Editions 2019

• Nona Inescu

  

  

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  In her first institutional solo exhibition at Künstlerhaus Bremen in summer 2019, Nona Inescu showed works that focus on the human interaction with natural and primitive materials – animate and inanimate. The artist draws analogies between human, animal, vegetal and mineral features and proposes possible interactions between human and non-human bodies through physical contact or touch. This is also the case in this photograph, in which a hand feels the body of a concretion stone. The title of the work, Rugosa, refers to the extinct wrinkled coral as well as the rough texture of the stone. The picture is reminiscent of a hand grabbing a belly. Inescus work challenges the prevailing subject-object relations in our relationship to “nature.”

  • *Rugosa (crust)*, 2019

    Digital Print on Hahnemühle Paper
    28 x 42 cm
    Edition: 3 + 1 AP
    Exclusively for Künstlerhaus Bremen

    Price: €1000

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• Stephanie Kiwitt

  

  

  

  Photo: Fred Dott

  Photo: Fred Dott

  Photo: Fred Dott

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  Stephanie Kiwitt is interested in processes of transformation in urban contexts, especially in relation to architecture and consumer culture, which she documents photographically. Her Jahresgabe/Edition is a limited photo print from the artist’s book Máj/My together with this very book, which shows photographs taken by Kiwitt in Prague between 2015 and 2018. The title Máj/My referstoa Prague department store that was run under the name Máj from 1975 until it was taken over by the British supermarket chain Tesco in 1996 and renamed My by them in 2009. While the Old Czech word Máj is a poetic expression for the month of May and associated with Labor Day, My can be read not only as a reference to the neoliberal idea of individualized consumption (in the sense of mine), but also – if pronounced in Czech – be understood as we. Kiwitt takes the renaming as an occasion to reflect on changes in the city and society.

  • Máj/My, 2019

    Pigment print on glossy paper
    25,4 x 17,6 cm
    Edition: 1-5/10, numbered and signed
    together with the signed photo book Máj/My, Spector Books, Leipzig 2018, Edition: 900

    Price: €350

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• Dafna Maimon

  

  

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  Mother Tonguing is a wearable jewelry edition made of individually formed ceramic objects, created in the context of Dafna Maimon’s solo exhibition at the Künstlerhaus Bremen. In this show, a tongue was presented as a large textile sculpture that stretched out towards the visitors from the center of the exhibition space. It is an ambiguous metaphor; in the context of Maimon’s work, Mutating Mary, it can be understood not only as a nourishing, infectious or even seductive tongue, but also as an emblem for the raising of women’s voices.

  • *Mother Tonguing*, 2019

    Ear studs, ceramic and silver
    20 similar unique works
    Exclusively for Künstlerhaus Bremen
    120 € / 200 € for 2

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• Luise Marchand

  

  

  

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  The two motives by Luise Marchand stem from her installative photographic work POW – The Power of We (2019), for which she was awarded the Meisterschüler Prize of G2 Kunsthalle in Leipzig. In this photo series, she examines new corporate cultures that seem to promote a work-life balance through flat hierarchies, everyday language, and the expansion of the workplace to the outside, to the home office, or to homely atmospheres. This work-life balance, however, often conceals work-life blending with the capitalist goal of increasing efficiency and productivity. The images on the two posters, Good and Not so good, are an expression of a language that does not seem to allow for any negative feeling.

  • *Good*, 2019 *Not so good*, 2019

    from the series POW – The Power of We
    Poster (2 different motives)
    Digital offset print on latex paper
    Each 84,1 x 59,4 cm
    Edition: 25
    60 € per motive / 100 € for both motives

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• Norman Sandler

  

  

  

  Foto: Fred Dott

  Foto: Fred Dott

  Foto: Fred Dott

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  For his series back, Norman Sandler produced drawn copies of the reverse sides of photo prints. In the age of digital photography, the small-format photo prints appear anachronistic. They evoke memories of waiting for the desired holiday pictures or snapshots from the last school trip. The numerical marking of the photos on the back seems to become very central in Sandler’s drawings. Although it betrays the month and year the prints were made (in this case August 1998) and the film-negative number, what may be seen on the front of the photo remains uncertain.

  • *back* / 05, 2016 *back* / 06, 2016

    Pencil on Bristol board
    29,7 x 21 cm (35 x 26,5 cm with frame)
    2 similar unique works
    Each 850 € (with frame)

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