Jan Verwoert

Catherine Wood

Suzanne Cotter

Silke Otto-Knapp

Silke Otto-Knapp works with watercolour and gouache paints on canvas, building up and breaking down the painted surface to create works of subtle effect. Her paintings and drawings explore the interplay of rural and urban aesthetics while illuminating her characters' quotidian experience. Inspired by theatre sets and botanical gardens, these dreamlike compositions are populated by ghostly figures, shadows, and open-aired amphitheatres. This catalogue surveys Otto-Knapp's paintings from the past five years, in which staged figures and landscapes are at the centre of her explorations into the construction of pictorial space. Published on the occasion of the exhibitions (July ndash; September 2009) Present time exercise at the Museum of Modern Art Oxford, and Standing anywhere in the space in a relaxed position at the Banff Centre, Alberta, Canada. English text.

Present Time Exercise

Mirosław Bałka

Over the past ten years the acclaimed sculptor Miroslaw Balka has been making concise and moving video works. Topography introduces this compelling and little known work and offers fresh insight into the work of one of the most important artists working today.Miroslaw Balka uses video as a repository of visual and thematic material, extending a sculptural language that is rich in associations with history and his native Poland. The body and its limitations, memory, and the space between looking and knowing are recurring themes. Coinciding with the artist's commission for The Unilever Series in the Turbine Hall at Tate Modern, Topography is presented as a multi-dimensional installation of image, sound and spatial wanderings.

Topography

Cornelia H. Butler

Daniel Birnbaum

In the mid-1980s the sprouting of new movements that had driven modern art since the nineteenth century finally went dormant, sputtering out with a last few half-hearted lels ('pattern painting', 'neo-geo', 'commodity art'). But this was not the end of art history -- far from it. In the years since, art's creative development has remained more vibrant than ever, resulting in a staggering diversity of new forms. Defining Contemporary Art responds to this unique landscape with an innovative approach to art history. Assembled and written by eight of the most prominent curators working today, all of whom have both witnessed and shaped this period, Defining Contemporary Art tells the story of the two hundred pivotal artworks of the past twenty-five years. These artworks include not only the most talked out pieces but also the quietly influential works, those which may have been overlooked at the time of their making but which went on to change the paradigm of their era. Arranged year by year, these two hundred works provide a true chronological depiction of creativity in our era, forming a mosaic in which readers may find their own patterns..

25 Years in 200 Pivotal Artworks

Defining Contemporary Art

Michael Clark

Michael Bracewell

Stephanie Jordan

Robert Violette

Notorious for his continually subversive takes on classical dance, Michael Clark is without doubt one of the most important dancers and choreographers of our time. This monograph celebrates the whole of Michael Clark's career to date, from the late 1970s to the present.

Fiona Tan

Tiré du site Internet de Book Works: "Commissioned to make a new work for the Norwegian Parliament in Oslo, Fiona Tan collected family photograph albums from as broad and varied a background as possible, eventually selecting two hundred and sixty-seven images that would be individually framed and presented in the Parliament building. For this book, she revisits the entire collection of images - intimate family portraits that capture private if familiar moments: the birth of a child, birthdays, family gatherings, adolescence, holidays, brothers and sisters, first loves, favourite places. Loosely arranged within three familiar strains - Portrait, Home and Nature - unexpected cross-references and playful associations unfold. While a visual document of a country's people, there is nothing obvious that would identify VOX POPULI, Norway as being Norwegian. The reader is drawn into a seductive and popular ethnography where images of the private and intimate challenge the ideology of official national portraits, and yet also assume a master narrative that defines the whole.

Suzanne Cotter

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