cEntEr 

for contEMporary art, cincinnati, 

april 23–octobEr 30, 2011 

“It’s a poor sort of memory that only works backwards” 

On the work of Johan Grimonprez 

Ed. Johan Grimonprez, BenoÎt Detalle, texts by Herman Asselberghs, Catherine Bernard, Jorge Luis Borges, 

Chris Darke, Jodi Dean, Thomas Elsaesser, Johan Grimonprez, Asad Ismi, et al., graphic design by Inge Ketelers 

❙ Scripts, dialogues, and critiques of Grimonprez’s films 

This reader brings together the lonialism: the legacy of anthropoages resulting from cinema and 

most insightful dialogues and logical discourse. dial H-I-S-T-O-R-Y television, capitalism and commu- 

critiques on the work of Johan unwraps the hidden dimensions nism, commercials and warfare. 

Grimonprez (* 1962 in Belgium) and of our mediatized culture in terms Maybe the Sky Is Really Green, and 

assembles fragments of his film of the news spectacle and its culti- We’re Just Colorblind serves as a 

scripts for the very first time. vation of fear, oblivion, and catas- sketchbook for Johan Grimonprez 

Kobarweng or Where is Your Helitrophe. Double Take uses the image to expand on existing themes and 

copter? strikes at the heart of what of Alfred Hitchcock to navigate explore new ones. 

constitutes a bastard child of co- through disconcerting double im- 


++ blaffEr art MusEuM, uniVErsity 

of houston, January 15–april 2, 

2011 ++ s.M.a.K., GhEnt, octobEr 15, 

2011–January 8, 2012 

❙ The second monograph on Goran Djurović’s oeuvre 

Serbian artist Goran Djurović 

(* 1952 in Belgrade), who currently 

lives and works in Berlin, studied 

painting in Dresden. Using delicate 

colors yet with succinct gestures 

and only ostensibly purely narrative, 

he describes a disturbing 

dream world in which the cryptic 

truths of our lives are revealed. His 

paintings recall the presumptuousness 

of our life schemes and 

the shame and embarrassment 

that accompany it. Paradoxical 

reversals, ironic caesuras, and the 

blending of divergent realities 

create a visual philosophy of absurd 

failure. Schooled in melancholy 

and the sarcastic laconism 

of Venetian art, each painting 

questions anew the authenticity 

of human life and the relationship 

between intrinsic and extrinsic 

nature. 



qby the artist 

Untitled, 2007 (1) 

Available 

Original drawing on different rag papers, in folder, with book / Sheet size: variable, 

c. 20 ⊗ 27 cm / Limited edition of 10, signed 

€ 600.00 

Goran Djurović 

Texts by Eric Min, Pierre 

Roger Turine, graphic design 

by Anja Lutz 

English / French / German 



C. € 35.00, $55.00, £32.50 

ISBN 978-3-7757-3194-2 



++ frisch ausstEllunGshallE, 

bErlin, fall 2011 

9 7 8 3 7 7 5 7 3 1 9 4 2

62 Art 



63 

English / Farsi 

304 pp., 201 ills., 

21.2 × 23.6 cm, loose-leaf, 

fastened with binder clips 

€ 39.80, $60.00, £35.00 

ISBN 978-3-7757-2972-7 

Available 




C. € 39.80, $60.00, £35.00 

ISBN 978-3-7757-3005-1 


Seeing Studies 

Ed. Natascha Sadr Haghighian, Ashkan Sepahvand, institute for incongruent translation, texts by 

Mehraneh Atashi, Daniel Berndt, Binna Choi, Farhad Fozouni, et al., conversation with Shahab Fotouhi, 

Reza Haeri, Molly Nesbit, Oya Pancaroglu, graphic design by Farhad Fozouni, image-shift 

❙ Artist’s book produced by dOCUMENTA (13) in conjunction with Casco—Office for Art, Design 

and Theory and the institute for incongruous translation 

Seeing Studies investigates the 

ways we learn “to see.” Based on 

a schoolbook published by the 

Iranian Ministry of Education to 

teach art in the first year of Iranian 

public middle school, this bilingual 

publication embarks on a collab- 

orative journey, visiting different 

“schools of seeing.” The institute 

for incongruous translation invited 

Dead Lines 

People throughout history have 

always sought for new ways of 

dealing with death. Today’s media 

is filled with numerous previously 

misconstrued or forgotten coping 

strategies and new death rituals. 

Original, contemporary ways of 

taking on the impermanence of 

life are explored in games, films, 

and video clips. Artists and youth 

contributors and interlocutors to to a problem. Throughout this 

propose solutions to the problems voyage, seeing is understood as a 

posed by dissonant visual lan- radical and expanded process of 

guages. These proposals take shape translation. How to look, read, and 

as words, pictures, numbers, ob- depict come together to form 

jects, practices, and concepts—in systems of “agreements” within 

sum, “things” coexisting in multiple which their “meanings” are con- 

configurations. Tenuous relations stantly extended, transformed, 

are drawn up between things as 

they take up positions in relation 

and reassigned. 

Ed. Birgit Richard, Oliver Zybok, texts by Verena Kuni, Thomas Macho, Birgit Richard, Manfred Schneider, 

Oliver Zybok, et al. 

❙ New ways of dealing with death in art, everyday media, and pop culture 

subcultures are also examining 

death—their own as well as that 

of others—more intensely than 

generally holds true for other social 

systems. This publication features 

communications strategies 

employed by global networks 

that have long been unobtrusively 

developing their own, new deathrelated 

rituals. Works and objects 

are organized according to themes 

and appear in an exclusive blend 

of art, popular culture, and everyday 

media, such as the Internet 

and advertising, making it possible 

to see the various facets that comprise 

society’s current image of 

death. 

❙ A culturally influenced variety of culinary delights in sensuous photographs 

❙ With twenty recipes by Ferran Adrià 

The Fragile Feast was born of a the physical properties of the 

creative collaboration between the respective foods, accompanying 

artist and photographer Hannah them during their transformation 

Collins (* 1956 in London) and into products and their journeys 

Catalan star chef Ferran Adrià and through processing and regional 

offers scintillating insight into the preparation. From edible rose 

origins of extraordinary food from petals to sea anemones, in sensu- 

different cultures. Collins sought ous photographs and with the aid 

out the original sources of an ex- of vibrantly narrative texts the 

clusive selection of around thirty publication conveys an impression 

foods and ingredients Adrià uses in of what is currently considered 

his famous restaurant elBulli. The 

images feature the cultivated landscapes 

of their origin as well as 

nutritious and healthy. 

Hannah Collins 

The Fragile Feast: Routes to 

Ferran Adrià 

Texts by Ferran Adrià, Hannah 

Collins, graphic design by Mark 

Holborn 

English 



C. € 39.80, $60.00, £35.00 

ISBN 978-3-7757-3210-9 


9 7 8 3 7 7 5 7 3 2 1 0 9

64 Art 


www.hatjecantz.com Art 65 

English 

C. 400 pp., c. 100 ills., 

c. 50 in color, c. 50 in duotone, 


C. € 39.80, $60.00, £35.00 

ISBN 978-3-7757-3202-4 




24 × 28 cm, hardcover, with DVD 

C. € 35.00, $55.00, £32.50 

ISBN 978-3-7757-2804-1 


Global Studies 

Mapping Contemporary Art and Culture 

Ed. Andrea Buddensieg, Hans Belting, Jacob Birken, texts by Thomas Fillitz, Rania Gaafar, Anthony Gardner, 

Birgit Hopfener, Nicola Müllerschön, Adele Tan, et al. 

❙ A multilayered analysis of new art worlds 

This is the third volume in the criticism. Besides case studies of trated volume contains brief analy- 

series on GAM—Global Art and individual artists and scenes, Global ses of selected art institutions 

the Museum, a research project Studies outlines the histories of from around the world. 

initiated by Hans Belting and Peter regional art practices, ex hibitions, 

Weibel of the ZKM | Center for Art and “contemporary” ideologies. 

and Media Technology Karlsruhe. Numerous essays by international 

The goal of the project is to ana- scholars create a foundation for 

lyze how globalization has affected a discussion of interdisciplinary 

the situation of art museums, the social sciences, humanities, and 

art market, and the field of art history. In addition, the richly illus- 

OSRAM Seven Screens 

Ed. Christian Schoen, texts by Adam Budak, Söke Dinkla, Alexander Faller, Matthias Mühling, 

Lupe Núñez-Fernández, Christian Schoen, graphic design by Klaus Oberer 

❙ Publication celebrating the fifth anniversary of Seven Screens 

Seven Screens is a unique light - 

ing technology platform for alternating 

art projects in Munich. Behind 

this is a one-of-a-kind artistic 

concept within the scope of an 

ambitious format for art in public 

space. Up to thirty thousand people 

pass by the art project every 

day, which has made it one of the 

attention-grabbing landmarks in 


++ osraM buildinG at MittlErEr 

rinG, hEllabrunnEr strassE 1, 

Munich, May 18–noVEMbEr 7, 2011 

the Bavarian capital. New projects 

that specifically respond to the 

spatial situation have been presented 

every six months since 

2006. In the past five years, nine 

internationally renowned artists 

have produced works for the seven 

LED steles, located at the headquarters 

of the lighting manufacturer 

OSRAM. The artists’ projects 

Artists featured (selection): 

Anouk De Clercq 

Harun Farocki 

Haubitz + Zoche 

Herlinde Koelbl 

Mader / Stublic / Wiermann 

Bjørn Melhus 

Saskia Olde Wolbers 

Rúrí 

playfully and yet profoundly 

exhaust the possibilities offered 

by the formal and site-specific field 

of tension through narrative, abstract, 

and interactive approaches. 

MEX / LA 

“Mexican” Modernism(s) in Los Angeles, 1930–1985 

Ed. Museum of Latin American Art, Long Beach, California, texts by Mariana Botey, Harry Gamboa Jr., 

Renato González Mello, Anna Indych-López, Catha Paquette, et al., graphic design by Jessica Fleischmann 

❙ A survey of a multiplicity of media: Mexican painting, photography, film, literature, music, fashion, 

architecture, and literature from Los Angeles 

The publication focuses on the ence of the Mexican muralists. It bition is to understand how na- 

construction of different notions is often perceived that the city’s tionalism and internationalism are 

of mexicanidad within all forms of Mexican culture comes from else- constructions of modernism that 

modernist and contemporary art where, when in fact it originated are not necessarily mutually exclu- 

created in Los Angeles. The period locally—it was in Los Angeles and sive but often complementary and 

from 1945 to 1985 is when the me- Southern California where José enable the formation of Mexican, 

tropolis consolidated itself as an Vasconcelos, Ricardo Flores Magón, American, or Chicano art in the 

important cultural center. Howev- Octavio Paz, and other intellectu- first place. 

er, this time frame excludes the als developed the idea of modern 

controversial and important pres- Mexico. The purpose of this exhi- 

ASCO 

Elite of the Obscure. A Retrospective, 1972–1987 

This volume presents the multifaceted 

work of the Chicano performance 

and conceptual art group 

Asco (1972–87), which began as a 

tight-knit company of artists from 

East Los Angeles around Harry 

Gamboa Jr., Gronk, Willie Herrón, 

and Patssi Valdez. Asco set about 

through performance, public art, 

and multimedia to respond to tur- 

bulent sociopolitical times in Los 

Angeles, actions that ran parallel 

to the larger international context. 

Geographically and culturally 

segregated from the still nascent 

Los Angeles contemporary art 

scene and aesthetically at odds 

with the emerging Chicano art 

movement, Asco united to explore 

and exploit the broad spectrum 


++ MusEuM of latin aMErican art, 

lonG bEach, sEptEMbEr 18, 2011– 

January 29, 2012 

Texts by Maris Bustamante, C. Ondine Chavoya, Deborah Cullen, Ramón García, Rita González, 

Colin Gunckel, Michelle Habell-Pallán, David E. James, Amelia Jones, Josh Kun, Jesse Lerner, Chon A. Noriega, 

Mario Ontiveros, David Román, Tere Romo, Raúl Villa, graphic design by Shiffman & Kohnke 

❙ The first retrospective on the performance and conceptual art group 

of the conceptual. The publication 

provides a panoramic view 

of Asco’s nearly twenty years of 

artistic output through reproductions 

of previously unpublished art 

works, critical essays by art historians, 

and historical documents. 


++ los anGElEs county MusEuM 

of art, los anGElEs, sEptEMbEr 4– 

dEcEMbEr 4, 2011++ williaMs 

collEGE MusEuM of art, williaMstown, 

Ma, fEbruary 4–July 29, 

2012 ++ and furthEr VEnuEs 

English 



C. € 39.80, $60.00, £35.00 

ISBN 978-3-7757-3133-1 


English 



C. € 39.80, $60.00, £35.00 

ISBN 978-3-7757-3003-7 


9 7 8 3 7 7 5 7 3 1 3 3 1 

9 7 8 3 7 7 5 7 3 0 0 3 7

66 Art 



67 



C. € 39.80, $60.00, £35.00 

ISBN 978-3-7757-3178-2 (German) 

ISBN 978-3-7757-3179-9 (English) 


Dutch / English / German 



€ 35.00, $55.00, £32.50 

ISBN 978-3-7757-3223-9 


A Feast for the Eyes 

The Collection of the Kronenhalle in Zurich 

Ed. Dirk Boll, texts by Kurt Aeschbacher, Thomas Bechtler, Bruno Bischofberger, Dirk Boll, Urs Faes, 

Margrit Hahnloser-Ingold, Daniel Keel, Werner Merzbacher, Andreas Spillmann, et al. 

❙ The Kronenhalle in Zurich presents its art treasures 

You do not have to travel far to trated on works by classic modern 

have the pleasure of dining beneath artists who, along with literary 

a Chagall: it is enough to enjoy an figures, couturiers, and actors, 

evening on the town in Zurich. The frequented the brasserie and bar. 

walls of the Kronenhalle Restau- At the forefront of this publication 

rant at Bellevue Square in Zurich are the works of art at the Kronen- 

display showpieces from the Hulda halle. It contains an essay by the 

and Gustav Zumsteg Foundation. editor of this impressive compila- 

Gustav Zumsteg (1915–2005), son tion as well as a written portrait 

of the legendary owner of the of the collector himself. It also 

Kronenhalle, Hulda Zumsteg, and includes contributions by guest 

a passionate art collector, concen- authors who have very personal 

René Wirths 

The Thing Itself 

Texts by Emily Ansenk, Almut Hüfler, graphic design by Knut Bayer 

❙ Photorealistic paintings transporting a philosophic world view 

René Wirths (* 1967 in Waldbröl, ulous compositions force the ob- 

Germany) has translated a wide server to view the object as such— 

range of three-dimensional objects The Thing Itself. The com position of 

into two dimensions on canvas: the objects in relation to the can- 

a paintbrush, a sewing machine, vas has been accurately thought 

a ball, scrunched-up paper, and an out, the dimensions of the objects 

assortment of chairs and bicycles. determining the format of the 

His accurate painting technique painting. In fact, the only thing 

allows him to reproduce exactly that the artist seems to determine 

what he sees. Set against a neutral, is the choice of format. The paint- 

white background, Wirths’s meticings of René Wirths play with our 


++ Kunsthal rottErdaM, JunE 25– 

sEptEMbEr 18, 2011 ++ followEd 

by KunsthallE tübinGEn 

tales to tell about their favorite 

pictures at the Kronenhalle. 

sense of perception, creating a 

feeling of alienation and singularly 

redefining our view of reality. 

Artists featured 

(selection): 

Alex Cecchetti 

Peter Coffin 

Cerith Wyn Evans 

Spencer Finch 

Olia Lialina 

Matt Mullican 

Lisa Oppenheim 

Trevor Paglen 

Katie Paterson 

Walid Raad / The Atlas Group 

Semiconductor 

Joe Winter 

❙ “Celestial” works between mysticism, romanticism, and science 

This publication presents unusual 

projects in photography, video, 

painting, and installation, each 

one with the sky as its theme. The 

goal of this presentation is to map, 

measure, and chart the firmament. 

Using stars, sunsets, and even 

satellites, artists attempt to understand 

the skies, well knowing 

that it can never really be encompassed. 

These works of art reflect 

our desire to fathom the vaults 

of the heavens, their physical 

conditions, and their unique visual 

fascination. Out of the fundamental 

futility of this human effort the 

artists derive a sense of the mystical 

and sublime, while the art itself 

manifests the romantic aspects of 

a seemingly completely rational 

world. 

Wild Sky 

Ed. Sabine Himmelsbach, Edith- 

Ruß-Haus für Medienkunst, texts by 

Graham Burnett, Michael Connor, 

Eva Díaz, Joe Winter, graphic design 

by Mario Lombardo 




C. € 29.80, $45.00, £26.99 

ISBN 978-3-7757-3175-1 


9 7 8 3 7 7 5 7 3 1 7 5 1 


++ Edith russ housE for MEdia art, 

oldEnburG, May 27–auGust 14, 2011 

++ and furthEr VEnuEs

68 Art 



English 

C. 650 pp., c. 350 ills., 


€ 45.00, $65.00, £40.00 

ISBN 978-3-7757-3139-3 




€ 19.80, $30.00, £17.99 

ISBN 978-3-7757-3184-3 (German) 

ISBN 978-3-7757-3185-0 (English) 

Available 

Art Basel Miami Beach 2011 

Ed. Art Basel, graphic design by Beat Müller 

❙ The catalogue accompanying the most important art fair in the United States 

Art Basel Miami Beach, the interries by over two thousand artists. understanding current art trends 

national art show in Florida, is the Art Basel Miami Beach is a new and the prevailing international art 

American sister-event of Art Basel type of cultural event, combining market. It is an essential reference 

in Switzerland, the most important an international art show with an book for all art professionals and 

annual art fair in the world. An exciting program of special exhibi- collectors, with a special focus on 

exclusive selection of 250 leading tions, parties, and crossover events the art world of the Americas. 

art galleries from North America, including music, film, architecture 

Latin America, Europe, South Africa, and design. The accompanying 

and Asia will exhibit art of the c atalogue, with around 350 color 

twen tieth and twenty-first centu- illustrations, is a valuable tool for 


++ art basEl MiaMi bEach, 

dEcEMbEr 1–4, 2011 

Art & Stars & Cars 

On the Occasion of the Automobile's 125th Anniversary 

Ed. Renate Wiehager for Daimler AG, texts by Renate Wiehager et al., graphic design by superfantastic 

❙ Works making reference to automobiles, from the realm of the abstract avant-garde and 

international media art, presented at the Mercedes Benz Museum in Stuttgart 

At the spectacular Mercedes Benz 

Museum in Stuttgart, designed 

by architects van Berkel & Bos, an 

equally spectacular art event is 

taking place on the occasion of 

Mercedes-Benz’s 125th anniversary. 

The Daimler Art Collection is presenting 

itself to the public with 

250 works spanning the classic 

modern period to international 


++ MErcEdEs-bEnZ MusEuM, 

stuttGart, May 10–sEptEMbEr 25, 

2011 

contemporary art. Without having 

to move a single car, works by 

artists such as Adolf Hölzel, Andy 

Warhol, and Sylvie Fleury have 

been integrated into the automobile 

display. Tracing the path of the 

regular museum tour, the publication 

assembles all of the aspects of 

the exhibition in magazine format, 

including pictures, essays, and bi- 

ographies of the artists. This is 

supplemented by a chronology of 

important events from the history 

of art, culture, and architecture in 

Stuttgart, covering the period from 

1886 to 2011 and paying tribute 

to the 125th anniversary of the automobile 

and the Württembergian 

inventors Karl Benz, Gottlieb 

Daimler, and Wilhelm Maybach. 


Josef Albers 

John M Armleder 

Sylvie Fleury 

Nic Hess 

Adolf Hölzel 

Robert Longo 

Philippe Parreno 

Charlotte Posenenske 

Anselm Reyle 

Michael Sailstorfer 

Pietro Sanguineti 

Anton Stankowski 

Andy Warhol 

Simone Westerwinter 

Ben Willikens 

Why I Never Became a Dancer 

Ed. Ingvild Goetz, Susanne Touw, Stephan Urbaschek, texts by Cornelia Gockel, Ingvild Goetz, Anke Hoffmann, 

Karsten Löckemann, Kevin McGarry, Petra Meyer, Dominikus Müller, Jörg Schafaff, Rainald Schumacher, 

Dominika Szope, Isabelle Vereet, Katharina Vossenkuhl, graphic design by Schmidt / Thurner / von Keisenberg 

❙ Pictures and stories on a youth spent between media society and popular culture 

The former air-raid shelter at the 

Haus der Kunst has been transformed 

into a venue for the presentation 

of international works 

on video that deal with the theme 

of a youth spent in media society 

and popular culture. Facets of socialization, 

hybrid patterns of behavior, 

and international influences 

appear in a multiplicity of 

Dance / Draw 

Texts by Carrie Lambert-Beatty, Catherine Lord, Helen Molesworth, graphic design by Omnivore 

❙ The first art-historical compendium on the dynamics of the line in drawing and dance 

Dance and the visual arts have 

long since entered a relationship, 

yet an authoritative portrayal of 

the points at which they intersect 

has yet to be compiled. This comprehensive 

publication now assembles 

works by about forty different 

artists in an attempt to find 

a place in art history for the multilayered 

affinities between contem- 

forms. The exhibition presents a 

fascinating combination of social 

and personal dimensions, providing 

a wealth of material that virtually 

demands to be explored. And 

it is not only present-day generations 

that see themselves reflected 

here. Tobias Zielony’s Behind the 

Block or Martin Brand’s Station, for 

instance, capture a zeitgeist that 

has matured out of the past. 

The last thirty years are also called 

to mind in Rosemarie Trockel’s 

Yvonne, Rineke Dijkstra’s The Buzzclub, 

Liverpool, UK / Mysteryworld, 

Zaandam, NL, and especially in the 

eponymous story by Tracey Emin, 

Why I Never Became a Dancer. 


++ GoEtZ collEction, haus dEr 

Kunst, Munich, sEptEMbEr 30, 2011– 

fEbruary 2012 

porary dance and the modern visution to leap out of the (picture) 

al arts of the past forty years. The frame. In both places, the line, as 

line is used to trace this history. an independent means of expres- 

While modern dance veers from sion, emancipates itself from con- 

the strict codes of traditional ballet summate form in order to appear 

en pointe, adopting everyday ges- in space as an open, socially intetures 

and natural, childlike play 

into its standard repertoire, contemporary 

drawing also abandons 

the confines of technical perfecgrative 

element. 


++ thE institutE of contEMporary 

art, boston, octobEr 7, 2011– Jan- 

uary 16, 2012 ++ followEd by francEs 

younG tanG tEachinG MusEuM and 

art GallEry at sKidMorE collEGE, 

saratoGa sprinGs, nEw yorK 




C. € 19.00, $30.00, £17.99 

ISBN 978-3-7757-3154-6 


English 



C. € 35.00, $55.00, £32.50 

ISBN 978-3-7757-3163-8 


9 7 8 3 7 7 5 7 3 1 5 4 6 

9 7 8 3 7 7 5 7 3 1 6 3 8

70 Art 




336 pp., c. 200 color ills., 


C. € 35.00, $55.00, £32.50 

ISBN 978-3-7757-3170-6 



C. 208 pp., c. 38 ills., 


C. € 19.80, $30.00, £17.99 

ISBN 978-3-7757-3182-9 


Poiesis: Schriftenreihe des 

Duchamp-Forschungszentrums 

series, vol. 1 

Postcapital Archive 1989–2001 

Ed. Hans D. Christ, Iris Dressler, texts by Hans D. Christ, Iris Dressler, Iván de la Nuez, Valentín Roma, 

graphic design by Nieves and Mario Berenguer Ros 

❙ A political art project in the form of a multimedia installation, open database, and interactive 

laboratory 

The project Postcapital Archive examines developments after 

1989–2001 by Spanish artist Daniel the collapse of the Wall not from 

García Andújar centers on the pro- the aspect of postcommunism, 

found changes that have occurred but postcapitalism. He is concerned 

around the world on social, politi- with the question of how “Westcal, 

economic, and cultural levels. ern” societies have changed with- 

Key issues are the fall of the Berlin out their former counterpart, com- 

Wall and the September 11, 2001 munism, and what kinds of new 

attacks in New York. Here, Andújar walls were built through global 

The Marcel Duchamp Impulse 

Where do we go from here? Contributions to the Schwerin Symposium 

The first in Poiesis, a new series continues to exude for art and 

begun by the Duchamp Research art history. The contributions by 

Center in Schwerin, this volume renowned scholars Kornelia von 

features a collection of essays from Berswordt-Wallrabe, Thomas 

the first symposium on Marcel Girst, Gerhard Graulich, Ana Dimke, 

Duchamp, held in 2009. Titled László Beke, Gunda Luyken, and 

Where Do We Go From Here?, na- Didier Ottinger shed light on the 

tional and international Duchamp myriad of concepts and thoughts 

researchers examine the inspira- sparked by Duchamp’s work in the 

tion that Duchamp’s oeuvre various fields of art and art theory. 

politics after 1989 and 2001. The 

foundation of the project is a digital 

archive containing over 2,500 files 

the artist has gathered from the 

Internet over the course of the 

past decade. 

Ed. Kornelia Röder, Antonia Napp, texts by Ana Dimke, Thomas Girst, Gunda Luyken, Didier Ottinger, 

Kornelia v. Berswordt-Wallrabe, Gerhard Graulich, graphic design by Atelier Sternstein 

❙ The commencement of a new series of symposia at the Staatliches Museum Schwerin 

This anthology provides a comprehensive 

perspective of the current 

discourse on Duchamp. 

“No one else has these colors”: Kirchner's Painting 

Ed. Karin Schick, Heide Skowranek, texts by Christoph Krekel, Karin Schick, Heide Skowranek, et al., 

graphic design by Susanne Bax 

❙ Lavishly illustrated publication on Kirchner’s working process, painting methods, and techniques 

We are powerfully fascinated by temporaries see them? How did 

the rich colors and brilliant light in he implement his materials? What 

the paintings by Ernst Ludwig sort of visual effects did the paint- 

Kirchner (1880–1938), his expreser want to achieve? This publicasive 

figurative picture and scenes of tion, which accompanies an exhi- 

the big city, the majestic mountain bition at the Kirchner Museum in 

landscapes of Davos, and the ab- Davos, examines these and many 

stract quality of his later works. other questions about his working 

How did Kirchner himself perceive process, painting methods, and 

his colors, and how did his con- techniques, and why he later 

Kunstmuseum Basel 

The Masterpieces 

Ed. Kunstmuseum Basel, texts by Nina Zimmer et al., graphic design by Schott & Schibig 

❙ An imposing volume featuring highlights from the Kunstmuseum Basel 

The Kunstmuseum Basel is home 

to one of the largest museum 

collections in Europe. In its unique 

history, it has assembled works 

from the early fifteenth century to 

the present. This lavishly illustrated 

catalogue presents and comments 

on 160 masterpieces from 

every epoch. Among the Old Masters, 

these include works by 

Konrad Witz, the Holbein family, 

and Lucas Cranach the Elder. The 

nineteenth century is extensively 

re presented by Cézanne, Gauguin, 

van Gogh, Monet, and Renoir. A 

special accent on Swiss painters is 

set with works by Füssli, Böcklin, 

and Hodler. From the classic modern 

era, particular importance is 

placed on Cubist, German Expres- 

painted over his works. Kirchner’s 

personal testimonials on painting 

techniques are evaluated, while 

selected works by the artist are 

presented and examined with the 

assistance of state-of-the-art 

scientific methods. 


++ KirchnEr MusEuM, daVos, 

dEcEMbEr 12, 2011–april 15, 2012 

sionist, and American works of 

art. The publication also features 

extremely important key works 

by artists such as Picasso, Léger, 

Chagall, and Giacometti. Post-1960 

works in the collection include 

pieces by Beuys, Warhol, and Judd. 

9 7 8 3 7 7 5 7 3 1 3 7 9 9 7 8 3 7 7 5 7 2 7 5 7 0 



C. € 39.80, $60.00, £35.00 

ISBN 978-3-7757-3138-6 (German) 

ISBN 978-3-7757-3137-9 (English) 




C. € 49.80, $75.00, £45.00 

ISBN 978-3-7757-2756-3 (German) 

ISBN 978-3-7757-2757-0 (English) 

ISBN 978-3-7757-2758-7 (French) 

November 2011

72 Photography 


www.hatjecantz.com Photography 

73 

Arno Schmidt, 

Photographer 

Developing a Visual Awareness 

Ed. Janos Frecot, foreword by 

Jan Philipp Reemtsma, texts by 

Janos Frecot, Gabriele Kostas, 

Rainer Stamm, Thomas Weski, 

graphic design by Verena Gerlach 




C. € 29.80, $45.00, £26.99 

ISBN 978-3-7757-3149-2 



++ GüntEr Grass-haus, lübEcK, 

July 8– octobEr 2, 2011 ++ ÉcolE 

norMalE supÉriEurE dE photo- 

GraphiE (Ensp), arlEs, noVEMbEr 9– 

dEcEMbEr 11, 2011 ++ litEratur- 

ZEntruM VorpoMMErn KoEppEnhaus, 

GrEifswald, opEninG fEbruary 2012 

++ and furthEr VEnuEs 

❙ Striking black-and-white and color photographs by the distinguished 

author 

Arno Schmidt (1914–1979) was not 

only one of the most important 

authors of the twentieth century, 

but a photographer as well. Since 

it was first published and exhi- 

bited in 2003, his photographic 

oeuvre has increasingly sparked in- 

terest among art and photography 

audiences. Schmidt’s images feature 

those places that served as 

settings for the stories he was 

planning. Most of them, however, 

document the heath around his 

home in the village of Bargfeld in 

northern Germany. His photographs 

transform the dimensions 

of the actual landscape into planes 

of color and texture that exude 

harmony and balance. His “creative 

eye” allowed him to generate 

arresting still lifes out of the most 

inconspicuous everyday objects, 

such as a wheelbarrow or a garden 

hose. This publication examines 

this secondary body of art works 

from a variety of perspectives. 

❙ The standard work on the life and work of the Berlin-based photographer 

Friedrich Seidenstücker (1882– 

1966) is noted for his atmospheric 

photographs of everyday life in 

Berlin during the Weimar Republic. 

Thanks to his compassionate studies 

of animals, he has an almost 

legendary reputation among animal 

and zoo lovers, and his haunting 

pictures of Berlin in ruins 

are a precious source of material 

for historians. His images seem to 

be spontaneous, sympathetic examples 

of the kind of photography 

that excels at capturing the moment. 

They are free of any exag- 

geration or extravagance, and display 

a sense of humor rarely found 

in photography. His work is buoyed 

by a fundamental optimism, yet 

it does not ignore the harshness, 

poverty, and suffering that prevailed 

at that time. Besides seven 

essays that deal with Seidenstücker’s 

work in the context of the history 

of early twentieth-century 

photography, this publication also 

contains a scholarly appendix. 

Friedrich Seidenstücker 

Of Hippos and Other Humans 

Texts by Wolfgang Brückle, Ulrich 

Domröse, Florian Ebner, Ulrike Griebner, 

Christoph Ribbat, Sabine Schnakenberg, 

Antje Schunke, et al., graphic design 




23 × 27.2 cm, softcover 

C. € 45.00, $70.00, £40.00 

ISBN 978-3-7757-3131-7 


9 7 8 3 7 7 5 7 3 1 3 1 7 


++ bErlinischE GalEriE, bErlin, 

octobEr 1, 2011–fEbruary 6, 2012




75 

Andreas Gefeller 

The Japan Series 

Texts by Celina Lunsford, 

Christoph Schaden, graphic 

design by Andreas Gefeller 




€ 39.80, $60.00, £35.00 

ISBN 978-3-7757-2994-9 

Available 

❙ Abstractions und reductions: The Japan Series by Andreas Gefeller 

Sensitizing and expanding our 

perception of what is allegedly a 

familiar reality is the attitude 

Düsseldorf-based photographer 

Andreas Gefeller (* 1970) adopts in 

his work. His most recent photographs 

are clearly more formal and 

structural, and they exhibit striking 

pictorial qualities. The Japan 

Series originated on the occasion 

of the European Eyes on Japan 

project, within the scope of which 

European photographers are invited 

each year to capture their impressions 

of this Far Eastern coun- 

try on film. Gefeller takes at least 

two shots of utility poles vertically 

from below. In the subsequent 

digital composite the poles disappear, 

and the innumerable cables 

and transformers are converted 

into an abstract composition 

against a monochrome background. 

Other photographs depict plants, 

their branches winding around 

rectangular wire mesh or wooden 

grates. The absence of points of 

reference and orientation in these 

works opens up a new perspective 

on familiar situations. 



by the artist 

QPoles 33, 2010 

Available 

C-print in folder, with book / Sheet size: 40 ⊗ 40 cm / Image size: 37 ⊗ 37 cm / 


€ 580.00 

❙ A journey through time: spectacular photography of living rooms from “Old China” 

Marrigje de Maar (* 1944 in The tial body of work has taken shape. 

Hague) creates photographs of the While vast areas of housing in 

ephemeral world of the home, many Chinese communes were 

of being rooted. She regards the in- being demolished in order to make 

terior itself as a portrait of identity. way for the modern age and its 

The trained sociologist seeks out contemporary lifestyle and atti- 

those striking and magical places tudes, de Maar found a surprising 

where families have come together diversity of types and uses of clas- 

for generations—where life has sical living spaces. Never before 

“worn itself into” a house. Very im- has the worn and intimate characportant 

is her unusual treatment ter of household life in China, in 

of light: her photographs are veri- all its culturally hybrid forms, been 

table masterpieces of chiaroscuro. 

After five trips to China, a substan- 

revealed in such a direct manner. 



Sby the artist 

Fujian / 08.12.2009 

Available 

C-print, produced by Peter Svenson, in folder, with book / Sheet size: 42 ⊗ 42 cm / 

Image size: 37 ⊗ 37 cm / Limited edition of 20 + 3 a. p., signed and numbered 

€ 680.00 

Marrigje de Maar 

Red Roses, Yellow Rain 

Ed. Huis Marseille, Amsterdam, 

Els Barents, texts by Marrigje de Maar, 

graphic design by Bart de Haas 

English 


31 × 24.7 cm, half cloth 

€ 39.80, $60.00, £35.00 

ISBN 978-3-7757-3001-3 

Available 

9 7 8 3 7 7 5 7 3 0 0 1 3




77 

Catherine Opie 

Empty and Full 

Ed. Helen Molesworth, texts by 

Jill Medvedow, Helen Molesworth, 

Anna Stothart, interview with 

the artist by Helen Molesworth, 

graphic design by Margarethe 

Hausstätter 

English 



€ 29.80, $40.00, £26.99 

ISBN 978-3-7757-3015-0 

Available 


++ thE institutE of contEMporary 

art, boston, april 15–sEptEMbEr 5, 

2011 

❙ In the tradition of the great American street photographers: 

Catherine Opie looks at political gatherings 

One of the defining artists of her the relationship between people 

generation, photographer Cathe- and places. This catalogue presents 

rine Opie (* 1961 in Sandusky, Ohio) her latest photographs of political 

is known for her portraits and demonstrations and gatherings— 

landscapes. She has frequently ranging from the inauguration 

combined these two elements by of President Obama to Tea Party 

training her camera on how people rallies. Drawing on the long and 

take possession of different land- illustrious tradition of American 

scapes—from high-school football landscape painting and documen- 

players on the field or ice fishertary photography, like that of 

men on frozen lakes to surfers Berenice Abbott and Robert Frank, 

waiting for the next wave. Opie re- Opie affords us a look at democently 

returned to the genre of 

street photography, elaborating on 

cracy in action. 

Collector’s Editions 


by the artist 

rSunset # 6, 2008 

Untitled # 5 (Inauguration 

Portraits), 2008 

Available 

C-print in folder, with book / Sheet size: 28 ⊗ 35.5 cm / Image size: 23.8 ⊗ 34.4 cm / 

Limited edition of 50 per motif, of which 25 are avaible at Hatje Cantz, signed and numbered 

€ 480.00 per motif 

❙ Spectacular landscape and portrait photography produced along 

the legendary Ruta del Sol while traversing the Andes 

Frank Gaudlitz 

La Ruta del Sol 

Ed. E & E AG, texts by Hans 

On his journey through South Cotopaxi and Chimborazo, and Jürgen Erbeldinger, Ottmar Ette, 

America, Frank Gaudlitz (* 1958 in approaching the north Peruvian Matthias Flügge, graphic design 

Vetschau, Germany) followed an city of Trujillo, Gaudlitz produced by Hans-Heinrich Ruta 

important historical route in his stunning photos of sites along this 

attempt to get as close as possible historical route. Besides the black- German / Spanish 

to photographing sites that were and-white images of landscapes, C. 204 pp., c. 100 ills., 

important to the research expedi- with their roads, rivers, and small 60 in color, 40 in duotone, 

tion undertaken by Alexander von villages, Gaudlitz also took portraits 30 x 27 cm, hardcover 

Humboldt. Without knowing it at of the people in these regions, C. € 39.80, $60.00, £35.00 

first, in 1801 Humboldt traveled presenting a multifaceted image ISBN 978-3-7757-3215-4 

twelve hundred kilometers across of society—from the indigenous October 2011 

the Andes along the Incan Ruta del people in their simple huts and 

Sol. Starting at the Rio Mayo in houses to the wealthy elite in 

Columbia, then crossing Ecuador 

with its breathtaking volcanoes 

Quito, Ecuador’s capital. 

9 7 8 3 7 7 5 7 3 2 1 5 4 


++ cEntro cultural bibliotEca 

Julio Mario santo doMiMGo, boGotá, 

JunE 11–26, 2011 ++ cEntro dE 

artE contEMporánEo dE Quito, 

sEptEMbEr 2011 ++ liMa, opEninG 

noVEMbEr 2011




79 

Sandra Kantanen 

Landscapes 

Foreword by Timothy Persons, 

texts by Alistair Hicks, Tomas 

Träskman, graphic design by Inger 

Kulvik-Kantanen 

English 


24.6 × 28.9 cm, half cloth 

€ 35.00, $55.00, £32.50 

ISBN 978-3-7757-3191-1 

Available 


++ purdy hicKs GallEry, london 

JunE 6–July 7, 2011 ++ pyhäniEMi 

Manor, hollola, finland, July 2– 

auGust 14, 2011 

❙ On a quest for the essence of nature: an unusual photographic 

perspective 

The poetic works of Sandra 

Kantanen (* 1974 in Helsinki) are 

more than just landscapes. Strongly 

influenced by traditional Chinese 

landscape painting, she at first 

sought ideal types of motifs in the 

sacred mountains of China, yet 

rarely found what she was looking 

for. It was not until she combined 

two media and utilized painterly 

means that she achieved the profound 

expression she desired. 

Kantanen printed her early photos 

on hand-painted metal grounds, 

thus employing the visual tradition 

of painting and the connotations 

of the characteristic artistic style in 

her work. In the meantime, she 

has begun digitally processing her 

photos from China, Japan, Finland, 

and Tibet, creating distortion, blurring, 

or streaking, some of which 

recall the results of overexposure. 

In this way, the young artist, a graduate 

of the University of Art and 

Design, the talent pool in Helsinki, 

investigates and expands the 

boundaries of photography itself. 


Elina Brotherus 

Nanna Hänninen 

Maarit Hohteri 

Wilma Hurskainen 

Tiina Itkonen 

Ulla Jokisalo 

Aino Kannisto 

Sanna Kannisto 

Sandra Kantanen 

Marjaana Kella 

Milja Laurila 

Anni Leppälä 

Susanna Majuri 

Nelli Palomäki 

Riitta Päiväläinen 

Marjukka Vainio 

Ea Vasko 

Niina Vatanen 

Saana Wang 

Pernilla Zetterman 

❙ Pure girl power: the Helsinki School’s women photographers 

introduce themselves 

Photography has in the meantime 

become one of Finland’s biggest 

exports. Graduates of Aalto University's 

School of Art and Design 

in Helsinki exhibit their pictures 

around the globe. Also extraordinarily 

successful are previous 

volumes of The Helsinki School, a 

series devoted to these young 

artists and their works. Now, the 

fourth volume of the series focuses 

on female artists, inquiring into 

the possibility of a special female 

point of view. Innovative concepts 

and techniques as well as a vari - 

ety of forms distinguish the work 

of this gener ation of photographers—the 

spectrum ranges from 

Tiina Itkonen’s documentary-style 

pictures of Greenland and Anni 

Leppälä’s theatrically staged in teriors 

to the painterly nature studies 

by Sandra Kantanen. Timothy 

Persons pre sents the twenty artists 

and their highly individual artistic 

stances. 

The Helsinki School 

Vol. 4 

A Female View 

Ed. Aalto University―School of Art 

and Design, texts by Andrea Holzherr, 

Timothy Persons, graphic design 

by Claudia Stein 

English 



C. € 35.00, $55.00, £32.50 

ISBN 978-3-7757-3211-6 


9 7 8 3 7 7 5 7 3 2 1 1 6




81 

Bettina Lockemann 

Kontaktzonen / Contact Zones 

Ed. Hans D. Christ, Iris Dressler, 

texts by Hans D. Christ et al., 

graphic design by L2M3 




C. € 39.80, $60.00, £35.00 

ISBN 978-3-7757-3169-0 


❙ The first monograph on the photographer’s theory-based work 

Bettina Lockemann: Contact Zones 

is being released in conjunction 

with the exhibition of the same 

name at the Württembergischer 

Kunstverein in Stuttgart. Lockemann’s 

works stand out due to the 

unspectacular gesture they make 

within the world of contemporary 

photography. The superior quality 

of the images, their contextual 

complexity, and their precise conception 

attest to the way the artist 

reflects on the aesthetic and theoretical 

parameters of photography. 

Lockemann explores a number of 

social issues in her extensive series. 

She shifts attention to urban situations, 

constructs of globalization 

and the Other, politically defined 

spaces, or scenarios involving control 

and surveillance. As always, 

her primary pursuit is the investigation 

of the relationship between 

image and reality. 

❙ Photographs on the historical architectural culture of eastern Europe’s 

urban landscapes 

Whereas the West encounters 

the now-fossilized witnesses of 

planned economies and socialist 

modernism with skepticism, 

Roman Bezjak (* 1962 in Slovenia) 

takes an impartial view of communist 

architecture. After producing 

prizewinning photo essays for GEO 

and the Frankfurter Allgemeine 

Zeitung, for the past five years the 

artist has concentrated on traveling 

through eastern and southeastern 

Europe. Bezjak used a largeformat 

camera to take photographs 

of residential buildings, 

institutions, hotels, and palaces 

of culture in familiar and foreign 

places—from Tallinn and Tirana to 

Dresden and Dnipropetrovsk. His 

series render a kind of archaeology 

of postwar modernism without 

nostalgically glorifying the former 

East Bloc, for he also makes visible 

the exploitation of utopia and 

its entry into everyday life. This 

publication thus captures a world 

threatened by demolition, parts of 

which—such as the Palace of the 

Republic in Berlin—no longer exist. 




Skopje, Macedonia, 2008 


C-print in folder, with book / Sheet size: 40 ⊗ 50 cm / Image size: 38 ⊗ 45 cm / 

Limited edition of 20 + 5 a. p., signed 


Roman Bezjak 

Socialist Modernism 

Ed. Inka Schube, Sprengel Museum 

Hannover, texts by Till Briegleb, 

Christian Raabe, Inka Schube, 

graphic design by Mario Biehs, 

Sabine Schmidtpeter 




€ 39.80, $60.00, £35.00 

ISBN 978-3-7757-3188-1 

Available 

9 7 8 3 7 7 5 7 3 1 8 8 1 


++ sprEnGEl MusEuM hannoVEr, 

JunE 22–octobEr 16, 2011 ++ 

robErt Morat GallEry, haMburG, 

January 21–March 17, 2012




83 

English 



€ 35.00, $55.00, £32.50 

ISBN 978-3-7757-3132-4 

Available 

English 

C. 350 pp., c. 120 ills., 

c. 50 in color, 


C. € 49.80, $75.00, £45.00 

ISBN 978-3-7757-3173-7 


Chi Peng 

Me, Myself, and I 

Texts by Feng Boyi, Richard Vine, conversation between Ai Weiwei and the artist, 

graphic design by Fu Ruixiang, Jiang Xiaoshun 

❙ The most important works created by the Chinese artist between 2003 and 2010 

Chinese artist Chi Peng (* 1981 in 

Yantai, Shandong) is usually the 

protagonist himself in his staged, 

digitally processed photographs. 

The scenarios vary enormously: in 

the series Sprinting Forward, several 

nude Chi Pengs flee from an attack 

by red airplanes, while in his 

Dream series, multiple versions of 


++ GroninGEr MusEuM, GroninGEn, 

March 26–sEptEMbEr 25, 2011 

Pierre Crocquet de Rosemond 

Pinky Promise 

Ed. Bronwyn Law-Viljoen, graphic design by François Smit 

❙ A visual journey tracing memories of childish innocence and sexual abuse 

In his last photo project, Pierre 

Crocquet (* 1971 in Cape Town) 

produced sensitive psychological 

studies of a small multicultural 

community in South Africa. Now, 

he focuses on a no less explosive 

psychological detail, carefully feeling 

his way through places where 

old wounds were once incurred, 

examining the experience of child 


++ JohannEsburG art GallEry, 

fall 2011 

himself, with dragonfly wings, 

fly over the ocean, heading for a 

vague horizon. Like many of his 

contemporaries, due to China’s official 

family policy Chi Peng was 

raised a single child, so important 

themes in his work are adolescence, 

growing up, and issues revolving 

around sexual identity. 

abuse with his camera. Without 

passing judgment, his pictures 

capture the suffering of the victim 

as well as the loneliness of the 

perpetrator. Remembering reveals 

trauma and healing on both sides. 

Both victim and abuser share a 

secret—a constrained promise of 

silence, symbolized by the linking 

of little fingers: the Pinky Promise. 

However, China’s relentless progress 

and the accompanying feelings 

of optimism, doubt, insecurity, 

and isolation can also be found in 

his images, where reality and fiction 

meet. 

The act of abuse is frozen in history; 

it is not permitted to melt away 

but remains crystallized in eternity. 

Thus, contemporary scenes are 

in black and white, while personal 

documents, such as a family album, 

are lit up in brilliant colors. 

Jacqueline Hassink 

The Table of Power 2 

Texts by Michiel Goudswaard, Jacqueline Hassink, Annegret Pelz, Jeroen van der Veer, 

graphic design by Irma Boom 

❙ A comparison and photographic panorama of “tables of power” 

The financial crisis of 2009 shook 

the global economy to its very 

foundations. Yet has anything 

changed at the centers of power 

since? Do executive suites look 

different than they used to? And 

what do they actually look like? 

A decade ago, Jacqueline Hassink 

(* 1966 in Enschede, the Netherlands) 

captured images of desks 

and conference room tables at 

Ebbe Stub Wittrup 

Presumed Reality 

Texts by Gitte Broeng, Rune Gade, graphic design by Åse Eg 

❙ An extraordinary series by the Danish artist 

A box of slides from hiking trips in of nostalgia. He digitally blocks 

Norway and Switzerland in the late out details or lends them greater 

fifties that the artist once found sharpness. He plays with colors, 

forms the point of departure for forms, light, and shadow regard- 

the conceptual work by Ebbe Stub less of what is depicted. In this 

Wittrup (* 1973 in Aarhus). The color way, images of an ascent to a sum- 

photographs have faded over time, mit or people taking a break are 

and the patina points toward a transformed into abstract paint- 

distant past. Yet the artist uses ings: the outlines of people in the 

these documents without a sense foreground dissolve, and the alpine 

what were at the time the largest powerful actors on the market: 

multinational corporations in the banks, insurance companies, and English 

world. Magnum photographer corporations such as Shell, BP, Volks- C. 240 pp., c. 80 ills., 

Martin Parr included her project in wagen, and ING. With scientific c. 60 in color, 

his catalogue of the most impor- precision, Hassink focuses on the 26.5 × 32 cm, hardcover 

tant photo books of the twentieth desks and tables in deserted, soul- C. € 49.80, $75.00, £45.00 

century. Today, the artist is taking less rooms—as if emptiness was ISBN 978-3-7757-3214-7 

another look at the headquarters one of the inherent features of November 2011 

of the approximately fifty companies 

that the American business 

magazine Fortune lists as the most 

power. 


++ GalEriE woutEr Van lEEuwEn, 

aMstErdaM, 2011 ++ Moscow housE 

of photoGraphy, 2013 ++ and 

furthEr VEnuEs 

world in the background becomes 

razor sharp. One can only guess 

what is real—Presumed Realities. 


++ nussEr & bauMGart, Munich, 

July 7–auGust 12, 2011 ++ Martin 

asbæK GallEry, copEnhaGEn, 

auGust 12–sEptEMbEr 17, 2011 ++ 

KunsthallEn brandts, odEnsE, 


English 



€ 29.80, $45.00, £26.99 

ISBN 978-3-7757-3216-1 


9 7 8 3 7 7 5 7 3 2 1 4 7 

9 7 8 3 7 7 5 7 3 2 1 6 1




85 



21 × 26.3 cm, clothbound 

€ 39.80, $60.00, £35.00 

ISBN 978-3-7757-3022-8 

Available 




€ 39.80, $60.00, £35.00 

ISBN 978-3-7757-2998-7 

June 2011 

Andreas Gursky 

Works 80–08 

Ed. Martin Hentschel, text by Martin Hentschel, graphic design by Yonne Quirmbach 

❙ The standard work on Gursky‘s oeuvre, now in a new, revised edition 

Andreas Gursky (* 1955 in Leipzig) 

has ranked for many years among 

the world’s leading photographic 

artists. Now, for the first time ever, 

an attempt is being made to unfurl 

the artist’s oeuvre in all its encyclopedic 

glory. Gursky has selected 

over 150 images from his pool 

of photographs, reaching back 

Through the Looking Brain 

A Swiss Collection of Conceptual Photography 


++ KunstMusEuM bonn, JunE 23– 

sEptEMbEr 25, 2011++ Kunst- 

MusEuM st. GallEn, octobEr 15, 

2011–January 29, 2012 

in time to his student days at 

the Folkwang Hochschule Essen, 

followed by the period in which 

he was in the class taught by Bernd 

and Hilla Becher at the Kunstakademie 

Düsseldorf. Beginning with 

the earliest exposures, such as the 

Desk Attendants and other unpublished 

photographs, the publica- 


Andreas Gursky 

Architecture 

ISBN 978-3-7757-2177-6 

tion describes an enormous trajectory 

that takes us to his more 

recent works. Every single exposure 

in Gursky’s encyclopedic 

morphology is a vital piece in the 

puzzle, which over some twentyeight 

years has opened out into a 

sweeping view of the world. 

Ed. Kunstmuseum Bonn, Kunstmuseum St. Gallen, texts by Stephan Berg, Konrad Bitterli, David Campany, 

Stefan Gronert, Dora Imhof, graphic design by Landolt / Pfister 

❙ A stunning cross-section of conceptual photography 

Luwa AG’s photography collection, contains major works and groups splendid publication unfurls a 

initiated in 1990 in Zellweger, of works by artists such as John rich visual display, and texts by 

Switzerland, by Ruedi and Thomas Baldessari, Bernd and Hilla Becher, Stephan Berg, Konrad Bitterli, 

Bechtler and never before shown Sigmar Polke, Imi Knoebel, Martin David Campany, Stefan Gronert, 

in public, has since become one of Kippenberger, Thomas Ruff, Andreas and Dora Imhof expound on this 

the finest and most extensive col- Gursky, Fischli & Weiss, Roman spectacular collection. 

lections in the area of conceptual Signer, Richard Prince, Jeff Wall, 

and serial photography. Embracing Hiroshi Sugimoto, Stan Douglas, 

the seventies to the present, it Ken Lum, and Gabriel Orozco. This 

Walter Niedermayr 

The Aspen Series 

❙ Nature and tourism in alpine landscapes from a new and different perspective, Interview with the artist by 

captured on film in panoramic views 

Paula Crown, graphic design 

by Mevis & van Deursen 

Walter Niedermayr (* 1952) has in the Rocky Mountains, on which 

worked in alpine regions around a highly ambitious kind of tour- English 

the world since the late eighties, ism has taken a heavy toll. In his C. 120 pp., c. 90 color ills., 

using his camera to explore the master ful cycle of photographs, 23 × 26 cm, hardcover 

issues surrounding the presence Niedermayr remains a precise, crit- C. € 39.80, $60.00, £35.00 

and interference of people in these ical observer of the way the land- ISBN 978-3-7757-3212-3 

sensitive landscapes. In winter scape has been transformed by the November 2011 

2009 he was invited to Aspen, “homo touristicus.” This publica- 

Colorado, where he created anothtion falls in alongside works develer 

of his of Alpine Landscapes. In oped for the buildings designed by 

forty-two multipart photo and the Japanese architectural team 

video works, the artist depicts the Sanaa as well as the series devoted 

winter landscape of the ski resort to Iran (Recollection). 


Walter Niedermayr 

Recollection 

ISBN 978-3-7757-2738-9 

9 7 8 3 7 7 5 7 3 2 1 2 3 


++ on pErManEnt display at Various 

VEnuEs in aspEn, colorado



www.hatjecantz.com Architecture 

87 

The Other View 

The Early Berlin Wall 

Ed. Annett Gröschner, Arwed 

Messmer, essays by Greg Bond, 

Olaf Briese, Florian Ebner, Matthias 

Flügge, Annett Gröschner, Arwed 

Messmer, graphic design by 

Carsten Eisfeld 


C. 752 pp., c. 600 ills., 

c. 570 in duotone, 


€ 49.80, $75.00, £45.00 

ISBN 978-3-7757-3207-9 



++ untEr dEn lindEn 40, bErlin, 

auGust 5–octobEr 3, 2011 

❙ Commemmorating the fiftieth anniversary of the erection 

of the Berlin Wall 

❙ With QR codes marking the position of the wall and the camera 

on Google Maps 

It was not until the seventies that Gröschner (* 1964 in Magdeburg) 

the Berlin Wall started looking captioned them. Supplementing 

like the swath of white concrete these captioned photos are por- 

that has been etched into collective traits of soldiers, snapshots, and 

memory. Before that, it consisted reports of escape attempts, which 

of brick walls, dog patrol areas, together provide an overview of 

and barbed wire. Around 1965–66, everyday occurrences along the 

soldiers from the East German border. This volume also contains 

border patrol photographed forty essays on architecture and “Wall 

kilometers of the inner-city wall, literature,” as well as on the impor- 

producing about three hundred tance of the project to the history 

panoramic views of West Berlin. of photography; the project is sup- 

Photographer Arwed Messmer ported by the Federal Archive, the 

(* 1964 in Schopfheim, Germany) Federal Foundation for Reviewing 

digitally reconstructed these the GDR Dictatorship, and the 

pictures, while author Annett Federal Cultural Foundation. 


Ostzeit 

Stories from a Vanished Country 

ISBN 978-3-7757-2486-9 

❙ Architects as moderators of social transformation 

Politics and the public are current- that have had profound, positive 

ly once again focusing on the so- effects with just a minimum incially 

responsible role of architecvestment of money and materials. 

ture. More and more people around Besides comprehensive urban in- 

the world live under unacceptable frastructures, this volume presents 

conditions, for instance in slums model projects such as schools, 

and shantytowns. Several architects libraries, gardens, converted build- 

and artists are devoting themselves ings, and art projects. Based on 

to the question of how to actively twenty projects that have been 

contribute to solving social prob- implemented as well as stances 

lems with new types of designs. taken by artists from throughout 

By directly including users in the the world, this publication demon- 

design and building process and strates how innovative design so- 

work-ing with new economic models, 

they have realized projects 

lutions can transform society. 

Moderators of Change: 

Architecture That 

Helps 

Jahresring 58. Jahrbuch für 

Moderne Kunst 

Ed. Andres Lepik, texts by Regina 

Bittner, Carson Chan, Luis 

Fernández-Galiano, Ronald Rael, 

Anne Schmedding, Christian 

Welzbacher, et al., graphic design 





C. € 35.00, $55.00, £32.50 

ISBN 978-3-7757-3186-7 


9 7 8 3 7 7 5 7 3 1 8 6 7

88 Architecture 



89 

Eike Becker 

Architekten 

Superferenz 

Texts by Eike Becker, Klaus 

Biesenbach, Klaus Humpert, 

Matthias Schuler, graphic design 

by Heimann und Schwantes 


C. 480 pp., c. 240 ills., 

c. 160 in color 


C. € 58.00, $85.00, £55.00 

ISBN 978-3-7757-3150-8 


❙ Monograph embracing all of the facets of the Berlin-based office’s 

attitude toward architecture and its design practice 

Superferenz is the first monograph 

on Eike Becker_Architekten from 

Berlin. The office operates at the 

intersection of architecture and 

urban planning in the constantly 

changing environment of highspeed 

societies. Featuring twentyeight 

comprehensively documented 

projects and objects, arranged 

in chronological order, this publication 

provides insight into the 

architects’ ideas and work, as well 

as their methodology and belief in 

architecture as the expression of 

and precondition for a society 

undergoing remarkable transformation. 

Office, apartment, hotel, 

and museum buildings and urban 

planning are vividly explained with 

the help of sketchbooks, paintings, 

collages, models, technical drawings, 

animation, photos, and texts. 

Nearly five hundred pages provide 

a survey of the original, internal 

processes behind the production 

of architecture. 

❙ Contemporary buildings and projects in their cultural and urban-planning contexts 

About half of the high-rises and urban-planning contexts, 

around the world were built in the which, depending on whether they 

past ten years. This construction are in Europe or Asia, for instance, 

boom has turned tall buildings can be very different. The book 

into a formative element of the also inquires into the lives of indi- 

most important sphere of collecviduals within the larger frametive 

life today: the city. Its symbolic work, taking a look at everyday life 

power, however, often seems to in the high-rise and the towering 

be larger than life, for even in the buildings as part of everyday expe- 

twenty-first century, the high-rise rience. Artistic works expand the 

is still the embodiment of the city architectural horizon and question 

as such, while in the eyes of others, the aesthetic and ethical claims 

it is leveled against it. This publica- that are linked to these kinds of 

tion shows contemporary buildings 

and projects in their cultural 

outstanding structures. 

Highrise 

Idea and Reality 

Ed. Museum für Gestaltung Zürich, 

Andres Janser, texts by Karin Gimmi, 

Andres Lepik, Eric Schuldenfrei, 

Martino Stierli, Marisa Yiu, et al., 

graphic design by Heimann und 

Schwantes 



C. € 35.00, $55.00, £32.50 

ISBN 978-3-7757-2992-5 (German) 

ISBN 978-3-7757-2993-2 (English) 


9 7 8 3 7 7 5 7 2 9 9 3 2 


++ MusEuM für GEstaltunG, Zurich, 

auGust 31, 2011–January 2, 2012




91 

Helen & Hard 

Architects 

Relational Spaces 

Ed. Martin Braathen, Reinhardt 

Kropf, Siv Stangeland, texts by 

Martin Braathen, Michael Hensel, 

Jorge Otero-Pailos, graphic design 

by Johanne Hjorthol 

English 

C. 192 pp., c. 100 ills., 


C. € 45.00, $70.00, £40.00 

ISBN 978-3-7757-3134-8 


❙ Monograph on one of the most innovative architectural offices 

in Norway 

Architects Helen & Hard received 

international acclaim for their 

design of the spectacular and ecofriendly 

Norwegian Pavilion at the 

Shanghai Expo 2010. For the last 

fifteen years, Siv Helene Stangeland 

(* 1966) and Reinhard Kropf 

(* 1967) have worked on a wide 

range of topics—they tapped into 

the resources of the oil industry to 

use its software, structures, and 

material technology; analyzed the 

theory of planning processes; and 

redesigned industrially prefabri- 

cated solid wood elements to create 

new structural design possibilities. 

Their works range from recycling 

projects such as the Geopark, 

contributions to art exhibitions 

such as Manifesta 7, to the sophisticated 

timber architecture of the 

Pulpit Rock Mountain Lodge. This 

book highlights their philosophy of 

Relational Design, which combines 

a wide spectrum of human, environmental, 

material, and processual 

factors. 

❙ The most extensive monograph to date on work by the standard-setting 

architectural office 

Sadar+Vuga is a Slovenian architectural 

office whose first building, 

the headquarters of the Slovenian 

Chamber of Commerce in Ljubljana, 

built in 1999, created an international 

uproar. The office—with 

its inimitable, charismatic architectural 

vocabulary—has since secured 

a place on the international 

architectural scene. Sadar+Vuga 

have erected most of their sixteen 

finished buildings in Ljubljana and 

in doing so have left their mark on 

the face of the Slovenian capital in 

a way that only a few other archi- 

tects have done previously. Now, 

with Sadar+Vuga: A Review, we 

have the most extensive portrait 

of their work before us. Besides 

a comprehensive catalogue of 

projects, the book contains an atmospherically 

dense photo essay 

as well as an unusual, discursive 

reflection on the works of Sadar+ 

Vuga in the form of a peer review, 

recorded in Ljubljana, and featuring 

Jacob van Rijs, Philip Ursprung, 

Jörg Leeser, Mark Lee, and Duncan 

Lewis. 

Sadar+Vuga 

A Review 

Ed. Ilka & Andreas Ruby, texts by 

Mark Lee, Jörg Leeser, Duncan Lewis, 

Jacob van Rijs, Philip Ursprung, 

graphic design by Leonard Streich 

English 



C. € 58.00, $85.00, £55.00 

ISBN 978-3-7757-3143-0 


9 7 8 3 7 7 5 7 3 1 4 3 0




93 

English 



C. € 49.80, $75.00, £45.00 

ISBN 978-3-7757-3174-4 


English 



C. € 19.80, $30.00, £17.99 

ISBN 978-3-7757-3197-3 


The Cathedral of Christ the Light 

The Making of a 21st Century Cathedral 

Introduction by Paul D. Minnihan, texts by Karla Britton, Maristella Casciato, John Cummins, Paul Goldberger, 

Craig Hartman, Pierluigi Serraino, Allen Henry Vigneron, graphic design by Lonny Israel 

❙ Monograph on the grandiose SOM-designed Cathedral of Christ the Light, the first cathedral 

to be built entirely in the twenty-first century 

Two overlapping circles, known terior envelops the building, while nology developed specifically for 

as a mandorla, form the basis of a layer of fritted glass diffuses the cathedral: an image of the 

the Cathedral of Christ the Light light and heat. Inside, the vaulted Romanesque relief of Christ from 

in Oakland, California, which was wooden ceiling soars forty meters the tympanum of Chartres Cathe- 

completed in 2008. The design, upward and is reminiscent of a dral was digitized, after which a 

by Craig W. Hartman of Skidmore, boat, while an oculus in the enor- laser was used to perforate holes 

Owings & Merrill LLP (SOM), commous dome opens up to the sky. in an aluminum panel, rendering 

bines the early Christian symbol of Aisles are like rays leading to the an eighteen-meter-tall pixilated 

the fish—ichthys—with an innova- rectangular altar. The unique Ome- image. The image of the Pantocrative 

structure made of glass, wood, ga window behind the altar was tor is visible as 94,000 points of 

and concrete. A glazed, bivalve ex- created with the help of new tech- light inside the cathedral. 

SOM Journal 7 

Ed. Juhani Pallasmaa, Kenneth Frampton, texts by Nicholas Adams, Kenneth Frampton, 

Thomas van Leeuwen, et al., graphic design by SOM 

❙ A presentation and discussion of old and new high-rise projects by the architectural offices of SOM 

SOM Journal 7 is the most recent Kenneth Frampton. The jury of One” by Mark Sarkisian, and 

issue in a continuing series that was held on May 19, 2010, at the “How the Leopard Got Its Spots: 

presents the work of SOM in the Seagram Building in New York. Lever House as a Skyscraper” by 

context of a critical discussion. The It includes the essays “Notes on Nicholas Adams. Featured projects: 

process of review by a jury is a the Techno-Aesthetic Evolution Project Floyd, Geneva, Switzerland; 

daring enterprise unique to SOM. of High-Rise Form, 1896–1997” by PSAC II, Bronx, New York; Lotte 

The jurors for this issue were Erik Kenneth Frampton, “The Myth of World 2, Seoul, Korea; John Jay 

Olsen, Rita McBride, Peter MacKeith, Natural Growth II” by Thomas van College of Criminal Justice, NY, NY; 

Juhani Pallasmaa, Luis Fernandez- Leeuwan, “Building Tall” by William Chongqing River Tower, Chong- 

Galiano, Joan Ockman, and Baker, “Emergence and the Power qing, China; SOM Research. 

❙ Richly illustrated publication on one of the icons of modern architecture 

The Neue Nationalgalerie is more 

than just a museum or a building. 

It is a milestone in the history of 

architecture, a memorial, an icon. 

Designed by German architect 

Ludwig Mies van der Rohe, the 

building is especially well known 

for its fifty-by-fifty-meter glass hall. 

With this singular pavilion structure, 

Mies van der Rohe set a virtuoso 

close to his decades-long exploration 

of “fluid” space. There is 

hardly another building of his 

in which the boundary between 

interior and exterior is as permeable 

as it is here. In many ways, the 

Neue Nationalgalerie can be seen 

as Mies’s legacy and the quintessence 

of his thought. This publication 

presents the building from 

today’s perspective, but it also features 

historical photographs taken 

during the construction period, the 

building’s opening in 1968, and the 

spectacular exhibitions that took 

place there in its early years. 

Neue Nationalgalerie 

Berlin 

Mies van der Rohe 

By Joachim Jäger, graphic design 

by Helder Suffenplan 



€ 19.80, $30.00, £17.99 

ISBN 978-3-7757-3144-7 (German) 

ISBN 978-3-7757-3145-4 (English) 


9 7 8 3 7 7 5 7 3 1 4 5 4

94 Credits 


www.hatjecantz.com Credits 

95 

© for works reproduced: artists and their legal sucessors 

Gerhard Richter, Motorboot (1. Fassung), 1965, private collection; Gerhard Richter, from: Firenze, 2000 

© Apple, 2000, iBook, photo: Maik Carstensen 

François Berthoud, photos: © ZHdK/Museum für Gestaltung Zürich, Umberto Romito 

Gerhard Richter, Frau, die Treppe herabgehend, 1965, GR 92, © The Art Institute of Chicago, Roy J. and Frances R. 

Friedman Endowment and gift of the Lannan Foundation, 1997 

Max Beckmann, Departure, 1932–1935, Triptych, The Museum of Modern Art, New York, © 2011. Digital Image, 

The Museum of Modern Art, New York/Scala, Florence 

Max Beckmann, Das Nizza in Frankfurt am Main, 1921, Göpel 210, Kunstmuseum Basel, acquired with a special 

credit by the Basel government in 1939, photo: Kunstmuseum Basel, Martin P. Bühler, © VG Bild-Kunst, Bonn 2011 

Max Ernst, Der Gegenpapst, 1941/1942, Peggy Guggenheim Collection, Venice (Solomon R. Guggenheim 

Foundation, New York), photo: David Heald, © The Solomon R. Guggenheim Foundation 

Robert Doisneau, Picasso et Françoise Gilot, 1952 

Piet Mondrian, TABLEAU I, mit Rot, Schwarz, Blau und Gelb, 1921, Gemeentemuseum Den Haag, © 2011 Mondrian/ 

Holtzman Trust, c/o HCR International Virgina USA 

Stefanie Schneider, Untitled, from the series: The girl behind the white picket fence, 2011, © VBK, Vienna/VG 

Bild-Kunst, Bonn 2011; Werner Pawlok, Sabine I, 1987, © Werner Pawlok; Mary Ellen Mark, Untitled, 1987, 

© Mary Ellen Mark 

Gregory Crewdson, Plate 4, from: Beneath the Roses, 2003–2008; Plate 15, from: Beneath the Roses, 2003–2008 

Wim Wenders, Sun Bather, Palermo, 2007; Streetcorner in Butte, Montana, 2003 

Olaf Otto Becker, Jökulsá á Bru, Canyon, 07/2011; Haifoss, Iceland 1999; Hafen Höfn 2002 

Kevin Erskine, Supercell Harrison Nebraska, 2009 

Peter Bialobrzeski, Shanghai, 2010 

Matthias Braschler, Monika Fischer, Juliana Pacco Pacco (44), Lama Herder, Paru Paru, Peru, 2009, © braschler/ 

fischer/photography 

Erró, Foodscape, 1964, Moderna Museet Stockholm; Fishscape, 1974, private collection, Paris 

Ellsworth Kelly, White Black, 1970, Museum of Contemporary Art Los Angeles; Untitled, 2004 

Cindy Sherman, Untitled (Murder Mystery People), 1976, © Cindy Sherman/SAMMLUNG VERBUND, Vienna 

Chiharu Shiota, In Silence, 2008, Centre PasquArt, Biel, photo: Sunhi Mang 

Ján Mančuška, installation view, Brunswig; Reverse Play, 2007 

Daniel Bräg, detail from: 4 Kühlschränke, 2005, © VG Bild-Kunst, Bonn 2011; Obstgarten, 1992, © VG Bild-Kunst, 

Bonn 2011 

Karolin Bräg, Ein Spiegel ist der See, 2008, Friedrichshafen, © VG Bild-Kunst, Bonn 2011; Nimm Abschied, 2000, 

Pragfriedhof, Stuttgart, © VG Bild-Kunst, Bonn 2011 

Mitra Tabrizian, from the series: Wall House #2, 2007; City, London, 2008 

Paul Pfeiffer, Dutch Interior, 2001, courtesy Sammlung Goetz; Four Horsemen of the Apocalypse (18), 2004, 

courtesy Sammlung Goetz 

Sandra Bulloch, Constructostrato Drawing Machine: Red, 2011, © photos: Carsten Eisfeld, 

courtesy Esther Schipper 

Alexandra Vogt, Untitled, 2002; Untitled, 2009; Untitled, 2001 

Stella Hamberg, courtesy Galerie EIGEN+ART Leipzig/Berlin, (cover) photo: Gregor Hohenberg, 

photo: Uwe Walter, Berlin 

Lothar Götz, Winterreise, 2010, Fundació Joan Miró, Barcelona, photo: pere Pratdesaba, Barcelona, courtesy 

rahncontemporary, Zurich; 

Joachim Grommek, Untitled #124, 2009, courtesy rahncontemporary, Zurich; Untitled #128, 2009, courtesy 

rahncontemporary, Zurich 

Rurí, Archive – Endangered Waters, 2003, La Biennale di Venezia, photo: Valdimar Sverrisson; Desolation, 1984, 

Flying Concrete – Experimental Environment, Kultorvet, Copenhagen 

Christian Ruschitzka, My Private Ocean, 2010; Schneemannhandschuh, from: Körperapplikationen I, 2010 

spreads taken from the book; 

Alexander Braun (with Alfredo Vilchis), Retablo # 35, 2008, private collection 

Cilia Erens, Soundspace Yogya, Cemeti Art House, Yogyakarta, Indonesien, photo: Cemeti Art House, Yogyakarta, 

Indonesia; Zhang Peilis, Exhibition, 2008, Contemporary Art Terminal (OCAT), Shenzhen, China, photo: 

Contemporary Art Terminal (OCAT), Shenzhen, China 

Exhibition poster and installation view of Kölnischer Kunstverein; 

René Wirths, Motorrad, 2010; Stern, 2010 

John M Armleder, Don't do it! (Readymades of the 20th Century) F.S. (Furnitures Sculptures), 1997/2000, © Daimler 

Art Collection 

Daniel García Andújar/TTTP, Timecode, 2009, courtesy Daniel García Andújar/TTTP; installation view, 

Württembergischer Kunstverein Stuttgart, 2009, courtesy Daniel García Andújar/TTTP 

Arno Schmidt, Haus südöstlich von Arno Schmidts Grundstück, n.d., © Arno Schmidt Stiftung; Blick aus dem 

Fenster, 1962, © Arno Schmidt Stiftung; Lilienthal, An der Wörpe 1957, © Arno Schmidt Stiftung 

Bettina Lockemann, EP/2006/K., 2006-2007, © VG Bild-Kunst, Bonn 2011; Contact Zone, 2008, © VG Bild-Kunst, 

Bonn 2011; Unbestimmtes Terrain, 2009, © VG Bild-Kunst, Bonn 2011 

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Wolfgang Tillmans, © photos: Markus Hartmann 

Max Beckmann, Riviera-Landschaft mit Felsen, 1942, Göpel 594, private collection, photo: Peter Schälchli, 

Zurich, © VG Bild-Kunst, Bonn 2011 

Irving Penn, Picasso, Cannes, 1957; Roberto Otero, Der letzte Stierkampf, undated, Museum Ludwig, Cologne, 

Rheinisches Bildarchiv, © VG Bild-Kunst, Bonn 2011 

Jan Němec, Untitled, 1978, © Jan Němec; Helmut Newton, Untitled, 1976, © Helmut Newton Estate; 

Jan Němec, Untitled, 1978, © Jan Němec 

Gregory Crewdson, Plate 3, from: Sanctuary, 2009; Plate 8, from: Fireflies, 1996 

Wim Wenders, Rodeo Clown, Brisbane, 2006 

Olaf Otto Becker, Bjarnafoss Iceland 1999 

spreads taken from the book 

Matthias Braschler, Monika Fischer, Avetik Oganisovitch Nazaryan (50) and Ludmila Nikolaevna Nazaryan 

(37) and their daughter Liana Avetikovna Nazaryan (5), Inhabitants of a sinking house Yakutsk, Siberia, Russia, 

2009; Yang Gengbao (69) and his wife Huang Lianfeng (68), Flood Victims/Shop Owners Hongse, Guangxi, 

China, 2009, © braschler/fischer/photography 

Robert Indiana, EAT/DIE, 1962, Diptychon, © Morgan Art Foundation/Artists Rights Society (ARS), New York, 

© VG Bild-Kunst, Bonn 2011; (cover) photo: © John Ardoin 

Robert Longo, Untitled (Skull Island), from: Monsters, © VG Bild-Kunst, Bonn 2011; Untitled (Isabella), 

from: Beginning of the World, © VG Bild-Kunst, Bonn 2011 

Erwin Wurm, © VG Bild-Kunst, Bonn 2011 

Mona Hatoum, Deep Throat, 1996, photo: Philipp Schönborn, courtesy Sammlung Goetz; Home, 1999, 

courtesy Sammlung Goetz 

(cover) photo, © Jeremy Pollard 2011 

Rosa Barba, detail from: White Museum, 2010, Centre international d’art et du paysage de l’île de Vassivière, 

France, © VG Bild-Kunst, Bonn 2011; detail from: White Museum, 2010, Centre international d’art et du 

paysage de l’île de Vassivière, France, © VG Bild-Kunst, Bonn 2011; detail from: The Indifferent Back of a View 

Rather Than its Face, 2009, Centre international d’art et du paysage de l’île de Vassivière, France, © VG 

Bild-Kunst, Bonn 2011 

Lawrence Weiner, © VG Bild-Kunst, Bonn 2011 

Monika Grzymala, Aerial I–V, 2011 

Hannah Collins, Cutting Sugar Cane. elBulli Kitchen, 2010; Ferran Adrià Creating a Coconut Egg, 2010 

Asco, Decoy Gang War Victim, 1974, photo: Harry Gamboa, Jr.; Harry Gamboa, Jr., X’s Party (fotonovela), 1983 

Alex Cecchetti, Sun (One Day Old), 2008; Trevor Paglen, Four Geostationary Sattelites Above the Sierra 

Nevada, 2007 

Doug Aitken, I am in You (linear version), 2000, courtesy Sammlung Goetz, photo: Wilfried Petzi, Munich; 

Tracey Emin, Why I Never Became a Dancer, 1995, courtesy Sammlung Goetz, photo: Raimund Koch, 

New York, © VG Bild-Kunst, Bonn 2011; 

Rashaad Newsome, Untitled (New Way), 2009, Courtesy Marlborough Chelsea, New York, © Rashaad 

Newsome 

Ernst Ludwig Kirchner, Die drei alten Frauen, 1925; detail from: Die drei alten Frauen, 1925, Kirchner Museum 

Davos 

Paul Cézanne, Cinq beigneuses, 1885/1887; Vincent van Gogh, Portrait de lui-même à l’estampe japonais, 

1887; Ferdinand Hodler, Der Genfersee von Chexbres aus, 1905 

Friedrich Seidenstücker, Untitled (Walrosse im Wasser), c. 1932, © Berlinische Galerie; Untitled (Nach der 

Schule ein Eis), c. 1931, © bpk/Friedrich Seidenstücker; Untitled (Bitte recht freundlich), c. 1927, © bpk/Friedrich 

Seidenstücker 

Frank Gaudlitz, Percy Jonel Garcia Rodriguez, Hualgayoc, Peru, 2010; Nizag; Ecuador, 2010 

Aino Kannisto; Saana Wang; Nanna Häninnen (from left to right) 

Roman Bezjak, Skopje/Macedonia, 2008 

Chi Peng, True and false Monkey King, 2007; 19. June. 1981, 2009 

Pierre Crocquet de Rosemond, Untitled, 2010, from: Pinky Promise, courtesy Seippel Gallery 

Johannesburg and the artist; Untitled, 2010, from: Pinky Promise, courtesy Seippel Gallery 

Johannesburg and the artist 

Andreas Gursky, Abstellraum, 1981, © VG Bild-Kunst, Bonn 2011 

Fischli/Weiss, from: 111-Blätter Blumen Box, 1998 

Roman Signer, Wasserstiefel Explosion, 1986 

BArch-DVH 60 Bild-GR31-11-07 bis-09_GR31-12-079, o.Ang./Rekonstruktion Arwed Messmer 

spreads taken from the book 

Geopark, Kjerringholmen, photo: Emile Ashley; Norwegian Pavillon, Shanghai Expo 2010, photo: Joh. E. Krøll 

© Skidmore, Owings & Merrill LCC, photos: Tim Hursley, César Rubio 

Chongqing River Tower in Chongqing, China; Lotte Tower in Seoul, Korea, © Skidmore, Owings & Merrill LCC 

Captions for image frieze below editorial (from left to right) 

Sandra Kantanen, Untitled (Sakura 3), 2009; Walter Niedermayr, Aspen 02, courtesy Galerie Nordenhake 

Berlin/Stockholm; Marrigje de Maar, Qinghai / 06.08.2007; Yto Barrada, Bunch of Chards, 2009/2011; 

Andrew Phelps, Untitled, 2011, from: Sight_Seeing; Chi Peng, Sprinting Forward –2, 2004 

82/83 

84/85 

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92/93 

Jacqueline Hassink, The meeting table of the Board of Directors of Société Générale, Paris, France, 

14 September 2010 

Ebbe Stub Wittrup, Presumed Reality #1, 2007; Presumed Reality #5, 2007 

Walter Niedermayr, Aspen 10, 2009, courtesy Galerie Nordenhake Berlin/Stockholm 

photo: Erik Jan Ouwerkerk; dragon flight, photo: Jan Bittner 

© Sadar+Vuga, National Gallery, Ljubljana, Slovenia, 1996–2001; football stadium Stožice, 

Ljubljana, Slovenia, 2010 

Neue Nationalgalerie, opening 1968, photo: Reinhard Friedrich, © bpk/Reinhard Friedrich; 

Neue Nationalgalerie, upper hall, photo: Roman März, © bpk/Roman März, Neue Nationalgalerie, façade, 

photo: Gerhard Murza, © bpk/Gerhard Murza 

Prices, specifications, and terms subject to change without notice. Hatje Cantz is not responsible for errors 

and omissions. 

You will find the barcodes of our new titles beside their bibliography; if there is more than one edition 

the English barcode is shown. 

Copyediting: Rebecca van Dyck, Tas Skorupa; copy deadline: April 30, 2011

www.hatjecantz.com # 89129

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