Ed. by Andreas Baur and Marcus Weber for the Villa Merkel, Galerie der Stadt Esslingen, Snoeck Verlag Köln, 2015
Texts (German / English) by Esther Leslie, Andreas Baur, Marcus Weber. An Interview from Marcus Weber with Peter Saul and a reprint of an obituary on Maria Lassnig by Paul McCarthy
152 pages, Format 28x21cm, with coloured illustrations
Hamish Fulton, born in London in 1946, is working on an entirely independent body of work that is rather poetic and borne by a distinguished, authentic and open-minded attitude. For over 40 years, he has been conveying and acknowledging »walking« as an art form: Walks. Fulton makes Walks in all corners of the world, such as a walk »From Coast to Coast« in the UK, for instance. They result in wall drawings and images, photos and objects capturing in a variety of ways the defining phenomena of the Walks. At the same time, according to the motto »No Walk, No Art«, they can also be read as a passive protest against the excesses of urbanization that Fulton formulates in a sympathetic, yet uncompromising way. In 1994, Hamish Fulton, for the first time, directly involved other people in his work with a Group Walk. This volume documents the nucleus of the exhibition at Villa Merkel in Esslingen (9/3–8/6/2014), and the Walks recorded by the artist in recent years.
Ed. by Andreas Baur and Tina Plokarz for the Galerien der Stadt Esslingen am Neckar, Snoeck Verlagsgesellschaft, Cologne, 2014.
Texts (German/English) by Andreas Baur, Hamish Fulton, Freddy Langer, Tina Plokarz
64 p. with 30 coloured illustrations, hardcover with dust jacket
Applying the philosophical theorems of Gilles Deleuze, the works of Panhans offer an impressive investigation into the relationship of image and time, motion and time as well as body and memory. He successfully connects philosophical questions with the psychology of the present. On the one hand he reveals the identity-establishing and increasingly absurd influence on our thoroughly digitised consumer society, while on the other hand he seems to ask with Deleuze, à propos Henri Bergson (Matière et mémoire, 1896): " Does this mean that [...] cinema is only the projection, the reproduction of a constant, univeral illusion? As though we had always had cinema without realising it?"
Edited by Katja Blomberg, Verlag der Buchhandlung Walther König: Berlin, 2014
Texts (ger./eng.) by Dr. Katja Blomberg, Reinhard Braun
“What Use Are Pictures?” – especially in today's times, this is a downright radical and simultaneously impertinent question. The same-named exhibition at the Villa Merkel, Galerien der Stadt Esslingen am Neckar, and the Kunstsammlung Jena takes as its theme the extremely varied utilizations of photography on the basis of some four hundred photographs from a renowned private collection in southern Germany which are outstanding, even bizarre, sometimes strange, but always astounding. The publication is published on the occasion of same-named exhibition.
Ed. by Andreas Baur for the Galerien der Stadt Esslingen, Bernd Stiegler, Felix Thürlemann
Texts (German) tutorial project at the Universität Konstanz under the supervision of the instructors Bernd Stiegler and Felix Thürlmann
304 p. with 250 coloured illustrations, hardcover
»Crossing Media« is the name of the format now to replace the photo triennial first held in 1989 in Esslingen, which is also being expanded to include a festival comprising video presentations, performances, readings, discussions and concerts. The keyword »crossover«, i.e. the blurring and infusing of genres and disciplines, no longer describes such new things, it’s true, but does apply as a process to a lot of that which contemporary art denotes. Such a crossover process not only gives rise to those works of art that are surprising to our viewpoints and other modes of experiencing them, but it once again makes it apparent that within art there can be no more standard explanations. All artistic works and actions, especially at this festival, share the fact that they refer back to a stage-like presentation or display for their comprehension and presentation. Even as visitors arrive in the spacious entrance hall of the villa, they are surprised by a delicate construction by Banks Violette with a gleaming black stage floor and ceiling, from which a jumbled assortment of neon tubes appears to fall; it bears the title »Kill Yourself«. Or in the next room, where a large, empty sculpture plinth stands carefully illuminated on a red carpet in the floor space: this is »Public Sculpture« by Julien Berthier. Walking around the work visitors are transported by the artist’s symphonic hammer strikes on bronze statues in the open space into an ephemeral sound situation – or one might even say they are surrounded with a sculpture of sound. These examples are representative of many others by the 17 artists exhibited, as compiled in this comprehensive volume. Other participants of »Crossing Media. Art as a Stage« include Nevin Aladag, Birgit Brenner, Daniele Buetti, Kurt Caviezel, Beate Engl, Rainer Ganahl, Johan Grimonprez, Paul Harrison/John Wood, Christine Hill, Eva Kotátková, Jung Lee, Alexandra Leykauf, Atelier van Lieshout, Andres Lutz & Anders Guggisberg and Philippe Ramette.
Edited by Andreas Baur, Snoeck Verlag: Köln, 2013.
Texts (ger./eng.) by Andreas Baur, Anne Horny, Tina Plokarz, Anka Wenzel
In the spring of 1963, Manfred Kuttner and his fellow students, Konrad Lueg, Sigmar Polke and Gerhard Richter organize the legendary “Demonstrative Ausstellung” (Demonstrative Exhibition) at Kaiserstraße 31A in Dusseldorf. This marks the beginning of so-called German Pop Art, where the now-legendary term Kapitalistischer Realismus (Capitalist Realism) is born. In 1960, Manfred Kuttner escapes from East Germany to Dusseldorf. At the Dusseldorfer Kunstakademie in the class of Karl Otto Götz, he becomes involved with Informel, and soon also with ZERO and the Fluxus movement. At the end of 1962, he discovers the fluorescent “Plaka” paint which has recently been launched and marketed by Pelikan. The following months, he creates a series of some 30 geometrically structured paintings in fluorescent colours and 15 articles for daily use painted likewise in luminous colours. In addition, he shoots the film “A–Z”, does a photo series with body paintings, and writes the script for an experimental play entitled “Unfall” (Accident). In 1964, Manfred Kuttner ends his artistic career and works in the following years as a graphic designer. Not until recently has Manfred Kuttner’s oeuvre again come to public attention in solo and group exhibitions. With a solo exhibition at the Villa Merkel in Esslingen and one at the Langen Foundation in Neuss, the oeuvre of Manfred Kuttner is being presented for the first time in its full glory.
Edited by: Andreas Baur und / and Marcus Weber, Villa Merkel, Galerien der Stadt Esslingen; Christiane Maria Schneider, Langen Foundation, Neuss
Texts by: Birgit Hein, Tobias Kuttner, Christine Mehring, Thomas Scheibitz, Sabine Sense, Franz Erhard Walther, Marcus Weber
Pages: 192, Language: German / English
The appeal in dealing with gold for contemporary art seems to lie in the multifaceted levels of expression and significance that are associated with this auratic material. Between fascination, adoration and desire, the noble metal plays for hundreds of years a major part. Gold invariably invokes reactions – a potential that is exploited with great diversity by 18 international artists.
Edited by Kunsthalle Nürnberg, Villa Merkel Esslingen
Texts Klaus H. Orth, Anne Schloen, Harriet Zilch
204 pages, Numerous ills. in color, Hardcover
The Villa Merkel and the Bahnwärterhaus become a platform for current artistic approaches. An expanded discourse on painting is on offer: a group of 27 artists from the Staatliche Akademie der Bildenden Künste Stuttgart – students, graduates and visiting students from Reto Boller’s class – are introducing themselves in an international context.
Texts Reto Boller, Andreas Bauer, Nadine Bracht
Edited by Galerien der Stadt Esslingen am Neckar and Verlag Staatliche Akademie der Bildenden Künste Stuttgart
In his work the Slovenian artist Tobias Putrih engages with particular aspects of modernist history such as political and social utopianism, modernist architecture and design and the origins and evolution of cinema. For exhibition he created an architecture in architecture along the lines of the Chicago World Exhibition in 1893. The show at Villa Merkel, Galerien der Stadt Esslingen am Neckar, was the first comprehensive solo exhibition by Tobias Putrih in Germany.
Edited by Galerien der Stadt Esslingen am Necker / Anka Wenzel
Over a period of three weeks the three artists Anike Joyce Sadiq, Max Santo and Ines Wuttke showed installations and performances specially created for the Bahnwärterhaus. The examination of illusion and fiction is inherent in all three positions, as well as partly found objects, narration motivs and dramatic scenarios.
56 p., coloured pictures
Breitseite – Im Fokus: Raum (Broadside – In Focus: Space) addresses artistic positions concerned with both the interior of space – especially exhibition spaces – and also the externals of spatial structure. The view of exterior of a spatial structure and seeing the interior are driven by various artistic approaches. The rooms in the Villa Merkel are analysed, processed and changed. New forms of perception emerge , concrete and applied experience come to light.
Breitseite – Im Fokus: Raum features sculptures that create an individual spatial structure and transform the exhibition space itself.
Breitseite – Im Fokus: Raum also features photographs that reinterpret spatial structures from the outside and explore the interior of a space.
Texts (German/ English) by Andreas Baur, Stephan Günzel, Maria Wäsch
80 p., coloured pictures
Darren Almond – Nocturne is a solo show of one of the most outstanding British contemporray artists at Villa Merkel. The transience of time in the fleeting moment of beauty: works in various media – photography, film or installation – show where Darren Almond´s interests lie. He addresses subjects such as signs of the times, landscape and journeys, and also political and historical memory. The fleeting quality of a moment, the fragility of human existence, all this is shown to viewers.
The special nature of this publication in cassette form relates to the specific execution of individual works, sometimes as a concertina folder or a simple booklet. Thus all of the photographs in the exhibition are adequately covered and the film receives a form of publication which can been viewed in particular as a mirror of the artist’s experiences.
Cassette, edited by Andreas Baur Texts (German/English) by Andreas Baur, Tim Ingold, Johannes Meinhardt
Snoeck Verlag, Köln.
3 concertina folds of 18, 6 & 32 p, two stappled note books each of 44 p with 400 coloured illustrations in all. 310 x 305 mm, cassette
The picture that marked the beginning of the show presents a trunk-feather (?)-fur creature transported from intermediate or dream worlds, scarcely ever seen in this form. It is looking back with one eye. This picture gave the exhibition just one of many animal-shaped spirits, just one of the strange hybrid creatures, one of the masks that inhabit psychedelic worlds. They all came along as figures grown out of patches of dirt and clumps of colour, permeated with heraldic forms, accompanied by ornaments, as artificial things, developed from material of painting.
Edited by Andreas Baur for the Galleries of the city of Esslingen on the Neckar
Texts (German/ English) by Andreas Baur, Maria Wäsch.
Verlag für moderne Kunst, Nuremberg.
Melanie Smith was born in 1965 in Poole, United Kingdom, and now lives in Mexico City. Her installations, paintings and video works address a wide range of issues relating to perception, as well as philosophical questions with an emphasis upon socially relevant issues. Her impressive contribution to the Venice Biennale in 2011, which she readopted in a markedly extended form in her first museum-based solo show in Germany this summer at the Villa Merkel, Esslingen, wowed audiences across the board.
Hrsg. von / edited by Andreas Baur
Texts (German/English) by Andreas Baur, Aoife Rosenmeyer, Johanne Sloan
120 p with 100 coloured illustrations
280 x 210 mm, softcover
Euro 20,- (Villa Merkel)