Gerd Arntz was a German Modernist artist renowned for his black and white woodcuts. A core member of the Cologne Progressives he was also a council communist. The Cologne Progressives participated in the revolutionary unions AAUD (KAPD) and its offshoot the AAUE in the 1920s. In 1928 Arntz contributed prints to the AAUE paper Die Proletarische Revolution, calling for workers to abandon parliament and form and participate in worker’s councils.

In her work, Aleksandra Domanović (b. 1981 in Novi Sad, Yugoslavia) takes a probing look at a wide range of phenomena of contemporary society, among them cultural techniques, scientific and technological developments, history and culture, popular culture and the shaping of national and cultural identity. Her work often has its starting point in the examination of the past and present of her home country, the breakup of Yugoslavia after the end of the Cold War, the collapse of the Soviet Union and the struggle for a new national and cultural identity.

For her exhibition Calf-Bearer in Bonn, the artist expands on one of her themes – Bulls Without Horns – and looks at current scientific developments in bioengineering, namely research carried out by Alison Van Eenennaam at the University of California in Davis who works on the breeding of certain genetic traits in cattle, for example the lack of horns. The artist not only presents the protagonists of these experiments in colour photographs, she also translates the underlying ideas into sculptures, which she produces by means of computer modelling, 3D printing and casting in synthetic plaster. Made of Corian, her votive stelae are transformed and abstracted depictions of the sixth-century BC Greek sculpture of the Moschophoros (Calf-Bearer) found in1866 on the Acropolis of Athens in the so-called Perserschutt, the bulk of the architectural and votive sculptures destroyed by the Persians in 480 BC.

Published on the occasion of Jason Dodge’s 2017 exhibition at the Schinkel Pavillon, Berlin.

From the press release “We are pleased to announce the final instalment of our exhibition series Porzellan und Vulkan with the exhibition Jason Dodge and Paul Thek. In the Schinkelklause several of Paul Thek’s major drawings will be displayed, while on the upper floor of the Schinkel Pavillon Dodge will present a sculptural installation. Dodges installative work and a program of poetry readings will draw conceptual reference to the work of Paul Thek and his engagement with rituals of diverse kinds.

The paralells between Thek and Dodge’s work in material and meaning are unmistakable. In addition to the visual exhibitions, the collaborations include readings by poets Dodge has published, and a workshop from Thek’s teaching notes for his 4D class at Cooper Union 1978-1981—all of these elements contribute to the interweaving between the artistic disciplines and embellish the notion of collaboration.”

Published on the occasion of the exhibition “Behind this machine anyone with a mind who cares can enter” by Jason Dodge at IAC-Institut d’art contemporain Villeurbanne. Texts by CAConrad and Valentina Desideri. Translation by Gilles Berton.

Published on the occasion of Jason Dodge’s 2017 exhibition at the Schloßpark Pansevitz.

“The things in this book were once precious or at least kept for one reason or another. As Governments have fallen and currencies have been replaced, coins that were once used for buying things have stopped being circulated. The simple value of silver by weight is what connects these coins to necklaces, rings, tea sets and pins, now, all of these pieces of silver have become exchanged for money, the cash they could fetch has outweighed any sentimental or aesthetic value.

All of these things in this book are now hidden, lost between trees, in lakes, in the grass and under rocks throughout Schlosspark Pansevitz.” Camilla v.d. Bussche

Printed in an edition of 75 signed and numbered copies.

Thea Djordjadze mainly works with sculpture although she has also realized performances and been involved in music projects. In her sculptures, she often uses perishable, fragile, everyday materials that are derived from the vocabulary of domesticity and may hint at femininity, such as plaster, ceramic, silicon, sponge, cardboard, textiles and soap. The shelves, railings, walls and boxes that support or encase the sculptural objects, are simple but delicate architectural structures of wood and metal. Their expression stands in stark contrast to the organic shapes and “unfinished” surfaces of modestly scaled sculptures propped against walls, resting on shelves or hanging from railings. These passive-aggressive configurations of conflicting but mutually dependent objects make cryptic and elliptical reference to the sculpture of classical modernism. The artist’s drawings and watercolours are often part of installations, doubling and heightening their expressive impact and also underlining the fragmentary, unfinished state of the work. They are neither preliminary sketches for future three-dimensional works nor are they studies of already existing sculptures or autonomous pieces. It is as if the sculptures were living bodies that have assumed a definitive shape and became motionless only for a moment—and the drawings have taken note of their temporary appearance.

With texts from Oksana Bulgakowa and Adam Szymczyk.