At the Tipping Point Taking a deliberately kaleidoscopic approach, the exhibition 1.5 Degrees and the accompanying catalogue encourage us to address the climate crisis in a curious, innovative, participatory, and active way. More than 30 international artists, including melanie bonajo, Laure Prouvost, Julian Charrière, Otobong Nkanga, Marianna Simnett, Ernesto Neto and the collective SUPERFLEX, explore the complex interdependencies between humans, nature and technology, and search for solutions, from plants as data repositories, algae as energy sources and microorganisms as empathic dialogue partners. Including all parts of the museum collections as well as new outdoor installations at the National Garden Show BUGA, the book presents various models of how to use the means of art to reshape the coexistence of species and emphasizes the hope-giving potential of creativity and innovation.

German-English edition Nan Hoover, Anneliese Hager and Maria Lassnig are women artists who expressed themselves experimentally and innovatively in various media. They were interested in alienation effects, body perception, and reflections about time and space. All three explored Surrealism early on and found their own individual visual language in different ways: the common denominator is a preoccupation with light, space and the body, as well as the existential question of self-perception and one’s place in the world. While American Hoover was one of the pioneers of international light, video and performance art and produced a surprising painterly early oeuvre close to pop art, Hager, who is one of the most interesting female photographers of the 20th century, remains very little known. Today, Austrian painter Lassnig is one of the most important female artists of the 20th century, but she only achieved her international breakthrough late – in the 1980s. This publication, three books in one, enables readers to rediscover the three artists, or even discover them for the first time. Nan Hoover (1931–2008), light, video and performance artist Anneliese Hager (1904–1997), photo artist, poet Maria Lassnig (1919–2014), painter, graphic artist Art, body, (self-)perception - a focused, concentrated introduction to the work and biography of three 20th century women artists Exhibition: Kunsthalle Mannheim, 10 November 2023 to 11th February 2024

Hanna Nagel's focus as an artist was on drawing and graphic prints. Like no other woman artist of her time, she examined the relationship between men and women as well as the problematic balancing act between professional work and motherhood. Her work following her studies in Karlsruhe was at first characterized by objective precision. With her move to Berlin, she, however, distanced herself from the stringent drawing style of Neue Sachlichkeit. The oft-biographical works executed with a brush and pen in Indian ink are formally more complex and painterly, whereby the impression of these so-called "Dunkle Blatter" (Dark Works) corresponds to the narratively and symbolically charged topics chosen. The focus of the exhibition and catalogue is on the works of the 1920s and the early 1930s.

CoBrA is one of the most important artist groups of Art Informel. The name is derived from the first letters of the three capital cities of Copenhagen, Brussels, and Amsterdam - the centers from which the CoBrA artists took action. Little is still known here in Germany about the concrete origins of the art movement. The exhibition and catalogue of the same name attempts a broad examination of the group's origins: with the focus on the reconstruction of the movement prior to its official establishment in November 1948. It aims to present a representative cross-section of the movement that includes the largest possible number of artists as well as the greatest possible concentration of forms of expression and topics characteristic of the movement. Roughly fifty paintings, thirty sculptural works, fifty graphic reproductions and photographs as well as individual ceramics and textiles from international collections are presented.