Adam Szymczyk

Quinn Latimer

The main catalogue of documenta 14 will take the form of a reader, evoking the various meanings associated with the term. The documenta 14 reader will both reflect the reading subject and the subject who reads or recites to an audience emphasizing the importance of literature, orality, performance, pedagogy, and radical reception for the documenta 14 project overall?as well as comprise a critical anthology that features international theoretical, historical, and literary writing that explores and expands on the attendant exhibitions in Athens and Kassel.

The Documenta 14 Reader

Victor Costales

Ruth Kissling

Kunsthalle (Basel)

Julia Rometti

Vamoose, all cacti jut torrid nites

Niki Gripari

Dancing in Real Life

Yannis Tsarouchis

Dirk Snauwaert

Anke Hoffmann

Nevin Aladağ

Moyra Davey

Vivian Suter

R. H. Quaytman

More than thirty years ago the Swiss-Argentine artist Vivian Suter (*1949) moved to the rain forest in Panajachel, Guatemala, to live on a former coffee plantation. Since then she has worked on her impressive paintings in her wooden-hut studio, as well as outdoors. The tropical garden is her playground; her canvases lie on the sandy ground or hang in trees; dust, mud, leaves, mangos, and insects leave their traces on them. Her painting is influenced by organic processes and coincidence--even natural disasters are her material, when flood waters make their mark on canvases, becoming part of her large, colorful paintings. Containing documentation of her living and work spaces, as well as brief statements from companions and friends, the monograph also offers essays, numerous pictures, and insight into the artist's private life.

Kunsthalle Basel

Hannes Schüpbach

Published to accompany Hannes Schüpbach’s first large solo show at the Kunsthalle Basel, Hannes Schüpbach. Cinema Elements presents the first in-depth look at the visually stunning work of this important Swiss filmmaker and artist. Schüpbach is best known for his 16mm films, which have been shown at the Kunstmuseum Winterthur, the Centre Pompidou, the Biennale de l’image en mouvement, Geneva, Museo Nacional Centro de Arte Reina Sofía, Madrid, and the Tate Modern, London. Schüpbach’s work as a film maker has been strongly influenced by his teachers Werner von Mutzenbecher and André Lehmann, both leading figures in the experimental film movement in Basel in the 1970s and 1980s. Schüpbach’s work also includes large, connected series of paintings whose simple combinations of colors attract the viewers’ physical movement in the space. Hannes Schüpbach. Cinema Elements features many large-scale film stills and images of his paintings, alongside essays by critics and by Schüpbach himself that explore the key elements of his work as a filmmaker, such as his use of montage, repetition, and loops.

Films, paintings, and performances 1989-2008

Ester Coen

Ausst. U.d.T.: Micol Assaël : Chizhevsky Lessons

night - 'Mes nuits sont plus belles que vos jours'

When things cast no shadow

Elena Filipovic

Kunst-Werke Berlin

In a supportive article covering the 4th Berlin Biennial, critic Steven Henry Madoff took a moment to question what many have termed "Biennial Fever," writing, "Are [biennials] here to capture trends or to advance artists' voices in a larger social dialogue? Do they promote international understanding or local interests? Are they bully pulpits for curators turned ideologues, or are they simply there to tap the art market's stopwatch till the next survey of hot new things draws the attention of an ever expanding universe of collectors?" For the 2008 edition of this always-provocative international fair, Curators Adam Szymczyk and Elena Filipovic brought together primarily newly commissioned work by 50 emerging and established international artists for a round-the-clock exhibition that included 63 nightly events. This expansive volume documents it all, and contains contributions by writers, critics and artists including Beatriz Colomina, Bettina Viesmann, Cameron Jamie, Gabriel Kuri, Babette Mangolte, Ahmet Ögüt and Katerina Seda.

Mes nuits sont plus belles que vos jours

Marta Dziewanska

Kathleen Bühler

Éric de Chassey

Paul B. Preciado

Élisabeth Lebovici

Fernando López Garcia

Anna Ara

Natalia Sielewicz

Rita Segato

Jakub Momro

A rebel and feminist, the Switzerland-born Miriam Cahn is one of the major artists of her generation. Widely known for her drawings and paintings, she also experiments with photography, moving images, sculptures, and performance art. Cahn’s diverse body of work is disturbing and dreamlike, filled with striking human figures pulsing with an energy both passionate and violent. These pieces, along with Cahn’s reflections on artistic expression, have always responded to her contemporary moment. In the 1980s, her work addressed the feminist, peace, and environmental movements, while the work she produced in the 1990s and early 2000s contains allusions to the war in the former Yugoslavia, the conflict in the Middle East, and the September 11 terrorist attacks. Her recent production tackles ever-evolving political conflicts, engaging with the European refugee crisis and the “#metoo” movement. Miriam Cahn: I as Human examines different facets of the artist’s prolific and troubling oeuvre, featuring contributions from art historians, critics, and philosophers including Kathleen Bühler, Paul B. Preciado, Elisabeth Lebovici, Adam Szymczyk, Natalia Sielewicz and .

I AS HUMAN

MIRIAM CAHN

From the editor?s introduction: ??MIRIAM CAHN: I AS HUMAN? looks at this oeuvre from several vantage points. Kathleen Bühler and Adam Szymczyk view it from the biographical perspective, as we are all entangled?consciously or not?in various broader or narrower historical planes. Natalia Sielewicz, while reading the images and looking at the texts, attentively observes the strategies and stakes of the works of an artist: a woman who in her art ruptures the notions of stable subjectivity, who inhabits the shifting perspectives of ?I?. Based on her research on patriarchal violence, anthropologist and feminist Rita Segato looks at wounded women?s bodies in Cahn?s oeuvre and invites us to rethink the idea of minoritarian politics. Jakub Momro movingly writes about the shock of an encounter, seeing as experience, image-thought, and Cahn?s work in the context of the intensities that create it/that it creates. Éric de Chassey, on the other hand, writes about the tension between figuration and abstraction: the mixture of distance, immediacy and truth; about performativity; and about the deeply political dimension of Cahn?s work. The artist herself comments on these issues with eloquence and conviction in a conversation with Patricia Falguières, Élisabeth Lebovici, and Natasa Petresin-Bachelez [?].?00Exhibition: Kunstmuseum Bern, Switzerland (22.02. - 16.06.2019) / Haus der Kunst, München, Germany (12.07.- 27.10.2019) / Museum of Modern Art, Warsaw, Poland (29.11.2019 - 23.02.2020).

I as Human

Miriam Cahn

Adam Szymczyk

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