This volume compiles ideas and projects from well-known artists, architects, designers, filmmakers and researchers on mountainous regions not only in Switzerland, but worldwide. It includes writings by Vito Acconci, Doug Aitken, Ron Arad, Nairy Baghramian and Jan von Brevern, as well as a discussion on architect Bruno Taut's "Crystal Chain Letters."

The definitive survey of Keith Tyson's thirty-year career. British Turner Prize-winning artist Keith Tyson is known for a distinctive and diverse body of work including drawing, painting, installation and sculpture. Showing a wide range of influences, from mathematics and science through to poetry and mythology, he is interested in how art emerges from the combination of information systems and physical processes that surround us every day. For over thirty years, Tyson has probed, dissected, explored and questioned reality. Not fixed to one artistic style, Tyson sets out to challenge himself and the audience, whilst working with diverse materials - paint, clay, metal, resin - to question our knowledge of the world we perceive as real, and art's role in representing it. With newly commissioned texts from an internationally diverse array of writers, and including a previously unpublished interview with the artist, this is the definitive survey of one of the most restless and adventurous creators working today.

Das Institut was founded in New York in 2007 by Kerstin Bratsch and Adele Roder as space for collaborative possibilities that allowed them to leave their respective practices at the door. This artist's book offers a fully illustrated review of Das Institut's projects over the past three years, presented in the style of a business report.

Using well-used genres like figurative painting, travel photography and landscape, John Miller has, since the 1970s, challenged the function of the author and the concomitant loss of aura for the artwork. He has regularly shifted his practice, actively resisting the reduction of his work to any critical tag. This volume remaps Miller's oeuvre.

In conveying the seriousness with which he sees and uses his lighthearted material, Richard Prince has said, "Jokes and cartoons are part of any mainstream magazine. Especially magazines like "The New Yorker" or "Playboy." They're right up there with the editorial and advertisements and table of contents and letters to the editors. They're part of the layout, part of the Isights' and Igags.' Sometimes they're political, sometimes they just make fun of everyday life. Once in a while they drive people to protest and storm foreign embassies and kill people. Prince has always recycled found materials from American popular culture, most often images from advertisements and magazine photography. He re-photographs, silkscreens, overpaints, frames, enlarges or composes collages, playing with the material's somehow empty meaning. Citation, deflection, appropriation: every treatment is explored and played with. Among these works, as among the pages of the magazines, jokes and cartoons occupy an important place. This book, conceived by the artist, assembles for the first time the raw material of the creation of his "Joke Paintings"--not just the well-known works, but never-before-seen examples from his personal collection, his unpublished manuscripts and the original cartoons and jokes themselves.

Philippe Parreno (born 1964) undermines the notion of the discrete, ownable, copyrighted artwork through collaborations with artists such as Douglas Gordon and Pierre Huyghe, performances, dialogue and the cultivation of exhibitions as real-time encounters. This superbly produced monograph, designed by M/M, offers the first substantial inventory of Parreno's work since the late 1980s, covering his multifarious production from film (such as the famous "Zidane, a 21st Century Portrait," made with Douglas Gordon, 2006) to spectacle ("Il Tempo del Postino," with Hans Ulrich Obrist, 2007). It also includes critical and fictional texts by Maria Lind, Charles Arsene-Henry, Enrique Juncosa and Simon Critchley, as well as an interview by Hans Ulrich Obrist.

A prominent figure in Glasgow's vibrant art scene, Luke Fowler's cinematic collages break down conventional approaches to biographical and documentary filmmaking. Fowler's films have often been linked to the British Free Cinema of the 1950s, and Fowler likewise avoids didactic voice-over and narrative continuity in favor of impressionistic sound and editing. However, Fowler moves beyond simply referencing the work of his predecessors. Mercurially applying the logic, aesthetics and politics of his subjects-who include the composers/musicians Cornelius Cardew and L. Voag, and the psychologist R.D. Laing-to the film he is making about them, he creates atmospheric, sampled histories that reverberate with the vitality of the people he studies. This is the first major publication on Luke Fowler. It provides a comprehensive overview of his artistic production, with color illustrations, an in-depth discussion between Stuart Comer and the artist, and an essay by Will Bradley.