Wherever we go, we are surrounded by moving images. In art as in daily life, they have long since developed a life "beyond the cinema," scuttling the conventions of dark auditoriums for images projected onto walls, staged in specially-designed environments, and aggregated in multiples. Beyond Cinema centers around approximately 25 important film and video works, primarily the major installations of the 1990s, including the ravishing projections of Pipilotti Rist, the existentialist image of the body put forward by Bruce Nauman, the psychologically charged filmic spaces of Eija-Liisa Ahtila and the highly conceptual installations of Rodney Graham. Each elaborates on notions of the projected image that were developed in the 1960s, and groundbreaking works from Marcel Broodthaers, Dan Graham and Valie Export are presented to contextualize investigations of identity and body image, film cooperatives, representations of time and other topics.

Beyond Cinema: The Art of Projection:

Jäger, Joachim

Hüsch, Anette

Eamon, Christopher

Knapstein, Gabriele

Reference

Hatje Cantz

German artist Thorsten Brinkmann sources the readymades used in his sculptures, photographs and site-specific installations at the dump, transforming quotidian junk into pedestals, sculptures and curiosity cabinets. This well illustrated publication offers the first complete survey of his oeuvre.

Thorsten Brinkmann

Arts & Photography

HARDER, Matthias

Individual Artists

Jeff Koons' spectacular October 2008 exhibition at Berlin's Neue Nationalgalerie presented the infamous series of sculptures and paintings known collectively as Celebration, a project whose fabrication has involved so much labor (both manual and computer-aided) that Koons seemed to almost vanish from the art world radar in the 1990s, when he first undertook the series. At present, Celebration's best-known work may be the 10-foot-tall, stainless-steel "Balloon Dog," typical of the outsize scale and remarkably clean sheen of Koons' sculptures, in which the sensory joys of childhood object relations are revisited and espoused. Such works wear their playroom origins on their sleeves, but their gargantuan proportions, with their attendant sense of menace, establish them firmly in the adult world as infant objects retrieved and rebuilt with adult strength. "The work tries to gain support from the confidence of the gesture," Koons says, "to be kind of in the moment, and to have confidence within the self." Inasmuch as such observations could be true of much art, Koons is unusually open about what drives his work, all the while preserving its self-sufficiency as art. This monograph documents these mammoth installations in the Neue Nationalgalerie's Upper Hall, an exhibition that without doubt constitutes a milestone in the artist's career.

Jeff Koons: Celebration

Schuster, Peter-Klaus

Power and its abuse, forced exile and migration are the themes of the painting of Adrian Ghenie (born 1977). Raised amid the propaganda of Ceausescu's Romania, Ghenie has already produced a powerful body of work in response to this inheritance of deluded and abusive dictatorship--work which in the span of just a few years has already won much attention and acclaim.

Adrian Ghenie

Judin, Jürg

Ars Viva 10/11: Labor, Laboratory: Nina Canell, Klara Hobza, Markus Zimmermann, Andreas Zybach

Meschede, Friedrich

Collections, Catalogs & Exhibitions

Corinne Wasmuht

Steinweg, Marcus

Zbikowski, Dörte

Kerber Christof Verlag

In his youth, J rg Immendorff was an assistant at Joseph Beuys's legendary performance How to Explain Pictures to a Dead Hare. As he describes here in an interview with Hans Ulrich Obrist, when Beuys complied with his dealer's request to rearrange the stage for commercial reasons ('I need the stuff we can sell at the front.'), Immendorff stuck a red dot on Beuys's vest, the international sign that a work has sold, and in this case the scarlet letter of the sellout. Immendorff remains as politically and personally engaged today. Male Lago, a gigantic scrapbook and portfolio almost three-and-a-half inches thick and weighing in at 880 pages, tracks his work from its earliest and most political days through to his recent paintings and quietly wry brass monkeys.

Jorg Immendorff: Male Lago (English and German Edition)

Kort, Pamela

STORR, Robert

Walther König, Köln

Jeff Koons' newest paintings combine high pixelation of sexual imagery with gestural paint splashes, in an erotic rampage that bursts off the canvas, energized by a friction between photography, painting and digital media. In part an homage to Courbet's "Origin of theWorld," these works argue for the flourishing of libido and aim to make a direct hit upon their viewer: "My work will use everything that it can to communicate. It will use any trick, I'll do anything- absolutely anything-to communicate and to win the viewer over," says the artist. Offsetting this quasi-religious solicitousness is Koons' usual great degree of care in the layering of images, and the pixelated imagery that compels the viewer to stand back some way to process it. (For Koons, pixelation too is a sign of authenticity.) This beautifully produced edition presents five of these new paintings printed on tipped-in color plates.

Jeff Koons

Inboden, Gudrun

Holzwarth Publications

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