Scooter: Always Hardcore: Always Hardcore (German Edition)

Dax, Max

Defcon, Robert

Edel

What happens when musicians make use of ideas and strategies from the art world? And what kind of pictures result when painters are influenced by music? To be interested in other people’s lives, to follow the unknown, to copy it, to use it in one’s own work—in short, to cross-map between the worlds of music and the visual arts: this is the subject of HYPER! A Journey into Art and Music curated by Max Dax, the former editor-in-chief of Spex and Electronic Beats. The book will include classic works such as Peter Saville’s ground-breaking album cover for New Order’s 1983 masterpiece Power, Corruption and Lies, and the narrative, minimalist imagery of Emil Schult on which the cover of Kraftwerk’s 1974 album, Autobahn, was based, and Cyprien Gaillard’s acclaimed 3D installation, Night Life, from 2015. The mutual influences between music and art will be illustrated with examples by Albert Oehlen and Scooter, Thomas Scheibitz and the Melvins, as well as Daniel Blumberg. Photographs and video works by Andrea Stappert, Sven Marquardt, Andreas Gursky, The KLF, Mark Leckey, and Bettina Pousttchi will lend the book a documentary dimension. The book is narratively underpinned by numerous background interviews that Max Dax conducted with the participants in HYPER! over the past thirty years.

HYPER! A Journey into Art and Music: Cat. Deichtorhallen Hamburg

Arts & Photography

OBRIST, Hans-Ulrich

Luckow, Dirk

History & Criticism

Snoeck Publishing Company

When we first see one of Radenko Milak' s (*1980, Travnik near Banja Luka) watercolors, we feel we » recognize« it, as there is always a before and after, like in a film loop - a unique quality of his work, writes Udo Kittelmann in his essay. Standing before a Milak painting, we believe we are seeing a fragment of something larger, a glimpse of the world or the universe, much like a photograph is always a snapshot of a theoretically endless image. Moreover, almost every motif he chooses draws from images we already know, stored in our memory. His work explores multiple themes: the shift from photography to watercolor, the interplay between original and reproduction, the choice of subjects, and how his images resonate with our subconscious and collective unconscious - since memory is shaped not only by language but primarily by images. His mastery of the medium creates the illusion of viewing photographs, while simultaneously making us witnesses to a media transformation: the original photo becomes a watercolor, which the human eye first perceives as a photograph and then as a painting. This duality compels us to step closer, eager to participate in the artwork - to observe the brushstrokes, gestures, and craftsmanship. Over the years, Milak has developed diverse series: cityscapes and architecture, futuristic technologies, feminism, pivotal moments in music history, surveillance and big data, loneliness, isolation during the COVID-19 pandemic, and film stills - all rendered in asymmetrically evolving watercolor series over two decades. His consistent use of black ink on white paper lends his works a timeless quality.

Radenko Milak. Post-Millennium Tension

Wellmann, Marc

Kitttelmann, Udo

Milak, Radenko

Collections, Catalogs & Exhibitions

Elegantly Wasted: Ritter Butzke Berlin 2010–2016

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Books by Dax, Max