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This publication charts the Haus der Kunst München exhibition Trace-Formations of Likeness, drawn exclusively from The Walther Collection. The exhibition explores portrait photography and the tracing of societal transfor-mation across geographic spaces as well as contrasting sociopolitical and cultural landscapes. Portrait photog-raphy has been deployed as a means to shape identity, to advocate for social change, and as a subversive strategy for visibility, often through an intimate investigation of the politics of memory, history, and embodiment. This book encompasses works from the last two hun-dred years and brings together artists from Africa, the Americas, Europe, and Asia. The juxtaposition of archival, documentary, and vernacular photography offers a global context to reflect on the divergent trajectories of historical and contemporary photography today. Collectively, these works showcase the medium's capacity as both an instru-ment for empowerment and a formation of the self, as well as its complex uses as a tool for control and subjugation.

The renovation of the listed building of the Kunsthalle Rostock in 2020 represents for the museum a moment of upheaval, pause, farewell and new beginning at the same time. Rostock is thus preserving an important symbol of the museum and urban development of the GDR from 1969. At the same time, the idea of developing an installation that takes up this upheaval in terms of content and forms a bridge to the history of the Kunsthalle Rostock is being developed together with the Berlin based artist Andrea Pichl.For this, the sculptor used discarded architectural fragments from the exterior and interior of the Kunsthalle Rostock and reassembled them in the form of a newspaper kiosk of the Deutsche Post newspaper distribution from the 1970s. This approach, typical of Andrea Pichl, illustrates her intense involvement with the architecture of so-called Eastern Modernism.The bilingual catalog details the creation of the artwork and the artist's associated photographic projects. In addition, a chronology of the building embeds it in the history of the Kunsthalle. Contributions by German and international authors illuminate aspects of construction, art history, and cultural history in an international context.

Since the 1990s, Pia Fries has undisputedly been one of the leading international figures in painting. Born in Beromünster (CH) in 1955, the artist has lived in Düsseldorf since the 1980s and in recent years has worked as a professor at Berlin University of the Arts and the Academy of Fine Arts in Munich. This publication was created to accompany Pia Fries's solo exhibition at Kunsthaus Baselland and is the first to combine current and historical exhibition photographs with a variety of different texts, including a literary text by Sophia Remer, an art history essay by journalist and author Niklaus Oberholzer, and a conversation between Pia Fries and Ines Goldbach.

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.

Models play a vital role in Monika Sosnowska's creative process. Made from simple materials such as paper, cardboard, wood and wire, Sosnowska uses hand-made models as a way to develop sculptural form and explore the relation between sculpture, architecture, and experience. In a photo essay about her models, curated by the artist herself, she gives unprecedented insight into her practice. In addition, her use of models is contextualized by two new essays by Martin Waldmeier and Tom Emerson. Moreover, a catalogue of selected models permits readers to trace Sosnowska's journey from installation work to sculpture, offering a valuable resource for anyone interested in her work.

LARRY'S LIST is proud to announce the release of the second edition of the PRIVATE ART MUSEUM REPORT 2023. The report provides a systematic exploration of the global landscape of privately founded contemporary art museums with analyses by continent, country, and city. It gives an overview of museums that have opened over the past years and provides an understanding of their legal setup and operations. A deep-dive chapter explores the social media activities of the museums.

Rachel Lumsden's large format works engage us in a highly immersive experience. Paintings that at first glance appear to be figurative also pursue the goal of abstraction, albeit one that finds meaning in its relationship with the visible world. Lumsden's visual motifs emerge, brush mark for brush mark on the canvas, eventually converging with their true subject matter through her adept handling of material and astonishing pictorial inventiveness. The publication includes works from the last seven years and is released on the occasion of her solo exhibition at the art centre Villa Bernasconi, Geneva, Switzerland.

In the spirit of a rendezvous, the Heidi Horten Collection offers a meet-up with artists in the collection whose biographies were shaped by France. The exhibition and accompanying catalogue embark on an artistic journey of discovery from the Parisian artists' districts of Montmartre and Montparnasse to the South of France - the Midi - and thus to places that have contributed to the emergence of major art movements in the twentieth century.

In his series TERRA NOVA, the internationally active photographer Egbert Trogemann turns his attention to the Hambach Forest. This name stands for one of the oldest and most diverse forests in Europe as well as for the destruction of nature in favor of coal-mining and profit. In his artistic investigation, Trogemann presents the impact of the clearing of the forest as well as instances of the struggle against that destruction as an expression of power structures and simultaneously as precursors of a future world oscillating between utopia and dystopia. The pictures, taken between 2018 and 2021, show temporary buildings erected by environmentalists as well as a bizarre observation deck set up by the energy company and offering a view of this new world-the series takes its title from the same-named slogan of the company. Simultaneously, the poetical black-and-white photographs summon up associations with magical, primal moments and raise underlying questions.In view of the special role of the forest for German national identity, for example in Romanticism or in the Grimm's fairy tales, the question arises as to how this forest clearance should be interpreted in an era of far-reaching political, climatic and social uprooting and reconfiguring.The publication presents a selection of photographs in connection with an essay by Reinhard Spieler, art historian and director of the Sprengel Museums Hannover. He writes that the photographer proceeds "like an archaeologist who derives from the scanty traces of the past points of reference for the reconstruction of the ways of life characteristic of past cultures."

Keith Sonnier-this name is primarily associated with the light works of the artist, who was born in Louisiana in 1941, in the Deep South of the USA. Since the 1960s, Sonnier has continuously developed works with various light sources, which has decisively shaped the reception of his art to this day. Equally essential, however, is the unbroken and open-minded interest in a wide variety of materials and media. Sonnier has also been engaged in diverse cultures throughout his life, has traveled and created works of art using local handicrafts.The exhibition, comprising around forty works from five decades, and the accompanying publication honor the work of the artist-who died in July 2020-in its diversity and the individual attitude that emerges in it. The English "Lightsome", which can mean 'bright' as well as 'carefree, cheerful', refers not only to Sonnier's art, but also to his person.

300 Zeichnungen / Cartoons stellen Fragen wie "Sind Bäume abends müde?" oder "Isst man im Leben einen ganzen Supermarkt?".Barthaare von Plato, Kant, Nietzsche und Mozart werden gezeigt, ebenso Ameisen im Stress oder der Unterschied zwischen jungem und altem Apfel.Der Zeichner, Christian Heiss, Architekt und Eigentümer des gleichnamigen Architekturbüros Atelier Heiss Architekten, teilt Beobachtungen und stellt solche zentralen Fragen - sind doch fast alle Dinge des Lebens mit der Architektur verbunden.Die Texte, in Englisch und Deutsch verfasst, stammen von ihm, ein Vorwort hat Wojtech Czaja beigetragen.Apropos: Gibt es dicke Elefanten?

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.

Bettina Semmer wurde in den 1980er Jahren im Umfeld der "Neuen Wilden" bekannt. Vor dem Hintergrund einer noch fast ausschließlich von Männern dominierten Kunstszene entstanden Gemälde, und Filme oder fanden Interventionen statt. Schon damals zeigte sich die ihr Werk bis heute prägende Auseinandersetzung mit - nicht nur - weiblicher Körperlichkeit. Dabei thematisiert sie Erotik und Sexualität stets in Hinblick auf das Psychologische und Politische. Auch befasst sie sich immer wieder mit traumatischen Erfahrungen und deren physischen Auswirkungen.Die erste umfassende Monografie zu Bettina Semmer legt den Schwerpunkt auf ihr bildnerisches und vor allem malerisches Schaffen. Ein ausführlicher aktueller Beitrag von Ludwig Seyfarth befasst sich mit den "Körperbildern" in ihrem Werk. Verschiedene, bis in die 1980er Jahre zurückreichende, teilweise erstmals, teilweise wiederveröffentlichte Textbeiträge (u.a. von Diedrich Diederichsen, Svenja Grosser, Ramona Heinlein, Phil King und Gislind Nabakowski) dokumentieren unterschiedliche Facetten in der Rezeption ihres vielschichtigen Werkes. Über 175 Abbildungen zeigen Werke aus fünf Jahrzehnten.

"How can an Austrian art museum that has stated its support of a diverse and inclusive society take a critical and appropriate view of phenomena like racism and xenophobia? How can it look at issues such as physical and structural violence, cultural identity, and social exclusion, and also promote the decolonization of thinking? Key points of reference are self-criticism and the deconstruction of the white gaze onto the world, which has always been wrong and one-sided, but whose validity has only been challenged in recent decades." (From the introduction by Thorsten Sadowsky)The publication documents and continues the discourse initiated in 2021 with the two-part exhibition This World Is White No Longer by the Generali Foundation at the Museum der Moderne Salzburg. The focus is on artistic positions that deal decidedly with questions of racism and xenophobia and examine the "change of perspective" as a method for questioning the supremacy of one's own worldview.Works by the artists Karo Akpokiere, Lothar Baumgarten, Danica Daki, Forensic Architecture, Samuel Fosso, Charlotte Haslund-Christensen, Alfredo Jaar, Voluspa Jarpa, Belinda Kazeem-Kaminski, Adrian Piper, Lisl Ponger, and Kara Walker are discussed. The publication also presents the new works developed in several months of intensive work by the Photography and New Media Class of the University Mozarteum Salzburg for a project exhibition at the Generali Foundation Study Center.

The author of the book lovingly calls it a naïve attempt to make the art world a little bit happier. After living and working in the art world for the past fifteen years, Christoph Noe brought pen to paper to gather some thoughts on how to navigate in the culture industry. "It first developed foremost as a guide for myself as I continuously challenge the mission that I am on in the art world, asking myself why I am still doing what I am doing. Or sometimes, more dramatically, "If art is used in therapy, why do we almost need therapy when working in the art industry?" With a strong believe in the power of art and cultural creation and over multiple conversations and with the encouragement of my art- world crew, I came to the conclusion that these guidelines can function as a possible motivator, as a collection of thoughts or critical questions not only for myself but also for other people and collaborators working in the scene."Christoph NoeSomewhere in the art world, September 2022

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.

"Monika Sosnowska. Fatigue" is published on the occasion of the acclaimed Polish artist's exhibition at Kunstraum Dornbirn, which took place in Summer/Fall 2022. It contains a foreword by director Thomas Häusle and a text by curator and art critic Stach Szablowski. Sosnowska's artistic view of the built environment is closely linked to contemporary historical developments. Buildings are understood as places of experience, places of memory, with all the historical, political, psychological and anthropological markings that have been inflicted on the architecture over time. The interplay the works that have been displayed in Dornbirn with the rough, untreated architecture of the former assembly hall results in a psychosocial image of our history and present.

The monograph NI MÁS NI MENOS provides the first extensive overview of the exceptional painter Matías Sánchez (living and working in Sevilla, Spain). The publication includes hundreds of illustrations of his paintings and views of his studio. Through a text by Cy Schnabel, an interview of the artist with Jennifer Tang and an essay by galleries Michael Zink, Matías Sánchez¿s unique work gets contextualized.Through his own exploration, the self taught artist developed a signature style of vivid painterly surfaces as a backdrop against spirited characters and objects. He pays homage to Post-Impressionist artists such as Paul Gauguin, and cites Mark Rothko, Willem de Kooning as inspiration. At times smoothly rendered, at times crudely abstract, the artist uses recurring images including sausages, bones, rats and people with menacing expressions, to form grotesque dreamscapes, exploding with energy. The results are striking, intense images and colors.Matías Sánchez's work can be found in the public and private collections of the CAC Malaga; S. Goodman Collection, New York; Art Museum of the University of Southern California; Benetton Art Spain Collection; Luc Caurichon Collection, Paris; amongst others.

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.

Published on the occasion of their exhibition at Munich's Haus der Kunst, this publication presents an insight into the multifaceted worlds crafted by the pioneering Japanese collective Dumb Type. Founded in 1984 by students from Kyoto City University of Arts, Dumb Type's varied installations and performances deployed cyberpunk imagery in order to critique a highly 'informatised' consumer society that was concurrently rendered passive via the unceasing deluge of data and technological development. The publication contains an essay by the curator, Damian Lentini, an interview with founding member Shiro Takatani, and numerous installation pictures from the exhibition at the Haus der Kunst. The texts examine the continuous investigations conducted by Dumb Type along the interface between technological progress and the human body, and they critically scrutinize the manner in which digital media and technology constitute a formative and irreversible part of our current experience.

Since 2003, the accomplished editor Alexander Linn has been following the graphic work of André Butzer. With such intimate knowledge, great care and passion most of all, he now presents the first volume of the catalog raisonné of prints.Graphics are a fully valid part of Butzer's oeuvre from the very beginning and at all times, the prints catch up with the development of his painting in complete independence. Everything is there and decisively formulated. His iconic figures, colors and forms, the basic motifs and themes are present with a clarity only to be achieved in graphic art: From the simplest linocuts to elaborate series in a variety of graphic techniques to the grace and gorgeous colors of recent years.High time for this book, which already is an invaluable reference and an impressive testament to a graphic oeuvre with which André Butzer modestly but with the highest mastery inscribes himself in the long tradition of peintres graveurs.

Kudzanai-Violet Hwami (*1993, Zimbabwe) combines visual fragments in her paintings, revealing a multi-layered and personal vision of life. She experiments with photographs and digital image collages, using them to create large-scale works on paper or canvas with intensely pigmented oil paint, often employing other media and techniques such as silkscreen, pastel or charcoal. She draws her inspiration from a variety of sources, including archival, online or nude images, but also personal photographs, such as self-portraits or family pictures.

The pioneering artist Carolee Schneemann (1939-2019) embraced a wide range of mediums: from painting to performance, film and video to mixed media and installations, famously applying the gestural physicality of action painting to kinetic environments and performances centered on the body-more often than not, her own. Many of the artist's works have entered the canon of contemporary art, such as Eye Body (1963), Fuses (1964), Meat Joy (1964), Up To and Including Her Limits (1974) and Interior Scroll (1975).From Then and Beyond consists of interviews with Schneemann, conducted by art historian Oliver Kielmayer (Kunsthalle Winterthur) and curator Lara Pan at her home in New Paltz, New York. The transcript of these interviews, edited into 27 monologues and dialogues, is the last substantial testimony by the artist and is complemented by illustrations of her works and photographs of her house.

Monographic catalogue by Caroline Achaintre (born 1969) on the occasion of the exhibition "Caroline Achaintre. Shiftings" at the Kunstmuseum Ravensburg (20 November 2021 to 20 February 2022) and at the Kunsthaus Pasquart in Biel (10 April to 12 June 2022). "Shiftings" is Anchaintre's first museum exhibition in Germany and Switzerland. The catalogue and exhibition give insight into the memorable work of the German-French artist, which is characterized by its precision, experimentation and unconventionality. Anchaintre's ceramics, watercolours and imposing, large-scale tapestries are invitations for the viewers' imaginations to run free. The title "Shiftings" not only alludes to the fact that Anchaintre transfers traditionally established techniques such as tapestry or ceramics to the present day but also to her constant sounding out of the boundaries between abstraction and representation.

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.

Stéphanie Saadé (*1983, Lebanon) deals in her work with themes such as memory and the individual experience of time, scale and references to place. She subtly influences existing objects with quiet artistic interventions and places them in a loose network of references. They function as personal objets trouvés that do not speak language but think it. The artist explores the nature of memory, historicity or the condition humaine, using transposition, displacement and metaphor to explore the relationship between the intimate and the universal.The monographic publication appears on the occasion of the exhibition Stéphanie Saadé - Building a Home with Time. With sculptures, fabric works, videos, works in glass or with a video game, the artist develops different narratives around the theme of home. Building a Home with Time speaks to the slow process of forming a place, and at the same time the evolution and constitution of being, both of which are tied to each other and inseparable from the passage of time. Often her works place her personal life in scale with a part of completed history, but are also expanded by current events - such as the recent popular uprising, the devaluation of the Lebanese pound, hyperinflation, a global pandemic and a deadly explosion - which link the past and the present.