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.

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.

Published in association with the first major survey exhibition of Kai Althoff’s work organized by the Institute of Contemporary Art, Boston, Kai Kein Respekt documents the most important aspects of his work over the past fifteen years. Full-color illustrations of Althoff’s drawings, watercolors, collages, paintings, photographs, performances, and installations present a comprehensive overview of his complex and varied oeuvre. Essays by the exhibition curator, Nicholas Baume; MCA Chicago curator Francesco Bonami; leading German cultural critics Diedrich Diederichsen and Olaf Karnik in addition to several texts by the artist provide a thoughtful and detailed account of Althoff’s work and its significance.

Produced on the occasion of the exhibition Kai Althoff: Kei Kein Respekt (Kai No Respect) at the Institute of Contemporary Art, Boston, May 26 – September 6, 2004

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

Produced on the occasion of the exhibition In search of Eulenkippstadt at Robert Prime Gallery, London, March 6 – 19 April, 1996.

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

Fanal – a recondite word for lighthouse or torch, and a cognate in German and English – began as Kai Althoff’s solo step outside of his long running and in certain spheres abundantly cherished (and in certain spheres perfectly uncomprehended) duo with Stephan Abry. The first Fanal album is a primarily instrumental collection bolstered and upholstered with muscular synthesizer arpeggiations and martial drum machines. After Workshop’s intimacies, Fanal’s relative coldness made the project seem as distant and magisterial as the secluded castle pictured on the album cover (not to mention the sublimity of the castle’s manicured grounds).

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