Caroline Schneider

  • Antje Majewski

    Antje Majewski

    My Very Gestures

    Hemma Schmutz and Caroline Schneider

    Antje Majewski became best known through her series of photorealistic, figurative paintings, which grapple with existential questions like friendship, love, masquerade, and death. Her topics also revolve around the psychology of individuals in relation to society, history, and social norms. This comprehensive catalogue traces the many stages of her work, including paintings, photographs, videos, film, installation, and dance theatre.

    The art critic Dominic Eichler highlights the most important thematic threads in Majewski's oeuvre and shows “that in terms of thinking about the fantasy figures, performance, roles and costumes …, the theoretical backdrop is informed by a progressive form of feminism. In particular, Judith Butler's thesis about the importance of performance and performativity in the construction of gender should be taken into account.” The author Ingo Niermann claims that “whether (she) paints people in their everyday appearance or a staged one, she subordinates herself. Whatever can be seen stays with the people. They are the actual images whose real presentation is only a fleeting one.” Curator Sebastian Cichocki contributes a fierce foray into the supernatural world of a psychic, while Majewski's conversation with art historian Tanja Widmann reveals some of the personal and philosophical concerns underlying her practice.

    Published on the occasion of Majewski's same-titled exhibition at the Salzburger Kunstverein, September 25 – November 30, 2008.

    ContributorsSebastian Cichocki, Dominic Eichler, Ingo NiermannConversation with Tanja Widmann

    • Paperback $29.95
  • Tue Greenfort

    Tue Greenfort


    Solange de Boer, Zoë Gray, Nicolaus Schafhausen, and Caroline Schneider

    With playful certainty, Greenfort uses detailed interventions, subtle alterations and imperceptible influences on functional processes to test "man's freedom." The processes remain intact, unchanged, yet the interventions reveal opportunities which are there to be taken. This lightness of touch allows an opposition that eschews the pompous political gesture by focusing again and again on aesthetic or playful elements. In this sense, Greenfort's work is political, but it never lets its political content become its main aim. Everything always stays the same, but slightly different. —Maria Muhle

    Tue Greenfort's art evokes a world in which animals, humans, nature, culture, science, and industry, as well as the artwork and its site, are connected by a web of complex relationships. In all of his works the Danish artist demonstrates an interest in an expanded notion of ecology, one that encompasses cultural history and sociopolitics as well as natural resources.

    This first monographic book contains an essay by the renowned scientist Jesper Hoffmeyer on biosemiotics, as well as a text by Maria Muhle which discusses the artist's work in relation to biopolitics. It was published on the occasion of Greenfort's solo exhibition at Witte de With, 24 June – 6 August 2006.

    ContributorsJesper Hoffmeyer, Maria Muhle, interview by Zoë Gray

    • Paperback $19.95
  • Julia Scher

    Julia Scher

    Always There

    Caroline Schneider and Brian Wallis

    Always There offers a comprehensive survey of American artist Julia Scher's work. The artist's installations and performances have always featured a complex relation to techno-social control, demonstrating our complicity in the proliferating technologies used to surveil both our physical and virtual identities. As Brian Wallis writes in his introduction, “Scher's work breaks linguistic codes of security, analyzing the rhetorics of surveillance discourse to allow the savvy user to manipulate and reconstitute those 'bits'. This approach is... akin to that of hackers, who, like Scher, invert the notion of usability, turning the practical on its head. On one level, this radical reversibility undoubtedly stems from some fundamental technoskepticism, but it also shows the artist's more complicated skepticism about the visual and geographical determinants of contemporary space and how they impact the practices of everyday life.”

    The texts discuss how in the aftermath of 9-11, issues of surveillance, data harvesting and scoptophilia have acquired a new meaning. According to author Andrew Ross, “Scher is a wholly political artist with a keen eye and ear for the iconography and poetry of power, especially when it crystallizes into the operational jargon of aggressive intelligence systems.”

    ContributorsBill Horrigan, Andrew Hultkrans, Giovanni Intra, Avital Ronell, Andrew Ross

    • Paperback $14.95
  • Isa Genzken

    Isa Genzken


    Nicolaus Schafhausen and Caroline Schneider

    Isa Genzken's sculpture is concerned with what surrounds us and shapes our everyday existence, from design, advertising, and the media to her most enduring subject, architecture and the urban environment. The artist is interested in the ways in which aesthetic styles – the unadorned angularity of modernist architecture for example –embody and enforce political and social ideologies.

    Urlaub constitutes Genzken's multilayered inquiry into the meaning of work and leisure. “Artists never take vacations,” Genzken says, “but the entire art system urgently needs a vacation.”

    Vanessa Joan Müller examines how Genzken's recent work establishes a critical discourse about architecture and design as exposed sites of aesthetic and cultural formation. Discussing the artist's “beach house” series, small architectural models with playfully defined interiors/exteriors, the author writes that one can read them “as a pointed commentary on postmodern architecture, as a subtle attack on the predominant taste of the times. When Genzken gets involved with the miniaturization of this kind of architecture – which could be realized in principle – turning it into small-format sculpture, the procedure emphasizes the ambiguity of the subject toward a particular 'resort-style beach life'. The aspect of playing with form and material should therefore not deceive: the beach house is a status symbol that can only be found on the exclusive beaches of this world, and hence it is simultaneously the object of envy and a hallmark of distinction.”

    This book was published on the occasion of the exhibition "Urlaub" at Frankfurter Kunstverein, May 27 - August 6, 2000.

    • Paperback $19.95