J U L Y   2 0 1 5
U P C O M I N G   T I T L E S

Edited by
Virginie Bobin and
Mathilde Villeneuve
H O R S   S É R I E S

Politics of Memory
Documentary and Archive
Edited by Elisabetta Galasso
and Marco Scotini
T H E   W I T N E S S
Anguish Language:
Writing and Crisis
Edited by John Cunningham,
Anthony Iles, Mira Mattar
and Marina Vishmidt
Maya Schweizer
Lieux de Mémoire
and Desire

The Psychopathologies of
Cognitive Capitalism:
Part Three. Edited by
Warren Neidich
O P E N I N G   H O U R S

Monday to Saturday
From 2 to 7 pm
Closed on Sunday

The Forest and The School: Where to sit at the dinner table?
is co-published by Archive Books and the Academy of Arts of
the World in Cologne. Edited by the writer and visual artist
Pedro Neves Marques, this publication is a thorough
anthology on Brazilian Antropofagia. It presents Antropofagia
not simply as an aesthetic movement, based on acculturation
or an hybridity exemplary of the tropics, but as a full scope
South American cosmopolitics, defined by predation and the
immanence of the enemy, by an humanity unbound from
species, and a technology aimed at leisure.
The first half of the book, ‘The Forest and The School’ gathers
texts from sixteenth century chronicles on cannibalism, the
Brazilian avant-garde, Tropicália, and the anthropology of
Pierre Clastres, Bruno Latour, Eduardo Viveiros de Castro, as
well as of Davi Kopenawa. The second half ‘Where to sit at the
dinner table?’ collects recent texts and new commissions
relating Antropofagia to multinaturalist perspectivism, the
declaration of the Rights of Nature, or the centrality of the
indigenous in current political struggles.  

Deimantas Narkevičius
Da capo. Fifteen Films

Between 1961 and 1967, the French filmmaker Chris Marker
published, through Éditions du Seuil, two volumes entitled
Commentaires. Marker himself, who had collaborated as both
an author and editor with the publishers – for whom he had
conceived and curated, amongst others, the illustrated
volumes of
Petite Planète series (1954–1964) – designed the
two publications that contain the ‘commentaries’ or scripts of
his first films. As a cineast and bibliophile, Marker’s interest
in the relationship between images and text underscored both
the film-essay and the book ‘ersatz cinema’.
The structure and compositional method chosen for this
volume ‘revisits’ Marker’s form of commentary, making its
own a theme that is dear to the Lithuanian artist and
filmmaker. Indeed, the parallels and superimpositions
between film material and printed matter are not secondary
in Narkevičius’ work ...

“This book is not for reading but for wandering. Its lines do
not roll out continuously but superimpose each other to
infinity, creating not a compendium of knowledge but a web
of prescience. It does not follow a logical framework but
unfurls a grid with multiple entries. It does not assert a set
subject or conclusive postulate. At most it invites us to probe
the recesses of a mind in motion, and steeps us in the driving
material that brings it to life. It reflects the works it exhibits,
the documents it discloses and the commentary it gener- ates:
it aspires to ubiquity. Anabasis, the very real linking thread
that stitches it together, serves not just as an archaeological
enigma, but also as an allegorical force. The main author of
this ocean crossing, Eric Baudelaire, is both a collector of
vestiges and a sketcher of wandering lines who has
surrounded himself with other meticulous voices (Pierre
Zaoui, Homay King, Jean-Pierre Rehm), fellow-travellers in
this library secret. Readers will be able to enjoy the grad- ual
unfolding of the story of war and politics whose underlying
intellectual and poetic adventure this book enables us to
recall—that of its repetitions, ramifications and
hybridisations: the story of Anabasis after Anabasis (or from
Xenophon’s Anabasis to that of Paul Celan by way of Alain
Badiou’s), from an ancient narrative to its modern
reappropriation.” (Morad Montazami)
About the book

Edited by
Pedro Neves Marques

Texts by
Hans Staden, Jean de Léry, 
Michel de Montaigne, James
Frazer, Manuela Carneiro da
Cunha, Alfred Jarry, Oswald de
Andrade, Antônio de Alcântara
Machado, Oswald Costa,
Freuderico, Japy-Mirim
Poronominare ...

Designed by Nuno da Luz

Softcover, 13 × 20 cm
600 pages, black & white

ISBN 978-3943620269

€ 25.00
The Psychopathologies
of Cognitive Capitalism:
Part One
Edited by Arne De Boever
and Warren Neidich

The Psychopathologies
of Cognitive Capitalism:
Part Two
Edited by Arne De Boever
and Warren Neidich
Der Standpunkt der Aufnahme
Point of View
Edited by Tobias Hering
Elmgreen & Dragset
Edited by Gunnar B. Kvaran
and Kjersti Solbakken


Ruti Sela’s work borders both cinema and video art as it
activates and documents power relations performed through
sexuality, militarism, parenthood, and professional relations
as these take shape around the camera. Under the conditions
of neoliberal optics of leisure and surveillance, Sela’s films
offer a groundbreaking visual ethics. The neoliberal visual
logic converges two traditions of documentary film – direct
cinema and cinéma verité. In the first, the camera assumes
the position of ‘a fly on the wall’ while in the second, the
cinematographer takes an active part in constructing the
filmed situation. From Candid Camera to Big Brother,
neoliberal framing combines these two traditions into abuse
and entertainment – terror and pornography, selfies and
closed circuit television, global positioning systems and
aggregated movement control. In this visual reality, Sela is
able to lay out a counter proposal through which masquerade,
role playing and even deceit bring forth sincerity, integrity
and courage. As she engages with random acquaintances,
students, family members, local and international artists and
curators, famous and unknown, Sela not only documents
situations but also generates them with her presence.

About the book

Edited by
Joshua Simon

Texts by
Yair Garbuz
Julia Moritz
Eduardo Thomas
Ana Teixeira Pinto
Vít Havránek
Joshua Simon

Designed by
Archive Appendix

Softcover, 14.8 × 21 cm
224 pages, colour

ISBN 978-3943620276

€ 20.00
About the book

Eric Baudelaire

Edited by
Eric Baudelaire
and Anna Colin

Texts by
Morad Montazami,
Pierre Zaoui, Homay King
and Jean-Pierre Rehm

Designed by
Jean-Marie Courant

Published following
the exhibitions at
Centre d’art contemporain
la synagogue de Delme
Curated by Marie Cozette
and at Gasworks
Curated by Robert Leckie

Published with
the support of CNAP
Centre national
des arts plastiques
(aide à l’édition),
ministère de la Culture
et de la Communication

Fluxus Art Project
Franco British programme
for contemporary art

Galerie Greta Meert

Galería Juana de Aizpuru

English / French
Softcover, 16,5 x 23,5 cm
304 pages, colours

ISBN 978-3-943620-15-3

€ 32.00
Archive is a platform for cultural research and debate. It brings
together activists and cultural practitioners in an adaptable and
non-hierarchal structure with the aim to foster a unique space
for discussion and exchange. Archive is engaged in a wide range
of activities including publishing and exhibition making. Archive
Books produces readers, monographs and artists’ books as well
as journals focusing on contemporary cultural production.
Located in Berlin, Archive Kabinett is both a library and a
bookshop showcasing a selected range of printed matters, and
simultaneously a space for lectures, screenings and exhibitions.
Archive Journal is a biannual cross-disciplinary journal. As its name
suggests, it is primarily concerned with the notion of documentation
but also with contemporary uses of translation and recirculation.
Archive Appendix is the design department that brings a conceptual
approach to the relation between text and image.

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Martin Beck.
Summer Winter East West
Display and its social dimensions are leitmotifs in the
multiform art practice of Martin Beck. His exhibition ‘Last
Night’ at Kunsthaus Glarus reflected on the relations between
exhibiting and community by bringing together two bodies of
works: one drawing on modern exhibition history, the other
building on the history of countercultural communes in the
1960s and early ’70s United States. Summer Winter East
discusses Beck’s engagament with display not only as a
tool of presentation but also as a form of communication – 
within and beyond the realm of the exhibition. What are the
possibilities for imaging community? How can togetherness
be presented (or present itself), and to what degree is
exhibiting already an aspect of community building?
€ 25.00