Kunstnere, kunstmonografier

52 Jahre lang lebte die in Königsberg geborene Käthe Kollwitz (1867-1945) in Berlin - die wachsende Metropole mit ihren Widersprüchen war ihr zur Heimat geworden. Die Publikation stellt dreizehn Orte in der Stadt vor, die im Leben der Künstlerin von Bedeutung waren. Dabei wird deutlich, dass Käthe Kollwitz nicht nur in Prenzlauer Berg ihre Bahnen zog. Ateliers, Ausstellungen, Freunde finden sich auch im Berliner Umland oder in der bis 1920 noch selbständigen Stadt Charlottenburg.Mit der zweisprachigen, handlichen Broschüre wurde eine neue Reihe des 1986 gegrün­deten Käthe-Kollwitz-Museums Berlin eröffnet. Dessen Umzug aus der Fasanenstraße ins Schloss Charlottenburg bot den willkommenen Anlass für eine aktualisierte Neuauflage des seit längerem vergriffenen Titels.

Mittels komplexer fotografischer Experimente in der Dunkelkammer untersucht Marta Djourina (geb. 1991 in Sofia, Bulgarien; lebt und arbeitet in Berlin) das Wesen des Lichts und die Wechselwirkungen zwischen Sinneswahrnehmungen, Naturphänomenen, Körper und Information. So hat sie ein hybrides Genre entwickelt, das sie als "Filtergramm" oder auch "Blindmalerei" bezeichnet. Ihre performativen und zugleich poetischen Gesten beim Ausloten der Möglichkeiten analoger Fotografie lassen leuchtende, farbintensive Kompositionen entstehen. Djourina bearbeitet das lichtempfindliche Fotopapier auf mannigfaltige Weisen und setzt es äußeren Gegebenheiten aus. So verschickte sie zum Beispiel Lochkameras per Post, im Koffer oder mit einer Brieftaube. Ob mit der Kraft der Sonne, punktuellen Lichtkörpern, biolumineszierenden Organismen wie Algen und Pilzen oder historischen Techniken wie der Kirlianfotografie - Djourinas Suche nach außergewöhnlichen Lichtphänomenen ist unerschöpflich. Dies spiegelt sich auch in der Materialität der Publikation wider, deren Cover mit nachleuchtender Farbe gestaltet ist. Foxfire bietet erstmals einen umfassenden Überblick über Marta Djourinas Schaffen. Essays von Dr. Sarah Frost, Miriam Jesske, Gregory Volk und Babette Werner führen in die Werkserien ein und zeichnen die zahlreichen Arbeitsprozesse nach.    Languages of Light Marta Djourina (b. Sofia, Bulgaria, 1991; lives and works in Berlin) conducts complex photographic experiments in the darkroom to investigate the nature of light and the interactions between sense perceptions, natural phenomena, the body, and visual information. She has developed a hybrid genre she calls "filtergram" or "blind painting." Both performative and poetic, the gestures with which she probes the potentials of analog photography engender luminous and intensely colorful compositions. Djourina manipulates the light-sensitive photographic paper in manifold ways and exposes it to external factors. For example, she has shipped pinhole cameras in the mail, in a suitcase, or pinned to a carrier pigeon. Whether she harnesses the power of the sun, point-shaped light sources, bioluminescent organisms like algae and fungi, or historic techniques like Kirlian photography-Djourina is indefatigable in her quest for extraordinary light phenomena. The book reflects her way of working in its physical facture; the cover was designed with phosphorescent pigments. Foxfire is the first publication to offer a comprehensive overview of Marta Djourina's art. Essays by Dr. Sarah Frost, Miriam Jesske, Gregory Volk, and Babette Werner provide introductions to the series and analyze the artist's creative processes.

Catalog of an exhibition held at Gagosian Gallery, New York, NY from September 12-October 21, 2023.

Published in conjunction with a major exhibition, Lichtenstein Remembered, at Gagosian New York, this lavishly illustrated catalogue features new essays by Daniel Belasco, Adam Gopnik, and Steve Martin, as well as a conversation between Irving Blum and Dorothy Lichtenstein.

Trish spends her time hustling and cheating to score. Heroin, Dilaudids, whatever she can get.Precisely plotting the slippery slope of a heroin addict's existence, The Hummingbird Kiss paints a bleak picture but still manages to offer a ray of hope. The '70s are young, and 18-year-old Trish is a newlywed. When a Florida judge sentences her junkie husband to ten years for stealing stereos, she immediately seeks out a fix, and before she knows it she's hooked. There follows a long sojourn as she and her friends work small scams to score, head to California in search of better highs, move back to Florida, shoot up and nod off every chance they get - until death gets some of them.MacEnulty has constructed a gritty and sorrowful book about a young girl with an appetite for the damage done. Trish comes from a broken but still functional family. She's witty, articulate and street-smart enough to know better than to get caught up in this life of self destruction, but childhood abandonment and the ensuing self-loathing are too much for her to manage without medication. Her life unravels as her cross-country wanderings take her from drug dens to rehabs to prison, with a few bleary-eyed months spent scoring drugs in the Tijuana barrios.The author spares us no detail of her sordid descent, but Trish remains an engaging voice whose innate grain of goodness and interest in humanity keeps the reader on her side. Trish declines to blame anyone for her calamitous state. All she wants is the "hummingbird kiss of the needle" - the most wonderful experience she knows - until she inevitably winds up in prison and rediscovers the girl she once was."Searingly honest, often funny, always sordid story of a junkie's life in the 1970s."-Chauncey Mabe, Fort Lauderdale Sun-Sentinel

A veritable cornucopia of classic Paul Smith original X-Men art, collected into one glorious Artist’s Edition!Although the art appears to be in black and white, all Artist’s Editions are shot in color so all the subtle nuances are clearly visible to the reader—and printed at 100 percent size as drawn, a massive 12 × 17 inches. The only better way to see Paul Smith’s original art would be to hold it in your own hands.This volume not only includes pages from of his original run on X-Men (issues #165–175) but also showcases his classic two-issue crossover event X-Men/Alpha Flight. Plus, all of his original covers and two special foldouts of Marvel Fanfare #4 and X-Men/Alpha Flight #1.

ROOM: A Sketchbook for Analytic Action is a magazine conceived as an agent of community building and transformation. Its innovative and accessible forum brings different perspectives to bear on the complex problems facing us, while inviting greater familiarity with psychoanalysis as an important lens for personal, cultural, and political discourse. ROOM has been publicly recognized by the broader psychoanalytic community for its outstanding content and transformative analytic mission. In 2018, ROOM won the Gradiva(R) Award for New Media Promoting Psychoanalysis and in 2023 was honored with a first place IPA in the Community Award for its "effective and invaluable contribution to culture." ROOM is also member of The Community of Literary Magazines and Presses (CLMP).

An intimately candid memoir about the ambitions, struggles, and achievements of one of Canada's most prolific and important modernist artists.Why do I paint? I paint because I must.But why must I? As Picasso wouldanswer, why must a bird sing?I want a kind of dangerous art, risking the daemonic—a form emerging out of chaos like a rare monster surfacing from the deep, throwing offspumes, breathing the air.Jack Leonard Shadbolt (1909–1998) was one of Canada’s most prolific modernist artists, deeply influenced both by the West Coast landscapes and cultures that surrounded him and by the wider international currents in artmaking. Throughout his life, he remained singularly fixated on the question of how to make great art, bringing articulate and piercing analysis to a life-long search for meaning through his ceaseless acts of art.He also yearned—as we all do—to belong and to be understood. Using excerpts from his sometimes startlingly self-confessional journals, letters, talks, and writings, as well as his poetry, arts critic Susan Mertens—who enjoyed a twenty-five-year friendship with Shadbolt—crafts an intimate and candid collage of an extraordinarily driven and divided personality navigating the rapidly changing social and artistic challenges of the 20th century.This is the memoir Shadbolt never quite got around to writing.

"If the function of the artist is to see, the first duty of the critic is to understand what the artist saw."– J.E.H. MacDonaldTo See What He Saw focuses on the Lake O’Hara work produced by English-Canadian artist and Group of Seven member James Edward Hervey (J.E.H.) MacDonald, R.C A. (1873–1932) between 1924 and 1932. The book documents MacDonald’s seven trips to Yoho National Park in the Rocky Mountains of eastern British Columbia, Canada, and presents a detailed catalogue of the resulting en plein air sketches and the subsequent studio works completed during the last nine years of his life.The book features more than 200 of MacDonald’s western works from this period, organized geographically with en plein air sketches and studio work illustrated side by side. Each sketch is accompanied by at least one present-day photograph, many of which are taken from the exact rocky perch where MacDonald sat. Save for the forest growth since the 1920s, this pairing enables the viewer to see what MacDonald saw, and to understand how he processed the landscape before him. The book includes full transcripts of diaries, essays, and poems from which detailed, chronological descriptions of MacDonald's seven trips have been compiled. Relevant excerpts and original research further contextualize and illuminate the artist’s practices for specific sketches wherever possible.Of interest to Group of Seven and Canadian art collectors, curators, historians, students, and enthusiasts alike, this book is produced in conjunction with a 2024 exhibition at the Whyte Museum of the Canadian Rockies in Banff, Alberta. To See What He Saw offers a comprehensive examination of this esteemed artist’s painting process, finished works, and mindset over this period, and provides a unique lens through which to view MacDonald’s O’Hara work—a perspective that has not previously been fully explored in exhibition or in publication.

In Self-Portrait of a Painter, a Triptych Memoirs, journey through the fascinating life of a remarkable woman, born to an Irish mother and Jewish father in the vibrant, working-class neighbourhood of The Rocks in Sydney. From her roots in a Socialist household committed to social justice, she defies convention to become a celebrated portrait artist. This compelling biography traces her life's arc, from her formative years to her education at Art School, from marriage and motherhood to the realization of her artistic ambitions. She paints the faces of diverse subjects - some at odds with her own ideals - yet each becomes a fascinating character study etched onto canvas. As she finds love a second time, her world expands further through international travels, taking her to the esteemed art galleries of Europe. Immerse yourself in a story rich in art, social activism, and personal growth, a tribute to a woman who never wavers in her values while capturing the essence of others. Self-Portrait of a Painter, a Triptych Memoirs is not just an interesting read; it is an exploration of a life passionately lived.

A long overdue look at the artistic investigations of the late artist Beatriz da Costa, revealing the depth and prescience of her work.Beatriz da Costa: (un)disciplinary tactics is the most comprehensive documentation and analysis to date of late artist Beatriz da Costa’s (1974–2012) groundbreaking work. As a retrospective of a brilliant young artist, it renders a social portrait of her artistic practice by both contextualizing the work in its historical period (late 1990s to early 2010s) and extending the work’s socio-political concerns to the present. The book, edited by Daniela Lieja Quintanar, features a collection of essays by curators, artists, and researchers from a variety of fields, including technoscience, tactical media, cancer research, environmental justice, performance art, and participatory art. It also includes a group of reflections written by former collaborators and close friends.Beginning with da Costa’s early projects in the late 1990s as a student in the arts and robotics at Carnegie Mellon University, the book surveys her collaborative work withcollectives Critical Art Ensemble and Preemptive Media, as well as her research-basedand large-scale installations made in the early 2000s. The publication is a faithfulrecord of da Costa’s entire oeuvre, including information about artworks sheleft incomplete due to financial, health, or time limitations. Additionally, the bookincludes da Costa’s own critical writing on art and politics, as well as self-authoreddescriptions of her own work and an unflinching interview with cancer researcher Robert Schneider, who was a fundamental figure for da Costa at the end of her young life.The book accompanies a solo exhibition at LACE (Los Angeles Contemporary Exhibitions) as part of the Getty’s PST ART: Art & Science Collide initiative.

Thick Air brings together a new body of work by Hungarian-born artist Eva Beresin in which she offers a radical and intimate exploration of her life. The paintings can be seen as the culmination of a decade in which Beresin's art has gained both speed and inventiveness. Her paintings of the carnivalesque are animated by a genuine interest in the intricacies of the soul. Grotesquely uneasy and playfully bold, the compositions capture her personal history as well as universal human themes. EVA BERESIN (*1955, Budapest) has lived and worked in Vienna since 1976. Her subversive sense of humor developed over the course of her life. In her paintings, Beresin transforms the everyday horrors of existence into a tender examination of the contradictory nature of human behavior. With her intuitive grasp of the comedy of social transgression, she manages to evoke an infectious sense of relief in the face of tragedy.

An artistic tour de force through the history of capitalism, EUPHORIA asks the question of why there still doesn't seem to be an alternative to this economic system today. Drummers set the beat, a choir sings: the visually rich collage of texts quoting Adorno, Einstein, Virginie Despentes, Michel Houellebecq and Snoop Dogg becomes a veritable opera of film. We enter a bank lobby with employees in a frenzy of equity and dance; take a taxi ride with Giancarlo Esposito through an explosive New York; hang out with philosophising homeless people around an oil-drum fire in Kyiv, and with labourers working on a parcel warehouse conveyor belt; we listen to young skateboarders in an abandoned bus depot, and follow an animated tiger with the voice of Cate Blanchett through a deserted supermarket."EUPHORIA's focus is on the dynamics of capitalism, or more precisely, the unleashed neoliberal market economy with its historic, social, and political entanglements," Julian Rosefeldt says about capitalism's ubiquity. "Paradoxically, to be able to produce a work critical of capitalism, I repeatedly had to submit myself to the logic of the system. The so-called system in which we live and that we like to point a critical finger at is also all of us."Text: Jeff Wood. Poems: Bonnie Prince Billy.

an Flavin began work with fluorescent light tubes from the early 1960s on; arranged in so-called 'situations', he would then further develop them into series and large-scale installations. The colours and dimensions of the materials he used were prescribed by industrial production. Flooded in light, viewers themselves become part of the works: The space, along with the objects within it, are set in relation to each other and thus become immersive experiences of art triggering sensual, almost spiritual experiences. Flavin liberated colour from the two-dimensionality of painting. The catalogue places emphasis on looking at Flavin's oeuvre in a less familiar setting: His pieces, although initially without clearly recognisable signature, frequently make reference in their titles to concrete events, such as wartime atrocities or police violence, or are dedicated to other artists - as in the work untitled.Text: Text: Aden Kumler, Simon Baier, Elena Degen, Jules Pelta Feldman, Josef Helfenstein, Aden Kumler, Daniel Kurjakovic, Arthur Fink, Olga Osadtschy, Mechtild Widrich.

Gonzalez-Foerster works experimentally. Engaging with the exhibition as a medium, her spatial inventions and investigations probe the notion of display, as well as how an image or scene is experienced. Drawing on wide-ranging references from music, literature, film, architecture and pop culture, the artist creates densely layered environments with the ability to transport viewers into alternative narrative, temporal and psychological dimensions.Alienarium 5 is a speculative environment that invites us to imagine possible encounters with extraterrestrials. The catalogue is a culmination of her decades-long interest in science fiction and continued research into deep space and alien life. Conceived site-specifically for Serpentine, the exhibition will feature almost entirely new work that engages both the gallery's internal and external space.Ed.: Tatiana Kontou, Hans Ulrich Obrist, Dominique Gonzalez-Foerster.

Paul Klee spoke of, 'taking a line for a walk' when drawing. In my case it is the drawings that have led whilst I followed to see where they were going; and so one drawing suggested, and led to, another until a story, and for me meaning, emerged. The 'poems' were written independently of the drawings when I was a long way from home, wherever that is. The drawings are made primarily in ink and in my other life I'm an Applied artist working in metal, most often as a silversmith, but at one time or another a jeweller and also in foundries.The title came from reading about Steinbeck's search for a title for, 'of mice and men', which in turn came from Robert Burns', 'Wee timorous beasties.' Another rejected title of his was, 'Something happened,' and these, and the story, struck a chord with me when reading it whilst putting the drawings together for the book.

Gabriella è una donna che ha vissuto molte vite e affrontato molte prove, tutte superate grazie ad un unico principio: la vita è sempre bella e va vissuta intensamente. La Rose de la Mariée è la sua storia, la storia dei suoi amori, dei suoi viaggi, dei suoi successi, delle sue sconfitte, dalla nascita fino ai giorni nostri.

The taste of Studio Jeppe Hein des Künstlerpaars Silke und Jeppe Hein ist kein typisches Kochbuch, ebenso wenig wie ein reines Kunstbuch. Neben Rezepten aus der Studio-Küche, gibt es einen exklusiven Einblick in das Atelier und die Kunst, die dort entsteht. Fotos von Kunstwerken, dem Studioleben und von Ausstellungsprojekten mischen sich mit Fotos von Zutaten, dem Dachgarten, der Küche und dem gemeinsamen Mittagessen. Die KünstlerInnen Sophie Kitching, Jose Dávila, Lilibeth Cuenca Rasmussen und Anselm Reyle realisierten jeweils ein eigenes Künstleressen. Der Autor und Philosoph Finn Janning trägt mit The Philosophy of the Saucepan bei. Das Buch illustriert Silke und Jeppe Heins große Leidenschaft für Kunst und Kochen und zeigt, welche wichtige Rolle das gemeinsame Essen in ihrem Leben und ihrer Arbeit spielt. Text: Siobhan Dammert, Jose Dávila & Santiago Moro, Catharina Förster, Silke & Jeppe Hein, Finn Janning, Sophie Kitching, Wiebke Petersen, Lilibeth Cuenca Rasmussen, Anselm Reyle, Ingo Tolkmitt, Selina Welke.

Seit Beginn seines Künstlerlebens hat Jürgen Köhler (* 1954) sich ganz auf das Zeichnen fokussiert. In seinen figurativen, situativen und gegenstandsfreien Bilderfindungen greift der Künstler regelmäßig auf einschlägige Motive der Kunstgeschichte und ihre ikonographischen Rahmenthemen zurück, um auf diese Weise sein Verhältnis zu Zeit und Welt zu illustrieren.Seine Zeichnungen ähneln in ihrem Fantasiereichtum häufig den Arbeiten von Kindern oder sogenannten Outsidern, auch wenn sie inhaltlich von Mythen, Religiosität, Erotik und Sexualität geprägt sind. Sie zeigen Zeichen, Figuren, eisige Natur und technoide Geometrien, beschwören unsere verborgenen und verschütteten Erinnerungen und Gedanken und eröffnen erratische Räume, gefüllt mit Metaphern und Allegorien.Seine Figuren kommen nicht ausschließlich aus dem europäischen Bildverständnis, sie kennen das faszinierende Fremde japanischer Holzschnitte, die Maskeraden geheimnisvoller Rituale oder Szenen aus dem uns unbegreiflichen No-Theater. Dabei haben seine Zeichnungen nichts Ideologisches, keine vorausgedachte Programmatik, keine Botschaft, sie sind den Abgründen des Unbewussten auch da noch verpflichtet, wo sie die sogenannte Wirklichkeit in den Blick nehmen.Der Katalog erscheint anlässlich der gleichnamigen Ausstellung im Leonhardi-Museum Dresden (20.01.-24.03.2024).

Starting from found thermal camera recordings, the filmmaker and artist Stefan Kruse (b. 1987) made his experimental, essayistic documentary film A Lack of Clarity (2020). This book, titled after the film, transposes Kruse's dream-like documentary from screen to page. The resequencing of film stills and subtitles presents an alternate view into the social control mechanisms and evolving digital technologies that face an expanding field of what is visible (and controllable) in the contemporary city. A Lack of Clarity, designed and edited in close collaboration with Kruse, includes 200+ stills from the film, as well as essays by Volker Pantenburg and Rémi Lauvin.

Philip Loersch (geb. 1980 in Aachen, lebt und arbeitet bei München) kombiniert minutiös imitierte Druckschrift mit hyperrealistischen Buntstiftzeichnungen, etwa von Seiten aus Konversationslexika, die er nicht nur auf Papier, sondern auch auf dreidimensionale Objekte wie Speckstein überträgt. Seine Arbeiten offenbaren die Fragilität von Wahrheit und Authentizität und sind zugleich subversiv-ironische Kommentare zur postmodernen Auflösung des Originalitätsbegriffs. Seine Werke wurden in renommierten Institutionen wie dem Kunsthaus Zürich, dem Museum Kunstpalast Düsseldorf und der Hamburger Kunsthalle ausgestellt. Er erhielt zahlreiche Stipendien und Preise, darunter den Kunstpreis Berlin für Bildende Kunst. Diese Monografie versammelt seine Arbeiten der Jahre 2016 bis heute.

Cornelia Baltes's (b. Mönchengladbach, 1978; lives and works in Berlin) paintings and installation straddle the divide between abstraction and figuration. Her pictures are inspired by observations of mundane details-apparel, body parts, or facial expressions-that she pares down to simple lines and shapes. Rendered in vibrant colors and gestural fields, they hint at a narrative in the pictorial space. Baltes works with steadily modulated color gradients, on which she places thick and assertive marks. She often interrogates the painted picture's function, by painting on the wall beyond the rectangle of the canvas, by hanging a picture in the middle of the room as an object in its own right or laying it out on the floor. Her works blend Pop Art and minimalism with an intensity and dynamic energy-and, sometimes, unmistakable flashes of humor-that cannot fail to captivate the beholder.This book is the first comprehensive monograph on the artist's oeuvre.Cornelia Baltes studied at Bergische Universität Wuppertal in 2000-2003 and at Folkwang Universität der Künste, Essen, in 2003-2006, before rounding out her education at the Slade School of Fine Art, London, in 2009-2011.

André Butzer (geb. 1973 in Stuttgart, lebt und arbeitet in Rangsdorf bei Berlin) wurde durch seine von ihm selbst als "Science-Fiction-Expressionismus" bezeichneten Bilder bekannt. Sie sind in verschiedene Gattungen eingeteilt, so malt er "Friedens-Siemense" oder "Schande-Menschen", aber auch komplett abstrakte Kompositionen. Als seine Vorbilder nennt er Walt Disney, Edvard Munch, Henri Matisse, Friedrich Hölderlin und Henry Ford. Butzers utopischer künstlerischer Entwurf ist in dem fiktiven Ort "Nasaheim" ("N"), einer Art Wallfahrtsort im Weltraum, angesiedelt. Seine Gemälde sind aber keinesfalls Umsetzungen narrativer Strukturen, sondern bringen etwas zur Sprache, was vorher nicht gesagt werden konnte. Gleichnishaft verkörpern sie die immer wiederkehrenden Extreme der Geschichte als Sinnbilder der menschlichen Existenz.

We fall into the new only when we learn how to give up what is old and which no longer works in our lives.The Last Leaf Of Autumn finds out to his surprise that there is no joy in holding on or feeling stuck in a situation that has become too painful to stay in. Embracing dreams after being heartbroken is for the boldest of hearts and adversity never leaves you empty-handed.Through the marvellous art of storytelling, Reena Doss' words, colorful illustrations and creativity will make you fall in love with the Leaf's journey throughout all the seasons.______________________________________________________________________Developmental Editing: Miriam Otto @miriamo77Copyediting & Proofing: Shruti Sharma @shrutiscapesCover, Book Design & Illustrations: Leonie Belle Hawk @leoniebellehawkI stopped numbering my pages. Infinity seems to be a better number and my story is still unwritten. Besides, I do like its symbol a lot-a sleeping ¿

With the first appointment of the outstanding performance artist Marina Abramovic to the Pina Bausch Professorship at the Folkwang University of the Arts, the focus in the 2023-23 academic year was placed on transdisciplinarity, artistic daring and social awareness.The project supervised by Abramovic, entitled "Free Interdisciplinary Performance Laboratory (FIPL)", was realised in a class put together by her, in which she brought together over 20 students from the fields of music (classical and jazz, instrumental, vocal and composition), dance, design, photography, (physical) theatre and directing. The students developed individual or collective concepts for performances and learnt how to develop a long-term performative work form in an experience-based process. In a workshop entitled "Cleaning the House", which was organised according to a method developed by Marina Abramovicmethod developed by Marina Abramovic, the students developed a sense of the presence required in performances, including the exploration of their individual physical and mental limits. The outstanding performance artist Marina Abramovic was the first holder of the new Pina Bausch Professorship at the Folkwang University of the Arts in Essen in 2022/23. She focused on transdisciplinarity, artistic daring and social awareness. In her Free Interdisciplinary Performance Laboratory (FIPL), Abramovic brought together over twenty students from the fields of music, dance, design, photography, (physical) theater and directing. Over two semesters, they realized artistic-performative projects that dealt with agency, resilience and body awareness and explored physical and mental boundaries.

Aldo Mozzini. Casematte ist das erste grosse Buch über den Schweizer Künstler Aldo Mozzini. Die Monografie zeigt seine vitale Kunst in mehr als 200 Abbildungen sowie in Texten bekannter Schweizer Kuratorinnen und Kuratoren. Ein Gespräch mit dem Künstler rundet den Band ab, der Mozzinis Beitrag zur zeitgenössischen Kunstszene der Schweiz hervorhebt. Aldo Mozzini, geboren 1956 in Locarno, lebt und arbeitet seit den 1980er-Jahren in Zürich. Galerien und Museen in der Schweiz, in Italien und in Frankreich zeigen seine Werke in Einzel- und Gruppenausstellungen, 2012 und 2019 wurde er mit dem Swiss Art Award ausgezeichnet. Im Laufe der Jahre hat er Tausende von Zeichnungen, Gemälden, Objekten, Fotografien, Skulpturen und Installationen geschaffen und sich dabei rastlos von einer Ausdrucksform zur anderen bewegt. Das Buch lässt 40 Jahre von Mozzinis Karriere Revue passieren und greift verschiedene Aspekte seines so humorvollen wie poetischen Schaffens auf. Das Ergebnis der künstlerischen Suche ist ein beeindruckendes malerisches und grafisches Werk, das eng mit den Skulpturen und Installationen verbunden ist, die nach wie vor die bevorzugten Medien Aldo Mozzinis sind.

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

Bruno Pacheco has immersed himself in the medium of painting for nearly 30 years, during which time he has worked across innumerable subjects and styles. Fluidity is central to his approach. This fully-illustrated monograph is the largest on the artist's work to date.Text: Jennifer Higgie, Barry Schwabsky, Anthony Spira.