Isa Genzken (b. 1948) is one of Germany’s most prominent artists. She is best known for her architectural sculptures that combine a Minimal aesthetic with the bright colours and synthetic materials of Modernist architecture. Her hybrid, colourful mini-skyscrapers combine mirrored sheets, fluorescent plastic, glass and concrete. She first began exhibiting in the 1970s and has exhibited at The Renaissance Society in Chicago (1989) and Documenta 7 (1982), 9 (1992) and 11 (2002) in Kassel, Germany, among many other prestigious venues. Genzken’s work is represented by Galerie Daniel Buchholz, Neven-DuMont-Str. 17, Cologne 50667, Germany, post@galeriebuchholz.de , Hauser & Wirth, 196A Piccadilly, London, W1J 9DY, london@hauserwirth.com and David Zwirner Gallery, 525 W 19th Street, New York, NY 10011, USA, angela@davidzwirner.com
A guidebook for contemporary artists navigating the planetary instead of the Eurocentric globalPositioning the Eurocentric term “global” against the more holistic word “planetary” toward an interconnected anticolonialist art world, this volume proposes “planetary” approaches to art.
Edward Krasiński (1925–2004) is a key figure in the progressive Polish art scene of the 1960s and 1970s. His work, rooted in the avant-garde traditions of Constructivism and Surrealism, is comprehensively documented here for the first time with around 300 historical illustrations. This publication features numerous photographs by Eustachy Kossakowski and Tadeusz Rolke, who chronicled Krasiński’s artistic journey over more than four decades. The emphasis is on his distinctive exhibition designs, which transcended mere presentation of individual pieces. Krasiński transformed exhibition spaces into extraordinary environments, integrating his works in ways that offered fresh perspectives on his art, which spans painting, sculpture, and installation. For instance, he converted his studio, previously owned by Constructivist Henryk Stażewski, into a thematic environment for new creations. His well-known exploration of the blue “line” appears in various forms, such as tapering sculptural objects, a telex at the Tokyo Biennale in 1970, or strips of Scotch tape. This blue tape became his preferred method for defining spaces, showcasing his innovative approach to art and exhibition design.
Seit beinahe zwanzig Jahren hat die Generali Foundation mit einem gleichermaßen konzentrierten wie konsequenten Programm einen nicht mehr wegzudenkenden Beitrag zu Produktion und Rezeption von kritischer Kunst geleistet. Diese Publikation zeichnet die letzten 20 Jahre des Programms der Generali Foundation nach – von den ersten Ausstellungen mit Auftragsarbeiten in einem multifunktionalen Büro-Ausstellungsraum bis zu den großen Themenausstellungen und retrospektiv angelegten Einzelpräsentationen im 1995 eröffneten Ausstellungshaus. Die vorliegende Publikation bietet anhand zahlreicher Ausstellungsansichten und Texte einen Überblick über das umfassende Programm und geht dabei trotzdem ins Detail. Ähnlich wie der Sammlungskatalog, der 2003 erschienen ist, dokumentiert auch diese Publikation einen Status quo – eine Chronologie der „Sammlung“ von Ausstellungen, Veranstaltungen und Publikationen, letztlich somit auch aller KünstlerInnen, KritikerInnen, WissenschafterInnen, die auf die eine oder andere Art in das Programm involviert gewesen waren.
Isa Genzken is arguably one of the most important and influential female artists of the past 30 years, yet the breadth of her achievement--which spans sculptures, paintings, photographs, collages, drawings, artist's books, films, installations and public works--is still largely unknown in the United States. Published in conjunction with the first comprehensive retrospective of the artist's epically diverse body of work, this publication encompasses Genzken's work in all media over the past 40 years and is the most complete monograph on the artist available in English. Genzken has been part of the artistic discourse since she began exhibiting in the mid-1970s, but over the last decade a new generation of artists has been inspired by her radical inventiveness. The past ten years have been particularly productive for Genzken, who has created several bodies of work that have redefined assemblage for a new era. The catalogue presents Genzken's career, through essays exploring the unfolding of her practice from 1973 until today, as well as an expansive plate section that provides a chronological overview of all her most important bodies of work and key exhibitions.Born in Germany in 1948, Isa Genzken is one of Germany's most important living artists. In the mid-1970s, as a student at Dusseldorf's renowned Kunstakademie, she created geometric wood sculptures, which gained her early international acclaim (she exhibited these works at Documenta 7 and the Venice Biennale in 1982). Since then, she has made sculptures in plaster, concrete and epoxy resin. Ranging in size from maquettes to monumental, these abstract works are influenced by Minimalism, but are decidedly narrative. Paintings that examine ideas of surface and light, as well as photographs, collages, artist's books and films, followed in the 1990s. From the late 90s on, Genzken began to create increasingly complex sculptural installations.
Herausgegeben Von Sabine Breitwiesser. Catalog Of Exhibition Held At Generali Foundation, Vienna From 11 May Till 12 August 2001. Includes Bibliographical References (p. 230-236) German And English.
