Los Angeles–based artist Ryan Trecartin (born 1981), whom The New Yorker called "the most consequential artist to have emerged since the 1980s," is best known for his highly stylized videos, often installed in special environments designed by his longtime collaborator, Lizzie Fitch, that draw on Internet and youth cultures, with characters and images that are familiar and utterly unfamiliar at the same time. Site Visit is published to accompany Trecartin's exhibition at Berlin's KW Institute for Contemporary Art, which includes a new multichannel film and site-specific installation designed with Fitch. The look and feel of the catalogue reflects the forceful, frenetic pace and complex layering of Trecartin's movies, with lavish, full-bleed illustrations and dynamic typography. Also included in this volume is a conversation between Trecartin, Klaus Biesenbach, Stuart Comer and Laura Hoptman.

Lizze Fitch / Ryan Trecartin: Site Visit

Arts & Photography

Mießgang, Thomas

Individual Artists

Walther König, Köln

I am sculpture and think as sculpture, said Brazilian artist Ernesto Neto (born 1964). Neto aims to create an equally absorbing, boundary-blurring experience for his audiences, soliciting interaction and multisensory engagement from viewers of his engrossing biomorphic sculptural environments; he seeks nothing less than to create and to tap into a universal language of the senses. Ernesto Neto, published to accompany an exhibition-cum-Gesamtkunstwerk at the Kunsthalle Krems, is conceived as a retrospective and an opportunity to offer new insights into Neto’s biosculptural cosmos of sensuousness, intimacy and interrelationships (both human and material). Particular attention is paid in this volume to the roots of Neto’s work in the art history and culture of Brazil, from the Neo-Concrete art of Lygia Clark and Hélio Oiticica to the Tropicália theater, poetry and music of the late 1960s.

Ernesto Neto

Wipplinger, Hans-Peter

Gamper, Verena

Few artists have contributed seminal works to as many genres as Bruce Conner (1933-2008). An assemblage artist famed for his use of nylon stockings, he also pioneered the use of found footage and the high-speed film editing now familiar to us from MTV, and was one of the earliest filmmakers to use pop and soul music on his soundtracks. In the 1960s, Conner collaborated with Toni Basil (of "Mickey" fame) on his dance film Breakaway, and in the 1970s with Devo, David Byrne and Brian Eno on music videos. This survey examines the formal parallels between Conner's works as an artist and filmmaker, and looks at drawings, oil and acrylic paintings, lithographs, prints, photograms and photographs alongside three of Conner's best-known films: Breakaway (1966), Crossroads (1976), and Marilyn Times Five (1968-1973).

Bruce Conner: The 70s: Painting, Drawing, Film

Turvey, Malcolm

Matt, Gerald

Blickle, Ursula

Silva, Michelle

Steffen, Barbara

Moderne Kunst Nürnberg

Terra incognito? Heart of darkness? How about "stylish continent," as one magazine once wrote? The gigantic landmass that is Africa, over which a colonial shadow still looms, is a territory of projections and misunderstandings. The West African photographers presented in Flash Afrique!, including Philip Kwame Apagya, Dorris Haron Kasco, Seydou Keita, Boubacar Touré Mandémory, Bouna Medoune Seye and Malick Sidibé, tell stories about the tension between dreams and reality. Elaborately arranged studio portraits reveal how Africa sees itself. Documentary images comment on the sheer craziness of overpopulated cities, and conversations with the photographers open up an art scene only recently begun to emerge from the shadows.

Flash Afrique! Photography from West Africa

Oguibe, Olu

Kouoh, Koyo

Njami, Simon

Photography & Video

Steidl

Leigh Bowery: Verwandlungskünstler

Gayford, Martin

Marsh, Anne

Sykora, Katharina

Lehnert, Gertrud

Stief, Angela

Tilley, Sue

Themes

Meyer, Piet Verlag

Punk often seems best understood as an entirely historical term, signaling a stance or mood whose energies infused the arts of the 1970s across the board; as last year's popular ICA London show Secret Public demonstrated, cross-genre approaches to the period are increasingly adopted. Viewing Punk thus, No One is Innocent (the title comes from the Sex Pistols' fifth single, post Rotten and Vicious) orients its unique take on this moment around three cities in which it flourished well--New York, Berlin and London--and presents the works of artists alongside album covers, posters, zines and other musical ephemera. From New York, artists such as Lynda Benglis, Robert Longo, Richard Hambleton, Futura, David Wojnarowicz, Tony Oursler, Robert Mapplethorpe and Arturo Vega coalesce around the iconography of the Ramones and Patti Smith; from London, works by Leigh Bowery, COUM Transmissions (Genesis P. Orridge and Cosey Fanni Tutti), Derek Jarman and Cerith Wyn Evans are situated amid images by Linder and Jamie Reid for the Buzzcocks and the Sex Pistols; and from Berlin, Elvira Bach, Die tödliche Doris and Salomé accompany cover art by Einstürzende Neubauten. No One is Innocent offers a galvanizing concentrate of an era always relevant to our own.

No One is Innocent: Punk: Art-Style-Revolt

Collections, Catalogs & Exhibitions

Verlag Fur Moderne Kunst Nurnberg

Designed to mimic the look of dimestore crime novels, Elevator to the Gallows juxtaposes works by Banks Violette, Miles Davis, John Huston and Weegee with an essay by Luc Sante.

Elevator to the Gallows: Banks Violette and Gerald Matt present Banks Violette, Miles Davis, Dashiell Hammett, John Huston, Weegee

Hartel, Gaby

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Books by Mießgang, Thomas