Ull Hohn

Question The Wall Itself
Fionn Meade (Ed.)

Edited with text by Fionn Meade. Foreword by Olga Viso. Texts by Jordan Carter, Adrienne Edwards, Isla Leaver-Yap, Robert Wiesenberger.

Question the Wall Itself examines ways that interior spaces and décor can be fundamental to the understanding of cultural identity. It showcases 23 international artists who explore the political and social dimensions of interior architecture as well as its complicated relationship to history and their own backgrounds. The featured artists are Jonathas de Andrade, Uri Aran, Nina Beier, Marcel Broodthaers, Tom Burr, Alejandro Cesarco, Marc Camille Chaimowicz, Theaster Gates, Ull Hohn, Janette Laverrière, Louise Lawler, Nick Mauss, Park McArthur, Lucy McKenzie, Shahryar Nashat, Walid Raad, Seth Siegelaub, Paul Sietsema, Florine Stettheimer, Rosemarie Trockel, Cerith Wyn Evans, Danh Vo and Akram Zaatari.
The book and the exhibition it accompanies take as its guiding principle what Marcel Broodthaers termed “esprit décor”: a critique of ideas of nationality, globalization and the space of the institution through constructed interior scenes. Recasting our conception of interior space and design, the featured works exist between art, prop, and set or stage. Espousing this mise-en-scène approach, Question the Wall Itself plugs readers into material that expands the show in the form of book-as-exhibition. It includes an extensive photographic walk-through of the installations, and essays by Jordan Carter, Adrienne Edwards, Isla Leaver-Yap, Fionn Meade, and Robert Wiesenberger, as well as contributions from participating artists.

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Ull Hohn
Foregrounds, Distances

Edited by Hannes Loichinger, Magnus Schaefer
Texts by Tom Burr, Thomas Eggerer, Manfred Hermes, Hannes Loichinger, Fionn Meade, Magnus Schaefer, Megan Francis Sullivan, Lanka Tattersall, Alexis Vaillant

After his studies at the arts academies in Berlin and Düsseldorf, Ull Hohn (1960–1995) moved to New York to attend the Whitney Independent Study Program in 1987. Engaging with current theoretical debates and cultural issues, his work from the late 1980s and early 1990s frequently invokes questions of gender and homosexuality, as well as their representation. It interrogates the history of painting, traditional notions of virtuosity, the conventions of value and taste inherent to education, and the distinction between high and popular culture.

Ull Hohn: Foregrounds, Distances aims not only to offer the first comprehensive overview of his work, but also to contribute to a history of painting-based practices, which occupy a marginal place in the established narratives of the art of the 1980s and 1990s.

Published in collaboration with Galerie Neu and
the Estate of Ull Hohn
Design by Studio Manuel Raeder

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Painting 2.0
Expression in the Information Age

The resurgent interest in contemporary painting in recent years has coincided with an explosion of new digital media and technologies. Contrary to canonical accounts premised on medium-specificity, painting’s most advanced positions since the 1960s have developed in productive friction with contemporaneous forms of mass media and culture. From the rise of television and computers to the Internet revolution, painting has assimilated precisely those cultural and technological developments that were held responsible for its presumed “death.” Moving far beyond its technical definition as “oil on canvas,” painting during the information age has consistently offered a site for negotiating the challenges of a mediated life-world.

Featuring over 230 works by 107 artists, Painting 2.0 is one of the largest and most comprehensive exhibitions of contemporary painting in recent years.

Artists include:
Kai Althoff, Ei Arakawa/Shimon Minamikawa, Monika Baer, Nairy Baghramian, Georg Baselitz, Jean-Michel Basquiat, Lynda Benglis, Sadie Benning, Judith Bernstein, Joseph Beuys, Ashley Bickerton, Cosima von Bonin, KAYA (Debo Eilers & Kerstin Brätsch), Günter Brus, Daniel Buren, Merlin Carpenter, Leidy Churchman, William Copley, René Daniëls, Guy Debord/Asger Jorn, Carroll Dunham, Mary Beth Edelson, Thomas Eggerer, Michaela Eichwald, Nicole Eisenman, Jana Euler, Louise Fishman, Andrea Fraser, Isa Genzken, Mary Grigoriadis, Philip Guston, Wade Guyton, GuytonWalker, Raymond Hains, Harmony Hammond, David Hammons, Keith Haring, Rachel Harrison, Mary Heilmann, Eva Hesse, Charline von Heyl, Ull Hohn, Jacqueline Humphries, Jörg Immendorff, Jasper Johns, Joan Jonas, Mike Kelley, Martin Kippenberger, Yves Klein, Jutta Koether, Michael Krebber, Manfred Kuttner, Maria Lassnig, Sherrie Levine, Glenn Ligon, Lee Lozano, Konrad Lueg, Michel Majerus, Piero Manzoni, Kerry James Marshall, Hans-Jörg Mayer, John Miller, Joan Mitchell, Ree Morton, Ulrike Müller, Matt Mullican, Elisabeth Murray, Cady Noland, Hilka Nordhausen, Albert Oehlen, Laura Owens, Steven Parrino, Ed Paschke, Howardena Pindell, Sigmar Polke, Seth Price, Stephen Prina, R.H. Quaytman, Robert Rauschenberg, David Reed, Gerhard Richter, Mimmo Rotella, Niki de Saint Phalle, Mario Schifano, Amy Sillman, Sylvia Sleigh, Josh Smith, Joan Snyder, Reena Spaulings, Nancy Spero, Gruppe SPUR, Frank Stella, Walter Swennen, Paul Thek, Rosemarie Trockel, Cy Twombly, Jacques de la Villeglé, Kelley Walker, Andy Warhol, Sue Williams, Karl Wirsum, Martin Wong, Christopher Wool, Heimo Zobernig, u.a.

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Mark von Schlegell
New Dystopia

 

“To gain that which is worth having, it may be necessary to lose everything else.”
—Bernadette Devlin

2011. A kulturnaut, a squid, a Shakespeare, a dog, an artist abstract, a chrononaut, a washerwoman, Tom Ripley and his bones all pass through New Dystopia. Their sped-up speculations lead to new models of deterritorialized life. Visionary and hallucinatory models. Through them, Mark von Schlegell “displays” some of the facets of the invisible catastrophe breaking up our world, which artists in particular are responding to.

Put together in the wings of the “Dystopia” exhibition at the CAPC musée d’art contemporain de Bordeaux, acting as a resonance chamber, this illustrated novel raises the issue of possible futures in the form of a critical fiction, and involves the outposts of the novel to come. About New Dystopia, the city in which the novel’s protagonists live, the narrator states: “As an American … one only came to New Dystopia City to become an artist. That only there was it a way of life.” According to von Schlegell, we are living in that new metropolis. He states, “Dystopia is today.”

After Venusia (2005) and Mercury Station (2009), both published by Semiotext(e), New Dystopia is Mark von Schlegell’s third novel.

Artists: Wallace Berman, Cosima von Bonin, Brian Calvin, Tony Carter, Marc Camille Chaimowicz, Peter Coffin, Simon Denny, Andreas Dobler, Roe Ethridge, Keith Farquhar, Hans-Peter Feldmann, Aurélien Froment, Cyprien Gaillard, Isa Genzken, Dan Graham, Robert Grosvenor, Sebastian Hammwöhner, Roger Hiorns, Ull Hohn, Des Hughes, Peter Hutchinson, Eugene Isabey, Sergej Jensen, On Kawara, Michael Krebber, Jesus Mari Lazkano, Rita McBride, John Miller, Pathetic Sympathy Seekers, Manfred Pernice, Stephen G. Rhodes, Glen Rubsamen, Sterling Ruby, Julia Scher, Frances Scholz, Michael Scott, Markus Selg, Reena Spaulings, Michael Stevenson, Tommy Støckel, Josef Strau, Blair Thurman, Mathieu Tonetti, Oscar Tuazon, Franz West, Jordan Wolfson

Co-published with CAPC musée d’art contemporain de Bordeaux

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