Nicolaus Schafhausen

Nicolaus Schafhausen is a curator at the Documentation Center for the History of National Socialism in Munich.

  • Annette Kelm

    Annette Kelm

    Tomato Target

    Nicolaus Schafhausen

    A comprehensive look at the unique artistic work of Annette Kelm, with rich color illustrations of emblematic pieces from her oeuvre.

    Tomato Target takes a comprehensive look at the unique artistic work of Annette Kelm and the visual idiom she has developed over the course of her career. The book contextualizes Kelm's practice, which deftly probes the medium of photography and uses heterogeneous subjects decisively, to signifiy and act as telling abstractions within her visually opulent object worlds. Kelm's work is at once intellectually astute, concise and enigmatic. Her photographs quote the genres of still life, studio, or architectural photography without fully complying with the conventions that govern them.

    Tomato Target offers essays, installation views from the artist's solo Tomato Target exhibition at Kunsthalle Wien, and rich color illustrations of emblematic pieces from her oeuvre. The texts unravel the puzzles in Kelm's work, touching on the history of photography, design, and display as well as scientific elements that continue to reappear within Kelm's work.


    Vanessa Joan Müller, Anna Voswinckel; conversation between Nicolaus Schafhausen and Brigitte Kölle

    • Paperback $30.00
  • Wilfrid Almendra

    Wilfrid Almendra

    Light Boiled like Liquid Soap

    Alexandra McIntosh and Nicolaus Schafhausen

    Photographs, essays, fiction, poetry, and an interview document an immersive installation by Marseille-based artist Wilfrid Almendra.

    Light Boiled like Liquid Soap is an immersive installation by Marseille-based artist Wilfrid Almendra featuring radio transmissions and a series of sculptural elements made of copper, plaster, and silicone in various states of dematerialization. Combining found and repurposed materials, the works attest to notions of desire, circulation, and flux, from protective spaces of retreat to global economies of exchange.

    The seventh volume in the Fogo Island Arts publication series accompanies the eponymous exhibition curated by Alexandra McIntosh and Nicolaus Schafhausen and presented at the Fogo Island Art Gallery in 2016. Richly illustrated with color photographs of Almendra's installation, the book features a critical essay by Anne Faucheret, a work of speculative fiction by Nicolas Idier, poetry by Jorge Armando Sousa, and a conversation between Wilfrid Almendra, Alexandra McIntosh, and Nicolaus Schafhausen.

    Copublished with Fogo Island Arts

    ContributorsWilfrid Almendra, Anne Faucheret, Nicolas Idier, Alexandra McIntosh, Nicolaus Schafhausen, Jorge Armando Sousa

    • Paperback $25.00
  • What Do We Know? What Do We Have? What Do We Miss? What Do We Love?

    What Do We Know? What Do We Have? What Do We Miss? What Do We Love?

    Jahresring 65

    Brigitte Oetker and Nicolaus Schafhausen

    An example of the potential (and the contradictions) of contemporary alliances between art, design, and social entrepreneurship.

    Fogo Island, a fishing settlement with approximately 2,500 inhabitants, located off the coast of Newfoundland, saw its livelihood almost devastated in the mid-twentieth century because of industrial overfishing. The island is now experiencing a social, economic, and cultural transformation, due in part to a recent series of art, social business, and asset-based community development initiatives. Now, Fogo Island stands as an example of the potential (but also the contradictions) of contemporary alliances between art, design, and social entrepreneurship.

    • Paperback $29.95
  • Marcel Odenbach

    Marcel Odenbach

    Beweis zu nichts / Proof of Nothing

    Jörg Heiser, Maria Muhle, Vanessa Joan Müller, and Nicolaus Schafhausen

    Marcel Odenbach is widely known as a pioneering video artist—however, the connections between his video works and his ongoing works on paper call for due recognition. Many of his works reflect the lasting impact of National Socialism up to the present day, all the while bestowing a universal perspective on what is usually constituted as a specifically German concern. Reflections on the familiar and the foreign, elements of his own biography, the interplay between subjective remembrance and collective memory—all of these are crucial themes in his work, which make their claim on the aesthetic as well as the political level.

    Departing from his eponymous exhibition at Kunsthalle Wien, this publication examines new works by Odenbach and contextualizes them within a broader context. Named after an early poem by Ingeborg Bachmann, the exhibition reflected the atmosphere of the postwar period that dominates Bachmann's poetry, which itself is shaped as much by the search for authenticity and truthfulness as it is by the traumatic memory of the past. The exhibited works developed a series of interconnected motifs linking memorial remembrance of the atrocities committed during the Nazi period to individual memories. The complex history of the African continent was likewise presented through film as well as collages that created multilayered vectors pointing as much from the past toward the present as vice versa.

    Copublished with Kunsthalle Wien

    • Hardcover $32.00
  • Ineke Hans

    Ineke Hans

    Was ist Loos?

    Juliane Bischoff and Nicolaus Schafhausen

    Contemporary relevance characterizes the hybrid design objects of Dutch designer Ineke Hans. Taking account of current social developments, the fluctuating boundaries that separate work and personal life, and the challenges posed by a networked, globalized world, she asks questions about the functionality of contemporary design and how people, objects, and spaces interact. Hans is interested in conventional and innovative production methods as well as in the regional characteristics of developments in design. Her design objects react to the social needs of our time and have a social dimension to their functionality.

    This publication was created on the occasion of Hans's first institutional solo exhibition in Austria. The exhibition—its title a pun merging the German phrase for “What's going on?” with the name of architect Adolf Loos—provided an overview of Ineke Hans's recent work while also exploring the present and the future of design. Hans presented work under three topical themes—“Making & Making Sense,” “Dealing with the Digital,” and “Less”—as well as two design objects created for the exhibition: the Kunsthalle Wien Chair, developed in cooperation with Gebrüder Thonet Vienna, as well as a table design available worldwide via an online platform, which can be produced on demand locally.

    Alongside images of Hans's work, the publication—innovatively designed by Irma Boom Office—includes contributions by professional acquaintances. Deyan Sudjic, director of the London Design Museum, describes how the examination of design leads to interpretations of history and how Hans's designs are socially embedded. Bart Lootsma, professor of architectural theory at the University of Innsbruck, provides insights into the working attitude and methods of Hans, also in relation to other developments in Dutch design. A conversation between Ineke Hans and Oliver Stratford, editor in chief of Disegno Magazine, traces the influences and approaches of the designer.

    Copublished with Kunsthalle Wien

    • Paperback $28.00
  • Attention Economy

    Attention Economy

    Jahresring 60: Jahrbuch für moderne Kunst

    Brigitte Oetker and Nicolaus Schafhausen

    The 60th Jahresring takes the form of a compilation of artist interviews and offers a snapshot of a highly active art scene that stretches from Berlin, as a new international center for art. Nicolaus Schafhausen put a series of questions to thirty-one art practitioners, less geared toward the artists' respective praxis and more toward the conditions under which it arises.

    Art's presence in the field of new media has never been more pronounced; access to media images and Internet-based possibilities for research have significantly altered contemporary art production. The art market too has changed, gaining influence in the field of contemporary art as even art institutions take a different approach today than they did twenty years ago.

    The focus in these interviews is on the respective self-positioning by the artists in an era shaped by such far-reaching changes. What emerges are temporally fixed positions within an activity that is, for the most large part, associated with precarious working conditions and the logistics of the market more than ever before. This book offers insight into this “other” dimension of an artist's existence and registers attention economy as a central component of contemporary art production.

    ContributorsSaâdane Afif, Thomas Bayrle, Michael Beutler, Monica Bonvicini, Mike Bouchet, Ulla von Brandenburg, Angela Bulloch, Andrea Büttner, Keren Cytter, Simon Denny, Thea Djordjadze, Ólafur Elíasson, Harun Farocki, Dani Gal, Katharina Grosse, Eberhard Havekost, Florian Hecker, Christian Jankowski, Susanne Kriemann, Antje Majewski, Olaf Metzel, Carsten Nicolai, Olaf Nicolai, Marcel Odenbach, Silke Otto-Knapp, Willem de Rooij, Cornelia Schleime, Michael Stevenson, Hito Steyerl, Haegue Yang, Tobias Zielony

    • Paperback $32.00
  • Individual Stories

    Individual Stories

    Luca Lo Pinto, Nicolaus Schafhausen, and Anne-Claire Schmitz

    Photographs, books, and knickknacks: artists collect a variety of objects. While artists generate personal collections, which often address different formal, aesthetic, or conceptual concerns, it is difficult to separate this activity from their artistic practices. Over time, whether intended or not, such accumulations of items may become works of art.

    Individual Stories considers the collection as a portrait of its collector and also as an artistic method—as a process rather than an end result. The act of collecting is multifarious—it can be an expression of curiosity, a desire to transform things that have been discovered, or a systematic approach to certain objects in the world. This catalogue is a compilation of individual collections that could not be more different.

    Copublished with Kunsthalle Wien to document the exhibition “Individual Stories: Collecting as Portrait and Methodology,” Kunsthalle Wien, June 26–October 11, 2015.

    ContributorsSaâdane Afif, Jacques André, Marie Angeletti, Thomas Bayrle, Barbara Bloom, Herbert Brandl, Andrea Büttner, Hans-Peter Feldmann, Camille Henrot, Michaela Maria Langenstein, Pierre Leguillon, Hanne Lippard, Maurizio Nannucci, G. T. Pellizzi, Max Renkel, Michael Riedel, Hubert Scheibl, Yann Sérandour, John Stezaker, Johannes Wohnseifer; with images by Marie Angeletti

    • Paperback $29.95
  • New Ways of Doing Nothing

    New Ways of Doing Nothing

    Vanessa Joan Müller, Cristina Ricupero, and Nicolaus Schafhausen

    “New Ways of Doing Nothing,” a group exhibition that took place at Kunsthalle Wien in 2014, devoted itself to artistic production that opposes activity and instead gives an affirmative slant to forms of doing nothing or refraining—a major influence being the titular character of Hermann Melville's “Bartleby the Scriviner: A Story of Wall Street.” The book presents the displayed works and artists, but also continues the process that led to the exhibition. Included along with a conversation between the curators is a text collage of reprints and excerpts that introduces those artists and thinkers who, in the words of Bartleby, “prefer not to.”

    Featuring work by Robert Breer, Alejandro Cesarco, Étienne Chambaud, Claire Fontaine, Natalie Czech, Oskar Dawicki, Edith Dekyndt, Mathias Delplanque, Heinrich Dunst, Gardar Eide Einarsson, Marina Faust, Ryan Gander, Lasse Schmidt Hansen, Julia Hohenwarter, Karl Holmqvist, Sofia Hultén, Jiří Kovanda, Rivane Neuenschwander, Georges Perec / Bernard Queysanne, Superflex, Mario García Torres

    Copublished with Kunsthalle Wien

    ContributorsGiorgio Agamben, Claire Fontaine, Gilles Deleuze, Julius Gavroche, Paul Lafargue, Vanessa Joan Müller, Cristina Ricupero, Tereza Stejskalová, Enrique Vila-Matas

    • Paperback $26.00
  • Hannah Rickards

    Hannah Rickards

    Grey light—Left and right back, high up, two small windows

    Alexandra McIntosh and Nicolaus Schafhausen

    Grey light. Left and right back, high up, two small windows (2014) is a major new work by London-based artist Hannah Rickards commissioned by Fogo Island Arts. Grey light is a two-screen projected video installation with eight channels of sound. Structured rhythmically around the pattern of a foghorn sounding, the piece finds its origins in the notion of the foghorn as an auditory marker for nonvisibility, or imagelessness.

    This publication features texts by Melissa Gronlund and Will Holder, a conversation between Rickards and Nicolaus Schafhausen, and striking new photographic imagery drawn from the installation's physical materials and production process. Like Rickards's work, the publication aims to bridge the distance between visual experience and its expression in language, whether spoken, written, or gestural.

    Copublished with Fogo Island Arts

    ContributorsMelissa Gronlund, Will Holder, Hannah Rickards, Nicolaus Schafhausen

    • Paperback $27.00
  • Edgar Leciejewski

    Edgar Leciejewski


    Alexandra McIntosh and Nicolaus Schafhausen

    Edgar Leciejewski spent six months as an artist-in-residence with Fogo Island Arts in 2014. Tones brings together new work stemming from the Leipzig-based artist's time on the island, including large-scale collages, photographs of natural elements, and precarious sculptures composed of objects found on the shore. Taken together the works are a collection and an archive of time shown in modern images, raising questions on how we contemplate ideas of nature. This publication features essays by Bill Arning and Zoë Gray, as well as a conversation between the artist and Nicolaus Schafhausen.

    Copublished with Fogo Island Arts

    ContributorsBill Arning, Zoë Gray, Edgar Leciejewski, Nicolaus Schafhausen

    • Paperback $27.00
  • Flaka Haliti

    Flaka Haliti

    Speculating on the Blue

    Nicolaus Schafhausen

    Published in conjunction with Flaka Haliti's solo presentation conceived for the Kosovo Pavilion at the 56th Venice Biennale, this book continues the artist's invitation to encounter a visual field in which territorial boundaries are referenced and mediated by the sensory. Through the use of a saturated blue color altered by light and demarcated by architectural forms, the installation at the Venice Biennale reflects on the salient concept of the border.

    The United Nations building in Pristina was a point of departure for the exhibition, as Vanessa Joan Müller backgrounds in her essay on the project, as well as relating to concerns of the threshold and the horizon line: “Concatenated concrete pylons form a tall, compact barrier which separates the UN building at the city limits from that very city. The concrete of the barriers was painted on the outside to downplay the appearance of a military safety zone. Different shades of blue.” The conversation between Markus Miessen and Haliti in the book tracks topics from migration to subjectivity, material states in relation to the digital and the status of internationalism.

    Haliti's approach is to recontextualize these politics into a spatial and visual abstraction. The accompanying book follows through on the exhibition's experience of place and the notion of the horizon as emblems of both possibilities and limitations; bounded by a deep blue, pages have been set as color fields and the typography of the texts shift in scale. Speculating on the Blue offers multiple entry points for imagining present and future relations to histories and institutions.

    ContributorsMarkus Miessen, Vanessa Joan Müller

    • Hardcover $25.00
  • Tony Conrad

    Tony Conrad

    Two Degrees of Separation / Über zwei Ecken

    Gareth Long and Nicolaus Schafhausen

    Tony Conrad, who can be described as an artist, composer, musician, filmmaker, and performer, might be considered the first true “crossover artist.” Two Degrees of Separation accompanies the eponymous exhibition by Tony Conrad at Kunsthalle Wien. In his essay “A Show That's Almost Invisible,” the critic Jonathan Walley discusses how the main works in this exhibition relate to Conrad's interest in the subgenre referred to as the woman-in-prison film, silent music, and the idea of perspective developed during the Italian Renaissance. A conversation between Tony Conrad and Diedrich Diederichsen provides insight into the thinking of the multitalented artist and his unique position in the field of contemporary art.

    Copublished with Kunsthalle Wien

    ContributorsJonathan Walley, Tony Conrad, Diedrich Diederichsen

    • Paperback $16.00
  • Kevin Schmidt

    Kevin Schmidt

    EDM House

    Rosemary Heather and Nicolaus Schafhausen

    Kevin Schmidt's installation and film EDM House (2013) transforms an abandoned homestead in the interior of British Columbia, Canada, into a meeting place of the urban and rural. His incongruous superimposition of the sounds of EDM (electronic dance music) and colored Christmas lights onto this remote location, where he also lived for four months, critiques our pioneering expeditions into the natural world. His disorienting camera work recalls Hitchcock's masterpiece Vertigo, and imbues the scenery with a sense of displacement, at once chilling and exhilarating.

    This fourth publication in the series with Fogo Island Arts includes stunning color photographs of the installation plus reflections on Schmidt's practice from leading writers. Jeff Derksen (Associate Professor of English, Simon Fraser University) traces the evolution of Schmidt's house from homestead to nostalgic getaway cabin. Novelist Michael Turner's fictional narrative follows an aspiring filmmaker whose discovery of the house is informed by a rich field of cinematic and literary references. Finally, a conversation between Jack Stanley and Schmidt provides insight into the artist's practice.

    Copublished with Fogo Island Arts on the occasion of the exhibition “Kevin Schmidt—EDM House,” Fogo Island Cinema, October 1–December 31, 2014.

    ContributorsJeff Derksen, Kevin Schmidt, Jack Stanley, Michael Turner

    • Paperback $27.00
  • Zin Taylor

    Zin Taylor

    Lichen Voices/Stripes and Dots

    Rosemary Heather and Nicolaus Schafhausen

    Writing is central to Zin Taylor's practice. Parallel to a number of artist books, Taylor has made a series of sculptural works the artist proposes as a form of storytelling. How else to understand his project The Story of Stripes and Dots but to “read” the eponymous objects he makes to propel it forward? Taylor conceives of his sculptural components—stripes and dots in many variations—as words in a sentence, the articulation of which can be ongoing. By substituting objects for words, Taylor seeks not to assert equivalence between the two so much as establish the essentially spatialized perception he has of the way language functions. A striking clarity defines the artist's vision. Taylor sees in language—in art—the highly defined dimensions of a world he can work within.

    This catalogue accompanies Taylor's exhibition “The Story of Stripes and Dots (Chapter 5)” at Fogo Island Gallery (September 27, 2013–March 23, 2014), which follows his two-part residency with Fogo Island Arts in 2010 and 2012. Featuring essays by Zoë Gray and Saelan Twerdy, and Taylor in conversation with Patrick Staff and Robin Simpson, the book also presents the artist's portfolio An Index Describing the Individual 19 Thoughts about Stripes and Dots Arranged on a Vitrine Made of Brass and Glass.

    Copublished with Fogo Island Arts

    ContributorsZoë Gray, Robin Simpson, Patrick Staff, Saelan Twerdy

    • Paperback $28.00
  • Silke Otto-Knapp

    Silke Otto-Knapp

    Questions of Travel

    Rosemary Heather and Nicolaus Schafhausen

    This book is published on occasion of the parallel exhibitions Silke Otto-Knapp presented in two markedly different locations: on Fogo Island, Newfoundland, and at the Kunsthalle Wien Karlsplatz, Vienna. The contrasting influences of place—between rural and urban, new and old world—is evident in the selection of works presented and compiled in this catalogue. The partnering of these exhibitions clearly brings into focus questions about art and its contexts. The tensions between nature and culture provide an appropriate figure for the artwork: a context imagined and devised for the circumstances of its own activation.

    Questions of Travel includes essays by Susan Morgan and Vanessa Joan Müller and a conversation between Otto-Knapp and Nicolaus Schafhausen. Müller reflects on how the tensions Otto-Knapp's artwork engenders are the substance of its experience, while Morgan approaches the work via three significant influences: the cultural geographer J. B. Jackson; avant-garde dancer Anna Halprin and her husband, the landscape architect Lawrence Halprin; and the poems of Elizabeth Bishop. In the conversation with Schafhausen, Otto-Knapp likens the art exhibition to “a theatre situation that is both distinctly separate from reality and engaged with it at the same time.” As the activating element of an exhibition, the viewer could also be said to embody the reality of a work's engagement. Otto-Knapp took the title for this project, “Questions of Travel,” from Bishop's poem of the same name, which has been reprinted for this catalogue.

    Published on the occasion of Otto-Knapp's exhibitions “Questions of Travel (Wien),” Kunsthalle Wien Karlsplatz, March 12–May 25, 2014, and “Questions of Travel (Fogo Island),” Fogo Island Gallery, April 16–August 31, 2014.

    Copublished with Fogo Islands Arts and Kunsthalle Wien

    ContributorsElizabeth Bishop, Susan Morgan, Vanessa Joan Müller, Nicolaus Schafhausen

    • Paperback $27.00
  • The Brancusi Effect

    The Brancusi Effect

    An Archival Impulse

    Vanessa Joan Müller and Nicolaus Schafhausen

    The Brancusi Effect begins with the Romanian sculptor Constantin Brancusi. Cited as one of the most influential artists of the twentieth century, Brancusi's considerations of the pedestal launched a reorientation of the relationship between object, viewer, and space, influencing Minimalism and the aesthetic of the installation as a whole. Brancusi's work, its modular structure and adaptability, can be seen as a point of departure; the autonomy of artworks abates in favor of a reflection on their historical and institutional positioning.

    Taking this influence into account, the exhibition and publication collect Brancusi's original photographic documentation. The installation reflects the recent currency of the sculptural within contemporary art while referencing Brancusi's sensibility.

    Copublished with Kunsthalle Wien on the occasion of the exhibition “The Brancusi Effect,” Kunsthalle Wien Karlsplatz, June 12–September 21, 2014, and in collaboration with Dan Gunn, Berlin.

    ContributorsAlessio delli Castelli, Paola Mola

    • Paperback $32.00
  • Kate Newby

    Kate Newby

    Let the Other Thing In

    Rosemary Heather and Nicolaus Schafhausen

    In Kate Newby's site-responsive installations, handcrafted and found objects are often combined with words or phrases to form artworks that engage with the particularities of place. The New Zealand artist's intimate engagement with materials and nonhierarchical involvement with space exhibit a sophisticated understanding of the role that architecture plays in the shaping of thought and perception, our sense of self in the body and in community. Copublished with Fogo Island Arts, this catalogue accompanies Newby's exhibition at the Fogo Island Gallery on Fogo Island, off the northeastern coast of Newfoundland in Canada. The publication features an interview with Newby by Mami Kataoka, an essay by Jennifer Kabat, and a conversation between Newby, geologist Paul Dean, and strategist Daniel Wong, as well as the artist's "Skim Stone Pictures," a photo series of people skimming her ceramic stones into various bodies of water.

    ContributorsPaul Dean, Jennifer Kabat, Mami Kataoka, Kate Newby, Daniel Wong

    • Paperback $28.00
  • Things I Remember I Have Done, But Don't Remember Why I Did Them—Towards a Catalogue Raisonné

    Things I Remember I Have Done, But Don't Remember Why I Did Them—Towards a Catalogue Raisonné

    Pierre Bismuth, Luca Lo Pinto, and Nicolaus Schafhausen

    This publication comprises two volumes: a booklet accompanying Pierre Bismuth's 2015 solo exhibition at Kunsthalle Wien, and a catalogue raisonné indexing his typically serial and often humorous work of the last three decades, from five-minute paintings of recipe cards from women's magazines (1986–87) to fried-chicken-flavored polyethylene sculptures (2015). Just like the idiosyncratic mix of conceptualism and appropriation refined by Bismuth throughout his career, Things I Remember I Have Done, But Don't Remember Why I Did Them suggests how easily authorship and intentionality can be undermined, even erased—and Bismuth is not exempt from his own treatment.

    For his exhibition at Kunsthalle Wien, titled “Der Kurator, der Anwalt und der Psychoanalytiker,” Bismuth invited a different set of authorities to interpret and give order to his works: curator Luca Lo Pinto, lawyer Laurent Caretto, and psychoanalyst Angel Enciso y Bergé. Each has contributed a text to the booklet that focuses on a selection of works and themes according to his own interests and training. Dessislava Dimova's essay provides a general overview of Bismuth's artistic project, discussing the importance of plasticity, iconography, and simulacra in his visual economy. This underlying instability and ambivalence is also reflected in the catalogue raisonné itself: following the example of Honoré de Balzac, who revised his writings on printer's proofs, this publication is released in the process of its own making. It is a work in progress—an incomplete history of the artist's practice that should be supplemented by its readers.

    Copublished with Kunsthalle Wien

    ContributorsLaurent Caretto, Dessislava Dimova, Angel Enciso y Bergé, Luca Lo Pinto, Nicolaus Schafhausen

    • Paperback $45.00
  • Cornerstones


    Juan A. Gaitán, Nicolaus Schafhausen, and Monika Szewczyk

    This publication compiles a series of essays on contemporary art written by leading art historians and experts. The majority of the essays were first presented in lecture format at Witte de With, Center for Contemporary Art (Rotterdam, the Netherlands).

    Bringing together both historical and intuitive approaches, these essays reflect the wealth of the exchange that exists between theoretical writing and artistic thinking, sharing the fascination that each of these authors has with both the work of an artist and how this work functions in relation to larger contexts and broader ideas.

    Co-published with Witte de With

    ContributorsGeorge Baker, Mieke Bal, Ina Blom, Dominic van den Boogerd, Douglas Crimp, Dorothea von Hantelmann, Helmut Friedel, Donald Kuspit, Sven Lütticken, Peter Osborne, Chantal Pontbriand, Kaja Silverman, Anne M. Wagner, John Welchman

    • Paperback $28.00
  • How Are You Going to Behave? A Kitchen Cat Speaks

    How Are You Going to Behave? A Kitchen Cat Speaks

    Wie würden Sie sich verhalten? Eine Küchenkatze spricht

    Liam Gillick and Nicolaus Schafhausen

    This book documents Gillick's project for the German Pavilion at the Venice Biennale 2009. It contains an introduction by the curator, a text by Liam Gillick about his work as well as the text spoken by the kitchen cat present in the show: “She speaks from the present and fights against the echoes of building's interior. Its history is one of misrepresentation, misunderstanding and desires. Thus, the pavilion becomes a location for endless self-circulating histories that—in the end—represents our history as well.”

    • Paperback $19.95
  • Die Frage des Tages / The Question of the Day

    Die Frage des Tages / The Question of the Day

    Julia Moritz and Nicolaus Schafhausen

    Why isn't there a “Kunsthalle” in bigger cities like London, Berlin or New York?Is it a myth to speak of internationality in relation to art?What is the function of a collection of contemporary art today?How important is functional architecture for curating exhibitions?Growing numbers of visitors – is this the main PR target of big museums?Of what interest is the European art market for US-American art galleries?How much Pop culture can a contemporary institution tolerate?

    These are some of the 100 questions which have been asked over the last two years to experts from the fields of art, art theory, economics, and architecture. Their answers are gathered together in this book, published on the occasion of the European Kunsthalle project in Cologne.

    A German “Kunsthalle” operates against a local backdrop, is internationally oriented and addresses a heterogeneous public often made up of tourists. Although cities are increasingly integrating them into their marketing strategies, when it comes to financing, they are being left more and more frequently to fend for themselves.

    Like most cultural institutions, the “Kunsthallen” continue to assume that they have a relationship with the local citizenry. However, none of the demographic factors seem to favor the continuance of this traditional alliance, even though it has endured for several generations. On the one hand, migration, social reforms, and the collapse of city budgets; and on the other, both the increasing flexibility of the working world and urban life in transit have instead created a mobile, constantly changing urban society, which is in the process of discovering new sites where its members can enjoy cultural and leisure activities.

    The German “Kunsthalle,” like other international institutions that deal with the visual arts, has to adapt to these changes if it wants to continue to play a relevant part. With its 100 questions and answers from major practitioners of the art world and beyond, this book helps to examine the various parameters for a new institutional model.

    ContributorsLars Bang Larsen, Tobias Berger, Sabine Breitwieser, Adam Budak, Gisela Capitain, Chris Dercon, Jason Dodge, Charles Esche, Peter Friedl, Susanne Gaensheimer, Liam Gillick, Karola Grässlin, Ulrike Groos, Uta Grosenick, Markus Heinzelmann, Jörg Heiser, Michael Hirsch, Tom Holert, Max Hollein, Florian Illies, Gregor Jansen, Gianni Jetzer, Holger Liebs, Sven Lütticken, Chus Martinez, Michaela Melián, Nina Möntmann, Sarah Morris, Heike Munder, Joanna Mytkowska, Ingo Niermann, Philipp Oswalt, HenrikPlenge Jakobsen, Ulf Poschardt, Juliane Rebentisch, Cristina Ricupero,, Jean-Christophe Royoux, Beatrix Ruf, Edgar Schmitz, Dirk Snauwaert, Barbara Steiner, Christoph Tannert, Jan Verwoert, Florian Waldvogel, Astrid Wege, Markus Weisbeck, Axel John Wieder, a.o.

    • Paperback $19.95
  • The Populism Reader

    The Populism Reader

    Cristina Ricupero, Lars Bang Larsen, and Nicolaus Schafhausen

    “Populism has many different faces. Many different things can be called populism for very good reasons. We may not necessarily agree on the meaning of the term populism. And maybe the term populism should not necessarily have only one meaning. The usefulness of a term with different meanings resides in the fact that it may hint at family resemblances between different phenomena called populism.”—Dieter Lesage, “Populism and Democracy”

    The Populism Reader accompanies Populism, an exhibition project in four European cities (Vilnius, Oslo, Amsterdam, Frankfurt am Main) exploring the relationships between contemporary art and current populist cultural and political trends. Conceived as an anthology, the publication comprises essays covering various aspects and approaches to the populist experience. The book is designed by M/M (Paris) and illustrated by Atelier Van Lieshout; contributions stem from amongst others activists, journalists, art critics, philosophers and political scientists.

    The Populism Reader goes beyond academic styles in order to respond to historical and current aspects of the populist experience, as they surface in relation to art, activism, the role of the intellectual, political desires, religion and other issues.

    ContributorsMarius Babias, Ina Blom, Anthony Davies, Mads Ted Drud-Jensen & Lars Erik Frank, Simon Frith, Brian Holmes, Ernesto Laclau, Dieter Lesage, Bart Lootsma, Chantal Mouffe, Vanessa Joan Müller, Iver B. Neumann, Ingo Niermann, Piotr Piotrowski, Pierre-André Taguieff, Niels Werber, Audrone Zukauskaite

    • Paperback $29.95
  • The Man Who Climbed Up the Stairs of Life and Found Out They Were Cinema Seats

    The Man Who Climbed Up the Stairs of Life and Found Out They Were Cinema Seats

    Keren Cytter, Beatrix Ruf, Kunsthalle Zürich, Nicolaus Schafhausen, and Frankfurter Kunstverein

    “Suddenly Hirst's head falls, with the neck and the coat. That is – Hirst's body falls over the bar. The straw penetrates his gullet through the nose and violently wakes the shrimp, the calamari, the salad, and the brandy in his stomach. He vomits it all on the bar, and they stream over the smooth brown wood. The gallerist gets up from his chair and goes over to Mr. Hirst. The barman hands him a nylon bag and helps him collect the animals and the juices, both modern and postmodern. He goes back to Jeff's table with an arrogant smile and says they can move. Then he lifts the bag that's dripping with small chunks of phlegm from the sides and says 'Tomorrow at Christie's.'”—Keren Cytter

    Written in seven chapters and seven styles, this book constitutes the first novel by the Israeli artist and filmmaker Keren Cytter (*1977). Both the grotesque and the absurd become tools to narrate the progression of her main character's life, artist Jeff Steinberg. With the recurring motif of scrambled reels, the story also functions as a reflection on the medium of film.

    Keren Cytter lives and works in Amsterdam and Berlin. She is a recipient of The Baloise Art Prize 2006 and has held solo exhibitions at the Stedelijk Museum in Amsterdam (2004), the Kunsthalle Zürich and Frankfurter Kunstverein (2005), and most recently at the Kunst-Werke in Berlin.

    • Paperback $24.95
  • The Populism Catalogue

    The Populism Catalogue

    Lars Bang Larsen, Cristina Ricupero, and Nicolaus Schafhausen

    “The best ways to achieve one's goal continue to be the simplest: The handshake; holding up children; listening accompanied by the attentive 'mmh' and 'aha'; relaxed speech combined with the expansive gesture for the purposes of underscoring that which is said; answering questions by using uncomplicated words; the slapping of the shoulder (with and without praise); eye contact.”—Gila Lustiger, The Ashe Encyclopedia

    The Populism Catalogue documents the four exhibitions at Contemporary Art Centre, Vilnius; National Museum of Art, Architecture and Design, Oslo; Stedelijk Museum, Amsterdam and Frankfurter Kunstverein, Frankfurt/M. It features works of fiction as a literary approach to the theme of populism.

    Artists: Juan Pérez Agirregoikoa, Fatma Akinçi, Petra Bauer, Bernadette Corporation, Marc Bijl, Jakob Boeskov, Phil Collins, Minerva Cuevas, Jeremy Deller, Dias & Riedweg, Wang Du, Gardar Eide Einarsson & Matias Faldbakken, Esto TV, Anita Fricek, Jens Haaning & Superflex, Russell Haswell, Henry Vlll's Wives, Henrik Plenge Jakobsen, Amar Kanwar, Per Kirkeby, Matthieu Laurette, Jani Leinonen, Erik van Lieshout, Mindaugas Lukosaitis, Annika Lundgren, Cildo Meireles, Sarah Morris, Begoña Muñoz, Roman Ondak, Willem de Rooij, et al.

    ContributorsBernadette Corporation, Matias Faldbakken, Liam Gillick, John Kelsey, Gila Lustiger, Jean-Charles Massera, Niels Henrik Svarre Nielsen, Ignacio Vidal-Folch

    • Hardcover $45.00
  • "Cerith Wyn Evans"

    "Cerith Wyn Evans"

    Daniel Buchholz, Christopher Müller, and Nicolaus Schafhausen

    "I had to come up with a "title", and I thought: 'Oh, God. Where do you begin?' The set of references becomes like an endless chain. In this very Klossowskian way there is this notion of the dematerialisation of the proper noun."—Cerith Wyn Evans

    The Welsh artist Cerith Wyn Evans (*1958) eludes easy categorization: in the mid-eighties, he worked as an assistant to the film director Derek Jarman, making both experimental films and music videos for pop bands such as The Smiths and The Fall; he also was a tutor for six years at the Architectural Association. During the 1990s, he consolidated an international reputation as an artist unafraid to embrace highly complex conceptual issues of communication and perception, with dense textual references invariably spliced with a poetically tongue- in-cheek dandyism, whether the writings of William Blake flashed in Morse code off a disco ball; a homage to Pasolini written in fireworks or the cultivation of hybrid orchids in a Parisian gallery, nourished by the artist's own urine.

    “Cerith Wyn Evans” accompanied the artist's solo show at the Frankfurter Kunstverein and provides a comprehensive overview of the artist's body of work.

    ContributorsJuliane Rebentisch, Andreas Spiegl, Jan Verwoert, interview by Manfred Hermes

    • Paperback $19.95
  • Alex Morrison

    Alex Morrison

    Giving the Story a Treatment

    Christina Ritchie and Nicolaus Schafhausen

    “I have always been interested in what forms radical or sub-cultural activities will inhabit once they eventually make their debut upon the greater cultural field. Perhaps, in these new forms, the message becomes buried under commodification and the particularities of critique lost through the move towards a greater generality and appeal to the largest demographic. In Free Room one question I sought to ask was: are these forms capable of carrying a viable critique? Or in simpler terms: which is more effective, direct action or cultural production?” Alex Morrison

    Giving the Story a Treatment is the first comprehensive publication on Canadian artist Alex Morrison (*1972). Best known for his documentations on the skater culture, Morrison's videos, photographs and drawings take a critical look at the marketing and strategies at work, and reveal the growing aestheticisation of the political within the cultural spectrum.

    The renowned Canadian writer Jeff Derksen and Danish art critic Lars Bang Larsen contribute penetrating perspectives into Morrison's work, linking it in a historical continuum with activist moments of recent history and contemporary events.

    ContributorsLars Bang Larsen, interview by Jeff Derksen

    • Paperback $19.95
  • Pecafil


    Michael Beutler, Nicolaus Schafhausen, Katja Schroeder, and Frankfurter Kunstverein

    Pecafil is named after the bright yellow, biodegradable building material which Michael Beutler used for a series of outdoor sculptures in the city of Frankfurt am Main. At stake in most of the German artist's work is an experimental sculpture process where basic materials – wood, plaster, or glass – are used to analyze the standardization of common goods. His temporary, playful structures and forms constitute “a serious continuation of 20th century sculpture and architecture traditions and can function as almost pedagogical in relation to traditional public art. Seldom have attitudes from art history and the amateur carpenter been so interwoven”. Maria Lind

    This first monographic book discusses issues of art in public space and the social-political implications of Beutler's work.

    ContributorsThomas Bayrle, Maria Lind, Ariane Müller

    • Paperback $19.95
  • Markus Schinwald

    Markus Schinwald

    Markus Heinzelmann and Nicolaus Schafhausen

    The films, photos, installations, and graphic artworks of Austrian artist Markus Schinwald create a highly charged aesthetic collection of curios in which the human being stands in the focal point of observation. Physical extensions, prostheses, and mechanical apparatuses transform human beings into marionette-like dolls and simultaneously give mechanical automatons a mystical habitat all their own. In his latest film entitled “Children's Crusade,” the artist links motifs from children's crusades of the High Middle Ages with legends of the Pied Piper, which arose at nearly the same time. The rat-catching piper appears as a doll or mannequin, i.e. an idea that has come to life from a perverted sort of Christendom. Conceived as an artist's book, Markus Schinwald presents the entire spectrum of the artist's wideranging oeuvre.

    The book was published on the occasion of the exhibition Tableau Twain, September 1 – October 24, 2004, a cooperative project of Frankfurter Kunstverein and Siemens Arts Program.

    ContributorsVanessa Joan Müller, interview by Markus Heinzelmann

    • Hardcover $36.00
  • Adorno, Volume 1

    Adorno, Volume 1

    The Possibility of the Impossible

    Michael Hirsch, Vanessa Joan Müller, and Nicolaus Schafhausen

    The first volume of Adorno: The Possibility of the Impossible comprises theoretical essays which investigate the relevance of Adorno's critical theory for the present. The tight connection between individual observations in aesthetics and cultural criticism, on the one hand, and the large speculations of social theory and the history of philosophy, on the other, that is found in Adorno's own work is taken as a point of departure in many passages. The difference—disparity, even—in the varied attitudes toward the content of Adorno's theory is evident. Seen from the perspective of the present, this multiple rereading is directed at fragments of a thought that has preserved its radicality even when abstracted from its immediate historical context. Both publications—Adorno: The Impossibility of the Impossible Vol. I and Vol. II—accompany an exhibition at the Frankfurter Kunstverein on the occasion of the 100th birthday of Theodor W. Adorno.

    ContributorsNorbert Bolz, Peter Bürger, Alex Demirovic, Diedrich Diederichsen, Alexander García Düttmann, Michael Hirsch, Christoph Menke, Willem van Reijen, Martin Seel

    • Paperback $26.00
  • Adorno, Volume 2

    Adorno, Volume 2

    The Possibility of the Impossible

    Michael Hirsch, Vanessa Joan Müller, and Nicolaus Schafhausen

    Volume II of Adorno: The Possibility of the Impossible documents the exhibition that looks at the connection between contemporary art and Adorno's writings, with the visual arts becoming a central platform for comparison to Adorno's main subjects. The publication illustrates the works exhibited and discusses the relationship between autonomy and sovereignty.

    Artists included are Carl Andre, Samuel Beckett, Martin Boyce, André Cadere, Martin Creed, Thomas Demand, Jason Dodge, Maria Eichhorn, Peter Friedl, Isa Genzken, Liam Gillick, Henrik Plenge Jacobsen, Euan McDonald, John Massey, Jonathan Monk, Sarah Morris, Bruce Nauman, Mathias Poledna, Stephen Prina, Florian Pumhösl, Ad Reinhardt, Gerhard Richter, Markus Schinwald, Andreas Slominski, Lawrence Weiner, Christopher Williams, Cerith Wyn Evans.

    • Paperback $26.00
  • Michaela Melián

    Michaela Melián


    Bettina von Dziembowski, Kunstverein Springhornhof, Silvia Eiblmayr, Galerie im Taxispalais, and Nicolaus Schafhausen

    This catalogue is the most comprehensive treatment of Michaela Melián's oeuvre to date and constitutes, with numerous essays and illustrations, a long due documentation of the German artist's work. The texts discuss how, since the late 1980s, Melián has consistently pursued a strategy of rendering visible the social—that complex web of power, system, gender, and class—uncovering it, even where it lies buried by familiarity and habit.

    ContributorsHeike Ander, Jochen Bonz, Silvia Eiblmayr, Sabine Himmelsbach, Didi Neidhart, Dirk Snauwaert, Frank Wagner

    • Paperback $24.00
  • Tue Greenfort

    Tue Greenfort


    Solange de Boer, Zoë Gray, Nicolaus Schafhausen, and Caroline Schneider

    With playful certainty, Greenfort uses detailed interventions, subtle alterations and imperceptible influences on functional processes to test "man's freedom." The processes remain intact, unchanged, yet the interventions reveal opportunities which are there to be taken. This lightness of touch allows an opposition that eschews the pompous political gesture by focusing again and again on aesthetic or playful elements. In this sense, Greenfort's work is political, but it never lets its political content become its main aim. Everything always stays the same, but slightly different. —Maria Muhle

    Tue Greenfort's art evokes a world in which animals, humans, nature, culture, science, and industry, as well as the artwork and its site, are connected by a web of complex relationships. In all of his works the Danish artist demonstrates an interest in an expanded notion of ecology, one that encompasses cultural history and sociopolitics as well as natural resources.

    This first monographic book contains an essay by the renowned scientist Jesper Hoffmeyer on biosemiotics, as well as a text by Maria Muhle which discusses the artist's work in relation to biopolitics. It was published on the occasion of Greenfort's solo exhibition at Witte de With, 24 June – 6 August 2006.

    ContributorsJesper Hoffmeyer, Maria Muhle, interview by Zoë Gray

    • Paperback $19.95
  • Changing Society

    Changing Society


    Lolita Jablonskiene and Nicolaus Schafhausen

    The central theme of Changing Society: Lithuania is the state of transition in a Post-Soviet state, which has achieved political stability but is still looking for appropriate images to portray itself in the domestic spheres of politics and society. It appears that a country's cinematographic and artistic film production often fulfils a seismographic function when it comes to depicting the effects of radical historical change.

    Published on the occasion of the Lithuanian Cultural Program at the Frankfurt Bookfair in 2002, the texts and interviews in this book document how the complex and contradictory constructions of cultural identity may not only be discussed in the social, political, and economic context, but also in aesthetic practice.

    ContributorsTobias Berger, Anders Kreuger, Artūras Tereškinas, Birutė Pankunaitė

    • Paperback $19.95
  • Marcel Odenbach

    Marcel Odenbach


    Vanessa Joan Müller, Nicolaus Schafhausen, and Frankfurter Kunstverein

    According to author Kobena Mercer, “Odenbach's video art insists upon an attitude of openness towards uncertainty about the world. In this respect, his art criss-crosses the structural hybridization of video-based conceptualism with reflection on the lived experience of globalization.”

    Since the mid-1970s, Marcel Odenbach has produced an extensive body of tapes, performances, drawings and installations, and has gained international recognition as one of Germany's most important artists working in video. His works engage in a provocative discourse on the construction of the “self” in relation to historical and cultural representation. Using excerpts from films and newsreels, along with his own footage, the artist explores the ways images of the past shape our perception of the present. With its comprehensive illustrations and essays, including a text by the artist, this book features Odenbach's most important works.

    ContributorsDan Cameron, Jörg Heiser, Kobena Mercer, Vanessa Joan Müller, Marcel Odenbach, Astrid Wege

    • Paperback $14.95
  • Isa Genzken

    Isa Genzken


    Nicolaus Schafhausen and Caroline Schneider

    Isa Genzken's sculpture is concerned with what surrounds us and shapes our everyday existence, from design, advertising, and the media to her most enduring subject, architecture and the urban environment. The artist is interested in the ways in which aesthetic styles – the unadorned angularity of modernist architecture for example –embody and enforce political and social ideologies.

    Urlaub constitutes Genzken's multilayered inquiry into the meaning of work and leisure. “Artists never take vacations,” Genzken says, “but the entire art system urgently needs a vacation.”

    Vanessa Joan Müller examines how Genzken's recent work establishes a critical discourse about architecture and design as exposed sites of aesthetic and cultural formation. Discussing the artist's “beach house” series, small architectural models with playfully defined interiors/exteriors, the author writes that one can read them “as a pointed commentary on postmodern architecture, as a subtle attack on the predominant taste of the times. When Genzken gets involved with the miniaturization of this kind of architecture – which could be realized in principle – turning it into small-format sculpture, the procedure emphasizes the ambiguity of the subject toward a particular 'resort-style beach life'. The aspect of playing with form and material should therefore not deceive: the beach house is a status symbol that can only be found on the exclusive beaches of this world, and hence it is simultaneously the object of envy and a hallmark of distinction.”

    This book was published on the occasion of the exhibition "Urlaub" at Frankfurter Kunstverein, May 27 - August 6, 2000.

    • Paperback $19.95


  • Kate Newby

    Kate Newby

    I can't nail the days down

    Juliane Bischoff

    The publication I can't nail the days down documents, contextualizes, and supplements Kate Newby's eponymous exhibition at Kunsthalle Wien.

    Newby's works celebrate the moment in which her sculptures and interventions are created and presented, and at the same time allow for an openness to change. Drawn from impressions she collects when navigating cities and landscapes, Newby's works foreground processes: Traces of their making remain visible, they incidentally transform over time and call for active engagement in order to view their multifaceted details.

    Her works focus on the fleeting and contingent nature of the quotidian and stay connected to the place and time of their presentation. Due to the fleeting nature of Newby's works, documentation is in many cases the only record that remains. The publication includes substantial documentation of the Vienna exhibition as well as a photo essay by the artist. Contributions by Christina Barton, Juliane Bischoff, Chris Kraus, and Nicolaus Schafhausen explore the artist's influences, the social of her work, and its poetic potential. The publication discusses the development of the exhibition “I can't nail the days down,” and clarifies how the presented work operated. It ponders on Newby's relation to art movements of the 1960s and '70s as well as her responsiveness to sites and situations, and brings together reflections on the quotidian character of her works as well as every day stories.

    Newby takes up material realities and their details in different intensities—not to replicate existing lifeworlds, but to direct attention to often overlooked and changing aspects in the larger social fabric. Manifestations of how the artist perceives the world around her, her works invite us to take a closer look and discover what is situated out of sight.

    Copublished with Kunsthalle Wien

    • Hardcover $30.00
  • Leander Schönweger

    Leander Schönweger

    Die Nebel lichten sich

    Lucas Gehrmann and Alexandra Grimmer

    A deserted campsite, a car with no one inside … Is anybody home? What has happened here?

    Evolving from his graduation project at the University of Applied Arts Vienna entitled The Creator Has a Master Plan, which was awarded the Kunsthalle Wien Prize 2014, Leander Schönweger developed an installation at Kunsthalle Wien Karlsplatz that indicates mysteries, rather than offers solutions. “The fog disperses” (as the title translates) into questions about the unusual exhibited situation rather than its origin. This is precisely what the artist may be concerned with: leaving explainable things unexplained, or even obfuscating them. Furthermore, the exhibition raises questions about the power of knowledge, or the imbalance between control and controllability. Could the installation really just be the reproduction of a dream segment?

    Photographic fragments, preparatory notes, and recent sketches accompany installation views and texts in Die Nebel lichten sich. Both exhibition and catalogue are the outcome of a cooperative project between the Kunsthalle Wien and the University of Applied Arts Vienna.

    Copublished with Kunsthalle Wien and Universität für Angewandte Kunst Wien on the occasion of Leander Schönweger's exhibition “Die Nebel lichten sich,” October 15–November 16, 2014.

    • Paperback $14.95
  • all about us

    all about us

    Miki Kratsman

    In addition to Miki Kratsman's comprehensive archive, which documents the development of the Israeli-Palestine conflict and its consequences for the daily life of the civil population, his first solo exhibition in Europe focuses on new work that selects the Bedouin population as a central theme. The Bedouin—a minority of the Arabic minority in Israel—have attracted increasing interest in the last years, both from the media and from state-run institutions. The process of integration of the Bedouin into Israeli society occurs on two levels—the formal one, i.e. through governmental policy, and the informal one, i.e. through changing relations with the Israeli society in general and Jewish society in particular.

    Published on the occasion of the exhibition at Ursula Blickle Stiftung, March 6–April 17, 2011.

    ContributorsDana Arieli-Horowitz, Vanessa Joan Müller, Raphael Zagury-Orly

    • Paperback $28.00
  • Meaning Liam Gillick

    Meaning Liam Gillick

    Monika Szewczyk

    The first critical reader on one of today's most pivotal (and perplexing) contemporary artists.

    Liam Gillick emerged as part of the generation of “Young British Artists” who energized the British art scene in the 1980s and 1990s. He is now one of the most influential (and perplexing) artists in all of contemporary art. Gillick's discursive mode of art practice—often associated with “relational aesthetics”—complicates object production, embraces the exhibition as medium, and explores the social role and function of art. His body of work includes variations on “discussion platforms” (architectural structures that question or facilitate social interaction), text sculptures, and published texts that reflect on the increasing gap between utopian idealism and the real world. Artist, writer, curator, and provocateur, Gillick explores how an artistic practice can be conducted and represented, while at the same time questioning curatorial practice and the conventions of applied design. This reader coincides with a year-long, multi-venue, mid-career retrospective that serves both as a continuous investigation into Gillick's practice and an in-depth study of his work to date. The book offers a range of critical perspectives on Gillick's work. Among them: political scientist Chantall Mouffe develops her notion of radical democracy and antagonism; sociologist Maurizio Lazzarato (whose theorization of immaterial labor influenced Gillick) comments on the current economic crisis; philosopher and artist Benoît Maire links Gillick to continental philosophy; and Johanna Burton questions Gillick's practice in the context of feminist critique.ContributorsPeio Aguirre, Julieta Aranda, Johanna Burton, Nikolaus Hirsch, John Kelsey, Maurizio Lazzarato, Maria Lind, Sven Lütticken, Benoît Maire, Chantall Mouffe, Barbara Steiner, Marcus Verhagen

    • Paperback $25.00