all publications since 2010: stefan banz (ed.), marcel duchamp and the forestay waterfall, kunsthalle marcel duchamp, cully / jrp|ringier, zurich; caroline bachmann | stefan banz, tenderness and temperatureverlag für moderne kunst, nuremberg | kunsthalle marcel duchamp no. 0; 3 jean-christophe ammann, das wespennest ist eine kathedraleein gespräch mit stefan banz, verlag für moderne kunst, nuremberg | kunsthalle marcel duchamp no. 1; 4 norbert bisky, a retrospective. ten years of painting, verlag für moderne kunst, nuremberg | kunsthalle marcel duchamp no. 2; friedrich kittler, platz der luftbrückeein gespräch mit stefan banz, verlag für moderne kunst, nuremberg | kunsthalle marcel duchamp no. 3; cildo meireles | antoni muntadas, salt & sugar ... no sugar, no saltcurated by vicente todolí, verlag für moderne kunst, nuremberg | kunsthalle marcel duchamp no. 4; ernst strouhal, m. duchamp | v. halberstadt – a game in a gameverlag für moderne kunst, nuremberg | kunsthalle marcel duchamp no. 5; stefan banz, marcel duchamp: 1° la chute d'eauverlag für moderne kunst, nuremberg | kunsthalle marcel duchamp no. 6; stefan banz, aldo walker: logotyp, mit marcel duchamp und william copley im hinterkopfverlag für moderne kunst, nuremberg | kunsthalle marcel duchamp no. 7; 10 john cage | thomas wulffen, rrose to the occasion, ein gespräch | a conversation | une conversation, verlag für moderne kunst, nuremberg | kunsthalle marcel duchamp no. 8; 11 caroline bachmann | stefan banz | ralf beil (eds.), la broyeuse de chocolat - kunsthalle marcel duchamp at mathildenhöhe darmstadt, verlag für moderne kunst, nuremberg | kunsthalle marcel duchamp no. 9; 12 harald harzheim, the kings of the b's: jean-luc godard & roger cormanverlag für moderne kunst, nuremberg | kunsthalle marcel duchamp no. 10; 13 jeff wall, marcel duchamp: étant donnésverlag für moderne kunst, nuremberg | kmd – kunsthalle marcel duchamp no. 12; 14 stefan banz, marcel duchamp: pharmacieverlag für moderne kunst, nuremberg | kmd – kunsthalle marcel duchamp no. 11; 15 lars blunck, marcel duchamp: porte-bouteillesverlag für moderne kunst, nuremberg | kmd – kunsthalle marcel duchamp no. 13; 16 emilio fantin, luigi negro, giancarlo norese, cesare pietroiusti, luigi presicce (eds.)besides, it's always the others who dieverlag für moderne kunst, nuremberg | kmd – kunsthalle marcel duchamp no. 1517a stefan banz, jeff wall: mit dem auge des geistes (german version), verlag für moderne kunst, nuremberg | kmd – kunsthalle marcel duchamp no. 14 | 17b stefan banz, jeff wall: with the eye of the mind (english version), verlag für moderne kunst, nuremberg | kmd – kunsthalle marcel duchamp no. 16; 18 stefan banz, eilshemius: peer of poet-painters, collected documents, a novel of facts, by and about louis m. eilshemius, and a study of his influence on marcel duchamp, kmd – kunsthalle marcel duchamp | the forestay museum of art, cully / jrp|ringier, zurich19 didier semin, duchamp : le paradigme du dessin d’humourverlag für moderne kunst, vienna / kmd – kunsthalle marcel duchamp | the forestay museum of art no. 1720 stefan banz, louis michel eilshemius und sein einfluss auf marcel duchampmit einem vorwort von ugo rondinone (german version, without the collected documents), verlag für moderne kunst, vienna / kmd – kunsthalle marcel duchamp | the forestay museum of art no. 18; 21 stefan banz, aldo walker : logotyp, en gardant un œil sur marcel duchamp et william copleyen collaboration avec le mamco, genève, verlag für moderne kunst, vienna les presses du réel, dijon / kmd – kunsthalle marcel duchamp | the forestay museum of art, no. 19.

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release: 5 december 2016
stefan banz, aldo walker : logotyp

en gardant un œil sur marcel duchamp et william copley

en collaboration avec le mamco, genève

français; 14 x 10,5 cm, 232 pages, 87 images en couleur et en noir et blanc, couverture rigide, entoilée, dos plat, €20.00; isbn: 978-3-903131-69-9 (verlag für moderne kunst, www.vfmk.de); 978-2-84066-481-9 (les presses du réel, www.lespressesdureel.com). kmd – kunsthalle marcel duchamp | the forestay museum of art, no. 19.

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release: 14 may 2016
stefan banz, louis michel eilshemius und sein einfluss auf marcel duchamp

mit einem vorwort von ugo rondinone

deutsch; 288 seiten; 22 x 16,5 cm; fester einband; mit 161 abbildungen (die meisten in farbe), €35.00, verlag für moderne kunst wien | kmd – kunsthalle marcel duchamp, the forestay museum of art, no. 18; isbn 978-3-903131-12-5

german; (with a foreword by ugo rondinone); 288 pages; 8 11/16 x 6 1/2 inches; hardcover; with 161 illustrations (most of them in color), €35.00, verlag für moderne kunst vienna / kmd – kunsthalle marcel duchamp, the forestay museum of art, no. 18; isbn 978-3-903131-12-5


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dieses buch ist eine kleinere deutsche version (ohne die "collected documents", aber mit neuen erkenntnissen) der umfassenden englischen publikation stefan banz, eilshemius: peer of poet-painters (siehe weiter unten).

marcel duchamp war 1917 in der ersten ausstellung der ­society of independent artists im grand central palace in new york so fasziniert von louis michel eilshemius’ gemälden, dass er nicht nur all seinen freunden von seiner entdeckung erzählte, sondern später zusammen mit katherine s. dreier auch die beiden ersten einzelausstellungen des künstlers in einer öffentlichen institution — der inzwischen legendären société anonyme — organisierte.
stefan banz geht in seiner umfassend recherchierten und span­nend geschriebenen studie zum ersten mal der frage nach, warum duchamp sich so leidenschaftlich für diesen exzentrischen aussenseiter der new yorker kunstszene interessierte und inwiefern diese begeisterung auch seine eigene künstlerische arbeit beeinflusste.
dabei macht banz erstaunliche entdeckungen, die nicht nur unter­strei­chen, wie grossartig, aber unterschätzt eilshemius war, sondern auch wie nachhaltig sich duchamp von diesem unbekannten künstler bei so berühmten werken wie élevage de poussière oder étant donnés inspirieren liess.
die 2015 erschienene englische ausgabe (ergänzt um bis­­her unbekannte leserbriefe und dokumente von und über louis michel eilshemius) war in den usa ein gros­ses ereignis und erhielt den rollins book award 2016, den eric hoffer book award 2016 und war 2016 auch für den jan michalski preis für literatur nominiert.


this publication is a smaller german version (without the "collected documents," but with some new evidence) of the comprehensive english volume stefan banz, eilshemius: peer of poet-painters (see further down).

in 1917, at the first exhibition of the society of independent artists at the grand central palace in new york, marcel duchamp was so fascinated by the paintings of louis michel eilshemius that he not only told all his friends about his discovery but also organized, some time later and together with katherine s. dreier, eilshemius’s first two solo exhibitions in a public institution—the meanwhile legendary société anonyme.  

in his comprehensively researched and excitingly written study, stefan banz examines the question—and is the first author ever to have done so—as to why duchamp was so passionately interested in this eccentric outsider of the new york art scene and as to whether and to what extent this enthusiasm also had an influence on his own work as an artist.
stefan banz’s researches uncover astonishing facts that not only underscore how great and underestimated eilshemius was but also how strongly duchamp had been influenced by this relatively unknown artist when creating such famous works as his élevage de poussière or étant donnés.  
the english edition published in 2015 (complemented by hitherto unknown readers’ letters and documents by and about louis michel eilshemius) was a great success in the usa and received the 2016 rollins book award, the 2016 eric hoffer book award, and was short listed for the 2016 jan michalski prize for literature.

louis michel eilshemius, three nudes, ca. 1909–13, oil on board, 21.6 x 44.8 cm; nude by a waterfall, ca. 1920–21, oil on board, 19.7 x 25.4 cm; landscape with two waterfalls and two nudes, 1919, oil on board, 20 x 44.5 cm, all private collection.

release: 10 november 2015
didier semin,
duchamp : le paradigme du dessin d’humour
verlag für moderne kunst, vienna / kmd – kunsthalle marcel duchamp | the forestay museum of art, no. 17
116 pages; 17 figures (13 in black and white, 4 in color), hardcover; 14 x 10.5 cm; €25.00; isbn 978-3-903004-56-6

français | english | deutsch
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release: 11 september 2015
stefan banz, eilshemius: peer of poet-painters

collected documents, a novel of facts, by and about louis m. eilshemius, and a study of his influence on marcel duchamp
kmd – kunsthalle marcel duchamp | the forestay museum of art, cully / jrp|ringier, zurich


english; 768 pages; 529 illustrations (479 in color, 53 in black and white);
hardcover; 31 x 24 cm; us 100, euro 80.00, chf 98; isbn 978-3-03764-435-5

winner of the 2016 peter c. rollins book award, and of the 2016 eric hoffer book award. the book was also shortlisted for the 2016 jan michalski prize for literature in switzerland.

louis michel eilshemius (1864–1941) was a fascinating outsider of the new york art scene whose entire oeuvre had remained practically unknown to the general public. not until marcel duchamp discovered him—at the age of fifty-three—in the famous first exhibition of the society of independent artists at the grand central palace in new york in 1917 did he attract the attention of the international art world.
following his discovery, duchamp and katherine s. dreier organized eilshemius’s first solo exhibitions in a public institution at the now legendary société anonyme in new york in 1920 and 1924. eilshemius’s name was suddenly on everyone’s lips: some of the most prominent art critics of the time wrote about him and some of america’s most influential collectors began to take an interest in his work. ­eilshemius himself, exhausted and frustrated by his years of failure and having grown increasingly eccentric, and perhaps also somewhat confused by the sudden change in the reception of his art, gave up painting in 1921. his works, on the other hand, received ever-greater recognition and were exhibited in the most reputable galleries of new york. thus it was that between 1932 and his death in 1941 there were more than thirty exhibitions of ­eilshemius’s work, with at one point in 1939 three shows ­running concurrently.
though today many museums in the united states and collectors of international renown possess works by eilshemius, the artist has faded into ever-greater obscurity, especially since the advent of pop and minimal art.
eilshemius perfectly exemplifies—in an age of mass-oriented biennials and art fairs—the idea of the individualist who resolutely goes his own way, one of the reasons that his work appears to us today more contemporary than ever.   
in this comprehensive book on louis m. eilshemius, stefan banz has gathered together an abundance of astonishing and hitherto unavailable and/or unknown documents, the nucleus of which are eilshemius’s countless and controversial letters to the editor that appeared in such american newspapers as the new york sun and the new york times. this correspondence allows us to not only to see his oeuvre in a new light but also to reappraise eilshemius’s art in all its intimacy and uniqueness.
in his expansive essay, stefan banz is the first to explore the question of whether and to what extent eilshemius influenced duchamp’s artistic thinking, and also whether and in what way he inspired duchamp to open new doors for twentieth-century art.
finally, this book brings together works from over seventy institutions and private collections, thus giving the reader a profound insight into the fascinating oeuvre of this unusual artist.

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new york, october 25, 2015
there is no question that your book represents a monumental achievement, one that will change the scholarship on Eilshemius and, to perhaps a somewhat lesser degree, duchamp (and I say that only because a book on eilshemius will probably not receive the same degree of circulation and readership that books on duchamp usually get). the central question that you address in your study—why did duchamp take such an interest in eilshemius?—is of great interest to me, and you’re probably right in noting that I and several subsequent colleagues have dismissed the central significance in this attraction by having dismissed the quality of the paintings. that having been said, I think duchamp’s attraction to eilshemius can be traced to the rejection of his nude descending a staircase from the salon des indépendants in 1912, an event that he said gave him “a turn.” i believe that turn was a 360-degree departure from the art world, not from art (as people mistakenly conclude), but from the hoops an artist is excepted to pass through in order to be part of it. he hated not art, but the entrenched system that existed in order for someone to survive as an artist, the judgement that had to be passed on someone’s work before it was given recognition and acceptance. he knew that eilshemius rejected that same system, and had been fighting against it for years (evidenced, in part, by his continuous barrage of letters to the newspapers). francis m. naumann

new york, september 15, 2015
HUGE congratulations! important!
way to go! jerry saltz

richmond, december 25, 2015
i am truly enjoying reading your book. congratulations! what a remarkable accomplishment this publication is. eilshemius has always needed a critical champion and you have destroyed so many myths and misconceptions, and in doing so have allowed us to see his paintings as if for the first time. as you may know, jealousy hung above my desk at the philadelphia museum of art for 15 years while i was a curator there and i still consider it eilshemius‘s greatest painting, but after your book there are so many paintings that i want to see. michael r. taylor

amsterdam, february 14, 2017
hi stefan, thank you for (your) book. it is truly a masterpiece. within a few minutes after opening it i learned things about eilshemius that i didn't know already and i thought i knew a lot. peter schuyff

merlin james on the book, in the burlington magazine: april 2016
roberta smith on the book, in the new york times: november 27, 2015
luc debraine sur le livre, dans l'hebdo (français): september 17, 2015
katharina holderegger rossier über das buch, in: kunst-bulletin (deutsch),
oktober 2015

book launch, exhibition, and lecture, september 11, 2015 english | français
book signing at michael rosenfeld gallery, new york,
september 26, 2015 artfix daily | artforum
book launch at galerie eva presenhuber, zurich, november 20, 2015, 7 pm deutsch
book launch at the royal danish academy of fine arts, copenhagen,
december 8, 2015, 6 pm, organized by thomas locher

louis michel eilshemius, three nudes, ca. 1909–13, oil on board, 21.6 x 44.8 cm; nude by a waterfall, ca. 1920–21, oil on board, 19.7 x 25.4 cm; landscape with two waterfalls and two nudes, 1919, oil on board, 20 x 44.5 cm, all private collection.

english version, release: 19 june 2014
stefan banz, jeff wall: with the eye of the mind

verlag für moderne kunst nürnberg | kmd – kunsthalle marcel duchamp no. 16
252 pages; hardcover; 14 x 10.5 cm; euro 20.00; isbn 978-3-86984-079-6

german version, release: 9 april 2014
stefan banz, jeff wall: mit dem auge des geistes

verlag für moderne kunst nürnberg | kmd – kunsthalle marcel duchamp no. 14

272 pages; hardcover; 14 x 10.5 cm; euro 20.00; isbn 978-3-86984-078-9

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release: 19 june 2014
emilio fantin, luigi negro, giancarlo norese, cesare pietroiusti, luigi presicce (eds.)
besides, it's always the others who die

with contributions by sara alberani, ayreen anastas and rene gabri, lisa ­batacchi, stefan banz, marco benincasa, carolyn christov-bakargiev, sarah ciracì, irene coppola, emilio fantin, francesco lauretta, francesca marianna, gianluca marinelli, luca ­musacchio, luigi negro, giancarlo norese, adrian paci, caterina ­pecchioli, mattia pellegrini, cesare pietroiusti, luigi presicce, davide ricco, antonella rizzo, giorgio rizzo, roberto tenace, and franco vaccari, and by the editors


verlag für moderne kunst nürnberg | kmd – kunsthalle marcel duchamp no. 15

english
116 pages
hardcover
14 x 10.5 cm
euro 20.00
isbn 978-3-86984-080-2

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release: 17 february 2014
lars blunck
marcel duchamp: porte-bouteilles

verlag für moderne kunst nürnberg | kmd – kunsthalle marcel duchamp no. 13
deutsch | english
132 pages
hardcover
14 x 10.5 cm
euro 20.00
isbn 978-3-86984-062-8

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release: 12 december 2013
jeff wall
marcel duchamp: étant donnés

verlag für moderne kunst nürnberg | kmd – kunsthalle marcel duchamp no. 12
english | deutsch | français
152 pages
hardcover
14 x 10.5 cm
euro 20.00
isbn 978-3-86984-500-5

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release: 8 december 2013
stefan banz
marcel duchamp: pharmacie

verlag für moderne kunst nürnberg | kmd – kunsthalle marcel duchamp no. 11
deutsch | english
308 pages
hardcover
14 x 10.5 cm
euro 20.00
isbn 978-3-86984-465-7

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review klick here

release: 22 april 2013
harald harzheim
the kings of the b's
jean-luc godard & roger corman

verlag für moderne kunst nürnberg | kunsthalle marcel duchamp no. 10
deutsch | français
144 pages
hardcover
14 x 10.5 cm
euro 20.00
isbn 978-3-86984-423_7

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release: 20 april 2013
caroline bachmann | stefan banz | ralf beil (eds.)
la broyeuse de chocolat
kunsthalle marcel duchamp at mathildenhöhe darmstadt
with texts by dalia judovitz, bradley bailey, stefan banz, ralf beil, martin r. dean, and thomas zaunschirm

verlag für moderne kunst nürnberg | kunsthalle marcel duchamp no. 9
deutsch | english
336 pages
hardcover
14 x 10.5 cm
euro 20.00
isbn 978-3-86984-416-9

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release: 4 december 2012
john cage | thomas wulffen
rrose to the occasion
ein gespräch | a conversation | une conversation

verlag für moderne kunst nürnberg | kunsthalle marcel duchamp no. 8
deutsch | english | français
112 pages
hardcover
14 x 10.5 cm
euro 20.00
isbn 978-3-86984-385-8

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review worldpress

release: 11 september 2012
stefan banz
aldo walker: logotyp
mit marcel duchamp und william copley im hinterkopf

verlag für moderne kunst nürnberg | kunsthalle marcel duchamp no. 7
deutsch
200 pages
hardcover
14 x 10.5 cm
euro 20.00
isbn 978-3-86984-356-8

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release: 8 june 2012
stefan banz
marcel duchamp: 1° la chute d'eau

verlag für moderne kunst nürnberg | kunsthalle marcel duchamp no. 6
english | deutsch | français
362 pages
hardcover
14 x 10.5 cm
euro 20.00
isbn 978-3-86984-328-5

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release: 7 june 2012
ernst strouhal

m. duchamp | v. halberstadt – a game in a game

verlag für moderne kunst nürnberg | kunsthalle marcel duchamp no. 5
deutsch | english | français
176 pages
hardcover
14 x 10.5 cm
euro 20.00
isbn 978-3-86984-327-8

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release: 6 june 2012
cildo meireles | antoni muntadas

salt & sugar ... no sugar, no salt
 

curated by vicente todolí
text by iria candela
photographs by stefan banz

verlag für moderne kunst nürnberg | kunsthalle marcel duchamp no. 4
english | español
128 pages
hardcover
14 x 10.5 cm
euro 20.00
isbn 978-3-86984-326-1

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release: 12 december 2011
friedrich kittler

platz der luftbrücke

ein gespräch mit stefan banz

verlag für moderne kunst nürnberg | kunsthalle marcel duchamp no. 3
deutsch (german)
96 pages
hardcover
14 x 10.5 cm
euro 20.00
isbn 978-3-86984-294-3

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release: 5 october 2011
norbert bisky
a retrospective. ten years of painting

with texts by christoph doswald, soledad garcia, raphael gygax | judith welter

verlag für moderne kunst nürnberg | kunsthalle marcel duchamp no. 2
english | deutsch | français
132 pages
hardcover
14 × 10.5 cm
euro 20.00
isbn 978-3-86984-239-4

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release: 7 july 2011 
jean-christophe ammann
das wespennest ist eine kathedrale

ein gespräch mit stefan banz

verlag für moderne kunst nürnberg | kunsthalle marcel duchamp no. 1
deutsch (german)
136 pages
hardcover,
14 × 10.5 cm
euro 20.00
isbn 978-3-86984-240-0

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release: 30 june 2011
caroline bachmann | stefan banz
tenderness and temperature

verlag für moderne kunst nürnberg | kunsthalle marcel duchamp no. 0
english
128 pages
hardcover
14 × 10.5 cm
euro 20.00
isbn 978-3-86984-241-7

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release: 30 september 2010
edited by stefan banz

marcel duchamp and the forestay waterfall 

distributed by jrp|ringier, zurich
408 pages
20 essays and texts in english
480 images and illustrations in black and white, and color
24.5 x 17.5 cm
euro 32.00
isbn 978-3-03764-156-9

in summer 1946, marcel duchamp spent five weeks in switzerland, including five days at the hotel bellevue (today, le baron tavernier) near chexbres, on lake geneva. there he discovered the forestay waterfall. no research was ever done as to why the artist chose this waterfall and not another to become the starting point for and ultimately the landscape of his famous final masterpiece, étant donnés: 1° la chute d’eau, 2° le gaz d’éclairage... a multidisciplinary event in cully, on lake geneva, near the forestay waterfall, attempted to provide answers to this and many other questions about duchamp’s work.

with texts and essays by stefan banz, étienne barilier, lars blunck, paul b. franklin, antje von graevenitz, dalia judovitz, michael lüthy, ­bernard marcadé, herbert molderings, stanislaus von moos, ­francis m. naumann, mark nelson, molly nesbit, dominique radrizzani, michael r. ­taylor, philip ursprung, and hans maria de wolf.

special artistic contributions by caroline bachmann, ecke bonk, andreas glauser, peter roesch, roman signer, tadanori yokoo, and many others.

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