Majnoon Filed Guide

Majnoon Filed Guide

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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.

On a wildflower lined gravel track off a quiet thoroughfare


On a wildflower lined gravel track off a quiet thoroughfare


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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.

ants walk two ways

ants walk two ways

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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.

Night Heron

Night Heron

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Night Heron tells the interleaved stories of a 21st century Bengali-American character, Pakhi, who goes on a non-quest that takes her to New York City, Berlin, and Bujumbura, and a 19th century Bengali character, Mrinalini, who lives in a joint family in the declining city of Lucknow in north India. Pakhi is a visual artist and Mrinalini is a writer. At the heart of the novel is Pakhi’s choice to leave her son. Mrinalini’s story is told through her notebooks, which Pakhi owns and refaces.

Meenakshi Chakraverti is a writer, anthropologist, and consultant in the fields of conflict resolution and leadership development. She lives in West Harlem, and has two grown daughters.

Akinbode Akinbiyi

Akinbode Akinbiyi

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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.

Film Undone

Film Undone

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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.

Echoes of the Brother Countries Reader

Echoes of the Brother Countries Reader

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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 BruderlĂ€nder (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.

Echos der BruderlÀnder Reader

Echos der BruderlÀnder Reader

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Der Reader zum Projekt Echos der BruderlĂ€nder versucht eine Aufarbeitung des historischen Austauschs zwischen der Deutschen Demokratischen Republik (DDR) und ihren sogenannten ‚BruderlĂ€ndern‘. Die Publikation, die anlĂ€sslich des gleichnamigen Forschungs- und Ausstellungsprojekts im Haus der Kulturen der Welt (HKW) erscheint, versteht den Begriff des Echos als Dreh- und Angelpunkt, um die Ă€sthetischen, 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.

Togetherward

Togetherward

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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. 

Encounters – Embodied Practices

Encounters – Embodied Practices

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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?

Toward A Transindividual Self

Toward A Transindividual Self

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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.”

O Quilombismo Album

O Quilombismo Album

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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.

O Quilombismo Handbook

O Quilombismo Handbook

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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.

O Quilombismo Handbuch

O Quilombismo Handbuch

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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 KĂŒnstler*innen sowie LageplĂ€ne und Skizzen der AusstellungsrĂ€ume. Zwei einleitende Essays fĂŒhren in die Philosophie des Quilombismo und das Konzept der Ausstellung ein.

K̶-Artists

K̶-Artists

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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? 

Fraitaxtsēs sores tsün ge ra≠gñ / Ondjembo yo Null Vier

Fraitaxtsēs sores tsün ge ra≠gñ / Ondjembo yo Null Vier

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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 tsĂźn ge ra≠gĂą - Ondjembo yo Null Vier, IxmucanĂ© 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.

O Quilombismo Reader (DE)

O Quilombismo Reader (DE)

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Der Reader zum Projekt O Quilombismo: Von Widerstand und Beharren. Von Flucht als Angriff. Von alternativen demokratisch-egalitĂ€ren politischen Philosophien, wendet sich an Leser*innen mit Interesse an den konzeptionellen HintergrĂŒnden und den kuratorischen Linien der Ausstellung: Auflehnung, Befreiung, SpiritualitĂ€t, Ekstase, neue kulturelle Formen und Ă€sthetische Paradigmen, Interpretationen von KollektivitĂ€t und Quilombo als Queering.

O Quilombismo Reader (EN)

O Quilombismo Reader (EN)

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This reader, published on the occasion of the project O Quilombismo: Of Resisting and Insisting. Of Flight as Fight. Of Other Democratic Egalitarian Political Philosophies, brings the themes of the eponymous group exhibition to those interested in wider conceptual explorations around its multifaceted curatorial threads: insurgence, resistance, liberation, spirituality, ecstasy, new cultural forms and aesthetic paradigms, quilombo as queering, and the reimagination of collectivity.

Shaping Revolutionary Memory: The Production of Monuments in Socialist Yugoslavia

Shaping Revolutionary Memory: The Production of Monuments in Socialist Yugoslavia

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The publication presents a comprehensive overview of the vast production of monuments in socialist Yugoslavia (1945–91) dedicated to the antifascist People's Liberation Struggle in the Second World War and the socialist revolution. Since the breakup of Yugoslavia in the 1990s, these monuments have been subject to various fates, from neglect and physical destruction to global fame generated by the high-modernist visual appeal of a number of them. But the full scope, wide-ranging diversity, and complex context of Yugoslav monument making, including its various contradictions, have remained largely unexplored.

DNCB – A History of Irritation

DNCB – A History of Irritation

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Part visual essay, oral history and artist book, DNCB - A History of Irritation is a companion to the multi-channel installation DNCB by Oliver Husain and Kerstin Schroedinger.  The book plays with contrasting paper formats and materials, using glossy colourful video stills and distorted archival imagery to achieve a similar effect to the film, video and audio tracks in the installation. It gives more room to the informative and deeply touching interviews the artists did with AIDS activists and long-term survivors, and collects the archival research on DNCB for the first time in a publication.

Awkward Archives

Awkward Archives

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Awkward Archives proposes a manual for academic teaching and learning contexts. An ethnographic research approach is confronted with the demands of archival research as both disciplines challenge their inner logics and epistemologies. Through fieldwork and ethnographic tools and methods, both analogue and digital, the editors take various contemporary archival sites in Berlin as case studies to elaborate on controversial concepts in Western thought. Presenting as such a modular curriculum on archives in their awkwardness—with the tensions, discomfort and antagonisms they pose.

Archives on Show

Archives on Show

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Archives on Show brings the potential of reformulating the social and political relevance of archives by curatorial means into focus. Based on the specific properties, faculties and methods of curation, the volume highlights those techniques and strategies that deal with archives not only to make their genesis and history apparent but also to open them up for the future.

Industry / Matrices, threads and sounds

Industry / Matrices, threads and sounds

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Industry / Matrices, threads and sounds is a publication that operates A project by Lorenzo Sandoval and Tono VizcaĂ­no as a reader in the project of the same name, and brings together a selection of texts and images of the people and entities that have collaborated in the process.

Maa Ka Maaya Ka Ca A Yere Kono

Maa Ka Maaya Ka Ca A Yere Kono

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L’imposition des notions de singularitĂ© – comme celles des ĂȘtres singuliers et immuables, des identitĂ©s uniques et inaltĂ©rables, des plans ou des espaces uniques et fixes, dans lesquels nous nous trouvons et naviguons, des cultures singuliĂšres et figĂ©es, des divinitĂ©s jalouses avec des structures de croyance singuliĂšres, d’histoire de politique ou de structure politique unique – semble ĂȘtre un des concepts dont il est le plus difficile de se dĂ©barrasser dans cette pĂ©riode de post indĂ©pendance et libĂ©ration des forces qui ont imposĂ© leur domination sur une grande partie du monde pendant trop longtemps. À nous avoir fait avaler ces concepts de force, cela a entraĂźnĂ© une perte de la multiplicitĂ© et des fragmentations, une perte des points d’intersection des diffĂ©rentes façons d’ĂȘtre et finalement une perte de la complexitĂ© des notions d’humanitĂ© et des rĂ©cits.

The Wall Between Us

The Wall Between Us

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When the outer world tells you who you are, who to be, and those in your immediate, unchosen community tell you to be another, how do we understand who we truly want to be? Away from prescribed imaginaries, how can we find our own reality? Should we even find an identity? Do we have a choice? Does it require asking humbly for allowance? When we receive recognition, does it risk furthering agendas that keep us in our "place"? Together, these poems, letters, anecdotes, interviews and stories demonstrate that living as a "member of the Asian diaspora" can never be presented as a singular expression. Moving through our world is a process of being emergent, sometimes in conflict, other times in collaboration, with a diasporic identity that continues to be ever more complex. Here we hope to find an opportunity to practice our own becoming.

Panorama

Panorama

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Navina Sundaram is sitting in the editing room in Hamburg. She has managed to reduce the complexity of the Kemal Altun case to the required 2 minutes and 40 seconds for the political magazine; a journalistic feat considering the legal terminology and the international political situation, which must be presented in simple terms. She places her interview with the judge at the back. The audience therefore first gets an impression of perhaps the best-known deportation prisoner of the republic on trial here.