Category: Titles

Sedje Hémon – Emotion of Spirits

Sedje Hémon – Emotion of Spirits

Sedje Hémon (1923-2011) dedicated her life to showing the common origin and intersectionality of all arts and sciences, culminating in the development of a theory for the “integration of the arts.”

Imran Mir – A World that is not Entirely Reflective but Contemplative

Imran Mir – A World that is not Entirely Reflective but Contemplative

Imran Mir's (1950-2014) oeuvre can be interpreted as a constant refusal to provide comprehensive elaboration beyond what one experiences. The act of contemplation is a guiding principle to interpreting Imran Mir’s work, an approach that reverberates into a practice that grew out of conversations with a community of artists, activists, poets, relatives, and other thinkers in Karachi.

Abdias Nascimento  – Being an Event of Love

Abdias Nascimento – Being an Event of Love

Abdias Nascimento (1914-2011) was a story-teller whose mediums of expression embraced as many forms as they could, borrowing the paths at hand to communicate ideas and reflect on the urgencies of his time and place.

Contested Landscapes

Contested Landscapes

Contested Landscapes is dedicated to different rural regions—their landscapes, their producers, and their work. The paths of the family of the artist Sandra Schäfer and those of the famous German photographer August Sander cross in the Westerwald, a rural area in Germany shaped by farming and mining.

Afro-Sonic Mapping

Afro-Sonic Mapping

From his longstanding engagement to “un-mute” colonial sound collections captured during the European colonial period, Satch Hoyt’s practice has been dedicated to intervene those collections and awake their sonicity, releasing phonogram recordings and instruments of different regions in Africa from the museological silence. For Hoyt, the sonic opens a portal to the acoustic mappings of history – testimonies of enslavement, resistance, empowerment and liberation, and also the amalgamations of today and the future.

Lerato Shadi

Lerato Shadi

We are delighted to be able to introduce Lerato Shadi’s first monograph. In her work, it is the marginalized that Shadi puts centre stage, negotiating bodies discriminated against in racist, sexist or classist ways, along with the experiences inscribed in them. Employing different media, Shadi addresses issues of institutional violence, patriarchal and colonial strategies of exclusion and erasure but also highlights resistant subjective narratives.

Re-enchanting the World

Re-enchanting the World

Re-enchanting the World is a publication accompanying Małgorzata Mirga-Tas’s exhibition of the same name, shown in the Polish pavilion at the 59th Venice Biennale. The exhibit is Mirga-Tas's manifesto on Roma identity and art, drawing inspiration from the Renaissance frescoes of the Palazzo Schifanoia in Ferrara and thus attempting to expand the European iconosphere and history of art with representations of Roma culture.

Pandora’s Box

Pandora’s Box

Pandora's Box explores the form of conversation as a method of aesthetic solidarity and empowerment. As an online platform it collects and archives talks, stories, discourses and struggles to re-value and constantly reboot practices of solidarity. The conversations and texts published in this first Volume are starting and connecting points creating a web of support, exchange and dispersion being a catalyser for planetary solidarity and imaginary and real material nanocommunities.

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.

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?

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.

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.

Igor Zabel: Inexplicable Presence

Igor Zabel: Inexplicable Presence

This catalogue presents the exhibition Inexplicable Presence (Curator’s Working Place) curated by Igor Zabel at Ljubljana’s Moderna galerija/Museum of Modern Art in 1997 and at the Celje Gallery of Contemporary Art in 1998. The posthumous publication emerges from the recent finding of an outline of the catalogue that Zabel intended to self-publish.