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Martin Walde
Austrian artist Martin Walde (born 1957) expands the 1960s concept of sculpture as a performance in space by making room for coincidence and the viewer's own intervention. Using materials such as wool, wax, silicon or water, Walde creates installations and sculptural objects that invite the viewer's touch.
Martin Walde
Martin Walde (*1957 in Innsbruck) utilizes a wide variety of media in his conceptual works. They reflect his analytical and ironic view of the definitions and limits of the concept of art. Martin Walde explores the material world in its different aggregate states and states of movement, and always does so in relation to us as observers and users of them. Walde has also gained a broader audience at the latest since participating in the documenta X (1997).0Walde already began examining the phenomenon of mythologized science in his sculptural Hallucigenia structures in the nineteen-eighties. This publication accompanies the extinct genus Hallucigenia, also known as the primitive worm, through the highs and lows of a wide range of interpretations, which link science and mythology in a mystifying way and can barely be categorized as one or the other anymore.
Negative Space
A bold new spatial perspective on modern sculpture, with 800 color images of work by artists including Henry Moore, Lygia Clark, Anish Kapoor, and Ana Mendieta. This monumental, richly illustrated volume from ZKM | Karlsruhe approaches modern sculpture from a spatial perspective, interpreting it though contour, emptiness, and levitation rather than the conventional categories of unbroken volume, mass, and gravity. It examines works by dozens of twentieth- and twenty-first-century artists, including Hans Arp, Marcel Duchamp, Henry Moore, Barbara Hepworth, Lygia Clark, Anish Kapoor, Olafur Eliasson, Ana Mendieta, Fujiko Nakaya, Tomás Saraceno, and Alicja Kwade. The large-scale book contains o...
Language Rights Revisited - The Challenge of Global Migration and Communication
Hauptbeschreibung Linguistic autonomy, assured internationally to ethnic minorities, has succeeded, above all, in Europe, yet is nowhere near passing its acid test in other parts of the world. Examples show that it is not only a question of linguistic autonomy, but of ethnic and religious conflicts, which are simmering in the foreground. Hence, there are reasons for doubting whether international agreements designed to guarantee linguistic autonomy can solve these conflicts. The protection of indigenous languages is justified largely by the principle of diversity and is de.
What Remains
Arguably the most important—and influential—German woman writer of the last century, Christa Wolf was long heralded as "die gesamtdeutsche Autorin," an author for all of Germany; but, after 1989 in unified Germany, Wolf found herself suddenly embroiled in controversies that challenged her integrity and consigned her to an ideologically suspect identity as "DDR Schriftstellerin” (GDR writer) or “Staatsdichterin” (state poet). What Remains: Responses to the Legacy of Christa Wolf asks the question of what truly remains of her legacy in the annals of contemporary German culture and history. Unlike most of what appeared in the wake of Wolf’s death, however, the contributions to this international volume seek neither to monumentalize her nor to dismantle her stature, but to employ a range of methodologies—comparative, intertextual, psychoanalytic, historical, transcultural—to offer sensitive assessments of Wolf’s major literary texts, as well as of her lesser known work in genres such as film and essay.
Performing the Past
Karin Tilmans is an historian, and academic coordinator of the Max Weber Programme at the European University Institute, Florence. Frank van Vree is an historian and professor of journalism at the University of Amsterdam. Jay M. Winter is the Charles J. Stille Professor of History at Yale. --
