Books by Christoph Benjamin Schulz
Die Geschichte(n) gefalteter Bücher: Leporellos, Livres-Accordéon und Folded Panoramas in Literatur und bildender Kunst. Olms: Heidelberg, Zürich, New York, 2019
Die Beiträge dieser ersten internationalen Gesamtschau über das Phänomen gefalteter Bücher umfass... more Die Beiträge dieser ersten internationalen Gesamtschau über das Phänomen gefalteter Bücher umfassen 600 Jahre okzidentaler Buchgeschichte: Sie reicht von Faltbüchern des Mittelalters und Harlequinaden der frühen Neuzeit über entfaltbare Seitenfolgen in gebundenen Büchern bis hin zu Leporellos, Folded Panoramas und Livres-Accordéon, die im 19. Jahrhundert eine veritable Blütezeit erfuhren. Im 20. Jahrhundert erlebten gefaltete Bücher sowohl in der experimentellen Literatur als auch im Kontext des Künstlerbuchs eine internationale Renaissance.
The essays in this international overview of the phenomenon of folded books cover 600 years of western book history, ranging from mediaeval folded books and early modern harlequinades, through folded leaves in bound books, to the leporellos, folded panoramas and livres-accordéon which flourished in the 19th century. In the 20th century folded books enjoyed an international renaissance both in experimental literature and in the context of Artists’ Books. The material expansion of the bookblock is far more than just a surprising effect: it allows for other forms of producing content than those available in a bound book, and thus for different reading experiences. Books that can be unfolded transform themselves before the eyes of their viewers. Folding is a rich and complex aesthetic strategy, especially in the context of book history. The richly-illustrated stories of folded books collected here constitute a hitherto undiscovered book-historical treasure.
Das Alphabet als Dispositiv bietet Verfassern und Nutzern von Enzyklopädien, Lexika und Wörterbüc... more Das Alphabet als Dispositiv bietet Verfassern und Nutzern von Enzyklopädien, Lexika und Wörterbüchern unschätzbar praktische Vorteile, wenn es um ein effizientes Arrangement großer Informationsmengen geht. Daneben gibt es Texte, deren Verfasser sich der alphabetischen Form bedienen, weil sie sich um ihrer selbst und ihrer Implikationen willen für sie interessieren: ›Literarische‹ Wörterbücher und Vokabellisten, Lexikonromane, enzyklopädische Darstellungen von Gegenständen, über die primär geschrieben wird, um sie in einen alphabetisch organisierten Text aufzunehmen, ja die möglicherweise eigens für diese Darstellung erfunden wurden. Der vorliegende Band versammelt die Beiträge einer Tagung an der Ruhr-Universität Bochum zum Thema „Lexikographik als künstlerisch-literarische Schreibweise“, die sich aus verschiedenen Perspektiven mit den Beziehungen zwischen Alphabet, Konzepten der Enzyklopädistik, Verfahren der Lexikographik und der Wörterbuchproduktion sowie mit deren Bedeutung für Literatur und Kunst auseinandersetzen. Die lange Geschichte ästhetischer Gestaltungen des Buchstäblichen und alphabetbezogener Darstellungsverfahren steht dabei ebenso im Blick wie die Konvergenzen von wissenspoetologischen, sprachreflexiven und ästhetischen Interessen.
Lewis Carroll’s timeless novels, Alice’s Adventures in Wonderland and Through the Looking Glass, ... more Lewis Carroll’s timeless novels, Alice’s Adventures in Wonderland and Through the Looking Glass, have fascinated children and adults alike since their publication over 150 years ago. Alice in Wonderland at Tate Liverpool is the first exhibition of its kind to explore how Lewis Carroll’s stories have influenced the visual arts, inspiring generations of artists. The exhibition will provide insight into the creation of the novels and the inspiration they have provided for artists through the decades. The starting point for the exhibition is Carroll’s original manuscript, written in 1864 as a present for ten year old Alice Liddell. Carroll’s own illustrations ensured that images were central to the story, creating a visual world which took on a life of its own. Alice in Wonderland will offer visitors a rare opportunity to view Carroll’s own drawings and photographs, alongside Victorian Alice memorabilia and John Tenniel’s preliminary drawings for the first edition of the novel. Carroll’s stories were soon adopted by other artists. Surrealist artists from the 1930s onwards were drawn towards the fantastical world of Wonderland where natural laws were suspended. From the 1960s through the 1970s, Carroll’s Alice tales also prompted conceptual artists to explore language and its relationship to perception, and the stories inspired further responses in Pop and Psychedelic art. Expect to see works by artists ranging from Salvador Dalí and René Magritte, to Peter Blake and Yayoi Kusama. Alice in Wonderland will also showcase an exciting selection of contemporary art, demonstrating the continuing artistic relevance of Carroll’s novels. Works by Anna Gaskell, Annelies Strba and Torsten Lauschmann will all appear, exploring ideas such as the journey from childhood to adulthood; language, meaning and nonsense; scale and perspective; and perception and reality.
Das weiße Kaninchen mit der Taschenuhr, die Grinsekatze, der verrückte Hutmacher und natürlich Al... more Das weiße Kaninchen mit der Taschenuhr, die Grinsekatze, der verrückte Hutmacher und natürlich Alice selbst – das Figurenpersonal und der absurd-hintersinnige Sprachwitz von Lewis Carroll haben Alice im Wunderland längst zum Lieblingsbuch aller Altersgruppen gemacht. Auch Künstler und Künstlerinnen haben sich von der ebenso fantastisch-fantasievollen wie grausamen Erzählung inspirieren lassen und sie seit der Erstveröffentlichung 1865 in zahllosen Werken verarbeitet. Die vielseitigsten stellt dieses Buch einander gegenüber: Beginnend mit den originalen Buchillustrationen von John Tenniel über Arbeiten von Max Ernst, René Magritte, Salvador Dalí und anderen Surrealisten sowie die Kunst der 1960er-Jahre bis hin zu zeitgenössischen Werken von Anna Gaskell und Kiki Smith oder großformatigen Installationen von Stephan Huber und Pipilotti Rist. Der bibliophile Band belegt und beleuchtet die ungebrochene Aktualität dieser literarischen Schöpfung.
The Swedish installation artist Matts Leiderstam (*1956 in Göteborg) is interested in traditions ... more The Swedish installation artist Matts Leiderstam (*1956 in Göteborg) is interested in traditions of portrait and landscape painting of the 18th and 19th centuries. With the aid of slide projections, computer animations, optical instruments (colour filters, magnifying glasses, binoculars, etc.) and his own reproductions of originals, the artist appropriates (art-) historical material, offering the viewer alternative ways of looking at visual motifs and compositions. He focusses the attention on incidental details and subtle codes that normally are hardly perceived owing to habitual patterns of seeing and interpreting. He usually plans his exhibitions, which frequently take the form of archives or historical collections of paintings, for specific locations. In the context of his new installation „Neanderthal Land scape“ he creates an archival situation for the gallery hall in which visitors can follow the development and results of his research on the 19th century Düsseldorf School of Painting. Through binoculars the visitor can examine the tiniest details of historical landscape paintings from the gallery, installed in unconventional arrangements on the large wall of the huge exhibition hall of the museum. On exhibit are paintings from different collections that have direct or indirect connections with the teachings of the landscape artist Johann Wilhelm Schirmer (1807-1863) who took his students to the nearby Neandertal. The influence of the Düsseldorfer Malerschule can interestingly be followed to Scandinavian as well as also to many other nations' traditions of landscape painting. The show at Kunsthalle Düsseldorf is presented at the same time as the „Schirmer Projekt 2010“ in Düsseldorf, devoted to the work and times of this landscape artist, in which Düsseldorf's museum kunst palast and five further institutions from the region are participating
A flip book is a book that becomes a cinema for a short space of time; it is a sequence of images... more A flip book is a book that becomes a cinema for a short space of time; it is a sequence of images that reveals its narrative as you look at it, an object that you have to touch in order to get it to tell its story.
In the world’s first comprehensive exhibition on the subject, the thematic and contextual convergence of art, animation and film in the 20th Century is charted, placing the flip book—a well-known and yet scantly regarded medium—squarely in the public eye. Simultaneously both book and pocket cinema, picture sequence and narrative, the flip book has elicted wide-ranging artistic interpretation over the years and provided fascinating insights into the anatomy of the moving image ever since it was patented in 1868 by the English printer John Barnes Linnett.
Included in the presentation are flip books both from the past and the present, experimental films and artists’ books, which in turn derive their effect from the sequential order of their pictures and as such, share a certain commonality with the flip book by virtue of their medium—not every flip book can immediately be recognized as such. Harnessing its formal parameters, artists have regarded the medium as a challenge, used it and interpreted it anew.
The exhibition comprises flip books gathered from more than 170 artists and filmmakers and divides them up into different categories: from monographic retrospectives (Ruth Hayes/George Griffin), surveys of particular forms of image (portrait/short film), thematic references to the history of erotic animation, specific eras (1960s, 1970s) to current artistic positions which extend the range of the flip book.
The vast majority of the flip books can actually be touched or »thumbed-through« by visitors to the exhibition. In addition, alternative methods of presentation have been developed to accommodate rare or historic specimens focusing on the specific attributes of the flip book, such as its diminutive size and the way it is individually perceived.
The main focus of the exhibition is upon flip books by contemporary artists and filmakers, such as John Baldessari, Robert Breer, Tacita Dean, Elliott Erwitt, Julia Featheringill, Jårg Geismar, Volker Gerling, Gilbert & George, Douglas Gordon, Keith Haring, Sabine Hecher, William Kentridge, Sigrun Köhler, Eric Lanz, Jonathan Monk, Bruce Nauman, Stephanie Ognar, Tony Oursler, Dieter Roth, Miguel Rothschild, Jack Smith, Beat Streuli, Andy Warhol and Janet Zweig amongst others.
Die Apparaturen bewegter Bilder, die sich während des 19. Jahrhunderts zu frühen optischen Medien... more Die Apparaturen bewegter Bilder, die sich während des 19. Jahrhunderts zu frühen optischen Medien entwickeln, gehen aus der experimentell-physiologischen Erforschung der Sinneswahrnehmung hervor. Dabei entstehen erste, teils wiederholte, dann miteinander kombinierte Erfindungen von Bewegtbildmedien, die zunächst für einen einzelnen Betrachter und später, als Projektionsapparate, für ein größeres Publikum bestimmt sind. Die Beiträge des vorliegenden Bandes verdeutlichen die interdisziplinäre Verschränkung des Wissens von der apparativ erzeugten Bewegungswahrnehmung mit medialen Entwicklungen und nehmen die historischen Dispositive bewegter Bilder als Grundlage jeder Kunst mit bewegten Bildern neu in den Blick. Mit Beiträgen von Astrid Deuber-Mankowsky, Mary Ann Doane, Michel Frizot, Daniel Gethmann, Vinzenz Hediger, Hans-Christian von Herrmann, Christoph Hoffmann, Ute Holl, Frank Kessler, Christian Lebrat, Philippe-Alain Michaud, Bernhard Siegert und Joseph Wachelder.
Selected Papers and Articles by Christoph Benjamin Schulz
Künstlerinnen Schreiben. Ausgewählte Beiträge zur Kunsttheorie aus drei Jahrhunderten Hg. von Renate Kroll und Susanne Gramatzki, Berlin: Reimer 2018, S. 163–182, 2018
Metzler Lexikon Moderne Mythen Hg. von Stephanie Wodianka. Stuttgart: Metzler 2014, S. 12–15 , 2014
Clear the Air. Künstler-Manifeste seit den 1960er Jahren Hg. von Burcu Dogramaci und Katja Schneider. Bielefeld: Transkript 2017, S. 249–270, 2017
Keine Bilder ohne Worte. Fotografinnen und Filmemacherinnen und ihre Texte Hg. von Renate Kroll, Susanne Gramatzki. Berlin: Aviva 2021, S. 273–287, 2021
BildWissen – KinderBuch. Historische Sachliteratur für Kinder und Jugendliche und ihre digitale Analyse. Hg. von Sebastian Schmiedeler, Wiebke Helm. Stuttgart: J.B. Metzler, S. 23–44, 2021
Medium Buch 2. Wolfenbütteler intermediale Studien. Hg. von Ute Schneider und Philip Ajouri. Wiesbaden: Harrassowitz Verlag , 2020
Volker Gerling: PORTRAITS IN MOTION, 2022
On the development of the patents cf. Pascal Fouché, «Versuch einer Geschichte des Daumenkinos», ... more On the development of the patents cf. Pascal Fouché, «Versuch einer Geschichte des Daumenkinos», in Christoph Benjamin Schulz, Daniel Gethmann (ed.) Daumenkino-The Flip Book Show, pp. 10-25. 11 The corresponding patent for photographic flipbooks was filed by the Englishmen John O'Neill and Robert McNally in England in 1897. cf. ibid., p. 16. On early animated photographic portraits cf. also Stephen Herbert, «Animated Portrait Photo
Faltbilder. Medienspezifika klappbarer Bildträger Hg. von David Ganz und Marius Rimmele. Berlin: Reimer, 2016, 2016
Neohelicon 47 (2020), S. 559–585, 2020
In the history of books, fold-out pages or page sequences in bound books have at first glance par... more In the history of books, fold-out pages or page sequences in bound books have at first glance particularly been used for the purpose of reducing large-format illustrations to the format of a book-thus for practical rather than aesthetic or even playful reasons. This applies, for example, to maps, all kinds of complex schematic drawings, chronologies or panoramic-geographical representations. This article is dedicated to the use of folds in children's books from the nineteenth century to the present day, ranging from unfoldable illustrations in books, to pages unfolding out of books, to book objects dissolving through unfolding. The artistic approach to processes of unfolding not only allows for unconventional forms of narration; it can also be an occasion to question the conventionalised material form of the codex.
Kinomagie. Was geschah wirklich zwischen den Bildern? Hg. von Werner Nekes. Wien, 2015
Die Geschichte(n) gefalteter Bücher: Leporellos, Livres-Accordéon und Folded Panoramas in Literatur und bildender Kunst. Hg. von Christoph Benjamin Schulz. Hildesheim, Zürich, New York: Olms, 2019, 2019
Das Gedicht als Buch 1962 erschien mit Ferdinand Kriwets Abhandlung Virtual-aktuelle Buchanzeige ... more Das Gedicht als Buch 1962 erschien mit Ferdinand Kriwets Abhandlung Virtual-aktuelle Buchanzeige ein poetologischer Text, der sich mit den strukturellen Eigenheiten des Buches und ihrem literarischen Potenzial auseinandersetzt. 1 Er gehört zu den frühesten Indikatoren eines neuen Bewusststeins der Literatur für die Spezifika der medialen Form und der materiellen Struktur des Buches, die nicht mehr hinter dem Text verschwinden, sondern zu einem integralen Bestandteil eines literarischen Werks werden sollten. Wichtig sei, so Kriwet, "daß die intellektuellen Recherchen des literarischen Autors sich vorerst an des Buches Gestalt, an seiner Materialität zu üben beginnen und dann erst ins ‚literarische Denken' münden, welches von dort aus schließlich seinen Zündstoff bezieht". 2 In diesem Sinne stellt das Buch als Publikationsformat nicht den ‚Abschluss' eines literarischen Werks, sondern den Ausgangspunkt literarischen Denkens dar-und nicht etwa das weiße Blatt auf dem Tisch des Dichters oder der in die Schreibmaschine eingespannte Bogen Papier. Zu den frühen literarischen Konzeptionalisten des Buches als materieller ‚literarischer Form' gehört auch Carlfriedrich Claus. Franz Mon publizierte 1964 Claus' Text Notizen zwischen der experimentellen Arbeit-zu ihr, der in eine ähnliche Richtung geht. 3 1966 erschien dann Eugen Gomringers Text vom
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Books by Christoph Benjamin Schulz
The essays in this international overview of the phenomenon of folded books cover 600 years of western book history, ranging from mediaeval folded books and early modern harlequinades, through folded leaves in bound books, to the leporellos, folded panoramas and livres-accordéon which flourished in the 19th century. In the 20th century folded books enjoyed an international renaissance both in experimental literature and in the context of Artists’ Books. The material expansion of the bookblock is far more than just a surprising effect: it allows for other forms of producing content than those available in a bound book, and thus for different reading experiences. Books that can be unfolded transform themselves before the eyes of their viewers. Folding is a rich and complex aesthetic strategy, especially in the context of book history. The richly-illustrated stories of folded books collected here constitute a hitherto undiscovered book-historical treasure.
In the world’s first comprehensive exhibition on the subject, the thematic and contextual convergence of art, animation and film in the 20th Century is charted, placing the flip book—a well-known and yet scantly regarded medium—squarely in the public eye. Simultaneously both book and pocket cinema, picture sequence and narrative, the flip book has elicted wide-ranging artistic interpretation over the years and provided fascinating insights into the anatomy of the moving image ever since it was patented in 1868 by the English printer John Barnes Linnett.
Included in the presentation are flip books both from the past and the present, experimental films and artists’ books, which in turn derive their effect from the sequential order of their pictures and as such, share a certain commonality with the flip book by virtue of their medium—not every flip book can immediately be recognized as such. Harnessing its formal parameters, artists have regarded the medium as a challenge, used it and interpreted it anew.
The exhibition comprises flip books gathered from more than 170 artists and filmmakers and divides them up into different categories: from monographic retrospectives (Ruth Hayes/George Griffin), surveys of particular forms of image (portrait/short film), thematic references to the history of erotic animation, specific eras (1960s, 1970s) to current artistic positions which extend the range of the flip book.
The vast majority of the flip books can actually be touched or »thumbed-through« by visitors to the exhibition. In addition, alternative methods of presentation have been developed to accommodate rare or historic specimens focusing on the specific attributes of the flip book, such as its diminutive size and the way it is individually perceived.
The main focus of the exhibition is upon flip books by contemporary artists and filmakers, such as John Baldessari, Robert Breer, Tacita Dean, Elliott Erwitt, Julia Featheringill, Jårg Geismar, Volker Gerling, Gilbert & George, Douglas Gordon, Keith Haring, Sabine Hecher, William Kentridge, Sigrun Köhler, Eric Lanz, Jonathan Monk, Bruce Nauman, Stephanie Ognar, Tony Oursler, Dieter Roth, Miguel Rothschild, Jack Smith, Beat Streuli, Andy Warhol and Janet Zweig amongst others.
Selected Papers and Articles by Christoph Benjamin Schulz
The essays in this international overview of the phenomenon of folded books cover 600 years of western book history, ranging from mediaeval folded books and early modern harlequinades, through folded leaves in bound books, to the leporellos, folded panoramas and livres-accordéon which flourished in the 19th century. In the 20th century folded books enjoyed an international renaissance both in experimental literature and in the context of Artists’ Books. The material expansion of the bookblock is far more than just a surprising effect: it allows for other forms of producing content than those available in a bound book, and thus for different reading experiences. Books that can be unfolded transform themselves before the eyes of their viewers. Folding is a rich and complex aesthetic strategy, especially in the context of book history. The richly-illustrated stories of folded books collected here constitute a hitherto undiscovered book-historical treasure.
In the world’s first comprehensive exhibition on the subject, the thematic and contextual convergence of art, animation and film in the 20th Century is charted, placing the flip book—a well-known and yet scantly regarded medium—squarely in the public eye. Simultaneously both book and pocket cinema, picture sequence and narrative, the flip book has elicted wide-ranging artistic interpretation over the years and provided fascinating insights into the anatomy of the moving image ever since it was patented in 1868 by the English printer John Barnes Linnett.
Included in the presentation are flip books both from the past and the present, experimental films and artists’ books, which in turn derive their effect from the sequential order of their pictures and as such, share a certain commonality with the flip book by virtue of their medium—not every flip book can immediately be recognized as such. Harnessing its formal parameters, artists have regarded the medium as a challenge, used it and interpreted it anew.
The exhibition comprises flip books gathered from more than 170 artists and filmmakers and divides them up into different categories: from monographic retrospectives (Ruth Hayes/George Griffin), surveys of particular forms of image (portrait/short film), thematic references to the history of erotic animation, specific eras (1960s, 1970s) to current artistic positions which extend the range of the flip book.
The vast majority of the flip books can actually be touched or »thumbed-through« by visitors to the exhibition. In addition, alternative methods of presentation have been developed to accommodate rare or historic specimens focusing on the specific attributes of the flip book, such as its diminutive size and the way it is individually perceived.
The main focus of the exhibition is upon flip books by contemporary artists and filmakers, such as John Baldessari, Robert Breer, Tacita Dean, Elliott Erwitt, Julia Featheringill, Jårg Geismar, Volker Gerling, Gilbert & George, Douglas Gordon, Keith Haring, Sabine Hecher, William Kentridge, Sigrun Köhler, Eric Lanz, Jonathan Monk, Bruce Nauman, Stephanie Ognar, Tony Oursler, Dieter Roth, Miguel Rothschild, Jack Smith, Beat Streuli, Andy Warhol and Janet Zweig amongst others.
in 1936 in Brussels) staged The Public A MADRID Poem in the Spanish capitol. He had friends carry the human-sized, white cardboard letters A, M, A, D, R, I, and D through the streets to generate words in an anagrammatic fashion from this matrix at various precise locations: in front of the parliament and imposing churches, in busy streets, and on popular squares. The performative and ephemeral literary form of the Public Poem that he had invented shortly before allowed him to write a text in the social context of a city. He describes it as an “enactment of language—fluid, enmeshed in the real-street processes.” In a country that was still dominated by the Fascist regime of dictator Francisco Franco, such a poetic guerrilla action of appropriation of urban space, neither announced nor officially authorized, was a risky undertaking. For this reason, it had to be “capable of vanishing, while preserving its eminent public, spectacular character.” This is the most complete documentation of this significant event ever published. It consists of thirty-six photographs with statements by the artist on their backsides that give insight into what happened in the course of the Public Poem. They are accompanied by two manifesto-like texts and the reproduction of a collage from 1969 based on a map of Madrid on which the stations of this Public Poem are marked.
In the so called sidelight hall and foyer of the Kunsthalle Düsseldorf, Matts Leiderstam presents older works from the period 1997 to 2008. In the context of his new installation „Neanderthal Landscape“ he creates an archival situation for the gallery hall in which visitors can follow the development and results of his research on the 19th century Düsseldorf School of Painting. Through binoculars the visitor can examine the tiniest details of historical landscape paintings from the gallery, installed in unconventional arrangements on the large wall of the huge exhibition hall of the museum. On exhibit are paintings from the collections of the museum kunst palast, Düsseldorf, the Stadtmuseum Düsseldorf, the Neanderthal Museum in Mettmann and the Malmö Museum of Art that have direct or indirect connections with the teachings of the landscape artist Johann Wilhelm Schirmer (1807-1863). As founder of the first class for landscape paining at the Düsseldorf Academy of the Arts, Schirmer took his students to the nearby Valley of the Neander in the region of the Niederbergisches Land to do open air studies. The influence of the Düsseldorfer Malerschule can interestingly be followed to Scandinavian traditions of landscape painting. For his solo exhibition „Matts Leiderstam - Seen From Here“, the artist followed the traces of J.W. Schirmer, researching in the local collections and archives. The show at the Kunsthalle is being presented at the same time as the „Schirmer Projekt 2010“, devoted to the work and times of the landscape artist, in which the museum kunst palast and five further institutions from the region are participating. The exhibition curated by Christoph Benjamin Schulz with the assistance of Jari Ortwig will subsequently be shown at the Malmö Museum of Art (June to September 2010), at the Turku Museum of Art in Finland (October 2010 to January 2011), and at the Vaasa Museum of Art in Finland.
In the world’s first comprehensive exhibition on the subject, the thematic and contextual convergence of art, animation and film in the 20th Century is charted, placing the flip book—a well-known and yet scantly regarded medium—squarely in the public eye. Simultaneously both book and pocket cinema, picture sequence and narrative, the flip book has elicted wide-ranging artistic interpretation over the years and provided fascinating insights into the anatomy of the moving image ever since it was patented in 1868 by the English printer John Barnes Linnett.
Included in the presentation are flip books both from the past and the present, experimental films and artists’ books, which in turn derive their effect from the sequential order of their pictures and as such, share a certain commonality with the flip book by virtue of their medium—not every flip book can immediately be recognized as such. Harnessing its formal parameters, artists have regarded the medium as a challenge, used it and interpreted it anew.
The exhibition comprises flip books gathered from more than 170 artists and filmmakers and divides them up into different categories: from monographic retrospectives (Ruth Hayes/George Griffin), surveys of particular forms of image (portrait/short film), thematic references to the history of erotic animation, specific eras (1960s, 1970s) to current artistic positions which extend the range of the flip book.
The vast majority of the flip books can actually be touched or »thumbed-through« by visitors to the exhibition. In addition, alternative methods of presentation have been developed to accommodate rare or historic specimens focusing on the specific attributes of the flip book, such as its diminutive size and the way it is individually perceived.
The main focus of the exhibition is upon flip books by contemporary artists and filmakers, such as John Baldessari, Robert Breer, Tacita Dean, Elliott Erwitt, Julia Featheringill, Jårg Geismar, Volker Gerling, Gilbert & George, Douglas Gordon, Keith Haring, Sabine Hecher, William Kentridge, Sigrun Köhler, Eric Lanz, Jonathan Monk, Bruce Nauman, Stephanie Ognar, Tony Oursler, Dieter Roth, Miguel Rothschild, Jack Smith, Beat Streuli, Andy Warhol and Janet Zweig amongst others.