Dieses kleine, sorgsam hergestellte und edierte Buch stellt alle 20 Arbeiten einer neuen Werkgruppe von Cindy Sherman vor, die sie 2016 fertig gestellt hat. Shermans besondere Interpretationen zum Thema der Selbstfindung und ihre erstaunlichen Fähigkeiten als Fotografin, Modell, Make-up-Künstlerin und Stylistin, haben sie zu einer der bedeutendsten zeitgenössischen Künstlerinnen gemacht. In dieser neuen Serie konzentriert sich Sherman auf die frühe erste Ära des Starkultes in Hollywood, in der charakterstarke, unabhängige Frauen öffentlich auftraten. Mit übertriebenem Make-up, zeitgeistiger Kleidung und verführerischen Posen zeigen sich sich in den Hollywood-Pressebildern der 1920er Jahre. Diese Frauen „eines gewissen Alters“, die mit ziemlicher Sicherheit ein diszipliniertes Leben unter öffentlicher Beobachtung geführt haben, stehen vor digital manipulierten Hintergründen, die auf historische Filmsets anspielen.

White, nothing but white, is the colour of winter. When Canadian photographer Angela Boehm was growing up in rural Saskatchewan, long, cold winters were a constant and enduring part of her youth. The experience of deep winter, the silence and heaviness, the solitude in nature left her with lasting, deep memories. In 2021, she began photographing snowstorms in Saskatchewan and set herself the self-imposed rule of only working at minus 30 degrees Celsius or colder. With these pictures, she preserves her experience of winter, a season that seems to be slowly changing. In 2023, the minus 30 environment she sought to preserve did not reappear... As harsh and inhospitable as the cold, the ice, and the endless white of the landscapes appear on the surface, Boehm came to see this environment as fragile. Winter is one of the evolving parts that make up the delicate balance on our planet. The design, layout, paper, printing, and binding of this book are intended to subtly convey the photographer's experience, of taking these pictures and of holding memories of this deep winter environment on paper.

Potsdamer Strasse 50, Berlin. This prosaic address hides an icon of modern architecture, the Neue Nationalgalerie Berlin. Built between 1962 and 1968, it is the only structure Mies van der Rohe built in Europe after the Second World War. Despite the radically minimal floor plans, it is a complex spatial continuum realized with what only appears to be a simple set of tools. Mies van der Rohe's staging is designed to fluidly shape and define the transitions between city and museum, public and non-public, interior and exterior, subject and object. As a trained architect who has been photographing architecture for decades, Ulrich Schwarz looks for ways to translate space into sequences of images. To this end, he uses precise axial camera shifts to trace movements in space, image by image. When looking at the sequences in the book, each photograph is overwritten by the following variation; the motifs build on each other and eliminate each other at the same time. This strictly conceptual book questions our viewing habits and spatial experiences in a fascinating way.