Explore the vast range of titles available.

Bei Spector Books erschienen ist es im März dieses Jahres mit dem Preis der Leipziger Buchmesse aus-gezeichnet worden. Die antikoloniale Besetzung des (gestohlenen) öfentlichen Raumes führte zu zahlreichen Nachahmun-gen und Erweiterungen und sollte zum Modell für Platzbesetzungen von Gezi, Tahrir, Maidan oder Occupy Wall Street werden. 50 Jahre später brachte der Aborigines-Künstler Richard Bell die Tent Embassy zur documenta ffteen nach Kassel. 1972 formierten sich neue Allian-zen, über geografsche, soziale und patriarchal besetzte Räume hinweg. Das berühmte Bild der \"Blue Marble\" ist das Bild des Universalismus, des (aus amerikani-scher Sicht) totalen Überblicks.

A visit to the Photographers' Gallery in London last October gave me a peculiar experience in virtual reality. There the show titled, \"Feminist avantgarde of the 1970s,\" was on display along with a film by British contemporary artist Simon Fujiwara titled \"Joanne\" (2016). Shortly before this visit, I had heard in the news about the nomination of Wonder Woman (the fictional superhero) as the United Nations' honorary ambassador for gender equality and female empowerment. This was reported on the same day as Wonder Woman's 75th birthday. This striking link between the United Nations and the DC Extended Universe media group was buzzing in my head as I entered the Photographer's Gallery. As I walked through the three floors of photographs, films, and video work, it seemed to me that, with every higher level, I entered still further into an alternative reality, in which the feminist art of the 1970s and current femininist efforts were not in a linear continuity, but in completely flexible constellations. The separate positioning of the film installation \"Joanne\" suggested the interpretation that it be read it as an epilogue or continuation of the pioneering performance found in the 150 works of the exhibit, which were completed by 48 artists between 1963 and 1983. OA

A visit to the Photographers' Gallery in London last October gave me a peculiar experience in virtual reality. There the show titled, “Feminist avantgarde of the 1970s,” was on display along with a film by British contemporary artist Simon Fujiwara titled “Joanne\" (2016). Shortly before this visit, I had heard in the news about the nomination of Wonder Woman (the fictional superhero) as the United Nations’ honorary ambassador for gender equality and female empowerment. This was reported on the same day as Wonder Woman's 75th birthday. This striking link between the United Nations and the DC Extended Universe media group was buzzing in my head as I entered the Photographer's Gallery. As I walked through the three floors of photographs, films, and video work, it seemed to me that, with every higher level, I entered still further into an alternative reality, in which the feminist art of the 1970s and current femininist efforts were not in a linear continuity, but in completely flexible constellations. The separate positioning of the film installation “Joanne” suggested the interpretation that it be read it as an epilogue or continuation of the pioneering performance found in the 150 works of the exhibit, which were completed by 48 artists between 1963 and 1983.

Mit Cabin Essence, einem Songtitel der Beach Boys, fügt die Künstlerin weiteres Material hinzu, das sich sowohl mit dem Mythos des amerikanischen Westens beschäftigt, aber auch selbst zum Anlass für Spekulationen wurde. Und wo einst nach Gold geschürft wurde, ging es zu einem späteren Zeitpunkt, in Silicon Valley, um „Data Mining\". Kalifornien und das Verschwinden des Außen, hg. v. Diedrich Diederichsen und Anselm Franke.

In dieser - wie in vielerlei Hinsicht - war die Personale der 2016 verstorbenen amerikanischen Künstlerin, die das Institute of Contemporary Arts in London diesen Sommer zeigte, eine verblüffende und fantastische Schau. Während ihres Studiums am California Institute of the Arts Mitte der Neunzigerjahre avancierte sie bald zum „enfant-terrible step child of Los Angeles neoconceptual art\", wie die Autorin Ohris Kraus einmal schrieb1. Kuratiert von Richard Birkett und Stefan Kalmár zeigte das Londoner IOA auf zwei Etagen einen hochkomplexen Werkkörper aus Zeichnungen, Oollagen, Foto- und Filmarbeiten, die begehbare Mixed-Media-Installation Researchers, Residents, A Place to Rest (1993-96) sowie das unvollendete (Selbstrealisierungs-)Projekt Whole (1999-2016).

We study quantitative easing (QE) policies from a microstructure perspective, drawing on intraday transaction-level data for German bonds (purchased under the Eurosystem's QE program). An initial analysis of purchase decisions reveals that portfolio managers consider liquidity and the scarcity of securities in repo markets. Suggestive of significant flow effects, we detect price impacts of purchases at high and low frequencies. We find the impact on market liquidity and functioning to be ambiguous. A higher purchase volume lowers transaction costs but has an adverse impact on order-book depth. The price impact varies with market conditions and is higher for more illiquid bonds.