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An artistic journey: the path of the painter Henrik Placht (*1973) led him in 2002 to Palestine, where he initiated the establishment of the International Academy of Art, which opened in 2006. His experiences from this work and from his trips to Vietnam and North Korea changed not only him as a person, but also his art. While his pictures were at first characterised by stringent compositions and geometric forms, his current works have a more open formal language. This new publication bears witness to this artistic as well as personal process of development and makes clear how art and culture can influence one another.
Text in English and Norwegian.

The series contains a collection of masterpieces by famous Chinese painters of all ages, with a rich variety of subjects and styles. It presents a selection of paintings from the Tang and Song dynasties, including figure and landscape paintings, showing the splendid charm of traditional Chinese painting at its peak from multiple perspectives. The volumes are accompanied by expert interpretations, analysing the characteristics of the paintings and the key points of appreciation, and guiding the reader through the beauty of the paintings in an insightful text.

This book uses the busts on the Chantrey Wall in the Ashmolean Museum to give an introduction to the remarkable career of Francis Chantrey (1781-1841), and the collection in the Ashmolean. The book charts the progress of the busts from Chantrey’s workshop to a Victorian national treasure: the first monographic collection of British sculpture to become a part of a permanent museum collection. It follows the return of the busts from basement storage to their conservation and triumphant redisplay in the new building.

The book begins and ends with the Chantrey Wall, one of the most photographed displays of recent years providing non-specialist readers an introduction to one of the giants of British sculpture, and one of the most important sculpture collections in the country.

The thematic exhibition Walking Through Walls presents a contemporary panorama of the artistic responses made to the detrimental effects of human-made barriers, divisions and walls, showcasing works by Jose Dávila, Mona Hatoum, Nadia Kaabi-Linke, Christian Odzuck, Anri Sala, Regina Silveira, alongside many others. Acknowledging the location of the Gropius Bau alongside the former Berlin Wall, the exhibition offers a global perspective on the physical and psychological repercussions of coexisting in divided societies. On the occasion of the 30th anniversary of the fall of the Wall, the exhibition is a timely exploration of how barriers can articulate feelings of vulnerability and anxiety, and represent individual and collective identities. Artists: Jose Dávila, Mona Hatoum, Nadia Kaabi-Linke, Christian Odzuck, Anri Sala, Regina Silveira and others. Text in German.

Dallas-based architecture firm Droese Raney approaches each project with a generosity of spirit and sense of enthusiasm that encompasses not only client and design but also the physical, spiritual, and emotional well-being of the greater community. The result is a series of buildings and interiors that uses the principles of modern architecture to create comfortable, informal settings; attends to small details and to complex urban contents; highlights the contributions of artists and artisans; and above all tells a story of a specific time and place.
The 16 projects in Droese Raney x Design include retail outlets for Billy Reid, the Conservatory, and Neighborhood Goods, each highlighting a distinct, individualised brand; urban redevelopments such as Good-E and 2800 Main, which transform dilapidated historic structures into lively commercial and entertainment zones; and restaurants including José and Mi Cocina, which bring artisanal traditions to contemporary venues. Especially notable are Forty Five Ten, a four-story department store appointed entirely in Knoll furniture and textiles, and the Warehouse, a 31,000-square-foot space for art exhibition and storage. Interspersed between the projects are five first-person narratives from Droese Raney’s noted clients and collaborators as well as a sixth with the “insider view” from the firm itself.

Naama Tsabar’s art overcomes the boundaries of sculpture, music, performance and architecture: Hamburger Bahnhof presents the installation and performance artist with her first institutional solo exhibition in Germany.

The exhibition Estuaries focuses on four bodies of work with wall and floor pieces that also function as musical instruments and can be activated by the audience. The performance, created especially in the exhibition, is developed in close collaboration with a group of female identifying or gender non-confirming musicians and dancers from Berlin, New York and Los Angeles and will be premiered on the opening weekend. The exhibition presents on about 420 sqm four series of over twenty works that correspond with each other both visually and sonically throughout the exhibition space. Naama Tsabar reveals hidden spaces and systems in her interactive works, re-defining gendered narratives and shifting the viewing experience to a moment of active participation.

This is the fourth in a series of publications accompanying solo exhibitions of contemporary artists at Hamburger Bahnhof – Nationalgalerie der Gegenwart. It comprises a curatorial text by Ingrid Buschmann, an interview with the artist, and a contribution by Fiona McGovern that situates Naama Tsabar’s work within a larger context.

Text in English and German.

With tongue planted firmly in cheek, award-winning author illustrator Cathy Hull wittily writes and scathingly draws her own conclusions as she takes readers image by image through four years of pivotal events and watershed moments during the Biden administration. Depictions include the 2020 election, the Jan. 6 attack on Congress and “unprecedented!” “unpresidented” [sic, Trump] impeachments, indictments, trials, and the tsunami of unintended consequences in the wake of the former guy and his MAGA movement.

No one escapes scrutiny. Hull targets both sides of the aisle and the Supreme Court. There’s an all-inclusive cast of characters—heroes, bullies, and victims alike. Joe Biden, Nancy Pelosi, Mitch McConnell, Chuck Schumer, Ted Cruz, Alexandria Ocasio-Cortez, Marjorie Taylor Greene, Liz Cheney, Adam Kinzinger, Rudy Giuliani, Lindsay Graham, Justices Samuel Alito and Clarence Thomas. And yes, of course, Donald John Trump.

In a nutshell, Donald Trump stands by all the misstatements and threats he has made. Constitution be damned. Joseph Biden is nostalgic about the future and endless possibilities. Still, putting country over ego and personal ambition, President Joseph R. Biden ended his fifty-year plus tale of reversal and resilience, dropped his bid for re-election, passed the torch and enthusiastically endorsed his running mate, Kamala Harris— the first female, Black and South Asian American to serve as vice president— to replace him atop the ticket. She’s off and running. Intent on finishing the job, Joe remains focused on governing and delivering an ambitious big goal to-do list in his remaining time in office.

“Democrats — it’s time to come together and beat Trump. Let’s do this.”—Joe Biden

This publication brings together over 60 works on paper created from 2005 to the present day by London-based artist Neil Gall (born 1967, Aberdeen), whose works balance the profound with the absurd.

In works that buzz with art historical reference, Gall has consistently explored matters of perception and mimesis through the visual language of household detritus. He translates the visceral and psychological interactions between materials and their surfaces – corrugated cardboard and pressed tinfoil, ping-pong balls enshrouded in black tape – to an unsettling, surreal and sometimes erotic effect.

Essays by art historian Lexi Lee Sullivan and artist Alexander Ross are augmented by thoughtful insights from gallerist George Newall and an introduction from Gall’s dealers David Nolan and Aurel Scheibler.

Rubens’ Antwerp: A Guide highlights the life and work of Peter Paul Rubens (1577-1640) in a comprehensive and accessible way. The Antwerp museums and churches contain about a hundred paintings, drawings, designs and sketches by Rubens. A large part of those are public. Antwerp is the only city in the world that is so deeply rooted with Peter Paul Rubens and his baroque heritage. Rubens’ Antwerp: A Guide allows you to experience Rubens and the Baroque in an intense way. This multifaceted acquaintance with Rubens goes hand in hand with a dive into the glorious past of the vibrant city of culture, where the master’s life largely took place. A mapped walk takes you to the various places in Antwerp where Rubens’ work can be seen. You can visit his house with the studio, where so many masterpieces came about. You also visit the homes of his friends Balthasar Moretus and Nicolaas Rockox, and you can admire paintings of him in the historic churches in the rooms for which they were made. 2018 is the official Rubens’ year.

A Guide to Rubens’ Antwerp highlights the life and work of Peter Paul Rubens (1577-1640) in a comprehensive and accessible way. The Antwerp museums and churches contain about a hundred paintings, drawings, designs and sketches by Rubens. A large part of those are public. Antwerp is the only city in the world that is so deeply rooted with Peter Paul Rubens and his baroque heritage. A Guide to Rubens’ Antwerp allows you to experience Rubens and the Baroque in an intense way. This multifaceted acquaintance with Rubens goes hand in hand with a dive into the glorious past of the vibrant city of culture, where the master’s life largely took place. A mapped walk takes you to the various places in Antwerp where Rubens’ work can be seen. You can visit his house with the studio, where so many masterpieces came about. You also visit the homes of his friends Balthasar Moretus and Nicolaas Rockox, and you can admire paintings of him in the historic churches in the rooms for which they were made.

Text in German.

Upon his arrival in New York in the 1960s, Istanbul-born artist Burhan Doğançay (1929–2013) became deeply fascinated by the visual aesthetics of urban walls and murals. His interest focused on exploring public space and its significance as a forum for the debate of social and political as well as artistic norms. He continuously sketched and photographed walls and doorways, transferring many of the captured motifs into paintings. Over more than four decades, Doğançay compiled a vast body of photographic testimonials of urban life and discourse which he titled Walls of the World: a unique archive comprising some 30,000 images from 114 countries.
This bilingual French–German book features a selection of Doğançay’s paintings and photographs from various series within the entire Walls of the World collection. The pictures — like the walls themselves — are the result of superimposed layers and techniques. Through this use of different painting and collage techniques, they reflect the temporal dimension of these surfaces with the scribbles, posters, scraps, and graffiti accumulated on them. The essays that supplement the images investigate Doğançay’s ongoing engagement with the urban wall as a projection surface as well as his method of combining photography and sketching as the basis for his remarkable graphic and painted art.

Text in French and German.

Benjamin Rubloff’s paintings in this book are all based on fragments of found graffiti. For many years, the artist photographed tags as he walked around the city, mainly because he was interested in their painterly qualities: the speed of a gesture, the way they sit on a wall, their random drips and splashes. As an experiment, he began copying these marks into oil paintings, altering the scale and framing, but otherwise aiming for an exact transcription of the original tag. His intention was to create abstract paintings that would not bear the qualities of his own hand. Instead, they would be records of the traces of others.

When he retraced his steps — sometimes years later — to find the original tags, Rubloff often found them gone. Sometimes the sites themselves had been radically altered. He began to write about these places in conjunction with the paintings, exploring the intersection of their histories with his own. As a result, each painting in the book is accompanied by a text and a photograph of the site, intended to provide an anchor back to the city itself.

Bjørn Ransve (b. in 1944) is one of the most important contemporary Norwegian artists. Since the onset of late Modernism, he has played a crucial role in shaping painting in Scandinavia and today his works are represented in all important museums there. In the rest of Europe and the US, he is regarded as an insider tip for collectors. A particularly striking aspect of Ransve’s work is the constant shift between the representational and abstraction – often in parallel. In addition, he is a consummate master of traditional oil-painting techniques – working the medium in anything from small formats to canvases 15 metres across. His 1960s fragmented bodies, his searching studies of animal cadavers, the motifs he has borrowed from the history of art and his enigmatically demonic visions often look aggressive and distorted yet are sensitively executed – an ambivalence that informs Ransve’s oeuvre and is perhaps most radically expressed in works in which the representational clashes with abstraction. This book provides a survey of Ransve’s impressive painterly oeuvre. The accompanying text investigates the changing and recurrent groups of motifs and places the works in their art historical context. Since each page of the book has been designed individually in close collaboration between Ransve and the graphic artist and book designer Silke Nalbach, Bjørn Ransve’s development as an artist can be traced in a way that is particularly illuminating. Text in English with German translations.

The artworks are presented in the traditional format of a handscroll which can be extended indefinitely, so that the postscripts and observations of later generations can be directly followed by the end of the works.

The series of Collection of Ancient Calligraphy and Painting Handscrolls: Paintings has a large time span, rich themes and diverse styles. It selects 10 paintings from the last five dynasties of ancient China (Tang, Song, Yuan, Ming and Qing Dynasties), including vivid portraits, exquisite landscape paintings, and meticulous paintings of flowers and birds.
The artworks in this boxed set are presented in the traditional format of a handscroll, which can be extended indefinitely, so that the postscripts and observations of later generations can be directly followed by the end of the works.

During his reign, King Charles I (1600-1649) assembled one of Europe’s most extraordinary art collections. Indeed, by the time of his death, it contained some 2,000 paintings and sculptures. Charles I: King and Collector explores the origins of the collection, the way it was assembled and what it came to represent. Authoritative essays provide a revealing historical context for the formation of the King’s taste. They analyse key areas of the collection, such as the Italian Renaissance, and how the paintings that Charles collected influenced the contemporary artists he commissioned. Following Charles’s execution, his collection was sold. This book, edited by the curators of a spectacular exhibition at the Royal Academy, reunites its most important works in sumptuous detail. Featuring paintings by such masters as Van Dyck, Rubens and Raphael, this striking publication offers a unique insight into this fabled collection.