Publications

Candida Höfer’s oeuvre, which has grown over five decades, ranks among the photographic avant-garde of the present day. The large-format images show public and semi-public spaces such as libraries, storage rooms, museums and opera houses – places of encounter, communication, memory and knowledge. They are not architectural photographs, but rather portraits of spaces. Höfer uses them to explore architectural concepts and how they form the human experience. The exhibition catalogue contains numerous illustrations and an essay by Matthias Sauerbruch.

Works by the 2023 recipient of the Käthe Kollwitz Prize, Sandra Vásquez de la Horra, focus on conflicts with which societies all over the world are currently grappling. She tackles questions relating to gender and sexuality, intercultural reflections and spiritual practices, confronting them with archetypes of our collective consciousness and social taboos. Human existence is at the centre of her poetic visual world – explicitly, women and the female body. The exhibition catalogue contains numerous illustrations and an essay by Siegfried Zielinski.

The exhibition catalogue encompasses all the work studies and paintings in the show – including completely unknown works on paper – investigating for the first time the potential of a single motif running through Bridget Riley’s creative oeuvre: the circle as form. In a brief history, the texts explore this “strictest of all forms” within the scope of its dynamic ability to unfold, the significance of studies, and scalability.

The AI Anarchies Book sheds light on the debate surrounding AI and ethics from an artistic and scholarly perspective, exploring new approaches to the topic. As documentation, reflection and toolbox, the publication conveys knowledge and background information on the AI Anarchies Autumn Academy (2023) and the artistic projects created within the programme in essays, interviews, image galleries and recipes.

The Serpentara’s 150th anniversary takes a fresh look at this inspirational location. In 1873, artists saved the oak grove in Olevano Romano, Italy, from being cut down. Today, Villa Serpentara is a residence for visiting fellows from the Akademie der Künste. In 15 contributions, Serpentara artists, eyewitnesses and art historians explore the myth, visual motif and stories surrounding the famous oak grove, offering new approaches to its history.