Bøger udgivet af Swiss Institute

Could it be a friends-to-lovers story for Sofia and Mark? Not if they can't overcome their doubts. Ann Guilders, the benefactor for so many in the depressed small town of New Carillon, has remained anonymous for decades. The arrival of Sofia Glenn may change all that. Here to care for her uncle as he recovers from a health scare, she stumbles upon the mystery of Ann Guilders. Finding it an intriguing puzzle to be solved, she commits to discover Ann Guilders's real identity. Teaming up with maintenance worker Mark Daltry to oversee the launch of her uncle's renovated resort for lovers, the two discover genuine feelings for each other. Then a flurry of texts and phone calls from former lovers causes each to doubt their budding romance. Comfortable providing others relationship advice but unwilling to follow it themselves, Sofia and Mark are weighed down by the painful memories of past relationships gone bad. Will their own misinformed assumptions and fears of vulnerability be an obstacle they cannot overcome, or will they get a happy ever after for Christmas? Ann Guilders By Any Other Name is a Christmas romance wrapped in a mystery. If you like Hallmark movies, then you'll love Ann Guilders By Any Other Name. Pick it up today!

The first major monograph on Jill Mulleady, whose paintings feature humans and animals enacting their instinctive psychological reactions to ever-present threats of dangerIn the paintings and woodcuts of Swiss artist Jill Mulleady (born 1980), characters enact the physiological stress reactions of "fight or flight" either adopting extreme or violent survival methods, or retreating into isolation. Mulleady's work roots out fantasies, motivations and fears in order to depict a landscape of polarization and crisis. Ancient mythologies and recent histories are reanimated in her feverish work with an enduring, twisted force. And yet, opposed and extreme, the figures and scenes featured also point to futures in which beings are pushed into marginal spaces, suggesting an ominous threat at civilization's center. Fight or Flight is the first major monograph on Jill Mulleady, surveying her artistic output over the last 10 years. It features newly commissioned essays by curator Laura McLean-Ferris, author Ottessa Moshfegh and anthropologist Michael Taussig, and a conversation between Mosfegh and Mulleady.

Immersive installations of found objects and sound machines create an experiential score incorporating feedback and distortionSwiss artist Jan Vorisek (born 1987) works across sculpture, video and sound to create site-specific installations that examine formal hierarchies through the delineation of space. In assemblages of found materials and sound-producing devices, he explores the fluctuation of noise as a medium for information.

Hi! I'm Reece the Puzzle Piece! My friends and I are tight.>Reece the Puzzle Piece is an entertaining account of self-discovery in which a childlike character faces challenges with determination and pride he didn't know he had. This rhyming story will appeal to girls and boys who love jigsaw puzzles and are finding their self-confidence. Empathize with Reece as he faces his biggest fear: being the last piece placed in the puzzle. Cheer him on as he works through emotional highs and lows and courageously wins a brief tussle with a vacuum cleaner to get back to his puzzle mates, a journey that helps shape his sense of dignity. Will Reece be the last piece placed?

Die Korrespondenz zwischen der Künstlerin Rosemary Mayer und der Dichterin Bernadette Mayer stammt aus den Jahren 1976 bis 1980, einer Zeit reicher Kreativität in der künstlerischen Avantgarde New Yorks, in der auch bedeutende Werke der beiden Frauen entstanden sind. Rosemary Mayer schuf Skulpturen, Aquarelle, Bücher undWährend Rosemary Mayer Skulpturen, Aquarelle, Bücher und "temporäre Denkmäler" aus Wetterballons und Schnee schuf, arbeitete Bernadette Mayer an einigen ihrer bekanntesten Veröffentlichungen, darunter das Gedicht Midwinter Day in Buchform und die Gedichtsammlung The Golden Book of Words. Diese Briefe, die die Welten der Konzeptkunst, des Postminimalismus, des Feminismus, der New York School, der Sprachpoesie und mehr umspannen, verdeutlichen die Bande der Schwesternschaft durch einen intimen Austausch über Kunst, Beziehungen und das tägliche Leben.

In the "St. Petersburg gamble," the house offers to flip a coin until it comes up heads. The payoff doubles each time tails appears. By conventional definitions, the St Petersburg gamble has an infinite potential return; nonetheless, most players feel that they should not risk more than a few dollars each time. Explaining why people offer such small sums for something with infinite potential remains contentious in both economics and philosophy. The St. Petersburg Paradox embodies Swiss Institute's longstanding dedication to producing inventive group exhibitions, putting artists across a century (Marcel Duchamp, Ericka Beckman, Hans Arp, Amalia Ulman, Tabor Robak) in dialogue with each other to explore the precarious nature of gaming and the impulses that underlie the way risk is calculated. Embracing the conceptual framework of an exhibition at Swiss Institute and its related public programs, each book in the SI Series adds retrospective context through seminal essays, archival materials, event transcripts, artist portfolios and exhibition documentation, as well as reprints and new translations of important texts. Each book in the series assumes a unique format to delve into the work of an artist, an artistic movement or a philosophical conundrum.

This first-ever in-depth look at New York artist Allyson Vieira (born 1979) investigates the contextual variations that occurred when her exhibition The Plural Present moved from Kunsthalle Basel to Swiss Institute in New York. Focusing on material, process and structure, Vieira surveys the continuity between the art of antiquity and the art of today--evoking Polykleitos and Robert Smithson in equal measure--and possesses a conscious understanding of the importance of time as it relates to place. In this eponymous publication, artist Joe Fyfe maps Vieira's relationship to antiquity; William Hanley uses the language of materials as he parses through the works; Amelia Groom, drawing on George Kubler's radical approach to history in The Shape of Time (1962), considers Vieira's "four-dimensional" approach to sculpture; and the curators of both exhibitions discuss the site specificity of their iterations with the artist. Embracing the conceptual framework of an exhibition at Swiss Institute and its related public programs, each book in the SI Series adds retrospective context through seminal essays, archival materials, event transcripts, artist portfolios and exhibition documentation, as well as reprints and new translations of important texts. Each book in the series assumes a unique format to delve into the work of an artist, an artistic movement or a philosophical conundrum.