Category: Latest titles

Pamphlet 1
Bonaventure Soh Bejeng Ndikung
Those who are dead are not ever gone

The institution of the ethnological museum or world museum seems to be in the midst of a serious crisis of choking. The delicacies that most of these museums have acquired, which is to say co-opted, which is to say ingested, seem to have collectively missed the track to the oesophagus and got stuck in the respiratory tract. They have been stuck there for as long as the history of mass collections, acquisitions and looting, for as long as the ruthless and ongoing extraction of cultural property has occurred in the former colonies outside of Europe. A twelve-act essay on the maintenance of supremacy, the ethnological Museum and the intricacies of the Humboldt Forum. 
First published in the tenth issue of South as a State of Mind.

Pamphlet 1
Bonaventure Soh Bejeng Ndikung
Ceux qui sont morts ne sont jamais partis

L’institution du musée ethnologique/musée du monde semble traverser une véritable crise d’étouffement. Les mets délicats acquis, ou plutôt cooptées, pour ainsi dire ingérées par la majorité de ces musées, semblent avoir été dépistés de la route vers l’œsophage et s’être coincés dans les voies respiratoires. Toutes ces choses y sont coincées depuis l’acquisition – le pillage – de ces objets. En somme, depuis l’impitoyable déracinement des biens culturels qui perdure jusqu’à nos jours dans les anciennes colonies hors d’Europe. Un essai en 12 actes sur sur la préservation de la suprématie, le Musée Ethnologiques et les complexités du Forum Humboldt. Publié pour la première fois en Anglais dans le dixième numéro de South as a State of Mind.

Pamphlet 1
Bonaventure Soh Bejeng Ndikung
Die gestorben sind, sind niemals fort

Die Institution des Ethnologischen Museums scheint sich in einer ernsten Krise des Erstickens zu befinden. Die Delikatessen, welche die meisten solcher Museen meist unter zweifelhaften Bedingungen erwarben, mit anderen Worten genossen und verschluckt haben, scheinen kollektiv den Weg in den Oseophagus verpasst zu haben und blieben stattdessen im Atmungsapparat stecken. Sie hängen dort schon so lange fest, wie die Geschichte von Massensammlungen, Erwerbungen, Plünderungen; so lange wie der rücksichtslose und fortwährende Abbau von Kulturgut in den ehemaligen Kolonien außerhalb Europas bereits andauert. Ein zwölfaktiges Essay über die Aufrechterhaltung der Vormachtstellung, das Ethnologische Museum und die Verwicklungen des Humboldt Forums. 
Erstveröffentlichung in Englisch in South as a State of Mind, zehnte Ausgabe.

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。

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.

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.

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.