1 Million Roses for Angela Davis / 1 Million Rosen für Angela Davis

A journey through the artist's work and life.

William Anastasi is the author of a prolific body of work. A major figure in conceptualism and in many respects one of its initiators, his trajectory cannot be solely confined to this chapter in the history of contemporary art. The book revisits, through the prism of multiple voices, the various aspects of an approach that unfolded with the use of complementary mediums. Drawing coexists with photography and "new" technologies, alongside objects, paintings, and installations. Within this corpus to be (re)discovered, sounds, images, and language, as well as artifacts, protocols, and processes, convey inquiries related to space and time, representation, and perception. With contributions from Dove Bradshaw, Chiara Costa, Béatrice Gross, Valérie Mavridorakis, Hélène Meisel, Sébastien Pluot, Julia Robinson, Robert Storr, and Erik Verhagen.

Edited by Erik Verhagen.
Texts by Dove Bradshaw, Chiara Costa, Béatrice Gross, Valérie Mavridorakis, Hélène Meisel, Sébastien Pluot, Julia Robinson, Robert Storr, Erik Verhagen.

First monograph dedicated to the American artist, poet, and activist John Giorno, this publication introduces some of the many ways Giorno wove poetry into all aspects of daily life—by putting words on the wall, on the performance stage, on LP vinyl records, or on the telephone, in the context of the iconic Dial-A-Poem, one of his most celebrated works. A wide range of archival documents, images, and ephemera also form an intimate portrait of Giorno as an activist, performer, Buddhist practitioner, collaborator, and friend.

Published on the occasion of the eponymous retrospective exhibition at the MAMbo - Museo d'Arte Moderna di Bologna, in 2026.

Emerging from the New York downtown scene of the 1960s, John Giorno (1936–2019) developed a singular artistic voice at the crossroads of poetry, performance, painting, and political activism over the course of more than six decades. By bringing the written word off the page and into performance, technology, and visual art, Giorno consistently challenged disciplinary boundaries and advanced a radical vision of language as central to human expression. Though often positioned at the margins of multiple downtown scenes—the Beats, Andy Warhol's Factory, punk music, queer counterculture, anti-war activism—he was in fact an influential presence within all of them, operating as a conduit between coexisting cultural communities. His collaborators included Robert Rauschenberg, William S. Burroughs, Laurie Anderson, Anne Waldman, Allen Ginsberg, and Ugo Rondinone, among many others.

A photographic archive of the transgender community in Bologna in the 1980s. With critical texts by scholars and queer theorists.

This book is inspired by the pictures that Giordano Bonora, a young streetcar operator and aspiring photographer, took of Bologna's small transgender community in 1980 (although it would be more correct to speak, in this case, of proto-Transgenderism). Reproduced here for the first time, these raw and gilded images reflect—during a period in Italy characterized by subversive movements and political revolts that were not just rooted in questions of identity—attempts made by T* people at a construction of the self outside the binary logic of the genotypically XY male/genotypically XX female. By people like Valérie—a woman's face, a hairless chest with no breasts, a fleur-de-lis tattooed on the shoulder, and two pairs of pantyhose—for whom “gender” is not determined biologically but something to be embraced depending on the circumstances. A box containing a jigsaw puzzle with a picture that is constantly changing. Bundled with the photographs, a handful of texts set out to explain how the question of gender involves two cultural levels of sexual difference, the normative and the dissident, and how the decision-making power over organs outside heteropatriarchal systems of sexuality and processes of disidentification are the stakes in the new “somato-political” struggle against hegemonic regimes of oppression conducted by enchanting, allied, opaque, and vulnerable bodies.

Texts by Paolo Barbaro, Paul B. Preciado, Helena Velena, Salvatore Vitale, Wendy Vogel.

Petrit Halilaj and Danh Vo in conversation; Forensic Architecture (Eyal Weizman, Nour Abuzaid, and Elizabeth Breiner); Gabrielle Goliath; Edward W. Said; Shumon Basar; Dani Blanga Gubbay; Yvonne Rainer; Thomas Eggerer and Jochen Klein; Tobias Pils; Travis Jeppesen...

Collective intelligence (along with its wildly popular counterpart, brain rot) is a recurring subject of late. This issue is woven together through reflections on methodologies of the collective, larger-than-ourselves dynamics and "what goes unuttered (of, perhaps, what is painfully unutterable)," as Zoé Samudzi writes about Gabrielle Goliath—whose project for the South African pavilion at the upcoming Venice Biennale has been cancelled by the Arts and Culture Minister of her country for being "divisive." We stand in solidarity with the artist. Forensic Architecture's Eyal Weizman speaks of new ways of detecting "hyper-relations" as strategies to confront systemic violence. Edward W. Said, in his crucial 1993 essay "Speaking Truth to Power" (reprinted here), argues that "the intellectual's voice is lonely, but it has resonance because it associates itself freely with [. . .] the common pursuit of a shared ideal." And in our Curators section, Shumon Basar memetically reaffirms that now more than ever, "Comment is king."
Let's not shy away from commenting.

This issue comes with different covers, randomly distributed.

First monograph devoted to the playful, explosive and colorful paintings of the Iranian artist, featuring extensive illustrations along with a selection of drawings and preparatory studies that reveal the methods behind Hoda Kashiha's compositions, which are often constructed like collages, in which multiple layers intersect, cut-out shapes emerge, and images evolve through a combination of hand-drawing and digital manipulation.

Published following the exhibition I'm Here, I'm Not Here at Passerelle Centre d'Art Contemporain, Brest, in 2022, Hoda Kashiha's first solo public exhibition in Europe.

Developing a distinctive form of pop painting that moves freely between uninhibited Cubism and a cartoon-like visual language, Iranian artist Hoda Kashiha (born 1986 in Tehran) produces works that appear playful at first glance but reveal darker, more enigmatic, and deeply symbolic layers upon closer examination. Humour is a recurring strategy in her practice—one that fosters intimacy with viewers while enabling her to address serious and sensitive questions rooted in the social context and political climate of her home country. Her paintings also engage universal concerns, including gender relations and the place of women in society. For Kashiha, her protagonists become activists without ever speaking: they assert their differences openly and remain steadfastly optimistic. With her exuberant use of forms and colour, Kashiha creates an explosive blend of genres in which Picasso seems to drift into the world of Minecraft, joyfully dismantling the conventions of the past.

Text by Lilian Davis; conversation between Loïc Le Gall and Hoda Kashiha.

Regions surface often in this issue—across arts, tales, and gatherings of individuals and meanings—as a possibility to bypass the borders of nation-states and the meta-geographies of colonial modernity.

Slavs and Tatars; Hera Chan on Stephanie Comilang; Stephanie Bailey on Ho Tzu Nyen; Drifting into the Atmospheric by Sohrab Mohebbi; Lauren Cook contributes nine newly commissioned note-like fiction pieces; Asad Raza on Édouard Glissant; Mira Dayal in conversation with Shanzhai Lyric, TJ Shin, and jina valentine; Temporary Communities, Four Points on Radically Public Institutions by Elvira Dyangani Ose; A Signature Truer Than the Name by Dani Blanga Gubbay; tidbits: Ruoru Mou by Amy Jones; Virginia Ariu by Brit Barton; Bagus Pandega by Harry Burke; Ceidra Moon Murphy by Alex Bennett; Oshay Green by Ikechúkwú Onyewuenyi; Shafei Xia in conversation with Danielle Shang; books by Christian Rattemeyer; Guest Design: Lamm & Kirch.

This issue comes with different covers, randomly distributed.

Mousse is a bimonthly contemporary art magazine. Established in 2006, Mousse contains interviews, conversations, and essays by some of the most important figures in international criticism, visual arts, and curating today, alternated with a series of distinctive articles in a unique tabloid format.

Humanity has always excluded Others on the basis of race and gender. What happens to people who choose to flee, following in the footsteps of those who resisted enslavement?

This audacious manifesto draws on the legacies of bell hooks, Audre Lorde, Angela Davis and others to consider the ways in which Black women have been excluded from, struggled to achieve and opted to reject the category of ‘human’. Sociologist Akwugo Emejulu argues that it is only through embracing the status of the ‘fugitive’ that Black women can determine their own liberation. Fugitive Feminism is a call for the collective process of speculative dialogue and a bold new model for action.

Explorations of the audio essay as medium and method.

With contributors including Justin Barton, Angus Carlyle, Kodwo Eshun, Steve Goodman, Robin Mackay, Paul Nataraj, and Iain Sinclair, Sonic Faction presents extended lines of thought prompted by two Urbanomic events which explored the ways in which sound and voice can produce new sensory terrains and provoke speculative thought.

Three recent pieces provide the catalyst for a discussion of the potential of the "audio essay" as medium and method, a machine for intensifying listening and unsettling the boundaries between existing forms: documentary, music, ambient sound, audiobook, field recording, radio play….

Kode9's Astro-Darien (2022) is a sonic fiction about simulation, presenting an alternative history of the Scottish Space Programme, haunted by the ghosts of the British Empire. Justin Barton and Mark Fisher's On Vanishing Land (2006) is a dreamlike account of a coastal walk that expands into questions of modernity, capitalism, fiction, and the micropolitics of escape. Robin Mackay's By the North Sea (2021) is a meditation on time, disappearance, and loss as heard through the fictions of Lovecraft, Ccru, and the spectre of Dunwich, the city that vanished beneath the waves.

Alongside photographic documentation of the events and edited transcripts of the artists' discussions, Sonic Faction brings together contributors with diverse perspectives to address the question of the audio essay and to imagine its future.

Contributors
Lawrence Abu Hamdan, Lendl Barcelos, Justin Barton, Ben Borthwick, Angus Carlyle, Matt Colquhoun, Jessica Edwards, Kodwo Eshun, Steve Goodman, Ayesha Hameed, Eleni Ikoniadou, Lawrence Lek, Robin Mackay, Paul Nataraj, Emily Pethick, Iain Sinclair, Shelley Trower

The 2025 Ringier annual report (artist's book).

Since 1998, Ringier, the Swiss-based global media company, has traditionally commissioned an artist to design its annual report. Publisher Michael Ringier and curator Beatrix Ruf initiated this series as a means of reinforcing the links between art and the activities of the company.

For the 2025 edition, Slavs and Tatars' Simurgh Self-Help revisits Marcel Broodthaers' seminal work Musée d'Art Moderne: Département des Aigles (1968–1972), replacing or "translating" the eagle—a symbol of power and empire that is used to challenge our understanding of authority and value—with the Simurgh, a mythical bird found across the Turkic-Persianate world. Whilst the eagle is often associated with nation-states and masculinity, the Simurgh is decidedly transnational, metaphysical, and flamboyant, if not gender-fluid.

Much like the collective's geographic remit—between the former Berlin Wall and the Great Wall of China—this publication attempts to shift our focus elsewhere, eastwards, to regions which too often fall through the cracks of historiography and art history. If modern and contemporary art institutions in Broodthaers' time were largely situated between the Rhineland and Northeast United States, the multipolarity of today's art world is a fait accompli: with biennials in Uzbekistan and museums in Kazakhstan, amongst others, rivalling the traditional centers of power.

Once too a sacred bird—accompanying Zeus, for example—the eagle has, over the past two millennia, undergone a thorough profanation: a brawny, secular flex of nationalism. It would be remiss not to see the parallels in the world of media: print itself and the act of reading, once an activity for the few and anointed, has undergone a similar dynamic of democratization over the past several centuries and, especially in recent years with the internet, a vulgarization which would make medieval Church elders wag their shriveled fingers at us in an I-told-you-so meme meant for the ages. This profanation has challenged the very institution of media and the narratives it disseminates, much as important works of institutional critique challenged contemporary art in the 1970s and beyond—akin to Slavs and Tatars' genre-bending mix of high and low, East and West, sacred and profane does today.

Slavs and Tatars' (founded 2006) extensive publishing activity—some 15 books in 20 years—has treated subjects as diverse as alphabet politics, Uighur literary culture, political satire in the Muslim world, and German anti-Enlightenment thinkers. Alongside sculptures, textile works, installations, sound pieces, and even a brick-and-mortar Pickle Bar in Berlin, the collective's books have cleared new paths for contemporary discourse via a wholly idiosyncratic form of knowledge production that draws on popular culture, spiritual and esoteric traditions, oral histories, modern myths, as well as scholarly research.

Slavs and Tatars is a faction of polemics and intimacies devoted to an area east of the former Berlin Wall and west of the Great Wall of China known as Eurasia. The collective's work spans several media, disciplines, and a broad spectrum of cultural registers (high and low) focusing on an oft-forgotten sphere of influence between Slavs, Caucasians and Central Asians. 

Slavs and Tatars has published Kidnapping Mountains (Book Works, 2009), a celebration of complexity in the Caucasus, Love Me, Love Me Not: Changed Names (onestar press, 2010) and are currently preparing solo engagements at Vienna's Secession,  Museum of Modern Art, New York and Künstlerhaus Stuttgart.

The sequel to Pendleton's acclaimed Black Dada Reader, compiling an anti-canon of radical experimentation and thought.

In 2011, artist Adam Pendleton (born 1984) assembled Black Dada Reader, a compendium of texts, documents and positions that elucidated a practice and ethos of Black Dada. Resembling a school course reader, the book was a spiral-bound series of photocopies and collages, originally intended only for personal reference, and eventually distributed informally to friends and colleagues. The contents - an unlikely mix of Hugo Ball, W.E.B. Du Bois, Adrian Piper, Gertrude Stein, Sun Ra, Stokely Carmichael, Gilles Deleuze -formed a kind of experimental canon, realized through what Pendleton calls radical juxtaposition. In 2017, Koenig Books published the Reader in a hardcover edition, with newly commissioned essays and additional writings by the artist. A decade later, Pendleton has composed another reader, building upon the constellation of writers, artists, filmmakers, philosophers and critics that emerged in the first volume.

Source texts by Sara Ahmed, Mikhail Bakhtin, Toni Cade Bambara, Amiri Baraka, Augusto de Campos, Hardoldo de Campos, and Décio Pignatari, Angela Davis, Gilles Deleuze, Julius Eastman, Adrienne Edwards, Clarice Lispector, Achille Mbembe, Philippe-Alain Michaud, Charles Mingus, Piet Mondrian, Leslie Scalapino, Leonard Schwartz and Michael Hardt, Juliana Spahr, Cecil Taylor and Malcolm X.