All good things come in thirties! In 30 entertaining chapters the magazine brings together everything that makes the SCHIRN one of the most distinguished and popular exhibition places in Europe. Opulent and amusing and everything in between, the magazine presents selected exhibitions, opinions and hot topics, friends and the community, facts and figures, the highlights and excitements from 30 years of SCHIRN history. A magazine by and for everyone who loves the SCHIRN and who make it what it is.


The self as political issue

The traditional self-portrait is now a thing of the past. The customary features of a classic self-portrait are for the most part lacking entirely. The face has now come under suspicion. The exhibition catalogue “ME” presents a comprehensive overview of the iconoclastic processes to which the genre of the self-portrait is subject today, along with relevant subversive techniques in art, including humor, irony, decentralization, fragmentation, blindness, and obstruction. However—or perhaps precisely for that reason—the artist-subject has remained a leitmotif in contemporary art, although it is no longer associated exclusively with the image of the artist. The subject is a constantly changing phenomenon and thus difficult to grasp in a portrait.


Political art today: artists’ voices brought together in one newspaper

Populist leaders, fake news and totalitarian propaganda: Democracy appears to be in crisis. At the same time, a notable re-politicization is taking hold. Artists too are now raising their voices and creating works they see as an objection to the existing system, as a call to political action and as an instrument of criticism. In their videos, installations, photographs, sculptures and paintings, they question political attitudes, analyze the discourse of power, and design imaginative forms of a new protest culture. An exhibition on political art needs a newspaper in which these voices can be raised: in the works of the artists, but likewise in their statements and interviews, which are available to read here. 

Tip. The paper is underpinned by a code: The different thicknesses of the dash under each artist’s name represent the level of GDP per head in the country in which each artist was born.


The invention of an illusion

A glass display case. Behind it a stage showing scenes relating to folklore or natural history, inhabited by all kinds of materials, stuffed animals or even human figures. This is what we typically associate with dioramas. And what does this have to do with art? For the first time, the exhibition at Schirn Kunsthalle takes a critical look at this question. The show starts even before the development of Louis Daguerre’s theaters at the Paris Opera, with the early religious tableaux dating from the 18th century which reflect the scientific use of dioramas in natural history museums and continues right up to the 21st century, to the deconstruction of the diorama in contemporary photographs, films and installations. The numerous texts in the accompanying catalogue range from meticulous technical instructions to art texts and even the kind of theoretical analyses typical of the history of art and culture. They reflect the interdiscipinarity of this special medium, providing multilayered insights into the cultural history of exhibiting and the development of the diorama as a precursor to the virtual world

TIP. In addition to the wide range of dioramas portrayed, the catalogue texts are unbelievably diverse. They range from the detailed analyses by Carl Akeley, the inventor of the dioramas at the American Museum of Natural History, to a letter by Anselm Kiefer to the curator and Donna Haraway’s famous text on the “teddy bear patriarchy”


Sand in your eyes

Lena Henke’s is inspired by a broad variety of things, ranging from the architecture of fantastic 16th century landscaped gardens to the bright colors of Luis Barragán’s buildings in Mexico City from the mid-20th century. In the extensive installation entitled “Don’t yell at me, Warrior!” the artist draws on her very own experiences of architecture, public spaces, and urban planning concepts to develop a quite unique formal vocabulary. The pillars of the Schirn Rotunda, clad in garish yellow, pink and blue, are reflected in the cool, metallic aluminum surface of the two sculptures at the entrances to the Rotunda. Only from above can one discern their shape: outsized large eyes with a curved shape. Through grill shutters on the first floor of the Schirn fine sand drifts down into your eyes as soon as a gust of wind or the movement of a foot sends a puff of the tiny grains through the grill.

TIP. Lena Henke’s piece relies on a change of perspective (from below, from above, from the side) to cerate an ever new, surprising interplay of different shapes, colors, materials, lighting situations and reflections



For the Rotunda of the SCHIRN, the Berlin-based artist Rosa Barba (*1972) has devised a new work responding titled “Blind Volumes” to the specific conditions of this freely accessible public area. In this instal­la­tion created specif­i­cally for the SCHIRN, in which she responds to the openly acces­sible public setting of the rotunda, Barba combines the artistic media of film and sculp­ture. Inside the rotunda, she has erected an expan­sive, geomet­ri­cally intri­cate steel construc­tion consisting of some 80 serial frame­work elements. The work is twelve meters tall and nearly fills the entire lobby of the Schirn. Rosa Barba uses the instal­la­tion as the stage for a dynamic chore­og­raphy combining visual imagery, light, and sound. The artist also cites a selec­tion of her own works, which are presented here in a new constel­la­tion.



Halley has developed a multi-part installation, using the architecture and spatial conditions of the Rotunda and the SCHIRN Kunsthalle as his starting point. Across an area of some 450 m² Halley has designed an atmospheric, spatially complex, inventively coded environment that draws on both current and older elements of the artist’s oeuvre. Peter Halley’s installations are always grounded in his understanding of the cultural and architectural context of the spaces for which they are made. Thus, the development of The SCHIRN Ring was preceded by an intensive study of the architectural and conceptual context of the SCHIRN Rotunda.


Half a century of painting

Joan Miró had a preference for large-scale formats and a fascination with the wall. In his painterly practice, the wall was the starting point – both as an object to be depicted and as an inspiration for the textural quality of his works. Miró distanced himself from the simple reproduction of reality and equated the picture plane with the wall. His particular approach with the wall explains the care with which he selected and prepared the materials and the grounds of his pictures at every stage of his career. The artist used whitewashed canvas, coarse burlap, Masonite (hardboard), sandpaper and tarpaper in order to create unique visual worlds of outstanding materiality.


Booty of the streets

Whether early Pop artists, trailblazers of Street Art, or protagonists of a “natural poetry” of reality: in the 1950s, the “Affichistes” came forward with a complete new concept of the panel painting. On their rambles through the streets of postwar Paris, they collected fragments of ubiquitous, overlayered, often weathered and tattered posters and elevated the world of everyday urban life itself to the status of a painting. Their access to reality, as subversive as it was poetic, made them pioneers of a “New Realism”. Represented artists: François Dufrêne, Raymond Hains, Jacques Villeglé, as well as Mimmo Rotella and Wolf Vostell.


Phenomenon Paparazzi Photography

The publication focuses the fascination with star photography and reflect its influence on the visual arts and fashion photography. It features “icons” of paparazzi photography that have been permanently etched on our visual memory, including Jackie Kennedy-Onassis during an seemingly casual walk through Manhattan, Lady Di fleeing from a frenzy of flashing cameras, or the younger “favorites” of paparazzi such as Paris Hilton or Britney Spears. Besides works by the most well-known representatives of paparazzi photography, such as Ron Galella, Pascal Rostain, Bruno Mouron, or Tazio Secchiaroli, positions by artists such as Cindy Sherman, Gerhard Richter, Andy Warhol, Barbara Kruger, Paul McCarthy, and Richard Avedon are introduced, who have critically examined and sounded out the specific characteristics of the paparazzi aesthetic. The book tells stories from 50 years of paparazzi photography and sets it sights on the paparazzo himself – focuses on a profession that is admired and feared in equal measure and which secures its existence for the most part by means of secretly tracking and stalking famous celebrities and has made the tabloid press one of the highest-selling areas in the press sector – always on the scout and with the goal of publishing exclusive pictures of the unsuspected, the ostensibly confidential, and the personal. In the process, the complex relationships and dependencies are analyzed that occasionally develop between stars and the photographer. 


Painting outfitted with humor and grotesque

The bold and extraordinary oeuvre of the American painter Philip Guston (1913–1980) was one of the most widely discussed of his time. He was the first to return figuration to postwar American painting, was innovative in his combination of “high art” with images from popular culture, and is today celebrated as the pioneer of postmodern, figurative painting. On the occasion of the artist’s 100th birthday, this publication focuses on late works by Philip Guston as a milestone of American painting.


Vexing encounters

The photographic series “Portrait of an Image (with Isabelle Huppert)” is based on a collaboration between Horn and the French film and stage actress Isabelle Huppert. Together they selected earlier roles Huppert had played that the actress then performed again for the camera. For these photographs, Huppert visualized her repertoire solely on the basis of her memory, without the aid of the scripts or the films themselves. 
Setting out from the Schirn, Horn places a selection of these motifs in public space in a way that does not reveal that they are part of her work or an artistic project: no mention is made either of the artist or the exhibiting institution, and there is no title that would indicate that it is a work of art. Sixteen motifs appear in places in Frankfurt’s urban space in which advertising is usually displayed—advertising that in our society for the most part relies on the impact of faces. However, in Horn’s work the portraits are not furnished with commentary and therefore raise questions, for example how and whether we can read the face we are looking at even without a prescribed context.


Life as optimization and experience project?

The credo of today’s society without boundaries reads “ever faster, ever higher, ever further.” In the early twenty-first century, man, oscillating between euphoria and depression, finds himself confronted with the promising opportunities of a global and virtual world as well as the challenge to constantly improve, optimize, and shape his life more efficiently. The presented works are not aimed at visualizing the contents of the eponymous epochal novel “Infinite Jest” by David Foster Wallace. The book rather explores the various demands confronting today’s individual, in which the modes of resistance and the contradictions of a reality often described as lacking any alternative make themselves felt. The catalog is a commentary on the exhibition. The essays it contains are reproductions in a twofold sense: they reproduce the idea of the presentation in textual form, and they are reprints. The artistic manifestos also published in the book refer to the included essay by Alex Danchev on the one hand and are a constant companion to early-twentieth-century art on the other. They demonstrate the ever-recurring desire for renewal in a way of their own.
Artists: Francis Alÿs, Maurizio Cattelan, Claire Fontaine, Peter Coffin, Lara Favaretto, Andrea Fraser, Karl Holmqvist, Judith Hopf, Ceal Floyer, Josh Kline, Alicja Kwade, Joep van Liefland, Helen Marten, Kris Martin, Navid Nuur, Daniel Richter, Michael Riedel, Anri Sala, Ryan Trecartin, and the Kopp Collection.


Intensity, radicalization, reorientation

Outstanding works and groups of works dating from the late nineteenth century to the present strikingly demonstrate the final intensification or surprising turn within an artist’s oeuvre. The catalogue centers on works by fourteen artists such as Claude Monet and Henri Matisse, who produced a late work that has received acclaim in the meantime, or Martin Kippenberger and Bas Jan Ader, who, when they died young, left us an almost unknown “late work.” 
Artists: Bas Jan Ader, Stan Brakhage, Giorgio de Chirico, Walker Evans, Alexej von Jawlensky, Georgia O’Keeffe, Martin Kippenberger, Willem de Kooning, Édouard Manet, Henri Matisse, Claude Monet, Francis Picabia, Ad Reinhardt und Andy Warhol 


THE book about Yoko Ono - one of the most influential artists of our time.

The catalog provides an overview of the artist’s oeuvre as well as numerous essays whose authors examine various thematic complexes within her overall concept, including film, music, and “intermedia”. Ono’s works are characterized by dualisms and her concern with basic elements and fundamental issues of human existence. Many works revolve around the phenomena of light and shadow, water and fire, air and sky. Destruction and healing as well as balance play important roles in Ono’s concept. The catalog features a comprehensive survey of the multifaceted universe of this extraordinary artist, who is regarded as a pioneer of early conceptual, film and performance art as well as a key figure in the world of music, the peace movement and feminism, who continues to play an influential role in current developments in art. Some 200 objects, films, spatial installations, photographs, drawings and textual pieces as well as a special music room will shed light on the diverse media landscape of Ono’s art and the central themes of her oeuvre. The catalog devotes particular attention to Yoko Ono’s works from the 1960s and 1970s.


Installation art from Brazil

With examples of installations from the late 1960s to the latest artistic positions, the publication demonstrates the specifically Brazilian aspect of this “art of experience.” The book combines positions now considered classical, like those of Hélio Oiticica and Neville D’Almeida, Lygia Clark, Tunga, and Cildo Meireles, with works by younger artists such as Ernesto Neto, Maria Nepomuceno, Henrique Oliviera, and Dias & Riedweg and thus continues the history of the installation in Brazil through to the present.


Graffiti on the cover makes each book a one-of-a-kind item

The major cities of Brazil are home to one of the world’s most vital and fascinating graffiti scenes. In terms of both content and aesthetic quality, this colourful, dynamic and unique movement differs significantly from the American and European street-art scenes. Brazilian street art stands apart from the globalized graffiti culture by virtue not only of the specific political and social climate in a country rocked by profound upheavals but also because of the incredible abundance of styles and techniques it encompasses. Eleven artists and artist groups from São Paulo and other Brazilian cities have been invited to exhibit their paintings in urban settings throughout Frankfurt, and thus to alter the everyday image of the city. Their works include figurative and abstract, light-hearted and socially critical paintings ranging from oversized murals to unpretentious, ephemeral signs and symbols.
With works by: Herbert Baglione, Gais, Rimon Guimarães, Jana Joana & Vitché, Nunca, Onesto, Alexandre Orion, Speto, Fefe Talavera, Tinho, Zezão



Reader + DVD 1, 2, 3

All products of the tree-part exhibition series "Playing the City" as special offer:

Interview Reader, 393 pp., 2012, 22,00 €

Playing the City 3, dvd, 160 min, 2012, 14,90 €

Playing the City 2, dvd, 160 min, 2010, 14,90 €

Playing the City 1, dvd, 130 min, 2009, 14,90 €

regular price 66,70 €