Produced on the occasion of Cosima von Bonin’s exhibition Bruder Poul sticht in See at Kunstverein in Hamburg, Hamberg, May 26–August 5, 2001.

Cosima von Bonin came of age as an artist in the 1990s amid the storied art scene in Cologne. In her practice, mixed references to art history, popular culture, and music are seen in tandem with a destabilising approach to craft and domestic activities. Many of her recent installations are populated with casts of cartoonish fabric characters–fish, whales, mushrooms, dogs, rockets–whose endearing appearances conjure a range of contradictions: delight and horror, softness and rigidity, and humour and sorrow.

Designed by Yvonne Quirmbach and Reile Hertz.

*Please note this publication is secondhand and has some traces of previous ownership.

Produced on the occasion of Cosima von Bonin’s exhibition 2 Positionen auf einmal/2 Positions at once at Kölnischer Kunstevrein, Köln, October 30, 2004–January 16, 2005.

Cosima von Bonin came of age as an artist in the 1990s amid the storied art scene in Cologne. In her practice, mixed references to art history, popular culture, and music are seen in tandem with a destabilising approach to craft and domestic activities. Many of her recent installations are populated with casts of cartoonish fabric characters–fish, whales, mushrooms, dogs, rockets–whose endearing appearances conjure a range of contradictions: delight and horror, softness and rigidity, and humour and sorrow.

Designed by Yvonne Quirmbach.

Produced on the occasion of Cosima von Bonin’s exhibition The Cousins at Kunstverein Braunschweig, February 5–March 26, 2000.

Cosima von Bonin came of age as an artist in the 1990s amid the storied art scene in Cologne. In her practice, mixed references to art history, popular culture, and music are seen in tandem with a destabilising approach to craft and domestic activities. Many of her recent installations are populated with casts of cartoonish fabric characters–fish, whales, mushrooms, dogs, rockets–whose endearing appearances conjure a range of contradictions: delight and horror, softness and rigidity, and humour and sorrow.

With texts by Kai Althoff, Diedrich Diederichsen and Josephine Pryde.

*Please note this publication is secondhand and has some traces of previous ownership.

Produced on the occasion of the exhibition Cosima von Bonin, The Fatigue Empire at Kunsthaus Bregenz, Bregenz, July 18–October 3, 2010.

Cosima von Bonin came of age as an artist in the 1990s amid the storied art scene in Cologne. In her practice, mixed references to art history, popular culture, and music are seen in tandem with a destabilising approach to craft and domestic activities. Many of her recent installations are populated with casts of cartoonish fabric characters–fish, whales, mushrooms, dogs, rockets–whose endearing appearances conjure a range of contradictions: delight and horror, softness and rigidity, and humour and sorrow.

With essays by Yilmaz Dziewior, Mark von Schlegell, and John Welchman. Designed by Yvonne Quirmbach.

Family, kin, clan, clique, coterie, fandom, elective affinity, alliance, collaboration, network. These forms of social structures are reflected in the materials assembled in this catalogue: invitation cards, flyers, fanzines, journals, and texts from the 1990s and 2000s. Documents that are arranged chronologically on a timeline provide an insight into the developments of visual art at that time in Cologne and New York. Selected historical essays and reviews reflect virulent theoretical debates; interspersed data point to socio-political events and influential exhibitions. The catalogue accompanies the exhibition of the Schröder Donation with works by Kai Althoff, Cosima von Bonin, KP Brehmer, Tom Burr, Lukas Duwenhögger, Isa Genzken, Dan Graham, Renée Green, Ull Hohn, Hilary Lloyd, Lucy McKenzie, Christian Philipp Müller, Nils Norman, Stephen Prina, and Danh Vo.

Jana Euler’s artistic practice is stylistically varied, at the same time critically incisive, direct and witty, sometimes even silly, always attuned to the social and material bases of her chosen medium. This richly illustrated monograph highlights Euler’s unique approach to producing exhibitions, which the artist has likened to a kind of “body, made up of all the parts that go into the different aspects of exhibiting.” Exhibitionism traces her evolving practice through her own memories and studio archive: surfacing invitation cards, exhibition texts, posters and diagrams, alongside new drawings and collages made especially for the book.