Victor Man, born in 1974, won international renown when his work was presented in the Romanian pavilion at the 2007 Venice Biennale. This first monograph documents a large portion of his artistic output, which ranges from painting to sculpture, installation, wall painting and printing.

Ikon presents the first UK museum exhibition, the largest to date, of acclaimed Romanian artist Victor Man. Born in Transylvania, Man's work brings together disparate references to his birthplace with its 'folk' traditional and myths, as well as allusions to more recent Eastern European history.This exhibition, organised in collaboration with the Centre international d'art et du paysage de l' ile de Vassiviere, comprises new painting and sculpture. Richly evocative, dark in both palette and imagery, to suggest a voyeuristic gaze, Man's works signify an alternative world beyond familiar experience. This is enhanced by the artist's technique of using a 'black' mirror, a device which distances the act of visualisation for both himself and us. Images of women, wolves and gloves recur across several pieces, sometimes eroticised; notions of the unconscious, a surreal nether-world where new codes exist are conveyed."

The period after the First World War was a golden age for the confidence man. 'A new kind of entrepreneur is stirring amongst us,' The Times wrote in 1919. 'He is prone to the most detestable tactics, and is a stranger to charity and public spirit. One may nonetheless note his acuity in separating others from their money.' Enter Victor Lustig (not his real name). An Austro-Hungarian with a dark streak, by the age of 16 he had learned how to hustle at billiards and lay odds at the local racecourse. By 19 he had acquired a livid facial scar in an altercation with a jealous husband. That blemish aside, he was a man of athletic good looks, with a taste for larceny and foreign intrigue. He spoke six languages and went under nearly as many aliases in the course of a continent-hopping life that also saw him act as a double (or possibly triple) agent. Along the way, he found time to dupe an impressive variety of banks and hotels on both sides of the Atlantic; to escape from no fewer than three supposedly impregnable prisons; and to swindle Al Capone out of thousands of dollars, while living to tell the tale. Undoubtedly the greatest of his hoaxes was the sale, to a wealthy but gullible Parisian scrap-metal dealer, of the Eiffel Tower in 1925. In a narrative that thrills like a crime caper, best-selling biographer Christopher Sandford draws on newly released documents to tell the whole story of the greatest conman of the twentieth century.

Moving away from the explicitly political content of his previous novels, Victor Hugo turns to social commentary in The Man Who Laughs, an 1869 work that was made into a popular film in the 1920s. The plot deals with a band of miscreants who deliberately deform children to make them more effective beggars, as well as the long-lasting emotional and social damage that this abhorrent practice inflicts upon its victims.

This much needed book is the first to show how dominant forms of masculinity are implicated in the traditions of social theory that have emerged since the Enlightenment. The author shows how an 'unreasonable' form of reason has emerged from the separation of reason from emotion, mind from body, nature from culture, public from private, matter from spirit - the dualities that have shaped our vision of modernity. The book argues that men need to explore critically their power and experience which has been rendered invisible by the dominant traditions of social theory. Instead of legislating for others they have to learn to speak more personally for themselves.

One day a man arrives in town. Unassuming. Quiet. The assassin known as Victor is hiding out in a small motel in Canada after a job across the border. A few days laying low and he'll be gone and leave no trace behind. He doesn't count on getting to know a mother and her boy who reminds him of his own troubled childhood. When both vanish, only Victor seems to notice. Once he starts looking for them, he finds himself at odds with the criminals who own the town. They want him gone. Only Victor's going nowhere until he discovers the truth and to them he's just a quiet man asking the wrong questions. But that quiet man is a dangerous man.