Jens Hoffmann

Theater of Exhibitions analyzes "art after the end of art," questioning whether inherited frameworks of making, theorizing, and exhibiting art still apply to contemporary practice. The book also considers the current commodification of the art industry and the distribution of images in the digital age. Drawing from his formation in theater and his own curatorial work, Jens Hoffmann reflects on the spaces of contemporary art--the gallery, the institution, the biennial--and ultimately positions the discipline of curating in the context of a larger cultural sphere shaped by the political, social, and economic conditions of its time, while demanding new attitudes and new thinking. Hoffmann's theater posits the exhibition as an anthropological endeavor, and the curator as its agent.

The sequel to the 2014 bestseller (Curating) From A to Z, this book extends the investigation of curatorial practice that the writer, exhibition maker and educator Jens Hoffmann (born 1974) began in the first volume.(Curating) From Z to A offers a summary of the development of curatorial practice over the last two decades as seen through the eyes of one of its leading practitioners. Organized in reverse alphabetical order, each letter of the alphabet evokes a particular word related to the world of exhibition making: from D (Durational) and S (Scenography) to R (Relational) and F (Feminism). Other entries include those dedicated to the Venice Bienniale, Tate, Kunsthalle, Lucy Lippard, Xenophobia, Black Box and Gentrification.

Sonic Rebellion: Music as Resistance is inspired by the vital history of music in Detroit and the legacy of the 1967 Detroit Rebellion. It connects Detroit’s musical and political histories with a wide range of artworks, music ephemera and artifacts to offer a listening space for the rebellion’s reverberations. This historic event is related to more recent social movements, from Occupy to Black Lives Matter, illustrating threads between past protests and the unresolved racial politics in the United States today. One major thread is the role of music as a catalyst for social change and empowerment. Artists include Andrea Bowers, Tim Davis, Emory Douglas, Juliana Huxtable, Rashid Johnson, Glenn Ligon, Leni Sinclair and Mickalene Thomas.

An unprecedented look at the wide-ranging artistic work of one of the 20th century’s most significant landscape architects The modernist parks and gardens of Brazilian landscape architect and garden designer Roberto Burle Marx (1909–1994) earned him awards, widespread acclaim, and international fame. Over a 60-year career, he designed more than 2,000 gardens worldwide, the most famous of which are those he created in collaboration with the architect Oscar Niemeyer for Brasília. Although he is best known for his landscape work, Burle Marx was a prolific artist in a variety of media, and his larger body of work—which includes paintings, drawings, tile mosaics, sculpture, textile design, jewelry, theater costumes, and more—is critical to understanding his importance as a modernist. An avid horticulturalist, he was among the first to denounce deforestation in the Amazon region; he also discovered over thirty species of Brazilian flora, which bear his name. This beautifully illustrated and groundbreaking publication covers the full range of Burle Marx’s artistic output, as well as his remarkable home, an abandoned estate that he transformed into his office, workshop, gallery, and living space. The enduring influence of Burle Marx’s work is also explored through interviews with seven contemporary artists: Juan Araujo, Paloma Bosquê, Dominique González-Foerster, Luisa Lambri, Arto Lindsay, Nick Mauss, and Beatriz Milhazes. These artists exemplify the extent to which his work continues to be a source of inspiration.Published in association with the Jewish Museum, New YorkExhibition Schedule:Jewish Museum, New York (05/06/16–09/18/16)Deutsche Bank KunstHalle, Berlin (07/07/17–10/08/17)

A fascinating account of the avant-garde photo-based arts from the early Soviet Union, featuring many previously unpublished imagesFinalist for a 2015 National Jewish Book Award in the Visual Arts category Following the 1917 Russian Revolution, photography, film, and posters played an essential role in the campaign to disseminate modernity and Communist ideology. From early experimental works by Alexander Rodchenko and El Lissitzky to the modernist photojournalism of Arkady Shaikhet and Max Penson, Soviet photographers were not only in the vanguard of style and technological innovation but also radical in their integration of art and politics. Filmmakers such as Dziga Vertov, Sergei Eisenstein, and Esfir Shub pioneered cinematic techniques for works intended to mobilize viewers. Covering the period from the Revolution to the beginning of World War II, The Power of Pictures considers Soviet avant-garde photography and film in the context of political history and culture. Three essays trace this generation of artists, their experiments with new media, and their pursuit of a new political order. A wealth of stunning photographs, film stills, and film posters, as well as magazine and book designs, demonstrate that their output encompassed a spectacular range of style, content, and perspective, and an extraordinary sense of the power of the photograph to change the world.Published in association with the Jewish Museum, New YorkExhibition Schedule:Jewish Museum, New York (09/25/15–02/02/16)Frist Center for the Visual Arts, Nashville (03/11/16–07/04/16)Joods Historisch Museum, Amsterdam (07/24/16–11/27/16)

"(Curating) From A to Z" offers a summary of the development of curatorial practice over the last two decades, seen through the eyes of curator, author and Deputy Director of the Jewish Museum, Jens Hoffmann (born 1974). In this new publication, each letter of the alphabet evokes a particular word related to the world of exhibition making--from A (as in Artist) and B (as in Biennial) to R (as in Retrospective) and W (as in White Cube). Employing a diaristic style, the curator presents his personal curatorial alphabet with a similar transparency and the same idiosyncratic character revealed in many of his exhibitions. The entries are not only stimulating and intellectually rigorous, but also emotionally engaging.

Wie alle Lander der EU, so befinden sich auch Irland und Deutschland im Wettbewerb der Steuersysteme. Insbesondere die Besteuerung von Kapitalgesellschaften und ihren Anteilseignern ist bei dem Konkurrieren der Mitgliedstaaten um Unternehmensansiedlungen zu einem wichtigen Standortfaktor geworden. In diesem Wettstreit nimmt Irland nach verbreiteter Ansicht eine fuhrende Position ein. Um diese Annahme zu verifizieren, stellt der Autor zunachst die Besteuerung einer Kapitalgesellschaft und ihrer Anteilseigner in Irland dar und vergleicht sie mit der Bundesrepublik. Sodann untersucht er, ob und inwieweit die irischen Steueranreize mit dem EG-Vertrag vereinbar sind. Schliesslich wird der Einsatz steuerlicher Abwehrgesetze durch Deutschland im Lichte der Grundfreiheiten behandelt.

"Stalking" ist mittlerweile ein bekannter Fachbegriff, der synonym mit "obsessiver Verfolgung" und "obsessiver Belästigung" gebraucht wird. – Aber was genau ist "Stalking"? Endlose Briefe, Telefonate und E-Mails, Auflauern und Verfolgen, Drohungen und Liebesbekundungen: Es gibt keine spezifische Verhaltensweise, die bei Stalking immer präsent ist – aber im Kern geht es immer um ein einseitiges Kontaktstreben: Einer will, dass der andere an ihn denkt, der andere möchte ihn aus dem Gedächtnis verbannen.Hoffmann, der als der deutsche Stalking-Experte gilt, zeigt die unterschiedlichen Facetten von Stalking auf. Als theoretischer Hintergrund dienen psychologische Theorien der Bindungsforschung und Lerntheorie. Für Fachleute und Betroffene relevant sind die Analysen, wie gefährlich Stalking in extremen Ausprägungen werden kann und was dagegen getan werden kann.

Die Dissertation greift die Umweltdiskussion zum Automobil auf und lenkt dann den Fokus auf das Kundenverhalten (Kundennutzen). Diesem Vorgehen liegt die Erkenntnis zugrunde, dass das Verhalten des Kunden in Bezug auf das (umweltvertragliche) Automobil bislang nur unzureichend untersucht ist. Dieses Wissen ist aber sehr wichtig, da Automobilhersteller und ihr Marketing umweltvertragliche Automobile nur dann anbieten werden, wenn sie mit derartigen Fahrzeugen auch einen Markterfolg beim Kunden erzielen koennen. Zudem wurden unverkaufliche "OEko-Autos" auch nicht dem Umweltschutz nutzen. Je besser also die Zusammenhange zwischen der Umweltvertraglichkeit beim Automobil und den Nutzen- und Kostenanforderungen der Kunden bekannt sind, umso leichter ist es, die Gestaltungsspielraume des Automobilmarketing zur Umweltentlastung auch erkennen und nutzen zu koennen.