Borrowing its title from Forough Farrokhzadâs poem Only Voice Remains, Voice Seeping into Time asserts the power of the voice to claim not only space but also time. Through a selection of speeches held over the first two years as director and chief curator of Berlinâs Haus der Kulturen der Welt (HKW) between March 2023 and April 2025, this volume expands on Bonaventure Soh Bejeng Ndikung's notion of the voice as a space of publication in itself.
Coinciding with Danielle Brathwaite-Shirley's exhibition, Serpentine and Archive Books have released the artist's first monograph, THE DELUSION. It imagines a 'new bible for emotional processing' and offers intimate insight into the project and the artist's wider practice, in a gamified, interactive style.
Victor Ballesteros' Chilean Garden turns a Vancouver botanical collection into a site of critical inquiry. Training his lens on the intimate details of plants and their accession tags, the work reveals a complex web of colonial exchange and scientific classification. This publication documents the project and, through an essay by Laurie White, explores the enduring connection between the cultivation of gardens, the discipline of art history, and the structures of imperial power.
Zawawa began on April 21, 2011 when acoustic scientist Kozo Hiramatsu, anthropologist Rupert Cox and artist Angus Carlyle met in Okinawa. A previous collaboration â Air Pressure â had explored the environmental stresses on a family of organic farmers living in the midst of Narita airport.
Prijenosi/Overføringer/Transmissions is Damir AvdagiÄ´s first artist monograph. AvdagiÄ´s practice examines the socio-political implications of the conflict in the former Yugoslavia (1991-95) through text, performance and video.
The importance that making music (as well as listening to it and thinking about it) had for Mark Tobey is well known. Reflections have been made on his being a painter and his sitting at the piano, the habit and pleasure of a lifetime.
The Musafiri: Travellers and Guests reader follows the entwined paths and encounters of those that embark on journeys, traversing the worlds that open up when the confines of familiar surroundings are left. They are musafiri, a word that denotes the traveller as well as the guest in a plethora of languages such as Arabic, Romanian, Turkish, Farsi, Urdu, Hindi, Swahili, Kazakh, and Uygur
Der Reader Musafiri: Von Reisenden und Gästen folgt den verschlungenen Pfaden und Begegnungen von Menschen, die sich auf den Weg machen und Welten durchqueren, die sich erÜffnen, wenn man die Begrenzungen der gewohnten Umgebung verlässt. Sie sind musafiri, ein Wort, das von Arabisch ßber Rumänisch, Tßrkisch, Farsi, Urdu, Hindi, bis zu Swahili, Kasachisch und Uigurisch den Reisenden bezeichnet, aber auch Gast bedeuten kann.
Between 1968 and 1988, the Tashkent Festival of Asian, African, andâââfrom 1976 onwardsâââLatin American Cinema was held in Tashkent, Uzbekistan.
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.
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.
Das BOM Magazin, die Publikation zum Projekt Ballett der Massen am Haus der Kulturen der Welt (HKW), greift seltene Perspektiven auf FuĂball als Spannungs- und Entspannungsfeld auf.
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.
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 GDRâs state and labour policies, yet gravely overlooked in its histories.
Der Reader zum Projekt Echos der Bruderländer versucht eine Aufarbeitung des historischen Austauschs zwischen der Deutschen Demokratischen Republik (DDR) und ihren sogenannten âBruderländernâ. 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.
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.