1970—2018 Interviews with Med Hondo

1970—2018 Interviews with Med Hondo

1970—2018 Interviews with Med Hondo, the first volume in a three-part publication, brings together seventeen interviews conducted with Med Hondo over a period of almost half a century, most of the interviews originally published in French were translated into English. The book originated in the long-term project Cours, cours, camarade, le vieux monde est derrière toi—Run, comrade, run, the old world is behind you—The Cinema of Med Hondo.

On the Run

On the Run

A pioneer of African cinema and author of an uncompromising, strong and diverse oeuvre, we have come to know Med Hondo over the decades as one who simultaneously gazes, belligerently and attentively, sharply, passionately and ironically, deep into the past, precisely at the present, but also far into the future. On the Run. Perspectives on the Cinema of Med Hondo, second in a series of three, features contributions that pay tribute to Med Hondo’s films.

Das Kino von Med Hondo

Das Kino von Med Hondo

This publication is the third of a series that aims to pay tribute to Med Hondo’s cinema and to reinvigorate interest in his films. It consists of twenty two essays and interviews in French and German, published in their original language. The book originated in the long-term project Cours, cours, camarade, le vieux monde est derrière toi—Run, comrade, run, the old world is behind you—The Cinema of Med Hondo.

Untranslatable

Untranslatable

Untranslatable proposes a new vocabulary of terms that remain untranslated in their original language. These are words that convey cultural practices, attitudes and value systems and are explained from their respective language and word canon. Terms are presented that broaden perspectives, facilitate new perspectives, and thus enrich collective thinking as a global community.

Stronger Than Bone

Stronger Than Bone

Stronger than Bone draws upon the embodied strength, intuitive desires, and collective wisdom of feminists and non-binary protagonists to foreground the manifold dimensions of feminist politics and commitments. Written by thinkers and allies across generations with a focus on heterogeneity, intersectionality, and influence across geographies, this reader arrives into the world at a moment of heightened fragility, under the shadow of the coronavirus pandemic.

The Delusions of Care

The Delusions of Care

The Delusions of Care is a culmination of three long essays that ruminate on notions of care in our contemporary and historically. It is concerned with the appropriation of care by the capitalist establishment as much as supremacists of all kinds. What can we consider as care and who gives care for what reasons.

Changes in Direction

Changes in Direction

Changes in Direction – a Journal provides multivocal and transnational African-European statements to current decoloniality debates from different perspectives. The Finnish-German artist Laura Horelli engages with the traumatic and complex histories of colonialism and international solidarity between East Germany, Finland and Namibia, staging micro-historical interventions in public spaces.

U L T R A S A N I T Y

U L T R A S A N I T Y

Dieses Buch legt eine Auswahl von Worten, Arbeiten und Bildern offen, die es geprägt, angestiftet und verkörpert haben. Es wurde nicht einfach als ein Ausstellungskatalog realisiert, sondern als eine Publikation die einen Rechercheverlauf nachverfolgt, als eine Gelegenheit SAVVYs kuratorischen Vorschlag um eine zusätzliche chorale Perspektive zu erweitern.

U L T R A S A N I T Y

U L T R A S A N I T Y

This publication unfolds as a collection of words, works, and images that informed, incited, and embodied SAVVY Contemporary’s project Ultrasanity. On Madness, Sanitation, Antipsychiatry, and Resistance, an exhibition and research project on the elasticity of sanity. 

We Have Delivered Ourselves From the Tonal

We Have Delivered Ourselves From the Tonal

We Have Delivered Ourselves from the Tonal — Von, mit, zu, über Julius Eastman ist eine Auswahl von Essays, Libretti, Liedtexten, Erinnerungen, Fotos und persönlichen Anekdoten von Musiker*innen, bildenden Künstler*innen, Forscher*innen und Archivar*innen, die dem Werk und Leben des afroamerikanischen Komponisten, Musikers, Performers und Aktivisten Julius Eastman Ehre erweisen. 

We Have Delivered Ourselves From the Tonal

We Have Delivered Ourselves From the Tonal

We Have Delivered Ourselves from the Tonal — Of, Towards, On, For Julius Eastman is a collection of essays, librettos, lyrics, memories, photos, personal anecdotes by musicians, visual artists, researchers and archivers that pays homage to the work and life of African-American composer, musician, performer, activist Julius Eastman. 

Whose Land Have I Lit on Now?

Whose Land Have I Lit on Now?

The unlikely seemed possible in the summer of 2015, as thousands of immigrants from mostly Syria made their way to Germany and Angela Merkel made the statement “Wir schaffen das” (We can do it/ we can cope with it). A German's venture into open hospitality was being witnessed as the country celebrated its newfound “Willkommenskultur.”

I Will Draw a Map of What You Never See. Endeavours in Rhythmanalysis

I Will Draw a Map of What You Never See. Endeavours in Rhythmanalysis

A gathering of the echoes, memories and findings after three years of research, performances, exhibitions and conversations within the project That, Around Which The Universe Revolves. On Rhythmanalysis of Memory, Times, Bodies in Space. This publication brings together visual artists, urbanists, writers, photographers, performers, poets, and theorists to investigate the interrelations of space and time, memory, architecture and urban planning through and beyond Henri Lefebvre’s concept of Rhythmanalysis.

Ich Zeichne Eine Karte Von Dem, Das Du Nicht Siehst

Ich Zeichne Eine Karte Von Dem, Das Du Nicht Siehst

Eine Ansammlung von Echos, Erinnerungen und Erkenntnissen aus drei Jahren Forschung, Performances, Ausstellungen und Gespräch im Rahmen von That, Around Which The Universe Revolves. On Rhythmanalysis of Memory, Times, Bodies in Space. Henri Lefebvres Konzept der Ryhthmusanalyse durch- und weiterdenkend, bringt diese Publikation Künstler*innen, Stadtplaner*innen, Schriftsteller*innen, Photograph*innen, Performer*innen, Dichter*innen und Theoretiker*innen zusammen, um die Beziehungen zwischen Raum und Zeit, Erinnerung, Architektur und Städteplanung zu untersuchen.

How Does The World Breathe Now?

How Does The World Breathe Now?

The film series conceived of by SAVVY Contemporary, which ran from September 2016 through March 2018, was a response to our own dismay at the continued injustices that the world faces. Each week SAVVY invited a different speaker who would choose a film that she or he felt answered, or asked more questions of, the question, “how does the world breathe now?”

Why Call it Labor?

Why Call it Labor?

Why Call It Labor?comprises four essays and one conversation with contemporary artists and curators discussing their experience of becoming mothers as professionals in the arts, its reality and effects. While their reflections represent a similar strata of art worker in terms of background, class, and career trajectory, the impact of instruments of patriarchy on rendering maternity invisible that they describe is recognizable and insidious.

Rehearsing Hospitalities. Companion 2

Rehearsing Hospitalities. Companion 2

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.

Beyond Repair

Beyond Repair

Today, after Post-Communism has ended in chaos and confusion, we are entitled to ask: was it a condition, or a transition; a rise or a decline; progression, regression or simply a time-lag? Has it ever shaped its own form of social being, a unique mode of economic production, a politics of its own, a culture? Or was it just another interregnum of history, full of morbid symptoms we cannot get rid of?

My Name is Language

My Name is Language

The publication My Name Is Language (2020) explores the key tenets of artist Nicoline van Harskamp’s research and practice, such as the contemporary use and modification of languages, a treatment of names as spoken language rather than spelled identity markers, and the practice of self-naming. In the fictive worlds represented in this book, society is not centralized, not oversized, and self-naming is brought forward as a form of self-empowerment and resistance.

Transition to Nowhere

Transition to Nowhere

Today, after Post-Communism has ended in chaos and confusion, we are entitled to ask: was it a condition, or a transition; a rise or a decline; progression, regression or simply a time-lag? Has it ever shaped its own form of social being, a unique mode of economic production, a politics of its own, a culture? Or was it just another interregnum of history, full of morbid symptoms we cannot get rid of?

In a While or Two We Will Find the Tone

In a While or Two We Will Find the Tone

Bonaventure Soh Bejeng Ndikung’s expanded curatorial practice delineates the space of exhibition making as a space of critical thinking and of experimentation. By proximity, the texts in this anthology, echo each other, resonate with each other, interfere with each other, and present perspectives on the political, poetic, and philosophical potentials of exhibition making, beyond the tight corset of the discipline itself.

Jane Jin Kaisen. Community of Parting

Jane Jin Kaisen. Community of Parting

Community of Parting is an extension and continuation of Jane Jin Kaisen’s artistic practice. Kaisen brings past and present, the eternal and the temporal into play through layered, performative and multi-voiced, feminist works that explore topics such as memory, war, migration, and borders in a field where individual experiences and collective stories intersect. Her works negotiate and mediate the means of representation, resistance and reconciliation, thus forming alternative genealogies and sites of collective emergence.

Japanese Expanded Cinema and Intermedia

Japanese Expanded Cinema and Intermedia

Intermedia and Expanded Cinema, both as critical approach and artistic practice, left an indelible mark in a period of Japanese art history that is broadly considered to be one of its most dynamic moments in the wake of its postwar reemergence. Rather than assuming the interpretations of the terms were the same as their counterparts abroad, we decided to commission translations of a selection of key texts that we felt were instrumental in shaping the specific discourse around these terms.

Scriptings#47 Man schenkt keinen Hund

Scriptings#47 Man schenkt keinen Hund

Die Publikation zu dem Ausstellungsprojekt „Man schenkt keinen Hund“ setzt sich in Zusammenarbeit mit Künstler*innen, Autor*innen, Kunstvermittler*innen, wie Dozent*innen und Kursteilnehmer*innen von „Integrationskursen“ mit dem herrschenden Integrationsimperativ auseinander und untersucht, wie sich dieser in den vom Bundesamt für Migration und Flüchtlinge autorisierten Lehrwerken für „Integrationskurse“ für Zuwander*innen pädaogogisch niederschlägt. Die Publikation ist als Reader in einem offenen „diskursanalytischen“ Sinne angedacht.

Not Working

Not Working

This book is published on the occasion of the exhibition Not Working, Artistic production and matters of class at Kunstverein München from September 12 until November 22, 2020. It includes contributions that form a theoretical, literary, and poetic extension of exhibition bringing together international artists, theorists and writers who in their work examine the interdependence of artistic production and social class. 

Please Rewind. German-Turkish Film and Video Culture in Berlin

Please Rewind. German-Turkish Film and Video Culture in Berlin

Along with labor migration from Turkey, Turkish film culture has, over the years, established itself in West Berlin. Starting with screenings of Turkish films in Berlin cinemas, the video cassette conquered the market in the 1980s. Video nights became important family events; the video rental industry was booming. In addition to the import of videos from Turkey, videos which examined experiences of migration and ques- tions of identity were also produced in Germany. This publication is dedicated to the re-discovery of the German-Turkish film and video culture which continues to shape the post-migrant society to this day.

Bitte zurückspulen. Deutsch-türkische Film- und Videokultur in Berlin

Bitte zurückspulen. Deutsch-türkische Film- und Videokultur in Berlin

Mit der Arbeitsmigration aus der Türkei etablierte sich über die Jahre auch die türkische Filmkultur in Westberlin. Angefangen mit Vorführungen türkischer Filme in Berliner Kinos, eroberte in den 1980er Jahren die Videokassette den Markt. Videoabende wurden zu wichtigen Familienevents, das Video-Verleih- geschäft boomte. Neben dem Import von Filmen aus der Türkei wurden auch in Deutschland Videos produziert, in denen Migrationserfahrungen und Identitätsfragen thematisiert wurden. Diese Publikation widmet sich der Wiederentdeckung dieser deutsch-türkischen Film- und Videokultur, welche die postmigrantische Gesellschaft bis heute prägt.

wild recuperations. material from below

wild recuperations. material from below

Dissident practices and sociabilities of the late GDR unfolded in a present that was largely detached from any utopian future. Their traces are alive in the memory of those involved in the cultural and political underground at the time and in numerous materials and documents held in archives and collections. This book is the result of a transdisciplinary research process that brought artists, researchers, writers, curators, archivists, activists, and multiple interlocutors together at the Archive of the GDR Opposition in Berlin.

wildes wiederholen. material von unten

wildes wiederholen. material von unten

Die Erfahrungen des gemeinsamen widerständigen Lebens in der von jeder utopischen Zukunft gelösten Gegenwärtigkeit der späten DDR harren noch immer einer differenzierten Bearbeitung. Ihre Spuren sind in der Erinnerung der damals Involvierten und in zahlreichen Dokumenten und Materialien in Archiven und Sammlungen aufgehoben. Dieses Buch ist das Ergebnis eines vielstimmigen und transdisziplinären Arbeitsprozesses von Künstler*innen, Autor*innen, Forscher*innen, Kurator*innen, Archivar*innen, Aktivist*innen und weiteren Gesprächspartner*innen im Archiv der DDR-Opposition.

Conversing with Leaves

Conversing with Leaves

Dialogue forms the basis of everything in my artistic practice. I never work in a vacuum, never just in my head or shut away in a studio. I always view myself as being in a dialogue with the world, with others. I travel a lot for my work and I’m dependent on people to talk with locally, on hospitality and collaboration. For some time, I’ve also been interested in the way we can understand plants as actors in history, in other words, not just as passive extras. Of course, plants don’t talk in words, but they are still communicating through smells, colours, or toxins. So conversations always take place on various levels.

Peace with the Earth — Tracing Agricultural Memory, Refiguring Practice

Peace with the Earth — Tracing Agricultural Memory, Refiguring Practice

The artistic enquiry presented in this book responds to the call, made by two Swedish suffragettes and peace activists Elisabeth Tamm (1880–1958) and Elin Wägner (1882–1949) in their pamphlet Fred med Jorden (Peace with the Earth, 1940). Grounded in research into agricultural practices on the Swedish island of Gotland in the Baltic Sea, the quotations, documents and photographs of dead and living matter presented in this book testify to ways of living off the land.

Peace with the Earth

Peace with the Earth

The pamphlet Peace with the Earth was published by the Swedish suffragettes and peace activists Elisabeth Tamm and Elin Wägner in 1940, after the outbreak of the Second World War. Elisabeth Tamm served as one of the first women in parliament and was an organic farmer. Elin Wägner worked as a writer and activist on matters of women’s rights, peace, and ecology, and was a member of the Swedish Academy. The authors’ observations and proposals connect questions of agriculture to those of custody of land and habitats, where the ‘arrogant desire’ to own land must be overcome.

Archive Journal n°9

Archive Journal n°9

This issue was initiated by visual artist, researcher and amateur plant breeder Åsa Sonjasdotter to accompany her exhibition and seed propogation project at Project Arts Centre (PAC), Dublin. In collaboration with practitioners of cultivation, the project 'Peace with the Earth – Tracing Agricultural Memory, Refiguring Practice' revisits histories of agriculture. It investigates soil, habitat and dwelling histories, in order to challenge and transform long-established cultural narratives of cultivation and ecological thinking.

Earthrise

Earthrise

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. Ecological discourse positioned itself inside historically situated trajectories that contributed to the transformation of aesthetical paradigms and political practices. In the scenario that 1968 opened up, the transversal nature of subjectivity allowed it to cover different fields, beginning with the tension between the logic of a unitary discourse and the creation of a multiplicity of possible worlds, between the molar and the molecular, the micro and the macro.

Grow it Yourself

Grow it Yourself

There is no question that ecological ideas have by now 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. […] Nonetheless, if it is true that the concept of the Anthropocene has its origins in this “change in state” of human activities, the impression remains of being witness to a new form of universalizing anxiety (impatience) that is ready to re-establish and recapture the ecological discourse within a to- talitarian and centralizing narrative, in a sort of modernist, meta-narrative to whose liquidation the environmentalism of the 1960s and 1970s (with its movement-based and destituent nature) had contributed.