Cathérine Hug – författare

Suzanne Duchamp: Dada's hidden gem Suzanne Duchamp came from a famous family of artists: her brothers were Marcel Duchamp, Raymond Duchamp-Villon, and Jacques Villon. As a Dadaist and painter, she developed a delicate, cryptic, and humorous visual language and made her own unique contribution to the history of art. Nevertheless, she has remained largely unknown to a wider public. This catalogue accompanying her comprehensive retrospective in Zurich and Frankfurt curated by Talia Kwartler in collaboration with Cathérine Hug and Ingrid Pfeiffer presents work that Duchamp created during her association with Dada as well as further works works from earlier and later decades. Many of the over 80 artworks, documents, and photographs are being published for the first time. Complemented by latest scholarly findings by internationally renowned authors, this book thus gives Suzanne Duchamp the recognition she deserves.

Kerry James Marshall: The Histories is the most extensive publication on the artist to date, celebrating half a century of his work. It reveals the complex ways in which he has transformed histories of Western painting, centering Black bodies in ambitious compositions set in barber shops, public housing projects, parks, and beauty salons. It charts his use of portraiture to memorialise individuals such as Nat Turner, Harriet Tubman, and Olaudah Equiano. A new series, illustrated here for the first time, looks at under-acknowledged aspects of the history of Africa. With lavish illustrations of all the works in the accompanying exhibition, it also includes chapters on Marshall’s Rythm Mastr project and his various public commissions including his stained glass windows for the cathedral in Washington D.C.. A survey by Mark Godfrey is accompanied by shorter essays by Aria Dean, Darby English, Madeleine Grynsztejn, Cathérine Hug, Nikita Sena Quarshie, Rebecca Zorach, and an interview between Kerry James Marshall and Benjamin H.D. Buchloh.

Kunst schafft betörende Illusionen für unsere Sinne, die unser Gehirn zu einem erhabenen Glücksgefühl kata­lysiert. Bei den Gemälden «Grosser Meister» rezipiert der Betrachter das Ganze und übersieht oft Details, die im vor­liegenden Buch aus mehreren Tausend Kunstwerken aufge­spürt und aus der Perspektive der Dermatologie eingeord­net und vergleichend mit Krankheitsbildern interpretiert werden. Alterungsprozesse, Muttermale, Neubildungen, Veränderungen an Hautanhangsgebilden, Binde- und Fett­gewebe, an Gefässen und Nerven stören die Makellosigkeit des Inkarnats und wurden daher -wenn überhaupt- meist unbewusst ohne medizinische Sachkenntnis vom Künstler in der zweidimensionalen Form eines Portraits dargestellt.Hingegen werden bei den dreidimensionalen dermatolo­gischen Wachsmoulagen die krankhaften Veränderungen an der Haut in bester akademischer Absicht bewusst mög­lichst naturgetreu und wirklichkeitsnah abgebildet.Der Versuch einer Erkundung von Parallelen zwischen Hautdarstellungen einst und heute zeigt, dass sich am Per­fektionswahn und dem Streben nach Makellosigkeit des Inkarnates damals wie heute nichts geändert hat und die wirklichkeitsgetreue Darstellung häufig dem vermeintli­chen Schönheitsideal geopfert und alles Krankhafte oder Anormale verdeckt wird.Art creates beguiling illusions for our senses, which cat­alyzes our brain into a sublime feeling of happiness. In the paintings of “Great Masters”, the viewer admires the whole painting and often overlooks details that are tracked down in the present book from several thousand works of art, clas­sified from the perspective of dermatology and interpreted comparatively with clinical pictures. Aging processes, moles, neoplasms, changes in skin appendages, connective and fatty tissue, vessels and nerves disturb the flawlessness of the in­carnate and were therefore - if at all - usually unconsciously depicted by the artist in the two-dimensional form of a por­trait without medical expertise.On the other hand, in the three-dimensional dermatologi­cal wax moulages, the pathological changes of the skin are deliberately depicted as realistically as possible with the best academic intentions.The attempt to explore parallels between skin representa­tions then and now shows that nothing has changed in the perfection mania and the striving for flawlessness of the in­carnate then as now and that the realistic representation is often sacrificed to the supposed ideal of beauty and every­thing pathological or abnormal is concealed.