American photographer Richard Avedon (1923–2004) received widespread acclaim for his images in which he captured stars with their “masks dropped” and their true colors revealed. He was also notorious for the pitiless way in which he created these moments. For example, he told two great animal lovers, the Duke and Duchess of Windsor, that his taxi had run over a dog on the way to the photo shoot—and in that second he caught their horrified reaction on film. This attitude, however, was not reserved merely for the rich and famous. Through his legendary project In the American West, hundreds of his uncompromising portraits of common people became photographic icons. This large-format publication presents over one hundred of his most beautiful classic images. (English edition ISBN 978-3-7757-2113-4)

Linoleum is a natural material with quite an eventful history of use since its invention in 1864 by the British entrepreneur Frederik Walton. Its first golden age was between 1900 and 1930, when numerous renowned designers - among them Josef Hoffmann or Bruno Paul - designed both collections and patterns. Even Peter Behrens - before he became the "artistic counselor" to AEG in Berlin in 1908 - tried his hand at designing linoleum patterns, to the point of developing a complete "corporate design" from stationary to catalogs to exhibition architecture for the Anker- Linoleum-Werke at Delmenhorst. Bauhaus architects such as Bruno Taut or Mies van der Rohe used linoleum in housing projects as an inexpensive and hardwearing but also decorative floor-covering. This book is the first to present this historically and ecologically equally important material in its various guises. Experts in the field contributed essays about the history of linoleum, its "discovery" by modernist designers and architects and its renaissance in contemporary design and architecture. (English edition available ISBN 3-7757-0990-8)

This book is the first publication devoted to a previously largely overlooked group of works by the internationally acclaimed artist Rebecca Horn-her rich and diverse graphic oeuvre. The drawings completed by Rebecca Horn since the sixties include preliminary studies for sculptures, works produced in conjunction with her sculptures and installations, and entirely autonomous pieces. Many of these diagrams, scores, technical designs, and evidently spontaneous drawings are enriched with collaged objects, printed words, and lines of poetry. The significance of this representative volume of drawings from the past forty years is enhanced by a parallel presentation of her installations, which offers an unprecedented opportunity to listen in on the intensive dialogue between these two work complexes and to gain an appreciation for the originality and authenticity of her graphic oeuvre. Featuring expert commentaries and a highly informative interview with the artist, the book provides an excellent survey of Rebecca Horn's graphic art. (German edition available ISBN 3-7757-1469-3) Exhibition schedule: K20 Kunstsammlung Nordrhein-Westfalen, Düsseldorf, October 2, 2004-January 9, 2005 · Centro Cultural de Belém, Lisbon, February 4-April 17, 2005 · Hayward Gallery, London, May 26-September 11, 2005 · Martin-Gropius-Bau, Berlin, October 5, 2006-January 15,2007

This book is published by Guggenheim Museum Publications and available in German-speaking countries through Hatje Cantz; in the USA and Canada through D.A.P., New York; in all other countries through Thames and Hudson, London.

This publication focuses on an aspect of Rebecca Horn's extraordinarily diverse oeuvre that plays an important role in the formal constitution of her large sculptures and installations-the relationship between the work of art and its architectural setting. The book presents a selection of key works from the seventies and eighties and 1980s with recent works realized in 2005. In the early Measure Box (1970) and Rooms Meet in Mirrors (1974/75) the human body is the measure of spatial perception. In the installation entitled The Concert in Reverse (1987), the artist worked in a building with a dubious political past, the Zwinger in Münster, where countless people were tortured during the Nazi regime, exploring its history and creating a place of remembrance. In Moon Mirror (2003), a work installed in Pollença, the artist created a column of air between a fountain constructed with mirrors and an eddy of light beneath the dome of the collegiate church. At the point at which the Orient and the Occident meet, the moon is captured as a "vehicle of human vision and expression." The viewer descends into the depths of the fountain and transcends his own horizon in order to survey the heavens anew. (English edition ISBN 978-3-7757-9187-8)

What Pina Bausch was to the German dance scene, Deborah Hay is for the American one. Both are counted among the most influential representatives of postmodern dance. As a founding member of the New York-based Judson Dance Theaters, a collective of dancers, composers, and visual artists, her approach was to use amateur dancers to create a formal vocabulary of everyday movements, generating new patterns of perception for audience and performer alike. Her choreographic praxis, along with the constant stream of publications about her methods form one of the pillars of the understanding of contemporary dance.
The choreographer and renowned dance historian Susan Leigh Foster selected previously unpublished materials from the Deborah Hay Archive, such as dance instructions, drawings, photographs, and correspondence; complemented by Hay’s own commentary as well as scientific classifications, this book is a multifaceted overview of her dance oeuvre from the 1960s to the present day.

DEBORAH HAY (*1941) worked with Merce Cunningham and toured the world with the Cunningham Dance Company in 1964. She has written four books describing her own experimental method for her practice of dance and choreography. In 2015 she was awarded the Chevalier des Arts et des Lettres.

FESTIVAL
Tanz im August (Dance in August), Berlin
August 9–31, 2019

The outdoor sculptures of renowned Korean metal sculptor Tai-Jung Um (*1938) are prominent features of the urban landscape of Seoul. Keeping in close touch with current developments in American and European art, he ventured a redefinition of sculpture during the seventies and eighties - though he has never denied the influences of his specific cultural background and its roots in Buddhism. As a professor at the Academy of Art at the Korean National University, he has passed on his knowledge to numerous artists of a younger generation. Featuring a selection of his most significant sculptures, this book illustrates the development of Tai-Jung Um's oeuvre since the sixties, placing special emphasis on the utterly striking recent sculptures that demonstrate his masterful command of the material qualities of aluminum. Also included in the survey are the artist's fascinating large-scale pen-and-ink drawings - rarities in their own right, as artists in Korea seldom reveal the creative process involved in their works. Exhibition schedule: Georg-Kolbe-Museum, Berlin, September 20-October 30, 2005

Exhibition schedule: Moderna Museet, Stockholm February 16–May 26, 2013 | Hamburger Bahnhof –Museum für Gegenwart, Berlin, June 15–October 6, 2013 | Musée Picasso, Malaga October 21, 2013–February 9, 2014

Hopeful emergence of a democratic, multi-cultural country from a racist regime is one of the most exciting developments on earth. The South African artist Kay Hassan, who experienced this explosive process firsthand in his hometown Johannesburg, needed to achieve both artistic distance and emotional intensity in his works, and then translate his approach into a personal yet universally understood visual language. In his drawings, oversized brightly coloured collages on billboard paper, and, above all, in his expressive poetic installations, he examines the links between the private and the public, the political and the artistic, the sociological and the psychological aspects of his life and the environment that surrounds him, describing them in terms of a traumatic historical past and the dawn of a changed society. (English edition available ISBN 3-7757-0918-5) The artist: Kay Hassan, born 1956 in Johannesburg. Since 1980 numerous exhibitions in South Africa, Europe and the U.S., including at the Pretoria Art Museum, the City International des Arts, Paris, the Walker Art Center, Minneapolis, the Haus der Kulturen, Berlin, the 2nd Johannesburg Biennale and the Académie de France, Villa Medici, Rome. Kay Hassan lives and works in Johannesburg.

This book is only available in German. If you would like more detailed information, please consult our German website. You can also contact Hatje Cantz directly.

The photographers Inez van Lamsweerde and Vinoodh Matadin have been inseparable from the fashion and art scene since the 1990s. Very early on they made use of digital processing and distortion. Sometimes a delicate retouch was enough, and sometimes they took it to the apex of gross contortion. Through their strongly expressive manipulations, the couple developed a pictorial vocabulary of their own, and they continued to develop it in their themes. Their work is extravagant and gaudy. At the same time, however, they deal with cryptic questions about superficiality, gender, and identity. This book of photos presents a kind of retrospective “director’s cut,” as it were. On the occasion of their exhibition at The Ravestijn Gallery, the artists have selected their favorites from a rich collection. Despite the variety of themes, each photograph bears the inimitable signature of its creators. Presented in a magazine-like style, this publication celebrates the authentic diversity of this outstanding artist couple.

INEZ VAN LAMSWEERDE (*1963, Amsterdam) studied art, and VINOODH MATADIN (*1961, Amsterdam) was a student of fashion design when they met in Amsterdam. The two are a couple, both professionally and in private, and are in demand around the globe. They work for the most prominent magazines and their work can be seen in museum exhibitions worldwide.

EXHIBITIONS
The Ravestijn Gallery, Amerstam
September 7—October 19, 2019

Helmut Newton Foundation, Berlin
November 20,2019—May 5, 2020

The practice of French artist Camille Henrot (*1978) spans film, painting, drawing, sculpture and installation. Henrot’s influences are equally diverse, encompassing everything from self-help to cultural anthropology to social media in its engagement with the changing status of information distribution and interpersonal connections. Through its many incarnations, Henrot's protean art asks what it means to be at once a private individual and a global subject. This first major monograph on the artist features key works from the beginning of Henrot’s career to 2020, providing an intimate look at both new works on paper and immersive exhibits like The Pale Fox (2014) and Grosse Fatigue (2013). Over 200 images are accompanied by new scholarship on the artist. The array of eclectic voices gathered—Dan Fox, Shanay Jhaveri, Clara Meister, Jane Devery and Pip Wallis—does justice to the multifaceted quality of Henrot’s work.

CAMILLE HENROT (*1978) studied film and animation at the École Nationale Supérieure des Arts Décoratifs. Her work has been acclaimed with numerous solo exhibitions worldwide (including Palais de Tokyo, Paris; New Museum, New York; Chisenhale Gallery, London, Kunsthal Charlottenborg, Copenhagen). She lives and works between Berlin, Paris and New York.