The Invention of the Neue Wilde:
Painting and Subculture around 1980

The art of the so-called Neue Wilde in Germany represents a revival of figurative painting around 1980. Its most famous protagonists include Martin Kippenberger, Werner Büttner, Salomé, and Walter Dahn. The publication seeks to develop a new critical perspective of this phenomenon and traces how the young artists drew inspiration from the queer liberation movement; forged links to fashion, photography, literature, and pop music; and developed new, self-organized (open) spaces to exhibit, perform, and publish.

Editors: Benjamin Dodenhoff and Ramona Heinlein – Ludwig Forum für Internationale Kunst Aachen
Texts: Jean-Christophe Ammann, Thomas Bayrle, Wolfgang Becker, Peter Bömmels, Werner Büttner, Diedrich Diederichsen, Benjamin Dodenhoff, Catherine Dossin, Wolfgang Max Faust, Ramona Heinlein, Christina Höller, Gudrun Inboden, Katrin Köppert, Hilka Nordhausen, Salomé, Achim Schächtele, Bettina Semmer, Claudia Skoda

Walther König, 2019, ISBN 978-3-96098-570-9 (Eng/Ger)
17 × 23.5 cm, 436 pages






Still Life: Obstinacy of Things

“The table and the things carefully arranged upon it may be compared to a seismographic recording of atmospheres arising in history, expressed in the lowest world of objects.” (Norman Bryson, Looking At The Overlooked) When we look at contemporary still life photography, where everything visible has been rendered in detail, the things seem just as emblematic of the present as they are alien to us. It is as if they have been put through a reading device that scans the appearance of the surface—but does not translate the visual information into text. While our image cultures are in a state of upheaval and photographic images are beginning to replace language, here we find concepts that instead work through the denial of verbalization. The artists rely on the constantly changing appearance of things and the openness of their interpretation, therefore eluding the concept of a total mastery of the image—or even a mastery of information. The point of departure for the book’s concept is Harun Farocki’s film Still Life (1997), which questions the classification and function of historical still life paintings and draws parallels to contemporary product photography. Farocki notes that the objects formed “their own system” in order to work on a “new image of man.” In the book, the voices of the film are juxtaposed with the different artistic positions.
(Project description based on Maren Lübbke-Tidow’s essay in the book)

Editors: Bettina Leidl, Maren Lübbke-Tidow; Kunsthaus Wien
Texts: Bettina Leidl, Maren Lübbke-Tidow, Martin Prinzhorn

Spector Books, 2018, ISBN 978-3-95905-261-0 (Eng/Ger)
19.5 × 24 cm, 248 pages





The Appearance of That Which Cannot Be Seen—Armin Linke

As a photographer and filmmaker, Armin Linke records and analyses the formation or the Gestaltung of our natural, technological, and urban environments, which are perceived as a diverse space of continuous interaction. The Appearance of That Which Cannot Be Seen is conceived as a process of activating Armin Linke’s archive through dialogue. He provided the initial framework by sharing photographs with thinkers from various fields and inviting them to respond. Each of them chose a selection of these images by reading them through the lens of their theories and concepts. These selections form the starting point for the publication and the exhibitions, organized as a changing topology of dialogues, transforming itself in the space through new internal relationships and different modes of occupation.

Texts: Ariella Azoulay, Lorraine Daston, Franco Farinelli, Bruno Latour, Peter Weibel, Jan Wenzel, Mark Wigley, Jan Zalasiewicz
Concept, editing and design of the publication and the exhibition: Armin Linke, Mevis & Van Deursen, Jan Kiesswetter, Alina Schmuch, display design together with Martha Schwindling

Spector Books, 2017, ISBN 978-3-95905-070-8 (Eng)
20 × 20 cm, 396 pages, supported by Stiftung Kunstfonds


Exhibitions:
ZKM | Center for Art and Media, Karlsruhe
Part 1: Sep. 5, 2015 – Jan. 31, 2016
Part 2: Apr. 16  –  Aug. 21, 2016
PAC Padiglione d’Arte Contemporanea, Milan
Oct. 16, 2016 – Jan. 1, 2017
Ludwig Forum for International Art, Aachen
Mar. 23 – Jun. 18, 2017
Centre de la photographie, Geneva
Sep. 29 – Nov. 1, 2017





Mies van der Rohe—Montage Collage

Mies van der Rohe’s projects can be described as consistently composed artistic processes—from sketches to detailed drawings, from visualizations of space to the completed building. He has created an aesthetic language where each individual result of the architectural process can be read as an autonomous work. The book focuses on the photomontages and photo collages that Mies, inspired by Dada, De Stijl, and Constructivism, used as the preferred medium for the representation of his architectural and spatial ideas. Apart from the linear perspective, the layering is perhaps the most important feature in these works. Mies includes planar elements that are layered one behind the other so that the collage looks like an abstract arrangement of objects floating in space. In his essay, Martino Stierli recognizes a “modernist tendency to understand space—be it political, natural, or abstract space in general—visually, as a product of visual media.”

Editors: Andreas Beitin, Wolf Eiermann, Brigitte Franzen
Texts: Andreas Beitin, Barry Bergdoll, Lena Büchel, Wolf Eiermann, Brigitte Franzen, Dietrich Neumann, Holger Otten, Lutz Robbers, Martino Stierli, Adrian Sudhalter

Koenig Books, 2016, ISBN 978-3-796098-053-7 (Eng/Ger)
23.5 × 28.5 cm, 264 pages

Review: 032C Magazine, Issue 32, Favorite Books of the Season, Berlin 2017






Script of Demolition—Alina Schmuch

Script of Demolition presents the photographic and video archive of the Fink family’s demolition business. In their work, the blasting engineer uses a camera as a measuring apparatus to precisely study the seconds in which a house is demolished. The image production and its analysis function here as a permanent calibration between the idea of optimizing the demolition process and its reality. The artist Alina Schmuch curates the blasting engineer’s images to investigate different possible typologies in their work. She asks how these images are informed by the technical work of a blasting engineer, and how might this differ to a reading in an artistic or photographic discourse. Apart from developments in blasting technology, the material also reveals the development of imaging media. Through motion studies it becomes evident how the building collapses; from one story into the next, the building’s interior and its methods of construction are made visible. As the explosions are prepared for, we see technical equipment, improvised structures, and dissected buildings. As an examination of these new formations, these images show us a dismantling of the fundamental characteristics of architecture.

Texts: Anne König, Alina Schmuch, Philip Ursprung
Concept, editing and design: Alina Schmuch and Jan Kiesswetter

Spector Books, 2014, ISBN 978-3-944669-28-1 (Eng/Ger)
20 × 27 cm, 336 pages

Review: PIN–UP Magazine, Issue 19, Book Club IV, New York 2015






Jan Kiesswetter, graphic design, Berlin

The portfolio shows some selected projects—mainly books. Though I also collaborated with Alina Schmuch on the official documentary film for the Münster Skulptur Projekte in 2017 as well as the film Unrecognised Forum, which was commissioned by Forensic Architecture and shown at ICA (London 2018), Sharjah Biennial 13 (Beirut 2017), MACBA (Barcelona 2017), and the 15th Architecture Biennale (Venice 2016). Recently, I’ve been working on some typographic projects for Adidas. Full portfolio available on request.

contact
mail@jankiesswetter.com
+49 (0) 178 6959826

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