For the past decade, Pamela Rosenkranz has sought to collapse the meaning of the artwork into the meaninglessness of pure materiality. In challenging these conditions of art, she activates a contemporary form of nihilism.From paintings produced from the foil of emergency blankets or Ralph Lauren-branded latex paint and soft drinks, to plastic water bottles filled with skin or urine-hued liquids, to a monitor featuring an approximation of and challenge to Yves Klein blue, Rosenkranz's artworks take aim at the empty centres of history, politics, and our contemporary culture as a whole.No Core is the first monograph on Rosenkranz's increasingly celebrated oeuvre and features an overview of the work that Rosenkranz developed in three recent institutional solo exhibitions in Geneva, New York, and Braunschweig, Germany.Published with the Centre d'art Contemporain Geneva, Swiss Institute Contemporary Art, New York and Kunstverein Braunschweig.

Edited by Janneke de Vries, Madeleine Schuppli. Text by Michael Diers, Richard Grayson, Mark Wallinger.

"How can one make a work on canvas today without, in some way, addressing the mobility that now characterizes our most familiar sources of representational surfaces - the television or computer screen with their profusion of data, succeeding, interrupting and, through the hyperlink, opening gaps within one another? Thomas Eggerer's anti-gravitational paintings address these conditions in a variety of ways, all of which cause a vertiginous loss of grounding." David Joselit German artist Thomas Eggerer (*1963) is based in Los Angeles since 1999. A former member of the collaborative Group Material in New York, he initiated conceptual projects in collaboration with Jochen Klein, focusing on identity and gender issues in public space. In his current paintings and drawings, Eggerer continues this discourse with other means. His enigmatic depictions of groups and collectives attempt less to portray the singularity of the individual than to explore the mechanisms of exclusion and inclusion, conformity and hierarchy, as well as the potential of individual or collective utopia. Numerous illustrations and two seminal essays make this the first major publication on the artist's work. Contributors Diedrich Diederichsen and David Joselit

Text by Gregory Williams. Foreword by Karola Grasslin.

Artwork by Mike Kelley.

Edited by Anselm Franke, Christoph Keller. Text by Hilke Wagner. Interview by Sharon Ben-Joseph.

Christopher Williams? work operates within the conventions of advertising, the superficiality of surface, and, ultimately the history of Modernism. In photography, film, performance, sculpture, graphic design, and video, the process of reproduction is the artist?s point of entry; from there he exposes the flaws in a near-perfect, carefully constructed reality. Each image, whether architectural or figurative, natural or manufactured, is subject to the conditions of production and the inevitable boundaries of the pictorial surface.?By systematically building such provocative moments into his work, Christopher Williams to an extent kick-starts the process of perception and reception and at least points it in a certain direction. This approach, which oscillates between the work itself and the process of producing it, can now also be related to the genealogy of his own artistic methods, both in relation to and in contradistinction from Rephotography and Conceptual Art.? Helmut DraxlerAccompanying the same-titled exhibition at the Kunstverein Braunschweig, this fully illustrated catalogue documents the show and contains a theoretical essay by Helmut Draxler.