Wahrend andere Arbeiten zur naturlichen Morphologie die Bedeutung von Erscheinungen wie Ikonismus, Uniformitat und Transparenz fur den Aufbau morphologischer Systeme untersuchen, expliziert diese Studie Eigenschaften und Entwicklungstendenzen von Flexionssystemen, die sich mit dem Stichwort "systembezogene morphologische Naturlichkeit" umschreiben lassen, d. h. solche flexionsmorphologischen Erscheinungen, die wiewohl durch universelle Prinzipien determiniert ihre konkrete Auspragung auf Grund von einzelsprachlichen Struktureigenschaften erfahren. Diese Eigenschaften und Tendenzen haben deutliche Parallelen auch in anderen grammatischen Bereichen, so dass eine Anwendung des hier entwickelten Konzepts einer systembezogenen Naturlichkeit auch auf andere Komponenten des Sprachsystems sinnvoll scheint."

Viktoria Binschtok's photographic works are physical echoes of the image flow produced by our digitally connected world. Her series Cluster and Networked Images (2014-2022) explore the phenomenon of today's image economy, linking her own momentary images to staged reproductions of visual references in a photographic symbiosis. Her works become part of the larger net that Binschtok consciously casts over divergent visualities dissecting the vastness of our daily digital image production. The precise layering of her large-scale photo-objects generates visual connections with both subtle and apparent references to current realities-immaterial concepts thus take physical shape in new contexts of meaning, creating feed-back loops between online and offline. Connection refers to both a global, non-verbal cross-linking through images as well as to connections within Binschtok's artistic work. Thus, the book opens with Three People on the Phone, an early series Binschtok photographed on the streets of Tokyo in 2004, visualizing how the absorbed presence of the people immersed in a dialogue with their devices connects the physical space of the city with the channels of the new, digital world-an interaction that is constantly reiterated in Binschtok's work.

Over three decades, the painting of Anton Henning (*1964) has been both a challenge and an inspiration. For him, “even more modern” means showing the lasting significance of modernism for the present. The first volume of his large-scale catalogue of works of 2018 was a basic introduction to his work as a painter. “Vol. 2” now offers an unexpected shift of perspective to his in-depth examination of art history from the Renaissance to Romanticism. A rare interview with Anton Henning about his practice and his artistic self-image supplements the extensive picture section. Text in English, German, French, and Japanese.

Ellen Akimoto's (*1988) painting is figurative, contemporary, and captivating in its inventiveness. As Wolfgang Ullrich notes, she does not simply cite "stylistic means from the repertoire of the more recent history of painting," but instead combines them "in surprising, humorous relations to one another and, in combination, transforms them into something new." Thus, the "monochrome surfaces of Suprematism" alternate with a meticulously detailed realism originating from Neue Sachlichkeit or a "painted landscape painting is suddenly transformed into an abstract painting" and "merges with the face of a woman." Text in English and German.

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