The sound installation Glass Track (2012) by Scottish artist Susan Philipsz is a prime example of her work with sound, space, and memory. Philipsz is known for her mostly site-specific sound installations, which feature her own untrained voice, everyday objects as instruments, or unusual sounds from classical instruments. She uses sound to redefine spaces and evoke emotional responses.

With Mirrorball, the Weserburg Museum für moderne Kunst is the first museum to present a solo exhibition devoted to Anys Reimann (*1965, Düsseldorf). The artist investigates the dynamic field between identity and body, between cultural affiliation and representation. She is known for images of Black women: self-confident, complex, and challenging all at once. Reimann counters perspectives of Western colonialism with idiosyncratic pictorial worlds. Her works celebrate the hybrid and ambiguous. The exhibition in Bremen offers a comprehensive range of insights into Reimann’s most recent creative output.

“Poems that one has to hear”: the Edition S Press was a publisher of experimental literature, Concrete Poetry, Beat Poetry, and Poetry Performance; from 1970 to 2005, it focused on acoustic art. By issuing tape recorders, audio cassettes, video cassettes, and media packages, it opened up new pathways for the dissemination of artists’ publications.

The art of Poul Gernes (1925–1996) enjoys a cult status in Denmark. What is almost unknown, however, is the fact that his most important works were created in collaboration with his wife, the painter and textile artist Aase Seidler Gernes (1927-2018). Better Together! endeavors to rewrite art history by presenting the Gernes' work for the first time as a collaborative practice, encompassing their joint projects and interdisciplinary collaborations alongside their individual works.