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This publication is the result of the Instituting edition of HKW’s New Alphabet School, Athens, June 2021, realized in cooperation between Haus der Kulturen der Welt Berlin, EIGHT/TO ΟΧΤΩ—Critical institute for arts and politics Athens, and Goethe Institut Athens.
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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.
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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, L’Africaine d’Architecture, art&dialogue e.V., and a pre-configuration committee.
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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.
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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.
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eBhish’ presents a chorus of voices on notions of Black social life, public communion and humanities of the Indian Ocean.
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The photographer, the wanderer, glides softly in the crush of the everyday, stepping out onto awkwardly paved sidewalks, weaving through crowds, seeking out moments of quiet serendipity. It’s in happenstance, coincidence, that the magic becomes immanent, the constantly weaving, liminal threads taking shape, becoming momentarily visible, forming into occurrences that vibrate, are.
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A dense collage of both critique and transformative artistic practices, the book is a unique contribution to the debate on socially engaged art.
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Publication with radio texts by Anna Bromley. Reflections with invited artists, activists and researchers on language and voice in the context of sound, politics and everyday life.
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Majnoon is an oil field in the global south. Majnoon is also the violence, and the state of mind that survives the violence. How can this be a field guide in any customary sense? Latitudes have been taken. Words are written in disruptedor troubled syntax. Rather, this book proceeds alongsidea search for what many call emancipatory practice; to beenacted in the field, where we feel most alive.
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Das BOM Magazin, die Publikation zum Projekt Ballett der Massen am Haus der Kulturen der Welt (HKW), greift seltene Perspektiven auf Fußball als Spannungs- und Entspannungsfeld auf.
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The BOM Magazine, the publication for the Ballet of the Masses project at Haus der Kulturen der Welt (HKW), focuses on rare perspectives on football as a field of both tension and relaxation.
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It is unclear where ghost stories begin and where they end. On a wildflower-lined gravel track off a quiet thoroughfare… retraces them as ghost histories that move beyond incantations of superstitious provenance, to recognise ghosts as agitators of social memory insisting on unresolved grievances.
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A collective publication resulting from a research project led by Sophie Orlando and Katrin Ströbel that takes as its starting point the way in which current geopolitical, economic and social changes induce a renewal and adjustment of artistic strategies, by investing, in an intersectional perspective, contextual thinking and feminist, queer and postcolonial thinking in an artistic and conceptual way.
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Steeped in the living of rupture, the strength and fragmentation of memory, and the layering of life and art-making, Night Heron weaves together two parallel stories of women artists. Twenty-first century Bengali-American artist, Pakhi, floats through the world on a non-quest that takes her to New York City, Berlin, and Bujumbura; nineteenth century Bengali writer, Mrinalini, lives in a joint family home in a declining Lucknow, persistently finding time and space to write. At the heart of the novel is Pakhi’s choice to leave her son, an uneasy decision that is mirrored in Mrinalini’s ambivalence regarding her own education and what doors are opened and possibly closed for herself and her children as a result of it.
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Film Undone presents contributions introducing unmade and unfinished film projects, film ideas realised in non-filmic media, as well as films that remained unseen in their intended form and at their intended time.
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What do we hear? Can we hear the stories that emanate from the visual information? Are we projecting from our memories or closing our ears to the cries? Can we hear the noise of the place or the deafening silence? What is the sound we hear in silence?
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What does it mean to be a curator who writes, and, more specifically,
how can curators write about textiles?
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The Echoes of the Brother Countries Reader embarks on a rigorous reappraisal of the historical exchanges between the German Democratic Republic (GDR) and its so-called Bruderländer (brother countries). Published on the occasion of the eponymous research and exhibition project at Haus der Kulturen der Welt (HKW), this reader considers the echo as a fulcrum to examine the resonant aesthetic, social, and political implications of an era from the perspectives of those who were deeply affected by the GDR’s state and labour policies, yet gravely overlooked in its histories.
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Der Reader zum Projekt Echos der Bruderländer versucht eine Aufarbeitung des historischen Austauschs zwischen der Deutschen Demokratischen Republik (DDR) und ihren sogenannten ‚Bruderländern‘. Die Publikation, die anlässlich des gleichnamigen Forschungs- und Ausstellungsprojekts im Haus der Kulturen der Welt (HKW) erscheint, versteht den Begriff des Echos als Dreh- und Angelpunkt, um die ästhetischen, sozialen und politischen Implikationen einer Epoche aus der Perspektive derjenigen zu untersuchen, die von der Staats- und Arbeitspolitik der DDR zutiefst betroffen waren, aber in der Geschichte der DDR kaum wahrgenommen werden.
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Togetherward is a volume assembling new and existing documents that revisit, mix and remix moments in the work of artist Christian Nyampeta. The volume is composed of material that exceed singular authorship, in the form of texts, images, film stills, footnotes, photographs, poetry, and translations.
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What potential do embodied practices offer for emancipatory movements? How can community be created through these practices, and what responsibilities does this entail? What role does the body play in the preservation and transmission of knowledge?
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Accompanying the exhibition As Though We Hid the Sun in a Sea of Stories, this reader weaves together essays, conversations, and poetry that trace the multiplicity of worldviews, histories, and archives that have existed within an area of Central and Eastern Europe, Central and North Asia, and further beyond.
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Toward a Transindividual Self is an ambitious and capacious effort to theorize a new way to approach collectivity for political purposes through the lens of performance. Convinced that the current neoliberal conjuncture has only heightened a form of capitalist individualism that blocks notions of the social, the authors aim to show that a “transindividual formation of the self can bring about different courses of action and a more socially driven imagination.”
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Beyond thinking with quilombismo as a metaphor, O Quilombismo: Of Resisting and Insisting. Of Flight as Fight. Of Other Democratic Egalitarian Political Philosophies. deliberated on the intellectual and political implications of a philosophy and ideology based on the quilombos, mapping the spaces that they have made and continue to make possible today. Featuring over 100 full colour images and installation views, the O Quilombismo Album is a visual record of these acts of opening again, a celebration of conviviality.
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The O Quilombismo Handbook is an indispensable companion to the eponymous exhibition. It includes background information on and numerous images of all exhibited works, texts providing further insight into the practice of the participating artists, as well as floor plans and sketches of the exhibition spaces. Two introductory essays provide context for the philosophy of quilombismo and the conceptual framework of the exhibition.
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Das O Quilombismo Handbuch ist die unentbehrliche Begleitpublikation zur gleichnamigen Ausstellung. Darin finden sich Werkinformationen und Abbildungen aller gezeigten Arbeiten, vertiefende Informationen zu den beitragenden Künstler*innen sowie Lagepläne und Skizzen der Ausstellungsräume. Zwei einleitende Essays führen in die Philosophie des Quilombismo und das Konzept der Ausstellung ein.
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There has been a recent surge of global interest in Korean arts and popular culture, as evidenced by neologisms such as K-pop, K-drama and K-classic. Korean contemporary art has also captured the attention of a growing number of international biennales, exhibitions and fairs, attracting an international audience to Korea’s local artists and the scene they comprise. This is where our questions begin: despite a growing sense of nationalism in the global political stage, through a post-postmodernist lens, national categorization appears anachronistic. Is the prefix ‘K’ then a mere political ploy and capitalist commodity? If ‘K’ were to be removed, on the other hand, how else might we attempt at providing a portrait of the changing currents in Korea’s art scene? Is collective categorization or generalization ever worthwhile, and if so, to what extent can it be done without reducing or marginalizing individuals?
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Genocide in Namibia is an especially sensitive matter—its history has at times been ignored, underestimated, or even denied outright.
In the artistic documentary Fraitaxtsēs sores tsîn ge ra≠gâ - Ondjembo yo Null Vier, Ixmucané Aguilar has worked in close collaboration with Nama and OvaHerero people who vividly evoke memories and rituals of mourning caused by human loss and land dispossession under Imperial Germany’s violent occupation.
