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DAS MINSK is the latest project of the Hasso Plattner Foundation. Located in Potsdam, southwest of Berlin, the new exhibition space presents modern and contemporary art, as well as art from the former GDR, in new contexts. This catalogue for the two inaugural exhibitions links two artists from the Hasso Plattner Collection: GDR painter Wolfgang Mattheuer and Canadian photographer and filmmaker Stan Douglas. As the exhibitions direct their gaze to nature and the urban landscape of Potsdam, the volume presents familiar and novel perspectives on their work, complemented by a wide range of viewpoints on the motifs of landscape and (allotment) gardening in art. Beyond art theoretical voices, the book also features numerous experts addressing the socio-political dimensions of the subject-matter.WOLFGANG MATTHEUER (1927-2004) is one of the co-founders of the Leipzig School. As a critical observer of his time, his works bear witness to an ever-changing environment and society. STAN DOUGLAS (*1960) is considered one of the most important representatives of contemporary media art. His films and photographs have been shown in major international exhibitions since the early 1980s. In 2022 he will represent Canada at the 59th Venice Biennale. He lives and works in Vancouver and Los Angeles.

Her sensual Nanas-buxom, colorful female figures- laid the foundation for her international success beyond the art world: Niki de Saint Phalle. But the self-taught artist's creative spectrum is much broader, and her unconventional oeuvre, ranging from painting and drawing to assemblages, performances, theater, film, and architecture, is more subversive and critical of society than is widely assumed. Based on her efforts to process her own feelings, she addressed social and political issues, critically questioning institutions and role models in ways that are as relevant today as they have ever been. The exhibition and the publication shed new light on the artist's exceptional personality and uncover the wide-ranging oeuvre of the popular outsider-that is always surprising and eccentric, emotional, dark and brutal, humorous and cheerful. NIKI DE SAINT PHALLE (1930-2002) is one of the most important artists and sculptors of her generation. Growing up in Paris and New York, she returned to Paris in the 1950s, where she began her artistic career with her legendary Tirs, her "shooting" series, created during provocative performances.

The Jules Bordet Institute is one of the largest integrated cancer centers in Europe. Located at the heart of the Erasme campus in Anderlecht, Belgium, the university hospital's structure evolved from the objective to establish smooth connections with its environment. The building's luminous patios and extensive timber cladding rhythmize the collaborative design by Brunet Saunier Architecture, Archi 2000, and TPF Engineering, emanating in an interplay of natural shades and lights and a welcoming atmosphere. Through texts, photographs, and plans, Institut Jules Bordet Instituut retraces the different stages of the project. From the initial medical vision to the arrival of the first patients, the publication outlines the architectural approach to intensifying the relationship between medical practice and research, integrating technological changes, and improving the comfort of its patients.JÉRÔME BRUNET co-founded the French firm Brunet Saunier Architecture together with the late Eric Saunier. Since 198, BSA has designed a large number of healthcare facilities worldwide, including the Jules Bordet Institute.PHILIPPE VERDUSSEN is the founder and manager of Archi 2000, a Belgium architecture office which celebrated its 30th anniversary in 2020. Archi 2000 was in charge of the construction phase of the Jules Bordet Institute.FRÉDÉRIC COTEUR has been head of Infrastructures department of the Jules Bordet Institute since 2000. He directed the reconstruction project of the Institute on the Erasme campus.

. Young Korean artist. Highly recommended by the international press. A fascinating kaleidoscope of artistic forms

As part of documenta fifteen, ruangrupa in Indonesia is publishing two issues of a magazine, majalah that hones in on the core idea of the exhibition - collective working. The lumbung component in the title refers to the communal rice barn where Indonesian farmers store surplus crops to share. The two issues, Harvesting and Sharing, will be published together in one volume to accompany the exhibition. With short stories and features by leading journalists, researchers, and writers from Indonesia, majalah lumbung touches on topics such as cosmology or architecture, food or eating together, thereby forming a foundation for the content featured at documenta fifteen. The individual contributions are conveyed through numerous illustrations and an attractive layout in magazine quality.

One of Pakistan's most notable contemporary artists, Bani Abidi creates videos and multimedia works that interweave autobiographical fiction with sociopolitical commentary and satire. Her practice explores the sobering realities of the political conditions, bureaucracy, and urban infrastructure in Asia, exposing the absurdities emerging from the dysfunctionalities of everyday life. The Artist Who is the first monograph to look at the work of this Berlin-based Pakistani artist. Envisioned as an artist project, the publication explores notions of humor, playfulness and experimentation by engaging with forms of writing, design, printing, and assembly. Containing a documentation of artworks created over two decades as well as archival material and a rich selection of texts, it represents the wide range of relationships Abidi has fostered during this period.BANI ABIDI (*1971, Karachi) studied visual art in Lahore and Chicago. Encompassing video, photography and performance, Abidi's practice draws on everyday as well as historical events to explore issues of nationalism and state power. Solo shows have taken place at Museum of Contemporary Art, Chicago and Gropius Bau, Berlin, amongst others; group shows include the 8th Berlin Biennial, Guggenheim Museum, New York, documenta 13, Kassel. Abidi lives and works between Berlin and Karachi.

Walking, Finding, Sharing offers visitors of the world's largest art exhibition a novel approach to experiencing art. Inspired by travel guides and museum tours, this richly illustrated book invites children and families, comic lovers, and seasoned exhibition visitors alike to see documenta fifteen with new eyes. Four international illustrators and four authors bring the universe of ruangrupa's documenta fifteen to life through graphic storytelling, stimulating readers' imaginations with their vivid imagery. Each of the five tours-Humor, Local Anchor, Independence, Generosity, and Transparency- is based on the value system of the Indonesian curatorial team and offers ideas and perspectives that complement the exhibition. Walking, Finding, Sharing encourages visitors to find their own ways of approaching documenta fifteen: each path is a suggestion and can be explored spontaneously, in full or only in parts. This entertaining book serves as a reference, a joyful companion, and an innovative guide that will inspire both children and adults to engage with the exhibition.

Creating works with a fascinating range of tone and expression, Sean Scully's oeuvre is a continuous exploration of his core motif of lines and swaths of color. Captivating the observer through an uncertainty of edges and brushstrokes that appear to exalt the materiality of paint, pigment, and abstraction, Scully experiments with a variety of media and materials. Material World provides insight into the artist's practice and stylistic approach, which have evolved through a sustained engagement with the art historical tradition of Formalism. In an in-depth essay, Raphy Sarkissian situates Sean Scully's art in dialogue with selected works of abstract and figurative, modern and pre-modern painting and sculpture, as well as with aesthetic theories. This dialogue translates further into the interplay of the museum's architecture and the Neoclassical sculptures presented alongside Scully's work. SEAN SCULLY (*1945, Dublin) is one of the world's most acclaimed contemporary artists. The oeuvre of the Irish-born artist, who grew up in London and moved to New York in 1975, is characterized by an intense confrontation with Abstract Expressionism, Action Painting, and Minimalism. Beyond a purely formal exploration of color, form, plane and light in his abstract paintings and sculptures, his visual expressiveness is matched by intellectually engaging writings and lectures. Scully lives and works in New York, Barcelona and near Munich.

British conceptual artist Jonathan Monk and Berlin haubrok foundation are connected through a long-standing friendship and a thriving relation, resulting in joint projects and exhibitions. Monk's printed matter-numerous publications, invitation cards, gallery guides, posters, and editions-is an integral part of the haubrok collection. Hence, Jonathan Monk: A Bit of Matter and a Little Bit More, published in the wake of the haubrok foundation's exhibition on the grounds of FAHRBEREITSCHAFT in Berlin-Lichtenberg, is an ode to this friendship and to Monk's conceptual approach of incorporating ephemera and artistic artifacts into his practice. The publication provides an archival, yet personal, overview of Monk's printed matter, complemented by a commentary by the art critic Raimar Stange.JONATHAN MONK (*1969, Leicester) is a contemporary conceptual artist living and working in Berlin. He restages and re-examines seminal works of 20th century Conceptual and Minimal art, reflecting on appropriation and demystifying the creative process. While he is often working with media such as photography, sculpture, video, performance and mail art, printed matter is an integral part of his artistic practice.

The Bijlmer Spinoza-Festival is an artwork, a sculpture, created by Swiss artist Thomas Hirschhorn in a peripheral borough of Amsterdam's south-east known as the Bijlmer in 2009. This book recounts the event through the eyes of its "Ambassador", art historian Vittoria Martini, who was invited by the artist to be an eyewitness to the existence of this "precarious" work. A term Hirschhorn sees as positive and creative: a means of asserting the importance of the moment and of the place, of asserting the Here and Now to touch eternity and universality. Appreciating the art historian's presence as a central element of his sculpture, Hirschhorn consciously challenged the certainties of the profession by empowering and activating the role, thus leading Martini to find a new working methodology that she calls "precarious art history". Accompanying the readers through her experience of the physical existence of The Bijlmer Spinoza-Festival, Martini's commentary leads to the profound understanding of how a work that no longer exists physically, can live on in the mind- elsewhere, at some other time-because in the meantime it has become universal.Paris-based artist THOMAS HIRSCHHORN (*1957, Bern) is best known for his sculptures in public space-monuments, kiosks, and altars. Questioning the autonomy, the authorship, and resistance of a work of art, he asserts the power of art to touch and transform the other. He represented Switzerland at the 54th Venice Biennale in 2011 and received numerous awards, including the Prix Marcel Duchamp and the Joseph Beuys Stiftung Prize.VITTORIA MARTINI (*1975, Kinshasa) is an independent art historian living in Italy. She has a doctorate from Università Ca' Foscari/Università Iuav di Venezia. Since 2013 she teaches History of exhibitions and curatorial practices and holds the Art Writing workshop at CAMPO - Program of curatorial studies and practices established by the Fondazione Sandretto Re Rebaudengo (Turin, Italy). Her research focuses mainly on the institutional structures that produce exhibitions.

Founded in 1984 by women around Gabriele Stötzer, the Erfurt Women Artists' Group pursued a radically creative lifestyle to counter the rigid structures of everyday life in the GDR, over a period of ten years. Subversive, witty, borne of a liberating sense of defiance against normative gender roles, their artistic expressions provide an insight into the little-known feminist subculture in the GDR. Their pioneering role in terms of an exploration of female identity is particularly reflected through five experimental Super 8 films, subsequent live performances, and fashion-object shows. Often unfolding intuitively from sequences of audio, dance, and literary elements, self-created and provocative costumes that served as alter egos of the artists took center stage. Their political commitment culminated in December 1989 in the first occupation of a Stasi, State Security Service, headquarters, initiated by five women, three of whom were part of the group.The ERFURT WOMEN ARTISTS' GROUP remained active with personnel changes-Monika Andres, Tely Büchner, Elke Carl, Monique Förster, Gabriele Göbel, Ina Heyner, Verena Kyselka, Claudia Morca Bogenhardt, Bettina Neumann, Ingrid Plöttner, Marlies Schmidt, Gabriele Stötzer, Harriet Wollert and others-until 1994.

In her painting, Helene Appel reflects the things of everyday life with high precision. Appel presents her cropped subjects in plan view, on untreated canvas in a 1:1 scale. If one takes a closer look, though, this attitude reveals its radical nature. Detaching herself completely from the tradition of still life, Appel does not strive to develop a painterly signature, nor does she emphasize her distinctive ductus. Instead, she carefully seeks an adequate mode of expression for each of her pictorial objects, thus emphasizing their particular physical presence. Despite the realistic representation, Appel's works evoke a sense of a high degree of abstraction. The impression is that of a distanced look that creates a tension between the familiar and the unaccustomed questioning the relationship we have to our environment.HELENE APPEL (*1976, Karlsruhe) studied at the University of Fine Arts of Hamburg and at London's Royal College of Art. She received the distinguished Goslar Kaiserring Scholarship in 2011, and the two-year Dorothea Erxleben Scholarship of the Braunschweig University of Art in 2019. Appel lives and works in Berlin.

This comprehensive monograph published in collaboration with Dirimart gathers works of contemporary artist Sarkis-conceived and presented in the context of the one city he keeps returning to: Istanbul. His iconic installation Çaylak Sokak, first exhibited in 1986, is considered a turning point in the history of contemporary art in Turkey. Named after the street Sarkis grew up in, Çaylak Sokak recreates his family home featuring a bathtub and his father's shoes bearing the German words for war spoils KRIEGS and SCHATZ. A reference to German cultural theorist Aby Warburg's concept of a "Leidschatz" as "humanity's treasure of suffering", "Kriegsschatz" became a key concept in Sarkis' oeuvre. Drawing on his own Turkish-Armenian identity, Sarkis's continunes his works presented at the Venice Biennale in 2015, the centennial of the Armenian genocide: his latest body of work Red Stained Glass traces the present through fragments from the past. Photographs from Istanbul are rendered in red, fractured, and recombined to further explore themes such as time and memory, presence and absence, identity and exile.Paris-based Sarkis Zabunyan (*1938, Istanbul) is known by his first name SARKIS. He had his breakthrough with the exhibition Live In Your Head: When Attitudes Become Form at Kunsthalle Bern in 1969, was followed by his participation in documenta 6 and 7. Major exhibitions include Passages at the Centre Pompidou in 2010, Hôtel Sarkis, a retrospective at the Museum of Contemporary Art in Geneva (MAMCO) in 2011, and his installation Respiro in the Turkish pavilion at the 56th Venice Biennale in 2015.

Martin Eder's new body of work is inhabited by ghostly hybrid creatures. Blurring the transition between humans, animals, and supernatural beings, Eder explores the motif of the boundary and its transgression in his oil paintings. His subjects allude to an encounter with the underworld and recall Dante's Inferno. A symbolism that both reflects a (post-)pandemic unease and hints at the encounter of reality and illusion. Eerie and fascinating at the same time, the paintings outline a space marked by the collapse of a shared perception. In addition to studio insights and paintings, the volume includes an elucidating text by curator Jane Neal as well as a conversation between Eder, Damien Hirst and Tim Marlow, director of London's Design Museum. MARTIN EDER (*1968, Augsburg) lives and works in Berlin. He studied under Eberhard Bosslet at the Dresden Academy of Fine Arts. His work has been exhibited internationally at Kunsthal Rotterdam, ARKEN Museum of Modern Art in Copenhagen, Hirst's Newport Street Gallery in London und MUDAM Luxembourg, among others.

Since the beginning of China's economic boom in the late 1980s and its ever-increasing influence on globalized society, the country's burgeoning contemporary art scene has attracted great attention around the world. However, despite the Chinese art market's emergence as a highly prolific industry and a growing international recognition of contemporary art from China, there is a remarkable lack of Chinese women artists represented in (inter-)national exhibitions and publications. Stepping Out! is the first comprehensive publication in 25 years to present a broadly representative selection of the work of contemporary Chinese female artists, including pioneering as well as emerging artists thus far little-known abroad. Through an enormous wealth of perspectives, the artists reveal their personal and social fears, contradictions, and hopes in the tense field occupied by powerful tradition, and shed light upon the search for identity both as women and as artists within a rapidly changing Chinese society.Stepping Out! features more than 100 artworks by 26 artists born between 1960 and 1994 living in mainland China, including Cao Fei, Lin Tianmiao, Luo Yang, Ma Qiusha, Tong Wenmin, Wen Hui, Xiao Lu, Xing Danwen, and Yin Yiuzhen.

This publication features projects that the partnership PROMONTORIO developed over the past 30 years. Together they constitute an impressive body of work for various places across Europe, Africa, the Middle East and the USA, ranging from city planning, to culture and education, heritage and conservation, commercial and mixed-use, in addition to hospitality and leisure. The idea of a reflective practice, set forth by PROMONTORIO, summons the ability to critically and ethically reflect on its own actions, while engaging in a process of continuous adaptation and learning. Perceived as a kind of "practicing school" for various generations in Portugal, the practice evolved, in both theory and practice, through the idea that deliberate reflection on experience is essential to cultivate a developmental insight on architecture.Founded in Lisbon in 1990 by Paulo Martins Barata, João Luís Ferreira, Paulo Perloiro, Pedro Appleton and João Perloiro as an experimental practice, PROMONTORIO progressively grew into a multidisciplinary team of 60 architects, planners, landscape architects, interior designers, and graphic designers.

Known for her paper art and collages, Marion Eichmann spent many weeks in the Reichstag building and the enclosed parliamentary buildings. Not only did she visit the plenary chamber, the floor designated to the parliamentary groups and the committee rooms, but she also keenly observed in corridors, canteens, libraries, and connecting tunnels the everyday life of a highly complex machinery that keeps the heart of democracy beating almost invisibly-focussing her interest at once on the iconic facades and settings familiar to the public, and on the rarely visible workspaces, devices, and often-overlooked details essential to the smooth daily operation of Parliament. Created as part of a commissioned project by the German Bundestag, the series of more than 80 papercuts documented in this volume in its entirety, provides a unique insight into the artist's creative process and working methods.MARION EICHMANN (*1974, Essen) studied at the Berlin University of the Arts and Weißensee Academy of Art Berlin. Longer working stays took her to Tokyo, New York, and Istanbul. In 2017, her spatial installation Laundromat received special attention at art KARLSRUHE and at the Haus am Lützowplatz/IG Metall-Haus, Berlin.

The art of Boris Lurie (*1924, Leningrad) and Wolf Vostell (*1932, Leverkusen) is determined by the breach of civilization in Germany in 1933, which made the German genocide of German and European Jews possible. Both artists make the Shoah the subject of their work in a radical way. Initially working-independently of one another-with the means of painting, they turned during the 1950s to exploring the stylistic devices of the first avant-garde, including techniques of collage and montage. Vostell later develops the subject further in his happenings and video art while Lurie takes up writing. In 1964 the artists met in New York and began a lifelong friendship-this is the first exhibition to present their works together.After surviving several labor and concentration camps, the Jewish artist BORIS LURIE (1924-2008) emigrated to New York in 1946, where he established the NO!art movement in 1959. Often through direct references to the Shoah, Lurie commented on the society and consumer culture of his time.The German artist WOLF VOSTELL (1932-1998) was a protagonist of the Fluxus movement and a pioneer of happening- and video art. Vostell confronted post-war European audiences with its recent past in a variety of ways.

Piet Mondrian had a decisive influence on the development of painting from figuration to abstraction. On the occasion of his 150th birthday, Mondrian Evolution is dedicated to his multifaceted work and artistic development. Initially working in the tradition of late-nineteenth century Dutch landscape painting, Symbolism and Cubism subsequently took on great significance for him. It was not until the early 1920s that the artist focused on a wholly non-representational pictorial vocabulary, concentrated on the rectangular arrangement of black lines with surfaces in white and the primary colors blue, red, and yellow. In separate chapters, this path is traced through motifs such as windmills, dunes, the sea, farms reflected in the water, and plants in various forms of abstraction.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.

Fujiko Nakaya is one of Japan's most important contemporary artists. Participating in the 1960s performances of the New York-based collective Experiments in Arts and Technology (E.A.T.), she became internationally renowned for her immersive fog artworks. First created for the Pepsi Pavilion at Expo '70 in Osaka they defy traditional conventions of sculpture by generating temporary, atmospheric transformations that physically engage with the public. Driven by early ecological concerns, Nakaya's groundbreaking work is based purely on water and air-elements that have particular significance in light of the climate crisis. From the artist's early paintings to her fog sculptures, single-channel videos, installations and documentation that reveal Nakaya's cultural and social references, this in-depth survey offers a comprehensive overview of the distinguished artist's work.FUJIKO NAKAYA (*1933, Sapporo) studied at Northwestern University in Illinois. Since the creation of the first water-based fog sculpture in 1970, her works have been incorporated in the designs of public spaces, major museums, and parks around the world. In 2018, she received the Praemium Imperiale, awarded by the Japanese state for outstanding achievements in the field of the arts.

In his monumental photographs, taken with a large-format analogue camera, Pawel Bownik examines "artificiality" in photography. Drawing inspiration from the classic iconography of historical still lifes, and genre painting, as well as the aesthetics of 1940s American cinema, he questions historical norms of representation. Carefully dissecting the elementary components of his subjects, his work is driven by his attention to minutiae. Flowers are disassembled, only to be surgically reconstructed - without hiding their artificiality. Alternatively, he challenges the historical narratives symbolized by traditional costumes. Turning them inside-out introduces the possibility of a different reading: In their reversed state, the intricate embroideries not only reveal their materiality, but also speak of their socio-historical context. Undercoat encompasses Bownik's work from the past decade, informed by the artist's awareness of the underlying patterns that give form to our surroundings and how we perceive them.Warsaw-based artist PAWEL BOWNIK (*1977) studied philosophy and sociology in Lublin, as well as photography and multimedia at the Poznan Academy of Fine Arts. His work has been exhibited in numerous group shows in Poland and beyond.

Pivotal in modern art's move towards abstraction, Piet Mondrian's oeuvre is extraordinarily versatile and complex. Not only did he paint and draw, he also wrote extensively about his thoughts and theories on art and life. Moving from traditional Dutch landscape painting to a pronounced rhythmic framework focusing on compositional structure rather than naturalistic representation, Mondrian was profoundly impressed by contemporary culture. Thus, he was not only inspired by the pattern of the extensive Dutch canal system, but also by the rhythm of jazz and the foxtrot. Demonstrating the impact of his oeuvre, Yves Saint-Laurent's famous "Mondrian Dress" even made him a fashion icon posthumously. Celebrating the 150th anniversary of his birth, Ulf Küster entertainingly leads through well- and lesser-known aspects of Mondrian's life and work offering inspiring impulses for reflection and further engagement with the fascinating artist.PIET MONDRIAN's (1872-1944) early work was influenced by the Dutch landscape painting of the 19th century. However, it was his strictly abstract geometric compositions that gained the artist world fame. He worked in Paris, London and New York, where he was active in the avant-garde circles of his time. The art historian ULF KÜSTER (*1966, Stuttgart) has been working at the Fondation Beyeler in Riehen | Basel since 2004, where he curates internationally acclaimed exhibitions. He has written numerous publications, among them his text on Louise Bourgeois in the series Art to Read and Edward Hopper A-Z, published by Hatje Cantz.

Travel is a fundamental experience of human existence. For Max Beckmann it was of existential importance both in a symbolic, but also in a deeply personal sense. In the 1920s, he regularly traveled to the noble health resorts and palace hotels on the Dutch, Italian, and French coasts. His defamation as a "degenerate" artist by the Nazi regime, however, forced him to retreat, first from Frankfurt to Berlin and subsequently into exile in Amsterdam. His emigration to the United States marked the culmination of a life entwined with the longing to travel as well as uprooting, transit, and exile. Max Beckmann. DEPARTURE assembles an outstanding selection of artworks and initiates a dialogue with hitherto unseen objects and materials from the Max Beckmann Archive. It shows Beckmann's relationship to film and literature as a producer of images of aspirations and longing resonating with notions of identity and home.MAX BECKMANN (1884-1950) is one of the most important artists of the 20th century. A star of the Berlin Secession, Beckmann's career was slowed by World War I and a personal crisis, but continued in the 1920s. After the Nazis forced him to resign his professorship in Frankfurt in 1933, he went into exile in Amsterdam in 1937 and subsequently emigrated to the US in 1947. Teaching in St. Louis and New York, he became the most successful German artist in the United States of his time.

"She, a woman of high beauty, created like no other to be Medea, Madonna, Iphigenia, Aspasia, decided one sunny winter day to escape her loneliness and to leave La Rotonda. She bought a ticket 'Aller jamais retour. Berlin Tegel'." This is the opening scene of Ulrike Ottinger's momentous 1979 film Ticket of No Return-the woman of high beauty was Tabea Blumenschein. Unconcerned by all conventions, Blumenschein adored transformation: in a distinctive, avant-garde aesthetic, the two women embraced various different identities and challenged many norms, in the process revealing the performativity of gender. Initiating a dialog between the two artists' perspectives, these books bring together for the first time Blumenschein's drawings with Ottinger's photographs from their joint performance sessions.ULRIKE OTTINGER (*1942) is one of the most important German filmmakers. Moving to Berlin in 1973, she became a pioneer of avant-garde cinematography. Ottinger's photographic works, feature films and documentaries have been shown at major international festivals and retrospectives, including the MoMa in New York, Berlinale, the Documenta and the Venice Biennale.TABEA BLUMENSCHEIN (1952-2020) was a cult figure of West Berlin's queer feminist subculture in the 1970s and 80s. For about ten years, she played a key role in Ottinger's films as leading actress and costume designer, and was part of legendary avantgarde punk collective Die tödliche Doris. In the 1990s she withdrew from the public, yet remained active as an artist until her death.

Europe is often defined in either strictly political terms or through rather vague cultural notions. But where do these definitions come from? Were they ever true? And do they make sense in today's globalized world? Exploring Europe through various perspectives, this exhibition catalogue offers a view of what constitutes Europe and Europeans. It is structured around six clichés about Europe, which-like all clichés-contain a grain of truth, but also express a bias.

Focussing on the potentials of creative and artistic thinking in scientific research as well as industrial production, this exhibition shows how collaborations between art and science can substantially support the creation of innovative, sustainable, and ethical solutions to the struggles and issues of contemporary societies. Conceived in collaboration with Ars Electronica, an international platform and festival pioneering in the development of strategies and competencies for the digital transformation, the exhibition is curated by Martin Honzik, chief curator at Ars Electronica and Laura Welzenbach, Head of Ars Electronica Export.

Earthbound-In Dialogue with Nature gathers forward-thinking works that propose alternative ways of shaping the complex relationship between human activities and the ecosystem-visionary approaches that emphasize the need for dialogue through new forms of interaction and consciously intervene in the current debate to initiate change. Created in collaboration with HEK, Haus der elektronischen Künste¿a young institution from Basel dedicated to digital culture¿and curated by HEK director Sabine Himmelsbach and Boris Magrini, this exhibition demonstrates that precisely where other strategies fail, art can open up new perspectives.

Hacking Identity-Dancing Diversity opens a vivid kaleidoscope of artistic notions of identity that reflect upon the particular and the universal, the aesthetic and the intellectual, the historical and the futuristic, the human and the non-human. Organized in cooperation with the ZKM | Center for Art and Media Karlsruhe, a unique cultural institution in Europe, expanding the original tasks of a museum by combining research, exhibitions and performances, the exhibition is curated by Anett Holzheid, scientific consultant at ZKM, and Peter Weibel, its chairman and director.

Athens as a Project is an interdisciplinary publication at the intersection between architecture and photography with a wider reference to contemporary art and urban history. With a particular focus on current metropolitan phenomena and the transformation of cities, it presents the findings of decade-long research project conducted by Platon Issaias on Athens and the specifics of Greece's urban environments that contribute to broader a discussion of the complex politics of urban development in the Mediterranean and the Global South. Partnering with photographer Yiorgis Yerolymbos, Issaias offers original and unique perspectives on the city of Athens, its architecture, recent history, and contemporary life. Texts, architectural drawings and photographs form an Atlas of Athens encompassing exemplary projects, atmospheres and everyday practices¿that go beyond the effects of the economic crisis of the 2010s and the ongoing pandemic.PLATON ISSAIAS (*1984, Athens) is Head of Projective Cities, an MPhil programme in Architecture and Urban Design at the Architectural Association. He is a founding member of Fatura Collaborative, a research and design collective established in 2009. YIORGIS YEROLYMBOS (*1973, Paris) studied photography and architecture in Greece and the UK. His photography has been published internationally. Most notably, he captured the ten-year development of Renzo Piano's Stavros Niarchos Foundation Cultural Centre, in the stunning photographic essay Orthographs.

In her multidisciplinary work, Berlin-based artist Hannah Hallermann combines clear, essential forms with complex social issues. She calls her sculptures, which often resemble abstract architectural elements or sports equipment, "Tools for Social Transformation". They serve her as instruments for analyzing the present and establishing new parameters. In her first solo catalogue, her work is presented extensively and brought into an exchange with various narratives and text formats concerned with transformation.HANNAH HALLERMANN (*1982, Nuremberg) lives and works in Berlin. She was awarded with the Stiftung Kunstfonds (2016, 2020), the Pollock-Krasner Foundation grant (2020) and the Sonderstipendium des Landes Berlin (2020). Her work is part of the Sammlung Hoffmann and the Staatliche Kunstsammlung Dresden.