Remains: Zsolt Berszán provides in-depth insights into the works that the Romanian artist (*1974) created between 2014 and 2021. Roughly 100 artworks — paintings, sculptures, and mix-media objects — shaped by the idea of dissolution and decay are presented in three chapters. The artist again and again insinuates the human body, which becomes visible in a macabre play of distortions, contortions, and torn fragments. Zsolt Berszán is not interested in the individual itself, but in human remains, which themselves become the topic. Text in English and German.

Sculptor Claus Bury (b. 1946) has been enhancing public spaces in Germany for more than four decades with his monumental sculptures, which by now total more than 100. His canon of forms is comprised of geometric basic corpuses, such as squares and cubes, triangles and pyramids, rectangles, rhombuses and segments, which he employs in a contemporary Archaic style oriented on the antique structures of Egypt, Greece and Mexico. Bury's sculptures are almost always accessible, and the contingent changes in perspective do not only thematise the basic requirements of the human experience of form and space; they also articulate people's experience in their surroundings, impressively underpinning Hegel's theory that the world has a 'house character' and that man is fundamentally a domestic creature. A spectacular review of Claus Bury's monumental works in ships, gates, houses, arches, bridges and temples. Text in English and German.

A new look at the interrelationship of architecture and sculpture during one of the richest periods of American modern design Alloys looks at a unique period of synergy and exchange in the postwar United States, when sculpture profoundly shaped architecture, and vice versa. Leading architects such as Gordon Bunshaft and Eero Saarinen turned to sculptors including Harry Bertoia, Alexander Calder, Richard Lippold, and Isamu Noguchi to produce site-determined, large-scale sculptures tailored for their buildings' highly visible and well-traversed threshold spaces. The parameters of these spaces-atriums, lobbies, plazas, and entryways-led to various designs like sculptural walls, ceilings, and screens that not only embraced new industrial materials and processes, but also demonstrated art's ability to merge with lived architectural spaces. Marin Sullivan argues that these sculptural commissions represent an alternate history of midcentury American art. Rather than singular masterworks by lone geniuses, some of the era's most notable spaces-Philip Johnson's Four Seasons Restaurant in Mies van der Rohe's Seagram Building, Max Abramovitz's Philharmonic Hall at Lincoln Center, and Pietro Belluschi and Walter Gropius's Pan Am Building-would be diminished without the collaborative efforts of architects and artists. At the same time, the artistic creations within these spaces could not exist anywhere else. Sullivan shows that the principle of synergy provides an ideal framework to assess this pronounced relationship between sculpture and architecture. She also explores the afterlives of these postwar commissions in the decades since their construction. A fresh consideration of sculpture's relationship to architectural design and functionality following World War II, Alloys highlights the affinities between the two fields and the ways their connections remain with us today.