The book “American Images” — it is the catalog for the large traveling exhibition by photographer Dana Lixenberg — attempts to combine the impossible: i.e. a period of 30 years and various projects such as editorial portraits and the award-winning long-term study “Imperial Courts” (1993 to 2015) from Watts, Los Angeles.

But instead of failing, the book succeeds in a revelation in the form of a sort-of work show that shows page by page what the Dutchwoman can do like only a few others: capturing the essence of the human being, regardless of the complex context of the biography. Or as “Aesthetica Magazine” writes in the exhibition review, which can be seen until May 24 at Maison Européenne de la Photographie (MEP) in Paris: “By returning to the same places over decades and working with the same people, it transforms the camera from an instrument of appropriation into a tool of dialogue and remembrance.”

Most books published so far, which deal with the cultly revered Parisian bookstores “La Maison des Amis des Livres” and “Shakespeare and Company” and their amorous owners Adrienne Monnier and Sylvia Beach, who stood virtually opposite each other on Rue de l'Odéon, deal with the flowering phase in the interwar years. That is, from that time when the avant-garde around Ernest Hemingway, T. S. Eliot, André Gide, Ezra Pound, D.H. Lawrence, Getrude Stein or Man Ray turned the shops into that famous intellectual circle that Monnier liked to call “Odéonia.”

Anders Uwe Neumahr: In the “Bookshop of Exiles,” he also addresses these aspects and stories, but expands the historical focus on the Second World War and beyond. This gives us insight into fateful twists in the biographies of the two heroic protagonists... and experience Hemingway as a US soldier who liberates Rue del'Odéon!

Bruno Ganz (1941—2019) was one of Europe's most important actors and a favorite of the audience. From the working-class district of Zurich-Seebach, he has made it onto the most important stages of German-language theatre and shone in productions by Luc Bondy, Klaus Michael Grüber, Peter Stein and Peter Zadek. With more than 100 roles in films by directors such as Francis Ford Coppola, Theo Angelopoulos, Wim Wenders, Alain Tanner, Sally Potter, Eric Rohmer and Ridley Scott, Ganz has made cinema history.

To this day, there is no book about the life and work of Bruno Ganz, because he was always reluctant to write a biography. Zurich film journalist Walter Ruggle has thought of this book together with the actor. It is dedicated to his life and work by following the more than 100 film characters he has played.

“Schau Spiel Bruno Ganz” is an homage to the outstanding actor and a documentation of his art.

Cats (aka cats, bunnies, furry noses, chicks, pussies, velvet paws, house cats, etc.), mistress and owner know this, are idiosyncratic animals. And idiosyncratic animals like to take special paths. Of course, they need special architectural structures — especially when it comes to targeting their home food bowl or favorite place to sleep.

Such designs are called cat stairs. The book “Catwalk Stories” by photographer Francisco Paco Carrascosa, graphic designer Emanuel Tschumi and art historian Matthias Oberli underlines that the banal name rarely does justice to the actual thing. The guys moved across Switzerland, captured the objects of their desire in documentary form, smartly staged them — and packaged them here and there in figures, facts and pretty stories.

The original Katzenleiterli Rundschau is complemented by a hodgepodge of cat pop culture of motifs between knick-knacks and trash, based on the motto: “Cat (ch) as cat (ch) can!”

Architects, historians, and theorists have had a weird obsession with fascist architecture since postmodernism. Why? And who are the antifascist architects? What does antifascist architecture look like? Antifascist Architecture is the first attempt at creating a working definition of antifascist architecture after academia has spent decades fetishizing fascist architecture.

Brilliant scholarship has of course been presented about anti-colonial architecture, liberation architecture, and so forth. Yet antifascist architecture is an avenue that remains to be explored. This book does just that, offering a kaleidoscopic, peripatetic bricolage of architects who heroically aligned themselves with antifascist struggles, buildings made in the name of antifascism, and a call to arms for antifascist utopian futures. It is written for students and practitioners of architecture, but also activists and scholars in the social sciences who are interested in antifascist history, theory, and practice.