{"id":159,"date":"2010-08-07T12:05:39","date_gmt":"2010-08-07T10:05:39","guid":{"rendered":"http:\/\/olafholzapfel.de\/wordpress"},"modified":"2019-10-23T12:08:49","modified_gmt":"2019-10-23T10:08:49","slug":"buecher","status":"publish","type":"page","link":"https:\/\/olafholzapfel.de\/en\/buecher\/","title":{"rendered":"B\u00fccher\/Books"},"content":{"rendered":"<article id=\"post-8537\" class=\"post-8537 post type-post status-publish format-standard has-post-thumbnail hentry category-buecher category-textil\">\t\t\t\t\t\n\t\t\t\t<br>\n\t\t\t\t\t\t\t\t\n\t\t\t\t\t<div class=\"bookloop\">\n<!-- \t\t\t\t\t\t<a href=\"https:\/\/olafholzapfel.de\/en\/textiles\/\" title=\"TEXTILES\"> -->\n\t\t\t\t\t\t\t<div class=\"bookthumb\">\n\t\t\t\t\t\t\t\t<img decoding=\"async\" src=\"https:\/\/olafholzapfel.de\/wp-content\/uploads\/2021\/04\/textiles_cover_book-120x150.jpg\" class=\"attachment-small size-small wp-post-image\" alt=\"\" srcset=\"https:\/\/olafholzapfel.de\/wp-content\/uploads\/2021\/04\/textiles_cover_book-120x150.jpg 120w, https:\/\/olafholzapfel.de\/wp-content\/uploads\/2021\/04\/textiles_cover_book-250x313.jpg 250w, https:\/\/olafholzapfel.de\/wp-content\/uploads\/2021\/04\/textiles_cover_book-700x877.jpg 700w, https:\/\/olafholzapfel.de\/wp-content\/uploads\/2021\/04\/textiles_cover_book-768x962.jpg 768w, https:\/\/olafholzapfel.de\/wp-content\/uploads\/2021\/04\/textiles_cover_book-10x12.jpg 10w, https:\/\/olafholzapfel.de\/wp-content\/uploads\/2021\/04\/textiles_cover_book.jpg 1022w\" sizes=\"(max-width: 120px) 100vw, 120px\" \/>\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<div class=\"exhibitlooptext\">\n\t\t\t\t\t\t\t\t<div class=\"book-title\">TEXTILES<\/div>\n\t\t\t\t\t\t\t\t<div class=\"book-subtitle\"><\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t<div class=\"pip-demo-content\">\t\n\t\t\t\t\t\t\t<!-- wp:gallery {\"ids\":[8890],\"linkTo\":\"file\"} -->\n<figure class=\"wp-block-gallery columns-1 is-cropped\"><ul class=\"blocks-gallery-grid\"><li class=\"blocks-gallery-item\"><figure><a href=\"https:\/\/olafholzapfel.de\/wp\/wp-content\/uploads\/2022\/11\/c-700x871.jpg\"><\/a><\/figure><\/li><\/ul><\/figure>\n<!-- \/wp:gallery -->\n\n<!-- wp:paragraph -->\n<p>Edited by Studio Olaf Holzapfel<br>Texts by Andrea El\u00edas, Inka Gressel, Teresa Guti\u00e9rrez<br>Publisher <a href=\"httpss:\/\/www.bomdiabooks.de\">BOM DIA BOA TARDE BOA NOITE<\/a><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>February 2021<br>English\/German\/Spanish<br>24,5 x 30,5 cm, 128 pages, softcover<br>ISBN 978-3-96436-002-1<br>\u20ac 35.00<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>via <a href=\"httpss:\/\/bomdiabooks.de\/product\/textile\/\">Bom Dia Books<\/a><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><\/p>\n<!-- \/wp:paragraph -->\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n<!-- \t\t\t\t\t\t<\/a> -->\n\t\t\t\t\t\t<br>\n\t\t\t\t\t<\/div>\n\t\t\t<!-- \/\/ Post Wrap End -->\n\n\n\t\t\t\t<article id=\"post-6315\" class=\"post-6315 post type-post status-publish format-standard has-post-thumbnail hentry category-buecher\">\t\t\t\t\t\n\t\t\t\t<br>\n\t\t\t\t\t\t\t\t\n\t\t\t\t\t<div class=\"bookloop\">\n<!-- \t\t\t\t\t\t<a href=\"https:\/\/olafholzapfel.de\/en\/the-rough-law-of-gardens\/\" title=\"The Rough Law of Gardens\"> -->\n\t\t\t\t\t\t\t<div class=\"bookthumb\">\n\t\t\t\t\t\t\t\t<img decoding=\"async\" src=\"https:\/\/olafholzapfel.de\/wp-content\/uploads\/2019\/10\/Holzapfel_Tevet_The-Rough-Law-of-Gardens_cover364-120x168.jpg\" class=\"attachment-small size-small wp-post-image\" alt=\"\" srcset=\"https:\/\/olafholzapfel.de\/wp-content\/uploads\/2019\/10\/Holzapfel_Tevet_The-Rough-Law-of-Gardens_cover364-120x168.jpg 120w, https:\/\/olafholzapfel.de\/wp-content\/uploads\/2019\/10\/Holzapfel_Tevet_The-Rough-Law-of-Gardens_cover364-250x350.jpg 250w, https:\/\/olafholzapfel.de\/wp-content\/uploads\/2019\/10\/Holzapfel_Tevet_The-Rough-Law-of-Gardens_cover364.jpg 364w\" sizes=\"(max-width: 120px) 100vw, 120px\" \/>\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<div class=\"exhibitlooptext\">\n\t\t\t\t\t\t\t\t<div class=\"book-title\">The Rough Law of Gardens<\/div>\n\t\t\t\t\t\t\t\t<div class=\"book-subtitle\">Olaf Holzapfel \/ Nahum Tevet<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t<div class=\"pip-demo-content\">\t\n\t\t\t\t\t\t\t<!-- wp:paragraph -->\n<p>Edited by Galia Bar Or, Hans G\u00fcnter Golinski<br>Text by Galia Bar Or<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>The Rough Law of Gardens documents Olaf Holzapfel and Nahum Tevet\u2019s eponymous joint exhibition and explores the intergenerational differences between two unique artists. Both artists\u2019 work rejects the global logic of growth and traverses the bounds of sculpture and painting: each of their practices involves ideas to do with materiality, learning, and memory. Rather than a conventional two-person show, \u201cThe Rough Law of Gardens,\u201d was a thought process in which aspects of work by one artist were developed, exaggerated, but also inversed, or simply ignored in the work of the other. The exhibition did not pretend to render the affinity between the combined selections of works necessary. Instead, it raised questions regarding the relationship, or lack thereof, between the two art practices in order to reflect on the artists\u2019 connection with or isolation from the historical circumstances and social realities in which they come. <\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>\u201cThe Rough Law of Gardens\u201d was concurrently shown in 2015 at the Kunstmuseum in Bochum, Germany, and the Mishkan Museum of Art, Ein Harod, Israel.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Copublished with Kunstmuseum Bochum, Mishkan Museum of Art, Ein Harod<br>Design by Michal Sahar<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><a href=\"https:\/\/www.sternberg-press.com\/index.php?pageId=1748&amp;l=en&amp;bookId=641\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\"Sternberg Press (\u00f6ffnet in neuem Tab)\">Sternberg Press<\/a><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>April 2017, English<br>16.8 x 23.5 cm, 82 pages, 4 b\/w and 40 color ill., softcover<br>ISBN 978-3-95679-259-5<br>\u20ac15.00<\/p>\n<!-- \/wp:paragraph -->\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n<!-- \t\t\t\t\t\t<\/a> -->\n\t\t\t\t\t\t<br>\n\t\t\t\t\t<\/div>\n\t\t\t<!-- \/\/ Post Wrap End -->\n\n\n\t\t\t\t<article id=\"post-6345\" class=\"post-6345 post type-post status-publish format-standard has-post-thumbnail hentry category-buecher\">\t\t\t\t\t\n\t\t\t\t<br>\n\t\t\t\t\t\t\t\t\n\t\t\t\t\t<div class=\"bookloop\">\n<!-- \t\t\t\t\t\t<a href=\"https:\/\/olafholzapfel.de\/en\/housing-in-amplitude\/\" title=\"Housing in Amplitude\"> -->\n\t\t\t\t\t\t\t<div class=\"bookthumb\">\n\t\t\t\t\t\t\t\t<img decoding=\"async\" src=\"https:\/\/olafholzapfel.de\/wp-content\/uploads\/2019\/10\/978-3-95476-065-7WO5mFRf8rPMCp_1280x1280-120x169.jpg\" class=\"attachment-small size-small wp-post-image\" alt=\"\" srcset=\"https:\/\/olafholzapfel.de\/wp-content\/uploads\/2019\/10\/978-3-95476-065-7WO5mFRf8rPMCp_1280x1280-120x169.jpg 120w, https:\/\/olafholzapfel.de\/wp-content\/uploads\/2019\/10\/978-3-95476-065-7WO5mFRf8rPMCp_1280x1280-250x353.jpg 250w, https:\/\/olafholzapfel.de\/wp-content\/uploads\/2019\/10\/978-3-95476-065-7WO5mFRf8rPMCp_1280x1280-768x1084.jpg 768w, https:\/\/olafholzapfel.de\/wp-content\/uploads\/2019\/10\/978-3-95476-065-7WO5mFRf8rPMCp_1280x1280-700x988.jpg 700w, https:\/\/olafholzapfel.de\/wp-content\/uploads\/2019\/10\/978-3-95476-065-7WO5mFRf8rPMCp_1280x1280.jpg 907w\" sizes=\"(max-width: 120px) 100vw, 120px\" \/>\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<div class=\"exhibitlooptext\">\n\t\t\t\t\t\t\t\t<div class=\"book-title\">Housing in Amplitude<\/div>\n\t\t\t\t\t\t\t\t<div class=\"book-subtitle\">Olaf Holzapfel, Sebasti\u00e1n Preece<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t<div class=\"pip-demo-content\">\t\n\t\t\t\t\t\t\t<!-- wp:paragraph -->\n<p>Elementare Hausformen in wandelbarer Landschaft<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Die weitl\u00e4ufige Landschaft Patagoniens \u2013 des S\u00fcdens von Chile \u2013 und die von den Siedlern vorgenommen Umwandlungen sind Gegenstand dieses Buches. Der deutsche K\u00fcnstler Olaf Holzapfel (geb. 1969 in Dresden, lebt und arbeitet in Berlin) und der chilenische K\u00fcnstler Sebasti\u00e1n Preece (geb. 1972 in Santiago de Chile, lebt und arbeitet in Santiago de Chile) haben sich in der Weite des unbestimmten Raumes, ohne nat\u00fcrliche oder Besitzgrenzen, f\u00fcr eine bestimmte Zeit eingerichtet. In mehreren site-specific projects erforschten die K\u00fcnstler die Lebensweise im extremen S\u00fcden Chiles. Sie haben hier aus Holz Tore, Z\u00e4une, Unterst\u00e4nde und H\u00e4user errichtetet, die sich als flexible und minimalistische Grundgebilde f\u00fcr die Raumnahme erweisen. Die Installationen erarbeiteten sie mit ans\u00e4ssigen Bauern und orts\u00fcblichen Werkzeugen in unterschiedlichen Techniken und Bauweisen in der Region rund um Ays\u00e9n. So stellt sich eine \u00dcbergangssituation ein, in der Handlungen, Arbeit, Wege und Kommunikation den Inhalt des Raumes definieren. <br>Texts by Francisco Brugnoli and Paz Guevara and a detailed essay by Gustavo Boldrini Pardos on the settlement history of Patagonia.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><a href=\"https:\/\/www.distanz.de\/buecher\/olaf-holzapfel-sebastian-preece\/housing-in-amplitude\" target=\"_blank\" rel=\"noreferrer noopener\">DISTANZ Verlag<\/a><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Editor: Museo de Arte Contemporaneo, Facultad de Artes, Universidad de Chile<br>Sprache: German\/English\/Spanish<br>Format: 17 \u00d7 24 cm <br>176 Seiten, ungef\u00e4hr 100 Farbabbildungen, Softcover mit Klappen<br>ISBN978-3-95476-065-7<br>September 2014<br>29,90&nbsp;\u20ac<\/p>\n<!-- \/wp:paragraph -->\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n<!-- \t\t\t\t\t\t<\/a> -->\n\t\t\t\t\t\t<br>\n\t\t\t\t\t<\/div>\n\t\t\t<!-- \/\/ Post Wrap End -->\n\n\n\t\t\t\t<article id=\"post-3259\" class=\"post-3259 post type-post status-publish format-standard has-post-thumbnail hentry category-buecher\">\t\t\t\t\t\n\t\t\t\t<br>\n\t\t\t\t\t\t\t\t\n\t\t\t\t\t<div class=\"bookloop\">\n<!-- \t\t\t\t\t\t<a href=\"https:\/\/olafholzapfel.de\/en\/die-technik-des-landes\/\" title=\"Die Technik des Landes\"> -->\n\t\t\t\t\t\t\t<div class=\"bookthumb\">\n\t\t\t\t\t\t\t\t<img decoding=\"async\" src=\"https:\/\/olafholzapfel.de\/wp-content\/uploads\/2010\/08\/Holzapfel_Technik_des_Landes-120x165.jpg\" class=\"attachment-small size-small wp-post-image\" alt=\"\" srcset=\"https:\/\/olafholzapfel.de\/wp-content\/uploads\/2010\/08\/Holzapfel_Technik_des_Landes-120x165.jpg 120w, https:\/\/olafholzapfel.de\/wp-content\/uploads\/2010\/08\/Holzapfel_Technik_des_Landes-250x344.jpg 250w, https:\/\/olafholzapfel.de\/wp-content\/uploads\/2010\/08\/Holzapfel_Technik_des_Landes.jpg 364w\" sizes=\"(max-width: 120px) 100vw, 120px\" \/>\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<div class=\"exhibitlooptext\">\n\t\t\t\t\t\t\t\t<div class=\"book-title\">The technique of the country<\/div>\n\t\t\t\t\t\t\t\t<div class=\"book-subtitle\">Olaf Holzapfel,  \u201dDie Technik des Landes\u201d<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t<div class=\"pip-demo-content\">\t\n\t\t\t\t\t\t\t<!-- wp:paragraph -->\n<p>Edited by Lindenau-Museum Altenburg<br>Text by Jennifer Allen<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Olaf\n Holzapfel\u2019s work proves the indissoluble connection between human \nsettlement, technique, and abstraction. Elementary space-generating \nmethods like plaiting, weaving, and latticing\u2014age-old settler \ntechniques\u2014stem from natural linear entities. These techniques are \nexceptional in that they don\u2019t differentiate between technique or \nmachine, or whether a structure is purely functional, for living, or \nauxiliary. Holzapfel scrutinizes the perception and presence of material\n within space and whether an image discourse can exist without these \nphysical modules. For him the landscape, and the material it contains, \nis more than a symbol that fixes identity; rather, it becomes a \ntransmitter.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Holzapfel\u2019s exhibition at the Lindenau-Museum \nAltenburg, on occasion of being awarded the Gerhard-Altenbourg Prize \n2014, explores the interstices between craft and art, and consequently, \nbetween orality and literacy. Much of his work presented in this \ncatalogue\u2014framework installations, hay images, and straw images are \ndisplayed in this book\u2014was made together with farmers and craftspeople; \nby transforming age-old handiwork into contemporary art, Holzapfel \nunsettles the division between nature and culture, and tradition and \nmodernity.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Design by Studio Manuel Raeder<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>February 2015, English\/German<br>23 x 31 cm, 104 pages, 55 color ill., hardcover<br>ISBN 978-3-95679-091-1<br>\u20ac28.00<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><a rel=\"noreferrer noopener\" aria-label=\" (\u00f6ffnet in neuem Tab)\" href=\"https:\/\/www.sternberg-press.com\/index.php?pageId=1570&amp;l=en&amp;bookId=464&amp;sort=\" target=\"_blank\">www.sternbergpress.com<\/a><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>23 x 31 cm, 104 pages, 55 color ill., hardcover<br>ISBN 978-3-95679-091-1<\/p>\n<!-- \/wp:paragraph -->\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n<!-- \t\t\t\t\t\t<\/a> -->\n\t\t\t\t\t\t<br>\n\t\t\t\t\t<\/div>\n\t\t\t<!-- \/\/ Post Wrap End -->\n\n\n\t\t\t\t<article id=\"post-3261\" class=\"post-3261 post type-post status-publish format-standard has-post-thumbnail hentry category-buecher\">\t\t\t\t\t\n\t\t\t\t<br>\n\t\t\t\t\t\t\t\t\n\t\t\t\t\t<div class=\"bookloop\">\n<!-- \t\t\t\t\t\t<a href=\"https:\/\/olafholzapfel.de\/en\/region\/\" title=\"Region\"> -->\n\t\t\t\t\t\t\t<div class=\"bookthumb\">\n\t\t\t\t\t\t\t\t<img decoding=\"async\" src=\"https:\/\/olafholzapfel.de\/wp-content\/uploads\/2019\/02\/978-3-942405-97-3Xhcmzd8ZX2U4a_1280x1280-120x145.jpg\" class=\"attachment-small size-small wp-post-image\" alt=\"\" srcset=\"https:\/\/olafholzapfel.de\/wp-content\/uploads\/2019\/02\/978-3-942405-97-3Xhcmzd8ZX2U4a_1280x1280-120x145.jpg 120w, https:\/\/olafholzapfel.de\/wp-content\/uploads\/2019\/02\/978-3-942405-97-3Xhcmzd8ZX2U4a_1280x1280-250x303.jpg 250w, https:\/\/olafholzapfel.de\/wp-content\/uploads\/2019\/02\/978-3-942405-97-3Xhcmzd8ZX2U4a_1280x1280-768x930.jpg 768w, https:\/\/olafholzapfel.de\/wp-content\/uploads\/2019\/02\/978-3-942405-97-3Xhcmzd8ZX2U4a_1280x1280-700x848.jpg 700w, https:\/\/olafholzapfel.de\/wp-content\/uploads\/2019\/02\/978-3-942405-97-3Xhcmzd8ZX2U4a_1280x1280.jpg 1057w\" sizes=\"(max-width: 120px) 100vw, 120px\" \/>\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<div class=\"exhibitlooptext\">\n\t\t\t\t\t\t\t\t<div class=\"book-title\">Region<\/div>\n\t\t\t\t\t\t\t\t<div class=\"book-subtitle\">Olaf Holzapfel,  \u201cRegion \u2013 die Technik des Landes&#8220;<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t<div class=\"pip-demo-content\">\t\n\t\t\t\t\t\t\t<!-- wp:paragraph -->\n<p>The land surrounds the city; it is its shell, its mirror, its source, its Other. Rural activities are not secondary or pre-modern but are of equal importance to what we understand as the contemporary, often urban center. After a decade of focusing on virtual spaces and their interplay with public space, Olaf Holzapfel (born 1969 in G\u00f6rlitz, lives and works in Berlin and Dresden) addresses the relationship between technology and nature. His works explore the transformation of the material into technology, beginning with the originally rural, agricultural aspects for people. <br>With a series of new half-timbered sculptures, Olaf Holzapfel describes space as a linear model, adaptable and contemporary. A wooden timbered structure can be modified, rebuilt and reimagined. This publication presents a group of sculptural wooden constructions that engage with the formal language of half-timbering. In contrast to these wooden sculptures, the artist presents a series of geometrically woven straw figures. These artifacts, crafted using traditional techniques, refer to the motif of rural life and to abstract patterns found in traditional costumes. <br>The works mark a distinct minimalism. Both series are also placed in a contemporary dialogue with other artists from the Dresden region who responded to their time: the landscape painter Eduard Leonhardi, the photography pioneer Hermann Krone, the constructivist Hermann Gl\u00f6ckner, and Curt Querner, an early representative of New Objectivity. <br>Texts by Martin Germann, Peter Lang and Dieter Roelstraete.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><a href=\"httpss:\/\/www.distanz.de\/buecher\/olaf-holzapfel\/olaf-holzapfel\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\"DISTANZ Verlag (\u00f6ffnet in neuem Tab)\">DISTANZ Verlag<\/a><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Editor: Leonhardi-Museum Dresden, Bernd Heise<br>Sprache: Deutsch\/Englisch<br>Format: 22 \u00d7 26 cm <br>112 Seiten, ungef\u00e4hr 70 Farbabbildungen, Softcover, Schutzumschlag<br>ISBN 978-3-942405-97-3<br>Januar 2013, 29,90\u00a0\u20ac<\/p>\n<!-- \/wp:paragraph -->\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n<!-- \t\t\t\t\t\t<\/a> -->\n\t\t\t\t\t\t<br>\n\t\t\t\t\t<\/div>\n\t\t\t<!-- \/\/ Post Wrap End -->\n\n\n\t\t\t\t<article id=\"post-9805\" class=\"post-9805 post type-post status-publish format-standard has-post-thumbnail hentry category-buecher\">\t\t\t\t\t\n\t\t\t\t<br>\n\t\t\t\t\t\t\t\t\n\t\t\t\t\t<div class=\"bookloop\">\n<!-- \t\t\t\t\t\t<a href=\"https:\/\/olafholzapfel.de\/en\/das-nomadische-kriterium\/\" title=\"Das nomadische Kriterium\"> -->\n\t\t\t\t\t\t\t<div class=\"bookthumb\">\n\t\t\t\t\t\t\t\t<img decoding=\"async\" src=\"https:\/\/olafholzapfel.de\/wp-content\/uploads\/2025\/03\/normadische-kriterium-120x178.jpg\" class=\"attachment-small size-small wp-post-image\" alt=\"Coverabbildung des Ausstellungskatalogs &quot;Olaf Holzapfel: Das nomadische Kriterium&quot;\" srcset=\"https:\/\/olafholzapfel.de\/wp-content\/uploads\/2025\/03\/normadische-kriterium-120x178.jpg 120w, https:\/\/olafholzapfel.de\/wp-content\/uploads\/2025\/03\/normadische-kriterium-250x371.jpg 250w, https:\/\/olafholzapfel.de\/wp-content\/uploads\/2025\/03\/normadische-kriterium-8x12.jpg 8w, https:\/\/olafholzapfel.de\/wp-content\/uploads\/2025\/03\/normadische-kriterium.jpg 300w\" sizes=\"(max-width: 120px) 100vw, 120px\" \/>\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<div class=\"exhibitlooptext\">\n\t\t\t\t\t\t\t\t<div class=\"book-title\">Das nomadische Kriterium<\/div>\n\t\t\t\t\t\t\t\t<div class=\"book-subtitle\">Olaf Holzapfel: Das nomadische Kriterium<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t<div class=\"pip-demo-content\">\t\n\t\t\t\t\t\t\t<!-- wp:paragraph -->\n<p>Editor: Beate Ermacora, Galerie im Taxispalais Innsbruck und Beate Reese, Kunstmuseum M\u00fclheim an der Ruhr<br>Texte: Beate Ermacora, Dieter Roelstraete, Martin Germann<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>In seinem k\u00fcnstlerischen Schaffen untersucht Olaf Holzapfel vor allem den urbanen Raum \u2013 einen Raum, der sich der bewussten Rezeption entzieht \u2013 nach Zeichen, die unsere Wahrnehmung organisieren. Sie sind f\u00fcr ihn Spuren einer zeitlich begrenzten, subjektiven Realit\u00e4t. Hierbei setzt er einem von Linearit\u00e4t und Zentralisierung gepr\u00e4gten Verst\u00e4ndnis von Wahrheit und Wirklichkeit Diskontinuit\u00e4t und Simultaneit\u00e4t entgegen. Schicht f\u00fcr Schicht wird die Empfindung von einer multidimensionalen Wirklichkeit zu einer Einheit verflochten. In dem Buch werden Digitalbilder, Malerei und Raum-Installationen gezeigt.<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Verlag:\u00a0K\u00f6ln DuMont,\u00a02009<br>Sprache: Deutsch\/Englisch<br>ISBN\u00a0978-3-8321-9252-5<\/p>\n<!-- \/wp:paragraph -->\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n<!-- \t\t\t\t\t\t<\/a> -->\n\t\t\t\t\t\t<br>\n\t\t\t\t\t<\/div>\n\t\t\t<!-- \/\/ Post Wrap End -->\n\n\n\t\t\t\t<article id=\"post-6323\" class=\"post-6323 post type-post status-publish format-standard has-post-thumbnail hentry category-buecher\">\t\t\t\t\t\n\t\t\t\t<br>\n\t\t\t\t\t\t\t\t\n\t\t\t\t\t<div class=\"bookloop\">\n<!-- \t\t\t\t\t\t<a href=\"https:\/\/olafholzapfel.de\/en\/verhandelte-zeichen\/\" title=\"Verhandelte Zeichen\"> -->\n\t\t\t\t\t\t\t<div class=\"bookthumb\">\n\t\t\t\t\t\t\t\t<img decoding=\"async\" src=\"https:\/\/olafholzapfel.de\/wp-content\/uploads\/2019\/10\/holzapfel_cover_364-120x151.jpg\" class=\"attachment-small size-small wp-post-image\" alt=\"\" srcset=\"https:\/\/olafholzapfel.de\/wp-content\/uploads\/2019\/10\/holzapfel_cover_364-120x151.jpg 120w, https:\/\/olafholzapfel.de\/wp-content\/uploads\/2019\/10\/holzapfel_cover_364-250x315.jpg 250w, https:\/\/olafholzapfel.de\/wp-content\/uploads\/2019\/10\/holzapfel_cover_364.jpg 364w\" sizes=\"(max-width: 120px) 100vw, 120px\" \/>\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<div class=\"exhibitlooptext\">\n\t\t\t\t\t\t\t\t<div class=\"book-title\">dealing with signs<\/div>\n\t\t\t\t\t\t\t\t<div class=\"book-subtitle\">Olaf Holzapfel, Nakano Sakaue<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t<div class=\"pip-demo-content\">\t\n\t\t\t\t\t\t\t<!-- wp:paragraph -->\n<p>Text by Andreas Spiegl<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Nakano Sakaue documents a series of photographs realized by Olaf Holzapfel during a residency in Tokyo. The artist has depicted a kind of residue from the city\u2019s buildings: neon lights, images, and street signs, which are featured as so many promises for orientation. Most prominent are the signs that guide the blind: they are markings in the ground, forming a guidance system that can be felt by a blind person\u2019s cane. As a rule, the marks are long, yellow grooves or dotted surfaces that inform whether a route continues or changes direction. These marks constitute a city within the city, the markings of an unseen city in the midst of the visible city. <\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Holzapfel\u2019s attention is drawn precisely to this motif: at the intersection of visible and invisible, a system of coordinates exists for a visual concept that uses the discernible to discuss the imperceptible. According to the author Andreas Spiegl, the artist\u2019s pictures \u201coffer both vision and a view that is searching for orientation. In this sense, they represent both images and maps alike. They show specific situations, and allude to an abstraction that liberates itself from place in order to point to the imaginary. Seeing the imaginary, the eye moves through the image to return to the coordinates of perception itself. The geography that Holzapfel sketches with this atlas describes perception as a territory\u2014the view of the visible and the imaginary, as a city, appears anywhere the relationship of each to the other can be seen.\u201d<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>Design by Surface, Frankfurt am Main\/Berlin<\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p><a href=\"https:\/\/www.sternberg-press.com\/index.php?pageId=1235&amp;l=en&amp;bookId=130&amp;sort=\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\"Sternberg Press (\u00f6ffnet in neuem Tab)\">Sternberg Press<\/a><\/p>\n<!-- \/wp:paragraph -->\n\n<!-- wp:paragraph -->\n<p>2009, English\/German<br>\n22 x 27.5 cm, 112 pages, 15 b\/w and 53 color ill., hardcover<br>\nISBN 978-1-933128-65-8<br>\n\u20ac29.00<\/p>\n<!-- \/wp:paragraph -->\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n<!-- \t\t\t\t\t\t<\/a> -->\n\t\t\t\t\t\t<br>\n\t\t\t\t\t<\/div>\n\t\t\t<!-- \/\/ Post Wrap End -->","protected":false},"excerpt":{"rendered":"","protected":false},"author":3,"featured_media":0,"parent":0,"menu_order":2,"comment_status":"closed","ping_status":"open","template":"","meta":{"footnotes":""},"class_list":["post-159","page","type-page","status-publish","hentry"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v26.7 - 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