The astonishing power of public art has long been recognized by both governments and 'big business' alike in the West, with increasingly enormous public sculptures being deployed to 'regenerate' ailing post-industrial areas, or create the 'wow factor' on corporate HQ piazzas and at ever-expanding airports.But what if this strategy were employed in an attempt to turn around the fortunes of a whole country? This book proposes a scenario in which two giants of British public art are commissioned by the United Nations in a last ditch attempt to solve the social, financial and political problems of Afghanistan.Illustrations by Will Henry. Published in the HAPAX series.

Tiré du site Internet de JRP/Ringier: "Since the mid-1990s, Henrik Olesen (*1967 Denmark, lives and works in Berlin) has used media such as collage, sculpture, and minimalistic spatial intervention to investigate the social construction of identity and its historiography. Through the appropriation of source images and contextual shifts not dissimilar to the method invented by Aby Warburg for his "Mnemosyne Atlas," Olesen probes the associations between homosexuality and its criminalization in the past, as well as in the present. His archival work sheds light on the enduring existence of spaces for Others, and inscribes homosexual subculture once more into the history of art and culture. Published with the Migros Museum für Gegenwartskunst, Zurich."

This book illustrates a collection of Louise Bourgeois' work from 1939-2005.

Edited by Florence Derieux. Text by Amy Granat, Matt Keegan, Josh Smith, Fracois Quintin.

Following a series of exhibitions held between 2010 and 2012, this is a monograph dedicated to the Swiss artist Denis Savary. Spanning a wide range of media, from drawing to video, performing arts to sculpture, is work fictionalises fragments of art and literature, and deals with historical figures such as Max Ernst, Oskar Kokoschaka, Félix Vallotton, and Lautréamont. Savary's practice weaves narratives steeped in childhood fantasies and adult phantasmagoria, notably through a vision of exhibition as a domestic place that the spectator can inhabit.

Though his works evoke 60s Op art, Swiss-born artist Philippe Decrauzat's first reference is more likely to be the film Tron than Bridget Riley. Decrauzat works in a variety of media--wall painting, shaped canvases, sculpture, installations and works on paper, all of which evidence flat chromatics and complex geometric compositions. Stating, "I am not trying to build up a new theory about ideological issues regarding the historical content of abstraction. I am strongly involved in investigating the status of the image, in other words, indebted to practices trying to outline the critical tools developed by Conceptual and Op art," Decrauzat clues us in to how his seemingly simple mix of appropriated imagery and techniques works. This is Decrauzat's first monograph and includes an essay by critic and curator Bob Nickas.