Daniel Rode works with text fragments found in literature, conversations, and public space, deliberately disregarding syntax such as spaces and line breaks. Interrupting our reading habits, they retain their indeterminacy a little longer before these fragments can be decoded by reading. Detached from their original contexts, they find their way into both large-scale installations and drawings, often created in series. Rode moves between two polar opposites—a sober, reserved aesthetic on the one hand, and a sensitive, almost tender devotion to artistic execution on the other. Again and Again offers a comprehensive insight into Rode’s oeuvre, enriched by perceptive texts by 13 contributors providing an often surprisingly personal perspective on the artist and his work.

DANIEL RODE (*1971, Eutin) studied in Greifswald and the Academy of Fine Arts Dresden in the class of Monika Brandmeier. He lived in Cairo from 2009 to 2014. Projects and residencies have taken him to Canada, the USA, Bahrain, Vietnam and many countries in Europe. Today, he lives in Dresden and Berlin.

In his recent work Daniel Josefsohn (1961–2016) has man­aged to maintain the precarious balancing act be­tween provocation and humor, between irony and political incitement with such skill that he is able to generate both a sense of discomfort and adoration among viewers. His photographs challenge our cus­tomary visual expectations and seem to effortlessly maneuver between art and commerce. After the leg­endary Miststück campaign that he created for the MTV music channel in the nineties, Josefsohn worked for numerous magazines and from 2010 on­ward his photographs defined the publicity cam­paigns of the Volksbühne in Berlin. After suffering a stroke in 2012, he worked with his partner Karin Müller to document the before and after in a photo column for the ZEITmagazin—which reflected the contrasts between levity and gravity, the debased and the beautiful. In addition to a selection of the best photographs of the column, this volume presents a cross-section of his entire work.

"The following images depict actual settings." This sentence introduces a disturbing book of photographs about Mexico's super- rich in their huge, frequently enormously tacky mansions and luxury apartments. The women, and also occasionally the men, pose in front of endless pools in the sun, model their newest designer clothes and show off their lifestyles far away from all profane everyday business; at the same time, they present their art collections and pet their - mostly stuffed - animals. For seven years, Daniela Rossell did not visit the poor in suburban slums but this minuscule minority, Mexico´s millionaires, merging modern contemporary and classical Mexican documentary photography. Despite their shrill, gaudy content, the photographs exude a calmness and precision which endow the viewer with the necessary distance. The photographs cater to the most different human instincts, from voyeuristic curiosity to disgust to naive awe about the diversity of human lifestyles in the 21st century. The photographer: Daniela Rossell, born in 1973 in Mexico City. Studies art at the National School of Visual Arts, U.N.A.M. Since 1993, participation in numerous group exhibitions (New Museum of Art, New York; P.S.1, New York) as well as solo exhibitions in renowned galleries (Greene Naftali Gallery, New York). Lives and works in Mexico City. Exhibition Schedule: Casa de América, Madrid June 2002 · P.S. 1 Contemporary Art Center, New York June 2002 · San Diego Contemporary Art Museum September 2002 · Kunstwerke Berlin November 2002; Universidad de Salamanca April 2003

The works of Swiss artist Daniele Buetti (*1956) possess a strange ambivalence. Initially, it often pains us to see the fruits of his artistic labors: photographs of perfectly beautiful supermodels have been branded, tattooed, and scratched—some have even had holes punched through them. However, it is fascinating to witness how the attractiveness and glamour—essentially socially determined classifications—of these women and men always seem to get the last word, securing a lasting impression on the mind of the viewer.

Maybe You Can Be One of Us focuses on Buetti’s recent drawings, videos, sculptures, and installations. They are an expression of world-weariness, and represent a sign of our times, focusing on the individual’s precarious existential orientation. The grotesque elements of his works are eminently oppressive, triggering archetypal fears of the abnormal, and evoking associations of violence and destruction. (English edition ISBN 978-3-7757-2095-3)

Exhibition schedule: Swiss Institute, New York, February 13–March 22, 2008  Kunsthalle Recklinghausen and Kunstmuseum Mülheim/Ruhr, October 6–November 30, 2008

With the support of Pro Helvetia, Swiss Arts Council

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.

This book is only available in German. The English edition has been published by the Royal Academy of Arts, London.

In 1967, when 23-year-old James Turrell created his first light projection, he broke new ground in a way that would decisively influence his generation and the development of art. Although he was working in the context of Minimal Art and the Earthwork movement, and he shared some individual structural features with the works of these groups, there are categorical differences that distinguish Turrell's unique position in art right up to the present. the other horizon uses representative works by Turrell to show the individual phases of development in his preoccupation with the phenomenon of light - from the first group of works from Projection Pieces to his Roden Crater Projects, in which the American artist has been working for more than twenty years to bring together his earlier work groups and the 'powerful' light phenomena of nature which are beyond all human control. A separate chapter is devoted to Turrell's various architectural projects - such as the light installations in Leipzig and Bregenz that transform the buildings into translucent sculptural bodies.

The paintings of Katharina Grosse can appear anywhere. Her expansive works are multi-dimensional pictorial worlds in which walls, ceilings, objects and entire buildings and landscapes are covered with bright colours. For the exhibition It Wasn't Us, the artist has transformed the Historical Hall of the Hamburger Bahnhof - Museum für Gegenwart - Berlin as well as the outside area behind the building into an expansive image that radically destabilizes the existing order of the museum space. 

The floor of the hall and polystyrene bodies designed especially for the exhibition serve as the basis for the picture, which she has transformed into the final size in several steps and by means of various scales. In addition, the painting extends beyond the building's boundary into public space, onto the extensive grounds behind the museum and the façade of the Rieckhallen. It Wasn't Us connects neither inside nor outside, nor museum and surroundings, culture and nature, but rather renegotiates our habits of seeing, thinking and perception. 

Katharina Grosse (*1961, Freiburg i. Br.), one of the most distinguished painters of international contemporary art, studied at the Kunstakademie Münster and at the Akademie in Düsseldorf, where she held a professorship from 2010 to 2018. Her works have been shown in renowned museums, including the Museum of Fine Arts in Boston (2019), the National Gallery in Prague (2018), the chi K11 art museum in Shanghai (2018) or as part of the MoMA PS1 program in New York (2016), as well as at several biennials, including Aarhus(2017), Venice (2015) and Curitiba (2013).

EXHIBITION 
Hamburger Bahnhof - Museum für Gegenwart -
Berlin 14.06.2020-10.01.2021