Okwui Enwezor

On the occasion of a major exhibition, performance, and film premiere, this book considers Matthew Barney's epic seven-year project, an odyssey of death and its mythologies. This long-awaited volume documents the full breadth of this ambitious new project, the first major series by the artist since the legendary Cremaster cycle. River of Fundament is directly inspired by Norman Mailer's Egyptian novel Ancient Evenings, his infamous classic that chronicled the passage of a narrator through the stations of death and reincarnation. In a sequence of unique live performances, a series of massive sculptures, and, finally, a marathon-length opera in cinematic form, made with the artist's longtime collaborator, the composer Jonathan Bepler, Barney has elaborated a richly perverse and complex universe in which mythology, iconography, narrative, sex, and death are inextricably entwined. Organized according to the narrative structure of the film, the book features sculptures (made from elemental materials such as iron, sulfur, bronze, lead, salt, and copper), drawings, film and live performance stills, storyboards, and original scores by Bepler. A comprehensive essay on the exhibition and film project by Okwui Enwezor provides an overview of the entire project. The book also includes contributions by literary theorist Homi K. Bhabha and critic Hilton Als, as well as facsimiles of the playbills produced for the related live performances.

River of Fundament

Matthew Barney

William Kentridge

Ivan Vladislavic

Gabriele Guercio

South African artist William Kentridge has produced an outstanding body of work in multiple mediums all of which trace the fraught political and cultural history of South Africa. This title explores Kentridge's new series of 17 large-scale tapestries, created under his artistic direction by a team of South African weavers.

Tapestries

Hilton Als

Lorna Simpson

International Center of Photography

Organized and written by renowned scholar and ICP Adjunct Curator Okwui Enwezor, Archive Fever presents works by leading contemporary artists who use archival documents to rethink the meaning of identity, history, memory, and loss. Over the past thirty years, successive generations have taken wide-ranging approaches to the photographic and filmic archive. The works presented here take many forms, including physical archives arranged by peculiar cataloguing methods, imagined biographies of fictitious persons, collections of found and anonymous photographs, film versions of photographic albums, and photomontages composed of historical photographs. These images have a wide-ranging subject matter yet are linked by the artists shared meditation on photography and film as the quintessential media of the archive. Artists in the exhibition include Tacita Dean, Stan Douglas, Felix Gonzalez-Torres, Zoe Leonard, Ilán Lieberman, Walid Raad, Thomas Ruff, Anri Sala, Fazal Sheikh, Eyal Sivan, Lorna Simpson, and Vivan Sundaram, among others.

Uses of the Document in Contemporary Art

Archive Fever

Documenta11 consisted of five platforms. The first four platforms addressed specific issues at different venues in cooperation with various partners. The exhibition in Kassel was the fifth platform. The publications for Documenta11 are published by Hatje Cantz Publishers. They are comprised of four volumes of the collected platform lectures, a commissioned study of urban conditions in Latin America (edited by Armando Silva), the exhibition catalog, a photo documentation of the exhibition, and a short guide to the exhibition.

Documenta 11P̲latform3

Créolité and Creolization

Sofía Hernández Chong Cuy

Sean Kissane

Carlos Garaicoa

Garaicoa spends time exploring cities to discover their true meaning, he often illustrates his vision in large installations using various materials such as crystal, wax candles and rice-paper lamps. In No Way Out, 2002, a city at night is constructed through various scales of illuminated rice-paper lamps, while the materials in this work reference Japan, the uniformity of the city landscape alludes to a universal situation common to all cities worldwide. In The Crown Jewels, 2009, miniature replicas of real-life torture centres, prisons and intelligence networks are cast in silver and in Bend City (Red), 2007, a city is constructed entirely from cut cardboard.

Overlapping

Olu Oguibe

In the past decade, contemporary African art has been featured in major exhibtions in museums, galleries, international biennials, and other forums. African cinema has established itself on the stage of world cinema, culminating in the Ouagadougou Film Festival. While African art and visual culture have become an integral part of the art history and cultural studies curricula in universities worldwide, critical readings and interpretations have remained difficult to obtain. This pioneering anthology collects twenty key essays in which major critical thinkers, scholars, and artists explore contemporary African visual culture, locating it within current cultural debates and within the context of the continent's history. The sections of the book are Theory and Cultural Transaction, History, Location and Practice, and Negotiated Identities. Copublished with the Institute of International Visual Arts (inIVA), London

African Art from Theory to the Marketplace

Reading the Contemporary

Lyle Ashton Harris

Text by Okwui Enwezor. Foreword by Henry Louis Gates, Jr. Interview with Chuck Close.

The Complete Chocolate Portraits

Lyle Ashton Harris, Excessive Exposure

Ulrich Wilmes

Katy Siegel

This unprecedented global survey of the art of the postwar era represents a comprehensive examination of the production of art across all continents, under the conditions engendered by World War II. Accompanying the exhibition Postwar: Art between the Pacific and the Atlantic, 1945-1965, this extensive catalogue presents the work of more than 200 artists from over 50 countries. Uniquely, it understands the term "postwar" as a truly global condition, focusing on the increasingly interdependent nature of the world as the result of new geopolitical affinities and technological realities. The catalogue illuminates how these epochal social changes manifested worldwide across the practices of painting, sculpture, installation, performance, cinema, and music, through eight thematic sections: Aftermath: Zero Hour and the Atomic Era; Form Matters; New Images of Man; Realisms; Concrete Visions; Cosmopolitan Modernisms; Nations Seeking Form; and Networks, Media, and Communication. Key historical texts, visual essays, color illustrations, and over 35 original contributions by leading international art historians, curators, and scholars offer new insights into the complex legacies of artistic practice and art historical discourses that emerged in the aftermath of World War II's devastation. Artists' biographies, a comprehensive bibliography, and chronologies of the postwar period further supplement what will become an indispensable resource for future research.

Art Between the Pacific and the Atlantic, 1945-1965

Postwar

Zwelethu Mthethwa

Isolde Brielmaier

Zwelethu Mthethwa's large scale portraits often portray rural immigrants on the margins of South African cities, revealing the efforts his subjects make to maintain their cultural identities through their choices in clothing, and the decoration of their dwellings and places of worship. Mthethwa also addresses the economic and political reality of present day South Africa.

Chika Okeke-Agulu

[S]urvey of the work of contemporary African artists from diverse situations, locations, and generations who work either in or outside of Africa, but whose practices engage and occupy the social and cultural complexities of the continent since the past 30 years.... Organized in chronological order, the book covers all major artistic mediums: painting, sculpture, photography, film, video, installation, drawing, collage.... Presents examples of ... work by more than 160 African artists.... [I]ncludes Georges Adeagbo Tayo Adenaike, Ghada Amer, El Anatsui, Kader Attia, Luis Basto, Candice Breitz, Moustapha Dimé, Marlene Dumas, Victor Ekpuk, Samuel Fosso, Jak Katarikawe, William Kentridge, Rachid Koraichi, Mona Mazouk, Julie Mehretu, Nandipha Mntambo, Hassan Musa, Donald Odita, Iba Ndiaye, Richard Onyango, Ibrahim El Salahi, Issa Samb, Cheri Samba, Ousmane Sembene, Yinka Shonibare, Barthelemy Toguo, Obiora Udechukwu, and Sue Williamson.--From publisher description..

Contemporary African Art Since 1980

Michael Newman

Robert Storr

Institute of Contemporary Arts (London, England)

Steve McQueen

Published to coincide with the exhibition Steve McQueen 30 January - 21 March 1999, Institute of Contemporary Arts, London and 12 June - 15 August 1999, Kunsthalle Zürich.

Ken Lum

Grant Arnold

Roland Schöny

A major retrospective of one of Canada's most widely recognized contemporary artists. Over the past 25 years, Vancouver-based artist Ken Lum has developed a large body of work that includes painting, sculpture, performance and photography. He has exhibited throughout North America, Europe and Asia, and his awards include a Hnatyshyn Foundation Visual Arts Award. This richly illustrated volume is the first full-length book devoted to Ken Lum's work in more than nine years. In this time, his work has shifted to large permanent public installations, among them his fourth permanent public installation opening in 2010 in the Netherlands. Ken Lum accompanies a large-scale exhibition organized by the Vancouver Art Gallery that celebrates Lum's entire career and showcases aspects of his work-such as the mazes created for Documenta 11 and the Istanbul Biennal-that have never been seen before in North America. This book was published in partnership with the Vancouver Art Gallery.

Mirror's Edge

Johanna Adorján

Harald Szeemann

Manuel J. Borja-Villel

Pamela Kort

Danièle Cohn

Ulf Valde Jensen

The first major exhibition catalog on Jörg Immendorff (1945-2007) since his death, this volume offers a thematic overview of more than four decades of the artist's work, with more than 120 iconic paintings. For All Beloved in the World offers a thematic overview of the work of this German artist, whose identity is deeply enshrined in his home country's history and characterized by a post-war background. More than 120 works do not follow a strict chronology of the works; instead they present the key element in the development of Immendorff's oeuvre in chapters. They give a nuanced view of the artist's life and work and include some of the rarest loans, bringing together more than four decades of the artist's work united with iconic paintings. It was not until the end of the 1970s that Immendorff decided to shift his threefold existence as a political activist, teacher and painter to the side of art. The year 1976 was key in some respects; Immendorff participated in the Venice Biennale with a flyer campaign that attacked the 'deprivation of personal liberty' in the GDR and called for international artistic co-operation as a vehicle to overcome it; this was followed in 1978 by the beginning of his Café Deutschland series, inspired by Renato Guttuso's Café Greco, which Immendorff had seen in an exhibition in Cologne. With his work on the Café Deutschland series, Immendorff's painting became more expressive through his bold use of colour and gesture, thereby also freeing him of ideologically imbued emblematics. The process of change introduced here, with its formal and substantive opening-up, developed into the artist's last work phase, a visual-linguistic 'clearing' in the sense of a new pictorial energy and lightness, which Immendorff once described as a 'liberation blow'.

Fur alle lieben in der welt

Jorg immendorf

Josephine Meckseper

Marion Ackermann

Christian Höller

The Kunstmuseum Stuttgart presents the first extensive mid-career survey of Josephine Meckseper's multimedia work on four floors of the museum with over 150 works from Meckseper's oeuvre consisting of large installations, window displays, sculptures, paintings, photographs and films.

Nancy Condee

Terry Smith

In this landmark collection, world-renowned theorists, artists, critics, and curators explore new ways of conceiving the present and understanding art and culture in relation to it. They revisit from fresh perspectives key issues regarding modernity and postmodernity, including the relationship between art and broader social and political currents, as well as important questions about temporality and change. They also reflect on whether or not broad categories and terms such as modernity, postmodernity, globalization, and decolonization are still relevant or useful. Including twenty essays and seventy-seven images, Antinomies of Art and Culture is a wide-ranging yet incisive inquiry into how to understand, describe, and represent what it is to live in the contemporary moment. In the volume’s introduction the theorist Terry Smith argues that predictions that postmodernity would emerge as a global successor to modernity have not materialized as anticipated. Smith suggests that the various situations of decolonized Africa, post-Soviet Europe, contemporary China, the conflicted Middle East, and an uncertain United States might be better characterized in terms of their “contemporaneity,” a concept which captures the frictions of the present while denying the inevitability of all currently competing universalisms. Essays range from Antonio Negri’s analysis of contemporaneity in light of the concept of multitude to Okwui Enwezor’s argument that the entire world is now in a postcolonial constellation, and from Rosalind Krauss’s defense of artistic modernism to Jonathan Hay’s characterization of contemporary developments in terms of doubled and even para-modernities. The volume’s centerpiece is a sequence of photographs from Zoe Leonard’s Analogue project. Depicting used clothing, both as it is bundled for shipment in Brooklyn and as it is displayed for sale on the streets of Uganda, the sequence is part of a striking visual record of new cultural forms and economies emerging as others are left behind. Contributors: Monica Amor, Nancy Condee, Okwui Enwezor, Boris Groys, Jonathan Hay, Wu Hung, Geeta Kapur, Rosalind Krauss, Bruno Latour, Zoe Leonard, Lev Manovich, James Meyer, Gao Minglu, Helen Molesworth, Antonio Negri, Sylvester Okwunodu Ogbechie, Nikos Papastergiadis, Colin Richards, Suely Rolnik, Terry Smith, McKenzie Wark

Modernity, Postmodernity, Contemporaneity

Antinomies of Art and Culture

Today the procedural mechanisms of urban studies are working to interpret new urban paradigms that a century ago were largely absent in a great many cities around the world. African cities are becoming the exemplars for the emergence of new urban formations that are of great interest to many researchers working in the social sciences. This interest has brought into critical light how new urban agglomerations, arrangements, and institutions are emerging from the inadequacies of the public sector, proposing a modernizing cultural revision and a rearrangement of many of the essential elements of familial identification and authority. Out of these transformations, many of which are improvisatory, new types of relations and exchanges, survival and subsistence, forms of solidarity and resistance are produced. It is in the polymorphous and apparently chaotic logic of the postcolonial city that we may find the signs and new codes of expression of new urban identities in formation. Under Siege: Four African Cities underlines a central paradox that seems to rule the view of African cities, namely their inherent dynamism and obsolescence, and engages different kinds of understanding of subjectivity and the cultural, political, social sphere of present day African urban conditions.

Documenta 11, Platform 4

Under Siege, Four African Cities, Freetown, Johannesburg, Kinshasa, Lagos

Naomi Beckwith

Thelma Golden

Lynette Yiadom-Boakye

Any Number of Preoccupations

John Berger

Lynne Cooke

Doris van Drathen

Adrian Searle

Fiona Tan

Saskia Bos

This Reader, edited and introduced by noted art historian and critic Gilda Williams, gathers the key critical writings across the artist's essential works as explored through the lens of art history, post-colonial theory, film analysis, and more. Catalogue essays and exhibition reviews on individual works are set alongside Tan's own substantial body of writing: essays, letters, scripts, project notes, as well as discussions of other artists' work, from Chantal Akerman to Jeff Wall.

Reader. Museum Der Moderne Salzburg / Kunsthalle Krems

Fiona Tan. with the Other Hand

Okwui Enwezor

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