It is evident that modernity is a popular mountain for analysis and reflection of a largely controversial nature. Numerous theories have also been written about the beginning as well as the end of modernity. The aim of Modernologies is to achieve an account of the state of artistic research and to discuss selected contributions to the subject matter that appears central after two to three decades of an ever intensely blazing conflict over the legacy of modernity and modernism.

With The Assembled Human the Museum Folkwang inquires into the ambivalent relationship between humans and machines. It's a conflicted relationship, fluctuating between utopia and nightmare, and it still influences our present time. From the conveyor belt to cybernetics and today's digital revolution, from Cubism, Futurism, and Constructivism into the recent present with Ed Atkins, Jon Rafman, Avery Singer, or Anna Uddenberg, the show traces the transformation of technology, presenting a wide panorama of artistic visual worlds: human beings as hybrid creatures, blended with their own self-made machines. Featuring 200 works by 100 artists as well as prolific essays, this extensive catalogue goes in-depth into this highly current issue. Artists: Walter Heinz Allner, Bettina von Arnim, Gerd Arntz, Ed Atkins, Giacomo Balla, Joachim Bandau, Lenora de Barros, Willi Baumeister, Thomas Bayrle, Rudolf Belling, Ella Bergmann-Michel, Renato Bertelli, Umberto Boccioni, Wilhelm Braune, John Cage, Helen Chadwick, Computer Technique Group (CTG), Charles A. Csuri, Mariechen Danz, Fortunato Depero, Walter Dexel, Otto Dix, Marcel Duchamp, Raymond Duchamp-Villon, Charles & Ray Eames, Max Ernst, Alexandra Exter, OEyvind Fahlstroem, Harun Farocki, William Allan Fetter, Otto Fischer, Herbert W. Franke, Carl Grossberg, George Grosz, Richard Hamilton, Barbara Hammer, Sidsel Meineche Hansen, Raoul Hausmann, John Heartfield, Lynn Hershman Leeson, Eva Hesse, Lewis Wickes Hine, Heinrich Hoerle, Rebecca Horn, Vilmos Huszar, Boris Ignatowitsch, Fritz Kahn, Wassily Kandinsky, Anne-Mie van Kerckhoven, Friedrich Kiesler, Konrad Klapheck, Jurgen Klauke, Paul Klee, Heinrich Kley, Josh Kline, Iwan Kljun, Gustavs Klucis, Alexander Kluge, Kiki Kogelnik, Germaine Krull, Boris Kudojarow, Helmuth Kurth, Jurgen van Kranenbrock, Maria Lassnig, Fernand Leger, Alice Lex-Nerlinger, Roy Lichtenstein, El Lissitzky, Hilary Lloyd, Goshka Macuga, Rene Magritte, Kasimir Malewitsch, Man Ray, Etienne-Jules Marey, Remy Markowitsch, Caroline Mesquita, Laszlo Moholy-Nagy, Johannes Molzahn, Alexei Morgunow, Martin Munkacsi, Eadweard Muybridge, Otto Neurath, Katja Novitskova, ORLAN, Tony Oursler, Trevor Paglen, Nam June Paik, Eduardo Paolozzi, Georgi Petrusow, Antoine Pevsner, Walter Pichler, Jon Rafman, Robert Rauschenberg, Timm Rautert, Alexander Rodtschenko, Thomas Ruff, Walter Ruttmann, James Shaffer, Arkadi Schaichet, Xanti Schawinsky, Helmut Schenk, Oskar Schlemmer, Nicolas Schoeffer, Franz Wilhelm Seiwert, Avery Singer, Stelarc, Friedemann von Stockhausen, Thayaht, Paul Thek, Jean Tinguely, Patrick Tresset, Anna Uddenberg, Andor Weininger, Erwin Wendt, Hugo von Werden, George Widener. Text in English and German.

Surveying some 20 years of Swiss video art, this book includes works by Alexander Hahn, Klara Kuchta, Eric Lanz, Jean Otth, Pipilotti Rist, Alex Silber and Hannes Vogel, it reviews discussion surrounding the exhibiting of video art and the problems associated with long-term conservation.

Controversial, provocative, and at the same time poignantly humorous. Andrea Fraser *1965 in Billings, Montana) is one of the most influential and pioneering artists of her generation and has been captivating her audience for more than thirty years. She employs a wide range of media, including prints, photographs, installations, and performances as well as texts and videos, time and again reformulating the same question: what we all want from art-the motivation behind Fraser's artistic production, how we view it, and how the art market distributes it.The richly illustrated catalogue allows tracing the artist for the first time from the beginning of her career. It assembles the early Four Posters (1984) as well as her famous performances, such as Museum Highlights (1989), Inaugural Speech (1997), and Official Welcome (2001/03), linking them with her most recent videos.Exhibition: Museum der Moderne Salzburg, 21.3.-5.7.2015