Silent Works – The Hidden Labor in AI-Capitalism explores the often invisible human labor behind artificial intelligence and digital infrastructures.

Sophie Thun acts in a multi-layered manner in the fields of action of photography.

The book accompanies the solo exhibition, conceived by the Generali Foundation Collection

With Concepts of All-Over, Museum Haus Konstruktiv presents a spectacular group exhibition celebrating the interplay of colors, shapes, light, and architecture.

Experiment Expressionism – Schiele Meets Nosferatu is an expansive, cross-genre exhibition dedicated to the many facets of Expressionism.

In the summer of 1970, the Museum of Modern Art in New York mounted the now legendary exhibition Information, one of the first surveys of conceptual art.

Die beiden Bände Divenire und Werden versammeln insgesamt 137 künstlerische Positionen – von der Renaissance bis in die Gegenwart – und eröffnen vielfältige Perspektiven auf Prozesse künstlerischer Entwicklung.

Painting after Painting offers a multifaceted exploration of contemporary painting in Belgium, tracing its development from the late 1990s to the present.

Francis Offman’s exhibition Weaving Stories presents a selection of new assemblages, that the artist calls ‘abstract paintings’.

What art can do in a contemporary world in crisis – that is the question that looms in every facet of the exhibition Fish are folded into the sea just as the sea is folded into fish by Ariane Mueller.

Die unversöhnlichen Gegensätze der Ideologien in Österreich, die seit dem Justizpalastbrand 1927 eskalierten, schlugen sich in einer Flut von Propaganda- und Kampfschriften nieder.

The catalog Global Joy by Lucy McKenzie, published in 2002 by Galerie Buchholz, documents the artist's solo exhibition of the same name in Cologne in 2001.

After. Inspired by an Atlas of Leprosy is a fascinating concept book by Lucy McKenzie that explores cultural appropriation and colonial narratives.

This publication was developed alongside the exhibition Spezialschule für Bildhauerei and focuses on the history of the sculpture building located in Vienna’s Prater, which has been part of the Academy of Fine Arts Vienna since its inauguration in 1913.

Lawrence Weiner (New York, the United States, 1942) is one of the representatives of Conceptual and post-Minimalism art whose work can be placed next to American artists from the same generation such as Joseph Kosuth and Robert Barry.

Lavishly illustrated, this book presents comprehensive entries for each of the tapestries in the Burrell Collection New research by an international team of experts details how, where, when and why these tapestries were made.

Borrowing its title from an Athenian neighborhood, NEOΣ KOΣMOΣ ("New World") explores the fragile, often absurd nature of how we construct and perceive the world.

Von der Jahrhundertwende bis in die 1970er-Jahre war die Musterwalze ein beliebtes Werkzeug für die Wandgestaltung in Innenräumen.

The last decade of video and photographic works by Austrian artist Judith Huemer (born 1969) ―

17th Istanbul Biennial - Guide - Small Size Book Description

The publication Raummalerei – Spatial Painting: Analytical Secessionism 1900–1910 explores a pivotal moment in Viennese modernism, focusing on the emergence of a holistic approach to spatial design at

Der Katalog macht zentrale Tendenzen seines Schaffens sichtbar, etwa die Verbindung von dekorativer Linie, figürlicher Reduktion und symbolistischer Ausdruckskraft – und

This project explores the fluid strategies involved in contemporary publishing practices, focusing on texts that refuse to remain static.

This book compiles research produced at five 'A School for Design Fiction' workshops at London College of Communication (London),

The publication dedicated to Günter Brus’ final works focuses on a series of watercolors created between 2020 and 2023, during the COVID-19 lockdowns, which marked a particularly intense and profound expression of his artistic practice.

Renée Green is one of the most vital and consistently innovative voices in contemporary art.

The trilingual exhibition publication is composed of nine chapters in one volume.

Kasia Fudakowski, eine junge, britisch-polnische Künstlerin, präsentiert ein humorvolles Projekt, das mit der Ästhetik und Ikonografie der Immobilienbranche spielt.

It is a long time in which curator Chiara Bertola has been able to observe the metamorphoses and rebirth of this ancient palace, which, through the different visions of the artists projected into its spaces, have made it many places each time.

Im Gegensatz zur digitalen Bilderflut zeigt das alte Medium Holzschnitt Rückgrat: Holzschnitt ist kraftvoll, klar und direkt. Jeder Schnitt ist eine Entscheidung.

In einer Zeit, die das Starprinzip demokratisiert und potenziell die ganze Welt zur Buhne macht, ist die Frage nach dem Verhaltnis des Theaters zu den Selbstdarstellungsritualen neu zu stellen und mit den Mitteln der Kunst zu vermessen. Ausstellung und Katalogbuch LOVE/HATE spuren den ,grossen Gefuhlen" in

The book is a wordless visual document, featuring full-bleed color images that capture the exhibition and each artist's contribution.

Concurrent with the exhibition Yuki Okumura, a publication features a conversation among the artist, Aaron Amar Bhamra, and Monika Georgieva, an essay by James Gatt, and numerous illustrations.

Concurrent with the exhibition Autofictions in Stone, a publication features six sixteen-page sheets designed by Aglaia Konrad:

In her film-poems artist and filmmaker Ana Vaz collages images and sounds that revolve around violence and repression, the impact of ecological ruin and the continued colonization of the earth.

Autoreduction is a project initiated by Dora Budor at Progetto (Lecce, Italy) in the summer of 2021 that began with detouring a solo exhibition onto a collaborative course to traverse the itineraries of work, leisure, and consumption in southern Italy. Conceived as a companion to the exhibition, the book features

Extending a long-standing dialogue, the book focuses on Oorebeek’s practice, tracing the movement from public space to artwork and back to the printed page.

Die Kunst von Sandra Peters eröffnet Bezüge zwischen Skulptur, Architektur, Sound und bewegtem Bild. Anspielungen auf historisch Bekanntes werden in ihren Arbeiten zur Anregung für die Imagination des Betrachters. Ihre Werke erzeugen

HUSSLEBLATT, 8 1/2 Jahre Husslehof, Catalog project about the exhibition history at Husslehof est. Frankfurt 2013-2022.
New catalog contributions by Bradley Davies @broadleigh_davies, José Montealegre @josehappymountains, Marta Orlando @writingon_water, Bernhard Buff @bernhardbuff, Atelier Leonard Kahlcke @atelierleonardkahlcke, DADADAO @dadacoin.ecosystem, Hüseyin Oylum @husseinozs,

This artists’ publication was published on the occasion of the exhibition Polyphonia, which ran at the Goethe Institut in Sofia, Bulgaria, from October 6 through November 6, 2017. This small publication isn’t a catalogue of the exhibition, although it does include some pictures of it; it is, rather, a second platform for the Polyphonia concept, for which the artists have

The artist’s works are mounted on panels, sitting on large pieces of veneered furniture placed around the edges of the rooms. The height of the furniture relates to the height of the plinths and columnar divisions of the wall decoration, and the pieces are very large so as to appear fixed and integral to the space of the room. The vivid colours and glossy surfaces of the works are held in the room by the rich dark tones of their plinths.

Casa Barragán, built in 1948 by famed Mexican architect Luis Barragán as his private residence and studio, is today considered a landmark of modern architecture. It is filled with all of the artworks and artifacts that Barragán placed in it during his lifetime, faithfully kept as they were when the residence was inhabited by its author. Recognizing the special regard

Published on the occasion of Wardill's exhibition "Matt Black and Rat" at Bergen Kunsthall. Featuring production stills and images from the exhibition, this book also includes new texts by philosopher Michael Marder, critic and writer Kirsty Bell, and a conversation between Martin Clark and Emily Wardill.

How do we draft a life, make of it a project, do our daily work? In what material and language does it arrive to us? And what if but it is done with one’s own body, and that body becomes this material but not the subject? Villiger’s autofictions––whether sculpture or image, human or vegetal body––prompt such queries.

Visual artist Diana Scherer (1971, DE) is one of the pioneers in bio tech art. Scherer lives and works in Amsterdam, the Netherlands, where she studied fine art at the Rietveld Academy in Amsterdam. Her work comprises botany, installations, textile and biotechnology.

Kramer’s work is in the fields of sculpture and installation. She combines familiar and unfamiliar objects in unorthodox ways that lead to completely contrary and sometimes even usable objects. While her works are highly distinctive in form and figuration, all the interventions comment on cultural and political phenomena within societies.

The Donaufestival 2010 in Krems was held under the theme "Failed Revolutions" and featured a diverse program of music, performance, and visual arts. In the visual arts segment, Franz Graf and Christian Jankowski were among the artists showcasing their works. Media art pioneer Paul DeMarinis also presented pieces that combine sound, light, and technology. A catalog for the art exhibitions was self-published by the artists, providing additional insights to accompany the festival program.

Susan Philipsz is one of the internationally most renowned contemporary artists. Her art explores the boundaries between sculpture and sound, between materiality and immateriality.

The exhibition is accompanied by a richly illustrated publication with two conversations between the artist and the journalist Adiaratou Diarrassouba and Thomas Lax, curator at MoMA in New York, in which she discusses the new photo series Achievement, her work with AI image programs, and the role she ascribes to them in the creation of new archives.

This publication is released on the occasion of Zhou Siwei’s exhibition I Sold What I Grow at the Vienna Secession, June 21–September 8, 2024. It includes an in-depth essay by the Beijing-based curator and arts writer Fiona He as well as an interview between the artist and Damian Lentini that probes the manifold influences that have informed his painting practice across the years.

Simone Fattal’s exhibition metaphorS is accompanied by a small publication with an interview with Cecilia Alemani, who showed Fattal’s works in the main exhibition of the Venice Biennale in 2022. A series of black-and-white photographs captures the mood of a spontaneous work meeting with the artist, opening up an intimate space.

The exhibition Forms of the Shadow is accompanied by a publication that features texts by Sunjung Kim and Jeyun Moon; Su-Mi Kang; and Ingo Niermann. Functioning as both an exhibition guide and a stand-alone reader, the publication offers further insights and points-of-entry into the multifaceted practices of the artists featured in the show.

The Kunsthalle Linz presents itself as a white cube par excellence: a simple, empty and windowless room with white walls, gray floor and a ceiling that floods the room with light: a playground for big projects in keeping with common exhibition practice.

Design führte in Wien lange Zeit ein Schattendasein. Doch seit den späten 1990er-Jahren hat sich eine kreative Szene etabliert, die mittlerweile auch über die Grenzen Österreichs hinaus wahrgenommen wird.

In December 2022, a group of sculptures by Franz West was erected on Esteplatz in Vienna-Erdberg, the location of his last studio in Vienna. From the very beginning of his artistic career, Franz West questioned the view that art objects can only be viewed reflectively. Even his earliest sculptural works, created from the mid-1970s onwards and later called Passstücke, were intended to actively involve the viewer as an equal counterpart in the process of experiencing art. The Passstücke were to be taken off the plinth and "used" - only this

Paesi Nordici. La Biennale di Venezia 1978. 5 cataloghi di mostre di artisti provenienti da Danimarca (Stig Brogger, Hein Heinsen, Mogens Moller), Finlandia (Olavi Lanu), Islanda (Sigurdur Gudmundsson), Norvegia (Frans Widerberg), Svezia (Lars Englund). Testi nelle lingue originali, inglese e italiano. Ill. in bianco e nero e a colori 8vo. pp. 20 fascicolo. . Ottimo (Fine). . . .

Lassen Sie sich auf eine Entdeckungsreise in die Geschichte des Schachspiels entführen, eine Reise durch die Zeit und um die Welt. Das Buch macht eine Fülle von Fach- und Detailwissen zugänglich und offenbart gleichzeitig die Faszination, die von diesem Spiel ausgeht.

Les Maintenants ist der Name einer fiktiven Firma aus Marlies Pöschls Film Aurore, die von Kindern und Jugendlichen gegründet wurde und sich mit der Automatisierung von Emotionen beschäftigt. Wörtlich übersetzt erfindet der Begriff Les Maintenants den Plural von „jetzt“ (französisch: maintenant) –

Nordic Iron Age Art has survived in the precious metals gold, silver and bronze in the form of jewellery, brooches, weapon accessories and other utility objects. In the first centuries of our time, art was dominated by the inspiration from Roman and Classical art,