Copublished with Kunsthalle Wien on the occasion of Isa Genzken’s exhibition I’m Isa Genzken, the Only Female Fool, 28 May–7 September, 2014.

“The Only Female Fool” is how Isa Genzken describes herself in the self-chosen title of her exhibition at the Kunsthalle Wien. This statement is typical of the fluid boundaries between deep seriousness and the exuberant, eccentric spirit that pervades her work. Genzken’s artistic practice is characterized by a wide spectrum of media and forms, although her roots in sculpture always remain visible. The exhibition and catalogue focus on specific aspects of her oeuvre, including the mirror motif, the examination of architecture, and space as a social sphere; where early works are juxtaposed with series from later creative periods. Genzken’s collaboration with other artists and her admiration for certain artistic positions is also brought into focus, and selected works by Dan Graham, Gordon Matta-Clark, Jasper Johns, Gerhard Richter, Wolfgang Tillmans, and Lawrence Weiner are presented in dialogue with Genzken’s multilayered work.

Design by Kummer & Herrman.

Ei-Q (28 April, 1911–10 March, 1960) was a Japanese artist who worked in a variety of media, including photography and engraving.

He was influenced by the Surrealist aesthetic and also published essays promoting photography as an art form independent of painting. This did not imply a rejection of painting, and he worked toward what in 1935 he termed photo-dessins, a fusion of photograms and paintings.

Produced on the occasion of West Coast Ceramics, Keramisch Beeldhouwwerk Uit De Verenigde Staten, September 1979. Including the work of Robert Arneson, Robert Brandy, David Gilhooly, Ron Nagle, Richard Notkin, Ken Price, Richard Shaw and Peter Voulkos.

Designed by Wim Crouwel, Arlette Brouwers, Total Design.

Produced on the occasion of Christopher Williams: Couleur Européenne, Couleur Soviétique, Couleur Chinoise at Museum Haus Lange & Haus Esters, Krefeld, 22 October, 2000–1 January, 2001.

Produced on the occasion of two exhibitions of Robert Kinmont’s work; Listen, Kunsthaus Glarus, 10 February–5 May, 2013 & Measure, Kunstlerhaus Bremen, 8 June–1 September, 2013.

Although the Californian conceptual artist Robert Kinmont’s work dates back to the late 1960s and the beginning of 1970s, this is the first monograph of his work. Kinmont is primarily concerned with his environment, the Californian landscape. He works with simple, mostly natural materials, and places them in relation to his body and his life. Probably his best known work, entitled 8 Natural Handstands (1969/2005), a series of photographs showing the artist doing handstands in abandoned landscapes, on the edges of cliffs, river beds, forests and deserts, was illustrated in Lucy Lippard’s book Six Years: The Dematerialization of the Art Object from 1966 to 1972. Not so long afterwards, Kinmont retreated from art practice for the following three decades.

Three years in the making, ‘Projekt Migration’ was a large-scale exhibition held in various traditional and nontraditional sites around the city of Cologne, with the Kölnischer Kunstverein serving as the primary host venue. Organized by a team including Kathrin Rhomberg, director of the Kölnischer Kunstverein, and Zurich-based curator and filmmaker Marion von Osten, ‘Projekt Migration’ investigated the history of postwar migration to western Europe in relation to current debates that place immigrants at the center of political contestation. Part socio-historical anthology and part contemporary art exhibition, the project was one element of an — initiative by the Kulturstiftung des Bundes (Federal Cultural Foundation) that also included screenings, a symposium, performances, workshops, discussions, music.

Featuring artists such as; Vlassis Caniaris, Gustav Deutsch, Lukas Duwenhögger, Gülsün Karamustafa, Christian Philipp Müller, Henrik Olesen, Mladen Stilinović, Rosemarie Trockel.