The Egyptian Postures is a guide to the most advanced Mazdaznan exercises that Johannes Itten taught his students at the Bauhaus. Often performed while singing or humming the postures were intended to activate glands and re-channel internal energies, stirring the blood in ways that contributed to the perpetual evolution of humanity. They were also said to induce auto-illumination, the participant’s body generating an intense light from within.

With 2 to 3 issues a year, the members of the team publish their magazine around their personal encounters and artistic interests. Each issue present around fifteen contributions, in both texts and images. Artists, writers, scientists and specialists in all kind of fields are invited to contribute and intervene in a sober and efficient layout already acknowledged by the London Design Museum in its exhibition Best European Design 2005.

“Yves Klein by himself” is the intellectual biography of one of the most influential artists of the second half of the twentieth century. Through his innovative approach to painting, sculpture, film and photography, he influenced minimalism, conceptual art and performance art from the late 1960s to the present.

In the Making: In the Desert of Modernity: Colonial Planning and After. A Research-Based Practice is about the working method of the artist and exhibition maker Marion von Osten.

A multimedia meditation on the many meanings of the ocean across history

Tabea Blumenschein (1952–2020), Hilka Nordhausen (1949–1993) und Rabe perplexum (1956–1996) waren exzentrische Künstler*innen der achtziger Jahre – sie agierten abweichend von Normen und außerhalb des Zentrums im subkulturellen Milieu.

I don’t care (about football) is a participatory artistic project involving the players of the Marangoni 105 football team, created in 2011 as part of one of the rehabilitation residences of the Udine Mental Health Department managed by the Duemilauno Agenzia Sociale Cooperative. The title, inspired by the words of a girl from the community, suggests how the game is not an end in itself but rather a practice of social inclusion and integration.

Featuring contributions by Tristan Duke, Christian Egger, Milano Chow, Miriam Jung, R.M. ­Erdahl, Jutta Koether, Mariam Akubardia & Guram ­Sakvarelidze, Christian Kosmas Mayer & GPT-3, Rosa Aiello, Matthias Meyer, Loji ­Höskuldsson, Oli Surel, Mathias Kessler & ­Chiara ­Juriatti, Krasimira ­Stikar & an ­Interview with Monika Rinck.

“Urban Kitsch”, originally written in 1996, explores the forms of vernacular visual culture that emerged in the city of Baroda following the liberalization of the Indian economy. Plastic toys, celebrity mud flaps, and postmodern architecture collide into a new formal category—both celebrated and derided—as Praneet Soi traverses the city on his trusted Yamaha RX 100.

Curated by Kris Lemsalu and Sarah Lucas at MEYER KAINER Vienna October 2020

Over the years 1919–20, the celebrated medical scientist and doctor Carl Julius Salomonsen began giving public lectures and publishing pamphlets regarding a new “epidemic” that had begun to affect the European populace: the increasing ubiquity of modernist art.

An account of an album about Albania by British experimental musicians made in the eighties. Also involving stories about the Albanian Society, William Bland, A. L. lloyd, RCPB ML, and Cornelius Cardew. From Scratch is a story of Albanian Summer: An Entertainment, an LP album released by Practical Music in London in 1984.

Independent art spaces on the African continent have flourished, particularly over the past twenty years in tandem with a youthful population in fast-urbanising cities.

Sarah Dobai’s The Donkey Field weaves a link between a racist attack in on a young boy and the story of the persecution of Marie and Balthazar in the acclaimed film Au Hasard Balthazar (Robert Bresson, 1966).

Mizna: The Black SWANA Issue, guest-edited by Safia Elhillo and produced by an all-Black takeover team, explores the infinitely varied and kaleidoscopic nature of the Black SWANA experience.

Handmade is an ecstatic archive of synthetic handmade Artist’s books. Sequenced in no particular order, the project searches for meaning in the future tense through time, text, and touch. Using a combination of images and descriptions, the book chronicles not only a series of material proposals but also a visual discussion between the authors. Constructed entirely from text to AI generated images, the book works with collage at the granular level, speculating on what the form of a book might become when drawn from an impossibly broad archive of digital images.

"The textual whole forms that empty space in which the eyes can both rest and open to see the unexpected." With Martina Steckholzer painting is documentary, deconstructive and poetic. In large-format room images, she looks at exhibition architecture and

"Type I enacts a hyperreality, in which the effects of climate change are damaging our world, and technological advances are held up as the key innovative tools for alleviating ecological collapse. Merging poetics, visuals, fiction and essaying to create a vivid, multi-layered novel, Max Parnell's debut offers up not only an