2016
Edited by Mark Hesslinger/Beate Reifenscheid
with contributions by Beate Reifenscheid, Frank Bayard, Jens Fachbach, Stefan Heinz, Suzana Leu, Mark R. Hesslinger
German
64 pages
Hirmer Publishing House
Archives: Artikel
2018
with texts by Beate Reifenscheid, Angelika Kallenbach, Suzana Leu, Margit Theis-Scholz, Marko Sommer, Ilya Pusenkoff
German
64 pages
Garwain e.K. Publishing House & Art Projects Kallenbach
German/English
112 pages, 45 color and 15 b/w illustrations, hardcover, 23.5 × 29.5 cm, Distanz Verlag
Edited by Beate Reifenscheid / Ludwig Museum Koblenz, Sebastian Baden, May 2021
ISBN 978-3-95476-391-7
Surface, Structures and Textures
Janus Hochgesand (born 1981 in Dierdorf, lives and works in Hamburg) refers to his paintings as “High Intensity Paintings”-paintings whose form and content are condensed and exhibit a high concentration of material layering. The paintings are created by the artist using a broom or vacuum cleaner to generously deposit pigment onto the canvas and working on it in repetitions by heaping it on and taking it away. Hochgesand found his way to his practice through sculpture. As a student with Andreas Slominski and later at the Städelschule with Tobias Rehberger, he found that the canvas, always laid flat on the studio floor, was his medium. In the superimpositions of layers of paint, the artist picks up on the aesthetics of Abstract Expressionism and Informel, but condenses these influences into paintings in his own performative way, with music playing a leading role in their creation in the studio.
Muy Mucho, meaning “very much,” is published in parallel with Hochgesand’s exhibition at the Ludwig Museum in Koblenz. Based on 16 selected works, the book reveals the artist’s working method. Sebastian Baden and Jens Asthoff wrote the texts, while Julia Voss conducted a conversation with the artist. With a foreword by Beate Reifenscheid.
Catalogue accompanying the same called exhibition at the Ludwig Museum Koblenz, June 21, 2020 – August 16, 2020
Includes texts by: Lisa Forell, Beate Reifenscheid, Larissa Wesp, Barbara Wolbert, Kenneth Snelson/Otto Fried (Interview)
Ed.: Beate Reifenscheid
Silvana Editoriale, 2020
German/Englisch, 120 pages, 40 Ill., 24 x 30 cm
ISBN 9788836646470
2019
Ed.: Ludwig Museum Koblenz
184 pages, 24 x 30 cm, 100 coloured illustrations,
bilingual: German/English,
Edition Cantz
ISBN 978-3-947563-61-6
From Arman to Andy Warhol – Masterworks in the Ludwig Museum
General catalogue, Ludwig Museum Koblenz Collection.
Published on the occasion of the 10th anniversary of the Ludwig Museum Koblenz in 2009
German
176 pages
27.5 x 21 cm
124 color and 6 b/w images
ISBN 978-3-86833-025-0
Ed.: modo Verlag
Publisher: Beate Reifenscheid
With texts by Wang Duanting, Lao Zhu, Liang Kegang, Robert C. Morgan, Beate Reifenscheid
2019
German/ English, 223 pages, 117 coloured ill.
Silvana Editoriale, 2019
ISBN: 9788836643691
Deng Guoyuan is a successful artist who has been working in China for decades. He was also President of the renowned Tianjin Academy of Fine Arts until the end of 2018. For twenty years Deng has dealt with the question of existence in a world in which nature has not only been tamed but is threatened by massive human intervention. Until his latest creations, he followed a path that led from the Chinese tradition of ink drawing to abstract oil painting and its fragmentation into individual pictorial motifs, where the reminiscences of nature are barely recognisable. Artificial installations reveal a tamed nature that can generate life only in terms of retort. He envisages his new project as the evolution of genetic mutation and as an absolute apocalypse.
Pierre Soulages. Noir – Lumiere. Colour and gesture in the 1950s
Catalogue on the occasion of the exhibition at the Ludwig Museum Koblenz, 2018/2019.
With texts by Beate Reifenscheid, Mark Hesslinger, Dieter Ronte and Caroline Wind
German/ English
160 pages
Silvana Editoriale
ISBN 9788836641512
“I love black, its authority, its depth, its clarity, its intransigence.” (Pierre Soulages)
Soulages’ crucial turn to the black colour happened in the 1950s, as he focussed systematically his canon of forms and colours on black. His works originate in an European sphere of redefinition and avantgarde, which is marked by influences from the American abstract expressionism, the informel up to Asian ink paintings.
The approach in the 1950s reveals Soulages’ intense confrontation with gesture and colour in a context of paradigmatic references to contemporary artists and friends including Hans Hartung, Sam Francis and Zao Wou-Ki.
Published on the occasion of the exhibition at the Ludwig Museum Koblenz, August – October 2018
With texts by Beate Reifenscheid, Klaus Honnef and Corinna Thierolf
2018
German/ English
160 pages, 100 illustrations, 24 x 30 cm
Silvana Editoriale, 2018
ISBN 9788836641307
The crumpled sculptures by American artist John Chamberlain, welded together from deformed car parts, revolutionized the art world in the 1950s. Less well known, but a key element in his overall work, is the way Chamberlain handled photography. In 1977, Chamberlain began to use a Widelux-Camera which had been originally developed for documenting urban and rural landscapes with panoramic images. He experimented with its capabilities by panning the camera across the space and using jerky movements, set to a long exposure time. Chamberlain liked to call these photographs “self-portraits of my nervous system.” Their blurred focus and fleeting nature combine to form a dynamic unit as they absorb that moment of movement in space. Chamberlain described this as bending space, where sculpture and photography have a direct, mutual effect on each other.
Catalogue accompanying the exhibition at the Ludwig Museum Koblenz, 2018
With texts by Beate Reifenscheid, Zhang Xiaoling, Zhu Qi, Peng Feng, Cai Pengcheng, Lennart Utterstrom, Yang Wie
Ed.: Beate Reifenscheid
English, German
231 pages with 161 coloured illustrations, 30.0 x 24.0 cm, hardcover
Wienand publishing house, 2018
ISBN 978-3-86832-454-9
Zhang Fangbai, whose art is deeply rooted in traditional Chinese painting, has developed his own unique visual language, which makes due with only a few emblematic forms. These reflect the artist’s spiritual search, which can also be understood in the Western art world. In his reduction of means, as well as in his individual, powerfully expressive brushstrokes, the spirituality of earlier generations of artists reveals itself in a contemporary form.