Daniel Rode works with text fragments found in literature, conversations, and public space, deliberately disregarding syntax such as spaces and line breaks. Interrupting our reading habits, they retain their indeterminacy a little longer before these fragments can be decoded by reading. Detached from their original contexts, they find their way into both large-scale installations and drawings, often created in series. Rode moves between two polar opposites—a sober, reserved aesthetic on the one hand, and a sensitive, almost tender devotion to artistic execution on the other. Again and Again offers a comprehensive insight into Rode’s oeuvre, enriched by perceptive texts by 13 contributors providing an often surprisingly personal perspective on the artist and his work.

DANIEL RODE (*1971, Eutin) studied in Greifswald and the Academy of Fine Arts Dresden in the class of Monika Brandmeier. He lived in Cairo from 2009 to 2014. Projects and residencies have taken him to Canada, the USA, Bahrain, Vietnam and many countries in Europe. Today, he lives in Dresden and Berlin.

In his recent work Daniel Josefsohn (1961–2016) has man­aged to maintain the precarious balancing act be­tween provocation and humor, between irony and political incitement with such skill that he is able to generate both a sense of discomfort and adoration among viewers. His photographs challenge our cus­tomary visual expectations and seem to effortlessly maneuver between art and commerce. After the leg­endary Miststück campaign that he created for the MTV music channel in the nineties, Josefsohn worked for numerous magazines and from 2010 on­ward his photographs defined the publicity cam­paigns of the Volksbühne in Berlin. After suffering a stroke in 2012, he worked with his partner Karin Müller to document the before and after in a photo column for the ZEITmagazin—which reflected the contrasts between levity and gravity, the debased and the beautiful. In addition to a selection of the best photographs of the column, this volume presents a cross-section of his entire work.

"The following images depict actual settings." This sentence introduces a disturbing book of photographs about Mexico's super- rich in their huge, frequently enormously tacky mansions and luxury apartments. The women, and also occasionally the men, pose in front of endless pools in the sun, model their newest designer clothes and show off their lifestyles far away from all profane everyday business; at the same time, they present their art collections and pet their - mostly stuffed - animals. For seven years, Daniela Rossell did not visit the poor in suburban slums but this minuscule minority, Mexico´s millionaires, merging modern contemporary and classical Mexican documentary photography. Despite their shrill, gaudy content, the photographs exude a calmness and precision which endow the viewer with the necessary distance. The photographs cater to the most different human instincts, from voyeuristic curiosity to disgust to naive awe about the diversity of human lifestyles in the 21st century. The photographer: Daniela Rossell, born in 1973 in Mexico City. Studies art at the National School of Visual Arts, U.N.A.M. Since 1993, participation in numerous group exhibitions (New Museum of Art, New York; P.S.1, New York) as well as solo exhibitions in renowned galleries (Greene Naftali Gallery, New York). Lives and works in Mexico City. Exhibition Schedule: Casa de América, Madrid June 2002 · P.S. 1 Contemporary Art Center, New York June 2002 · San Diego Contemporary Art Museum September 2002 · Kunstwerke Berlin November 2002; Universidad de Salamanca April 2003

Daniel Richter, born in Eutin in 1962 and today based in Berlin and Hamburg, is one of the German artists who set out to conquer the international art world at the end of the nineties. He succeeded in doing so, even though - or perhaps because - the period was dominated by so-called new media and conceptual space installations, and the "end of painting" had once more been proclaimed. He remained loyal to his medium and has become celebrated as the new "prince of painting" next to Neo Rauch and others. Until 2000, Daniel Richter painted abstract pictures exclusively. His recent works display a surprising turn towards the figurative, blending a sophisticated use of color and composition, as well as a wealth of grotesque elements of form and art-historical references, into a style uniquely his. This large-format publication is the first to present Daniel Richter´s drawings in full-color illustrations. The artist: Daniel Richter, born 1962 in Eutin. 1991-1995 studied at the Hochschule der Bildenden Künste, Hamburg. 1998 Otto-Dix Award. Numerous exhibitions in galleries and museums. Lives and works in Hamburg and Berlin. Exhibition schedule: Neuer Berliner Kunstverein, May 9 - June 22, 2003

The works of Swiss artist Daniele Buetti (*1956) possess a strange ambivalence. Initially, it often pains us to see the fruits of his artistic labors: photographs of perfectly beautiful supermodels have been branded, tattooed, and scratched—some have even had holes punched through them. However, it is fascinating to witness how the attractiveness and glamour—essentially socially determined classifications—of these women and men always seem to get the last word, securing a lasting impression on the mind of the viewer.

Maybe You Can Be One of Us focuses on Buetti’s recent drawings, videos, sculptures, and installations. They are an expression of world-weariness, and represent a sign of our times, focusing on the individual’s precarious existential orientation. The grotesque elements of his works are eminently oppressive, triggering archetypal fears of the abnormal, and evoking associations of violence and destruction. (German edition ISBN 978-3-7757-2094-6)

Exhibition schedule: Swiss Institute, New York, February 13–March 22, 2008  Kunsthalle Recklinghausen and Kunstmuseum Mülheim/Ruhr, October 6–November 30, 2008

With the support of Pro Helvetia, Swiss Arts Council

The works of Swiss artist Daniele Buetti (*1956) possess a strange ambivalence. Initially, it often pains us to see the fruits of his artistic labors: photographs of perfectly beautiful supermodels have been branded, tattooed, and scratched—some have even had holes punched through them. However, it is fascinating to witness how the attractiveness and glamour—essentially socially determined classifications—of these women and men always seem to get the last word, securing a lasting impression on the mind of the viewer.

Maybe You Can Be One of Us focuses on Buetti’s recent drawings, videos, sculptures, and installations. They are an expression of world-weariness, and represent a sign of our times, focusing on the individual’s precarious existential orientation. The grotesque elements of his works are eminently oppressive, triggering archetypal fears of the abnormal, and evoking associations of violence and destruction. (English edition ISBN 978-3-7757-2095-3)

Exhibition schedule: Swiss Institute, New York, February 13–March 22, 2008  Kunsthalle Recklinghausen and Kunstmuseum Mülheim/Ruhr, October 6–November 30, 2008

With the support of Pro Helvetia, Swiss Arts Council

In 1967, when 23-year-old James Turrell created his first light projection, he broke new ground in a way that would decisively influence his generation and the development of art. Although he was working in the context of Minimal Art and the Earthwork movement, and he shared some individual structural features with the works of these groups, there are categorical differences that distinguish Turrell's unique position in art right up to the present. the other horizon uses representative works by Turrell to show the individual phases of development in his preoccupation with the phenomenon of light - from the first group of works from Projection Pieces to his Roden Crater Projects, in which the American artist has been working for more than twenty years to bring together his earlier work groups and the 'powerful' light phenomena of nature which are beyond all human control. A separate chapter is devoted to Turrell's various architectural projects - such as the light installations in Leipzig and Bregenz that transform the buildings into translucent sculptural bodies.