Produced on the occasion of Maria Eichhorn’s exhibition Arbeit/Freizeit, at the Generali Foundation, 1994–1996. An exhibition of the staff of Generali Regional Office East, Berlin, consisting of 49 exhibits 47 objects (gifts, permanent loans and acquisitions) in cylindrical display case, beech wood, acrylic glass, 228 × ø 161 cm 1 round aquarium, 54.5 × ø 65 cm, with live fish (angelfishes and clown loaches) on plinth, beech wood, 70.5 × ø 67.2 cm Plant (Dracaena maginata).

With a preface by Hans Peer and Winfried Böttcher, texts by Sabine Breitwieser, Maria Eichhorn, John Miller, Annett Gröschner and Helmut Höge.

Produced on the occasion of Maria Eichhorn’s exhibition at Kunsthaus Bregenz, 10 May–6 July, 2014. This comprehensive and chronologically structured catalogue raisonné orders the work of the artist Maria Eichhorn according to art history and is supplemented by extensive image and archive material on her works, projects and exhibitions since 1986.

With the addition of large-format illustrations of the exhibition in Bregenz, this is one of the most comprehensive publications on the work of the artist to date. Designed by Yvonne Quirmbach.

Maria Eichhorn Aktiengesellschaft began its life in December 2002, as both a corporation and a work of art. Upon an invitation to participate in Documenta 11, Maria Eichhorn founded an Aktiengesellschaft, or public limited company. As is typical of such entities, the newly created firm was in her own name. It held a 50,000 euros portion of Documenta’s exhibition budget—divided into 50,000 shares of a euro apiece—meeting the minimum requirement of subscribed capital for an Aktiengesellschaft.

Maria Eichhorn Aktiengesellschaft mimetically uses the structure of the corporation against itself. The artist remains its sole managing board member and initial shareholder; she transferred all shares of the company to itself, to be held in perpetuity. The corporation belongs to itself, or, in Eichhorn’s words, “it ultimately belongs to no one,” and “the concept of property disappears in this case.”

More information can be found on the work here.

Maria Eichhorn Aktiengesellschaft began its life in December 2002, as both a corporation and a work of art. Upon an invitation to participate in Documenta 11, Maria Eichhorn founded an Aktiengesellschaft, or public limited company. As is typical of such entities, the newly created firm was in her own name. It held a 50,000 euros portion of Documenta’s exhibition budget—divided into 50,000 shares of a euro apiece—meeting the minimum requirement of subscribed capital for an Aktiengesellschaft.

Maria Eichhorn Aktiengesellschaft mimetically uses the structure of the corporation against itself. The artist remains its sole managing board member and initial shareholder; she transferred all shares of the company to itself, to be held in perpetuity. The corporation belongs to itself, or, in Eichhorn’s words, “it ultimately belongs to no one,” and “the concept of property disappears in this case.”

More information can be found on the work here.

Produced on the occasion of Kunstprojekt für das Rehabilitationszentrum Meran, Südtirol, 1998–2004, curated by Martin Fritz, rehabilitation center, cafeteria, geriatrics department, Meran.

This project by Maria Eichhorn was created as part of the artistic design of the Meran Hospital. For this purpose, two libraries were instigated. This book lists the titles and names of a total of forty writers, from Jane Austen to Simone de Beauvoir, Judith Hermann, Doris Lessing, Sylvia Plath and Virginia Woolf to Banana Yoshimoto.