An artist-oriented publication, presenting works and material only from artists, each issue devoted to a particular region of the world.

• Moderne und zeitgenössische Künstler, Druckgraphik, Zeichnungen, Multiples
• Illustrierte Bücher, Künstlerbücher, Mappenwerke, Kunstdokumentation.

• Vol. 1. Notes on the eclipse and rehabilitation (and oblivion) of history -- Passion after appropriation / Orshi Drozdik -- Five contextual propositions / Susan Hiller -- A museum of unnatural history / Xavier Veilhan -- Camoflaging over totality / Jan de Cock -- Grand designs (auto+place) / Miguel Palma -- Howling walls / José Álvaro Perdices -- The waft of the code / Vasco Araújo -- The canyon, the dream, and I / Nicola Stäglich -- Ask for your true voices : history, truth, and impossibility / Andy Hope -- Abecedarium for Giantbum / Nathaniel Mellors -- An inquiry into meaning and truth / Thomas Raat -- Fending lessons / Cosima von Bonin -- Blood brothers : on German Indian / Sascha Pohle -- Quid tum : what it always was / Michael Kunze.

This volume collects more than a dozen essays written over the last decade on a range of contemporary European artists. While all were composed in the twenty-first century, the first, on the London-based American artist Susan Hiller, and the second, on the Hungarian American artist Orshi Drozdik, anchor the volume in concerns that emerged within the first generation to follow the Conceptual and Minimalist movements at the most produced immediately before and after 2000.

Since 1973, Claude Rutault uses a simple method to create new artworks. Using the principle of "definition/method", the artist's work consists of monochrome painted canvases which are hung on a wall that is painted the exact same colour as the canvases. Although simple, Rutault has garnered much recognition for his unique method, which extends the boundaries of art, making the entire wall part of the featured effect. In fact, Rutault invented almost 300 different ways to paint his walls and canvases the same colour, each of them differing based on the shape and size of the canvases, their structural placement along the wall, and of course, the overall colour used.
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