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I What Is at StakeII The Power of ArtIII Need for TransformationIV Material AgencyIn its four parts, this volume brings together positions in art, design and architecture that lookat how nature and human beings can achieve an ecological balance in their mutualenvironment and how people can live, work and operate sustainably within a global ecology.Each of the 25 contributions examines current scenarios and possible solutions, seekingperspectives on an ecology that is meant to empower actors in the fields of art, architectureand design to assume responsibility now.

Since 1968, Bernhard Leitner has been creating sound spaces, meaning he considers sound to be an architectural, sculptural material. His first work in this regard was a model of Soundcube, a walkable cube with a grid of 384 loudspeakers lining its six inner walls. Moving sound through individually controlled loudspeakers distributed over an area creates spaces that are entirely auditory in nature. Initial empirical studies conducted by the artist were followed by approximately 150 sound space sculptures created between the mid-1970s and the present, each a unique calibration of the relationship between the bodily perception and sound spaces as they emerge in physical space and in time. Every one of Leitner`s sculptures can be experienced as an interior (visitors can walk, sit, lie down in them), and each reveals new psycho-physiological dimensions of experience. This is the first volume to comprise all of the artist`s sound space investigations, sound space sculptures, and sound space installations.

With its 440 photographs, this book, which is unique in its kind, highlights important milestones in the history of music that have also been formative for us. VOICES offers insights into the life stories of artists. Outstanding performers tell us about experiences with their colleagues, renowned personalities in the music and theater scene. And they also give us glimpses into their private realms: making music at home with their families, social backgrounds, and such sensitive themes as setbacks, fears, or long-yearned-for appreciation, and how they found the key to their voices. This impressive volume represents history from 1945 to the present, passed down by way of personal accounts.The texts are based on conversations conducted by Christine Cerletti and Thomas Voigt during the pandemic in 2021/22, or they were written by the artists themselves. Choosing diverse approaches, they outline how the stage can become an emotional space. Their stories are musical history narrated from a personal perspective. The desire to share things is incredibly strong. What remains after the caesura established by the pandemic: (musical) theater is closeness.

This publication documents Rivane Neuenschwander's first comprehensive solo exhibition in the German-speaking world. The artist, born in Brazil in 1967, traces fears and hopes in her multifaceted work, showing how they shape people and societies. Her work is characterized by a keen interest in cultural, psychological and sociological issues.The full breadth of her interests is re- flected in this publication. It includes a conversation with Christiane Meyer-Stoll that took place over the entire exhibition period, providing an in-depth insight into Neuenschwander's understanding of herself as an artist; an essay by the Portuguese sociologist Boaventura de Sousa Santos deals with the Uncertainty Between Fear and Hope; the cut-up poems by writer Anna Ospelt - an outgrowth of the exhibition - testify to Neuenschwander's trust in the power of poetry, which permeates her entire oeuvre, as does the title knife does not cut fire, which is taken from a poem by the lyricist Herberto Helder.

Painting, photography, film: A one-woman-production, Patricia Reinhart's artistic work presents itself as multilayered, sensual and poetic. Her art explores femininity as the mystery of being, regarding the self in a simultaneously exploratory, deconstructive and authentic way. In the medium of Ciné Collage, the artist interweaves literature, psychoanalysis, film and art history to create surreal-theatrical tableaus that use subtly-chosen narratives to subvert commonly accepted regimes of power and gaze. In painting, inner and outer abstract spaces touch to form color orgies that depict the universe as an interplay of an infinite number of elementary particles. Patricia Reinhart staging a self-portrait in a photo booth in a public area in Paris, selecting gestures and poses that call her own female identity into question. Oscillating between appropriation and dissolution of the history of visual media and literary models, Patricia Reinhart expands her own analyses, observations, and conceptions of the world in interrelated visual media. This monographic publication includes works from 2015 to 2022 by the artist, who resides in both Paris and Vienna.