Anna Schneider – författare

Die Untersuchung geht der Frage nach der Vereinbarkeit unterschiedlicher ekklesiologischer Konzeptionen innerhalb der Kirche von England im 19. Jahrhundert sowie den daraus erwachsenden Chancen und Grenzen für den heutigen ökumenischen Dialog nach. Die jeweiligen Positionen werden zunächst rekonstruiert, auf ihre Unterschiede und Gemeinsamkeiten hin analysiert und im Anschluss daran daraufhin befragt, inwiefern es eine inhaltliche Grundlage für ihre Einigung als Teile der einen Kirche von England gibt. Abschließend wird anhand ökumenischer Basisdokumente der Gegenwart der inhaltliche Niederschlag der einzelnen Konzeptionen im Blick auf die Verwendung unterschiedlicher ekklesiologischer Paradigmen im Dialog untersucht. So lässt sich zeigen, wie hierbei Elemente aller Positionen funktionalisiert werden, ohne dass es zu einer echten Vermittlung zwischen den verschiedenen Grundausrichtungen kommt. Die intensive Auseinandersetzung mit dem anglikanischen Kirchenverständnis des 19. Jahrhunderts dient damit über die Diskussion der Implikationen für die mögliche innere Einheit der Kirche hinaus als Grundlage für einen Einblick in die Konsequenzen der damaligen Differenzen für den ökumenischen Dialog der Gegenwart.

“I WORK BETWEEN THE CRACKS, WHERE THE VOICE STARTS DANCING” To say that Meredith Monk is an outstanding singer, com poser, choreographer and filmmaker says a lot and yet too little. Monk works seamlessly across disciplines—pushing the boundaries of music, theater, dance, video, and installation, and is considered a pioneer of site-specific perfor mance. At the center of her oeuvre is the suggestive power of the human voice: the body becomes a resonating space for a universal language for which there are no words. Monk was the first artist to create a performance for the rotunda of the Guggenheim Museum, she performed in public car parks and on opera stages. This catalogue presents the first career encompassing, in-depth analysis of her work. Featuring never-before-pub lished archival material, musical notations, drawings, and photographs, as well as an insightful conversation with the artist, the essays underscore Monk’s lasting influence and affirm the relevance of her work for the present.

This elegantly designed publication explores Oscar Murillo’s ambitious reimagining of Monet through a contemporary lens.What happens when the radical beauty of Claude Monet’s late paintings meets the political tensions of the present? Interdisciplinary artist Oscar Murillo explores that question in a sweeping body of work that reimagines perception, power, and place through the language of mark-making. At its core is surge (social cataracts)—a series of large-scale, visually arresting paintings that echo Monet’s Grainstacks, Houses of Parliament, and Water Lilies, while confronting the political dimension of seeing and not seeing by positing darkness as a space of speculation for a new reading of impressionism.These works appear alongside further paintings by Murillo as well as his long-running Frequencies project, created in collaboration with schoolchildren across the globe, and participatory pieces that extend his practice beyond the studio and into the public realm. The result is a layered meditation on visibility, landscape, and the politics of artistic labor—across borders and generations.Designed with a modern flair to reflect the energy and ambition of the project, the book includes full-bleed plates, striking installation photography, and images from community-based projects. Both a record of a major artistic undertaking and a reflection of Murillo’s socially engaged approach, it offers an immersive look at a practice that is as materially rich as it is conceptually urgent.