The Austrian artist Ines Doujak presents her highly unusual fashion collections. Citing and at the same time calling into question the glamour of the fashion world, Doujak's works are characterized both by their determined criticism and their beauty. The artist brings into play the exploitative structures and the gender and class order hardwired into haute couture and the garment industry and deliberately blurs the demarcation line separating fashion statement and art. The focus is on textile workers burnt to death in their factories, on total exhaustion as the lot of men and women in the low-wage sector, on dirty secrets, animal and human skins, Carnival and masquerade, drugs, war and the devil himself. Motifs and themes are directly inscribed on the textiles as carrier material. Fabrics, patterns, garments and accessories as well as texts, publications, objects, videos, dance interludes and pieces of music deal with the links between fashion, colonialism and globalized relations of production. Exhibition: Württembergische Kunstverein, Stuttgart, Germany (15.10.2016 - 15.01.2017) / Lentos Kunstmuseum, Linz, Austria (2.2. - 21.5.2018).

A feminist unpacking of the field of graphic design, including visual essays, poems, speculative tales and more D for Dummy Woman, M for Monster's Tools, S for Style Defense, U for Unstable Signs--The Glossary of Undisciplined Designpresents a feminist unpacking of the field of graphic design, offering "undisciplinarity" as the solution to a discipline that has historically featured a multitude of dogmatic rules, discriminatory structures and a particularly one-sided canon. Carried by a decidedly fragmentary and collective backbone, The Glossary of Undisciplined Designcombines a multitude of theories and narratives of varying densities and forms, from visual essay, to hands-on experiment, to interview or advertorial, to poem, to speculative tale and scholarly writing. With around 55 contributions by 20 international designers, activists, educators and theorists, the handbook progresses alphabetically, exploring role models, tools and methods of dissent within a colorful and graphic handbook, featuring qualities akin to those of an artist's zine.

A brilliantly illustrated survey of modernist photography in Central Europe, published in association with the National Gallery of Art. In the 1920s and 1930s, photography became an immense phenomenon across Germany, Czechoslovakia, Hungary, Austria, and Poland. Through magazines and books, in advertisements and at exhibitions, from amateur clubs to avant-garde schools, photographs emerged as a key vehicle of modern consciousness. This book presents the work of approximately one hundred individuals whose creations exemplify the potential of photography in Central Europe between the two World Wars. Foto brings together for the first time works by recognized masters such as the Russian El Lissitzky, the Hungarian László Moholy-Nagy, and the German Hannah Hóch—all of whom developed their photographic ideas in Germany—with contemporaries like Karel Teige and Jaromír Funke (Czechoslovakia), Kazimierz Podsadecki (Poland), Károly Escher (Hungary), and Trude Fleischmann (Austria), who are less well known today. Organized thematically, the book explores topics from photomontage and war to gender identity, modern living, and the spread of Surrealism. It shows the shared experience of modernity in the region, whereby recently founded nations and dismantled empires alike sought their place within the new world order established in the aftermath of World War I. The illustrations, drawn from more than seventy collections in America and abroad, include several previously unpublished works as well as many others never before available in high-quality reproductions.

A record and theoretical expansion of an exhibition of feminist art.

Since the revolution in 1979, Iran has developed an image culture projecting statesanctioned religious ideology in public spaces that serve as transit zones. Between 2011 and 2014, German artist and former freelance photographer for the New York Times Oliver Hartung produced a body of work on Iran comprised of images which, upon first glance, depict colorful street paraphernalia, posters, graffiti, murals, monuments, and war cemeteries, but upon a closer inspection reveal a much deeper psychology engineered to bolster the myth of the Islamic Republic. Hartungs unique view of the Middle Eastoften lost amid images of war and conflictcreates a portrait of a country still largely unknown to the West. Part of a long-term project exploring the contemporary cultures of the Middle East, Hartungs thoughtful monograph is packed with over 300 color images. Hartungs last publication with Spector was Syria Al-Assad.

The objective of this publication is to trace and describe the artistic and institutional decisions that have influenced the work of Camera Austria, which has been made visible through numerous exhibitions and symposiums on photography and, since 1980, by the magazine Camera Austria International. Operating through a comprehensive network of photographers, academics, and art critics from all over the world, the?laboratory? Camera Austria has shaped the photographic culture both internationally and regionally. At the centre of the book are positions of artists that Camera Austria has worked with for exhibitions, who have presented their work at the symposiums and contributed to the magazine.

"With love from the kitchen' is about our work and practice and provides and overview, for the first time, since we started working together in 1994"--Page 6.