Reprototypes, Triangulations and Road Tests brings together seven seminal works by Simon Starling and Superflex in a dialogical setting—among them Exposition (2004), Three Birds, Seven Stories, Interpolation and Bifurcations (2007–08), D1 – Z1 (22,686,575:1) (2009), Black Out (2009), and Kuh (2012). These works “collapse” as unstable complexes around pertinent themes whose triangulated speculations are articulated by undisciplined objects, piercing through the layers of time and history and revisiting long-held certainties. Posited as reprototypes, they reveal various strategies for siting the contemporary within the modern, resuscitating objects and innovations out of obsolescence, testing their contemporary vitality and thus disrupting the self-sufficiency of the modernist canon. Accompanying the exhibition at the newly inaugurated Thyssen-Bornemisza Art Contemporary exhibition space at Augarten, the publication includes contributions from philosopher Robin Mackay, architectural historians Esther da Costa Meyer and Venugopal Maddipati, media and cultural historian Birgit Schneider, the exhibition curators Eva Wilson and Daniela Zyman, and philosopher Mirjam Schaub.

Tactics of Invisibility offers a visual and textual introduction to the work of the participating artists, as well as a wider discussion on the aesthetic and political implications of visibility and invisibility within the socio-political context of Turkey and its diasporas. It proposes a slightly provocative take on the regime of the visible in the contemporary condition, in which visibility seems no longer to be a means of emancipation but rather the precondition of a society of control and mediated conformism. The temporary suspension of the representational thus allows a focus on that which is not visible and on the underlying mechanisms within today’s political ecologies.

Dennis Hopper, one of Hollywood’s last great cult figures, is best known for his depiction of social outcasts in films such as Rebel Without a Cause and Apocalypse Now, as well as for directing classic films like Easy Rider. Hopper has also, however, made a name for himself as an artist and a photographer. His photographic chronicle of America in the 1960s, a decade marked by awakening and rebellion and documented by Hopper in forceful black-and-white pictures, has now become legendary. A System of Moments, published on the occasion of a major retrospective exhibition at the MAK, Vienna, is a kaleidoscopic documentation of painting, photography, film, and life. It is the first comprehensive publication that takes in to account all of the diverse artistic activities in Hopper’s nearly 50-year career, and it examines particularly the subtle connection between genres that is a hallmark of his work. For the first time, recent photographic works, which emerged after a long hiatus from the medium in the 1990s, are also presented. A major retrospective that will be the definitive statement on Hopper’s career.

In November 1966, 23-year-old artist James Turrell moved into an old hotel in Ocean Park, California, and immediately set to work sealing off all of its windows and insulating all of the walls. There, in the newly dark and silent space that had once been filled with the constant bustling of travelers, Turrell created his first light projection, “Afrum-Proto.” Essentially, it was a rectangle projected across a corner of a room in such a way that from a distance there appeared to be a solid cube floating off the floor. From there Turrell went on to explore other spatial and perceptual light installations like “skyspaces,” in which rooms open up to reveal planes of the visible open sky above and dark spaces where scarcely any light can be perceived. Of his preoccupation with the phenomenon of light as an artistic medium, Turrell says, “I want to address the light that we see in dreams and the spaces that seem to come from those dreams and which are familiar to those who inhabit those places.” His ethereal installations of radiant light manipulate viewers’ perceptions, rather than present objects for aesthetic contemplation. His artworks are viewing chambers in which the experience of seeing is its own revelation and reward.

A catalog as puzzling and conceptually elaborate as the exhibition it accompanies, this circular publication has no beginning or end, and allows multiple points of entry from left to right and vice versa, as well as upside down and right-side up. Seeking to interrupt learned behaviors and solicit the reader s active engagement, it unfolds a play of doubling and symmetry that references the exhibits formally and in terms of content. This intertwining is also evident in the text around which the catalog pivots: a conversation between Carsten Höller, who studied phytopathology before embarking on his artistic career, and the taxidermist Alfred Höller, on taxidermy (birds in particular), the history of the origins of Thomas Bernhard s infamous novel Correction (which Bernard wrote in Alfred Höller s attic in 1974), and the conflicts between life and death and art and nature.

edited by Eva Wilson, Daniela Zymantexts by Walead Beshty, Ramsay Burt, Ifat Finkelman, Martina Leeker, Steve Paxton, Howard Singerman, Noémie Solomon, Eva Wilson, Daniela ZymanThe catalog Sharon Lockhart | Noa Eshkol accompanies the eponymous exhibition at TBA21 – Augarten in Vienna by Sharon Lockhart (November 23, 2012-February 24, 2013) which consists of a complex installation of videos, photographs, and archival material, composing a subtle and sensuous portrait of the Israeli choreographer, dancer, researcher, and textile artist Noa Eshkol (1924-2007). The book features nine essays, installation photographs of the works on show, film stills, archival material from the Noa Eshkol Foundation (notations, journals, notes), and wall carpets by Noa Eshkol. Softcover176 pages

Olafur Eliasson, one of today’s most acclaimed contemporary artists, and David Adjaye, a rising architecture star, have engaged in a unique collaboration. Eliasson’s light installation “Your Black Horizon,” which debuted at the 2005 Venice Biennale, was conceived from the start as a hybridization of both of their practices. The piece consists of a light, representing a horizon line, that emanates through a narrow gap in an architectural structure. This is the only light source, and it runs around the entire dark gallery space, without any visual obstruction. The optical illusion that is achieved is that of a reversed horizon line. This publication is presented in conjunction with the installation of this project in Croatia. Critic and curator Daniel Birnbaum, writer Eva Ebersberger and curator Daniela Zyman contribute in-depth essays, which are accompanied by large-scale spreads of the project.