本书中的艺术家们通过各种媒介来探讨内在的自我。Njideka Akunyili Crosby的作品由充满活力的纸上绘画组成。受摄影、时尚、建筑、设计以及她自己的家庭历史的启发，Akunyili Crosby的作品经常以家庭空间为主题，这些空间可以作为物理、概念和情感上到达和离开的点。相反，葡萄牙雕塑家莱昂诺·安图内斯（Leonor Antunes）则专注于超越时间和地理空间的迁移和形式与思想的转变。她创作的优雅的特定场地雕塑作品的出发点是对艺术、设计和建筑历史的探索。Adriana Varejao在她的内脏雕塑和绘画作品中表现了巴西的殖民历史。她经常在作品中以墙（即内部和外部的边界）为主题。过去的无所不在也给受过训练的舞台设计师Henrike Naumann的作品增添了色彩，她的沉浸式装置艺术作品涉及东西德关系的历史以及当代右翼意识形态的实例。瑙曼探索了激进化的机制，并探讨了它们如何在空间中表现出来。综上所述，这些作品提供了一种激进和创新的形式语言，将内在性定位为政治上的和美学上的。

The artists featured in this book approach the inner self through a variety of media. The work of Njideka Akunyili Crosby comprises vibrantly patterned paintings on paper that negotiate the complex cultural terrain of a life formed between two worlds: her adopted home in America and her native Nigeria. Inspired by photography, fashion, architecture, and design, as well as her own family history, Akunyili Crosby's works often feature domestic spaces that function as physical, conceptual, and emotional points of arrival and departure. Conversely, the Portuguese sculptor Leonor Antunes focuses on migration and the transformation of form and ideas beyond temporal and geographical spaces. The starting point for her elegant site-

specific sculptures is the exploration of art, design, and architectural history. Adriana Varejao addresses the colonial history of Brazil in her visceral sculptures and paintings. She often deploys the motif of the wall, the boundary between inside and outside, in her work. The omnipresence of the past also colours the work of trained stage designer Henrike Naumann, whose immersive installations engage with the history of East-West German relations, as well as contemporary instances of right-wing ideology. Naumann explores the mechanisms of radicalisation and explores how they manifest themselves in space. Taken together, the works offer a radical and innovative formal language that positions interiority as both political and aesthetic.