Produced on the occasion of Rosemarie Trockel’s solo exhibition Märzôschnee ûnd Wiebôrweh sand am Môargô niana më at Kunsthaus Bregenz, Bregenz, 24 January–6 April, 2015. Edited by Yilmaz Dziewior with texts from Johanna Burton, Yilmaz Dziewior, Sam Pulitzer, and Beate Söntgen.

Produced on the occasion of the group exhibition Love is Colder than Capital at The Kunsthaus Bregenz, 2 February–14 April, 2013, which brought together 16 artists who explore the interrelationships of economics and feelings in contemporary society.

Curated by Yilmaz Dzierwior and including artists Neil Beloufa, Minerva Cuevas, Mariechen Danz, Isa Genzken, Hans Haacke, Keith Haring, Teresa Margolles, Ken Okiishi, Julika Rudelius, Yorgos Sapountzis, Cindy Sherman, Andreas Siekmann, Dirk Stewen, Pascale Marthine Tayou, Rosemarie Trockel, Cathy Wilkes.

The concept of transcorporeality (Stacy Alaimo) builds on the thesis that all bodies are permeable, open-ended systems in constant exchange with their environment and other biological, technological, economic, and sociopolitical realities. With works by Jesse Darling, Flaka Haliti, Trajal Harrell, Paul Maheke, Nick Mauss, Park McArthur, Oscar Murillo, and Sondra Perry, Transcorporealities critically examines the permeability of bodies-including the museum-at the interfaces between subject, object, and space. It focuses on urgent (institutional) questions of visibility and accessibility as well as the possibilities and limits of representation: What is inscribed and attributed to bodies? Who is looking at whom? What is meant when we say “we” and “they”?

With texts from Stacy Alaimo, Yilmaz Dziewior, Park McArthur, Leonie Radine & Nora Sternfeld.

Produced on the occasion of Maria Eichhorn’s exhibition at Kunsthaus Bregenz, 10 May–6 July, 2014. This comprehensive and chronologically structured catalogue raisonné orders the work of the artist Maria Eichhorn according to art history and is supplemented by extensive image and archive material on her works, projects and exhibitions since 1986.

With the addition of large-format illustrations of the exhibition in Bregenz, this is one of the most comprehensive publications on the work of the artist to date. Designed by Yvonne Quirmbach.

Produced on the occasion of Haegue Yang: Arrivals at Kunsthaus Bregenz, 22 January–3 April, 2011. This publication is the third in a series of catalogues raisonnée assembled by Kunsthaus Bregenz: compiled by Katharinea Schwerendt, this catalogue comprehensively covers the work of Haegue Yang. With texts from Marina Vishmidt, Anders Kreuger and Yilmaz Dziewior. Designed by Yvonne Quirmbach.

Produced on the occasion of Florian Pumhösl’s 2012 exhibition at Kunsthaus Bregenz, it documents the exhibition and also catalogues all of Pumhösl’s exhibitions since 1993. The exhibition consisted of plaster panels in three different sizes grouped in threes, the order of each trio beginning with the smallest and ending with the largest format. The progression of the 45-piece series of 15 subjects, subtitled Cliché, takes its lead from the Bauhaus artist László Moholy-Nagy’s enamel pictures. In contrast to Moholy-Nagy, who delegated the task in the case of his telephone pictures to a specialist firm, Pumhösl himself applies the formal effects to his panels using what he refers to as a cliché stamp.

With texts from Juli Carson, André Rottmann and Yilmaz Dziewior. Designed by Yvonne Quirmbach.