The catalogue documents the exhibition of Francis Alÿs’ collection of paintings of Saint Fabiola in the magnificent rooms of Kirschgarten House in Basel, staged here at the artist’s suggestion. Alÿs built up this collection of Fabiolas over many years. The conceptual artist used great cunning and aesthetic sense to position the portraits of the saint into the bourgeois context of this house, once a city mansion and now a museum of 19th century upper middle class domestic culture. Full-page illustrations of the rooms as they were used vividly showcase the art project. Essays by the exhibition curator Lynne Cooke and art historian Dario Gamboni provide in-depth analysis alongside the documentation, rounded off by information for further reading.

The catalogue for the Basel Schaulager’s inaugural exhibition is the first comprehensive publication covering the full range of the artist’s spheres of work; it offers a complete overview of the work Dieter Roth created between 1945 and 1998. The rhythm of the artist’s life was set by his chosen home in Iceland, resulting in a lifetime spent travelling back and forth between the volcanic island, his homes in Basel, Europe and the USA. These factors also influenced his work, his combination of sensitivity and extravagance, the inherent contradictions of his extroverted nonconformism and the audacity with which he deliberately used perishable materials and playfully explored boundaries. Explanatory texts on the individual groups of works present the selected works in a historical context and shed light on the artist’s intentions.

This book is the first complete presentation of Robert Gober’s sculptures and installations from 1979 to 2007. Approximately 250 pieces are catalogued with full-page illustrations, technical details and information on how they were created, as well as work-specific comments by the artist. The book also contains an introductory essay by Elisabeth Sussman, curator at the Whitney Museum of American Art in New York.

The work of Paul Chan (born 1973) has charted a course in contemporary art as unpredictable and wide-ranging as the thinking that grounds his practice. "Paul Chan: Selected Writings 2000–2014" collects the critical essays and artist’s texts that first appeared in leading art journals such as "Artforum", "October", "Texte zur Kunst" and "Frieze", as well as previously unpublished speeches and textual works. From comedy to Duchamp’s artistic freedom, to the contradictions that bind aesthetics and politics, Chan’s writings revel in the paradoxes that make the experience of art both vexing and pleasurable. Paul Chan reflects on artists as diverse as Henry Darger, Chris Marker, Sigmar Polke and Paul Sharits, and grapples with writers and thinkers who have played decisive roles in his practice, including Theodor Adorno, Samuel Beckett and the Marquis de Sade. Along the way, Chan lays bare the ideas and personalities that inform his work and shows a masterly understanding of ways to test and refresh the role and potential of art in a host of broader social and political arenas beyond galleries and museums.

The publication, which accompanied the 2013 exhibition of works by Steve McQueen at Schaulager Basel - the world’s largest to date - comprises an extensively documented catalogue of the complete works of the British artist and filmmaker Steve McQueen from 1992 to 2012. There are illustrations of all the works, many of them on fold-out plates. Texts by a series of top-class authors - the artistic director of the Toronto International Film Festival, Cameron Bailey; the director of the Haus der Kunst in Munich, Okwui Enwezor; art historians Georges Didi-Huberman and Jean Fisher; and the curator of contemporary art at the Art Institute of Chicago, James Rondeau - and a substantial discussion with the artist offer deeper insights into Steve McQueen’s work and the nature of his powerful, thought-provoking creativity.

The publication “Bruce Nauman: A Contemporary” poses the question of Nauman’s contemporaneity and situates his oeuvre in the context of artistic positions and art theoretical discourses from the last decades. Six in-depth essays by renowned authors illuminate Nauman’s work, such as in regard to its inherent humour or the practice of endless repetition. The volume of texts examines the mirror image and rear-view figures, for example, along with questions of contemporary subject constitution, digital image production and cybernetics. Theories of labour and globalisation are discussed in reference to Nauman’s creative output, as well as the connections between Nauman’s work and models of behaviourism, software and computer theory, or topology. The various essays consider Nauman’s oeuvre in relation to diverse artistic positions such as those of Ed Atkins, Erwin Wurm, Francis Alÿs, Fischli / Weiss, Dara Birnbaum, Yvonne Rainer or René Magritte. In so doing, the volume of texts seeks to counter the tendency to cast the artist as an outstanding solitary figure of postmodernism and opens up manifold references