Verlag Michael Kellner
KP Brehmer, Klaus Geldmacher, Dieter Glasmacher et al.: 12 Achtundsechziger ’86, Verlag Michael Kellner / Kunsthaus Hamburg, 1986
KP Brehmer, Klaus Geldmacher, Dieter Glasmacher et al.: 12 Achtundsechziger ’86, Verlag Michael Kellner / Kunsthaus Hamburg, 1986
- Publisher
- Verlag Michael Kellner
- Place & year
- Hamburg, 1986
- Type
- Exhibition Catalogue
- Format
- Illustrated softcover, 50 pp., colour and black-and-white reproductions
- Size
- 17 × 24 cm
- With
- Conceived by Petra von der Osten-Sacken and Michael Kellner
- Condition
- Good; light rubbing and handling wear to covers, minor corner softening; visible moisture staining and tide marks across the lower margins of the opening pages, lighter through the publication; complete, with secure binding and unobstructed reproductions.
- Register
- TNR-2026-0461 · 27 July 2026
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Notes
German text. ISBN 978-3-922035-87-9.
Published for an exhibition at Kunsthaus Hamburg, 30 October–30 November 1986. Conceived as a pilot project toward a wider account of the artistic revolt associated with 1968, the catalogue brings together twelve artists — KP Brehmer, Dagmar Fedderke, Klaus Geldmacher, Dieter Glasmacher, Constantin Hahm, Jochen Hiltmann, Adam Jankowski, Hilmar Liptow, Wolfgang Oppermann, Dieter Rühmann, Wolfgang Schröder and Charly Wüllner — whose practices developed through political graphics, photography, installation, autobiography and work made for public circulation.
KP Brehmer is the catalogue’s most internationally established figure. Associated with Capitalist Realism, he transformed maps, colour charts, statistics and mass-media imagery into forms of political analysis. Klaus Geldmacher exhibited with Francesco Mariotti at documenta 4 in 1968; Dieter Glasmacher brought together painting, graphic production, public action and countercultural image-making. The less widely circulated artists are not incidental: together they recover a Hamburg network in which political graphics, autobiography, installation and alternative cultural production remained connected.
Published eighteen years after 1968, the catalogue records the moment when revolt began to be organised as exhibition history. Its halftone crowd photograph is overprinted with twelve individual names: collective political identity converted into a list, an institutional programme and a printed object.
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