The videos whose explicit stills and transcripts are bound here explore private experience within the public sphere, covering everything from adolescent boys discussing their sexual experiences to businessmen talking about the significance of money. This rising Amsterdam-based artist will exhibit her work at the Brooklyn Museum in 2007.

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

Post 9-11, post Iraqi invasion, post (we wish) the War on Terrorism, there is a great deal of interest in safety in the public domain, both in the political realm and among the general public. Individuals and society as a whole are increasingly concerned with protection and security for themselves and their material possessions. These newfound worries have repercussions for the layout, design, and management of public and semi-public places, imposing new demands on artists, designers, commissioners, and policy makers. "Open 6 examines the root causes of the public desire for safety. The authors consider theoretical and practical scenarios, proposals and visions from the realms of art, architecture, philosophy, and politics, in an attempt to lay bare something of the modern-day safety paradigm. Alternatively, the authors argue the need for new models. The contributors also provide insight into the current state of the modern-day practicalities of the aesthetics and ethics of safety in essays which directly consider real places or (art) projects.

Omer Fast's video installation "The Casting" is based on interviews held with a U.S. Army sergeant before his renewed deployment in Iraq. Fast describes the project thus: "During several days he told me two stories which I have interwoven. The first took place in Bavaria and describes the sergeant's relationship with a German girl who loves speed and self-mutilation. The second story takes place outside Baghdad and deals with a bomb on the roadside and a tragic mistake." Fast took these two stories and processed them into a screenplay, which he then had interpreted by actors as a series of silent tableaux. This succinct volume documents these tableaux with numerous color photographs and includes a conversation between the artist and Sven Lutticken, as well as a text by Matthias Michalka.

"Open" 22 investigates how transparency and secrecy are intertwined in modern-day society and explores how they relate to the public and the civic, using WikiLeaks as a test case. The contributors consider transparency as fetish and the ideal of the free flow of information.