In Roman Italy there were many sculptures and architectural elements from the Greek world, sometimes already centuries old. These objects had been transferred to the Italic peninsula where they became an integrated part of Roman society and culture. The Greek statues that were made part of the decoration of the temple of Apollo Sosianus in Rome, one of the main subjects of this volume, are exemplary of this process of transfer, appropriation, impact and change. Such reuse of (ancient) Greek statuary is also visible in Greece itself during the Roman period. This volume brings together international specialists on this fascinating phenomenon. Critically questioning older paradigms that understood Greek statues on the move as representations of ‘Greek culture’ in the first place, this book explores new interpretative frameworks to analyse these impactful objects in their own right.

A Cannibal Explains Himself to Himself explores extra-dimensional states of being that place into the praxis of language a natural yoga. It is a meditation that seeks to alter planetary pressures that continue to accrue during this protracted stage of late capital. The essay form is a provisional structural device that ranges from the supra-conscious, descending from above and mingling in one’s neural registration with energies that roil and ascend from subconscious states, so that the cognitive is magically energized as a contribution to an overall accuracy via the history of ideas. There, one no longer registers oneself as an author that instigates text as delimited opinion. Therefore, the reader, by the very fact of his or her engagement with the text, is invaded by an invisible current that supersedes quotidian context and its concerns via topical engagement. Such a state allows other considerations to transpire.

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Following the guiding question quo vadis? in Italian provenance research, this volume brings together interdisciplinary approaches and outlines current developments in research on the basis of concrete case studies. In addition to focusing on historical contexts of injustice such as colonialism, National Socialism and fascism, the publication provides insights into the rich, heterogeneous archival sources for Italian collection and art market research. The relevance of researching the origins and transfer of art and cultural assets is demonstrated at both the academic and the practical level.

• Fundamental contribution to provenance research in Italy between academia and practice
• Current case studies and unpublished archive materials
• Transnational cooperation and interdisciplinary knowledge exchange between Italy and Germany

This volume provides a road map for a new field of transdisciplinary Traces Studies. Based on four years of collaborative, interdisciplinary research, it adopts an experimental approach to traces. In a world marked by layered forms of violence - political, economic, social, and environmental - the contributions offer a vital and timely intervention. Instead of searching for lost or silenced histories, they turn to counter-cartography: a radical practice where gaps, absences, and fragments become powerful sites of possibility. In this way, the authors seek to open space for speculation, incompleteness and the possibility of imagining: What might it be like - or feel like - to move through fractured, uncertain worlds guided by traces? How might we reimagine complex social realities and contested terrains through what remains? And what new possibilities might emerge from the act of tracing?

• First articulation of Traces Studies
• Opens fresh pathways for engaging with the legacies of violence, the climate crisis, technological change, imperial histories, and everyday practices of resistance
• Featuring contributions from academic and artistic, non-academic voices

This book highlights the contributions of Central European women to global modernism in architecture, design, art, photography, and museology. It spotlights trailblazers including designers Ilonka Karasz and Mariska Karasz, artist Amrita Sher-Gil, photographer Irena Blühová, architect Dora Gad, and ceramicist Susi Singer. It also explores the groundbreaking practices of jewelry designer Cissy Zoltowska, artist Kiki Kogelnik, museologist Zdenka Munk, and visual artist Mira Schendel. Concluding with contemporary multimedia positions, the book examines how these women navigated materiality and spirituality, bridging concept and matter, gender dynamics, and the East–West divide within and beyond Europe.

• Central European women artists influencing global art and design
• Presents women artists who crossed borders and shaped modernism