Iteration Toulu Hassanis Werke sind Versuche, Malerei und deren Bestandteile wie Farbe, Material, Fläche, Raum, Struktur und Oberfläche neu und aus einem anderen Medium heraus zu denken. Malerei, Zeichnung und Objekt gehen in ihren Arbeiten fließend ineinander über. Ihre filigranen Gemälde verbinden so unterschiedliche Traditionen wie Ornamentik und Minimalismus und faszinieren durch eine meditativ-poetische Tiefe. In den objekthaften Arbeiten steht dagegen der Bildträger selbst im Fokus. Keilrahmen, Gewebe und die materiellen Grundlagen vermischen sich, so dass die Objekthaftigkeit und Materialität von Malerei überraschend neu formuliert hervortreten. Toulu Hassani (geboren 1984 im Iran, lebt in Hannover) studierte an der Facultad de Bellas Artes der Universidad Valencia in Spanien und an der Hochschule für Bildende Künste Braunschweig, zuletzt als Meisterschülerin von Prof. Walter Dahn.

rom Fake Mountains to Faith (Hungarian Trilogy) is a docu-fiction project by Szabolcs KissPál, which is in line with the artist’s previous works that investigate political communities not as inherited or essentialist but rather as complexly constructed entities. Together with the analytical and critical essays, interviews, and documents representing the project from several perspectives, the listing and description of these “archaeological finds” constitutes the core of this book. In his use of the perspective and language of archaeology, KissPál both relocates the current Hungarian state ideology to the past that provides its inspiration (mainly Hungarian anti-democracy of the 1930s and ’40s) and highlights how much this eternally backward-looking ideology should belong only to the past by now.

The book reclaims the pejorative term “perverse” and asks how intermedial artistic practices serve to queer heteronormativity. How queer artistic and cultural artworks enable alternative forms of imagination? And to what extent does such art further queer politics of anti- and de-normalization? In for sections —Trans*Media, Trans*Bodies; Queering and Decolonizing Art and Visual Culture; Queer Temporalities, Media, and Movement; and Queer Punk Politics—the essays explore selected artworks. The book reclaims the pejorative term “perverse” and asks how intermedial artistic practices serve to queer heteronormativity. How queer artistic and cultural artworks enable alternative forms of imagination? And to what extent does such art further queer politics of anti- and de-normalization? In for sections —Trans*Media, Trans*Bodies; Queering and Decolonizing Art and Visual Culture; Queer Temporalities, Media, and Movement; and Queer Punk Politics—the essays explore selected artworks.

Dafni Barbageorgopoulou's practice focuses on the mapping of sculptural forms into space, the outcome of which brings together simultaneously ancient and futuristic qualities. Looking at the experiences of dreaming and traveling, her working processes investigate ways in which materials can be configured in order to capture systemic nuances of mind and matter. Central to this inquiry is the exploration of bodily experience, functioning within desire or as a sensor of a rhythm, with a ritualistic pulse towards transformation. Barbageorgopoulou's starting point for the current body of work referred to as Soap, was to observe noise in relation to the body and to transfer this spatially into an object through the use of light and graphic notation. Initially motivated by texts from Jacques Attali, David Toop, and Salome Vogelin, she also turned to a collection of graphic notations compiled by Theresa Sauer, the score for Brian Eno's Music for Airports as well as the concept of Satie's Furniture Music as sources of inspiration. Barbageorgopoulou began collecting various noises from construction sites, and made several voice recordings at the anechoic chamber of the TU in Berlin, where she recited texts gathered from various public Facebook updates. These recordings were then neutralized and converted into different noise formats using the Pure Data software program. Another experiment involved taking audio from advertisements ranging from the 1930's to the present day and layering them into a single collage of aural information. The idea was to use the results as sound masking frequencies similar to the ones used for psychoacoustic experiments, but also as a metaphor to make sculptures.

“Sundance” is an experimental book project conceived by Natalija Ribovic. The artist has been working for two years in developing her project and she realized it in 2014 just before other people tried to launch the same idea onto the market. The empty white pages with the nineteen poems and its drawings contained in the book developed by the artist react to UV-light, i.e. it can be read only when the book is exposed to UV-light. On the contrary, the test is invisible and remains hidden. This effect has been obtained by using special paper, colors and a particular print technique. The symbolic role played by the sunlight in the combination of these factors has always fascinated artists and writers: the play of visibility and invisibility and the relevant impalpable phases similar to a continually modified work in the art. In Ribovic’s masterpiece the sun irradiation outlines first of all the color and then the material substance. Thereby, the artist created a metaphoric and a physic poetical connection without using any digital or electronic tricks or manipulations but only by using a simple and old mean. Her poems and artistic formulations are apparently in conflict with the intentions and the willingness of the project. So if you want to know more about it, you have to find out, see and read only at your own use. Written with invisible colors, visible in the sun. Ribovic developed many years ago all her cosmos characters and the resulting stories by means of classical drawings, performances and videos. “Sundance” is a surprising and new masterpiece as well as a fascinating and unusual artistic book which does not intend to be compared to flip-books nor to prestigious projects. But it only aims at awaking a dialog with the reader. (Thomas Elsen)

„Lilly Lulay went through piles of pictures, collected photographs which rarely carry traces of their origin anymore, she sourced from private family pictures and random snapshots, then she cuts, dissects, disassambles and destroys them. That´s how her Mindscapes originated, which are so wondrously familiar to us. Nothing is as itself recognizable but still is oddly familar. No known places but nonetheless familiar sceneries. Set pieces of souvenir pictures come to inhabit the spaces of the mind. Each picture is many and vice versa many pictures are one. Essentially the Mindscapes are photograhic constructions of memory pictures. They form individual and collective image experience spaces in which imagination is allowed to settle in.“ Bernd Stiegler authors: Dr. phil. Till Grohmann, Prof. Dr. Bernd Stiegler, Mathias Windelberg, Sven Zedlitz exhibitions / book release 2016: PARIS: Circulations, festival de la jeune photographie europeen, 104 Paris, 25.3-25.6.2016 (group) FRANKFURT: Fragmentation of Space, Basis Projektraum, 1.4. - 15.4.2016 (solo) BERLIN: Gallery Kuckei & Kuckei, September – Oktober 2016 (solo)

Hassan Khan’s complex and evocative multi-disciplinary artworks, including texts, films, images, sounds and objects, are comprised of both notional incidents—“the way you dash across the road, the exact distance between two shelves in a run down café, the hysterical ranting of an obsessed writer, a moment of embarrassment suddenly remembered while washing the dishes”—and the ordered structures of motivated meaning that are sustained in secret agreements and social coercion. This book assesses, explores, and tests the play of two specific kinds of sources in Khan’s work—dreams and music—and responds to their intrinsic resistance to discursive incorporation via idiosyncratic and freely associative texts and images. Nida Ghouse offers an account of dream-composition and oscillating states of no context. Sam Shalabi delivers a sequence of “liner notes” on Khan’s music, with personal commentaries on the problem of noise and musicianship, the Cairo experimental scene, and the quandary of insider/outsider dynamics. Hassan Khan is an artist, musician, and writer living in Cairo. His works have been shown at Documenta 13, Secession Vienna, SALT Istanbul, Paris Triennial, and the New Museum Triennial, among others. Dreams and Music: Hassan Khan is the second publication in the AUC_LAB Notes on Practice series, on contemporary art practices in Cairo. It is edited by Kaya Behkalam, Anneka Lenssen and Beth Stryker, with contributions by Nida Ghouse, Sam Shalabi, Anneka Lenssen, Kaya Behkalam, and Beth Stryker.

1. "Vom Sagen Hören" 20:16 min 2. "Schweigen Ist Gold" 8:02 min 3. "Worte wie Schall und Raum" 33:30 min Fotokarten: 1 Titel, 1 Abbildung "Vom Sagen Hören", 3 Abbildungen "Schweigen Ist Gold" und 3 Abbildungen "Worte wie Schall und Raum" Ein ruhig gelesener Vortrag, ein lebhaftes Zwiegespräch und ein expressives Stück Sprechtheater deklinieren die Möglichkeiten einer rein auf Sprache basierenden imaginären Musik. Miteinander, gegeneinander und aneinander vorbei wuchern die Stimmen in Feldern aus hypnotischem Flüstern, eklektischem Wüten, kaskadenartigem Plappern und beruhigendem Erzählen. Die Texte erläutern zeitliche Strukturen, Spannungsbögen und Klangverhältnisse, zeichnen Klanglinien und Punkte und erschaffen gemeinsam eine Art Kopfmusik, welche ihre klanglich-musikalische Ebene erst im aktiven und extrem subjektiv-semantischen Prozess der Rezeption durch den Hörer enfaltet. Die einstündige CD sowie die 8 Fotokarten im Format A5 dokumentieren die Installationen "Schweigen Ist Gold" (2015), "Worte wie Schall und Raum" (2015) sowie die Lecture Performance "Vom Sagen Hören" (2012-15). Alle Kompositionen befinden sich in vollständiger Länge als Stereomix auf der CD. Die Veröffentlichung erscheint im Rahmen des internationalen Stipendiatenprogrammes für Klangkunst "Braunschweig Projects" – Künstlerförderung des Landes Niedersachsen an der HBK Braunschweig 2014- 2015.