Jean Planque (1910–1998) came from the modest background of a farming family in the Swiss canton of Vaud. Encountering the work of Paul Klee in the late 1920s ignited his interest in art and he took up painting himself. Acquaintances with painters and gallery owners lead him to make Paris his main place of residence in 1948, entrusted with scouting for and purchasing artworks by a Zurich-based art dealer. 1954–72, he closely collaborated with the legendary Swiss dealer Ernst Beyeler, virtually becoming Beyeler’s “eyes” on the Paris art market. Having made a modest fortune from his earlier work as a salesman for animal feed, and thanks to his close relationships with artists and dealers, Planque also built his own high-profile collection.
Collection Jean Planque is the expanded new edition of a lavish presentation of this collection that was first published in 2001 by the French publisher Éditions Hazan. Colour reproductions of the artworks are supplemented with annotations by Jean Planque, describing what inspired his choices and the circumstances behind each purchase. Illuminating essays—some of them newly written for this new edition—shed light on Planque’s biography and collecting history. A complete catalogue of the collection rounds out the volume.
Text in French.
Palazzo Giovanelli in Santa Fosca is certainly one of the most prestigious private buildings in Venice. While its first nucleus dates back to the fourteenth century, in 1527 it was donated by the Doge Andrea Gritti to Francesco Maria I, Duke of Urbino. The palace remained property of the family until its transfer to the Donà family, which gathered an important collection of works of art inside. At the beginning of the eighteenth century, the palace reached the Giovanelli family, who expanded and modernised it. However, it was during the nineteenth century that the residence took on its definitive appearance. In an initial neoclassical phase, Count Andrea commissioned the arrangement of his private apartment to Giuseppe Borsato and Francesco Hayez. Shortly afterwards, in 1847, Giovambattista Meduna arranged one of the façades like that of a small Ducal Palace. In 1860, Meduna carried out further expansions, setting up a prestigious collection of paintings, including a masterpiece of Venetian art: Giorgione’s Tempest. The volume, in both Italian and English, reconstructs the history of seven centuries of the palace, the events it witnessed, and the artistic treasures inside it.
Text in English and Italian.
For over three decades, ESCIF has turned city walls into sites of quiet resistance, using humour, illusion, and everyday objects to expose the systems of power that shape public space. From abandoned buildings in Sumatra to concrete barriers in Beirut, his murals speak a language that needs no translation: playful, precise, and unmistakably political. Neverendless brings together over 150 works from more than 30 countries, tracing three decades of a practice rooted in graffiti and expanded into public art and community collaboration. Structured in 30 chapters, the book offers a deeply personal portrait of an artist who has continuously questioned the boundaries of street art.
Text in English and Spanish.
Lieven Vanlommel is a Belgian entrepreneur who sees opportunities where others see problems. Thirty years ago, he already believed in ultra-fresh food – then still a niche market – and built Foodmaker into one of the most distinctive European brands in the food sector. No Filter follows his entrepreneurial journey: from the first salad bar concept in 1996 to the development of a European brand driven by one ambition: to make healthy food as accessible as fast food. This is not a traditional marketing book, but an honest account of nearly thirty years of entrepreneurship, taking risks and scaling a business. The book also features collaborations and stories with ambassadors such as Jeroom, Tom Boonen, Stefan Everts, Jeroen Meus, Kim Clijsters and Tia Hellebaut.
“Lieven refused to let me invest in his company. I understand him, though, it could have undermined our friendship.” Stefan Everts, ten-time world motocross champion.
“Lieven has just the right mix of craziness and determination to make it work. With him, it’s always all or nothing, just like in elite sport.” Tom Boonen, world road cycling champion.
“The response during and after the Covid crisis turned Foodmaker into a successful Belgian company in multiple markets and a highly sought-after partner for retailers and food businesses, including some of the best in the world.” Xavier Piesvaux, former CEO of Delhaize.
“Foodmaker feels like a second family. That says a lot about how sustainable the company is.” Tia Hellebaut, Olympic high jump champion.
Palazzo Giovanelli in Santa Fosca is certainly one of the most prestigious private buildings in Venice. While its first nucleus dates back to the fourteenth century, in 1527 it was donated by the Doge Andrea Gritti to Francesco Maria I, Duke of Urbino. The palace remained property of the family until its transfer to the Donà family, which gathered an important collection of works of art inside. At the beginning of the eighteenth century, the palace reached the Giovanelli family, who expanded and modernised it. However, it was during the nineteenth century that the residence took on its definitive appearance. In an initial neoclassical phase, Count Andrea commissioned the arrangement of his private apartment to Giuseppe Borsato and Francesco Hayez. Shortly afterwards, in 1847, Giovambattista Meduna arranged one of the façades like that of a small Ducal Palace. In 1860, Meduna carried out further expansions, setting up a prestigious collection of paintings, including a masterpiece of Venetian art: Giorgione’s Tempest. The volume reconstructs the history of seven centuries of the palace, the events it witnessed, and the artistic treasures inside it.
Stories and photography intermingle on the pages of this gorgeous homage to ’70s and ’80s cinema and celebrity. Including rare and never-before-seen images, Through Her Lens is a wonderful collection of images and memoires that capture the spirit of the age. From unexpected late-night calls from Romy Schneider, to a stay at Paul Newman’s home in Connecticut; from working on set with Bernardo Bertolucci, Werner Herzog, Steven Spielberg and Sydney Pollack, to lounging poolside with Raquel Welch; Sereny reveals her favourite moments from working behind the lens. This is the first photographic retrospective of Sereny’s star-studded career, including nearly 100 never-before-seen images complemented by Eva’s own stories.
Gabriela Koschatzky-Elias writes absorbingly on the life and work of Fritz Maierhofer, one of the most important contemporary Austrian jewellery artists, whose international career took off in late-1960s London. Under the sway of that throbbing city, he had arrived at a conception of jewellery and a language of forms that were distinctively his own. Maierhofer places jewellery on an equal footing with painting, sculpture and architecture. What is crucial to him is the artistic intention rather than the market value of the materials used. Maierhofer keeps coming up with new statements – using acrylic glass and precious metals in the 1970s, pewter and gold in the 1980s and, in the 1990s, aluminium, steel and computer technology while his most recent work features the new material CORIAN®.
A new publication in our Art Jewellery Series, this is the first comprehensive monograph surveying Fritz Maierhofer’s work from the 1960s to the present. With superlative colour illustrations and texts by a group of distinguished specialists in the field (including Ralph Turner and Graziella Folchini Grassetto).
Text in German and English.
Helfried Kodré is a pioneering Austrian exponent of contemporary art jewellery. He learnt goldsmithing in the 1960s while studying art history and worked at first with Elisabeth Defner, to whom he was married at the time. From the mid-1970s Kodré abandoned goldsmithing for a while but after a rather lengthy break, in which he taught at university, he re-emerged in the early 1990s as a jewellery artist. At the outset of his career, his formal bent was towards natural symbolism and organic allusions. Since the early 1990s an entirely different aesthetic informs his work: articulation that is anything but ambivalent, precision of design and formal language. In the work Kodré has produced in the past fifteen years, on which this publication focuses, the play of volumes and their exciting relationships predominates in a rhythm of expansion, opening and overlapping.
A new publication in our Art Jewellery Series, the book centres on the second phase of Kodré’s career from 1990. It also traces his development as an artist from the 1960s. Featuring numerous colour illustrations and essays written by experts in the field.
Text in English and German.
The modifier bb Auto, founded in Frankfurt, 1973 by Rainer Buchmann and his brother Dieter, caused a stir in the European and international car scene of the ’80s. Their technical innovations and spectacular design made them stand out from the crowd.
Initially focused on Porsche cars, bb established themselves as a name to be remembered when they presented their Porsche Turbo Targa with prismatic coloured varnish on the Polaroid stand at Fotokina 1976 Cologne. At IAA Frankfurt 1979 they launched bb CW 311, a contemporary modification of the legendary Mercedes 300 SL. Mercedes-Benz was so enthusiastic about the car that they allowed Buchmann to continue using the Mercedes star as a brand logo. During the 1980s, bb was one of the most successful modifiers of production cars. They transformed off-the-line automobiles into bespoke luxury vehicles for those who could afford it – customers from the Arab world, celebrities from the jet-set, and many more…
However Buchmann’s real passion belonged to the area of electronic innovations. The money he earned with his tuning activities was invested into research in this field. He was the first to think about centralised door locking by means of remote control as well as parking distance control and he invented the first car computers. In 1983 his multi-function steering wheel was protected by patent. This comprehensive book, produced in close co-operation with Merck Group, one of the world’s leading chemical companies for whom Buchmann popularised a new and special kind of bright enamel varnish, presents the complete history of Rainer Buchmann’s technical and entrepreneurial achievements.
Our Voices: Indigeneity and Architecture is an exciting advance in the field of architecture offering multiple indigenous perspectives on architecture and design theory and practice. Indigenous authors from Aotearoa New Zealand, Canada, Australia, and the USA explore the making and keeping of places and spaces which are informed by indigenous values and identities. The lack of publications to date offering an indigenous lens on the field of architecture belies the rich expertise found in indigenous communities in all four countries. This expertise is made richer by the fact that this indigenous expertise combines both architecture and design professional practice, that for the most part is informed by Western thought and practice, with a frame of reference that roots this architecture in the indigenous places in which it sits.
What is data visualisation? In Data Visualization for Success, 40 designers and their works demonstrate that data visualisation is a vibrant and constantly evolving field that is as multimodal as it is interdisciplinary. Through the works showcased here, these designers discuss some of their approaches to working with data visualisation, offering insight into the design methods they commonly use and providing tips that will help beginning practitioners in the field. This book shows that data visualisation is a practice and discipline whose fluid boundaries continue to be moved in new, exciting, and unprecedented directions by emerging and seasoned designers alike.
About ten years ago, Professor Stanford Anderson from MIT initiated the joint-workshop program with Tongji University in Shanghai and has continued his decade-long collaborations with us since then. The Robotic Force Printing Workshop this year can be seen as a respectful tribute and continuity to such tradition.
Philip F. Yuan, a professor of Tongji University and the founder of Fab-Union Technology was in collaboration with Professor Philippe Block of ETH throughout the 23-day workshop. In addition to the design-fabrication studios, the workshop also consists of three field trips in association with one academic forum, four public lectures and a series of teaching modules on fundamental concepts of COMPAS and FURobotic to explore the integration between novel structural designs and the advances in additive manufacturing and robotic fabrication.
Contents:
Introduction – Form Following Robotic Force: Philip F. Yuan
Preface- Digital Master Builders: Exploring Strength Through Geometry: Philippe Block
Precedents – Computation & Digital Fabrication-Enabled Geometrical: Gene Ting-Chun Kao, Mark Kam-Ming Tam
– Bending-Active Formwork For Shell Structures Based On 3D-Printing Technology: A Pre-Research: Xiang Wang
– Programming Of Robotic Fabrication: Liming Zhang
Methodology – Preliminary Groups: – Snake Rock Pavilion – Shell O – Fractal Shell – Folded Bridge – Eight-Legged Shell – White Hill – The Ribbon
Final Fabrication Works – Bending Shell – Fu Bridge
A head-to-head comparison of the two greatest soccer stars of their generation – and perhaps of all time.
One, diminutive and reserved; the other, tall and theatrical. One with six Ballons d’Or, and the other with five. There’s no doubt about it – Lionel Messi and Cristiano Ronaldo are the best. But which one is better? This lively book compares every aspect of the legendary rivals’ careers, to let the reader decide. It compares their stats, including their ten years of matchups in El Clásico, their club trophies, and their individual awards and milestones. It analyses their style of play, and how it has evolved throughout their careers. And, it looks at how their rivalry continues off the field, in terms of endorsement deals, social media followings, and philanthropic endeavors. Packed with colour photos of the champions in action, Messi and Ronaldo will spark discussion among both players’ partisans.
Documents on Contemporary Crafts
is a book series published by Norwegian Crafts in collaboration with Arnoldsche Art Publishers. The series provides a critical reflection of contemporary crafts in a wider context and in doing so asks questions about the ties between contemporary craft, fine art and design, thus helping to redefine the concept of crafts as such. The five volumes discuss such topics as skills, materiality, curating, collecting, perception and New Materialism. The more than thirty contributors range from leading craft theorists, such as Jorunn Veiteberg, Glenn Adamson and Liesbeth den Besten, via academics outside the craft tradition, such as Roger L. Kneebone, professor of surgical education, Trevor Marchand, professor of social anthropology, and Margaret Wasz, consultant psychological therapist, to emerging voices like Sarah R. Gilbert, Marianne Zamecznik and Stephen Knott.
No. 1: Museum for Skills. Skills are essential to the crafts discourse. Yet in an art world that for the last 50 years has become increasingly focused on conceptual strategies, we have seen the tendencies of deskilling and outsourcing. In Museum for Skills, the contributors analyse the current situation for skills by drawing on experience from the fields of brain research, surgery and anthropology.
No. 2: Materiality Matters. If materiality is a quality-related concept in both contemporary crafts and contemporary art, are we talking about the same notion? Or is there a fundamental difference between, on one hand, a maker’s confidence in his or her materials, and on the other, a contemporary artist’s use and adaption of a given material?
No. 3: Crafting Exhibitions. Curatorial discourse has been an increasingly important aspect of contemporary art. The curator took on a new role as the ‘author’ of the exhibition. Crafting Exhibitions introduces some of the processes that go into making an exhibition, from developing concepts to the physical realisation. The contributors offer different approaches to exhibitions.
No. 4: On Collecting. Collections make up an important part of the contemporary arts and crafts infrastructure. Collectors and museums help improve the financial situation of artists. Additionally, to be included in the ‘right’ collection or museum can give an artist a high level of recognition and preserves the art works for the future. On Collecting offers insights into collecting from different perspectives and sheds light on some of the structures that determine the ‘collectability’ of works of art.
No. 5: Material Perceptions. Contemporary craft objects can be perceived for instance, as works of art in ceramics, glass, textile, metal and wood, or as functional, handmade and everyday objects. Material Perceptions investigates contemporary crafts as representations of reality that do not rely on the concept of autonomy, unravelling the dualism between aesthetic objects and everyday things.
Norwegian Crafts is a non-profit organisation founded by the Norwegian Association for Arts and Crafts in 2012. Norwegian Crafts initiates and produces exhibitions in collaboration with Norwegian and international institutions, curators and artists. The aim is to strengthen the position of contemporary craft from Norway internationally, contribute to the development of the artists’ careers and stimulate further exchange across national borders in the field of crafts.
A Passion for Porcelain brings together papers delivered at an international symposium held in 2018 at the Gardiner Museum, Toronto, Canada, in honour of Meredith Chilton, C.M., one of the foremost scholars and curators of 18th century European porcelain. Authored by leading scholars in the field, the essays take us on a journey from Sèvres, France to Japan via Boston, US, where we encounter both revered artists and anonymous makers, together with passionate collectors past and present. The contributions also explore the medium of porcelain in the context of artistic rivalry and gift exchange, as an object of fashion and scientific curiosity and as a symbol of status and power. Together they reveal the versatility of the medium, changing perceptions and endless possibilities for porcelain scholarship.
This wide-ranging study is the outcome of the author’s thirty-year quest to collect information about a neglected and almost forgotten field of history – the prisoner of war, the conditions under which he was held and how he employed his time during long years of captivity. In this instance, the whole is set against an historical background dating from the Seven Years War (1756-63) to Napoleon’s downfall in 1816. Information has been painstakingly acquired by detailed searches through the Public Records Offices of England, Scotland and Wales and the archives of numerous county towns. The author has also studied more than one hundred towns and villages, where paroled captured officers were detained, and visited the sites of prison depots – great and small – and ports and rivers where the dreaded prison hulks had once been moored. The gathering and examination of artefacts, relics and other relevant material was a further important aspect of this extensive study. During the course of his lengthy researches, the author assembled what may well be one of the largest private collections of prisoner of war artefacts in existence. Although thousands of items of prisoners’ work have survived to the present day, most have disappeared into private collections and museums, at home or abroad. A representative selection of items from the author’s own extensive collection is featured in the second part of this book and will show the extraordinary high standard of workmanship achieved by many of the prisoners of war.
Interloop—Architecture is a Houston-based design office founded in 2001 by principals Dawn Finley and Mark Wamble, who both also teach at Rice University’s School of Architecture. The firm’s focus is on innovative building technologies, inventive forms, and precise material finishes. Their project types range from the design of custom furniture and fixtures to private residences, research complexes, and cultural institutions.
System of Novelties is the first book on Interloop—Architecture’s work to date, tracking the firm’s formation and trajectory. It operates between a monograph and a field guide, presenting novel works of architectural design within a broader context of influence, procedures, and techniques that are threaded from project to project over a period of two decades. It features a diverse collection of built and speculative designs that are framed through three research topics: Information – Shape, Procedure – Assembly, and Material – Pattern. All this is supplemented with graphic notes that synthetically connect the unique and recurring systems engaged in this innovative architectural practice. System of Novelties offers unique insights on innovative forms of contemporary practice in architecture and demonstrates the firm’s technical expertise with material, manufacturing, and delivery processes.
Architecture, as a discipline and a profession, is facing several crises, which, as yet, it has by no means successfully overcome. The basic hypothesis of the Cosmowomen project is that fully incorporating women into the professional and academic field of architecture would generate new places for thought and attention on the part of professionals or consolidate and expand those that exist, while also intensifying the relationships between those ‘places of thought’, producing a kind of constellation.
The exhibition incorporates the work of 65 women architects who have taken the master’s degree programme at the Bartlett School of Architecture in the past ten years, showing a total of 71 projects and including 283 images. The architects are of more than 20 different nationalities and have been tutored by 22 tutors, 50% of them women, who also come from a wide variety of backgrounds in cultural terms and professional experience.
The exhibition catalogue includes texts by 20 women architects or professionals in related fields, all with outstanding academic records.
Architects: Ana Alonso, Anna Andronova, Christia Angelidou, Felicity Barbur, Justine Bell, Paddi Alice Benson, Christine Bjerke, Romina Canna, Emma Louise Carter, Nicola Chan, Doville Ciapaite, Freya Cobbin, Charlotte Cole, Emma Colthurst, Malina Dabrowska, Naomi De Barr, Emily Doll, Sarah Earney, Sara Firth, Karen A. Frank, Maria Auxiliadora Galvez, Masha Gerzon, Naomi Gibson, Cristina Goberna Pesudo, Faye Greenwood, Lola Haines, Penelope Haralambidou, Bijou Harding, Alice Hardy, Janis Ho, Helena Howard, Sarah Izod, Niki-Marie Jansson, Johanna Just, Gintare Kapociute, Minghui Ke, Fanny Kostorou, Le (Lulu) Li, Ifigeneia Liangi, Ting Jui (Brook) Lin, Marjut Lisco, Shi Yin Ling, Emily Martin, Sara Martinez Zamora, Lauren McNicoll, Heba Mohsen, Alex Mok, Ness Lafoy, Hoy Lei (Kerri) Ngan, Charlotte Page, Jiao Peng, Barbara Penner, Sylwia Poltorak, Sophia Psarra, Katherine Ramchand, Ellie Sampson, Julia Schuetz, Katt Scoot, Maïté Seimetz, Tania Sengupta, Rose Shaw, Faustyna Smolilo, Elin Soderberg, Catrina Stewart, Paula Strunden, Yan Ting (Lorraine), Stefania Tsigkouni, Yinghao Wang, Angeline Wee, Izabela Wieckzorek, Kate Woodcock Fowles, Feng Yang, Siyuan (Amy) Yao, Venessa Yau, See (Phyllis) Yu, Mika Zacarias.
Text in English and Italian.
Nudity, lasciviousness, sensuality, provocation, shamelessness, or obscenity. During the 19th century, eroticism takes on a new place in Western visual culture, in particular thanks to the development of reproduction such as photography, press or lithography.
Result of long and meticulous research, this book reviews the major reflections carried out on the theme of nudity in the field of art history and the history of sensibilities. It studies the reception of nudity in France, based on documentary and iconographic sources renewed (little-known works, drawings and photographs, newspapers, archives, texts of laws) and allows us to better understand this history of erotic art of the nineteenth century, long perpetuated by the sole taste of description.
By placing the works in their context, by comparing expressions and aesthetics, and studying visual culture of time, Claire Maingon opens up new fields of reflection, while allowing to discover unknown or forgotten artists such as Broc, Gavarni, Dubufe, Galimard, Ranft, Eakins, alongside the big names in the history of 19th century, David, Ingres, Delacroix, Courbet, Manet, Rodin.
Text in French.
“With 240 pages filled with incredible art, the bird lover will enjoy flipping through and taking in the vast distinctions between species in the bird kingdom.” — Prevention
Australian artist Greg Oakley has had a lifelong fascination with birds and bird art, and began photographing birds 20 years ago, progressing from traditional film to digital in the early 2000s. In the past six years, he has worked on perfecting the difficult and exacting area of bird photography known as “setup”, where perches and backgrounds are meticulously crafted and designed, and lighting strictly controlled.
There are sometimes hundreds of individual photographs taken and then digitally combined to create a single work. With a combination of photographic skill, field craft, meticulousness and incredible patience, he removes the subject from its natural environment and context, re-imagining it in a field-guide style reminiscent of the historic bird artists.
Oakley’s photographs represent a reconstructed contemporary vision of important historic artists such as Gould and Audubon. This collection of stunning artwork is a testament to the natural beauty of birds, highlighting the precarious existence of many endangered species and a reminder of the beauty we could lose. By isolating the subject into an unblemished reality, each species’ character and beauty is celebrated with empathy and understanding. The resulting images provide both a rare glimpse in stunning detail of these delicate creatures, and a poignant reminder of the tragic, impending loss of many of them due to habitat loss and climate change.
In recent years, Swiss artist Franz Bucher, born in 1940, has produced an extensive series of paintings which he simply titles Fields: lavender, dandelion, rapeseed, and poppy fields congruent with the canvas to form a pictorial field. Yet Bucher’s objective is not primarily the pictorial. Rather, it is more about the two-dimensional space which is given an inherent structure by the largely monochromatic primary colours he uses, as well as his dynamic brushstroke. It becomes apparent that most of the artist’s oeuvre since the early 1970s has been determined by the metrical rhythm in his use of colour. Bucher’s paintings constitute actual energy fields.
This new monograph offers a retrospective of Bucher’s entire body of work from the vantage point of his recent pictorial fields. It thus illustrates his true artistic intentions independently of the context of his chosen motifs.
Text in English and German.
The research in the field of vision conducted from 1919 by the Laboratory of Experimental Psychology, founded by Vittorio Benussi at the University of Padua, had a remarkable and innovative impact. This research went beyond the academic and disciplinary sphere and, starting in the 1960s, helped to stimulate a ground-breaking cultural and artistic scene, launching the city of Padua and its artists internationally.
This volume explores the relationship between the works, milieux and exhibitions of the Gruppo N – Alberto Biasi, Ennio L. Chiggio, Toni Costa, Edoardo Landi, Manfredo Massironi – active in Padua from 1960 to 1964, and the studies of Vittorio Benussi and the first scholars of his School: Cesare Musatti, Fabio Metelli and Gaetano Kanizsa, who was born in Trieste but graduated in Padua. Marina Apollonio’s art and research occupy a special place in this dialogue between science and art.
Texts by: Rossana Actis-Grosso, Elisa Baldini, Guido Bartorelli, Paolo Bernardis, Marco Bertamini, Giovanni Bianchi, Ivana Bianchi, Andrea Bobbio, Nicola Bruno, Elisa Caldarola, Marnie Campagnaro, Barbara Luciana Cenere, Alberto Cibin, Elena Clara, Osvaldo da Pos, Andrea Dissegna, Carlo Fantoni, Giovanni Galfano, Walter Gerbino, Enrico Giora , Massimo Grassi, Laura Messina-Argenton, Giulia Parovel Tamara Prest, Marta Previti, Lucia Regolin, Sergio Roncato e Baingio Pinna, Federica Stevanin, Giorgio Vallortigara, Ian Verstegen, Giuseppe Virelli, Daniele Zavagno.
Text in Italian with English translations in the appendix.