Kunstverein Braunschweig, Germany

Tom Burr
Low Slung

Edited by Tom Burr and Karola Grässlin, Kunstverein Braunschweig
Texts by Tom Burr, Carina Herring, Juliane Rebentisch

Video peepshows, porno theatres, garden pavilions – with subtle insight, Tom Burr (*1963) sheds light upon what is marginalized, or not immediately recognizable. His works, which make reference to Minimal art’s object sculptures, redefine them in current socio-economic and “queer” aspects. By acting as an intermediary between formal stringency and socio-political content, Tom Burr’s works overcome Hal Foster’s criticism that Minimal art tended to “handle the viewer as historically innocent and sexually indifferent.” With comprehensive texts and illustrations, this book features an artist who belongs among those who have shaped a new form of institutionally critical art.

In her seminal text on “Tom Burr’s Minimalism”, author Juliane Rebentisch discusses how the artist “injects a new political and aesthetic engagement into certain works by Smith, Serra, Smithson, and Morris, by shifting their logic.” Detecting a melancholic aspect of Burr’s queer minimalist appropriations, she writes that “they connect in a peculiar way with what one might call the sepulchral quality which seems to predestine the anti-monumentalism of the minimalist aesthetic for the tasks of memorial art. At the same time the dialectic of mourning and desire, which can be released by the recollection of a largely destroyed sub-culture in Burr’s minimalist adaptations, is also, at least potentially, directed forward towards another future – a queer future. In so far as Burr’s works also function as allegorical gestures by means of which an image of the present crystallizes in images of the past, this opens the present up to the future.“

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Pamela Rosenkranz
No Core

For the past decade, Pamela Rosenkranz (*1979, Sils-Maria, lives in Berlin) has sought to collapse the meaning of the artwork into the meaninglessness of pure materiality. In challenging these conditions of art, she activates a contemporary form of nihilism. From paintings produced from the foil of emergency blankets or Ralph Lauren-branded latex paint and soft drinks, to plastic water bottles filled with skin- or urine-hued liquids, to a monitor featuring an approximation of and challenge to Yves Klein blue, Rosenkranz’s artworks take aim at the empty centers of history, politics, and our contemporary culture as a whole. Her adept engagement with the homogenous surfaces of our consumerist societies reveals them to be not just objects of desire but parts of a natural order. In so doing, and by unraveling mystified notions of art that has as its core the artist’s subjectivity, Rosenkranz incorporates questions about a “self” that insistently appears to be at the absolute center of cultural attention.

“No Core” is the first monograph on Rosenkranz’s increasingly celebrated oeuvre. Beautifully designed by Yvonne Quirmbach, the book features an overview of the work that Rosenkranz developed in three recent institutional solo exhibitions in Geneva, New York, and Braunschweig, Germany. The monograph, edited by Katya García-Antón, Gianni Jetzer, Quinn Latimer, and Hilke Wagner presents contributions by the art historian and writer Alex Kitnick and philosophers Robin Mackay and Reza Negarestani, alongside extensive visual documentation. Taken together, the compelling essays and images that comprise “No Core” offer profound insights into Rosenkranz’s unique work and thinking.

Published with the Centre d’art Contemporain Geneva, Swiss Institute Contemporary Art, New York and Kunstverein Braunschweig.

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Josephine Pryde
Serena

Published on the occasion of Josephine Pryde’s exhibition, Serena, in 2001 at Kunstverein Braunschweig, Germany.

Texts by Josef Strau, Pamela M. Lee and Pauline van Mourik Broekman.

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Henrik Olesen

Catalogue from Henrik Olesen, 2001 exhibition at Kunstverein Braunschweig Studiogalerie, Germany.

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Henrik Olesen
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