Bücher veröffentlicht von Hatje Cantz

In 1980 Peter Halley painted his first 'prisons', re-deploying the language of geometric abstraction in response to physical and bureaucratic environments. Radically deconstructing the language of abstraction, he re-imagined it not as a utopian source of liberation, but as dystopian symbols of the regulation of physical and social space and the impact of technology on contemporary life. As he wrote in 1990: "I wanted to draw attention to this geometricised, rationalised, quantified world. I saw it as a world characterised by efficiency, by regimentation of movement, bureaucracies, whether in the corporation, government, or university."Working in the era of the mass adoption of personal computers and the advent of the Internet, he developed a tightly organized system of discrete, geometric forms that he refers to as 'prisons', 'conduits', and 'cells'. Adopting non-traditional materials such as Roll-A-Tex, a paint additive that provides a readymade texture, and Day-Glo fluorescent colors, he evoked a pervasive mechanization of the human touch and referenced the presence of technology in the ersatz postmodern environment. Set within the context of a prolific period of painting and critical writing in the 1980s, this catalogue traces the development of Halley's singular pictorial vocabulary.

Willkommen in der Werkstatt der Lithografin! Schritt für Schritt lüftet sie die Geheimnisse der Kunst des Steindrucks: Einer Drucktechnik, die so verblüffen kann, dass sie fast wie Zauberei erscheint. Hier wird erklärt, wie sich Wasser und Fett abstoßen, wie Zeichnungen verschwinden und später wieder auftauchen. Hier wird gezeichnet, getuscht, geätzt, gewalzt und mit Sand geknirscht bis magische Bilder gedruckt werden können. Dieses wunderbare Bilderbuch ist im Stil einer Lithografie illustriert - in Blau, Rot und Gelb - und nimmt uns mit zu den Anfängen dieser faszinierenden Reproduktionstechnik. Es erzählt von den vielen Versuchen, die der Erfinder Alois Senefelder vor mehr als 200 Jahren unternahm, um Gedanken, Musiknoten und Kunst leichter vervielfältigen zu können. Er experimentierte wie ein Chemiker, bis es ihm gelang, den Steinen ein Gedächtnis zu verleihen. Die Lithografie ist bis heute eine besondere Kunst, zugleich sind aus ihr die Verfahren hervorgegangen, mit denen bis heute Bücher, Zeitungen und Plakate gedruckt werden.GABY BAZIN (*1992) lebt in Pantin. Sie wuchs an der französischen Mittelmeerküste auf. Während des Studiums in Paris an der Kunstgewerbeschule entdeckte sie ihre Liebe zum Buch und seiner Herstellung. Heute arbeitet sie als Grafikerin, Illustratorin und Druckerin. und ist Mitglied des Kollektivs La Briche Foraine in Saint-Denis.

Dynamische geometrische Muster von Emilio Pucci - farbig-kecken Dessins von Fioruccio -, schillernden Trompe-l'oeil-Effekte von Roberta di Camerino - die Pop-Sensibilität von Gianni Versace oder Franco Moschino - die auffälligen Streetstyle-Drucke von Iuter und Sunnei - mit diesen und unzähligen anderen Innovationen spielt das italienische Design eine führenden Rolle in der Geschichte der Textilien des 20. Jahrhunderts.Dieses Buch stellt eine attraktive Geschichte italienischer Textilien seit Beginn des 20. Jahrhunderts bis heute zusammen und erzählt deren Entwicklung mit Bezug auf die vorherrschenden Stile anderer Epochen. Eine Geschichte, die tief verwoben ist mit der Geburt des »Made in Italy«-Konzepts, da die Stoffe wesentlich zum internationalen Ruf Italiens als Hochburg für hochwertige Mode und Design beigetragen haben. Zahlreiche italienische Künstler*innen, Mode-, Produktdesigner*innen und Unternehmen haben Pionierarbeit geleistet und eine breite Palette von Herstellungsverfahren populär gemacht, die lokale Stoffe und innovative Techniken beinhalten.Designs von: Fede Cheti, Enrico Coveri, Roberta di Camerino, Dolce & Gabbana, Salvatore Ferragamo, Lucio Fontana, Piero Fornasetti, Mariano Fortuny, Gucci, Iuter, Franco Moschino, Bruno Munari, Gio Ponti, Prada, Emilio Pucci, Ken Scott, Ettore Sottsass, Sunnei, Valentino und VersaceVITTORIO LINFANTE ist Art Director und Professor für Modedesign, Branding und Kommunikation, Textil- und Druckdesign für Mode am Milano Fashion Institute und der Universität Bologna. Er ist Textildesigner für verschiedene Modehäuser, darunter Coccinelle, Marni und Moleskine.

Hannah Höch ist vor allem als Vertreterin der Dada-Bewegung und mit ihren Fotocollagen seit den 1910er-Jahren bekannt. Dieses Buch zeigt eine andere, privatere Hannah Höch: Landschaften, Aquarelle und Miniaturen, malerisch nacherzählte Erinnerungen, Porträts und Pflanzenstücke, in denen ihre Philosophie von Werden und Vergehen zum Ausdruck kommt. Die Sammlung des Berliner Museums Reinickendorf, zu der auch ihre kunsthandwerklichen Arbeiten und eigene gesammelte Raritäten gehören, dokumentiert wichtige Bereiche ihres Lebens und gibt Einblicke in ihre persönlichen Beziehungen. In der Zeit des Nationalsozialismus zog sie sich als »Kulturbolschewistin« diffamiert vom Kulturleben zurück. Ein kleines Holzhaus in Heiligensee im Norden Berlins bot ihr und ihrer Kunst in dieser Zeit radikaler Vereinsamung Zuflucht. Hier überlebte sie Krieg, Hunger und Einsamkeit und fand nach 1945 zu einem Neuanfang.HANNAH HÖCH (1889, Gotha - 1978, Berlin) gehörte zum Kreis der Berliner Dadaisten um Raoul Hausmann, George Grosz und John Heartfield. Zeitlebens am Experiment interessiert, prägte ein progressives, emanzipatorisches Bewusstsein ihre künstlerische Arbeit.

Since the advent of modernity, art has been associated with freedom, provocation and courage. In 1972, art was to unfold its potential as an emancipatory and creative force as part of the Gesamtkunstwerk of the XX. Olympic Games in Munich-that was the grand vision of its planners. The international avant-garde of the time, including Walter de Maria, Gerhard Richter, Andy Warhol and Dan Flavin, enthusiastically developed revolutionary concepts. Much remained a draft. After the tragic assassination of Israeli athletes, concepts such as the "Spielstraße" were canceled. This publication is the first to give an impression of the playful, participatory cultural programme of 1972. In the second part of the book, a multitude of voices from all over the world look to the future. International authors and artists use contemporary examples to convey the importance of the arts in shaping the democratic society of the future.

Plastic is everywhere. It permeates our everyday lives, is inexpensive and available worldwide. Thanks to their literally astonishing plasticity, plastics soon began to fascinate artists as well-both as a symptom and a symbol of mass culture. In the brief history of the "Plastic Age" the versatile substance transformed though: from the epitome of progress, utopian spirit, and democratization of consumerism into a threat. Plastic World offers a broad panorama of the artistic use of plastic and a position towards a matter that matters to us all. Through more than 100 objects, assemblages, installations, environments and films by some 50 international artists, this catalogue explores a spectrum ranging from the euphoria of pop culture in the 1960s and the futuristic influence of the space age, to the "trash" works of Nouveau Réalisme and the ecocritical positions of today. FEATURED ARTISTS SUCH AS: Monira Al Qadiri, Archigram, Arman, Lynda Benglis, César, Christo, Öyvind Fahlström, Haus-Rucker-Co, Eva Hesse, Hans Hollein, Craig Kauffman, Kiki Kogelnik, Gino Marotta, James Rosenquist, Pascale Marthine Tayou and Pinar Yoldas.

Industrial factories are major contributors to air pollution, toxic spills, and the emission of greenhouse gasses into the atmosphere. Manufacturing remains critically important to both the developing and the advanced world, but it must change. Fast. In 2020, the Norwegian design furniture manufacturer Vestre decided to prove that another future of industrial production is possible. Together with the Danish architects of Bjarke Ingels Group (BIG) they worked out plans for a green factory while preserving the surrounding recreational Norwegian forests: The Plus. The wooden building has been planned to achieve the world's highest sustainability rating, BREEAM Outstanding, as well as to be a public space, a destination for people to visit and enjoy. Thus began a challenging yet exciting journey toward building "the world's most environmentally friendly furniture factory." Making The Plus takes readers through the construction process of the world's most environmentally friendly furniture factory, documented from the very beginning by renowned photographer Einar Aslaksen. It also broadens our view on how architecture, industry, nature, and public space must be completely intertwined in our move toward a sustainable future. It aims to be a manifesto forthe "green shift."VESTRE is an Oslo-based urban furniture maker with offices all over the world. For more than 75 years, the family-owned company has been driven by the mission to create social and caringpublic meeting places for millions of people. It is committed to the UN's Sustainable Development Goals.

3D technology is not uncommon-we encounter it in cinema and in the virtual reality of video games. But even though creating an optical illusion of spatial depth, where there is none, is one of the oldest techniques in photography, stereoscopy receives little attention in contemporary photography. Unjustly so, as Sebastian Cramer's timelessly fascinating works show. It is a unique aesthetic experience that these seemingly alien plants in cyan and red have to offer, which-when viewed through the enclosed 3D glasses-unfold into voluminous photo- graphic sculptures. Two Views on Plants is a book about our visual perception of space that is fundamental to our human experience.Two Views on Plants is a Tête-bêche book and comes with two 3D glasses.SEBASTIAN CRAMER (*1962, Berlin) is a German director, cinematographer, and photographer. An acclaimed 3D expert, he has worked on several major film productions with directors like Wim Wenders and Michel Comte. He has received numerous awards for his artistic works and technical inventions. In 2013 Cramer began the Two Views project, a contemporary expression of traditional stereo photography.

Yasser Alwan photographed in and around Cairo, recording encounters with people in the streets, at the racetrack, in cafes, and in places of work-tanneries, quarries, bookshops, or potteries. His portraits of workers living in conditions of unimaginable poverty and political dispossession are remarkable for their refusal of the clichés of social documentary and photojournalism. They show people between anger, pride, and perseverance, yet convey a sense of trust toward the photographer. Complementary to his intimate images of friends and family form a collective portrait of the middle class seen in the relaxed informalities of daily life. This collection of Alwan's photographs offers an unprecedented and unique picture of Egyptian society, introducing an outstanding body of work in contemporary photography from the Arab world.YASSER ALWAN (*1964, Lagos - 2022, Cairo) was born in Nigeria to Iraqi parents. He studied and worked in Lebanon, Iraq, the United States, Sudan, and Jordan before moving to Egypt in 1993. He taught photography at various institutions, including the German University in Cairo. His photographs have been exhibited internationally.

Remains-Tomorrow: Themes in Contemporary Latin American Abstraction offers a thought-provoking perspective on the dynamic field of contemporary abstraction in Latin America. It proposes abstraction as an expanded field of reality in direct dialogue with life, and as a strategy for critically examining social, political, and cultural concerns. Featuring 280 artists, the book explores different manifestations of post-1990s Latin American abstraction and their underlying relationships to and differences from modern abstraction. Essays by Cecilia Fajardo-Hill and Juan Ledezma, 28 texts by participating artists, as well as biographies and over 700 illustrations, examine issues such as gender, interculturality, and popular culture. The unique polyphony and almost infinitely artistically diverse positions make this an indispensable reference book on Latin American abstraction.CECILIA FAJARDO-HILL is a British/Venezuelan art historian and curator who specializes in Latin American and Latinx art. She is known for the exhibition Radical Women: Latin American Art 1960-1985 at the Hammer Museum, Los Angeles, 2017, that presented experimental works of female artists.

An influential figure in Eastern Europe's 1960s neo-avantgarde, Stano Filko synthesized Dada, Pop Art, Fluxus, and Conceptual Art into a universalist vision of art and life. Influenced by subjects such as modernist architecture and mathematical algorithms, but also by spiritual transcendence and the cosmos, he designed pneumatic objects and interactive environments, assemblages, text-based works, performances, and happenings that attempted to circumvent state repression. Having fled to West Germany in 1981, Filko exhibited at documenta 7 in Kassel in 1982, and then relocated to New York, where he took up Neo-Expressionist painting, embracing a rainbow-colored chakra system, System SF, that he explored for the rest of his life. Not least thanks to his curiosity, experimental approach, and self-criticism Filko's works sustain a character of contemporaneity and remain meaningful today.STANO FILKO (1937, Velká Hradná-2015, Bratislava) was considered one of the most influential Slovakian artists from the 1960s until his death. Following achievements as a conceptual artist, he became "persona non grata" as a result of the suppression brought about by the Prague Spring in 1968. After having managed to escape to West Germany in 1981, he relocated to New York in 1982. In 1990 he returned to Bratislava, where he transformed his Snescenkova studio house into a Gesamtkunst- werk designed according to the principles of his System SF.

The incessant trend to throw away rather than to repair, demolish rather than refurbish has been a topic of discussion and criticism for years-at the same time, resource consumption and the waste continue to increase. To counteract this trend, students at the University of Applied Sciences in Munich and ETH Zurich have been developing sustainable and imaginative concepts for repairing a wide variety of objects, applying them both manually and by using digital techniques such as 3D printing. Beyond restoration, many projects aim to further develop and improve the repaired objects constructively, materially, or even in terms of design, lending them new value. This publication presents a wide variety of approaches and projects, complemented by essays by notable personalities from the fields of architecture, preservation, design, manufacturing, and craftsmanship.SILKE LANGENBERG (*1974) is professor of Construction Heritage and Preservation at ETH Zurich. Previously, she was professor for Design and Construction in Existing Contexts, Conservation and Building Research at the University of Applied Sciences in Munich, where she initiated a Repair Class.

Frank Kunert's works are as ambiguous as life itself. Constantly questioning the human condition, the artist translates his interpretations of the world into meticulous miniature models and captures them photographically. Kunert's constructions contain intelligent observations about the delicate task of balancing work and life, or the whimsicality of the everyday. Following his illustrated volumes Topsy-Turvy World, Wonderland and Lifestyle, Carpe Diem reveals the contradictions of our existence-between euphoria and impending misery. Comedy and tragedy are closely intertwined in the work of model maker and photographer: Kunert leads us into a parallel universe that seems surreal yet strangely familiar. FRANK KUNERT's (*1963, Frankfurt am Main) interest was initially focused on landscape photography. During his training as a photographer in the 1980s he came to know and love studio work. Since then, he has gradually specialized in designing and photographing miniature models.

Why are we creative? Why are we not? In The Dialectic of Creativity, Hermann Vaske explores these questions in conversations with Marina Abramovic, Vivienne Westwood, David Hockney, Georg Baselitz, Björk, Jeff Koons, Zaha Hadid, Christo, Yoko Ono, Oliviero Toscani, Damien Hirst, Jim Jarmusch, Shirin Neshat, David Bowie, and many more of the most influential creatives of our time, identifying the stimuli as well as the beta blockers, the killers of creativity: Spirituality, sex, money, fear, nurture, ambition versus censorship, self-censorship, bureaucracy, compromise, distraction, gatekeepers. Often it is those very blockages, the threats to creativity that allow it to thrive. A dialectical synthesis of opposites. Today, as we are facing an existential threat to our planet, it is time to come up with new ideas, more creative than ever. The Dialectic of Creativity explores all facets of creativity-artistic, intellectual, philosophical, and scientific. It is accompanied by a film trilogy and an exhibition.HERMANN VASKE (*1956) is a director, writer and producer. As a director, he worked with stars such as Dennis Hopper, Harvey Keitel and John Cleese. For more than 30 years, he has asked many of the world's leading creatives: "Why are you creative?" As they all added an artifact to their answer, Vaske turned his quest into a film trilogy accompanied by an exhibition. His films were shown at the Venice, Cannes, Toronto, and Palm Springs festivals and won numerous awards.

The immediate physical presence of color is central toKatharina Grosse's creative endeavor. Through an open-endedprocess in which painting takes on the form ofa performance, color embodies movement, making itssensory impact tangible. These issues not only drive herdramatically large site-related works painted across varioussurfaces in public places, they also inform her studiopaintings, which have played an equally central role in herpractice from the start. Bringing together 160 paintings,this publication serves as the first in-depth reference bookon this important aspect of Grosse's work.Five essays and an insightful interview with the artistexplore how Grosse expands the concept of painting¿not just in open space, but also on canvas¿through avariety of ways, including her disregard of the traditionalframe and her use of stencils, cut canvases, and elementalmaterials.KATHARINA GROSSE (*1961, Freiburg i. Br.) is one of the most distinguishedcontemporary painters working today. After studyingpainting at the art academies in Münster and Düsseldorf (1982-1990), it was in 1998 that she first used a spraying technique foran installation at the Kunsthalle Bern. This became a decisivemoment in her work and was essential in her ongoing experimentswith the properties of paint and the status of paintingtoday. She lives in Berlin and New Zealand.

Art and Objecthood illuminates the role of found objects and unconventional materials in the oeuvre of world-renowned artist Jean-Michel Basquiat. His creative fervor saw no bounds, he painted and drew on everything around him-from chairs to refrigerators, but also on items he encountered on the street: discarded windows and doors, mirrors, wood boards, and subway tiles. Interweaving art and life, these three-dimensional works are not only integral to New York's cultural landscape in the 1980s but are also symbols of Basquiat's engagement with, and transformation of, the reality around him. This publication presents new scholarship by leading Basquiat scholars and art historians and is the first comprehensive survey to explore Basquiat's use of found objects and unorthodox supports and their role in addressing issues of social inequality, political thresholds, and racial boundaries in the United States.JEAN-MICHEL BASQUIAT (1960-1988, New York City) is known for his raw gestural style of painting. His distinct approach was characterized by a rich fusion of text, symbols, and imagery. He was one of the first African American artists to achieve major international acclaim, and is celebrated for his prolific, albeit short artistic career.

Concerned primarily with the medium of painting, the work of Tina Gillen examines how we relate to the world around us, namely through the themes of landscape and dwelling. Her paintings often originate in photographic images that she modifies, simplifies, pictorially "translates," and pairs with other elements to arrive at compositions that purposefully nurture a certain ambiguity, somewhere between abstraction and figuration, construction and improvisation, the surface of the canvas and the translation of a space. This book is being published in conjunction with her exhibition Faraway So Close, presented at the Luxembourg Pavilion as part of the 59th International Art Exhibition - La Biennale di Venezia. Richly illustrated, the catalogue also includes three essays addressing various aspects of Tina Gillen's work-the relationship between painting and space, the ties between painting and photography, and the meaning of landscape today-as well as an extensive interview with the artist.TINA GILLEN (*1972, Luxembourg) works at the intersection between figuration and abstraction. She has had solo exhibitions at Bozar, Brussels (2015); Mudam Luxembourg (2012) and M-Museum, Leuven (2010). Gillen teaches painting at the Royal Academy of Fine Arts Antwerp, she lives and works in Brussels.

From the 1960s to the 1980s Charlotte March was one of the leading international fashion photographers. The major retrospective at Deichtorhallen Hamburg lays the foundation for the rediscovery of this iconic photographer's oeuvre and offers a comprehensive overview of all her creative periods for the first time. From her little-known early work, inspired by the Humanist Photography movement, that reveals her sensitive eye for the margins of society in post-war Hamburg, to her journeys to Italy in the 1960s, as well as her highly-influential fashion and advertising photography. The narrative of her imagery for magazines such as twen, Stern, Harper's Bazaar, Vanity Fair, Elle, and Vogue reveals an emancipatory attitude and evokes the notion of a new lifestyle and the social upheaval of the 1960s. The exhibition and catalogue illuminate March's multifaceted work and attest to her status as one of the most important female photographers of the second half of the 20th century.Born in Essen, CHARLOTTE MARCH (1929-2005) studied at the Alsterdamm School of Art in Hamburg. Beginning as a fashion illustrator and graphic designer, she decided for a career as a photographer in 1956. Her estate, comprising nearly 7.000 works, has been part of the Falckenberg Collection since 2006.

Femxphotographers.org's second publication Mind Over Matter focuses inward. Womxn's bodies are frequently sexualized while their minds are vilified and their voices silenced. This is true throughout history and in different cultures worldwide. A book about female vision, the power of the mind, as well as dreams and fantasies, logic and intuition, Mind Over Matter is an exploration of inner strength, courage, determination, willpower, and support in complex and individual series. Edited by Roula Seikalyi and with contributions by photographers from the team as well as many guest artists and writers, the publication has the character of an illustrated reader. FEMXPHOTOGRAPHERS.ORG is an independent, non-hierarchical collective, dedicated to the promotion of fine art photographers, who expose and deconstruct the dominant male gaze in photography. They shape contemporary discourse by releasing thematic publications, organizing exhibitions and panels, providing photographers with an empowering network of solidarity and mutual support.

The revised and extended BMW Art Guide by Independent Collectors presents 304 private collections of contemporary art accessible to the public-featuring large and small, famous and the relatively unknown. Succinct portraits of the collections with countless color illustrations take the reader to 51 countries, often to regions or urban districts that are off-the-beaten-path. This practical guide is a collaborative publication stemming from the partnership between BMW and Independent Collectors, the international online platform for collectors of contemporary art. To date, neither the Internet nor any book has ever contained a comparable assembly of international private collections, including several that have opened their doors to art lovers and connoisseurs for the first time.

The collections of ethnographic museums contain numerous fragments that bear witness to practices of sharing and connecting. They include fragments from history, remnants of destruction, and once powerful objects made up of single parts. This publication shows how these things were handled in the past, and still are today. It sheds light on what it means to divide, repair, reassemble, even to let something fall apart. In each instance, it is always a matter of (re)storing or creating a new order. Instead of seeing fragments exclusively as signs of loss or as witnesses to the inexorable passage of time, the authors focus on the power of connecting, the art of separating, and the force of destruction in the pieces presented.The MUSEUM DER KULTUREN BASEL (MKB) is the largest anthropological museum in Switzerland and one of the most eminent of its kind in Europe. The MKB collections are renowned throughout the world and include over 340,000 objects, around 50,000 historical photographs, and roughly 200,000 documentary images.

A leading voice in Lebanon's cultural diaspora, Rabih Mroué's acclaimed body of work addresses the contested memory of historical events that include the Lebanese civil war, the Arab Spring, and the Syrian Revolution. Spanning theater, art, and literature, his diverse oeuvre is situated at the intersection of personal and political imaginaries, media critique, and concepts of authorship: through scripted conversations, confessions, reports, and questions, Mroué ceaselessly interrogates ways of speaking. Published on the occasion of his receipt of the Ernst Schering Foundation's Prize for Artistic Research in 2020, this anthology illuminates Mroué's work of the past 20 years through 20 interviews. New interviews and an introductory essay by the curator Nadim Samman draw a portrait of the artist.RABIH MROUÉ, (*1967, Beirut) is an actor, director, playwright, visual artist, and co-founder of the Beirut Art Center. Living and working in Berlin, he currently is an associate director of Kammerspiele Munich. Internationally acclaimed, he has had solo exhibitions at MoMA New York (2015), SALT, Istanbul (2014), documenta 13, Kassel (2012), as well as major group exhibitions at the Institute of Contemporary Art Boston (2018) or Haus der Kulturen der Welt, Berlin (2017).

On one of Spencer Ostrander's early visits to Times Square, the rain began to fall. The people in the crowd, suddenly draped in plastic, were transformed into abstract, brilliant reflections of the massive advertising that surrounded them. Designed to entrap the consumer with illusions of status, the good life, and happiness by product, the vast LED light boards turned visitors into walking ads for MTV, Coca-Cola, and The Lion King. And when the flickering LEDs hit his camera's sensor, they created streaks of color and lines that don't exist, but are part of the photos, a technical mirage that perfectly suits Ostrander's subject-the empty allure of late capitalism. Moving among the people with his camera, Ostrander began to see sorrow, tenderness, despair-a hidden story that starts to reveal itself in his photographs.SPENCER OSTRANDER (*1984, Seattle) has lived in New York City for the past two decades. He has done extensive work in all forms of photography and has recently completed two other book projects: Bloodbath Nation, with a long text on American gun violence by Paul Auster and Long Live King Kobe.

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.

"Through which framing do we perceive images? How does their reception change depending on editorial decisions? How comprehensively is our perception of global events influenced by their media treatment? Which contextualization comes closest to what is actually happening? Can there be objective coverage?" The key to Jonas Höschl's artistic practice is raising questions like these-posed by art historian and photography theorist Mira Anneli Naß-rather than presenting answers. Based on his media-reflexive work, the artist gathers perspectives of numerous theorists, artists, and authors dealing with media-theoretical questions in our increasingly fragile present-making our social inflammations and injuries painfully tangible. JONAS HÖSCHL (*1995, Regensburg) is a conceptual artist and photographer. He received the Bavarian Art Award for Visual Arts for his multimedia work, encompassing printmaking, sound, video and installation. Having studied photography with Juergen Teller at the Academy of Fine Arts Nuremberg, he is a Fine Art and Sculpture Master Student at the Academy of Fine Arts Munich since 2020.

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.

In the summer of 2021, Miriam Cahn's project FREMD das fremde in the southern valley of Bergell in the Swiss canton of Grisons provoked a lasting echo both in the public and the media. The renowned contemporary artist, who has lived in the valley for years, set new, unexpected accentuations with her most recent work in the historic Palazzo Castelmur. As part of a multi-layered performance, this publication embraces the theme of being a stranger and advances a deepening of the discourse surrounding her work. The book, designed by Paris-based graphic designer Achim Reichert, reflects the conceptual openness of Miriam Cahn's artistically as well as socially arousing project. Captured by internationally acclaimed photographer Lukas Wassmann, the works are presented in their unique spatial constellation arranged by the artist herself. MIRIAM CAHN (*1949) is considered one of the most acclaimed contemporary artists. For over four decades, she has been creating work based on an uncompromising resistance to discrimination in all forms. Influenced by performance art and the feminist movement of the 1960s and 1970s, her rich oeuvre includes painting, works on paper, performance, text and film. She lives and works in Stampa, Switzerland.

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

Whether "tequio" in Mexico, "ubuntu" in South Africa, or "mutirão" in Brazil; there are many names for the common good around the world: Within the context of documenta fifteen and its core idea of collectivity, seven novelists - Azhari Aiyub, Cristina Judar, Nesrine Khoury, Mithu Sanyal, Panashe Chigumadzi, Uxue Alberdi, and Yásnaya Elena Aguilar Gil - from different parts of the world will contribute new narratives on collective work and communal forms. Seven international publishers have also joined forces to provide this global perspective on the exhibition theme in various language editions.

Inspired by the tours featured in travel guides or educational offerings at public museums, Gehen, Finden, Teilen offers children and families, but also comic fans and experienced exhibition visitors, alternative perspectives on documenta fifteen. Here eight international illustrators and authors have reinvented ruangrupa's universe for documenta fifteen and stimulate the imagination of readers and visitors alike with their visual worlds. Five tours invite you to experience the lumbung values of Humor, Local Anchor, Independence, Generosity, and Transparency, offering complementary ideas and aspects to the exhibition. With entertaining stories, Gehen, Finden, Teilen encourages you to find your own approach to these values, so each path is to be understood as a suggestion and can be explored spontaneously, completely or only in part. This original book will also appeal to and inspire younger visitors.