Produced on the occasion of the exhibition, Isa Genzken—Works From 1973 To 1983, at the Kunsthalle Basel, 5 September, 2020–24 January 2021, which is dedicated to the artist’s early oeuvre. The publication opens with works from her time as a student at the Düsseldorf Academy of Fine Arts (1973-1977) and details the evolution of her art up to 1983. The works shown include sculptures, computer printouts, extensive series of drawings, photographs and films. The artist blends conceptual approaches with personal themes; many works that initially seem to be exercises in geometric abstraction prove upon closer examination to be traces of her own existence, telling stories of personal relationships and the vagaries of desire.

Produced on the occasion of Isa Genzken: Models for Outdoor Projects, held at the Bundeskunsthalle Bonn in 2016. The publication introduces Isa Genzken’s complete 42 projects for outdoor sculptures, from the years 1984–2016. Each project is extensively illustrated, with accompanying texts by Manfred Hermes both in German and English. In addition, the book contains an introductory text by Susanne Kleine.

Produced on the occasion of Isa Genzken’s exhibition, Sie sind mein Glück from 11 June–27 August, 2000 at Kunstverein Braunschweig.

With texts by Diedrich Diederichsen und Rita Kersting and a foreword by Karola Grässlin. Designed by Yvonne Quirmbach.

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.

Contributions by Manuela Ammer, Julie Ault, Monika Baer, Nairy Baghramian, Gerry Bibby, Jennifer Bornstein, Pauline Boudry & Renate Lorenz, Dragana Bulut, Katarina Burin, Françoise Cactus, Leidy Churchman, Ann Cotten, Juan Davila, Dominic Eichler, Elmgreen & Dragset, Yusuf Etiman, Isa Genzken, Susanne Ghez, Margaret Harrison, Daniel Herleth, Annette Kelm, Janette Laverrière, Adam Linder, Lee Lozano, Charlie Le Mindu, Shahryar Nashat, Gina D’Orio, Stephen Prina, Dean Spade, Ming Wong.

The Jahresring series is one of the longest continually published annual journals for contemporary art in Germany. The 61st edition is a reader and visual sampler with contributions from visual artists, writers, poets, musicians, choreographers, and designers. Bringing together a discursive array of forms and timbres, it takes an intertextual and interdisciplinary approach to exploring some contemporary cultural resonances with respect to gender and sexuality. In this sense, a “PS” or postscript might be understood as a place where relations or realities not explicitly stated in the main body of any given text, but nevertheless underpinning them, are revealed. A “PS” is a place of interpersonal agency; a compelling textual gesture that might add a “by the way” and an “also” and a “you know what we’re really talking about.” By its nature, a “PS” is contextualized and contextualizing. Though it may parade as the last word, it never is.

The Jahresring is published annually on behalf of Kulturkreis der deutschen Wirtschaft im BDI e.V.

Produced on the occasion of Isa Genzken’s 1989 exhibition at Museum Boymans-van Beuningen, Rotterdam. With an essay by Peter Groot. Funded by Helge Achenbach Art Consulting, Düsseldorf and Daniel Buchholz, Köln.