"To develop her projects, which are usually made in collaboration with a community, Czech artist Katerina Seda (born 1977) uses media such as video, drawing and installation. Her art objects and idiosyncratic artist's books document what would otherwise be ephemeral performance pieces. This catalogue is the first overview of her output to date." --Artbook.com website.

"Rinus Van de Velde’s art touches us because the artist draws us in to his confrontation with external expectations and internal emotions.” Fanni Fetzer, Director, Kunstmuseum Luzern Rinus Van de Velde has made remarkable strides in recent years in the development of his oeuvre. Best known for his large-scale charcoal drawings at the start of his career, he now positions himself as a total artist, using a range of different media and forms of expression such as drawing, sculpture, installations and film. Initially, Van de Velde used found photographs and images as a basis for his drawings, but he later went in search of ways of exercising more control over the images. He achieved this through an extensive process of scene-building, in which he cast himself and those around him in different roles and characters in order to fit them into the narrative discourse of his fictional autobiography. These scenes were built up life-size, with even the tiniest detail being reproduced in wood and cardboard. This book focuses on this part of his artistic activity and has been produced to mark the eponymous solo show in Kunstmuseum Luzern in Switzerland. With a textual contribution from Fanni Fetzer and Koen Sels. Text in English and German.

The paintings by Gilles Rotzetter are figurative, direct, raw, fierce in the tradition of Bad Painting. The book focuses on his current complex of works on the Swiss atom bomb. The artist weaves together paintings, drawings and installations about this little known piece of Swiss history to form a complex image cosmos, and raises the question of how history is constructed. Exhibition: Kunstmuseum Luzern, Switzerland (10.06.-20.08.2017).

Sonja Sekula (1918-63) was born and educated in Lucerne, Switzerland, but emigrated to the United States with her parents in 1936. In 1941, she began studying art at the Arts Students League in New York and made the acquaintance of André Breton and his friends among the surrealists. Her automatic paintings and texts soon captured the interest of Peggy Guggenheim and Marcel Duchamp. In 1943, she was invited for the first time to show her work at Guggenheim's Art of This Century Gallery, and, throughout the late 1940s, she was also featured in solo and group exhibitions at Betty Parsons Gallery. However, mental health problems dogged her throughout her life, and she returned to Switzerland for treatment in 1955, where she committed suicide in 1963. This book provides a comprehensive overview of Sekular's art in context of the work of her friends and fellow artists from the period. Richly illustrated, it offers a chance to rediscover an immensely talented artist who has been unjustly neglected.

Shara Hughes (b. Atlanta, 1981; lives and works in New York) describes her pictures and drawings as psychological or invented landscapes. Her cliff coasts, river valleys, sunsets, and lush gardens, often framed by abstract patterns, might be the settings of fairy tales or scenes from paradise. As the New Yorker put it, the paintings " use every trick in the book to seduce, but still manage to come off as guileless visions of not-so-far-away worlds." Wielding oil paint, brushes, spatulas, and spray cans, the artist celebrates painting itself, not infrequently quoting the masters of past eras.Shara Hughes studied at the Rhode Island School of Design and later attended the Skowhegan School of Painting and Sculpture. Her most recent solo exhibitions are currently on view at the FLAG Art Foundation, New York, and the Kunstmuseum Luzern, Switzerland. In 2021, she had shows at the Yuz Museum, Shanghai; the Contemporary Art Museum St. Louis; the Garden Museum, London; the Aspen Museum of Art, Colorado; and at Le Consortium, Dijon.

Claudia Comte (b. 1983, Switzerland) is best known for her site-specific installations, featuring wooden sculptural forms set against graphic, abstract wall paintings. She creates a unique, rule-based measurement system for each new body of work so that every piece relates to a particular scale.For her first retrospective survey exhibition 10 Rooms, 40 Walls, 1059 m2 at the Kunstmuseum Luzern, this principle has become the agenda: the artist has used 10 rooms, created 40 wall paintings, and filled 1,059 square meters of space by combining the painted museum walls with new series of paintings and sculptures.Despite such regimented structures, Comte's pieces are imbued with a sense of playfulness, humor and irreverence, puncturing the seriousness connected with minimalism.Hovering between painting, sculpture, and installation, Comte's works are based on references to popular culture--including cartoons as well as vernacular handicrafts--nature, heraldic symbols, and art historical movements (Op art, Pop art, Concrete art). Her sculptures can be read as persiflage on classical sculpture, while at the same time negotiating questions of display, the role of the plinth, and simple ground/figure issues.This monograph offers the first complete survey of Claudia Comte's work.Published with Kunstmuseum Luzern.Accompanies the exhibition, 10 Rooms, 40 Walls, 1059 m2 at Kunstmuseum Luzern, Switzerland (4 March - 18 June 2017).English and German text.

The double publication "Michal Budny. Drawing Notes, Sculptures and Objects "brings together the current work of the Polish artist Michal Budny. Three extensive articles by Fanni Fetzer, Lukasz Gorczyca and Marek Troszynski talk about his graphic work as well as the haptic and poetic quality of Budny's objects. At the beginning of Budny's work process there is a close observation of emotions, places and relationships. The artist is interested in the nature of spaces, their volume and the clash of different materials. His rhythmic drawings and fragile sculptures are often site-specific and always convey an atmosphere, a memory or a feeling. The double publication shows over a hundred illustrations of works on paper. A comprehensive documentation of objects provides a deeper understanding of his work.