Christoph Tannert - Böcker

Hans-Hendrik Grimmling (* 947 in Zwenkau near Leipzig) is one of the most important painters of his generation in Germany, an initiator of the legendary First Leipzig Autumn Salon in 984, regarded as a milestone exhibition in non-conformist GDR art. For more than 4 years, he has been painting at the fringes of abstraction. He is preoccupied with the experience of letting go, detaching himself from the figurative and the narrative, from East German identity, thus breaking away from predetermined physical forms. Grimmling visualizes his prime concern: the drama, the struggle, and the tragedy of human existence. Large areas, wide swaths and interlinked bands of black stretch across the canvas. The colour black prevails, becoming intoxicating and, for two decades now, the painter's only visual content. This publication is the first monographic work to present Grimmling's complete oeuvre.Look inside Retrospective of a non-conformist GDR artist An overview with works from five decades Exhibition: Kunstmuseum Magdeburg. Kloster Unser Lieben Frauen, 4. 9.2 4 to 8. 2.2 25, book launch in January 2 25

Elia Nurvista (born 1983 in Yogyakarta, Indonesia) focuses on the intersection between art and research-based community projects in her artistic practice. Many of her works centre on food as an issue of political, cultural, social, and gender-specific relevance.In Berlin, the artist visited a range of initiatives and projects for refugees to learn more about how they see our society, which is foreign from their perspective. The works resulting from this experience address our frequently ambiguous attitude to what is foreign to us: whereas 'exotic' luxury items and food such as tropical fruit are regarded as positive and precious, people who come to us as refugees from the same countries are often rejected as being 'foreign,' and their 'exotic' nature is sometimes even perceived as a threat. Elia Nurvista portrays this ambiguity with subtle irony, for instance by affixing contemporary official quality seals and brand labels to Old Masters still life paintings or historical pictures of the 'noble savage,' thus adding a humourous and critical layer of meaning and turning them into new, independent pieces of work.

This book documents the project Radio Carabuco of the Bolivian artist Andrés Pereira Paz, which he created during his residency at Künstlerhaus Bethanien in Berlin. A podcast (www.radiocarabuco.com) developed in collaboration with international artists, researchers, and activists forms the centerpiece of the project.Pereira Paz's critical reflections were inspired by José López de los Ríos's painting of a vision of hell, commissioned by the Catholic Church during the colonial era. Created in the Andes town of Carabuco in 1664, the work is still on display at the local church. Like many paintings from that period, the Christian motif was brought to Latin America by the Spanish colonial rulers to convert the indigenous population from paganism to Christianity and to peddle propaganda for Catholicism's message of salvation.The episodes ofPereira Paz's podcast investigate the methods and consequences of religious and cultural colonialism and scrutinise various political and societal perspectives, in particular with regard to his native country of Bolivia. The rejection and suppression of everything that is perceived as 'other' is a key theme of his work, which also addresses the question of whether the traditional Western idea of 'hell' has potentially become a symbolic place of active resistance against propaganda, censorship, and discrimination that should be defended as effectively as possible.

Gladys Kalichini (born 1989 in Chingola, Zambia) is a contemporary visual artist and academic who investigates how women have been portrayed in relation to a dominant, colonial past. For example, the artist sheds light on instances in which women have been deleted from historical narratives and the collective memory of society. As a result of her extensive research, Kalichini has demonstrated that women were intentionally marginalised in the official representations of Zambia’s and Zimbabwe’s struggles for independence.In her elaborate multimedia installations and video art, which she often develops on the basis of research material and photos from archives, Kalichini highlights the omissions in the dominant representations of the two countries’ fight for freedom. She thus expands the history of their liberation struggle by drawing attention to the deletion and invisibility of female freedom fighters. By reminding the public of several of these women, Kalichini creates a diverse and complex alternative narrative of national independence.

Talya Lubinsky (born 1988 in South Africa) meticulously explores basic materials in her works which she uses to convey poetic meaning. The book presents her latest work “Marble Dust”. In the course of her research on cemeteries in South Africa, the artist discovered a place where political prisoners were buried who had been sentenced to death by the apartheid state in the 1960s. The remains of the murdered activists were disinterred between 2016 and 2019, and their bodies that had crumbled to dust were returned to their families.For her project, Lubinsky studied the old ledgers that list grave numbers, names, and dates. She traced the outlines of their pages – most of which are torn – onto marble and cut out the shapes.In this way, she has impressively reversed the vulnerability of paper and has translated it into a durable material that is composed of calcium, as are bones, and is frequently used for tombstones. The specific qualities of the material in Lubinsky’s art therefore act as a catalyst for reflection on their meaning.Text in English and German.

Hamlet Lavastida (b. 1983 in Havana, Cuba, lives and works in Havana) creates installations made of posters, prints, collages, photos, and video clips compiled into comprehensive archives. He primarily uses texts, images, and symbols, as well as political speeches and ideological terminologies, from the 1960s, ’70s, and ’80s, the period in which socialism became increasingly institutionalised in his native Cuba. By re-appropriating and re-interpreting this material from an artistic perspective, Lavastida seeks to question the political developments of that era.This publication showcases Lavastida’s most recent installation at Künstlerhaus Bethanien. Through his personal confrontation with those cultural archives, which are not recognised as such in Cuban society, Lavastida creates a kind of register and calls for a critical examination of Cuba’s history. In particular, he condemns the failure to raise awareness about and address the scars of the past in today’s Cuba.

A central pillar of Daniel Lie’s artistic practice is time – ranging from age-old memories to the beginning of the world, from the life span of a human being to the geological time of the elements. Lie’s art explores concepts such as life, death, and decay, as well as biographical relationships and heritage, with an approach that centres around personal memories, family stories, cultural objects, and natural products that survive for a long time and are linked to memories of the past. Taking a lifetime as a comparative measure, the works are inspired by developmental processes and the transition from one state to another. Installations, sculptures, and a combination of different media reveal the performative qualities of the referential objects – time, transience, and presence. Lie turns a spotlight on these three aspects by creating complex installations and giving pride of place to organic elements that grow and age and have life cycles of their own, such as plants and fungi. Engaging in an interdisciplinary exchange with mycologists, archaeologists, and environmental specialists, Lie addresses the fault lines in binary thought patterns such as science and religion, past origins and present existence, life and death, while attempting to subvert them.

In her art, Gaëlle Choisne (*1985, lives and works in Paris and Berlin) addresses the world’s complexity with its numerous political and cultural crises – such as the overexploitation of nature and natural resources or the consequences of colonialism and the scars it has left. Her works are often designed as collaborative projects that evolve over years and are continuously redefined at changing locations and with varying participants.Choisne’s long-term project Temple of love – To hide is based on the idea of self-healing through sharing our experience with others, through our connection with our ancestors, respect for our historical heritage, and an inner physical balance. In a number of interviews, she asked female and transfeminine people about their situation as racialised women in contemporary society, including several women who have developed the ability to “heal” through various methods and techniques: for example, by creating communities or through family care, music, or “alternative” medicine.Her installation, composed of video projections and objects, presents itself as a safe space which highlights self-care and caring for others. Visitors are invited to participate in an energetic healing process or to drink soothing concoctions.