Böcker utgivna av Hatje Cantz Verlag GmbH

The general public's image of Mondrian is of a serious man in a suit and tie with a reserved, rather aloof look. It is the same group of some ten photographs that shaped this image over time, although there are around 400 known photographs of the artist and his studios that provide a far more balanced and livelier image of Mondrian.This gorgeous book is not a biography, but rather a visual and emotional reference work for anyone who wants to immerse themselves in the world of this extraordinarily modern artist. The studios in Amsterdam, Paris, and New York are works of art themselves, as fascinating as the guests in these rooms. There are snapshots showing his private life, taken during journeys or visits, photographs of vernissages and dinners as well as formal portraits that he uses to promote the image of a serious, uncompromising artist.Detailed captions and richly illustrated essays on the significance of photography in the context of Mondrian's work make this book an extraordinary document of his time.PIET MONDRIAN (1872-1944) was one of the pioneers of abstract art. Hailing from a strict Calvinist family, the artist became famous for his compositions of black lines and rectangular fields in primary colors, but his early work was influenced by 19th century Dutch landscape painting.

Evaporating Suns explores myths from the Arabian Gulfthrough contemporary art. Based on the concept that themythical and the factual are like two sides of the samecoin, the catalogue accompanying the exhibition showsthat myths do not simply convey fictions, but are alsocapable of presenting truth much more vividly than statisticsand facts ever could. The publication showcases thework of 13 contemporary artists from the Arabian peninsula,who explore the folklore and popular myths of theirhomelands, and use cynicism, satire, and fiction to buildtheir universes and rewrite the parallel history of theircontemporary societies. Completed by essays by authorsfrom the region, myths are seen here as opportunitiesfor a new approach to the negotiation of current issuessuch as the environment, gender, and social structures ofpower.Founded in 2018 by the artist Sibylle Piermattei-Geiger and herhusband Rocco Piermattei, KULTURSTIFTUNG BASEL H. GEIGER IKBH.G creates a cultural program with current political or culturalreferences. The Basel exhibition space hosts three topicalart exhibitions a year, each of which goes beyond the conceptsof established institutions.

An intensely intellectual painter, Robert Motherwell is renowned for his distinctive Abstract Expressionist style. The seminal artist permeated his gestural works with an expressionism and austerity reflective of the human psyche; at the same time his oeuvre addressed political and humanitarian themes.Robert Motherwell: Pure Painting is an in-depth exploration of his artistic practice. Leading art scholars examine the American artist's turn from Surrealism to abstraction and analyze the major series that developed over his fifty-year career. The catalogue studies the dialogue between Motherwell's art and the nineteenth-century French painting tradition, investigates his relationship to Spanish techniques and processes, with an emphasis on their underlying political significance, and delves into Motherwell's use of ochre pigment, with its evocation of both deep geological time and avant-garde practices.In 1940s New York City ROBERT MOTHERWELL (*1915, Aberdeen, WA-1991, Provincetown, MA) entered a milieu of artists whose radical new style of painting came to be known as Abstract Expressionism. A theorist of this informal group - including artists such as Mark Rothko, Jackson Pollock, and Willem de Kooning - he taught throughout his life.

On Reality brings together Jorinde Voigt's current body of work, first exhibited in 2022 as part of the exhibition Experimental Strategies in Art + Music at the Moody Center for the Arts, Houston, Texas. By replacing the drawn line with the cut of the scalpel, Voigt creates works on paper through cutting, layering, and mounting that expand the medium of drawing into the three-dimensional. Voigt's idea of the artistic creative process as an operation on and production of reality literally comes into being. The concept that also underlies her sketch-like drawings of more recent date recalls the beginnings of Voigt's artistic expression: notations with diagrammatic elements, musical influences, and spontaneously transferred graphic gestures of situational experience. The publication includes a foreword by the Canadian cultural theorist, philosopher, and artist Erin Manning.JORINDE VOIGT (*1977, Frankfurt am Main) is an internationally acclaimed artist based in Berlin and Hamburg. In 2004 she graduated from the Universität der Künste Berlin. Since then, her works have been presented in numerous exhibitions worldwide, and are part of prominent collections such as those of the MoMA, New York, and the Centre Pompidou, Paris. Jorinde Voigt is Professor of Conceptual Drawing and Painting at the Hochschule für Bildende Künste (HfBK) in Hamburg.

Since the mid-1990s, Annette and Caroline Kierulf have practiced what they themselves call "woodcut as cultural critique". Drawing on the medium's rich history as a means of communication and protest, the Norwegian artists strive to revive woodcut as a discursive tool. With subtle humor, the sisters use the visual reductiveness of the low-tech medium to critically reflect on the social, economic, and cultural changes shaping our high-tech societies. Incorporating references to pop culture and folk art, Caroline Kierulf's work explores the often overlooked aspects of everyday life, Annette Kierulf focuses on a feminist reinterpretation of the landscape genre.The publication provides insights into the artists' production and working methods, as well as their longstanding collaboration.Oslo-born sisters ANNETTE KIERULF (*1964) and CAROLINE KIERULF (*1968) have played a major role the revitalizing of graphic art in Norway. Both studied at the Academy of Art and Design in Bergen, where they also work today. As independent artists they develop their works in an artistic dialog and have for many years collaborated on exhibitions in Norway and beyond.

Some of Nick Brandt's subjects are humans, some are animals, but they all are creatures of equal and obvious personhood. The overwhelming sense in the photographer's ongoing global series The Day May Break is that they are all figuring out how to live in a new world. Each has arrived at the shoot at Senda Verde wildlife sanctuary in Bolivia through their own cascade of tragedy. Both extreme droughts and floods have destroyed people's homes and livelihoods. Victims of habitat destruction and wildlife trafficking, the animals are rescues that can never be released to the wild. People and animals were photographed in the same frame and indeed convey a sense of connectedness through a shared fate. Fog is the unifying visual, symbolic of the natural world rapidly fading from view; and an echo of the smoke from wildfires, intensified by climate change, devastating so much of the planet. But in spite of their loss, these people and animals are survivors, pioneers entering the new phase our world has reached. In The Day May Break they share their powerful stories.This set includes the volumes The Day May Break and The Day May Break - Chapter Two.NICK BRANDT (*1964, London) studied painting and film at St. Martin's School of Art, London. In 1992 he moved to California, where he still lives today. Since 2001, he has documented the destructive impact that humankind is having on the natural world and, as a result, on humans themselves. Chapter One of his seminal series The Day May Break featured photographs taken in Zimbabwe and Kenya in late 2020. Chapter Two, shot in Bolivia in 2022, is the first time in his 20 year career that Brandt has made work outside of Africa.

Before the rise of Pop Art proper, Alex Katz developed an iconic style of figurative painting in the early 1960s- influenced by film, television, and billboard advertising. Seemingly detached and incredibly stylish, he created portraits of the New York scene as well as idyllic landscapes. Printmaking plays an equally central role in Katz's work. He uses lithographs, etchings, silkscreens, woodcuts and linocuts to reproduce, reflect and further reduce his bold aesthetic, while retaining the radiant color characteristic for his paintings. Since the first edition in 2011, Katz has almost doubled his output of prints-this timely new edition includes his complete prints, cutout editions, artists' books, and also lists his works of applied art like book illustrations and public art projects. New essays and interviews with the artist give profound insights into the work of one of the foremost American artists of the present.When ALEX KATZ (*1927, New York City) began his artistic career in the 1950s, Abstract Expressionism was the reigning style. Ahead of his time, he created stylized portraits against flat, monochrome backgrounds. From 1965 onwards, he embarked on a prolific career in printmaking, exhausting all its possibilities: from traditional craftsmanship to state-of-the-art reproduction techniques.

Antony Gormley - international bekannt als einer derbedeutendsten Bildhauer der Gegenwart - ist ein großerBewunderer der Werke Wilhelm Lehmbrucks: ihrer Innerlichkeit,Konzentration und Ruhe. Gormley / Lehmbruck.Calling on the Body erscheint anlässlich der bislang größtenAusstellung des britischen Bildhauers in Deutschlandim Lehmbruck Museum in Duisburg und zeigt Schlüsselwerke,die mit fast einem Jahrhundert Abstand voneinandergeschaffen wurden. Den reich bebilderten Katalogleitet ein Essay von Museumsdirektorin Söke Dinkla ein,die eindrucksvoll den Dialog zwischen beiden Künstlernbeschreibt. Zugleich wird die ikonische Architektur desLehmbruck Museums und ihre Resonanz in GormleysWerk im Essay der Kustodin Ronja Friedrichs untersucht.Neue Erkenntnisse liefert auch der Kunsthistoriker JonWood, der Gormleys Modelle und den Arbeitsprozess desKünstlers beleuchtet. Ein Interview mit dem Künstler gibtEinblicke in sein Denken und Arbeiten und die Bedeutungder Skulptur in unserer Gesellschaft.ANTONY GORMLEY (*1950, London) ist weltweit bekannt für seine Skulpturen, Installationen und öffentlichen Kunstwerke, die sich mit grundlegenden Fragen zur Stellung des Menschen im Verhältnis zu Natur und Kosmos beschäftigen. Zu seinen herausragendsten Arbeiten zählen Another Place, die Installation von 100 lebensgroßen Figuren im Wattenmeer, und die monumentale Skulptur Angel of the North im englischen Gateshead. Gormley wurde vielfach ausgezeichnet, u.a. 1994 mit dem Turner Prize.

Zhao Gang is a wanderer between two worlds. At the age of just 18, he was the youngest member of legendary avant-garde artist group The Stars, which also included Ai Weiwei. Their 1979 group exhibition, and the protests that followed, are often cast as the birth of contemporary Chinese art. Shortly thereafter Gang left for Europe and the United States. Having acquired American citizenship, he is regarded as one of the few artists of his generation who truly understands the East and the West - yet who looks at both worlds with a certain detachment. In his figurative paintings, however, he merges their different visual languages, increasingly turning toward examinations of his personal history and the historical roots of contemporary China. This monograph provides an overview of six central exhibitions from recent years, and introduces the life and work of this rebellious, sensitive, and mischievous painter.ZHAO GANG (*1961, Beijing) left China in 1983 to study fine arts in Maastricht and at Vasaar College in Upstate New York. After more than two decades in New York he returned to China in 2006. He is one of the most recognized Chinese contemporary painters, and lives between Beijing and New York. Among his recent exhibitions is the major group show Art and China after 1989 at the Guggenheim Museum, New York, in 2017.

Josef Albers's groundbreaking series Homage to the Square comprises roughly two thousand oil paintings. His continuous reflections and refinements for more than 25 years inspired numerous young minimal and conceptual artists in their search for a reduced formal language. This outstanding catalogue explores the secret of Albers's subtle aesthetic and unearths its preconditions: What is the significance of the square? How does his impression of color and its use as a material change during this period? Featuring studies on paper, archival materials, as well as essays by internationally-leading Albers experts such as Jeannette Redensek and Heinz Liesbrock, this richly illustrated publication sheds light on the various inspirations that influenced Albers early on in Europe and later in America, and illustrates the lasting impact of his art and thinking.As an influential teacher, writer, painter, and color theorist JOSEF ALBERS (1888, Bottrop-1976, New Haven, CT) is one of the leading pioneers of twentieth-century modernism. From 1923 onwards he taught at the Bauhaus, and continued to do so after his emigration to the USA in 1933 at Black Mountain College in North Carolina, and at Yale University, where he worked on his Homage to the Square from 1950 until his death. HEINZ LIESBROCK (*1953) was the long-standing director of the Josef Albers Museum Quadrat in Bottrop. He has written extensively on Albers and his influence on art history.

Competition is one of the driving forces of our time - everything can suddenly turn into a challenge or a contest. Art, on the other hand - that is outside the art market - can be seen as a free space in which something genuinely unique emerges. That this construct is a historical exception is revealed by a fresh look at the early modern period: Here, the principle of competition was thought to be decisive for artistic work. What is more, the competitive habitus of imitation, competition and surpassing - imitatio, aemulatio and superatio - was supposed to bring about cultural progress as such. Even Leonardo knew that "good envy" spurs high performance. Hence, some of the most famous works of the Renaissance and Baroque periods emerged from the competitive battles that artists in early modern Europe fought among themselves, as well as with long-dead models from antiquity. This splendid catalogue reveals mutual inspiration and cooperation, but also sheds light on the dark side of competition for prestigious commissions - envy, intrigue, and slander.

Dieser prächtige Bildband präsentiert eine Auswahl jener faszinierenden Wohnimmobilien, die in den vergangenen Jahren an exklusiven Adressen in Deutschland entstanden sind - eine Werkschau, die von großzügigen Grundrissen über konsequent-nachhaltige Handwerkskunst und ausdruckstarken Foyers bis zu noblen Interieurs reicht. RALF SCHMITZ steht für Baukultur, die in kompromissloser Qualität für Generationen geschaffen ist. Entwürfe renommierter Architekten, die Klassizismus neu interpretieren, edle Materialien und ausgesuchte Manufakturdetails fügen sich zu eleganten Bauten, die bleiben. Ausnahmeprojekte wie das imposante Wohnpalais»Alexander« in Berlin-Wilmersdorf, das wunderschöneApartmenthaus »Achenbach« in Düsseldorfs Zooviertel oder der neue weiße Prachtbau nahe der Hamburger Außenalster stehen für subtilen Luxus bei höchstem technischen Komfort. Wohnungen, die Rückzugsort und Repräsentation vereinen, errichtet für Menschen, die unverwechselbare Wohnerlebnisse schätzen.Das Erbe fortführen, die Zukunft gestalten: Seit seiner Gründung 1864 am Niederrhein errichtet das Unternehmen RALF SCHMITZ Immobilien in ausgewählten Lagen. Heute setzt die fünfte Generation der Familie diese Tradition an fünf Standorten - Kempen, Düsseldorf, Köln, Hamburg und Berlin - fort und schafft ausdrucksstarke und nachhaltige Wohnunikate, deren Formensprache alle Moden überdauert.

The Fire of Heaven presents the work of world-renowned artist Enrique Martínez Celaya in conversation with the life and work of the influential twentieth-century California poet Robinson Jeffers. Despite existing in different lifetimes, Jeffers's approach to life as art and his reverence for the natural beauty of the California coastline inextricably link the uncompromising poet to Martínez Celaya. The artist's multi-faceted practice explores the map of a territory shaped by self, memory, ideations of home, exile, myth, and identity. His practice presumes art should be an ethical effort that aims to understand better and engage with the world and ourselves. Beyond these threads of commonality, Martínez Celaya draws directly from Jeffers's writings, such as the 1928 poem The Summit Redwood, which serves as the exhibition's namesake and describes "the fire from heaven" as a force untamed and ignited at whim. Martínez Celaya's work created during his stay at the poet's landmark home in Carmel-by-the-Sea is complemented by Jeffers's handwritten poems, notes, and photographs.ENRIQUE MARTINEZ CELAYA (*1964) was born in Cuba and raised in Spain and Puerto Rico. He has realized exhibitions, interventions, and social and intellectual interactions worldwide with major museums, galleries, and institutions, including the Berliner Philharmonie, The State Hermitage Museum, and The Phillips Collection. A painter, sculptor, and writer, he lives in Los Angeles.

The history of the VanhaerentsArtCollection began in the 1970s, when a young Walter Vanhaerents laid the foundation of his now famous collection with works by Andy Warhol. Much has happened since then, but the focus on new and provocative art, often considered radical at the time, remained. From Bruce Nauman, Yoshitomo Nara, and Bill Viola to Cindy Sherman, Jeff Koons, Katharina Fritsch, or Tom Sachs-across different genres and media, the Brussel-based collection reflects a keen sense of the latest developments in current art practices as well as a prescient intuition for emerging artists. The publication Looking Ahead celebrates the 50th anniversary of this unique collection and provides an overview of the exhibitions of the past 15 years.

Since the 1970s, the medium of video and multimedia art practice has been closely linked to the subcultural and countercultural movements. Art and music videos in particular demonstrate great subversive potential: artists and musicians oppose traditional values, exploring and repeatedly transgressing social norms and gender stereotypes.This publication reviews artistic strategies in the context of a history of punk and its offshoots, combining scholarly opinions from the fields of art history, queer theory, media studies, gender studies, postcolonial studies, and cultural studies on an equal footing with field reports from the practice of alternative archives and artistic image essays.

The COVID-19 pandemic has made the fragility of the human body painfully perceptible. Through essays and contributions from international artists and activists, this anthology poses the question of how and by whom a body is defined as healthy or sick. At the intersection of ecology, economics, and technology, Kingdom of the Ill investigates a shift in the relationship between health and illness, contamination and purity, care and neglect. How are climate change and pollution affecting our well-being? Given the collective state of exhaustion, looming economic hardships, public healthcare cuts, and the dissolution of the boundaries between online and offline, how can one actually stay healthy and well?Following Techno Globalization Pandemic, Kingdom of the Ill - curated by Sara Cluggish and Pavel S. Pys - is the second chapter in the long-term research program TECHNO HUMANITIES launched in 2021 by Museion Bozen's Director Bart van der Heide.

Bastiaan van Aarle challenges our notion of time and movement. Unexpectedly, by choosing a medium and a subject that epitomizes stillness. By taking photos of mountains-all within the same frame, but spread over a certain period of time-these monuments of immutability, seemingly start to shift and reveal a movement, we don't experience ourselves: the rotation of the planet in space. Taking inspiration from color photography's beginnings, van Aarle transferred the different images to cyan, magenta, yellow and black. When brought together again, they reveal subtle traces of the passing of time in colored tinges. The effect is so otherworldly that it feels as if the rocks exist in a different dimension-as if the soft hues come fuming from the mountain's deepest history, floating gently in the thin mountain air. What is revealed here about the world is only exposed in the image, it can neither be conceived beforehand nor be seen with the mere eye: It is the magic of photography.Belgian landscape photographer, BASTIAAN VAN AARLE (*1988) explores the boundaries of photography, its medium-specific properties, and how these relate to the perception of reality. He is especially interested in the transformative qualities of light, be it through invasive advertising panels or the White Nights of the North.

Inspired by dioramas of wild flora and fauna found in natural history museums, Jim Naughten's digital reimaginations of a familiar yet alien world, explore the idea of wildlife becoming a lost fantasy. From orangutans swinging through psychedelic forests, to deer roaming pastel-hued canyons-Naughten's depictions of nature in an artificial color palette convey a distinct sense of dislocation and growing estrangement. His fantastical tableaus question our rose-tinted image of a natural world that is largely fictional. In fact we are entering the Eremozoic-a term coined by biologist and writer E. O. Wilson to describe the current era of mass extinction triggered by human activity. Also referred to as "The Age of Loneliness," the term alludes to the isolation that will follow the destruction of our deeply rooted relationships with other species.JIM NAUGHTEN (*1969, Horsham, Sussex) explores historical and natural history subject matters using photography, stereoscopy, and painting. Trained in both photography and painting, the London-based artist combines these backgrounds in a practice he refers to as "digital painting". Treating photographs like oil paintings on canvas, he uses digital enhancement to alter reality.

For 12 years, the Schwarz Foundation has been organizing regular exhibitions on the island of Samos at Art Space Pythagorion as well as the Samos Young Artists Festival. Due to its location on the Greek-Turkish border, Samos symbolizes one of the most pressing humanitarian issues of our time: Migrants crossing the Mediterranean Sea, geopolitical conflicts at the borders of Europe, and the human impact on the oceans around he world. A Decade of Cultural Production presents the work of the Munich-based Schwarz Foundation, whose declared aim is to promote dialogue through music and art. The book highlights how its projects deal with issues of migration, social responsibility and intercultural coexistence.

Sonia Delaunay's work appears today as fresh and relevant as ever. The modernist pioneer's ingenious color patterns dissolved the boundaries between visual and applied art. She further developed her painterly experiments in fashion, fabric patterns, interior design, book and object art, merging geometric abstraction and the sculptural qualities of pure color.Maison Sonia Delaunay is dedicated to Sonia Delaunay as a mediator between artistic-philosophical design and the beauty of everyday life. It particularly focuses on new research into textiles, fashion, and interior design. Drawing on never-before-published sources, the publication examines her international collaborations with entrepreneurs and artists, and illuminates how she redefines the relationship between art and industry in the process to design for a visionary, modern life.SONIA DELAUNAY (1885, Odessa-1979, Paris) was trained in St. Petersburg, Karlsruhe, and Paris around 1900, and initially established herself as a portrait painter before dedicating her work to abstraction around 1913. With her husband Robert Delaunay, she experimented with the concept of "Simultané" based on the use of intense color contrasts. During a stay in Portugal and Spain in World War I, she expanded her art to the objects of life. Back in Paris in the 1920s, she combined her ambitions in painting and design with her fashion and furnishing house "Sonia Delaunay." Her influence continues to this day, her patterns being as modern as ever.

Günter Zachariasen, 1937 auf Sylt geboren und seit Jahrzehnten in Nordfriesland zuhause, fühlt sich stark mit dem Land verbunden, ohne dass die Landschaft selbst zum Motiv seiner Gemälde wird. Der Künstler hat sich von allem Gegenständlichen gelöst. Seine oft monumentalen Werke sind malerische Abstraktionen und zugleich höchst sinnliche Resultate einer Erforschung des inneren Ich. Die von Zachariasen dargestellte farbige Leere spiegelt Weite, Offenheit und Entgrenzung wider. Eine zentrale Rolle spielt das Licht: Woher kommt es? Durchdringt es dichten Nebel? Welche Distanzen hat es zurückgelegt, bevor es unser Auge erreicht? Das sanft gestimmte Kolorit wird von fein nuancierten Farbverläufen getragen - fast scheint es, als würden einige Bereiche das Licht nicht nur sammeln, sondern auch aussenden. In seiner Kunst berührt Zachariasen Aspekte der Malerei, die vermutlich nur sie allein entfalten kann.

Following on the widely read The Future of the Museum: 28 Dialogues, which explored how museums are changing through conversations with today's generation of museum directors, New York-based author and cultural strategy advisor András Szántó's new compilation turns its attention to architects. The conclusion of The Future of the Museum was that the "software" of art museums has evolved. Museum leaders are "working to make institutions more open, inclusive, experiential, culturally polyphonic, technologically savvy, attuned to the needs of their communities, and engaged in the defining issues of our time." It follows that the "hardware" of the art museum must also change. Conversations with a carefully selected group of architects survey current thinking in the field, engaging not only architects who have built some of the world's most iconic institutions, but also members of an emerging global generation that is destined to leave its mark on the museum of the future.CONVERSATION PARTNERS:Kunlé Adeyemi (NLÉ), David Adjaye (Adjaye Associates), Paula Zasnicoff Cardoso & Carlos Alberto Maciel (Arquitetos Associados), David Chipperfield (David Chipperfield Architects), Minsuk Cho (Mass Studies), Elizabeth Diller (Diller Scofidio + Renfro), Frida Escobedo, Sou Fujimoto (Sou Fujimoto Architects), Lina Ghotmeh (Lina Ghotmeh - Architecture), Bjarke Ingels (BIG | Bjarke Ingels Group), Kabage Karanja & Stella Mutegi (Cave_bureau), Li Hu & Huang Wenjing (OPEN), Jing Liu & Florian Idenburg (SO - IL), Yansong Ma (MAD Architects), Winy Maas (MVRDV), Roth - Eduardo Neira (Roth Architecture), Stephan Schütz (gmp Architekten), Kerstin Thompson (_KTA), Xu Tiantian (DnA Design and Architecture), Kulapat Yantrasast (WHY), Liam Young (SCI-Arc)ANDRÁS SZÁNTÓ (*1964, Budapest) advises museums, cultural institutions, and leading brands on cultural strategy. An author and editor, his writings have appeared in the New York Times, Artforum, the Art Newspaper, and many other publications. He has overseen the National Arts Journalism Program at Columbia University and the Global Museum Leaders Colloquium at the Metropolitan Museum of Art. Szántó, who lives in Brooklyn, has been conducting conversations with art-world leaders since the early 1990s, including as a frequent moderator of the Art Basel Conversations series.

Even though we often hardly give it a second thought, we spend virtually every moment of our lives in two worlds: the analog world and the world of digital information, signals, and networks. Whether visualizing invisible data streams or tracking down cell phone towers disguised as palm trees, Peter Jellitsch's works constantly revolve around the connections between real and artificially produced reality. Using means of repetition, fragmentation, maximization, and minimization, he creates images that are filled with abstract-looking textures and have a cartoon-like style. The publication Artifacts of the Future provides a broad insight into Jellitsch's eponymously titled current series of works. PETER JELLITSCH (*1982 in Villach, Austria) studied at the Academy of Fine Arts and the University of Applied Arts in Vienna after completing a carpentry apprenticeship. His works have been shown in numerous exhibitions in Europe and the USA and are in collections such as the San Francisco Museum of Modern Art, the Austrian Museum of Applied Arts, the Museum Moderner Kunst Kärnten and the Kupferstichkabinett of the Academy of Fine Arts Vienna. Peter Jellitsch has been a lecturer at the Academy of Fine Arts Vienna since 2011.

Nach Autistic Disco ist O Mensch der neue Bildband des Berliner Schauspielers Lars Eidinger. Er vereint mit der Handykamera sowie mit der Spiegelreflexkamera entstandene Fotografien der letzten drei Jahre mit zum Teil wesentlich älteren Aufnahmen. Eidingers Bilder ähneln nur an der Oberfläche scheinbar harmlosen Momentaufnahmen. In einer Gesellschaft der Singularitäten und der verschwindenden Grenzen zwischen Mensch und Maschine erscheint die absurde Realität des Alltags wie eine kolossale Fotomontage. Wohl aus dem Blick eines Schauspielers, der weiß, dass die wechselseitige Präsenz von Gutem und Bösem der Kern einer jeden wahrhaften und berührenden Figur ist, entstehen bei Lars Eidinger Bilder, die die menschliche Ambiguität ins Zentrum rücken.Zu einzelnen Werken hat die japanische, in Berlin ansässige Dichterin Yoko Tawada Kurzgedichte in Form von Haikus geschrieben. Der Interpretationsraum wird dadurch noch um eine poetische Ebene erweitert.LARS EIDINGER (*1976, Berlin) gilt als einer der profiliertesten Schauspieler Deutschlands, gefeiert für seine expressiven Auftritte von großer performativer Kraft als langjähriges Ensemblemitglied der Berliner Schaubühne, sowie für seine abgründigen und zugleich von einer geradezu zärtlichen Sensibilität geprägten Darstellungen im Film. Anknüpfend an seinen ersten Bildband, gibt Eidinger der Fotografie als Ausdrucksform und Mittel der Selbsterkundung zunehmend mehr Raum.

Proprietary algorithms, secret data troves, and inscrutable systems rule the day. How is this registered in art? In Poetics of Encryption Nadim Samman explores works that highlight the hidden dimensions of our technological landscape. Running counter to erroneous claims regarding a new culture of transparency and openness, such artworks address black sites, black boxes, and black holes-all the while, toggling between enlightened concern and occult dreaming.NADIM SAMMAN is Curator for the Digital Sphere at KW Institute for Contemporary Art, Berlin. He read Philosophy at University College London before receiving his PhD from the Courtauld Institute of Art. Widely published, in 2019 he was First Prize recipient of the International Award for Art Criticism (IAAC). Major curatorial projects included the 4th Marrakech Biennale (2012), the 5th Moscow Biennale for Young Art (2015) and the 1st Antarctic Biennale (2017).

The images in Bill Jacobson's when is a place suggest risks and uncertainties. They question both the nature of perception and our existential place in the world, themes explored throughout his five decades of making photographs. Jacobson's use of a defocused lens, bleached out skies, and an otherwise curious tonal range challenge boundaries of traditional photographic practice. Diffuse horizon lines dramatically bisect distant landscapes, the subtle curves of vague human bodies, and unknown spaces suggestive of architecture play prominent intertwining roles. Jacobson's original large-scale prints are analog silver gelatin, printed by him in a traditional black and white darkroom. Created between 2018 and 2020, the images were made in Virginia, the south of France, upstate New York, and a studio in New York City.

There is more to numbers than sums; they can also conceal histories, too. In this case, world-famous architectural history. For five years the renowned Neue Nationalgalerie (New National Gallery), designed by Ludwig Mies van der Rohe, was closed to the public for renovation. Nevertheless, the photographer Michael Wesely was able to accommodate "four guests" inside the iconic building: four cameras, each one pointing in a different direction, were installed on the ceiling. Every day they took between 360 and 730 pictures with an exposure time of 90 seconds each. Edited into bewitching montages, this fascinating synopsis allows readers to envision the building's metamorphosis as it was undergoing renovations. The long exposure time is an aesthetic coup, for ephemeral, restless, rapid movements contrast with the still, timeless quality of the architecture, presenting a sophisticated interplay of identity and change.This book is published on the occasion of the re-opening of the Neue Nationalgalerie, Berlin, August 2021. It is a slightly altered special edition of the original numbered edition of April 2021.The photographer MICHAEL WESELY (*1963) is a celebrated master of the long exposure. His precise approach to this photographic technique, tailored to each object, brought him world renown. His unique aesthetic can be found in numerous exhibitions and collections around the globe. He lives in Berlin.