Lars Bang Larsen Bücher

A rich and engaging book, HEXEN 2039: New Military-Occult Technologies for Psychological Warfare; A Rosalind Brodsky Research Programme is part artist's monograph and part chilling premonition of the future, echoing the world of graphic novels and computer games.

Artist Dave Hullfish Bailey sees connections that others do not, and uses those insights to make speculative proposals that often involve urban land use. This book is a collection of what he calls ''detritus''; from the link he created between the historic Dutch city of Utrecht and a homeless camp in the California desert called Slab City. The mixed narratives of individual freedom and communal living meet in both places, as diverse as they may seem, as do other places drawn together using non-linear, multi-layered methods to explore subjects like the history of the Colorado River, the social functions of books and libraries, and disciplines as diverse as chemistry, architecture,social psychology, agriculture, language and disaster response.

This bilingual publication offers an unprecedented exploration of the work of Belgian poet and artist Sophie Podolski (1953-1974), who has lingered in obscurity since her untimely death at the age of 21. Podolski's work is emblematic of a time marked by sexual liberation, antipsychiatry, and youth disenchantment. As a self-taught writer and artist, she wrote in an uninhibited and provocative style about life, popular culture, and conformist society. While she was known primarily as a poet during her lifetime, this book places emphasis on Podolski's visual practice and highly personal iconography. As well as the original manuscript of her only book, The Country Where Everything Is Permitted (1972), this book showcases Podolski's remarkable body of graphic works, with more than 100 drawings and some of her earliest etchings. Distributed for Mercatorfonds

Packed into a pocket-sized book is a concise selection of art from the last two decades of the 20th century, culled from the Taschen title 'Art at the Turn of the Millennium'. Two pages, with illustrations and biographical/bibliographical information, are devoted to each artist.

HEXEN 2.0 is the sequel to HEXEN 2039, which imagined new technologies for psychological warfare through investigating links between the occult and the military in relation to histories of witchcraft, the US film industry, British Intelligence agencies, Soviet brainwashing and behaviour control experiments of the US Army.

HFT The Gardener extends Treister's fascination with esoteric translation, the cybernetics of consciousness, and the hallucinatory aesthetics that radiate from real-world circulations of power.

During the summer months of 2011, the Migros Museum für Gegenwartskunst sculpture project „The Garden of Forking Paths“ was a guest on the Froh Ussicht estate, owned by the Blum family, in Samstagern, Zurich. The project alluded to the „Sacro Bosco“ in Bomarzo (Italy), the enchanted Renaissance garden, which features sculptures shrouded in mystery and eccentric architecture that over time became overgrown (so-called „follies“). In this context, the invited artists Pablo Bronstein, Liz Craft, Ida Ekblad, Geoffrey Farmer, Kerstin Kartscher, Ragnar Kjartansson, Fabian Marti, Peter Regli, and Thiago Rocha Pitta created their own fantastic narratives. * * This anthology, which accompanies the project, enlarges the exhibition with texts dealing with the history of follies, landscape gardening, and the interaction between art and garden. The publication contains numerous illustrations, and contributions by Lars Bang Larsen, Michael Bracewell, Horst Bredekamp, Brian Dillon, Patrick Eyres, Heike Munder, Anthony Vidler, and Catherine Wood. * * Published with the Migros Museum für Gegenwartskunst, Zurich, and Siemens Stiftung.

Der Däne Simon Dybbroe Møller verbindet in seinem Werk Kunst mit naturwissenschaftlichen Erkenntnissen. Die Wandarbeiten der Werkreihe 'Black, White and Gray (Cyan, Magenta and Yellow)' basieren auf einer auf Raumgröße aufgeblasenen Installationsansicht. Unterteilt in DinA-4 Formate, hat Møller die s/w-Fotografie auf einem Inkjet-Printer ausgedruckt und die einzelnen Blätter auf die Wand tapeziert, um auf diese Weise die Ausstellungsansicht zu reproduzieren. Durch die Feuchtigkeit des Tapezierleims lösen sich die Farbpartikel der vier verschiedenfarbigen Tinten zum Teil auf und überlagern die Grauskala der farblich reduzierten Abbildung mit einer Schicht aus rötlichen und grünlichen Flecken, die an Grünspan und Korosion erinnern.