Katja Schroeder

  • Yorgos Sapountzis

    Yorgos Sapountzis

    A statue has remembered me / Eine Statue hat sich an mich erinnert

    Katja Schroeder and Caroline Eggel

    In his work, Yorgos Sapountzis appropriates public space and the statues, monuments, and memorials that inhabit it. The Athens-born artist concentrates less on their historical-political meanings and much more on their function as a medium of recollection. Sapountzis consciously tries to ignore historical information about the sculptures and instead allows them to “speak” through their gestures, poses, and ornaments.

    Like an anthropologist—or parasite—Sapountzis hunts the urban, figurative myths by night or sounds them out for days on end with his camera. He then stages a confrontation, a dialogue, and a “dance,” in which the preceding expedition is consolidated to form a theatrical choreography. Sapountzis drapes scarves, makes plaster casts, and builds constructions out of aluminum rods and tape, ensnaring his stone or bronze protagonists, whom he tries to involve in his seemingly futile, exhausting activities. His video camera also records this action. The performance is therefore just as much part of the artistic strategy as the video material produced during the performance.

    A statue has remembered me gives an in-depth survey of his work in ten chapters from 2000 to the present. It is published on the occasion of his two-part solo exhibition, “Videos and Picnic” at the Ursula Blickle Stiftung (May 19–July 8, 2012) and “The Gadfly Festival” at Westfälischer Kunstverein Münster (June 16–September 2, 2012).

    Copublished with Ursula Blickle Stiftung and Westfälischer Kunstverein Münster

    • Paperback $36.00
  • Julika Rudelius

    Julika Rudelius

    Soft Intrusion

    Katja Schroeder and Ursula Blickle Stiftung

    An extended selection of edited video stills, Soft Intrusion offers a coherent oeuvre of Julika Rudelius's video works. “Part reportage, part mockumentary, part performance, part short film,” Rudelius's video works “nearly always involves artificial relationships, communication strategies and encounters with virtual strangers.” Her videos often reenact moments in which unconscious gestures or glances reaffirm prejudices and generate sweeping opinions. What initially appear as intimate portraits of cultural hegemony become settings in which identity and social orientation are up for negotiation.

    The catalogue accompanied the exhibition “Soft Intrusion” at the Ursula Blickle Foundation. Throughout the last ten years, Rudelius has participated in numerous renowned international exhibitions; however, until now there have been very few opportunities to see the different aspects of her oeuvre. The book reflects the coherently presented exhibition in an extensive selection of video stills, which are backed up with individual quotes from the film dialogues.

    Co-published with Ursula Blickle Stiftung

    ContributorsDominic Eichler, Jenny Schlenzka, Katja Schroeder

    • Paperback $28.00
  • Simon Dybbroe Møller

    Simon Dybbroe Møller


    Katja Schroeder and René Zechlin

    Simon Dybbroe Møller's reflection on Conceptual art's systematic processes and forms uses apparently rational processes to achieve quietly mystifying results. With his vivid taste for wit and formal exactitude, the artist sets all manner of references, quotations and re-creations in an unfamiliar setting.

    Kompendium is an artist book accompanying the Danish artist's first comprehensive solo exhibition at the Frankfurter Kunstverein and the Kunstverein Hannover. The first part contains texts by nine different authors which illuminate the main ideas of individual groups of work. Each contribution is reproduced as a facsimile from a previous book. The second part documents most of the artist's works up to now.

    ContributorsFerdinand Ahm Krag, Matthew Brannon, Sam Frank, Christian Höller, Peter Laugesen, Thomas Meinecke, Brian O'Connell, Katja Schroeder, Lumi Tan, René Zechlin

    • Paperback $32.00
  • Pecafil


    Michael Beutler, Nicolaus Schafhausen, Katja Schroeder, and Frankfurter Kunstverein

    Pecafil is named after the bright yellow, biodegradable building material which Michael Beutler used for a series of outdoor sculptures in the city of Frankfurt am Main. At stake in most of the German artist's work is an experimental sculpture process where basic materials – wood, plaster, or glass – are used to analyze the standardization of common goods. His temporary, playful structures and forms constitute “a serious continuation of 20th century sculpture and architecture traditions and can function as almost pedagogical in relation to traditional public art. Seldom have attitudes from art history and the amateur carpenter been so interwoven”. Maria Lind

    This first monographic book discusses issues of art in public space and the social-political implications of Beutler's work.

    ContributorsThomas Bayrle, Maria Lind, Ariane Müller

    • Paperback $19.95