Bøger udgivet af Spectormag GbR

S IF - 16 Dialogues about Sheep, Black Holes, and Movement is a reader about life and multiplicity and the desire to shape the present and imagine the future through artistic and creative processes. "Activating Contextual Practices", "The Public Space as a Field of Action", "Sharing Knowledge", and "A Sense of Belonging" are the four chapters that weave together a synaptic network of individual and collective biographies, relating geographies, history, and nature. Sixteen dialogues, trialogues, scenographies, correspondences, and glossaries connect people, fields of work, and disciplines to embrace alternative and diverse ways of living and thinking. Fifty-four voices that together reveal how active and visionary engagement can create a resonance that connects, heals, and fosters transformation processes.Angelika Burtscher and Daniele Lupo are the founders and the artistic directors of Lungomare, a platform for cultural production and design. They work at the intersection of artistic production and design with a focus on public urban space. With a transdisciplinary approach, they realize and design multiple collaborations and exhibition and publication projects as well as site-specific artistic productions

Was, wenn die primären Erfindungen der Menschheit nicht der Speer des Helden, sondern ein Korb mit wildem Hafer, ein Medizinbündel, eine Geschichte waren? In The Carrier Bag Theory of Fiction (1986) entwirft Ursula K. Le Guin eine feministische Technologie­geschichte, die den kollektiven Lebensunter­halt ins Zentrum rückt und in den Tragebehält­nissen der Sammler*innen Werkzeuge für das Erzählen seltsam realistischer Fiktionen erkennt. Neue Texte und Bilder antworten auf Le Guins erzählerische Praxis des world-making durch Sammeln und Festhalten. --What if humanity's primary inven­tions were not the Hero's spear but rather a basket of wild oats, a medicine bundle, a story. Ursula K. Le Guin's 1986 essay The Carrier Bag Theory of Fiction presents a feminist story of technology that centres on the collective sustenance of life, and reimagines the carrier bag as a tool for telling strangely realistic fictions. New writings and images respond to Le Guin's narrative practice of world­making through gathering and holding.

In the 1950s, Frei Otto's tent structures left their mark on the horticultural shows of the new Bonn Republic; together with Behnisch & Partner he created the roof landscape for the Munich Olympic Games in 1972. The innovative potential in his work is based on the interdisciplinarity of a mode of thinking that took in architecture, technology, art, science, and society. He saw nature as a model and tried throughout his life to harness it for the sake of architecture and civil engineering¿-¿and thus also for the future. The Frei-Otto Archive features a large number of experimental models. The book will come out in two editions (German and English) and will be the first time Frei Otto's models have appeared in print. The book is being published in conjunction with the most extensive exhibition to date of the work of Frei Otto at the ZKM | Center for Art and Media Karlsruhe in association with the Wüstenrot Foundation. The exhibition will open in autumn 2016.

Proto-Habitat is a transcript of conversations, visits, essays, photographs, paintings objects, and architectures exploring different cultures of dwelling as well as the associated imageries and means of production. Proto-Habitat is both a theoretical and a practical (built) experiment to explore ways of dwelling that are closer to contemporary lifestyles. The idea is to broaden collective representation to include environmentally responsible modes of existence and prioritizing conditions of habitability over questions of production. The book builds on research initially carried out at the French Academy in Rome - Villa Medici, the exhibition at arc en rêve, Collection Lambert, and Grand Hornu, and the construction of Proto-Habitat (Bordeaux, Chamonix, Clermont Ferrand), protoCAMPO (Rome), and SOLARproto (Almere). Flavien Menu is an architect whose practice combines research, building, and sustainable develop-ment.

Artist Rebecca Horn sees herself as an inventor, director, author, composer, poet, and, first andforemost, a choreographer. She uses the idea of embodiment and creates symbols to expressthe interconnectedness, at a technical and physical level, between her first works on paper in the1960s, her early performances and films of the 1970s, her mechanical sculptures from the 1980son, and the large-scale installations she embarked on in the 1990s. Horn repeatedly uses thelanguage of dance as a medium and catalyst for her choreographic fictions. The catalogue showsa selection of her works spanning six decades and includes installation shots of her artworks inthe exhibition, and unpublished historical images.Rebecca Horn, b. 1944, is one of the most important contemporary artists on the internationalscene by virtue of her transdisciplinary work. She has featured in numerous editions of documenta,the Venice Biennale, the Biennale of Sydney, the Tokyo Biennale, the São Paulo Biennale, andCarnegie International. Hendrik Folkerts is Curator of international contemporary art and ExhibitionDirector at Moderna Museet in Stockholm. Jack Halberstam is Director of the Institute for Researchon Women, Gender and Sexuality at Columbia University. Jana Baumann is Senior Curator atHaus der Kunst in Munich. Nancy Spector is a Curator, who has held positions at the Solomon R.Guggenheim Museum in New York and the Brooklyn Museum. Timothy Baum, expert on Dadaand surrealism, was a companion and performer in Rebecca Horn's films.

Can design cater to a diverse society? How does it respond to the disparate demands of the peopleusing it? Debates about inclusion and participation have been an important part of the designdiscourse since at least the 1980s. Contemporary design approaches expand on the conceptsof Universal Design and Design for All, reinterpreting them in a community-based, participatorydesign practice.Design for All? Inclusive Design Today gathers together a variety of recent projects, initiatives,and concepts drawn from different design disciplines, and sets up a dialogue with teachers andresearchers who are active on the international scene to discuss them for the first time. Dealingwith a range of different voices in inclusive design strategies can be seen as part of a paradigmshift that radically questions society's normative values: Can design also make a society fairer?Evelyn Steiner, dipl. Arch. ETH / MA Art History, works as an independent curator, journalist, andmoderator. Sara Zeller did her doctorate in art history and is a curator at the Museum fü r Ge-staltung Zürich.

Between 1977 and 1990, Gundula Schulze Eldowy roamed East Berlin with her camera: her powerful,direct images capture the long post-war period in the socialist part of the city, the deep scars ofthe inferno that had engulfed Germany, and the old Berlin milieu with its one-of-a-kind individualsand people living on the fringes, who soon vanished from the face of the city after the fall of thewall. Schulze Eldowy trains her gaze on the existential aspects of life. She looks at the world witha rare combination of sensitivity and a lack of inhibition that is both touching and painful.The series of images that are being shown in Berlin on a Dog's Night constitute Schulze Eldowy'searly work. These are the pictures that brought her international recognition and now feature inimportant photographic collections. The book, which has long been out of print, is now beingreprinted in a new layout with over thirty additional photographs.Gundula Schulze Eldowy, b. 1954 in Erfurt, studied at the Academy of Fine Arts Leipzig (HGB) andbegan working as a freelance photographer in Berlin in 1984. In the period up until 1990, sheproduced the black-and-white works Berlin in einer Hundenacht, Arbeit, Aktporträts, Tamerlan,and the two colour cycles Der große und der kleine Schritt and Den letzten beißen die Hunde. In1990 she embarked on a series of journeys that took her to Egypt (1993-2000), Japan (1996 -97),and, from 2001 on, to Peru, Bolivia, and Ecuador. She lives in Berlin and Peru.

Coup de dés (Collection): Books and Ideas after Mallarmé brings together a vast number ofeditions of Mallarmé's chef d'oeuvre as well as many of its historical and contemporary editionsand appropriations by other authors. Mallarmé's arrangement of the poem on opposite pagesturned each side into a compositional entity. Constellations of words on a spread and the interplaybetween the text fragments and the surrounding white-similar to the way a constellation of starsinteracts with the sky-was a metaphor explicitly used and introduced into literature by Mallarmé.His notion of "constellation", for example, is connected to Ulises Carrión's vision of a "new" book."In the old art, to read the last page takes as much time as to read the first one./In the new art thereading rhythm changes, quickens, speeds up," as he wrote in 1975. The richly illustrated bookcontextualizes the perception and appropriations of Mallarmé's masterpiece through criticalessays written by the editor and leading scholars such as Annette Gilbert, Craig Dworkin, LucBoltanski/Arnaud Esquerre, and Ryoko Sekiguchi.Michalis Pichler is a Berlin-based artist, primarily operating independently of the commercialgallery system, and one of the founders and organizers of Miss Read and Conceptual Poetics Day.Pichler's works often make use of found and pre-used material. He treats pages as canvases andcanvases as pages for works of art.

Hanns Eisler was Arnold Schönberg's favourite pupil. He worked intensively with Bertolt Brecht andcomposed the GDR's national anthem. Veronika Eberhart's artistic study focuses on the years 1938to 1948, which the composer spent together with his wife Lou(ise) in exile in Los Angeles. Shortlyafter their arrival, the two became the focus of FBI investigations. They were bugged and followed.In 1947, Eisler was finally called before the House Un-American Activities Committee (HUAC), and ayear later he and his wife were deported from the USA. The book contains images from Eberhart'slatest film Garten sprengen (2022) and a series of new sculptural and photographic works thatcan be seen in her exhibition at the IKOB Museum of Contemporary Art in Belgium.Veronika Eberhart is an artist, filmmaker, and musician.

Un coup de dés jamais n'abolira le hasard (Sculpture) (A Throw of the Dice Will Never AbolishChance) is a close copy of the 1914 edition of French symbolist Stéphane Mallarmé's poem of thesame name, but with all the words cut out by laser. Published sixteen years after the death ofthe poet, Un coup de dés became famous for its intimate combination of free verse and unusualtypographic layout. The twenty-page-long poem anticipated the interest in graphic design andconcrete poetry that emerged in the twentieth century.The preface of Michalis Pichler's version of Mallarmé's masterpiece features the entire poemwritten as a block of text with each line separated by a slash ( / ). Twelve double spreads follow,with immaculately cut-out windows standing in for the text. As you turn the pages, numerousshadows are generated by the cut-outs.The first edition of Michalis Pichler was published in 2008 and quickly sold out. This new editionmakes the artist book accessible again.Michalis Pichler is an artist operating on both sides of the imaginary border between visual artand literature and one of the founders and organizers of Miss Read and Conceptual Poetics Day.A monograph of his work was co-published by Spector Books and Printed Matter, Inc

The state of the world's forests has become an alarming indicator of the imbalances that existbetween the planet's tree population and humanity's production of carbon dioxide. Logging andthe profit-oriented exploitation of woodlands are accelerating the ecological crisis, while climatechange fuels deforestation. The publication Into the Woods, which accompanies the exhibitionof the same name, focuses on the forest as a habitat, its ecological processes, and the threats itfaces. Works by eighteen contemporary artists examine how humans influence the condition offorests and cause their destruction, while at the same time exploring the collective and symbioticnature of the forest ecosystem.With works by Rodrigo Arteaga, Anca Benera & Arnold Estefán, Eline Benjaminsen, Alma Heikkilä,Monica Ursina Jäger, Markus Jeschaunig, Isa Klee, Susanne Kriemann, Jeewi Lee, Antje Majewski,Richard Mosse, Katie Paterson, Oliver Ressler, Abel Rodríguez, Diana Scherer, Rasa smite & Raitissmits.The publication appears in conjunction with the Klima Biennale Wien 2024, 5 April - 14 July 2024

The painter Achim Freyer, who was a master student of Bertolt Brecht's, has gained an internationalreputation for his theatre works since the 1970s. However, he always remained first and foremosta visual artist, who made a systematic study of aesthetic and social issues. He escaped fromEast Germany in 1972, whereupon he changed the theatre using the visual arts as his medium. Hetook part in documenta in 1977 and 1987. Stagings like his 1988 Einstein on the Beach embody asynthesis of stagecraft and painting. This monograph is the first to focus on his complete artisticoeuvre, placing it in the context of his theatre work and collection of art. Freyer's late paintingsare a brilliant body of work powered by his undimmed creativity.Achim Freyer, b. 1934 in Berlin, is a visual artist, theatre- and film-maker, university lecturer, collector,and benefactor. Johannes Odenthal, b. 1956 in Cologne, is an art historian and archaeologist.From 2006 to 2022, he was head of programming at the Akademie der Kü nste in Berlin.

Argentinian artist Adrian Villár Rojas's artist's book The End of Imagination, a dystopian graphicnovel, weaves together three stories: The Last American, a futuristic novel by John Ames Mitchellfrom 1889; The Last Joke on Earth, an essay about the end of the world that Rojas himself wrotein 2011; and images taken from the 1928 animated short Steamboat Willie, the first Mickey Mousefilm to be set to music.This montage of literature and cartoon pictures takes readers on a journey in the company of ahand-drawn Mickey Mouse, navigating the margins of a photocopied edition of The Last American,while the story of the last humans on earth unfolds.The Last American and Steamboat Willie have something in common: both are out of copyright,which means that they have become a commodity. The artist's book thus also examines how wecan continue working with the wealth of material that has already been produced.Adrian Villár Rojas is an Argentinian sculptor and installation and video artist.

Artist Angela Glajcar works with fragile materials-torn strips of paper, delicate glass fabrics,and plastic-which she layers and curves to create sculptural forms that, with the help of incidentlight, develop into bodies that seem to glow from within. The sculptor made a name for herselfon the basis of her tiered paper sculptures: "terforations". The term comes from a combinationof foramen (hole) and terra incognita (unknown or unexplored territory). The catalogue raisonné,which includes more than 1,600 objects, reliefs, and spatial installations, gives a comprehensiveaccount of the trajectories involved in the development of artistic works that are often temporaryand site specific.Angela Glajcar, b. 1970 in Mainz, studied at the Academy of Fine Arts (AdBK) Nuremberg. Her workshave featured in exhibitions around world at venues that include Landesgalerie Niederösterreich,Jeonbuk Art Museum (South Korea), Kunstmuseum Bochum, National Museum of Women in theArts, Washington, DC, MOCA Jacksonville. She won the Paper Art Award in 2021. Sasa Hanten-Schmidt is the editor of the catalogue raisonné. As a court expert on art and head of AngelaGlajcar's studio, she has had a close connection with the artist's work for more than a decade

Pan Daijing devises performances and exhibitions as Gesamtkunstwerke, total works of art inwhich architectural intervention, light, sound, and movement interact to tell stories that go beyondlanguage. Her haunting compositions for voice and electronic instruments combine opera andnoise music. Mute-in which the artist and composer examines silence and liveness-is Pan'sbiggest solo exhibition to date. This monograph is published in conjunction with the exhibitionand in collaboration with Tai Kwun Contemporary is the first comprehensive presentation of Pan'swork in the dynamic zone straddling music and visual art.Pan Daijing, b. 1991 in Guiyang, China, lives as an artist and composer in Berlin. She is one of thewinners of the prestigious Preis der Nationalgalerie 2024. Sarah Johanna Theurer, b. 1988, is acurator, whose focus is on time-based arts and techno-social entanglements. She is currentlyworking in the Haus der Kunst in Munich.

As the largest alpine valley in the world, the San Luis Valley is a land of sand dunes, wetlands, andfarmland-nearly all of it above 8,000 feet in elevation. It is characterized by an unparalleled rangeof physical geography, social, cultural, and economic diversity, and extraordinary environmentalphenomena-all within a footprint of roughly 150 by 75 miles. Only sparsely covered by historiansand geoscientists, the San Luis Valley has been home to mixed Hispanic ancestral villages, Spanishand Anglo settlements, Indigenous territories, and Catholic, Mormon, Amish, Hindu, and Buddhistcommunities. Today, the vast majority of land is owned by state or federal agencies or is usedfor agricultural production. Dominated by the presence of the Rio Grande, one of the main riversin the American Southwest, the San Luis Valley is the headwaters of many lifeways that flow andbranch out across the region. This publication summarizes M12 studio's Landlines Initiative, amulti-year engagement with Colorado's rural San Luis Valley, which took place from 2018 to 2022.M12 is a collaborative studio known for art projects that explore public space, rural cultures, andlandscapes. Richard Saxton is an artist and University of Colorado professor whose work focusesprimarily on rural knowledge and landscape. He is the Founder and Creative Director of M12 Studio.Margo Handwerker is a practitioner with M12 Studio and serves as Chief Curator and Director ofthe Texas State Galleries at Texas State University. Trent Segura is a practitioner with M12 Studioand independent graphic designer.

Akinbode Akinbiyi's street photography takes in the world's major cities, which he explores on foot.His images are visual metaphors ruminating on cultural change, social exclusion, and colonialism'ssociopolitical consequences and its impact on urban planning. Whether he is out and aboutin Bamako, Berlin, Lagos, or Durban, the photographer uses his camera to investigate socialstructures in urban spaces.The book presents key aspects of Akinbiyi's work since 1990. In 2024 the photographer and authoris being awarded the Berlin Senate's Hannah Höch Prize for his life's work.Akinbode Akinbiyi, b. 1946 in Oxford, grew up in England and Nigeria, in the city of Lagos. Hestudied literature and English and began teaching himself photography as a young man. He hasfeatured in numerous exhibitions and biennials worldwide. He exhibited his work in Athens andKassel as part of documenta 14 in 2017.

The photobook Permanent Concern consists of a series of smartphone photographs that Cavaliertook in the Netherlands in 2021. The objects and situations that he portrays are often recognizableand ordinary: from a plastic table to a brick wall blotched with paint or a girl's skipping rope. Thefull zoom used by Cavalier reveals-in much the same way as his presentation of the photographsas monochrome laser prints does-the inherent structure of his subjects and how, as "foreignobjects", they break with the original order. In this way, Cavalier emphasizes the various aspectsof urban planning, including among them the unintentional, the "mishap", which he characterizesas a quality that allows room for a subjective and personal use of the cities in which we live.Bertrand Cavalier, b. 1989 in France, is a multidisciplinary artist based in Brussels.

Hans Hansen's Analog Project, which the artist has been engaged with since the 1990s, comprisesa more or less complete document of all the equipment, utensils, and materials that he hasneeded and accumulated over his many years as a photographer making analogue prints. Isthis collection an evidential record of a world-or rather a photographic practice-documentedbefore it disappears, perhaps for good? Does it address a time of upheaval, in which digital mediahave begun to dominate the world? Would we use the terminology of crisis and catastrophe todescribe this revolution, which is akin to the turmoil that photography once brought about? Andwhat kind of archive is being created in the process? (Reinhard Braun)Hans Hansen, b. 1940 in Bielefeld, completed a training as a lithographer before going on to studyapplied graphics at the Kunstakademie Dü sseldorf. In 1962 he became a freelance (self-taught)photographer. He has lived and worked in Hamburg since 1967.

Art and technology know lots of tricks. They can spot little sings in different parts of society. These weak signals might show us new trends or big changes coming. They enable us to consider the unknown future not as a threat, but as a resource for new narratives.This little pocket book, edited by Lukas Feireiss and Florian Hadler and designed by Studio Yukiko, playfully identifies some of these "Weak Signals". As a glossary of new terminologies and neologisms, it curates, archives, copies, combines and compiles ideas, texts and images using a cut-up technique. It brings together human-written and AI-generated texts in a flat hierarchical manner and provides a vast array of hyperlinks that form an intricate web of endless references.Weak Signals is the result of the seminars "Art and Technology: A Research Network and Weak Signals: New Narratives in Art and Technology", which were conducted by the visiting professors Prof. Lukas Feireiss and Prof. Dr. Florian Hadler at the Berlin University of the Arts in 2022-2023. Supported by Deutsche Telekom AG, the seminars and the resulting publication are a unique case of Third Mission that strengthens the university's permeability and social impact through dialog, exchange and the development of common vocabularies.

Auto und Küche prallen in Lena Henkes Ausstellung "Good Year" im Museum Marta Herford aufeinander und stellen kleinbürgerliche Ideale, Markenversprechen und Heimatdefinitionen auf das Tablett. In der raumgreifenden Rauminstallation P7340LH adaptiert Henke eine von Poggenpohl in Kooperation mit Porsche-Design auf den Markt gebrachte Küche und presst Reifen in die Rasterordnung einer Küchenzeile.Als "Manual" erweitert der Künstlerkatalog die Bildwelten dieser Pole zwischen Lifestyleästhetik sowie Fragen von Prägung, Identität und Rollenbildern. Das produktive Arbeiten mit Recherchematerial und seine Umsetzung in Comics oder Collagen ist Teil von Henkes vielschichter Praxis, die sich von der Bildhauerei in weitere Dimensionen zieht und dabei stark vom räumlichen und umweltorientierten Denken geprägt ist.Lena Henke wurde 1982 in Warburg geboren, sie lebt und arbeitet in Berlin und New York. Sie ist die 5. Preisträgerin des Marta-Preis der Wemhöner Stiftung

"The Great Repair" is an oxymoron. The title captures the convergence of two seemingly contradictory principles: the revolutionary ambition for systemic change and the evolutionary act of repair. Despite the justified (postmodern) skepticism toward revolution as a concept of rupture, we must not abandon our aspiration to bring about profound transformation. The philosopher Eva von Redecker formulates this thought along similar lines in this issue:Two English language issues of ARCH+ Magazine for Architecture and Urbanism are published in collaboration with Spector Books to accompany the exhibition. The first issue (ARCH+ The Great Repair - Politics of the Repair Society, May 2023) serves as a theoretical introduction to the topic, while the second (ARCH+ The Great Repair - A Catalog of Practices) introduces practices of repair and will be published on the occasion of the exhibition's opening as a catalog.

Die Künstlerin Asta Gröting arbeitet seit über drei Jahrzehnten mit dem Medium des Bewegtbildes und der Skulptur. Sie produziert Videos über das Verhältnis zwischen dem menschlichen Körper und dem Raum, zwischen der Beziehung von Mensch und Tier sowie Tieren untereinander. Ihre Filme, Performances und Skulpturen richten den Blick auf Oberflächen, um zu ergründen, was sich dahinter verbirgt. Jedem Werk scheint die Frage zugrunde zu liegen: Was ist das Wesen von x? Was ist das Wesen von Wolf und Hund? In ihrer jüngsten Arbeit Wolf and Dog lässt Asta Gröting ihre aufgekratzte Australian-Shepherd-Hündin Laika auf einen entspannten Wolf treffen. Mit einer Ultrahochgeschwindigkeitskamera, die 1000 Bilder pro Sekunde aufnimmt, wird die gemeinsame Fütterung der Tiere gefilmt und extrem verlangsamt auf eine Leinwand projiziert. Hund und Wolf kommen sich bei der Verteilung von einem Stück rohen Fleisch nicht ins Gehege.Das Wesen von x erscheint anlässlich der gleichnamigen Ausstellung im Lindenau-Museum in Altenburg, das der Künstlerin den Gerhard-Altenbourg-Preis 2023 verliehen hat.Asta Gröting, geb. 1961 in Herford, lebt und arbeitet in Berlin. Sie studierte Bildhauerei an der Staatlichen Kunstakademie in Düsseldorf und lehrt seit 2009 an der Hochschule für Bildende Künste Braunschweig.

Style Congo: Heritage & Heresy untersucht die Politik der kulturellen Repräsentation und Aneignung anhand zeitgenössischer künstlerischer und architektonischer Interventionen und historischer Materialien, die hauptsächlich aus der CIVA-Sammlung in Brüssel stammen. Ausgehend von der gleichnamigen Ausstellung und beginnend mit dem Jugendstil wird in diesem Buch die Darstellung des Kongo in internationalen und kolonialen Ausstellungen in Belgien, Frankreich und dem Kongo zwischen 1885 und 1958 nachgezeichnet.

Das fotografische Werk von Ulrich Wüst kann aus verschiedenen Perspektiven wahrgenommen werden. Die Beobachtungen, die er in seinen Bildern festhält, mögen letztlich ihre Wurzeln in der deutschen Teilung und deren Überwindung haben. Sie betreffen jedoch immer auch universelle Phänomene gesellschaftlicher Wandlungen und deren materielle Erscheinungsformen. Die scheinbar lapidaren, höchst präzise komponierten Bilder sind Ergebnis langer visueller Wanderungen in gegenwärtigen Orten der jüngsten Geschichte.

Der Raum, in dem wir leben, ist von Strömungen, von Übergängen bestimmt. Wir sind allerdings sodaran gewöhnt, uns in dieser hypermodernen Welt zu bewegen, dass wir die Strömungen, die unserLeben ausmachen, gar nicht wahrnehmen. Sie sind unsichtbar, verborgen im Offenen - so lange,bis sie zusammenbrechen. Der Krieg in der Ukraine verhindert den Export von Weizen, Covid-19 undHolzmangel machen sich bei Bauvorhaben überall auf der Welt bemerkbar: Diese Geschehnissesind nicht nur menschliche Tragödien, sie erinnern uns auch in aller Dringlichkeit an globale Ab-hängigkeitsverhältnisse. Visible upon Breakdown untersucht die kulturellen, politischen und räum-lichen Dimensionen der Infrastruktur in einer transdisziplinären Diskussion zwischen Fotografie,Sozialwissenschaften und Architektur. Dabei geht es um das Verhältnis zwischen den materiellenElementen von Eisenbahnnetzen, Wasserversorgung und Kommunikationssystemen einerseits,und den diesen innewohnenden politischen und gesellschaftlichen Bedeutungen andererseits.Justinien Tribillon ist Urbanist, Autor und Wissenschaftler. Er forscht zu Infrastruktur, Kulturpolitik,Migrationen und der Politik technischer Artefakte. Offshore ist ein in Zürich und Eindhoven an-sässiges Designstudio, das von Isabel Seiffert und Christoph Miler gegründet wurde. Neben Auf-tragsarbeiten und Kollaborationen im kulturellen Bereich sind sie in der Designausbildung tätigund untersuchen in eigenen Projekten kritische Themen in den Feldern Gestaltung, Ökologie undGlobalisierung.

1988 fand im Bauhaus Dessau im Rahmen des UN-HABITAT-Programms ein Seminar statt, das sichmit Fragen des Wohnungsbaus in "Entwicklungsländern" beschäftigte. Hier wurde ein von DDR-Architekt·innen entwickeltes Fertigbausystem vorgestellt, das in einem Bildungs- und Entwicklungs-zentrum des African National Congress (ANC) in Dakawa, Tansania, erstmals zur Anwendung kam.Die im ländlichen Tansania seit den 1970er Jahren mit Unterstützung internationaler Solidaritäts-bewegungen entstandenen Bildungszentren waren Lern- und Lebensräume für Menschen, dievor dem brutalen Regime der Rassentrennung in Südafrika geflohen waren. Diese Zentren warenzudem einzigartige Orte transnationaler Begegnungen zwischen Ost und West im Kalten Krieg.Warum gerade Bildung den Schlüssel für den Aufbau einer neuen demokratischen Gesellschaftdarstellte, steht im Zentrum der Publikation.Igor Bloch, Doktorand Vrije Universiteit Brussels / Ghent University. Joyce Lam, Künstlerin und Fil-memacherin, Tokio. Essi K. Lamberg, Doktorandin, University of Helsinki. Esther Mbibo, Architektin,Daressalam. Nokubekezela Mchunu, Doktorandin, University College Dublin. Michalina Musielak,Wissenschaftlerin und Filmemacherin, Leipzig. Lucas Rehnman, Künstler und Wissenschaftler,Berlin. Jordan Rowe, Autor, Kurator und Wissenschaftler, London.

Ob sich Menschen heute noch über ihren Beruf definieren, wie es August Sander in den 1920erJahren für seine Porträts der Menschen des 20. Jahrhunderts voraussetzte? Sind unsere heutigenIdentitäten nicht viel komplexer oder gar multipolar? Nach der großen August Sander-Ausstellungim Sommer 2022 am Centre Pompidou lohnte es sich, die Kategorien und Filter des Kölner Foto-grafen hundert Jahre später auf die große Pariser Institution selbst anzuwenden. Dort gibt es nichtnur eine Vielzahl von Tätigkeitsfeldern, die Belegschaft stellt auch einen sozialen Querschnittdar: eine kleine Gesellschaft innerhalb der großen städtischen Gesellschaft. Dieses Anliegenshaben sich Andreas Langfeld (Fotografie) und Florian Ebner (Idee und Text) angenommen undgemeinsam eine Aktualisierung des Sander'schen Porträt-Atlas konzipiert. Es entstand ein Ge-sellschaftsporträt, das nicht die illustrative Entsprechung sucht, sondern gerade in seinen Unter-schieden und Widersprüchen ein Bildnis unserer 2020er Jahre zeichnet.Florian Ebner ist Fotograf und Kunsthistoriker. Seit Sommer 2017 leitet er die fotografischeSammlung des Centre Pompidou, Paris. Andreas Langfeld arbeitet mit Fotografie und Film imFeld des Dokumentarischen. Seine Arbeiten treibt ein Interesse für gesellschaftspolitische undmedienreflexive Fragen an.

The New Designer: Design as a Profession beschäftigt sich mit den Aufkommen des BerufsfeldsKünstler·in und Gestalter·in nach dem Ersten Weltkrieg und seiner Entwicklung im Umfeld indus-trieller Produktion. Der Band enthält Artikel über Lehrmodelle, die zunächst erprobt wurden anSchulen wie dem Design Laboratory, New York, der skola umeleckých remesiel (sUR), Bratislava,der Hochschule für Gestaltung (HfG) Ulm und der Escola Superior de Desenho Industrial (ESDI), Riode Janeiro. Ergänzt werden diese Texte durch Essays und Gespräche über Programme, Praktikenund Selbstverständnis der Designpädagogik. Das Buch ist Teil der Reihe "Schools of Departure", zuder auch ein digitaler Atlas gehört, der experimentelle Ansätze der Kunst- und Designausbildungjenseits des Bauhaus verzeichnet.Yaa Addae, Kuratorin, Autorin und Künstlerin, London / Accra. Claudia Banz, Kuratorin für Design,Kunstgewerbemuseum Berlin. Shannan Clark, Associate Professor für Geschichte, Montclair StateUniversity. Alison J. Clarke, Professorin und Leiterin des Instituts für Theorie und Geschichte desDesigns, Universität für angewandte Kunst Wien. Martin Mäntele, Leiter des HfG-Archivs, Ulm.Catherine Nichols, Kunst- und Literaturwissenschaftlerin, Kuratorin und Autorin, Berlin. Lesley-AnnNoel, Assistant Professor für Design Studies, North Carolina State University. Marina Otero Verzier,Architektin und Leiterin des Master-Studienganges Social Design, Design Academy Eindhoven.Klára PreSnajderová, Autorin und Kuratorin am Slowakischen Designzentrum, Bratislava. OrbisRexha, Jurist, Forscher und Aktivist, Pristina. Ilana Schleich Tschiptschin, Forscherin und Grafik-designerin, Berlin.