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  • Dirk Baecker

    4.0 oder Die Lücke die der Rechner lässt

  • Ekim Tan

    Play the City: Games Informing the Urban Development

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    Das bauhaus gibt es nicht

  • Cours de Poetique

    The Listening Reader

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    As Radical, As Mother, As Salad, As Shelter: What Should…

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    Modernes Sachsen. Gestaltung in der experimentellen…

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    Politics of Design. Design of Politics

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    Reading Room. Re-Lektüren des Innenraums

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    Modus: A Platform for Expanded Fashion Practice

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    Artificial Intelligence

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    Wait - Smoke - Sleep

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    En Plein Air: Enthnographies of the Digital

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    Farbe räumlich denken: Positionen, Projekte, Potenziale

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    Grand Hotel. Redesigning Modern Life

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    The Photography Reader: History and Theory (2nd Ed.)

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    Overgrown: practices between landscape architecture and…

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    A Real Living Contact with the Thing Themselves

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    Palladio, der Bildermacher

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    The Work of Wind: Land

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    Wiedersehen in TUNIX!

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    Pollerforschung

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    The Form Of Knowledge, The Prototype Of Architectural…

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    PSYOP. An Anthology

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    They'll Never Walk Alone. The Life and Afterlife of…

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    Incompiuto. The Birth of a Style / La Nascita di uno Style

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    Your Guide to Downtown Denise Scott Brown

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    Window Shopping

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    Designing for Society. Products and Services for a Better…

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    The Object of Zionism. The Architecture of Israel

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    Renaming an Institution, a Case Study (Volume One: Research…

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    Concrete Poetry. Post-War Modernist Public Art

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    Red. Architecture in Monochrome

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    New Urban Professions: A Journey through Practice and Theory

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    Night Shifter

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    Dimensions of Citizenship

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    Social Practices

  • Ina Wudtke

    The Fine Art of Living

  • Gianni Pettena

    The Curious Mr. Pettena: Rambling around the USA 1971-73

  • Johannes Binotto

    Film / Architektur. Perspektiven des Kinos auf den Raum

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    Aby Warburgs Kulturwissenschaft: Ein Blick in die Abgründe…

  • Gianni Pettena

    Non-Conscious Architecture

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    Mobil, autonom, vernetzt. Kritik und ökonomische Innovation…

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    Perhaps It Is High Time for a Xeno-architecture to Match

  • Lucie Kolb

    Study, Not Critique

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    Drawing on Architecture: The Object of Lines, 1970-1990

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    99 Theses on the Revaluation of Value: A Postcapitalist…

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    Sagmeister & Walsh: Beauty. Schönheit = Wahrheit /…

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    Introducing Tony Conrad: A Retrospective

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    Spaces of Disappearance: The Architecture of Extraordinary…

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    Occupy All Streets: Olympic Urbanism and Contested Futures…

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    Adventures in Modernism: Thinking with Marshall Berman

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    Nicole Eisenman: Conscious Razing

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    Once and Future Feminist

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    Gestaltung

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    Gespräche mit Genialen Dilletanten

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    Across Theory and Practice: Thinking Through Urban Research

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    Broken Music: Artists' Recordworks

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    Arrhov Frick

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    Last Days of Disco

Eva Hesse. One More Than One

Eva Hesses Spätwerk fasziniert nicht zuletzt durch ungewöhnliche Materialien. Eva Hesse (1936 1970) ist eine der herausragenden Künstlerinnen des 20. Jahrhunderts. In Hamburg geboren, emigrierte sie 1938 über Holland nach New York. Als Eva Hesse im Alter von nur 34 Jahren an einem Gehirntumor verstarb, hinterließ sie ein faszinierendes und höchst eigenständiges Werk. In der zweiten Hälfte der 1960er-Jahre experimentierte sie mit neuen Materialien, die in der Objektkunst bis dahin noch keine Verwendung gefunden hatten, wie Polyester, Glasfaser und Latex. Hesses Skulpturen, die sich heute in den großen Museen der Welt befinden, verbinden auf einzigartige Weise komplexe und zum Teil konträre Aspekte: hart und weich, fragil und präsent, abstrakt und assoziationsreich. Diese reich bebilderte Publikation konzentriert sich mit Skulpturen und Zeichnungen aus den Jahren von 1966 bis 1970 auf die späte Werkphase der amerikanischen Künstlerin. Ausstellung: Hamburger Kunsthalle 29.11.2013 2.3.2014
Eva Hesse (1936–1970) was one of the foremost women artists of the twentieth century. Her artistic practice combined the seriality and reduction of 1960s Minimalism with emotion, sensuousness and physicality, while the transparency and transience of her unconventional materials also contributed greatly to her unique position in the art world of her day. From November 2013 onward, the Hamburger Kunsthalle is presenting the first solo exhibition of Hesse’s work in her native city. Hesse emigrated with her family via the Netherlands and England to the United States in 1938. They settled in New York City, where she later studied painting at the Cooper Union School of Art from 1954 to 1957, and then continued her studies in the master class of Josef Albers at the Yale School of Art and Architecture from 1957 to 1959. At the invitation of Friedrich Arnhard Scheidt, a German industrialist and art collector, and his wife Isabel, Hesse and her husband Tom Doyle spent a year in Kettwig an der Ruhr during 1964–1965. This period is regarded as a turning point in Hesse’s artistic practice. Drawing inspiration from the materials she found in an abandoned textile factory in Kettwig, she made her first three-dimensional artworks, and when she returned to New York she devoted herself exclusively to sculpture, creating fragile works in unconventional materials such as polyester, fiberglass and latex. Hesse died of a brain tumor in 1970, aged just 34. The exhibition at the Hamburger Kunsthalle focuses on the latter part of the artist’s career, a highly productive period in which she created a substantial number of sculptures and drawings.
Edited by Hubertus Gassner, Brigitte Kölle, Petra Roettig. Text by Renate Petzinger, Tom Doyle, Doug Johns, Brigitte Kölle, Lucy Lippard, Robert Mangold, Sylvia Mangold, Cindy Nemser, Petra Roettig, Franz Erhard Walther.


Gaßner, Kölle, Roettig (Ed.)
Eva Hesse. One More Than One
Hatje Cantz, 2013, 9783775737548