Pawel Althamer is responsible for some of the most expansive artworks of the past decade -- expansive not in the traditional, physical sense but in the social and experiential sense. Though he creates stunning sculptures of the human form, much of his work consists of human interaction, often placing the viewer's own consciousness in the starring role.

Paulina Olowska's paintings, collages, and knitted works explore Communist Poland's fascination with Western consumerism and celebrates the spirit of what Polish writer Leopold Tyrmand called the "Applied Fantastic," or the vernacular recreations of Western styles--while also paying tribute to American Pattern and Decoration art of the 1970s. This first overview includes an interview with Adam Szymczyk and an essay by Jan Verwoert.

Nevin Aladag lets wind and rain play music. She follows the sound of traces she finds in the city and makes objects sound melodies seemingly by themselves. The result is a perceptive and always humorous "score" that has a quality that is as ironic as it is poetic. Aladag's works are represented in many international collections and are regularly shown in exhibitions and biennials worldwide. The Museum Villa Stuck is showing her most comprehensive solo presentation to date, combining famous groups of works, such as the "Music Room Athens" shown at documenta 14, with a few surprises. The accompanying catalogue offers over 200 mostly full-page illustrations. Essays by renowned art scholars such as Rachel Jans and Adam Szymczyk and a contribution by the multi-award-winning writer Ulrike Draesner, conceived especially for the book, illuminate the artist's work from different perspectives. The special embossing that Aladag developed for the cover gives the publication a special artistic touch.

A rebel and feminist, the Switzerland-born Miriam Cahn is one of the major artists of her generation. Widely known for her drawings and paintings, she also experiments with photography, moving images, sculptures, and performance art. Cahn's diverse body of work is disturbing and dreamlike, filled with striking human figures pulsing with an energy both passionate and violent. These pieces, along with Cahn's reflections on artistic expression, have always responded to her contemporary moment. In the 1980s, her work addressed the feminist, peace, and environmental movements, while the work she produced in the 1990s and early 2000s contains allusions to the war in the former Yugoslavia, the conflict in the Middle East, and the September 11 terrorist attacks. Her recent production tackles ever-evolving political conflicts, engaging with the European refugee crisis and the "#metoo" movement. Miriam Cahn: I as Human examines different facets of the artist's prolific and troubling oeuvre, featuring contributions from art historians, critics, and philosophers including Kathleen Buhler, Paul B. Preciado, Elisabeth Lebovici, Adam Szymczyk, Natalia Sielewicz and .