Stretching the Archives Toward a Global Womenâs Film Heritage is the result of two years of networking, workshops, and conferences that aimed to bring together scholars, archivists, and filmmakers. The focus was on addressing gaps in our shared histories, with a particular emphasis on feminist cultural memory and film heritage in the Global South.
Who claims abstraction? What are the limits of abstraction? Are statelessness, dislocation and feelings of (un) belonging embodiments of an abstracted self that is in itself a work in progress? How could performance artâan artistic practice that places significant importance on presence and legibility of formâtransgress into the realm of the abstract and the illegible in an effort to protect the artistâs likeness while shedding light on what it means to be in their body in relation to this world?
Studies on Squats is an evocative exploration of embodied resistance and political movement that uses the multifaceted posture of the âAsian Squatâ as a lens through which broader concepts of migration, illness, and resilience are examined.
Metropolitan Voids Agency is the first monographic publication dedicated to the collected works of artist Margherita Moscardini. The book recounts the work carried out by Moscardini spanning seventeen years, between 2008 and 2024, inviting a reading of her practice in its entirety as an investigation into âurban voidsâ: those which Moscardini has recognized and designated as voids, or those she has herself invented in the urban fabric.
Afghanistan is my father's homeland. He was born in Kabul in 1945 and later moved first to France, then to Switzerland in the 1970s. In my mind, Afghanistan exists as a geography with blurred edges, something I feel the need to reconcile with. It's a place I've only ever known through stories, a source of memories that, over time, have shifted and become distorted.
Like Swarming Maggots: Confronting the Archive of Coloniality across Italy and Libya is Alessandra Ferriniâs first monograph. Featuring the artistâs long-term research on the colonial and neo-colonial relations between Italy and Libya through a critical engagement with the Italian âarchive of colonialityâ and its structural violence.
Art, Hope, Action: Creative Praxis in Pandemic Times brings together a diverse collection of artists, scholars, and activists to present an interdisciplinary and critical examination of hopeâs potential for form, method, and action. Drawing on materials from the exhibition After Hope: Videos of Resistance, the volume explores themes of solidarity, queer theory, environmental degradation, narratives of exile, resilience, resistance, and the possibility of escape â as well as return.
By the Means at Hand offers a look into Vlatka Horvatâs eponymous project, presented at the Pavilion of Croatia at the 60th International Art ExhibitionâLa Biennale di Venezia in 2024. Horvat invited some 200 international artists â friends and friends of friends, all living âas foreignersâ in different countries around the world â to exchange small-scale artworks with her, all made for the occasion. For every work she received, Vlatka sent to each artist a collage from the series she was making while in residence in Venice, using images of the city she has taken on her daily walks. All the artworks travelled to Venice and back via informal transport networks; in bags and suitcases of friends, acquaintances, and sometimes strangers enlisted as couriers for the project.Â
In a world where noise and silence perpetuate cycles of oppression and ecological destruction, Beneath the Surface invites us to pause, listen deeply, and use our voices to reclaim buried stories.
Between 1968 and 1988, the Tashkent Festival of Asian, African, andâââfrom 1976 onwardsâââLatin American Cinema was held in Tashkent, Uzbekistan.
This publication is the result of the Instituting edition of HKWâs New Alphabet School, Athens, June 2021, realized in cooperation between Haus der Kulturen der Welt Berlin, EIGHT/TO ÎΧ΀ΩâCritical institute for arts and politics Athens, and Goethe Institut Athens.
The book I Come from a Long Line of People Who Don't Use Words is a collection of poems by artist Tiziana La Melia, translated into Italian. It includes a selection of poems from her first two books of poetry and a new body of work titled The Simple Life, which focuses on collective healing through food preparation and magic culinary therapies.
Maison Gbegbe is a cultural center in Togo that aims to bring together different cultures, traditions, religions, and knowledge systems, and to create a space for exchange, reconcil- iation, and critical thinking. The project is a collaborative effort involving members of the Union des Cultes Traditionnels du Togo (UCTT) in Agouegan, LâAfricaine dâArchitecture, art&dialogue e.V., and a pre-configuration committee.
The Forgive Us Our Trespasses / Vergib uns unsere Schuld Reader explores radical and emancipatory significations and fabulations of trespassing, turning towards practices that transgress and reshape the boundaries of, among other dimensions, currency, governance, religion, spirituality, language, and artificial intelligence.
The Forgive Us Our Trespasses / Vergib uns unsere Schuld Reader explores radical and emancipatory significations and fabulations of trespassing, turning towards practices that transgress and reshape the boundaries of, among other dimensions, currency, governance, religion, spirituality, language, and artificial intelligence.
eBhishâ presents a chorus of voices on notions of Black social life, public communion and humanities of the Indian Ocean.