The publishing of the first catalogue raisonné on the work of the Otolith Group is timely and comes at a pivotal point in their practice. The work of this London-based artist’s collective comprised of Anjalika Sagar and Kodwo Eshun covers politics of race and diversity and incorporates film making and post-lens-based essayistic aesthetics that explore the temporal anomalies, anthropic inversions, and synthetic alienation of the posthuman, the inhuman, the non-human, and the complexity of the envi-ronmental conditions of life we all face.
