Jan-Ole Schiemann (*1983) belongs to a young artist generation, subjecting painting to a critical actualisation. On the fringes of figuration and abstraction, he extracts fragments of advertisement, comics, architecture from their original context. Almost transparently, he interweaves and layers structures, logos, topographies, graffiti, and everyday textures. This complex surface mesh, always full frontal, yet equally deep, dissolves the fabric of reality as a flashing, constantly renewed and self-generating hyper-text, into which one can actively immerse oneself or trace the origins of individual elements. Exhibition: Nino Mier Gallery, Los Angeles, USA (15.02.-13.03.2020).

Explores European civilisation as a concept of twentieth-century political practice and the project of a transnational network of European elites. This title is available as Open Access.

Research on gene drive systems is rapidly advancing. Many proposed applications of gene drive research aim to solve environmental and public health challenges, including the reduction of poverty and the burden of vector-borne diseases, such as malaria and dengue, which disproportionately impact low and middle income countries. However, due to their intrinsic qualities of rapid spread and irreversibility, gene drive systems raise many questions with respect to their safety relative to public and environmental health. Because gene drive systems are designed to alter the environments we share in ways that will be hard to anticipate and impossible to completely roll back, questions about the ethics surrounding use of this research are complex and will require very careful exploration. Gene Drives on the Horizon outlines the state of knowledge relative to the science, ethics, public engagement, and risk assessment as they pertain to research directions of gene drive systems and governance of the research process. This report offers principles for responsible practices of gene drive research and related applications for use by investigators, their institutions, the research funders, and regulators.

A handsome introduction to the acclaimed American painter's humorous and uncanny visual universe American artist Mernet Larsen (born 1940) refers to her paintings not as "representations" but as "analogs," which alludes to the manual technique she uses to plan them, arranging physical pieces on the canvas before committing to the composition. This term also acknowledges that the scenes in her paintings are constructed in her imagination rather than based on observation. Larsen's paintings are both humorous and uncanny, depicting organic forms like the human figure in hard-edged geometric shapes. Though her paintings feature recognizable scenarios--office employees in a boardroom meeting, a couple reading in bed--her manipulation of the perspective transforms these banal moments into psychological dramas, hinting at the organized chaos that underlies everyday life. This monograph features work from the last 60 years of Larsen's career, as well as an interview with the artist by Hans Ulrich Obrist and essays by the curators Susan Thompson and Veronica Roberts.

Foreword by Adrian Dannatt. Text by Pierre Berge, Peter Marino, Reed Krakoff.