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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• Current case studies and unpublished archive materials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

This book examines the transcultural and global turn in art research as well as in curatorial and artistic practice. Bringing together contributions from scholars, curators, and artists, the volume approaches transculturation as a critical lens for understanding the complex flows of people, objects, and ideas across the globe. The authors examine how knowledge systems are challenged and reconfigured, how plural identities are negotiated within entangled communities, and how alternative historiographic frameworks take shape beyond western paradigms. Attention to material practices highlights the role of objects and artworks as carriers of memory and affective solidarity. In this way, transculturation emerges as both an analytical framework and a transformative practice shaped by movement across borders.

• Transdisciplinary approaches to modern and contemporary visual art
• Includes interviews, photo essays, artworks, and scholarly articles
• Broad outlook from different geographical positions and viewpoints

Political posters were first used widely in Europe in the context of First World War propaganda. They have remained with us since then as visual commentaries on social and political upheavals. This publication traces the development of political poster design and subjects from 1918 onwards. While expressionist designs after the First World War reflected the traumatised state of the nation, the forms and motifs of posters from the 1920s and 1930s increasingly bore witness to the brutality of political conflicts. After the Second World War, the focus shifted to issues such as the conflict between political systems and individual politicians. The pop art style of posters from the 1960s and 1970s was intended to appeal to a younger target group. Finally, the 1980s and 1990s marked the start of stylistic pluralism.

• Political posters as a reflection of the 20^th century
• Including works by A. M. Cay, Heinz Fuchs, Ludwig Hohlwein, Käthe Kollwitz, Holger Matthies, Max Pechstein, Walter Schnackenberg, Klaus Staeck, Franz von Stuck, and many others
• Exhibitions: Museum Wiesbaden, February 6 to August 9, 2026; Hessischer Landtag, March 18 to April 12, 2026