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In this publication, Bart van der Heide argues that techno music can not only function as an ecstatic and collective experience, but can also serve as a platform for socio-critical discourse. Which cultural phenomena and social changes can derive from the techno scene? How can identities be experienced and how do they intertwine? The authors of this anthology examine techno music and its scene on the basis of current social issues. In doing so, they elaborate tools and discourse strategies on how subcultural platforms can be used politically. The reader TECHNO is a call-to-action to question the status quo and strive for social change.

Tomanova's first book Young American (2019), featuring a foreword by acclaimed photographer Ryan McGinley, sold out shortly after its publication. Art and fashion magazines overflowed with enthusiasm. Tomanova now presents, with art historian Thomas Beachdel, her second volume on youth in New York City. Deftly entwining portraiture and landscape, the photographer expands and recontextualizes the significance and meaning of each. Tomanova shows us a powerful and vital panorama of identities of people and place, and a compelling future free of binary gender models and outmoded definitions of beauty.

The coronavirus pandemic initially called for self-isolation. Without further ado, Max Siedentopf turned his apartment upside down and recorded the results on camera: piles of cans become sculptures, haute couture clothing is made, monsters or traps and bizarre alternatives to toilet paper are discovered. He posted his actions on Instagram and invited followers worldwide to come up with their own versions of his various mottos. This handy survival guide consists of different chapters that cheerfully vary the process of survival in self-chosen or prescribed isolation: from "Invent a new meal" to "Make a painting using tooth brush" to "Balance all your beauty products," everything is included.

This publication sheds light on the various kinds of religious lives open to medieval women. Entering a cloister was more than simply deciding to lead a contemplative life devoted to prayer. Cloister life allowed women access to extensive education, and the writings of many a religious woman influenced the theology and knowledge of the Middle Ages. Others acceded to power and respect within the hierarchy of the cloister. They headed up widely connected orders or, as magnates, hosted royalty and were confident rulers of empires. Through essays and brief texts this richly illustrated volume relates information about the many different facets of women's lives in medieval cloisters. It takes a look at the everyday lives of nuns; provides room for these educated, influential, and poised women to speak for themselves; and introduces their spheres of belief and existence from the ninth to the early sixteenth century in Europe, especially in Switzerland.

Some individuals strikingly resemble the art they are viewing, and Stefan Draschan has developed a special perspective on these picturesque correspondences. While strolling through the museums of Europe, Draschan captured similarities between the works of art and the people looking at them, noticing similar colors, patterns, hairdos, or physical posture. The artist has created astonishing visual moments that can be comic, poetic, surprising, but never contrived. The series, which he began working on in 2015, initially started with photo competitions by the Staatliche Museen zu Berlin and the magazine art-Das Kunstmagazin. It immediately took off on the Internet, where the international communities on Facebook, Tumblr, Twitter, and Instagram have liked and shared his photographs millions of times. Exhibitions followed, and now the latest pictures from the series are being published in a light-hearted gift book.

Penetrating works by renowned artists have been assembled against the background of the former power plant's raw concrete walls: the Tanzteppich, a work by Norbert Bisky that has meanwhile been turned into a kinetic sculpture, is familiar from the ballet Masse. And what else is there to discover? Marc Brandenburg drew motifs for temporary tattoos-on display in an art kiosk in the hall of the Berghain. Ali Kepenek set photos from the Eastside and Istanbul series against one another. Sven Marquardt also contributed photographs-the models are his colleagues-and Sarah Schoenfeld supplied an unusual art lamp. Piotr Nathan dealt with the subject of elation in his works, and Carsten Nicolai made the power plant's heat visible. Friederike von Rauch took pictures of structures in the still unused building, Wolfgang Tillmans is presenting unmistakable works, and last but not least, Viron Erol Vert developed a walk-through, labyrinth-like installation-an extensive garden of earthly delights.

Throughout her career, Cindy Sherman (*1954 in Glen Ridge, New Jersey) has been interested in the derailed and deviant sides of human nature, noticeable both in her selection of subject matter (fairytales, disasters, sex, horror, and surrealism) and in her disquieting interpretations of well-established photographic genres, such as film stills, fashion photography, and society portraiture. This richly illustrated publication seeks to highlight and acknowledge these aspects of her work based on selected examples and accompanied by texts by well-known authors, filmmakers, and artists who likewise deal with the grotesque, the uncanny, and the extraordinary in their artistic practice.(German edition ISBN 978-3-7757-3486-8 ) Exhibition schedule: Astrup Fearnley Museet for Moderne Kunst Oslo, May 4, 2013 | Moderna Museet, Stockholm, October 19, 2013 | Kunsthaus Zurich, June 2014

The Albertina museum in Vienna owns one of the world's most important collections of Dutch drawings from the period 1430-1650. Their unrivaled collection offers a scope and quality that makes it the one of the few museums in a position to present Dutch drawing in all of its thematic, technical and stylistic diversity. Bosch, Bruegel, Rubens, Rembrandt presents over 150 of the best of these works, and includes outstanding individual specimens from the circles around Jan van Eyck, Petrus Christus and Dirk Bouts. Works by Hieronymus Bosch and Pieter Bruegel the Elder form one of the first highlights of this astounding collection. The rest of the sixteenth century is represented by drawings from artists such as Jan Gossaert, Maarten van Heemskerck and Hendrick Goltzius. The focus of the collection, however, is Holland's "Golden Age," the seventeenth century, with important works by Rembrandt van Rijn and his school. The southern Netherlands, once dominated by the House of Hapsburg, is represented by the most famous Flemish masters of the age: Peter Paul Rubens, Anton van Dyck and Jacob Jordaens. Ranging from preparatory drawings for larger works of painting, stained glass, engravings or altars to "autonomous" works that stand alone, this catalogue offers a full spectrum of landscapes, seascapes, topographical views, portraits, rural genre scenes and still lifes.

The many books on Paul Klee (1879-1940) published over the years should not obscure the fact that there has been no new, comprehensive Klee overview since Will Grohmann's much reprinted 1954 monograph. With "Paul Klee: Life and Work," the Zentrum Paul Klee has set out to fill this gap, drawing on a wealth of new resources including the Klee family's archives, much of which is published here for the first time. Life and work are truly integrated in this massive, 344-page volume: Klee's vast body of work is surveyed chronologically, as the book narrates his life alongside the abundant reproductions of drawings, paintings, watercolors, sculptures, puppets and numerous archival documents and photographs (500 reproductions in total, half of which are color). The book divides Klee's career into eight periods: "Childhood and Youth"; "Munich and the Encounter with the Avant Garde"; "World War I and the Breakthrough to Success"; "At the Bauhaus in Weimar"; "Master of Modern Art"; "The Move to Dusseldorf and the Nazi Rise to Power"; "First Years of Emigration in Bern"; and "Final Years." The result of many years of research and labor, this magisterial publication demonstrates conclusively why Klee numbers among the most influential and best loved artists of the past 100 years.

While Edgar Degas has long been considered one of the major pioneers of modern art, exhibitions of his work remain a surprisingly rare occurrence, and the enduring popularity of the "beautiful" paintings of his Impressionist phase can obscure the overall complexity of his oeuvre. But Degas experimented with various media-drawing and printing techniques, pastel, photography, sculpture-throughout his life, and, after putting Impressionism behind him in 1880, he reached the undoubted culmination of his art in his daring and unique late work. In the artworks he created between 1890 and 1912, the delicate, detailed painting of his mature period gives way to an unbridled pleasure in technical experimentation and an obsessive creativity that increasingly liberates the means of depiction from any straightforward representational function. As if in a dreamlike state, Degas conflates past and present, things seen and remembered, to create his renowned depictions of dancers and female nudes, jockeys and racehorses, landscapes and portraits. "Edgar Degas: The Late Work" is the first publication to present a comprehensive overview of the technical diversity and wide range of themes in Degas' oeuvre, and is published to coincide with an exhibition at the Fondation Beyeler in Riehen/Basel. A founder of the French Impressionist movement, Edgar Degas (1834-1917) began to paint early in life, possessing a studio by the age of 18, and working primarily in history painting up until 1864, when he met Manet (while both were copying the same Velazquez portrait in the Louvre, according to legend). In 1872 he lived in New Orleans, producing several portraits of his extended family there. By the 1880s, his works commanded sufficient prices to permit him to collect works by many of his contemporaries, as well as older masters such as El Greco, Ingres and Delacroix.