Video peepshows, porno theatres, garden pavilions—with subtle insight, Tom Burr (*1963) sheds light upon what is marginalized, or not immediately recognizable. His works, which make reference to Minimal art’s object sculptures, redefine them in current socio-economic “queer” aspects. By acting as an intermediary between formal stringency and socio-political content, Tom Burr’s works overcome Hal Foster’s criticism that Minimal art tended to “handle the viewer as historically innocent and sexually indifferent.” With comprehensive texts and illustrations, this book features an artist who belongs among those who have shaped a new form of institutionally critical art.

With texts from Tom Burr, Carina Herring and Juliane Rebentisch.

Produced on the occasion of Carolyn Lazard’s exhibition at Kunstverein Braunschweig in 2021. Hintertür points to the mutual embodiment of both the filmmaker and the viewer, animating questions of agency and access concerning phenomenological cinema. In addition, Lazard inverts Kunstverein Braunschweig’s spatial logic by implementing architectural interventions that fundamentally change how audiences navigate the building. In historic buildings, physical barriers to access are normally regulated by Braunschweig’s historic preservation codes. Alternatively, artistic interventions are permitted to make minor changes to historic buildings. For this exhibition, Lazard developed Remise ramp (2021), a ramp connecting two rooms, and Remise signs (2021), an alternative sign system. With texts by Jule Hillgärtner and Nele Kaczmarek.

Produced on the occasion of Michaela Eichwald’s exhibition Ich kann nicht zulassen, dass… 2001 at Kunstverein Braunschweig Studiogalerie, Germany. Texts by Michael Krebber and Karola Grässlin.

Produced on the occasion of Henrik Olesen’s 2001 exhibition at Kunstverein Braunschweig. With texts by Sabeth Buchmann and Karola Grässlin.

The project examined the consequences of legal restrictions on identity and lifestyle. It dealt with the criminalization of homosexuality and documented cultural peculiarities, the current legal situation and pictorial representations from different countries of the world.

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.

The work of K.R.M. Mooney inhabits an intermediary position between autonomous, abstract sculpture and context-specific projects. With carefully placed objects and spatial interventions they dissolve clear boundaries between interior and exterior, initiating a more comprehensive perception of objects, bodies and space that is always co-produced with the relational, environmental and embodied. K.R.M. Mooney, Carrier is published on occasion of the artists’ solo exhibition at Kunstverein Braunschweig’s Remise. It includes an introduction by Christina Lehnert, an interview between K.r.m. Mooney and McIntyre Parker, a statement by Nele Kaczmarek and a poem by Susanne M. Winterling.