Kim experiments with narrative formats using video and performance, as well as installation. Collecting and collaging encounters, images, sounds, and objects from his changing domiciles of Seoul, Amsterdam and New York he portrays his world with lyric complexity.

Eine Sammlung ist mehr als die Summe der Elemente, aus denen sie entsteht. Und sie wird bereichert nicht nur durch neu hinzugefügte Objekte, sondern auch dadurch, wie man sie sieht und „liest“. 50 Artefakte, die die Geschichten des Kinos erzählen: von der Stereoskopie des Teufels zum Storyboard von Amour, von Murnaus Tabu in schwarzweißen Outtakes zu Godards

Exhibition catalogue published in conjunction with the solo exhibition held at Mellemdaekket, Kunsthal Charlottenborg, Copenhagen, 2002.

Kritische Komplizenschaft / Critical Complicity ist ein Ausstellungs- und Buchprojekt, das drei Aspekte alternativen, kritischen Denkens bearbeitet;

Die Normativität der Regeln, die die Logik bestimmen, die entscheidende Rolle der Beweisführung, die Autonomie der Wissenschaft, ihre notwendige Bezugnahme auf das Objekt und ihre Einbindung in die Geschichte sind die Leitthemen dieser Abhandlung, die zweifellos zu den wichtigsten der

Making Room: Cultural Production in Occupied Spaces is a first of its kind -- an anthology of voices from the post-1968 squatting movement in Europe which is focused on creative production and cultural innovation.

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Beginning autumn 2011, Harpune Verlag Vienna will publish Herman Melville's masterpiece about the Great White Whale and his relentless pursuer Captain Ahab as a serial in 137 chapters.

"In the tumultuous business of cutting in and attending to a whale, there is much running backwards and forwards among the crew. Now hands are wanted here, and then again hands are wanted there. There is no staying in any one place; for at one and the same time everything has to be done everywhere."

(Beginning of chapter 72)

This richly illustrated book is the first monograph about Michael Pilz. It includes several essays dealing with his work, an extensive conversation, selected texts and film treatments written by him, and a complete annotated filmography.

Dieser Katalog mit DVD ist der zweite Band der Schriftenreihe der Schering Stiftung zu ausgewählten interdisziplinären Ausstellungen und dokumentiert Haroon Mirzas 2012 gezeigte Einzelausstellungen in Berlin, Sankt Gallen und Ann Arbor.

"Inmitten der Stadt der Trughaftigkeit folgt das Wesen dem Gebot von Abscheu und Begierde, und findet niemals Rast, die Gleichheit zu erkennen." Milarepa

Bending and fusing different genres of music, Al Qadiri has released a handful of largely instrumental albums that often imply narratives wrapped in a dystopian atmosphere, evoking an uncanny imagery of our increasingly oversaturated and disorienting information age. It is a simple yet complicated sound that owes as much to electronic music and video game soundtracks as it does to Russian composers and Arab musical traditions.

Edmund de Waal is a potter. His pots, plates, and vessels are the result of craft and mastership, but they are also so much more than that: they are experiments in form and function, abstractions of thoughts on silence and space, on repetition and failure, on substance and fragility, on memory contained.

Im Zentrum der Publikation "una poesia totale" stehen nicht die literarischen Arbeiten Balestrinis, sondern visuelle Werke.

Skulptur im öffentlichen Raum.

This book is a collection of drawings, poems & texts on the subject of Martian Gardening. (Engl.)

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The John Huston film Freud the Secret Passion (1962) presented the discovery of psychoanalysis as a detective story in which Sigmund Freud, played by Montgomery Clift, descends into the darkest depths of the psyche. (Engl.)

Everything you ever wanted to know about Hans Ulrich Obrist but were afraid to ask has been asked by the sixteen practitioners in this book. Spanning the beginning of his “career” as a young curator in his Zurich kitchen to his time most recently as the Co-Director of Exhibitions and Programs, and Director of International Projects at the Serpentine Gallery in London, the book is a “production of reality conversations.” It undertakes the impossible: pinning down this peripatetic curator, attempting to map his psychogeography so that silences may be transcribed. In a sense, it organizes a “protest against forgetting” and affirms the sagacity of an artist who told this dontstop curator “don’t go” when he “contemplated leaving the art world” for other fields—“to go beyond the fear of pooling knowledge”—in lieu of bringing other fields into the (then) hermetic art world.