Bøker utgitt av Hatje Cantz Verlag GmbH

"He doesn't bother me," Picasso commented of the photographerEdward Quinn, after the latter had first photographedhim at work in the ceramics studio in the early1950s. This was undoubtedly one of the reasons why Quinnwas allowed to accompany the artist with his Leica for over20 years from 1951 onwards during his time on the Côted'Azur: in the studio, in private with his family, with artistfriends, at the bullfight, out and about, with lovers or simplyat the hairdresser's. The Quinn Archive holds a largestock of photographs of great intimacy, showing Picassoin everyday life and documenting his idiosyncratic character,his humor, and his enthusiasm in an amiable andlight-hearted way.Edward Quinn did not use a tripod with his camera, nor didhe illuminate the room artificially; his main concern wasto capture genuine pictures. As a viewer, you find yourselfon eye level with the protagonists. Almost like in the streetphotography we know today, there is a captivating senseof the casual moment. This book is a magical selection ofphotographs from Picasso's everyday life and shows thefamous artist in many unexpected situations.From 1949, EDWARD QUINN (1920, Dublin-1997, Altendorf/Switzerland) lived and worked on the Côte d'Azur as a press photographer for international magazines such as Life and Paris Match. During his 20-year friendship with Picasso, he took more than 12,000 photographs of the artist. From the 1960s onwards, Quinn concentrated his work entirely on the art scene, portraying the likes of Max Ernst, Alexander Calder, Francis Bacon, Salvador Dalí, Graham Sutherland, David Hockney and Georg Baselitz.

Louise Amelie's documentary photo series is an artistic exploration of the global phenomenon of migration and its many facets, which are often ignored in European migration politics. Migration has always been an integral part of human experience and will continue to be. Yet in public discourse it is presented as an aberration, while the existence of nation-state borders is hardly ever questioned. On the globe, Kyrgyzstan nestles inconspicuously next to Kazakhstan and China, but on the ground the vastness and heights of the mountains seem endless. In contrast to the natural beauty, prefabricated housing estates spring up in the capital, Bishkek. Here lives a young population that, despite all the adversities of post-Soviet reality, faces the world with great confidence. In a collection of portraying texts and photographs that foreground the individual stories, the book is an expression of solidarity and empathy, and shows that migration can mean both an opportunity as well as the painful loss of a beloved Missing Member.The artistic focus of director and photographer LOUISE AMELIE (*1991, Berlin) is on documentary and street photography. Her series, shot in the USA between 2016 and 2020, have been exhibited internationally and have been awarded the German Photo Book Prize and the Belfast Photo Festival. Since 2021, she has been exploring the theme of post-Soviet identity and migration in Central Asia, spending two and a half months in Kyrgyzstan for this project.

Making women in architecture visible-that is the goal of Diversity in Architecture e. V. (DIVIA). Celebrating its debut in 2023, its international award for women architects and urban planners aims to help achieve this goal. Following the announcement of 27 nominees, selected by an international Advisory Board with experts form the six continents, a high-profile jury has chosen the five finalists: May al-Ibrashy, Marta Maccaglia, Noella Nibakuze, Katherine Clarke & Liza Fior and Tosin Oshinowo. Each of them is a pioneer in her field and an embodiment of DIVIA's philosophy, inspired by trailblazing architect Lina Bo Bardi that "architecture is a social discipline." This catalogue retraces their paths and portrays their work. In conversation with them we learn about what drives them, the obstacles they have face(d) along the way, and the opportunities that lie in female leadership. This publication is a tribute to their cultural engagement, ethics, and deep sense of community- it is a recognition of their efforts to create environments that positively affect others and celebrates them as role models for the next generation of female architects.DIVIA-DIVERSITY IN ARCHITECTURE E. V. was founded by UrsulaSchwitalla and Christiane Fath in 2021. The platform's aim is toincrease the visibility of women in architecture and urban planningand to promote equality.

In den letzten 20 Jahren hat Camille Henrot eine von der Kritik gefeierte Praxis entwickelt, die sich zwischen Zeichnung, Malerei, Skulptur, Installation und Film bewegt. Mother Tongue ist die erste Publikation der Künstlerin, die sich ausschließlich auf Malerei und Zeichnung konzentriert und über 200 Werke aus den zwischen 2018 und 2022 entstandenen Serien System of Attachment, Wet Job und Soon vereint. Dieses jüngste Werk thematisiert die ambivalente Natur der Fürsorge und die Spannung zwischen dem gleichzeitigen Bedürfnis nach Bindung und Selbstbehauptung, das im Säuglingsalter beginnt und sich durch das ganze Leben zieht. Individuelle, intime Auseinandersetzungen führen dabei immer auch zu umfassenden Fragestellungen, wie den gesellschaftlichen Erwartungshaltungen an Mutterschaft und der Repräsentation des weiblichen Körpers. Der reich bebilderte Katalog wird begleitet von Texten von Emily Labarge, Legacy Russell, Marcus Steinweg, Hélene Cixous, Seamus Kealy und einem Gespräch zwischen Camille Henrot und der Kuratorin Julika Bosch. CAMILLE HENROT (*1978, Paris) gilt als eine der einflussreichsten Stimmen der zeitgenössischen Kunst. Referenzen aus Literatur, Psychoanalyse, Kulturanthropologie und der Banalität des Alltags aufgreifend, hinterfragt sie, was es bedeutet, sowohl privates Individuum als auch globales Subjekt zu sein. Henrots Arbeiten werden weltweit in Einzelausstellungen gezeigt, zuletzt im Munch Museum, Oslo; Palais de Tokyo, Paris; Kunsthalle Wien und New Museum, New York. Sie lebt und arbeitet zwischen Berlin und New York.

In the 1990s, queer youth, outcasts and artists, flocked to San Francisco to find one another and to experiment with art, self-expression, style, and gender. Rent was affordable, paving the way for queer bars, clubs, tattoo shops, galleries, cafes, bookstores, and women-owned businesses to emerge. A new wave of feminism embraced gender bending, and butch/femme culture flourished. The Mission District was the center of this queer cultural renaissance, and the feeling of community was palpable. Chloe Sherman was both a member of this community and an ardent visual chronicler. Her documentary photographic work on 35mm film stems from a commitment to capturing the vibrancy, tenderness, individuality, resilience, and joy within this subculture that was derided by mainstream society. Distilling the spirit of the time, her debut monograph is a candid portrait of a vibrant era that connects current and future generations to the pulse of San Francisco at a pivotal chapter in queer history.CHLOE SHERMAN (*1969, New York City) arrived in San Francisco in 1991 and earned her BFA in Photography at the San Francisco Art Institute. Her work has been exhibited internationally and featured in magazines such as Rolling Stone and Interview. Her documentary photography is deeply influenced by her fine arts training.

Seit dem Jahr 2000 findet während der Art Basel, der weltweit wichtigsten Messe für zeitgenössische und moderne Kunst, Unlimited statt. Unlimited ist die innovative Plattform für großformatige Kunstprojekte, die die Maßstäbe des klassischen Messestandes sprengen - und sich bei Sammler*innen und Publikum großer Beliebtheit erfreuen. Kuratiert von Giovanni Carmine versammelt Unlimited 2023 Arbeiten von über 70 Künstlerinnen und Künstlern. In einer gigantischen, 17.000 Quadratmeter großen Halle werden überdimensionale Kunstwerke, Video-Projektionen, großformatige Installationen und Live-Performances gezeigt. Die aktuelle Ausgabe von Unlimited verspricht - wie ihre Vorgänger - einiges Aufsehen zu erregen. Im Katalog werden alle beitragenden Künstler*innen und ihre präsentierten Werke vorgestellt.

It is estimated that, as a result of climate change, illegal trade, and habitat loss from the encroachments of technology and industrialization, as many as one in eight species of birds is heading towards extinction. Created in close collaboration between Sean Scully and Kelly Grovier, each pairing of poem and drawing is devoted to the beauty and mystery of an individual species of bird. Scully's visual language, at once measured and impassioned, geometric and free-flowing, captures the essence of creatures that are, themselves, on the brink of becoming mere abstractions. Though his first series of iPhone drawings are consistent with his signature style, they reveal a fresh intimacy, playfulness, and exhilaration of gesture, color, and form that is in accord with the wonder of feathered flight. Created on a digital device, the drawings are, as Scully remarked, the ironic embodiment of "technology which is ruining nature turned inside out to protest its demise." Yet taken together, these duets aim to offer something uplifting in the face of an accelerating tragedy. "Hope" is, after all as Emily Dickinson famously wrote, "the thing with feathers / That perches in the soul."Having developed a style over the past five decades that is uniquely his own, SEAN SCULLY (*1945, Dublin) is one of the world's most acclaimed contemporary artists. He is known for his large-scale abstract sculptures, installations and paintings, comprised of vertical and horizontal color bands, blocks and geometrical forms as well as his intellectually engaging writings and lectures.KELLY GROVIER is a poet and cultural critic. Educated at the University of California, Los Angeles and at the University of Oxford, he is a feature writer for BBC Culture and co-founder of the international scholarly journal European Romantic Review.

As the opposition between illusion and reality dissolves and the boundaries between the world we inhabit and its virtual dimensions blur, Immerse! examines how computer-generated public spaces shape our current political and social discourses. What is the potential of virtual reality within the art field, when concepts such as presence and absence, material and immaterial are beginning to lose their validity?Realized as part of the international research project Beyond Matter that explores the shift in the production and mediation of visual art within institutional frameworks. Exhibition spaces are physical locations of knowledge production and exchange, where spatial qualities play an important role in the contextualization of information. One of the goals of the project is to develop virtual productions that maintain these sensual qualities, but add layers of digitized and born-digital content to defy transience and the dependency on geographical locations, and create entirely new immersive experiences.The catalogue offers the reflections on the theme by curators Corina L. Apostol and Lívia Nolasco-Rózsás as well as 19 visual essays by trailblazing artists and four in-depth theoretical texts by Helen Kaplinsky, Matthew Fuller, LukáS Likavcan, Zsolt Miklósvölgyi and Márió Z. Nemes that explore the concept of immersion.

In einem bewusst vielstimmigen Ansatz regt die Ausstellungund der sie begleitende Katalog 1,5 Grad dazu an,neugierig und innovativ, anteilnehmend und handelndder Klimakrise zu begegnen. Mehr als 30 internationaleKünstler*innen, darunter melanie bonajo, Julian Charrière,Olaf Holzapfel, Ernesto Neto, Otobong Nkanga, LaureProuvost und Marianna Simnett untersuchen das komplexeZusammenwirken von Mensch, Natur und Technikund formulieren Lösungsansätze: von der Speicherung großerDatenmengen in der DNA von Pflanzen, zu Algen alsEnergieträgern und Kleinstlebewesen als empathischenGesprächspartnern. Unter Einbeziehung aller Sammlungsbereicheder Mannheimer Kunsthalle sowie neuer Außen-Installationen auf dem Gelände der Bundesgartenschauin Mannheim stellt das Buch Ansätze vor, die mit Mittelnder Kunst die Koexistenz der Spezies neu denken und Hoffnungin einer beschädigten Welt spenden lässt.

Image Cities takes us on a journey through cities the Globalization and World Cities Research Network ranks highest according to their degree of "global interconnectedness." We find them in a process of transformation concealed behind dummy façades onto which a sense of heightened anticipation has been projected. It would be tempting to read these photographs as a polemic against the triumph of consumerism and a slowly numbing global visual-economic order that wraps itself around whatever once felt local and civic. Samoylova's photography is full of masterful refinements of the existing clichés of urban photography: Citizens dwarfed by giant images. Faces and bodies refracted through glass. The Pop-Cubism of visual bricolage. The minuscule human figures that stroll seemingly indifferent through city space while being at least partly somewhere else in their imaginations¿ their existence already a collage of places and times. Yet, Samoylova consciously engages with cliché, takes it apart and reassembles it, gambling that it can be taken to a level of pictorial sophistication that eludes any simple argument or statement. Instead, she invites us to reflect on photography's role in the creation of a gap between these citie's brand identity and their everyday reality.ANASTASIA SAMOYLOVA (*1984) grew up in Moscow. In 2008 she moved to the United States, where she graduated with a master's degree in Interdisciplinary Art from Bradley University, Illinois. Her work explores the tension between the staged perception of a bombastic materialism and reality. Living and working in Miami, Florida has become the backdrop for her combination of collage-like details with the genre of the road trip. Her recent series Flood Zones and Floridas have received great critical acclaim.

»Wie ein Besucher aus dem All versuche ich, einen Blick vonaußen auf den Lebensraum des Menschen zu werfen - vollerNeugier, aber auch mit Schrecken.« Die Möglichkeitendes Fotografischen bis an die Grenze des Mediums auslotend,geht Andreas Gefellers Blick dahin, wo das Sichtbaredas Unsichtbare berührt. Von frühen dokumentarischenSerien zu digital konstruierten Perspektiven undmetaphorisch lesbaren Arbeiten vereint die neue Publikationbislang nicht veröffentlichte Fotografien, Schlüsselbilderseiner bekannten Werkreihen und neueste Arbeiten.Die Retrospektive offenbart, wie der Fotokünstler Technikenwie extreme Langzeit- und Überbelichtungen überHighspeed-Blitzlicht-Aufnahmen bis zu digitalen Collagennutzt, um unsere menschlichen Wahrnehmungsgewohnheitenzu hinterfragen. In seiner Auseinandersetzung miteiner vom Menschen dominierten Natur schafft er Bildervon einer fast erhabenen abstrakt-malerischen Qualität,um von dort aus eine Entzauberung zu betreiben, die diewahre Realität des Gezeigten offenbart.ANDREAS GEFELLER (*1970, Düsseldorf) studierte an derFolkwang Universität der Künste Essen und schloss 2000 seinStudium mit Auszeichnung ab. Seine preisgekrönten Fotoarbeiten- darunter die 2012 mit dem Deutschen Fotobuchpreisausgezeichnete The Japan Series (Hatje Cantz) - werden internationalausgestellt und sind in wichtigen Sammlungen vertreten.Gefeller lebt und arbeitet in Düsseldorf.

Filip Markiewicz sees the Ultrasocial Pop project as a total work of art in which music,theater and fine arts penetrate and overlap each other. The ensemble of works producedfor the various exhibition locations is organized in the form of a visual essay, which in itsnon-linear form is based on the continuous changes occurring in social media news feeds.FILIP MARKIEWICZ (*1980, Esch/Alzette, Luxembourg) is a visual artist who works with various media, such as painting, drawing, video and installation. Under the name RAFTSIDE, he has also been active as a composer for film and theater since 1999. In 2015 Markiewicz represented Luxembourg at the 56th Venice Biennale.

Present on the international contemporary art scene since the early 1980's, Clegg & Guttmann take up a visual rhetoric reminiscent of the bourgeois portraits of the Dutch Golden Age, while at the same time referencing the group images that crystallize the powers of the 20th and 21st centuries. They use the conventions of 17th century Dutch portraiture to place them in a contemporary context. Clegg & Guttmann's portraits, presented in this volume, are rejected commissions which involve a very particular protocol in the Clegg & Guttmann method. Thus, the subjects have commissioned a portrait from the artists, but are free to refuse the result. However, the artists retain the right to show and publish the work, which remains their property, even after the commissioner has refused it. This reverse tactic is also symbolic of the power issues in the particular category of portraiture.MICHAEL CLEGG (*1957, Dublin) and YAIR MARTIN GUTTMANN (*1957, Jerusalem) have been working together as the artist duo Clegg & Guttmann since 1980. The focus of their joint work is on installations and photographic projects. In addition, both artists are also active as university teachers: Clegg is a professor at the Karlsruhe University of Arts and Design and Guttmann is a professor at the Academy of Fine Arts Vienna.

Since its beginnings in Paris in the mid-19th century, the idea of bohemia, an urban community of artists and intellectuals living outside bourgeois norms, has been a potent trope of artistic identity. It was here that the notion of an unconventional, free-spirited life, precarious yet filled with idealism, was codified and romanticized. Bohemia: History of an Idea, 1950 - 2000 shows the continuities and differences between the scenes and subcultures of the second half of the twentieth century, when the mainstream began to appropriate and thereby erode a way of life predicated on its rejection. Nonetheless, as an alternative to conformity the bohemian idea has exerted an enduring fascination. Through works by 39 artists, including Alice Neel, PeterHujar, John Deakin, David Wojnarowicz, Ed van der Elsken, Robert Frank and Alfred Leslie, William Gedney, LibuSe Jarcovjáková, Nan Goldin, Zhang Huan and Wolfgang Tillmans, the publication explores the diversity of expressions in various cities in Europe, North America and Asia and shows that the bohemian idea continues to galvanize and inspire.RUSSELL FERGUSON is a research professor at the University of California's Art Department. During his tenure at the Museum of Contemporary Art and the Hammer Museum in Los Angeles, he curated numerous exhibitions on culture and representation in contemporary art and photography.

Rough, pristine, and poetic: Jan Jedlicka is a painter, draftsman, graphic artist, photographer and filmmaker, but also a wanderer and explorer. As an attentive observer, he engages with the subtle changes caused by light, the seasons, or human interventions in his environment. Precise, delicate, and quietly persistent, Jedlicka's works refer to the landscapes and places in which he moves and returns to again and again like the Italian Maremma. For his drawings, watercolors, and paintings, he extracts pigments from minerals found on site-and thus literally brings the landscape onto paper and canvas. This publication explores Jedlicka's oeuvre from the 1970s onwards-not chronologically, but as a map of the artist's movements through the landscape, and along the paths of his various artistic strategies.Jan Jedlicka (b. 1944, Prague) studied at the Academy of Fine Arts in Prague before migrating to Switzerland in 1969. He works in various media: painting, drawing, photography, printmaking, and film. His works have been exhibited in various galleries and museums in Europe.

Jakub Julian Ziólkowski's vibrant works are bizarre and alluring. In his wild, surreal cosmos of mutant humans, organic forms and circulatory systems, the Polish painter mixes cultural symbols, the decorative and the fantastical. Juxtaposing the spiritual and the microscopic, he creates a universe bristling with detail and a kaleidoscope of references-from Hiernoymos Bosch visions of heaven and hell and James Ensor's grotesque allegories to Philip Guston.Yet, his paintings show a highly personal world that is populated by a recurring cast of characters. This publication is the first comprehensive overview of his work from 2005 to the present, giving insights into his artistic practice in different media: from painting to sculpture, ceramics as well as drawing. The book includes essays by Olga Tokarczuk, winner of the Nobel Prize in Literature and Cecilia Alemani, curator of the 59. Venice Biennale, an in-depth interview with the artist, as well as texts by philosopher Kajetan Mlynarski and psychologist Bartlomiej Dobroczynski.JAKUB JULIAN ZIÓLKOWSKI (*1980, Zamosc, Poland) is one of the most eminent Polish contemporary painters. He trained at the Jan Matejko Academy of Fine Arts in Kraków, where he lives and works today. Since 2003, his work has been shown in numerous group and solo exhibitions, including Hauser & Wirth, London (2017), Neues Museum Nürnberg (2017), and the 55. Biennale di Venezia (2013).

Von Nutella und Penaten-Creme über Produkte aus dem Hygienebereich bis hin zu einem ausrangierten Wohnwagen oder alten Kühlschränken - Produkte industrieller Massenproduktionen bilden eine Grundlage für die skulpturalen Werke von Thomas Rentmeister. Seine körperbezogenen, minimalistischen Skulpturen und Installationen kombinieren Ästhetisches und Abstoßendes auf unlogische Weise. Damit, ebenso wie mit dem Einsatz teils absurd großer Materialmengen, formuliert er spielerisch einen - teils humorvollen - Gesellschaftskommentar, der visuellen wie thematischen Anlass dazu liefert, neu über die Dinge nachzudenken, die uns im Alltag umgeben.Der Katalog bietet einen guten Werküberblick, mit neuen Arbeiten seit der letzten großen Publikation von 2011. Die Texte von Anna Mosemann und Hendrik Bündge sowie ein Interview mit dem Künstler öffnen neue Perspektiven auf Rentmeisters Werk.THOMAS RENTMEISTER (*1964) arbeitet in den Bereichen Skulptur und Installation. Seit 2007 ist er Professor an der HBK Braunschweig. Seine Arbeiten sind in zahlreichen Sammlungen vertreten und wurden weltweit ausgestellt, so im Hamburger Bahnhof, im Kunstmuseum Bonn, in der Kunsthalle Nürnberg, im Museum Boijmans van Beuningen und im Perth Institute of Contemporary Art.

Since 1955, the annual World Press Photo Contest has set the standard in visual journalism. The 2023 Yearbook showcases the most striking press photographs and compelling reports from 2022, carefully selected from thousands of entries by six regional and one global jury of acclaimed independent professionals. Providing a diversity of perspectives from all over the world, the awarded works bear witness to the events that shaped this past year, and document in long-term projects the ongoing issues we face. Recognizing the importance of photojournalism and documentary photography at a time, when the truth is contested, the awarded images share courageous stories and present invaluable insights¿ from warzones, the struggle for civil rights and political empowerment, to the visible impact of the climate crisis, which could be felt in 2022 more acutely than ever.For six decades, the WORLD PRESS PHOTO FOUNDATION has been working from its home in Amsterdam as an independent, non-profit organization. To provide truly global perspectives, the foundation launched a new regional strategy in 2022. From January to March 2023 six regional and one global jury will decide on 24 regional and 4 global winners.

Ihren eigenen Körper als Rohmaterial einsetzend, dekonstruiertdie französische Künstlerin ORLAN die traditionelleIkonografie des Weiblichen. In den 1990er-Jahren erregteORLAN mit den an ihrem Körper vorgenommenen chirurgischenOperations-Performances großes Aufsehen. IhrFrühwerk ist weniger bekannt: Bereits 1964, mit 17 Jahren,gebiert sie ihr künstlerisches Selbst. Seitdem erschafft siesich immer wieder neu. Ihr Körper wird zugleich Subjektund Objekt, ironisch und provokativ spielt sie mit Identität.Diese Publikation fächert die gesamten sechs Jahrzehntevon ORLANs Werk auf und beleuchtet besonders ihrefrühen Performances. Zu ihren jüngsten Neuerschaffungengehört der Roboter ORLAN-OÏDE, und mit Hilfe einerAugmented Reality App steigen gar ORLAN-Avatare ausdem farbenprächtigen Buch heraus und werden lebendig.Dass der Körper politisch ist, zeigt sich in all ihren Arbeiten:1989 verwandelt sie Gustave Courbets Bild L'originedu monde in L'origine de la guerre, indem sie die Vulvadurch den Phallus ersetzt. Das Statement büßt nicht anAktualität ein.Die französische Künstlerin ORLAN (*1947, Saint-Étienne) ist eine der bedeutendsten Vertreterinnen der Feministischen Avantgarde, der Performance-Kunst und Begründerin L'Art Charnel (der Fleischeskunst). ORLAN setzt seit sechs Jahrzehnten ihren eigenen Körper als künstlerisches Material ein. Sie lebt und arbeitet in Paris.

Eric Hattan ist bekannt dafür, listige Eingriffe an Orten vorzunehmen und mit dem Durchkreuzen der bekannten Ordnung für Überraschung zu sorgen. So auch im Museum Langmatt, das den Schweizer Künstler eingeladen hat, seine Räumlichkeiten zu bespielen. Die historische Villa mit ihrem Mahagoni-Parkett, ihren edlen Teppichen, Kronleuchtern und dem gepflegten Garten bildet eine Kontrastfolie für die Installationen Hattans, die sich aus abgetragenen Kleidungsstücken, Metallteilen und weiteren weniger erlesenen Materialien zusammenfügen. Five o'clock Shadow dokumentiert den spannungsreichen Dialog, der dabei entsteht, und macht spürbar, wie das ehrwürdige Gebäude durch Hattans Intervention aufblüht.Der in Basel und Paris lebende ERIC HATTAN (*1955, Wettingen, Schweiz) zählt zu den erfindungsreichsten Konzeptkünstlern der Schweiz. Seine künstlerische Sprache zeigt sich chamäleonartig in diversen Medien und findet seit vielen Jahren internationale Beachtung.

Atem, Lehm-the German words for "breath" and "clay", a title inspired by a poem by Paul Celan-is the first monograph dedicated to Latvian artist Daiga Grantina.Grantina's solo show at GAMeC in Bergamo represented a major evolution in her poetics, a decisive and coherent change of palette and pace compared to her amorphous in-situ installations that have characterized her work to date. A mural forms an open-ended structure with its potentially infinite combinations: It seems to breathe, constraining and distending the grounding of space.The book's structure mirrors this evolution, exploring a before, characterized by large-scale environmental installations in New York's New Museum, the Biennale di Venezia and in Palais de Tokyo, Paris, to name a few, and an after, when the artist's sculptural environments seem to shift their locus of perception.

Georg Baselitz enters a dialogue with the Old Masters - invited by Kunsthistorisches Museum Vienna, the acclaimed German painter and sculptor engages in a visual conversation. Baselitz himself curated this selection of works, focusing exclusively on nude painting. Both the exhibition and the catalogue revolve around this elemental human state, and its fundamental role in European art.From the beginning of his career, Baselitz's work has been informed by a pronounced awareness of art history, above all he was inspired by Mannerism's break with classical rules. Insights into the history of nude painting, as well into the topicality of painting itself, emerge from this encounter of Baselitz's works with historical paintings of an idealized beauty from Kunsthistorisches Museum. The carefully chosen juxtapositions open up a space in which one can reflect and experience the essence of painting anew.GEORG BASELITZ (*1938, Deutschbaselitz) is without a doubt one of the most influential painters and sculptors of our time. His work eludes easy categorization, but has continuously returned to his search for a new approach to updating classic figurative painting. In a celebrated turning point in 1969, he literally turned his paintings upside down and thereby managed to change the public's viewing habits, and to sharpen their perceptions.

Coding Care. Towards a Technology for Nature brings together contributions from renowned authors and artists who are particularly concerned with nature and our environment. In doing so, they raise the question of how we can use technology to better understand nature and shape coexistence in a sustainable way - especially in regions that are not yet fully technologized. In this sense, coding should be understood as a form of caring, a substitute for what technology can contribute to the future in each specific cultural and regional context.

Blinde, die im Takt prozessieren, Analphabet*innen, die Musik komponieren, Rentner*innen, Skater*innen, Chöre, Aktivist*innen: Sie alle sind Gäste von Marinella Senatore. Ihre kollektiven Arbeiten von gesellschaftspolitischer Sprengkraft verbinden Strategien politischer Protestbewegungen mit künstlerischen Ausdrucksformen in unterschiedlichen Medien wie Performance, Skulptur, Textil, Foto, Collage, Zeichnung und Video. Der Katalog begleitet die bisher größte Ausstellung der Künstlerin im Museum VILLA STUCK und der Sammlung Generali Foundation am Museum der Moderne Salzburg: Internationale Autor*innen erörtern Fragen nach der Spannung zwischen Individuum und Kollektiv, nach Sehnsüchten und Zugehörigkeit, nach gesellschaftspolitischer Exklusion und alternativen Organisationsformen sowie dem transformativen Potenzial der Kunst.MARINELLA SENATORE (*1977) ist eine zentrale Figur der italienischen Gegenwartskunst. Ausgebildet in Film und Musik spezialisierte sie sich auf eine kollaborative künstlerische Praxis. Als vielfach ausgezeichnete Künstlerin, Aktivistin und Dozentin hat Senatore zuletzt auf der Manifesta in Palermo, auf der Bienal de São Paulo und im Palais du Tokyo Aufsehen erregt.