Bøger udgivet af Hatje Cantz

DAS MINSK is the latest project of the Hasso Plattner Foundation. Located in Potsdam, southwest of Berlin, the new exhibition space presents modern and contemporary art, as well as art from the former GDR, in new contexts. This catalogue for the two inaugural exhibitions links two artists from the Hasso Plattner Collection: GDR painter Wolfgang Mattheuer and Canadian photographer and filmmaker Stan Douglas. As the exhibitions direct their gaze to nature and the urban landscape of Potsdam, the volume presents familiar and novel perspectives on their work, complemented by a wide range of viewpoints on the motifs of landscape and (allotment) gardening in art. Beyond art theoretical voices, the book also features numerous experts addressing the socio-political dimensions of the subject-matter.WOLFGANG MATTHEUER (1927-2004) is one of the co-founders of the Leipzig School. As a critical observer of his time, his works bear witness to an ever-changing environment and society. STAN DOUGLAS (*1960) is considered one of the most important representatives of contemporary media art. His films and photographs have been shown in major international exhibitions since the early 1980s. In 2022 he will represent Canada at the 59th Venice Biennale. He lives and works in Vancouver and Los Angeles.

"Through which framing do we perceive images? How does their reception change depending on editorial decisions? How comprehensively is our perception of global events influenced by their media treatment? Which contextualization comes closest to what is actually happening? Can there be objective coverage?" The key to Jonas Höschl's artistic practice is raising questions like these-posed by art historian and photography theorist Mira Anneli Naß-rather than presenting answers. Based on his media-reflexive work, the artist gathers perspectives of numerous theorists, artists, and authors dealing with media-theoretical questions in our increasingly fragile present-making our social inflammations and injuries painfully tangible. JONAS HÖSCHL (*1995, Regensburg) is a conceptual artist and photographer. He received the Bavarian Art Award for Visual Arts for his multimedia work, encompassing printmaking, sound, video and installation. Having studied photography with Juergen Teller at the Academy of Fine Arts Nuremberg, he is a Fine Art and Sculpture Master Student at the Academy of Fine Arts Munich since 2020.

Her sensual Nanas-buxom, colorful female figures- laid the foundation for her international success beyond the art world: Niki de Saint Phalle. But the self-taught artist's creative spectrum is much broader, and her unconventional oeuvre, ranging from painting and drawing to assemblages, performances, theater, film, and architecture, is more subversive and critical of society than is widely assumed. Based on her efforts to process her own feelings, she addressed social and political issues, critically questioning institutions and role models in ways that are as relevant today as they have ever been. The exhibition and the publication shed new light on the artist's exceptional personality and uncover the wide-ranging oeuvre of the popular outsider-that is always surprising and eccentric, emotional, dark and brutal, humorous and cheerful. NIKI DE SAINT PHALLE (1930-2002) is one of the most important artists and sculptors of her generation. Growing up in Paris and New York, she returned to Paris in the 1950s, where she began her artistic career with her legendary Tirs, her "shooting" series, created during provocative performances.

In the summer of 2021, Miriam Cahn's project FOREIGN the foreignness in the southern valley of Bergell in the Swiss canton of Grisons provoked a lasting echo both in the public and the media. The renowned contemporary artist, who has lived in the valley for years, set new, unexpected accentuations with her most recent work in the historic Palazzo Castelmur. As part of a multi-layered performance, this publication embraces the theme of being a stranger and advances a deepening of the discourse surrounding her work. The book, designed by Paris-based graphic designer Achim Reichert, reflects the conceptual openness of Miriam Cahn's artistically as well as socially arousing project. Captured by internationally acclaimed photographer Lukas Wassmann, the works are presented in their unique spatial constellation arranged by the artist herself.MIRIAM CAHN (*1949) is considered one of the most acclaimed contemporary artists. For over four decades, she has been creating work based on an uncompromising resistance to discrimination in all forms. Influenced by performance art and the feminist movement of the 1960s and 1970s, her rich oeuvre includes painting, works on paper, performance, text, and film. She lives and works in Stampa, Switzerland.

The Jules Bordet Institute is one of the largest integrated cancer centers in Europe. Located at the heart of the Erasme campus in Anderlecht, Belgium, the university hospital's structure evolved from the objective to establish smooth connections with its environment. The building's luminous patios and extensive timber cladding rhythmize the collaborative design by Brunet Saunier Architecture, Archi 2000, and TPF Engineering, emanating in an interplay of natural shades and lights and a welcoming atmosphere. Through texts, photographs, and plans, Institut Jules Bordet Instituut retraces the different stages of the project. From the initial medical vision to the arrival of the first patients, the publication outlines the architectural approach to intensifying the relationship between medical practice and research, integrating technological changes, and improving the comfort of its patients.JÉRÔME BRUNET co-founded the French firm Brunet Saunier Architecture together with the late Eric Saunier. Since 198, BSA has designed a large number of healthcare facilities worldwide, including the Jules Bordet Institute.PHILIPPE VERDUSSEN is the founder and manager of Archi 2000, a Belgium architecture office which celebrated its 30th anniversary in 2020. Archi 2000 was in charge of the construction phase of the Jules Bordet Institute.FRÉDÉRIC COTEUR has been head of Infrastructures department of the Jules Bordet Institute since 2000. He directed the reconstruction project of the Institute on the Erasme campus.

In the summer of 2021, Miriam Cahn's project FREMD das fremde in the southern valley of Bergell in the Swiss canton of Grisons provoked a lasting echo both in the public and the media. The renowned contemporary artist, who has lived in the valley for years, set new, unexpected accentuations with her most recent work in the historic Palazzo Castelmur. As part of a multi-layered performance, this publication embraces the theme of being a stranger and advances a deepening of the discourse surrounding her work. The book, designed by Paris-based graphic designer Achim Reichert, reflects the conceptual openness of Miriam Cahn's artistically as well as socially arousing project. Captured by internationally acclaimed photographer Lukas Wassmann, the works are presented in their unique spatial constellation arranged by the artist herself. MIRIAM CAHN (*1949) is considered one of the most acclaimed contemporary artists. For over four decades, she has been creating work based on an uncompromising resistance to discrimination in all forms. Influenced by performance art and the feminist movement of the 1960s and 1970s, her rich oeuvre includes painting, works on paper, performance, text and film. She lives and works in Stampa, Switzerland.

. Young Korean artist. Highly recommended by the international press. A fascinating kaleidoscope of artistic forms

As part of documenta fifteen, ruangrupa in Indonesia is publishing two issues of a magazine, majalah that hones in on the core idea of the exhibition - collective working. The lumbung component in the title refers to the communal rice barn where Indonesian farmers store surplus crops to share. The two issues, Harvesting and Sharing, will be published together in one volume to accompany the exhibition. With short stories and features by leading journalists, researchers, and writers from Indonesia, majalah lumbung touches on topics such as cosmology or architecture, food or eating together, thereby forming a foundation for the content featured at documenta fifteen. The individual contributions are conveyed through numerous illustrations and an attractive layout in magazine quality.

Whether "tequio" in Mexico, "ubuntu" in South Africa, or "mutirão" in Brazil; there are many names for the common good around the world: Within the context of documenta fifteen and its core idea of collectivity, seven novelists - Azhari Aiyub, Cristina Judar, Nesrine Khoury, Mithu Sanyal, Panashe Chigumadzi, Uxue Alberdi, and Yásnaya Elena Aguilar Gil - from different parts of the world will contribute new narratives on collective work and communal forms. Seven international publishers have also joined forces to provide this global perspective on the exhibition theme in various language editions.

One of Pakistan's most notable contemporary artists, Bani Abidi creates videos and multimedia works that interweave autobiographical fiction with sociopolitical commentary and satire. Her practice explores the sobering realities of the political conditions, bureaucracy, and urban infrastructure in Asia, exposing the absurdities emerging from the dysfunctionalities of everyday life. The Artist Who is the first monograph to look at the work of this Berlin-based Pakistani artist. Envisioned as an artist project, the publication explores notions of humor, playfulness and experimentation by engaging with forms of writing, design, printing, and assembly. Containing a documentation of artworks created over two decades as well as archival material and a rich selection of texts, it represents the wide range of relationships Abidi has fostered during this period.BANI ABIDI (*1971, Karachi) studied visual art in Lahore and Chicago. Encompassing video, photography and performance, Abidi's practice draws on everyday as well as historical events to explore issues of nationalism and state power. Solo shows have taken place at Museum of Contemporary Art, Chicago and Gropius Bau, Berlin, amongst others; group shows include the 8th Berlin Biennial, Guggenheim Museum, New York, documenta 13, Kassel. Abidi lives and works between Berlin and Karachi.

Inspired by the tours featured in travel guides or educational offerings at public museums, Gehen, Finden, Teilen offers children and families, but also comic fans and experienced exhibition visitors, alternative perspectives on documenta fifteen. Here eight international illustrators and authors have reinvented ruangrupa's universe for documenta fifteen and stimulate the imagination of readers and visitors alike with their visual worlds. Five tours invite you to experience the lumbung values of Humor, Local Anchor, Independence, Generosity, and Transparency, offering complementary ideas and aspects to the exhibition. With entertaining stories, Gehen, Finden, Teilen encourages you to find your own approach to these values, so each path is to be understood as a suggestion and can be explored spontaneously, completely or only in part. This original book will also appeal to and inspire younger visitors.

Walking, Finding, Sharing offers visitors of the world's largest art exhibition a novel approach to experiencing art. Inspired by travel guides and museum tours, this richly illustrated book invites children and families, comic lovers, and seasoned exhibition visitors alike to see documenta fifteen with new eyes. Four international illustrators and four authors bring the universe of ruangrupa's documenta fifteen to life through graphic storytelling, stimulating readers' imaginations with their vivid imagery. Each of the five tours-Humor, Local Anchor, Independence, Generosity, and Transparency- is based on the value system of the Indonesian curatorial team and offers ideas and perspectives that complement the exhibition. Walking, Finding, Sharing encourages visitors to find their own ways of approaching documenta fifteen: each path is a suggestion and can be explored spontaneously, in full or only in parts. This entertaining book serves as a reference, a joyful companion, and an innovative guide that will inspire both children and adults to engage with the exhibition.

Under the guiding principle of lumbung, the Indonesian collective ruangrupa is less concerned with individual works than with forms of collaborative working. As a reference work, companion, and innovative art guide, the Handbuch offers orientation for these comprehensive processes; it is aimed at visitors to the Kassel exhibition as well as those interested in collective practice. All the protagonists at documenta fifteen and their work are presented by international authors who are familiar with the respective artistic practice and cultural context. Entitled "lumbung," the book introduces the mindset and cultural background of documenta fifteen illustrating the artistic work processes with numerous drawings. A chapter on Kassel presents and explains all the locations of the show, including the artists and collectives represented here.

The photobook visually and materially contextualizes arrangements of photographs and brings them into a sensually tangible form. The book format, the materiality of the paper, and the type of binding have just as much of an effect on the viewer as the selection of images, their positioning in the layout, typography, and the texts. The artist and theorist Bettina Lockemann provides an approach to the medium from a research perspective: considering the photobook as an independent subject of art theories, her phenomenological discussion complements methodological lines of thought. An important contribution to the photobook as an independent field of research, Lockemann elaborates precise terms for analyzing this medium. Through a practice-based examination of contemporary photobooks, this guide emphasizes the status of the photobook as an artwork in its own right.BETTINA LOCKEMANN (*1971) is an artist and scholar specialized in artistic documentary photography. After studying art photography and media art in Leipzig and earning a PhD in art history at the ABK Stuttgart she was professor for practice and theory of photography at the HBK Braunschweig for five years. She lives in Cologne.

The photobook visually and materially contextualizes arrangements of photographs and brings them into a sensually tangible form. The book format, the materiality of the paper, and the type of binding have just as much of an effect on the viewer as the selection of images, their positioning in the layout, typography, and the texts. The artist and theorist Bettina Lockemann provides an approach to the medium from a research perspective: considering the photobook as an independent subject of art theories, her phenomenological discussion complements methodological lines of thought. An important contribution to the photobook as an independent field of research, Lockemann elaborates precise terms for analyzing this medium. Through a practice-based examination of contemporary photobooks, this guide emphasizes the status of the photobook as an artwork in its own right.BETTINA LOCKEMANN (*1971) is an artist and scholar specialized in artistic documentary photography. After studying art photography and media art in Leipzig and earning a PhD in art history at the ABK Stuttgart she was professor for practice and theory of photography at the HBK Braunschweig for five years. She lives in Cologne.

Creating works with a fascinating range of tone and expression, Sean Scully's oeuvre is a continuous exploration of his core motif of lines and swaths of color. Captivating the observer through an uncertainty of edges and brushstrokes that appear to exalt the materiality of paint, pigment, and abstraction, Scully experiments with a variety of media and materials. Material World provides insight into the artist's practice and stylistic approach, which have evolved through a sustained engagement with the art historical tradition of Formalism. In an in-depth essay, Raphy Sarkissian situates Sean Scully's art in dialogue with selected works of abstract and figurative, modern and pre-modern painting and sculpture, as well as with aesthetic theories. This dialogue translates further into the interplay of the museum's architecture and the Neoclassical sculptures presented alongside Scully's work. SEAN SCULLY (*1945, Dublin) is one of the world's most acclaimed contemporary artists. The oeuvre of the Irish-born artist, who grew up in London and moved to New York in 1975, is characterized by an intense confrontation with Abstract Expressionism, Action Painting, and Minimalism. Beyond a purely formal exploration of color, form, plane and light in his abstract paintings and sculptures, his visual expressiveness is matched by intellectually engaging writings and lectures. Scully lives and works in New York, Barcelona and near Munich.

British conceptual artist Jonathan Monk and Berlin haubrok foundation are connected through a long-standing friendship and a thriving relation, resulting in joint projects and exhibitions. Monk's printed matter-numerous publications, invitation cards, gallery guides, posters, and editions-is an integral part of the haubrok collection. Hence, Jonathan Monk: A Bit of Matter and a Little Bit More, published in the wake of the haubrok foundation's exhibition on the grounds of FAHRBEREITSCHAFT in Berlin-Lichtenberg, is an ode to this friendship and to Monk's conceptual approach of incorporating ephemera and artistic artifacts into his practice. The publication provides an archival, yet personal, overview of Monk's printed matter, complemented by a commentary by the art critic Raimar Stange.JONATHAN MONK (*1969, Leicester) is a contemporary conceptual artist living and working in Berlin. He restages and re-examines seminal works of 20th century Conceptual and Minimal art, reflecting on appropriation and demystifying the creative process. While he is often working with media such as photography, sculpture, video, performance and mail art, printed matter is an integral part of his artistic practice.

The Bijlmer Spinoza-Festival is an artwork, a sculpture, created by Swiss artist Thomas Hirschhorn in a peripheral borough of Amsterdam's south-east known as the Bijlmer in 2009. This book recounts the event through the eyes of its "Ambassador", art historian Vittoria Martini, who was invited by the artist to be an eyewitness to the existence of this "precarious" work. A term Hirschhorn sees as positive and creative: a means of asserting the importance of the moment and of the place, of asserting the Here and Now to touch eternity and universality. Appreciating the art historian's presence as a central element of his sculpture, Hirschhorn consciously challenged the certainties of the profession by empowering and activating the role, thus leading Martini to find a new working methodology that she calls "precarious art history". Accompanying the readers through her experience of the physical existence of The Bijlmer Spinoza-Festival, Martini's commentary leads to the profound understanding of how a work that no longer exists physically, can live on in the mind- elsewhere, at some other time-because in the meantime it has become universal.Paris-based artist THOMAS HIRSCHHORN (*1957, Bern) is best known for his sculptures in public space-monuments, kiosks, and altars. Questioning the autonomy, the authorship, and resistance of a work of art, he asserts the power of art to touch and transform the other. He represented Switzerland at the 54th Venice Biennale in 2011 and received numerous awards, including the Prix Marcel Duchamp and the Joseph Beuys Stiftung Prize.VITTORIA MARTINI (*1975, Kinshasa) is an independent art historian living in Italy. She has a doctorate from Università Ca' Foscari/Università Iuav di Venezia. Since 2013 she teaches History of exhibitions and curatorial practices and holds the Art Writing workshop at CAMPO - Program of curatorial studies and practices established by the Fondazione Sandretto Re Rebaudengo (Turin, Italy). Her research focuses mainly on the institutional structures that produce exhibitions.

Founded in 1984 by women around Gabriele Stötzer, the Erfurt Women Artists' Group pursued a radically creative lifestyle to counter the rigid structures of everyday life in the GDR, over a period of ten years. Subversive, witty, borne of a liberating sense of defiance against normative gender roles, their artistic expressions provide an insight into the little-known feminist subculture in the GDR. Their pioneering role in terms of an exploration of female identity is particularly reflected through five experimental Super 8 films, subsequent live performances, and fashion-object shows. Often unfolding intuitively from sequences of audio, dance, and literary elements, self-created and provocative costumes that served as alter egos of the artists took center stage. Their political commitment culminated in December 1989 in the first occupation of a Stasi, State Security Service, headquarters, initiated by five women, three of whom were part of the group.The ERFURT WOMEN ARTISTS' GROUP remained active with personnel changes-Monika Andres, Tely Büchner, Elke Carl, Monique Förster, Gabriele Göbel, Ina Heyner, Verena Kyselka, Claudia Morca Bogenhardt, Bettina Neumann, Ingrid Plöttner, Marlies Schmidt, Gabriele Stötzer, Harriet Wollert and others-until 1994.

In her painting, Helene Appel reflects the things of everyday life with high precision. Appel presents her cropped subjects in plan view, on untreated canvas in a 1:1 scale. If one takes a closer look, though, this attitude reveals its radical nature. Detaching herself completely from the tradition of still life, Appel does not strive to develop a painterly signature, nor does she emphasize her distinctive ductus. Instead, she carefully seeks an adequate mode of expression for each of her pictorial objects, thus emphasizing their particular physical presence. Despite the realistic representation, Appel's works evoke a sense of a high degree of abstraction. The impression is that of a distanced look that creates a tension between the familiar and the unaccustomed questioning the relationship we have to our environment.HELENE APPEL (*1976, Karlsruhe) studied at the University of Fine Arts of Hamburg and at London's Royal College of Art. She received the distinguished Goslar Kaiserring Scholarship in 2011, and the two-year Dorothea Erxleben Scholarship of the Braunschweig University of Art in 2019. Appel lives and works in Berlin.

This comprehensive monograph published in collaboration with Dirimart gathers works of contemporary artist Sarkis-conceived and presented in the context of the one city he keeps returning to: Istanbul. His iconic installation Çaylak Sokak, first exhibited in 1986, is considered a turning point in the history of contemporary art in Turkey. Named after the street Sarkis grew up in, Çaylak Sokak recreates his family home featuring a bathtub and his father's shoes bearing the German words for war spoils KRIEGS and SCHATZ. A reference to German cultural theorist Aby Warburg's concept of a "Leidschatz" as "humanity's treasure of suffering", "Kriegsschatz" became a key concept in Sarkis' oeuvre. Drawing on his own Turkish-Armenian identity, Sarkis's continunes his works presented at the Venice Biennale in 2015, the centennial of the Armenian genocide: his latest body of work Red Stained Glass traces the present through fragments from the past. Photographs from Istanbul are rendered in red, fractured, and recombined to further explore themes such as time and memory, presence and absence, identity and exile.Paris-based Sarkis Zabunyan (*1938, Istanbul) is known by his first name SARKIS. He had his breakthrough with the exhibition Live In Your Head: When Attitudes Become Form at Kunsthalle Bern in 1969, was followed by his participation in documenta 6 and 7. Major exhibitions include Passages at the Centre Pompidou in 2010, Hôtel Sarkis, a retrospective at the Museum of Contemporary Art in Geneva (MAMCO) in 2011, and his installation Respiro in the Turkish pavilion at the 56th Venice Biennale in 2015.

Martin Eder's new body of work is inhabited by ghostly hybrid creatures. Blurring the transition between humans, animals, and supernatural beings, Eder explores the motif of the boundary and its transgression in his oil paintings. His subjects allude to an encounter with the underworld and recall Dante's Inferno. A symbolism that both reflects a (post-)pandemic unease and hints at the encounter of reality and illusion. Eerie and fascinating at the same time, the paintings outline a space marked by the collapse of a shared perception. In addition to studio insights and paintings, the volume includes an elucidating text by curator Jane Neal as well as a conversation between Eder, Damien Hirst and Tim Marlow, director of London's Design Museum. MARTIN EDER (*1968, Augsburg) lives and works in Berlin. He studied under Eberhard Bosslet at the Dresden Academy of Fine Arts. His work has been exhibited internationally at Kunsthal Rotterdam, ARKEN Museum of Modern Art in Copenhagen, Hirst's Newport Street Gallery in London und MUDAM Luxembourg, among others.

One of the most important artists of his generation, Erwin Wurm is internationally recognized for his unique way of reinventing sculpture through performance, video, drawing and photography. Accompanying the exhibition One Minute Forever at the Museum of Contemporary Art Belgrade, the eponymous catalogue looks back at Wurm's body work from 1996 to the present, and introduces significant new productions. Conceived as an introspective rather than a retrospective, it focuses on the interweaving of past and present contexts, and explores individual and collective experiences through reactivations of Wurm's iconic performative sculptures, converging towards a unique aim: redefining and extending sculpture into a resolutely participatory and playful medium that questions our way of looking at the world.ERWIN WURM (*1954, Bruck an der Mur) has been questioning our understanding of sculpture for over 25 years. Expressing the banalities and constraints of our everyday life in physical deformations, his oeuvre has been widely exhibited internationally and is represented in some of the most important collections worldwide. Wurm lives and works in Vienna and Limberg.

Since the beginning of China's economic boom in the late 1980s and its ever-increasing influence on globalized society, the country's burgeoning contemporary art scene has attracted great attention around the world. However, despite the Chinese art market's emergence as a highly prolific industry and a growing international recognition of contemporary art from China, there is a remarkable lack of Chinese women artists represented in (inter-)national exhibitions and publications. Stepping Out! is the first comprehensive publication in 25 years to present a broadly representative selection of the work of contemporary Chinese female artists, including pioneering as well as emerging artists thus far little-known abroad. Through an enormous wealth of perspectives, the artists reveal their personal and social fears, contradictions, and hopes in the tense field occupied by powerful tradition, and shed light upon the search for identity both as women and as artists within a rapidly changing Chinese society.Stepping Out! features more than 100 artworks by 26 artists born between 1960 and 1994 living in mainland China, including Cao Fei, Lin Tianmiao, Luo Yang, Ma Qiusha, Tong Wenmin, Wen Hui, Xiao Lu, Xing Danwen, and Yin Yiuzhen.

This publication features projects that the partnership PROMONTORIO developed over the past 30 years. Together they constitute an impressive body of work for various places across Europe, Africa, the Middle East and the USA, ranging from city planning, to culture and education, heritage and conservation, commercial and mixed-use, in addition to hospitality and leisure. The idea of a reflective practice, set forth by PROMONTORIO, summons the ability to critically and ethically reflect on its own actions, while engaging in a process of continuous adaptation and learning. Perceived as a kind of "practicing school" for various generations in Portugal, the practice evolved, in both theory and practice, through the idea that deliberate reflection on experience is essential to cultivate a developmental insight on architecture.Founded in Lisbon in 1990 by Paulo Martins Barata, João Luís Ferreira, Paulo Perloiro, Pedro Appleton and João Perloiro as an experimental practice, PROMONTORIO progressively grew into a multidisciplinary team of 60 architects, planners, landscape architects, interior designers, and graphic designers.

Known for her paper art and collages, Marion Eichmann spent many weeks in the Reichstag building and the enclosed parliamentary buildings. Not only did she visit the plenary chamber, the floor designated to the parliamentary groups and the committee rooms, but she also keenly observed in corridors, canteens, libraries, and connecting tunnels the everyday life of a highly complex machinery that keeps the heart of democracy beating almost invisibly-focussing her interest at once on the iconic facades and settings familiar to the public, and on the rarely visible workspaces, devices, and often-overlooked details essential to the smooth daily operation of Parliament. Created as part of a commissioned project by the German Bundestag, the series of more than 80 papercuts documented in this volume in its entirety, provides a unique insight into the artist's creative process and working methods.MARION EICHMANN (*1974, Essen) studied at the Berlin University of the Arts and Weißensee Academy of Art Berlin. Longer working stays took her to Tokyo, New York, and Istanbul. In 2017, her spatial installation Laundromat received special attention at art KARLSRUHE and at the Haus am Lützowplatz/IG Metall-Haus, Berlin.

The art of Boris Lurie (*1924, Leningrad) and Wolf Vostell (*1932, Leverkusen) is determined by the breach of civilization in Germany in 1933, which made the German genocide of German and European Jews possible. Both artists make the Shoah the subject of their work in a radical way. Initially working-independently of one another-with the means of painting, they turned during the 1950s to exploring the stylistic devices of the first avant-garde, including techniques of collage and montage. Vostell later develops the subject further in his happenings and video art while Lurie takes up writing. In 1964 the artists met in New York and began a lifelong friendship-this is the first exhibition to present their works together.After surviving several labor and concentration camps, the Jewish artist BORIS LURIE (1924-2008) emigrated to New York in 1946, where he established the NO!art movement in 1959. Often through direct references to the Shoah, Lurie commented on the society and consumer culture of his time.The German artist WOLF VOSTELL (1932-1998) was a protagonist of the Fluxus movement and a pioneer of happening- and video art. Vostell confronted post-war European audiences with its recent past in a variety of ways.

Female View puts the focus on women fashion photography. Although this medium has been shaped by female photographers for decades, a large number of publications or exhibitions have focused primarily on the male gaze of the female body. Numerous female fashion photographers worked for influential magazines such as Harper's Bazaar or Vogue, thus shaping the style of their time. Using exemplary positions, this book traces the transformation of the photographic image from the 1940s to the present day: from the fashion magazine to the showroom and the coffee table book to videos and digital self-staging in social media today. On display will be works by: Lillian Bassman, Sibylle Bergemann, Louise Dahl-Wolfe, Madame d'Ora, GABO, Ingeborg Hoppe, Nadine Ijewere, Liv Liberg, Ute Mahler, Charlotte March, Lee Miller, Sarah Moon, Amber Pinkerton, Elizaveta Porodina, Regina Relang, Bettina Rheims, Charlotte Rohrbach, Alice Springs (June Newton), Deborah Turbeville, Ellen von Unwerth and Yva.

Piet Mondrian had a decisive influence on the development of painting from figuration to abstraction. On the occasion of his 150th birthday, Mondrian Evolution is dedicated to his multifaceted work and artistic development. Initially working in the tradition of late-nineteenth century Dutch landscape painting, Symbolism and Cubism subsequently took on great significance for him. It was not until the early 1920s that the artist focused on a wholly non-representational pictorial vocabulary, concentrated on the rectangular arrangement of black lines with surfaces in white and the primary colors blue, red, and yellow. In separate chapters, this path is traced through motifs such as windmills, dunes, the sea, farms reflected in the water, and plants in various forms of abstraction.PIET MONDRIAN (1872-1944) was one of the pioneers of abstract art. Hailing from a strict Calvinist family, the artist became famous for his compositions of black lines and rectangular fields in primary colors, but his early work was influenced by 19th century Dutch landscape painting.