Produced on the occasion of the exhibition Yvonne Rainer: Space, Body, Language at the Kunsthaus Bregenz, 4 February–9 March, 2012. This many-sided project offered detailed and far-ranging insight into the legendary work of Yvonne Rainer, Presenting photographs and film documentations of stage works, notebooks, dance scores, scripts, and movie and exhibition posters.

With essays by Gabriele Brandstetter, Douglas Crimp, Yilmaz Dziewior, Barbara Engelbach, Carrie Lambert-Beatty, Volker Pantenburg, and Catherine Wood.

Blinky Palermo, is known for his large fabric and metal pictures as well as his objects and installations. Less well known, yet no less interesting, are the works he created in editions: screen prints and offset prints, lithographs, objects, and a template for painting. In their entirety, these works not only reflect Palermo’s development from the 1960s to his early death in 1977, but also show how the artist deliberately expanded his work with the possibilities of technical reproduction. Thanks to a donation from the Cologne collector Ulrich Reininghaus, in 2018 a complete set of Palermo’s editions became part of the Museum Ludwig’s collection. After having been subject to an in-depth scholarly research, they will now be presented in an exhibition for the first time. This exhibition catalogue also includes an updated version of Fred Jahn’s out-of-print catalogue raisonné from 1983.

Established in 1994 in honour of the Cologne art collector Wolfgang Hahn, the Wolfgang Hahn Prize has since been awarded annually to an exceptional, internationally known artist who is nonetheless not yet well known in Germany. In 2015 the prize was awarded for the first time to two artists, R.H. Quaytman and Michael Krebber. This publication honours the prizewinners, both of whom approach the medium of painting from a decidedly conceptual standpoint. With a foreword by Mayen Beckmann, an introduction by Yilmaz Dziewior, a laudation by Daniel Birnbaum, and an afterword by Hanspeter Sauter.

This complex book by Manfred Pernice goes back to an exhibition at Museum Ludwig Cologne in 2007. At that time, he had combined the early work ­Bibette Headland (1999) with Haldensleben (2005) a work developed further specifically for the exhibition, and the Hotel Hangelar (2007), exhibited for the first time back then. These three large and, to some extent, accessible sculptures refer to the architecture of bunkers, airport towers and small town neighborhoods. Today, after a decade, it is clear that these three sculptures occupy a central ­position in the work of the artist. They illustrate Pernice’s long-standing examination of the historical and socio-political contexts of ­architecture and the aesthetics of everyday life. At the same time, his sculptures, despite their references to reality and history, exist as independent objects, as ­objectification, that present themselves in a productive reciprocal relationship of the familiar and the foreign, turning aesthetic experience into insight. The book displays, for the first time, the varied text and image material of Manfred ­Pernice’s research and ­presents it together with a survey of the realized works of art at Museum Ludwig Cologne. Texts (German/English) by Barbara Engelbach, Yilmaz Dziewior, Kasper König and various facsimiles.