On 144 pages, “The Long Way Home” presents Axel Lieber’s work of the last 25 years and gives insight to the fundamental characteristics of his oeuvre.
In the book, his sculptural works as well as his installations are accompanied by an essay written by Stefanie Kreuzer (Museum Morsbroich Leverkusen).
“The Long Way Home” is published by Verlag für Moderne Kunst and can be purchased via our online bookshop at www.hengesbach-gallery.com.
Published on the occasion of his exhibition at our gallery.
Designed by Amanda Haas and complemented with a text by Yasmin Afschar, this booklet offers a beautiful insight into Giacomo Santiago Rogado’s newest works and their techniques.
In addition there exists a special edition together with a small edition of 15 original works, available through us.
Published by Kehrer Verlag on the occasion of Francis Baudevin’s Exhibition at Kunstmuseum Thun, Switzerland
An exhibition catalogue with numerous illustrations and contributions from Susanne Bieri, Paul Young, Caroline Soyez-Petithomme, Emmanuel Grandjean, Siri Peyer and an interview with the two artists by Helen Hirsch.
It consists of two separate books, one focussing on Baudevin, the other on Stauch.
We are happy to present four recent cover stories and interviews in renowned art magazines on the occasion of Katharina Grosse’s exhibition «One Floor Up More Highly» at MASS MoCA which has been extended through January 1, 2012.
→ Art in America (Sep 2011)
→ BOMB (30th-anniversary issue)
→ Sculpture (Oct 2011)
→ Flash Art (Nov/Dec 2011)
Published on the occasion of her recent Exhibition «Stunden später» at Fuhrwerkswaage Kunstraum in Köln, Germany
«Heike Kati Barath creates figures, creatures, but also abstract spaces that testify to an engagement with modernism. At first glance her works may seem straightforward and naïve, but behind them lies a complex system where reflections on pictures and painting itself interlock. Also the unspoken attribute of brokenness in contemporary art is implicit, since several of the works look naïve, quaint, idyllic and could also actually be so. …»
published by Michael Fried for the Yale University Press
In this strongly argued and characteristically original book, Michael Fried considers the work of four contemporary artists: video artist and photographer Anri Sala, sculptor Charles Ray, painter Joseph Marioni, and video artist and intervener in movies Douglas Gordon.
«Four Honest Outlaws» takes its title from a line in a Bob Dylan song, «To live outside the law you must be honest», meaning in this case that each of the four artists has found his own unsanctioned path to extraordinary accomplishment, in part by defying the ordinary norms and expectations of the contemporary art world.
Michael Fried will moderate a symposium «PAINTING NOW: A discussion taking off from the work of Joseph Marioni»,
The Phillips Collection, Washington, DC (USA), December 10, 2011
Verlag für Moderne Kunst, with essays by Andrés Duprat, Carl Friedrich Schröer and Raimund Stecker.
Published on the occasion of the eightpart transcontinental exhibition in Argentina, Germany and Switzerland.
«Martín Mele lives in a foreign land, it’s uncertain how foreign, how distant or familiar it is. For he has lived abroad for some time, actually forever. …»
published by modo Verlag on the occasion of the exhibition at Kunst(Zeug)Haus, Rapperswil-Jona from April 7 until June 19, 2011.
with essays by Invar-Torre Hollhaus and Daniela Hardmeier.
Published on the occasion of the exhibition «Sie sind hier» with Heike Kati Barath at Museum Pfalzgalerie Kaiserslautern, from Mai 21 until August 21, 2011.
«Sie sind hier – und ganz offensichtlich haben sie nicht angeklopft, die Jungen, Mädchen, Hasen, Gespenster und Monster, die vom Mai bis August 2011 die Ausstellungsetage des Museums Pfalzgalerie Kaiserslautern besetzt halten. Sie sind einfach da, ausgesprochen präsent, zornig und unangenehm die meisten von ihnen, andere verschämt, kokett, und manche heftig misshandelt…»
Distanz Verlag, Berlin, with an essay by Ulrich Wilmes
German artist Katharina Grosse is one of the internationally most important representatives of contemporary painting. For more than a decade now, she has been working on a picture type that nullifies all borders and hierarchies between painting and space. In doing so, she replaces the brush with airbrush and compressor, the canvas with floors, walls, ceilings, as well as found, deliberately arranged or specially fabricated objects. The viewer finds himself in the middle of the picture, within a painting spreading into all directions that appears to fall off the walls or where the ground below one’s feet seems to falter. At the same time, Katharina Grosse continued the further developing of her canvas paintings in her studio. They will be published here for the first time. Whereas these pictures’ method of production and their approach are directly tied to Katharina Grosse’s extensive installation works, in their treatment of volume, they appear to be almost diametrically opposed to them.