This book is the first major study of Edita Schuberts art published outside Croatia. Edita Schuberts body of work is strikingly diverse, spanning pioneering explorations of natural ecology in the 1970s to bold paintings in the spirit of the transavantgarde in the 1980s. She also created performance art on the streets of Dubrovnik and created installations that invited viewers into her world. Her later worksself-portraits of various kindsoffer profound meditations on memory, identity, and mortal- ity. Working in her studio in the Institute of Anatomy in Zagreb, she once compared her art with the practice of dissection, a precise and purposeful science which reveals the hidden territories of the human body. Often her subject was herself. The breadth of her artistic output seems to anticipate the "post-medium" condition of contemporary art. Yet when viewed together, strong lines of connection and continuity emerge, revealing a deeply intimate and single-minded vision of art.Edita Schubert (19472001) was an exceptionally prolific and inventive artist, active from the early 1970s until her untimely death at the age of 54 in 2001. A significant figure in Croatian and Yugoslav art, she exhibited at the Venice Biennale and the Biennale of Sydney and in galleries in Austria and the US, as well as frequently throughout Yugoslavia. Yet today, her art remains relatively little known.

This book is the first major study of Edita Schuberts art published outside Croatia. Edita Schuberts body of work is strikingly diverse, spanning pioneering explorations of natural ecology in the 1970s to bold paintings in the spirit of the transavantgarde in the 1980s. She also created performance art on the streets of Dubrovnik and created installations that invited viewers into her world. Her later worksself-portraits of various kindsoffer profound meditations on memory, identity, and mortal- ity. Working in her studio in the Institute of Anatomy in Zagreb, she once compared her art with the practice of dissection, a precise and purposeful science which reveals the hidden territories of the human body. Often her subject was herself. The breadth of her artistic output seems to anticipate the "post-medium" condition of contemporary art. Yet when viewed together, strong lines of connection and continuity emerge, revealing a deeply intimate and single-minded vision of art.Edita Schubert (19472001) was an exceptionally prolific and inventive artist, active from the early 1970s until her untimely death at the age of 54 in 2001. A significant figure in Croatian and Yugoslav art, she exhibited at the Venice Biennale and the Biennale of Sydney and in galleries in Austria and the US, as well as frequently throughout Yugoslavia. Yet today, her art remains relatively little known.

To mark the 200th anniversary of the Karlsruhe Institute of Technology (KIT), its history is being told through 100 selected objects. Proposals from the entire institute were submitted in response to a "Call for Objects." The curators Klaus Nippert and Andrea Stengel provide historical classifications of the objects with regard to their role in research, teaching, and development. The catalogue shows numerous new images of the objects, photographed by Jonas Zilius and Amadeus Bramsiepe, and mediates between their current appearance and the historical perspectives raised. In the design, Christoph Engel interweaves text and image in a special form that invites you to take a visual stroll.Klaus Nippert studied history and philology, and has a doctorate in early modernism. In 2002, he became head of the University Archive Karlsruhe, since 2009 the KIT Archive. He has published in the fields of archival, historical, and literary studies.

To mark the 200th anniversary of the Karlsruhe Institute of Technology (KIT), its history is being told through 100 selected objects. Proposals from the entire institute were submitted in response to a "Call for Objects." The curators Klaus Nippert and Andrea Stengel provide historical classifications of the objects with regard to their role in research, teaching, and development. The catalogue shows numerous new images of the objects, photographed by Jonas Zilius and Amadeus Bramsiepe, and mediates between their current appearance and the historical perspectives raised. In the design, Christoph Engel interweaves text and image in a special form that invites you to take a visual stroll.Klaus Nippert studied history and philology, and has a doctorate in early modernism. In 2002, he became head of the University Archive Karlsruhe, since 2009 the KIT Archive. He has published in the fields of archival, historical, and literary studies.

Over the past two decades, Lisa Oppenheim has developed a critically acclaimed practice that is deeply rooted in the field of photography while also constantly exploring its margins. She often focuses on the unexplored potential of the mediums artistic, technological, and sociopolitical histories. Combining material experimentation with archival research, Oppenheim transforms or, in her words, "reprocesses"images and ideas both recent and historical by employing creative mechanisms ranging from a host of photographic processes to other media such as textiles, film and video, and, most recently, sculpture. Published in conjunction with her exhibition Monsieur Steichen at MUDAM Luxembourg, this richly illustrated catalogue surveys Oppenheims works from the past dozen years, and includes new texts by Darsie Alexander, Christophe Gallois, Jacob Proctor, and Bettina Steinbrugge, as well as a conversation between Lisa Oppenheim and artist Liz Deschenes.Lisa Oppenheim (*1975, New York) lives and works in New York City and holds degrees from Brown University, Bard College, and the Rijksakademie van beeldende kunsten. She is represented by Tanya Bonakdar Gallery in New York and Los Angeles and The Approach in London.

Over the past two decades, Lisa Oppenheim has developed a critically acclaimed practice that is deeply rooted in the field of photography while also constantly exploring its margins. She often focuses on the unexplored potential of the mediums artistic, technological, and sociopolitical histories. Combining material experimentation with archival research, Oppenheim transforms or, in her words, "reprocesses"images and ideas both recent and historical by employing creative mechanisms ranging from a host of photographic processes to other media such as textiles, film and video, and, most recently, sculpture. Published in conjunction with her exhibition Monsieur Steichen at MUDAM Luxembourg, this richly illustrated catalogue surveys Oppenheims works from the past dozen years, and includes new texts by Darsie Alexander, Christophe Gallois, Jacob Proctor, and Bettina Steinbrugge, as well as a conversation between Lisa Oppenheim and artist Liz Deschenes.Lisa Oppenheim (*1975, New York) lives and works in New York City and holds degrees from Brown University, Bard College, and the Rijksakademie van beeldende kunsten. She is represented by Tanya Bonakdar Gallery in New York and Los Angeles and The Approach in London.

Conflict does more than destroy physical spaces. It extinguishes lives, erases histories and disrupts the collective memory of entire communities. In Gaza, where genocide has wrought catastrophic loss, the destruction of heritage adds another dimension of devastation. Yet amid the rubble, acts of archiving, art-making and storytelling persist.Archiving Gaza in the Present brings together voices from Palestine and beyond to document the cultural erasure and to explore how creative and archival practices resist it. Contributions from curators, architects, artists, journalists, lawyers and scholars capture Gazas once-vibrant cultural life historic buildings, art centres, universities and museums that existed before October 2023 now turned to rubble.Featuring rich visual material from fragmented WhatsApp testimonies to forensic documentation and including artworks, maps and photographs, Archiving Gaza in the Present is both a living archive and a call to action. It is a vital resource for understanding Gazas cultural survival amid destruction.In partnership with the Arab British Centre.Contributors include Selma Dabbagh, Salman Abu Sitta, Shareef Sarhan, Hazem Harb, Malak Mattar, Marc-Andre Haldimann, Nadia Yaqub, Omar Al-Qattan, Kegham Djeghalian, Caitlin Procter, Atef Alshaer, Shatha Safi, Yara Sharif and Nasser Golzar.

E se a prisão onde você foi lançado fosse, na verdade, o lugar exato onde Deus escolheu te libertar? E se o número que te identificava como detento se transformasse no chamado eterno da sua identidad

Samantha, Adrian e Marcus enfrentam um drama depois que Raquel roubou o dinheiro da banda que tocavam juntos. Clara uma boa garota que por amor se juntará a eles e cantar no concurso de Bandas. Será

No Vale do Paraíba de outros tempos, o dia começava com o cheiro do café passado no coador de pano, o pão saindo do forno e o canto do galo anunciando o sol. Café no Quintal – Memórias de um Tempo Si

Em Meu Avô é uma Lenda Histórica, Jorge Santos da Cunha Júnior resgata com emoção e autenticidade a trajetória de um homem que marcou gerações: Edson José dos Santos, o eterno Edson do Vassoural. Mai

Escrita a Dois é um convite a entrar em um território poético onde a pluralidade se torna essência. Ana Talita Borlicoski e Sergio Bertovi partem de um mesmo ponto, mas seguem caminhos que se cruzam

This monograph is a comprehensive tribute to the Polish artist Jadwiga Maziarska (1913-2003), featuring essays by renowned art historians and curators, and a selection of archival materials from 1940s1990s. Maziarska was one of the most important voices of the avant-garde in Poland, alongside recently recognized Erna Rosenstein, her closest friend and interlocutor. The title "assembly" speaks to Maziarska as engineer and bricoleur of source materials and methods, producing an abstraction which is uncategorizable within the postwar Krakow Group (Grupa Krakowska II) and beyond. Her artistic processes were rooted in the physicality of assembling as a response to concepts of reproduction and modernity. Active from the 1940s through to the 1990s, Maziarska was informed by science, phenomenology, mass photography, printed reproductions and newspapers clippings, out of which she developed autonomous structures.Jadwiga Maziarska (1913-2003) studied and lived in Krakow. She was a member of the second Krakow Group (Grupa Krakowska II), co-established by Tadeusz Kantor. She was known as an outsider, focused on her daring and progressive experimentation with various media.

This monograph is a comprehensive tribute to the Polish artist Jadwiga Maziarska (1913-2003), featuring essays by renowned art historians and curators, and a selection of archival materials from 1940s1990s. Maziarska was one of the most important voices of the avant-garde in Poland, alongside recently recognized Erna Rosenstein, her closest friend and interlocutor. The title "assembly" speaks to Maziarska as engineer and bricoleur of source materials and methods, producing an abstraction which is uncategorizable within the postwar Krakow Group (Grupa Krakowska II) and beyond. Her artistic processes were rooted in the physicality of assembling as a response to concepts of reproduction and modernity. Active from the 1940s through to the 1990s, Maziarska was informed by science, phenomenology, mass photography, printed reproductions and newspapers clippings, out of which she developed autonomous structures.Jadwiga Maziarska (1913-2003) studied and lived in Krakow. She was a member of the second Krakow Group (Grupa Krakowska II), co-established by Tadeusz Kantor. She was known as an outsider, focused on her daring and progressive experimentation with various media.

Imagine um Brasil onde a criatividade e o jeitinho tropical são a base de uma revolução cultural. Avatar Tropical: Utopia Brasil Tropical 2030 é um mergulho na imaginação de Newton Cannito, que mistu

E se o agro e a ecologia pudessem andar de mos dadas? Em Ecologismo e Agrofuturismo: Utopia Brasil Tropical 2030, Newton Cannito desafia polarizaçes e apresenta um futuro onde sustentabilidade e produtividade no so inimigas, mas aliadas. Com uma viso otimista e provocativa, o autor explora como o espirito brasileiro, marcado pela criatividade e pelo dialogo, pode ser a chave para resolver os dilemas ambientais e sociais do presente. O livro mergulha em conceitos como Agrofuturismo, que prope um agro ecologicamente consciente, e Etica Tropical, inspirada nos povos originarios e no sincretismo cultural brasileiro. Cannito mostra que a verdadeira mudança começa no imaginario coletivo e que o Brasil, com sua rica biodiversidade e cultura, tem o potencial de liderar uma revoluço verde global. Mais do que um manifesto, Ecologismo e Agrofuturismo e um chamado para agir. Entre historias inspiradoras e reflexes profundas, o livro nos lembra que as sementes de um futuro mais justo e sustentavel ja esto em nossas mos. Agora, cabe a nos cultiva-las.

E se a política pudesse ser divertida e transformadora ao mesmo tempo? Em PUTO: Partido Utópico e Política Tropical - Utopia Brasil Tropical 2030, Newton Cannito apresenta um manifesto revolucionário que desafia o status quo e prope uma nova maneira de fazer politica: com etica, arte e, acima de tudo, bom humor. No coraço da obra esta a ideia de que, para superar polarizaçes e crises, precisamos de criatividade, dialogo e uma boa dose de tropicalidade. O livro explora conceitos como o artivismo capoeira , uma forma de ativismo que mistura leveza, critica e seduço para conquistar coraçes e mentes. Cannito constroi um futuro onde o Brasil lidera com sua essencia unica, unindo tradiço e inovaço em projetos que priorizam a justiça social, a diversidade e a imaginaço coletiva. Tudo isso embalado em historias comicas, provocaçes filosoficas e debates inusitados. Leve, instigante e repleto de insights, PUTO e mais do que um livro; e um convite para reimaginar a politica como um espaço de criaço e transformaço. Ideal para quem acredita que o Brasil tem o potencial de liderar com alegria, irreverencia e uma viso utopica.

O que acontece quando a busca por saúde encontra o prazer? Em Deus é Sabor e a Sabor-dória: Utopia Brasil Tropical 2030, Newton Cannito nos leva a um futuro onde comida não é apenas nutrição, mas uma

Todos veem aquilo que o príncipe parece ser, mas poucos tocam naquilo que ele de fato é; e aqueles que tocam não ousam opor-se à opinião dos muitos que se respaldam na majestade do Estado para defend

E se o Brasil de hoje fosse apenas o ponto de partida para um futuro distópico dominado pelo fundamentalismo identitário? Neste exercício ficcional, Newton Cannito se coloca no futuro, observando como os caminhos atuais podem nos levar a um mundo dividido, fragmentado e controlado por uma ideologia que, ao tentar corrigir desigualdades, acaba criando novas distorçes. Atraves de uma satira afiada, o livro explora os extremos de uma sociedade onde a identidade e o sofrimento se tornam moeda de troca em um concurso de quem sofre mais . Com humor irreverente e uma critica provocadora, o autor leva aos extremos as logicas dos movimentos identitarios, revelando como, no futuro, ate os mais nobres objetivos podem gerar caos e intolerancia. Entre disputas por privilegios, a busca insaciavel por cotas de sofrimento e o surgimento de novas categorias identitarias, o cenario que se apresenta e um pesadelo: um mundo totalitario onde ate a liberdade de expresso esta sob ataque. Porem, a satira no para por ai. O livro tambem questiona o papel dos Wokes no fortalecimento do autoritarismo de direita, trazendo a tona a contradiço de movimentos que se devoram entre si, enquanto, em um jogo de poder, todos perdem. Cenas da Terra Chata e uma reflexo ousada sobre os rumos que nossa sociedade pode tomar, uma analise ironica de como os excessos ideologicos podem nos conduzir a um futuro muito mais sombrio do que imaginamos. Prepare-se para rir e refletir sobre um futuro que, talvez, ja