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From Rousseau to Richter, from Brancusi to Bourgeois, from Monet to Miró -this volume presents twenty-five inspiring highlights that have transformed art in innovative ways. These works were selected from the more than 400 works held in the collection of the Fondation Beyeler. Whether it is found in the radical light reflected in Monet's water lily pond or in Warhol's Flowers, whether it is found in Mondrian's abstract grids or Rothko'sexpressively luminous color fields, these twenty-five works attest to a visionary power reaching far beyond their present times. Such works are emblematic of the collection of modern art that has been carefully assembled by gallery owners Ernst and Hildy Beyeler and of the museum, which has become one of the most popular and successful venues in Europe since it was founded in 1997.

¿ First major retrospective in the German-speaking area in 20 years¿ Significant examples from all periods of creation¿ Well-known masterpieces alongside lesser-known pieces that are fresh to discover

For the fourth time, the Musée d'art et d'histoire de Genève (MAH) has awarded a Carte Blanche-in 2024 to the Belgian artist Wim Delvoye. The museum's collection and archives enter into an exchange with Delvoye's installations and sculptures, with his own collections of everyday objects and media images. Delvoye questions the boundaries between art and everyday life and immerses us in a playful abundance of objects, references and interventions.  The catalogue reflects his free association of ideas and feelings. Delvoye tears the objects out of our perceptual routine and gives them a new shine-an approach that this virtuoso of hybridity himself describes as "elegant vandalism." Wim Delvoye (*1965) is a belgian neo-conceptual artist and sculptor.

For the fourth time, the Musée d'art et d'histoire de Genève (MAH) has awarded a Carte Blanche-in 2024 to the Belgian artist Wim Delvoye. The museum's collection and archives enter into an exchange with Delvoye's installations and sculptures, with his own collections of everyday objects and media images. Delvoye questions the boundaries between art and everyday life and immerses us in a playful abundance of objects, references and interventions.  The catalogue reflects his free association of ideas and feelings. Delvoye tears the objects out of our perceptual routine and gives them a new shine-an approach that this virtuoso of hybridity himself describes as "elegant vandalism." Wim Delvoye (*1965) is a belgian neo-conceptual artist and sculptor.

¿ Eine der bedeutendsten Privatsammlungen in Europa¿ Schwerpunkt französischer Impressionismus¿ Historisches Ensemble in denkmalgeschützterParkanlage

¿ Renowned author, writer, and cultural journalist¿ The moving image in contemporary art¿ Sixty positions from over twenty countries

¿ Lebanese Post War & Contemporary painter, etcher, sculptor, textile artist born in 1928¿ A discovery tour of one of the most important political artists of the Arab world ¿ Exhibited at this year's Biennale Venedig (Arsenale)

¿ First comprehensive volume on the artist's spatial alterations ¿ Subversive humor¿ Resonating social criticism

¿ Lebenslange Freundschaft 'im Schatten derKrematorien' (Daniel-Henry Kahnweiler)¿ Erstmalige Publikation des Briefwechsels¿ Hinreißende Sammlung bedeutender Werke derModerne

Her American Girl in Italy-the street scene with the whistling Italians-is an icon. Now sensational negatives and slides have surfaced from the archive that reveal a little-known side of Ruth Orkin: that of the sensitive, interested, witty chronicler of the women's world of the 1940s and 1950s. Orkin thought up editorials like the tongue-in-cheek reportage Who works harder? comparing the lives of a career woman and a housewife. She documented the hustle and bustle in beauty salons and at cocktail parties, at dog shows and on Hollywood film sets. We meet Lauren Bacall, Jane Russell, Joan Taylor or Doris Day, but also waitresses, stewardesses and female soldiers, as wall as groups of female friends. What emerges is the image of women on the move, women who are beginning to cast off the conventions imposed on them, going their own way: self-confident, stylish, smart.American photographer, photojournalist, and filmmaker RUTHORKIN (1921-1985) grew up in Hollywood as the daughter of asilent film actress. She went on to be one of the first women tostudy photojournalism at Los Angeles City College. In 1943 Orkinmoved to New York City, working as a freelance photojournalist.Her photographs appeared in The New York Times, LIFE, Look,Ladies' Home Journal, and other publications. On the occasion ofwhat would have been her 100th birthday, exhibitions were heldacross Europe and North America. In 2021, Hatje Cantz publishedA Photo Spirit dedicated to her pioneering work.

Haegue Yang: The Cone of Concern documents the Koreanartist's solo exhibition at the Museum of ContemporaryArt and Design in Manila. Known for her unique interweavingof conceptual language and aesthetic vocabulary, Yang,who lives and works in Berlin and Seoul, is one of the mostwidely exhibited artists of today as well as a professor atthe renowned Städelschule in Frankfurt am Main.The Cone of Concern, which takes its name from a graphicaltool used in weather forecasting, which traces the pathof an oncoming storm, represents humanity's attempt toconfront natural phenomena. Yang explores this conceptas a way for the human imagination to understand ourown condition in the universe, and as a metaphoricalnotion of solidarity among those facing difficult circumstances.The publication revisits her complex layering ofobjects-woven anthropomorphic sculptures, light sculptures,rotating sound bells, whirlwind-derived structures,textile canopies, and sound elements-against a lenticularprint backdrop of a digitally altered meteorological image.HAEGUE YANG (*1971, Seoul) lives and works in Berlin and Seoul. Since 2017 she has been Professor at the Städelschule in Frankfurt am Main. Her work has been included in numerous exhibitions internationally, such as the Venice Biennale; documenta, Kassel; at Centre Pompidou, Paris; and at Museum Ludwig, Cologne.

Childhood never lets go of anyone. For many artists, it was the trigger for making art in the first place, and still is what drives them today.For Dream On Baby, Gesine Borcherdt asked 33 artists, including Ai Weiwei, Marina Abramovic, Lynda Benglis, Vaginal Davis, Marcel Dzama, Mona Hatoum, Jeff Koons, Gregor Schneider, and Jordan Wolfson, about their memories of childhood. The result is an anthology of deeply personal, sometimes tragic, sometimes funny, often heartbreaking and always surprising stories. Accompanied by never-before-seen childhood photographs and drawings, this book sheds new light on what it means to make art.GESINE BORCHERDT (*1976, Braunschweig) is a Berlin-basedcurator, art critic and author for Art Review, Ursula, Welt amSonntag, ART, and AD Germany. Recent exhibitions includeDream Baby Dream (2020) revolving around childhood fantasiesand traumas, and Home Is Where You're Happy (2023) at HausMödrath in Kerpen, Germany.

David Stephenson's stunning large format photographs ofcities at night across America, Australia and Asia reveal globalizedurban sprawl, energy use, and light pollution. Theseglowing "light cities" suggest much that is both good andbad in our industrialized society: extraordinary examples ofa monumental technological sublime, where awe, beauty,and human aspiration are tinged with the shadow of loomingenvironmental catastrophe, our engine of modernityseemingly running on empty. The accompanying essay byphotographic historian Keith F. Davis discusses the evolvingidea of the city as a key theme in photography, and whatit has symbolized, from the modernist city as an engineeringfeat, to the post-modernist city as a focus of energyand information.DAVID STEPHENSON (*1955, Washington D.C.) has lived inAustralia since 1982, when he took up a teaching post at theUniversity of Tasmania Art School. A fascination for vastness inspace and time has led him to travel and photograph extensivelyaround the world, with journeys to Europe, the Himalayas, andboth the Arctic and Antarctic. His photographs and video workshave been widely exhibited in galleries around the world.

This book is a journey into the cosmos of the Brazilian-Swiss artist Pedro Wirz, in which humans and animals, but also legendary creatures coexist. His artistic investigation of the systemic devastation of diversity witnessed across biological, cultural, and ethnic fronts today is based on scientific explorations, but also on his very own experiences within a particularly threatened ecosystem. The child of an agronomist and a biologist, Wirz spent most of his youth in the tropical Vale do Paraíba in Brazil. To this day, his fascination with science as much as with indigenous mythologies continues to inform his work. He creates his sculptures and installations from a mixture of organic materials like wax, earth, wood, clay and straw as well as artifacts of the consumer world such as toy cars, dolls, textile remnants, Lego, old clothes and electronic devices. However, Wirz is also interested in new, promising materials such as mushroom threads, bamboo or nanomaterials. With his combination of paradoxical elements from the remotest past and the foreseeable future, from technological reality and poetic imagination, Pedro Wirz brings back the original familiarity that used to exist between science and mythology.PEDRO WIRZ (*1981, Pindamonhangaba, Brazil) is a Brazilian-Swissvisual artist dealing with the coexistence of different specieswithin an ecosystem. His work has been exhibited at KunsthalleBasel, Palais de Tokyo, Hessel Museum of Art, KünstlerhausStuttgart and Kunstverein Dortmund, among others.

In 1921, Sanyu was among many Chinese artists who lefthis homeland to travel abroad to learn foreign ways. InParis he enrolled at the Académie de la Grande Chaumière,where he delved into the world of sketching nudes fromlive models. Drawing on his training in Chinese calligraphy,his ink drawings are characterized by a unique curvilinearcertainty and fluidity. He started to paint in oil in 1929, underthe direction of author and art collector Henri-Pierre Roché.In contrast to his drawing, here he preferred to referenceimages or memories from his youth and his rich culturalheritage. After World War II. he traveled to New York, wherehe became roommates and close friends with the Swissphotographer Robert Frank, and became influenced by theNew York School. While he did not embrace abstraction, heborrowed elements that are evident in a diversified colorpalette. Sanyu returned to Paris in 1950, where his life wascharacterized by hopeful but false starts and debilitatingfailures. This catalogue raisonné is the first publication thatincludes all of his known oil paintings to date.

In 1921, Sanyu was among many Chinese artists who lefthis homeland to travel abroad to learn foreign ways. InParis he enrolled at the Académie de la Grande Chaumière,where he delved into the world of sketching nudes fromlive models. Drawing on his training in Chinese calligraphy,his ink drawings are characterized by a unique curvilinearcertainty and fluidity. He started to paint in oil in 1929, underthe direction of author and art collector Henri-Pierre Roché.In contrast to his drawing, here he preferred to referenceimages or memories from his youth and his rich culturalheritage. After World War II. he traveled to New York, wherehe became roommates and close friends with the Swissphotographer Robert Frank, and became influenced by theNew York School. While he did not embrace abstraction, heborrowed elements that are evident in a diversified colorpalette. Sanyu returned to Paris in 1950, where his life wascharacterized by hopeful but false starts and debilitatingfailures. This catalogue raisonné is the first publication thatincludes all of his known oil paintings to date.

A new platform for contemporary art situated on the outskirtsof Riyadh near the At-Turaif UNESCO World HeritageSite, the 2024 Diriyah Contemporary Art Biennale, AfterRain, features more than eighty artists of different generations,presents many contributions from Saudi Arabiaand the Gulf region, and includes newly commissionedprojects and time-based works of art. This internationalgathering of artists is founded on a commitment to fosteringdialogue between Saudi Arabia and other parts ofthe world. The catalogue provides a visual and spatial navigationof the exhibition and the Biennale Encounters, aseries of talks, workshops, performances, poetry readings.A compendium of essays, literary texts, and poetry, thisbook also serves as a logbook, highlighting the format ofthe Biennale as a work-in-progress that unfolds over timein diverse collaborations with artists, musicians, chefs,architects, farmers, and botanists. This large-scale internationalart project and its publication capture and reflecton an exciting moment within a changing Saudi Arabiancultural landscape.

Zhou Li's lyrical abstract paintings capture her acute sensoryobservations of the world: lightness and shadow,solidity and dissolution, the sense of being. Building uponthe history of European painting and the central tenetsof traditional Chinese art, the Shenzhen-based artist harnessesboth traditions to develop a distinct painterly language.Her free-flowing charcoal lines intersect with circlesof paint in a gauzy, gossamer palette.Organized in three sections, this publication presents threepivotal bodies of work. Lost in Green, created in the uniqueyear of 2020, turns our attention to the elemental shiftsof spring, harnessing its powerful symbolism of flux andregeneration. Tracing The Peach Blossom Spring uses coloras a healing force and tool for self-reflection, expressingemotional journeys in response to life cycles of birth andgrief. Water and Dreams focuses on the universal motifof water, drawing upon its rich cultural symbolism andcomplex representations throughout art history, religionand mythology. Insightful and poetic texts and a distinctivethematic colorway respond to each body of work.ZHOU LI (*1969, Hunan, China) creates paintings, sculptures, installations and public art using mixed media, including oil paint, washes of ink, charcoal and cotton cloth. After graduating from the Guangzhou Academy of Fine Arts in 1991, the artist spent eight years living in Paris, and eventually returned to China in 2003. Zhou Li has been the subject of critically acclaimed museum shows across China.

Anna Bogouchevskaias Bildhauerei ist geopolitischerUmgang mit Themen an der Schnittstelle von Figurationzur Abstraktion. Es ist der erste Catalogue Raisonné derdeutsch- russischen Bildhauerin, der auch ihr Frühwerkin der Auseinandersetzung mit den Werken des französisch-russischen Künstlers Marc Chagall zeigt. Nach demFall des Eisernen Vorhangs übersiedelte die Künstlerinvon Moskau nach Berlin, wobei ihr Übergang zum Mittelbauihres künstlerischen Werkes sich zunehmend in ihrerSkulptur den Naturphänomenen zuwendet, wie etwa demverbindenden Element des Wassers in seinen unterschiedlichenAggregatzuständen und Erscheinungsformen. DiePublikation ordnet ihr Werk der vergangenen 40 Jahredurch namhafte Autoren kunsthistorisch ein und öffnetden Blick in ein einzigartiges Werk.In ihren Zeichnungen entwickelt JORINDE VOIGT (*1977 in Frankfurt am Main) eine Art Zeichencode, der ausgeprägt subjektiv und individuell erscheint und strengen Regeln und Systemen unterworfen ist. Ihre Notationen entwickeln dabei Bildräume, die in einem zeichnerisch-philosophischen Prozess die Welt in die ihr zugrunde liegenden Parameter, wie Distanz, Geschwindigkeit, Himmelsrichtung, Frequenz, Popcharts, Genres und anderes mehr, auffalten und die Gleichzeitigkeit all dieser Möglichkeiten offenbaren.

The term "concrete art" was coined by the Dutch artistTheo van Doesburg in 1930, referring to works of art thatare exclusively based on purely "plastic" elements, suchas color, line and plane, thereby forming an independent"concrete" reality. Accompanied by a new interest in howwe perceive and process visual impressions, insights fromperception psychology have been artistically explored tocreate dynamic and 'living' images.Over the past 50 years, the Norwegian art collector ErlingNeby has built an extraordinary collection of geometricand concrete art. Encompassing European, American andNordic art, the main focus is on works from the post-waryears, including leading figures such as Victor Vasarely,Max Bill, Auguste Herbin, Josef Albers, Aase Texmon Ryghand Olle Bærtling, as well as new generations of artistswho, in different ways, use a geometric-abstract form ofexpression. This catalogue documents a major exhibitionat the Kode Art Museum in Bergen featuring more than100 works from the collection, which-through its truly personalselection-offers a complex picture of artistic positions,and the impact of geometric and concrete art.

On the occasion of the 100th anniversary of Boris Lurie's birthday the catalogue Life with the Dead presents more than fifty works from 1950 to 1970 that illustrate his active commitment to social justice and the memory of the Holocaust. The Jewish artist bore witness in many ways to the horrors of the Holocaust in the German concentration camps. However, his works of art are not only expressions of suffering, but also symbols of hope for the integration of someone who would henceforth belong to the minority of survivors. Friends and companions describe Lurie's development from his beginnings in the 1950s, through the NO! art movement, to his renaissance as one of the main representatives of Holocaust art. Tom Wolfe published his text on an exhibition at Gertrude Stein's gallery, New York in 1964. René Block exhibited Lurie in Berlin, and Achille Bonito Oliva met Boris Lurie's art in 1962 on the occasion of the exhibition Doom Show Boris Lurie and Sam Goodman at the Galeria Arturo Schwarz in Milan. Rafael Vostell and Jürgen Kaumkötter provide the contextual framework for the book, which is complemented by words of greeting from Gertrude Stein, Boris Lurie's lifelong friend and Jürgen Wilhelm from the Landschaftsverband Rheinland.Born in Leningrad in 1924 and raised in Riga, BORIS LURIE (1924-2008) lost his emotional home forever in December 1942 withthe murder of female family members and his childhood sweetheart.After surviving several German labor and concentrationcamps, Lurie emigrated to New York in 1946, where he became aco-founder of NO! art, a provocative art movement of the 1960s.Characterized by subversion, irony, and often through direct referencesto the Holocaust, Lurie's works were critical comments onPop Art and the American consumer culture of his time.

"I have always been interested in photographing normal,everyday life. For me the greatest challenge is to makean interesting image of something very ordinary, almostinvisible," reflects Finnish photographer Markus Jokela.His images are the result of coincidences and unplannedencounters with people and places. Jokela almost neverstages his photographs. Sometimes he asks people to stop,to freeze, but usually he just snaps one or two frames andcontinues walking. Moments and Landscapes of MinorImportance were shot in Helsinki between 2019 and 2023.Most of them were captured within a few kilometers fromwhere he lives.Jokela has won three World Press Photo awards, butdespite his proximity to global moments, his personal projectsoften document everyday human life.MARKUS JOKELA (*1952, Helsinki) is a photographer who hastraveled the world to report on global news. He earned his MA insocial sciences at University of Tampere, Finland, and from 1981-93 worked as a journalist for the Helsingin Sanomat newspaper,before becoming a photo editor at the same newspaper, andeventually a photographer in 2001.

Mit der Publikation dieDASdocs: Monumental Affairs liegt die erste Publikation der Designakademie Saaleck vor. In dem ersten Band der Reihe werden die Ergebnisse des Fellowship-Zyklus 2023 'Monumental Affairs' präsentiert. In der Publikation werden Arbeiten vorgestellt, die die Saalecker Werkstätten als umstrittener Ort kritisch zu Begriffen wie 'Rasse', Nationalismus, Architektur und Gestaltung diskutieren.

Moments of Change stellt die Künstlerinnen des Nahen und Mittleren Ostens in den Mittelpunkt und spannt als erste deutschsprachige Publikation zu diesem Thema einen Bogen vom Beginn des 20. Jahrhunderts bis zu den zeitgenössischen Entwicklungen. Ein Fokus liegt auf Pionierinnen wie lnji Efflatoun, Monir Shahroudy Farmanfarmaian, Etel Adnan, Huguette Caland,Fahrelnissa Zeid und Füsun Onur, die wesentlich an der Entwicklung eines modernen Kunstbegriffs beteiligt waren und ihren Stil in der Auseinandersetzung mit der traditionellen Formensprache und den neuen Strömungen der westlichen Kunst entwickelten. Gemeinsam ist ihnen, dass sie große gesellschaftspolitische Umwälzungen erfahren haben. Auch viele Künstlerinnen der nach dem Zweiten Weltkrieg geborenen Generation, darunter Mona Hatoum,Shirin Neshat, Anna Boghiguian, teilen Erfahrungen von politischen Konflikten, Krieg und Exil, die sich in ihrem Werk in Themen wie Identität, Unterdrückung und Verlust von Heimat widerspiegeln. Die junge, zeitgenössische Generation tritt wiederum mit einem neuen Selbstverständnis an, um die Rolle der Frau in muslimisch geprägten Gesellschaften sowie den westlichen Blick auf sie infrage zu stellen. Texte von Expertinnen sowie Interviews mit Künstlerinnen und Akteurinnen aus der Region vermitteln einen generationsübergreifenden Einblick in diese spannende, international vernetzte Kunstszene.

Stopgap Measures presents an exciting selection of essays,interviews and shorter pieces on the work of American artistMike Kelley (1954-2012) written over more than threedecades by the noted art historian and cultural critic JohnC. Welchman.Kelley's provocative career gave rise to some of the mostconceptually and materially diverse work of recent times-in performance, writing, painting, drawing, sculpture, banners,multimedia installation, appropriated objects andimages and video, as well as numereous collaborations.This volume includes reflections on specific works, and featuresa signature series of pathbreaking essays on Kelley'sinnovations in photography and writing as well as explorationsof major themes in his practice, research and thinking:physical comedy and verbal humor; memory; popularculture, dress-up and Americana; the uncanny; imaginativeprojection and dark fantasy; appropriation and giving;authorship and self-construction; and the artist's littleremarkedupon negotiation with the histories of and ideasabout Asia. The book concludes with new essays on Kelley'sengagement with animals and the nonhuman; and on therefrain disappearances that punctuate Kelley's career setin relation to specters of social catastrophe and nuclearannihilation.

Sacred Modernity documents the dramatic shift in ecclesiasticalarchitecture across post-war Europe. Spurred on bythe modernizing impulses of the Second Vatican Councilin the early 1960s, and in search for an appropriate architecturallanguage that showed that the Catholic Churchwas still relevant to the modern world, this was the periodwhen the church married the atheist architect, and bore achild of pure form. Among these structures, some exude ajoyful antagonism, while others emanate a cold minimalism.Boldly designed, outrageous and provocative for theirtime, the aesthetic of this period still ignites great debatebetween modernists and traditionalists.Half a century on, this study traces how their materials andideals have matured and patinated. Remaining amongstthe most unique buildings within our public sphere, theyare future visions from the near past that seem to anticipatesocieties current shift away from organized religiontowards an individual spirituality.The book represents the first attempt by a photographer tocollate the religious architecture of the mid-century highmodern years that took many forms, from Brutalism toStructural Expressionism, under a singular artistic vision.JAMIE McGREGOR SMITH (*1982, Weymouth, UK) studiedphotography at Staffordshire University, graduating in 2006.Inspired by the American New-Topographic movement, he beganhis documentary records with the defunct pottery industry in theBritish midlands, the collapse of the motor industry in Detroit, orthe abandoned Athens Olympics stadiums. His works have beenpublished by The New York Times, The Guardian, the FinancialTimes, Wallpaper*, Architectural Digest and Vanity Fair.

Nachdem der experimentelle Musiker und bildende Künstler Mazen Kerbaj mit seiner Familie von Beirut nach Berlin gezogen war, sah er sich mit einer neuen Sprache, einer neuen Welt konfrontiert. Er beschloss, Deutsch auf seine Weise zu lernen: ein Wort pro Tag, 365 Tage lang, jedes Wort illustriert durch ein Selbstporträt. Learning Deutsch ist Wort-Bilder-Buch und immerwährender Kalender zugleich: Wort für Wort folgen wir Mazen Kerbaj auf seiner Entdeckungsreise durch Eigenheiten der deutschen Sprache. Die von arabischen, englischen und deutschen Wörtern flankierten Zeichnungen entwickeln ein einzigartiges Lehrbuch zum Spracherwerb. Die Zeichnungen sind oft witzig, manchmal aber auch traurig und anrührend; sie illustrieren selten einfach nur die Worte, sondern sind das offene Tagebuch eines Künstlers aus dem Nahen Osten der seinen Weg im deutschen Alltag findet.MAZEN KERBAJ (*1975, Beirut) der in so unterschiedlichen Bereichen wie Musik, bildende Kunst, Comic oder Theater arbeitet, ist eine der Schlüsselfiguren der libanesischen Kunstszene nach dem Bürgerkrieg. Seine Arbeiten wurden in mehr als zehn Sprachen veröffentlicht und in Galerien, Museen und auf Kunstmessen in aller Welt ausgestellt.

Wer eine seiner spektakulären Performances auf der Bühneoder Interventionen im öffentlichen Raum erleben durfte,wird sie nicht vergessen haben. Bunt vermummte Performer*innen bewegen sich im Trupp durch die Stadt und- auf ein geheimes Kommando hin - stapeln sich und verschränkenihre Körper in Hauseingängen, auf Treppenabsätzenoder auf Parkbänken, das Publikum folgt ihnenstaunend. Künstler und Choreograf Willi Dorner gründeteseine Kompanie 1999 in Wien: Mit seinen ortsspezifischenPerformances und Interventionen, Fotografien und Filmenermöglicht er eine differenzierte Wahrnehmung unseresAlltages.Dieses Buch gibt einen Rückblick auf sein bisheriges interdisziplinäresSchaffen im Innen- wie Außenbereich. ZahlreicheBilder sind den persönlichen Erinnerungen Dornerszur Seite gestellt und vervollständigen das Bild über seinekünstlerischen Arbeiten abseits der Bühne vom Ende der1990er-Jahre bis in die Gegenwart. Ein interessanter Einblickin das »making-of« der Projekte, Erlebnisse auf seinenzahlreichen Reisen, eine Fotostrecke zum Thema Stadtrunden das Porträt ab.

Over the last 30 years, the French artist Philippe Parrenohas radically redefined the experience of the exhibition byplacing its construction at the heart of his process. Workingwith high-end technologies, film, and performance, hetransforms galleries in choreographed spaces that follow ascript where a series of unexpected albeit interconnectedevents unfold, thereby playing with the sensory experiencesof the visitor who is guided through the space bythe orchestration of sound and image.Pushing the boundaries between script and transcript,between document and memory one step further, the publicationVoices consists of transcriptions of his films, audioworks, and performances, transferring these seminal works(back) into written form. The collection of texts establishesa new perspective on Parreno's practice, which has alwaysbeen focused on revisiting and evolving his artworks fromthe past, and offers insight into the artist's multi-facetedapproach to language and the human voice.PHILIPPE PARRENO (*1964, Oran) is one of the most influentialFrench artists of the last decades. Through his multidisciplinarypractice and astonishing films, including his iconic "marquees,"luminous objects that speak, glimpse, sing, and enter intodialogue with the visitors, Parreno creates artworks that questionthe boundaries between reality and fiction, and play with ourunderstanding of time. He has transformed the monumentalspaces of the Palais de Tokyo and Tate Modern's Turbine Hall.Recent exhibitions include site-specific interventions in theRotunda of the Bourse de Commerce in Paris, and the Museo delPrado in Madrid. Parreno lives and works in Paris.

Gabriele Rothemanns Fotografien bilden nicht einfachetwas ab, sondern stellen etwas her: Eine Beziehung zulängst Vergangenem, eine Verbindung mit fremden Zeitenund Räumen. In jedem Bild schwingt der Nachhall andererBilder mit, in jedem ist eine Fülle von Möglichkeiten, wiedie Welt im Bild wahrgenommen und dargestellt werdenkann, verdichtet.Seit 1984 verwendet sie das Medium der Fotografie in einerArt und Weise, die den Gegenstand in ihren Bildern nichterstarren lässt, sondern ihm imaginäres Leben verleiht.Ihr Werk kreist um existenzielle Fragen - insbesondereum die Grundfrage allen Lebens: seine Endlichkeit. Oftabstrahiert und gleichzeitig präzise und detailreich dargestellt,bekommen ihre Motive von den Toten Tieren zuden Miniaturen über das Verschwinden eine eindringlichePräsenz. So appelliert die Künstlerin an die Empathie ihrerBetrachter*innen und berührt sie nicht zuletzt mit dersinnlichen Qualität ihrer Bilder, ihrer klaren Bildspracheund ausdrucksvollen Schönheit.GABRIELE ROTHEMANN (*1960, Offenbach am Main) hat an derKunstakademie Düsseldorf bei Fritz Schwegler und am CaliforniaInstitute of the Arts, Los Angeles, studiert. Sie lebt und arbeitetin Wien. Seit 2001 leitet sie als Professorin die Klasse für Fotografiean der Universität für angewandte Kunst Wien. RothemannsWerke werden in zahlreichen Ausstellungen im In- und Auslandausgestellt und sind in vielen Sammlungen vertreten.