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.

Word becomes flesh, God becomes pigment, beauty becomes empirical form, power negotiates itself in matter—and vice versa: these are some of the connotations carried by the aesthetics of the flesh.

In Eydel’s images, modes of human coexistence form into spatial structures and social frameworks. The visual order of these aesthetic surfaces leads to conclusions about underlying notions and theories; as such, they always also refer to the identities of individuals and possible alternatives to reality.

In a Manner of Reading Design features different texts and artistic contributions meant to create a space in which debate can unfold, a debate that considers the impossibility of an unbiased position and as such reminds us of our dependence on the other in any conception—and any project design might aspire to.

Because the curatorial has clear performative sides, ones that seek to challenge the status quo, it also includes elements of choreography, orchestration, and administrative logistics—like all practices working with defining, preserving, and mediating cultural heritage in a wider sense. Is curating therefore essentially an act of translation? If so, with what purpose, and can it be performed elsewhere?

Cultures of the Curatorial assumes a curatorial turn in contemporary cultural practice and discourse. Coming from a variety of disciplines and professional backgrounds, the contributors exemplify the entanglement of theory and practice, consider recent developments within the curatorial field, allow self-reflexive analysis, and explore the conditions—disciplinary, institutional, economic, political, and regional—under which art and culture become public.

Christopher Williams’ work operates within the conventions of advertising, the superficiality of surface, and, ultimately the history of Modernism.