Category: Latest titles

Anouk De Clercq
Where is Cinema?

The book is compiled of portraits of film initiatives from around the world, interwoven with conversations with adventurers who have rebooted movie theatres or built them up from the ground, in the hope that it can be an inspiring compendium for future cinema builders, filmmakers, film curators and film lovers.

Earthrise. Ecological Visions
on Both Sides of the Wall

There is no question that ecological ideas acquired a central role in contemporary episteme. In contrast, the heuristic function that these ideas can assume in the current polarisation is questionable: that which, over the last decade, has identified the environmental crisis with the (categorical and totalitarian) concept of the Anthropocene.

Assaf Gruber
The Storyseller

Assaf Gruber’s films examine how art affects individuals who are not necessarily drawn to it. What may seem to be the unladen weight of culture, sometimes turns out to be its own rendering. The films’ plots emerge from their characters’ personal environments, addressing the manner by which personal stories become intertwined with political ideologies, and the way in which social relations between private and public spheres are shaped.

Companion 1
Rehearsing Hospitalities

Upon what kind of power structures of knowledge and knowing are contemporary art and artistic institutions dependent? Do practitioners in the art field reproduce oppressive Western epistemic paradigms through artistic practices and institutional structures, and if so, is there space for emancipatory ways of knowing? What are the ways that intersectional subjectivities open up new epistemic processes within the artistic field? These are among the questions and considerations that provide a critical lens for the 2019 Rehearsing Hospitalities programme.

Discoteca Flaming Star
Sticky Stage

Sticky Stage is an installation and a performance. It’s a rehearsal situation, carried by live music, including poems, songs, films and texts. This book gives evidence to Sticky Stage, specified on the basis of the case study at DISTRICT in Berlin. It is a path for future performances. This book is an archive of the performance and a documentation of what will be.

Warren Neidich
The Glossary of Cognitive Activism

This glossary is meant to accompany the three-volume publication The Psychopathologies of Cognitive Capitalism Part 1, 2 and 3. It reflects the concerns contained in those volumes. It marks the beginning of a long-term process of creating a dictionary of terms with which to understand and eventually destabilize the complex ways through which a future Neural Capitalism will work in creating contemporary forms of neural subsumption.

Universality and Particularity:
What is Asianness?

The publication of this book, Universality and Particularity: What is Asianness?, is not a trivial matter. It contains a small segment from the recent thinking of professor Naoki Sakai and professor Sun Ge. Together they elaborate on the transcendental perspectives that the notion of Asia could provide in terms of entering regional histories, and of re-examining the issues left out in the assumed relationship between universality and particularity.

普遍与特殊: 何为亚洲性?

《普遍与特殊:何为亚洲性?》这本小书的出版并非一桩小事。一方面,这本出版物包含了酒井直树教授与孙歌教授近期思想实践的一个小切片。他们共同阐述了亚洲的概念在研究我们的区域历史时可以提供的先验性视角,以及重新审视被广泛接受的普遍性与特殊性的关系中遗漏的一些问题。

Azin Feizabadi After Cinema. Fictions from
A Collective Memory

This book marks the ten-year anniversary of the project A Collective Memory by Azin Feizabadi. The project encompasses five narrative-driven films, alongside other artworks. Each film has its own urgency, approach, and point of departure. The films naturally vary in their subjects, they touch upon stories of migration, uprising, transformation, revolution, renewal, collapse, defeat, depression, and desire that connect the life of the artist with those around him. The research materials that have come up over the course of this project consist, on the one hand, of concrete historical events and, on the other hand, all the innumerable, fragmented personal memories spread between pats, presents, and futures that narrate every-changing stories of how things were, are, and may be.

Natascha Süder Happelmann Ankersentrum
(surviving in the ruinous ruin)

Natascha Süder Happelmann deals with what could be called ruinous spaces. Spaces that have created conditions or facts that are irreversible or irreparable. Natascha Süder Happelmann is of the opinion that some spaces are already ruins at the time of their creation. Their ruinous character is often already inherent in the idea behind them. It is precisely these spaces that Natascha Süder Happelmann seeks out in her quest for the unstable formations of possibility and survival. Throught her collaborative practice Natascha Süder Happelmann’s reassesses the conditions and spaces for artistic action and activates aesthetic research in political and social contexts.

Miracle Workers Collective A Greater Miracle of Perception

If people have been engaging with the possible “and the way the world is today is the result of the possible that they did,” then what would be the results of imagining and engaging with the impossible? —Miracle Workers Collective

’68NOWThe Kyiv International

This book is to be published fifty years after the events of ’68. The focus of the symposium, as is clear from the title, is concerned with both the discontinuities and the continuities between ’68 and our present situation, examined in a series of lectures organised by Vasyl Cherepanyn from the Visual Culture Research Center and with a contribution from tranzit.cz, in Kyiv.

Raphaël GriseySowing Somankidi Coura

Sowing Somankidi Coura. A Generative Archive is a long-term research endeavor initiated by Raphaël Grisey in collaboration with Bouba Touré. The project revolves around the permacultures and archives of Somankidi Coura, a self-organized cooperative along the Senegal river. The cooperative was founded in 1977 by a group of former African migrant workers and activists in France after the Sahel drought of 1973.

raumlabor
cantiere barca

Cantiere Barca is an experimental art and architecture project for public space that, between 2011 and 2013, involved dozens of people in actions of construction and place-making under the guidance of the architecture collective raumlaborberlin, in a neighbourhood at the farthermost northeastern corner of the city of Turin. In the years of endless crisis – in the economy, in politics, and in the environment – Cantiere Barca has fulfilled the demand for the identity and social recognition of a group of residents, breathing life into a workshop of shared creative practices and an exchange of knowledge, thus undertaking a journey from the urban periphery to the MoMA in New York. Cantiere Barca is also a case study, which has wit- nessed both success and failure, to ponder on the meaning of such concepts as collective, community, the common good, participation, responsibility, utopia, and future.

Being Together
Precedes Being

Being Together Precedes Being offers a text book for the project “The Kids Want Communism,” which was initiated towards the 99th anniversary of the Soviet Revolution of October 1917 as a series of exhibitions, symposiums and conferences, screening programs, publications and a summer camp. In this textbook, communism does not merely describe an “us versus them” relation, but also offers that we are becoming the future. This trajectory of communism runs parallel to us at every single moment and its guiding principle is that being together precedes being. 

Film in the Present Tense
Why can’t we stop talking about
analogue film?

This book brings together contributions from participants and guests of Film in the Present Tense – International Symposium on Current Developments in Analog Film Culture, held in Berlin. It reflects a contemporary discussion around the use, value and purpose of analogue film from a multiplicity of perspectives: artists, filmmakers, scholars, archivists, curators, technicians and manufacturers. Film in the Present Tense intends to provide a documentation of the collective momentum that characterized the symposium and it responds to the persistent desire to keep talking about analogue film.

homecomings 1,2,3,etc.

What is lost and what is found in the process of returning home? homecomings revisits, through varying means of translation, spatial and conceptual loci of homecoming within artistic practice. This publication draws its principle inspiration from the architectural and linguistic returns and repetitions punctuating artist Hreinn Friðfinnsson’s House Project and author Georges Perec’s Espèces d’espaces. Testing the concept of “homecomings” against a number of artistic practices, this volume grows out of an imperative to act according to the referentiality hallmarked in the conceptually rigorous works of Friðfinnsson and Perec. The collected contributions oscillate between self-referential modes—creating full-circle loops within singular practices—and far-reaching trajectories, gaining momentum and associations upon every rereading. Like Perec, many works call for an attuned presence, and in so doing, proffer a homecoming at the very site of reading.

Vangjush VellahuWhere stories
cut across the land

This is not an artist’s book about borders. Rather, it is an artist’s book about overcoming the influence of politics on the land within the borders of unrecognized or semi-recognized states. It is a document of the fragmented symptoms of the “Bosnian pot” character of governance, in which all components simultaneously complement and eliminate each other. This unsettling principle of governance, in which elements unable to withstand the pressure collapse, while those that are more powerful survive (and are subsequently absorbed within the system), has been known for many centuries. By not taking sides, what this book highlights, from a bird’s-eye view, are the contrasts and conflicts provoked by contemporary attempts at preserving a semblance of safety within those borders. Unfortunately, many of these attempts did, and continue to, constitute crimes.