Elias Erkan

TBD

TBD

TBD

Awarded with the Walter Tiemann Prize 2024!

[...] dancers. As instigator and director of festivals like the ImPulsTanz Festival in Vienna, he shaped dance history. Artistically, he forged close connections with Johann Kresnik, Marcia Haydée, Ushio Amagatsu, George Tabori, Koffi Kôkô, and many others. He has now become a figure symbolizing Afro-Brazilian emancipation. I Believe in the Body brings together interviews from different periods of his creative career, the recollections of those who were with him in Brazil and Europe, visual essays by Anno Wilms and Dieter Blum, and a comprehensive catalogue raisonné. The book is the first publication of its kind to delineate the life and work of an exceptional artist and person.

Johannes Odenthal, art historian and writer on dance, performance, and contemporary art, was director of programming at the Akademie der Künste, Berlin, from 2006 to 2022. Anno Wilms (1935–2016) worked as a freelance photographer taking pictures for exhibitions, advertising, book illustrations, and magazines. Dieter Blum, b. 1936, has worked for magazines like Stern, Der Spiegel, Time, National Geographic, FAZ-Magazin, and SZ-Magazin.

288 pp., with numerous b/w and color illustrations, thread-sewn softcover with dust jacke, Leipzig July, 2022,

TBD

An exhibition design and correlating catalog at Museum Folkwang, partnering with CNA Luxemburg (published with Scheidegger and Spiess). Deffarge & Troeller worked in political and critical journalism from the 1950s onwards.

At the heart of this presentation is the Deffarge & Troeller archive, with countless material that had never been shown in the context of an exhibition as such. The archive as a principle also became the basis of all designed manner, all done in collaboration with Elias Erkan. Reaching from decisions of working with contact sheet layout principles and methods of enlarging and organising on one side, and using the straightforward materials we found existing in the archive on the other. These were evenly used on exhibition design aswell as the book format.

With the Galerie Oben and the artists’ group Clara Mosch (1977–1982), the city of Chemnitz had two simultaneously existing institutions with unconventional exhibition programme, actions and events. The exhibition- and book design reflects on the topic of simultaneity and it’s formal aspects for a viewing and/or reading experience.

The book cut in halves allows for a mix and match of text and imagery of the two institutions and reading direction that is less organised in the spirit of the time then.

Curated by Marie Winter

TBD

TBD

TBD

Awarded with the Walter Tiemann Prize 2024!

[...] dancers. As instigator and director of festivals like the ImPulsTanz Festival in Vienna, he shaped dance history. Artistically, he forged close connections with Johann Kresnik, Marcia Haydée, Ushio Amagatsu, George Tabori, Koffi Kôkô, and many others. He has now become a figure symbolizing Afro-Brazilian emancipation. I Believe in the Body brings together interviews from different periods of his creative career, the recollections of those who were with him in Brazil and Europe, visual essays by Anno Wilms and Dieter Blum, and a comprehensive catalogue raisonné. The book is the first publication of its kind to delineate the life and work of an exceptional artist and person.

Johannes Odenthal, art historian and writer on dance, performance, and contemporary art, was director of programming at the Akademie der Künste, Berlin, from 2006 to 2022. Anno Wilms (1935–2016) worked as a freelance photographer taking pictures for exhibitions, advertising, book illustrations, and magazines. Dieter Blum, b. 1936, has worked for magazines like Stern, Der Spiegel, Time, National Geographic, FAZ-Magazin, and SZ-Magazin.

288 pp., with numerous b/w and color illustrations, thread-sewn softcover with dust jacke, Leipzig July, 2022,

TBD

An exhibition design and correlating catalog at Museum Folkwang, partnering with CNA Luxemburg (published with Scheidegger and Spiess). Deffarge & Troeller worked in political and critical journalism from the 1950s onwards.

At the heart of this presentation is the Deffarge & Troeller archive, with countless material that had never been shown in the context of an exhibition as such. The archive as a principle also became the basis of all designed manner, all done in collaboration with Elias Erkan. Reaching from decisions of working with contact sheet layout principles and methods of enlarging and organising on one side, and using the straightforward materials we found existing in the archive on the other. These were evenly used on exhibition design aswell as the book format.

With the Galerie Oben and the artists’ group Clara Mosch (1977–1982), the city of Chemnitz had two simultaneously existing institutions with unconventional exhibition programme, actions and events. The exhibition- and book design reflects on the topic of simultaneity and it’s formal aspects for a viewing and/or reading experience.

The book cut in halves allows for a mix and match of text and imagery of the two institutions and reading direction that is less organised in the spirit of the time then.

Curated by Marie Winter