For 40 years, the Skulptur Projekte Münster has been a unique engine for contemporary art.

Held every ten years, its curatorial direction has been in the hands of Kasper Künig since its inception in 1977. International artists are invited to develop site-related works for Münster. The projects are as diverse as the artists themselves, going beyond the specific location to engage with global themes, contemporary notions of sculpture and ongoing questions relating to the public space in times of increasing digitization. The fifth edition of the Skulptur Projekte, opening in summer 2017, features 30 new artistic positions moving between sculpture, installation and performance art. This publication, produced in conjunction with the show, is a combination of exhibition catalog and guide, presented in a handy format. Seven essays, an extensive series of images and short texts provide information about the projects.

Been to enough biennials? Skulptur Projekte Munster only happens every 10 years. This, its fourth iteration (following 1977, 1987 and 1997), invites artists from all over the world–many of whom are returning to the city and the event–to create new site-specific works. Thus Michael Asher brings back his trailer and parks in sites he first sussed out in 1977, continuing to explore the conflicts between rigid form and mobile space, and to document the dramatic transformation of the urban environment over four decades. Guy Ben-Ner equips bicycles with screens and places them around the city; by pedaling, participants control the speed and direction of a film of the artist doing the same. Guillaume Bijl mocks up an archaeological site 25 feet square and 18 feet deep, whose steep walls imitate layers of soil. Visitors climb a grassy hill to peer into the pit from a balustrade; in the pit, a 14-foot, shingle-roofed spire topped by a weathercock preens. This extensive book inspired by and documenting the festival opens on 35 sections between 4 and 16 pages long, each designed by the artist and illuminating his or her work in text and images. Its second half comes in the form of a glossary of more than 100 key concepts linked to the subject of art in public spaces; artists, art historians, philosophers, urbanists, architects, sociologists and other writers weighing in with definitions from their respective disciplinary perspectives. Participants include Francis Alys, Isa Genzken, Mike Kelley, Rosemarie Trockel, Bruce Nauman, Martha Rosler and Pae White.

In this latest work by Bruce Nauman, first mounted to great acclaim at the Dia Art Foundation in 2001, Nauman presents seven large-scale projections of his New Mexico studio interior. Forty-two hours of tape were shot over 42 nights using infra-red lenses, and reveal the basic preconditions for his artistic production: his empty studio.

This book on British artist Hamish Fulton documents his recent “Group Walking Project” in Italy, in which he assembled 26 people, including himself, to spend 14 days walking the mountains, documenting the proceedings photographically. It includes an essay by Fulton — who has made similar walks by himself throughout the world since 1969, but only one other, in Japan in 1994, with a group

Originally published in 1983, Writings 1973-1983 on Works 1969-1979, by Los Angeles artist Michael Asher (1943-2012) presents select documentation of 33 works through writings, photographs, architectural floor plans, exhibition announcements and other ephemera. For most of his career, Asher did not create traditional art objects; instead, he altered the existing institutional apparatus through which art is presented, creating work that intervened in the architectural, social or economic systems that undergird how art is produced and experienced. For example, in 1974, he removed the partition wall dividing the office and gallery space of the Claire S. Copley Gallery in Los Angeles, revealing the day-to-day activities of the gallery to the public. In another work from 1979, Asher had a bronze replica of a late 18th-century sculpture of George Washington moved from the exterior of the Art Institute of Chicago to a museum gallery that housed 18th-century art, reintroducing the statue to its original period context and shifting its function from public monument to indoor sculpture. Due to its site- and time-specific nature, Asher’s work generally ceased to exist after an exhibition, which makes this highly sought-after book an invaluable resource. As the artist states in the introduction: “This book as a finished product will have a material permanence that contradicts the actual impermanence of the art-work, yet paradoxically functions as a testimony to that impermanence of my production.” Initiated by Kasper König, Writings 1973-1983 on Works 1969-1979 was originally copublished by the Press of the Nova Scotia College of Art and Design and the Museum of Contemporary Art, Los Angeles, and was largely shaped by Asher’s close collaboration with Benjamin H.D. Buchloh, who succeeded König as editor of the press.

The interview book „Kippenberger & Friends“ comes closer to uncovering Kippenberger the myth, through 25 conversations with artists, curators, gallerists, and friends who contributed approx. 55 documentary photographs from their personal archives, published for the first time. They give us their view on someone who left a lasting impression on them, in descriptions that are contemplative, funny, critical, and also self-ironic. The extremely personal memories bring to life not only Kippenberger himself; they also create a dense picture of the cultural life in a Germany which, torn between the sensationalist Springer press and student revolts, the hedonistic consumer culture of yuppies and the provocative rebellion of the punk scene, still had to become convinced of the maxims of its own actions. Josephine von Perfall started her doctorate degree on Martin Kippenberger in 2010 at the Department of History of Art at the University of Cambridge. The role he played in the development of post-war German art, in particular in his capacity as a “networker,” cannot, von Perfall asserts, be overestimated, and it is this role that is the key to understanding one of the most important chapters in German post-war art. Interviews with: Roland Augustine, gallerist, New York; Lukas Baumewerd, architect; Klaus vom Bruch, artist; Werner Büttner, artist; Gisela Capitain, gallerist, Cologne/Berlin; Zdenek Felix, curator; Max Hetzler, gallerist, Berlin; Carmen Knoebel/Brigitta Rohrbach, former innkeepers Ratinger Hof, Düsseldorf; Kasper König, museum director; Jutta Koether, artist; Christian Ludwig Attersee, artist; Helmut Middendorf, artist; Albert Oehlen, artist; Peter Pakesch, museum director; Friedrich Petzel, gallerist, New York/Berlin; Martin Prinzhorn, linguist; Achim Schächtele, former co-owner S.O.36, Berlin; Stephan Schmidt-Wulffen, rector New Design University, St. Pölten; Elfie Semotan, photographer and wife; Claudia Skoda, fashion designer; Helene Winer, gallerist, New York; Johannes Wohnseifer, artist; Michel Würthle, owner Paris Bar, Berlin; Bernd Zimmer, artist; Heimo Zobernig, artist

Founded in 1987 at the initiation of Kasper König, Portikus is Frankfurt’s hottest venue for contemporary art and has quickly become one of Germany’s leading venues, with an impressive roster of shows by artists such as On Kawara, Luc Tuymans and Franz West. In 2004 Portikus gained a new curator, Nikola Dietrich, a prominent presence on the European art scene. Dietrich has done much to further energize Portikus, and this volume presents a survey of the gallery’s last three years under her guidance. Dietrich has mounted more than 20 exhibitions with international artists, among them Koo Jeong-a, Felix Gmelin, Yoko Ono (in collaboration with students from the Städelschule), Olafur Eliasson, Matthew Ritchie, Chung Seoyoung, Sean Snyder, Mark Leckey, Marjetica Potrc, Tomas Saraceno, Dan Perjovschi, Francis Alÿs, John Baldessari, Daniel Buren and Maurizio Cattelan.

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