Combining the collections Monster Poems, Morbus and Fashions, Nora Gomringer's trilogy offers a modern anthropology. Gomringer shines a light on the all-too-human, plays with the superficial and loves the invisible. Accompanied by Reimar Limmer's illustrations, these poems unpick ideas around the monstrous, the inscribed and gendered body and the face we present to the people around us. Packed with pop culture references and always casting an eye back to where we came from, The Trilogy of Surfaces and Invisibilities is a call for a radical humanism.

Deconstructivism is understood to encompass a specific form of thought and a specific way of dealing with materials. Freiwald's art is distinguished by its impressive manner of bringing together both sides. First, he comes to grips with the material foundation of painting, by singeing, cutting, or sawing the picture support. The remaining space is pure pictorial space and is entirely subject to the expressive quality of the planes of colour filling it. His works are thus always new ways of presenting an intriguing dialectic. They alternate between material and effect, inquiring into the relationships between the object and the phenomenal expressive force of art. The exhibition catalogue captures this lively philosophy in a sublimely aesthetic form. It shows how thought and vision overlap in Freiwald's work to become truly visionary.

German poet Nora Gomringer is here translated into English for the first time by Scottish poet and editor Annie Rutherford. There is no simple equivalent to Nora Gomringer in the UK but Kate Tempest is perhaps the closest in terms of the way she is experimental yet remaining accessible and in her ability to stride seamlessly from stage to page to film to literature festival. These are poems which defy categorisation - interweaving the best of page and spoken word poetry to create something entirely of her own. These are poems which laugh, howl, stamp their lines. They are candid, wry, compassionate. There are poems about the darker times of Germany's modern history, reworkings of myths and fairy tales, and a 3-page-long ode to sex against a wall. All brought perfectly into English by Annie Rutherford.

Light, colour, materiality. These are perhaps the most significant components of Wolfgang Kessler’s (b. 1962) paintings. An additional characteristic is the tranquillity and introversion of the figures, who are usually depicted individually before a black background. In contemporary painting, this practice is unusual. At the same time, it touches upon recollected images and a notion of beauty that are buried in our cultural memory. When the question arises as to whether painting is or may be beautiful, one likes to look far back to art-historical frames of reference. One might arrive, for instance, at Delacroix’s works, which started to engage with subjects that extended beyond the common notion of beauty. Terribly Beautiful - Wolfgang Kessler is a painter of quiet yet aggressive, power. The comprehensive publication offers a detailed insight into Wolfgang Kessler's complete paintings from 2013-2022. Text in English and German.