Force Times Distance. On Labour and its Sonic Ecologies

Force Times Distance. On Labour and its Sonic Ecologies

Amidst everything that has and is still going on, what is silenced and what rever- berates? What is revealed and what is ignored? Is solidarity resonating? Do we perceive its echoes while some people keep being denied breath? The curatorial framework of sonsbeek20→24, centered around labour and its sonicities, connects a millenary history crossing times and geographies to the present moment, through a multi- tude of voices, sounds, and ripples.

Force Times Distance. On Labour

Force Times Distance. On Labour

This reader is a culmination of direct and tangential deliberations on labour. Notions of labour appreciated across geographies and mediums. Newly commissioned textual manifestations in a multilogue with historical positions. The reader could be perceived as a negotiation of positions, as the strive towards utterances, towards becoming.

School of Waters

School of Waters

Mediterranea 19—School of Waters imagines a Biennale as a temporary school inspired by radical and experimental pedago- gies and the way they challenge artistic, curatorial, and research formats. From this standpoint, School of Waters acts as a collective tool to defamiliarise stereotypes that manipulate our geographical imaginaries, especially those linked to the eurocen- tric interpretation of the Mediterranean area. 

Electric Brine – Virtual Book Release

12.06.2021, 7pm UTC+2

Archive Books invites you to gather and delve into the poetry and critical essays of six women working with emergent debates surfacing in the environmental humanities around fluids.
The online conversation brings together three of the book’s contributing authors: theorist, critic, and translator Sophie Lewis, essayist Esther Leslie, and poet Lisa Robertson. On this occasion they will dive into the nuanced expositions of substance and form, and the manifold literary and scientific “fabulations” around material transfer and flow in relationship to their writing and current research. Editor Jennifer Teets will moderate the evening and hold a conversation with co-editor Elise Hunchuck on the publication’s“metabolic digestion of text” per its design and layout, as well as a detailed account of The World in Which We Occur live event series and its associated online study group Matter in Flux. Matter in Flux members will join the Q&A in a lively unraveling of the state of material politics today in discussion with the authors. 

SAVVY Books series
A Launch Quartet

The publications in this series reflect, expand, and document the activities of the research, discursive, performative, and curatorial projects of S A V V Y Contemporary | The Laboratory of Form-Ideas. Savvy Books aims at promoting epistemological diversity, resonating with Boaventura de Sousa Santos’s claim that “Another Knowledge is Possible.” By acknowledging the limits and faults of academic disciplines and advocating for processes of unlearning, our effort is thus to create a platform which encourages extra-disciplinary knowledges and promotes the thinking and writing of authors, artists, philosophers, scientists, and activists whose practices challenge Western epistemologies: looking towards epistemic systems from Africa and the African diaspora, Asia-Pacific, the Middle-East and Latin America.

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.


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Laura Horelli
Changes in Direction
– a Journal


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. Her films transform the archive into a space – and publication – of reflective engagement. The artist’s compilation of research, interviews and discussions in this bilingual German-English volume are enriched by contributions by the Namibian performance artist Nashilongweshipwe Mushaandja, the German curator-theorist Doreen Mende and the Finnish writer Olli Löytty.

Bonaventure Soh Bejeng Ndikung
The Delusions of Care

Stronger Than Bone
Edited by Defne Ayas, Natasha Ginwala,
and Jill Winder

Pianificazione fuggitiva
e studio nero

Stefano Harney
e Fred Moten

Una voce perentoria ci richiama in ogni momento a essere responsabili, efficienti, professionali. Anche i beni comuni sono stati colonizzati, l’università è una catena di montaggio e siamo costantemente in debito verso chi ci richiama all’ordine. Alla proliferazione della logistica capitalista e alle mutazioni odierne del controllo sociale, Stefano Harney e Fred Moten rispondono con questa raccolta di saggi che ci invita a sperimentare nuove forme di socialità nell’antagonismo generale. Attraversando le teorie e le pratiche della tradizione radicale nera e del post-operaismo, gli autori propongono un ampliamento dello spettro del pensiero socio-politico contemporaneo e della critica estetica, negli Stati Uniti e non solo. Il loro è «un intervento necessario e potente che ci invita a immaginare e a comprendere diversamente la vita sociale» (Denise Ferreira da Silva), dove «il grido di lotta non è mai distante» (Sandro Mezzadra). Undercommons è un manifesto d’amore, sospeso tra teoria e poesia, musica e sovversione, per la fondazione di una nuova società.

Untranslatable Terms of Cultural Practices – A Shared Vocabulary

Edited by Elke aus dem Moore for Akademie Schloss Solitude


The publication  Untranslatable Terms of Cultural Practices is published on the occasion of the 30th anniversary of the international and transdisciplinary artist residency Akademie Schloss Solitude. The publication brings together 22 contributions by authors from the international network of Akademie Schloss Solitude.

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. The Shared Vocabulary presents an expanded cultural and etymological understanding of the world and our cultural actions. This publication makes global knowledge systems visible and promotes the accessibility of valuable everyday practices.

A series with and around
Med Hondo

A pioneer of African cinema and author of an uncompromising 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. This three-part publication dedicated to his cinema and legacy. 1970—2018 Interviews with Med Hondo, On the Run, Perspective on the Cinema of Med Hondo and Das Kino von Med Hondo / Le cinéma de Med Hondo was published in the frame of the film research, festival and exhibition project Cours, cours, camarade, le vieux monde est derrière toi—Run, comrade, run, the old world is behind you—The Cinema of Med Hondo. To read Med Hondo opens us up to many perspectives: to his work and its time-historical contexts, to his interests and obsessions, to his standpoint with regard to the intertwining of politics, economics, and culture.


We are running into a great danger, my brothers, if we are not careful, this precious and cultural instrument of information, enjoyment, struggle represented by the cinema is slipping through our fingers forever.

—Abid Med Hondo, Les bicots nègres vos voisins, Prologue, 1978

China as an Issue

Artistic and Intellectual Practices Since the Second Half of the 20th Century

Listen to Carol Yinghua Lu in conversation with Archive Books’ editor Paolo Caffoni. They talk about “having to explain oneself” when confronted with expectations, language and translation, the illusion of the art market in China, the process of depoliticisation after 1989, nationalism and self-criticism, looking for complicity and alliances, contemporary art and the Cultural Revolution.

China as an Issue is an ongoing lecture series organized by the Beijing Inside-Out Art Museum since 2018. Chinese scholars are invited to discuss topics related to China or the world, as well as foreign scholars to speak about China or international questions involving the subject of China. Through rigorous scrutinization of a specific issue we try to avoid making generalizations as well as the parochial tendency to reject extraterritorial or foreign theories in the study of domestic issues. The attempt made here is not only to see the world from a local Chinese perspective, but also to observe China from a global perspective. By calling into question the underlying typology of the inside and the outside we consider China as an issue requiring discussion, rather than already having an established premise.

Japanese Expanded

Cinema and Intermedia:
Critical Texts of the 1960s

Edited by Ann Adachi-Tasch,
Go Hirasawa, Julian Ross

Produced by
Collaborative Cataloging Japan

With contributions by Go Hirasawa, Ann Adachi-Tasch, Julian Ross, Adachi Masao, Iimura Takahiko, Ishiko Junzō, Ishizaki Kōichirō, Jōnouchi Matoharu, Manabe Hiroshi, Matsuda Masao, Miyai Rikurō, Ōe Masanori, Satō Jūshin, Tone Yasunao.

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.

Despite the burgeoning interest in academic and curatorial circles in this segment of Japanese art history, the paucity of readily available material in a language other that Japanese has meant the local context, particularly the ways in which the terms were critically debated, was relatively neglected.

Through these translations, our hope is that Japanese debates on intermedia can contribute to international discourse, and that works of Japanese Expanded cinema can be preserved, reenacted and analyzed with these discussions.

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. In a post-partum diary, Lara Khaldi makes audible the everyday exhaustion and disregard that comes with being a new mother; Mirene Arsanios and Nikki Columbus discuss the impact of the absence of legal or social protection for mothers; Basma Alsharif walks us through the difficulties of navigating the demands of different social contexts; Mary Jirmanus Saba pre-occupies at home with a flimsy maternity blog; And Mai Abu ElDahab put propositions on the table for how to deal with all of this.

Why Call in Labor?

On Motherhood and Art Work

Edited by Mai Abu ElDahab

Contributions by Mai Abu ElDahab, Lara Khaldi, Mary Jirmanus Saba, Mirene Arsanios and Nikki Columbus and Basma Alsharif

Co-published with Mophradat


Boris Buden

Transition to Nowhere

Art in History
after 1989

Bonaventure Soh Bejeng Ndikung

In a While or Two
We Will Find the Tone

Essays and Proposals,
Curatorial Concepts,
and Critiques

Nicoline van Harskamp

My Name is Language

Edited by Achim Lengerer

Co-Published with SCRIPTINGS


Political Scenarios publishes carefully selected scripts and texts by artists that refer neither to academic forms nor to purely literary forms of writing, but rather embed “text” as a fully integral part of contemporary political and visual art practice. Scriptings: Political Scenarios is edited by artist Achim Lengerer, and published as an imprint at Archive Books,and digitally at EECLECTIC – Digital Publishing for Visual Culture.

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.

Central to this book are scripts by Nicoline van Harskamp, for the video work PDGN and a series of staged works titled My Name Is Language. A scholar of literary arts and performance culture, Avishek Ganguly reflects in his essay “Global Englishes, Rough Futures” on questions of translation, incomprehension, and untranslatability in van Harskamp’s work. The book also includes a list of text-change algorithms that van Harskamp calls “distorters” and an excerpt from Woman on the Edge of Time (1976) by Marge Piercy.