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The protection and sense of belonging one feels where one is at home, and what it is like to lose both of them: these are central concerns in the art of Fahar Al-Salih (b. Belgrade, 1964; lives and works in Karlsruhe). Having grown up in Kuwait, where a classical education in visual art was inconceivable, Al-Salih came late to his me?tier; Markus Lu?pertz was among his teachers, and he completed his education in Hermann Nitsch?s master class. Seeing himself as a ?bridge-builder? between the cultures of the Arab world and Europe, Al-Salih probes the different lived realities in which his itinerant biography has been set. No more linear than his path through life, his oeuvre is defined by subjects to which he keeps returning in a kind of cyclical motion. This publication offers unprecedented insight into Al-Salih?s creative approach and his articulations of individual yearnings, the comforts of safety, and political and social upheavals. His work achieves a deft interweaving of global perspectives and migrant realities.00Exhibition: Yvonne Hohner Contemporary, Karlsruhe, Germany (11.09. - 18.11.2021).

Christian Megert, born in 1936 in Bern, is regarded as a representativ of Informal Art, which is also described as art informel. Expressive strength, the irrational element, and glorification of the "simple" values make up his artworks. However, it is soon revealed to the beholder that the artist's work is nourished by other sources than pure Informal Art. He turns to abstract art, which in turn sets him apart of from the irrational current of the informal oevre of the likes of Jean Fautrier or Jean Dubuffet and from the dogma of topology. Strict regularity and order lend his works something meditative and concentrated. Every form of the desperate dynamism inherent in them and even spontaneous projections of his "gesture" were neglected in favor of a linear and rigid structure of forms. This approach stands in contrast to the romantically tinged Informal Art or to the compulsion for aesthetics. Text in English and German.

Der in Seoul geborene Künstler Dong-Yeon Kim ist ein Grenzgänger zwischen den Kulturen und Gesellschaften. In seiner Arbeit, die neben Plastiken und Installationen auch Malerei und Performances umfasst, thematisiert er urbanes Leben und Zivilisation im Spannungsfeld von Ritus, Geschichte und Fortschritt. Das vorliegende Buch dokumentiert nicht nur seine umfassende Ausstellung im Dortmunder Kunstverein, sondern liefert darüber hinaus einen Überblick über Kims zentrale Werkgruppen. Zugleich wird einen besonderen Fokus auf seine Zeichnungen gerichtet, die das plastische Werk flankieren und die bildnerischen und konzeptuellen Überlegungen von Kim deutlich machen.