Seit mittlerweile über dreißig Schaffensjahren designt Konstantin Grcic komplexe, bisweilen radikale Lösungen für Objekte des alltäglichen Gebrauchs. In „New Normals“ entfernen sich die Designs von Konstantin Grcic nicht nur von ihrer eigentlich so off …

Over fifteen years, renowned Caribbean philosopher Édouard Glissant reflected on his life and worldview with his friend Hans Ulrich Obrist. This was something like an education, the foundation on which Obrist built his approach to curating.  Obrist has long pursued Glissant’s vision across museums and galleries, but–with the destruction of environments, extinction of languages, and the volatility of reality–he knew that Glissant’s philosophy was necessary beyond academic and curatorial walls. Returning to the records of their encounter, Obrist edited, reworked, and arranged their conversations in their entirety for the first time. THE ARCHIPELAGO CONVERSATIONS is the result–enlightening us, as only Glissant can, as to how we might form an interdependent Earth in the 21st Century. 

Zahlreiche Werke in der zeitgenössischen Ausstellungskunst kennzeichnet die Bemühung, die Besucher in intersubjektive Verhältnisse zu setzen: mit dem Museumspersonal, mit eigens engagierten Akteuren oder mit anderen Besuchern. Diese Studie nimmt ihren …

Lebensraum DDR-Garage: Ein wenig beachtetes urbanes Phänomen erfährt seine Würdigung.

Aby Warburg’s famous lecture on the Hopi snake ritual in Arizona is one of the most commented art history transcripts of the 20th century. But while Warburg’s essay is firmly anchored in the canon of art history, to a wider public—especially in Europe—little is known about its source, the snake ritual and its history. A Kind of World War is dedicated to what Aby Warburg largely ignored himself: that not only the ritual, but also the images of the ritual—to whose global distribution Warburg contributed—have a political history. The volume seeks to demonstrate that Warburg’s art history, insofar it outlines an internal history of the European psyche, must be read in conjunction with its external counterpart, the history of colonization, war and cultural entanglement.

Aby Warburg’s famous lecture on the Hopi snake ritual in Arizona is one of the most commented art history transcripts of the 20th century. But while Warburg’s essay is firmly anchored in the canon of art history, to a wider public—especially in Europe—little is known about its source, the snake ritual and its history. A Kind of World War is dedicated to what Aby Warburg largely ignored himself: that not only the ritual, but also the images of the ritual—to whose global distribution Warburg contributed—have a political history. The volume seeks to demonstrate that Warburg’s art history, insofar it outlines an internal history of the European psyche, must be read in conjunction with its external counterpart, the history of colonization, war and cultural entanglement.

Obwohl er sich perfekt in die Gruppe einfügte, auf Konzerten wild pogte, zu viel soff und am nächsten Morgen auf fremden Couchen aufwachte, hielten die Nürnberger Punx Steve Braun zunächst für einen V-Mann. Doch tatsächlich wollte der neue Typ mit der …

In an echo to appeals in the collective exhibition Ubuntu, a Lucid Dream—calls for revolt, as well as for wisdom and reparation—this issue of the magazine PALAIS is published on the occasion of a season of exhibitions at the Palais de Tokyo (26.11 2021 …

Die umfassende Monografie wagt einen Blick auf das Gesamtwerk von Vivian Suter und versammelt frühe Zeichnungen, malerische Wandreliefs der 1980er-Jahre sowie die neuesten Raum-Installationen aus losen Leinwänden, die in ihrem Studio im tropischen Reg …

Unterstrich, Binnen-I, Sternchen oder Doppelpunkt? Welche gendersensiblen Zeichen werden wann genutzt? Und was gibt es für Möglichkeiten, gestalterisch mit ihnen umzugehen? Typohacks ist ein Handbuch und Ratgeber für beides: gendersensible Sprache und …

The sculptures of Bodys Isek Kingelez (1948-2015) are imagined architectural propositions and improbable structures for a fairytale urban landscape. Comprised of paper, commercial packaging and the stuff of everyday life, his “extreme maquettes” transf …

In her project Culture Lost and Learned by Heart, the artist Adji Dieye examines the epistemological construct of the archive. Drawing on material from the iconographic collection of the National Archives of Senegal, the project questions notions such …

C24 is an independent platform, exploring collaboration as a creative practice. By interviewing young talents, students or legends and featuring their projects, the platform gives an insight into the creative process. The presented projects range from …