A rebel and feminist, the Switzerland-born Miriam Cahn is one of the major artists of her generation. Widely known for her drawings and paintings, she also experiments with photography, moving images, sculptures, and performance art. Cahn’s diverse body of work is disturbing and dreamlike, filled with striking human figures pulsing with an energy both passionate and violent. These pieces, along with Cahn’s reflections on artistic expression, have always responded to her contemporary moment. In the 1980s, her work addressed the feminist, peace, and environmental movements, while the work she produced in the 1990s and early 2000s contains allusions to the war in the former Yugoslavia, the conflict in the Middle East, and the September 11 terrorist attacks. Her recent production tackles ever-evolving political conflicts, engaging with the European refugee crisis and the “#metoo” movement. Miriam Cahn: I as Human examines different facets of the artist’s prolific and troubling oeuvre, featuring contributions from art historians, critics, and philosophers including Kathleen Bühler, Paul B. Preciado, Elisabeth Lebovici, Adam Szymczyk, Natalia Sielewicz and .

Published on the occasion of the exhibition at Kunsthalle Basel, curated by Adam Szymczyk, June 14-Aug. 26, 2012.

This first monograph on emerging Berlin-based Romanian artist Daniel Knorr takes its design inspiration partially from Japanese Manga comics. An independent project produced alongside Knorr's comprehensive 2010 survey at Kunsthalle Basel, this will be an important source publication for years to come.

The turbulent biography of Elisabeth Wild (née Pollak, * 1922 in Vienna, † 2020 in Panajachel, Guatemala) reads like a recap of the twentieth century. Marked by flight and displacement, national identification and disidentification, her life seemed constantly to hit the reset button. This is not least evident in her oeuvre, which is highly diverse in terms of the media she used--including painting, sculpture, and textile design as well as collages and subsequent installations. In 2023, mumok will present her first retrospective exhibition, turning the spotlight on her late works as well as her previously unknown early works. With her first major presentation in Vienna, Wild's story will come full circle. At the heart of the conceived exhibition is her artistic development, which reads like a ride through twentieth- and twenty-first-century art history. Early and late works will be juxtaposed on two of mumok's exhibition levels. Though the two creative periods seem contrary at first glance--one might assume they are not from the same artist--a closer inspection reveals kinships that bespeak the artist's early interests. Collaged works display architectural and scenic fragments as well as masklike traits or geometric patterns. The collages thus combine Wild's early landscapes, portraits, and textile designs in a purely abstract form.

Nevin Aladag lets wind and rain play music. She follows the sound of traces she finds in the city and lets objects create melodies seemingly by themselves. The result is a perceptive and always humorous "score" that has both ironic and poetic qualities. The Museum Villa Stuck is showing Aladag's most comprehensive solo presentation to date, including famous groups of works, such as the Music Room Athens presented at documenta 14. Essays by renowned art scholars such as Rachel Jans and Adam Szymczyk and a contribution by the award-winning writer Ulrike Draesner shed light on the artist's work. NEVIN ALADAG (*1972) studied at the Academy of Fine Arts Munich from 1994 until 2000. Since 2019, she is a professor of interdisciplinary artistic work at the Dresden University of Fine Arts. She lives and works in Berlin.

The first survey of drawings, paintings and more from an eco-art pioneer This comprehensive monograph surveys four decades of work by Swiss Argentine artist Vivian Suter (born 1949), from early drawings and her painterly wall reliefs of the 1980s to her recent outdoor installations.

Published to accompany Hannes Schüpbach's first large solo show at the Kunsthalle Basel, Hannes Schüpbach. Cinema Elements presents the first in-depth look at the visually stunning work of this important Swiss filmmaker and artist. Schüpbach is best known for his 16mm films, which have been shown at the Kunstmuseum Winterthur, the Centre Pompidou, the Biennale de l'image en mouvement, Geneva, Museo Nacional Centro de Arte Reina Sofía, Madrid, and the Tate Modern, London. Schüpbach's work as a film maker has been strongly influenced by his teachers Werner von Mutzenbecher and André Lehmann, both leading figures in the experimental film movement in Basel in the 1970s and 1980s. Schüpbach's work also includes large, connected series of paintings whose simple combinations of colors attract the viewers' physical movement in the space. Hannes Schüpbach. Cinema Elements features many large-scale film stills and images of his paintings, alongside essays by critics and by Schüpbach himself that explore the key elements of his work as a filmmaker, such as his use of montage, repetition, and loops.

Since 1989, van Warmerdam has created photo works well summed-up by the phrase "It is what it is, but yet not"--the title of one essay in this retrospective catalogue. Whether she depicts a craggy mountain top, a tree in bloom, a well-endowed woman, or cows in a field, van Warmerdam takes a conceptually Surrealist twist on representation.

During the development of her projects, usually in close relation with a community, Katerina Seda uses media such as video, drawing, installation and performance.Her art objects stand subsequently as witnesses along with her idiosyncratic artist's books (