einBuch.haus
The exhibition programme features international artists and designers whose work responds to the medium of artists’ books. Starting from the content and material production of a book, einBuch.haus collaborates with the artists to develop the exhibition into various media and
presentations. With an interdisciplinary approach, the programme highlights and enhances both the visual and tactile aspects of the reading experience.
Since 2022, einBuch.haus has also been operating as a publishing house and publishing exhibitions in book format.
"Calendar 2025" pays homage to the exhibition "March 1969" by Seth Siegelaub, with the invitation text amended from his original letter. Participating artists were invited to present works exploring the concept of "Time" in relation to their assigned month. Through this project, einBuch.haus aims to connect contemporary artists who use the "book" as a primary artistic practice.
The concept was developed in collaboration with my dear colleague and friend, Claudia de la Torre, following the success of our first calendar exhibition, "Calendar 2023," in 2022.
This wall drawing kit includes all the elements to create the drawing depicted on the cover of the box.
Published by einBuch.haus in an edition of fifteen for the exhibition “The wall is a piece of paper.”, which opens on the 17th of October, 2024
The artist’s book is based on a conversation between artist Pilar Millán and researcher and independent curator María Morata, held in Madrid in autumn 2021:
A bench in the Botanical Garden outside an exhibition, La simetría de
los encuentros. On it, the artist is chatting calmly with María. She asks questions and discovers stories behind the pieces in the exhibition. Their conversation about the project exhibited in Madrid continues in Berlin, with its pieces scattered on the floor of Pilar’s attic and decide to write down this conversation. On the computer, over the past two years, the text has been accompanied by images as the concept and the pieces have evolved.
Like stories and myths, the conversation unfolds in four chapters in a fold-out book - books that open, cover and reveal, that hold surprises or fold - hide - in on themselves as the reader manipulates them.
A bright orange thread, the colour of burning charcoal, stitches the four notebooks to the flexible Neobond cover. The artist, together
with the graphic designer Julia Fabricius, has conceived the interior
of the publication with the deliberate intention that it should be freely manipulable and that, at the same time as the readers creates new compositions among the images through the manipulation of the book, they can form their own ideas and perspectives of reading. In addition, the soft cover and organic form function as an echo of the manipulation of botany and nature, a central component of the artist’s reflection on KOHLEFADEN (hilo de carbón) project.
Le Théâtre Graphique (The Graphic Theatre) is a wordless flipbook where the waves
of the sea transform into a theatre curtain.
It is also a metaphor for the rising sea levels and the ambivalence between natural and man-made spaces. The book presents a theatre of shapes and colours, drawing correlations between forms.
Initially self-published in 2015, it was exhibited as part of Boris’ solo exhibition
at Une Saison Graphique, a festival of art
and design in France. In 2016, the book
was published as a limited edition of 200 (currently out of print). This is the third edition, revised and expanded from 40 to
72 pages. The second edition of the book
was acquired by the Stedelijk Amsterdam alongside the screenprints which are also now part of the museum’s collection.
Katharina Kamph's "Timaios" serves as a direct reference to Plato, who provides the first description of the Platonic solids in the creation myth Timaios. The protagonists Timaios, Socrates, Kritias and Hermokrates philosophise about the origin of the world. In his lecture on natural philosophy, Timaios explains why the cosmos is shaped by two factors: reason and necessity. Since God must have created the cosmos optimally, the nature of the world is made up of four fundamental elements, whose ultimate symmetry and thus beauty imperatively explain their existence.
Paul Schatz, a german mathematician, artist, and inventor, discovered in 1929 that the dodecahedron can be subdivided into two star bodies and a cube-belt, more specifically into movable inverted bodies or kaleidocycles. Kamph's "Timaios" is shaped in the form of a kaleidocycle and filled with several tetrahedrons. Plato's question about the origin of the World is brought into the context of an artistic object conceived by Paul Schatz added with tetrahedrons, that can be turned around forever and ever.