A spectacular book showing life and work of the Finnish icon from an unknown perspective with around 150 illustrations and well researched texts.

Tom of Finland has became the most famous and influential Finnish artist of the 20th century. Born Touko Laaksonen in 1920, his iconic depiction of self-confident and life-affirming gayness gave decisive impulses to the international gay movements from the 1960s onwards. But although we clearly associate his portrayals of sensual and powerful cowboys, farm hands, soldiers and leathermen with the USA, Tom of Finland’s rise to gay icon received the game-changing impetus neither in his native Finland nor in the USA. It was, of all places, the city of Hamburg and Tom’s friendship with key exponents of the local gay scene in the early 1970s that helped him to his first exhibition ever.

He even created a grand mural for the legendary “Tom’s Bar”, until today the only one legitimately named after him. Regular commissions to design posters and ads for gay events in Hamburg allowed him to launch his artistic career after quitting his day job as advertising executive, and led to the creation of the most extensive private collection of his drawings to date. Galerie Judin is now devoting an exhibition and a comprehensive publication to these seminal, but thus far little researched years, the art they generated and the friendships they formed. The book includes texts by Juerg Judin, Pay Matthis Karstens, Kati Mustola and Alice Delage, conversations with Durk Dehner and Michael P. Hartleben - and a facsimile of the artist’s German travel diary from 1955.

At least since his spectacular exhibition in the Romanian Pavilion at the 56th Venice Biennale in 2015, Adrian Ghenie (*1977 in Baia Mare, Romania) has been known to the broad public as one of the most interesting and unconventional painters of his generation. His works-painted in oils that have been scratched, applied with a palette knife, orthrown onto the canvas-have already gained entry into the collections of the Metropolitan Museum of Art in New York, the Tate Modern in London, and the Centre Pompidou in Paris, and have achieved one auction record after another in the art market. Yet neither Ghenie's subjects nor his technique cater to the taste of the public: the history of the "century of humiliation"-which is how Ghenie refers tothe twentieth century-its perpetrators and victims are the most important sources for his collage-like compositions. These subjects are joined by his positive heroes alike, such as Van Gogh and Darwin, and time after time, his self portrait.

The artist Enrique Martinez Celaya and the collector couple Gudrun and Martin Fritsch have shared the same passion for decades: enthusiasm for and preoccupation with the work of Kathe Kollwitz. While the Berlin collector couple built up the most important privately owned Kollwitz collection, the artist referred to the artist in many ways in his work. Parallels can also be found in the artistic practice of Martinez Celaya and Kollwitz. The work of both artists occupies a space between drawing and sculpture and articulates a deeply felt humanism as an expression of their respective biographies. On the occasion of the exhibition at Galerie Judin, Enrique Martinez Celaya created a group of works distilling his examination of Kathe Kollwitz, which now enters into an exciting dialogue with the works from the Fritsch Collection.