Klaus Biesenbach Bücher

Fassbinders Meisterwerk: Berlin Alexanderplatz. Dieser Band erzählt die Geschichte des Films und seiner Darsteller, erzählt von seiner Entstehung, erzählt die Geschichte des Romans und seines Autors, und erzählt von Berlin, der deutschen Großstadt des 20. Jahrhunderts. 570 Film-Stills, erstmals in Farbe auf 461 Seiten, dokumentieren die außergewöhnliche visuelle Sprache Fassbinders sowie seinen innovativen Umgang mit Bildern. Der Band wird vervollständigt durch die Publikation des kompletten Drehbuchs mit weiteren 905 s/w-Stills. Mit Essays von Susan Sontag und Fassbinder selbst. „Fassbinder-Fans werden an diesem monumentalen Bildband ihre Freude haben“ (Fuldaer Zeitung). 664 illustrierte Seiten. 570 Farbbilder. Großformat 30 x 24 cm. Fadenheftung. Fester Einband.

This lavishly illustrated volume presents the iconic American outsider artist in a new critical light, locating him as a major figure in the history of contemporary art.

Spanning 40 years and featuring an international group of more than 130 artists depicting the human body, this book crosses the frameworks of natural science, historical and mythological confrontations, ritualistic practices and self-exploration

Destroy, she said was the title of the first exhibition at the Düsseldorf-based Julia Stoschek Collection, which was widely acclaimed when it opened in 2007. Stoschek is a private collector, primarily of film and video, whose dramatic media-supportive gallery was designed by the Berlin architectural firm, Kühn Malvezzi. The collection includes classic works and newer pieces by sought-after and emerging artists. Among those represented in this volume are Doug Aitken, Paul Chan, Robert Smithson, Monica Bonvicini, Natasha Sadr Hagidhian, Dara Birnbaum, Klara Liden and Olafur Eliasson. The publication is rounded out by Daniel Birnbaum's essay on contemporary time-based art and Kaye Geipel's text exploring the history and architecture of the century-old industrial building that was completely gutted and custom designed to house the collection.

Art Basel - Year 45 retraces and documents the dynamic experience of 2014's three Art Basel fairs in Basel, Miami Beach and Hong Kong. Designed by Gavillet & Rust (Geneva), the publication has an A-to-Z format that maps the world of Art Basel alongside profiles spotlighting each of the 528 galleries participating across the three shows in 2014. It features works from all sectors of the different shows, highlights events and talks, offering vivid and varied perspectives on the global artworld as seen through the eyes of Art Basel. Giving art world experts, curators, and collectors a platform for sharing their expertise, the publication provides an insightful and immersive art experience for the reader.Interviewees and contributors include Nadim Abbas, Harry Bellet, Klaus Biesenbach, Stuart Comer, Paula Cooper, Cosmin Costinas, Bice Curiger, Douglas Fogle, Alex Gartenfeld, Massimiliano Gioni, Hou Hanru, Yuko Hasegawa, Chrissie Iles, Joan Jonas, Nadia Kaabi-Linke, Ruba Katrib, Chus Martinez, Ryan McNamara, Jessica Morgan, Carsten Nicolai, Hans Ulrich Obrist, Taiyana Pimentel, Sarah Thornton, Wolfgang Tillmans, Jane & Louise Wilson, Xu Zhen, and many others whose work contributed this year to the fairs on all three continents.

The first thorough survey of multimedia artist Jonathan Horowitz Orienting himself firmly in the media-present, New York artist Jonathan Horowitz replays the recent past in the incarnations of our times. This reprisal occurs particularly in video works such as "Maxell," in which the name of the now obsolete videotape company is worn down to a VHS blur, and "The Soul of Tammi Terrell," in which 1960s footage of the eponymous pop star singing "Ain't No Mountain High Enough" is juxtaposed with Julia Roberts and Susan Sarandon's rendition of the song in the 1998 film Stepmom . Horowitz himself makes no overt political critique, but always ensures that the work's underlying edge is laid plainly before the viewer. Queer and ecological themes also abound, as does sly humor and a Warholian detachment. This is the first thorough survey of Horowitz's work.