Peter Friedl is a conceptual artist whose practice is characterized by a critical examination of social, political, and cultural narratives. Working across various media such as photography, video, drawing, installation, and text, Friedl challenges established power structures, historical representations, and systems of perception by creating alternative perspectives and narrative strategies.

Spätestens mit ihren Auftritten auf der 50. Biennale Venedig und der Manifesta 5 hat sich die deutsche Künstlerin Amelie von Wulffen auf dem internationalen Kunstparkett einen Namen gemacht. In ihren Collagen, Zeichnungen und fotografischen Überblendungen beschäftigt sie sich mit biografischen Recherchen und Rekonstruktionen.

This collection of eerie figurative works by the young Polish painter Marcin Maciejowski, who has shown at Leo Koenig Gallery in New York and at the 2004 Art Basel fair as a "Statement" artist, features work from 2003 to 2007, as well as extensive background information.

Es gibt Themen, die Horn in vielen ihrer Arbeiten verhandelt. Dazu gehören vor allem die Frage nach der Wandlungsfähigkeit und Vielfältigkeit von Identität sowie das Aufzeigen von Abweichungen zwischen dem Wesen der Dinge und deren visueller Erscheinung mit künstlerischen Mitteln.

“Erasure is a visual depiction of the modernist erasure of graffiti. It is authored by X, the artist, and I merely the conceptual constructor of what X had innocently, non-artistically performed.” – Eldon Garnet

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.

Ein Buch über 1971 und die Zeit davor, Freiheit als Bild, die Materialität eines Übergangs, Musik, Sexualität und was ein aus Italien kommender, in Kairo geborener crooner in Berlin verliert: Ricky Shayne

Die antikolonialen und antirassistischen Bewegungen des 20. Jahrhunderts gingen mit künstlerischen und theoretischen Gegenentwürfen zur Exklusivität der westlichen Moderne einher.

"For my artist's book for the Secession, I reproduced my diary calendar from 1986, the year I was eighteen. The calendar is full of dense handwritten entries that obsessively revolve around questions of my identity. Finding myself was what it was about.
"Als Künstlerbuch für die Secession reproduziere ich meinen Tagebuchkalender von 1986, aus dem Jahr, in dem ich 18 war. Der Kalender ist eng handschriftlich beschrieben und verhandelt Fragen zu meiner Identität im Dauerloop.


Which man? Daniel, Olli, Arnd? My math teacher? No one? Passages that now strike me as too private were blacked out in the process. Today's digital trace masks the analogue trace from decades ago. The censorship becomes a graphical addition, a drawing that pulls together the two different periods of time, separated by thirty-three years." (Alexandra Bircken)
Die Suche war das Thema. Welcher Mann? Daniel, Olli, Arnd? Mein Mathelehrer? Keiner? Subjektiv als zu privat empfundene Passagen wurden im Prozess nachträglich geschwärzt. Die digitale Spur von heute legt sich über die analoge von damals. Die Zensur wird zu einem zeichenhaften Zusatz, einer Zeichnung, der die beiden Zeitebenen, die 33 Jahre auseinander liegen, zusammenzurrt." (Alexandra Bircken)
Berlin 2019, 216 pages, 11 x 15,5 cm, Flexocover, English

Six years after landing at the Isle Enchanted in 2016, and after much inland exploration, native assimilation,

This publication revisits Jennifer Tee’s tampan tulip series and the themes, motifs, and research that went into it.

The work of a pioneering artist, whose explorations of mass culture, consumerism, and politics remain highly relevant today.

Created in Berlin around 15 years ago, this large-format collage book by Isa Genzken is both a personal diary and artistic manifesto. In it are portraits of the artist and her friends;

You’ll Never Work Alone: Collective Infrastructures in Moving Images demonstrates the possibilities and challenges inherent in collective cinematic and artistic work by presenting international and local perspectives from academics and practitioners.

Throughout the history of the built environment there has been no more significant endeavor than the construction of houses of worship, which were once the focal point around which civilizations and city-states developed. Constructing the Ineffable is the first book to examine this topic across continents and from the perspective of

130 Propagandabilder, Werbe- und künstlerische Plakate von den 40er- bis Ende der 80er-J.

The publication “Jean-Frédéric Schnyder. Mappe A55” shows 17 female nudes from the “How To Paint (1973–75)” works series created according to the instructions of the DIY painting course of the same name by Walter T. Foster.

CORNER football + society is a periodical publication that proposes a crossdisciplinary approach, taking football and its complex contemporary and historical context as a starting point.

Das Operndorf Afrika ist zehn Jahre alt geworden. Was ist aus Schlingensiefs Vision, ein Operndorf im westafrikanischen Burkina Faso zu gründen, geworden? Werden dreißig Kilometer außerhalb der burkinischen Hauptstadt Ouagadougou nun Wagner-Opern inszeniert?

Als Blinky Palermo im Alter von 33 Jahren auf den Malediven starb, studierte Förg noch an der Münchner Akademie. Die beiden sind sich nie begegnet. Kann man trotzdem von einer Freundschaft der beiden sprechen? Nein, kann man nicht. Man muss!
When Blinky Palermo died unexpectedly in February 1977 while on a trip to the Maldives, he was 33 years old and Günther Förg studied at the Munich Academy of Fine Arts. So, Förg and Palermo never met.

How can art and culture contribute to creating new imaginaries of the future within the current political and social discourse marked by misinformation, radicalization, populism, and a general crisis of representative democracy? Shaping Desired Futures draws the map of a changing Europe that can help contextualize today’s burning questions and trace still unknown narratives shared by Eastern and Central Europe. Through a series of interviews, essays, and artistic contributions, it proposes new means through which art can model alternative visions and help shaping different desirable futures.

The winter 2021 issue of Mizna, guest-edited by Tarik Dobbs, challenges conventional forms, language, and ideas within literary processes and traditions.

Mizna is a critical platform for contemporary SWANA literature, film, art, and cultural production centering the work of Arab and Southwest Asian and North African artists. For more than twenty years, we have been creating a decolonized cultural space to reflect the expansiveness of our community and to foster exchange, examine ideas, and engage audiences in meaningful art.

The winter 2020 issue of Mizna is guest edited by Palestinian graphic novelist Leila Abdelrazaq and addresses prompt of A New World Order. These days, it seems as though revolutionary changes are happening daily.

Bianca Baldis Publikation Play-White ist zwischen ihrer jüngsten gleichnamigen Videoarbeit und einer neu in Auftrag gegebenen Serie von Textilarbeiten angesiedelt, und vereint Ideen rund um den komplizierten Akt des „Passing".

Her most recent comic seemingly depicts Amelie von Wulffen’s own life. It stands in for a parody of the contemporary, female, mid-career artist.

Cet ouvrage est publié à l'occasion de l'exposition Amelie von Wulffen, à l'espace 315, Musée national d'art moderne du Centre Georges Pompidou, Paris, 2 mars-2 mai 2005.

This is an anthology of the artist’s collected comics from 2011 to 2020, only allegedly a casual branch of her practice. It includes November (2011) and At the cool table (2013) as well as lesser known, shorter comics of the last few years.

„The conceptual is no longer in opposite to working freely unlike historic conceptual art dictated, but for David Roth both complement each other in his endeavour of fundamental research of painting in as broad a spectrum as possible.

A catalogue as reader: the enclosed texts describe the nearly one hundred works the artist produced through the year 2020 under the name “Stefan Riebel”; these texts, however, are autonomous pieces of writing * in their own right.

THE LINE – Atlas of Remoteness documents the exploration of contemporary landscapes by walking along a straight line around the Earth. This volume focuses on a segment that goes from the River Rhine to the High Alps extending through the territory of Liechtenstein. THE LINE is a project by the Institute for Linear Research, an independent research platform.

In the book the mind is the body Lisa Gutscher journies into the body and presents a fantastic tapestry of stories and visuals. Like a children's science book, the artist reveals before us readers the magic of the body without confining it to machinic partitioning, binary oppositions or theory as such. It is stories, both visual and textual, that are the fuel and destination of this journey:

“I wanted a newspaper, the picture in my head was of someone slapping a fat stack of paper on the table in front of you, in your face, saying: Right, now it’s happened.” (Siggi Hofer)
The versatility that distinguishes Siggi Hofer’s exhibitions is also evident in a publication accompanying his current

Hermann Nitsch (*1938 in Wien) ist ein bedeutender Wegbereiter des Wiener Aktionismus. Seit 1957 arbeitet er an der Verwirklichung seines zentralen Werkes: Das Orgien-Mysterien-Theater ist ein nonverbales,

The punk pulp love story by a post-post-modern dandy, boy-about-town, lost in the perverse underworld of sex & drugs & culture wars.

A three-dimensional paper sculpture with eight different views. A pop-up book as an homage to the contemporary art book scene.

‘Abstraction as an Open Experiment’ addresses the exploration and interpretation of the potentiality of abstraction, which starting from the 1960s became a vehicle for artists to rethink the relationships between modernist art, the individual and society.

Hock describes some of her works as ‘hosting structures’ – structures that seek collaboration with another work and in this way can create something larger than themselves.

Started as a xerox zine, a saturated compilation of drawings done by amateurs, musicians or comics authors, Nazi Knife explored, in its more recent issues, some more singular editorial approaches: the publication seen as a library, as a collection of motley elements, where raw materials, symbolic references or cultural products could be combined, or as the visual repetition of few fetishistic obsessions, modulated by an architecture of filters, quite opaque to say the least.

“Erasure is a visual depiction of the modernist erasure of graffiti. It is authored by X, the artist, and I merely the conceptual constructor of what X had innocently, non-artistically performed.” – Eldon Garnet

Since 2001 Prinz Gholam have been dealing with the self and the body as cultural constructs in their performative work. In the actions they perform together, the two artists succeed in revealing and breaking through the postures of our iconographic heritage that are consciously or unconsciously inscribed in us.

The Danish label/imprint arbitrary announces the release of Framework 3 (arbitrary11) by Mads Emil Nielsen. Framework 3 is the latest instalment in Nielsen’s sequence of graphic scores and recordings.

Vrach is Renaud Regnery's collection of all the sketches made for the painting of the same name: Vrach, 2019, plaster, acrylic paint and alkyd lacquer on wallpaper on canvas, 200 x 135 cm.

Curator Christine Eyene challenges the Eurocentric and patriarchal frameworks that have informed the history of sound art and, to some extent, continue to define current practice. Sounds Like Her is a challenge

Alejandro Cartagena’s photographs of recently built Mexican suburbs, ask us to look at this phenomenon of the suburban environs and how it has fueled variously the need for solutions to overcrowded cities, or the desire to form and incorporate community living where replication and anonymity are the rule rather than the exception.

Das Buch gibt einen umfassenden Einblick in das vielgestaltige Werk Ingrid Wieners, die die Gobelinweberei als zeitgenössisches Medium neu entdeckt hat.

Ein präziser Blick auf das architektonische Umfeld, den sozialen Kontext und die geografischen Gegebenheiten wurde für die Projekte durchgehend vorausgesetzt, die im dritten Band der von András Pálffy edierten Reihe Konzept und Entwurf präsentiert werden.

In 1994, after seeing photographs of the plastic sheets given to Rwandan refugees to live under, Shigeru Ban went to the United Nations High Commissioner for Refugees to propose ideas for better shelters. Since then, Ban has been critically heralded for his innovative approaches to environmentally sound architecture and his devotion to humanitarian efforts in the wake of some of the most devastating natural and man-made disasters.

Joachim Brohm (Jahrgang 1955) unternimmt ein foto-urbanistisches Projekt mit Langzeitbeoachtung. Von 1992 bis 2002 fotografiert er auf ein und demselben Areal, das - am Rande einer deutschen Großstadt gelegen

Featuring a wealth of sketches, precision drawings, and computer-generated artwork, as well as a range of styles, concepts, languages, and alphabets, Free Hand illustrates the idiosyncratic creative processes behind the design of typefaces, logos, and word-images.

Each drawing in the Codification of intimacy is based on a chapter, a passage or a key word that Voigt has chosen to distill from Niklas Luhmann's Love as Passion (1982). Voigt began her drawings by first marking those passages in the text that triggered intuitive associations.

In June 2019, Elise By Olsen was invited to deliver the graduation lecture at Elisava School of Design and Engineering in Barcelona. The lecture took form as a loose conversation with professor Saúl Baeza, taking By Olsen’s past, present and future projects as points of departure to navigate freely through her thoughts, approaches and techniques. This conversation ended up taking somewhat of a retrospective look at the way By Olsen has manoeuvred through various projects and creative formulas, reconciling the realms of fashion, art and media, from a very early age onwards.

Anfang der 1980er Jahre wurde Taaffe als wichtiger Vertreter der Appropriation Art international bekannt. Sein Interesse an Ornamenten unterschiedlicher Kulturen und historische Naturdarstellungen, die er als Fragmente in leuchtenden Farben auf die Leinwand bringt, prägen seine Bilder.

Der 1938 in London geborene Star-Fotograf David Bailey begann seine Karriere als Chronist des „Swinging London“ der 1960er-Jahre und gilt bis heute als Meister der Porträtaufnahme.

Kreatives Schmuckdesign jenseits von Luxus und Pomp. Schmuck ist im Trend. Ob Glamour, Gothic, Pop oder Minimalismus rund um eines der ältesten und immer wieder innovativsten Kulturgüter der Welt finden sich derzeit viele ungewöhnliche Entwürfe, Materialien und Gestalter.

For Markus Guschelbauer, the landscape is a reference point and a backdrop for his photographic interventions and stage settings. Guschelbauer’s photographs ‘are imbued with a continually reactivating, obsessive urge to find oneself within the ambit of one’s personal background, one’s own identity and its place in an apparently indefinable and dreamlike natural landscape’

Through his photographs of lobbies captured in more than two hundred hotels in Vienna, Wolfgang Thaler has succeeded in portraying an entire city, the hybrid face with which it welcomes and takes leave of its guests, offcially and incognito. (Andreas Spiegl)

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A corporate report as conceptual intervention