Regional Writings (Southeast Asia) is an exhibition curated by the artist Heman Chong in co-operation with the Centre for Artists’ Publications that takes the act of writing as a starting point to think about a variety of post-conceptual art practices within and around Southeast Asia. It is developed as a research process to identify, locate, collect and discuss artist books, with a focus on the complexities of reading, understanding and translating of these texts.

The different use of colour is the theme of the two Dutch artists Nan Groot Antink and Fransje Killaars. In the works of Nan Groot Antink (*1954), colors appear in their purest form, while Fransje Killaars (*1959) uses textiles as carrier of color.

Among the fruitful relationships between art and literature, the dialogue between poetry and sculpture plays a special role in contemporary art. With an international selection, the group exhibition is dedicated to the multi-faceted forms of sculptural poetry since the 1960s. Objects are inscribed with texts, or the letters themselves appear as three-dimensional works of art, form spaces and are the subject of actions and performances.

The Peruvian artist Teresa Burga (1935-2021) is considered one of the pioneers of Pop Art and Conceptual Art in Latin America. Since the 1960s, she has proven to be a detailed protocolist of contemporary social conditions. Her extensive oeuvre includes paintings and environments that can be classified as Pop Art, as well as conceptual drawings and objects, and cybernetic installations. The unifying factor in this medially and formally broad spectrum is the artist's consistent effort to make complex social structures just as visible as the individual's possibility for self-determined action.

Flags are vividly expressive political symbols; from time immemorial, they have found a place in artistic works. They stand for shared, communal convictions and values, emphasize national sovereignty, mark territorial borders, enclose and exclude. But flags are also used for protest and resistance. They are a fixed element of social conflicts that are fought out on the streets of this world.

With The Way We Are 4.0, the Weserburg is presenting for the fourth time its version of a collection presentation that is flexible and changeable in itself and fundamentally reassembled once a year. Again, works from different contexts and times are arranged into thematic areas, or artists' spaces take a concentrated look at separate artistic positions.

Silvia Bächli (*1956 in Baden, lives in Basel) is considered one of the most important drawing positions of her generation. For 40 years, her works in ink, charcoal, pastel chalk or gouache have enriched the oldest genre of fine art with new and unexpected impulses.