For a number of years, the work of Andrea Pichl has centered on the oft-derided architecture of mass-produced buildings and their position in wider architectural and historical contexts. Pichl is interested in the utopian potential of modernity that these forms convey. In her installations, photography, and paper work, the artist focuses on the question of what became of these utopias.

This catalogue illustrates Stephan Dillemuth’s elaborate solo show at the Künstlerhaus, Halle für Kunst & Medien, through installation photographs as well as texts by art historian Kerstin Stakemeier and theorist Helmut Draxler. The exhibition presented newly conceived works alongside works from the 1980s exhibited for the first time.

This publication comprises two volumes: a booklet accompanying Pierre Bismuth’s 2015 solo exhibition at Kunsthalle Wien, and a catalogue raisonné indexing his typically serial and often humorous work of the last three decades, from five-minute paintings of recipe cards from women’s magazines (1986–87) to fried-chicken-flavored polyethylene sculptures (2015).

Inhalt concentrates on Eberhard Havekost’s painting from the past ten years, focusing on work first exhibited at KINDL, Berlin, in 2016/17. The work’s heterogeneity is evident in the selection of subjects, as well as the styles employed. This extreme range characterizes Havekost’s artistic work as a whole. The artist situates his paintings in complex interrelationships, where connections and relevancies are constantly reconfigured.

Luminary Petals on a Wet, Black Bough is an artist’s book focusing on Victor Man’s series of paintings first exhibited as part of the 56th Venice Biennale in 2015, and later developed for a solo exhibition at Galeria Plan B, Berlin. The book includes essays by poet and translator Bogdan Ghiu, curator Mihnea Mircan, and literary critic Laura Pavel.