Archive News
S U M M E R    2 0 1 4
R E C E N T    T I T L E S

Carla Filipe, da cauda
à cabeça. Edited by Nuno Ferreira de Carvalho
U P C O M I N G    T I T L E S

Deimantas Narkevičius
Da capo. Fifteen Film
Edited by Marco Scotini
Edited by Virginie Bobin and Mathilde Villeneuve
H O R S   S É R I E S
For All We Know. Edited by Rivet (Sarah Demeuse and Manuela Moscoso)
The Psychopathologies
of Cognitive Capitalism
Edited by Warren Neidich
V O X   S E R I E S
A R C H I V E   K A B I N E T T
Beirutopia: Randa Mirza
in conversation with
Caitlin Berrigan
A R T I S T   T A L K
Published on the occasion of Carla Filipe’s show da cauda à cabeça (from tail to head), this monograph, the first ever dedicated to the artist, focuses on the project presented at Museu Coleção Berardo, with an essay by the curator Pedro Lapa, and a comprehensive documentation of the show. It also refers to a number of previous projects selected or especially created by Carla Filipe. The book features additional texts by Vít Havránek and Pedro G. Romero, and an interview with Stephan Dillemuth, contextualize both the artist’s work and this project in particular, which summarises to some extent the artist’s investigation into Portuguese railroads. The publication was conceptualised by Carla Filipe in close collaboration with Gonçalo Sena, who also designed it.

Carla Filipe
da cauda à cabeça

Conceived by Carla Filipe
and Gonçalo Sena

Texts by Stephan Dillemuth,
Vít Havránek, Pedro Lapa,
Pedro G. Romero

Edited by Nuno
Ferreira de Carvalho

Designed by Gonçalo Sena

Published in collaboration
with Museu Coleção Berardo

English / Portugese
Printed in 1000
Hardcover, 20,9 x 29,2 cm
252 pages, colours

ISBN 978-9-898239-38-9
As part of her ongoing research and residency at Archive, Caitlin Berrigan invites Randa Mirza to discuss her photographic series, Beirutopia. The two artists share a commitment to creating work around questions of art and feminism within public space, geopolitics, fictions, and speculative futures.
Since the end of the Lebanese civil war in 1990, Beirut has been striving to regain its glamor and splendor, with the goal of reconstructing the myth of a city commonly referred to as the Paris of the Middle East. Beirutopia is a portrait of Beirut’s urban future through speculated representations. It aims to raise questions about the devenir (becoming) of Beirut, and the projected future of the city.

Randa Mirza is an artist who seeks to transgress the normalization of social practices and to subvert the status quo. In the Lebanese context of a society under re(construction), her practice tends to give a voice to what is not represented.  

Caitlin Berrigan works as an artist across video,
performance, photography, sculpture, text and participatory public interventions to engage with the intimate social dimensions of power and politics.
Biography Elmgreen & Dragset
In conjunction with the exhibition ‘Elmgreen & Dragset – Biography’, two books, a reader and a picture book, are published to celebrate the artists’ almost twenty years of art-making. The picture book is published by Hatje Cantz and the reader by Archive Books. The two books will be launched at the Astrup Fearnley Museet in Oslo on August 14th at 7pm.

‘Biography’ is the first major exhibition in Oslo by Elmgreen & Dragset. The show presents a wide selection of works from the artist duo’s complex universe, including sculpture, performance and interactive installations. Works from the late 1990s onwards are shown together with recent projects, and all together they create a unique insight into the artists’ oeuvre.
Elmgreen & Dragset consider an exhibition to be a work of art in itself, with all its narrative, choreographic and social possibilities and 'Biography' will examine the very conditions of exhibiting. Works that initially arrived from very different contexts are here brought together and the new constellations of works generate altered readings and additional layers of meaning. When walking through the museum, one will experience environments which occur very realistic, just in order to end up in almost surreal and other worldly scenarios elsewhere in the exhibition. A durational live act is juxtaposed with a series of wall pieces, and existing sculptures find their place in the context of new site specific environments. Part of the museum’s main exhibition hall is transformed into a gay nightclub, where the public encounter the remnants of a party, witnessing an activity going on prior to the opening of the exhibition. Additionally, areas of the museum that are not normally used as exhibition spaces are included in Elmgreen & Dragset’s staging. Already in the museum’s cloakroom, the surprising elements that have been added to the existing architectural features will prepare the visitor for an exhibition that is also an immersive theatrical/filmic experience.

The exhibition at the Astrup Fearnley Museet is the first in a three-part exhibition series by Elmgreen & Dragset entitled 'Biography'. It will be followed by exhibitions at the National Gallery of Denmark in Copenhagen and at the Tel Aviv Museum of Art.
A B O U T   T H E   B O O K
Edited by Gunnar B. Kvaran and Kjersti Solbakken

With essays and interviews by Andrew Berardini, Iwona Blazwick, Susanne Christensen, Ruth Direktor, Bruce Willis Ferguson, Massimiliano Gioni, Martin Herbert, Shannon Jackson, Gunnar B. Kvaran, Quinn Latimer, Hans Ulrich Obrist, Marianne Torp

Designed by Archive Appendix

Published in collaboration with Astrup Fearnley Museet, SMK – National Gallery of Denmark and Tel Aviv Museum of Art

Printed in 2500
Softcover, 13.5 × 21 cm
240 pages, b&w

isbn 978-3-943620-18-4
foto 1-new-nn.jpg
Der Standpunkt der Aufnahme — Point of View
The Psychopathologies of  Cognitive Capitalism: Part Two
Eric Baudelaire Anabases
“Der Standpunkt einer Aufnahme ist bereits eine Stellungnahme zur Sache” – “Placing the camera means to have already taken a position on the cause,” Zurich video activists wrote in a text grappling with their role in the confrontation between the youth movement and the police in the “hot summer” of 1980. The article is an after-the-fact reflection on the activists’ own conduct on the streets and on the ways in which it changed during and because of the events. The authors are trying to come to grips with the ambivalent effects of holding a camera, of being observers, participants and representatives all at the same time. The unresolved physiognomy of this text informed an ongoing program, titled “Der Standpunkt der Aufnahme - Point of View”, which was launched at the cinema Arsenal in Berlin in October 2010 and is dedicated to the diversity with which artists and activists work politically with film and video today.
The book by the same title, edited by Tobias Hering and published in collaboration with Arsenal – Institute for Film and Video Art, is a direct outcome of the regular cinema sessions. It aims to extend and perpetuate a debate whose urgency, while bearing on constantly changing technical conditions and shifts in media agency, has never lost momentum. Contributions by artists and film makers participating in the program represent a variety of aesthetic and intellectual styles as well as different approaches to the questions at stake: What does it mean to work politically with film and video today, what does it entail, and what does it presuppose? How is the subjectivity of an artistic practice made to act and intervene in the political sphere?
The Psychopathologies of Cognitive Capitalism: Part Two is the second volume in a series which maps out the complex terrain of cognitive capitalism as an ontogeny in which its earlier phase has transitioned into a later phase that we are now beginning to experience. This volume collects together papers from a conference of the same name held at the Institute of Cultural Inquiry, Berlin, in the spring of 2013. The first part of the book delineates the recent emergence of characteristic psychopathologies of cognitive capitalism, which have resulted from the unique concatenation of social-political-psychological-economic relations that have produced distinct stresses and forms of derangement upon the factory of the brain. This leads to the second stream, referred to as “the cognitive turn” in cognitive capitalism. For example, as a result of the necessity for an efficient brain-mind to labor in the advanced and constantly accelerating conditions of the knowledge economy highly sophisticated and nuanced forms of attention have become compulsory well beyond what was considered essential in the older regimes of the modern. As such new dispositifs of normalization and governmentalization have arisen to, on the one hand, diffuse the attention necessary for multi-tasking, and on the other, to enhance the production of a hyper-attention. It is upon these and other similar conditions that this book concentrates. It calls for the identification of the causative factors of these psychopathologies as well as attempting to invent the counter conditions with which to thwart their emergence.

This book is the beginning of an antidiscursive discourse with which to create an emancipatory materialism produced not only in the world but in the brain as well.
“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)
A B O U T   T H E   B O O K
Edited by Eric Baudelaire Anna Colin

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

Designed by Regular

Published with
Centre d’art contemporain
la synagogue de Delme Commissaire
and Gasworks

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
Printed in 1200
Softcover, 16.5 x 23.5 cm
304 pages, colours

ISBN 978-3-943620-15-3
A B O U T   T H E   B O O K
Edited by Tobias Hering

With contributions Videoladen Zürich, Joanne Richardson,
Charles Heller, Raphaël Cuomo & Maria Iorio, Serge Daney,
Brigitta Kuster, dogfilm, Bärbel Schönafinger, Djibril Diop
Mambéty, bankleer, Jean-Marie Straub, Elke Marhöfer,
Mikhail Lylov, Sarah Vanagt, Robert Schlicht, Romana
Schmalisch, Miriam Aprigio, Raphaël Grisey, Avery Gordon

Designed by Archive Appendix
Published in collaboration with
Arsenal – Institute for Film and Video Art

English / German
Printed in 1500
Softcover, 17 × 23 cm
484 pages, b&w

ISBN 978-3943620146
A B O U T   T H E   B O O K
Edited by Warren Neidich

Texts by Ina Blom, Arne De Boever, Pascal Gielen, Sanford Kwinter, Maurizio Lazzarato, Karl Lydén, Yann Moulier Boutang, Warren Neidich, Matteo Pasquinelli, Alexei Penzin, Patricia Reed, John Roberts, Liss C. Werner, Charles T. Wolfe

Designed by Archive Appendix

Printed in 1500
Softcover, 11.5 x 18.5 cm
376 pages, b&w

ISBN 978-3-943620-16-0
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 and reception. Located in Berlin, Archive Kabinett is both a library/
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, Archive Journal 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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